The Mbira Instrument
The mbira dzavadzimu ("mbira of the spirits") of the Shona people of Zimbabwe consists of 22 to 28 metal keys mounted on a gwariva (hardwood soundboard) made from the mubvamaropa tree (Pterocarpus angolensis). Although the metal keys were originally smelted directly from rock containing iron ore, now they may be made from sofa springs, bicycle spokes, car seat springs, and other recycled steel materials. The mbira is usually placed inside a large calabash resonator (deze) to amplify it. A mutsigo (stick) is used to wedge the mbira securely inside the deze. The mbira is played with the two thumbs stroking down and the right forefinger stroking up.
Either metal beads strung on a wire, or bottle tops or shells mounted on a metal plate, are placed on the lower portion of the mbira soundboard to add a buzz which varies from a soft shimmering hiss to a tambourine-like sound. Bottle tops or shells are also mounted on the deze to increase the buzz. The buzz is considered an essential part of the mbira sound, required to clear the mind of thoughts and worries so that the mbira music can fill the consciousness of the performers and listeners. The buzz adds depth and context to the clear tones of the mbira keys, and may be heard as whispering voices, singing, tapping, knocking, wind or rain. The buzz also increases the volume of the mbira.
Many different mbira tunings are used, according to personal preference. The only requirement is that two instruments played together should generally agree in tuning. If the same sequence of keys is played, the music is considered to be the same mbira piece, even if played on instruments tuned with completely different intervals. For example, mavembe ("the one so beautiful it leaves you speechless") tuning, has a different interval relationship between keys than the more common nyamaropa tuning. The pitch of an mbira is also a matter of personal preference, ranging from high to very deep. Each instrument has a range of three octaves, or slightly more.
Shona Mbira Music
In Zimbabwe, a Shona mbira piece consists of a basic cyclical pattern which includes numerous intertwined melodies, often with contrasting and syncopated rhythms. There are extensive possibilities for rhythmic and melodic variation within the traditional improvisational style. Each performance of an mbira piece is unique in a way similar to the jazz master's performance - the identity of the piece is clear, the musician's typical style is evident, yet the performance is fresh, new, unexpected, and totally expressive of the present moment.
When two mbira are played together, the interlocking parts result in a compact yet overflowing richness of polyphony and polyrhythms. Each piece in the traditional repertoire includes a kushaura (leading) part and a kutsinhira (intertwining) part. No part of the cycle of the piece is identified as the beginning. The kushaura musician starts playing his mbira part at the point in the cycle that he hears at that moment. After a few notes or cycles, the kutsinhira player enters at the point in the cycle that he hears - possibly a completely different point from the one where the kushaura player began. The end of a performance may also be placed at any point in the cycle. Mbira players often find that they hear mbira continuously, even when the instrument is not actually being played, both when awake and while dreaming. So, the start of a performance is merely joining with the music already being heard. Hosho, a pair of gourd rattles playing a consistent rhythm, complete the mbira ensemble, usually starting after the mbira players.
In rare instances, a virtuoso mbira performer will perform at ceremonies alone. This requires an extremely complex solo style which leaves the musician and listeners satisfied that both kushaura and kutsinhira are present. This type of solo style is very specific to the individual musician.
A traditional repertoire of hundreds of mbira pieces is passed from generation to generation, and pieces are popular today which are known to have been popular more than 700 years ago. At mapira ceremonies honoring vadzimu (ancestor spirits), pieces must be performed which were the favorites of the ancestor being called. Ceremonies for the more ancient and powerful mhondoro and makombwe spirits may require even older traditional styles. In this manner, the same pieces are retained in the mbira repertoire over the centuries. When a musician plays a piece new to him, it is considered a reminder from the spirits of an ancient piece dropped from the repertoire, not a composition.
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8:16
Taireva - Mhuri ye kwa Rwizi 1972by AboubacarSiddikh881 views
very sweet.
wizenedgoatbeard 1 year ago
Nhemamusasa....keep on workin!
who is the mbira maker?
HumbleMbira 2 years ago