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Mark Holdaway

TIP: Alto Kalimba – Accents can make a part stand out

Get this free tablature that illustrates the use of accents in your kalimba playing Click to download the PDF tablature for this exercise When you play kalimba, you should always be willing to accent special melody notes, and let the other support notes come in at a lower volume.  Why is this important?  Not always, but often, melody notes will be fairly high in an instrument’s range, and accompaniment notes will occur in the middle or at the low end.  A guitar has a three and a half-octave range.  The piano has a seven-octave range.  On both of these instruments, you have a big difference in the pitch of the

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Blog
Mark Holdaway

Playing Kushaura and Kutsinhira Parts on Mbira

These two similar parts, one delayed by an eighth note, lean against each other and create something fundamentally new Mbira music is designed to be played on two dueling mbiras The kalimba, as most of us know it, is a new adaptation of the family of African lamellophones that includes the mbira and the karimba.  As such, the kalimba doesn’t really have a tradition in Africa.  This is the very reason I am attracted to the instrument. Without a specific African tradition, we are free to create our own new and evolving kalimba styles. On the extreme opposite end of the “tradition” spectrum from the modern kalimba is the mbira

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Blog
Mark Holdaway

Practice TIP: Experiment with Changing Volume Levels

Playing strong can help you learn; playing softly can help you discover the “feel” of the music Don’t you hate all those internet ads that start with “Try this one weird trick” and then promise that if you do, it will change your life in a profound way? Well, I have something for you that may seem like a weird trick, but it is really a great little tool that indeed has had a profound effect on my own kalimba, karimba, and mbira playing. People tend to play kalimba music with every note at the same volume level.  But I can point to three big benefits you can get from

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Blog
Mark Holdaway

Thumbing the Karimba at States of Inflammation

What’s a young professional musician to do when her body fails her? Klara is learning mbira and karimba, to play especially when her body doesn’t want to play violin. An introduction from Mark: High level musicians dedicate their body, their time, their soul, and years to their art. They are driven by the dreams of the greatness they have touched in their musical experiences, and they invest their very lives to this god of music. But what happens when their body fails them? When pain and debility make their work and ambitions look like one of God’s great jokes? Many musical instruments are quite physically demanding: guitar, upright bass, piano,

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Mark Holdaway

Kalimba and Mindfulness – 1

Conscious attention can bring many benefits to you and your music Photo by Glen Davis. Kalimba by Andrew Masters What is mindfulness?  For me, mindfulness is being as present as I can be to the moment that is unfolding.   Consider music as a sort of plow that is able to cut a furrow through the present moment.  Good music invites the listener to become entrained in that furrow as the musical plowshare cuts through the unfolding succession of present moments .  Good music, happy, sad, or otherwise, can be a great comfort as it can largely take us from whatever pathway we were wandering down, and instead directs our

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Blog
Mark Holdaway

TIP:Technique: Playing with the right index finger – 1

The “mbira style” use of the right index finger puts it under the tine, flicking upward Save 13% with the coupon code CAT13 when you buy the African Tuned Karimba How do you play the kalimba? It’s a thumb piano, so mainly you use your two thumbs!  The Brazilian masters like to use four or six fingers, playing the kalimba as it sits in their lap – but I don’t teach that style. That’s because my kalimba playing is a lot about movement of the body while playing, and if you hold the kalimba in your hands and play with your thumbs, you can get up and walk, run, or

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Blog
Mark Holdaway

TIP:Kalimba Lessons on Skype with Mark Holdaway

Don’t get stuck and let your kalimba gather dust – get some lessons NOW! Get a one hour kalimba lesson I know there are people who purchase kalimbas and just jump right on board and start flying.  And then there are other people who really want to play, but don’t quite know what to do with their kalimbas. If you fall into that second category, you can get tutoring in kalimba ABC’s from an excellent, gentle, and compassionate teacher – me! If you are already familiar with the kalimba and you need some help ramping up to the next level, or if you are working on a particular song and just

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Mark Holdaway

TIP: Playing “Mahororo” on the African Karimba – 1 / 5

This traditional mbira song transfers well to karimba Click to download the full PDF tablature for “Mahororo” “Mahororo” is usually played on the mbira dzavadzimu (commonly called the mbira), and is one of the classic songs that fit the chord progression described by Andrew Tracey in his seminal 1973 paper “The System of the Mbira” which studies in depth the ages-old mbira playing of the peoples he and his father Hugh studied for decades . This implies that “Mahororo” is probably one of those “old songs” – meaning it may be something like 500 – 800 years old. Ivodne Galatea pointed out that it could be played on the karimba.

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Mark Holdaway

Where did all the kalimbas go?

Surging in popularity now, kalimbas arrived long ago and then all but vanished French painter Jean-Baptiste Debret depicted many scenes of Africans in Brazil, including these images with Kalimba! (From Decio Gioieli’s CD) Kalimbas had been common in many, widespread places, having come along with Africans when they were torn from their native lands by slavers. How and why kalimbas disappeared is a sad and complicated tale. Today, the kalimba is more popular than ever. People all over the world are creating original, unique kalimba designs. People everywhere are doing exactly what the people of Africa always did with the kalimba over the last millennium: adapting it to play their own musics. The

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