1982-01, Dulcimer Players News Vol. 8 No. 1 by Dulcimer Players News

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7982

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$2.00

~Ll'JMER PLAY ~o. 1 Wint'~1"

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ULCIMER PLAYERS flEw"S i four ti~. ael y~4r ••• Uf'. a ~ aall~ t., aubsc ibP.rs

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Apr il, July nd t r. Subscriptions ar sa per yelt, $ 5 f)r two y~ar.. For I Ii t ,..,t a' ailabl. ba~k i •• u•• , contact

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K.lI~~ElL

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MIloI DULCIM! . . . 6.Ay P . • Box ,164 Wlnche.t~

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Annl M.<:Nell ~ M..3r· :l.:tli"ffl~1 A aunt

Minuteaan If! = Prlntinq Youth Fellow h p Students fr 'm Bradd~k

$treet United ",-th ~ at f Fall DPN Mlch., ~~. Betty StJlI!dla. Cerry orrIs, B 11 W1~k an, Randy Me hn - Artl ta

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Contents .u

PLANXT'I BURKE

Mic~

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.. .• ,

A PLACE JUST R1

AILe I MER

JlC.i\N

ZATI.::m~

•••

J TUVIEW WITf. J .. M COUZA

...

DEVI .' C ORr......

.sAl r.RELL "" ';.,c IMER

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arr. Mara

:ws

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lIT. . . .

LA __ IFlED ADS.

MI)NIGHT ',al DPN

•• •

THE MI.'RA"

WHAT'z, NEW •••• JtE>J1

I THE

'\1:

Set 1 Auaten, ••••••

KrJ(~

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nech

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JI.hn C . Car l.1 ' ••••

. .. . .. . ..

....

............. .

.............. . ........... .

n .8 2> 21

....... ..... ... ..... .. .... .............. . 14 Mitz .. e rOlllna 19 ....... .. .. . . . . ....... . II . .... .. • . .... ... ...... .. ...... . • i noe ...... . " CONTES S

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l Plcmxty Burke TURLOUGH Q' CAROLAN Arc: Mick Doh~rty

I [irst heard this tune played by the band . Clannad . Finding it written in an F scale , I took it up to G to make it more accessable on my hammered dulcimer - which has a fairly standard tuning wi th 2 1/ 2 octaves in G.

Criders, VA

ThlS

arrangement could bP. con-

5ide[~d

an ~xerciee in rolling chord~. I wanted to get a harp- like feeling in 1 t. 1 nnd the !IIelody alone so beautiful thAt even twO and three

chords to a section seems a lot . A~ to hammering . I play all the three-note rolls startinq with my right hand . the four-note rolls starting with my left. After figuring it out on the higher octave . go to the lower octave

and all but the low A and Care therp. as well. This tune sounds good when

[inger-picked also. Mick Dohf!rty

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J 3 elf I J J J

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lcr I f SElf I r' F':!! r' FbTl

I' ft Ferr IbEEr WI! ,CfJr I r' J

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:11

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Jean's Dulcimer Shop P.O. BOX 18, COSBY, TENNESSEE We

s~ct. lile

.oun~ain

PHONE:

(615) -487-5543

l7~Z2

and ha ..ered dulci.ers and every-

thing for the. -- finished instruments and kits by scvoral lUkers, builders ' supplies, accessories, and nearly every Ins truction book and r ecord albu_ in print featuring either kind of dulci.or. Dulc1aer In s truction Books Fro.. CRYING CREEl PUBLI SHERS:

OlD TIME FIDDlE TUNES FOR THE APPALACHIAN DULCIMER (With playing arMt tuning techniques for novices), ~~ JMI1I "'~hilli"9 -.\"",..\ SOOGS AND THINGS FOR CHILDREN (With beginner's .xIntilln dulcillier Instruction, crafts projects, etc .). b!I Jam SchiUirJg . \ ~~\ THE DUlCIMER FAIR TABLATURE BOOK (How to play the ~untaln dulcl.er, fro. SiMPle to advanced) , b!I ~o ~t~r CHORDAL EXPLORATIONS FOR 3-STRING DULCIMER , IOHINl TUNING: G-G-C (Intermediate level instruction) by Jer11/ Roc1oJcU TWELVE TRADITIONAl TUNES FOR 3-STR ING DULCIMER. TUNING A-A-O (An excellent be9lnner's priMer) b~ Je1'1"]J ~oc1cwlt \

Dulctaer

OLD TRADITIOHS,

bJI

~51c

Sl .9S

$3 .95 $6 .95 S4 . 95 S1.50

Fro. T1WHTIONAL RECORDS ($6.98 Elich):

'.411 Schilting

(aUIIJ. disc)

PORCHES OF THE POOR .

bM J-an and

SChiLling

(al00. disc)

MOUNTAIN OULC~HER AND PSALTERY INSTRUMENTALS. bll J.~ Roo~ZZ and Nary Ann (60 Minute cassette)

DULCIMER FAIR,

bll lAo KNt.,..,. and Jay lAiboIrita (a l"'- disc)

().Ir CRYING CREEr: PUBLISHERS books and TRADITIONAL RECORDS aUII,.s and tapes . .y be available fro. your local alsie store, record dealer , or dulciaer _tel'. For .all-order service fro. JEA.''i' ' S DULCINER gr)p . send purehase price plus shippinl and handlinl charles of 75. for the first- title, 25c for each additional title.

JeAN ' S DULCIMER SIIOP serves both the Tetail and the wholesale ~sic: trades. Dealer Inquiries are Invited.

Dulc:iaer Peaple Servin, The Needs Of DuIc:illCr People

Reuil Catalog $1 . 00 , Refundable With Order

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df <'placE. :Ju~t

cRi:/d

by ROSAMOND CAMPBELL Winnetka, IL

The shop called itself a ·SChool of Folk Muaic·, but it

looked to my suspicious eyes like

s guitar store . The friendly .an.gee , with hair the shape nod

color of flame , rooted around trying to find us. 80IHthing she called a · patch cord-. Patch inde.d . It would take !DOce than • patch to get .y bruised and confused feeling toqp.ther . What was I, a lady in years about haLfway to ninety, once a ·seriou.pianiat , and all her life iMmersed, imbued and indoctrinated in classIcal

music . doing in a fur being rubbed the wrong way - a touch unacceptable. For I was enrolling my aon Rick, ex -vi olinist , currently violist , for guitar le8sons. Not even (olk guitar. aind you . Aa well as buying le8sons, we were renting that elusive patch cord , a solidbody guiter, and an amplifier. For weeks, Rick had been cajoling , bullying and fretting hia vay to this -oaent . Was hp happy about it? 1 would say he was me rely euphoric. But I was certain he would nev~r play viola again , and I had resisted coming here until I vas convinced that to continue to refuse would be his distruction . Rick was so full of .usic. Alas , his intPrest in the violin playing had been sustained by a gifted teach~r vho was that rare co.bination - • virtuoso performer vho could instruct with both discipline and affection. I t was his theory that Rick might be more successful aa a violist in the High Schoo l Symphony - good violists were not common in a community full of polished fiddlers (this samp teacher was responsible for .as t of thea). So the switch vas effected , but it didn ' t take. He wanted to play the guitar. Rick flun9 himself into the study of the guitar with a mania he had shown for nothing before o r since aave Chicago-style pizza . He even tOOk SGee classical guitar RTo i.prove my technique M• Was this addiction a whim or a fancy, as I had predicted? No . Several years later , this same Rick , having beco. . a good guitar player quickly, thanks to the classical technique and diSCipline , and to his own boundless enthusias., vas enrolled in a college specializing in his brand of ausic . Does ay house -rock-? Just ask the Winnetka

Police Depart_nt . 00 I have fleeting r_grets? Never . Let . . return to that Folk Music School Counte r and tell you now what happened to me: We were s till waiting for that patch cord . 1 looked up at the vall and sa w hanging there what seeSftd to lIIe the most beautiful instruments I had ever seen . They were ~untain dulcimers . NOW I knew a little about the dulci.er. I had been a Jean Ritchie fan in my college days , but I only was really interested In the songs . (1 had rather artsy taste in f olk ausic , too , prefe r~ing Richard Dyer-Bennet to Lead Belly) . I had no idea of how dulci . . rs were played , but when tbe nice . . nager told me they were held in the lap and played -straight on- , I knew 1 had to have one . Years before , I had taught myself a little guitar , and the twisted left wrist (as I then saw it) position wa s uncomfortable to me as a pianist . Oh yes , I vas still playing the piano a little . But as (ar as seriousness of purpose, I wa. a dropout. I had never played for pleasure , but as a dutiful daughter , and I had always been an extremely nervous perfor . . r. Yet I was now playing in a way which I was learning to enjoy : duets regularly with a friend who knew exactly where music fit in h~r life - as a recreational necessity - and how I envied her lack of Mseriousness of purpose· which made her a rel axed and sk illful sight-reader. I vas alao playing accompaniments Cor Rick and for .y younger Bon, Andrew, who played the ' cello. Several evenings later, 1 returned to the shop with my husband , and together we selected a dulci~er kit which he would build for me for Ch ri stmas . With no knowledge at all, ve were fortunate in having picked a kit that would aake an att ractive and playable instru"nt. Old I say ·playable-? I haven ' t stopped s ince . J took up the dulcimer in the same way Rick had gone at the guitar . I was obsessed . I got acquainted with it by myself , and then back I went t o the sce ne of the original crt .. for le ssons . The lovely lady who was my first teacher is now both fr lend and mentor . 1 knew no other dulcimer playera , and what did I care anyway IC I waa the Cirat kid on the street to have a pP.t dinosaur? I bought books and records and 1 subscribed to the DPN . Back issues , cur rent i ssuea, I took the books and .agazines to bed with me . My husband is a

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dear "n: having created the ~ater he .at back and enjoyed it . I studied with another lady gifted , char.ing and eccantric, who got up during Leeeons and .... h.d the roach•• in her apartMent with her bare fpet . I encountered a coll.g. girl who • howed me .~ beautiful technique. betor. ehe rp.turned to school. And then I look.d around for -are , and finding non • • decided in a rare bur.t of courage and opt i., •• that aaybe I was -it- . But ~ I t.ach? I took on .y fir.t pupil for nothing; ahe was a fine tlauti.t and cl.ver to boot . If I could teach her and give her int.lligent answer. 'ahe waa an int.nae questioner), that would be my e i gnal to go ah•• d. 1 rp.alise now that t.aching tho.e with no mu.ical background Is the raal challang.. But that i. how I saw it then. and I did get Iry cue . I atarted teaching : first at a shop who.e owners are working .u.lcians and rooted in the Chicago folk scene I then at the High School exten.ion (I offered one be9innlng cour.e and we enrolled enough to .ake two where were all the •• clo •• t duLcimer owners coming from?); then p r ivately , at home . Pinally, I calle full circle. and waa aaked to be on the .taft of the echool where Rick and I .tarted out (with that patch cord) . I atarted doing SOlIe perfor.ing: co. . unity eventa •• chool •• churchea , clubs, ho.pital • • a couple of festivala , work.hop • . But .y heart was and i. in the t.aching . I think I _y have so_thing special to offer , JuUiard stint and all. I believe I underatand what ' . going on and don ' t teach -by the seat of .y pant.- . However , d.apite all the ha raony and counterpoint I brought to it. I still hed to teach Iryael( lledal theory . I hed help here frca .y son , the guitar player I also having .at through years of .trlng lesaon. for both boy. was an enorllDua help . It ia hard to explain how 1 te.l about 8y dulci"r. - Pa.alonate- would be pr.tty accurate . A. a pienist . for years I was an ar. ' . length fro. the source of the .uaic. Thus I a • • trongly resl.tant to using flng~r-pick •• for .nything th.~ gets between lie and the dulcll1er da~.na the joy . I want to hold it , carea. it , fe.l it vibrate •. • does that sound Llk. a love affair? You bet . When I ex-

•

plained all this to an old friend, a profesaional violinist. she .aid quietly, Wbut of cour •• • • And ahe said it with no in~l .. ~lon. of ·oh . but that ' S juat a folk in.trulMIint w • " ve learned IIOre thinga than just how to play an instru .. nt • You can live In aeveral .usical world. , and th.y are co.patlble and even can nurture each other , if you have an open .ind . On. kind of .uslc ahould not exclude another . Thia croasing over should even be encouraged . My younger son will have .y heartfelt cooperation if he wants to take up a folk instrument in addition to his cello . He ' . considering it , and having fun p l aying with the choiews in his mind . Recently . 1 to l d hi~ quite s i nce rely that he could quit the ce llo if he wished to - for the preasures of school and .uaic .ee. . d ~o be • bit .uch. To .y a"zellent he refueed . and carefully explained to lie that hi. schedule would ea •• up aeon. I a. certainly relieved; I don't want any .ore kids playing -for IIDther w • I didn ' t tell you I also have a daughter whoa I once taught plano , and the result of that is that ahe turned out to be an actre.s and a dancer I I think the moat gratifying result of .y dulciaania i_ the Dulciller Soci.ty of Northern Illinoia , which a group of us started l.at spring . SOIIetl . . s I think there would be at l ••• t a hundred dulciDer player. tewer around h.re if not for .y son'. . . rvellous violin teacher; but then again if yOU 90 back to fir.t c.u ••• • you ' re in danger of returning to the Garden of Eden . Prankly , auslc - wise , that ' a where I feel 1 ' . living r i ght now l Although during holidays you aight find it a b i t cacaphonou. : there ' s rock and jazz l there are .uaical co. .dy tunes on the piano wh.n Jennifer'. hOlle , there ' s perhaps a fifth of the Schubert cello quintet going and there's that .iddl.-aged folkie with her dulci_r . Last tall .y Ion . Andr.w . agr.ed to do • cello recital .t the hOMe of a woman who was reaponaible for his r.celving a scholarahip . Several week. later this a.1I8 lady was present at a prog r a. I w.a doing in a church , and ah• • sked lie if I would .hare in the r.cl~.l with h1_ . She believed it would be -intereating to ae. a fa.lly ... king auch va.tly diff.rent kinds of IlUslc w • With .y old thinking. I resist.d, not wanting to participate in

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sort of musical "joke", and I suggested to her that Andr~w

¥Oae

Intrcduc:ing :

in his Al.b..n OebJt -mE RfD-fPJRID OOY.

and his teacher would lind the

notion ludicrous .

Will I ever

atop be ln9 Burpr 18ed1 Both of thea thought it v ••• delightful

idea . So this spring we appeared on a pr09ram toqftther , I dressed in yard. of denim skirt and he wear ing his performing outtit: a dark three-piece suit . WP were visible and audible symbola of the successful and joyous clo.in9 of numerous gaps . and today I •• a we_an who ha. turned and turned again and finally ·comP. round ri9ht . -

RLSSELL (XQ(

1981 Naticna1 HamMred Mcirer Q\arJplal feawrJ.og:

Ru!J.ot'U Cock~red D.licu.er , OJlt.ar .

~e~~f.~'"'~"""'~ ar[~tJI ~ MilndoUn cp, and

aJsicians 'lUES ncu.JE : -.1 Instrl.D!ntal In 'Ib! Gardel1 sai lors ltXf1)ip"/ Rights of H.1n/ Sol.d1f~r8

Jot

Dill Pickle Ra9 Cluck 01 ' ~ ~lrf!d

Precioua MMocies

wayfaring SUlintJe.r ~t

lbur 01.

Prayer/

In 'Ib! Garden

This \obCld b Not

..".

Boy

SCUllliY ' a

Rt>eV

M:>rriaon ' s Jl91 O111dgrove

Brian Baru t a March All easy TIstenlng mixture of traditional tunes played and -.mg with CPf"l1ng just to strike your fancy. Alb.n or ~ttP. availabll! foe $6 . 50 plus

S1. 00 shipping' handling . .u.o available handcrafted a-l.ciJrru , autoMrpe rrca; • "Wxld N' Strings", Il1s$ell Q::)ok, luthier 160 Tandy 'IOwP'r (be Studio v Ft . "beth , TX 76017

HERE,Inc.

IOOHK: Here, Inc. #OPn 2.5 north 11th St. IIlpls.,lIln 55'101 7 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

THE: APPALACHIAN FOLK MUSIC CLUB This group is open to any folk music instrument players in East Cl!ntral Ohio; ~~orth,..rn Panhandle , W. Va .; W~st Central Pennaylvania. Hf!I!'tings arl!' on thl!' last sunday o[ th~ aonth at the pla'lers

Dulc imer Or8snizaLi o ns This pa9~ will appear in ~ach DPN and needs input . Are there

hom~s.

people or events which should ~ brought to tha attention of DPN subscribers? Please remember to allow plenty of ti~ when publiciz ing events.

For information , contact : Ruth ~Iartin 9 Sev~nth St c I!'et ~lidland , PA 1S059 (412) U)-9HO

InfotNtlon is due in

this office six weeks before DPN 9OP.S in the mail (the first week of each quarter) .

SCIJIHI:R.; APPALACH1A.~ DJLCL'£R SOC lETY

f'EST1VAL

In January qupstlonalres Will

WOIAN SPRl"'iS SO«X>L

be sent out so we can compile the Events Calendar (oc the Spring DPN. If you know of a festival

HEUl¥\ , AlABA.'1J\ 'lb! SOUtMrn Appal«:hian DJlc' r Soci"!'ty had a gr.,at [estival :1IIy 3, 1981 at tM Indian Springs School in Hfll-ma , Alal::lc.'uroa f'II'!'ar Birmingholm. ().I"!'r 600

which haa events for dulcim~r pl.y~r' r please let us know so we can include them in our list . Thank you.

att~rded .

Q-, Saturday a[terf'lX)!'\ ~fOf'e tty. [,.stival , Lois Hocnbostp.I, oC Wingate , Noeth carolina taught a IoOCkShop. J Ul'ldP.rstand !lOI!J' P'!OPlf! StaY"!'CI after"""rds and played until it got dark and thP.y had to

in the planning stage by the Paint Creek rolk

M/,'{ PLAY DAY 1.

SOciety.

It's a day-long f!vent to

kick of{ festival season .

OpP.n

jamminQ. impromtu workshops , dance ,

leave .

concert. Pla~p.: Rochester , Michig5n . For inforltation contact : Judi and Chm Hornlngstac , 3715 Lincolnshire , Pontiac , HI 48054

DULCIMER GATHERING Feb . 26-28 , 1982 Camp Miami , C~raantown , Ohio . Cost: approx . $30-35 (lodging for 2 nighta and 5.ealal. Each ~rson provides linen , blankets and towels . ~ork.hopa, jam sea.iona, concerts for information contact: Gerry Gray , 2)40 St . Pp.tp.r St ., Indianapolis , IN 46203 'ftY' Ariza\a DJlci.rer SlXiety is it non-proCit ocC}lllizatim ~ted to thP. IlDJfltaln or 1\Walachian dulcimer . Wli le f~ barp.ly a jOe"r ago I:rt SUsan JP.fVlings , the SOCiety has P.xpan&>d roth its nr.1l'b!rship and its intP.rp.aea to p.t'ICXJlP3sa not ooly the aharing of traditional folk -..sica , b.lt Renaissance, CCl'ltaIp:>rary and P.YP.n jau dulc{ml:!r ~s . ~rs exchIIncr tips 00 the care and canstru:ticn of dulciA'Ns , playing techniques and styl~s . and I'\P.WS oC workahips , festivals , etc . during t~ir regular IITJI'Ithly IDI!P.tinga . Meat rP.CenUy thP. SOc!P.ty has bequn o::HpC:r'I8Xlng folk art '-OCksh::lp6 and giving perfOl'lll<lnCles at local IIUaet.II'IS and CO~8 to reach othP.r tlUsicLans an:I lllJaic ~rs in thP. PhOenix area . New(lCII'r.rs ~ passers-through ace always ~l.ccme , roth foc rf!9Ular JEetings, houge CClnCP.r ta or just plain dulcief:>r tjl'!ttogP.theu at the Jemings hare in SCOttsdale . FOe lnfomaum 0'1 thP Society and its current IICtivities , please call (602) 949-()651, or write the ~izcna DJlclmer Society , 6701 E. Lathlln , SCOtt.:lale, AZ

festival st4rtOO on SI.nlay at weather WlIS p"rfect. SaI'B or the IMkers therl!' that had dulc1m!rs foe sall! wp.re ~ Park of SiCJ"WIl M:::u\tain , Te1ne59l!e . Mlchal!l Nentwlq also of Signal tblntain , tbllis lDn9 of Q;)~ . Miss .• NPwmln 9nith of Gatllnt::flrq , TP.m. , Charles Ellis, Ko>l'!'hA , ~ , Me . HUler of M.ill,.r Violin in Birraingl\ilnl, Me . Horn of TeM ., Joel Jb,ien of LaCcange, Ga. Lots of good dulcinP-r bJoks , rf!ClO[ds and tapes foc sale . Ruth Clark open,ted the bo:Ith foe go:xl cold applf! cidf!r. ~ had oontiruous dulcifI'P-r playing on stage with a lot of really good playp.rs. Scattered OJeaid!! the !'ut wer", groups of pia}",rs getting togeth!r and enjoying thl'moolyp.s playing under ~ trees ~ar thP. l akf! . 5c::mP. or the pla}'f!rll \or.re Lois It::>rnboste:l , OM Fraley, PNJtJ'I OOnaldE01 9D.ith , Oor8P.Y WiUiMlS , Bill M:Canpbell . tiP.nry Clark, Mar9/lret and ~rd SUeP.t , Jim Paqe , ""len Payne , Laura W:llls , tbllia lonq , ,)oF! Park and many lIIX'e too ntnerOJs to r:entioo. A loeal radio station tapp'c\ the f,.stival and has already played part oC it on the radio and plan tn play it aqain on July 6th. Martha .Jean Crain bcought a dulciJ!P..r ahI!!i had macie Cor four ~le to play . Michael NPntwig called tM dulci.Jrr:!r the "SOcial D.llciltrc" . Martha JP.M sald she got tIv;! idl!a f r~ tbward Hi tctY" II ' s booIt. Lois Hornbostel , Ooreey WilliuB, and Margaret and fbecd Strf!ll!t got t:o:}eth!!r and played it. 'ft)e festival is alWilYS held thP first S\.nhy in M.)y at the IncHon ~ ings School. Foe infoclMtioo ItdtP. Charles Ellis , Rt . 1, fbx 473, Hel.P.na, o\l.abatIB 35080 • 1:00 and the

•

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S!J~t'1I:R

SOLSTICE OULCI'ICR ~lUSJC

FESTIVAL

AND

California hoated its own -ajor Dulciaer gathering . OVer 700 people attended the onp. day event , coming (rOM all around the SOuthWl"st . The Plucked Dulcimer and Hammerp.d Dulci~r are both an integral part of the folk music scene around h"re , as p.vldenced by this fp.stlval. It wa s prlllarily a showcase for the Dulci .. r, but the thirty workshops also includ"!d Bowed Psaltery , Autoharp , Penny Whistle , Bones , Sticks , and Spoons . There was Morris DanCing , Irish Dancing , English Country Dancing , Clog Dancing, and Contra Dancing. Ther~ were nine song wo rk ahops . An afternoon lawn concert ran continuously (or five hours , allowing many local players to share thpir music . Instruments, reco rds, books , and crafta wer e offered (or and the food venders kept pl"opll" going through the long day . Thp. festival closed with a fin e Sunsp.t Concert featuring Ruth Barrl"tt , Cynti. Saith . Holly Tannen, Curt Boute rse, Robert Forc,.. and Albert O' Ossche. The Sunset Concert was r~corded for Radio Replay , and TV ca.eras roam,.d about throughout the day. The featlval was sponsered by Beverly Hilla Recreation and Parks Depart.ent , coordinated by Elalnl" and Clark weiss"n , and .ar,. than fifty ata ff and hosta helped to aake it a relaxed and friendly event. Plans for 1982 are underway , but nothing specific is known yet. For more infor .. tion, write to the Weiss.ans , 4401 Trancas Place , Tarzana , CA 9ll56 .

On Sunday , Jun~ 21 , th~ first Solaticp. Dulci:n~r and ~Iu.ic was h~ld at Cr~ystone Park in Botv~rlr Hl115 , C.,U(ornia. Judging rrom the sold-out attl!'n dancp. and th~ ~nthusiastic rp.spons"', thp.r~ will bI' mor~. Thp par~ providp.d sp.cluded ~lacp.s ror workshops and playing arp.as all da}'. On~ arf'a waa ror l,.arning fo lk danc~s -- ~Iorris , Irish, English Country , Cloq , and Contra . A courtyard hostpd singing--Sha~ Not" , 8Jiwd , ', S,.a Chantip.s , Play Party, and Shaker. For.al gard,.ns h~ld thlt ~Iountain DulCl.,.r p"!opl'" with workships on construction and sevp.r.,l playing stylf'. . Shaded Badminton Courts providr.d thf' id,..,l spac~ to s"!t up Hammp.r Oulciml!'rs and hav"! workships on Tuning , Techniqu"', Fiddle Tun,.s , Classical MUSlC , and oth,.r tune swapping. Th,. day was lov,.ly, the .usic beautiful , the company stimulating. What ~re could on" want except ~re time to have po1rticipatp.d in .are things . w,. ho~ this will bf'comp. an annual p.vp.nt and hold hope for our n~wly .ade contacts to h,.lp dulcimer .uaic grow and reach out in the Los Angnlp.s arp.a , Su:r.."~r rp.stlv~l

saiP .

Martlyn Forsstro. Cerritos , CA Like a castle in the clouds , Creyston,. Mansion looks out ov"r th" haze of Los Angeles to the Pacific ac,.an . Like an island o( tranquility rising above a a"a o( skyscrapers , the wooded , rolling hills were the perfect setting for the First Annual Sumaer SOlstice Dulciher and Music Festival. At 10n9 last , Southern

Randy wilk inson

WALNUT VALLEY FESTIVAL Winfi"ld , KS Sept . 17-20, 1981

MoUntain Dulei . . r Chaapionship 1st Ji. Pyhrie, (Laguna Beach , CAl 2nd Willie Jaeger (Denver, COl lrd Seth Austen (Winchester, VAl

Ha . .ered Dulcimer Cha.pionahip 1st RUBsell Cook (Arlington , TX) 2nd Lucille Reilly (Moorestown , NJ) lrd Nick Krukov8ky (Ithaca , NY) 9

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rDc Oa LLc Y fos t:R arn eot :s - I build ay instcu .enta froa two point s of view; .ualei man . I prefer tone and p l ayabi lity to decor ation , andan and craft smy work ha. been toward s iaprov ing (and inven ting) inBtru~nt.. Space does not per.i t expla ining thp reason s behind the featur es of my design s; I hope your intere st will be tickle d enough for you to inquir e furthe r. My Inatru m"nta are '-aut ilul, innov ativ., and f"mel are intere sted in an inst r ument , send me II ca.8ett~ lonal . It you and I'll record it for you to h •• r , and please call or write . EnJOy Bob McNal ly

APPALACHIAN DULCIMERS Birdse ye maple , spruce . walnu t . The sound i . very loud . cleat" , and full. 40· x ,. (body ia l,T' deep) . Arched finger board . aepar ate bridge , violin fine tuner2. atanda rd . Tear drop only. Smallp .r sizea on requp. .t ••.••• . . • ... ••. .. ••• . · ··· · · · · · 522S . 00 (not pictur ed) 32~ x 7· rectan gular top, 3" Loude st , riche st , -aat rp.son ant dulcia er puri. t or faint oC hf'art) • •• ••• .. . .• • · . 52S0,OO HAMMERED DULCIMERS uniqu ely design ed with tranav p.raf' thread ed WOOden Bound posts (lS of them). This allow8 backb races and good volume with only 2 atring s per course , and a cLear , nt tone (not a duffle d thump ). 14 treble , 14 baaa courae a . resona PriMa ry keya A D G C ,P. I use "auape naion" type brldgp .s of 3/16 braa. at "00" notea . Mahogany and .apl. , black with dYf'd rod pylon s 40" x 17" x 4~ and weigh s less than 12 Iba ... •...•. . birch ply top. , . . •. . , .. $400.0 0

THE BACKPACKERStiUITAR pat . pend. invent ed thts to be able to bring a guita r anywh ere I went . It IIOrkal It ' . 32" x 6" weigha juat 2 Ibs . It sounds unbel ievabl y good tor x 2 1/ 2" and ita size (it's a1-aa t aa loud as • regula r she guitar ) . It h atrung light gauge bronze string s, and tuned E A 0 C 8 E (Ba~e with extra as a regula r guitar ) . AvaH able as a 6-atrl ng (SiSS) . 12 string ($115) . 5 atring banjo ($1651 and class ical .adel ($1751 . Padded vinylc aaf' $10 , shippi ng $10 . Por walkin g. biking . ca~ing. cara, dinera , etc. THE "STRINCED PENNYWHISTLE"td It has 3 string . tuned GOG (low to hIgh) , and ta Frette d diaton ically (du1ci llfJr acale) or (guita r atyle) . It'a a lot like a tiny du1cil lfJr, but chroa aticaU y held like a guitar (It sound a like a cro. s betwe en. dulcld and a .. ndolin l . Vpry easy to play , sounds great. and extre .ely er le . 27" x 3" x 2", weigha only 80% . Come. with chord chart . portab Diato nic model $60 Chord satic ~e1 $65, vinylc a.f' 58. shippi ng 58 addre8 s : McNal ly Instru ments lOll Main Stree t Boonto n, NJ 07005 (2011 334-48 84 check • .aneyo rdp.r . Viaa or Maatp .rcard accep ted

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/Ul ® ill~~ li1~ ~ 0rn~ ~ ~/Ul~lB IRISH t-llSTC F'CR 1liE /'O.NI'AIN OOLCIMER by Bob liltc hinson & J im ColT. Book SS.95ITape $S.95/Book + Tape $11.00

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Thds 62- page book tells you everything you need to knowabout adaptLng I r1 sh darv:e tU'les. at rs • ard songs to the I!ICU'Itain duidmer. Written by Bob Ii.Itchinson (8 wellknown dulcimer pLayer.

teacher, ard I!Bker) ard J im Corr (8 prize-wlming ~terlsinger fran Tyrone. lrelard). this work 1s a landmark in dulcimer instruction and is suitabLe for beginners ard incennediate players. Expand )'OJr 'l' ISLcal horizons!

THE APPAlAOllAN DULCIMER BOOK by Michael Murphy

Playing instructions; 20 songs; 50 photos of early makers. players and dulcimers; repairing. buying. construction. history. makers. sources; 104 pages; $6.95. Also distributed by Music Sales Inc. and Bookpeople. Inquire about wholesale prices. Folksay Press. 6713 1 Mills Road, S t. Clairsville, Ohio 43950 11 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

Jim Couza

"fobrpeth Rant- arxI ·Plowers of Edinburgh-. 'Ib!n I nw:M'!d to Philadelphia and tw!ard old tiItP lalSic. which at first I disliked but really enjoy now. All I D!ard at first was double stql6 shuffling and no rrelo:ly . IlIt as I gradually got into Old-Time I1IJsic. I II1Jst have learned ab::Jut a tunclrecl tunes in three I!I)nths . I organized a country orCD!stra which had thirteen pieces - reCX>rders , flutes, ha!mered dulcimers, trcrrtxJnes, pianos , basses . but no fiddles . It sourded beautiful.

an interview by Seth Austen

Jim Couza was born in AprIl , 1945 in a small Polish neighborhood in Bedford , Massachusetts . He began playing piano by ear at

age seven and later taught himself guitar , banjo, and hammered dulciDer.

He recently recorded with

fiddler Johnny Cunningham of Silly Wizard .

"'" style is that

Ciie of the things that distinquhhes your

D..'!~

~ did JO.l first begin playirq the ~red

you sing accatpan)'ing yourself with tM hanmered dulcimer. ihlt led you into this style?

dulcimer?

Jim Jim

n i n t heard the hartmered dulcilM[ at the FOx Ii::lllow Festival in 1968. 1 was sitting in this wooded ~Uow , a'1 a gray afterr¥XIn with cain gently falling , and it ME!Il'lt:!d as though every drop steuck a leaf with a different note . That's just what a hannP.red dulcirrer was like to 1M . I thoI.JQht it was the IlOSt beautiful instr..-.nt I had ever ~d. I didn't get one foe a EN years because I didn I t have rroney to buy .!II decent instrlJllMt . Moun::! 1973-74, I started thinking about getting II. ha!mw!red dulcimer again and finally got s::xtP. m:ney sawd up. In April , 1975 , I call.ed Sandy Davis , ...no used to play with the canterbury Dance Ikchestra , because I knew tv! had a dulcil!P.r and could turn me on to ..... '''''If!Ol''''... who ~l.d have one to se 11. To nake a long stocy shoct . I tr.uqht a goo:::! one fran him and right then tv! gave 1M the only hamrered dulcin'er leS9Ol'l I ' ve ever had in tt1t li fe • He showed me -Golden Slippers" and I told him I wanted to learn -Petronella-. He Mid , "That's a very difficult tUn'! , - and I answerl!d , -\<rell , I ' vp. 90t lots of tiIre" . 'lbat Sl.mIP.r I stayed with SOItP. friema , one of ~ was a lIIJsioologist, Jerry ~k . Jerry was back: in the united Statu after having llved in Thailand foe aeven ~ars . He had a yang chin in his l'ouse and t.als of lIIJsic plus other kims of instn.nents. We IoOUld hang out all night , and ever)Ule IoOUld pick up instrt.m'P.nts and play. with the.. types of instrunents you. don ' t really MYfl to know how to play them - you. just nake aounds. The yang chin was tuned Odental style and I sat ttP.re with long , fl.P.xible bamb:)() harmers and itrproviged. About the same tinP., Jerry taught me a lot of Or iental folk tunes in a !I'llsieal tonll called tao Pan . I began to learn a lot of fiddle tunes, playing tM hatmP.r:ed dulcimer in danoP.s at 'J"ri Wxks, a coffeehou~ in MassachJeetts . I wasn ' t terribly goo:::!. but I didn ' t know it at t:hP. t~ , so it was okay . 'lb! fiddle tunP.s 1 started playirY;! were New Dlgland tUn'!S like

~re

are only a few people who really sing and play hatt1'rered dulcirrer - Sam fobffatt , at Trickett and Jam ~tchea'l . I started doing it because I l.oYft to sing . The BOng is really tM DDSt inpx tant thing to me, not tM tP.Chnica1 trP.tho:1 of prcducing it. The I'Ia!rm!ced dulcinP.c is a t.o:>l. What really inspired lIP. to sing with the dulcitrP.r was !Meting Dorothy carter in 1976 . \ohP.n I first heard hec, it was like one of those mysterious exper iences that happens to you just ooce in a lifetime . I t was the nost haunting 9OUI'd. OOcothy and I becAlTP. friends and swapped 90lM ar:rangertP.nts now and then. I was very inpresSP.d with a sen;, called "The Seasons of Peace ~ written by Bob Beers and decided that would be a go::d 8On9 to accarpany with the hatl'lrered dulciJMr . So I used 9CIlI! of Dorothy's ted.,iques. I have 90 nuch respect for Dorothy . I think aM is the l!IJSt WldecratOO folk R1sician 00 the East Coast . I star tI!d to wrk on an ac:c:arpvlinP.nt to "Seasons of Peace" and began p.1tting in rolls and bits of the melody. It' s beo:ltM a signature piece foe me , my favor ite song . Since t:hP.n I ' ve arranged many songs with ha/mP.red dulci.trer aocarpaniment. cne of the first things I diSOClYP.red when I learned to play al.ong 'With singing was "the siq)l.ec , the bettP.c" . I just do siq)le arpeqgios and let tlw!m ring out. cne of the arpeqqios I use is 1-3-5-8-3 (the rurtJers are the degrees in the scale) . Another is l-3-5-8-S-3-l-3-SB and 9OlMtiJnF!s I ' ll 90 up higher . What turned rre on to this kind of playing was classical II1Jsic. 1 bought an a l M of Bach keyl:Xlard rrusic , and the very first piece on it was fran '"'nv! I<P.U-'I'errp!rf!d Clavier - . I dl!cided I wantl!d to play it and 90t the 1IIJS1c fcan the Philadelphia Free Library. As it turMd OUt , tM Bach piece IoQS in the kP.'J of C, so I transposed the Iohole thing to o and tried to learn it . I spent about t\ooO years thinking atout it befocp. I IXlUld really play the piece . (ai . NotP.:

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J!.' a arr~t of -PreludP. No. 1 in C· frc. 'I11E ~ CIAvr~ t:Pt J . S . Bach can re found in the Spring 1979 i.saue of D.JLC1l£R PlAYmS NDIlS. ) Even before playing Bach , I w;!s playing 9CIIW! Jotn D::IWland pieces like "Now, Oh Now I Needs I'llSt Part and · A-.y With Me9'!lf, lDYing Lads" . J was alao doing a Cesare ~d pif!CP. , "Bu,nco Fiore" . As I played these pieces . I diacoYered that in Aenaiasanct! II\!Idd9tlls you can play t\C) voices cut of the four v#~ry easily on the . red dulcil!P.r . It just takes hand and f1!Ye axxdi,...,rion and practice . 8Jt when I <.JOt into Bar('lqUl! .alI:iic with Bach , I realized tM differences bet~ Barcque and RenalIl.$4llCf! DUsie. 84roqua llUSic is vastly IIOC~ oorrplicated . In a three oc four-nUrutll' Bach piP.Ce , hP. UMS rrore instr\l'l'P.f\tal tJ!Ctnology than might halffl bP.en uSP.d in ~rdr#!d Renais&ancP. pieces . I USP. a tr~s MQJI'It oC classical styles in song aoc:onplniment . 1 use the I\amrP.red chJlcirMr in aong MXlClqWI.iDent exactly the \o8y a guitarist t:edts up a sinr::}Pr . I think o f it in ter. of chords .vd chocd str1JCtuCl'~S . o\ll t nP.ed to know is the key thing's in . 'lhcough many years of eJqlerience as a CJUitar player , I know the way chord patterns work . I can ' t l"II!O!asarlly apeak them , but tMy ' re in my hl!ad. SCrMtimea I have to fish around a little foe chOrds . This is 8QTP.thing you cannot tell IIOIIW!CnI! how to do. It just correa from a lot of playinq. "n"oI!' moe.. yc:u play , the I!IICII::If'\E,r it will <:aM and I!YP.nrually you get to kn:JW llUSie. Song aoc:onpan ~t IIhould be viewed 10 tf>..cra. o( patterns. In (act . 1 view fiddle tunes In t,PrlllS o f patterns . Foe pJtMple, "M:x'peth Rant" and "'n!apec~ ~l· both have the sane kind of scale pattern at the begiming . Jam I't::CutchP.on III!fltioned this in a racent article in the CA\I (9:1. Note: Winter 1981) ~n he talked about the idea of tr1anr;lles to pJint out the patt:P.rns . For eXMple , yuu rn.mber the notes in a scale (1-8). You can play 1-3-5-8 and that ' s a rrajoc chocd arpeqgio. I can shift this pattern to MnY d1ocds.

stand what you ' re doing. It k.o! s moo fee l qood ~WW! t ' III ~ttil'l9 feelings out o f tM different ta'\al colors . I hP.ar colocs and turn u..ra OJt a'\ the

hanmeroo dulcil!P.r .

Later I hl!ard "Children oC Sanchez on a Chuck MAngiOl"lP. rf!rCOCd and dP.cidP.d to play it on tOO dulcirrer . ACtP.r figur ing OJt the chord proqrp.ssions , 1 u~ 8(:IIM straight rolling crords and threw in tM rrelody where I could . M

IlI'N

j;i\it are s:ne o f the directiau you

9'!e

yourIJP.lf <.JOing with the h.stD!red dulcimer?

Jim I'ilw.l}'l try

I»'N How did

to f:)q)aIld em lwta 1n playing ~rf!d dulcinP.r . I v@ry quickly <.JOt away fran fiddle tunes as soon as I di9COYP.r#!d that I could do other things. NOw I play sane jazz , classical , a lot o f 8009 aoconpan~nt as well as fiddle tuTw!s. I UBI! the haImP..rP.d dukiJMr as an analytical acxnrpani!lP.nt. I can mke the dulcim-r 9IU'Id JUSt liM a bliss viol in . It we;;'" .jreat on waltzes and things Uke o ld l.oVt! ballads and Rlrdec baJ.lads. I rea lly like to listen to OP.t Park..r becaUW" :. plays all kirds o f pop 8OI"I9S on ttW!' dulcimer. Jay fbJnd playa a lot o f the o W &".,ing standards on his new rf!COd. Wv!n IlP.nry Ford ' s orc hestra had a ham~red dulcimer player , ...tt.at were thP.y playing? POpular songs . I think f!Vf!ntUoSlly p!Ople will start playing jazz, not just ragtiDe. I ' m thinking ot setting .:xii'! of Jao::p.w!s Beet ' 5 I!llsic to haimered dulcwr . 'lis I!llsie is very difficult to do becau8e at the chord pcoqreasiona. but it ahooldn't be i.rrpossible. I'. al.ao 9fttt.lng deeper and deeper into claseical alBic . '1b! IIC6t amitious thing that I 'w attell{Jted so far is the "lotxnlight Scnata" . I ' ve IoCICIred at:cut thirty Jreasures o f it so far . \tI'Iile trying to learn "MOonlight Sonata~ , I discovered just what /Mkes a IIllsi cal genius. ~ CCIIIpOSing , one has choices MQ19 , perhaps , ten rules and the right choices II\lke a genius. Beet:roven always made the per teet decisions and M wa.a ~ a genius. TO oortplete his ccap::IlJitlon on the dulc1m& . I may hav@ to get a 15-14 ocucse !.:,.t.n.llll:mt rather than a 12-11 .

'W\at are

~ begin playing jazz on the hamlered dulciMr1

Dl'N )'OW" feelings ccnoecning dulciJror tablature vs . standard notation?

SOrnerone gave me sane Django Reinhardt ,

St:P.phane GriIP\?P.lli and Keith Janet al.b.ml . \of)en I hP.ard Keith Jarret , it IIOUt'Ided so r elaxing , like waves o f the ~U . I figured that in ClP.rtllin keys I cwld ~licate the SCUlCI . Q\e day, I started fiddling ara.n:! with 0 and E llinoc chords . I was playing with the chorda and trying to do JD:XJal types of quidt , little riffs of the sort hP. does in thft beqiming of his pieces. I sit dc:w'I and c:b this a lot at taM, wt it bar" audiences because they don ' t wder -

Jim Intablature you have 9ClIM sort of nuntoer system for the notes in the key . Then you I!llst indicate titrP. v.al.ues, n::>te

durations. rests . etc.

I peraonally

think that if one is <.JOing tn 90 tn all the trouble of learning a ~red dulcimer t:ablature, Wly not. s1.nply learn to read DJaic1 People tell lIE , "Well , I'd rather learn IIY alaic ty ear . bP.cause that 18 lIOl"e fo lky. I've seen peoplft ~ read,

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ttry ' 11 tU t doI.n in • dance bond read ing J"Yf'rythirq off sheP.t Slsic end it ' s dt!ad that way. " Mel it is . &.It there ' s no dcubt. whatsoever in rI'f ai~ that reading llIJSic Is A useful skill if Q"II! is At All intP.(~stf!d in ausle. ChI! c:Ioesn ' t ha ..... to be able to alght- re.t , just be Abl!! to rP.ad enough to lP.arn a piece frail ~t ll.l!Jic. £'YP.n to beginMrs , tablatur,. is not that usp.ful. Myart! can sit dowl and l~n to play A slnplP. tune on ~ har!tnF'red dulci1Mr . If you can lull a .r.lody , you can play it on thP. dulcimer in fiftHn ainutl.!s. ~ning IICIOOCne ' S olrrAnC)r.llJ'f1t is 8C11P.thinq else again . YaJ my 'talt to know ...nat hand a persc:n Yr.S to do a p.3rticular riff , rut I don ' t

Don ' t 91ve up if p.I Cioo ~thing is too hard toe you to play. Put. the nusic aside foe a IlI:lnth oc a.o and then corm I»c« to it . In ~ 1M&I\t.itM , 90 eee other people play .rl oost of all , play -.udc with others . YaJ don ' t learn I7j sitting in your livinq roea playing foe ~.lf . 'lbII!I joy of playing with otJv!.r pr?qllP. will be 80 (P.Warding that you will never want

think t.,h"t anytody should

to stop .

cql¥ 9OIMa'IP.

else ' s arrangenP.nt f!l0Ctly . Inst&ad you should PJt your&p.if i nto the ur~t .

"""

"""'t

IrIcloeirq , 100Uld you like to say to begiminq ~re:l du1ciJrer pl..ayera?

Jim

.!• • amm€REb· • • ,,-uUlcnU€RS SaL<::€Rt€S + + 1.

1ta71dcrafttd - SoUd. 1iard1lloods B£ll 1{e4 !1 10fO Old n~ 1Veck'Rd.

Elkton, 11d. 2.1921

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+ + RJ' ·HALE. + + ln5trwnent-Mi1ker «Mwf"1N'1 P.O.B·5 ,6.PM"{}""",.AZ .• 85BU. (Shor>' (602)-J94·29ry

3°/- 287- 9J of-

LCIMERS, De5lg" BANJOS, AND THINGS* yoor own Dulcimer. Select cu~tom·mode pag e~ of spacio l

features to odd to the baSIC Teardrop or Hourglo.. shopod duldmu.

from three

Send tn.-e. first·d ... post..9" ,tamp'''' 50i for Cot.I.~ . "':lI'II.o

. lIH& ERJACKS, WOOO CARVINGS, tuSTOM cASES,

KEN HAMBLIN P.O. Box 894 V 24153

PEARL INLAY, Sale INSTRUH!Nl R£PAI~ . L _ _ _ m.

, ..... 1101 1 312·20ll

___--'

5pecialmodels available also. All hINt lifetime Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

Traditional Fiddle Tune Ar r:

MARA KRUFKA

Matawan, NJ Tune:

E A A

U..I IJ.J..! 1 ..J,J..IllI"lI J IJ I J

I J JIJn

1 ..

~. ~

. j

", '7 7 7 " 7

A I

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"J 2., 3l....L....J.... '3

7 !

3 I

S ,

S~ I

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I 11

··

", 7

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1 I

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J.JJll

5 32.

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I I

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32. 3S

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S I

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INTRODUCING the thirteen pound, solid maple frame, toned soundboard .. for around dulcimer.. $300 I

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'Ghe o;:J)l1lcimer il1 the L::A{?l1ral by

JOHN C. CARL I SLE M~rrillvillp. , IL

tions . If both talent and potential proved to be ainiaal when thft work was ~xecuted , the artist vaa not glv~n a second co.-isaion . When the instructions were .ent to an artist to prepare several pencil sketches of poa.ible design. for a lobby mural , the Section officials also strongly auggftat~d that even if the artist live4 far fro. the town , a visit should be arranged in order to talk vith the post.aster or librarian or aayor or anyone vho might be able to give insight Into the tovn ' s history and/or econo.lc base . Thus , in so.e aurals , fa.aus revolutionary var battles or fight. with In41ans arft featured , while in others the first settlp.rs in the region of the town are prominent figurfts. In theap towna where historical incidents wp-rr. rare , tobacco or cotton o r wheat crops ar~ th~ basi, of the design . If all other theaes proved of little valu~ , the artl.t could alwaya paint • landscape depicting the locale . unfortunately , with so .any work. co. . i.aloRed in sucb a .hort tiae and vith a saall staff , the beat laid plans of the Section often were only a qualified auccnaa: aomft artists could not afford to travel to the location of thlt .ural for the suggested discussions with th~ tovnspeoplftl other. hurried their design. in order to coaplete the work . Perhap. that explains why a Brooklyn artist who had never been vest of the Hudson River di4 a landacaPft with aountaina for an Indiana poat of rice In tbe (lat , prairie .ection

When the op~rtunity caae in 1940 for a aural in th~ lobby ot th~ n~v post office in ~re. , K~ntucky , the loqical person for th~ commisaion vas an ~xp-.rl~ncP.d auralist vho also happen~d tu live in ~re. , Prank Long , espAcially .ince he already had painted murals tor poat offices in HagArstown , Maryland (19381 and Morehead , Kentucky (193911 later he would do others in Drumright, Okl.homa (19411 and Crawfordsville , Indiana (19421 · The comaission to paint the approxi.ately five teet by thirteen feet aural was issued by the Section of Fine Arta , Public Buildinys Ad.lnlstration, Federal Works Agency, In washington, D. C. The ~ction . which began .s thft Section of Painting and sculpture in the Treasury Department , commissioned over one thousand auch poat office aurah in ita nine-year lifA , 19341943 . Although part of the nationvide federal proqra .. which created work tor .Illions of ~rsona during tbe OP.pr.ssion , the Section never vaa a -. . ke - work- agencYI its ca..iasiona were given aa t~ result of anony.aus ca-petltiona. Thus it an artist were chosen as the recipient of an award , it was due to his or her artistic ability , not because of any prerequisite econo~1c need. That ia not to aay , how~ver . that the six hundred or so artlsta vho painted these aurals were affluent; few artists In those bleak days were economically ·comfortable·, aucb lea. ·welloff- . The Section co~I •• lon was based upon obvious , or at l~ast potential , talent aa revealftd In designs sub.itt~ in the competi20

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number of celebrants came â&#x20AC;˘ . to meet old friends. to drink moonshine whiskey, to trade horses, pistols , watches , pocket - knives , to shoot their enemies . to eat bananas and to m/llke love . " What a wild time it must have been as ~ the young blades walked the streets all night clatter ing up and down the boardwalks in new brogans or playing old dance tunes on fiddles , guitars and banjos with here and there an old-fashioned home-made dulcimer. " Eventually the authorities of both town and campus felt the celebration had to be discouraged because ~too many men got drunk , too many people were shot as a result and the general tone of the hilarity was scarcely in keeping with the dignity of an educational institution . The campus was fenced off , literally as well as figuratively , and year by year attendance at this colorful spectacle dwindled ... " The challenge for Long was how to recreate that "colorful spectacle" without jamming his canvas with so many events and participants that the only effect gained by the viewer would be one of confusion and mayhem , not one of joyful celebration . While he wanted to satisfy the nostalgic memories of the older residents . he also wanted to "appeal as strongly to newer generations, not merely as a documentary record of former times . but as an artistic recreation of a life that was hsrsher and simpler , but that contained an essential beauty worthy of an attempt to perpetuate it. " The old-timers and fences are gone today, but Long ' s mural re mains . Of particular interest to readers of the OPN is the prominence given to the dulcimer player and his ~ old-fash i oned , home-made instrument" . The dulcimer in the mural closely resembles dozens of other hand-made, if not necessarily home-made . dulcimers available within a few blocks of the post office today , and the hourglass shapP. is the mosL popular one with the hundreds of contemporary dulcimer players. Although not shown in the accompanying photograph , there is a small group of musicians depicted in the mural , a guitar player. /II banjo player , and a fiddler. Their size and placement in the design- the far left background---make them much less important than the dulcimer player , who is located in the right corner foreground. Even though the player's technique appears to be so~what

of the state or why a Minnesota postmaster wrote to washington about his mural : -Those cows -are you sure they are dairy cows? Their mammary system is underdeveloped . For Frank Long . the topic of the mural for Berea was no problem . Berea College was the majo r force-economic and cultural--in his town . However , as he said in a description of his theme which he sent to the Section , "There was , and still is, much of interest in the lives of the people in this area that is unconnected wi th the college . It seemed reasonable to attempt to perpetuate SOllle of the prevailing spirit of the locality by creating an occasion on which the college and the larger community came togethp.r. " What he chose to depict was the "Berea Commencement In The Old Days ." Contrary to the mental picture DOst of us have of such occasions , a picture of pomp and circumstance , dignity and discretion , a picture of restrained behavior , the Berea commencement at the turn of the century provided an opportunity -to make merry on a grand scale . " According to Long ' s notes , now in the National Archives in washington , D. C. , the old-timers of the town spoke of those commencements as " the good old days". Berea is located beside Interstate 75 , a major north-south highway stretching from Sault St . Marie , Michigan to Miami , Florida , but in the time shown in the mural , l880- 19l0 , travel to the town " in those days of yellow clay roads " was difficult and lengthy _ Such problems , however, did not stop family and friends from wi tness Ing gradua tion . "They came in every sort of conveyance and on foot . For two or three days before the celebration the roads were filled with the commencement crowd , some of whom came from what were incredibly remote corners of the state Most of them arrived a day or so early, "tethered their horses to the trees and slept in their wagons or on the grass . " Such an encampment must have been quite a sight , for Long says that during "the heyday" of the celebration days , three or four thousand horses and mules were hitched on campus. According to Long ' s informants , the attraction which brought everyone together was not just the chance to watch the graduates parade down the aisle with their new diplomas . In fact , the "intellectual triumph was only the ostensible reason for congregation . The far greater 2l

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un'.lsual--either vith his ar. crook~ around the end of the dulc iller or vith hi. right forear. resting on the end of the instrump.nt-- his song appeara to have captured the attention of the woman on his right . And whatev~r our technique , the attention of the audience is what we all want when we play . As I was photographing the _ural in August , 1981 , .y climbing around on the lobby tablp,s and radiators attract~ the attention of other persona who ca~ into the building. As people looked up to see what I was so interested in , it vas apparent Prank Long had achieved hi. desire to -appeal to newer generationa ~. Many oC the patrons commented favorably to me about their _ural and about the sc~shown .

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folks of Berea have s.y about it , the the _u r al will conplayed f o r a long time .

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DULCIMERS PROM THE OZARKS

Onp.-o(-a-kind instruments by one craftsman specializing in mountain and hammered dulcimers . Mountain dulci~rs have the 6 i / 2 fret . Pretboards are inlaid at no extra COSt.

I also build wood - top banjos , psalteries , etc . Each instrument is priced as to tone and beauty .

Call or write (or more information .

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Limited Production L. O. Stapleton 201 Midland Springdale , AR 72764 (5011 756 - 3330

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What's

CASSETTE TAPES WINTERGREEN Sam Moffatt and Phil Thorne. Wintergreen , RR 1, Box 168, Vershire, VT 05091. VOCals and inst rumentals with hammered dulcime r, guitar , ce ramic drum and others . Splections include Blarney Pilgrim! Plowers of Edinburgh , Li.erick Rag , If I Could Be The Rain , Aaazing Grace .

New?

LOST INDIAN R. P. Hale . P. O. Box 516, Patagonia, AZ 85624 . Instru mentals with ha . .ered dulci .. r , harpsichord , and mountain dulcimer (Lois Hornbostel) . Selections include O'Carolan ' . Concerto, The ROad to Lisdoonvarna , Two Pavans/ Kemp ' s Jig , Mariachi WaLtz , Cold Pr 08J.y Morning.

ALBUMS MICHIGAN WINTER The alde Michigan Ruftwater String Band . Michigan

Seasons . )715 Lincolnshire , Pontiac. MI 4805 4. Vocals and instrumentals by a I)-member band playing hammered dulcimer , piano , Celtic harp . guitar. aandolin and others. Selections include Snow Deer/Red Wing . viola ' . Favorite , Planxty Fanny Poer , Stay All Night . Pig Ankle Rag, Ragtime

WENESDAY NIGHT WALTZ BAND P. O. Box 516 , Patagonia , AZ 85624 . Vocals and instrumentals with fiddle , hammered dulcimer, accordian , guitar and others . Selections include Jesse James, Liberty , Plop- Eared MuLe , Faded Love , Cajun Piddle , Maiden's Prayer.

Annie .

YE BANKS AND BRAES

Seth Austen and

Madeline MAcNeil. Roots and Branches Muaic , P . O. Box 2164, Winchester, VA 22601. Vocals and instrumentals with hammered dulcimer , .aunt,in dulcimer , guitar and mandolin. Selections include T~ Siens Rally , Summerti.e, Reel de Montreal/Old Prench , Angela We Have Heard On High . Piddlin' Dulcime r s .

BOOKS

DULCIMER SONGBAG STUDY GUIDE Dorothy May . Meadowlark Press, Box 8172 , Prairie Village , KS 66208 . A col lecti on of ~untain dulcimer techniques (such as rhythmic strumming and finger - pickingL for the beginner . A companion to DULCIMER SONGBAG , also by Dorothy May .

ROSES AND OLD WALNUT Bill and Eileen Spencer. 1149 Bull Road , New Lebanon, OK 45345 . Vocals with guitar and dulcimer . Selections include songs by Jean Ritchie and o f the originaL Carter FamiLy pLus originaLs by BilL Spencer . The OLd Engineer , Black Waters , One LittLe Word , Come Fare Away With Me and others .

A DULCIMER CHRISTMAS Bud and Donna Ford . Mel Bay Publications , 4 Industrial Drive . Pacific . MO 6)069 . Hymns , carols and popular Christmas 80ngs arranged t o r mountain dulcimer. Musical notation and tablature .

PENNIGMANIA Fennig's ALL-Star String Band. Front Hall Records , RD1 , WOrmer Road , Vooheesville , NY 12L86. Vocals and instrumentals with hammered dulcimer (Bill Spence) , piano (Toby Fink-Stover) , fiddle (Geo rg e Wilson) and others. Selections include SOrt of Mc~inn's Reel , Battle of the SOmme , Frosty Fingers , Dixie , Sleepy Lou , Shepherd's Wife . TIME AFTER TIME Bob Everhart . Polk ways Records , 43 West 6lst St . , New York, NY 1002). Vocals (.ast written by Bob Everhart) accompanied by guitar , banjo , mandolin , dobro , mountain dulcimer and others . Select i ons include Time After Time , Lovesick Blues , A Toast To Rosie , Welcome Home Stran ger, BLuegrass Blues .

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It danfes over and under the hammered dulcimer, in and out of the minor mode and allover the rainbow . These and other flourishes decorate a finely crafted work, a job well done. Mi les Tager RABBITS , RHINOS' REELS Bill Biraingha. , Dick Tracy . Green Mountain Recorda , P.O . Box 50, South Pomfret , VT 05067.

STRAYAWAY CHILD ARTISTS: Jerry Read Saith , Tom Fellenbaum Son9 of The WOOd Music LABEL: 20] West State St . Black Mountain, NC 28711

The 'concep t' album is a well-worn cliche in .adern rock and ja2t and one especially pron~ to both ausical and subjective aediocrity . In adaptin9 this idea for hammered dulci~er and accompaniment, Jerry Read S~ith has avoided these shadowy pitfalls and provided a fine first album . The twelve tunes comprise , in his own words an -instruaental drea~-, a journey throu9h Oz wher~ fantastic creatures like the Slide Dobro _ake memorable appearances. An Irish accent prevails throughout, but there are original and popular tunes as well, all played with skill (and arranged superbly) by Jerry on hammered dulcimers , Tom Pellenbau. on guitars, bouzouki and bass, Chris Abell, Irish flute , whistl e , and bodhran , Dan Jackson , fiddle and Phil Johnson on the Dobro . For an album that explores such a range of .usical feeling that t ells a story , the transitions betwee n moods or adventures is critica l, and is handled here with great sensitivity . Key and rhyth. changes in the five .adleys are managed equally well . In my favorite sequence , the lilting fiddle of -Pigeon on the Gate- gives way to an even more sensuous dobro on "Midnight on the Water /S tar of the County Down -. Phil Johnson ' . playing on this traCk is magical .

A joyful sound emanatp.a froe Dick Tracy ' s and Bill Birmingham ' s twin dulClmers . They tradp. off melody and har -any on a mix o f o r19inal and trad tional tunes and two songs . They play togethp,r so tightly that of ten their dulci~p,rs sound like one instrument . Prances Easton provides a aolid guitar back up and s1ngs Castle Grand. Alec Hastin9s adds flute on a few tunes. Both Bill and Dick write nice tunes for their instruments in the traditional mode and their playin9 is especially strong on the Irish tunes. I especially enjoy Rabbit Running (by Dick Tracy), Tobe ' s Tree / Coffee Cup Blues (by Bill Bir~ingham) , When The Cock Crows It is Day , Castle Grande and Fanny Po'er. Donegal has a beautiful har.any part . All in all . this is a very nice record with a good feeling that leaves this listener tapping feet and hu~ing bits of tunes hours later . Selections: Rabbit Running, Rinocerous Chase , Kate ' s Reel , Drunkard ' s Lament, Donegal , Polka Medley , When The Cock Crows It Is Day , sldh Beag Agus Sidh Mor , Fanny Po'er , Tobe ' s Tree/Coffee Cup Blues , Caatle Grand , MacPherson ' . Lament, Banish Misfortune , SOldier ' s Joy, Nothing Yet. Seth Austen AEOLUS Ruth Barrett , Cyntia Smith. Aeolus Music , 4189 MCConnell Blvd. , Los Angeles , CA 90066 If you've ever wondered how ti.e travel would feel, listen to the music of Ruth Barrett and Cyntia Smith . Their record , -Aeolus- , is a collection of songs and instrumental pieces based on old Irish and English airs . The treatment of the music is not .adern adaptation but so Mold" in feeling that you begin to believe these two young women were around before and knew auslc then . On the 50n9 sheet included with the record , it wa s interesting to read that Dany of the songs were not written several centuries ago with their mP.lodies , but recently by Ruth and Cyntia . Th~ songs are -Bird on the Briar-, -The Mermaid-, -Lullaby for

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hand techniqUe. On the slower "Every Woman Born* , tunes , as well as on several songs, "Aeolus , the Wind" , "As I Roved she uses a fingerpicking style Out" , "Blow the Candles Out" , "The using a very legato touch , which Rolling of the Stones" and "The provides an excellent vocal Wea r y Cutters". Ruth 8arrett , who accompaniment . sings most of the vocals , uses her The use of othe r instruments , lovely , strong voice with convic (guita r , bass , mandolin , hammered tion, but sustains the ethereal dulcimer , sax and flute , Jews harp , feeling of the album. Cyntia Smith sings her original composition bOd hran , and banjo) plus the vocals and choice o f material makes "Aeolus" , and it ' s magical . this a very listenable album to al l, Fretted dulcimers are used to even if you ' re not fanatical about accompany the songs , and on four the dulcimer. instrumentals , "Never Weather Beaten Saile" , "King of the Doug Berch Faeries", "Lesson for Two Lute s " and "Pastime With Good Company" . Cyntia Smith plays lead dulcimer in THE ART OF DULCIMER a strong , plucked s tyle . Miking o f ART I STS: Robert Force , the inst r ument produces an even Albert D' Ossche more percussive sound , which may be LABBL: Kicking Mule 217 startling if you're expecting a light and dainty sound on the As an East Coast dulcimer playe r, dulcimer . But the deep , lutelike I wa s not too keen on THE ART OF DULquality of this style is just CIMER after my first listen . I sup=right fo r the music being played pose I have a ~thing ~ abOut the soand demonstrates yet another voice ca lled ~West Coast Style" of dulcimer of the dulcimer. playing . And t o see a guitar strap I like this record for it s attached and the instrument played originali ty . I think it will by someone who stands just plain makes appeal both to dulcimer lovers me feel strange . What would J.B. and t o the general public. Listen Thomas say? Rollover , J. E. !! to this record and you'll underBUT , second listen and third left stand what Cyntia Smith means when a better feel . The unusual rhythms she sings , "Aeolu s , come steal me and tempos applied to familiar tunes away . ~ started to sound better. I began t o think this was actually a fine album. Lois Hornbostel It is ce rtainly well recorded and well perfo rmed . Nothing "buried in FINGERDANCES FOR DULCIMER the mix~ here as there are just the two ARTIST: Bonnie Carol dulcimers featured . D' Ossche and Fo r ce LABEL : Kicking Mule set out to represent their style in both basic and complex tunes and they Dulcimer music seems to vary regi onally , the West Coast with con - do this completely . There is ample supply of new ideas . temporary music, the East with many The album leads off with Dixie , styles and approaches to Traditional a good tune for opene r s with just music . FINGERDANCES FOR OULCIMER enough variation to set the tone for seems to fall somewh ere in the what's to come ; a particularly nice middlp. . I t is a highly original ending for oide at that. Wabash combination of traditional and Cannonball is no t immediately recogcontemporary musical ideas , using nizable but the feel of a fr eight the dulcimer in some very interesttrain is really there . Things quiet ing conce pts. down later (Last Tango in Tantra is Bonnie is joined by other especially nice) and finishes quite musicians from the Denver area, fittingly with Conve r sations With and these produce some of the most The River, a song with nice lyrics, interesting combinations . Two pleasant melody and quite soothing songs incorporate the playing of vocal work. Bobby Rangell, a saxophone and Thp chief object i on I might oCCer flute player . These instruments is to the title . By call ing their may sound a little unusual to many , effort THE ART OF DULCIMER Force and but the combined effect with the D' OsBche seem to be implying somethi ng , dulc imer and Bonnie's voice is pa rti cularly to those unfamil iar with exquisite . ou r friend, the mountain dulcimer . Bonnie ' s approach to the Ce rtainl y there is more to the art dulcimer varies in some cont r asto f dulcimer than the styles here ing ways from tune to tune. On demonstrated, for there is no finsome tunes , such as "The Cuckoo~, ger-picking , f or example . "Santa Ana's Retreat", "Cherokee The slightly mis- leading title Shuffle" , and othe r fiddle tunes, notwith standing , Force and D'Ossche she possess a strong strumming have produced a gem . I find plenty style , with a very steady right

Amanda~ ,

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to lnterest and entertain. Dulci.er players should own this albuN if for no other reason than to expand their thoughts on their instruaent. Selections: Dixie, Wabash Cannonball , Swannanoah Tunnel/Reuben's Train, Rhythua, Firenze(Hftlody for Richard and Hiai), Nellyn, Last Tango in Tantra, Waltzing Matilda/Ant~e., StarN. on the OCean, Conver.ationa with the River. Dick Tracy RECORD: ARTIST: LABEL;

-In the Days I Nent a-Courtin'· Wade Ha~ton Mill.r Acoustic Revival R.cords

Wade Hampton Millar won the fretted dulcimer contest at Winfield, Kansa. last year, and now h.'s -ade a record that ' s a winner. It ' s a blend of bluegrass and old-time tuna., Mi'souri folk .ong. , Irish music and original material. The .el.ctlon. are -H.y , Jenny Lou/Salt Creek-, -Cluck Old Hen-, -Moonlight Lady-, -Bonaparte Cro.sing the Rhlne-, -The Ballad of Jesse Ja-es-, -tto.efolka Hedley-, -Goodbye-, -Huraheen Durkin/John Ryan'S Polka-, -Streeta of Laredo-, -The Year of the Prench w, -Cha.pion of the Seas (Harveat HODe)- and -Rocky Top-. Wade is joined by an array of fine auslcians, aacng thea Liz Carroll (fiddle) , Cathy Barton Para (ha..ered dulcimer , banjo, vocals) and Hadeline HacNeil (vocals and fretted dulcimer) . His vocals are generally •• strong as his dulciaer playing, and I liked his .xpres.ive rendition. of -Jesse Ja.es- and ·Street. of Laredo w. The affected Irish brogue o n -Mursheen Durkinaay co .. and go , but when wade plays Irish Nusic it sounds Irilh. In fact, ay favorite cut of the albu. ia an instruaental suite , -The Year of the Prench-, written in uaditional J[ ish atyle by Wyour .an himself- and Michael Kirkpatrick. Thia record is acre than just a .howcaae of -hot- dulclaer playing. It presents the dulcimer blended taatefully with a variety of other lnatrua&nta, and playing .. ny int.resting stylea of .usic . Lois Hornbostel

RUCC'S CELTIC COLLECTION POR DULCIMER Michael Rugg with Neal Hellman , Bill Packard, Steve Palazzo, Chris Caawell, Dan Carnahan, Micha.l Hubbart, Cragg Schneeman, Deni. Murphy. Kicking Mul. 223 .

Irish tunea for aountain dulcl .. r . There ia .ufficient cross section of jigs , r~~la, hornpipes, etc . And there are plenty of inatru.ent.: guitar, flute, vhi.tle, and fiddle (to na.e but a few) all played quite well . There i . even a Celtic flavor in the album cover'. creatiye artwork and lettering. Yet, two thinga are IlIi.ling. Firat, the dulcimer . This album professes to be a wCollect i on for Dulcimer- yet there exist. here only one solo and three dulciaer/9uitar combo. out of 16 selections . On MOat of the tunea, there are too .any instru.ent. blended in .uch • way .s to di.lnlah, rather than enhance , the e(fect of RU99'. dulcimer. A -band w feeling prevails and on easily half the albu. Michael gets buried in the .ix. Why not (eature the dulciaer a bit 1I\Ore? Second, and more impor tantly , this listener (inds an absence of Caelic feeling in the Music . The tunes •••• to be approached as technical test. rather than •• the lifeblood of a culture. The dance tune. aee. to fast to be danced tOI the waltzes tOO quick to be waltzed to; the air. too strong , too zeaty to call up aueh .enti .. nt of sadness or ro.. nticls. . The Carolan renditions in particular are played with little sense of the gentility and atateliness of the ear in which they were written . Do theae tunes need hot licks wher e whole notes once were? Yet, thil becomfta a queation of style perhapI, in which case each liatener .ust reach his or her own concluaiona. Ther • • re, of course, aeveral hi9hli9hts, for this albua i. no dog . The one jig -edley , Off She caea/ Tripping pp The Stairs ia genuinely fun. Michael Hubbert's hurdY-9urdy Makea The King of Laois one of the albuN'a aoat ~aorable cuta . Rugg ' a dulcimer geta the attention it deserves in the excellent Faeries' Ho rnpipe . Hammered dulcimer and whistle help provide that -band w feeling in a positive fashion on the Wind That Shake. The Barley/ Drow.ey Ma9gie set . Por one who is already a lover of Irish .uaic, f.ailiac with the ·Collection'.- .electlons , this albu. proaisea little excitement . However, if the dulcimer player finda hi. repertoire lacking in Caelic .. terial , Rugg ' s CELTIC COLLECTION FOR DULCI= mer is a uleful resource, and, as such , not a bad place to .ta rt.

so.ething i. al.sing [roa Michael Ru99 ' s CELTIC COLLECTION FOR DULCIMER. It doe. contain .oat of the atandard

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Dick Tracy

TIE BULel II SIGPPI Handcrafted Musical In struments By McSpadden

RECORDS

FOLK CRAFTS

BOOKS

Drawer E· Highway 9 North

MOUNTAIN VIEW. ARKANSAS 72560 Phone 501 -269-8639

Every instrument signed by the maker and guaranteed to the

original owner for life : * Eight standard models and four special models to choose from :

* Carrying co se and instruction book included in price: • Scroll , fretboord, bock on~ sides of walnut : foce of spruce or

book-matched walnut:

Grover tuning pegs with rosewood buttons :

* Chosen as prizes by first ploce winners at Notional Dulcimer Contest in 1978 and 1979: • Wide selection of dulcimer books, records, and accessories

available by moil :

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

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FJJ'.ILY PeRnA! T

• • •• of t he Harmon dulc:lllers . Dirferent sius shapes (and pr ices) but the same loyin~ ca r . t he butldln~ proceu . All a r e f alftOu, for beau t i f ul voices but the one you ou~h t to

and In thei r know f i r s t I s th e bo ~ ncl.at and sa ssi est one of al l . It i s (fa nfa r e pl .. sel •. • ••

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A crisp , clear voice with ~ reAt carryinr powe r. I t' s t ou~hn.s. and c:oopac:t sis • • re especially appeall~4 to people on the ~ -- c.$pln~ , hlkin~ . t r a •• llln~ . o r just pl c nlcki~g . Lots of f olks se t one .s • second dulcimer . Thr ee st r ln4S , r i f t •• n fret a , all .. hasany . bow shaped , and with s ithe r pin t un in, (wrench included) f or 10"< holdln~ power . Cut. way, way down on a ll that tun!n« . Afll ~~t) Read y f o r the prIce?

J us t

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e!l th e sh ipping .

ANOTHER SURPRl SE: Thi nk you mh;ht want an hou r~asa or teardroo model la t er? Ret urn t he Compact and ~et it ' s ~ pr ice back a s t rade- in ! A no- hassl e r efund it you ar e not sat isti ed . So what ' S to los.? Let &e hea r trom you . [t you want ~ r e information about my whole dulcimer t . .11r , send a stamped envelope , or 2S" o r an old tennis sho.--anyth1n~ . VISA and Me are OK. C1 Ye MIle , card no . and exp o dat.e .

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10)70 Hol.berry Lane Pe~saco1a , Fla . )2504

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• Ron 1'",,;., CQ.~ Bu~, ::;;'" Round 'Ro.."="'G.tt., B..,u,., ,lb"" fi.t,~ 1!o.M. :* tradit ,ot¥& Arr,er((N\ Fiddl-e 1l4ne5

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I SELECTIONS:

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i ........................................................*.: 2' Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

gOll1e t::n,ougl,fs cAbout COlltests

by MITZIE COLLINS Rochester . NY

J ' m doing .ame thinking about haamered dulcimer contests during a

on a three-foot high stage (no atepsi set it up, and be

three hour layo ver in ChiCAgO on .y way home to Rochester , New Yo rk fr om the National Flatpicking Championships at

Winfield , Kansas . As you may know, among the many other contests at thi s giant festival held yearly in mid Septe.ber , there i . a contest for hamaered dulcimer playing. I was an entrant, but not a

ready to play . No wheels allowed on dulcimer. Contestants may change hand a o nly once . The best time .... ins . Point. ace taken off (or fall-

ing flat on one ' . face o r one ' .

poster ior .

The Stair Carry Contest Contestant will carry dulcimer (in wooden case) up a onestory flight of stairs, rest thirty seconds, and carry the dulcimer back down. Points counted of f for audible bumping sounds of dulcimer against stair ••

Tuning Contest The contestant ' s dulcimers are left outdoors for forty-eight hours . Then , after the starting whistle is blown , contestants have exactly twenty minutes to tune up. Any type of tuning device is permissible . Judges will check against an electronic tuner and their decisi ons are final. Originality is not encouraged.

••

The How Many Tunes Do You Know Contest Contestants assemble in a large circle, and are nu.bered consecutively around the circle. Contestant one starts o ff with a tune, played AABB , and the nu~ber two contestant must then start another tune without ais.ing a beat, and this tune must either be in the same key , or use as ita starting note the f i nal note of the previous tune . Playing continues in this manner around the c ircle . Contestants are eliNin ated if they do not start their tune In rhythm , if their tune doesn ' t fit with the previous tune , or if , God forbid, they can ' t think of a tune to play . Playing continues until only one player is left.

The Loud and Past Contest Contestants have four minutes t o playas l oud and tast as they can . The velocity and volume will be measured scientifically by sensitive electronic instruments . To spur the contestant on , various types of real - life situations will ~ introduced during their playing . These will

finali a t, and I definitely have mixed eMOtions about the whole id e. of con -

teat. . After all , the music which we play on the dulci .er generally comes fro. a tradition and context in which it is meant to be shared and enjoyed by all , without a hierarchy of who Is best , next best , and t hen t h ird in line . Hammered dulci~er players are still rare enough that we all l ove t o jam together and exchange tunes, licks, and solutions to technical problems. It ' s sort of unnatural for us naturally friendly folk to be waiting nervously off stage together t o go on stage singly to find out who a panel of judges thinks is better . At Winfield it was particularly unnatural because of the amazing level of proficiency of all of the contestants . With players like Hatt Ki r by , David Horan , Ed Hale , wesley Linenkugel , Lee Spears , Lucille Reilly , Russell Cook, Ron Penix , Nick Krukovsky , and even yours truly, the humble author or this text , it' s pretty silly to try and find out who i s best. Everybody is verY good . It seems to me we ' re hav ng a contest about the wrong aspects of hammered dulci-er playing. Yes , learning four amazingly complicated arrange.ents and playing them well is an accomplishment , but it ' s no t worth competing about . The real competition should measure what is truly hard about hammered dulcimer playing . With the help of fellow Winfield dulci.er players Marty McLean and Dana Ha.ilton , I thought of several possible divisions in the Revised National Play-It - Like-It-Is Ha.mered Dulcimer Competition . 1.

The Five Hundr ed Yard Hammered Dulcimer Carry and Obstacle Course Contest . Contestant must carry dulcimer (in wooden case), plus dulcimer stand and one other parcel (weighing not less than five pounds) over five hundred yards o f bumpy, muddy t er rain , with a small (two-foot wi de) ditch to hop over . Then contestant must lift dulcimer up 29

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conaiat of a bluegrasa ~njo player practicing Devil's Dr~a. in CI, a group of school kida throving paper airplan~s, and a loud offstag~ voic~ int~r.it tantly hollering fa.iliar phrasea such as -Are you atill practicing 'P -Ia that thp aa.e tune?-, -Hurry up and an.w~r the phone-, -You never pay any attention to mew, -You don ' t love me any more,-, 6,

scribftd in whipped crea. on a .ha~d chocolatp. icecream cake . All other contestant a will be promptly forgotten. By the way, at Wintip.ld, in the hot and heavy. but never-toocut-throat com~tition . Russell Cook of Texas ca~ in firat, Lucille Reilly of New Jersey came in second . and Nick Krukovaky of New York came in third after a playoff with David Horan of Oklaho.. , dulcim~r

The Hammered Dulciapr Explanation Contest Conteatant ia givp.n 2 1/ 2 ~inutes to aake a coh~rant, aimplp , yP.t scholarly explanation of the inatru.ent, including .specta of ita history, tuning sch~a~, .aker of the particular instrum~nt, and background of the atyle of music about to be played, Credit will be giv~n for poiae, projection and factual accuracy, Rp.fp.renc~a to -world's largest egg slIcerand -bureau draw~r vith stringswill automatically disqualify candidate .

Most dulcl-er con teats offer dulcimera as prizes. That doe.n't see. rIght. because obviously the conteatanta own at least on~ dulciDer alrudy . I augg~st the following . For first prize winner, no prize at all, Aft~r all ••• •• he/ he has won, what .ore doea .he/he need. Everyone else geta the prizea. The nonvinners of contests one and two, the Obstacle Course and Stair Carry, receive an inflatable plaatic dulciaer. It doesn't offer .uch in the way of sound, but they .ight be able to vin next year's contest vith 1 contest, all ·nner receive ear-plugs for their audiencea . In the Tune Contest , the winner doe a actually receive aa a prize a genuine tin [oil plaque inscribed -KNOWS ALL THE TUNES IN THE WORLD WORTH KNOWINC-, the aecond place plaque r.ading -KNOWS MOST OF THE TUNES IN THE WORLD WORTH KNOWINC-, and the othera will receive cards i.printed with -KNOWS MANY OF THE TUNES IN THE WORLD WORTH KNOWING AND IS TRY INC HARD.Lasers of the Loud and rast Conteat viII receive a trap-dru. set that can be connected by cables to the dulci.er player's feet and played ai.ultaneou.ly with the dulci .. r. The non-vinnerl of the Explanation Contest viII receive Volume D of the new Crave's Dictionary of Music to enable th~. to compete aore successfully next year, All winners naDeS viII be in-

-- .-

The advent of 1982 brings the joyous advent of DPN'a eighth year of publication . Phil Mason began this project in January of 1975 a. a communicationa tool in a book he was writing, Gradually, aany of us who played dulcimers learned we were not alone. Today our future looks bright al we communicate, share ideas, learn new tunes and participate in the interesting world of acoustic muaic . We've all 9rown through dulciaer feativals and gatherings, area organizations and, I hope , through Dulcimer Players Nllva . I approach our eighth year vith opti.ia. and enthuaias. te.pered by caution . Aa ~ all knov, these ti .. a are difficult and it ia ao ealy for 8.. 11 businesaea to alip under. I take conservative steps to see that ve remain vital and growing, even if it means financially I can 't yet take a step I'd like to. Everything in ita own tiDe. OUr next step - hopefully in 1982 - is a change in for.at from 5~ x 8~ to 8~ x 11. Thank you for your ideaa and lupport - .any of you for seven years. As.y duties have grown, I've not been able to have as much peraonal communication with you aa I'd like, but I do take part in the DPN mailing, label aticking event . and I think of each of you then , wishing yo u ~ll.

I wiah to take a MOment and give special thanks to people often behind th~ scenes . Phil Mason first breathed life into this publication and I'. grateful to hi. for entrusting me vith ita

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growth. Many special drawings and cartoons have graced our pages for years and I want to recognize ou r talented artists: Michel Legare , Bill Wickman. Randy Mohr, Gerry Norris and Betty Stuedle. Tom Cesn ik and his staff at Minuteman rress in Winchester , Va . have certain ly made strong con tributions to this publication . David Hampton , Associate Minister of 3raddock Street United Methodist Church in Winchester and several youth fellowship students help collate and staple DPN ' s every three months . DPN readers also share their talents through articles , ne~B , tune arrangements and photo-

graphs. I aM grateful for the support J ' ve received. We encourage articles for DPN along with interviews and tunes . Articles and interviews are espec ially needed . There is payment not enough to make contributors wealthy , but monetary thanks none the-less. Resolve that 1982 will find you interviewing the fascinating maker/player in your area. -May your New Year be filled with music, friendship , insight and peace.

~ 7!.~

Madeline M;CN~l,Editor Dulcime r Players News

cLaSSfpev aVs The

chs5ifi9d

SillCtion

of Dt.IIC1MER

TABLATURE FOR APPALACHIAN DULCIMER . Also Fiddle , cla whammer /blueg rass Banjo, and flatpick/fingerpick Guitar . Send SASE f or s ingle style list or Sl . OO for complete cata log plus sample tab (specify style) . Jane I<eefer , 1155 19th St . , NE, Salem , OR 97301.

PLA~

Nflo6 is a low rost way to reach h.Jndreds

of OPN readers . ClassUied ad rates: 20<: per IotXd , S5 ainiJuD. A flyer on lar<}e:r ad rates and ~ition is available upon request .

HAMMER DULCIMERS , made in China . Traditional and modulation models . Ready to tune - and - play . Hardshell case included . Details SASE . YTQ , Box 26382 DPN , San Francisco , CA 94126.

ONCE AGAIN AVAILABLE : Dulcimers of the finest quality by Doug Berch . 2876 Arthur I<ill Rd., Staten Island , NY 10309

IN THE TRADI'rION f ea tur es Appalach ian, Irish, Cajun and ethnic music PLUS columns on String In~truments (INCLUDING DULCIMERS), British Music, Contra Dance , Instrument Repair , AND great record reviews . 52 . 00 for Sample Issue, SlO . 50 for 1 year (6 issues) to IN THE TRADITION, POB 19, KINGSTON , NJ 08528

FINELY DESIGNED HAND-CRAFTED FOLK TOyS: Limber Jack, Limber Dog , Limber Pony SlO . 9S each includes shipping. Jean ' s Dulcimer Shop , P.O . Box 8 , Cosby , TN 31722 . DO-IT-YOURSELF BAGPIPE DRAWINGS .

Highland or Lowland, Sll/set , Uillean , SIS/set; Fireside , S8/set; Practice Chanter , S3/set ; postage Sl.50 . Dougan , 19 Hunter Road, Crosshouse , Kilmarnock, Scotland . ENGLISH CONCERTINA : 48 key, chromatic - made in Italy - very good condition . Write Bill Silkstone, 610 Holiday, Gastonia , HC 28052 (1 -7 04 -86 5-2661) COTTON PRINT PADDED DULCIMER BAG: 40 by lP with shoulder strap , book pocket and zipper accessory pocket . 512.95 includes shipping . Homemade from Jean ' s Dulcimer Shop, P. O. Box B, COBby , TN 37722. 6

DULCIMER CAPOS . Improved . Walnut, Maple . $6 . Dulcimers , Dulcimettes from S60. Send SASE for particulars . Ron Ewing , 2318 E. Rahn , Kettering OH 454 40 31 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

Midni8ht on the W~~~r.RK Tune:

NELSON

198.

Kickinq Mule Records Used with permission

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ANNOUNCING ", ""'-~.... """, .......

WADE HAMPTON MILLAR

1990 U~II.d SIIID /'.looaWIIl),,\omcr ~

'Cfllln"8

Liz Curol1 -I'n:< AI!-I.dud riddle ( ~ C,lIhy &rm P..n -IvmmcrtdO"k ...... 6 NooP..,.tblns A,\lD A t-OiT OF (ffiiERS 짜tIT'" '''(CIAl QUEST

Madeline MacNeil

S7 .00 apiece plus SI.CO per album shipping & handling M'1oI*: Jw.rd 911 Ian

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Rtnnl &cords 11J7 W. Hcwud.C'-/ifJ. ll 606l6

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VPN - index 1981 A complete index covering 1976- 1980 (vol . 1-6) ia available for $3 . 50 ppd .: Erik R. Blo.stedt , llllC Gael Drive , Joliet , I L 60435 . Covers .11 song8 , articles and reviews . OVer 700 entries l Abbreviations : WN-Winter , SP- Spring , SU- Sua.er, FA-Fall Issue date followd by page nUIlber(s) . HD- Ha..ered Culc ., MD-Hountain or Appalachian Dulci .. r II-Illustrated C-Cover A Accoapanying songs and tunea ITannen) SU81:16-17 B Berch , Doug Tool talk for the luthier to be , WN81:17 Blomstl'!dt , Erik The SW9diah Hummel: an introduction. 11 . SP8l 13-4 The Swediah Hu~l; the phoenix riae •• tl . SU81 : 27-29 BOOK REVIEWS Early music for three atring dulc . (Cro-pton) SU81 : 6 Old ti.e fiddle tunes for the Appl. dulc. (Schilling) SP81:lJ Building a Haa.P.red culc. pt . 1 (Cooney) SU81 : 34-35 C Camp, Ann Interviewing Leo Kretzner . 11 . SP81:16-18 Carlatrom , Tone The Norwegian Langeleik . I l . FA8113-8 CASSETTE REVIEWS Ha.aered Dulc . , Harpaichord (Moffatt) WN 81118 The . . ny coloured harpaichord (Hale) WN8l:19 SOuthwinds (Austen) WN8l ; 18 ChOrding and haraony on the HC (McCutc heon) WN8l : 28-30 Chord substitution (Rockwell) SP81:26 - 27 Chorda- Easy chord methodl (MacEachron) SP81 : 37 Cooney , Peter Building a HD pt . 1 SU81:34-35 C A dulci.er in the B19 Apple (Ru.sell) 11 . SUIlI3-4 E EAsy _thod for ukinQl kerfin9 on a band saw (Maahlin) 11 . WN81: 38 Enaeable music (Truex) SP81 18 P Fluharty , Rusaell . Intervie wed by MacNeil 11 . SU81:l2-13 , C H Hamblin , Ken Eaay Method for • aking kerfing on band law WN8l 13B A ha . .ered dulc . tablature (Rizzetta) 11 . WNSl:8-11 HD-Conatruction Building a HD pt . 1 (Cooney) 5UIl 134-35 HC tablature (Stolls) 11 . SU81 : 23-2 4

HUMMEL ••• 81o.stedt , Erik K Kretzner, Lao see Camp , Ann L Landis , Jeanne Pavanne WNBl ; 14-15 Langeleik see Ca r lst r om , Tone A Love tale of two dulcimers (Shapiro) FABI:l4-l6 M MacArthur , Margaret photos, interview WNBl:4-6 , C McCutch~on, John see Chording and haraony on HO MacEachron, Len see &asy chord Mthods MacNeil, Mad.line see Fluharty , R. MacAr thur. M MD-buying aee Tracy , Dick MD-Construction see Hamblin , Ken N North Slope Dulcimer aee wilson , J. The Norwegian Langeleik aee CarlatrOll , Tone o On 8uying a MD see Tracy , Dick P Pavanne see Landis , J . Pieks-- Herdi. picks (source) WN81:25 Puzzle (word find puzzle) SP8l : 29 R RECORD REVIEWS American Pri.ltive (SChute) spal:14 ee.ucatcher F.rewell (Zentz) 5U8l : 6-7 Bygone Daya (Nicholson) 5U81:6 Don ' t Get Around Much Anymore (Round) SU8l : 7 Gna wbone (Meyer) SP8l:l 4 Ki tty Alone (well i ngton) WN81 : 19 The Ol d 50ng. (MacArthur) WN8l:l8 The Rights of ~a n l~elson) SP81 : 13 ~e. Llnenkugel interpret. HD WN8l:8 Rizzetta , S.a see A ha ... red dulc . tabh,ture Rockwell , Jerry see Chord substitu tions Russell , Linda see A dulc . In the Big Apple S Shapiro, J see a Love tale of 2 du lc • SONGS AND TUNES--HD Bach Invention VIII for 2 HD (ar r . Shepherd) FA81:29 Kosachok (arr. Austen) SP81:37 Rigaudon , Double (R.... u/H.l.) WN81: 24-25 Swe.t Hour of Pray.r (Rizzetta) SP81:30-11 34

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SONGS AND TUNES --MD Auld Lang Syne (arr MacNeil) duet for MO 'HO FA81;36 - 37 Gig_ fro~ Sonata a Ca~ra a Tre (Carelli , arr . Croapton) FA8l : 30 - 31 If ay coaplaint. could passions .ave (with guitar accomp . l Dowland SP8l : 8-9 11. court , 11 court Ie Curet (Corge r o n) SU8l ; , Jaale Allen III (Rockwell) SP8l:27 Joy to the WOrld (Barry) FA81:20- 21 The La •• of Pattie ' s Hill{arr . Mor ton) SU8l : 32 Passing By (Purcell/ Jones) WN8l;3 Petronella {Scottish Reel} WN81:26 Planxty Eleanor Plunkett (Hell.an) SUU : 20 Thomas Leixlip the Proud (Tommerup) 5UU : 21 A Toy : From the Jean Pi ckering Lute Book (ar r . Wa t anabe) 5USl : 38 Ve r at llion Bl ue Today (w i th piano accolDp . ) (Lovdettl SP81: 10-11 Stalls , B see HO tablatu r e The Swedish Hum.el see Blamstedt . E T Tablatu r e see A haa.ered dulc . tabl . • HO tablatu r e , Tannen , Holly see Accoapanying songs and tunea Tool. aee Berch . D. Tracy , Dick On buying a mountain dulc . WNSl : 20-22 Truex , 8 see Ensemble au.ic W Wilson , Joemy North Slope Dulciaer (Alaska, FA8l : 23-24

Mouut.in

Dulcimer

HAR"

Mu . ic

BIGGS

WinDer ,

1980 1981 1981

MIDWEST DULCIMER CHAMPIONSHIP -- Council Bluft. , Iowa SOUTH.!RH REOIONALS -- Mountain View, Ark. OZARK NOUNfAllt DULCIMER CKAJtPIONSHIP -- Silver Dollar City. Mo .

fhis solo instruaental albua includee. Greeneleeves, The Aehgrove, Soldier'e Joy , four Leat Clove r , California Here I Co.e. Wildwood Plower' Old Joe Clar k, Wellyn, and aix originala aaorc twenty aonga . Soon available in a boolr: tro. Mel Bay . $7.00 include. posta,s per albua or ea •• ette Send check or aonsy order to. Mark M. Bigg./ ft .ft .J Box J67B/ calena,Mo . 6S6S6

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AS SERIOUS PLAYERS: BOB DOYLE, LORRAIt-lE. LEE., DEBBY McCLAICHY. RO<3Et2. NICHOLSON, ROt-..) PENIX, ELAINE S ILVER, ..JAK.E WALTO"-l4 e.o e

WE,(

OR MORE

1~5T RUME.t-lT 5 .

OUR

OWN

PERF-"OtZM

AS SEQ.IOUS

MA"EQ.S wE WOIl.\(. IN A ,""UM,ID1TY

SI-IOP

SELECT , OUAC2.TER

U51NG

WITH

ONE!!

CON"TtlOLLED SA'NN, BOOKMA,TC'-'ED ,

WALNUT SIDES" e.ACK..S .. REDWOOD TOPS, WITH TI4E Q,E5T OJ:= "THE BOOY WALloJVT .THE PEGs ARE We SEATE.o S<:OSEWOOD A.NO WIT,,", OUR F\"-1E TUN TUNING AN EASE , AND I<:.EEP THE INSTRUMENT A ..... O

VISUALLY

BALA..NC6D. Tl4G ANO C.\40Q..DS

WI,H LOW IlLT\O N MODE T'-4E FULL AI>JO

0'1= THE S,C.A.Lc. MUC.H \'5 GIVEN TO DE TAo' LfO AND TO il-4E' TUNG OIL FI NISH.

O~FER.

0<=

FOR.

LEI\lGT~

,o..TrEI>JTIOl\l

RUBBE D

SCAL.E. IS TE.MP AoCC-URA-r ELY IN

MODEL'3

APPA.LA CI..HAN

SERIOUS

PLAYERS

URE

BANJOS .

FROM sER.IOUS

SENO A

TO :

Jut7f)QorH) RO"'I

DULCIMERS ,

40 2 0\= FRETLESS

HAMMEREe DULC.IME12S

=LI(.

INSTRUMENTS

BQ)(. 7 4

ROARIt-JG SPR\I\.1G (aI4) 224 - 2a90

PA .

e ~NO

16673

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Appa1a.chia.n Dulcimers by Keith K. Young for the discriminating player

.Crose action for

9«icK eas!l chorltl1j

•.Lifr/iH/C !/iUlrO/ffee .Precise['{

fit

halUfcaWl>Opgs

.finest- seasofl£a .J/ppafacftian

_c_ .

fiA.ruwoods

HAMMERED DULCIMERS

.Acctlrate frri ~ftern

~_""

L3815 Kcndale Rd. Annandale Va.)

. ~JQlkclilU

InallUlllenta ..... Box 807 , 99 High St.

winsted ,

RlGH Wo\L.ITY 9..IPPLIfZ FtR

~ ~

DJ.lcim!r Back. and 'l't:p. (fIne aarldlid-oleW piece or matched bo piece . , . x 32- x 1/8 ) 51 t.ka &pr1JOe • • ' • . • ' • ••••• ' •••• ' ••• $6 . 00 Cheery . ... . . ... .. . •.. . . . . ..... . . .. 6.00 Wollnut ••. •• •• ... •••.• , .. . . • ' . •• . • • 8 . 00

(201) )79-1685

Yretwlre

nickel - diver . stra ightened) $5.25 1/4 lb. $19 . 00 lb.

(18\

•.

Suings - .. t ol (cue

(three - . 011 plain , one - . 020 B.W.) $1.65

~~, ~~\ ~-

M.xh ine Heads

(cove red individuals with IlO.rItinq screws) S1. 25 ea . •••••••••••••••••••••••••••••••••••• o,w,tity dia'XU'lu available

Fbc luLL price list enclose S.A. S.E.

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HACKBRETT

HAPPY

by LOUIS

8OTTENB~RG

On July 17, 1981 Lou Bot.t .. nbu9 was HllM in th~ Hyatt ,:"gltncv HOlPl disaster in kansas City . MO . Hp vas a chart.. r ae~bP.{ oC thp Proiei .. Dulcim-r Cl~b . Following arp. SQaP. thoughts by Dorothy May. Probably Lou ' . apprp.ciation of unusual thingS attract .. d hi~ to thp. Initially. H'8 haus .. was fillp.d with interp.,linq old mU9i~ boxes ,

cl~b

pl"yp.[ pianos (hp. _dft his own piano rolla), zlthf'ra and mandolina.

Whp.n-

f'VP[ thf'cp. was a ."fltting or a program put on by t~ Praiei .. Dulci.pr Club. ~u was thp.rp.. Hf' alao oftp." Sf'rved ~8 our sound tf'chnletan aincp hf' had p.xloHtrtllJP. in this f1l',ld. ~

truly gifted .ualelan , he vas alao pP.rhap. ~rf' qiftp.d aa a danepr. th.. club ' . [ ... idltnt clog dane .. r and at .. aeh DP.p.tln9 had a nf'W cQutinp or MI1CkM to .ha~~ with us . At thp. laat ~p.ting ~[or~ thp dl.amtr.r , wr. had our MoulcimP.r oaysM (psttval. Lou conductp.d m m.. l l clogging workshop onp. .ttp.rnoon and the group MpprCor.pd M that p.vpning to thr. swPP.t sounds o[ dulcl~ra (moatly hammprpd aincp it IS hard to hr.ar a mountain dulcl~r ovpr all thmt foot-stomping). Thpy did thp. MBottpnbp.rg Clog M _ a routin p with variations on 4/4 timp. Qnd my {avoritp - in 1/ 4 ti~. - a schuhplattPr dance . That's wherp thp man slaps his knpPs . rP.P.t , P.tc . while thp. lady doe. a simplp hpp.l-to~ thing. H~ ~camP.

• • • •• • •• • •• •• A, ~ • , )j ,~ ~ 1 ~ •=1 J nl iJ ii ~ J 1 ; ; J ~

L..ovely

~~ ...

, , . , . ' -' " OM

• ,A"

.O~

r rl • Em

, D<&

~. ,v. •• ~, .... -.::;:;r

right sldp Gj- firth trpblp. coursp. , ll!'(t IUdI'! .30- third bass coursp bouncp. N L - lprt haJUlpr R • right ha~p.r 0, ,7 , E:ID • chords '0< accolapanlml!'nt (optionall

I; J H j Ar

0 C

2 - spcond t(pb18 course .

P~blishp.d Thil wor~

• •

iJ iJ

• ~r· ~r r • •,

• •

fJ ~

•

....... "

@j n&*4t h;jI; j

~I)S)

8 A G f 0

••

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JIF

}91

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,, ,

Tcpclp

r *I I 5

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•,

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•

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8 .L

~~ o .!.

Ba.S

[or thp. Pratrip Oulet.pr Club on NOVPMbp.r 7, 1981. ia In thp public do.. in.

POSth~moU51y

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·IJULCIMR ·;SHOp· WfutsNew MICHIGAN WINTER ~~

•

The aIde Michigan Ruffwatftr String Band

BAN~S ~~D ~_

M4dnllne HacNeil,

S~th

n . 98

Au.ten

r.bruary)

ROSES AND OLD WALNUT

81~1

and Eileen

1'Ht; LIVING AND THE BREATHING WIND

FENN :;'!'tANIA ~ ~'-SETTE

'~roN

I~';;

•

$6.~

Sam Hutlatt, Phil Thorne ~ P . P . Hale (65 Min) $9 . 00

DULCIMER srNGBAG

TUDyeuIDE ~

~cr'Mf'

~~alltl

carrying r

~ -rea.

II . P . Hale $6 . 98

FOR -.;'" eE':iINNING DULCIMER PLAYER 'lit.)

A :)1;..... HER :-fRIS

SHI P mi

Kevin Roth

F.nn19'. All-Star String Band

WEDNESDAY t,JICH'! WALTZ BAND

INST

S~ncer

TAPES

WINTERGREEN LOST INDIAN

'lit. I

C~r

,_t.)

Dorothy May

Bud and Donna F()rd

Beriyth HaMa.red

Dulcl~r

!-lQ

plus $4 shipping

51.35 fot' ... 1)C.._~s fl r 1-2 albulU or Lapes. lO¢ for .,eh ~or JPS .ervice weat of the Mi •• i •• 1ppi, add 35t.

P.O. BOX 2164 WINCHESTER, VA . 22601-13'4 (70)) 667-2017

., .., 6-.•

•,

••

\Availablll! lIid-

"t \. '.

•

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' ,-

IDULCIMER PLAYERS NEWS p.0. Box 2164

--,

....L"

"",\!

... !. OOOUAGl

p""'"

.,"""ESTE". vA "' ..... 'T .. " lor

Winchester. VA 22601

ADD E:;S CORRa-rION REOl'ES'lUl PORW.tJIDtNG Aim RI.'1"URN 1-:. 'TAG! ~rJARANT-:l)

win 82 C . Gatea 422 Pine St. Curwensville, PA Ho~ard

SUBSCRIBERS:

::..____ -r

16833

I f your mailing

label is dated Winter 1982, your

subscription ends with thi ~ssue. Time to renew I

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