ALTO SAX SCALES

ENTERTAINER IN LIVERPOOL CHURCH STREET JUNE 2010



A kora is built from a large calabash cut in half and covered with cow skin to make a resonator, and has a notched bridge like a lute or guitar. The sound of a kora resembles that of a harp, though when played in the traditional style, it bears a closer resemblance to flamenco and delta blues guitar techniques. The player uses only the thumb and index finger of both hands to pluck the strings in polyrhythmic patterns (using the remaining fingers to secure the instrument by holding the hand posts on either side of the strings). Ostinato riffs ("Kumbengo") and improvised solo runs ("Birimintingo") are played at the same time by skilled players.

Kora players have traditionally come from griot families (also from the Mandinka nationalities) who are traditional historians, genealogists and storytellers who pass their skills on to their descendants. The instrument is played in Guinea, Guinea Bissau, Mali, Senegal, Burkina Faso and The Gambia. A traditional kora player is called a Jali, similar to a 'bard' or oral historian. Most West African musicians prefer the term 'jali' to 'griot', which is the French word.

Traditional koras feature 21 strings, eleven played by the left hand and ten by the right. Modern koras made in the Casamance region of southern Senegal sometimes feature additional bass strings, adding up to four strings to the traditional 21. Strings were traditionally made from thin strips of hide, for example antelope skin - now most strings are made from harp strings or nylon fishing line, sometimes plaited together to create thicker strings.

By moving leather tuning rings up and down the neck, a kora player can retune the instrument into one of four seven-note scales. These scales are close in tuning to western Major, Minor and Lydian modes.
Increasingly koras are made with guitar machine heads instead of the traditional leather rings. The advantage is that they are much easier to tune. The disadvantage is that it limits the pitch of the instrument as the string lengths are more fixed and lighter strings are needed to lift it much more than a tone. Learning to tune a kora is arguably as difficult as learning to play it and many people entranced by the sound while in Africa, buy a kora and then find themselves unable to keep it in tune once they are home, relegating it to the status of ornament. Koras can be converted to replace the leather rings with machine heads. Wooden pegs and harp pegs are also used but both can still cause tuning problems in damper climates unless made with great skill.

Some kora players such as Seckou Keita have double necked koras, allowing them to switch from one tuning to another within seconds, and giving them increased flexibility. The kora is mentioned in the Senegalese national anthem "Pincez Tous vos Koras, Frappez les Balafons."

This guy (I wish I remembered his name) played last Friday night for the 'Luck of the Draw' art and music exhibition in Capitol Riverfront. He had some issues with his homemade amp and effects but it was interesting and I liked how he played the guitar with the bowl...