Using this website
Here you will learn everything about using the Sympathetic Resonances site. Don't let the page size intimidate you, the Getting started section only takes about 2-3 minutes to read. You may want to keep this page open while working in another browser tab.Table of contents
- Getting started
- Editing mbira parts
- Managing multiple parts
- Saving & duplicating pieces
- Sharing pieces
- Transforming pieces
- Piece metadata
- Preferences
- Notations
Getting started
Signing up
In order to store your own mbira pieces, please register as a user. Click on the "Login" button in the menu bar at the upper right corner, and choose "Sign up".
User profile and privacy
The signup form asks for a few personal details, your name, email address, city, and country. User accounts are tied to a single email address - you cannot register twice with the same email.
- As the author of a piece (on the piece's page and in groups)
- As a group member (on the member list)
- When the website sends an email on your behalf (when sharing pieces or managing groups)
Aliases
If you prefer your name not to be shown to other users, fill in the Alias field. The alias is shown instead of your name throughout the website (unless when sending emails on your behalf). Aliases may also make you more recognizable, e.g. as a member of an organization, or if there is another user of the same or similar name.Browsing pieces
Logging in, or clicking the “Your Pieces” button in the menu bar gets you to your personal archive.

Searching pieces
Type in one or more search terms and hit the Search button or Enter key to show only pieces matching the terms. Press the Clear button to again show all pieces.


Viewing pieces
Each piece page has two sections: Metadata at the top, and a list of musical parts underneath. Empty metadata fields are hidden until you press "▶ Show all fields".
Playback
You can audition a part with the ► (Play) button. Usually playback starts at the beginning of the part, but you can start at any other point.



Restart audio after changes
When you press the ► button, the web server synthesizes an audio file from the part and streams it to your browser. Therefore, after editing a pattern, you must stop and restart playback to hear your changes.Generating a fresh audio file
Subsequent playbacks of an unchanged part re-use the audio file. On rare occasions something might go wrong, and the audio file would not sound as expected. Hold the Shift/⇧ key while clicking on ► or "+" to make the server generate an fresh audio file.Choosing playback sound
Pick the playback instrument from the dropdown list next to the play buttons:

Instrument reference key
Each line starts with the pitch on the chromatic scale closest to the instrument's "reference key". The reference key is an arbitrary choice, simply to have a reference for comparing instruments' relative pitches. In general, the lowest key on the instrument is picked as the reference. Otherwise another prominent key, which is then mentioned in the notations section.Choosing your preferred tuning
The three ‘Preference’ entries at the top are placeholders which you can personalize in order to play all content in your preferred tuning. Public pieces use Preference 1 for Kushaura parts, #2 for Kutsinhira parts, and #3 for occasional third parts.
Playback tempo
The current playback tempo can be determined (and stored per piece) in the according field:
Visualization
Click the button to show an animated picture of the instrument.
Non-existent keys
If a piece contains notes for which there is no key in the "virtual mbira" picture, a key label is shown instead, roughly at the position where the respective key would sit.
a green key right below the blue LI5.
Hints
- If the animation and audio playback are/get out of sync, please make sure that there are no delays in the audio path (e.g. bluetooth speakers), and try reducing your web browser's and computer's processor load by closing windows and other applications.
- For learning a piece from the animation, you may want to slow down the tempo, or edit the piece so that the animation shows exactly the parts you want to learn. For example you might duplicate the part multiple times, and then delete pulses to extract only one quarter or half of the part. Or delete all notes of one hand to focus on the other. All your changes are temporary unless a piece is saved.
Using another notation
If you have used tabular mbira transcriptions before, the tables may look familiar, but perhaps you wonder about the numbers. The example pieces use the numbers 1-7 to enumerate the seven pitch classes (scale degrees) in each register. This notation is called Pitch. You can translate the piece to another notation by selecting a Translator from the "Other Notations" section and pressing the “Translate Now” button.
Editing mbira parts
Creating a new piece
Click again on “Your Pieces” at the menu bar, to get to your list of pieces, then on "Create Empty Piece" in the Template Pieces section. This section contains templates which will automatically be copied before editing.


Editor buttons
In order to keep the user interface tidy, most editing controls are hidden at first. Click anywhere on the table to reveal them:
↓

Editing and selecting cells
Let’s first look at the tabular section in the lower half. It works a bit like a spreadsheet app. Click on an empty cell, type “Hi” and press the Enter key:






Playback start and selection
While editing the table, press the Space bar to start playback from the (leftmost) selected column, regardless of any playback start point preference. When you click the play button and only the cursor is visible, then playback starts at the beginning of the part. As soon as more than one cell is selected, the playback starts at the leftmost selected column. This allows you to start playback at any point on a touchscreen, too, by clicking a column twice before hitting the Play button.
Cut, Copy, Paste, Duplicate
Inside a table, use these shortcuts for familiar clipboard and editing operations. Note: There are a couple of limitations for different browsers:- You can only invoke the commands via the browser's Edit menu in Firefox (not in Chrome).
- The Paste (overwrite all) command does only work in Chrome, not Firefox.
- The shortcuts do not work in Safari and Internet Explorer.
Command | MacOS shortcut | Windows shortcut |
---|---|---|
Cut | ⌘X | Ctrl+X |
Copy | ⌘C | Ctrl+C |
Paste | ⌘V | Ctrl+V |
Paste (overwrite all) | ⇧⌘V | Shift+Ctrl+V |
Duplicate | ⌘D | Ctrl+D |
Duplicate (overwrite all) | ⇧⌘D | Shift+Ctrl+D |
Select All | ⌘A | Ctrl+A |




Copying notes from/to another piece or spreadsheet
The Cut and Copy commands copy notes into your computer's clipboard. You can paste them into any other part, even between browser tabs. You can also copy & paste table data from spreadsheet software like Microsoft Excel, Apple Numbers and Google Sheets.
Copy ↕ Paste


Workaround for clipboard commands in all browsers
Since the input field always reflects the selected data in the table, you can use this simple method as a workaround if your browser does not support the Copy/Paste keyboard shortcuts: Whenever you would normally press ⌘/Ctrl+X, C or V, press the Enter key first, then ⌘/Ctrl+X, C or V, and then Enter again. This moves the focus to the input field and back to the table, and directs the clipboard command to the input field.Footnotes
Each cell can also be annotated with a footnote. Simple select a cell, and type the note into the footnote field:
Changing the number of rows or columns
So far we were only editing the content of the table. To change the number of columns (pulses) or rows (tracks), use the buttons with an arrow label.
- Insert: Insert one or more new columns or rows at the cursor position.
Select a range of cells before pressing the Insert button in order to insert the same number of rows or columns.↓ - Append: Append one or more rightmost empty columns, or rows at the bottom.
Select a range of cells before pressing the Append button in order to append the same number of rows or columns. - Duplicate: Duplicate the selected columns or rows.
To duplicate a range of pulses, select the desired range (in any row) by holding Shift/⇧, then press the Duplicate → button:↓ - Delete: Delete the selected columns or rows.
To delete a range or even non-consecutive selection of pulses or tracks, select them holding the Shift/⇧ or Ctrl/⌘ key, and press the respective “Delete” button.↓
Shifting the pattern to a different starting point
The “Shift ← →” button shift the selected rows cyclically left or right. To shift the whole part, click a cell twice to select all rows:
↓


↓


↓

↓

Part layout
The “Layout” field next to the footnote determines the table's layout.
Table contents
You can put any text into table cells. When playing back parts, only valid combination of row captions and cells (e.g. RT and 3) are considered, everything else is ignored.Lyrics and free form content
When translating the piece to another notation, invalid combinations of captions and cells are marked as not translatable. To avoid this and keep free form information (like lyrics) in place across translation, use tracks with empty captions at the bottom of the table:
Managing multiple parts
Heading and comments
A piece’s page may contain any number of parts (somewhat limited by the increasing loading times of the page). Each part has heading and comments fields for additional information. It’s a good idea to put some description into the Heading field which uniquely identifies it in the context of the piece. Headings e.g. show up in the background menu.



The part list
Use the “Add Part” button on the right hand side to create a new, empty part underneath the current one.

Parts in the background of another
Parts can be shown in the background of another: All empty cells of the foreground part let the background shine through in a lighter color. You can stack up any number of layers. Simply select a background part from the dropdown box in the upper right of the part:
Merging and subtracting parts
The “Merge” button next to the background box merges all background notes into the foreground, i.e. all white notes become black.
Saving & duplicating pieces
Saving new pieces
You can save a new piece with the button at the very bottom of the page, or drop it with the "Exit Without Saving" button - or by simply closing the browser tab. Hint: No changes or additions become permanent until a Save button is hit, therefore it is good to save early and often.

Saving existing pieces
Once a new piece is saved, you will see a different set of buttons at the bottom of the page. Use "Save & Exit" to save changes and return to the list of your pieces.



Checking a piece for typos
After you saved a new piece, you may want to check it for typos. Occasionally right numbers end up in the wrong row, so it is a good idea to do these checks routinely. The simplest way to check a piece against a notation is to translate it to another (equivalent) notation, and then back. The translation process adds an [UNTRANSLATED] footnote to every cell it cannot translate. Since you just want to see this error indication, and not save the piece in this state, it is best to open the same piece in two browser tabs. In the first tab you fix possible mistakes and later save the original piece, in the second tab you conduct the double translation and just close the tab when you are done.Sharing pieces
To share a piece with other users, click on "Share" in the overview list.

Transforming pieces
Besides employing a different notation, the translator menu offers other options to transform a piece.Transposition
You can transpose a piece up or down by 1-3 scale degrees. Choose a translator from the "Transposition" section, and press the "Translate Now" button. (Note: This currently work only with the mbira dzavadzimu in Pitch notation, or matepe/madhebhe/hera in Pitch.4 notation. If you are using another notation, first translate to these notations, then transpose, then translate back to your preferred notation.)
- Shift transposes the audible piece by shifting each note up or down on the instrument's key range wherever possible, regardless of playing areas. Notes leaving the instrument's range at the lower or upper end are transposed by an octave, back into the range. This method occasionally leads to a finger having to play two different notes at the same time.
- Cycle tries to retain more of the motoric pattern by transposing notes locally within the playing areas (as if each area was its own instrument). (on the mbira dzavadzimu three playing areas are considered: bottom manual, upper left manual including the RT3 key, and right hand side). This may result in wider intervals which e.g. break up melodic lines or local patterns.

Translating pieces to another instrument type
You can translate a piece to another instrument by choosing a translator from the "Other Instruments" section, and pressing the "Translate Now" button.
- between mbira dzavadzimu in Pitch notation and matepe / madhebhe / hera in Pitch.4 notation
- between mbira dzavadzimu and in Pitch notation njari in Pitch.1/4 notations
- between matepe / madhebhe / hera in Pitch.4 notation and njari in Pitch.1/4 notations
- between nyonganyonga / malimba in Pitch.1 notation and matepe / madhebhe / hera in Pitch.4 or Rattletree notations
- between karimba in Pitch.4 notation and njari in Pitch.1/4 notations
- the nyunga nyunga in Pitch.4 notation to the bigger karimba in Pitch.4 notation
- between mbira dzavadzimu (with extra keys) and mbira dzavadzimu in either Pitch or Position notation. Two translators are available here: The B2, extra key can either be mapped to the lower B1 or to the higher octave B2.
Piece metadata
The form field in the metadata section at the top of a piece page should be by and large self-explanatory. Let's look at the non-obvious bits:Alternative name(s)
The Alternative Name(s) section is meant to list alternative names of the piece, one name per field. Use the and buttons to add and remove fields.
Hyperlinks and media
If you paste URLs (hyperlinks) into the Medium Details, Where, Source Details, Lyrics, or Notes fields, they will appear as clickable links below the respective field after you saved the piece:
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[[My link to Wikipedia https://wikipedia.com]]
will be shown as
Shorthand for embedding videos and SoundCloud tracks
Instead of with a URL, you can also embed embed media players like this:
[[My Youtube video YOUTUBE:11KXsY2ZMM0]]
[[My Vimeo video VIMEO:176602346]]
[[My SoundCloud song SOUNDCLOUD:278804666]]
Media start times
Playback start times specified in Youtube or Vimeo links are passed to the embedded media players. In the shorthand format, specify start times like this:
[[YOUTUBE:11KXsY2ZMM0@90]] (Start at 90secs)
[[VIMEO:176602346@1m30s]] (Start at 1min 30secs)
Preferences
Open the preferences page via the User menu in the top right corner.
Playback instruments
In the Instruments section you can choose you preferred playback instruments for each instrument type.
Playback start point
Use this setting to determine where audio playback of a piece starts.
- From beginning
Starts playback from the beginning of the part. The standard setting.
- Starting point of the day
Starts from a fixed pulse which is randomly chosen every day.
Starting mbira parts at unfamiliar positions may reveal new perspectives on the music. To further facilitate this, consider muting the Hosho sound. This option was inspired by Erica Azim's starting point of the week exercise. - Globally synchronous
Continues playback from where it would be if it had been playing since the beginning of time.
Use this option to synchronize playback across browser tabs, or even different browsers.
Hosho volume
This option determines the volume of the Hosho shaker sound.
Notations
A notation is a set of names for the keys of an instrument. This website supports different notations for most instruments, and users can translate their transcriptions to any other notation with a few clicks. Key names have two parts: The row label and the cell content. In the picture below the cursor sits in a row RT on a cell with a 1. Both components are required to identify the key, so the full key name in the notation is RT1.
Key Aliases
Sometimes the same key can be played with different fingers, usually to maintain a motoric pattern for the player. We want to able to reflect this in transcriptions in a way that is compatible with translation of pieces to other notations. Therefore the same key can have multiple names, and can possibly be referred to in different rows (if rows represent different fingers or playing areas). For instance, on the mbira dzavadzimu the right thumb occasionally plays the RI3-5 keys or even the L1 key. The RI3 can also be referred to as RT3'. (The names in this example are in Pitch notation.) The naming scheme for key aliases is different for each notation, and listed below. If you miss a specific alias for your transcriptions, please let me know.Mbira dzavadzimu
This instrument class represents the mbira dzavadzimu (also called mbira huru or nhare). Erica Azim's mbira.org website contains very readable introductions to the instrument, its music and its role in a traditional cultural context . In its most widespread contemporary layouts, this mbira has seven or eight keys in the lower left manual, seven keys in the upper left, three right thumb keys, and seven to ten right index keys.
![]() by Fradreck R. Mujuru (TIC 341) |
![]() and right index keys by Tute Chigamba |
Handling of the extra bass key
An important difference between the classes lies in the handling of the B2, key: when transposing and translating from other instrument classes, the mbira dzavadzimu (with extra keys) class assumes the B2, key is present. The mbira dzavadzimu class, on the other hand, considers B2, absent, so it is skipped or replaced with the B2 key one octave above.Notations
Currently there are four notations. They are called- Position
- Pitch
- Pitch+Octaves
- Analytic
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Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RI | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | |||||||||||||||||
RT | L1 | 1 | 2 | 3 | 4 | 5 | 6 | ||||||||||||||||||||
L | 1 | RT1 | 3 | 2 | 4 | 5 | 6 | 7 | |||||||||||||||||||
B | 1 | 2x | 2 | 3 | 4 | 5 | 6 | 7 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
L1 | RTL1 | L1 key played with the right thumb |
RT1 | LRT1 | RT1 key played with the left thumb |
RI4 | RT4 | RI4 key played with the thumb instead of the index finger |
RI5 | RT5 | RI4 key played with the thumb instead of the index finger |
RI6 | RT6 | RI4 key played with the thumb instead of the index finger |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RI | 3 | 4 | 5 | 6 | 7 | 1 | 2 | 3'' | 4'' | 5'' | |||||||||||||||||
RT | L1 | 3 | 1 | 2 | 3' | 4 | 5 | ||||||||||||||||||||
L | 1 | RT3 | 4 | 5 | 6 | 7 | 1' | 2 | |||||||||||||||||||
B | 1 | 2, | 3 | 4 | 5 | 6 | 7 | 2 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
L1 | RTL1 | L1 key played with the right thumb |
RT3 | LRT3 | RT3 key played with the left thumb |
RI3 | RT3' | RI3 key played with the thumb instead of the index finger (Note the RT3', as there is also RT3) |
RI4 | RT4 | RI4 key played with the thumb instead of the index finger |
RI5 | RT5 | RI5 key played with the thumb instead of the index finger |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RI | 3' | 4' | 5' | 6' | 7' | 1'' | 2'' | 3'' | 4'' | 5'' | |||||||||||||||||
RT | 1 | 3 | 1' | 2' | 3' | 4' | 5' | ||||||||||||||||||||
L | 1 | 3 | 4 | 5 | 6 | 7 | 1' | 2' | |||||||||||||||||||
B | 1, | 2, | 3, | 4, | 5, | 6, | 7, | 2 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
L1 | RT1 | L1 key played with the right thumb |
RT3 | L3 | RT3 key played with the left thumb |
RI3' | RT3' | RI3' key played with the thumb instead of the index finger |
RI4' | RT4' | RI4' key played with the thumb instead of the index finger |
RI5' | RT5' | RI5' key played with the thumb instead of the index finger |
The Analytic notation can be used to analyze and transform the harmonic and rhythmic
structure of mbira pieces, and to compose new music.
There are two kinds of tracks in this notation:
This way of adding degrees may be unfamiliar at first, but has the advantage of all numbers in the table
being interchangeable.
On the real instrument, however, not all scale degrees are present in all manuals.
E.g. the RT manual is made of degrees 1-3 only.
Therefore, when playing back the piece, or when translating it to another notation,
all notes must be mapped to existing keys.
When a note is not available in a manual, it can be either moved to another manual or octave, or
get substituted, harmonically informed by the transposition tracks.
There are a number of methods for this, each trying to retain a different aspect of the abstract mbira
piece.

- Tracks with notes (the first five rows of the table above)
- Transposition tracks (the row at the bottom)
Playground for experimentation
The resultant piece in the picture is a well-known Nhemamusasa kushaura part. The bottom row contains the System of Mbira-style harmonic "standard" progression 135-136-146-246, which is lifted to the fourth degree by the 4 in the bottom left corner, thus 461-462-472-572. The = signs nicely visualize the harmonic rhythm of the piece. With all harmonic information factored out, you can see how the remaining pattern merely contains unisons, fifths, and occasional thirds, and is repeated four times in near identical form. Looping backgrounds allow you to state this pattern only once. On this level of abstraction, you can transform the entire piece simply by changing or moving a single number. Try it out and learn more techniques with this demonstration piece.Adding degrees
All numbers in the table range from 1-7 and denote either scale degrees or transpositions. Since we are counting 1-7, not 0-6, the way two degrees a and b add up is not a plain addition. Therefore let us not use a+b, but a new symbol a°b, meaning "a lifted to the b-th degree". Here is how ° works: Take a + b - 1, and subtract 7 if the result is bigger than 7.° | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
1 | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
2 | 2 | 3 | 4 | 5 | 6 | 7 | 1 |
3 | 3 | 4 | 5 | 6 | 7 | 1 | 2 |
4 | 4 | 5 | 6 | 7 | 1 | 2 | 3 |
5 | 5 | 6 | 7 | 1 | 2 | 3 | 4 |
6 | 6 | 7 | 1 | 2 | 3 | 4 | 5 |
7 | 7 | 1 | 2 | 3 | 4 | 5 | 6 |
Mapping notes
The Analytic notation works like an abstract mbira, with all degrees 1-7 available in all tracks.Hosho | . | ||||||||||||||||||||||||||||
RI | 1 | 2 | 3 | 4 | 5 | 6 | 7 | ||||||||||||||||||||||
RT | 1 | 2 | 3 | 4 | 5 | 6 | 7 | ||||||||||||||||||||||
L | 1 | 2 | 3 | 4 | 5 | 6 | 7 | ||||||||||||||||||||||
B | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
- Retain Pitches. Notes move to where they are found on the instrument. E.g. the non-present L3 key is moved to RT3 of the same pitch. This may result in pieces not being playable, e.g. if the right thumb is already busy with another key.
- Retain Motor Pattern. Each note not present in a manual is substituted by a harmonic equivalent, so that fingers keep playing the same motor pattern. This sometimes leads to large interval jumps, especially between RT and RI keys, and many note repetitions in the RT manual.
- Retain Octaves:  Map notes so that they remain within three registers
- All B keys → low register: B1-B7
- All L keys → middle register: L1-L7 including B2 and RT3
- All RT/RI keys → high register: RT1-RT7, transposing down RI1 and RI2
- Retain Playability. A mix of the above mappings, striving to maximize playbility of the resultant part - given that the abstract part itself is playable.

Transposition track rules
- You can use any number of transposition tracks. They all add up.
- An empty cell means that the track does not affect the transposition of that column.
- If no number is found left of an = cell up to the beginning of a track (empty cells skipped), the lookup continues from the end of the track. This means you can always safely rotate transposition tracks along with the notes.
- If a transposition track contains no number at all, but only =,
the number 1 is substituted, allowing for purely graphical transposition
patterns.
Miscellaneous
- The L1' key is currently not reachable by Analytic notation. This means you cannot transcribe the popular RT1 L1' RT1 L1' RT1 L1'... figure in some mbira pieces, but have to use RT1 RT1 RT1 RT1... instead. This will likely change in a future update.
- You can use any positive number, not just 1-7 in the tables. The general formula for combining degrees is a°b = 1 + (a-1 + b-1) mod 7.
Comparison of notation styles
Each notation has specific advantages and disadvantages. Here is a comparison of some aspects which led to the choice of Pitch for the public content of the website:Position | Pitch+Octaves | Pitch |
---|---|---|
+ Used in various publications and score books | ||
+ Can be used with very little previous knowledge | - Requires memorizing the octave layout | |
- Presence of an extra key (e.g. B2) shifts all subsequent numbers in the rank | + Compatible notations for instruments with and without extra keys | |
+ Quick identification of groups of same pitches in different octaves + Easy identification of symmetries between a piece's sections + Easy calculation of scale intervals |
||
- Lots of apostrophes and commas |
+ Looks almost as 'clean' as the Position notation | |
+ Can transcribe "breach of the rules", like playing the L1, B1 or RI keys with the right thumb. | ||
+ Uses only numbers | - Needs octave indication | |
+ A dedicated track for each of the four playing areas reflects the motoric playing patterns and their symmetries (unlike a 2 or 3 track notation). |
Mbira dzavadzimu (with extra keys)
This instrument class offers notations for the mbira dzavadzimu with all sorts of additional keys or manuals, e.g a LI left index finger manual. It is a work in progress - if you would like to transcribe pieces using extension keys which are not yet supported, get in touch. For transcriptions with extensions such as the common extra bass key and higher index keys, the basic mbira davadzimu class is already sufficient. However, there a difference in how that bass key is handled on translation. There are the same three notations as for the mbira dzavadzimu without extra keys:- Position
- Pitch
- Pitch+Octaves
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Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RI | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | |||||||||||||||||
RT | L1 | 1 | -2 | -1 | 2 | 3 | 4 | 5 | 6 | ||||||||||||||||||
LI | 1 | 2 | 3 | ||||||||||||||||||||||||
L | 1 | RT1 | 3 | 2 | 4 | 5 | 6 | 7 | |||||||||||||||||||
B | 1 | 2x | 2 | 3 | 4 | 5 | 6 | 7 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
L1 | RTL1 | L1 key played with the right thumb |
RT1 | LRT1 | RT1 key played with the left thumb |
RI4 | RT4 | RI4 key played with the thumb instead of the index finger |
RI5 | RT5 | RI4 key played with the thumb instead of the index finger |
RI6 | RT6 | RI4 key played with the thumb instead of the index finger |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RI | 3 | 4 | 5 | 6 | 7 | 1 | 2 | 3'' | 4'' | 5'' | |||||||||||||||||
RT | L1 | 3 | 6 | 7 | 1 | 2 | 3' | 4 | 5 | ||||||||||||||||||
LI | 3 | 1 | 2 | ||||||||||||||||||||||||
L | 1 | RT3 | 4 | 5 | 6 | 7 | 1' | 2 | |||||||||||||||||||
B | 1 | 2, | 3 | 4 | 5 | 6 | 7 | 2 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
L1 | RTL1 | L1 key played with the right thumb |
RT3 | LRT3 | RT3 key played with the left thumb |
RI3 | RT3' | RI3 key played with the thumb instead of the index finger (Note the RT3', as there is also RT3) |
RI4 | RT4 | RI4 key played with the thumb instead of the index finger |
RI5 | RT5 | RI5 key played with the thumb instead of the index finger |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RI | 3' | 4' | 5' | 6' | 7' | 1'' | 2'' | 3'' | 4'' | 5'' | |||||||||||||||||
RT | 1 | 3 | 6 | 7 | 1' | 2' | 3' | 4' | 5' | ||||||||||||||||||
LI | 3 | 1' | 2' | ||||||||||||||||||||||||
L | 1 | 3 | 4 | 5 | 6 | 7 | 1' | 2' | |||||||||||||||||||
B | 1, | 2, | 3, | 4, | 5, | 6, | 7, | 2 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
L1 | RT1 | L1 key played with the right thumb |
RT3 | L3 | RT3 key played with the left thumb |
RI3' | RT3' | RI3' key played with the thumb instead of the index finger |
RI4' | RT4' | RI4' key played with the thumb instead of the index finger |
RI5' | RT5' | RI5' key played with the thumb instead of the index finger |
Mbila dzamadeza
This instrument class, along with its companion mbila dzamadeza (bass on right), represents the mbila dzamadeza type of mbira (lamellophone) from Vhembe district in Limpopo province, South Africa. It is recorded as an instrument played by both Venda and Lemba people, and is closely related to the mbira dzavadzimu. The instrument and part of its repertoire are believed to have been transmitted southwards in the wake of early Shona migrations and their role in the complex process of Venda ethnogenesis. Andrew Tracey explains that the name Mbila dzamadeza can be translated as "mbila of calabashes" and was used to differentiate it from the now extinct Venda xylophone known as mbila mutondo - "mbila of mutondo (wood)" made from Pterocarpus angolensis species (Mutondo/Mukwa/Kiaat). Mbila is the Tshivenda orthographic equivalent of mbira in chiShona. Mbila dzamadeza is also known informally as mbila deza or just deza / deze.
by James Munyai

by James Munyai

from Limpopo province (TIC 126)
Function and Repertory
In Squaring the Circle (available from the author on request via SR), Klaus-Peter Brenner quotes John Blacking that [unlike the mbira dzavadzimu], "the Venda (and Lemba) mbila dzamadeza, being merely used for 'amusements etc.', has no such religious or political functions whatsoever. The description of this mbila from UW's Ethnomusicology Archives, however, states that "the Lemba people (one of several nations in Venda) also use this instrument for possession (not all nations of Venda do so)". Most of the currently documented repertoire comes from Andrew Tracey's field research in 1987. Many pieces can be assigned to two broad groupings:- Longer pieces with 48 pulse cycles that utilise systems of harmonic patterning described by Tracey as "the Shona mbira system / chord sequence" - 5th dyads (with sporadically added thirds) and their inversions typically arranged in 12-step progressions rising in thirds and fourths. Tracey calls this repertoire "songs in the older mbira style brought from the Shona".
- Shorter pieces with 12, 15, 16, 18, 24 and 32 pulse cycles, some of which utilise systems of harmonic patterning that Brenner describes as "the Venda Tshikona system" - 5th dyads (without occasional thirds) and their inversions typically arranged in 7-step progression regularly descending in seconds. This system of two descending lines in constant parallel movement is named after the ubiquitous Venda reedpipe dance.
Subtypes
Significantly more examples of the bass-on-left subtype are found in Tracey's fieldwork than bass-on-right, possibly indicating a greater prevalence. To keep the notation manageable and the user interface concise, they are treated as separate instrument classes and the suffix "(bass on left)" is omitted for the presumably more common class:- Mbila dzamadeza. The bass-on-left subtype. Its features include:
-
mid-range left manual that usually follows the same characteristic pattern (1-5-4-6-7)
as its equivalent on mbira dzavadzimu.
Only one of the about 15 bass-on-left instruments considered so far has an ascending scale, like the bass-on-right type. - lower left manual following the same pattern, resulting in octave pairs in the middle and bass manuals placed together, with the lower key of each pair positioned to the right.
- pitches 2 and 3 shifted to the extreme left of the lower left hand manual.
- occasionally a right hand low RT3 key, as on mbira dzavadzimu.
- extra right and left upper manuals.
-
mid-range left manual that usually follows the same characteristic pattern (1-5-4-6-7)
as its equivalent on mbira dzavadzimu.
- Mbila dzamadeza (bass on right).
Features of this subtype include:
- low RT3 key of some bass-on-left instrument dropped.
- both mid-range and low manuals arranged in sequential ascending order (1-2-3-4-5-6-7).
- one old example with extra upper manual(s).
Notations
There are two notations:- Pitch
- Pitch+Octaves
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Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RX | 5 | 6 | 7 | 1 | 2 | 3 | 4 | 5'' | |||||||||||||||||||
RI | 3 | 4 | 5 | 6 | 7 | 1 | 2 | 3'' | 4'' | 5'' | |||||||||||||||||
RT | 3/ | 1 | 2 | 3 | 4 | 5 | |||||||||||||||||||||
LX | 1 | 2 | 3 | 4 | |||||||||||||||||||||||
L | 1 | 3 | 4 | 5 | 6 | 7 | 1' | 2 | |||||||||||||||||||
B | 1 | 2, | 3, | 4 | 5 | 6 | 7 | 1/ | 2 | 3 | 6/ |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT3/ | L3 | RT3/ key played with the left thumb |
RT3 | RI3 | RT3 key played with the index finger instead of the thumb |
RI4 | RT4 | RI4 key played with the thumb instead of the index finger |
RI5 | RT5 | RI5 key played with the thumb instead of the index finger |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RX | 5' | 6' | 7' | 1'' | 2'' | 3'' | 4'' | 5'' | |||||||||||||||||||
RI | 3' | 4' | 5' | 6' | 7' | 1'' | 2'' | 3'' | 4'' | 5'' | |||||||||||||||||
RT | 3 | 1' | 2' | 3' | 4' | 5' | |||||||||||||||||||||
LX | 1' | 2' | 3' | 4' | |||||||||||||||||||||||
L | 1 | 3 | 4 | 5 | 6 | 7 | 1' | 2' | |||||||||||||||||||
B | 1, | 2, | 3, | 4, | 5, | 6, | 7, | 1 | 2 | 3 | 6 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT3 | L3 | RT3 key played with the left thumb |
RT3' | RI3' | RT3' key played with the index finger instead of the thumb |
RI4' | RT4' | RI4' key played with the thumb instead of the index finger |
RI5' | RT5' | RI5' key played with the thumb instead of the index finger |
Mbila dzamadeza (bass on right)
This instrument class represents the mbila dzamadeza subtype with middle and bass manuals on the right hand side. For a general introduction, see mbila dzamadeza.
from Limpopo province (TIC 126)
- Pitch
- Pitch+Octaves
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Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||
LX | 5 | 2 | 3 | ||||||||||||||||||||||
LI | 3 | 4 | 5 | 6 | 7 | 1 | 2 | 3'' | |||||||||||||||||
LT | 1 | 2 | 3 | 4 | |||||||||||||||||||||
R | 1 | 2 | 3 | 4 | 5 | 6 | 7 | ||||||||||||||||||
B | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
LT3 | LI3 | LT3 key played with the index finger instead of the thumb |
LT4 | LI4 | LT4 key played with the index finger instead of the thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||
LX | 5' | 2'' | 3'' | ||||||||||||||||||||||
LI | 3' | 4' | 5' | 6' | 7' | 1'' | 2'' | 3'' | |||||||||||||||||
LT | 1' | 2' | 3' | 4' | |||||||||||||||||||||
R | 1 | 2 | 3 | 4 | 5 | 6 | 7 | ||||||||||||||||||
B | 1, | 2, | 3, | 4, | 5, | 6, | 7, |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
LT3' | LI3' | LT3' key played with the index finger instead of the thumb |
LT4' | LI4' | LT4' key played with the index finger instead of the thumb |
Matepe / Madhebhe / Hera
This instrument class represents the matepe type of mbira from northeast of Zimbabwe and adjacent areas in Mozambique. The key layout of the regional variants matepe, hera, and madhebhe is very similar so we can use a common notation format for all three.
![]() by Kadori (TIC 269) |
![]() by James Kamwaza |
![]() by Ephraim Masarakufa |
- Pitch.4
- Pitch+Octaves.4
- Pitch.1
- James Kamwaza's Numbering
- Chaka Chawasarira's Numbering
- Rattletree Forum Numbering
|
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Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RX | 2 | 3 | 4 | 5 | 6 | 7 | 1 | ||||||||||||||||||||
RI | 4' | 5' | 6 | 7 | 1 | 2 | 3 | 4 | 5 | ||||||||||||||||||
RT | 4/ | 5/ | 6 | 7 | 1 | 2 | 3 | 4 | 5 | ||||||||||||||||||
LI | 6 | 7 | 1 | 2 | 3 | ||||||||||||||||||||||
L | 5, | 1 | 4 | 5 | 6 | ||||||||||||||||||||||
B | 4 | 6 | 7 | 2 | 3 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT4 | RI4' | RT4 key played with the index finger instead of the thumb |
RT5 | RI5' | RT5 key played with the index finger instead of the thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RX | 2'' | 3'' | 4'' | 5'' | 6'' | 7'' | 1''' | ||||||||||||||||||||
RI | 4' | 5' | 6' | 7' | 1'' | 2'' | 3'' | 4'' | 5'' | ||||||||||||||||||
RT | 4 | 5 | 6 | 7 | 1' | 2' | 3' | 4' | 5' | ||||||||||||||||||
LI | 6 | 7 | 1' | 2' | 3' | ||||||||||||||||||||||
L | 5, | 1 | 4 | 5 | 6 | ||||||||||||||||||||||
B | 4, | 6, | 7, | 2 | 3 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT4' | RI4' | RT4' key played with the index finger instead of the thumb |
RT5' | RI5' | RT5' key played with the index finger instead of the thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RX | 6 | 7 | 1 | 2 | 3 | 4 | 5 | ||||||||||||||||||||
RI | 1' | 2' | 3 | 4 | 5 | 6 | 7 | 1 | 2 | ||||||||||||||||||
RT | 1/ | 2/ | 3 | 4 | 5 | 6 | 7 | 1 | 2 | ||||||||||||||||||
LI | 3 | 4 | 5 | 6 | 7 | ||||||||||||||||||||||
L | 2, | 5 | 1 | 2 | 3 | ||||||||||||||||||||||
B | 1 | 3 | 4 | 6 | 7 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT1 | RI1' | RT1 key played with the index finger instead of the thumb |
RT2 | RI1' | RT2 key played with the index finger instead of the thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RX | 4 | 3 | 2 | 1 | 7 | 6 | 5 | ||||||||||||||||||||
RI | RT2 | RT1 | 7 | 6 | 5 | 4 | 3 | 2 | 1 | ||||||||||||||||||
RT | 9 | 8 | 7 | 6 | 5 | 4 | 3 | 2 | 1 | ||||||||||||||||||
LI | 7 | 6 | 5 | 4 | 3 | ||||||||||||||||||||||
LT | 9 | 8 | 7 | 6 | 5 | 4 | 3 | 2 | 1 | 0 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT2 | RIRT2 | RT2 key played with the index finger instead of the thumb |
RT1 | RIRT1 | RT1 key played with the index finger instead of the thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RX | 1 | 2 | 3 | 4 | 5 | 6 | 7 | ||||||||||||||||||||
RI | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | ||||||||||||||||||
RT | 11B | 11A | 12 | 14 | 11 | 13 | 15 | 16 | 17 | ||||||||||||||||||
LI | 25 | 24 | 23 | 23A | 23B | ||||||||||||||||||||||
L | 9 | 7 | 3 | 5 | 1 | ||||||||||||||||||||||
B | 10 | 8 | 6 | 4 | 2 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT16 | RI16 | RT16 key played with the index finger instead of the thumb |
RT17 | RI17 | RT17 key played with the index finger instead of the thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RX | 1 | 2 | 3 | 4 | 5 | 6 | 7 | ||||||||||||||||||||
RI | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | ||||||||||||||||||
RT | 1B | 1A | 1 | 2 | 3 | 4 | 5 | 6 | 7 | ||||||||||||||||||
L | 1 | 2 | 3 | 4 | 5 | ||||||||||||||||||||||
B | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 9A |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT6 | RI6 | RT6 key played with the index finger instead of the thumb |
RT7 | RI7 | RT7 key played with the index finger instead of the thumb |
Nyonganyonga / Malimba
This instrument class represents the nyonganyonga or malimba, mostly found among the Barwe, Gorongozi, and Sena people in Mozambique, according to Andrew Tracey's article The Original African Mbira?. Other than the similar name it has little in common with the popular 15-key karimba called nyunga-nyunga.
![]() of Barwe origin (TIC 153) |
![]() with LI5, RT6, and RI6/ keys by Bazari Kaingo (TIC 154) |
- Pitch.1
- Pitch+Octaves.1
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Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||
LI | 5 | 6 | 7 | 1 | 2 | 3 | 4 | ||||||||||||||
LU | 1 | 4 | 5 | 6 | 7 | 1' | |||||||||||||||
LL | 6 | 7 | 2 | 3 | |||||||||||||||||
RI | 4, | 5, | 6 | 7 | 1 | 2 | 3 | 4 | 5 | 6/ | |||||||||||
RT | 6 | 7 | 1 | 2 | 3 | 4 | 5 | 6, | 7, |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT4 | RI4, | RT4 key played with the index finger, not the thumb |
RT5 | RI5, | RT5 key played with the index finger, not the thumb |
RI6 | RT6, | RI6 key played with the thumb, not the index finger |
RI7 | RT7, | RI7 key played with the thumb, not the index finger |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||
LI | 5 | 6 | 7 | 1' | 2' | 3' | 4' | ||||||||||||||
LU | 1 | 4 | 5 | 6 | 7 | 1' | |||||||||||||||
LL | 6, | 7, | 2 | 3 | |||||||||||||||||
RI | 4, | 5, | 6, | 7, | 1 | 2 | 3 | 4 | 5 | 6 | |||||||||||
RT | 6,, | 7,, | 1, | 2, | 3, | 4, | 5, | 6, | 7, |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT4, | RI4, | RT4, key played with the index finger, not the thumb |
RT5, | RI5, | RT5, key played with the index finger, not the thumb |
RI6, | RT6, | RI6, key played with the thumb, not the index finger |
RI7, | RT7, | RI7, key played with the thumb, not the index finger |
Karimba
This instrument class represents what Andrew Tracey in his article The Original African Mbira? calls the South Bank Karimba type. In Mozambique it is called kalimba nkulu (big karimba). Most instruments cataloged at ILAM originate from the Sena/Nyungwe or Sena/Tonga people in Mozambique. In the article Karimba: The Shifting Boundaries of a Sacred Tradition, Jocelyn Mory (then Moon) explores the "big" (20+ key) karimba in Zimbabwe's Northeast. Its key layout is a rather straightforward extension of the 15-key 'Nyunga Nyunga' karimba, and also resembles the njari without LT manual, which just has the bass keys laid out consecutively for the left thumb, and the lower left keys played with the forefinger. Currently there are four notations. They are called- Pitch.4
- Pitch+Octaves.4
- Pitch.1
- Pitch+Octaves.1
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Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | |||||||||||||||||||||
LI | 3 | 4 | 5 | 6 | 7 | 1 | ||||||||||||||||
LU | 7 | 1 | 2 | 3 | 4 | 5 | 6 | |||||||||||||||
LL | 2, | 3, | 4, | 5, | 6, | 7, | 2 | 3 | 4 | 5 | 6 | 7 | 1 | |||||||||
RI | 7/ | 1 | 2 | 3 | 4 | 5 | 6 | 7 | ||||||||||||||
RT | 1 | 2 | 3 | 4 | 5 | 6 | 7 | |||||||||||||||
B | 2 | 3 | 4 | 5 | 6 | 7 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
B2 | LL2, | B2 key played with left thumb |
B3 | LL3, | B3 key played with left thumb |
B4 | LL4, | B4 key played with left thumb |
B5 | LL5, | B5 key played with left thumb |
B6 | LL6, | B6 key played with left thumb |
B7 | LL7, | B7 key played with left thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | |||||||||||||||||||||
LI | 3' | 4' | 5' | 6' | 7' | 1'' | ||||||||||||||||
LU | 7 | 1' | 2' | 3' | 4' | 5' | 6' | |||||||||||||||
LL | 2, | 3, | 4, | 5, | 6, | 7, | 2 | 3 | 4 | 5 | 6 | 7 | 1' | |||||||||
RI | 7 | 1' | 2' | 3' | 4' | 5' | 6' | 7' | ||||||||||||||
RT | 1 | 2 | 3 | 4 | 5 | 6 | 7 | |||||||||||||||
B | 2, | 3, | 4, | 5, | 6, | 7, |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
B2, | LL2, | B2, key played with left thumb |
B3, | LL3, | B3, key played with left thumb |
B4, | LL4, | B4, key played with left thumb |
B5, | LL5, | B5, key played with left thumb |
B6, | LL6, | B6, key played with left thumb |
B7, | LL7, | B7, key played with left thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | |||||||||||||||||||||
LI | 7 | 1 | 2 | 3 | 4 | 5 | ||||||||||||||||
LU | 4 | 5 | 6 | 7 | 1 | 2 | 3 | |||||||||||||||
LL | 6,, | 7,, | 1, | 2, | 3, | 4, | 6 | 7 | 1 | 2 | 3 | 4 | 5 | |||||||||
RI | 4/ | 5 | 6 | 7 | 1 | 2 | 3 | 4 | ||||||||||||||
RT | 5 | 6 | 7 | 1 | 2 | 3 | 4 | |||||||||||||||
B | 6 | 7 | 1 | 2 | 3 | 4 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
B6 | LL6,, | B6 key played with left thumb |
B7 | LL7,, | B7 key played with left thumb |
B1 | LL1, | B1 key played with left thumb |
B2 | LL2, | B2 key played with left thumb |
B3 | LL3, | B3 key played with left thumb |
B4 | LL4, | B4 key played with left thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | |||||||||||||||||||||
LI | 7 | 1' | 2' | 3' | 4' | 5' | ||||||||||||||||
LU | 4 | 5 | 6 | 7 | 1' | 2' | 3' | |||||||||||||||
LL | 6,, | 7,, | 1, | 2, | 3, | 4, | 6, | 7, | 1 | 2 | 3 | 4 | 5 | |||||||||
RI | 4 | 5 | 6 | 7 | 1' | 2' | 3' | 4' | ||||||||||||||
RT | 5, | 6, | 7, | 1 | 2 | 3 | 4 | |||||||||||||||
B | 6,, | 7,, | 1, | 2, | 3, | 4, |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
B6,, | LL6,, | B6,, key played with left thumb |
B7,, | LL7,, | B7,, key played with left thumb |
B1, | LL1, | B1, key played with left thumb |
B2, | LL2, | B2, key played with left thumb |
B3, | LL3, | B3, key played with left thumb |
B4, | LL4, | B4, key played with left thumb |
15-key Karimba 'Nyunga Nyunga'
This instrument class represents the 15-key, 6-tone scale karimba, developed at Kwanongoma College of African Music in Bulawayo in the 1960s. Following the lead of Dumisani Maraire it later came to be called nyunga nyunga mbira. Despite the similar name, it is a very different instrument than the nyonganyonga of Mozambique, a close relative of the matepe. Its layout is an extension of Jege Tapera's karimba which originates from Tete province of Mozambique, with two keys added in the upper manuals (see Andrew Tracey's article Mbira Music of Jege A. Tapera). Currently there are five notations. They are called- Pitch.4
- Pitch+Octaves.4
- Pitch.1
- Pitch+Octaves.1
- Berliner
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Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||
LU | 1 | 2 | 3 | 4 | |||||||||
LL | 6, | 4 | 5 | 6 | |||||||||
RI | 1 | 2 | 3 | 4 | |||||||||
RT | 4 | 1 | 2 | 3 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RI4 | LU4 | Highest key in the center, either played with the left thumb or right index finger |

Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||
LU | 1' | 2' | 3' | 4' | |||||||||
LL | 6, | 4 | 5 | 6 | |||||||||
RI | 1' | 2' | 3' | 4' | |||||||||
RT | 4, | 1 | 2 | 3 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RI4' | LU4' | Highest key in the center, either played with the left thumb or right index finger |

Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||
LU | 5 | 6 | 7 | 1 | |||||||||
LL | 3, | 1 | 2 | 3 | |||||||||
RI | 5 | 6 | 7 | 1 | |||||||||
RT | 1 | 5 | 6 | 7 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RI1 | LU1 | Highest key in the center, either played with the left thumb or right index finger |

Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||
LU | 5 | 6 | 7 | 1' | |||||||||
LL | 3, | 1 | 2 | 3 | |||||||||
RI | 5 | 6 | 7 | 1' | |||||||||
RT | 1, | 5, | 6, | 7, |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RI1' | LU1' | Highest key in the center, either played with the left thumb or right index finger |

Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||
L | 1 | 2 | 3 | 4 | 2' | 3' | 4' | 1' | |||||
R | 1 | 2 | 3 | 4 | 2' | 3' | 4' | 1' |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
R1' | L1' | Highest key in the center, either played with the left thumb or right index finger |

Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes.Hosho | . | ||||||||||||
U | 10 | 12 | 14 | 8 | |||||||||
U | 6 | 4 | 2 | ||||||||||
L | 9 | 7 | 11 | 13 | 15 | 5 | 3 | 1 |
Njari
This instrument class represents the njari, which comes in several variants. Hugh Tracey's 1932 article The Mbira Class of African Instruments in Rhodesia tells about the history and distribution of this (then most widespread) type of mbira.Njari layouts
The number of keys in all manuals varies substantially among different njari, including the absence or presence of entire manuals (left middle, right upper). Despite that variance, key layouts are generally very regular and symmetric, at least conceptually - it may not always be obvious to the eye. Pitches in all manuals rise from the center to the outer keys without gaps in the scale, occasional exceptions only at the lower end of the bass manual. Two clusters of njari layouts can be distinguished by the presence of the left middle manual, called LT (left thumb) in the notations.-
Njari without the LT manual generally feature complete octaves (seven or more consecutive keys)
in the upper left and right manuals.
Their layout very much resembles the karimba, which just has the bass keys arranged in a more condensed way to make them accessible to the right thumb. -
Njari with the LT manual often come with less than seven key in the upper manuals.
Sometimes the upper left and right hand sides cover different parts of the 7-key octave space
(one side always starts an octave above the reference key).
Pairs of keys in the upper and middle ranks are often arranged in close proximity to facilitate "strumming" octaves with the thumbs - sometimes even three at once with a few additional center keys at the very top (TIC 147 in the picture below has one, another has three).
![]() by Simon Mashoko (TIC 146) |
![]() from Mount Darwin district (TIC 147) |
|
![]() by Gwenzi Gwasera (TIC 145) |
Reference key
There is hardly a key which for all njari reliably marks either end of a manual. A possible exception is the lower right manual which - among the 40+ instrument layouts compared for developing the notations - consistently features all seven scale degrees (shared between thumb and index finger), and gets extended on the lower end only.
Notations
Currently there are four notations. They are called- Pitch.1
- Pitch+Octaves.1
- Pitch.4
- Pitch+Octaves.4
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![]() |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RU | 7/ | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 1'' | 2'' | |||||||||||||||||
RI | 4 | 5 | 6 | 7 | |||||||||||||||||||||||
RT | 6 | 7 | 1 | 2 | 3 | 4 | 5 | ||||||||||||||||||||
LU | 7/ | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 1'' | ||||||||||||||||||
LI | 3 | 4 | 5 | 6 | 7 | 1 | |||||||||||||||||||||
LT | 1 | 2 | 3 | 4 | 5 | ||||||||||||||||||||||
B | 5,, | 6,, | 7,, | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 1/ |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT4 | RI4 | RT4 key played with right index finger |
RI5 | RT5 | RI5 key played with right thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RU | 7 | 1' | 2' | 3' | 4' | 5' | 6' | 7' | 1'' | 2'' | |||||||||||||||||
RI | 4 | 5 | 6 | 7 | |||||||||||||||||||||||
RT | 6, | 7, | 1 | 2 | 3 | 4 | 5 | ||||||||||||||||||||
LU | 7 | 1' | 2' | 3' | 4' | 5' | 6' | 7' | 1'' | ||||||||||||||||||
LI | 3 | 4 | 5 | 6 | 7 | 1' | |||||||||||||||||||||
LT | 1 | 2 | 3 | 4 | 5 | ||||||||||||||||||||||
B | 5,, | 6,, | 7,, | 1, | 2, | 3, | 4, | 5, | 6, | 7, | 1 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT4 | RI4 | RT4 key played with right index finger |
RI5 | RT5 | RI5 key played with right thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RU | 3' | 4 | 5 | 6 | 7 | 1 | 2 | 3 | 4'' | 5'' | |||||||||||||||||
RI | 7 | 1 | 2 | 3 | |||||||||||||||||||||||
RT | 2 | 3 | 4 | 5 | 6 | 7 | 1 | ||||||||||||||||||||
LU | 3' | 4 | 5 | 6 | 7 | 1 | 2 | 3 | 4'' | ||||||||||||||||||
LI | 6 | 7 | 1 | 2 | 3 | 4 | |||||||||||||||||||||
LT | 4 | 5 | 6 | 7 | 1 | ||||||||||||||||||||||
B | 1, | 2, | 3, | 4 | 5 | 6 | 7 | 1 | 2 | 3 | 4/ |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT7 | RI7 | RT7 key played with right index finger |
RI1 | RT1 | RI1 key played with right thumb |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | ||||||||||||||||||||||||||
RU | 3' | 4' | 5' | 6' | 7' | 1'' | 2'' | 3'' | 4'' | 5'' | |||||||||||||||||
RI | 7 | 1' | 2' | 3' | |||||||||||||||||||||||
RT | 2 | 3 | 4 | 5 | 6 | 7 | 1' | ||||||||||||||||||||
LU | 3' | 4' | 5' | 6' | 7' | 1'' | 2'' | 3'' | 4'' | ||||||||||||||||||
LI | 6 | 7 | 1' | 2' | 3' | 4' | |||||||||||||||||||||
LT | 4 | 5 | 6 | 7 | 1' | ||||||||||||||||||||||
B | 1, | 2, | 3, | 4, | 5, | 6, | 7, | 1 | 2 | 3 | 4 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
RT7 | RI7 | RT7 key played with right index finger |
RI1' | RT1' | RI1' key played with right thumb |
Mbira dzaVaNdau
This instrument class represents the mbira dzaVaNdau - "mbira of the Ndau [people])" - from central Mozambique (Northern Gaza, and Southern Manica and Sofala provinces) and adjacent Southeast of Zimbabwe. The hexatonic mbira dzaVaNdau played as a solo instrument for entertainment and secular occasions. With little need for standardization, tunings, key layouts and repertoire are highly individual.Resources
In The Original African Mbira?, Andrew Tracey distinguishes several subtypes by their key layout, and describes the specifics of scales and intervals. Tony Perman has written a brief introduction to the instrument on mbira.org. His article Brevity, Ambiguity and Expressivity in Mbira dzaVaNdau Performances (a chapter of this book) explores musical key characterictics, such as "rhythmic complexity, harmonic stasis, employment of overlapping patterns, and the role of brevity and ambiguity in shaping the instrument's expressivity [...]".A tale of two mbiras tells about its more recent history and uncertain future - it is considered almost extinct. (Both articles are available from the author on request, especially for people without access to the publications.) Luis Gimenez Amoros' documentary The Mbira Republic and the preservation of Zimbabwean mbiras features Mbira dzaVaNdau player and maker Solomon Madinga (get in touch for contact) playing his instrument.
Subtypes
Based on their key layout, Andrew Tracey distinguishes the "Tomboji", "Danda", and "Utee" subtypes (not locally used terms). All based on a common core, the "early" type, though the distinctions are "not that clear", as he noted in personal communication. While the "Danda" type mainly adds to, and occasionally substitutes keys of the (older) "Tomboji" type, the "Utee" type adds an entire right hand bass manual (RL) in exchange for the left upper one (LU), compared to "Tomboji"/"Danda".
![]() by Mubati Muyambo (TIC 272) |
![]() from Chimanimani (TIC 137) |
|
![]() by Solomon Madinga |
Reference key
The leftmost key of the left upper manual (LU1 in Pitch notation) serves as our reference key. In general, most manuals tend to start with octave counterparts of that key, though sometimes they are extended downwards. For the right hand manuals their leftmost key may not always be apparent, as often the keys form continuous ranks across the soundboard. Therefore in order to locate the first scale degree it may be necessary to compare the bottom end of several manuals - there might be additional keys, but it is never missing.Notations
Currently there are two notations. They are called- Pitch
- Pitch+Octaves
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![]() |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | |||||||||||||||||||||
RU | 5/ | 1 | 2 | 3 | 4 | 5 | 6 | 1'' | 2'' | 3'' | ||||||||||||
RI | 3/ | 4 | 5 | 6 | 1 | 2 | 3 | |||||||||||||||
RT | 6, | 1 | 2 | 3 | 4 | 5 | 6 | |||||||||||||||
RL | 1 | 3 | 4 | 5 | 1/ | |||||||||||||||||
LU | 1 | 3 | 4 | 5 | 6 | 1'' | 2'' | 3'' | ||||||||||||||
LM | 5, | 1 | 3 | 4 | 5 | 6 | 1' | |||||||||||||||
LL | 5,, | 1 | 3 | 4 | 5 | 6 | 1/ |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
LL6 | RT6, | LL6 key played with right instead of the left thumb (on 'early' type) |
RT3 | RI3/ | RT3 key played with the right index finger instead of the thumb |
RI4 | RT4 | RI4 key played with the right thumb instead of the index finger (on 'early', 'Danda' and 'Utee' types) |
LM5 | RU5/ | LM5 key played with right instead of the left thumb (on Solomon Madhinga's mbira) |
RI5 | RT5 | RI5 key played with the right thumb instead of the index finger (on 'early', 'Danda' and 'Utee' types) |
RI6 | RT6 | RI6 key played with the right thumb instead of the index finger (on 'early', 'Danda' and 'Utee' types) |
RU1 | LM1' | RU1 key played with left instead of the right thumb (on 'Utee' type) |
Key Overview
The table below shows all keys of the notation, from lowest to highest. Each row contains all possible keys for that playing area. Each column contains all keys of the same pitch. Not all instruments may have keys matching all these notes. Red notes are alias names for the same key, if it can be played with different fingers.Hosho | . | |||||||||||||||||||||
RU | 5 | 1' | 2' | 3' | 4' | 5' | 6' | 1'' | 2'' | 3'' | ||||||||||||
RI | 3 | 4 | 5 | 6 | 1' | 2' | 3' | |||||||||||||||
RT | 6, | 1 | 2 | 3 | 4 | 5 | 6 | |||||||||||||||
RL | 1, | 3, | 4, | 5, | 1 | |||||||||||||||||
LU | 1' | 3' | 4' | 5' | 6' | 1'' | 2'' | 3'' | ||||||||||||||
LM | 5, | 1 | 3 | 4 | 5 | 6 | 1' | |||||||||||||||
LL | 5,, | 1, | 3, | 4, | 5, | 6, | 1 |
Aliases
The table below lists all alias keys. Row names are shown in black, cell content in red.Key | Alias | Notes |
---|---|---|
LL6, | RT6, | LL6, key played with right instead of the left thumb (on 'early' type) |
RT3 | RI3 | RT3 key played with the right index finger instead of the thumb |
RI4 | RT4 | RI4 key played with the right thumb instead of the index finger (on 'early', 'Danda' and 'Utee' types) |
LM5 | RU5 | LM5 key played with right instead of the left thumb (on Solomon Madhinga's mbira) |
RI5 | RT5 | RI5 key played with the right thumb instead of the index finger (on 'early', 'Danda' and 'Utee' types) |
RI6 | RT6 | RI6 key played with the right thumb instead of the index finger (on 'early', Danda' and 'Utee' types) |
RU1' | LM1' | RU1' key played with left instead of the right thumb (on 'Utee' type) |