1976-03, Dulcimer Players News Vol. 2 No. 3 by Dulcimer Players News

THE DULCIMER PLAYERS NEWS

$1.00 QUARTERl Y

YOL.2. NO.3

PEOPLE SHARING INFORMATION ABOUT DULCrME:RS AND THEm. MUSIC

1976 by 'the Dul.o1mer I'l.qere •• wa

nea.e address all oorreapondenoe t.o. THE DULCD(ER PJ...ABRB lIDS P.O. BOX 157 FRONT ROYAL, VlRGINU 22630 x.dal~

Maeon-MaoBe11 . . . a1atant Ed1t.or --------

~111p

.". C~ D.P.lI. B.\CI[ ISSUES STILL AVAILABLE

Volu.. 1, Hu:.ber Volu.e 1, Humber Vol~ 1, Buaber Volu.e 2, lCuaber VolUJ1l1e 2, Number Volu.- 2, Nuaber

1975~

Jul.7- A ug.

.o..

6 - Sept.-Oct.. 1975 7 -~c. 1975 1 W1nt.er 1976 2

8pr1ng __r

MaBon.

~t.or

....

back 1a.uea 11.00 .ach plua 25¢ poatage &: handling

1976 1976

Onl, t.he repr1nta or _aJor art1cl•• are available rroa the rlrat. rour D.P.H. t ••u •• baok 1n our early day. or 1975. 'rh••• reprint.. are'

D.P.N. D.P.K • D.P.M. D.P.Jf • D •.P.N. D.P.lI.

D.1".H. D.~.lI.

D.P._ •

"Tho .. Veraat.Ue 'Ext.r&' Fret..- Vol. 1. No '. 1 "Dul.o1aer n&,1ng T.chn1ques, Beat1n8.· Vol. ). No.2 "'!'he ¥era.tl1e )Uxolyd1an. Mode· Vol. 1. No. 2 ·Dul.c1...JDera in t.h. Sa.1.t.haon1a.n Col1ect,l.on" Vol. 1. No. 4·n&,1ng t.h. Du1c~r· Vol. 1 No • • .~ St.yle or Play1ng Dul.c1mer A (Holly Tannen) Vol . 1. No.4 "Dul.c1aer D1acography" ( .Dul.c~r B1b11ography· Jtept. up to dat.e v/aourcea) ·Ol.d !toot.. &: Ne", Root. ... (Roger Hlcholaon) Vol. 1, No • .-

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ua 4.t'ray larse THANItS po.t.age 1! bUl w1t.h help your ordera or our quer1... our back la.ue8 11st.e4 above are now get.t.i..n6 aoaree. ~ ~n t.hey run we w111 be orr.r~6 repr1nt._ or ~.1r major content.. eo that ne", re~r. w111 alwaya ha.. a.al1able a ooaplete oollect1on or the __ .lOr art1cl•• appearing, in D.P.lf. baok t.o our beg.1nning,. SUBSCRrPTICti BLA!lI[

BACK PAGE

•• C. . . . . . . . . . . . . . . . . . . . . . . . . .. . DEAD~INli:

D.P.N. 1 ••u.. aN usually malle on 4ay or t.he montb ror V'h1.oh that 1 ••\18 'a t.ena begins. The aanuaor1pt .ooPY. and advert18ing 4ea41ine ror eaoh 1saue rAlls on the ~ or t.he month pr10r to pub11cat1on1.e. Septeabar 10th ror our upcom.1 ng FaIT 1aaue and Dece.bar 10th ror our W~t.r 1aaue. et.o.

D. P. N.

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FULL pAfJ£ 1/2 pAfJ£ 20 PHarOS ElCrRA 1/4 PAiZ 10 BLACI[ • WB1Tlt CAl4ERI. RE£DY COPY PI.EAllE 1/8 plrJJE 5 (about. bua1ne a. oard .1ze) We w111 'be happy t.o prepare an. ad. ror you (FRE.i:) 1t' you w111 Juat. aend

al0D.6 the 1n.t'oraat.1.on wh.1.ch you woul.d l1b to include. Your support. 18 appreclatAd! SUIFORi OUR A.DVERrI.SERS •

THEY ARE OOOD FOLKS

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THE FEEDBACK COVD STORY

TMe 1.sue fa oover phot.o int.roduce. t.he Dul.c~r n.,..ra He..,a Edit.or an.4 A.•• iat.ant. E4.1t.or. J'h.11. HaBon and Maddie MaBon-MacKall. who "ere married on June 26t.h. 1.976 and who ..,111 nov be Joint.l.,. O&rrJ'in6 on 'the D.P.N. dut.1•• :Croa t.he1r n.'" he. . at. Happy Creak Fa.l"1ll in t.ha beaut,1.1'ul. B1ue Rids- KolDlt.aln au4 SMnandoah V&]'l..,. area ot' Horthy.etArn V1.rg.1.nla. The phot.o ",a. taken b,. Don DePoy. Prealden't. of' S1Q"1.1n8 Racord Co., and our t.hank. are v&rml.,. e xtended t.o h1..Jra :Cor prov141n6 1. t. :tor ua . ~

D.P.N . ADDRESS EFFi:CTm

!!lIli Il!n

ISSUE

Because of' t.he E4.1.t.or1. recent. ma.r rlage and mo . . 'to .. new he . . in Virginia , t.he J).:P . K. again haa to announce a ne", addre... Th1a w111. be a permanent. one 80 &1.1. oorrespondence should noW be addreaaed t.o l THE DULCIMER PLAYERS NEWS P.O. BOX 157 FRONT ROYAL VD!GINIA 226}O

(70~) 6~5-}8U

INTJ!QDUCINO Till: D.P.N. ASSISTANT EDITOR Mad_1m_ Maaou-Maclfe1.1 18 nov undert.ak1n8, the t.a.k. or Asslet.ant. .EcU.tor ot' the D.P.N . Raader& are aure t.o rind her ••• 1at-ancB in p1&nn1n8 and prepar1ng :t'uture D.I'.H. 1s_ues 'to be a moat. valuable contr1bution. and one vh.1.ob i_ oertain to resu1t. 1n bet.ter l.sues and a more et't'loient. handling ot' the t.houeand and one det.al1_ Wh1.ch 60 towards the preparAt.lon ot' each 1e8,.. and it.a aubMquent. oorreapondence load . S.a1dea her t.ask. a_ a D.P.N •••• 1.t.ant.. Madd1e 1. a t'u11-t.1_ t'o1)ta1..nger and mue1c1an Who pert'onaa 8U n1ght.a w.elly dur1.n.g the eummer season at Sk;yland Lodge in Shenandoah lIatlonal Park. V1rgin1.. Any D.P.N. readera who a1E5ht. be ~lann1ng a v1_1 t 1.0 the Park are cert.a1nl.y urged to UlLe in one ot' 8d41e • unt'orget.t.able per1'ormanc•• whlch cent.er around a land and people wh10h ahe love. deeply . Her vaat. reperto1re include. many ot' her own compoa1t.1ona .a well aa mu_1e ot' t.he Sout.hern Appalaoh1an. and Br1t.lsh Iel •• • .t..ong t.he inet..I"'WD8nt._ abe utl1lze. 1n her program_ are gul tar, mountain dul.o1.mer. hammered dul.c1.mer, and others. Maddle 'a t'ree t.1.me 1& Uken up wlt.h pert'orm.1ng engagement.a in a wlde varlet.y ot' setting. t'ram cot':reehouaea to radl0 and telev1810n appearances . Sbe baa 8180 reoorded t.hree albuaa t'or the Skyline label. "Gent.le Folk", -J"at.ohwork", and "Shenandoah Spr1nglt.

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What. you read 1n t.he D.P.N . come •• in the maln. :from you t.h e readers and we do very much enjoy corre.pond~ "'lth one and all about. du1c1mer • • Th1a t'low or communlcatlon la what makeB the D.P.N. XQYR 1nro~at.ion mag!! Ve t.ry to anBwer all mall on a .ame day as recieved baai. aB a usual policy. Ve a180 aasuae (un.1e •• told ot.he",1ae. or t'or personal mall) that 1t. .. 01( TO pu.bll.b any part. ot' any materla} or let.ters aent 1n to uS at D.P.N .. WE ~ m ~ E!!QIl l21I.:1: ~. op1n1.on. and article. conta1ned 1n the D.P.N . do not always re:flect. the peraonal. op1n10n. or the ed1tors. We reel t.hat there 1s room to print. e.aryon•• ne"s and l.eave It. to the individual. reader to deter.nine what 1e or u_ t.o h1m. or her. We alSO. ot' course. ",elcome any correct.ions or com.onent.a on our content.. W. also cont.inue to welcome 1deaa. com=ent.a, ~1cl.s, t.ips, etc . rroa any ~ader who m1sht l1ke to contribute to our pagea . We will get. t.bea all printed in t.ime.

w. bave aubaoription blank. aval1able in bul..k :for anyone Who might. be interested 10 pasa1ng them out to :fr1ends and rel10'" dulc1mer addicta . Juat write t.o UB and request them and we'd be happy to aend along a. many as you ne.d. Readera t.unl1.ng others on to D.P.N. i8 our beat. advert1.ina ot' all. Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

.AN ALBlDt r:I MOUliUDI DULCD4ER )(USIC AltD V01CE

by n . Ander.en

CUTS. :1 Knov Where I. ' . 001.ns. Houae ot' t.he R.1a1ng Slm, Frog Went. A. Court1n·. Jl'ret.t.,.. Po11,... Sb$dy Oro .... ¥bare Doe. 1t. lAad, Jobz::1n.3 1 Hard1,.. Knev ~ou. ~ P1..rat. T1.8e Ever % Sa... Your Face. on- Weav1nfS 1_ &11 Your OWn. Wh1.at.1_ DaU6ht.e Vhl.at.1e. Ve441.ng Sons. SlaV1. GUt.., In 'toM HUl._ o~ Sb.Uoh, 01.4 Joe Cl.ark, Soarl.et. R1.bbona. and Wo. .n 8 L1.berat.1.on. AVAII..A.BLE

FOR 16.00 POSTPAW FROM.

Oa .Andersen 7799 S. Turkey Creek Rd.

Morriaon. Colorado 8OIa65

. . . 1101.1.,. Tannen dropped ua a not.e recent.l.,. 1.0 1et. ua lmoW t.hat. ahe 1e 40in6 ".11. .rter • 1008 001d "1nt.er 1n .Ena1and. Sba "11.1. be amonsat. t.h8 per1'o~r8 :r•• t.ured at. t.M Cam.brl~ Fo1k F •• t.l._). t.b.1_ Swzuaer. Her ne" ad.dre •• 1n Eng1.and tor those Vho w1ah to Hep in touch w1.t.h her .1 •• Boll, ':fanneD, % MacLeod, }90 Forest. Rd •• London, Xl. 7. EnaJ,.and. • ••• I • . . . He1.10- ••• I enjoy your ne"el.et.t.er &0 muoh! When 1: get. home rroa work. rind 1t. 1n the ma1.l.box, everyt.h1ng at.op. unt,!.l I haTe re&4 1:t. a1.1 'toM vay throU8b. Thank_ f'or proy1d1.n.g auoh • grea" . . rYlc...... 1. t.eaoh re_Ua1 re&41na and W. u •• 'the duJ.o~r a 1.ot. - I t.each ~ tid• • 1.ap1.. ~D6a and uae the aongab•• t.a aa readl.na .at.erl&1. w. ' .......en atArt.ed a JUS bend, Wb..1.cb 1& great. t'or th.lr .goa and a good chanp ot' pac. t'or _ . V.ll, t.b&n.ka .ga1o. - Mary Lyon., 1.030 Hlghl.and Wood., Chape1. Hl11, II.C . . . . . . . Dear Pb.11.11p - 'II. noW make :3 a.od.l. ot' halll.lll.red d\ll.o1.aera, 9 mode1.. ot' pl.uClted du.lc1m.r. and 2 model. ot' .cbe1thol t.z. Hope your do1n.g ok. - Carl &: JuJ.1e Got.romer, Oot.z.mer St.r1.nged 1.0.1.., Rt. 2, Box 2286.&., La nata, MJ) ~6 • . . . Dear Ph1l' Jua1. a notA 1.0 Den1.lon t,ha1. I have a he_red dul.o~r t'or .al. whlch 1. at 1 •• at 1.75 year. 014. Kev10 Roth, Un1cnv111., PA l.9,75 . . . Dear Phl11 I am an '&'ppalach.1an ~clmer mak.r l.lTing in Plttsburgh teaohJ.Dfs peopl.e who liv. 10 "pov.rty area a how 1:.0 _ke thelr o\lln au.lcal. inatnaent.a under a t'ec1eral..-at..a:\.e program called CETA an4 a4ain.1.t.ered by 'the l'Wnna)'1vania Councll. on the Art. 1n H.rrl.bu..rg. It i . po.elble t.hat. other atate. can al.o apon.er auch a program. an4 1. woul,d aus,eeat. that. 1n'tere.t.ed peopl.. write t.he bureau ot' the1r stat.. gov'1. that.'. reepon.lb1. t'or adm.1nlater1n6 CET.&. (Colllp~hensiv. Educat.ional Tra1ning Act) programa in art. • • crat't.a. hopl.. can call me t'or t'urther 1n1'ormat.1on about. ~ own ca •• a.t. (.1.2) 6~9 (I'. a horrlbl. 1.1.t.er wrltAr). . '!'he P1.on •• r Cra..t't.. COlmc11 ot' K1.l.1 Run, PA ot't'.roe • du].c!.mer aa.kJ.n8, t'ro. aorat.ob cour•• durlng Jun. which I ·v. be.n teacb.1.nS t'or th. paet. t.wo ,.eara. For peopl. in the Plttabur6h are., I teaoh du].o!.aer at. th. " 1 0 Emporlum in Shadlp1d•• - Thank. much, Georg. Bald.ro . . . 141. hnn.,.lTa.a.1.a Ave •• Pltt.&'burgb., PA 152;);).. --

,22-

. . . Dear Pb.11, ••• I alii help.1ng & t'rlend bu1l.d a 4ul.ot..r and aa ua1n& cedar t'or the top (t'or t.he t'lret. t.i ... ). ArtAr the t.vo piec •• v.re sJ.ued to t.htt t'ret.board I gave 1t. t.he -)mucn. th\mlr. teat.- and lt. produced & 'tone 1.1.. . It ... not h.ard 'bero~. Xuch hlgh.r and -.ore reaonant. than .1t.her apl"\lCJ.e or waLnut (whleh are the only on•• I'v. u •• d ao t'ar). I auppo.e m&n7 peop1.. have di.covered t.hla bet'ore. but. wh.n one doea 1't t'0E 'th. t'lrat. t.laet. a1'tAr being t.01d .imply t.ha" -c.dar .ak.a good aoundboarcl. , it. ••••••• 1.r & 41._ covery ha . been made. It. germinat.e. nev .nt.hualaama and ant.1c1.pat.lon ot' • bett.er aound. D.P.N. going Quarter17 1& ok wlth.... I think I baTe a aenee or 'the a mount ot' worx ~volved. and keep1ng 1t. go1ns 1& ot' r1.r.t. prlorit.,. ••• Charlea Dudley. 11t.h St. .. Dulcim.er Co •• 11.. Z. 11t.h St •• N .. Y., N.Y. 1.000'"

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Kevin Roth Productions and Folkways Rec:oub ace proud to announcc the release of Kevins new album.

TIlE OTHER SIDE OF THE MOUNTAIN THE OTHER SIDE OF THE MOUNTAIN has ruched far beyond

every limit ever possibly concieved o( heinl played on the Mountain Dulcimer.

Includes the compositions of John Prine, Eric ODplon. David Buskin. The Cop~r Family. Bobbk ""DYne. Anne Slokes. and six oriKin41 KHlKS by Kevin Roth. Some Sones: I Looked A_ay - Hello In There - Rainbow - More Yean For The Learning • Oscar - Duncan - When I Need You Most or All.

DON'T MISS KEV I N'S FIRST ALBUM

K EVlNROTl1 ·1NGS& PLAYS

One Morning In May - There Is A Ship - Bold Piraie - The L & N Don't SlOP Here Anymore - In Tbe Good Old Colony Days - FlO\¥er. Of The Field - June Apple - Leather Winled Bat - Black Jack Davey - Soldjers Joy Rosemary Lane - GreensJeves. To order these records send check or money order ;'or $5.50 for each to: Kevin Roth Productions Box 144 ~ Please do not reprint or redistribute without permission. ContactU.s.A. dpn@dpnews.com Unionville, Po. t 9375 \JJ

••••••

TWO REVDtW8 BY RO<ER N:ICHOLSCII .leap RJ.toh1.e,

'The Dul,0'.r People' (Oak Publ1.oat.1on.)

Tv.l ... 7ear. aSO Jean IU.tch.1.. wrow 'The Du.l.o1.aer Book' (al.o publ1aM4 b7 Oak) in wh1.ob IIhe introduced wlth 10'' '' an.d .obolarah.1.p t.h,e t.ben al.,aoat. Wllmown Appalach1.au Du101..Der. Aa a re.ul. t ot' her p1on.er1n6 work t.be 1A.""-,-ot. 1. 00'" e][)Jllerleno1ng • wor1d wlde re.1.••1 a. count..1e •• people boa..,. d.1acovered 1 t.. pown:L1.aJ. t'or creat.1'" and person.l au.le .-"'ns_ )fow .lean ~ produced a sequel wb.1.ch pre.ent.. a oo.preb.enei. . .urwe7 ot' t.h1a revival in word•• aua10 and ~t.osr-pha. The t'1.rat. pa.rt. ooooens.a the _ker. and soe. back to the 1870 • "'hen auoh .-n a. &dvard Tho-.a au4 "111 51nS1eton ",ere bu1.1d1ng dul.c1.aere t'or t.he 100&1 oo--.mJ. 1;.1•• 1.n. Kent.uo1l::r. :It. then .-nt.lona t.bIt .are recent. .alter. and g.1.vw-. th.1.r .arloua 1de . . em oonatructlon _thode and cho1ce or Wood.. Part. t.vo reat.ure. a oro . . . . 0t.1ca. ot' d\1l.o.1,mer p1.a7er. rrom .Andrew Rovan S~ra an.d John Jaoob JlUe. in t.be 1950'. t.hroua,h to t.he 1.nt'luenc. ot' R1chard Farina and Hov1e M1:tobel1 .1n the 1960'. and t.hen the mo.t. recen't. e;enera't.10n or pla,..r•• &1.1 ot' Vho. ~. . eomet.hing or1ginal or lnt.erell't.ing 'to o'£'t 'er. Ot..."ler obapt.era 1nclude 1n!'orma't.10D on the European t.7p8 or du.l.o1_re .uch aa t.he French Epinet.t.e de VOllP_ and Norweg1an LansJ.eu (Whioh are al.-a be1.ng mad. and plapd aaain) I tablat.ure. or tun•• Nld aODg. 1n d11'rerent. 1I't.71e., a 118t. or ~r. and a u.eru1 b1b11ogr&pby and d1.cogra~. Th111 book cannot. be 1.00 h1gh17 recom.men4ed and ahou.l.d be po . . . . . . 4 b7 &n7one lnvolved w1t.h the duJ.ci.aar. Moreover, 1't. .tand. a. a tr1.but.e to Jean R1 't.chle and ber JD8n.7 year_ or Singing and playing t.re.d1 't.1onal. aua10. Vl£611

Huahe.r

'Pun V1th the

Du1c~er'

(~l Bay Publ.1cat1on.)

Some people .t.111 be11eve that. t.h8 du).cllD8r .1' a .ery l1.m.1t.ed 1n.t.rQ.. .nt and untortunatAl..7 t.b1. book f'u..rt..bare that. 14e. vlt.b .1ta euperr.1Q:1al. 'play in • 97' a p proach. On t.hA't. bas1. aloue :I t"ind 11. d1.t't"1CuJ.t. to reoollllll8n4. Al.thoug,h de'1sned t'or 'beginners 1't. ahows I1tt.le t.boua,h't. or '.-g.1natlon in ~ cho1ce or . . t.er1.al. and song. sucb a. ·Cookl.e. and JCuIl_l_' or 'Red RlY8r Va11.e7' and unl.~ly to 1.n'p1re muoh intereat. .&.11 the .ong. are notat.ed 1n abe __ Jor ttm1.n.g - 1nclucUng tho.e in t.be a1nor b7 - and no .nt10n 1. made of' 'the ~. whicb a1"9 the t"unc1ament.a.1 pr1nolpl. on Wh.1oh the 4u1.c1._r work •• There 1. a great deal ot" • F\m w 1 th the Dul.o 1.mer' 'to be had but. t.be 't.g.1nner cannot 40 bet.ter than 1::R.q Jean Rlt.ch.1.'. r1..rat. book (The Dul.os..-r Book), ment.1oned above. wh.1ch clearly expl'1,n. all the 1nt'ormat10n requJ.red t'or a person 'to .tart p1aying and then. 'to deve1.op b1. or her own at.71••

EBD

5th National Guitar Flat-Picking Championship Bluegrass MUSiC, Folk Arts & Crafts Festival &eptembw SEll AND H .... " IN CONCIIE"T: NMM_ .....

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• 'IOOU. OUITA" "LAT-rICKINO. 'AN.K) AND .l.UEO . . . . . . AND CONTlln• • " . 000. 00 IN TIIKM"HIU AND ~"lZE MONEY INCl.UOINO : 1 MAWTIN QUITA". 1 • • L. MOSSMAN OUITAJI. AND 1 TUT TAYl.O" TENNESSEE ..aT""rfO .ANJO

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Not The Biggest Festival But POSSibly The Best Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

. . . Hey There. ..... I am an .~._Dt..ry achool an•• le t.eacher and. u_ not.b..1ng but. "he 4u1cl_r in my t.each1.ng or pr1.marl1y t.re.dlt.lonal. music. Tbe 1I:1.da 10•• t.hia 1n.t.~nt. more t.han I can .ay and a. 1 uae it I re.l more and .ore t.hat. 1t. 1. ~ ~.trument. to u . . wit.h ohl1dren'. volceB .

It. do •• not. drovn out. t.heir Singing or creat.. . . wall. bet.w• •n t.eacher and st.udent. a. t.he plano do.. - Collow. .. . . 104y much eaaler t.han do. . . .

r;u..1t.ar and 1 . . . . . . bends read11,. &ya11abl._ t.o ahow yarious aot.lon. t.o t.he ao~~. Bu.t. .... n wit.hout. t.he •• pr&ct.lcal. .speat.a, I u_ toM dul.ct.er 1n t.he 0).••• 1"00. ",=-0&\.1" 1t. add_ an aJ..r or t.rut.h and hon •• t.o t.he t'ol.kaonga ot' Aaerloan oh.1.l.dren - and l_"a t.hem aparkl.. a. t.he,. w.re or1g1na117 int.ended.. LaTe. Floy Mark., Br1gham Tavern. Rt. 44A-RFD 5. Co"ent.ry. Conn. 062}8 .....

t.,.

. . . Dear Ph.1111P. 'Tb8.nka Cor _k..1nS t.he" mat.erlal.s a .. all.able . M.1 7th gr&dera Just. t'1nlahed t.heir 4-at.r1ng dul,cll11er. t.hJ. . . . ek: wlt.h klt.. u.1na hol.low "'a].nut. rs.nserboard, .pruce plank t.op., cot.t.onwood head plec •• (., pl.c •• ) , rell.r cut.. t.hank. t.o ~t.c~ll, .t.ringa a~t..ched t.o rinserboard at. brld6e end, .oun4board not. t.ouching block. at. head or t.al1 (a la Howl. ~t.chell). W. made our own g1ue clampe out. or clo •• t. rod (It" dowele), and • bolt.. wlt.h Wing nut.. . ene ot' our Cavorlt.e t.ool. 18 t.he St.an1.y Burtorm Shaver 21-11.5 t.o .have down t.M alde. art.er gl.ueing t.ope and bot.t.o._. I cake t.~ k~t.. ror t.he klde , an extra Job ror a t.eacher or 55 .t.r~., 75 wind_, and 250 .ocal k1de, grade. }-8. Du1c~r au.lc haa got. me w~~ It.. harp.lchord t.one and It.. rour part. hanaony po •• lbll1t.le. . Gar,. Vander Hart, Sloux Count.y St.ring Cent..r, 148 4t.b Ave. N.E •• Sloux Cent.er , Iowa 51250 . . . . . . Mr. Ma.on I I have about. 20 old Appal.aohlan du.l.cl.-ra and ha. . h&d good 1.uck runn.1l::l8: down 1n.f'Ol"ll.at.loD on t.~1.r a&kera but. I now ha. . one t.hat. la a puzz1. . )I&,.be ,.ou la10w h.1a or perh&pa eo_on• • o .... w~re who read. D.P.N. elght. know. Th. inat.ruaent. 18 a Soot.t. Odell (S.lt.haonlan) .b&pe No. 5 . It. waa mad. b,. a prore •• lonal bul1der wit.h allft.l 1 arched bal.l,. and back . The .ound hole. are unu.ual, two beinS on1.7 X . 1.noh•• :1n ellrA. Th_ peS. are bat.eh. pad and r inel,. mad. . Th.,.. 1_ • carved .agl.•• bead on t.op or the peg box, t'inel,. e.out.ed . In.lde 1_ t.hII label. E . R. J'ARI, Nov. 15, 1886. Thi. l..nat.rw.ent. 1. 1mport.a.nt. a. It. wa. made b,. a prof'"eBelonal. and 1. ol.d. Can ,.ou ~l.p . . out. on t.hl.f The old du.l.c1.aers, bot.h ha.llUD8red and Appalachian intereat. IIIIIt e:reat.l,.. IV col.l.ect.lon of'" Appalachlana include a aome or t.he old 1mportant. one. such a. JJ£. Thoma. , Greynol.ds, Dool.ey , Amburgy , Maxon, Blankenshlp, et.c . Sinee rely, H.E. Mat.heny . 1'550 Kill Av•• N . W. , Unlont.own. OhIo 44685 . . . . . . . . ~ ~b Annual. F01k F•• ~l"l or t.he Saokl.. w111 ~&ke p1ace t.hla year on Sept. . 9-11 and w11l. r.at.ure Appalacblan t.radlt.lonal muslc wlt.h workshops, 4e.on.t.r&t.los erar~ . . . n, .t.e . (oamploS rae111t.le •• For lnIo. cont.act.: Folk L~ e Center or t.he Saokl e. , 1'.0. Box 8 , Co.by , Tenn • .,7722 . . . . . .. . . .. . . . . . . Bonnle Carol. ba. "'rlt.toen in t.o let. u. know t.hat. the 2nd Annual Dul.clmer K.1ndred Gat.bttr1n6 "11l. be he1d Auguat. l}-l5 .. As or t.he D .·P.N . pre •• date we do not. bA ..e t.he r1nal det.all._ or where It. wUl. happen but. It. "'1.11 ba .o __bare in Colorado ror aure . Perhap. Bonnle can r Ul you in on t.he r 10al 4et.aU. ~ int.ere.ted, Bonnle Carol. Sa11na S t.ar Route. Soul.der, Colo 80}02 . '1'h1. event. wa. be1d 10 .aahington StAtAl 1a.t year at. Alexander' .-by-t.h e-Sea .

'rKIa ISSUE CIi' D.J'.lI. liAS PUT TOGETHER UNDER V£:R¥ STRAINED C~RCUK5'IA.NC£S BECAUSE CIF OUR MOVE TO VlRGntIA, SETTLING INTO A NEW HOUSE:, FI,XUG UP A NEW SHOJ', .AND MAXDlQ ~S FOR A RATtmR LARGE WEDDING . FOR 'I'HES£ fEASO~S WE HAVE HAD TO KEEP THIS ISSUE SHORT AND KAVE MUCH MATERIAL aA::"~G I:l' Tr.E:

T~KE~tm:J~X~T~~I~S!S~UE~.~~N,\E;XT THE

0..'" A.~

ISSUE ING (DUE OF OUT 18t.) WILL COSTA Bi:GINN A OCTOBER !X:.RIES WE HAVE PLA.:\ :;ZD IN

AND H~ THEY TURN OUT (NO""- HAVE A HUGHES. &RE . IN THE WORKS FOR THIS SERIES), T.A§t.A TURES~

AN ARTICLE as SRID:;~S BY :'ICK AN ARTICLE BY UNClE BOB BRY'A..-':, 1.;,.; :·:Uc:! COMING IN. "''E fLL GLT T:u.!o( ALL PRI~; ': ED IX

& OTHERS ,

TIME .

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"iitintes and "iitraditions . for IDulcinter Roger Nicholson, Jake -fa! ton & Andrew Cronshaw

LER 2094_

monesuch for IDulcinter ROl!:er Nicholson

( l~AIIIUc~ ) LER 3034

Available ÂŁrom R?under Records, 186 Will ow Avenue, Sommerville , Mass . 02 14 A , USA or direct from 209 Rochdale Road . Greetland . Halifax. W . Yorks . HX4 8JE.

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Eli )&F ReCORD )oLe) ) WE ARE PROUD TO OFFER n-rE FINEST, MOST EFFIOENT MAlt. ORDEK SDtVlCE for coll«,o,.. 0/

Ilulrw. IY TmIJ aM trMitjee'l ...... hIk lail

Folkw~ya F\8J.52 JEAN RITCHIE : The Appalachbn DuJd_ · IntuuctionaJ and music ... $4 .99 Simrnons DlP1UTHE5lMMONS FAMrLY : StOrM Count ry DuIdawr - Solo and dun dukirnn" .... $4 .99 Folk Lepqo FS129 THE MOUNTAIN OULClMER·HOWTO MAKE IT 6; PLAY IT - w . 50 pqe book . 55.49 Arso 20AlOC ROGER NlotOLSON : The C-tlt 5ot.lNI of ~ o.dd_ - &autilul hutnunenlaJ..ImptS6.05 Skyli~ 00102 OULClMER-OLOT1M£. TRADmONAL MUSIC - Ralph lee Smith w . ~ 14. 99 Folkways fG357l PAUL CLA YTON :()uI.cbner 50ftpand Sob - 21.,-,' CUll . 54.99 Front Kall FHROl Bil l SPENCE: The .....- . N Dukhnu - with hnninp AU Strina Band . $4 .99 t.e.dforJ034 ROCER NICHOLSON : NonHUCh fOt" Duld mcr - Be.autifuJ -lOme vocals -Import .... S5.75 Chante Du Mondt: lDX 74536 JEAN.LOUP 8ALY : L "EpIndle On Vcwca (European duJclmn')-lmport . 56.75 Audicom •. (LA ANDERSON - AM ~ playw and ~ f ..... CoIondo .••...... _ •••••••. _•• 55.49 Padfic c:..c:.de 7026 JEAN RITOfJE AT HOME - Fine _ reconIinp - with booItJc.t ••••••• ••• $4..99 County 134 n-tERU55ELfAMD..Y : OWn-O ' ' _Sc:tund. fro- ~ M . ' '" __ .•••••••• _" . $4...50 Peaor:abM: 4 THE HAMMEltW • PLUCKEDOULCIMERS - fine f'Kftlt IIidea by West VirplJl artist •. SA .99 Round 4054 JAY ROUND .. FRIENDS: "I"M ~ 0Wc::l- Album ...••••......• , .•.•..•. 54.99 RoundS64 JAY ROUND WITH THEWIl.LIAMS FAMILY : Columbus Stock·... 81.- .. ....... .... 54.99 Arao ZOA zt:11801J STEWART: "I"M UnIq_ Sound OfTlM PNltay · F..:iNItlnal - lmport ..• ..•. .56.43 Front Hall FHR 05 FENNJCS ALL 5TAItS : Sehl.rd..y Nf&ht At "I"M ~ - fine HCOnd album ..•. 54.99 Topic l.408OSCA.5TU: BREAKDOWN - Southan EnaJbh Country M~ duk. on _ .. 15.75 Folkways FA 2J67 KEVlN ROTH SINC5. PlAYS THE DULCIMER - finrtinclnc and mu.- ...•... 54.99 UvinaFolk LFR l00MARCARETMACARTHUR. FAMILY . T~ - . . withdukima- ..... 1.5. 49

s. ...

BOOKS The Du~ Book by)oran Rit~ - T",n'" and phlyi"l - with imtnK1:ionaI book ., ..... four and TwUlly Sonp for the Mountain Dukhn.. r by lynn McSpac:kXn DuJd_ p_pa. by Jean Ritch~ · COY..... history. manwad"',.... ~. piaylna. etc .. In s-..da OfT'lte WIld ~ by ~ Force .... Albert d'o.ct. .•. .• .. . ....... . Plus, 01 cou.... The ~ n.,..... ENw.. (54.95) and Duki_ Pia,..... NR-. (50.75) Wrif.

Dr ~

.,gif Ol4r

.Io,....t

iff NORTH UKE . PASADENA. • CAUFORNIA - 2U/79S-1091

I"r»t. . .. PlKkfng El lrtMlr.tU: 70t

lim .Ib",".

...,. -Wi t i _ ' .lm.m

JEAN'S DULCIMER SHOP P.O. Box 8, Hwy. 32 Cosby, Tenn. 37722 Specializi ng in the trad itional instruments, crafts, lore, of the Southern Appalach ians . For a stringed or wind Instrument , kit, book, record album , folk toy , or accessory-If we don't haYe it , we'll try to get 1\ f or you . Catalogue on request .

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• ...s 52." . .... $4.95 . .... SJ.95

The Mountain Dulcimer Section THE DULCIMORE AN G AO'MI AHIJtU.A.j ( "The •.outh "'ind" )

This beautlful

I T~ s h

air W& 8 written in lhe elyhle nth c entu r y by •

6 1o~

piper called Do-.haill Meirg.acb Hac Con t'.ara ( , Freckled lional Hc:NaJaara').

Aa with -oa t

aira thi s too ha s worda t h e

l rl ~h

r~r & l

y e r • • of Wh 1 Ch trana lat •• ,

" The wind s come fro- the s outhern lands . hera' Unll'; t he end o f Winter , and .ay they bring the lr.ouillers bles sings to e.aryon., 1 t touc hea on i l6 journ.,. .. .

The ti.lng i s dIf f I c u l t. t o tabulate acc urat ely but bn c ie_ IIy the flTRt beat in eac h bnr 16 lon ~.r In.n the olher6 and c an be c ou n ted. One ••• •. lwo •• thr • • • On•••••• Two •• lhr •• e tc . dec ora t.l ona can be adde d Whl Cb enhance t h e tu n e inc ludinK tri lls _ of r ~p ld h.~er-on$ and pull-otra _ three ot wn icn I have a d ded to tHt. r s .. i x , t h l.r t. e en and twenty-one . Aleo, ins tead ot eliding or h I, ""mO!rl.ng f"ro. t h e f l r ,.t rlt rl ng f"l.f"th f"ret. to tne s lxt.h fret, a s 1n 'bare one and f ive , the a trlng c~ n be slu rred up to tne higher pitc h c re.t l. ng a pipe .frect. ~eyer.l

c on ~l~ llng

Apart fro m t he . . ny J i~ s and reele t.here i e a w.alth of Iriah harp musIc which adapt a well t o t.h ~ dul CImer . Tho•• writt.en by the blind TurlouSh O 'Carolan ( 16'?(l _1?'I',(I are pI"Irtic u l .. rly tine and at a later d .. t. I hope to a u pply t ablature. for 8 0 me of t heae l.acludlns P lanxty ~ow.r. 5 1 Sh •• ~ ~ i Hor end O ' Caro lan8 Concerto. ~ ccr. _ hi Ie ; . i 1 1~ .. "~ y ou WI t n tne ...outh .,ind v h ich I h o pe you en j oy.

J r-,

6" , s o I.

0 01

r-,

+J I

,...,

,.....,

o 10

I~ o

r-,

61.

o 4-1

0 I I ,0

,...,

()

/0 I

I Z J I

/1/1,<38 .

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Dufcimer JaP[ature by Bootie Holde r In this tablature a not e ~ i s u sed o n the .eJody stri n g ( t he st r i n g nearest y ou ) and the othe r a trings are drones. ( If y o u h a ve a Howle Mitchell f ... e t on your dul ci_ r it "'lll be betwee n t re ts 6 a n d 7 and wil l be deslsn.ted • • "6; " ) .

Key of A

Tuning : A A E (-elody atring A . ba •• £) Mixolydian lIlode

c.hods

@ 91 q JJ.J J.J.Jj 7

+".,

7 9

1.J J.JJ &~T '3

® /I

/I 13 /I

.J.J.J J

113

7 q

.J .J .J .J

8 4- b b

@ I® I 7f ; J.J.J )) /I

9/ /I

7)7

II} JlI. II

® 7 7

9/ .J)..J.J 8

4- '" 6

J.J.J.J J.J)..J

9/ .1,)).1

@ 7

I ®.J..J..JJ9/ JJ.JJ c?;)

J.JJ \ ) ®

ll II

1/ 1'1 I lf

If}

.J,J.J.J

® 9 7 jJj 7

RepeoT Many t.hanka t.o Borrle Holder . Edit.or of REEL Ta:ES t.he newalett.er o f' The Aust.~ Friends of' Tradlt.lonal MuS1c. f'or permiasion t.o reprint. t.h18 dUl.cl:ner t.abl.a t.ure 1'1

ao:r:rle adda " Some people here pre i"er a dlf'f'erent. chord pe.t.t.ern

You ~ay c~an€8 w1t.h t.he Red HaIred Boy" but. t.h i s 1 8 t.he way I learned 1t. . t.he chords 11' you 11ke ••• " The address or Rael T1mes 1s : P.O. Box 48 31 . AU5t.ln. Texa s 73765 .

TURN A FRIEND ON TO D.P.N.

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BY KATHY REID This picking style uses the right hand thumb and index finge r. The index playa the bas. string only and the thumb alternates between the treble strings. The tune I use as an example is Ginny' . Go n e to Ohio. available on t h e record FIve Day. Singin9 , Vol. 1 by the Golaen RIng on the

Folk Legacy label.

TO play this tune your dulcimer should be tuned to an Ionian mode-tune the ba •• to C and 811 the treble strings to G . In th~. tuning the bass string fretted at the fourth fret should sound the .ame as the treble strings open (that is, unfretted. ) In the tablature

•

the bottom line

indicat.s the melody string or outside treble. The middle line is t h e middle string . which in this tune ia always played open. The top line i . the ba •• string_ A number on a line indicate. where your finger frets the string_ Play the notes. in order, left to right. This is an alternating style-that is, you will always play thumb finger thumb finger ... the thumb plays either a melody note on the firat string or a fill-in note on the middle string. The index alwaya plays a drone note on the bottom string. Where there i8 a treble note directly below a ba8. note bo~h should sound at the same time. The treble will be played not by the right hand thumb. but by a left hand finger either hammering on or pulling off. To hammer on, pluck the first note with the right hand thumb, then, while the atring is still vibrating, hit the second note with the left hand finger. You will always hammer on from a lower fret (or open string) to a higher fret. To pull off , start with a left hand finger down . Pluck the note with your

r~9ht hand thUMb. then, while the string i8 at~ll vibrat~n9 . pull your lett, hand f~nger sideways off the str1ng. You viII always pull off from a higher fret to a lower (or to an open string). When pull1ng off~ it ' . a good idea to have both the higher and lower flngers on at once-otherwise you will likely mute the tone when you drop the lower flngcr onto the string. In the tablat.ure hammertng on lS indica ted by a line over two notes: 0' -1. Pullinq of f 18 l.ndicatcd by a line below t\..'o notes: 4_). It might. help atabl.llZe your rlght hand to rest your rlng fInger and/or your little finger on t:~c far aIde of the fret board--but keep away from the ba •• st r ing. so you don ' t. mute it.

&"t

a • a ;

G\nI'\'1',$

1/:

. .

C..''''$ •

C; \"n~ 's

... '\.....

~O ....

3~ ~ 0

"'1'

....

S ~

'\ 0..

•

ae"'

...

}

, s""1

.. " e

G'tn -

'-6-1.1-

, !r ,

~onc.

" .. e

...

&0-

"0 :11 3

"""j

Repeat l.at 3 lines for chorus.

JilaDy t.h~. t.o ht.by Ra1d and The Nev81et.t.er or t.he "..a.rlpoa. Folk Feat. . f'ro. wbJ.ch t.his f'lne art.lcle on rlns-rplckln g t.he du1c1_r la re p rlnt.ed. The Marlpoaa Folk Feat.l.al Newalet.t.er come s out. , t.1~8 a year and 18 loaded w1t.h all aorta of' really good rolk mualc mat.erlal . It. 18 ava1lable b y a ubacr1pt.*on (13 yearly) f'rom: Mar1po.a F olk Fe at.lval-Subac r1 p t.10n a . 329 St . George st.., Su1t.e 4, Toronto, Ont.arlo, Canada, Kat.hy 1 s ala o a dul.c1mer t..ach er and her add~aa vll1 be round on t.he D. P.N. t.eachera 118t.. ADDITlmfAL VERSES. "Ginny's Gone t.o Ohlo"

(Choru8 bet.we.n e a ch verae)

2 . G1nny'. a P~t.t.7 g1rl don't you know, } . G1.nny ' . d~8.ed in 8t.rinS. a n d raga 4. Ginny'. gone done t.he lone 80me ro a d. G1.nny' a gone a""ay. Ginny '. a pre t.t.y g1rl don 't. you know, 5. O~y ' . gone vlth a tear :in her eye Ginny'. gone a .... ay. 6 . Ginny ' a gone and 1'm going t.o o

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- - By Roger N1chol..aon - -

'1'h1.. 1.a an .xper~nt.al.. pl..c. 1n t.he Jlhr,rg1an t.uning. using pure IDOdal. int.erval.e and ot.her non-modal. not..a on t.he •• cond and t.h1.rd et.r1ngB - aa .xt.~

u.eual. t.here 18 no

6i or 'B' rret. •••

Apart. t'roa Span1.ah t'1amenoo and M1.dd1_ East.ern mu.a:1o t.he phry"g..1an mode 18 extreme1y ~ aDd rew t.rad1t1onal.. t.unes .x1,at. w1.t.hin 1tB compaBa. 80 Mood 1'1.08 Ito. 2 vaa an atteillpt. to exp10re aome at' t.he pos81.bl..e aotmde. ohorda and 1:.0118 col.oura un1.qua to th1.a t.un1n6. .AJ..ao Z was tnt.erest.ed to know bow t.lw dul.o1 . . r Bounded w1thin & a1.1ght.l,. .'rant. garde t'orm.. 'l'h1.a 1dea

took shape arwr Mar1ng 8 0 _ 01&8810&1.. gui:t.ar1.at :tr1.enda p1&7in.s conte.por&r'S work. and sa..... _ tM i,ape1;.ua 1:.0 co-ord1na:t;,e and add to the ool..1.ect1on ot' nowa :I had &1..re&47 Jotted down. For AD.7O!W If'bo woul.d l.~ to tr:r th1,a ''tun.' 1.t. 18 best. to 11:. al..oW1y and 1:.0 bol..d &11 notA. and b.&rwon1oa :tor "the :tu.l.l. durat10n or t.h.e pau...... Th.1._ w1.l..1. .nab]..e the awst.&1n and o .... rtone. to bu.i.l.d up and add to ~ intended ataQapher10 .:t:t.ot~ So_ parte can .... 1.et be p1ay.4 11' the 11t.U. f'1n.ger 1e us.d .a a bar to bo1d down a1.1. three etr1nge. :Bo t.~ algnat~ 1,a gJ.ven aa the p1ece 1e very :tree in concept. 8Zld t..lw _aaurea vary f'ro. 3/4 'to 4/4 aa 1.nd1oated. What. happen.d to Mood Pleo. Ho. 11' We11, tMe was actua11y t.be \m:t1nlahed co1.1eotlOl1 of' phr& . . . Vb1.oh had ex1_ted a1..x montha prevloual.y 1n • 41 • .lolDWd .t.&W~ I hope 70U _111 :tind t.h1. 1ntereat1ng and/or enJoTab1e and that 1t. "'111 be & . . . .11 1nt.roduot1on 'to yet. NlOt.her t'1.1d of' mu.a1c Vh.1ch the dul.o1mer

pl..,.

oan &4&pt 'to.

"H/tY_H st...,&.)'

•• •

,.,"""

@''t>Of

•

S 7

;

r-,

n,l ~ 7

-".,..It

",I Ql

•

S I

• •

•

, I,

31;• •, :1 If 5

.,.

s I

•

> ......,

,....,

•

• •

r-roI

f1 ICil"

Roger N1cho1aon .,. V1otor1a Court. ~gebr1dge Ave". London, Engl.a.nd

peg

X Repeat

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7 , I

HO'NiE

M;tc~

.. 1f rID ~

1976 by

Kevin

Roth

interv1ew by Kev1n Roth

In t.hls lssue we pre_nt. t.he conc l uslon of Kevin'S l."'lt.er-"lew w1t.h Howle K~t.ch.ll .

Many t.hank. t.o bot.h for making it. possible for t.hls t.o reach

t.~.

D . P . N . readers .

KR: KMI

'lihat. are you involved ..... U.h ot.her than dulc1.mera'l Several years aeo. maybe a coupl. of yeara aft.er t.he duac~=er proJect. , Ann brought. home several books by Edear =aae, and Jean 1xon. bot.h on t.he ESP phenomenon . and I became int.ere at.ed 1n t.hat. and 'beEan Nading up on 1t.. I got. int.ereat.ed 1n whet.her or not. t.hls abilit.y exlat.. and event.ually t.ook ao.e cour . . a that claimed to e~ &nce t.he abillty - and I diacovered t.hat t.hey dld . 50 :\ow, in a kLnd of rou-PJ.d about fashIon. 1'. back t.o looklng at. t.he Du1c12er book and the pecul Iar auccea. of It.. It. intrIgue • •e t.o look at. the whole concept. ot the creat.lve ab1lIt.y. and whet.her It. can be taught. or t.ranaterred from one peraon t.o another.

ax wIfe

KR:

What. are your teellnga towards the electriC dulcl ~e r and the use of t.he duacimer by such art.lata aa Jonl Mlt.chell, The Rol1lne St.one •• and ot.her pop art1st.s who play the dulcimer in concerts. recordlne:s. etc.?

Hl4.s

I don't. t.hink I have ever heard an elect.ric dulci=er. I tend t.o have a pNJudlce about. it. and a reai.t.ance t.owards It.. and I '.a::now from experIence t.hat. a lot. of t.L=ea vhen I have a res!st.ance t.owards a t.hing I have n.ver heard 1t. 18 not. n.c.ssarily valId • • 0 I recognIse t.hl. f.el~ a. based on a non-experlenc. rat.h.r t.han an .xper1ence .

KRs

Kew about. the Idea of" get.t.ing aw.y rrom t.he t.rad1t.lonal style of" pl.ying

HMI

Do you maen t.he valid1ty of doing t.hat. k1nd of lhLng?

lCR:

Ye • •

H.M,

.... 11 . I sure had run doLng it. (l.ueht..r). )loy mu.1c.l background was ela •• le.l. and t.he cl.ssical gu~t.ar like muslc t.hat. 1 grew up wit.h as • cb1~d had BOlDe errect. on me .0 t.hat. at. one point. In t.rying t.o play dulcLDer I at.t.e.pl.d t.o emulat.e t.hat klnd of Bound . It. didn 't. bot.her me .

JtRs

Vhat. do you t.hink about. the books and record. out. on t.he dulcimer?

HMs

I enjoy t.he variet.y t.hat'. available . It. aees. t.o »8 t.hat. t.here are enough book. out for t.he variet.y ot' t. •• t.... I love books wrIt.t.en by J.an ~t.c~e ot' course. because I enjoy her .t.yl. of wrlt.ing. Th.y seem t.o be an hon.at. present.at.lon of what. she saye and are very art.icu1at.. and almoSt. poet.lc. So I l1tee t.o read her warda and I can reapond t.o he r book ••

Itlh

On t.he dul.cimer th.re i . somet.1JDea an ex1.ra eret. called t.he

t.he duaclme r?

"H-

fret..

6~ fret. or Vaa t.b. Idea of t.he .xtra. rre1. atarted here at your home?

HHI

That. 's a surpriae t.o me . I never knew about t.hat. allhough I know t.hat. wben I was build~ t.he inet.rument.. I dld decld. t.o add t.hat. fret. without. beLng int'luenc.d by anyone. BaSlcally. 1l enabl •• you t.o playa major ecale .t.arting at. t.wo d1rferent. place. on t.he 1nst.rument. , t.hu. you don't. hav. t.o re-t.un. a • •uch as It' you dlcin't. have lhe extra fret. .

IRs

Do you bav. any part1cular favorlt.e play. r s or recordlne.s1

HMJ

I t..nd t.o enjoy pract.1cally any duac1me r recording I've heard . Andrew Rowan Sunmers 1e on. of t.h. pereo~er8 ..... ~o I learn.d a lot from. and I enjoyed get.t.ing t.he feeling ot' t.he ha~onlz1ng that. he does . But. t.here are a lot of recorda now t.hat. 1 haven ' t heard . or only heard bit.a and pl.c •• of, t.hat are very Impresa1ve .

IRs

In t.alking about. t.he d1fferent. kinds or dulcimera l1ke t he 3. 4. and 5 .tr 1n~d, do you f.el t.h.re 1. a part.icular type of dulcl~er one ehould set When st.arting t.o play the du1c1.mer. anc:. doe. the 4t.h or 5t.h at.rl~ @ mak. any diff.renc.? ~

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HM ;

hard to say becbuse one selects an ~ns~rumen~ in ~erma of where one Is at musically and in terms or Ideas . & 3-str1ng i8 probably the ea&le8~ In that there are only 3 str i nÂŁs t o deal wlth . A four strlng lends ltself to ~ore compl lcated chording, so It's somewhat or a riche r sound and you have t o have a 11ttle bit or more Ideas re l ated to what notes you want to put in.

KR:

Old you f1nd it difr1cu1t to learn how to chord?

~X :

I don ' t think I chorded a~ f1rst, I think I Just played the melody aÂŁ&lnst the drcne strings. or course I played other instrument_ like guitar and banjo. BO I was aware or the 1dea or chordin~ . I began ex ~r1zentL~6 wIth seeine what notes I ' d eet by us1ng the drones for chording. and it worked out very ~ell . I~ was very easy because the finger posit10ns are not. hard to do .

KR:

Do :'ou have any Eoal.S 1n mind, like seeine: happening w1t h the dulcimers development?

a."l:

Ch well. it.'s so eXCitIng to see what people are doing _ The exper1~enta tion, t.he mUSiC , the ideas, and the fun that is coming out or 11. are far beyond anything that I would have imagined so t~at I'm enjoying wa tching what is eoing on. Di d you know any of the well known dulcimer playe r s , lI ke Ric~a rd Fa rina?

KH :

~hat's

any~hi.ng

1n pa rticu].ar

H.M:

Yep . I had talked to R1.charcl Just a little bI t.. 1 met hIm of times and remembered him as a very intere s tinâ&#x201A;Ź and warm. gentle person. '~hen I met h1.m 1. t seemS to xe 11.. ....,as in the I reme mber he ~as Just sett~ up a wood shop and was abou t struct a du1cimer. so that was berore he lea~ed to play . I that It felt good to be with him .

KR:

What other dulclmer people have you had c on tact wIth that have influenced your life &S far as du1c1mer playing 18 concerned?

KM:

Jean Ritchle I would say I s one of the few. I met her when I was in the Navy . I vislted with her one weekend while I had a few days leave, and I can re~mber being Impressed by her fame . I wasn't sure that she would accept me at the Bta~ of develOfment I was in at that polnt 10 ti ~e. but 11. turned out that that wasn t true . I kn ~w that her husband built dulcimers and so I figured 1t would be ok 1~ I ' d invlte myself 1n te~s of learn ing how to bulld a dulc1mer from him. and maybe get t o see Jean Rltchle at the same tlme.

Kn:

a couple qu iet and early 60''' . to conremember

In your stages of construction and development, what dld you f1nd the interestlng as far as development 18 concernedt

~ost

HOC :

-,.e11. it sounds kind of' funny, but the most significant thing I :found was that. there w&s no.h~ S1gn1flcant to know about . I t ~a8 not that 1 d idn't find anything Sign~flcant its Just that I dlscovered that I didn ' t have to use any partlcular shape or wood or material to bulld a successful dulc imer. As a matt?r of fact, there was one week where I was trylng out d1fferen t materialS, and 1n order to do that I created a stick with frets and str1ngs on it and I would press 11.. agaL~st the wall, the floor . OD the trash can, on the window pane and on the desk and 1 found that these objects and the se sur~ace8 eroited ama~1nslY good tone. Thls revealed t o me that even objects t~at were not deliberatly made for the pu rpose or mus ic w11l release mus ic a nyway. So that was very co~fort1ng. because you then know that most anyth1ng you use will work. It is also a li ttle hard on the ego 1f one thinks that i t Is skill t hat makes an Inst~ent sound good when anyth ing will tend to woric any .... a y.

KR:

The instrument on your l.ap has an interestlng story!

~~ :

Yeah . Just before I bul1t th~s one I had two stored in my car and was a little b1.t careless so they were sto}.en. They were covered by insurance so 1.1.. worked out r~ne. but I remember going through a short perIod ot shock a t. havL~g something stolen. then I :rea}.lzed that what I had was the ablllty to create the dul.clmer. 50. I was not necessarlly attached to the 1.nstruments themse}.ve&. but realI z ing that I had the ability to create other ones I gpt in touch wlth that part~cu1ar truth . It was rea11y great so I bui1t th1s one and It turned out. that thls had the best tone or a ll .

<6V

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What. v._ the number or that dul.e1.mer7

It. v •• nWilber 47. "&7 back there ro •• ~h'", 1.0. career. - ...... ~ the ra.ldd1_ o~ 8.7 bul1~

_IIt

ClIECXllIG

SOUND QUALrrIltB (BUJmt)

A BUI'MAS VUH RIB IIIILIDU:BB

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KR.

What do peop1e wr1te to you about1 Most 1et.t.ere I set at111 request. where to get. my book and record. Now there 18 t.h1s one on t h e Halllmer Oul.c1mer. There are, noW and then, del1gbt.t'ul. let.tera o:t thanks and det.all_ ot' the t'un that. peopl.e have had wlth t.he instrument complete vit.h photoa and at.orie. o:t what. t.hey have done and ao ~ort.h . I rea:ember a. 13 yaer 014 boy who wrote me about tbe instrument. he just. complet.ed and he had a couple ot' color photos that his :tat.her bad t.aken, eo hiB :tat.her vaa enJoy~g t.he vbole thing t.oo. There waa a lot. o:t pleasure 1n that. :tor me.

KR.

Do you th1.nk you w111 ever do another book or record 1

KK.

Not a t.he present t.1..me. but. Who's to say1 It. depends 1:t I eyer get. to t.he point. ot' having someth1.ng I w!Lnt to say, and would enjoy tM aay1.ng or stating or i t 1n a commerc1al medium.

KR.

Doea any of your ram11y have any lnvolvement w1th d\ll.cimere1

lIM.

Ye •• My w1f'e Ann playa the du].clm& r. She's been play1ng the. :tor a number ot' yeara and we learned t.o play t.he double duloimer to~t.her. The orlginal 1dea to buUd one waa to create an instrument with t.wo :tlngerboardS and two set.s ot' atrings So t.hat. I co~d put one in one t.uning and the other in another tuning so as not to have to go through t.he etrort ot' re-tunlng. But, when I bull.t. t.he rlr&t. pa. I t.hought. it. mlght. be int.erest1ng t.o put. t.he second set. ot' atrlngs and :tret.s baok to baok to t.he t'irst. so t.hat. t.wo people co~d pl.ay 'the same 1nstrument at the same t.1me. So we learned t.o play t.ogether , and Jean R1.tchle told ua one day that the 1nstrument was called & Court.~ ~clmer. Later on ve :tound out. that i t did ex18t. in t.radltion, but at the t1me I thought. ot' it. a& just. aha. hal attempt. t.o build an inst.rument. that. was a llt.t.le blt. more e:trlclent..

KR.

Are you completly removed :trom d\ll.cimer

IOU

It' 8 an occaalonal thlng . I have bu11 t. eno~ and explored enough 80 t.hat. now I am qu1~ satiat'1ed . I 8uppose it. • qulte posslbl.e that. at. aome t.ime or another 1111 have a t'lt. or d\ll.c!.mer building agaln.

ER,

And t.hat.'. what. t.he (10ta or laughter).

~or1d

bulld~1

ls vait.ing :tor - A good How1e Mit.chell Flt.

Dulcimer Kiu Dulci mer _~=_,;,_~ Folk music on . - . I s .. in boob I lUtruot't.... books lor dulcimer '" otha" folk i nSU\lmen~

....,...

1111

BILellil.

SIe••1

f:t'l 3l ~

,.2IIN1. "Ie. . . .,.1 OI'lWl'llfe

v...._

~_I

DRAWER E -DPN

MIn _ View, An.. 72560 Phone .501 -269-8639

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~a/cu/alift9

~.el tJ'/ace_enl

The use ts::f a pookat ca1cul.ator ls a dandy way to det.erm1ne t're~ p1ace~e~t . The brlds- to nut dlmenslon dlvlded by ~he magl0 number 1.059463 glves the brldge to :fret. 11. d1.menalon, and t.hat. dl1D8n8lon dlvlded by 1.05946} slvea ~he brl~e to :fret 12 dimenslon, eto. Lo~ 811 the values, olamp a meter rule on the t're~board vlt.h the or161n at t.he br1.dfse , and mark eaoh :t'ret looa~lon '111. th a sharp plck. Uae a equ~ and sharp penc11 to mark where the :freta 60 then gu.1de the :t'ret. saw wlth a ml t.er box. Dulcimer bui1dera wl11, or course, not 1.IIlp11.ment a11 the :freta bu~ rather use t.he 2-2-1-2- 2-e~c :for:a.ula and add the M6t" :fret-. B.O. Lovery 1 Lope z Lane

3~0

Key We. t, F1a.

I,y Ed Mr.~s

.Ai<Ue On $ul 9'loacinp

Co~par1ng n~ber~and 1engths by rat10s 1 s not nev, neither 18 locat~ :fre~ epao.1ne 1n relat10n to the str1ng length, but. to achieve th.18 ratio one must have the exact measurelIlen~8 f'or a t'retted 8cale. Th.1a can be t'omld by d1viding a given s~r~ length by 17.835. Bubtrac~1ng t.he answer :from the original length, dlvlde by 17.835 again and cont.inue t'or the number ot' :fret apacea needed. Onoe ~e mea8ureme~~8 are :found. d1v1de each locatlon by the atr~ length (nut to brldge) to :f1nd ~be ratl0. Be10v la a table tn-t can be used to f'1.nd t.he t'ret apac1.ng :for a du1c1m.ore str1.ne; ot' any length. The val.ues Yere cal.cul.at.ed. t'ro:!l a known t'ret apac1.ng. Once t.hi& was done the rat.l0 vo~d be ~he same for all .~r1ng lengths. Thua a~l one has to do 1& mu1t1.ply t.he ratl0 by the deSired. string length. A 26" string lengt.h i8 shown aa a sample. It is reco mmended. that. you use a calc~ator wlth a constant operat.10n aval1able as it savea tlme.

P.ATIO VALUE

FRET :HT'A.BERS (FOR DULCIME:R)

l'£ASUilEM£lIT FROM NUT

(26 M S'IRING AS EXAKPLE)

~UT

.1 0 9 08 .20623 . 25084 . 33256 . 40536 . 43976 .47024 .50000 . 55452 . 60312 .62540 . 6 6623 . 70268 .7].936 . 73512 . 75000 . 77723 . 80151 . 31264

1 2

3 4

5 5

9 10 11 12 13

13i 14 15 16 17

HO·.. TO ;.Qll

2 . 83608 5 . 36328 6 . 52184 9 .64656 10.53936 11.40776 12.22624 13.00000 14.41752 15.68112 16.26040 17.32328 19.26968 18.70336 19.11312 19.50000 20 . 20798 20 .8 3926 21.28640

5PA::INGS FROY. OTiSR

•

You ~lgh~ Just as '11811 round orr ~o 100ths, cause It' you are 1ike me you can'~ aee the others anyway .

Use a scale ~hat measure a 1n 100t.hB. or conve rt. the deolmala to 64ths. Ed. ~era 415 ~ It'tb Ave. Chula Vista, CA 92010

L~5TRU~";T5

The follOWing draW1ng shows t he relationshlp betveen used on a ~ulc1more . and t.he chromat1c Bcale. used on a It. wl11 aerve t.o graph1cally lllust.rate t.he 2-2-1~-2fret.a of the d1atonlc 1n re1at.lon t.o ~e chromat.lc. :for ine the 6! and. 13! Creta used on 80me d.ulcimores. O~;)"I;»"

~"I;a.~,

lllA,.ofrrl,C. ~.T

,~ 7

I I I.. I I ,I I I I I I )

Of S

c.UIl.""AT'C.

"I I "I i "" " 10

1>- ,l

the dlat.on1c Bca1e, guitar, banjo, .~c. etc. spac1ng betw.en each octave. 1nclud.-

;1..1

,a. u ,,'- of

...I ,.,I I »I I ~

~., ~s

30-'

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/I ~..,

~, ~1

Geo f Crey 5 1 _ho p , or The Wood--"'o r ka , P.O . Box 874 , Danv1lle . Ca l l r . 94526 , a en~

~hl£

mo.~

1n~_ r_

clipping or hie World 8 emall •• ~ dulcl~er . Geo f f adda, "I~'. for very 8:J:all ve o p1- & very " Clall t.une8 . (not.e : c&11ea~L~~

pe r8 re a d ' . 7 0 5") . M

Bea1d es crart1ng m1n1 dulciaera. Geoff 18 very muc h int-o o a lr:1nS t.he {'ul.l a1.zed version. a~ao .

.....-World's smallest m".

Geoff Blahop 0( o.JW,Ue b:.tIown .... th the ~'. -an..r. duIdmer. I nati_ ~ ....".".,. C-a. _ ~ WOOIkarvw, cruted the liny instn.Im«It, whlch ..... I ~ndI KIM . n.. "'........ dt.&kimcor I. made: with a walnuc body, . IiIJul ....--...cf. bovd Ind hal I HnaerbMrd...mich .. made with 1"OHWOOd. complete with In 1¥Or)' n...t. '!'be '''"'"' pea. hIve been tUl"tMd rrom dlcIny All the.e mlt@rill.an!thoMused In a tr adltton.l . .'dm.... The ",I"'suu....... n.nent hn been authenticated by Jotw. m . Blauer of the board fill dlredors of ltIe N . . . . . AIModatior'l 0( Mlniat"re Enthusia.ls.

ELEVENTH ST. DUlCIME~ CO . 1t1\

CUSTOM MADE

DULr:IME~5

\ l=t ( II~

EAST W" ST. NYC 1000 S

(i~·) PHONE 5B·5117

[] •

CHARlES EDUARD DUDLEY

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mmered G&. appalachian dulcimers p sa lt eries

PARk GdRTNE'f / E. Sf'14~TA ~.IITH His :J)lJU.I""~~

OHi"

04 042

",,/::z,QSItQ

MA ltV ~

ftesCiNAToR

• !ll!!:

SoVAJ"lJ

rr APPALACHIAN , DULCIMORES ~ITloNAL

CHROMATIC

AND

IRE' J1NG

INlAY / 'ov.ER1.AY CARYrfoJGJ ~VING

GVALfT.Y rNSTRUMENT5 CATALOGUE :l.5t

APPALACHIAN STRINGS

P.O. Box 1073 ATHENS, OHIO i:l5701 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

Dear Ph il.

.~. The Russian bal.alaika and the Appal.achian dul.cimer have more in common than is apparent. at f'1.rst gl.ance . They are both t.raditionally 3str~ged , and until the late 19~~ century t.he b81a1aika was diatonica11y f'retted . The ba1a1alka 1s tuned E,E,A rem~iscent of' the popu1ar D,A,A du1c1.mer t.un1...'"1S . So, why not try ba1a1sl.ka music on t.he dul.c1.mer' Be10w 1.s a du].ci.mer tab1at.ure 'for iCorobushka , a balalaika standard . "'..odal f'rett.ing presented BO~ thorny problems . The tune i8 in minor , but. t.he melody usee a raised 7th. and a major 3rd is thrown in to introduce t.he subd.-aminant. (IV) chord. Can 11. all be done without ext.ra f'ret.s? Yes, thanks to 'DAC " t.Wl1.nS,! In t.h 1 s tuning each st.ring has it.s own mode L3rd st.ring M1xolydian, 2nd st.ring Ion1an . ~nd 1st st.r1ng, or pair of' strings, Aeolian); improvisation cou1d get pretty hairy but this t.un~ seems t.o me t.be best. way t.o tack1e nonmodal music 1n minor.

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The D.P. N. Booklist The

books and pub11cations pertinent to the dulcimer w1ll all

rol1o~lng

be round highl y worthwhile and are avallable ~rom us here at the D.P.N . The

proceeds

the 8a1e or these publlcationa are used to help deC ray the coate or the DaP . N. You'll rlnd the list pretty complete aa re gards what 18 currently avallable 1n the way oC dulcimer publicatlona. i'U:AS~ ADD 25¢ POSTAGA: .OR 1 BOOK OR 50¢ FOR 2 OR H.O~ BOOKS ~ ! THAlIII.S ~!! rro~

publ1ca~lon

"'"l':-'""",,'"

by Jean Rlt.chie. The classic book about. the Mountaln

at. popu1ar proponent • • ~ each.

"DUl.CIMR PEOPLE" by Jean lUtchle .

Shou1d be a

part of every serious

dulc1mer players co l lectlon. Lots of referen ces. playing tips, hlatory. and ~uch building info rmation . .~ each. "SINGING FAMILY Of THi: CUJIJ3:a:R!.ANDS" by Jean Ri tchle. The raBc inat.ing f'irat.hand Bt.Ory of a t.radit.ional singing f'amily and t.he BOneB they sing . Over 40 Bon6B cO!Dplet.a .... ith music. i~ each. "He .... TO PLAY TH:i DULCIJI'~R" by Margaret. "lnt.erB. History, care , bnd playing st.y les f'or mounta1n dulcimer. 23 songs with dulcimer accompaniment.. i~ ea. "PLAY:rNa LEAD DULCI~Ji:R" by Dr . Richard Wilkie. Great. book fo r helpIng t.he begInnIng or interme d iate player t.o eaSIly get. ' into t.he more advanced and !nt.ereat.lng styles or chording and melody playing combinat.ions . Has very clear and det.ailed eXplanat.ions . 1i.s..5Q each. "DULClKaR PLAYEH.'S BIB~" by PhIllip Mason. Cont.aina chording, t.uning, st.rulll.21ng, pick1ng and much, much more easy to execut.e 1nl·onnat. 1on. There is a "Supplement. Book" 1ncluded which cont.ains t.he most. complete and up-t.o-dat.e dulcimer ref"erence and source material 1n print. . Extensive biblloy-aphy and diecography t.oo ! f2.a.2..5. each ..

/~:ESUCH feR DULCII'.i:R"

( i3.00) and "MUSICitS Di:LIT:£ ex DULCIMER" ('3 . 50) These t.wo books of t.ablat.ures and play ing inst.ruct.iona cont.ain t.unes rrom Rogers t.wo albums done 1n h1s greet. r1n~rpicklng style. Song- and t.uneB renee rrom t.radit.ional. original, and ~ llzsbe t.hlan. Two very wort.hwh1le books! A must. ror int.ermed1at.e or ad vanced players. by Roeer Nicholson .

~~¥T.·,·.by Albert. Gamse . ~

&tru.amlng, p1cklne, worth t.he prIce . i~

N1ce book to get. at.art.ed or easy inst.ructlo ns on chord play1ng , The Bong collect.lon & t.abla t.ures alone are

"THE MuUNTAIN DULClMAR " (riow t.o ;'iake i t and Play it.·) by Howard Mi tchell . This book cont.alns everyt.h1ng :from pert1.nent Info on bu.1ldlng your own inst.rument. to some hel~ on t.he more progressive atyles or play1ng wh1ch ext.end t.he possibilitIes or the dulcimer. .~ each.

J'FOtJR AND TWENTY" by Lynn McSpadden &: Dorot.hy French . Contalne much playing inrorxst.ion . plus 2 4 gre at. songs and ballads for mount.ain dulcimer 1n bot.h a t.ablat.ure an d regul a r mus ical notat.lon. '~each. "BRETHREN 'tilE: HAVE Y.E:TtI by )!c5pe.dden &: FrenCh. Cont.ains 30 t.radIt.ional Hymns and Carole {'or dulci me r .... ith t.unlng8 a nd chord chart.s. 'i~ each .

''FOLX SONGS OF THE SOUTHERN APPALACHIANS" by Jean Rlt.cbj.e. Not a dulo1.mer book per Be 'but. contains 77 trad1tional songs w1th worda. melody l1ne, chorda and hlstorical notes from. the heart &: memory or the a1n61n.g R1. tcMe Famlly. i.l.a.25. each. b~ )'1ary Catherine McSpadden . ch1ldren B acngs wIt.h Simple inat.ruct.lons :tor playing t.hem on the Motmtaln Dul.c1mer . .~ eaoh.

1t).'iERRll.Y STRUMs Y.OtmTADf DYLCIlU:R FOR

CHUDRE:!{tI

It. del1.ght.tul. book cont.aining 23 favor1t.e

I."FtlN WI'IH TIE DUJ..CIJ.!£RII by V.E. Hughes. Contains 38 tW1.ea in a s1.ap1e Btyl.e to he1p you get. started p1aylng dU1c1mer. Lota at' :tun. ,2.00 each. @ BOOK LIST CONTINUED •

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Y THE DULCDUR BY EAR 41: OTHER 'EASY WAYS" by Len &; Su Macbchron . 'Ih1 s w.11 prepared bookle~ 1e crammed w1th good informatlon . Many tlP8 and augg•• t i ona are contained, a l ong w1th an ea8~ to rollow approach to playin g theory . Hae an excellent section on tunlnge!. Only'~ each .

~IKJ(ONS FAMIL Y SONGBOOIt" by Tommy & .Jean Simmons . Contains}} f'ine f'olk aongs and tunea for the mountain d~cime r, gu1tar &; autoharp . .~ each.

SEARCH OF 'tiiA WILl? DULCIMA:R H by Robert Force & Albert d 'O •• ch_. This 1& a nleely done and well lllustrated book covering much intere.t~ 1nro on soa. or the more contemporary play~ atyl.s (traditional too) that theae rellove have run into around the wo r ld. .~ each.

"TUNING AND PLAYING THE APPALACHIAN DULCIMi:R" by A.W . Jeffreys. A euper book by a auper dulo~mer person . ~xcel l en~ LQ~roductlon to chords . tunlnga, counter-melody 41: harmony playing, notlng. and etrumming • • ~ ea . 11~~le

by pau1 Pyle. A great handbook style - lots or really good polnter8 n

tunee

LIFE IS L IKE A MOUNTAIN DULCIMER" by Neal Hellman & Sally Holden. Thls 18 an excellent book wlth chording !nro, tunings, playing styles. and even eo me Richard Farti1.a ttme8. There is alao a record lnchlded in the book of' all the 36 tunes g1ven in tablature 1n the book. GREAT! ~ .~ each .

"MOODS OF THE DULClMAR" by Virgil & Nonnan HUfShes (Me1 Bay). Tunings. 55 80ngs and tun •• , many playing styles & methode described, plue apecial etrecta . Many excellent photos or Kounta~n rolka and soenes and some E r&at dulcimer tunes are included in this book . '~each.

HBLVE RIDGE BILLY" by Loie Lenaki . An excellent ch11dren's book yhlch reatures 80me dulcimer lore, snd much other fo l klore of the Y~untaLn people • •• pecially designed to enterta1n and en1lghten young people. 200 pages wlth 78.n y wonderful illustratlon8. tL15 each • ./"'A FANCIFUL HISTORY OF THE DOLCI¥.ER'" by V . E. Hughes . A collection of folk tal. •• about tbll dul.c1.mer, and indeed t'anc1ful. in many casee . 11.00 each. MOUNUIN DYLCIJoER CONSTRUCTION BOOltS . . . . . . . . . . . . . . . ... .

"CONSTRUCTING THE Jof.oUNTAIN DULCIMER" by Dean Klmball. Th18 hardbo\Uld book contalns all the 1.nt'ormation the ave r age woodworker will need to create and :tin1ah a mount.ain d\ll.cl.m.e r in any ot' seve r al. shapes and styles. Al.so has t~pa o n aaving I I by building 80me or your own tools, etc . .~ each "MAltING AN APPALACHIAN DUI,CIM£R" by JOM Bailey . This book on dul.cimer c o netruct1 0n by an EngliSh author 18 very highly thought ot'~ Lots ot' ~o . and g o od .ideas . I J...5.Q each .

"TO BUDP A DYLCDtER" by Paul. Pyle . A best sell1ng book whlch 1s a m1t.e emal.l but c r ammed w1.th int erest.ing bu1.1dlng 1.n1"0 by Pau1 Pyle . i~ "'CONSTRUCTION OF A MOUNTAIN DULCIMER" by 'Wl11.1am t·1. Schm1tt. 10 page plans sheet with detailed instruct.10n and drav~a for building you own d~c1mer eaelly. Inoludea helpf'ul. sec t ion on transpo8ing muaic for the dulcimer :from sheet. mus1c. t!...a.1..2 each . Mountain Dul.cimer $2 . 75 per set. Hammered Dul.e1mer .3 . 75 per set .

SEE THE HAMMERED DULCIlo'.ER SECTION

AN Y OF THE ABOVE BOOKS MAY BE ORDERED FROM:

THIS ISSUE FOR BOOKS Q2i THIS

THE

DULCI~R

n J STRU~:ENT

PLAYERS XE"A'S

EOOKLIST 1' . 0 . BOX 157

FRONT ROYAL, VIRGINIA 22630

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The Appalachian Dolcililer Book by Michael Murphy Complete Playing Instructions (Begin n ing to Advanced)

20 Songs in Tablature 50 Photos of Early Makers, Players and Dulcimers Dulcimer Folklore and History Information on. Early Construction. and Makers Repairing and Buying List of Dulcimer Wood Suppliers, Construction Books, Dulcimer Makers Chord Charts and Much More 104 Pages Send $4.95 to 5 - 9 Copies 30')(, off 10'" Copies 4O't. off

FOLKSA Y PRESS M ills Road, R . R. 3 St. Cla irsville Ohio 43950

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SKYLINE REC ORDS. INC.

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ALSO WRITE PO. A CXJtg>LETE LIST INC

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"'''''i

@1976

THE DDUBLEBACK . .

By X 1ck Engl.er

I had 8~opped 1n at the Smithson1an to talk to ~eott Odell, the Qen who haa oollected and restored moat or the 3clt~BOn lan'a dulcl~er8 . I was there to rase.rob old-t1.me dul.cl..more conat:r-.J.ctlon, I t.old him - look1.ng :tor g~d 14e.8 to steal.. Have you aaen Jacob Melton'. du1c1more 1n t.he 'Wood Products d1splay?" he • • ked me. I admit 'tAJd I had. m1.8.4 1. t • ..... 11. it. m1ght be worth your while t.o look i t over, II Scott told me. and we both went over to Wood Product.s to have a gander.

"Not1ce

anyth~

unusual?" he asked,

P01nt.~g

at. Malton'. 1nat.rument.

beneath the g1a ••• MIt. haa a

double back!" I exclal:ned. "Now ""hat good d088 that. d01"

:Every- dulcimore pl.ayer haa noticed when they set. t.heir instrument. on a wooden t.abl_, propped up on a pencll or t .... o, and strum; the Bound ?f"Oduced 18 louder, richer than when the ~Btrument 1B held on t he lap. Putting 11. up on pencila rreea the backside to Vibrate, and the table acta aa a resonator. In the lap, the backsIde .18 damped so 1t cantt v1brate, and the human body makes a very poor re sonato r -- w1th very rew except.lona I onc. I met .. man who could play t.he dulcimore louder than anyone elee I had eyer known. When I inquired 1oto the matter, I came t.o rind out he had a bollow wooden l.g. Mel ton' 8 idea waa to help out the rest. or us who are not. so f'ortunate .. H1s .econd back doe. Juat. what a table and two pencila w111 do. It was a good 1d•• , and I resolved to borrow i t . Driving home to Athens. OhIo, I had time to ponder Malton's 1nnovat.lon. There waa roo. ~or 1.mprovelIlent, to be sure. The permanent second back: •• e~d awkWard and runny-looking. And I could envision tImes when I would not want. it; times vhen lid want to play BoCt and low. I applied myaelr to the problem and by the time I arr1ved at Appalach1an St.rings in Athens, I had a whole new invention designed and duly named, a detachable ralae back f'or dulCimore, dubbed the Doubleback .. The Poublebaolt 1. a sImple cont.raptlon, hav~ on1y three major parts. The rals. back It.aelr I call the table. Two str1ps or wood. ca~led braces. run perpend1cular to the length or the table and serve to hol.d the dulc1.more a ahort. d1stance above 1t.. On either end of' the braces are lit.t.le cont.r1vanc•• that. hold the dulcimore to the Doublebaclt. Wb..1ch, t'or want. or a bet.ter word, I call grabbera. The t.able 1a cut trom a pIece or i" t.hiok hardwood 1.0 the Shape ot' the .01.Uldbox ot' the du1c1more. I cut. my flrat. t.ab1e 1.0 con.1"orm exact.1y 1.0 the ehape ot' the dulc1.more. but. I got. s11ght1y bet.ter resu1 te 1n later experiment_ when I cut the t.able t- 1arger than the 80tmdbox, all the way around. Th18 extend. t.he re8onat.1.ng surrace of' t.he tab1e beyond the ed~s o~ the dulcimore - get.s the sound out. where it. can be heard, 80 t.o speak. The braces are cut more than i- h1gb., but. at. 1east. 3/S" w1.de ror st.rengt.h and durab111 t.,... They are rolmded on the topa1de ao aa to make as l1t.t.1e .urrac. oontact. aa po.aib1e w1t.h the baok ot' the dul.caore. The leaa aurrac. cont.act., t.ha more the back 1_ t'ree 1.0 v1.btt&t..e. The pos1t1on1.ng or t.lut brac •• on the tabl. ia cr1t.lcal. They aboul.d be pl.aced ae cloee to oppo.1.t.e pol•• a. can go. w1t.hout. making the du101.more unstead,... To tar north" aouth, and t.he du].c1more v111 t.1p. The,.. ahoul.d not be po81.t.1oned at. U . w1dest part. or the tab!.e, or the duJ,.o1.more w111. . . . 11y .11d. OUt. ot' the grabbers. U the Doublebaok 1e be1.ng made 't'or a t.wo cha.m.bered (hourgl.aaa) dul.o!aore, the brac.es are placed a1.1ght.1.,.. north ot' one ohamber and sout.h or the ot.h.ar. Pl.acement. ror a slngl.e-chambered (t.eardrop't du1c1.more requ.1.rea eo. . t'oo1.1nS aro1.U1d. but. t.h1s baa10 rul.e appli.s. one brace north ot' 'the ohamber. one aout.b. The grabber. are a&de t'rom three 1./8- l.am..1nat.lon. or hardwood; the gra1.D or each auoeecU.ng 1&m..1.nat1on nmn1.DS perpend1.ou1ar to the 1.&st. Th1a g1". the grab~ra extra .t.rength wb.1ch ne.d U ,..ou 11.1ce to 1&,. .1nto ,..~ dul.o1.Jlore wi t.h a p1olt. The 6J"'&bbera are out. to con1'ol"m exact.l.y w1 t.h I.W CaiTINUED •

the,..

the,.

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t.l'W .1.d•• or t.,he dul.e1.more . :If' your 1nat.rument. haa an overhanging back or 11p, an lndent.at.10n 1s cut. in t.he grabber t.o accomodate t.h1_ 11.p. L1.p1 •• _ or _mooth-a1ded 1nat.n1m8nt.a requ1re extended grabbers raced w1 th 1eather. t.h8 t'r1ct.1on ot' Ule 1eat.her asamet. t.he wood 1 __ u.:r.f1c1ent. t.o ho1d the dul.c1.more down when there 1s no 11p t.o hang on t.o. Three ot' the :tour gra.-obera are t'1.xed in p1ace . 'lhe .fourth _11de_ out. an b.a1t' inch or eo on a bras. pm and 1B snapped back: lnt.o pl.ace by • apr:1ng b1.dden in t.he end ot' a brace. To a t.t.ach t.he Doub1eback to the dul.c1more. pul.1. out.. t.he 1DO,!"8&b1.& f:5r&bber (ee_ -d._toa11a or t.he work.1ng part.. ot' t.he Doub1.eback on t.h.~ '" .l page) , 811de t.he dul.c1.more int.o poa1.t.1.on asamat. the t.hree .f1xed grabbers, then re1.ea . . t.h8 IDOveabl,e grabber and &11 w1.11 be anus. and secure . To det.ach, juat. reverae t.he process. 1 have made .evera1 Doub1ebacks to dat.e, t'or Appa1ach1.&n 5t.r~g Du1euore_ or var1.ous _hapea end a1.z.e& . The reau1t.s are encouraging. U not. downr1.ght. exclt.ing . The lnvent.lon does exact.1y what. 1. want.ed 1.t. to dol 1t. :tree_ t.he backa1.de ot' t.he dul.c1more t.o aerve aa a aecond aoundboard. making the sound produced much 10uder, t'ul.1er and r1oher. The t.ab1e ot' t.h. doubl..baok do•• :tor t.he dul.c1.more what. a resonat.or doee :tor a banjo, ae a banjo plck~g t'~1end wo1nt.ed out to me. I Ingenloua • he ea1.d a!'t.er try1.ng one out.. "Yeah," 1. agreed. "Jacob Y.e1ton and 1. make a pret.t.y good team."

11#11111111111111111111

THE DOUBI FBACK

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WITH liIlDDlTATlON ~l'OR

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IMB.E:DD'(D IN epOXY (i)1~'.

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Handcrafted Appalachian Dulcimers CHESTNUT,

C.HERRY,

WAL.NUT

Artis/:ic TOiJertt + 40 Yrs. WoodcraTting SEND STAMPeD ENVEL-OPE FOA. DETAIL-S

KEN HAM8LIN phone P.O. BOX 894 (103) 362·2028

SALEM, VA. 24153

. 1I/STRiaVToR

YouR

AREA

-:auU( DULCXMERS

Appalachian

Hammered

OLD TIME BANJOS

MaRE

ON c.oPIES.

::CN"v'R~ : ":l).P.H.

Fretl.a.-Fretted

other handmade wooden Folk 1nstrumente Robert. D1xon - 22. East Elm Bt. Eaat Rochester, N .Y. 14445

(>. 0 80)< 157 Ftf.fI"T ROY~},. VA. 3·

•

FINE DULCIMERS BY:

--. ,

A.W. jE~~Aeys ,;-

'\.

......

......"......

•

.1.'

RATES

•

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Musical Traditioas Co. Zl7S ..... w.ter TWTo _ _

-M

LA ... c.llf.• 90039 _ _

!-ppalad,ian ~ .. lrilDor

John D. Tignor

In Walnut anti Spruc. $110

ROUTE 7 FRANKFORT. KY. 4060 I

l ••• to, D .. lc l_ . .. •

PHONE 502·223·2692

$55.00 ..

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IIN'D

Boelrf, ""K~ctrrd.f~

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OC-C'JJohiT

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Ice

THE MOum (A OR LAI NOllE THE MOUm NOllE IS CHAIIIoCTEIIlZEP 8Y SOIEET. SENTlUENTAL TOHB - S<INETlJES SAO NIP l/IIlET. SOIETlIlES. TOO. tnWIAnc ANf) lOUIl. IT rs A ROIWInC NOllE. THE MOUm JIOIlE rs CALLEP THE "OLl> A lUI/OR" NOllE BECAUSE THE A I/OTE rs ITS HISTOIllCAL KEYTIlHE. THE TOIlES ANf) SEIIlTOIlES OF ALL THE NOIlERH IITI/OR KEY SCALES on LL FALL I/ATlIIIALLY AT THE IUGHT pl.AC£S 011 THE tJULCliolER'S Fl1ETI!IMRl> ""'Ell THE IlELOI>V STI/lIIG IS T!IoIEP SO THAT THE I<EYTIlHE MATCHES THE TONE AT THE FIRST FRET - OIfIIOf EXPLAINS MlY THIS UOOE IS AJSO RERRREO TO AS THE "",ruRAL IITIIOR" NOllE • THE THlf//) TIlHE (Ill I _ A IITI/OR THlf//) wm< THE 1<EYT1lHE. NIP THERE IS A IllNOR SIJC1Jl TOIlE I LAI. THE SCHEJIE. OR STEPs 8ETM'E11 TOIlES. rs slICwN IMOEIHEA.TH THE ~ BEtCtI. FRETBOARt):

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THE Moum NOllE SCALE 8EGJ1<S AT THE nJIST lOR EIGHTHI FIlET. 8EGlIlNlIIG TH_ EIIABLES YOU TO PLAY ALL THE IIOTES OF THIS NOllE ON THE IlELOI>V STRIIIG. WITH THE TOIlES NIP SBIlTOIlES FALLIIIG AT THE IUGHT PLACES.

HOff TO T!IoIE IIfTO THE MOUm IIOI>E, I.

THE "a:ao- OF THE lMFRfiJEO SASS STRING AND THE .00" AT THE nRST FRET OF THE MELODY STJaNG /flLL _ HARiIONIZE tnTH EACH OTHER - THEY'RE All OCTAII£ APART.

JaWLE STRJNOI

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(THE FRET8OAI//1 AIIO\IE IlOESN'T HAII£ IIBlULAR NOTES - IT'S NOT THE N_ OF THE IIOTE THAT'S IIlPOrlTNIT. IfUT RATHER THE RELAntwsllIP 8£T1LIEEII TONES. K~ . , 0. ""u ...u.t a.t ~ "'" oaUL b~"CO C ... ,.......,1.1

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If' X remember correct,1,.. in one or the iasues or the Dulc1mer nayera Me"a Bo_one wanted t.he addrellB or W"or1ey H. G&rd.ner" rel.at1ve to Me record or hammered dul.c1.aer mue1.c. H1.s address 1._ 1}32 Cam St reet" Morgantown" West. V1rg1.n.1.a 26505. Last rall. I purchased his record d 1.rectly ~ro.. ldm by

maU

~or

'5.65.

Raymond YdLce. Joppa. HD 2l.065

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B!i

THE AEOLIAN MOO£" NIV UO'OfJlN UINOR KEYS OF WJSIC THE LAST NOTE IN THE SCNG USUALLV fNVS ON THE KEYTON£' (EX. No ,

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DUlCI MER TEACHERS LISTINGS Th e 11sting ot' n~s t h at we now ~ave on r11e at the D .P.N . has grown so lar€8 tha t we no lo~r feel we c~~ waste the p age- and-a-hal~ that 1t Would now ta~e to 11s t t c e c all in e a ch 1 ssue . Wha t we ' ve dev1sed now 1s a system wh ere 1.1' you a re a te a c h er ""e'd like to he ar t'rom you e nd l1st you in our r11e. If' you a re 100k.1nS ror a te ac ~e r, d rop us a stamped and se1 t' _o.ddress.ed enve1 0pe ( D .P.N ., P . O . Box 1 5 7, F ront Roya l , Va . 226 3 0) andr.:::.\ ve wl11 S lve: you t.i':.e n&t:le o f a t.eac~er in y our a rea, it' one ex1.st.a . ~ Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

lULLABY, MV SABV TUNE

~lCJM£R

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. . . ~ reaUl~ are now ~ on the two dUlo~mer oonte_t_ which w. ~ntion.d in t.b8 Spring 1.au. or D.P.N. F1rat.. t.he Walnut. Valle,. "Spring Thlng" F •• t.. reaUlt.a. DaT~d Sobnaurer, b l l . r , 'reza. won lat plaee 1n t.he dul.c1.mer oonteat. and was .varded a tro~. 1100, and a Tut T.ylor Tenn••••• Du1c1mer. R1ohal"'d Cae, Hona.a.n, Okl.ah.om., placed 2nd and earn.d 175, a t.ropbJ' and a MoSpa.d&nl Mt.n. 4ul.o1.aler. ~1.a Frencb, W~ohit.a, bn •••• t.ook 3rd and won a troph,J" ..,4 '50. ~ 2nd &Zlnue.l

-Dul.o1lller Da,.." at. M.toria Ro.coe V1~~age in Co.boct.on, Ob..1o va. attended b7 ,.oura trul.y. th. D.P.N • • ditor, and was an .vent that. bad 1.0 be at.tend8d 1.0 be bell.v.d. An.yon. who .1 . . . . t.M_ event. nezt. ,..ar la paa.1n.g up a t'1ne " •• kend ot' dul.c1man1a galore! Du1c1m:era ot' both the pluo_d and hammered Tar1.t.,. w.re abundant. .verywh.re w~t.h hWldreda ot' t'ol.ka .how1ng up t'or t.h.1 . . . . . .nt.. The OOl1wat. event.. were QU.1t.e intere.t.ing and .uoh tal.nt. va. 4.1.epl.yed. Th. conte.t. winn.ra were I Voca~ w/dul.c1.Jaer accompaD'--nt. _ lat. Paa " Barb F~Bb.r. 2nd Mary It. Beall, 3rd Dana Vlbbert • .Menalat. Arthur H1chol ••• 2nd Graham Dixon. Dana V1bberta. Childrens - lat bt.b1" Brewer, 2nd Nancy Brew.r. Scott Brew.r. Women_ - 1.8t Lor1. V1.bberta. 2nd Andrea, Barb Flekwr. Court1ng duJ.c1.mer - 1.st Dana &: Lori Vibbert., 2nd Dan )(adden 4: K.at.b,;r And.reon, Bob &: Marg1. Brew.r. Ha.mmered Dul.c1merlat. J"aUl GUf'orc1, 2nd .Barb Fish.r, 'rd Phll xa.on. The open compet1t.ion t'or the grand pr1ze of' a handcr&rted du1c1m.r b,. Bou1d.r ~unct..1on was won by Paul. G1:tf'0rd. pl.ay1ng Me halD,lll8r dul.c1.:aer baokWard_ vh11. atand1ng up and bu.ok4a.no1ng to the t.\Dl. or Go1d.n S1.~ppers. What. wondert'ul weekend ~ ~~ . . .

,ret

,rd 'rd 'rd

. . . . Dw1.gbt H.wton haa reoentl.,. f'ound.d Th. H.w C011.ge and Sarasota Du1c1.mer Sool.t,. and report. that hi. respon_ 1.0 1t baa .ncouraged h1.m t'ar be;rond h1s .xpeotat1ona. FOl.lta 1n th. area vho are in1.o du1c1.mer can contAct. hi.& t'or f'urtb.r ~o at.1 P.O. Box 1'112. Sarasota, F1a. "578 •••••• . . . . .Anoth.r 4ul.o1lD.er O}.Ub that t'o1lr:& ahoul.d be aware or 18 the "Johnny App1•••• d I>ul.o1m.r Cl.ub ba . . d in Fort. Wayn•• Indiana. The c1ub pre.1d.nt. Mr. Pat.rloll O'MordAn, 1s s~v.n oredit. t'or st.art1ng the o1ub wh1ch ba. be.n.t::"':"!\ act1.,.. ainc. SeptA.bar of' 1975. Furth.r 1nt'ormation ma,. be obtain.d f'rom ~ the olub Secretary LaV.~ Widn.r. 8708 Se~1.r Road, Nev Haven, Ind. 46774 ••

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2000

TOOLS

Woodworking and

Hu.s1.cal I.nstrunent Haldng Tools and Books of the ~ghes t qua11.ty. 50~

Catalog

Woodcraft Supply Corporat1.on Dept. OP 313 Montvale Avenue Woburn , Massachusetts 01801

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I MAGIIIJ MOUNTAINDULCIMERS At: YOIoU'" o.alar or wri"

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88EL1.NUTT

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ItU• • udcraftld Folk lutrlllilitl

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.lllia.,. hlda.n

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ItL

IlITl

(117) UI -Ilil

r The

HAMMERED DULCIM.ER Section

:In 1965 X T1.a1.t.4 t.bIt Shepherd or t.he B-1l.1_ Mu.ae\UD near Bre.naon. X1.aaour1. r• On Uapl.a7 wa . . . beaut.1.:t'u1 hammered dul.o1lDer. :It. v •• "e11 bunt. bav1.Dg do....t.aU.d Gomer Joint.., and appeared to be in exce1.1en"t oondl't.1on. A a1sn at.ated 'tbAt. 1.t. v •• 130 ,-ears 014. .D1ap1ayed v1.t.h the 1.nat.l"'UJDItnt. , , t.he :to11.ovin8, book. at. r r tM -- A II M& .s Wa zea, t.t.. 8 • &: C II 1. ot. • Trut book va. vr1t.t.en by J. Low, and v •• publ.lat.d by O1i.yer l)U.aon &; Co., Boat.on. I ..

not. sure t.hat. t.lWre v_ .. date or publ.1.cat.1on. 18 wry 1.0118, and, 1:f X re _ _ber oo~Ct.1.7. __,. want. to add t.h1& 'to your hi bl.1.osraphy.

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.Aa you can _ . , t.be t.1t.1e lDlpurlot.u&t.ed. "'-rbap. you

/Y108 9/)ulci_e.

I'd 1.1lte t.o sbare v1.th t.he readers or the D.P,.N. 80_ or wq lb.8 on a subject. ~ch ar1, . . . in dlacu•• 1ona v1.th a ra1r amount. or rrequenC7. yet. Vb.1ch haa been s1..... n 11. t.t.l.e at.t.ent,l.on 1n print.. the word "dul.c1.aer" and t.l:w acope or 1t.a der1n1.t.lon. Il:r 1nat.rwaent. 1. the du1.cs...er vh1.ch .1e pla~d b,. atr.1:kJ.ne the at.r1Dga w.1th t.vo beaters, the 1nat.na.ent. more and aore f'~_ qu.nt.1.,. ref'erred t.o aa t.M "hammer duJ.c1aer" aa oppo.ed to the "regul.ar" du101.JDer (the 4ef'in.1t.ion of' Wh10h :I'1.1 not. explain, a.e moat. reader. w1.11 know What. I ' . tAl k 'n s about. th.1a queat..1on vU1. of'ten ar.1ae Whenever :I'm play~ :tor an au4i.enoe - I 1.1. aa,. what t.he inat.rwaent. 1a and lIo_one w111 aay ",.ou mean .. 'b.&mmer du1.o1.Jaer',M. The word (f'roID Lat.in dulce, "a.eet" and Greek "lOll, "song") f'irat. appear. a. clYftce . .10. in a Lat.in t.reat.1.e of' Henri. Arnaut. of' Zwoll.e of' about. l~.e sa,.11 it. denotea e1.th.r of' two ' inatruaentll, a rural. one pl.a,.ed "w1t.h a 1It.1.ok" or a type of' o1av:iehord wit.h t.welTe atring., .ach or Wh.1.oh are 41..-1.de4 into three oet.a".a. The word appeara in French reoorda of' the 15th oent.ury all dou1z !:\!.. ~, doYlc_.r, and doYleemelle, an4 1D. Spani.h. recorda a8 du1CO!!:t1 and du1ce.l0. .It. can't t:. determined What. 1nat~nt. of' the t.vo t.h.ey zoe .rred t.o how.... r. '1'h.. word va. a.l.ao used in :It.&1.y and apread t.o Great Br1t.ain v1.t.h t.h. 1n.at.1"'WIl4tnt in the 15th. c.nt.urJ', and beaame obaol.ew by the late 16th oentur,' in o\her areaa where 1.t vaa uae4. nw dul.o1.aer waa pl.a:red b7 1lAnJ' Wo.en in t.he 16th cent.'UrJ'. and 1lJ John 8&rret.t' s d.1.ct.1.onary of' 1580 ve r1nd two def'tn.1.t1.ona :tor adoul.e1..!ller"s an 1natl"Walltnt. o:t Mu.a1olte 110 0&1.1.d" and " .. womNl t.h.&t p1.aiet.h on doul.o.1.mer M • :It. ba. been p1.ayed 1n Engl.and, Seotl.&nd, and :Irela.nd cont1.nuou.1.1 a1.nce then; alwa,.. pre.ent, yet. v1t.hout any :tanrare - a1waye a "popular or ":tolk" 1nBt.rument and conaequentl.,. recelY~6 l1.tt.le &t.tent.10n b,. eduoated vr.it.er •• Brought. over to Amer.io& b7 the eo10n1at.e and . .nt.10ned aa ear17 aa 1717, 1t ex1..t.ed in the . . . . cond1.t1on a. 1n the old countr,.. The other du1eimer 1n que.t.1on 1. be11.... d to have been brought or1.g1na1l7 to I'Itnna71v&I11& b7 the Germana :trom t.b.e Pa1at1.nat.. and, .... r1ean1.z.d, ~ound 1.t.. way t.hrougb. the Appal.aoh1.&n Mounta1ns. Oal1.e4 z1tt.ef by the PeJUl.,.1....a.n1.a Dut.eh. 1 t v a . probabl{ known b,. other na... aa ve11:.ra.et.hor1.ua 1n 161.9 called .it. Seh.1+bj1t. 106'. buehe "106" and .pinett.e de. Yollr.- b;r tJw French, vl1er in 1 ••1..h. Hum""1 and ){oord.oh. l:!!l.k 1.n~tch , and was the CO!ITIlruED •

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ro~runn.r

of' the modern Bava rian and AUBt.rlan z1t.her . Ho w c! l ci 1t. acquire the name "du1clmer", I bel.leve 1.hat.. as a box-11k_ 8 t.rl .."l.sed 1.."\8t.M.l.!:".80t. he1d horl%.Onta1.1J'. t.he name "dul.clmer". ret'err1ns to a v ae;uely kno ...:n bu.t. Tasu-1,. 8iml1&r 1nat-rument. vaa appl ied ~ it. , and ca~t. on . Ot.he r ns~a 1t. ha. been oa1184 aret " harmonia box· , .Job- a cor:r1.."l". 'O laf.! harp" , c..nd do~·= t.-

1 ••• 1,. others. but. the •• alt..mate namea s.em to have r&118n out. ot' use . Moat. o1d-t.imers 1n Virgin1a and Nort.h Ca rolina I 've s e t. have p ronolUlced t.n e word •• "du101more l l • wh.Ioh 1 8 a dla1eotAl. p renune1 _t. lon. a1ao used 1n Enc:land (East. Ang1.1a) and Scot.l.and (but. reran-ing , of' course , t.o t.he t.rue dul.cll1er ). Tlw t.ran_Cer of' the Pennayl.vanla Dut.oh n a:ne z it-tel" t.o " c!ulc l ~e r" :. s I"": °4he .ace 88na8 as t.he !'raQ.uent. m.l aapplloat.lon of' the word "zit.her" t.o t.he t.rue dul.ol_r, very co~n today 1 t.he name " z 1 ~er" haa an amount o:f fam i1i a r 1 ty and vague connotat10ns, but t he ac t ual. 1nBt~~en t is no t . My maLn concern 1n ~ ia art1c1e 1 s essen ti ally a hope that the n ame of . , inat.rument doean't. become "h&C!D.e rduJ.cbor", wh1ch mo re and :DOra seema t.o 't. t.b. ca... To me "dulcimer" 81gn1fies an Ln a t!""..1:D8n t. w1th many St.rinS8 .truck by t~o hammera, or oooaaion al l~ ~luCk.d . I lea rn ed of the inat.rument from my father .a a ch1ld (in t.he '50 a) and for that. mat. ter of ~e A?p61 a chlan 1nat.l"WDllnt as well . He g rev up 1n an a rea 1n .....e.lA'"' New York which waa heavll.y popUl.at.ed by and va. the 0:'1.1y k i nd or " du1c ltD8:r" a rol.L'"ld . He beard John Jacob Nl1.a play 1n 19 }2 in New Yor~ City and subaequen t.l y had a ~.oua.10n v1th hLm about. Juat. wha t. a dulcimer vaa , and 1t'a a till go~ on . I've never known any trad1 t.10nal. players to call it t h e "h8l1UD8 rdulclmer • and many are quite vehe ment on t.ha t polnt . One 90-yea r o1.d , who ' :) s tl1 1 a t it, says he read a newspaper story once about t h l s whole ques tio n. Anybody know about th1a? (Th1S could have been years ago !) Thls wh ole question is pretty academ iC, and 11 m sure many ~Ill agree. but. I 'ID alao au,r e that. it. warranta aome d1acuBsion . It was academ..1cB, after all, who flrst. wrote of the "hallUlered" dul.c1mer merely to diatingulah It froa t.b.e other 1natrument. leno"," by the a a :ae name . Onc e the Appalach.ian dulc1mer eCl1psed 'the popul..ar lty o f 'the oUler (whenever t.hat. was). t.he academlc adJect.iye "ham=aered" became more and :DOre a p refiX, so that. event~lY (and vert recent.ly) t.he ~.trument. haa beco~ t o =any t he "h~er du1cLDer". I rea11ze thia i8 a dlleoma to t.ho se who musL deal w1t.h both lnat.~nt.a and the nor=al prac t.ice 18 t.o ro l low accept.ed uaaee . I can't accept the same na~ being S 1ven t o t.wo obviOUSly d l freren t inatn1m8nt8, al.though in thia c aae 1 ' 11 llve wit.h it.. ~;:y o p 1.'1.ion i a to u se "dulcimer" for t he Hackbp!t.t. , and "' du). ci.:ne r,1I for the ...chait.h olt . Che t. K1.nes' uae of tldulc1more 1 a acceptable to me, bu t 1 t. really 1a J u s t a ~al.eot.al varlat10n. ~el1 , the whole world won 't. crumble over this 1 .aue , but maybe t.h 1 s ' ll caus. a lit.tle dlscu aa lon (?). Paul DuroI'd . . END . . 1046 ." i thlngt.on Ferndale , K1 43220

t..h.e_.

EckspWopks Hammered Dulcimers Irish Harps

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In8~ruccnt8 CU D~ OQ cr ar ~e d to ~ U1~ you r inolvioual roceas. ~~ci~er p rIces bectn at ~ l ~ O . Harr p rIces bee!n a~ _ ~~ O . OccaBior~ l v i ocea Bre 3 v8!lob e at Q lower p rice. AeceDB orica , re s torati o n knd t~1 I ne work are of£ercd . Oammered aulcl ~e r le suo ne o re p r ovided . }o'or t'ul.l aetailo s end a se.lf-aad re ssea , stamped LAre c e n velope, .:flfty centa , and your intcrca tu .

Handcraft.d by: Doug Ecker, 8 Bowker St •• Brookline. Maas. 02146

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Bass Strings

By Paul. G1..r.tord -

Carolyn Mont.gomery wondered Vhet.."ler ba •• atringe on a dul.c1.me r were a t. al1 necea8&r7 (Vol.. 1, No.7). Man)' du101aMtra have been bullt wlt.hout. baBe

at.rLnga 8Lnce many p l.ayere do not. use them . Chet. Parker , ~o r exampl.e, had none on h iB. He 8a14 t.hat. ~ey were neceseary on1l' to pl ay occaa 1onal. lower notAlS in a melody . but. one cou1.d usually play the t.Wle in a h..1gher key 8 0 be abl.8 to pl.8), all t.he not•• Itor example , "Opera Reel tI. played 1n D on ~. fldd1e, wb..1ch he played in G .. But Chet never played any acco~pan l manto pa rte, wMch moat. old-t.1.lD8 r a d1d .

When l"ou playa r hythm1c c hord

pa t.t.ern for accompan1ment. to t.he lead (riddle) , ba •• stringe are lmpo r~t. • •• t.hey accent. and J)\mct.uat.e what..ever chord 1 & balDS played . They are alao uaeful. and, Cor me, nec.8sary to embel.llah the melody of' what.ever tune 1_ being played , especlally at t.he end of' .ach pa rt. of' the tWle, and to harmonlz.e wlth the treble at.rings be1ng pla.yed . Th. melody can be played an octave lov.r aa veIl, f'or a chao~ of' pace . y~.t. of' th. dulclmers live made (16) ha ve had 12 treble couraea of' f'our and 11 baas coursea of' three str1nga aplece . I t.une the baas str1ngs an octave 10..... r than the trebl.e courae adJacent. . Thus t.he t.unlng .... ould be (golng Up)1 d , e, CI , 8, a, b. c ', d ', e t , 1" &: gl . The large one I usually play has 18 treble courses and 17 bas. cours.s . startlng a t. a and go~ up to c I' (c t = 1I.1d41. c on t.he plano) . A lot. of' peopl.., t."l.,ae day. t.une "thelr baaaea • Clt'th lover t han th. t.reb1e cour_ adjacent. (t.hu. at.art.1.ng at. g on a -.t.andard- t.unwg) but. I don't. t.h.1.nlc thla ot't'ers aa .uc h aa the t\.Ul..1ng I uee. I prat'er bra.s w1.re on the 'basses a. t'ar up aa they vill hold v1.t.hout. breaking , Wb.1.ch Tar1.e. wit.h dul.c1.aers ot' d.1t't'erent. a1zes . Bra •• v1re 1 • .are b r1.t.t.1e t.han stA.l and break. JIlOre e.a1.1,., 1. _ harder to t'lnd , 8Zld perhApa more expens1ve, but. g1.ve& a t'ul.ler ba.a .ound. le68 "hollow· than st..el . A SU,,1)11er t'or braea v1re 1. The ).:al1n &: Co .. , Cleve1an4 . Oh.1.o.. It' the dul. clmer a angl.e ls acute enough to a110v bra ...... lre a1.1 the val UP . I use 120 gause ( . 0'1 tI) .tor the bottom 1..... 0 oour. . . (4 &- e), #21. ( . 028) t'or the next three, 122 ( . 025") .tor \.he three af'ter, and 1'23 at'ter t.hat . It'. in tun1ng u p a nev du1c1me r, a b r a.s strine breakS , I replace It. vlth ateel st.rmg and con tinue on up the courses re ma1n1ng vlt.h ste.,1. . 'lhe corre apond1ng atee1 vlre .tor t.he aame tone .tor whlch bra.s a 1e;ht. be uaed should be • litt.le thlcke r. Some day 1111 get .0_ bronze vlre and 't.ry t.hat. - l t Should be at.ronger .. i Ive used braee m&1..n1y out of' cu.toa. I guess . Many old. ractory-made dulcimers of' t.he l850 I s had seven dou ble at.r1nS bass coursea .. The t.rouble vlth th1.a n umber (or elght or lea8) ls that. , vl t.h1n the tuning g!ven above. a t1.me can't be played in the key ot' C very vell (tor example, "TeJU\eaaee Wagoner") . Seven 1.8 • common numbe r because l t glve. a top note ot' C, but. wlt.b II couree. there 1.s an F , wh 1.ch 1 . more advant.aSeous. I pre.te r not. to put. any bracing d1 rectly und.erneath t.he baa. brl~ , and try to allov as much soundboard space on both alde8 as l?Os.1ble . I made one dulc i mer wlth t.wo dlt'ferent angles on .1ther alde (tlOre acute on t.he r1ght, more obt.use on the let't.), whlch a ll.owed pl.en t.y o.t space to the r1E;ht o t the base brldge . I put a brace to the lett o "t' 'W here the baa. b r1de . lle • •

END

ORIGINAL DULCIMER P-&:b PLATERS CLUB, INC. F1IBLIC WELCOME FIIEJ> OF CHARGE

E.A . IlGene" Cox, Pres. O .. D . P.C ., Inc. Box

136

Byron Cento r, XI . 49315

The aummer weeDnd ot' t.he J>u.l.c1..mer Playe r. Club '1111 be a t t he Evart. F.lrg,rounda . Juat. .....t. ot' Evart, X1ch1.gan , agab t.his year . The date vlll be JlJLY 24 - 25 . Th8 tall meeting "'111. be held at. the Grand RapidS Publlc Muaeum in Grand Rapids, M1.ch.1.6an on Septe mber 25 .

2, _

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MUS I CAL sHAPES AND OTHER THINGS

A Review by Robert. Rodri q ue z

Take four great muaiclans, give t.he:tl n uUJeS ll:c.e ..iam Rizzet.t.4 . Pete Vlgour, Paul Reialer and Paul Yeat.on , put. ~n array of inat.~~ent.& Int.o t.he1r handa including hao:mer du1c1!D8r, plucked dulCimer , gult.ar , banJo , mandol1.n , and pennyvhIat.le. put. t.hem int.o a at.ring band , ::Jllx and ma t.ch , and viola , we have t.he group ca l led TRAPEZOLJ (na ~ed aft.er t.he shape of • ha:nmer dul.c1.!Der) . From out. or t.he wilds of Vlrg1...'lla &: '" est. Vlrg1n i a co:ne& Trapezoid . ~rlca'a flrat. ful17 orchest.rat.ed ha~r dulcl~r band , ranging in t.ones and pitch trom baas hA~r du1c1~r all t.he way t.o soprano o r p1ccolo ha~r du1c1mer and 1.nClud1n£ everyt.h1nS in bet."".en. An~ nov everyone who 1s a fan ot t.he ham:ner dulc1:'ller and 1t.s =nus1c can h._ve '~Trap!z.ol~ t.o enjoy at. home on t.heir f' lrst. and brand new altnu. .!l.1st. .re l ea !led on t.he Skyline label out. ot '...· bc!lest.er,V1re1nla (S;c:yl1ne ~ - :) 107) . :-~i9 album (called Trapez01d) 1 8 a collect.10n of t.unes s~ovins t.he va~lous usee ot t.he hammer dulcimer : fro:tl acco~pan1.:tIent. 1nst.~nt. to full orer.ea t.ra u68, and from Amer1can and Irish r1d Ie t.unes t.o aacred ha r p a~d slow a1rs . The Bongs & t.une_ on t.hI_ album lnc1ude, among ot.hera: Opera Reel . :~oru8 Reel. Margaret. ' • • al~z , Wh iSkey Before d reak ras~ . oritleh Grenad1e rs, SW inging on a Gate, and lot._ lots mo re. T h l s album hae many I!.oocis: ha p;:y , _o~be r. aedat.e. rol1ck~g. and above all Just. zest.y and fun for all concerned . There are t.1mes when t his album approache_ sheer fantasy: exa::c!)les are tor .tnat.ance the :full use of all t.he hammer dulc1.aiere i!l the ~roup tor t.he .low a1r Planxty George Brablzon , espec1al1y w~e!l it. i& p layed by the baas dulc1mer 1n solo melody w1t~ t~e ot.hers 1n ao::cber backup ; £ not.h er example ot' t.he nlce v1bes put. out. by ~hls record 1s the rendit10n of t.~ e Gael ic alr, Sou ~hWind, aa played by Sa~ Rizze~ta and Pet.e V!ecur o~ d ou c le Plucked dulcimer • ••• p robably tor:ny mind and fancy t.he beat cut. o n ~he whol_ reoord. Then there ls t.he o~e vocal cut. : t.he naunt 1.n E version ~r Wondrous Love aa aung a nd accompanied with concer"t.1na 8.!'1d t.alIUJ6 r dulcimer alDons other lnst.J"'I..lm8!nt.s. Hav1ng seen Trapez01d three ~lmes in concert. and live re. t.1val atmosph.erea. I can at.t.eat t.o t.heir v1gor, sheer exc1te ::zen t. . and incredible variety of' muslc at the1r co :n:nand.. L"lIlt.nJmen~ :Jl6,kera &11 in thelr own rIght. t..~ey have co::ablned on th1s album , their fir.t. II. n hopet'ul.l.7 not. t.heir last.. to g lve a totAl aa:tlpl1.ng or what. t.he ha:lll'l!t r Qulc imer can and does do when used by ~uslclans ~ho know w~a~ to do ~lth i t . ~ rl~~t . botmcy, and full or good ru.'"l , t.his record w111 leave I~. 11~t,..enera t..a P DlnE their toea, clap;:»1ng their hands . hUlll!Dlllg along w1t.h t.he tunee, and rerha;ts even danclog a l1tt.le blt.. even iC they don't. know how ~o. Al.l 1n all. Trapez0 1d' s f'1rst. a1bu!l1. . a collect.lon 01' :l1ce t.unes of all .ort.. and t.rad1t10ns, while not the !!:lost. perf'ect. oCrering l.n the world. 1s oert.ain1y good, very very good. and 1t. is a :nus\. for halloiller dulc1::ler fans. atring band lovera, and fane of' good eolid t.radIt10nal f'olk mus1c fro~ all over. West. Vlrgin1 a baa lot.a to be proud of , s.nd Trapez01d 1s one good rea_on t'or 1. t.. -

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See the Skyline Record Co. ad in th1s leBUS for a aource of ~he Trapez01d album and ot.her fine dulc~mer albU38 . rn fo rm&t.10n on bookings, et.c. may be obt.ained from Sam R1zzet.ta. Rt. 1, ~x ,62A . Barboursv 1 1le , V1rgin1a 2292' - 70,/832-2335 .

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•

K1.xo1.7d1.a.n Jlue1.oal. Wood Vorke

Box

435

Su._rland, l'kU.

1. reo. . U:r reoi ..... aDo'tlLer la.u..

7°UZ

.1.D.'WI~.H.na

93067 pub110aUcm

Shop) ana aeaided ~.t 1. ~t ao.. 14AJaa wlt.1.oll o0Ql.4 be or ...&1u. to 70U or other ~.:red duoa.:r

(... :ba~

Ca.li~.

proao~lo~ ~rt ~

Jean'.

Du1o~.r

aaker.. :x haTe been -.kina aoua"\&1.D and haa.e:red du1os....re (a• • •11 . . . . r_ aore ~ot.io :tol.k m.tru.e:nt.) :tor .'bou.t ••ven 7e&.r'e 'bu.t :tor ta. I*A'

1.h.ree bT. been ecaU, aak:1..ng ~red dul.o1a.r•• I . . O-arrenU7 111 tile proo ••• of' alu.izaa up maaber 63. Fir.t of' ~ 1. tidnk 1. t 1. apor\ant 'to u_ • •ecna.re pb Dlook! and. tlLa:t .1e Mat &Ooc*plieh.t 'b7 laai.DatlOD. Jb' l . .iAaU.. .. ab.. . t. ot' l/tJ i.Doh roolt ••pl.e • "8%7 hard. orack proof' p b 'block oan be aa.4e. s.oond1:r 1. woUld

not oonaid.r

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on. piec. brlag.. &gaLa arter

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'l'b.e7 al.lov .uch betur tranaait.ion of' Tibrat,loJl w1thou1; :induoi.Dc" a • •uob ~path.tl0 "ibratlon 1.n other oour.••• It ie '\hen 'to ~.d OD• • •

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tunl the brld&'ee where •• jor .oal •• "«in :troa a d.1.ttereu:t oolorecl wood 'to 1'.0:1.11 'ta1.. et.ri..D,g loa.tioD in poor17 11. t or ooDdi t1.ona .. ..1 haTe ~OUJld 1." oon1'ua1.a&' and unneoe ••ary to .ark: .iDor eoalee ae well • ..,. i..Jw~ . . .'t. all ha.,. 26 ODU.r*•• arranged 14 'treble and 14 baae. Th. lov•• 't baa. a . . rse ia CI aDd. naa•• a&r7 &a 'th. r1.rat DO" ot 'tba'\ ainor .aal •• Vb.1.l. a1l. o"h.r 1.1UI'\;ru.en'ta .1 ha......1lO000Mrad. oa1t ,\b.1. oouraa 11; 1.e 1..DTaluabl. "\0 •• parUou.l.ar17 tor 1.aproY1.aati.OIl. X do no'\; bali..... t.ba'\; p171'004 has ~ &d.vant.aca baoau•• ot .1;'reng1;.& • .1'\ pl. . . . . . . . . 'to work wi'th exot10 woo4a and. .1 ha•• tound. 'tha'\ Bra&1..l1an ro.... ood, pa.d.oak, koa, ".Dge, .~, and. ahad.ua all ..-ork • • • •11 . . our d,.. •• ,\1.o hara..-oo4a • .1 u_ .pruo. tor all .000dboarcl•• J'l7vood . q ba tIqll.al.17 rl.a:1d 1.n all d.1..rao'ticma 'bu't 1t 1. weak.r 1.n ~ 4.1reoti.on 'than .0.'\ hard..-oo4•. are 1.a t.b.. Uraoti.01l or thelr fP"&1Il and 1.r '\h. iDa'\ru..n'\ 1.. clu.d. up Proparl7 tile c;ra1.Jl l i •• a 1;.&. u.reo 'U on 1 t 1. Pr1..aa.ri..l7 Deeded tor .':reactb a..IQW..,. • .1'\; haa baeD a:T ~r1eDo. that plpoo4 1. aoou.t1.oal17 dead..n1.ng and. ..-1aJ.1. • .I ha.,. 'Man '\;old.. tJ:Lat thi • • om. '\;0 ad..,antaga a baaa.~ dul.o1.a.r • .I ba.,. touM. 1.ba't • •OX-- oa-aon 1. barlll,g th. brao1.nc too .011d. and 't.b. pJ..,.'\ee 'ko '\.b.i.ok • .A.t ~ rate I tlDd pl7Wood. and .en••r ..... t.b..'t1.0&ll7 ua,pl.a-.a., :1f' not uaual.1.7 .-UVo'tural17 ULt'.r1.or. 'l'be 1 .... 'th:1.q I ba.,. ~ off.r 1.. a:T u - . r d.a1.p. '!'h. aan'\our 1. t.b.. old•• " haallared l.. .1;.naian' aad 1." . . . . . to a. that b.7 :aow a&Il'\our p1...,.era au.'\ ba• • • ~"V good. 14. . ot ...b.a'\ 'the bee'\ ~ar .ould l>e. fte aa.1.n 4.1rtax--JIOa "Ule1..re and aura (7our.) :1. "that 704 hold 7DU.r* nth 'two t1.ns'ara aad the7 . . . tbrae. Vl'\l1. three t1.ac.re 70U ha.,. .ore o01lt:rol OYer 1.ta aOYaa_t. So • .bat I haT. 40. . 1.. '\0 .:1apl1.1"7 . ..a:"CNr da • .t.p an4 ~ l.itU. Il.eart.r, lN1; 'tll• • :U'ao" :1. ba.1.oaJ.l.7 -th. . . . . . ft. r.al 1.. pre,v 4.1tt.r.a" and. pao»l. who ....... at&rt.ed. 0Jl panoan baaa.ra t1.Jul ~ ••kward. a" f"1.rII1; 'bR1; "UL... 70U ha.... 'to ...rr- "\.ba1; "UL. ot.b.r. . . .re awkward. a'\ t1.rat. -.00 .. .A.t. ~ raw 7oa. alp1; &1 .... 'tb. . a 'b7. 'l'he tir.:t tiltpr &Ge. 1;kroQc.b. th. hal., 'th• •aaond. t1.aaer In t.h. ou" ••..,. 'below, and t.h. t.hv.'b OA 'the 'baolI: a1.d•• Bold -th_ a, . a'bou1; • 30 decre. angle &JI4. '\la. 0U%"Ye4 u.p. 'ftl. kol •• aea4 to bae1a.rp a:a.ou.sJl to 100_17 on ;pour ~1.JI&era. 3/4 :1.Doh :fi ". aoa'\ ,people, 7/8 tor 1.arp ti.D&ere aDd. 5/6 tor -.n. ~ra :1 • ......u.7 ~ua'\•• f t . who1. "i.hi.ztc al:lo.l.d. 'be abou'\ 1/6 l..JlOh '\.b.i.ok hari.woo4 . . . . " 1.0 :1noh•• lcmc_ Wal.l I hope 't.h1 . . .1.11 M or 'Y&lu. "to .,...ODe. I aak. 1.D.e'truaen". tor -..1. 'b7 aa.1.l 1f' -.a70Jl8 uoul.d. can W 1D1lui.re. I _ u.u.al17 OIUt gr WO .oatlLa 'beh:1.Jut. how.....r.

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HAMMERED NOTES by David Taylo-r, contri b utin& editor

• Accordin .. to aorne oC '-he correapondenco wo ' ve received lately, tbe "Hammered Note." column ia being appreciated by moat of the Colk. intereated in the hammered beaata . We continue, oC courae, to be completely open to .uaaeaUona reRarding the column, que.tion. about instruments, etc . We, h .;)Wever, cannot oUiciaUy endorse anyone builder of aeller of inatrumenta.

Several of the peat i.auea oC the DPN have ahown h&nd-drawn aketchea of v J\ rioua atylea of hammera . Perhapa it would be helpful to have intereated player. w r ite to u. and deacribe fully and d r aw the hammer. that they have Cound to be the beat . You might want to include aorne reaaona why you conaider your particular atyle of hammera to be bette r than o thers. Our repr'int aeries continue a thie i.aue with an article originally publi.hed by tbe Folkl o re Society of Greater Waabl naton (D. C. ) in a aupplement to their New a letter (Vol 5 , No 6 , February , 1969. pp, 6 - 9) . The a rticle ia r e printed with the kind permi.sion o C the Folklo re S ocie t y of Greater Waahington and n C the author. Several editorial correction. have been made by the Contributing Editor on behalf of the author . A special thank. from the DPN goes to Mike River •• o f the FSGW. and to the author o f the article. Dick Hulan . Dick Hul an 18 no newcomer to the field of folklore and e.peci.lly to traditional mu.ic . He ha.a .erved a. a r •••• rch .peciali.t for the Sm i th.ooian In.titution ' . Divi. ion o f Perform!n& Art.e. mo.t eapecially in connection with the Fe.tival of AD'lerican Folklile. In addition to many public.tion. in acholarly journal •• Mr . Hulan' • • peciatty i . the He tt' of Am.rican traditional hymnody . He hold. a B . A., B . D •• an.d M.A (rom Vanderbilt Univer.ity. wber. be t.aches a .urnlTler FolklLfe In.titute under t.be direction of th.Anthropol oay Depart.r:nent . A Teone •• ee nativ., he DOW make. hi. home. in Arlin&ton. V i rainia .

HUNTING & TAMING THE NATIVE AMERICAN DULCIMER

R10hard H. Hu1_

:I FDlST HEARD " THE HAlOCERED DULCDIER D 1957. . . a 0011_. l're.b.aD, :I had puroha . .d t.b._ n.w AFrican Folk tal•• and ~1!15' b,. Riohard. bad.

Cb.a".

read 1:t.. and va. dut.Uul.l.7 beg1nnins w1t.h ~ own &a1.1.7 to recover &11 t.ha t.r&dl t.ional. 10'" 1't't.. M;r great.-aUZlt. La\Dl& Harper Da.lct.on .-.as; t'or _ -Old *14•• 01.4 *14" A.l.l. &ass-d and D1..r't,.-. and re_rked that. _ .. S1.rl. (in 1893) ab. had 1.&ftl.4 to p l.'" t.be aong OD a 4 ul.cs..-r ~ b,. ~ grend.tau-r, George Henry Hul.N1. Fu.rt.b.r 1nf'oraat,lon about, t.h1.. 1n't.~t. va. obt.aln.4 f'rom .:r grandaot.h.r, Be •• Harper Hu1an, and 1'1'0. ~ sreat.-u:nol.'

Char}."

T. Hu1an.

A.ccord.1 nS to the •• rel.at;.lve" Uwre ",. . . . ooapNl7 (in )(1.aourlfl Vh.1oh ...d . du).cl_r. ot' th. k1nd now 41.t.1.D.sUJ,.h.d by the non-rol..k pre:f'lx ~r .4-. Around 1. 885 Jq gre.:t..-lmo l ' Baa Hul.&n, 1.1Ti.ng Un all • • downat.r. . . 1'ro•

•••byll.1•• Tenn. . . . . . be e .... a . .1 • • ...n f'or t.h1.. in.t.~nt. ~u1'a9t.o!"'J". He t.ra...-.l..d In t.h8 Cu.berl.and RiT'r Va 1 l..,.. d.atOJl.t.~t.1na t.ha 1n.t.rument.. and eollo1t.~

. . 11. ord8r ••

Mt.er .. abort t,1_ (be1'o:re 1890) h. d.wra1n.d that. 1t. woul.4 be · aore prol'lt..abl.. to mak.e the 1nat.~nt.. h.1.aael.t', ua1ns the tool.. ot' M. t'at.b.er t • oarpent.ry Sa. and t.Vo yO\U'lger brot.b..r•• M.1nor and George (Jty ~4:tat.h.r) ClAde dul.o1.mer., but. onl.y Sea and Minor 8014 th• • t'or a 11.T1ng. '!'b. bu.. tn••• dr1..4 u p a rol.m4 the t.u.nl or the oent.UJ'7. CORTIIIUED

bu.1n....

•

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I had

. .en

& h~red

dulclaer, however, prior to my diacovery and

purcha.e of' one in Hodgenvl1.1e. Itentuclty, in 1965. By this t.1.me I "a. co.:op.let.e1y indoct.rinated by, and even (shudder) a part.l.clp&nt. In, t.he Gre a t. Appa1ac hl&n Dul.c1aer Consp1 ....cy. Flnd1ng and restoring t.he ~ dulch:er, vh11. 1t. did not. eh&ke .y :fait.h in the other kind, at. l.eaat, re::D.1nded %8 of' what. I had • • rly known and 800n forgot.t.en about. the currency or t.~e ro~r lnatl""UlDl!nt. 10 the Cumberland reglon. In the .prins of' 1966 I had a converaat.lon ..,1 th Joe H1ckerson 8..!':.d ~8 Meade at. t.he L1br&ry or Congre ss 1n 'li"aah1nt;t.on • .D.C .

Laboring t.hrou.gb old

SaMar .r11 •• , Gua had round. 1926 re.dl0 log rererence to Ii. :-:rs . Cline 0 W•• t.moreland. Tennessee. who vaa t.o pl..,. du1clmer on t.he Sa t.u rea?, e.ening 'fiSH. re.dl0 program of folk lIIusic (later e81184 the It Grand Ole Op e J' I) . 1 .\16&•• t.e4 t.hat. t..h18 would probably have been a ba~red du].clc:er. Sena1n£ their ak:ept.icUua on Uti_ polnt., 1. resolved 1.0 rind out. tor my.elr whic ~ variet.y oC ~.~rumen~ ahe had played. A. letter 1.0 t.he po8t.ma8t.~r or Westmoreland aeeklng the addre8s or any known rriend or rela~lve oC a ).Irs. Cl.1ne who appeared on the Grand Ole Opry the Clrat. year It. waa on the alr" waa. aa It. t.urned out.. Corwarded ~ Mrs . Cline who a t. t.~ age (t.hen ) or eIght.y-elght. and one-halr years waa at.l11 11ving where ahe a.lwaya had . She waa, indeed, a hammerer ot' dulclmera . Mt.er exchang1ng several lettera w1th the apr1ghtly Mrs . G.R . ( Cora) Cline, I vls1ted her .1n June. 1966. She had glven her dul.c1mer to a sre.nd~n y .ara be!"ore . but af"t.e r a .few Cal •• atart. I ::a&nae-d to tWle !!line in the treble course . we11 enough ~o :r;:ecord a bl~ of her llghtn1nS -t'aat. playing. We ran lnto prable llla, however, when we came to the baa s notea . ;.rra . Cllne had a1 way. tuned by ear, but. couJ.dn't tune thl. pCLrt Ic u1ar inat.l"'U.ment because o.f the .harp eyeSight and phySical. efrort necesaary . The ~r1al _ and-4:rror met..hod seemed to get us novhere, so we gave up on the baa. courses . Later in 1966 I fO\md lIlY second d\ll.clmer. This o ne . from West Virginla had no baae cour. . . and thus caused no tWl~g problema.. ·...e a:oved Crom ' Bethe.da. Maryland, back to Nashville .in t..'le Call , vial t.ing Mra. Cl1ne several lZIore tlmea and Clnd1ng (in "eat.morel.&nd) a t~lrd dulcl:Der w1t.hout. learnlng how to tune 'the bass stringa. THE FOURTH DULCIM:;R I OBTAINED UN'LOCiCED THE ?UZZLE . So:r.eone had penclled a number under each course . Since I already knew that t.he treble t.un1ne waa baalcall.,. a K1xolydian aca1e on ~e rlght 81de of ~e brldge, and t.he .... me Ul1ng a CUth hIgher on the left.. 1. knew the tone values tor t..'le number. . The baa. ran~ was numbered l,2,3,4,5,1,6, whlch. in the s1mple8 t. key e1gnat.ure, would be C,D,E.r,G,C,A. Th1e tun1ns waa subsequently oonflr~d by Mrs . Cl.1ne and by another player from her neIghborhood, Mra . W.P . (Laure.) La.bert, aa the one they had learned beCore 1900 . Having a1nee acqu1red :tour .are dulolmers. and having seen ao!D18 twent.y other. which were not tor aale, I :reel reasonably conC1dent. 1n offerlnp t.h 1 s acheme oC t.uning a8 the one ~hIch waa t.radit.lonal in t.he vlcinit.y of ~ea t ~reland, Tennesaee. and Scott.sville, Kentucky. at the t.urn of ~ oent.ury : 1I.Sh"'11~.

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It. 1 • • aaler :tor to th1..nll: in C than 1n keya .uggeated by t.hia 8yatA.o1' t.Wl1og (A,D, and G). Aa a matt.er or ract., the lnat.rument. reeponds about aa well t.uned a tone lower than a. shown on the dlagr&lD, I t one pre!'ers G,C. and F. The reason I ha. . wrIt.ten "thoee ton• .-.l\18a on the dlag.ram la that. hammered d\1l.c1_rs I atud1ed vere Crequently used vlth a .tlddl.e, at. leaat one group regu1arl,. played v1th a dulcImer, t'iddle, and banjo. 1.::1 t.he cas. ot the latt.er 1nst.rwD8nt.a, absolute p1t.ch is more crlt.1cal t.han wIt.h the acouatlcal1y unsophlat.lcated dulc1mers moat. t.ypical ly round in the area . The A,D, 0 pat.t.e1'Tl eatera to the rldcUer. and when playing by ear t.M dulcimer artist can t.hlnk 1n any key h. pleaaee. Thle 1s an advantage , or a drawbaok, OOm30n to ~atrument.s with baSically a ~lt-1n diatonic scale auoh a. the harmon1ca, Appalachlan duloimer, and eo ~orth. To avoId value Judge . . nts, le~ ua aa,. that 1t 18 charact.erlatl0. CONTINUED Please do not reprint or redistribute without permission. Contact dpn@dpnews.com ~~-------------

•

THERE ARE C8 THxa Cc.T.INDT QOX'm A . 'UXBEJt ~ E!'HIIl:C COIOltDlZTIES Vb..1oh or ba.... ~d b a _ r e 4 4ul.o~ra 1n . . . . r&]. .... r1..~:t. 1'oraa. • "S t.b8_ are ~ Gentana in JUOb! gaD.. Kansas.. and »ebraaka; toM Czeoha 111 ~xa.a; t.be UJtre.1n1.aoa in Al.bert.a; and predoa1Dant.1y 8oot:t1.~-Irl.h oo_un1.t.1•• 1n t.be ApP&1aoh1.an, Ozark, and Cuaberl.an4 b.111a (not. t.o _ot.1on the Talley- betw. .n). 'fo t.be beat. 01' .::r knoV1adge. no group thua rar report.ed in print u.eea qulte t.bII ..... 1.un.1ng I have Juat. deaor1bed. Furt.heraore .. t.M on17 ~uroe Wh1.oh 51..... det.aUe4 1nf'or.at.1on OIl wbat. to do t.\mlng (how t.o pl..7) 1& 8o_1.e Xlt.cbe.l.·" underground pre... 1. haTe t.b.a:re are at.tAapt.ed 1.0 t.:re.Daor1.be one t.un&, 8014.1..r' 307-, exaot.l.,. .a pl..,..d by Mrs. Baure. Laabert.. F&i.r.t1.el.d Co..mJ.t.y . &u.Der Count.,.. Tenne . . . . . A rev word. of' axpl.an&t.1oD "111. be n.o .....17 t'or t.h.e _,.atea or not;..:t.1ca. Aa t.be preceding d1agre.a abo"., the t'or-. or t.he 4ul.cs...r uNd 1n 'the Cuabe~

arrar

'rrebl.& not.•• are produoed b7 at.r1.k.1.n.s .. oour_.

l.and area baa t.wo br1dges.

three or tour .t.r~. t.una4 t.o the . . . . p1t.oh, near the l..rt. br~~, ~oh .lanta t'ro. l.t't to r1.aht (I). ~. Laabert'. dul.o~r had. t.en tNbl. cour... Zn t..M D.Ot.at~on belov 1/ _an. that the t'u--t oouree (n.areat. t.M player, lov••t notA) ~a a'truck on t.be ~ .~d8 or the t.rebl. br1.4IIt. 81.a1.1arl:r. 15 vou14 be the t'1t'th cour_ atruck on t.h. r' rsbt. a~de 01 t.ba t~bl..

br1.~.

The~ ~a th. t'u.rt.bar co.plicat1on 1n that an,. notA on ~ 1D.atna.Mlt be .t~ck by the hallllDer (aoma Cumberland area re.~4enta call toM.

_,. -pad41•• -) lwld in .1ther the r1s,h.t. or let't. hand. Thu. th. la.t. notA _nt.1on.d (/5) v~1 1 be wr1t.t.en 15ft or 15L. depend1D6 on ,,;Moh baD4 va. u_4 b7 Mra. Laa'bert.. ThJ,.. co~.tA. 'toM t.rebl. notat.1on and. 11' u ••d ror t.h. V.at. V1..rc1D.1a t.TP8' 4u1c1.aer 'Wh.1ch has no baaa br1dge. wo\11d be ~ ¥'bo18 a"atA •• For 'tho_ in.t.~nt.. Wh10b haTe a baa. br~dge on t.he r1ght. aide (n.ar t.be e4.p Or t.be t.rapezo1dal. aound1n6 board.). toM baa. a;rabo1 oont.alD. DO .laah. bu.~ 1._ WIderlin.d (SB.>.. All baaa notA. are at.ruck OD the l.rt. .~d8 or t.he baa. w1de1'. '1'0 roe..-1. . , 'the nuw,ber 1nd.1oatAa Wh10h cour. . to .trUte; 'the le~r 1D.41oat.e. Wh.1oh band to at.r1ke 1t. V1t.h; and th. at.F~t. l t i i . ind1oatA. 1 0 h br1~ (in the ca_ ot t.he t.reble, wh1ch a14e 0 • br1 ). A word o~ oaut.101l' In all t.ablat.ura. J'ou o~ produce the r.1&ht. not.•• 11' :tour 4u1c~r 1,a ~ lUte the one :t'roa Wh.1.ch t.ha t.une va. t.re.a.aor1be4. SOL»lot t S JOT

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Thi. p1..c • • a vr1t.t.en 1a p1ayed in t.•• 1,. . . . . . conde (..I :. 160). Mra. La.bert. ...,. pl..,. t.hrough 1.1. t.~. or tour t,!...... or it. . .,. be 4.1.,.1.94 1nt.o 81.gbt.-_aaure . . et.lon., 81 t.her or Yb..1ch ...,. be repeawd.

pl..,...

C10 •• 1.napeot.1.on ot' t.he ausio reTe_l.. cert.a1n tAchn1quee :Cor produo.1J:l.S

the "J[1.un compl.exlt.,. ot' BOund v1th t.he 1D1n1D.m .rrort.. The r1.8ht. hand only downbeat.a; the 1ert. _11 upbeat.a. Furt.henDQre. t.he l.e?t. hand ba. onl.7 t'our notA. throughout., repeat.1ng t.wo 1n much 'the a.me atyle (rh7t.hmlea11,.) ot' the rU't.h banjo at.ring.

There:Core t.he rl6ht. hand, Yb..1oh doe_

.oat. ot' t.he moY1ng about. , ha. t.wlce .a 1.on6 to get. 1'1"0. not.e to not..- a. t.he at.a.t'f' not.at.1on &100& woul.d inoicate.

At. t.his t.eapo 1t. 1e 8t.111 qui.t.e

but. not. ape.alb1,. ao .

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To approx1_t.e on a plano the aound ot' t.he ha_red dul.c1._r, pl.&y th. notA. w1t.h bot.h t.he 80rt. and sustAin1ng 1»4&1 depree . . d . To S-t. 'the :reel.

ot' the .r1'ort. required, p1ay t.he above lII.u810 wit.h one ringer or eaoh hand, downbeata w1th the r1ght and upbeat a w1th the l..t't (chords w1th both). And get. t.hrough in t."e1. •• aeconde. Then you w11.1. onl.y need a dul.c1mer and a palr ot' ~.a ~ become an authentlc rOl.k pl.ayer ot' the Nat.l" A.er1can Pad~ed Du1cl. . r. - - END - -

Tp.

Int.ere sted. readers are ret'erred t.o Charl. •• Wo1.:!. 's 9~d ~l. 1925-'5 (publ1shed by Old T. . . Kuala, .1n.~~~h publ.loat10n •• a11a61e t'rom ~e au~ r at. ~ddl.e t.nn. . . . . Stat.e Un1 •• re1t.y, Murf're •• 'boro. T.nn.es. . ). On ~e;ea 86 and 87 there 1. a d1ecusslon or M:ra .. Cl.lne with a pbot.o by the author ot' the artle1. reprlnted abo..-. -DLT

Ed. Not.el

Opry1 The Early X•• re.

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