A heptatonic tuned instrument |
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he kora is tuned on the heptatonic mode ; the kora has a range of 3 octaves (low, medium, high).
 A traditional kora has 21 strings set from part to part on the bridgeIf the bridge (Mandinka: bato) is not cannibalised from an older instrument, it is cut to shape from a piece of seasoned rosewood with a thickness of about a quarter of an inch... Read more. in ten noches on the right, and eleven on the left (in front of the player), divided (following the pitch) on 3 x 7 series.
Nowadays, koras makers, especially in Casamance, usually make koras with 23 strings, an easy method to complete the lower and the higher octave, according to the temperament.
At the beginning, a kora is not a instrument temperated on diapason, like many European instruments. Depending on differents West African countries (the birth and influence area of that instrument ; [origins] ), and even depending on differents players, many pitches differences have been noted by researchers. That reality is due to the fact that in traditional Manding folk music, the main point have been always focused on the singing ; so, traditional instruments were created and used to be tuned according to the traditional folksongs oraly by generations. Mere instrumentists did not exist in the Manding area - they used to sing in unison with their instrument.
Before I talk about scales and tunings on the West way of speaking, you should know that strings and tunings have Mandenka own names.
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1- Mandenka strings names |
On my own, I only know strings names that are necessary to tune the kora, and some variations according to West Africa areas.
So, the lowest string, the first on the left side is commonly called « Bakumba » (mother string) in Gambia, “Bajourou” in Mali, or « Timbamba » (big string) in Casamance. The first string on the right side is commonly called « Timbang ».
On the bridgeIf the bridge (Mandinka: bato) is not cannibalised from an older instrument, it is cut to shape from a piece of seasoned rosewood with a thickness of about a quarter of an inch... Read more., here are the strings :
According to the old Manding tradition (i-e, since 3 centuries), it is highly recommanded to tune the kora following these 4 scales :
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I- Tomora Ba or Sila ba : « Great Way » |
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II- Tomora Meseng(o) : « Minor Tomora » |
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III- Hardin(o) |
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IV- Sawta |
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It is a similar scale to a temperated major scale ; it is also a reference scale for players, the most « simple » way to begin learning kora tunings. The constant of Sila ba is that the tones scale is made, mainly, by tierces, following left and right side of the bridgeIf the bridge (Mandinka: bato) is not cannibalised from an older instrument, it is cut to shape from a piece of seasoned rosewood with a thickness of about a quarter of an inch... Read more..
On Silaba scale, the 2 ways of tunings are equal to :
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F M, i.e : F - G - A - B flat - C - D - E |
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or (one tone higher) |
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G M , i.e : G - A - B - C - D - E - F sharp |
On the bridgeIf the bridge (Mandinka: bato) is not cannibalised from an older instrument, it is cut to shape from a piece of seasoned rosewood with a thickness of about a quarter of an inch... Read more., you can figure the 2 scales like this :
Nevertheless, please be advised that the Silaba scale in G M is hard to maintain for a long time because of many hazards such as broken strings or broken neck.
« Tomora Meseng » scale is the most ancient scale known by korafolálu A korafolá is a kora player in mandinka (who is able to make the kora talk) - korafolálu, plural. ; it is also the most hard to master for there are 3 flat notes and 6 strings modifications. According to Ali Boulo Santo, in the beginning, all kora tunes were played following that scale.
Indeed, there is still a prejudice among korafolálu A korafolá is a kora player in mandinka (who is able to make the kora talk) - korafolálu, plural. that you should not be a true korafolá A korafolá is a kora player in mandinka (who is able to make the kora talk) - korafolálu, plural. until you are not mastering that scale.
«Tomora Meseng » scale (i.e., « diminished » tomora ) is a « minor » symetric variation of the Sila ba scale. The constant is that the gaps beetween 2nd and tierce and 6th and 7th are diminished (therefore the name).
On Tomora Meseng, the way of tuning is equal to :
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E-flat major, i.e : F - G - A flat - B flat - C - D - E flat |
On the bridge, you can figure the scale like this : |
The tuning «Hardin(o)» is a variation of the Tomora Menseng(o) scale. That tuning is said to come from the Arab-Andalusian tradition. Indeed, it has some similarities with patterns often used in the flammenca music. Moreover, it is a scale often used by korafoláluA kora player is called korafolá (who is able to make the kora talk) - korafolálu, plural. when they play with n'konifôlaluA player of n'koni is called nkonifolá (the one who is able to make the n'koni talk) - nkonifolàlù, plural... Read more.. It was also the favorite scale of the famous korafoláA kora player is called korafolá (who is able to make the kora talk) - korafolálu, plural. the late Sidiki Diabate.
On Hardin(o), the way of tuning should be equal to :
B flat i.e : F - G - A - B flat - C - D - E flat
On the bridge, you can figure that scale like this :
« Sawta » is an another « major » variation of Tomora Ba or Sila ba. The particularity of that tuning is to shift up the quart (B flat turning on natural B).
On Sawta, the way of tuning should be equal to :
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C Major, i.e : F - G - A - B - C - D - E |
On the bridge, you can figure that scale like this :
A - Interpretations schools, playing styles
In the traditional way, the kora player must be able to play a great tune from the old classic repertoire, constitued by a corpus of instrumental adaptations of Manding folksongs, called :
Tilibo, i.e. « [Repertoire of Countries] of the rising Sun » ;
Every epic song (or panegyric), called chosan, is constituted by a main theme, the melody, called donkilo (dance call), the accompagniement or rythmic base line called kumbengo and codified variations called birimintingo ;
Solos codifications - especially in the chosan - have a very precise function : variations that may sound like little solos are used as echoes of words, or some chosan panegeryc lines. Just take a glance to my example of «Lamban».
In that way of playing, limpidity and quality in the singing are the rules.
On a another part, inside the classical tradition, a school - almost a famous kora style followed and widdened since now- has been created in Gambia and Casamance in the XX° century, developped by greatskorafoláluA kora player is called korafolá (who is able to make the kora talk) - korafolálu, plural. such as Alhaji Bai Konte or Amadu Bansang Jobarteh : it is the «Yeyengo» style ; indeed, in that school, students are taught to free themselves out of the strict frame of tradition ; also, they would be incitated to compose new music themes, or at less modern mixes of old tunes. Following the spirit of this school, the korafoláA kora player is called korafolá (who is able to make the kora talk) - korafolálu, plural. should underline his virtuosity in solo variations (birimintingo) on the main theme - sometimes to the detriment of deep and rigorous interpretation.
B- Touch, fingerings
In the classical style, the kora is played with 4 fingers : thumbs and forefingers.
Usually, thumbs are used to underline the rythmic bass line (kumbengo) playing low strings ; forefingers play the melody on medium and high octaves. While playing, strings may be plucked, blocked, choked or smothered.
When playing, underlining the rythm is essential ; so many technics should be used by confirmed kora players ; on my own, I only know 3 special touchs :
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detero : that technic consists in stopping or muffling the string just after plucking it, with the thumb base, or with the nail, specially medium and high octave strings. That ornement, essential on Tilibo repertoire, should infuse a rythm syncope to the melody ; also, it underlines the ostinato recalling the song it comes froms ; |
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sariro: the technic is to pluck in chords the 2 or 3 main strings of the rhythmic line (kumbengo), and block them just after plucking. It creates a great percussive effect, just like the slap technic on (acoustic) guitar ; more complex sariro routines are used to create interresting rythmic patterns, particularly in Yeyengo style. |
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bulukontingo podi : that technic consists in knocking the hardwood grip with the ring finger while playing in the same time. That may create a great percussive effect ; that effect, in traditional folksongs is codified, even fixed in some epics songs, like «KedoKedo is a song was composed near 1865 after the war of the Moslim Fula people versus the pagan kingdom of N'Kaabu... » or «Sakho DuguSakhodougou is a song that can be dated exactly in the historical chronology. It was composed in 1880, when Malinke allied pushed back the Fula people of Niagossola to the Birgo land... », for example ; there «bulukontingo podi» holds a heavy symbolic charge, for it should imitate the epic sound of riding horses and firing sofas (cavalry hussards). |
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As soon as the style and the repertory «yeyengo » had been preeminent, kora modern touchs had been developped in the same time ; for now, many great korafoláluA kora player is called korafolá (who is able to make the kora talk) - korafolálu, plural. would usually :
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play rythmic lines more arpeggiato ; listen to Ablaye CissokoKimitang Mahamadou Cissoko nicknamed «Ablaye» Cissoko is a virtuoso korafolá hailing from Senegal... More about., for example ; |
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play melodies legato, like the celtic or classic harp ; listen to Tunde Jegede, for example ; |
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thanks to the electrification and jazz influence, they would play on a chords line and improvising in the same time, like on jazz harp ; it is typically the way of Soriba KouyateSoriba Kouyate was a very great korafolá A korafolá is a kora player in mandinka (who is able to make the kora talk) - korafolálu, plural. and a jazz composer with a touch of genius.touch ; |
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they would extend harmonic and rythmic possibilities of the kora ; great korafoláluA kora player is called korafolá (who is able to make the kora talk) - korafolálu, plural. like Toumani DiabateToumani Diabaté is the son of the legendary korafolá Sidiki Diabaté .Virtuoso korafolá, Toumani Diabate has much contributed to make known the kora all around the world and by his original meetings opened of new ways to the music. (Nago Seck)... Read more. or Soriba KouyateSoriba Kouyate was a very great korafolá A korafolá is a kora player in mandinka (who is able to make the kora talk) - korafolálu, plural. and a jazz composer with a touch of genius., would be able to widen the kora-spectrum. |
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Points of view- Evolution |
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Indeed, positive effects of the organologic evolution are obvious :
Toumani DiabateToumani Diabaté is the son of the legendary korafolá Sidiki Diabaté .Virtuoso korafolá, Toumani Diabate has much contributed to make known the kora all around the world and by his original meetings opened of new ways to the music. (Nago Seck)... Read more. evoke them on his site :
more strings widden the kora spectrum ; the kora of the korafolá A korafolá is a kora player in mandinka (who is able to make the kora talk) - korafolálu, plural. , Djeli Moussa DiawaraDjeli Moussa Diawara is a very great korafolá A korafolá is a kora player in mandinka (who is able to make the kora talk) - korafolálu, plural. virtuoso and singer. Many of his compositions are now already "standards" of West Africa folksongs repertoire... Read more. (Kora Jazz Trio) has 32 strings ! He explains : « That way, I could play lacking notes ».
better sound background when you electrify it and connecting more loop stations : «korafoláluA kora player is called korafolá (who is able to make the kora talk) - korafolálu, plural. like Ba CissokoBa Cissoko is a name of a young jčlílu band whom Ba Cissoko himself (traditional kora and lead vocal), his cousins, Seckou Kouyate (electric kora and vocals) and Kourou Kouyate (bass, bolon, and vocals). The rest of the band is variable... Read more. and his cousin Sekou Kouyate, or Senegalese Ali Boulo Santo, plug wah-wah pedal on their instrument. Toumani adds reverb effect. »
Even though « dividing Oldest versus Modern » is eternal, we know the « Modern » way always win as we discussed that, with supremacy of the yeyengo spirit ; but only one thing is important : the kora has taken advantage of the evolution, and that is the point.
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