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In African Music , the mbira (also known as '''Likembe''', '''Mbila''', '''Thumb Piano''', '''Mbira Huru''', '''Mbira Njari''', '''Mbira Nyunga Nyunga''', '''Marimba''', '''Karimba''' or '''Kalimba''') is a Musical Instrument consisting of a wooden board to which staggered metal keys have been attached. It is often fitted into a Resonator . In East Africa there are many kinds of mbira, usually accompanied by the Hosho . Among the Shona there are three that are very popular (see '' Shona Music ''). The Mbira is usually classified as part of the Lamellaphone family. TYPES OF MBIRA Mbira Dzavadzimu In Shona Music , the mbira dza vadzimu (or ''mbira of the ancestor spirits'') is a musical instrument that has been used by the Shona People of Zimbabwe for thousands of years, going all the way back to one of the Mhondoro or Great Spirit Mediums, Chaminuka . It is often played at religious ceremonies and social gatherings. A bass version of the mbira is called a Marimbula in Cuba or marimbola in Puerto Rico. It resembles a large wooden box with keys on the front. The player usually sits on the instrument while playing. Kalimba is the brand name of a version based on the Mbira but tuned to a western scale. In the 1920's an Englishman by the name of Hugh Tracey arrived in Africa and was fascinated with the Mbira. Kalimbas continue to be handcrafted in a family run workshop in Grahmstown, South Africa. They come in three different models, the treble (17 notes, 2 octaves), celeste (17 notes, 2 octaves) and alto (15 notes, 2 octaves). Construction The mbira dzavadzimu is constructed from 22 to 28 strips of forged or hammered metal of varying lengths affixed to a hardwood Soundboard . The soundboard has a hole in the bottom right corner through which the Little Finger of the right hand is placed while playing to allow the right index finger to pluck the high notes from underneath the keys. There are usually several Bottle Caps , Shells or other objects affixed to the soundboard (known as '' Machachara '') which create a buzzing sound when the instrument is played. This sound is thought to attract the ancestor spirits. The Keys are arranged in three Rows , two on the left and one on the right. The bottom-left row contains the bass keys, the top-left row the middle-range keys and the right row a combination of the secondary bass keys and the high keys. Religious and social significance The mbira is very significant in Shona Religion and Culture , and is considered a sacred instrument. It is played at both religious ceremonies and social gatherings, most often when communication with the ancestor spirits is desired. Playing There is much variation in the specifics of playing the mbira dzavadzimu, but this is the typical method: The right Little Finger is placed in the hole in the bottom-right of the soundboard, the Middle and Ring Fingers are placed behind the instrument. This leaves the right Thumb and Index Finger free to play the keys. The left hand is cupped around the left side of the instrument, with all fingers but the thumb placed behind the instrument. Both rows on the left are played with the left thumb by drawing and pressing the thumb down the top of the key, and off the end. This causes the key to vibrate up and down. The first three keys on the right are played with the right thumb in a similar manner. The rest of the keys on the right are played with the right index finger, but unlike with the rest of the keys, the index finger is drawn up to the bottom of the key. Sound .]] The mbira is often placed inside a Deze , a large Resonator made from a Calabash , to amplify its sound. The bottle caps or other objects on both the mbira and deze vibrate when the instrument is played, causing a buzzing sound. Tuning The when playing songs written for Nyamaropa tunings; however songs thought to be written expressly for Gandanga may be comparable to the western major, for example the song ''Marenje'', whose tonic is on the third from left key on the bottom left manual. The layout of the keys is almost identical between different tunings, but the Pitches , as well as their relative intervals, are different. An mbira piece is normally defined by which keys on the instrument, or notes in the scale are used to create it, not by its absolute notes, or what tuning it is usually played on. Most mbira pieces can be played on multiple tunings. For example, if a piece is commonly played on the Gandanga tuning, it will often be played on both the Nyamaropa and Dambatsoko tunings as well, and therefore be in a major key. This is normally accomplished by playing the keys in the same position on the differently tuned instruments, as the keys—while they are differently tuned—are in the same relative order. Musicians Some notable mbira players include Maurice White , Philip Bailey , Dumisani Maraire , Ephat Mujuru , Erica Azim , Musekiwa Chingodza , Fabio Chivhanda , Forward Kwenda , Stella Chiweshe , Chartwell Dutiro , Beauler Dyoko , Cosmas Magaya , Hakurotwi Mude , Tute Chigamba , Chiwoniso Maraire and Achilla Orru . Konono No. 1 , from the Democratic Republic Of Congo , use a similar instrument, the ''likembé''. Mbira Nyunga Nyunga The Mbira Nyunga Nyunga is similar in construction to the Mbira Dzavadzimu, but has fewer keys, in two rows, and no hole in the soundboard. Key pitch radiates out from the center, rather than left to right. It is typically played by holding both sides of the instrument in one's hands. Dumisani Maraire brought awareness of this insturment to the United States when he came to the University of Washington as a visiting artist from 1968-1972. MBIRA MUSIC To many people Mbira music appears extremely repetitive, or cyclical. However, in most Mbira music, there are minute variations, suggestive of the Minimalist movement in western music (for example Philip Glass ''et al''). As with all African music, rhythm plays an important part. The Rhythms are often quite intricate and to some extent dictate the form of the Melody . Shona mbira music Generally, each mbira piece can be divided into four sections of twelve pulses each, although there are songs that divide into nine or eight pulses as well. Andrew Tracey refers to each cycle as a '' Chara '', which translates as "version", but literally means "fingering" or "thumb". Traditional Shona Mbira music is typically composed to two different parts, the Kushaura (meaning "to lead" or "to start") and the Kutsinhira (meaning "to follow"). Each part is played on two different mbiras, with the kushaura often being the more simple part, and the kutsinhira more complicated (though this is not always the case). Shona songs
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