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    In Shona music , the mbira dzavadzimu " voice of the ancestors ", national instrument of Zimbabwe [8] is a musical instrument that has been played by the Shona people of Zimbabwe for thousands of years.

    The mbira dzavadzimu is frequently played at religious ceremonies and social gatherings called mabira sing. A typical mbira dzavadzimu consists of between 22 and 28 keys constructed from hot- or cold- forged metal affixed to a hardwood soundboard gwariva in three different registers—two on the left, one on the right.

    While playing, the little finger of the right hand is placed through a hole in the bottom right corner of the soundboard, stabilizing the instrument and leaving thumb and index finger of the right hand open to stroke the keys in the right register from above and below.

    The fingers of the left hand stabilize the left side of the instrument, with most fingers reaching behind the instrument. Both registers on the left side of the instrument are played with the left thumb and sometimes the left forefinger.

    Bottle caps , shells , or other objects " machachara " [9] are often affixed to the soundboard to create a buzzing sound when the instrument is played.

    In a traditional setting, this sound is considered extremely important, as it is believed to attract ancestral spirits. During a public performance, an mbira dzavadzimu is frequently placed in a deze calabash resonator to amplify its sound.

    The mbira dza vadzimu is very significant in Shona religion and culture , considered a sacred instrument by the Shona people. It is usually played to facilitate communication with ancestral spirits, bringing the spirit of the dead back on its homestead.

    During these all-night ceremonies, people call upon the spirits to answer questions. The variations of notes in an Mbira piece aid the participants in going into trance, which in Shona culture aids the spirits in taking over the participant's body.

    Albert Chimedza, director of the Mbira Centre in Harare , has estimated that "there are at most ten thousand people in the world who play mbira.

    The nyunga nyunga which normally has 15 keys, originated from Manicaland where it traditionally played the entertainment role during social gatherings and commemorations.

    Two keys were then added to make fifteen Chirimumimba, , in two rows. The mbira nyunga nyunga is similar in construction to the mbira dzavadzimu, but has no hole in the soundboard.

    Key pitch radiates out from the center, rather than from left to right. Zimbabwe's Dumisani Maraire originated mbira nyunga nyunga number notation.

    The upper row keys from left are keys 2, 4, 6, 8, 10, 12, and 14 while the bottom row keys are notated as 1, 3, 5, 7, 9, 11, 13, and Maraire brought awareness of this instrument to the United States when he came to the University of Washington as a visiting artist from — But the Maraire number notation has remained the internationally accepted system Chirimumimba, Mark Holdaway of Kalimba Magic has introduced a graphic form of tablature for the karimba, and traditional karimba tunes as well as modern songs and new compositions and exercises are available in this tablature.

    Njani mbira has 30 to 32 keys and was also originated from Zimbabwe particularly Masvingo and Makonde. The nhare has 23 to 24 keys and was originated from Zimbabwe.

    In the Zimbabwean tradition, nhare was used for rituals of communicating with Musikavanhu or Nyadenga God. Mbira matepe which has 26 keys originated from along the borders of Zimbabwe and Mozambique.

    Hugh Tracey , an English ethnomusicologist who moved to Africa in , spent several years from the s through the s traveling about in rural Africa i.

    Tracey later founded the company African Musical Instruments and started building a mbira variant in Roodepoort , South Africa, which he called the kalimba ; he began exporting them around the world in The name kalimb a is a Bantu word which means "little music", and is similar to the word karimba , a type of mbira.

    These were the first mbira to be commercially exported from Africa. In the early s, Tracey secured an initial order of 10, kalimbas with Creative Playthings of Princeton, New Jersey, a company which designed and distributed toys and furniture.

    The Hugh Tracey kalimbas are tuned diatonically in the key of G. The arrangement of the notes on the Hugh Tracey kalimba borrows from the typical scheme with the lowest notes in the center and the upper notes on the left and the right, but a regular note layout is used, with the notes in the ascending scale alternating strictly right-left and going outwards towards the two sides.

    With this bidirectional note layout, it seems that all intuition from linearly mapped instruments goes out the window.

    This arrangement requires that the kalimba player develop a new intuition, but that new intuition is not as hard to come by as the more idiosyncratic note layouts of the traditional African lamellophones.

    The diatonic western kalimba tuning which Tracey used was practical for a worldwide instrument—with hundreds of African kalimba tunings, the chosen Western standard would maximize the number of people who would immediately connect with the kalimba.

    The beauty of this note arrangement, with notes going up the scale in a right-left-right-left progression, is that modal or chords are made by playing adjacent tines and are trivial to learn and play.

    If chords are played in the lower octave, the same notes will appear on the opposite side of the kalimba in the upper octave, which makes it very easy to simultaneously play a melody in the upper octave and an accompanying harmony in the lower octave.

    So, the arrangement of notes on the Hugh Tracey kalimba and on virtually any kalimba, as this note layout scheme has been adopted by virtually everyone who copies the instrument makes some complex musical operations very simple.

    Alternative tunings are possible, as the tines of most kalimbas are easily pushed in and out to sharpen or flatten their pitch. Some alternative tunings simply change the key of the kalimba, without changing the note layout scheme.

    Other alternative tunings move the kalimba to non-modal scales such as Middle-Eastern scales. Each note of the kalimba can be tuned independently unlike a guitar , so any scale, western or non-western, is possible, and traditional African scales are still accessible to this modern African instrument.

    The Bohlen—Pierce scale subdivides the just twelfth into 13 steps. The Chromatic Kalimba is also a fairly new instrument. There are a few different makers of the chromatic kalimba.

    The accidentals are mounted on the rear side of the kalimba as flats right under their adjacent parent note from the top.

    While kalimba initially meant the Hugh Tracey product, the name is now generic. Shortly after the Hugh Tracey kalimba started being sold around the world, artisans and craftspeople started copying or adapting the design.

    Several high quality kalimba makers exist around the world today: Collier, and Greg Trimble. Most kalimbas sold today are inexpensive copies made in third-world countries such as Pakistan or Indonesia.

    From Wikipedia, the free encyclopedia. For other uses, see Kalimba disambiguation. For the Rurouni Kenshin character, see Sagara Sanosuke.

    This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.

    October Learn how and when to remove this template message. This section may require cleanup to meet Wikipedia's quality standards. The specific problem is: Erhöht wird auch hier alle 20 Minuten.

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    When any tine is plucked, the adjacent tines also vibrate, and these harmonizing secondary vibrations serve a similar role to the harmonic overtones of a string instrument—they increase the harmonic complexity of an individual note.

    Mbira music, like much of the sub-Saharan African music traditions is based on cross-rhythm. The composite melody is an embellishment of the 3: Tunings vary from family to family referring to relative interval relationships and not to absolute pitches.

    The most common tuning [ where? Names may also vary between different families; Garikayi Tirikoti has developed a "mbira orchestra" that has seven different tunings, each starting on a different interval of the same seven-note scale, where it is possible to play all instruments in a single performance.

    The seven tunings that Garikayi uses are: The closest to what is commonly named "Nyamaropa" is his "Nhemamusasa" tuning. Many players, including griot clans — West African storytellers and musicians — have their own idiosyncratic tunings.

    Most of the time the instrument is played solo and tuning is not as critical as when playing with other musicians.

    But the tuning can be changed by adjusting the length of the metal tines inward or outward. Historically, mbira tunings have not mapped exactly onto Western scales; it is not unusual for a seven-note sequence on a mbira to be " stretched " over a greater range of frequencies than a Western octave and for the intervals between notes to be different from those in a Western scale.

    Tunings have often been idiosyncratic with variations over time and from one player to another. A mbira key produces a rich complex of overtones that varies from one instrument to another depending on its maker's intentions and accidents of fabrication, such that some instruments simply sound better when some notes of a familiar tuning are pushed.

    With the increased popularity of the mbira in North America, Europe, and Japan in recent decades, Zimbabwean mbira makers have tended to tune their instruments more uniformly for export, but much variation is still found among mbira in their homeland.

    Most Western instruments have a simple linear visual mapping from the instrument to the pitch which is played: String instruments have a similar mapping—the further up the neck, the lower the pitch—but this progression is realized independently on each string.

    Most Western string instruments have a similar progression from one string to the next: Such consistent spatial mappings from the instrument to the pitches it plays promotes the development of intuition and aids in the learning of the instrument and even the ability to improvise or play by ear.

    It is common on African mbira and other lamellophones to have the lowest notes in the center with higher notes to the far left and the far right—this is an ergonomic nicety, in that the thumb can pivot such that all the tines are easy to reach.

    However, traditional African tunings use notes that do not lie on the grid of the Western tempered scale , and traditional kalimba note layouts are often idiosyncratic, sometimes with adjacent tines making part of a scale, but then an odd note thrown in that defies the pattern.

    In Shona music , the mbira dzavadzimu " voice of the ancestors ", national instrument of Zimbabwe [8] is a musical instrument that has been played by the Shona people of Zimbabwe for thousands of years.

    The mbira dzavadzimu is frequently played at religious ceremonies and social gatherings called mabira sing. A typical mbira dzavadzimu consists of between 22 and 28 keys constructed from hot- or cold- forged metal affixed to a hardwood soundboard gwariva in three different registers—two on the left, one on the right.

    While playing, the little finger of the right hand is placed through a hole in the bottom right corner of the soundboard, stabilizing the instrument and leaving thumb and index finger of the right hand open to stroke the keys in the right register from above and below.

    The fingers of the left hand stabilize the left side of the instrument, with most fingers reaching behind the instrument.

    Both registers on the left side of the instrument are played with the left thumb and sometimes the left forefinger. Bottle caps , shells , or other objects " machachara " [9] are often affixed to the soundboard to create a buzzing sound when the instrument is played.

    In a traditional setting, this sound is considered extremely important, as it is believed to attract ancestral spirits.

    During a public performance, an mbira dzavadzimu is frequently placed in a deze calabash resonator to amplify its sound.

    The mbira dza vadzimu is very significant in Shona religion and culture , considered a sacred instrument by the Shona people. It is usually played to facilitate communication with ancestral spirits, bringing the spirit of the dead back on its homestead.

    During these all-night ceremonies, people call upon the spirits to answer questions. The variations of notes in an Mbira piece aid the participants in going into trance, which in Shona culture aids the spirits in taking over the participant's body.

    Albert Chimedza, director of the Mbira Centre in Harare , has estimated that "there are at most ten thousand people in the world who play mbira.

    The nyunga nyunga which normally has 15 keys, originated from Manicaland where it traditionally played the entertainment role during social gatherings and commemorations.

    Two keys were then added to make fifteen Chirimumimba, , in two rows. The mbira nyunga nyunga is similar in construction to the mbira dzavadzimu, but has no hole in the soundboard.

    Key pitch radiates out from the center, rather than from left to right. Zimbabwe's Dumisani Maraire originated mbira nyunga nyunga number notation.

    The upper row keys from left are keys 2, 4, 6, 8, 10, 12, and 14 while the bottom row keys are notated as 1, 3, 5, 7, 9, 11, 13, and Maraire brought awareness of this instrument to the United States when he came to the University of Washington as a visiting artist from — But the Maraire number notation has remained the internationally accepted system Chirimumimba, Mark Holdaway of Kalimba Magic has introduced a graphic form of tablature for the karimba, and traditional karimba tunes as well as modern songs and new compositions and exercises are available in this tablature.

    Njani mbira has 30 to 32 keys and was also originated from Zimbabwe particularly Masvingo and Makonde.

    The nhare has 23 to 24 keys and was originated from Zimbabwe. In the Zimbabwean tradition, nhare was used for rituals of communicating with Musikavanhu or Nyadenga God.

    Mbira matepe which has 26 keys originated from along the borders of Zimbabwe and Mozambique. Hugh Tracey , an English ethnomusicologist who moved to Africa in , spent several years from the s through the s traveling about in rural Africa i.

    Tracey later founded the company African Musical Instruments and started building a mbira variant in Roodepoort , South Africa, which he called the kalimba ; he began exporting them around the world in The name kalimb a is a Bantu word which means "little music", and is similar to the word karimba , a type of mbira.

    These were the first mbira to be commercially exported from Africa. In the early s, Tracey secured an initial order of 10, kalimbas with Creative Playthings of Princeton, New Jersey, a company which designed and distributed toys and furniture.

    The Hugh Tracey kalimbas are tuned diatonically in the key of G. The arrangement of the notes on the Hugh Tracey kalimba borrows from the typical scheme with the lowest notes in the center and the upper notes on the left and the right, but a regular note layout is used, with the notes in the ascending scale alternating strictly right-left and going outwards towards the two sides.

    With this bidirectional note layout, it seems that all intuition from linearly mapped instruments goes out the window.

    This arrangement requires that the kalimba player develop a new intuition, but that new intuition is not as hard to come by as the more idiosyncratic note layouts of the traditional African lamellophones.

    The diatonic western kalimba tuning which Tracey used was practical for a worldwide instrument—with hundreds of African kalimba tunings, the chosen Western standard would maximize the number of people who would immediately connect with the kalimba.

    The beauty of this note arrangement, with notes going up the scale in a right-left-right-left progression, is that modal or chords are made by playing adjacent tines and are trivial to learn and play.

    If chords are played in the lower octave, the same notes will appear on the opposite side of the kalimba in the upper octave, which makes it very easy to simultaneously play a melody in the upper octave and an accompanying harmony in the lower octave.

    So, the arrangement of notes on the Hugh Tracey kalimba and on virtually any kalimba, as this note layout scheme has been adopted by virtually everyone who copies the instrument makes some complex musical operations very simple.

    Alternative tunings are possible, as the tines of most kalimbas are easily pushed in and out to sharpen or flatten their pitch.

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