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Mark Holdaway

TIP: Playing Patterns in DIfferent Octaves

An upper octave pattern can be shifted to the lower octave, but it’s handedness is reflected This is something important to understand.  Just because you can play a pattern in one octave doesn’t mean that it will be easy in the other octave, because it will be a mirror image of the other octave’s pattern.  Strangely, your brain may have to totally relearn the phrase in a different octave in spite of the similarities in the music. The insite in this tip – that when you shift a phrase up or down an octave, you need to learn to play the mirror image of the pattern you started with –

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Blog
Mark Holdaway

TIP: Playing the Scale – in Octaves

Because two notes separated by an octave are on opposites sides of the kalimba, you can play them at the same time! The two previous tips illustrated how to play the upper octave G major scale and the lower octave G major scale on the Alto kalimba.   This tip combines the upper and lower scales and plays them at the same time. The upper octave scale on the Alto kalimba goes left – right…. while the lower octave scale goes right – left.  This means that while your left thumb is playing the middle G, your right thumb can play the low G.  When the right thumb is playing the

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Blog
Mark Holdaway

TIP: Playing the Scale – A Lower Octave

Many kalimbas – such as the Alto, the Treble, and the Pentatonic 11-Note kalimbas – have a range of two or more octaves.  In my mind, this is where the playing really gets to be interesting.  This tip relates the lower octave scale to the upper octave scale on the Alto kalimba. The Alto kalimba tablature here starts at the bottom and works up.  The first measure shows the upper octave of the G major scale, while the second measure shows the lower octave of the G major scale.  The two scales have the exact same note names: G A B C D E F# G (you can tell by

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Blog
Mark Holdaway

TIP: Fixing the BUZZ

Do any of your tines make a sound that annoys you? Learn to fix that! To keep your kalimba sounding good, learning to tune is the most important thing. After that comes learning to fix the odd buzzy tine so that each note on the instrument can ring true. This tip points out the resources for removing the buzz and returning your kalimba to sounding clear. When I  listen to other people’s kalimba recordings, I am often annoyed by nasty buzzing sounds.  I think “If only they knew how easy it is to fix those buzzes!” Before I record a kalimba, I touch up on the tuning and make sure

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Blog
Mark Holdaway

Exploring Pentatonic Tunings

Pentatonic tunings are culturally and musically important. We present new kalimba video of three different tunings for the pentatonic kalimba The coupon code PENTA30 gets you 30% off the box pentatonic Aboriginal peoples all across the globe have used pentatonic scales in their music.  One of Hugh Tracey’s fundamental findings was that about 40% of all the kalimbas he documented in his expeditions across Africa were tuned to pentatonic scales. Find out what makes the pentatonic scales so essential! A pentatonic scale is any scale that has five unique notes per octave. (Most other scales have seven unique notes per octave.) On average, the notes in the pentatonic scale are

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Blog
Mark Holdaway

Interview: Andrew Tracey

This 2008 interview of Andrew Tracey, accomplished kalimba scholar and master of karimba, mbira and kalimba, illuminates the genealogy of African lamellaphones and the history of the Hugh Tracey kalimba These are the 2B kalimbas that will arrive early in January During my 2008 visit to his Grahamstown, South Africa home, Andrew Tracey (Hugh Tracey’s older son), long-practicing ethnomusicologist and musical performer, shared recollections of his father’s work, the early Hugh Tracey kalimbas, the layout of the Hugh Tracey kalimba, and his ethnomusicological research showing the karimba to have the prototypical tuning that was passed down to subsequent instruments such as the mbira dzavadzimu. We are featuring this article once

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Blog
Mark Holdaway

Interview: Thomas Bothe and his 2B Kalimbas

This archival 2010 interview sheds some light on a remarkable kalimba maker These are the 2B kalimbas that will arrive early in January The “2B Kalimbas” made by Thomas Bothe are very high quality instruments, and, clearly, labors of love. The care and attention to every detail that is evident in the workmanship of these instruments made me very curious about their creator. I was quite pleased that Thomas was able to spend a little time telling me about himself and his work.     KM: Thomas, how long have you been working with wood, and how long have you been making kalimbas? TB: I started making kalimbas in 1993,

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Blog
Mark Holdaway

Free Tablature – Learn “Carol of the Bells”

Free PDF and KTabS Tablature for Alto, Treble, B flat Treble, and Chromatic Kalimbas “Carol of the Bells” is not only a beautiful song that is great to learn on the kalimba, it is also a strategic stronghold of kalimba technique. The basic music consists of two different parts played at the same time, which in this case is not that hard. If you can learn this song, you will be entering the marvelous world of playing two voices of music at the same time on kalimba. Not up for heavy lifting? Please enjoy the video of me performing “Carol of the Bells” on the Alto Kalimba. “Carol of the

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Blog
Mark Holdaway

TIP: On Practicing Kalimba

You can learn an instrument with modest daily work – but do pick it up every day The kalimba is one of those amazing instruments that magically sounds good even if you don’t know what you are doing, often right out of the box.  However, if you practice, you can become really good at playing.  I have compiled some thoughts on my experience of practicing on the kalimba with the idea of helping you with your kalimba journey. If you are going to “get good” on the kalimba, you should try to play it a bit every day. Do it for 15 minutes a day. Once in a while, you will probably

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