Kalimba in the Schools

“Easily and Effectively Introducing the African Kalimba
into the American Music Classroom”
Week Six Final Paper
Ashley Bradford
African Music and Culture
Nolan Warden
16 October 2006
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(Pentatonic Kalimba
Tom Bradford, 2006)
The kalimba, or African thumb piano, is unfamiliar to
most American musicians; yet it could be easily implemented
as an effective asset to the American music classroom. Why
should the kalimba be a choice for introduction into American
music education? This discussion was significantly aided by a
personal interview recently held with Mark Holdaway, a
kalimba promoter for African Music Instruments (AMI), in Tucson, Arizona. His
enthusiasm and wealth of knowledge of the kalimba, along with his collection of
instruments, products and literature were inspiring and invaluable in further
enlightenment and education of the potential benefits that the kalimba could
present to music instruction in America.
As the name implies, the African thumb piano has many similarities with
the traditional piano. Most music educators have already had some training in
the piano because of proficiency requirements in college. The kalimba,
compared with the piano, is also relatively uncomplicated to learn. So, it could
become a familiar instrument with little effort on the part of the teacher.
Furthermore, the thumb piano is produced in various sizes and the study of the
simple eight-note kalimba can be started by children at a young age. Obviously,
the instrument is smaller and much more portable than a piano. Moreover, it is
played with the thumbs versus the mouth, as opposed to the recorder, and
therefore frees the students up to be able to sing and play at the same time.
Finally, the kalimba could be an instrument of choice for the American music
classroom because it is inexpensive. With an eighteen dollar wholesale price,
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few classrooms could not afford to allow for each student to utilize his or her own
instrument during class time.
Before moving on, please to listen to a modern band piece featuring the
kalimba by clicking here:
http://kalimbamagic.com/site_assets/KickedbytheSnow.mp3
This brief introduction as to why the kalimba might be of interest to the
American music educator brings the discussion to the main purpose of this
particular research project, which is more about how than why. How can the
kalimba be introduced into the American music classroom? With a general
background of information on its heritage, American music teachers can use
what many of them already know about the piano as a point of reference to easily
and effectively introduce the African kalimba into their classrooms. In an effort to
bring American music educators to the point of being able to successfully present
the kalimba to their students, it is imperative to start the teacher education
process with a general understanding of the organological, historical, sociological
and musicological heritage of the kalimba. Once this knowledge is established, a
frame of reference can be determined by briefly comparing the piano, an
instrument commonly found in America, and the kalimba, an instrument
commonly found in Africa. This comparison naturally leads to a discussion of
kalimba pedagogy and pedagogical literature in relation to piano pedagogy and
its pedagogical literature. Through this understanding, the educator can better
acquaint his or her students with the kalimba, and with the study of music in
general.
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A background of basic information about the kalimba is necessary for its
integration as a tool for music education in the American classroom. The first
step in building this basis is a general organological understanding of the
instrument. The kalimba originated in Africa and is categorized as a
lamellaphone (Groves 2006). The American Heritage Dictionary of the English
Language, Fourth Edition, defines lamella as “A thin scale, plate, or layer of bone
or tissue.” It is a Latin word which literally means “small, thin plate” (dictionary).
The instruments in the lamellaphone family, such as the kalimba and the mbira,
have tuned, small, thin tines that are attached to a resonator. Traditionally, the
tines would be made of “irons tempered in a fire” and the resonator would be
made out of wood or gourd (Andrew Tracey, undated). Today, the tines of the
kalimba are usually made out of metal and the resonator is a wood box with
holes in it. Kalimba performers produce an ethereal sound out of the instrument
by using their thumbs to pluck the end of the lamella tines (Groves 2006).
Closely related to the organology of the kalimba is its history. According
to kalimba scholars, the origination and history of the kalimba has been
sometimes misunderstood over the last fifty years. A common misconception
that has made its way into much of the extant literature on the topic is that the
kalimba is a recent addition to the mbira family of percussion instruments and
was created by Hugh Tracey in the early sixties. This idea appears to have
originated because Hugh Tracey began producing and marketing the “Hugh
Tracey Thumb Piano” from his family-run factory in South Africa in the early
1960’s. According to primary sources, Hugh Tracey did not invent the actual
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instrument, he just adapted the kalimba to be able to be produced and sold on
the world market. He traveled the world promoting his revised kalimba brand as
the “Hugh Tracey Thumb Piano”. Consequently, some people misunderstood
and thought that he had actually invented the instrument (Paul Tracey 2005,
Bergfalk 2005).
In his 1972 article for African Music entitled “The Original African Mbira?”,
Hugh Tracey’s son, Andrew Tracey, proposes a family tree for the mbira family of
instruments which actually begins with the kalimba mbira as possibly the most
ancient member of the mbira family (1972). Frank Newman, an American who
was in central and east Africa in the 1950’s, says he traded his leather jacket for
a kalimba that was already old and well worn, and this was long before Tracey
started producing them (Newman). Mark Holdaway, a kalimba promoter for
Hugh Tracey’s company, AMI, said in the personal interview done for this
research that he himself operated under the misconception that the kalimba was
a modern English invention until he was corrected by several authoritative
sources that informed him that to the contrary, the kalimba is one of the most
ancient and indigenous of African instruments (Holdaway 2006).
Vintage, 1955 traditional kalimba missing four tines
Picture by Tom Bradford, 2006
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An integral addition to the study of the kalimba is a familiarity with its
sociological history and position. How was this instrument traditionally used?
How is it currently used? The mbira family of instruments have traditionally had
prominent symbolic significance in the African culture (Burt-Beck 1979). The
Lemba people believe that their mbira of choice, the deza, enables the Lemba
ancestors to be reincarnated through the song and dance that accompany the
deza rituals (Bebey 1975). A simple internet search gives a vivid picture of just
how alive and active kalimba music and performance is today. The kalimba is
used as a featured instrument in many musics coming out of Africa today as well
as in many musics of the African Diaspora around the world.
The final step in gaining a foundational knowledge of the kalimba is to
derive a depiction of the instrument from a musicological perspective. How does
it relate to music and music theory as the average American music educator
might know it? Or does it? Traditionally, the kalimba is tuned according to
whatever sounds good to the chief musician in any given vicinity. Paul Tracey,
son of Hugh Tracey and brother to Andrew Tracey, recounted that his father
spent his life going from village to village and asking the chief musician in each
location to tune a given instrument. Hugh Tracey was trying to find a uniform
tuning, or even a common tuning thread, throughout Africa. None was found.
Tracey said that the tuning standard was whatever the chief musician in the
community thought it should be, and therefore varied from village to village (Paul
Tracy 2006, Holdaway 2006).
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Because of the non-existence of a standard African tuning, and out of a
zealousness for this instrument to prove useful and applicable in the western
world, Hugh Tracey decided to proceed with a westernized tuning when he
created his version of the kalimba and tuned it to a diatonic G Major scale
(Carver 2004). However, his company, African Musical Instruments (AMI), does
now also produce a traditionally African tuned kalimba. It is called the karimba.
Two popular forms of the kalimba produced by AMI include the alto
kalimba which has 17 tines and spans two octaves plus two extra notes, and the
treble kalimba which has 15 tines and spans two octaves. Both the treble and
the alto kalimbas are tuned to the G Major scale. The eight-note kalimba, ideal
for young children in a classroom setting, is made up of eight tines spanning one
octave of a C Major scale. The pentatonic kalimba has eleven tines which span
two octaves of the G Major pentatonic scale (Carver 2004).
Pictured from left to right:
Alto Kalimba
Treble Kalimba
Karimba
Eight-Note Kalimba
Picture by Tom Bradford, 2006
All theoretic modes and keys are easily attainable on each of the western
tuned kalimbas. Modes can be produced by starting on a different note for tonic,
just like on the piano. For example, to play a piece in B Phrygian on the factory
tuned treble kalimba, which comes tuned in G Major, then the B note is treated
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as tonic and the Phrygian mode will be produced. Various keys are also
attainable on each kalimba because all kalimba variations can be easily re-tuned
to any key desired (Carver 2004). For example, the pentatonic kalimba, which
comes tuned in G Major, can be tuned to the g minor pentatonic scale which is
the scale most used for Native American flutes (Zadjik 2006). The pentatonic
kalimba beautifully plays the Native American songs as well as the traditional
African songs. Because the kalimba is a diatonic instrument, though it can be
tuned to play all modes and keys, it cannot play accidentals (Holdaway, Kalimba
Fundamentals, 2006).
When looking at the picture of the alto kalimba below, the central most tine
is tuned to the G below middle C. The tine directly to the left of the G is A, and
the tine directly to the right of G is B. So, it looks like this: A G B. From here, the
tines are tuned in diatonic, ascending thirds which have the following general
shape:
F#
D
B
G
E
G
E
C
A
F#
D
C
A
B
G
As made apparent in the V shaped diagram, the kalimba starts with the
lowest note at the bottom center and then ascends up the staff on both sides of
the kalimba. The tines directly next to one another on each side of the kalimba
ascend in thirds. So, a Major scale is heard by playing the thumbs in an
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ascending alternating pattern: right thumb (plays lowest G), left thumb (A), right
thumb (B), left thumb (C), right thumb (D), left thumb (E), right thumb (F#), left
thumb (G). Arpeggios are played by using the thumb to pluck notes directly next
to one another.
After a foundational comprehension of the kalimba is established, a brief
comparison between the piano and the kalimba can be made. Many music
teachers are familiar with the piano, so a correlation between it and the African
thumb piano, will be of use to most educators. The tines of the kalimba are long
and lined up next to one another, similar to the keys on the piano. The kalimba
tines are stroked by the player’s thumb and the sound is produced from the
resonating of the sound through the wood box resonator. The keys of the piano
are struck by the fingers and thumbs which causes a hammer on the inside of the
piano to strike strings. The sound then resonates inside the wood box resonator
of the piano.
The thumb piano has one tine for each note of the scale, similar to the
piano which has one key for each note of the scale. However, the piano has
chromatic notes as well as diatonic, whereas the thumb piano has only diatonic
tones. Thus, as stated earlier, unlike the piano, it cannot play accidentals. The
layout of the pitches is slightly different than the piano and requires a slightly
different technique. This technique seems to be a major difference between the
piano and the thumb piano. On the piano, the scale pattern is played with the
same hand, but as is stated above, the scale pattern is played on the kalimba by
alternating the right and left hand thumbs. This difference in kalimba technique
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results in a preference for playing arpeggio patterns as accompaniment on the
kalimba. The arpeggio pattern can be played by moving the right or left thumb
up from tine to tine. For example, on the alto kalimba, if the right thumb begins
on the middle tine and plays each tine ascending in order, the notes will make
the following diatonic arpeggio: 1 – 3 – 5 – 7 – 9 – 11 – 13 – 15.
The techniques for playing the piano and the thumb piano may be rather
different, but the basic theory, musical make up and idea behind each instrument
is practically identical. Both instruments have the capability of playing melody
and accompaniment patterns as well as polyphony and counterpoint. Both
instruments use the thumb, although the piano does not use it exclusively. Both
instruments use wood boxes as resonators. Both instruments leave musicians
free to sing along as they play.
With background information established for framework and a comparison
to the piano established for point of reference, practical application of kalimba
pedagogy and pedagogical repertoire to the classroom can be addressed. Many
music educators are reasonably familiar with the piano because of college piano
proficiency requirements. For this reason and because of the similarities
between the piano and the African thumb piano, the discussion of kalimba
pedagogy and pedagogical literature will be related to piano pedagogy and
pedagogical literature.
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Mark Holdaway demonstrates how a common
plastic bowl can be used to create a “wah, wah”
effect with the Kalimba sound.
Picture by Tom Bradford, 2006
Instrument Pictured: Karimba
In America, there is a growing interest in pedagogical resources for the
kalimba. A few educators who have written materials for the kalimba in the past
include Carol Burt-Beck and Andrew Tracey. Andrew Tracey wrote an 18 page
instructional manual which does not have a copyright date on it but is estimated
as being written in the early 1960s. This manual is not lengthy, but is an
informational gem on kalimba pedagogy. In it, Tracey touches on tuning and
care of the kalimba, sight reading music with the kalimba, playing by ear and
improvisation, creating harmony and vibrato with the kalimba, and characteristics
of kalimba music and kalimba technique. Most of the explanations Tracey gives
are related to the piano; for instance, he refers to the row of kalimba tines as the
“keyboard” of the kalimba. Balance between melody and harmony is talked
about in a similar manner to the piano. The tone and technique explanations are
also comparable to the piano. Tracy says, “One should think of the kalimba as a
maker of sensitive sound. A great range of tone can be achieved by varying the
pressure on the tips of the reeds, from sharp, clear, bell-like tone to a mere
whisper” (Tracey, unknown date). As far as repertoire is concerned, this
pamphlet contains nine short, printed tunes which are used more as examples to
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illustrate points made in the text than actual repertoire suggestions. A music
teacher could use the tunes as needed with a classroom, but would need to alter
some of them for level appropriateness.
Carol Burt-Beck focuses on music reading and fundamentals in her 1979
pedagogical text, Playing the African Mbira. This is a 32 page book with much
music that could be very practical for the classroom. Burt-Beck very briefly
covers the basics of the staff, key signatures, time signatures, rhythm,
articulation and form in the first few pages of this book. She then presents the
scores for 18 performance pieces that are fully scored for kalimba. The music is
laid out exactly the same as piano music except for the fact that in kalimba music
the treble clef is used for both the top and bottom staff, instead of the treble clef
on top and the bass clef on the bottom as in most piano music. The collection of
pedagogical repertoire included in this book is quite varied and appealing, and
many keys, styles, and levels of difficulty are represented. The pieces are placed
in pedagogical order from easiest to most difficult and are appropriate choices for
classroom use. Songs provided include “Bach Minuet in G”, “Ise Oluwa”,
“Shenandoah”, “O Holy Night”, and an appealing duet arrangement of “French
Children’s Song”.
There are kalimba pedagogues working currently on modern pedagogical
texts for the kalimba. Two such educators are Mark Holdaway, who was
interviewed for this paper, and Sharon Eaton. The interview with Mr. Holdaway
afforded the opportunity to peruse his collection of literature. He lives in Tucson,
Arizona and has spent the last twenty years studying and researching the
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kalimba. As previously stated, he promotes the kalimba for AMI. He also
teaches the kalimba in group and private settings and writes pedagogical method
books for the kalimba, completing six method books to date. These books are
similar to a piano method series; they even come with CDs as many piano
methods do. Each book is completely comprehensive. Each includes extensive
step by step instructions for each aspect of the learning process, as well as
repertoire pieces to illustrate and give students practice with the concepts being
learned. Students are taught skills such as improvisation, ear training, phrasing,
technique, balance, symmetry, complex rhythm and pulse. Sharon Eaton
collaborates with Mark Holdaway to create arrangements and transcriptions of
additional supplemental pedagogical pieces for the kalimba. She has created an
extensive library of kalimba pieces from all levels, styles and traditions. The
literature of both of these authors would be invaluable in aiding a teacher in his or
her instruction of the instrument.
A picture of the AMI produced
Karimba along with thumb picks and
Mark Holdaway’s text Playing the
Hugh Tracey Karimba.
Picture by Tom Bradford, 2006
The kalimba has extraordinary potential to be used as a successful tool in
the American music classroom. It can be related to what many music educators
already know about the piano and has many of the same educational capabilities
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of the piano; yet it is inexpensive, portable and relatively easy to learn. The
kalimba can be studied by even young children in a classroom setting, and
allows the musician to sing while playing the instrument. With a basic
comprehension of its organological, historical, sociological and musicological
position and heritage, American music teachers can use what many of them
already know about the piano as a point of reference to easily and effectively
introduce pedagogy of the African kalimba and its literature into their classrooms.
This addition will only enhance their instruction and, even more vital, provide for
a more extensive and rich atmosphere for learning about the world of music.
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Source Consulted
The American Heritage Dictionary of the English Language, Fourth Ediition.
2000. Lamella. Houghton Mifflin Co.
Bebey, Francis. 1975. African Music: A People’s Art. New York: Lawrence Hill
and Company.
Bergfalk, Virginia. September 2005. Interview by Mark Holdaway.
Burt-Beck, Carol. 1979. Playing the African Mbira. New York: Ludlow Music, inc.
Carver, Christian. 2004. “African Musical Instruments, Ltd.”
http://www.kalimba.co.za/ (Accessed 13 October 2006).
Chigamba, Tute. 2002. Tute Chigamba Solo. Produced in Harare, Zimbabwe by
Erica Azim - CD. http://www.mbira.org
Eaton, Randall and Sharon. 2006.http://www.ktabs.theirhouse.org/ktabsMain.php
(Accessed 15 October 2006).
Giolielli, Decio. 2003. Meu Nenem. Palavia Cantada Studios, Sao Paulo Brazil –
CD. http://www.mcd.com.br
Holdaway, Mark. 2006. Playing the Pentatonic Kalimba. Tucson, AZ: Holdaway.
Holdaway, Mark. 2006. Playing the Hugh Tracy Karimba. Tucson, AZ: Holdaway.
Holdaway, Mark. 2006. The Best Ever Eight-Note Kalimba Music. Tucson, AZ:
Holdaway.
Holdaway, Mark. 2006. Kalimba Fundamentals. Tucson, AZ: Holdaway.
Holdaway, Mark. 2000. Two Thumbs Up. Produced and recorded in Tucson,
Arizona by Mark Holdaway – CD. http://www.KalimbaMagic.com
Holdaway, Mark. Kalimba Christmas. Produced and recorded in Tucson, Arizona
by Mark Holdaway – CD. http://www.KalimbaMagic.com
Holdaway, Mark. 2006. http://www.KalimbaMagic.com (Accessed 1 October
2006).
Holdaway, Mark. 8 October 2006. Interview by Ashley Bradford. Tucson, Arizona.
Kubik, Gerhard: “Lamellaphone”, Grove Music Online ed. L. Macy
http://www.grovemusic.com (Accessed 12 October 2006).
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Newman, Frank. Interview by Mark Holdaway.
Tracey, Andrew. Date unknown. The Hugh Tracey Kalimba, An Instruction
Manual. South Africa: African Musical Instruments Ltd.
Tracey, Andrew. 1972. “The Original African Mbira?” African Music 2: 85-104.
Tracey, Paul. 1 November 2005. Interview by Mark Holdaway.
Tracey, Paul. 2 March 2006. Interview by Mark Holdaway.
Zadjik Productions. 2006. “Native American Flutes”.
http://www.zadjik.com/flutes/main.htm (Accessed 13 October
2006).