The Guitar Improvisations of Mwenda Jean Bosco Author(s): David Rycroft Source: African Music, Vol. 2, No.

4 (1961), pp. 81-98 Published by: International Library of African Music Stable URL: http://www.jstor.org/stable/30249533 Accessed: 28/05/2010 14:41
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ilam. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

International Library of African Music is collaborating with JSTOR to digitize, preserve and extend access to African Music.

http://www.jstor.org

THE

GUITAR IMPROVISATIONS

OF MWENDA JEAN BOSCO

81

THE GUITAR IMPROVISATIONS OF MWENDA JEAN BOSCO

DAVID DAVID RYCROFT Bosco's hisMasanga-are Mwenda guitar improvised songs-particularly Jean bythis Thishasbeendue, andappreciated. tothewidecirculation known time initially, widely after one of HughTracey's of his records he became "discoveries" and,as a direct as a radio in Central ofthis, to hispopularity result andEastAfrica. personality hasbeenconfined to consideration oftwoofBosco'searliest article Thisinitial rein its corded andas a guitar works, Masanga-both guitar-accompanied songversion a guitar willbe paidto theguitar music rather Attention Bombalaka, song.2 solo--and article A later vocal line. often than tothe more ofhisworks, will provide transcriptions a comparative allofthem andattempt treatment ofhisstyle. songs, guitar first Mwenda Boscoin thestreets ofJadotville, Jean hearing reports HughTracey to his own accompaniment-in 1949.He was a Sangaspeaker, a Katanga-singing ofBantu butthewords oftheLubagroup ofhissongs arelargely languages, language a locallingua with other in Kingwana some franca) (or "CongoSwahili", borrowings, His instrument was a standard and someas yetunidentified. French, steel-strung farand widethrough of thetype marketed stores. Bosco "Spanish" guitar trading ofany tuition butwasa self-taught hadnomusical kind hadapparently ofsome guitarist he had managed to avoidbecoming a mere three chordSomehow, standing. years' his own deft and had developed strummer melodic though basically simple "finger hewasabletoexpress African which musical ideasandnotmerely those through style" oneknows toowell. oftheSpanish only guitar-which I waspresent atHughTracey's lecture recital delivered tothe African Music Happily, at 1950 which he in the of in latest his from the "finds" presented Society Johannesburg Bosco'sguitar soloMasanga a unanimous encore from tour. provoked recording Congo ofus bought ofthediscas soonas itbecame andmany theaudience available.3 copies under theOsborn Boscowaslater to gainfirst ForhisMasanga Awards recording prize music ofthe for the best African (1952). year be the fact that hisMasanga tofame theme Notleast from Bosco'sclaims may among and colourfully was borrowed Walton included in his therecording by Sir William Festival which wascommissioned Council Overture, bythe Johannesburg City Johannesburg 1956. theJohannesburg for Festival, I gather evidence that Boscois no longer in hisnative From but hearsay Jadotville eastwards andnowpossibly livesin Tanganyika. His name hasmoved andhismusic wellknown to almost to be surprisingly Eastor Central seem African onemeets every some andonehopes tohave time more inLondon definite news ofhispresent nowadays left Africa andwelfare. sometenyears whereabouts never myself Having ago I regret to in been able meet him person. having
1As recorded andpublished later byGallotone. originally byHughTracey,
discs:' Originally issued on thefollowing Gallotone GB 1700T (alsosubsequently on Decca1170& 1171(LP) in the "Music of Africa"series); song): (guitar Masanga solo): GB 1586T; Masanga (guitar GB 1588T. (Thelasttwohavenot, beenre-issued). to myknowledge, Bombalaka: a Gallotone GB 1586 T.

82

AFRICAN

MUSIC

SOCIETY

JOURNAL

his tuning, who any guitarist Regarding tries which fromthetranscriptions playing thisarticle confirm will,I think, accompany that Bosco has indeed used the standard E B G D A E (descending). tuning: Spanish To raise guitarpitchto a keywhichsuits his vocal rangewithouthavingto depart fromhis chosenfingering sequence,Bosco device has resorted to the time-honoured of tyinga pencil,in lieu of a ready-made at thefifth acrossthefingerboard capotasta, thusraising theactualpitch fret, bya fourth -to C major for Masanga,F major for This pointis confirmed by the Bombalaka. ofBosco playing hisinstrument. photograph whether I wasfor a longtime intwominds to transcribe Bosco's musicat actualpitch, Mwenda Bosco. Jean ofnon-guitarists, forthebenefit or to transdecidedto do, as if pose it as I have finally for a "transposing instrument", makingit farmore readablefor the guitar, writing withcapotastaat the fifth whichshouldof coursebe played,as originally, fret.4 to be discussed in each of the themostinterestOf theguitar part pieces here:perhaps is the organicunity froma fingering rather of its variations, thana paper ing feature constant a of view. "cycle of operations"in the left By maintaining roughly point metrical band whichis feltas the "bearings"of an underlying whether or scheme, notitsmainbeatsreceiveaccentuation (but withwhichthebar linesin mytranscripBosco chooses in trulyAfricanfashionto phrase his melodies, tions correspond), he wishes with to these and wherever his notes, regard placehisaccents "bearings" group metrical his underlying -often skilfully schemeforas manyas six or more disguising barsat one stretch solo, bar 27 et seq.,) or juggling (see Masanga by cross-accentuation witha doublecross-rhythm (as in bar 51 et seq.,). features of Bosco's instrumental and metrical The rhythmic technique may prove of standardised in thelightof Kirby'sclaimsas to theimportance interesting especially drummers technique"by whichpolyrhytbmic Jones's "off-hand fingering-patterns;5 a commonstressed mainbeat;8 apart-without consistently keep together-orrather, characteristics" of Brandel'sAfrican "African "hemiola";7and of courseWaterman's of melodicaccents"8. I havemyself earlier sense"and "off-beat a "metronome phrasing in song, "cadential"use of rhythmic "discordand touchedupon phrasedisplacement of "real" as against"successive"hemiola.9 concord",and examples and unselfconscious of a youngman'sfree is obviously an example ThoughMasanga theme withits roughground-bass at improvisation, based upon an initial experiments does standcomparison off-beat withsome and someinner notes,thepiecenevertheless form usedbyall our majorcomposers oftheaspectsof theEuropeanair-and-variations affinities fromthe 16thto the 19thcentury. An Indiancolleagueof mineclaimsto find but thatis another between story. technique, Masangaand Indiansitarimprovisation
SI am indebtedto the lutenistDesmond Dupre for helpingme to make my mind up on this point. With apologies to non-guitarwho may,I hope, be able to get the feelof his stylefrom I thinkBosco's musiccan be fully onlyby guitarists appreciated playingreaders, and was able to supply One playerI know, AndrewTracey,had in factgot the feel of it by car, fromthe recordings, the transcriptions. instrument is a common ethnomusicological on the accuracyof my transcriptions. valuable comments Learningto play the performer's a distinct of the is in this case the fieldtechniqueand advantage. guitar universality 6 "The method instruments of theBushmen thatone cause at leastof primitive of some oftherudimentary of fingering stringed suggests and hintsat a physiologicalbasis for certainaspectsof musical of fingering patterns, design in music may be sought in the alternation form".-P.R. Kirby: "PrimitiveMusic", in: The New Crove's Dictionary of Music and Musicians, p.926. 6 A. M. Jones: Music Society,1952. Icila Dance Old Style",African "7The 'Rose Brandel:"AfricanHemiola Style",Ethnomursicology, 3.3., 1959. of the Americas"in: Arculturation in theAmericas, on the Music "African Influence R. Waterman: Chicago, 1952, p. 211 et seq. 8 9 D. Rycroft: "Tribal Styleand Free Expression",African Music,1.1., 1954, pp. 23-24.

THE

GUITAR IMPROVISATIONS

OF MWENDA JEAN BOSCO

83

Bosco's Variations of unity in diversity is well maintained in theMasanga The basicthread Improvisations whatperhapsamounts means,elsewhere solo), sometimes by familiar (guitar through to Tonic harmony to pure "Africanisms". Constantreturn everytwo bars-which to Westerners monotonous-seems somehowto be mightexpect prove unbearably relievedby an abundanceof melodic,and particularly adequately rhythmic variety. like interlocking Severalfamiliar thirds standout, but theseare figurations sequential alterations in their relieved and by rovingaccenbyunexpected duple/triple grouping, tuation. As further melodicmaterial fordevelopment, boththeground-bass phraseand in the otherseparateinnerfigures, feature later as statement, insignificant original formoreemphatic and elaboration. treatment subjects unstressed are latergivenaccentuation These initially and prominence latent, figures so thatapparently new phrasesemergewhichdisguisein one or othernew way the rootedin a cycleof fingering metrical scheme,whichitself, underlying operations, of the first remains constant Note the relationship bass solo (Masanga throughout. to their solo, bars27 to 33) to thebass and inner partsofbars3 and 4 or,moreclosely, thisbass solo theestablished restatement in bars 91-92.Throughout fingering pattern altered thedeliberate shift ofaccentuation. is little despite In thesecondbass solo (bars37 to 48) theinteresting alternation of 2- and 3-quaver of a fuller earlier is in the line,now applied groupings groups exploitation uppermelody farfrom thegroundbass and its variants. to bass noteswhichdo not depart It should be notedthattheTonic resolution stillkeepsits proper beat of place here,on thefirst other bar. every It is perhapsover-harsh to dismissthe melodicfiguration as "familiar". Sequences In theMasanga have indeedhad honourable in history. solo, thestepfigure patronage F sharp-D-E-C have siredthestaircase (actualB-G-A-F)of bars 1 to 2 maylegitimately ofbars2 to 3 therepeated in bars6 to 7, and thescaledescent scalesof 10 to 11. These melodicsnakesand laddersare laterreplacedby see-sawsand swingsforthebass (21 low duplesand triples to 33), assorted (37 to 48) and chordal ups and downs(51 to 57),

which thepackis reshuffled. after ofsuch inBombalaka too.Theshort Useis made melodic common techniques phrase
to bothvoice and guitar bar21 comesas no sudden from innovation. Its rootslie in the

offbeat F G-AG ofbar4 intheguitar noticeable introduction hardly figure (recurring four bars Theconsistently offbeat bassnotes ofBombalaka arean odd thereafter). every in noneofhis other Andrew feature, pieces. repeated Tracey questioned mybarring butsubsequently it.To barthem with on thebeatwould throw theentire here, agreed would be far outofkeeping more vocallineoffbeat with all Bosco's which bya quaver, these bassnotes to thetreble other notes which Besides, harmonically songs. belong them rather those which follow. than precede in someof thetribal schemes RootsforBosco'smetrical musicof maybe found Two dance-songs on Gallotone recorded GB. 1581T, are byLuba people, Katanga. a short with reiterated mbira instrumental, two-part predominantly phrase, polyrhythmic andanexactly Theunderlying rhythmic drumming, repeated phrase provided byrattles. in an 8-quaver scheme seems to consist frame metrical within which thegrouping of of and distribution accents is altered. It is figures rhythmic frequently precisely uponthis thatMasanga is based.10 framework typeof metrical
suchas thosejustmentioned do not display Tribalgroupperformances theseeds of Bosco's melodicinventiveness, however.Exact melodicrepetition seemsto be widely It is in suchprivate solo musicas African tolerated. from playing, many mbira quarters,
20Other oftraditional Lubamusic areto befound on "AMA"TR-20, examples 25,35,39,40 and47, in the International Library "SoundofAfrica" Ed. series. Music's ofAfrican

84

AFRICAN

MUSIC SOCIETY

JOURNAL

intoprominencet offbeat an earlier thattrick ofbringing finds hatone quiteoften figure as a "secondsubject"as Bosco choosesto do. kindsare to be foundvariously of different instruments stringed Simpleindigenous used by solo singers are instruments tribes. Such distributed commonly amongCongo Bosco had directexwhether I am unableto say, however, for self-accompaniment. of anyof these.In song accompaniments playedon themusicalbow, whichis perience a typical and in Southern Northern the eastern in used Africa, Rhodesia, Congo, widely withvarying ofreiterated seemsto be theplaying feature grouping duple/triple quavers, This is of course a the piece withoutintermission."1 and accentuation, throughout it maybe coincidental. feature in Bosco's music,though noticeable

Town Influence. he shows ofthecharacinJadotville, born ornotBoscowasactually Whether many a tribal boundup within than one whois stillclosely rather teristics of a townsman his of his mixed The something certainly suggests being songlyrics language society. andmust inJadotville as a clerk he wasemployed In 1949it seems ofa cosmopolitan. hewillhavebeenopento a As a townsman education. formal havehadsome therefore records tuition. musical no direct even influences ofmusical Radio, ifhereceived variety in this untouched oftheworld leavelittle andfilms respect. today lifein oftown arenowadays ofhybrid musical varieties Numerous typical practice from Westernisation. have suffered and vernacular heavily Africa, styles particularly song to non-African in Bosco'ssongs Vocalmelody ears, seems, byfartheleastdistinctive an little from to havedrawn he seems Forhissongmelodies ofhismusic. feature very of our less some to have but rather African worthy wholeheartedly, adopted, heritage cliches. musical A common is altogether different. to suggest that theeffect I venture ears On African and school as also of church and Southern feature of townsongsin Central Africa, ofa theuncritical callspeech-tone onemight is what acceptance emancipation: music, musical conventions. tribal reacts which freedom melodic new-found against apparent hastraditionally tone AllBantu melody Swahili), song (except languages being languages this from andfall. rise orlessso,with today conformed, Departure speech-tone strictly Bosco'ssongs as a novelandprogressive welcomed to be widely seems experience.12 Swahili rather than of(non-tonal) ofa form andhischoice this within fall category clearly considerations makes his Sangamother-tongue entirely unnecessary. speech-tone line melodic anda generally Boscousesshort On theother hand, descending phrases andgimmicks tricks ifany ofthe few andintroduces aretypically which African, rhythmic is largely His vocalrhythmic ofhistime. music to Western common phrasing popular on the This interest created to the contrast in and guitar. even, rhythmic sharp regular area music from that oftribal In the few stem from tribal infact examples practice. may with vocal in the I havebeenableto hear, which line, contrasting rhythmic regularity The vocaland to be common.a3 in theaccompaniment, subtleties appears rhythmic a common show African andmany ofhisother ofBombalaka instrumental songs phrases or confined to Africa-of it is not cyclic non-finality perpetual characteristic-though theendofeach cadence oftheWestern a conclusive than Rather motion. type, reaching dance as in theold English ofanother thereturn to demand seems beginning, phrase tune, Dargason.
D. Rycroft op.cit. as For further lighton thispoint see: Folk Music Council, and non-African "AfricanMusic in Johannesburg-African XI, Features", David Rycroft: Journal of theInternational 1959, pp. 25-30. more a 1112 T. This of GB and 1581 GB complexaccompaniment, against rhythmically T, practice "straight"singing, 1a Gallotone wide use is made of off-beat the opposite of what occursin the farsouth.Among the Xhosa of the EasternCape in particular, is directly offthe beat of a "straight"clap or step (See: D. Rycroft vocal phrasingand of smallerdurationalshifts op. cit. 2).
11 See:

THE

GUITAR IMPROVISATIONS

OF MWENDA JEAN BOSCO

85

In his guitarplaying,Bosco's simple harmonicprogressions sometimes suggest but thisis not alwaysso. The use of chordalprogressions familiar Western patterns as mereimitation. dismissed In many casesthisis certainly truebut is often byAfricans I wouldendorse of tribal music from various Blacksomeexperience from quarters John oftonality-contrast-which he refers to as "root-progresforms ing's claimthat simple and thatharmonic be sion"- are widespread cannot in indigenous music, progression as wholly unAfrican.14 regarded solo largely avoids theinexorable Tonicears,Bosco's Masanga HappilyforWestern of circle.After two two-bar Tonic Subdominant-Dominant (2nd. inversion)phrases if one must,to acceptthisas minor-Dominant-Tonic, one is prepared, Supertonic But it does not remain so. In bars 10 and 11 (and an adequateground-bass. exactly of successful an he makes the experiment elsewhere) abruptD minor-B flatmajoras A minor-F-G in thetranscription). Thisis suggestive C majorsequence (transposed To earsit comesas and Western of a tribal of "root-progression".15 modality hepta-sol to mindsimilar a pleasant in the and brings particularly Europeanexperiments, surprise to a closed harmonic had been sacrificed 16th.century, beforeour melodicniceties circle. flat sevenths somethirteen sinceBosco's Masanga years performance, Today,ofcourse, and bogus folk-modality besetour ears,beingone of thechoseningredients constantly us to the of Western popularmusicsincethemiddle'50s. But thisshouldnot deafen in B flat-C comes His inventiveness of Bosco's earlier Masanga sequence experiments. So Wild16 of WilliamByrd'sThe Woods close to thedual, F-G tonality and, strangely, to theMasanga affinity Byrd'spiece "The Bells""a(bars7-8 and 15-16)bearsa distinct theme. areseemingly Whileseveral ofBosco's other songs,is dealtwithin mysecondarticle, in melodicand harmonic or hepta-sol, based on tribal progressions modality, hepta-fa Bombalaka has in thisrespect, fora Westerner. are of less interest Bombalaka Though it is notin thesameclassas Masanga. other several pointsof distinction In noneof thelatersongsdoes Bosco appearto reachor advanceupon thestandards One has theunhappy he setin Masanga. ofinventiveness and originality which suspicion heldwithin which offbeat harmonic and his early that subtlety, perhaps experimentation themthe germof an interesting idiom,have been increasingly new, African-based no doubtwiththeapproval of conformity withWestern abandoned in favour practice, would do well to consider musicians SeriousAfrican of manyof his African admirers. African whichhas a truly of as a successful artistry Masanga example twentieth-century and now has pots to boil. foundation. PerhapsBosco has made his fullcontribution on. to carry One hopes thatothers maybe inspired
translation* text with attempted ofMasanga, English Song ndiayetu Namina Mwenda Jadotville; areoff I andMwenda to Jadotville; ndiayetu Endeapitie yaBuluol our Buluol Mind you passby street, babaBoscoanakwenda; Endeamwambie Gooff andtell that 'baba'Bosco he'soff; Goandtellthat child Bayeke, ofthe

mtoto Endaumwambie ("end 'omwambie") yaBayeke, yule

31John "Problems ofPitch, andHarmony . . ." African Pattern 2.2.,1959, p. 23. Blacking: Mwuic, from 16Inbow accompaniments to solo songs, descent centre" occurs, affording the"tonal commonly temporary bya whole-tone contrast inBlacking's 1). sense). op.cit. tonality (See:D. Rycroft (root-progression & Hartel, No. 67. 1897, "t The Breitkopf VirgimalBook, Filrvilliam 17 Ibid. No. 69. andMnkabe Mama ngsareon (GB 1789)(All record! (GN 1781): Notably: (GB 1728);Tambala Moja(GB 1586T); Mwaml Kilio-e a1

Gallotone).

and Mr. Joel Mbundu. *For assistancewiththe translation I am indebtedto mycolleaguesDr. W. Whiteley

86

AFRICAN

MUSIC SOCIETY

JOURNAL

Enda umwambiemwenyesingo ya upanga; Go andtellhim (?) long-necked (?) chap; Enda umwambiebaba Bosco wa Bayeke. Go andtell'baba' BoscooftheBayeke. O ilunyawee, kasiongowetu; Nami na Mwenda ndia yetuya Bayeke; I andMwenda are off to theBayeke; Uende umwambieyule Bosco wa Bayeke; Go andtellthatBosco,theMuyeke; Uende umwambieyule singo ya upanga; Go andtellthatlong-necked (?) chap, Kanamuke kasipo na bwana tumba A girlwithout herman Ni kama nkingayasipo na lapeo. a lamp. without Is likea bicycle Na ninyimvwala mavayananyimvwala sheevula. and Andyou're (clothes?) (?French: chevelu-long-haired?) wearing wearing you're Uende mwambiebaba Bosco wa Bayeke! Go andtell'baba' BoscotheMuyeke/ Uende mwambieyule mupigawa za(n)zel Go andtellthat guitar-player!

(?)

THE

GUITAR IMPROVISATIONS

OF MWENDA JEAN BOSCO

87

88

N.M.

SA S A N G A - guitar improvisationa (as recorded on GALLOTONEGB 1586T)

Mwenda Jean Bosco (Transcribed by David Rycroft)

a~10

Music." ofAfrican Library Intemrnatonl "Copyright,

88
(Mara.a9oa,)

AFRICAN

MUSIC

SOCIETY

JOURNAL

International "Copyright, Libraryof AfricanMusic."

3) taa Q

THE

GUITAR IMPROVISATIONS

OF MWENDA JEAN BOSCO

89

"'Copyright, Intrmtional

L~ibtm-yof African Miusic."

90

AFRICAN

MUSIC SOCIETY

JOURNAL

l-.I

ofAfrican Intemational Music." "Copyright, Library

THE

GUITAR IMPROVISATIONS

OF MWENI)A JEAN BOSCO

91

w 128

IW.H.

M AS AN GA (Guitar song version recorded on Gallotone GB 1700 and on. Decca LF 1170 & 1171 (LP)

Mwenda Jean Bosco (Transcribed by David Rycroft)

(Capotasta

fitted

at fifth

fret,

i.e.

sounding

one fourth higher

than written)

Vocal

(transposed

in keeping

with ruitar notation,

i.e.

should

sound

one fifth lower)

Na-mi na Myenda ndia 9 Guitar

yetu Jadot-vil-le,

Ende-a

pi-ti-e

ndi-a

yetu ya Bu-

09

20

Vocal

End'umambi

-e

mtoto yule ya Bayeke,

Ends

uhamhbie4

mwenye

* Owing to the frequency with which changes are introduced in Abe grouping and accentuation of notes within the 8- quaver bar measure, an all-embrauing 8 time signature has been shown here.

International ofAfrican Music." "Copyright, Library

92

AFRICAN

MUSIC

SOCIETY

JOURNAL

(GB 1700 Masanga - 2)

S-bl-e 26

baba Bosco

wa Ba-ye-ke. 27 28 29

Guitar (

33

S,1
I>>>

w -

g.-.-.a

a-

Vc

S-,

xaao-ngo*

w -

tu.

International of AfricanMusic." "Copyright, Library

THE GUITAR IMPROVISATIONS

OF

JEAN BOSCO VMWENDA

93

(GB 1700 Masanga - 3)

Nami na 50 I51

Mwenda ndia 52

yetu ye Bayeke, 53

Uende

simile r54-57) (Guitar

58Gu

60

61

kinga

yasi-po

na

lape-

o.

66

67

68

89

International "Copyright, Libraryof AfricanMusic."

94

AFRICAN

MUSIC

SOCIETY

JOURNAL

(GB 1700 Masanga - 4)

Na ninyi a.vala saeevula,

mavaya, mvwala Na ninyi

86

87

88

89

Guitar

Music." International "Copyright, Libraryof African

THE GUITAR IMPROVISATIONS

OF MWENDA JEAN BOSCO

95

S146 M.M. Guitar

(Gallotone

GB.1588T)

Mvenda Joan Bosco (Transcribed by David Rycroft)

[Capotasta The vocal

sounding one fourth higher than written(key F). fitted at the fifth fret, i.e. line has been transposed in accordances actual pitch should be one fifth lower.]

Vocal

Marie

Jo -

s;

na

kwambi-a

ka - ye

bvana

ya -

agu,

_Jnitar
S111
12

Vocal

International "Copyright, Libraryof AfricanMusic."

96

AFRICAN

MUSIC SOCIETY

JOURNAL

(Bombalaka - 2)

29
S

Bo-

aba-la-ka

tumba

si

ki-le-ma

81
Umba

kiza

rigi

yo

tumba;

International Music." "Copyright, Libraryof African

THE

GUITAR

IMPROVISATIONS

OF

MWENDA

JEAN

BOSCO

97

(Boabalaka

- 8)

57

58

Bo -mbalaks

mss-ka, Bomba - la-ks,

59

60

Bo - abalaka,

ocal

62

63 Bomba-la-ka, St kilems;

64

B Bo - mbalaka,

Guitar

A%-I

ocal

-Ii

o-

S0 7:

MarJe

s. 78

wa - kvonda na -

ye,aira-ku-ta

na -

ye,

84 '8

Ma-rio Jo,

,1

Ir

A Ma-tris

Jo -

Marie Jo -

ea,k

Marie

Jo -

so

mt-a,.

Jo -

Music." International "Copyright, Libraryof African

98

AFRICAN

MUSIC

SOCIETY

JOURNAL

(Bombalaka - 4)

S 85
0.

o,

Jo

t a

88

O,

Jo

0,

Boa

co b-ba,

Boa-

87

88
1

u -

0 5itI

-co ba-ba; 89 91 92

93

Bomba-la-kas,

94

Si ki-le-ma, IRiza

rigi o,

98

kambotumba. Nja mwa

97

98

'Copyright,International Libraryof AfricanMusic.'