Mbira dza vadzimu
This is the ancient instrument of Zimbabwe, known as "mbira of the ancestors" or "mbira huru" (big mbira), played primarily by the Zezuru Shona people. It has a recorded history of at least 700 years old and some songs from that period are still played today, though perhaps differently. The repertoire itself is several hundred years old and still forms the core of music played on the instrument.
It is essentially a 22-28 key lamellaphone and is plucked down with the thumbs plucked up with the forefinger of the right hand. It covers 3 octaves and several tuning systems exist.
The metal keys are attached to a wooden soundboard ("gwariva") and tuned to the taste of the maker, hence mbira tuning has much diversity in terms of actual pitch relationship, but also relative tonal centres between the makers.
To amplify the instrument, a large calabash ("deze") is used and the mbira nestled inside. The outside of the deze may have some implement for creating a buzzing sound, such as shells or bottle caps. The mbira itself can also have such implements and the buzzing texture is essential for the mbira experience. It "clears the air" so to speak and acts in a particular way upon the nervous system of the listener/player.
The traditional context for the mbira are in specific ceremonies that are used to invoke the presence of ancestors spirits, hence the name "mbira of the ancestors". The instrument carries heavy spiritual overtones and is essential to the spiritual health of traditional Shona people. At one point in Zimbabwe's recent history, Christian missionaries saw the mbira and it's associated practices as heathen and pagan and outlawed the playing of it. Thus, a negative stigma surrounded the instrument for quite some time. It is only in the last couple of decades that the mbira is shedding such stigma and being embraced by more and more people, inside Zimbabwe and out.
Today it is played by anybody and can found in nearly any context imaginable, from traditional ceremony to concert hall to drinking bars.
It is essentially a 22-28 key lamellaphone and is plucked down with the thumbs plucked up with the forefinger of the right hand. It covers 3 octaves and several tuning systems exist.
The metal keys are attached to a wooden soundboard ("gwariva") and tuned to the taste of the maker, hence mbira tuning has much diversity in terms of actual pitch relationship, but also relative tonal centres between the makers.
To amplify the instrument, a large calabash ("deze") is used and the mbira nestled inside. The outside of the deze may have some implement for creating a buzzing sound, such as shells or bottle caps. The mbira itself can also have such implements and the buzzing texture is essential for the mbira experience. It "clears the air" so to speak and acts in a particular way upon the nervous system of the listener/player.
The traditional context for the mbira are in specific ceremonies that are used to invoke the presence of ancestors spirits, hence the name "mbira of the ancestors". The instrument carries heavy spiritual overtones and is essential to the spiritual health of traditional Shona people. At one point in Zimbabwe's recent history, Christian missionaries saw the mbira and it's associated practices as heathen and pagan and outlawed the playing of it. Thus, a negative stigma surrounded the instrument for quite some time. It is only in the last couple of decades that the mbira is shedding such stigma and being embraced by more and more people, inside Zimbabwe and out.
Today it is played by anybody and can found in nearly any context imaginable, from traditional ceremony to concert hall to drinking bars.
Our Mbira
The mbira that we play in Zhambai are made by Fradreck Mujuru, one of the best makers of mbira.
Our combination is unique however in that we have one mbira tuned to a major scale (Ionian/Dambatsoko) and another to a minor-like Phyrgian scale (known as Mavembe). The "major" mbira is based around F while the "minor" around A. What happens is that when playing the exact same song, everything is harmonized by a major 3rd instantly!! Further, based on a system made popular by mbira master Garikai Tirikoti and groups like Mbira dzeNharira, we can play the same song on each mbira but on the Mavembe one must essentially transpose and learn the piece centered around a different place on the instrument.
The mbira that we play in Zhambai are made by Fradreck Mujuru, one of the best makers of mbira.
Our combination is unique however in that we have one mbira tuned to a major scale (Ionian/Dambatsoko) and another to a minor-like Phyrgian scale (known as Mavembe). The "major" mbira is based around F while the "minor" around A. What happens is that when playing the exact same song, everything is harmonized by a major 3rd instantly!! Further, based on a system made popular by mbira master Garikai Tirikoti and groups like Mbira dzeNharira, we can play the same song on each mbira but on the Mavembe one must essentially transpose and learn the piece centered around a different place on the instrument.
Marimba & Hosho
The Zimbabwean marimba (at left) is somewhat of a recent phenomenon. It was essentially created in the mid 20th century at a music college in Zimbabwe as a means to teach indigenous music on a an instrument that would have no ethnic affiliations and be open to all. Thus the "Zimarimba" was born. Since then, it has spread around the world, especially to South Africa and the Northwestern America/Canada.
An extremely informative, and authoritative, article about the history of the Zimbabwean marimba is HERE.
The hosho (pictured in Navaro's hands above) are the hollowed gourd rattles that drive and act as a kind of glue for the mbira music and feelings in the air. It is essential for any mbira traditional performance. In fact, a traditional saying says that mbira without hosho is like sadza (staple corn porridge) without nyama (meat). In the right hands, hosho can steer the tempo and energy of a performance. In the wrong hands, it can ruin it!!
An extremely informative, and authoritative, article about the history of the Zimbabwean marimba is HERE.
The hosho (pictured in Navaro's hands above) are the hollowed gourd rattles that drive and act as a kind of glue for the mbira music and feelings in the air. It is essential for any mbira traditional performance. In fact, a traditional saying says that mbira without hosho is like sadza (staple corn porridge) without nyama (meat). In the right hands, hosho can steer the tempo and energy of a performance. In the wrong hands, it can ruin it!!