Improvisation and thoughts

Niel's comments a few weeks ago got me thinking a little about music
performance. Although I agree with the idea that microtonal musicians
need to master their "axes" if we are to make any real contribution to the
music of our day, I am not so ready to e mbrace his thoughts on
improvisation. Although improvisation may be a skill helpful to the
mastery of a particular musical instrument I am not convinced that in
itself it adds anything to ultimate musical expierence. Nor do I feel
that improvisational s kill leads to more creative musical expression. In
fact it much more readily falls into the realm of noodling than much of
the so-called Western classical repertoire.

I suppose it ultimately boils down to a discussion of why we make music in
the first place. On the surface I suppose it is a livilhood, but this is
only because at some point it fulfills or has fulfilled some deeper need.
Whether enhancing religious or political ceremonies, ancient or modern,
music has and does affect the spiritual nature of humanity. I believe
this effect can lead either towards that which unifies, enlightens,
liberates and enobles life, in a word, "the Good," or can disintegrate
(which some may also describe as liberation), enthrall and bind, leading
to chaos and Death, in a word, "Evil." These words have overtones which
some may find disagreeable, but the effect cannot be described in simpler
terms.

Musicians do potentially wield great power and inevitably follow one of
two paths. Mostly though, we are unconscious, perhaps numbed by the
acoustical pollution our Western civilization creates. I do not believe
there is a single place in the United States, or Europe for that matter,
were it is possible to experience silence. I am sure there are very few
who are aware of the effect that airplane and automobile noise has, and
when one can escape from that, the hum of the refridgerator or computer or
the electric lights, even on the tops of mountains the "inaudible"
electromagnetic radio and TV and short wave radiation impinges upon our
psyches--these things affect our music--we can't get away from these
things!--HOW CAN WE EXPERIENCE THE SILENCE FROM WHICH SPRINGS THE MUSIC
OF THE SOUL!!! It is almost impossible nowadays to even imagine, let
alone experience, the impact of Beethoven's music during his time--it has
driven our civilization for centuries, for better and worse. It is not
merely a new scale we need--they are as prevalent as christian sects--nor
mastering a musical instrument; technicians abound--witness: 300
applications for 2nd bassoon position in San Franscisco Symphony not too
long ago.

Music is a musician's quest for truth--no more, no less. As that
expression of truth is able to liberate his soul, so does his music
enlighten and move the world.

Cheers to all in the forthcoming year!
Bruce Kanzelmeyer


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> Adam at Yale wrote:
>
> This is a question for all of you master-craftspersons out there. I
> have decided to have a fancy mbira custom-built for my music, and
> before I jump into it, I would like to know if anyone here has done
> this and can offer any advice regarding design specifications. I
> would like to have a double-level style like those found in Zimbabwe
> (do we say Rhodesia?) but probably a second tier on either side. I
> don't know why they usually are only double-tiered on the left. I am
> also wondering if a fine-tuning mechanism could be devised, better
> than just wiggling the tongues back and forth while hoping for the
> best.
>
> Any advice?
>
> -Adam
> abs22@pantheon.yale.edu

I have built several microtonal mbira. I call them finger piano's
instead of thumb piano's, since you play them with your fingers, much
like a piano. I still use one that is tuned to 31 tones to the octave,
arranged as in Erv Wilson's Bosanquet layout. Another has 12 tones in
just to the 13 limit on C and F. Each is amplified. One uses a contact
microphone and the others use magnetic transducers much like guitar
pickups. The key to tuning them is to make sure that a pronounced
overtone is tuned, as well as the fundamental. I found that adding a
generous dollop (technical term) of rosin core solder to the ends of
the low notes helps bring the overtone two octaves above the
fundamental. Otherwise it is two octaves and a major third above, and
very unpredictable. File off excess solder until the overtone is in
tune with the fundamental, then shorten or lengthen the tongue until
the fundamental is in tune with the note desired.

I use .010 spring steel 3/16" wide for the tongues. This produces a
very soft sound, which requires amplification to be properly heard.
But it is very easy to work with and sounds nice. Multiple ranks can
be made with proper design of the tongue support structure.


As many ranks as you need, top view:

---------------------------------
+ + brass bars secured with screws
---------------------------------
\ \ \ \ \ \ \ \ spring steel tongues under the first
---\-\----\-\----\-\-----\-\----- brass bar and over the next brass bar
\ \ \ \ \ \ \ \
-----\-\----\-\----\-\-----\-\---
\ \ \ \\ \ \ \\ \ \ \ \ \ \ \
---\-\-\ \\ \-\ \\ \-\ \-\ \-\ \-
\ \ \+\\ \ \+\\ \ \+\ \ \ \+\ <--- solder on the tip
-----\-\----\-\----\-\-----\-\--+
\ \ \ \ \ \ \ \
---\- -\ \\ \-\ \\ \-\ \-\ \-\ \-
\ \ \+\\ \ \+\\ \ \+\ \ \ \+\
-----\-\----\-\----\-\-----\-\--+
\ \ \ \ \ \ \ \
---\- -\ \\ \-\ \\ \-\ \-\ \-\ \-
\ \ \+\\ \ \+\\ \ \+\ \ \ \+\
-----\-\----\-\----\-\-----\-\--+
\ \ \ \ \ \ \ \
\+\ \+\ \+\ \+\

Side view:

+/ <--- solder tip
/
/
/ <--- .010" 3/16" spring steel
/
/
/
/
+------+ /+------+
! ! / ! ! <--- 1/4" x 3/8" brass bar (approximate)
+------+/ +------+

Secure to a steel or wooden base with screws. Slip the spring steel
tongue under the brass bar, and insert or pull it out to tune, after
tuning the overtone to the fundamental.


Prent Rodgers
Boise, ID

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>This is a question for all of you master-craftspersons out there. I have
>decided to have a fancy mbira custom-built for my music, and before I jump
>into it, I would like to know if anyone here has done this and can offer
>any advice regarding design specifications.

Adam -

You might want to check out the African Traditional Arts mailing list:

AFRIMUSE@IUBVM.UCS.INDIANA.EDU

to subscribe, send:

SUBSCRIBE AFRIMUSE your name

to: LISTSERV@IUBVM.UCS.INDIANA.EDU

I'm pretty sure there are people on that list with practical advice.

Bill

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
^ Bill Alves email: alves@hmc.edu ^
^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^
^ 301 E. Twelfth St. (909)607-4170 (office) ^
^ Claremont CA 91711 USA (909)621-8360 (fax) ^
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^




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On Jan 10, 7:39am, Manuel Op de Coul wrote:
> Subject: RE: building an mbira

> I thought about replacing the bottlecaps with seashells, but couldn't
> drill a hole in a shell so I gave that up.

try covering the place where you want to drill with some tape. This prevents
the shell from shattering. Some shells take better to a masonry drill bit.

> The keys on the right hand side on my mbira are pretty close together,
> and not flattened to such a great width that having two tiers is
> necessary. I think that would make playing more difficult.
> You will need a big gourd for it too of course, as a soundboard.

my understanding is that the gourd acts as a air resonator, more than as a
sounding board (mechanical conduction).

>
> Manuel Op de Coul coul@ezh.nl
>-- End of excerpt from Manuel Op de Coul



--
___________________________________________________
Head, Australian Centre for the Arts and Technology
Australian National University
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email: David.Worrall@anu.edu.au
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