November 15, 2006
The Positive Side of Mark's Rule of Thumb

Yesterday we learned about Mark's Rule of Thumb. Today, we take another look at what that means in terms of playing harmonies.

The tablature below shows us four different sets of intervals that pop out of the Rule of Thumb.

In measures 1 and 2, we are making the interval of the 4th. A 4th is an upside-down 5th (i.e., if you raise the lower note up an octave, you have a 5th interval - try it). 4ths sound fine, but not as pleasing as 3rds (adjacent notes).

In measures 3 and 4, we are making the interval of the 6th. 6ths are upside-down 3rds. Again, take one of those intervals and move the lower note up an octave to the same named note, but on the other side of the kalimba and, voila, now you're playing 3rds. You should find the ladder of 6ths to be very pleasing.

In measures 5 and 6, we are making octaves, or 8ths. These sound powerful, because we are playing the same note name, twice! They are less beautiful and less interesting than the 4ths or the 6ths.

And in measures 7 and 8, we are making 10ths. By now, you see the pattern: we kept lowering the lower of the two notes, and we made 4ths, 6ths, 8ths, and now 10ths. Of course, we ran out of kalimba in the process, as the first note does not have a harmony.

10ths are also 3rds. If you raise the lower note an octave, you get a 3rd, but a "right side up" 3rd, as opposed to an upside down 3rd, which is what a 6th is.

So, how might this instruction be used by you, the blossoming kalimba player? Any melody you play with single tines can EASILY be harmonized with by playing on the opposite side of the kalimba using 4ths, or 6ths, or 8ths, or 10ths. Just follow Mark's Rule of Thumb, and your body will just do it without even knowing what it is doing.