The Mbira
Thumb pianos are used throughout Africa. The most known of these is the
Kalimba,
which has a single V shape of keys that alternate left and right
ascending
the scale. But the Zimbabwean variety, the Mbira, is a little more like
a
piano in that the left hand has the bass notes and the right has the
trebles.
The above is a photo of my trusty Rinos Simbotti mbira with the keys
labeled so you can play the below tunes (but only if you have an Mbira at hand...).
I bought my mbira from my friend Fatima, who studied with Rinos and
sold enough mbiras for him that he made a house with the money she sent
him! While I know a few traditional tunes and play with traditional
technique, I mostly play my own music on it and use precise Blue Tac
blobs on certain notes to create different tunings (see below). To
amplify it, I either lean it on the bridge of my guitar (or acoustic
bass) or rubber band the capsule of a Behringer XM8500 mic onto it,
which gives a lovely sound. I find using a piezo pickup doesn't get the
bottom end well enough.
Nhemamusasa
U4 M3 U1 L3, U4 M4 U1 L5, U3 M4 U2
L7
U4 M3 U1 L3, U4 M5 U2 L6, U4 M4 U2
L7
U5 M2 U2 L4, U5 M5 U2 L6, U4 M4 U1
L7
U4 M3 U1 L3, U4 M4 U1 L5,
U3 M2 U1 M1
Karigamombe
M1 U1 M2 U1, M5 U3X L6 U3X, M2 U2
L4 U2
M1 U1 M2 U1, M5 U3X L6 U3X,
M4 U3X L5 U3X
M1 U1 M2 U1, M3 U4 L3 U4,
M4 U3 L5 U3
L7 U2 M4 U2, M3 U1 L3 U1,
M4 U3 L5 U3
Here are two traditional Mbira tunes as I was taught them by Fatima and
Elysia: There seems to
be many subtle variations on both tunes. U3X means U3 and X played
simultaneously. I've
grouped the notes in 4's for ease of learning, but traditionally the
rhythm
is triplets, with the pulse landing on the underlined notes.
Occasionally
it's played with the pulse on the note before the underlined ones (and
rarely
the one after, although it is nice). I should mention that the first
tune
was pinched and played on piano by Penguin Cafe Orchestra under the
name
of "Cutting Branches For a Temporary Shelter".
To hold
correctly,
insert the right pinky finger downward through the hole and wrap the
right
ring and middle fingers around the side, such that the right thumbnail
can
pluck downwards on keys X and C1-5, while the right index fingernail
can
pluck upwards on keys U3-9. All the other keys are played with the left
thumbnail,
with the left pinky finger hooked under the bottom edge of the wood and
the
other fingers around the side.
Tuning: Mbira tuning requires patience. To tune down a key,
tap brutally on the top end and to make it sharper, knock the key out
(upwards),
use pliers to bend the top end down a little and then tap it back in
gradually
until it drops to the desired pitch. I'm always surprised how in tune
mbiras often are when you find them in artifact shops: It usually
doesn't take much to knock them into a nearby concert pitch. A's, G's
and C's are common, but the occasional pesky Eb pops up now and again.
There are several traditional
Mbira tunings, but there are two main ones. One is simply a major scale
(using
C as a general tonic note, although my mbira is actually in A) in this
ascending
pattern: L1=C, L2=E, L3=F, L4=G, L5=A, L6=B, M1=C, L7=D, X=E, M3=F,
M2=G,
M4=A, M5=B, M6=C, U1=C(same as M6), U2=D, U3=E, U4=F, U5=G,, U6=A,
U7=B,
U8=C, U9=D
The most common tuning is the same as this but with flattened 7ths
(keys L6, M5 and U7). The above
tunes work in both tunings, but the second more often has the flat
7ths.
There's another tuning that is quite common that is a phrygian mode
(major
scale starting on the 3). Most of my songs use the straight major
tuning. I sometimes use different tunings by flattening one or more
notes by adding a blob of Blue Tac under one the
key (which sure beats getting out the pliers every time. My song
"Carrot" has only the L6 key flattened, which opens up the palette of
available
chords a little. My song "Dodgy" has L2, X and U3 flattened (all the
3rds) which makes a "jazz melodic minor", although, since the song is
more in D (the 4th in the key of A), it's a "lydian dominant" scale
(#4, b7).
While an Mbira sounds just fine on it's
own,
it's traditionally amplified by adding any variety of rattles and/or
placing
it in a resonating gourd. Other resonating objects that can be used to
naturally
amplify Mbiras include guitar bodies (leaning on the bridge is best),
woks,
drums, furniture, slow moving animals and doors (providing a lovely
alternative
to boring old knocking). To amplify the mbira, I find using a stick-on
piezo pickup doesn't get the
bottom end well enough, but leaning it on the bridge of a guitar (or
acoustic
bass) which has a piezo pickup in it that is under pressure give a much
better sound (as well as the added acoustics of the guitar body).
Alternatively, I rubber band the capsule of a Behringer XM8500
(dynamic) mic onto it,
which gives a lovely clean sound.