Kushaura
Encyclopedia
In Shona music
, the kushaura is the leading part. Compare with the kutsinhira
part.
The kushaura can be thought of being the first part, with the kutsinhira usually being a beat
behind, within a cycle of 12 beats. However, this is not always the case. Furthermore, certain parts are both kushaura and kutsinhira parts, depending on where they are played. Typically a kushaura of this type is played a beat behind to make a kutsinhira.
In the most standard form, both kushaura and kutsinhira parts can be conceptualized as a repetition of a sequence of four cycles in a western 12/8 meter with all notes falling exactly on one of the twelve eighth-note subdivisions. However the beginning of the cycle is not standardized, and may be different for different regions, players, and musical parts. In general the primary beat of the hosho
falls on every three subdivisions, which can result in a 4/4-like sound. However the kushaura or kutsinhira parts also come in varieties that typically sound as a 3/4 part to most westerners. In this case, the two parts, nominally 4/4 and 3/4, combine in a polyrhythm
encompassed by the conceptualization of the piece as 12/8, and sync at every 12 eighth notes. Some kushaura parts may sound like they begin with an upbeat to the western ear, whereas the first note actually lands on the beat itself.
Both kushaura and kutsinhira parts typically have high lines played by the right hand (on the right manual of the mbira dzavadzimu), and these lines tend to be composed of notes that altnerate on every other eighth note. The other defining feature of the kushaura in contrast with the kustinhira is that these high line notes are in alternating opposition to the notes of the kutsinhira, forming an interlocked high line composed of the right hand notes of both players. In many transcriptions, the first right hand note of the kushaura will fall on the eighth note immediately after the first hosho beat, whereas the kutsinhira's will fall directly on this beat—however since the beginning of a given cycle is somewhat arbitrary, this description is context-specific to these standard conceptualizations of the beginnings. Viewing a single line, especially in the left hand (lower) part, changing the perceived beginning of the cycle will often change the perceptual modal structure of the line.
Example from Nhemamusasa (using western approximation of notes)
Typically the player playing the kushaura part leads the performance in choosing variations to play, whereas the kutsinhira player will attempt to follow that lead with complementary parts. Variations exist for both the right hand, and left hand. Some variations of the left hand are almost exclusively played on the upper left manual, entirely avoiding the bottom left one.
Typical to the right hand part are repeating notes, as well as descending, but not ascending, lines, for example:
In the right hand, the most common chord is the octave
composed of the far-left key played with the thumb, and the fourth key, played with the index finger. In the left hand, consecutive octaves and fifths are common, whereas thirds of chords are generally avoided, and chords entirely within the left hand are not played on most typical instruments, because only a single digit, the thumb, is used.
Shona music
Shona music is the music of the Shona people of Zimbabwe. There are several different types of traditional Shona music including mbira, singing, hosho and drumming. Very often, this music will be accompanied by dancing, and participation by the audience...
, the kushaura is the leading part. Compare with the kutsinhira
Kutsinhira
In Shona music, the kutsinhira is the following part. The kutsinhira is often a beat behind the kushaura part, but not always. More generally, the kutsinhira is the part that is more, or mostly off the beat when compared to the kushaura....
part.
The kushaura can be thought of being the first part, with the kutsinhira usually being a beat
Beat (music)
The beat is the basic unit of time in music, the pulse of the mensural level . In popular use, the beat can refer to a variety of related concepts including: tempo, meter, rhythm and groove...
behind, within a cycle of 12 beats. However, this is not always the case. Furthermore, certain parts are both kushaura and kutsinhira parts, depending on where they are played. Typically a kushaura of this type is played a beat behind to make a kutsinhira.
In the most standard form, both kushaura and kutsinhira parts can be conceptualized as a repetition of a sequence of four cycles in a western 12/8 meter with all notes falling exactly on one of the twelve eighth-note subdivisions. However the beginning of the cycle is not standardized, and may be different for different regions, players, and musical parts. In general the primary beat of the hosho
Hosho (instrument)
The hosho are Zimbabwean musical instruments consisting of a pair of Maranka gourds with seeds. They typically contain hota seeds inside them. The hosho are used to accompany Shona music, especially mbira music. They make a rattling sound that western ears may be unaccustomed to hearing...
falls on every three subdivisions, which can result in a 4/4-like sound. However the kushaura or kutsinhira parts also come in varieties that typically sound as a 3/4 part to most westerners. In this case, the two parts, nominally 4/4 and 3/4, combine in a polyrhythm
Polyrhythm
Polyrhythm is the simultaneous sounding of two or more independent rhythms.Polyrhythm in general is a nonspecific term for the simultaneous occurrence of two or more conflicting rhythms, of which cross-rhythm is a specific and definable subset.—Novotney Polyrhythms can be distinguished from...
encompassed by the conceptualization of the piece as 12/8, and sync at every 12 eighth notes. Some kushaura parts may sound like they begin with an upbeat to the western ear, whereas the first note actually lands on the beat itself.
Both kushaura and kutsinhira parts typically have high lines played by the right hand (on the right manual of the mbira dzavadzimu), and these lines tend to be composed of notes that altnerate on every other eighth note. The other defining feature of the kushaura in contrast with the kustinhira is that these high line notes are in alternating opposition to the notes of the kutsinhira, forming an interlocked high line composed of the right hand notes of both players. In many transcriptions, the first right hand note of the kushaura will fall on the eighth note immediately after the first hosho beat, whereas the kutsinhira's will fall directly on this beat—however since the beginning of a given cycle is somewhat arbitrary, this description is context-specific to these standard conceptualizations of the beginnings. Viewing a single line, especially in the left hand (lower) part, changing the perceived beginning of the cycle will often change the perceptual modal structure of the line.
Example from Nhemamusasa (using western approximation of notes)
- version 1: CCEEAA CCFFAA DDFFAA CCEEGG
- version 2: FFAADD FFAACC EEGGCC EEAACC (same notes, different cycle divisions)
Typically the player playing the kushaura part leads the performance in choosing variations to play, whereas the kutsinhira player will attempt to follow that lead with complementary parts. Variations exist for both the right hand, and left hand. Some variations of the left hand are almost exclusively played on the upper left manual, entirely avoiding the bottom left one.
Typical to the right hand part are repeating notes, as well as descending, but not ascending, lines, for example:
- GGGGFEDD GGFEDDBB DDCCBBAA (Taireva,separated into three descending lines)
- FFEEDDCCBAGG EEDDCCBBAAGG (Nhemamusasa, separated into two descending lines)
In the right hand, the most common chord is the octave
Octave
In music, an octave is the interval between one musical pitch and another with half or double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music", the use of which is "common in most musical systems"...
composed of the far-left key played with the thumb, and the fourth key, played with the index finger. In the left hand, consecutive octaves and fifths are common, whereas thirds of chords are generally avoided, and chords entirely within the left hand are not played on most typical instruments, because only a single digit, the thumb, is used.
Further reading
- Berliner, Paul. (1978). The Soul of Mbira: music and traditions of the Shona people of Zimbabwe. Berkeley : University of California Press.
External links
- Max Krimmel's Mbira Jumpstart Western transcriptions comparing kushaura and kutsinhira parts for six songs