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HOW TO PLAY THE HUGH TRACEY KALIMBA


throw off the vibrations of the instrument.  However, the kalimba can be
tuned to hexatonic (six-note) and pentatonic (five-note) scales, commonly
used in traditional folk music.  This is done by “doubling up,” that is,
having the same note appear on both sides of the instrument, which provides
a drone effect.  Theoretically the kalimba can be tuned to any scale, but I
have found that some sound better than others.

Before discussing the tunings, it is advisable to explain the different
scales and modes commonly used in traditional music.  The major diatonic
(seven-note) scale, in the key of C, is: C D E F G A B C.  Expressed in
Italian syllables, that is: do re mi fa sol la ti do.  Note that the octave
(eighth) note is not counted in defining the scale as diatonic.

Not all traditional tunes utilize the full diatonic scale.  The hexatonic
scale has six notes, generally C D E F G A C (do re mi fa sol la do).  The
pentatonic scale has five notes, generally C D E G A C (do re mi sol la do).

Not all diatonic scales begin with “do.”  The scale can begin and end with
any of the seven notes.  Each such scale is called a “mode,” and each one has
a name taken from the Greek:

C D E F G A B C     do re mi fa sol la ti do     ionian
D E F G A B C D     re mi fa sol la ti do re     dorian
E F G A B C D E     mi fa sol la ti do re mi     phrygian
F G A B C D E F     fa sol la ti do re mi fa     lydian
G A B C D E F G     sol la ti do re mi fa sol    mixolydian
A B C D E F G A     la ti do re mi fa sol la     aeolian
B C D E F G A B     ti do re mi fa sol la ti     locrian

Each of these modes can be in any scale, that is, they can begin with
any note.  For example, the mixolydian mode in the key of C would be
C D E F G A Bb C.  This is the classic blues scale, with a flatted seventh.
Similarly, the dorian mode in the key of A minor would be A B C D E F# G A.
This sharpened sixth is the distinction between the aeolian and dorian modes.

Listed below are seventeen kalimba tunings that I have developed, together
with the modes for which the tunings are best suited:

14 12 10 08 06 04 02 01 03 05 07 09 11 13 15

D  B  G  E  C  A  F  E  G  B  D  F  A  C  E    C ionian, Am aeolian
D  B  G  E  C  A  F  D  G  B  D  F  A  C  E    Dm dorian, G mixolydian
D  Bb G  E  C  A  F  D  G  Bb D  F  A  C  F    F ionian, D aeolian, Gm dorian
D  Bb G  F  C  A  F  D  G  Bb D  F  A  C  F    F hexatonic, Gm hexatonic
D  Bb G  F  C  Bb F  D  G  Bb D  F  Bb C  F    Bb pentatonic
D  Bb G  Eb C  Bb F  D  G  Bb D  F  Bb C  Eb   Bb hexatonic 
D  Bb G  Eb C  A  F  D  G  Bb D  F  A  C  Eb   Bb ionian, Gm Aeolian
D  Bb G  Eb C  A  F  Eb G  Bb D  F  A  C  Eb   F mixolydian
D  Bb G  Eb C  Ab F  Eb G  Bb D  F  Ab C  Eb   Eb ionian
D  Bb G  D  C  G  F  D  G  Bb D  F  G  C  D    Gm pentatonic
D  B  G  D  C  G  F  D  G  B  D  F  G  C  D    G pentatonic
D  B  G  E  C  G  F  D  G  B  D  F  G  C  E    G hexatonic
D  B  G  E  C  A  F# D  G  B  D  F# A  C  E    G ionian
D  B  G  E  C  A  F# E  G  B  D  F# A  C  E    Em aeolian
D  B  G  E  C# A  F# E  G  B  D  F# A  C# E    Em dorian
D  B  G  E  C# A  F# D  G  B  D  F# A  C# E    D ionian
D  B  G  E  D  A  F# D  G  B  D  F# A  D  E    D hexatonic

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