3.3 Mbira  (Page 2/6)

The number of keys in each manual, and the number of manuals, are two important characteristics that distinguish different types of lamellophones. A Shona karimba , for example, is a relatively basic instrument, usually with about eight keys arranged in a single manual. The mbira dzavadzimu , on the other hand, typically has 22 keys, arranged in three manuals that have distinct registers (low, medium, and high notes). Some lamellophones have as few as three keys, some as many as fifty-two. One-, two-, and three-manual instruments are all common.

The plucked keys by themselves would produce a very quiet sound, so another important part of the instrument is the resonator , which amplifies the vibrations and enriches their tone quality. The basic body of the instrument is often simply a wooden board. For an even louder, more resonant sound, the keys may be mounted instead on a hollow box, or the board may be placed inside a second resonator, such as a tortoise shell, wooden or tin box (for example, an empty gasoline can), a piece of a dried gourd, or a bark trough. The mbira dzavadzimu can be played without an extra resonator, but at official performances it is usually placed inside a bowl-shaped resonator, called a deze , made from the bottom half of a large dried gourd. A stick is used to keep the board wedged in place in the resonator.

Rattles are also considered to be a basic part of the sound of many lamellophones. (Read more about this below .) The rattles may be attached to the sound board, or inside the box, or attached to the outer resonator. The specific rattle used - pebbles, bottle caps, shells, beads - may be part of the typical sound of a particular lamellophone. A Shona matepe , for example, uses metal beads on a rod inside a hollowed-out sound board. The mbira dzavadzimu usually has either shells or bottle caps attached to both the sound board and the gourd resonator.

History and culture

Historical and archaeological evidence make it clear that lamellophones have been played in southeastern Africa since before the sixteenth century, and it is likely that they have been around much longer than that. This long history has allowed a great variety of instruments to evolve among the various ethnic groups of sub-Saharan Africa, and even among some African-influenced communities in the Americas (for example, the Cuban marimbula is clearly an African transplant). Because the instruments are part of related musical traditions, they tend to share many characteristics (for example, many are typically used as accomaniment to a singer, and many play ostinato forms), but because of this great variety, it would be impossible to even begin to discuss all of these instruments in detail. Besides being physically different (see above ), the different types of lamellophone may also be distinguished from each other by:

• Playing style - Which fingers and/or thumbs are used, for example.
• Playing techniques - What type of embellishments and flourishes are added by expert players, for example. Playing styles and techniques vary enough that a player who is very good at playing one type of lamellophone may not be able to play another type at all.
• Tuning and scales - Scales may have five, six, or seven pitches within an octave , for example.
• Repertoire - The types of pieces the instrument plays, and their typical form.
• Cultural context - Whether the instrument is normally played to accompany dancing, for example, or for religious ceremonies, as a solitary pastime, or as entertainment at parties.
• Ensemble - Whether the instrument is typically played alone, or with a group of similar or different lamellophones, or with singers or other instruments (such as rattles, drums, or panpipes).
• Function - The instrument may specialize in a particular function in the ensemble, such as playing the bass line, or the melody, or a complex accompaniment.