Ready to learn all about the mbira instrument and its music? Here’s the top 12 most popular questions people ask - with detailed answers, interesting facts, links and helpful information. Let’s go!
Top 12 Questions about Mbira:
Full answers with useful links and FREE downloads below.
How do you play mbira?
What is mbira made out of and how does it work?
What is mbira used for and how do musicians use mbira today?
What instrument family is the mbira in? What kind of instrument is it?
What does a mbira sound like?
Who invented the mbira instrument, how old is it, and where is it from?
What is mbira music?
What is another name for the mbira?
How do I tune my mbira?
What is mbira?
What is Kalimba?
What’s the difference between mbira Vs kalimba?
How do you play mbira?
In response to the number one question everyone asks (‘How do you play mbira’, ‘How is the mbira played’, or ‘How do I play mbira’), we’ve created a step-by-step journey of FREE lessons to take you from mbira beginner to mbira master.
Visit our Learn How to Play Mbira in 9 Easy Steps page to get your Discover Mbira multimedia pack, enter The Mbira Deep-Dive video series, and then take a Nhemamusasa Masterclass with Forward Kwenda. There’s loads more waiting for you inside. Check out this quick summary of what’s covered:
How to play mbira
Get a quality mbira, in a tuning you’ll love.
Learn how to hold and play the instrument painlessly.
Listen to recordings of mbira songs and choose your favourites.
Learn to play them by ear or using mbira tab.
Practice alone, with others, and along to our free practice tracks.
Master the three-beat feel and start your songs from different points in the cycle.
For mbira mastery, you’ll need to learn about mbira chords and the 7 master progressions.
Now you can try out note substitutions and improvisation exercises.
Introduce these into your playing to unlock infinite possibilities!
Visit Learn How to Play Mbira in 9 Easy Steps today and get mbira buying advice, videos, improvisation tutorials, fascinating Shona song structure information, downloadable tab for the two most popular mbira songs (nhemamusasa and tadzungaira), hosho and traditional timing tips, a multimedia masterclass from Forward Kwenda, our Mbira Essentials pack (notes, octaves, chords, progressions, play along hosho tracks, etc), - and loads more!
Learn How to Play Mbira in 9 Easy Steps Today!
2. What is mbira made out of?
Parts of the Mbira
Wooden Sound board (gwariva)
Metal bridge (gadziko)
Metal keys - (sometimes also called ‘mbira’)
Metal bar (mutanda)
Buzzers (majaka) - Often made from Sea shells or bottle caps
Wire or bolt tuning
Resonator (deze) - Natural gourd/calabash or fibreglass
Holding stick (mutsigo)
There’s plenty of different types of mbira, kalimba and ‘thumb piano’ instruments. Each has a slightly different construction.
Click the ‘parts of the mbira’ picture to see a beautiful Mbira DzaVadzimu up close - made by German mbira maker Sebatian Pott.
For more in-depth information about the parts of the mbira, check out these fascinating mbira construction facts.
Mbira construction facts
Traditionally, the sound board of the mbira is made from the wood of the Mubvamaropa tree. This species is native to many Southern African countries so its known by many different names. In Shona its called Mukwa. The latin name is Pterocarpus Angolensis, and its common name, ‘Bloodwood’ comes from the vivid red sap that drips from the tree when its freshly cut.
Modern mbira makers are starting to use a wider variety of woods. In Zimbabwe there are instruments being made from mahogany. Mbira maker, Rodrigo Laje uses native Argentinian woods. Like many mbira makers today, Sebastian Pott of Germany still prefers to use the traditional Zimbabwean choice, Mukwa (see the ‘Parts of The Mbira’ picture above).
The Gwariva (wooden sound board) may be solid or hollow. Every construction approach influences the instrument’s sound. A bell-like construction (where the mouth/opening faces the player) is more typical of the Matepe/Madhebe/Hera style mbira. Hollow bodied Mbira DzaVadzimu and Mbira NyungaNyunga (15 - 19 key Karimba) have recently been introduced by Jona Wazara. The sound hole on the playing face of his instruments resembles that of an acoustic guitar.
The keys (also known as tines, tongues, lamellae, reeds, or even ‘mbira’) of the mbira are made from metal. Different grades of steel are a popular choice (mild, sprung, stainless) - brass is also used but this is a less common choice. Every metal comes with its own benefits and challenges (rusting, hardness, work time, brittleness, brightness, resonance), but sometimes a mbira maker simply uses what is salvageable - maybe umbrella spokes, car springs, or reinforcement rods from concrete!
Hammering the keys into shape and tune takes great skill. Different makers use hot forging (heating and hammering) and cold forging (hammering only) - often making a choice based on the metal they’re using and/or the sound they’re looking for.
Shorter keys usually produce a higher sound, but this isn’t a fixed rule. There’s loads of clever ways of manipulating the sound a key makes.
Some makers pay great attention to overtones - tuning them to match other keys on the instrument, or to create an entirely new dimension in the music. This requires deep attention to the material, length, width and thickness of the keys, and also the different places a key can be filed to produce different harmonic effects.
The mbira is often played inside a hollow gourd resonator called a Deze. This amplifies the sound and can change the mbira instrument’s sound in unexpected ways - some notes or overtones might become more pronounced while others fade.
The mbira is held in place inside the Deze with a Mutsigo. This stick wedges the instrument firmly against the walls of the gourd. Each part of the mbira and Mutsigo that touches the gourd transmits sound vibrations into it for amplification. Firm contact points lead to a fuller sound. Gaps and weak points lead to a flat or dead sound.
Being a natural product, every Deze is different and will change the sound the mbira in different ways. Some players mark a ‘sweet spot’ on the inside wall of their chosen Deze to remind them where to place the Mutsigo for the best sound.
Natural gourd/calabash is very vulnerable to cracks. This makes changing mbira around mid-performance a delicate operation, and leads some players to arrive with a Deze for each mbira! These days, many prefer to use a moulded fibreglass deze, but the sound is different and often thought of as less appealing.
Buzzers or ‘Majaka’ are attached to body of the mbira and the Deze, producing a percussive layer to the music. For some players this sound is like a veil - through which the player/listener must ‘step’ in order to fully experience (and be transformed by) the music. Another perspective is that the keys represent the voices of the living and the buzzers are symbolic of the ancestors - stirred by our acts / living on though us. There’s plenty of other perspectives, and while many new mbira players find the majaka sound challenging, soon it becomes essential.
In African music, buzzing doesn’t always mean ‘broken’ - Buzz might connect us with the esoteric, supernatural and spiritual power. In other parts of Africa, buzzing Kazoo-like sounds are used in ceremonial masks to create the sensation of something ‘other-worldly’. For a similar effect, spiders webs (or more recently - cigarette papers and plastic bags) are placed over holes in gourd resonator chambers that buzz under the keys of the Balafon (a West African xylophone).
Bottle caps, wrapped metal ‘beads’ and sea shells are popularly used for Majaka today. Snail shells have also been used, but are less common now.
3. WHAT IS MBIRA USED FOR AND HOW DO MUSICIANS USE mbira TODAY?
For over 1000 years, the mbira has been used in traditional Zimbabwean trance ceremonies for accessing healing and ancestral wisdom. Today the mbira instrument and its music is used around the world. You can hear mbira played in yoga classes and watch mbira performances in stadium concerts. Also, the ancient song structure, diversely regarded as ‘divine’, ‘fractal’, 'psychoactive’, and ‘transformational’, is now becoming popular in EDM: check out MbiraLab to hear mbira used in electronic dance/trance music.
The links above, and video examples below show just a few of the diverse ways that musicians are using mbira today. Continue ahead to hear a little about chimurenga and the relationship between mbira and the church.
Irvin Virimbiso Mukajami + Friends - Traditional mbira ‘Tadzungaira’ for the Coronavirus #globalceremony
Raven Duchess - ‘Wakauya Wega’ Mbira Jazz fusion
Neville Sigauke - ‘Paivapo’ Mbira Hip Hop
Andrew Dahl-Bredine - ‘Nehondo’ Shona Mbira Song on Guitar
Although mbira was once outlawed by missionaries, today it is now widely considered to be ‘Zimbabwe’s national instrument’.
Extreme colonial pressures forced many talented mbira players to abandon the instrument and adopt Christian views and/or practices. A voice for the chimurenga/liberation struggle appeared in Thomas Mapfumo, ‘The Lion of Zimbabwe’ who blended traditional instruments and Shona language with Western instruments/styles.
This ‘chimurenga music’ and the mbira that inspired it are both deeply symbolic of Shona culture and its resistance against colonial structures.
Naturally then, mbira has a mixed relationship with christian institutions. The first use of mbira in church was possibly in 1952. Often considered a more secular instrument, the Mbira NyngaNyunga is frequently used in churches. However, the more traditional, sacred or spiritual Mbira DzaVadziumu is still rarely used in churches.
4. WHAT INSTRUMENT FAMILY IS THE MBIRA IN? WHAT KIND OF INSTRUMENT IS A MBIRA?
Many people ask about the classification of mbira, kalimba and other thumb piano instruments. We hear the questions ‘Is mbira a chordophone?’, ‘What kind of instrument is a kalimba?’ and ‘What family is the kalimba in?’. Instruments are classified by how they produce a sound, so we’ll also be answering ‘How does the mbira work?’, ‘How does a kalimba work’ and ‘How does a thumb piano work?’
ANSWER:
MBIRA INSTRUMENTS ARE CLASSIFIED AS ‘PLUCKED IDIOPHONES’ (ALSO KNOWN AS ‘LAMELLOPHONES’). THEY CAN BY FURTHER CLASSIFIED USING HORNBOSTEL–SACHS NUMBERS 122.12 AND 122.11 DEPENDING ON WHETHER THE MBIRA IS PLAYED WITH OR WITHOUT A DEZE (CALABASH RESONATOR).
What the Hornostel-Sachs numbers mean:
12 refers to idiophones: Instruments that produce their sound by means of the actual body of the instrument vibrating.
122 separates mbira type instruments (whose lamellae, tongues, keys, or tines are in the form of a comb) from instruments like the jew’s harp* (whose lamellae vibrate within a frame or hoop - 121).
122.1 identifies ‘comb form’ instruments whose lamellae are ‘laced on’ (mbira style) rather than ‘cut out’ (like a slit drum or music box* - 122.2)
Further numbers are given to instruments played without (122.11) or with (122.12) a resonator.
A simpler instrument classification scheme by Schaeffner, 1932, places mbira type instruments within class IA: ‘instruments that make sounds from vibrating solids that aren’t susceptible to tension’.
LAMELLOPHONES ARE AN ANCIENT AND VAST FAMILY OF INSTRUMENTS USED WORLDWIDE IN TRANCE, HEALING AND SHAMANIC SETTINGS.
Check out the Jew’s Harp facts below, and think back to the ‘Buzzing’ comments in the mbira construction facts - There’s consistent links between lamellophones, buzz, shamanism, trance and healing.
Here’s neo-shamanic musician ‘Olga Podluzhnaya Uutai’ playing a Jaw Harp lamellophone (see ‘Jew’s Harp’ info below) - wait for the beat to drop!
In this educational video, Jon Pontrello offers a comparison (performance and discussion) between the mbira and music box lamellophones.
Jew’s Harp Facts
Ancient and widespread, the ‘Jew’s Harp’ has over 1100 names’
One of the oldest Jew’s Harps was found in Siberia and is believed to be 1,700 years old
In Siberia and Mongolia, the Jew's Harp was used to both induce trance and to heal the sick.
Dr. Franz Anton Mesmer (where we get the word ‘mesmerised’ from!) is also said to have used the Jew's Harp therapeutically in psychotherapy.
5. WHAT DOES A MBIRA SOUND LIKE?
Words used to describe the sound of mbira include: Sweet, Gentle, Bell-Like, Harp-Like, Harmonious, Angelic, Full, Polyrhythmic, Kaliedophonic, Psychoactive, Hocketing, Buzzing and Rattling.
In 1586, Padre Dos Santos, a Portuguese missionary described the sound of a nine-reed “Ambira” as “a sweet and gentle harmony of accordant sounds”. Commenting on that quote in his discontinued ‘How to play the mbira (dza vadzimu)’ book from the 1970’s, Andrew Tracey adds that it’s true of all the mbiras in this family of instruments, with “the mbira dza vadzimu perhaps being the most harmonious”.
Watch and listen to the different mbira performances on this page and download the mbira song Tadzungaira performed by Forward Kwenda inside your FREE ‘Discover Mbira’ multimedia pack.
6. Who invented the mbira instrument? how old is the Mbira? and where is the Mbira from?
The first mbira instruments (kalimbas) are believed to have been made in the Zambezi River Valley region around 1300 years ago. similar types of instruments are found across Africa. However, the Shona word ‘mbira’ refers to a family of wooden bodied lamellophone instruments with metal keys, predominantly made in Zimbabwe and its neighbouring countries that include and evolved from the first kalimba.
Older wood and bamboo constructed instruments originating in Western Africa are believed to pre-date mbira by 1700 years and are likely to have influenced its emergence.
7. What is mbira music?
‘Mbira music’ is music that played on on the mbira instrument, or music inspired by it. Traditionally, mbira music is played in trance ceremonies for accessing healing and ancestral wisdom. The ancient mbira song structure is rich in self-similarity and ambiguity, inviting transformations of perspective in both players and listeners.
See ‘How is mbira used?’ above to find out more and see/hear different examples.
8. What is another name for the mbira?
The Shona word ‘mbira’ refers to a family of lamellophones found in Zimbabwe and its neighbouring countries. The mbira instrument family includes mbira dzavadzimu (also known as nhare), mbira nyunganyunga (also popularly known as nyunga nyunga, nyonganyonga and karimba), matepe (and closely related instruments madhebe and hera), njari, and mbira dzavandau.
Similar instruments can be found throughout Africa, with other Sub-Saharan examples including: ilimba, kankobela, likembe, mbila, marimba, sansi, and timbila.
Some Zimbabweans consider the word ‘mbira’ to be a Shona version of the word ‘mbila’ (Mainstream Shona excludes the letter ‘l’).
In the 1950s Hugh Tracey made a Westernised version of the instrument inspired by his love for mbira (especially mbira dza vadzimu), naming it ‘kalimba’ (possibly ka <little> - limba <music/sound>) after a common ancestor to today’s family of mbira instruments.
That name along with the Westernised names ‘thumb piano’ and ‘sanza’ (a possible mis-spelling on ‘sansi’ by Charles Livingstone) have become popular umbrella terms for all comb lamellophones.
The names ‘Thumb Harp’ and ‘Finger Harp’ have also emerged, possibly as a result of the instrument’s similarities with the Jew’s-, Jaw-, or ‘Mouth-Harp’ (see ‘Instrument Family’ above).
The ‘right’ name for mbira?
Globally there is no agreed umbrella term for mbira-type instruments.
Many consider terms like ‘Thumb/Finger Piano’ and ‘Thumb/Finger Harp’ to be unhelpful because they measure the instrument against external standards. Within these names is a suggestion that the mbira is ‘lesser than’ or ‘almost, but not quite like’ instruments from a foreign, oppressive culture (a relationship explored briefly in ‘how is mbira used?’).
In contrast, Hugh Tracey proposed ‘mbira’ as a catch-all term, but using a single African name to identify all mbira-like instruments (irrespective of their origin, construction or use), dismisses the uniqueness of every instrument. Imagine your name given to all people.. Who would you be? and why choose your name over countless others?
The popularity of Hugh Tracey’s Westernised instruments has led to a wide use of the name ‘kalimba’, which makes it a convenient choice. Unfortunately the instrument’s cultural significance appears to be lost among the ‘modern kalimba’ community.
The largest ‘kalimba’ group on Facebook takes maintains a Christian-centric view and bans posts concerning ‘exotic spiritual practices’, unaware that Christian practices are exotic to their instrument’s heritage.
‘Modern kalimba’ performances of Western pop and Christian prayer songs swamp #mbira feeds on social media - creating a landscape where mbira content is buried.
Choosing a name for anything is an act of discrimination. It’s a necessary choice that helps us differentiate, conceptualise and communicate the things we experience. In ‘What is mbira?’ we’ll see how many museums, online dictionaries, and encyclopaedias struggle to find a consensus for naming the variety of mbira-like instruments - resisting external classification in much the same way the Shona mbira DzaVadzimu resisted colonialism.
9. HOW DO I TUNE MY MBIRA?
Get a light hammer, small block of wood (around 2.5cm), and long-nosed pliers
Hold the wood against the playing end of the key to protect it
Tap the wood with the hammer to release the key
Mark the key where it was touching the securing bar
Use the pliers to bend the key at this point (extra advice below)
Tap the key back into position
Fine tune with the wood and hammer as before
Tap up to produce a higher note
Tap down for a lower note
Further tuning advice
Never hit the playing end of the key directly with the hammer. It will damage the playing edge of the key and can create a ‘lip’ that files your nails as you play.
When you return the key back into position it should press firmly against the bar. Be careful not to bend it so much that it raises the bar away from, and loosens, neighbouring keys.
Instrument maker, Phillip Nangle uses a Boss chromatic tuner TU12H that shows 50 cents up and 50 cents down each note.
10. WHAT IS MBIRA?
‘Mbira’ is a Shona word for a family of Southern African lamellophone instruments derived from the kalimba. The family of mbira instruments belongs to a class of hand-held instruments most commonly known around the world as ‘lamellophones’, ‘thumb pianos’ or ‘kalimbas’. Among Shona speakers, the word can also refer to the sound that the instrument makes, the music played upon it, or each individual note. Mbira is widespread in Zimbabwe (where many consider it to be the national instrument) and neighbouring countries.
The mbira instrument family includes mbira dzavadzimu (also known as nhare), mbira nyunganyunga (also popularly known as nyunga nyunga, nyonganyonga and karimba), matepe (and closely related instruments madhebe and hera), njari, and mbira dzavandau.
11. WHAT IS KALIMBA?
The kalimba is an old lamellophone instrument from which today’s family of mbira instruments evolved. The name ‘kalimba’ is commonly misused as an umbrella term for all finger played lamellophone instruments. Its widespread misuse traces back to the popular Western tuned instruments that Hugh Tracey began to manufacture in 1954 - which he named after the original kalimba.
The kalimba is constructed from a wooden soundboard, with attached metal tines arranged into one row of eight or nine notes. A gourd is often attached for amplification. The kalimba is handheld and played with the thumbs. Although there is no standard note layout or tuning, scale degrees: 32131567 (from left to right on the instrument - with the lower octave in bold) are common. This selection of notes, known as the ‘kalimba core’ has been inherited in various ways by the instruments in the mbira family, including: mbira dzavadzimu (where it is flipped horizontally, extra notes and a lower left register added) and mbira nyunganyunga/karimba (where a higher register is added).
