Ngibambeni- Ngibambeni for Ugubhu and Voice

Transcribed from the performance of Mntwana Princess Magogo ka Dinizulu

Transcribed by Siphelele Mkhabela for the SAMRO Foundation’s Indigenous African Music (IAM) Project supported by the US Ambassador’s Fund for Cultural Preservation

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Ugubhu

Ugubhu bow is an unbraced gourd-bow that comes from the Zulu speaking people. The bow instrument is an “old traditional instrument that people were playing during the time of King Shaka” (Mandela; 2005). The instrument’s popularity waned in the early 20th century when Umakhweyane (braced-bows) became more popular. The famous Zulu Princess Magogo who used it to record traditional Zulu songs preserved the instrument’s legacy.

With the help of the Zulu Benedict Brother Clement Sithole, researcher Dave Dargie managed “to find three more Ugubhu players in Nongoma District in the early 80’s. Those were Mr and Mrs B. Mpanza and Mrs Natalina Mhlongo” (Dargie; 1986). Brother Clement still plays and teaches Ugubhu at UKZN on part-time basis.

The instrument is made of a long stick from the Uthathawe tree (acacia ataxacantha), a calabash, a string made from twisted cow-tail hairs, and sound is produced by striking the string with a beater” (Mandela; 2005). The wooden bow is strung with gut or wire and attached to iSelwa (calabash) which resonates and amplifies the sound. The bow is played with uMqungu (a beater) made from a thin stalk of grass which is beaten against the string. uHadi the traditional Xhosa unbraced musical bow instrument is similar to Ugubhu bow and played in a similar way.

References:

Mandela, T., 2005. The Revival and Revitalization of Musical Bow practice in South Africa. Degree of Masters. Cape Town: University of Cape Town.

Dargie, D., 1986. Musical Bows in Southern Africa. Africa Insight, Vol 16 no 1, 1 - 11.

Mntwana Princess Constance Magogo ka Dinizulu uMntwana Princess Constance Magogo was born in 1900 and she was a prominent senior member of the Zulu Royal house. She was the daughter of the Zulu King, Dinizulu ka Cetshwayo and the sister of the late King Solomon KaDinizulu. In 1923 she married Chief Mathole Shenge Buthelezi and her eldest son is Chief Gatsha Buthelezi. Princess Magogo is well known throughout Zululand for her singing to the accompaniment of the traditional Zulu instrument, the Ugubhu bow. Umntwana Princess Magogo attributes her earliest music education to her grandmothers, the widowed queens of King Cetshwayo in whose huts she frequently slept as a child, as well as from her mother and her mother’s co-wives. Princess Magogo's

3 grandmothers, in addition to her 'mothers' (her uterine mother and her mother's co-wives, who numbered about sixty) were all, of necessity, from clans other than the Zulu royal lineage, since members of the same clan may never intermarry. Consequently, she was subjected, from her earliest childhood, to music from a wide and often obscure variety of sources, although in all cases it was only from different clan within the Zulu nation (Rycroft: 1976). At the time of recording her music, Mntwana Magogo was known to be the only remaining player of Ugubhu bow as many people had started playing Umakhweyane, the braced bow. Reference: Rycroft, D., 1976. The Zulu Bow songs of Princess Magogo. International Library of African Music, Vol 5 no. 4, 41 - 97.

Ngibambeni- Ngibambeni Meaning

“This is a nostalgic love song, adapted by Princess Magogo in memory of her late husband, Chief Mathole Buthelezi. She first learned the traditional form of the song from relatives, in her youth, while staying at Ngenetsheni, the residence of Prince Hamu kaMpande” (Rycroft, 1976).

Reference:

Rycroft, D., 1976. The Zulu Bow songs of Princess Magogo. International Library of African Music, Vol 5 no. 4, 41 - 97 Lyrics

Helele, helele! awu, helele! Oh, oh... Waye muhle lomfana, yeyeni! He was handsome, that boy, alas! Ye mama, ye mama, ye mama! O mother...! Ngibambeni, ngibambeni, bomama! Hold me, hold me, my mothers! Usebeyath' uyangibheka ngam thanda! When he used to look at me, I loved him! Usebeyath' uyahleka ngamthanda! When he used to laugh, I loved him! Wayeth' uyakhuluma ngamthanda! When he was talking, I loved him! Yeyeni, yeyeni, ye mama! Alas... Mother! Wagibel' amahash' amfanela! When he rode on horseback, it suited him! Wagibel' elinsundu lamfanela! When he rode a brown one, it suited him! Wagibel' elibomvu lamfanela! When he rode a reddish one, it suited him! Wagibel' elimhlophe lamfanela! When he rode a white one, it suited him! Wagibel' isitemelo* samfanela! When he rode in a train, it suited him! Yeyeni, yeyeni, awu yeyeni! Alas, oh alas! Sengimuka nomoya ye mama! I am being swept away with the wind, O mother! Ngibambeni, ngibambeni, ngibambeni! Hold me! Hold me! Hold me!

Reference:

Rycroft, D., 1976. The Zulu Bow songs of Princess Magogo. International Library of African Music, Vol 5 no. 4, 41 – 97

A number of works transcribed as part of the IAM project were sourced with the invaluable support of the International Library of African Music at Rhodes University in Makhanda (Grahamstown) in the Eastern Cape.

Founded in 1954 by Hugh Tracey, ILAM is one of the world’s great repositories of African music. A research institution devoted to the study of music and oral arts in Africa; it preserves thousands of historical recordings going back to 1929 and supports contemporary fieldwork. The majority of its collections are digitised and accessible on its website www.ru.ac.za/ilam. Its journal, African Music, is into its seventh decade.

ILAM aims to discover, record, analyse, archive, teach, publish and promote music of sub-Saharan Africa, with the object of establishing a theory of music making in Africa and assessing the social, cultural, and artistic value of African music. ILAM is attached to the Music Department at Rhodes University and coordinates its Ethnomusicology Programme which offers undergraduate and post- graduate degrees in Ethnomusicology that include training in performance of African music.

Transcriber: Siphelele Mkhabela

Siphelele Mkhabela is currently studying towards a Bachelor of Music degree at the University of South Africa. His main interest is composition in the field of contemporary music, including genres such as pop, rhythm and blues, soul, funk and rock. He has performed alongside acts such as Vusi Mahlasela and The Parlotones.

His work as a musician and music scholar is geared towards re- contextualizing African music and artistry by disrupting the stereotype that suggests that true African art can only exist in what some would call a ‘primitive’ state. His skills are spread across a number of instruments, namely, electric guitar, voice, keyboards and synthesizers.

Aside from his studies, Siphelele is also establishing his own arts organization called 3rdmnd Media, an independent artist label, through which he aims to focus his skills towards making a positive impact as a creative entrepreneur in South Africa’s creative and cultural industries.

ABOUT THE IAM PROJECT

The Indigenous African Music (IAM) Project was initiated by The SAMRO Foundation to assist in the preservation of the beautiful but neglected musical riches of Africa. In 2017 the United States Ambassadors’ Fund for Cultural Preservation helped the Foundation with seed funding to initiate the process of transcribing and documenting the scores for historical and cultural preservation.

As the project proceeded it became more and more apparent that, not only was the transcribing of the music helping to preserve it, but that it provided a new and intimate appreciation of the cultures, their art forms and their inherent value to humanity. The IAM team has worked with many incredible people and developed partnerships with amazing institutions like JIWE Publishers, the International Library of African Music (ILAM), the Africa Open Institute for Music, Research and Innovation, Music in Africa and many other organisations striving for the same end goal.

The project acknowledges that many transcription forms exist, but the use of Western Art music notation was justified by the fact that, around the world, practicing musicians would be able to interpret and reproduce the works (much like reading from the Western alphabet). To help the user interpret the works as accurately as possible, the IAM project has endeavoured to provide audio and video examples where possible, as well as contextual details of each work. The vision of the IAM Project is to create a portal for all African music students, performers and consumers alike to be able to appreciate, access, perform and promote the Continent’s amazing works and the cultures that generated them.

The IAM project sources its information from available archives and practitioners, but understands that a great deal of variation and possible other interpretations have existed in the IAM arena. As such, the IAM project does not claim to know everything and believes that indigenous African music should be a matter of broad consultation and dynamic growth. As such, the project is open to comments and suggestions regarding the scores. If you wish to offer your point of view, please feel free to visit www.iamtranscriptions.org to add your input

Transcription notes for Ngibambeni Ngibambeni

Arrangement by Mntwana Princess Magogo Transcription by Siphelele Mkhabela

Performance summary: Soprano solo voice: bars 4 – 60 Ugubhu: bars 1 – 61 Performance duration: 2 minutes 20 seconds

The piece contains a recurrent pulse which implies a time signature of 7/8. However, the fermata at the end of each phrase does not allow for a consistent beat rhythmically, especially for notation purposes. Therefore, the notation provided acts as a guideline. There are nuances within the music, such as tempo fluctuations, that are beyond the parameters of a strict meter.

It is also essential to note that in places where the vocal phrase begins on an upbeat, such as in bar 13, the fermata is not placed on the upbeat. Rather, the upbeat is sung after the fermata. i.e. The upbeat is sung after the regular pulse has been temporarily interrupted. This is applicable to all phrases beginning with an upbeat.

Bars 1 and 2 of the ossia above the ugubhu indicate of the tonality of the piece. Bar 1 indicates the overtonal chords produced by the ugubhu when the fundamental note is played while the calabash is open. Bar 2 is an indication of the A-flat Phrygian major mode that is used throughout the piece. The fundamental notes played by the ugubhu are represented on the main stave, which is below the ossia. Directly above the main stave is an indication of the opening and closing of the calabash notated with the ○ and ● symbols. The ○ symbol indicates an open calabash. The ● symbol indicates a closed calabash. The notation of these symbols applies in the same pattern throughout the piece. Ngibambeni Ngibambeni

ARRANGER Mntwana Princess Magogo TRANSCRIBER Siphelele Mkhabela Moderato, with feeling

Voice 7 4 & 8 · · 8 · ª

overtone scale chords

7 bÏ— bnÏ—Ï 4 ¡& 8 b Ï nn Ï bÏ nÏ 8 bbÏ nÏ bÏ nÏ bÏ Ï bÏ Ugubhu • — • — • U ? 7 4 j Å ª ¢ 8 bÏ Ï Ïª nÏ Ï Ïª bÏ Ï ÏªnÏ Ï Ïª 8bÏ Ï Ïª ª s>empre > >

f mf 4 1. 2. V. 7 Ï Ï 4 4 & ª8 ª bÏnÏ Ï~~~~~Ï bÏ bÏ î 8 · ª 8 · Ï ž bÏª Ï He-le - le he-le - le awu he •- le - le, Ugubhu U U ¡? ª7 4 j Å ª 4 j Å ¢ ª8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï ÏªnÏ Ï Ïª 8bÏ Ï Ïª ª 8bÏ Ï Ïª

8 V. 7 4 & 8bÏ Ïª Ï Ï jî 8 · bÏª Ïª Ï ž bÏ bÏ Wa-mu-hle lom-fa - na yeh -•he- ni, Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï ÏªnÏ Ï Ïª 8bÏ Ï Ïª

11 f mf r V. & 87 Ï ÏªbÏ nÏ jî 48 Î äªbÏ bÏª Ïª Ï ž bÏ bÏ Yema-ma ye ma - ma ye •mama, Ngi - - Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï ÏªnÏ Ï Ïª 8bÏ Ï Ïª 2 14 f mf r V. & 87 Ï ÏbÏ ÏnÏ j î 48 Î äªbÏ bÏª Ïª Ï bÏ bÏ bam-be-ni ngi-bam-be - ni bo - •ma - ma, Ngi -

Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª

17 r V. & 87bÏ Ï Ï ÏnÏ jî 48 Î äªbÏ bÏª Ïª Ï bÏ bÏ bam-be - ni ngi-bam-be - ni bo - •mama, Ngi -

Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª

f mf 20 V. & 87 Ï ÏbÏ ÏnÏ j î 48 Î äª r Ïª Ïª bÏ bÏ bÏ bÏ bam-be-ni ngi-bam-be - ni bo -•ma - ma, U - Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª

23 V. 7 î 4 Î äª r & 8bÏ Ï Ï Ï Ïª Ïª j 8 bÏ • Ï Ï bÏ se-be- th' u-yang' bhe - ka ngam -•tha - bndÏa, U - Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª

26 V. & 87 j î 48 Î äª r bÏ Ï Ï Ï Ïª Ïª Ï Ï bÏ bÏ se-be- th' u-ya - hle - ka ngam -•tha - bndÏa, Wa - Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª 3 29 V. & 87 j î 48 · bÏ Ï Ï Ï Ïª Ïª Ï Ï bÏ ye-th' u-ya-khu - lu - ma ngam - •tha - bndÏa, Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª

32 f mf r V. & 87 Ï Ïª bÏ nÏ jî 48 Î äª r Ï ÏbÏ bÏ bÏ Yeh-he - ni yeh-he - ni ye - •ma - ma,bÏ Wa - Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª

35 V. 7 î 4 Î äª r & 8 bÏ Ïª Ï Ï j 8 bÏ Ï Ïª • ÏbÏ bÏ gi-bel' a-ma - hha-sh' am-fa - •ne - la,bÏ Wa -

Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª

38 V. 7 4 r & 8 bÏ Ï Ï j î 8 Î äª bÏ Ï Ïª ª bÏ Ï bÏ bÏ gi-bel' elin- sund-u lam-fa - ne - la,bÏ Wa - Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª

41 V. 7 î 4 Î ä r & 8 bÏÏ Ï j 8 ªbÏ Ï Ïª ª bÏ Ï nÏ bÏ gi-bel' eli- bom-vu lam-fa - ne - la,bÏ Wa - Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª 4 44 V. & 87 j î 48 Î äª r Ï Ïª bÏ Ïª Ï bÏ ÏbÏ bÏ bÏ gi-bel' e-lim - hlo -phe lamfa - ne - la,bÏ Wa -

Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª

47 V. 7 4 & 8 bÏ Ï Ï jî 8 · Ï Ïª ª bÏ Ï bÏ bÏ gi-bel' is'tem - e - lo-sam-fa - ne - la,bÏ Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï ÏªnÏ Ï Ïª 8bÏ Ï Ïª

50 f mf V. 7 Ï Ï r 4 r & 8 ªbÏnÏ Ï bÏ bÏ î 8 Î äªbÏ Ï ž bÏª Ï Ye-hhe-ni ye-hhe - ni awu ye -•hhe- ni, Se -

Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï ÏªnÏÏÏª 8bÏÏÏª

53 V. 7 4 r & 8 bÏ Ï Ï Ï j î 8 Î äªbÏ Ï ª ª bÏª Ï bÏ ngi-mu - ka no-mo - ya ye -•ma - ma,bÏ Se - Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª

56 V. 7 î 4 Î ä r & 8 bÏª Ï Ï Ïª j 8 ª bÏ Ï bÏª Ï bÏ ngi-mu - ka no-mo - ya ye -•ma - ma,bÏ Ngi - Ugubhu U ¡? 7 4 j Å ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï Ïª nÏ Ï Ïª 8bÏ Ï Ïª 5 59 f mf V. & 87 Ï ÏbÏ Ï nÏ Åî 48 · Ïª Ïª Ï bÏ bÏ Ï bam-be-ni ngi-bam-be - ni ngi-bam•-be - ni, Ugubhu U ¡? 7 4 jÅ ¢ 8bÏ Ï Ïª nÏ Ï Ïª bÏ Ï ÏªnÏ Ï Ïª 8bÏ Ï Ïª 62 V. & 87 · · 48 ·

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