1981-04, Dulcimer Players News Vol. 7 No. 4 by Dulcimer Players News

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DULCIMER PLAYERS NEWS Volume 7, Number 4 Fall 1981 (£) All Rights Reserved The DULCIMER PLAYERS NEWS is published four times each year. Issues are mailed to subscribers during the first week of January, April, July and October. Subscriptions are S8 per year, S15 for two years. For a list of available back issues, contact us. Editor: MADELINE MacNEIL DULCIMER PLAYERS NEWS P.O. Box 2164 Winchester, VA 22601-1364 (703) 667-2017

Contents NORWEGIAN LANGELEIK by Tone Aanderaa Car lstrom....3 W H AT ' S NEW 12 A LOVE STORY OF TWO DULCIMERS by Joy Shapiro 14 ODPC INTERNATIONAL EXPOSITION...19 JOY TO THE WORLD arr. Anna Barry 20 NORTH SLOPE DULCIMER by Joemy Wilson 23 HAMMERED DULCIMER by Guy Banks 27 Bach INVENTION XII a r r. R u t h A n n S h e p h e r d 2 9 GIGA from SONATA A CAMERA A TRE arr. Carrie Crompton 30 CONTEST WINNERS 33 CLASSIFIED ADS 34 DPN SUMMER CONTEST WINNERS 34 AULD LANG SYNE arr. M. MacNeil, S. Austen...36 Wo, the editor and staff of DPN, wish you lovely, peace ful holidays Thanksgiving Hanukah Christmas New Year's Day

Our thanks go to the authors of articles and arrangers of tunes in this issue. In addition: Seth Austen - layout, musical transcription, design. Miles Tager - Manager of the Blue Ridge Dulcimer Shop. Joan Nauer - Typist. Randy Mohr - Cover drawing. Ruth Anne MacNeil, Lois Hornbostel and Peggy Strang - generous assistance. Youth Fellowship students from Braddock Street United Methodist Church - assembly of Summer DPN. Japan:

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BLUEGRASS BUHNE was established this year and already has present ed an article on dulcimers. More and more American performers are working in Europe these days. This magazine profiles German musicians as well as those from the United States and other countries. For information con tact: Eberhard Finke, Editor/ Publisher, Eborhardtstrause 14-4, 0-7900 Ulm, West Germany.

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W P By TONE AANDERAA CARLSTROM Norway

Illustration No. l.-The langelcik Built like a long wooden case, the langeleik has legs on either end to stand on. On top are 7-9 strings, 1 or 2 for melody, the rest for accompaniment. Arrangement of strings and tuning can vary much from player to p l a y e r. Giving school concerts with American folkmusic, my husband, who's American, and I also bring along the appalachian dulcimer, which hardly anybody here is familiar with, and we refer to it as the American langeleik. So for those who don't know the langeleik, I think an easy introductory explanation will be the same statement turned the other way around. I don't think that's making any false assumptions, although the instruments are very different, both in looks and ways of playing, the principle of the instruments is the same. According to instrument re searchers, the appalachian dulcimer is a descendant from the langeleik, which again would mean they both had their origin in the Middle Ages, the times of the richest wealth of stringed instruments. (It must be mentioned though that many instru ments similar to the langeleik and dulcimer have been found in recorded history from earlier times than that. Many instruments from the Middle Ages are still alive and in use today. The most familiar ones being the harp (dating back to the 8th c e n t u r y ) , fi d d l e ( v i o l i n ) , l u t e , guitar, mandolin, piano and harpsicord. But there are many more, and we'll take a look in Northern Europe.

On a little group of islands belonging to Estland we find the tallharpe, the same as a rundlyre (trans, .round lyre). Mostly in Sweden, and some parts of Norway there's the nyckelharpa (keyed fiddle), which in Sweden is dated back to 1500. In Finland there's the kantele, which is very closely related to the psalterium. And in Norway we fi n d t h e H a r d a n g e r f e l e ( fi d d l e ) , (with 4 sympathetic strings), the harpeleik (zither) and the langeleik. Illustration No. 2-The langeleik and its tunings.

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Before the l a n g e l e i k s e t t l e d i n Norway (prob. 1 7th cent.), it was kind of a trave ling vagabond with unknown origin. I n I t a l y i n t h e 16th century it was called a symphony, and w as considered a Tuscan i n s t r u m e n t . I n Germany, a little e a r l i e r, i t w a s called a Spanish humlc. In Dutc h l i t e r a t u r e f r o m t h e end of the 17th c e n t u r y i t w a s c a l l cd a Nordic bal ke (trans, beam). Later, in Franc they called it Buche de Flandr e, but at a later date again, when the y at one time made it t h e i r n a t i o n a l instrument, it changed names to Vog«se r Spinet. And today its name has an iip changed fo epinetto.

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Nobody knows how old this in strument really is, but because of its relatively simple construction, it Is thought to come from a very distant past. Among the old writers, many seemed to think it came from the pagan days (Norway was Christenizcd approx, 11th cent.), while others seemed to recognize it as a "wild mans instrument"/ which from the Orient found its way through Spain to Europe. Today, however, it seems to be agreed among researchers that it must be a descendant from the monochord, which again was brought from antiquity into the Middle Ages, to be used in mathematics and music education in the seminaries. The monochord consists of either a plank or a box with one string on top. Under the string is placed a "ther mometer", which serves to show the relationship between the length of the string and the pitch when the string is pressed at different points. The pressing is done with a little movable hook. This instru ment is still around in some homes in Norway, although mostly hanging on the wall, reminding the older generation of how they learned to count and sing notes. 'taWC-HO*!,'

It is a step further when de scribed about a century later by a Dutch author. Here the right hand thumb is replaced by a thin, bendable plectrum or a violin bow. This way the sound must have been much softer than before, but while using the left hand thumb or the stick, the ability of playing at higher speeds is still limited. In Icelandic literature the langeleik had its debut in the 17th century, in Jon Olafsons' diction ary, and about a hundred years later a Swedish traveler tells that on Iceland he only found two instru ments in use, the fidla, with 2 gut strings, and the langspil with 6 brass strings, both played with a violin bow. In 1809 two British travelers also got to see the langspil, but it was ovidently com pletely out of regular use. They describe it being approx. 3 feet long and narrow case which in one end is rounded out with room for a big round sound hole. It had 3 strings, 2 tuned in unison, while the third is an octavo lower. Under the first string is a fret board, and the instrument is played by sliding the left hand thumb up and down the fret board while the right hand is stroking the strings with a bow, this way the 2 other strings serve the same purpose as the bass pipes of the bagpipe. When played It was plac ed on a table, and the melodies were of Norwegian and Danish origin.

Illustration No. 3-The monochord Now, as long as the monochord only was used to do single notes, i t s e r v e d i t s p u r p o s e . B u t l a t e r, when in Medieval times people wanted to play melodies it had to change. Having to always move the hook was too impractical, so this was removed. Instead the monochord was given oither a keyboard, which is said to have led to the clavichord, or frets were put at the main points of the "thermometer". To give the now fretted instrument chord accompanyment, several ac company strings were added next to the melody string, and there's the fi n i s h e d l a n g e l e i k . The earliest description of this is found in Michael Preatorius' "Syntagma Musicum", 1618. The in strument is here called "Der Scheidtholz" (trans, burnt piece, wood), and was given sound by strum ming with the right hand thumb while the left hand thunb or a little stick is moved up and down the fretboard.

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Illustration No. 4-The Icelandic langspil In the 17th century Denmark, it appears the langeleik was in regular use among the farmers, and a little conversation between two tells of place therot "Good day, good day, dear neighbour, what might you do so early?" "You ask what I might do so early. On a langeleik I will, when the Winter is - and evening's long and dark, freely tell my simple poem of my destiny and other such matters." (Trans, from PederSyva' "Betragtningor over dot cimbriske Sprog")

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In Sweden, in the 17th and 18th centuries, we find an instrument called the humle (hummel), which was very commonly used. According to researchers this instrument is not a relative of the langeleik, - it is supposed to have been brought by sailors from Holland in the 17th century, but looking at this instru ment you can't but see the groat similarities between both this and the langeleik, and the appalachian dulcimer ..? It was played like the langeleik was in the 17th century, - by slid ing the left hand thumb up and down the frets, but the humle had 2 melody strings, and was played with a hard plectrum. Although books say the humle is dead in Sweden, I find this to be untrue, or at least not up to date information, I've heard there are humle players and builders around today, although maybe not so common. When the langeleik was first introduced in Norway we can't say for certain, but we do know that it was commonly used in all areas of the country in the beginning of the 18th century, which should indicate that it must have been in use here at least as long as in Denmark and Iceland. One major change was done to the playing method after its arrival In Norway. Instead of using only the left hand thumb tor melo dies, the Norwegians started using a l l 3 fi n g e r s , - a n d t h i s i s s t i l l the present way of playing it. This enabled the player to also perform some of the faster melodies. Also the plectrum use was developed, and no longer was the bow used. Now the langeleik had much more possibil ities of giving its music colour and atmosphere, and the plectrum was a good means to mark the rhythms of the different dances that are, like a red thread, spun into so many of the folk songs and melodies. Each of the dances has its own plectrum stroke.

Only very recently have any of its melodies been put into notation. Some composers, like Edward Grieg, have gone to langeleik players to get old melodies and folk tunes, to "weave" further on these in composi t i o n s , b u t t h e fi r s t t o g a t h e r langeleik music to be presented in book form I believe was Hortense Panum, a Danish woman. Working with medieval instruments, she set out to look for the langeleik, which by then, in the beginning of this century, had vanished from Denmark. She traveled through Sweden and found Valdres, a valley in MidNorway, where the langeleik was a commonly used instrument. Although the instrument has been in use all over the country, Valdres must be said to have kept it most alive, up to this date. From her trip, Panum published two small books, the in struments' history and an instruc tion book. This has actually been the only written material on this instrument until very recently when a revised Norwegian versian of the instruction book, with a few addi tions, was printed. So, unless you can get to meet one of the very few players around, to learn directly, there are very few ways to learn to play and know the langeleik today. When Panum traveled around there were still many players active, both professionally and in homes for their own enjoyment. Some players were traveling around giving con certs for "kings and queens" both in this and other countries. Others were wanderinq troubadors getting room and board for their concerts.

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Illustration No. 5-Plectrum use for different dance rhythms. Like all folk music, also the langeleik music has been kept alive by having traveled "from ear to ear".

Illustration No. 6-Marit Jonsrud, one of the players Panum met.

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To d a y f e w p e o p l e g e t t o h e a r the langeleik, and most have it as a vague memory from "somewhere". When 1, a few years ago, started to look for a langeleik, I had never imagined i t t o b e a s d i f fi c u l t a s i t t u r n e d out to be. I lived near the second l a r g e s t c i t y, a n d i n q u i r e d a t a l l the music stores in this, only to receive the answer that the langeleik long ago had become a museum item! Only by pure chance did an instrument r e p a i r m a n h e a r o f m y i n q u i r y, a n d could tell of one langeleik builder o n t h e o t h e r 3 i d e o f t h e c o u n t r y. It so happened that my langeleik then was the last he built before he d i e d s h o r t l y a f t e r, a n d u n t i l t h i s date, I still haven't found another builder with his old brand of hand c r a f t e d q u a l i t y. O r n a m e n t e d w i t h the old designs and wood carvings it is a beauty both to the ear and eye. This instrument also had the addition of an extra row of frets for the half tones, - this, of course, giving the instrument a wider range of possibil ities. The langeleik has not always had its present scales. Like so many other folk instruments, also the langeleik was changed when the tem pered scale instruments arrived in N o r w a y, a l t h o u g h m o s t o f t h e fl u t e s still have their original scales. Until as recent as the beginning of this century most langeleiks had what we call "Naturtone skala", w h i c h t r a n s l a t e d i s " N a t u r e s ' To n e Scale", and this again could vary very much according to what the players heard. The most common ones would be as follows: 1. a, e', f«'(too low), g'(too high), a', b\ c8", d«" (too low), e", f«", gO", a" (too high), b " 2. e, f#, git b (too low), b, cS', d#\ e' (too high), f#', g»', b ' (too low), b', c8", d8", e", f«", g#" To e x p l a i n h o w t o r e a d t h i s , e ' means 1st octave e, e'1 - second octave e, e'(too high) - e is the closest not in our present scale, but this is actually a little higher than the note in the "naturtone skala". Through Sigbjorn Bernhoft Osa, o n e o f o u r r e n o w n e d fi d d l e p l a y e r s , I was very lucky to hear of one langeleik player I should see, the "virtuoso", according to the same fi d d l e p l a y e r . A n d h e w a s r i g h t ! By contacting this man, Olav Snortheim, I got the most encourag ing start on the Instrument. Having always loved this instrument, he was very happy to hear of young people

taking an interest in it again. He is now a man of about 70. Before meeting we had a most instructive and inspiring correspondence. After a y e a r w e a r e fi n a l l y a b l e t o m e e t , and he sat me down for a whole day of playing and instruction, stories of the old days, and many a long gone player appears through his playing and stories. Still travel ing around giving concerts and seminars, Olav Snortheim must be said to absolutely be the greatest living exponent of the langeleik t o d a y, a l o n g w i t h a l s o p l a y i n g a l l t h e o l d fl u t e s a n d h o r n s t h a t a r e so seldom seen in use anymore. No other langeleik player plays like him, with all the most intricate embellishments and a wide use of dynamics he makes the most sensitive pieces and the high speed syncopated dance pieces the most exciting to listen to. His present instrument i s o n e m a d e i n 1 9 2 6 b y h i s b r o t h e r, made from 200 year old wood, season ed in the walls of an old building 1 H i s fi r s t i n s t r u m e n t w a s o n e h e found in the attic at home, and at that time, a young boy, he thought a beautiful instrument like that "couldn't be meant to be played by a little boy", so he actually hid away t o p l a y i t , a n d l e a r n e d t o fi n d h i s way around it along. He has later taken many old instruments down from t h e w a l l s a l l a r o u n d t h e c o u n t r y, t o let them ring again. He tells a lot of the langeleiks' life "before" being both concert instrument and one for home use. There were even langeleiks with two fretboards, one on either end. This was used by parents of young girls when these were visited by suitors. The two young ones were placed on cither side of the langeleik, having a fretboard each, and leaving the room, the parents could at all times know if things were "the way they should be" in the other room, of course, by hearing busy langeleik playing. Learning to play the limber jack in America, I also found it very in t e r e s t i n g t o h e a r o f t h e o l d " To r e doll", that sometimes earlier was used by langeleik players. This was h o o k e d o n t o t h e r i n g fi n g e r o f t h e right hand, and would dance to the beat of the plectrum stroke. Of course, this would bo smaller and lighter than the regular limbcrjack, but like it made from wood and with moveable limbs. But the actual mean ing of this doll differs from the limberjack. Like in so much of the folk music here, also in langeleik music does the Devel play an impor tant role. This doll was actually made as a representation of him, to illustrate how he behaves in some of the music that's made about him. This could be when he in one song

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g e t s c a u g h t i n t h e c h u r c h t o w e r, a n d desperately tries to get out. Or it could also be at a wedding where he takes the bride for a dance that ends with death for the bride. There are stories of people seeing this doll and getting very scared, actually thinking the Devil is letting loose in that doll. Ve r y m u c h o f t h e N o r w e g i a n f o l k music is attributed to the "troll people", these mystical peoples of oftentimes magic powers. "Huldrer", "nisser" and "troll" had their say in many matters and decisions that were made. They had to be respected, or they would turn their power against you. Did you put your house on a hill on top of their dwelling, you could be sure they would haunt you and your family until the day you moved. So, of course, songs were made both about and to them. "Tusser" were tiny little people, and they liked to have their dwellings near lakes or open wells. Many little children were scared away from open wells by old grandmother who had heard these people that lived by that well that tempta so much over there, they had had a party, and had sung and danced, and she would take out the langeleik to play them what she had heard. "Huldrer" look like regular people, and they are mostly seen as young beautiful girls seducing men, lur ing thorn into their mountain dwell ing, never to return again. The way t o r e c o g n i z e t h e m i s t o fi n d t h e i r long tail under the skirt. The 23rd of June is their big celebra tion night, Mid Summers night, and they all come out to dance around a b i g fi r e , a n d m a n y d a n c e p i e c e s a r e said to originate from witnesses to this, who then remember the tunes, most often said to have been played by a harpist. But in many of the old pieces, the langeleik also tells you how the little waves would ripple and t h e w i n d w h i s p e r, a n d o f t h e m u s i c of the bells heard from far away carried to and fro with the wind. More than anything, I think the langeleik is a lyrical instrument. T h e H a r d a n g e r fi d d l e i s o n e o f the other stringed instruments here, and it was most probably due to the arrival of this that the langeleik in so many places was p u t a w a y, a n d s t i l l i s m o s t p l a c e s . Although the langeleik had been used f o r d a n c e s , t h e H a r d a n g e r fi d d l e w a s l o u d e r a n d b e t t e r fi t f o r b i g g e r crowds. It also had a bigger rich ness in tones, and being decorated with silver and mother of pearl it was a striking instrument, and soon overpowered the langeleik, which was mostly played at home with the accoustics of the table it was plac ed on and the wooden walls around.

It seems the langeleike was m o s t l y u s e d i n t h e 1 8 t h c e n t u r y, a s solo instrument and as accompanyment to songs and dances. The Hardanger fi d d l e s t a r t e d g e t t i n g w i d e l y u s e d all over the country in the 19th c e n t u r y, a n d i t i s s t i l l t o d a y t h e most commonly used folk instrument in Norway. There aren't very many sources t o t u r n t o t o d a y w h e n t r y i n g t o fi n d langeleik music, unless one can get to meet some of the few players around. A few old recordings are available, and then as mentioned, Panums' printed music. One assumes that a lot of the old tunes that used to be played on the langeleik also w e r e a d o p t e d b y t h e H a r d a n g e r fi d d l e , so surely many of these could be "adopted" back again on the langeleik, but the instruments being of quite different character does make this a d i f fi c u l t t a s k . H o w e v e r, a l t h o u g h t h e l a n g e l e i k has been much of a "sleeping beauty", there seems to be something slowly happening today, some few homemade instruments are popping up around the c o u n t r y, a n d a r e n e w e d i n t e r e s t , l i k e in so many of the other folk instru ments, might be just around the c o r n e r, - I b e l i e v e . Sources: Hortense Panum, "Langelcgen, It's History", "Langeleiken. Collected Music From Norway". Boris Borisoff & Hortense Panum, "Laerebok i Langeleikspill". Nils Grinde, "Norsk Musikk Historic" Opcdal, "Spel 1 Hardanger" Olav Snortheim, Private lessons and correspondance.

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Dulcimer Songbag

b y. D o r o t h y M a y £ Q C A 35 songs in easyl.o read tablature.

Bulcimtr Songbag $2.50 for Cfirttftma* by Dorothy May 24 favorite Christmas carols in easy tablature.

Dulcimer Classicks

By Dorothy May $2.50 15 tunes from the classic and prc-classic era arranged for dulcimer dealer Inquiries welcome

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ANNOUNCING Tht long-wincd dchit .Horn of

WADE HAMPTON MILLAR

I1S0 Uiwcd Suicn Mouatlio Dukimti Clumfnoo

"In The Days I Wknt A~Qx:rtis-" reiltirina Li/ Carroll - ion All-lrelind Ciddle chunfmi Cathy Barton rara -tumnurcd dukm>« 6 baqo-riiiibag AND A HOST OF OTHERS WITH SPICI*l OUEST

Madeline MacNeil $7.00 apiece plus SI.00 per album shipping & handling

,v,il,Wc JunciJ r/Sl famAccustK Revivil Raiwd1. VW W. Hwiiri.Clmw).!!. 6U62o

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Hammered Dulcimer- Reunion Reflections on -the Ca.ciec fxunUu -T2P-OCI

$ Ron Tfeni/, CafAif DaHen, Ja^ Round

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ID oc our Caoorite. Garter ^a/v^.^ uoolJ 4une3 plus four c nStrumerrtaJs * 0_nd.lCttitr.e5 ^ea-turiru^ Hammerevi J -iDuiCirner, Backed u-p bij CVOiiihajxrtiered Carter Sti,le Guitar a«id rtuteho-rp, ClOuihamrner Baop, fturin-ereJ.lixlc.rocr, * "Binjo,/)t*iohoj-p, Leoji CS-uifcaj-, me. * Dutcimcr, 6o-iS and Others • Fbdt-fickeA <ju*t«u-| 8a.njo, fjut'tar, Bass* SELECTIONS: Blackberry Bkssom, J C Uckoo'5 /Vest, Kti^ Ojaltz., Sillfa -n i ~\t\c Le>uJ Ground, (emperanCe KeeY, J S.S.IIuGc.e.d.r'/ljratfitrBrrtcAes SilluGc.e.d.r'/ljratfitrBrrttAes ,i * mocEirifbird H-'H. Sailor 5 Hsrnp.pe/ Slt3\tuatva on<Xba.te, -June/^pple, { SaJIrtai * L.-f>le "Birdie, Black, mountain R*f, J Co U Frosty morn .

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SELECTlONS-.-pcor OrpKa„ CWW, Chinese oraa.kdouJn, QccluM^uJL. Isle. O'er t^ie Sea, Lonesome: Pine. S^cc.'aC, l_,"ttte Joe., John Hardij, [Oude Putin %& (-Oxters, Cre^pe* Sn.p, Liberty OeaJeus ftearted me, ffloibcrless Clr'ldreo, Vi'doCU nCUi t|eu.'tfe; Beer) Q_ Friend toftle, COe Shan "Rise .

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Auai'lable; f?or»R;nix. fTYCeS Tndu.de Shipping 143 N". Latetcood. >Acie.. * Did residents add 5 "Poto* Dealer Xh»M»(iMc«>M Bai*1|fl<«' ^£^2+

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What's New?

INSTRUCTION FOR THE BEGINNING DULCIMER PLAYER AUTHOR: Madeline MacNeil PUBLISHER: Roots and Branches P.O. Box 2164 W i n c h e s t e r, VA 22601-1364 Tu n i n g , s t r u m m i n g , c h o r d i n g a n d musical interpretation are among the subjects treated in this beginners book for mountain dulcimer players. The player is also guided through such tunes as Flop-Eared Mule, I'll Fly Away and Greensleeves.

The Winter 1982 DPN will contain reviews of some of the many books and records released in 1981.

SWEET RIVERS A R T I S T: J e a n R i t c h i e LABEL: June Appal Recordings Box 743 Whltesburg, KY 41858

OLD HAT ARTISTS: Rick Fogel, Mick Donerty and Seth Austen C a s s e t t e Ta p e

Jean Ritchie and her friends; Jim Gage, John McCutcheon, Marion Sumner, Jack Wright, and members of the Ritchie Family play through songs that she learned as a child. Instruments played are mountain and hammered dulcimer, g u i t a r , fi d d l e , a u t o h a r p a n d vocals. Selections: Poor Pilgrim of Sorrow; Mother in Bright Glory; Evergreen Shore; R e s i g n a t i o n ; S t r e a m o f Ti m e ; M y Head and Stay; Jesus Grant Us All a Blessing; The Long Lone s o m e Wa y ; B r i g h t e s t a n d B e s t ; She is Gone; I'm Alone in This Wo r l d ; A F e w M o r e Ye a r s S h a l l Roll; Sweet Rivers of Redeeming Love; The White Pilgrim; The M e e t i n g i s o v e r.

Rick, Mick and Seth regularly p l a y t h e s t r e e t s o f Wa s h i n g t o n , DC and northern Virginia. This tape of two hammered dulcimers and guitar presents some of their patrons favorites such as Staten Island/Whiskey Before Breakfast, Harvest Home/Petrolnella, Maple Leaf Rag and O'Carolan's Draft. AN UNCLOUDY DAY ARTISTS: Susie Petersen, Carol Reichenbach LABEL: Kitty Paw 7214 Blazier Court Louisville, KY 40228 This album is one of good friends s h a r i n g m u s i c t o g e t h e r. M o u n t a i n dulcimer players Susie Petersen and Carol Reichenbach are joined b y E d S i m p k i n s ( g u i t a r, h a r m o n i c a , vocals), Robbie Davis (5-string banjo) and Mike Schrader (mountain dulcimer). Selections include: Old Joe Clark; June Apple; Where t h e S o u l N e v e r D i e s ; Wa t e r b o u n d a n d , o f c o u r s e . A n U n c l o u d y D a y.

FINGERDANCES FOR DULCIMER A R T I S T: B o n n i e C a r o l LABEL: Kicking Mule KM220 Bonnie Carol builds dulcimers a n d p l a y s t h e m b e a u t i f u l l y. S h e has two dulcimer solos on this album; Over The Rainbow and Joellen. On other tunes and songs such as, Southwind, Santa A n a ' s R e t r e a t , C h e r o k e e S h u f fl e a n d R e d H a i r e d B o y, s h e i s joined by several friends playing s a x a p h o n e , a u t o h a r p , g u i t a r, m a n d o l i n , fl u t e a n d b o d h r a n .

FINALLY TUNED A RT I S T: To m M c K e n z i e LABEL: Rooster Records RFD 2 Bethel, VT 05032

DULCIMER CHORD BOOK A U T H O R : N e a l H e 11 m a n PUBLISHER: Gourd Music P.O. Box 585 Felton, CA 95018 This book contains over 500 chords in eight different tunings plus a discussion of the MultiModal method, how to know what key you're in, and a section on playing two dulcimers by Robert Force and Albert d'Ossche.

Tom McKenzie began playing Classical Music and went on to O l d Ti m e , B l u e g r a s s a n d I r i s h and examples of each are on this album. He plays hammered dulci mer and banjo and is joined by P e t e S u t h e r l a n d ( fi d d l e ) , C h r i s Jones (guitar) and Robert Resnick (penny whistle, bones and guitar). Tunes include; B a k e r ' s M a r c h , F a n n y P o w e r, a n d John Brown's March/Road to the Isles.

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WOMEN ARTIST: LABEL:

WHO'S YER BOY ARTIST: Fred Meyer LABEL: Midwest Coast Records P. 0. Box 54 Clear Creek, IN 47426 Cassette Tape

Kevin Roth Folkways Records 43 West 61 Street New York, NY 10023

Kevin Roth and friends perform ten songs on dulcimer with bass, e l e c t r i c g u i t a r, s a x , p e r c u s s i o n , and synthesizers. Seven originals and three songs by other writers. Selections: Enigma; Eve's Revenge; From the Womb; Moody; That Night: St. Thomas: Can We Still Be Friends: Voices; Fania; Fairy Ta l e s .

This tape of instrumentals, mainly with mountain dulcimer music, features such interesting cuts as slide dulcimer with slide guitar, an old time tune played by three generations of the Meyer family and backwards d u l c i m e r. A s s i s t i n g m u s i c i a n s include Jerry Rockwell, David Schnaufer and Seth Austen.

STRAYAWAY CHILD ARTISTS: Jerry Read Smith, Tom Fellenbaum LABEL: Song of The Wood Music 203 We3t State St. Black Mountain, NC 28711

APPALACHIAN DULCIMER DUETS ARTIST: Neal Hellman LABEL: Kicking Mule KM222 P.O. Box 158 Alderpoint, CA 95411 A question often aske d by beginning dulcimer player i s , " c a n the dulcimer be playe d with other instruments?" It can and this album proves i t . T h e dulcimer is joined by banjo, a u t o h a r p , fi d d l e , g u i tar, mandolin, hammered dulcime r and even musical saw in variou s combinat i o n s . Tu n e s i n c l u d e Colored Aristocracy, Bonnie B lue Flag, A Dog Nam**:! Blue and Scotland.

Jerry and Tom are primarily instrument builders who ventured into the playing of their crea tions. This album of instrumen tal feature hammered dulcimer w i t h g u i t a r, I r i s h fl u t e , b o h r a n , bass and dobro. Selections include Midnight on the Water/ Star of the County Down, Lord Inchiquin, Jesu Joy of Man's Desiring and Kesh Jig/The Kid on the Mountain.

THE ART OF DULCIMER ARTISTS: Robert Force, Albert d'Ossche LABEL: Kicking Mule KM217

NOT LICKED YET ARTISTi Mark Biggs LABEL: Centenial Records RR 3, Box 367B Galena, MD 65656

Kobert Force and Albert d'Ossche blend the dulcimer's Appalachian roots with contemporary arrange ments. An accompanying music book is available with selections from this album and Crossover (KM308). Tunes include; Dixie, Wabash Cannonball, Wellyn, Last Tango in Tantra and Storms on the Ocean.

This album consists of solo mountain dulcimer tunes played by Mark Biggs who has won numerous contests over the past two years. Tunes include; Wellyn, Wildwood Flower/Old Joe Clark, Parting Glass and The Ashgrove/Soldier's Joy.

104-Tom MacKenzie-'Tinallv Tuned"

Komter Kecord> mjy be ordered directly by mail by tending J check or money order (or So.50 postpaid In:

B F D 2 B e t h e l . Ve r m o n t G 5 C 3 2

Tom MacKrnzie's fine hammereddulcimer album, which features nee fiddler Pete Sutherland Jformerly of The Arm and ^ Hammer String Band) has been cited in two ^ review* recently. Both Andy's Front Hall Review and In The Tradition of Music have praised the quality performance and produc tion of this album. Says the Front Hall Re view. "From the outside to the inside, this is a gem of a record." Baker i March Utile Dutch Girl. Fbuum Oi The Rail. Rix-het Rocky M-mxtavt Gair. Sw //iff l/jtf (>,,* Matalmuvtt't Rttl Gal I Uft Behind Fa*"v A*.»» /i TV Hall Of The Mountain King Pratt, M •- m Calf!* In The Cn*n Keep Vp With The /.i.. Eskimo Reel. Ice On The Pond Tom and Jerr, [en, talem Ridge lohn /t—„« i March Rood Tb 7V Met

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@/ds0V& <Ujudcmffl by Joy Shapiro Once upon a time there were two dulcimers who lived in their cases and seemed to have everything anyone, or any dulcimer, could ever ask for. They had a comfortable foam cushion to lie upon or lean against, whatever suited their fancy; they were kept in 70째 rooms and had a quilted sleeping bag to snuggle into at night. They were kept clean and polished, and wellfed. Why, one of them, Laura, even had a humidifier tube in the soundbox hole, watered regularly, to alleviate a slight asthma con d i t i o n . T h e o t h e r o n e , J o y, l i v e d in a boautiful country setting, surrounded by forest and an open meadow on one side where deer nibbled on young apple tree branches while rabbits upon tender grass shoots did the same, playing hopscotch with each other in the cool summer twilight. To many, Joy and Laura lived an idyllic existence. But, they were young and naive and hungered for adven ture. The human beings who had bought them and cared for them were kindly people, but lazy - too lazy to hardly ever remove them from their cases and play them. They knew so little of themselves but how they longed to be held so strongly and tenderly! To be crad led and caressed on the laps of a human; to feel their string-muscles tightening and loosening, and come to rest in Aeolian tuning or Mixolydian, in the key of D or G or capoed or anything. They didn't care about the details. They wanted to feel themselves alive and vibrating, hammering on and pulling off, and bouncing and frollicking about - their bodies enveloped in sweet soft strumming passions and, in their hearts, a thundering drenched-to-the-bone ecstasy. Then, their love-energies spent, with the salty sweat smell of human hands still clinging, they w o u l d d r i f t o f f t o s l e e p , s a t i s fi e d . Joy and Laura longed to be with each other. They had, I know, a deepening notion of their own inner beauty, but they were lonely and did not yet know one another. Each one had been alone-just about

always, it seemed - and each one was seeking a friend, a true companion, someone with whom to share a little bit of that mysterious feeling inside. In that reaching out, they finally saw each other and they touched. I don't know for sure how much either Joy or Laura had to do with the actual circumstances of their getting together - whether they somehow schemed and connived it to happen, or if they even knew what was going on. I swear though I could see Joy winking his tuning peg ever so slightly as he lay in the car one midsummer's dream eve outside of a house in a small Pennsylvania town where a potluck party was taking place. His human caretaker walked inside and immediately spied Laura's human caretaker. Soon they began to talk and right away, one men tioned Joy and the other mentioned Laura, and in a short time, Joy, grinning inside, was out of the car and into the center of atten t i o n a t t h e p a r t y. L a u r a ' s custodian cuddled him. The humans talked more, about this and that, in the particular way that humans do most everything, they connected...and found them selves spending the rest of the week together. Much later, Joy and Laura would kiddingly refer to that first meeting between the humans as 'love at first sight of dulcimer'. Laura was not there that first night. She and Joy had to wait till the next night to formally meet. At the beginning they felt shy and awkward around each other, hardly like their human servants who fell madly in love at the start. But Joy and Laura were lil.e babes in the woods a n d , u n f o r t u n a t e l y, s t i l l s a d d l e d by the laziness of their caretakers t o p l a y w i t h t h e m . Ye t , l i t t l e b y little they came to know and love e a c h o t h e r. S c r o l l s g e n t l y t o u c h ing. Then they found themselves to gether every day, in the close company of two backpacks. Ap parently the humans were off on a trip somewhere, everywhere and had invited Joy and Laura. Their days

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were now spent in strange cars, along the roadsides, sometimes in the rain. The nights were cold and all the rooms wero unfamiliar. Gone were the days of idle comfort. Good riddance, they fancied, bubbling. They were upon the laps of their keepers more and more now, and they began to talk to one another. So, they were much happier but still they were sad because in their fledgling notes and choppy chord progressions, there was much timidnessi before they could break through those feelings, they would hear a yawn from one of the humans and back into their cases they would go. There were some nights when the humans would just forget about Joy and Laura and not even tuck them into their cozy cocoons. They barely had any time to w a l low in self-pity thoug h , b e c a u s e the days went on ceaselessly, one r o l l i n g i n t o t h e n e x t . A s e v e r, the humans talked on and on, men tioning many strange names of places that neither of the dulcimers had ever heard of. The human con versation was making even less sense than usual, and with the cars usually stuffed full and the tall heads in the front, they couldn't really see where they were going. Yet Laura had a distinct impression they were going southward. Now the days seemed to get warmer and drier and gone were the tall thick green trees they were used to. Instead they could see many spiny, sharp cactus-type plants, in an endless brown sea stretching all around them. "I can't stand being drop ped onto the pavement", thought Joy, "but I'd gladly take that than be jabbed by one of those guys". Then there was rain and confusion and the air was thinner and it seemed for a few days like they were all lost. The humans were hesitant and the dulcimers scared. Then, they were somewhere very, very quiet and they stayed there for a time. They thought, "maybe this is our new home." I'm tired of all the traveling", said Laura. Joy nodded. They started making plans, fantasizing of a new life but, the next day, half asleep and very sad, they were on the road again. From there on, for several days, it was a maddening pace and in the midst of it, the human voices sounded very different. They couldn't make out hardly any of the words of anyone other than their keepers. On and on they went, over bumpy roads, across foot deep creeks and up the bumpy road again. They saw mountains in the distance before arriving in a small village. They

f e l l a s l e e p i m m e d i a t e l y. Was this what we really wanted? Was this what we abandoned our rosy nests for? Awakening in the cold dawn to the sounds of chickens, pigs, burros and cows, they felt homesick. Weary and exhausted they moaned, "Oh, don't even take us out of the cases. Just leave us alone." Laura said, "I could sleep for the next throe months". Joy thought of the deer nibbling on the apple trees. "No, no, no", Laura protested as her custodian untied the string at the top of the case and eagerly slid her out of it. Joy ju3t frowned and sneered when his turn came. He was not feeling joyous at all. 1 just won't cooperate", ho resolved to himself, and gave a conspiratorial wink over to Laura. He had a plan of resistance. He smiled and thought, "they're always in such a hurry to tune up that they never do it right". He know that much aftor all these months with them. He turned his pegs slowly and methodically, wincing as each string became taut; ready. As soon as the human would grab at any of the pegs - SNAP I A broken string. A painful way to do it, but very effective, he reasoned. "I know this guy won't replace the s t r i n g r i g h t a w a y. " F o r L a u r a i t was simpler - all she had to do was push and wiggle a couple of her wooden pegs so as to make them impossible to hold the strings in a given pitch, thus staying hopelessly out of tune. Now she was all set. They were placed near a campfire and noticed many people stand ing and sitting around it. Neither of them had ever seen so many people in one place at one time. Their masters were laughing. Evoryone seemed to be laughing, smiling, saying funny things and then laugh ing more. "What is going on", m u t t e r e d J o y, g r i t t i n g h i s s t r i n g s and barely able to move. "I'm ready", he said. "Me too", she said - but the laughing continued. Finally Laura just had to let out a giggle. They Joy couldn't resist and soon the dogs were making silly noises and the cats too. And the pigs...you just wouldn't believe it. He couldn't keep himself taut any l o n g e r. A l l h i s s t r i n g s r e l a x e d . Laura burst out in more giggles and her pegs somehow slipped back into place. Still chuckling, they just looked at each other and shrugged their frets. Then the humans began to play. They played and played and played. 15 Joy and Laura were tingling, in sort

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of a narcotic daze. They became Ionian then Aeolian, then back to Mixolydian. They were happy songs, sad songs, crazy songs. They were...a little bit of all of us. The people listened...and more of them came. They were applauding. They had amazed looks on their [aces. Joy and Laura just kept looking and listening to each other a s i f f o r t h e fi r s t t i m e . B o l d a n d beautiful sounds came forth from them. The next night more people came. It seemed as if the whole town was there, filling the court yard; some melted away by the dark ness but still very much there. Again, Joy and Laura came alive. They gazed intently upon the people in their audience - so unlike any thing they'd ever seen; many faces showed deep lines ana gaunt cheeks and dark eyes, their skin baked with earth in the bright sun. And so, time passed. During the days, the people worked (or sat around and got drunk - which is hard work too) and at night, they came to be with the dulcimers. For those relatively few magical moments there was no difference between them and

the dulcimers and their somewhat crazy keepers from the far, faraway land. Even the little kids would carefully lift one of them up, in nocently pluck a string or peek in through a soundhole then turn to h i s m o t h e r, c u r i o u s l y. None tried to play the dulcimers. They just wanted to listen. With each session, Joy and Laura opened themselves up more and more, their voices resonating ever more magnif icently. But sometimes they would j u s t l i s t e n t o o . F i n a l l y, w h e n t h e roosters would intervene with their nightly love song, the people would start to head back to their homes, hardened sandle-feet treading the earth just a little bit softer than they came. As they passed by where Joy or Laura were, they would say: "Buenos noches, dulce amor (dulcimer)" which in their language meant "Good night, sweet love". Then it was all very clear. One day Joy and Laura left and returned home...but not really. This just isn't one of those 'they lived happily ever alter' stories, I assure you. But maybe it is.

A FAMILY PORTRAIT ....of the Harmon dulcimers. Different sizes and shapes (and prices) but the same loving care in the building process. All are famous for their beautiful voices but the one you ought to know first is the bour.ciest and sassiest one of all. It i3 (fanfare please) THE COMPACT PAiilC D'JlCI.VSR (It's the one being played—naturally! A crisp, clear voice with great carrying power. It's toughness and conpact size are especially appealing to people on the go—camping, hiking, travelling, or just picnicking. Lots of folks get one as a second dulcimer. Three strings, fifteen frets, all mahogany, bow shaped, and with zither pin tuning (wrench included) for long holding power. Cuts way, way down on all that tuning. » Ready for the price? Just T*0 and I uav the shinoing. ANOTHER SURPRISE: Think you might want an hourglass or teardroD model later? Return the Compact and get it's full price hack as trade-in! A no-hassle refund, If you are not satisfied. So what's to lose? Let me hear from you. If you want more information about my whole dulcimer family, send a stamped envelope, or 25*, or an old tennis shoe—anything. VISA and MC are OK. Give Loran Harmon 10370 Holsberry Lane name, card no. and exp. date. Pensacola, Fla. 3250/. 16 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

THE BIUIIE& SH0PPE Handcrafted Musical Instruments By McSpadden

RECORDS FOLK CRAFTS BOOKS Drawer E - Highway 9 North MOUNTAIN VIEW. ARKANSAS 72560 Phone 501-269-8639 * Every insfrumenf signed by the maker and guaranteed to the original owner for life: * Eight standard models and four special models to choose from: Carrying case and instruction book included in price: Scroll, fretboard, back and sides of walnut; face of spruce or bookâ&#x20AC;&#x201D;matched walnut: Grover tuning pegs with rosewood buttons: * Chosen as prizes by first place winners at National Dulcimer Contest in 1978 and 1979: * Wide selection of dulcimer books, records, and accessories available by mail:

Send 25<ÂŁ (for postage) to receive our own Dulcimer Shoppe Newspaper. Send S1.00 for our fully illustrated catalog.

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Roots Er branches

NEW FROM FRED MEYER

HOW TO BUILD A HAMMERED DULCIMER Phillip Mason - reprinted in 8 4 x 11 f o r m a t - $ 4 p l u s 7 5 e shipping

Fred's new material on a highq u a l i t y, r e a l t i m e , i n s t r u m e n t a l cassette. The mountain dulcimer as it's never been heard before!

INSTRUCTION FOR THE BEGINNING DULCIMER PLAYER Madeline MacNeil - available this fall

Features:

MANY BUTTERFLIES, an album by Madeline MacNeil with Joseph Holbert, Doug Berch, Philomela and friends - $7.50 includes shipping MANY BUTTERFLIES, an original song by Madeline MacNeil a r r a n g e d f o r m o u n t a i n d u l c i m e r. Sheet music $2 plus 35C shipping ROOTS AND BRANCHES MUSIC P.O. Box 2164 W i n c h e s t e r, Va . 22601-1364 (703) 667-2017

Tw o t u n e s w i t h J e r r y R o c k w e l l ( o n g u i t a r & d u l c i m e r ) t w o fi d d l e tunes with three generations of Meyer'3, a renaissance piece with violin, two church tunes, a blues number with Seth Austen on slide g u i t a r a n d F r e d o n s l i d e d u l c i m e r, a plantation stomp with David Schnaufer on jews harp, - and... backwards dulcimer? Send $8.50 to: Fred Meyer Box 54 Clear Creek, IN 47426

HERE.inC.

Duds: Fogel S gloffatt

many choices

Traditional glusic

Hamnereb Dulcimers and Kits 1. U-dcrtnore (l°uer-cost kits) Ue-do-more(easier to build) 2. More strings (more poner) Less Strings (easiertotuni) 3. Two Basic models

both with: piano-grade Spruce Soundboard alf-maple laminated pinUocKs (as m fine pianos) hardwood tKn(burtermt,<)ttrrv,utlnu!l) plated tuners carrying handle, instruction book ouality tuning urtneh. abarfrva*. e/dtfWvno (more, cornier dSSenMy'a little, tricky optional Covtr" '

95HK:

[OOHtO■tap -*fiutrnq " *(easier fa Sec) easier- to asseatWe. Optional aaltctst-Style e»«W

Here. Inc. #DPn 2.5 north <tth St.

mpis.,mn 55401

Sam Moffatl and Rick fogel play hammered dulcimers, riddle, guitar, kantele and pod* on 20 tunes on this stereo cassette tape - $7 00

Tom Nunn (on hammered dulcimer) and Christina (on harp I Join Rick lor 14 tunes on this stereo cassette tape - $7 CO

Building a Qammered Dulcimer Step'by'Sien fully illustrated Instructions lor building a Rick rogel Hammered Dulcimer kit with complete plans for front-scratch builders and tablatute lot four tunes on the "Traditional Music" tape — $500

Book and tape — $ 10.00

Physics, glusic Theory and the hammered Dulcimer Theory and experiments in rwifurAl inrciwiion on the hammered dulcimer — $3.00.

Instrument Kits

Kits of pre-cut and drilled wood pieces with hardware (pins, wire and tuning wrench). Illustrated Instruction book and "Traditional Music" tape - SI 2 5.00 Finished instruments — 130000 Information leaflet available upon request.

ftfck Fogel hammered Dulcimers P.O. Box 174-D, Deale. MD 20751 All Items shipped postpaid

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INTERNATIONAL DULCIMER EXPOSITION May 8, 9 S 10, 1981. Sponsored by O.D.P.C. and Michigan Council for the Artii. Foregoing its usual May meet ing, the Original Dulcimer Players Club of Michigan held an inter national festival on the grounds of Columbiere College in Clarkston, Michigan. Friday night was welcome night and an informal open stage was held. Performers from the O.D.P.C. as well as the per formers from around the country set the stage for the weekend. Afterwards, I am told, jamming ran until 4:00 a.m. Saturday morning. Sleeping is not usually on the agenda at O.D.P.C. functions. Saturday and Sunday's line up included such famous tradi tional dulcimer players as Sam and Carrie Kizetta of Valley Head, W. Va., Russell Fluharty of Mannington, W. Va., Paul Van Arsdale of Frewsburg, N.Y., Albert Fahlbusch and his Polka Playboys from Scottsbluff, Neb. and the versatile John McCutcheon from Gate City, Va. Sam Moffat of Norwich, Vt. and Rick Fogel of Deale, Md. also performed some lovely ducts. Making this a truly inter national festival were John Makichuk and his Country Pals of Windsor, Ontario, featuring the cymbaly, playing Ukranian and Romanian tunes and the East Lans ing Chinese Group featuring the yang chin and various other Chinese instruments playing tradi tional Chinese folk melodies. Taking the stage by storm was Gus Horvath and his Gypsy Wanderer:; of Detroit, Ml., featuring the cymbalom, playing music that was as bright and exciting as the costumes thoy wore. Several members of the O.D. P.C. rounded out the concerts, the most unique being a group formed just for the occasion using instrumentation much the same as the Henry Form Orchestra. The group, consisting of Bill Webster on dulcimer, Paul Gifford on cymbalom, Al Smitley on fiddle and Will White on Tuba, played some of the same quadrilles, schottisches and polkas that the original Ford Orchestra played. It sounded great! Many rooms were available for jamming and were put to good use. There was also a sales room set aside where one could buy books, records or even a dulcimer. 19

Gus Horvath and his Gypsy Wanderers Detroit, Michigan Photo: Glen Morningstar A largo room was designated for a wonderful display of antique dulcimers and dulcimer type instru ments such as cymbaloms, santuris, piano harp and even a bandura. In many cases the instruments were available for playing. No workshops were planned, but the availability of jamming space proved more valuable in my opinion. You could find just about any kind of music imaginable being played and the dulcimer players were more than willing to share their tunes and playing styles. T h e f e s t i v a l w a s d e fi n i t e l y a success and was brought about mainly through the efforts of Paul Gifford, Bob Hubbach and Bill Webster and, of course, many of the O.D.P.C. members pitched in and insured a smoothlv run weekend. They did a fine job of providing variety and accessability and hopefully there will be a Second Annual Interna tional Dulcimer Exposition next year. Judi Morningstar Pontiac, MI

SIX STRING DULCIMERS made kij

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Are now available tkrouan Capntaums yyjmic Co. 째 J P.O. So* 753 Fe(ton , California ISOis 3cn& J.A.s.e. fer dctaili (40$) 33S--447S

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APPRENTICE II For Novice To Craftsman Appalachian, 4 String Mountain Dulcimer Kit Scrolled Head • Pre-bent Sides • Sta-Tune Metal Friction Tuners • Pre-fretted Fingerboard • Explicit, Informative Instructions With photographs & tips from our shop

FREE CATALOG On these & Givens Mandolins & Guitars, Ault Electric Guitars & Basses, Kits, Strings, Books & Records Dealer Inquiries Welcome

514 Oak St. Dept. DPN Sandpoint, ID 83864 (208)263-4612

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Nertti Slope Pukimer By JOEMY WILSON Santa Monica, CA We were thrilled that audiences all Kaktovik, Alaska is an Eskimo over Alaska were so responsive to village of 195 people. Over 200 Mime Musica. We had been told that miles above the Arctic Circle, the mime was popular in Alaska, especial town sits on Barter Island, a tiny dot on the edge of the Arctic ly among Eskimos; pantomime is an essential element of traditional Ocean. The sea is frozen most of Eskimo dancing. But I was un the year, and snow covers the ice, the nouses, and the tundra that prepared for the tremendous inter est in dulcimer that I encountered stretches back some sixty miles to all over the state. the Brooks Range, an extravaganza That enthusiasm gave me the of rocky snow-covered peaks just idea for a dulcimer-building pro barely visible from the village. The perfect flatness of the tundra ject in Kaktovik. I am no craftsis rolieved only by minor ridges woman, but after talking with Dave Cross I figured I could and craters of ice and drifts of handle his cardboard dulcimer kits. snow, simulating a lunar landscape. Dave sent several from Philadelphia One hard-packed road, traversed to Anchorage, and I picked them up by snowmobiles and pickup trucks on my flight north (from Los and surrounded by canyon-like Angeles to Portland to Anchorage snowbanks, connects the trailers, to Fairbanks to Kaktovikl). quonoet huts and pre-fab houses At the ultra-modern school, of the village and winds out about a mile to the airstrip, but thore principal Monte Pearson (an Arkansas native and dulcimer fanl) are no roads to Kaktovik from gave me the library for my build anywhere. You have to fly in, i n g p r o j e c t . " Yo u ' l l h a v e p l e n t y usually from Fairbanks, over 300 of privacy; nobody ever goes in miles away. there." (A fairly accurate, if By the end of our late April depressing, statement. Kaktovik visit, the sun was setting about just last year received televi 9:00 p.m. and rising about 2:30 a.m sion.) Three in the morning was as bright The library soon became a as 3:00 in the afternoon. The lively place as seven dulcimers temperature was usually about zero almost magically took shape. The degrees Fahrenheit, the wind chill three Kindergarden kids inaugu factor occasionally at night bring rated the project by poking out ing the temperature down to 20 or the pre-cut soundholes (and 30 below. Except for the brief carried the resulting cardboard hours of dusky night, the sky was hearts around with them ail week.) paintbox blue, the sun's glare The five primary students (grades off the snow intense. Everyone 1-3) bent the sides, glued endwalked around saying what a blocks to sides, sides to bottoms, gorgeous spring it was, hardly and fretboards to tops. The ever below zero, and not a wind storm for three weeks now. elementary group (9 students, grades 4-6) sanded and stained This was the place my husband the fretboards, hammered in the and partner, mime Jon Harvey, and fret nails, and glued tops to I were to do a two-week mime and sides. The older students attach folk music residency with the 52 ed the tuners and strings and did students (grades K-12) of the most of the sanding and painting. Kaveolook School. The school dis With each group cpntributing a trict regularly provides its bush class period per day, and with schools with special projects, and me working about an hour a day Kaveolook School, having no regular myself on odds and ends, we had music or drama in the curriculum seven finished dulcimers in three but interested in providing some days. Everyone was eager to play, thing of those subjects for their and quickly picked up simple students, had requested us. melodies and chord patterns. I We had just finished an ex find Mixolydian the best tuning citing 6-week tour of towns and for beginners, since the scale villages all over Alaska, with our starts on the open melody string. company Mime Musica, and were Also, the simple chord pattern madly in love with Alaska's 0 12 3 exquisite natural beauty, the in 0 12 3 credible variety of scenery and 23 2 3 4 5, etc, can be c limate, and the terrifi c p e o p l e .

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intermission while all the kids (and some teachers!) put on whitetace, then performed the mime pieces they'd created with Jon. Were they ever terrific I The whole town had turned out for the show and everyone had a great time. As Air North's tiny Cessna lifted us off the runway the next morning and our last glimpses of Kaktovik gave way to a stunning view of the majestic peaks of the Brooks Range, Jon and I felt nostalgic already to be leaving some special new frionds, but happy over the wonderful sharing that had taken place. In part icular, I was most pleased to have found yet another proof of the dulcimer's universal appeal and proud and content that through its sweet sounds I had been able to play my small part in the eternal harmonies of music and friendship.

moved up and down the fretboard, the high school students in particular had a great time playing "instant jazz dulcimer" with these chords.' Students kept stopping me in the halls between classes and asking if they could play. I taught them my variation on a t e r r i fi c i n t r o d u c t i o n - t o - t h e dulcimer tune by my friend and f e l l o w l . a . d u l c i m e r p l a y e r, Joellen Lapidus. The teachers were astonished that these cardboard creations could sound so good! The concert in the gym after eight school days with the students was a terrific success. I accom panied the younger students in "Green Corn" and "I Bought Me a Cat" and the older group joined us for "Jump Right In." Five brand-new dulcimer players did just that, accompanying our voices with gusto. We took a short

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HANDCRAFTED ORIGINALS FROM THE 02ARKS L. 0. Stapleton Specializing in Mountain and Hammered Dulcimers built from the finest woods from around the world. (no plywood or kits) Each instrument is carefully constructed for tone and beauty by myself. Satisfaction Guaranteed. I also build many more stringed instruments, wood banjos, psalteries, etc. Write or call for more information (501) 756-3330

201 Midland Sprinqdale, Arkansas

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72764

INTRODUCING the thirteen pound, solid .rx maple frame, toned M^f] soundboard dulcimer.. Mhm .foraround $300!

Brtery Ridge Inilrumenti P. O. Box 205 Onlrr Valley. 'A. 18034 (2IB) 282-1822

Model DA 12/11 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

June Appal Recording/ SPECIALISTS IN TRADITIONAL AND CONTEMPORARY MOUNTAIN MUSIC

INCLUDING RECORDINGS BY THE FINEST DULCIMER PLAYERS: MALCOLM DALGLISH GUYCAR A WAN

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7 SUSIE PETERSEN G\ROL REICHENBACH with ROBBIE DAVIS ED SIMPKINS MIKE SCHRADER An album of mountain dulcimer music shared by good friends, other instr uments include horrmered dulcirvr, guitar, harmonica, 5-string banjo plus vocals.

SELECTIONS INCLUDE: Old Joe Clark, June Apple, Over the Waterfall, Sugarfoot Rag, My Good Ole Man, Goin' to Boston, Where the Soul Never Dies, Waterbound, Fred's Tune, Soldier's Joy, Lil' Liza Jane, An Uncloudy Day, Scotland the Brave, Cripple Creek/John Brown's Dream S8.00 Post-paid (Kentucky residents: please add state sales tax)

Kitty Paw Records 7214 Blazier court Louisville, KY 40228

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In an attempt to learn about Hackbrett tunings and hammers, I contacted the Morris Library at the University of Delaware. The librarian told me a Sixth Edition of Grove's Dictionary of Music and Musicians had just been cataloged there. Half an hour later she called back to tell me that the article was interesting, covering the nomenclature, con s t r u c t i o n , h i s t o r y, t u n i n g s , a n d hammers related to the instrument. I later read the article and found it fascinating. The article, written by David Kettlewell, contains photos and pictures of hammered dulcimers post and present (including one BEAUTIFUL concert cymbalom), tun ing diagrams (even one of the said cymbalom), comparative photos of hammers of various regions, a text world wide in scope, and a map showing the alleged migrations of the dulcimer. Those who believe the dulcimer originated in Persia in Ancient times will get no support from this article. Kettlewell cites and appears to subscribe to theories expressed by Henry George Farmer in his somewhat opinionated arti cle on the santur which appeared in the Fifth Edition of Grove's D i c t i o n a r y. F a r m e r o ff e r e d c o n siderable negative evidence of ancient Persian origin, climaxed by a statement that "not one of the great Arabic and Persian treatises on music contains the slightest reference" to any instru ment resembling the dulcimer. According to both articles the first evidence indicated the ex istence of the hammered dulcimer is a 12th century book cover made in Byzantium depicting several musicians including a man using long hammers to play a trapezoid shaped instrument. Farmer sug gested the instrument probably originated in Turkey no earlier than the 11th century, and made its way from there to Iran in the 17th century. Kettlewell suggests that the dulcimer was introduced to western Europe from Turkey in the 15th century. However, in the section on Nomenclature he writes "... it i s s u r e l y s i g n i fi c a n t t h a t a l l (names for the instrument) except the Hackbrett group have foreign derivations or associations." I wonder if that's a hint that the dulcimer might possibly have

originated independently in alpine Europe some 300 years after the Turkish instrument. David Kettlewell is British, and his article indicates a spec ial familiarity with the McKenzie instruments of East Anglia, but it also offers a surprisingly thorough d i s c u s s i o n o f t h e h i s t o r y, d i f f e r ences in instruments, traditions, and regional playing styles employed in many parts of the world. This single article is more complete than all the dulcimer related articles appearing in the Fifth Edition of Grove's Dictionary. Dulcimer Players News is even mentioned in the Bibliography. The Sixth Edition of Grove's Dictionary of Music and Musicians was edited by Stanley Sadie and publis hed in 19 8 0 . I t c o n t a i n s twenty volumes, at least 13>s pages of which is interesting reading to hammered dulcimer enthusiasts. Guy Bankes Wilmington, DE

Zl\^c\ Dulcimers

'Handcrafted Solid. "Hardwoods â&#x20AC;&#x201D;

Bill %ty

mo OldZlbtfcdZl. Zlkton,nd. 11921 JQ1-287-9)Â°4-

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DULCIMERS KITS MOUTHBOWS BEST MATERIALS FINE CRAFTSMANSHIP 1 2 YEARS EXPERIENCE SENDS1.00 FOR CATALOGUE

ALPINE DULCIMERS BOX 56611

e/f qp^-profit membership organization dedicated to tf[e advancement of tip ail of all types of string instrument construction Tfie Guild's information slyiring system includes ths G.A.L. Quarterly magazine. separate technical articles called 'Data Sheets', and an annual Convention 'Ex qi bition

i!milium;!) 80306

cFor more information write: Ttje Guild of American Lutlyers 8222 Soutfi Parity Avenue Tacoma. Washington 98408

irish mmiQ f@mhe IRISH MUSIC FOR THE MOUNTAIN DULCIMER bv Bob Hutchinson 4 Jim Corr. Book 55.95/Tapc $5.95/Book â&#x20AC;˘ Tape $11.00

silver* spear publications

P.O. Box 81085 Pittsburgh, Pa. 15217

Write for our free catalogue' of Irish music tutors & tapes'

This 62-page book tells you everything you need to know about adapting Irish dance cunes, airs, aixl songs to che mountain dulcimer. Written by Bob Hutchinson (a wellknown dulcimer player, teacher, and maker) and Jim Corr (a prlze-wirming songwriter/singer from Tyrone, Ireland), this work is a landmark in dulcimer instruction ami is suitable for beginners and intermediate players. Expand your -pislcal horizons!

THE APPALACHIAN DULCIMER BOOK by Michael Murphy

Playing instructions; 20 songs; 50 photos of early makers, players and dulcimers; repairing, buying, construc tion, history, makers, sources; 104 pages; $6.95. Also distributed by Music bales Inc. and Bookpeople. Inquire about wholesale prices. r'olksay Press. 6718] Mills Road. St. Clairsville. Ohio43950 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

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The first 12 measures of this Bach Invention make for a simple and delight ful duet, both parts of which can be played on hammered dulcimers.

Johann Sebastian Bach (1685-1750) Arr. Ruth Ann Shepherd Charleston, SC 1

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^iaa ftom <zSonata a Carnzxa a Hz ARCANGELO CORELLI (1685) arr. CARRIE CROMPTON Davis, CA Tune: C G G (Do Sol Sol)

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DULCIMERS

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THIS WINTER, GIVE SOMEONE THEIR FIRST DULCIMER We make durable, Inexpensive dulcimers and easily assembled kits for beginning players of all ages. Freeboards are solid pine. Individual geared tuners ensure easy tuning. Soundboxes are made of strong corrugated cardboard, painted for protection against moisture. Orders include extra strings, 25 tunes, and Meet the Friendly Dulcimer, our 28-page playing guide written for nonmusicians. Kits are entirely precut, with photo-illustrated assembly directions. Prices include shipping and handling charges. 3-String Simplicity Dulcimer- Kit $15.00 - Instrument $20.00 i m (soundbox painted r*

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green or brown)

4- String Hourglass Dulcimer- Kit $16.50 - Instrument $28.00 (soundbox painted green or beige/brown)

One-String MiniDulcimer $9.00 Ages 3-8. Illustrated song cards. Zither pin tuner. Green or brown. Please write for more information, group discounts.

BACKYARD MUSIC 509 South 44th St., Philadelphia, PA 19104 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

BOB EVANS FARMS DULCIMER FESTIVAL 1981 RIO GRANDE, OHIO CONTEST WINNERS

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CHILDREN: lst-Stanley Davidson, 2nd-Jennifer Ingram, 3rd-Christina Bergman INSTRUMENTAL (FEMALE): lst-Susie Petersen, 2nd-Sally George, 3rdAnn Donohue INSTRUMENTAL (MALE): Ist-Bruce K n a r r, 2 n d - D a v i d S c h n a u f e r, 3rd-Bob Cox D U E T: l s t - N e a l H e l l m a n & B o b Cox, 2nd-Madeline MacNeil & Susie Petersen, 3rd-Alan Freeman & David Schnaufer TRADITIONAL INSTRUMENTAL (FEMALE): lst-Susie Petersen, 2nd-Sally George, 3rd-Diane Kafka TRADITIONAL INSTRUMENTAL (MALE): l s t - K e n n e t h Wa r d , 2 n d - D a v i d S c h n a u f e r, 3 r d - N e a l H e l l m a n HAMMERED DULCIMER: lst-Wesley Linenkugel, 2nd-Madeline MacNeil, 3rd-Christine Bergman VOCAL W/DULCIHER (FEMALE): 1stMadeline MacNeil, 2nd-Barbara W i l l e y, 3 r d - S a l l y G e o r g e VOCAL W/DULCIMER (MALE): lstN e a l H e l l m a n , 2 n d - D a v i d S c h n a u f e r, 3rd-Bruce Knarr COURTING DULCIMER: lst-Kenneth & M a r t h a Wa r d , 2 n d - S a l l y G e o r g e i Susie Petersen, 3rd-Brenda & Barbara Willey BEST DULCIMER PLAYING FAMILY: Barbara & Brenda Willey GRAND CHAMPION: Bruce Knarr

8§^ I've met and heard dozens o f D P N s u b s c r i b e r s t h i s S u m m e r. I'm continually amazed at the depth of your playing skills and your enjoyment of these beautiful instruments. The pages of DPN w i l l c o n t i n u e t o r e fl e c t t h e hammered and mountain dulcimers i n t h i s c o u n t r y, o t h e r c o u n t r i e s and in the past as well as the f u t u r e . Yo u r i n p u t - a r t i c l e s , tune arrangements and ideas are always welcome and encouraged. We c o n t i n u e t o h a v e a f e w D P N ' s l o s t b y t h e p o s t o f fi c e e a c h q u a r t e r. W e a l s o h a v e people who write asking about their DPN's two days after the issues go into the mail. DPN's a r e m a i l e d d u r i n g t h e fi r s t week of each quarter - usually on the 2nd or 3rd of the month. If there's a holiday close by ( 4 t h o f J u l y, f o r e x a m p l e ) , t h e p o s t o f fi c e m i g h t b e s l o w i n getting DPN's processed. Third Class Mail can also be unpredic table. A subscriber in Los Angeles could receive DPN before one in Philadelphia. If 4-5 weeks pass without your receiv i n g y o u r D P N , l e t u s k n o w. Another will be sent immediately via First Class Mail. We have stamps again - some lovely ones. DPN friends Cathie Draine in Indonesia and Eberhard Flnke in Germany periodically send us stamps to share with our collecting friends in the United States. If you want some, send us a stamped self-addressed envelope and we'll gladly share. Please keep in touch.

DULCIMER DAYS 1981 R0SCOE VILLAGE COSHOCTON, OHIO CONTEST WINNERS

CHILDREN: lst-Christina Sue Bergmann, 2nd-Jennifer Ingram, 3rd-Stanley Davidson I N T E R M E D I AT E : l s t - B r e n d a W i l l e y, 2nd-Pam~Moore VOCAL: lst-Dana Vibberts, 2ndMaddie MacNeil, 3rd-Wesley Linenkugel COURTING: lst-Anne Mayle, 2ndCathie & Dana Vibberts, 3rdWesley Linenkugel & Kendra Ward A D U L T: l s t - B r u c e K n a r r , 2 n d - A l a n Freeman, 3rd-David White HAMMERED: lst-Mitzie Collins, 2nd-Wesley Linenkugel, 3rd-Kendra Ward I N N O VAT I V E : l s t - A l a n F r e e m a n , 2 n d - R o n E w i n g , 3 r d - We s l e y L i n e n k u g e l OPEN: lst-Cathie & Dana Vibberts, 2nd-Wesley Linenkugel, 3rd-Hank Arbaugh

Yo u r s i n m u s i c ,

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Madeline MacNeil, Editor Dulcimer Players News The sound which emanates from a hammered dulcimer long after the last note has been struck is called a DULCIMURMUR. Bob Wey

33 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

class\f\&o eras The classified section of DULCIMER PLAYERS NEWS is a low cost way to reach hundreds of DPN readers. Classified ad rates: 20C per word, $5 minimum. A flyer on larger ad rates and composition is available upon request. LEATHER DRAW-STRING POUCH. Ideal for picks, change and an apple! $6.50 includes shipping. Jean's D u l c i m e r S h o p , P. O . B o x 8 , C o s b y, TN 37722 ONCE AGAIN AVAILABLE: Dulcimers o f t h e fi n e s t q u a l i t y b y D o u g Berch. 2876 Arthur Kill Rd., Staten Island, NY 10309. FINELY DESIGNED HAND-CRAFTED FOL K TOY S : L i m b e r J a c k, Limber Dog, Limber Pony S10 each includes shipping. Jean's Dulcimer Shop, P. O . B o x 8 , C o s b y, T N 3 7 7 2 2 . WE WILL BE TRAVELING from Vermont to California doing workshops and c o n c e r t s N o v e m b e r t h r o u g h F e b r u a r y. For bookings, contact: Jerry R o c k w e l l , M a r y A n n S a m u e l s , P. O . Box 214, West Fairlee, VT 05083 DO-IT-YOURSELF BAGPIPE DRAWINGS. Highland or Lowland, Sll/setj Uillean, S15/set; Fireside, $ 8 / s e t ; P r a c t i c e C h a n t e r, $ 3 / s e t j postage SI.50. Dougan, 19 Hunter Road, Crosshouse, Kilmarnock, Scotland. COTTON PRINT PADDED DULCIMER B A G : 4 0 " b y 11 " w i t h s h o u l d e r strap, book pocket and zipper accessory pocket. S12 includes shipping. Homemade from Jean's D u l c i m e r S h o p , P. O . B o x 8 , C o s b y, T N 3 7 7 2 2 . DULCIMER CAPOS. Improved. Walnut, Maple. $6. Dulcimers, Dulcimettes from $60. Send SASE for particulars. Ron Ewing, 2318 E. Rahn, Kettering OH 45440 HAMMER DULCIMERS, made in China. Tr a d i t i o n a l a n d m o d u l a t i o n m o d e l s . R e a d y t o t u n e - a n d - p l a y. H a r d shell case included. Details SASE. YTQ, Box 26382 DPN, San Francisco, CA 94126. DULCIMERS. Appalachian Hardwoods. Spruce tops complete with heavy cloth case, picks, noter and songbook. Made to be played, rreeman Jones, B209, Etowah, NC 28729 34

IN THE TRADITION features Appala chian, Irish, Cajun and ethnic music PLUS columns on String In struments (INCLUDING DULCIMERS), British Music, Contra Dance, I n s t r u m e n t R e p a i r, A N D g r e a t record reviews. $2.00 for Sample Issue, $10.50 for 1 year (6 issues) to IN THE TRADITION, POB 19, KINGSTON, NJ 08528.

(Summer Contest The beginnings were simple indeed. The idea reached the vocal stage over dinner after a long day working on DPN. Seth Austen and I were working on word puzzles - a f a v o r i t e p a s t i m e . " H e y, h o w a b o u t a DPN word contest", one of us said. "Dulcimers" was suggested and we took it from there. I had idle thoughts of handling a contest no one entered! Little did we k n o w. N o t b e i n g p r o f e s s i o n a l s i n devising word games, we found problems in being precisely clear as to the rules. But every one joined in the fun and entries poured in. The winner was Betty Reich of West Covina, California with 251 words. She will receive a t-shirt and a year's subscription to Dulcimers Players News. Second place went to Carolyn Herel of Circleville, Ohio with 228 words. She will receive a t-shirt or a subscription. Colleen Siders of G a m b i e r, O h i o w i n s t h i r d p l a c e with 223 words. She will receive a 2 issue extension of her DPN subscription. Honorable mentions go to the following whose entries were impressive: Ann Chambers, Boone, N.C. (204) P h i l i p Ve r n o n , D a v e n p o r t , I A ( 2 0 2 ) Vi c k i e & A l A n w a y, R o a n o k e , VA (192) L u c i l l e R e i l l y, M o o r e s t o w n , N . J . (188) Marilyn Forsstrom, Cerritos, CA (183) Debbie Blttle, Myersville, MD (174) Mrs. Ralph Campa, E. Liverpool, OH (171) Kerby Estes, Ft. Smith, AR (171) S u e C a r p e n t e r, N a s s a u , N . Y. ( 1 6 5 ) My personal thanks and admira tion go to all the prople who entered the contest. They obviously worked hard displaying skill in the English language. Congratulations!

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Dulcimer Organizations

PLUCKED DULCIMERS kits from -$35 Instruments from $80

The PIEDMONT DULCIMER KINDRED meets the last Tuesday of each month at the Schiele Museum in Gastonia, N.C. For information, contact Bill Silkstone, 610 Holiday Rd.,'Gastonia, N.C. 28052 (704) 865-2661.

[/[any choices of models, Uioois (no plywood soum)r>ojrJs) •lumbar of arririas, "ttwiers, prices. Caafom. loorle, too [

HERE, INC. # DPN 25 N. Hih St. Mpls.,MlV 55*r0i

A\ASm /MUSIC SlfcUCE ^

QUALITY SOUND BOARDS IN SPLIT BILLETS FOB VIOLIN. VIOLA. CELLO. GUITAR. DULCIMER. PIANO. HARPSICORD. ETC

Dulcimer performers, workshop leaders and builders: THE BRANDYWINE DULCIMER FELLOWSHIP is looking for performers for the first Tuesday night of every month. We guarantee a full house, home cooked meal, a place to stay, an apple orchard outside your bedroom window, and a fi n a n c i a l g u a r a n t e e ! ! P l e a s e contact us at, The Brandywine Dulcimer Fellowship, Unionville, PA 19348 (215) 347-2490 (Peggy Thomforde). APPALACHIAN AND HAMMER DULCIMER AND OLD TIME MUSIC - 7:00-10:30 pm, First English Lutheran Church, Toledo, Ohio. Oct. 22nd, Nov. 19th, Dec. 3rd s 17th, Jan. 7th s 21st. For information, call Gene (419) 385-2478.

RESAW and 3SV1 on il'I'im Mt. Dulcimer SOCIAL 11£ While Supply Lasts ,J"~->* _ , , x x5 83 5$8/thick.in.| /thick. in,.

364

Wide & Narrow Grain i-'igured & Plain

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RED AND YELLOW CEDAR IS ALSO AVAILABLE FRED MAV6R ALASKA MUSIC SPRUCE POUCH L. COFFMAN COVE KETCHIKAN. ALASKA 99901

FOB KETCHIKAN

AN ALBUM ol Celtic. Renaissance, and Original women identified songs and ballads accompanied on plucked Dulcimers. Ruth Barrett & Cyntia Smith. S7.98 plus $1.30 sates tax & postage. 4189 McCcnnell Blvd.. Los Anqcles. Ca. 90066.

LULCIMERS,Design BANJOS, AND THINGS* your own Custom-made Dulcimer. Select

from three pages of special features to add to the basic Teardrop or Hourglass shaped dulcimer. Send three first-doss postage stomps cr 50* for Catalog;.

*IIM6ER JACKS, WOOD CARVINGS, CUSTOM CASES, PEARL INLAY, INSTRUMENT REPAIR.

KEN HAMBLIN P.O. Box 894 Salem, Va. 24153 Phone 17031 362-2028

Special models available also. All have lifetime guarantee. Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

Au\d Lang Syne Puff* for Mountain 6-Mammered Pulcimers Arr. MADELINE MacNEIL Tune D A A (Do Sol sol)

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2. o 3

The verses below were sot to an air, "I fee'd a lad at Michaelmas". Verses 2 and 3 were written by Robert Burns. The others, much older, are anonymous. Play these arrangements with a friend on December 31st and stretch toward the New Year with anticipation and joy.

Arr. SETH AUSTEN HAMMERED DULCIMER

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i j : ; : f fi n " | n i i i l f e ^ i. Should auld ac-quaint-ance And nev-er brought to mind? Should auld ac-quaint-ance And days of auld lang syne? And days of auld lang syne, And days of auld lang syne, Should auld ac-quaint-anco And days of auld lang syne?

bo forgot, be for-got my dear, be for-got.

2. We twa ha'e run a boot the braes And pu'd the gow ans fine. We've wan der'd mon y a wear y foot. Sin' auld lang syne? Sin' auld lang syne, my dear, Sin' auld lang syne. We've wan der'd mon y a wear y foot, Sin' auld lang syne.

We twa ha'o sported i' the burn. From morning sun till dine, But seas between us braid ha'e roar'd Sin' auld lang syne. Sun1 auld lang syne, my dear. Sin' auld lang syne, But seas between us braid ha'o roar'd Sin' auld lang syne. 4. And here's a hand, my trusty frien' And gie's a hand o'thine; We'll tak' a cup of kindness yet. For auld lang syne. For auld lang syne, my dear. For auld lang syne, We'll tak' a cup o" kindness yet, 37 For auld lang syne.

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Appalachian Dulcimersby Keith K.Young for the discriminating player o Cfose action for quick easy chordina 0Jb\fetime guarantee oPrecisefu fit handcarvedpegs ofinest seasoned Jlppatacfiian Hardwoods *

oAccurate fret <=> pattern ^ 13815 KendaleRd.AnnandaleVa.J

The ^c^aLQMyjJj family of IIAMMKKED DULCIMERS is growing! First was the Model DM0, with: 11 Bass Courses, 2 Strings Per Course * One Set Of Hammers, Padded Ends 1? Treble Courses. 3 Strings Per Course • Use J. Care Instruction Booklet Separate Bridges For Easier Fine Tuning ' 3-Year United Warranty Key-Motes Harked By Dark-Stained Bridge Blocks • Sturdy Carrying Handle Beautiful Finish • Protective Shipping Container • Extra String Wire Maple Pin Blocks, Cherry Rails, Laminated Birch Top & Bottom T-Handle, 8-Point-Star Tuning Wrench Then cine Model DM2, just like Model D310, except its soundboard is stained .i deep brown for easier playing visibility and the colors of its bridge* Are reversed. Now... the new arrivals extend your playing range with 15 trobli ,imi 14 bass courses: Model D31S Mitn natural -color soundboard and Model D317 with brown soundboard. And \ hardshell case for your Model D31U or Model 1)312 Heriyth Mannered Dulcimer, with quality worthy of your instrument! [lon'T you think it's time one of the Beriyth Family of Hawnered Dulcimers became ;i pari <>f your fiinilyV See then at your dealer's, or content; Dealt

Invi

M\ ■.m< iM I MMni*i' PHONE: [015) 487 5543

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•DULCIMERjSHQP*FREE* CATALOG

What's Uew

WOODEN HAMMERED DULCIMER STAND, adjustable for sitting or standing playing position, $55.00 plus S5.00 shipping. Cast, HAND-FINISHED 14k GOLD MOUNTAIN DULCIMER PENDANT (without Chain! approx, dimensions: slightly longer than 1 inch, 1/4 inch wide Design details include; pegs, fretboard, frets, strings and heart sound-holes. $97.00 (shipping and insurance included). RECORDS AND TAPES SWEET RIVERS Jean Ritchie $6.98 FINGER DANCES FOR DULCIMER Bonnie Carol $6.98 OLD HAT (tape) Rick Fogel, Mick Doherty «, Seth Austen $6.98 AN UNCLOUDY DAY Susie Petersen, Carol Reichenbach $6.98 FINALLY TUNED Tom McKonsie $6.98 STRAYAWAY CHILD Jerry Readsmi thTTom Fellenbaura $6.98 WHO'S YER BOY (tape) Fred Meyer $6.98 APPALACHIAN DULCIMER DUETS Neal Hellman $6.98 THE ART OF DULCIMER Robert Force, Albert d'Ossche $6.98 IN THE DAYS I WENT A-COURTIN' Wade Hampton Millar $6798 REFLECTIONS ON THE CARTER FAMILY Ron Penix, Cathy S Dave-Para, Jay Round $6.98 BOOKS HOW TO BUILD A HAMMERED DULCIMER Phillip Mason (reprinted in 8>s x 11 format) $4.00 DULCIMER CHORD BOOK Neal Hellman ~S5T95 INSTRUCTION FOR THE BEGINNING DULCIMER~PLAYER Madeline MacNeil available October 1981 Write for information INSTRUMENTS Hammered Dulcimers and Aeolian Wind Harps crafted by Jim Jones Mountain Dulcimers crafted by Jerry Rockwell, write for information P.O. BOX 2164 WINCHESTER, VA. 22601-1364 (703) 667-2017

Californian Nancy Fortner's friend Kedi. Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

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DULCIMER PLAYERS NEWS RO. Box 2164 Winchester, VA 22601

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ADDRESS CORRECTION REQUESTED FORWARDING AND RETURN POSTAGE GUARANTEED

Mail To: Win Howard C. Gates h22 Pine St. Curwensville, PA

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SUBSCRIBERS: If your mailing label is dated Fall 1981, your subscription ends with this issue. Time to renew!

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