The rattles that are attached to the sound board and the resonator add a buzzing sound to every note of the
mbira . Western listeners, who are much more accustomed to clear, focussed sounds in music, may initially find this distracting or even unpleasant, but the rattling sounds are considered an integral part of the
timbre of the instrument. This is very typical for African lamellophones.
Rhythm
As mentioned
above , most
mbira tunes are made up of four phrases. The most important rhythmic aspect of these phrases is that each one is 12 beats long, and 12 can be evenly divided by either three or four. In other words, one can group the 12 beats into "four measures of three beats each" or "three measures of four beats each".
Mbira music takes advantage of this by creating
polyrhythms , in which the duple and triple
meters can be heard at the same time.
Most pieces keep up a very steady rhythm of one note played on each of the twelve beats of a phrase. Like the contrapuntal and harmonic effects, the polyrhythms are also created by the distinct lines perceived in the different registers of the instrument. Of the various (high and low) lines that the ear naturally picks out, one line will sound like it belongs to one meter, while at the same time another line sounds like it belong to a different, contrasting meter. Along with the contrapuntal and harmonic effects, this polyrhythmic effect contributes to a subtle complexity that many listeners, even outside of the Shona tradition, find quite compelling.
Ensemble
Mbira dzadzimu can be played as a solo instrument, particularly by a virtuoso player. However, it is also very common for two
mbira players to perform together. When this is the case, the first player plays the basic melody and its variations. This lead part is called the
kushaura . The second player plays a different part that adds to the contrapuntal effect of the music, called the
kutsinhira . The
kutsinhira may echo the first part one beat later (as a close
round ), or may be a contrasting part that emphasizes different pitches or different rhythms. In either case, the
kushaura player is responsible for leading the variations, and the
kutsinhira player is expected to follow or respond to them appropriately.
In a typical ensemble, the two
mbira players are accompanied by someone playing (usually two) maraca-type rattles called
hosho . The
hosho typically plays rhythmic patterns that emphasize the "4 measures of 3" meter.
Dancing, singing, and clapping along with the music (or some combination of these) are all very common ways to respond to a performance, although it is also acceptable to simply listen to the music or treat it as background. Participants in a
bira , for example, may alternate between periods of intense dancing and periods of resting while the music continues. The
mbira players may also sing along. There are several different possible singing styles. A poetic text may be sung along with the music (as in most songs in the
Western tradition). But many singers pick out one of the melodic lines suggested by the tune and sing or yodel along with it, using
vocables . The singer who has a good ear for the subtle counterpoint in the tune can, in this way, help the other listeners also hear specific lines, and a
mbira player who can do this, while still playing well, is highly respected. Different singers may be singing along with different lines in the music at the same time, and clapping a variety of rhythms, also. This not only adds to the richness and complexity of the sound, it allows all the community members to actively contribute to the music, to the best of their ability, with some people dancing, singing, and clapping in simpler ways, while others contribute more complex vocal lines, rhythms, and dance steps.
