The mbira instrument has a seven-note scale, numbered 1-7 in the picture

• Notes that have the same numbers have similar sounds and relationships, much like the repeating series of seven white keys found up and down a piano

• Blue notes in the picture reveal a ‘core layout’ that is believed to have been inherited from on older type of mbira

• This ‘core layout’ follows a logic that I explore elsewhere

• New notes, added later in the instrument’s evolution, are shown in black and red - these all count upward and outward steadily

• Black notes were added first, creating a popular and established mbira dzavadzimu layout - lots of older song variations stay within the blue and black regions

• Red notes are the most recent additions, favoured by many of today’s mbira makers/players - some add even more to the outer edges, or ‘wings’, of the instrument

• If you’re looking to buy this style of mbira, make sure it has all the blue and black notes as a minimum. You should see:

  • at least 7 notes in the lower left register

  • at least 6 notes in the upper left register

  • at least 8 or 9 notes in the right register

  • No obvious gaps between notes along the top edge of the instrument

  • No big jumps in note sizes - except for between the low 3 and 1 in the right register (as seen in the picture)

  • With all of that covered, your instrument is likely to have the notes required for playing traditional mbira songs

Video Summary:

• Nyamaropa is the most popular tuning - both inside and outside of Zimbabwe

• In this recommended tuning, which is close to a ‘Mixolydian’ scale, Note 4 sounds closest to the root/home note of a major scale

• The second most popular tuning is called ‘Gandanga’ or ‘Mavembe’ - close to ‘phrygian’, where Note 6 has the root/home flavour

• Western perspectives can be helpful for outsiders, but it’s important to remember that mbira makers aren’t aiming for a Western sound - The relationships between notes on mbiras are different, and they’re made to be that way

• Most, but not all, mbira makers name their tunings using note 1 as a reference point

• For example, on a ‘G’ Nyamaropa instrument notes 1-7 will likely sound close to G A B C D E F - (see how note 4, ‘C’, is the root of the C major scale?)

• Check with your maker which note they are referring to when they discuss the tuning. To avoid confusion, ask what the lowest note is, or let them know what you would like it to be

• Some questions to consider when choosing a tuning:

  • Do you want to play along with Western tuned instruments?

  • What tunings do people in your town/region/country play?

  • What tuning does your course/teacher/favourite musician play?

  • Singing adds a whole new depth to playing mbira, and some players choose a tuning to match. What’s your vocal range?

Things to consider about the construction of your mbira:

• Around 17-18cm wide and 21.5cm tall is a manageable size for most beginners

• Smaller than this will be a struggle for those with larger hands - larger could also cause strain for new mbira players

• The keys of the instrument can be bound to the wooden body in different ways - some people believe these different approaches affect the sound

• See the first picture for examples of ‘bolt-tuned’ and ‘wire tuned’ mbira construction methods - along with comments

• Wire tuned mbiras are easier to adjust - however, more care is required when working on a key, so not to affect the tension/securing of neighbouring keys

• Snail shells were once used to create a buzzing sound, integral to the music

• Today different makers attach a variety of buzzer (‘majaka’) styles - these can often help to identify the maker of an instrument (second picture)

• Buzzer bars usually produce the lightest sound - sea shells on metal plates can be the loudest

• Some people say the different rows of keys mimic different voices in the community, and that the buzzers represent or call the ancestors

• Because of this, instruments without buzzers are rare - except for in recording scenarios where the sound can be too disruptive (look out for sound dampening attempts with elastic bands, tucked pieces of paper, or removal of buzzer-plates)

• Traditionally the wood used for the ‘gwariva’ (body or soundboard) was Mukwa/Mubvamaropa - sometimes known as ‘Bloodwood’ because of its red sap

• Lack of availability and environmental concerns mean more and more makers inside and outside of Zimbabwe are exploring the use of different woods - with differing results

• The ends of each key can be rounded or square - round edges are gentler on fingertips and nails

• You’ll also see ‘half-rounded’ keys (where the outer, playing edge, is rounded and the inner edge is square), ‘Samurai-’ or ‘Spine-style’ keys (with a ridge hammered up the middle), and tinted keys

• All of these features come together to create a signature style, unique to the maker - be respectful of this before asking them to make something different

• It can take around three days to build a decent mbira

• This time includes crafting the wood, hammering and fitting each key - sometimes even more time for ‘settling in’, and fine tuning

• If you find an instrument for less than $200 there’s likely to be issues around quality or exploitation

• Sometimes you can pick up a second-hand bargain, or find a cheap option that generates fast cash for someone in an emergency, but please try to pay a fair price

• Think: how much do you earn for three days work?

• A good quality instrument will inspire you to continue playing for years to come - ending up costing you just a few pence per hour

• When buying an instrument, maybe remember the popular saying, ‘quality remains long after the price is forgotten’ (varieties of this phrase attributed to Rolls Royce, Gucci, and Benjamin Franklin)

• Be careful, buying an instrument in the ‘same’ tuning as another isn’t easy - for three main reasons:

  • Different makers tune the notes of their mbiras differently - for example, the popular ‘Bb Nyamaropa’ of players Cosmas Magaya, Musekiwa Chingodza, and Chartwell Dutiro are all slightly different

  • Metal keys produce secondary notes called ‘overtones’ - which some makers pay close attention to tuning (particularly across the lowest register), and others ignore

  • Overtones of ‘two ocatves’, ‘two octaves and a third’, and ‘two octaves and a fifth’ are among the most common

  • For many makers, these overtones are a by-product of their making approach, rather than something they focus on explicitly

  • Please get in touch with me if you’re looking for a maker that understands how to tune overtones

  • Because wood is a natural product, and these instruments are handmade, no two instruments will ever sound exactly alike

• If you’re looking for a similar sound to something you’ve heard elsewhere, your best option is to ask who made the mbiras played by your local friends, your teacher, or your favourite musician

• If possible, listen to a few instruments by the same maker to see what sounds consistent or different across their instruments

• Our list of trusted makers have been selected because they offer consistency of tuning, quality, communication and delivery - download Mbira Essentials (FREE) for their instrument photos/prices and contact details