1982-02, Dulcimer Players News Vol. 8 No. 2 by Dulcimer Players News

Spring 1982 Vol. 8, No.2

52.00

1982 Events Calendar Interviews with Mitzie Collins Lois Hornbostel Reading Music on Hammered Dulcimer Tunes, Songs and more -

LOIS HORNBOSTEL

The DULCIMER PLAYERS NEWS is published four times each year. Issues are mailed to subscribers during t he first week of January, April, July and October. Subscriptions are $8 per year , $15 for two years . For a list of available back issues, contact us. OUr thanks go to the following authors of articLes and arrangers of tunes: Pred Meyer, Jane Malley, Lois Hornbostel , Amy Fornorof!, Lorraine Lee , Roger Nicholson, Marian B. Tallmadge , Dorothy May, David Neiman, Maggie Sansone and Bonnie Carol . Our fine artists are; Michel Legare , Gerry Norris , Bill Wickman and Randy Mohr. Photographers who shared their talents are: Paul Kessinger (cover photo of Lois Hornbostel), John Sheckler, Dave Petersen, Imre Barsy , G. M. Wells , Sally Davidson and Bonnie Carol. In addition : Seth Austen: Layout Miles Tager: Manager , Blue Ridge Dulcimer Shop Joan Nauer: Typist Rut h Anne MacNeil: Office Assistant Minuteman Press: Printing

Editor: MADELINE MacNEIL DULCIMER PLAYERS NEWS P.O. Box 216 4 winchester , VA 22601 - 1364 (703) 667-2017

Contents CHRIST THE LORD IS RISEN TODAY arr. Pr ed Meyer • . • •• .•..• . .••• . •. 4 INTERVIEW WITH LOIS HORNBOSTEL Jane Malley • . . . . . . . .... . ..•. . . . •. 5 BRYLLUPSGARDEN arr . Lois HornbosteL ............... ...... ........ 9 DULCIMER ORGANIZATIONS ....• .. . . . . .. . . .. .. . .... ... • . .. .. ... ..... . . 10 FESTIVAL CALENDAR •..•.. . ... .... . .. . . . . . . . .. ... . . . . . .. . . . . . . . .. . . . 14 HOW SHOULD

I YOUR TRUE LOVE KNOW? Amy Fornoroff, Lorraine Lee , Roger Nicholson •.• . ....•• 24 INTERVIEW WITH MITZIE COLLINS Marian B. Tallmadge •••• . • . • • •... .. 27 DULCIMER CHORD CHART Dorot hy May . . . . . . . . . . . . . . . ... . . .. .... ... ... 31 THeME arr . David Neiman .•••••••....••..•.• •.. •.•••••.•••.•.• . • . • 3) KUMBAYAH arr. Madeline MacNeil .. . .. . . . ... • . .... . . . . . .•.. . • . ••••• )5 LEARNING TO READ MUSIC ON HAMMERED DULCIMER Ma9gie Sansone . . .... )7 CLASSIFIED ADS . ••••.••.••..... . . .. . . . . .. . ..... . . . . . . . ...• . ...•••. 40 WHAT ' S NEW? •••••.•••• .. •.•• • . . . . .. . . . ...... . . . . . . . • . .• . • • •.•.••. 40 ACOUSTIC VARIABLES IN NT . DULCIMER CONSTRUCTION Bonnie Carol ... • 42

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magazlnes have bureau offlces In many cities on each coast and in the middle section of the Unlted States. not to ~cntlon thc overseas ofrices . Our tiny hole-ln-the -waII of rice has nelther the funds or the equl~nt to open branch holes - in-the-wall . You are our correspondents and your home our out-of-state bureau. Unfortunately. moneta ry compensatluns for correspondents are limited. but they do eX1St. We pay modest amounts for artlcles and arrangements, but it is what we can afford. This Summer I will &ake my first trip ever to the West Coast and 1 ey.pect to find loving, creative musi ctans slmllar to the ones I know here in the east . I wlll find simllar plaYlng styles and different ones from .ine, lust as 1 do here in the east. I wonder if the Paciric looks like the Atlantic ... Here at home I will try to achieve a new balance of musical cove rage. Pamela Jones of Tampa. flori~a has suggested that beginning dulcimer players need more material to work with, so we will provide tunes or instructlon htnts that will help beglnners in each issue. In all our good intentions, however. we slip now and then. That always seems to happen. We encourage your comments. but even more,.,. need your constructive ideas. Intervlew for us . Help builders with ideas. Send us pictures . We, in turn, will reach out more and try to travel more. I've said many times that the DPN belongs to us all. We all have a stake ln its future and growth. And that's rather nice .

Possibly you've notic.d that this DPN is larger by a few pages. There's so much going on this Spring that we had to expand the issue. To all of you who shared information about festivals and gatherings in your are., thanks . 1 hope your event is so successful that you'll want to share news about it when the posters have been taken down and the pres_ releases are set aside for another year. You'll find news shared by dulcimer organizations in this issue. I want to encocrage clubs and orq~ni zations to send us news that would be of interest to our readers everywhere. It has been brought to my attention that the DPN seems to lean toward happenings on the eas t coast. Lance frodsham of Longview, Washington thinks that another gathering like the one held in Boulder, Colorado in 1979 might foster further communication among dulcimer players throughout the country. It's a good idea. Also good lS more sharing of information . If you believe that a tlne player/builder in your state or area is belng ignored by the DPN, don't brood about it, cancel your subscription or. heaven forbid. say unkind things about us . S/he is not being ignored. We simply need rnlormation or a story that at some point in time could be printed in OPN . If not enough is written about people or events in your state. it's because the material is not in our office. Granted , it takes time tor things like lntervlews or tune arrangements to appear in DPN since wa're a quarterly publlcation . Accepted articles will appear - I simply must work out balances between hammered and fretted dulClmer material. stories, tunes. etc . The DULCIMER PLAYERS NEWS is not my only work . I teach at Northern Virginia Community Col l egc part time and give ~usic lessons In Winchester in addltion to my beloved activit)· of performing. You'll often find me typlng away 1n the middle of the night trying to keep up with everythlng . Therefore , I need your help. TeleVision networks and large

~~/ul Madeline MacNeil, Editor DULCIMER PLAYERS NEWS Two fine aagazines arp. worthy of you r attention:

FOLK HARP JOURNAL is a quart-rly publication providing inforMatiOn pP.rtaining to the Folk Harp, its music and techniques of its usP . Subscriptions Sl2 (USA) , $101 (oth_r countries surface mail). P . O. Box 161 , ~ount Laguna , CA 92048. fRETWJ~E is a monthly internatlonal lIagazin" for all rrett ..d lnstruments. DulclmP.r articles by Roq~r ~icholson frequently appear. Subscrlptwns: 1..10.50 (UK) 1..13 . 50 (Europ") 1..16.50 (USA , Canada . Ausllalia air mall) 36A Whp.plock St .• ··l1ddlp.vich , Cheshire , Enghnd. Th~se magazines should be on your bookshelf , along with such fine publlcations as AUTOHARPOHQLIC, fRETS, and COME POR TO SING .

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

Christ the Lord Is Risen Today From WHO'S YER BOY Midwest Coast Records Used with Permi.sion

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Christ the Lord is ris'n today , Alleluia ! Sona of men and angels say , Alleluia I Raise your joys and triumphs high , Alleluia I Sing, ye heav'ns and earth reply, Alleluia I Love's redeeaing work is done Fought the fight, the battle von . Death in vain forbids him rise, Christ hath opened Paradise .

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Soar we now where Chr ist has led, Following our exa lted Head. Made like him , like h im we rise, Oura the cross , the grave , the skies.

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An arrangement of · Chxist The Lord is Risen Today· for three-string dulci.or appeared in DPN, vol. 6, no. 2. This ia a finger - picking vera ion which utilizea a four equal-diatance string dulcimer. Moat c hord changea are made barring atrin~. at the lrd and 4th frets.

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an im;erview witfJ

Lois 'Hornbostel Alan F[e~.an has deacri~d Lois Hornbostel as a CO.bination gypsy Musician and dulci~r 11t~rator. In the past tWO years , Loia has t.1~S

throughout the p. • • t~rn U.S. ~rCor. Ing and teaching Crettp.d dulcl~r wor~.hop. . When the ·carava n M ,. Pinto}

ia at hOlll" in North

Carolina , ahe writes books containing tune collections and playing techniques [or dulcimer . ~Thp. Irish Dulci~r· and · Dulci~r Fiddle Tunes· are published by Mel Bay. Her new book, -Anthol09Y for the f'rl'!tted nulci~r·. will be out this year . DP"

Whit are your Musical roota1 Lol. I wa . raised with a variety of

cla •• ical and swing MUSIC that .y MOther played on the piano , some lovely Irish song. her grandmother taught her , rock, roll and cowboy .. alc . We lived in New York thf'n, but at so~ point in .y chi Idhoocl I beca~ enthralled with country Ciddle .uaic - tunes like ·sall y GoodinM and MUncIe PfOn M. DP"

Whin did thp. frett ed dulcimer enter the picture? Lol.

DPN

HOW did (ou d"v .. lop 'jo;Jr pla( lng sty I ... ? t..oi s

by JANE: MALLEY

traveled to EUfOP'" and !Un:!

dulCllDfOr .

During a hiking trip in NfOW Hampshire . where I hfOard the dulcimP.r in a string band . The drones and wonderful 4ths and 5ths enchanted ~ , prObably bP.cause they were si_ilar to thp double stops played in the fiddle .usic I liked. but this inatrument had an ancient tone quality . What attracted .e too was the way thp dulcl-er was hfOld - cradled in the lap, with the plaYfOr ' s approach rp._inding .e of a crafts. . n perfecting • piece of handwork . I have to laugh r eme_berlng my Cirst -dulcimP.r M. That was 1975 ~nd we wer e having diCficulty locating onp. (or ~ , so .y brother Charlp.s sacrificed hi. old banjo . We strung it like a dulcimer in Ionian tuning, and I blanked out all the nondiatonic frets with dark nail polish ! It was a weIrd-sounding ·dulci~rM, but I had the basics of playing by the time Charles built my first real

That fir st ( ... ar . 1976, I trav .. l .. d to folk [p stlvala loo~lng [or dulcimer musI c and pla/Pra. I ::I .. t Kevln Roth at fox Hol low and was ablp. t o have a [ .. w valuable l .. ssons [r o~ him . frank Proffitt , Jr., fr o_ Todd, N. C. ,"nt ~ a ta~ o t hiS pla/lnq and I got a tastp. oC traditi onal playing at its bPst . DPN Whf'n did (au g .. t involvfOd In Irish ~USIC Cor the dulcimer? LoI,

That was the [ollowlng YfOar , and I bP.gan to dfOvelop my dulcl~r style as a r"sult o[ it. 1 h"ard Donal Lunny pla,ing Irish bouzouki and the sound re_lnd ..d mfO oC a stru.-p.d dulci ... r. I atartf'd playing at th .. N.. w York City tradttional Iriah music sfO.aions . Ther~ w~re somp wonderful _usicians th .. re to learn important l~aaon. fro. - like what standard kfOYs tunes ar~ play~d in , and thp. diCCerent tempos and reelings of thp various styles or dance tunes . I also If'arned that alow .usic is often thfO hard~at to play bfOcausfO you hav~ to play clean~r and It tak~a IIOre I!'xpression. I got to hear and .eet pP.ople like Ji. Mclntyr~ and Paddy Reynolds , two great N~w York fiddlers, and ~.ber. of t hf' Irish groups Ol!' Oanann and The Chip.Ctaina, who case to rl!'lax and play" ffOw inforllal tunes aCter &Ollie or their conce rt s. r believe those many hours of playing under such inapiring conditions 9ave my dulci.~r playing its Iriah flavor. DPN

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you play Iota of other lIuaic besidea the Irish tunes now. Why haven't you continued to specialixe 1n lri ah _usic1 Lol.

BP.caus~ I'. just too curious about all th~ [aceta oC the dulci.er ' a personality. Th~ som~times gentle and swpet , som~times bold and wild qualitiea in thf' instrument adapt well to "lllOst everything fro_ ragtille to Russian balalaika .uaic . The native fef'lings of many kinds oC music can be interpreted with authentIcity on the dulcl~r. Thia veraatility vaa thfO inspiration for my new book , -Anthology for thf' Fretted DulClmer-.

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favorably to the DOre stringent Irish traditionalists than the guitar bP.cause of the dulci.er ' s .adal sound and relation to the harp/ zither Ca.ily. During the 1950 ' s traditional music in Ireland almost fell into oblivion because rock, roll becaMP. 80 overpoweringly popular . The guitar , being the .ainstay of rock , was seen aa a .ajor weapon In the potential de.lse of traditional .usic.

DPN

YOU've pre.~nted your dulci.er au.ic to a lot of audlenc~. now in concert. and in work.hop.. What's your appr~ach in presenting the instru.ent to tho.e audiences? Lo1.

r-try to concentrate on the instru~nt ' . versatility r.th~r than its novelty . Teaching workshops and perloraing are the -oat exciting d~lci.er activitIes for aP. . The pre •• ure of • large crowd used to Bcare ~. but I realize performing and teaching are just way. of aharing ~ favorite dulciaP.r ausic and tran •• itting my enthusi ••• for it to the audience. That sharing is the opposite of sbowing off . When the reaction to the Music is good . e bond I, established with the people in the audience from passing the music on to thea!.

DPN

Your playing style is vpry bold and rhyth.ic when you &tru. a fiddle tune . but rather roaantic and sensitive when you fingerpick a slow air. How do you account for these different pP.rsonalities? Lo1.

Probably schizophre n ia. Seriousl y , the r e ' s a better explanation of what I ' m after in musical expression . The harp play~rs of ancient Ireland were required to have the diversity of expression to evoke in the listener: 1) an excite~nt to love and laughter. 2) an arousal to valor and tears . and 11 • disposition to slu_ber and repose. All these .ake a heavy order to fill , but they give UI Io-e great ideals to .i. for.

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becamP. aware of this on the 1980 tour of England and Ir~land . DPN

HOW did the peopl~ In England and Ir_land rp.act to thp. dulci . . r? Lo1.

It's not unknown. of course . in either place . In England we wen! told that abOut IS yp.ars ago thpr~ was a craze when everybody wa. building dulcimer • • but only a few ppople. like Roger Nicholson . made a point of devploping playing techniques . Jerry Rockwell and Mary Ann SaNuels were with me on the tour. and we conducted two large dulci.-.r work.hops - one In the south of England and one in the north . These were at folk (estivals and the people either owned or were faailiar with dulciMer •• and th~y were anxious to play soae of the tunes and styl~s w-. used. In Ireland 1 was. bit anxious about what reception 1 would get , being an American who wrote a collec tion of traditional Irish Music . I didn ' t want to see. like a returned Yank who was gOln9 over there to feed the. back their own music. ~evertheless. 1 headed for every traditional session I could find fro. Oublin to Calway. I thought I'd take it easy and just play some back-up and a few ~rlcan tun~s. but when my turn ca~ to play they usually asked fOl so~ Irish Nusic. and the reaction was great . I found they accepted the dulcimer for Irish music .are readIly than soae groups of traditional ausicians in thp. u . s . did. Thp.y saw the dulciser as adding a new dimension to their music . It's Interesting that a few people told me the dulcl~r would appeal .uch more

DPN

What do you aim for in the books you wri te? Lo1.

FIrst . to present new repprtoire for the dulcl~r . Second . to teach some of the new playing techniques we ' re developing . either through writing about the. or (preferably) working them into the tablature . There are plenty of good beginn~r ' s books available , and I decided early on not to repeat what they have said , but to prespnt some further techniques and music that a dulcimer player can use to devplop his/her own style. Whether we ' re professionals or hobbyists it ' s important to expand our playing styles and repertoires or muaic can get boring. DPN

HOW about reading muaic - do you think it ' s nec~s.ary to read notes and know .usic theory to play the dulcimfl!r? Lo1.

No . but they do wonders for your repertoirfl! and show you how to color a plain ~lody with good stuff like harmonies and rhythm variations . DPN

ora you read music before you started playing the dJlci~r1

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5tar ~~d aLIt WI th a stronq d"slr~ to pl(jy aLlSle by ~ilr only . M". t."LI~ht ;l l ano • .:Ind wll"n L t earn.. to r"adinq not". I was hpr IIIOst r"bPlllous .tLl.;ipnt . Oncp I'd h,>ard a tLlnp a COJpi p of ti~. I'r! rpmpmboPr how It w~nt. ao th- llttl .. black marks on th ~ pap~r didn ' t 3f>f>/a n~cp.sary , Latpr . J r~(jsonpd that th~ music ' s ~rsonallty could on l y ~ conv~ypd by hp.arinq It play.. d by sa-~one ~ l .. . Th.. r .. ' a aom~ truth in that . but It ' s o l,ly pa rt o r thfl' plctur p . Wh~n I t ook up thp. dul ci_ r I wasn ' t Into rpadlng aus l c , but thpn I aaw -o'N~ill's MUSI C o f 1rpland-. Hprp w~r~ 1800 tunes , and r~adlng ausic was th~ kpy t o unlock them . I had ~~n r~lyln9 on .y lb~m(U'y o r ta~s to learn tunes , but that syst .. m often proved lnaccurat~ when it cam.. t o intrieate music lik~ Irish danc.. tunes. About that time I began playing thp fiddle too . and o n th~ advlcp o f Ciddl~r Jia McIntyre , I took a rpw classical violin lesaons to Iparn how to work thp instruap.nt. My t eacher started mp. on musical notation right away . Th.. violin boOk she used wila the -String Buildpr-, which presents only a f~w not~ a in each Ifl' sson. This gradual and painl~as approach to rfl'ading music h"lp4d ." crack · O'Npill ' • • and started NC on r~latlng auaic theo r y to my dulc imer .usic. !lO.

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d l(C prpnt tuning_ and with each tunin9 lhp not!'!. all th~ Crpts chan'l", ~p .r~ o Ctpn Ca c~d With s ... v~r41 dl fC prp.nt pIac.s on thp fr~t board wh"rp th,. samp not~ o r cho rd can bP playpd . and this also givea us 80m'" intprpsting chOices. This is t h... jQb o C lhf! dul e i .... r arranger who wrltP • • tablatur .. - t o pre se nt ~me or lhp. sp pos. ibilitip. s .

DPN

HOW

do you ....... thp. rr p.tl~d dulcimer ' . plac p in th,. Mus ic wo r ld ?

Lois

rn-thp. pas t coup l e oC year. J have appn t h~ rr~tted dulcimer accppted and appr~clat~d in many kinds oC music . In addition t o the Irish ~usic . 1 hav,. play ... d my dulcimer in Cajun banda 1n Louisiana and blup.gra ss bands in North Carolina . Barbara Truex us ... s her dulcimer .s part o f a jazz COMbo. Leo Kretzn~r do ... s a dulc! .... r version of -Little Martha- that the Allaan band would lov,.. John HOlineux and his dulciMpt playing are an i.portant part o C the John Re nbourn Group . Ther e arfl' many .a re example •. I think we ' vp reached a point whe r ... we ar ... no longer -handicappingthp. dulc l .... r. w,. are exploring it. exciting poten tial s and challenging ourselves more a. muslcians. r o r a whil e . the Cact that thp. dulci.,.r is such a coo~ r a tivp and forgiving instru.ent to Ip.arn was thought by so... to indicat ... it was full o C lialtations . It'. good t o .... e how thia .Isconception can o ften ~ dlapelled by playin9 a aI_pIe tune lik~ ~Miaais.ippi Sa wy~r· o r ~SOldipr's Joy~ in the regular kp.y and tP.~po. Our wi se and mellow inst r ument Is ca.ing to be better understood and appreCiated in thp aggressive 20th ce ntury vorld.

DPN

Do you think musical notation will replace dulciaer tablaturp. ? Lois

Tablaturp. s are thp -as t i~por tant way o f transc ribing a us ic Cor th~ frPttpd dulci.pr . NOtation i s good f or showing you what the m~lody o r harmony oC a piecp IS doing . but tablatur~ 5prves a purpose that notation cannot . Thp Crettf>d dulci-

THE APPALAOUAN DULCIMER BOOK by Mic:hael Murphy

Playing instructions; 20 songs; 50 photos of early makers, players and dulcimers; repairing, buying, construe· tion. history, makers, sources; 104 pages; $6.95. Also distributed by Music Sales Inc. and Bookpeople. Inquire about wholesale prices. folk5ay Press. 67131 Mills Road. St. Clairsville. Ohio 43950 7 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

HAMMER DULCIMER Strict adherence to quality. design, and acoustic principles are hand· built Into thel. Instrument. by a 'ull· llm.luthler well sealoned In the art 01 quality craftlmanship and artlltlc accomplishment The natural wood grain I, enhanced by 8 elaule handrubbed Danish oillinlsh In the tradition 01 line old furniture. Only the usa 01 proper engineering appHed to lOp grade

material creates. 'amity 01 elegant Hammer Dulcimer. that wdl be cherished possessions and Wllillasl from generation to generation.

Strength In the desSgn assures the Instrument wlli maintain Its structural Integrity. but more Impo1\Bnay, the progresSlV8 design gi.... es rise to improved sound and tuning stabil · ity while sustaining beauty.

Joints are well liHed. glued, and doweled: therelor., a london Dulcimer II guaranteed aga1nsl common problems such as separation 0' the frame and pin block In.ta· billty

LONDON 2639 No '8th

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-<.~ WE KNOW HOW TO REACI-l OUR DULC.IMER FRIENDS ..;; ~

con.ld.o ..,d adverthing ita flut a lbUil , and Billboard , but cho.e

Dulcllller Playeu N~a SMART HOVE. That album ' a ht and 2nd printing are aold

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l'ryllup,5gari'e11 •

eANTHOLOGY 1981 Mel Bay Publications, t nc. p,,,,,, FOR TilE FR£TTED DULCIMER Hornbostel .

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MBryllupsgarden M i . /II favorite tune at Scandi navian fo l k da nci ng eve nts , where t he pols , /II skip- step dance 1. done to it . It ia reminiscent of the ausic played on Europ@an zithers and give. /II European touch to their Ameri can cousin , the fretted dulcimer. The tune i . also intereating if you look at it. musical structure. We usually think of chords on the fretted dulcimer a. t hree or more notes strummed at once . But if you look at t he note. in 3 melody you ' ll see t hat many tunes are made up of t he no t es found in chords. Instead ot being played together , the notes are spread out one - byone. These broken chords , alias -arpeqgios- , are the backbone of ~st me l odies . ~ 8ryllupsgarden· is an example of a melody baaed strongly on a r peggio •• The first measure uses the notes in a 0 c hord (D- PI - A); the second measure uses G chord notes (G-B- D); the third measure uses A chord notes (A- C' - E). The rest ot the melody is made up of interesting variations of these chord •. The D-A-D tuning provides a good s.lection of note. across t he lretboard that allow ua to play .ast ot the notes back and forth betwee n the treble and .iddle string. of the dulcimer .

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N. J . residents who play: Send me your name, address , and instrument(s) you play. I'll Bend you the appropriate questionnGir~ . Also, if you know of other state reaidents who play, send their na.es and addresses along , too . N.J. reaidents who build: Send your name and address and what you build . I would also appreciate receiving th,. na.s and addresses of your N. J . custo~rs and which type of dulcimer they purchased . Builders outaide N. J.: I can use your N. J. customer lists, too , along with which dulci ... r each person bought. Dulcimer festival coordinatora: The BAYS MOUNTAIN DULCIMER SOCIETY Have you got any stray N.J. i n xinqsport , Tennessee, was organized players/ builders that r in 1980 , inspired largely by adult should know about?? education classoa in Appalachia n Displaced N.J . reaidents who now dulcimer offered by Carolyn Wh ite live in other statp's: H your and Cheater Sink, two local pl ayer •• dulci~r playing/ building We now have about 45 members, meet began or continued here, write monthly on the 2nd Thursday of each me for a queationnaire. month (Sept . -Hay) at 1:)0 PH in All inquiries and information should Preston Hills Presbyterian Church be sent to : in Kin9sport . We have mountain Lucille Reilly , P . O. Box 712, and hatll1M!red dulcill'l8r players and Mooresto wn. N.J. 08057 usually play and ahare awhile (609) 234-5892 after each program. Dues are $8 Many thanka for your help! per year. Guesta are welcome. The resulta will appear in the NJFS We ' d like to com.unicate with Newsletter . -The Rooster-, and other dulcimer group. and will be hopefully in a future isaue o f DPN. happy to exchan98 monthly newsletters . Contact : Carolyn White . 708 Fleetwood. Kingsport ,

Dulcimer Or8anizalio ns

TN 37660

(US) 246-9520.

I •• working on a project for the New Jersp.y PoLtIor!! Society on

duicilller playing and building activities throughout New Jersey (for both mountain and hamme r ed dulcimer) . Along with general statistics relating to these areas , I .m particularly inter~sted in learning about any traces of history these instruments may have had in the family backgrounds of state residents. However , it should a1ao be noted that the results obtained should certainly create a stepping stone for New Jersey dulcimer players/ builders in the way of state-wide activities. Questionnaill!s have been prepared to determine the extent of dulci-er 9rowth and history, but 1 have very few contacta to aend the_ to. Can you help? Anyone who flta one or .are of the categories below will certainly be very helpful in this quest . The more names and addresses I receive, the aore complete the aurvey can be. What is in my heart muat come out and &0 I write it down. -BEETHOVEN

SINCE

1966

A PRIMARY SOURCE 10' Builders · Repairmen· Enthusiasts 01 Acoustic Stringed Inatruments Hammered & Plucked Dulcimers Woods, Parts, Books, and Records OWN The Industry's most comprehensive mall order catalog!

USA & c..nada - 13 50 Prepaid FOfe'gn _ $4 50 Prapald 40E S.nd Rd • • New BritaIn. PA 18901

1·215-345-94U 10 L _ _ _ _ _ _ _ _ _ _ _ _--.J

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The Duicilll"r Society of ::orthern IIUnois is now two YPlHS old and flourishi.ng . Ne have abOut 75 ~.~rs - lnt~resting , when you consider that finding a dulcimffr player in this area five years ago vas like searching for a dinosaur. Obviously they ver .. there and ve 'r e hoping more will emPrqe. We arp p.8pP.cially "aqer to find more h~r dulcimer players ; we have apl .. nded leadershlp in that instrupnt : Paul Gofolz • •,"recorded but onp. of the finpst hammer dulcimer playffrs around. Our society ho lds -onthly ~etings (Axcept 1n summer) with .em~rs Ipadlng diverse prograNa such as Scottish Music, What Goes on In side Your Dulci~r , and Jamming with Other InsLruments. w.. always try to teach something intp.resting and to hand out tablaturp . we also have hos t ed (to date) Maddie MacNeil , Sett. Austen , Bonnie Carol , Larkin Brvant , Margaret MacArthur and ~o Kretzner in workshops o r concerts or hoth. Ne publish til newslettfH 3-4 tl~s a yea r which aLways includes _usic . and Wf' are trying to encourage the standardi zati on of .auntain dulcimer tablature a ' La DPN. would other clubs carp to join this cruaaje? For additional infor.atiOn contact ; Dulcl~r SOCl"ty of Northprn Illinois, 777 Locust St ., Winnptka. ILL 60093 ,

The Not So Dulci~r society of Salnt LOuis , Missouri , meets on the last Sunday of every .onth at 1 : 30 P.M . The purpos~ of this group IS to provide a forum for local .auntaln dulcime r aficionados to gathp.r at regular int~rvals to teach and learn with each other ~vp.ry possibility w ~ can co~ up with abOut this .arvelOus instrumpnt In a friendly . non-competitive at.osph~re. Anyone wil ling to sharp. With us is DOre than welco.e to jOin us , wh"ther they live in the St. Louis ares or happen to be pasSlng through . Currently . the mP.eti.ngs rotate from home to home. Therefore , people interested in learning .are about our group should contact George Thompson , 4435 Dewey , St . Louis , MO 63116 , phone (l14) 352 - 6204 .

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

April, 1981 was a sad time for friends and members of the Dayton Dulcimer Society. One of the crqaniters of the club, Wally Perqra., passed away. Wally was born March 6, 1905 in ea.tern Kentucky near the ... 11 town ot OlYmeia . He w.s a printer and sheet metal journey.an. About 20 years ago at a felk festival, he saw some dulcimers wh ich reminded him of the instruments he knew as a child. After retiring in 1961, he stopped building old flintlock guns and began building dulci . . rs. His first instrument w.s built in OCtober, 1968. All of his .arly instruments were named after women fra. the Bible. The first was Little Rebecca. When he died . he was . . king nu.bera 209 and 210. His pocket knife was still his most important tool in dulcimer construction. Wally, Chet Hines and a few other people organized the Dayton Dulcimer Society in the 1960's. In 1918 he was instrumental in the birth of the TRADITIONAL OLD TIME MUSIC FESTIVAL sponsored by the Ca.sar ' . Creek Pioneer Village. This year's festival is dedicated to Wally Pergraa.

It's difficult to talk about him without shedding a tear. Wherever he nt , peopl. flocked around hI.. He harl a marvelous gift of conmunlCatlon. The home Wally has found is not without music, and where there's music. he will be.

Fro. letters sent by ED SIMP~INS. Middletown, OH MARA WASBURN, West Lafayette, IN

Judging by an overcrowded Bonnie Carol concert I couldn't even get into, there .ust be several dulcimer players in Casper, wyoming. Is there an organization? Somebody give Phil a c all at 577-1685. Anybody?

Dulcimer Organizations: Please send u. news or your activities and your members.

GOURD MUSIC POBox 585 Fel l on, CA 950 18

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

PPALACHIA

It . ,I •

MUSICAL TRADITIONS

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

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

./'V'.-USICAL 514 Oak st, Dept. DPN

TRA DITIO N S

Sandpoint, ID 83864

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(208) 263-4612

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The featival calendar haa grown and grown . Thi. year we've included more infor.ation about featival. which have been recommended to ua even though they are generaL in focus. Should you attend one of them, you'll probably find at least a few folk. who play dulcimer. and pos.ibly a workshop or two. If you know of nice feativala in your part of the country lor i n your country : ) which attract some dulci-er people yet are general ly Ie •• known , pleas. let ua know, Send ua an addre •• ~;:::::::11 and next yeac we ' 11 contact a fea~

April 18

LOUISVILLE , ItY

SPRING FESTIVAL sponsored by the Louisville Dulcimer Society featuring informal workshops (mt . ' hAr!l. dulcimer, storytelling , Irish music, children's songs I , a dance and concert by Guy Carawan, Maddie MacNeil, Fred and Jenny Armstrong- Park and others . 2-8 PM . Admission Fee . Info: Eleanor Greenlief, Rt . 4, Box 261A , Lawrenceburg, ltV 40342.

April 24 - 25

LIMA, OK

April 2)-25 NT . VIEW, AR

May 1-2 BOSTON, KA

May 1-2 MANHATTAN , ItS

Moy 2

BIRMINGHAM, AL

tival source for information. Tho Summer OPN will have updates for feativals occuring in late Summer and Pall plus information on any featival. (auch .a the ~indred Gathering) which was unavailable when this i.sue went to pre •• .

(5021 8)9 - 5682.

BLACK SWAMP DULCIMER PESTIVAL held on the ca.pus of 05U, Lima Branch. Workshops , concerts , sales booths and open stage. New this year i. a beginning dulcimer class with li.ited registration. Adai.sion Fee. People are invited to an open stage and jaa session following set up on Fri. night . Info: Michael wilderauth, )160 Zurmehly Road , Li.ma, OU 45806. The fifth SOUTHERN REGIONAL DULCIMER CONVENTION (eaturing graded workshops, contests and concerts (mt . and ham. dulcimers) . Workshop leaders: Mark Biggs , Larkin Bryant , Russell Cook , Cathy Barton-Para, Jay Round , Jean Simmons . Crafts demonstrations. Admission Fee. Info: Ell iott Hancock, Ozark Folk Center, Mt . View , AR 72560 (501) 269-3138 or 269 - 3851. THE FLOWER CAROL, a Boston area dulci~er festival , will feature workshops and concerts by Rick and Lorraine Lee, Leo Kretzner, Bob Wey . Maddie HacNeil, Lucy Sollogub, sally Rogers, Margaret MacArthur. Builders Mike Martin and Fred Hontague. Dulcimer historian L. Allen Saith. Attendance liaited. Info : The Flower Carol, 10 Aqassiz Ave . , Belmont, KA 02178. 4th Annual KANSAS FOLKLIFE FESTIVAL will feature traditional artists , ausicians and craftspeople from every corner of Kansas. A weekend of entertainment and educational activities for everyone in the family. Info: Joan Pease, Div . of Cont. Ed., 1623 Anderson, Manhattan, KS 66502 (911) 775-6472.

GREAT

SOUTHEASTERN DULCIMER FESTIVAL sponsored by the Southeastern Appalach1an Dulcimer ASSOC . will feature informal work.hop., concerts and other mt . and ham. dulcimer event.. Location: Indian Springs School , south of Biraingham, AL (exit. onto Rt . 119 frOIlI 1-65) . Info: Charles Eill • • Rt. . 1. Box 411, Helena, AL 35080 (205) 82)-0913. 15 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

DULCIMER .DA YS May 15-16, 1982

.H~tNtio

ROSCOE VILLAGE COSHOCTON, 01110

Set i n the scenic Lake PtXI'k Recr eational Area, a short walk a long the towpa t h f rom Ros coe Vil~e . Try yOUI' hand at winning a trophy or t he GRAND PRIZE handmade musical instrwnent from t he Boulde r Junction Shop i n Uniontown, Ohio . Come - enjoy a bit of nostalgia f rom America 's musical pas t !

• contests • • • Jam seSSIons

• workshops • exhibits

For further information, please write : Roscoe Village Foundation, 381 Hill Stre et, Coshocton, Ohio 43812, or phone (614) 622- 9310 .

Roscoe Village is located at the Coshocton Exit on State Routes 16 & 83 at the junction of U. S . 36 .

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May 1-9 GLEN ROSE , TX

The 1st Annua l TEXAS STATE DULCIMER CHAMPIONSHIP will offer free concerts and workshops as well as mt. and ham. dulcime r contes ts . Sponsored by the Lone Star State Dulcimer Society, wood "NM Strings Dulcimer Shop and the Plat Mountain Dulcimer Shop. Info: Dana Hamilton , 904 Houston St. Arlington, TX 16012 (811) 215-3812.

May 15-16 ROSCOE VILLAGE COSHOCTON , OK

The 8th annual DULC1MER DAYS FESTIVAL sponsored by Historic Roscoe Village will feature musical competition , exhibits, workshops and impromptu jam sessions for mt. and ham. dulcimers. Admission fee . MOtels and camping nearby . Info: Dorothy Cushman, 381 Hill St ., Coshocton , OH 43812 (614) 622- 9310 .

Jean Ritchie, Raymond McLean (McLean Family Band) Photo: John Sheckler

Susie Pete rsen Bob Evans Fara Photo: Dave Petersen

May 22 MIDDLETOWN , VA

Hiaoric Belle Grove Estate ~n Virc;inia ' s Shenandoah Valley is the setting for a DULCIMER GATHERING featuring workshops, music sharing, an open stage and an evening performance. Middletown is 10 miles west of Washington , DC . Admission fee . Info: Belle Grove , Inc. , P.O. Box 137, Middletown , VA 22645 (70l) 869-2028 .

May 30-June 6 MIDWAY, KY

The Frankfort Country Dancers and Midway Collego present the KENTUCKY SUMMER DANCE SCHOOL. Workshops , dances , storytellinq a nd concerts will be held . Featured Hammered Dulcimists are Judi Mor ningstar and Eleanor Gree nlief . Info : Kentucky Summer Dance School, 106 W. Main St . , no , Frankfort, KY 40601 (502) 223 -11 09.

June 5 NEWPORT, RI

DULCIMER DAY. held at the Cha nning Memorial Unitarian Church , will feature Bob Wey , Rick and Lorraine Lee and others . Concerts and workshops for mt . and ham . dulcimers will be held. Info : Channing Music Series. 135 Pelham St ., Newport , RI 02840 ( 40 1) 8 46- 0643.

June 5-6 OVERLAND PARJI: ,

The sixth annual DULCIMER DAYS PESTIVAL , sponsored by the Prairie Dulcimer Club will be held at the Indian Creek Park and Recreation Center. Workshops (mt . and ham . du lcimers) , concerts, clog and folk dancing plus a Sunday morni ng hymn sing . Nearby motels. No admission fee. Info : Harvey Prinz, 9540 Walmer. Over land Park , KS 66212 (913) 381- 3767.

June 18-20 COSBY, TN

The 6th annual COSBY DULCIMER CONVENTION sponsored by the Polk Life Center of the Smokiea and Dulcimer Players News. Workshops for all levels on mt . and ham . dulci mers. On site primitive camping , mote ls, restaurants and commerical campgrou nds near by . Admission fee. Into: Folk Life Center of the Smokies, P.O . Box 8 , Cosby . TN 31722 (615) 481 - 5543. 17 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

r- \\\\\\\u~!:!

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dukiTTw_r cOfl.Yfl'lfioTt jlJ.'l.1l. 18-20.1982..

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LI FE

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:OV.LCI"'''~ :Pl~S tiEkJS INSTRtKHTAL WORKSHOPS FOR IO.IfTAIN AND HNlERED DULCIMERS -- BEGINNERS TO ADVANCED . CCl4CERT PRCXiJWtS. CHILDR£H 'S ACTIVITIES, OTHER IftSTRI.JDT AND SIJIG WORKSOOPS .

WEEkEND AlltISSION FEE: $15.00 (Includes

00-

sfte, prf.'tfve. tent-ca-pfng privileges). One Day Fee: $8 . 00 . Evening Only : $4 . 00 Children Under 12 and Senior Cftizens : Js Price Babes inA,.: FREEl Sorry, NO PETS AIJIIImOI SPECIAl DISCOONTS For GROOPS. FAMILIES, AND F(l.1C. LIFE CENTER MEMBERS! Restaurants, and Culpgrounds Wfth Hook-ups Nearby . MOTE : BECAUSE OF THE l!1l2 1«JRLD'5 FAIR IN KMOXYIllE. t«JTEl MD CNFGR(UtD SPACE IS VERY SCARCE AND COSTLY! MDtels.

FOf tick,U lind furtMr (615)487·5543 or writ.:

informlltion

Colli

FOLK LIFE CENTER OF THE SMOKIES JEAN. LEE SCHILLING, DIRECTORS P.O. BOX 8 COSSY. TENNESSEE 31122 Th, Folk Lif. CAnter of the Smokles, Inc. il • non· Pfoflt, Iduutkll'llil orSJll"ilition of Amtrican f~k culture.

~ing

the tnlditioN

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June 19-20 WAYNESVILLE, OH

June 19-20 BEVERLY HILLS, CA

June 19-20 POUGIIKEEPSIE, NY June 25-27 ALTAMONT, NY

June 25-July 4 BATTLE GROUND, IN

June 28-July 5 BOONE, NC

July 10-11 BAR HARBOR, ME

July 11-17 CALIFORNIA, PA

July 11August 15 ELKINS, WV

4th annual TRADITIONAL OLD-TIME AMERICAN MUSIC FESTIVAL sponsored by Caesar 's Creek Pioneer Village. Square dancing, open stage , workshopa, j . . .ing and sharing in log houses setting. All musicians volunteer their time and talenta. All proceeds are used for preaervation of the log houses. Info: Ed Simpkins, P . O. Box 591, Middletown, OH 45042 . The 2nd SUMMER SOLSTICE DULCIMER AND TRADITIONAL MUSIC FESTIVAL will be held at Greyatone Fark . All day workahops in mt. and haa. dulcimers, autoharp, bowed paaltery , penny whistle, harp, lute, .arris dancing, singing and Much .are. Ongoing concerts with 14 perfor.era including Ruth &aLrett a.nd Cyntia Saith , Sam Hinton, Holly Tannen , Maddie MacNeil and Seth Auaten, Curt Bourterse, Albert d ' Oaache , and Peter Tommerup. Craft and food booths. Admission fee . Info: Elaine and Clark Weissman, 4401 Trancas Pl., Tarzana, CA 91356 (213) 342-7664 . The 5th annual GREAT HUDSON RIVER REVIVAL offers continuous music and dancea on four stages along with craft demonstrations and exhi bits. Nearby camping and lodgi ng . Info: Doug Co l e (914) 297-8323 after J p .m. OLD SONGS FESTIVAL OP TRADITIONAL MUSIC AND DANCE will feature concerts, workshops, contra-dancing with traditional musicians of New York State and other environ â&#x20AC;˘ . Craft. area with working craftspeople. Children's area. Open stage and jamming . Admiaaion fee . Info: Old Songs , Inc., P.O. Box 197, Guilderland, NY 12084 (518) 165-4193 . 10th annual INDIANA FIDDLERS AND OTHER TRADITIONAL MUSClANS GATHERING will feature workshop., concerts, square dances , j . . .ing and quilt show . Pri.ttive camping on grounds . Info: Tippecanoe Battlefield, Box 225, Battle Ground , IN 47920 (317) 567-2147. The 5th annual APPALACHIAN DULCIMER PLAYING WORKSHOP will be held at Appalachian State University. Daily clasaes for beginnera and intermediates, advanced seainars and . . ster cla.sea. College credit available . Houaing in campus dorma with .atel. and ca.ping nearby. Info : Willi . . Spencer, Music Dept. ASU, Boone , HC 28608 (704) 262-3021. The 2nd annual OOWNEAST DULCIMER FESTIVAL will feature workshops (mt . and ham. dulcimeca), concerts, aales booths, dances and of cour.e fresh lobster at nearby restaurants. For information about the area, contact the Chamber of Commerce , BOx 158, Bar Harbor, ME 04609 after May l.t. For questions about the festival, contact Eddie and Anne Damm , Great Lakes Dulcimers , 118 Ledqelawn, Bar lIarbor, ME 04609 (207) 288-565). The MUSIC ARTS WORKSHOP will feature a week of couraes in guitar, mandolin , banjo, fiddle, harmonica, mt. and ham. dulci. . ra, bouzouki, flute, tinwhistle, dancing, instrument deSign and repair and much more . Over 40 performers and teachers will lead the workshop. and present concerts. Room and board and camping available . Info: Calliope Houae Music Arts Work.hop, 5880 Darlington Rd., Pittsburgh, PA 15211. 1982 marks the 10th year of the AUGUSTA HERITAGE ARTS WORXSHOP , a five-week program in the music , dance, folklore and crafts of Appalachia. Hammered dulcimer classes will be taught by Sam Rizzetta and BOb Shank. Leo Kretzner and Madeline MacNeil will lead classes in fretted dulcimer playing. Paul Reialer and Paul Yeaton will instruct a clasa in ham. dul. con.tructlon. The many courses run from one to three weeks in length, with weekend and evening clas.e. as well. The AUGUSTA FESTIVAL will be held Auguat 13-lS with workshopa, crafts exhibits and concerta. Info: Margo Blevin, Davis' Elkins College. Elkins, WV 26241 (304) 636-0006. 19

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Ct\ .....OPE HOUSE ltmSI(; ARI'S WOHliSHOP

JIlty 11-17, 1982 ~ Sbk. CoUl'.c. c.tifomla, "nn5)'h-anl.l (1 hour _th 01 PtttAbu'llh In tIM: toiling hll.. oIW~ Counhr)

AX IJ"''F'ORGElTADLE \\"EEK OF nlE MOST 1)Jl'ERSE PROCK")I OF fOLKAKTS IXSTRvcnox "SO E..'TERTAJN~tE!\'T E\U PRf~E.''TED Ch-u 40 m.lntc:toq lAcll.lCllilg t'rw..nk George. Tr1OIvo 1\1 DboanJuuull A Touch!!iIone, ADdy Cobn. Joe J..a.ItoK. Ttmm,. Drtuoa., To.y ik!ollU'CQ. Coal Country Clogg~11i, Ralph Gordoa & Lonalnc: Du~t oIT... pu.otd, Emil' Ii.wld_ LE. "lcCulloop, l.urJ Edelman, Dol Run no,.. GcorJ'C Daklc.1"Olk. Br(:ndan 'lulrthiJl ~flkc Relrl

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You 1U111 atkad the. .....orbhop lOr the full_uk or lilly aumbn of JU.I dctIlre. SpcdaJ ~ aad daDt:a ~ry 1llgbL: l'OOfttoand-oo..nt &lid c:.mptag 1Kt110Q aft1labk. WJ1tc. \0: CAWOPE HOl: E ~1t'S1(' ARTS WORKSHOP, &880 Darlllll'Da Ro.d, Pltuburgh, PA 1&i17 JOr brochuru IlDd applnUou rorm!!..

AJJSO LlITELY mE WIDEST SELECTIOS OF MUSIC M1) CA1'iCE ISSTRl1n1QN FOR TJIE LOWEST11Jl110N M,,'WIfERE

~~~ FARM

Dulcimer Festival JULY 24 - 25, 1982 A WEEKEND OF AMERICAN FOLK MUSIC! EVERYONE INVITED. FREE ADMISSION . FOR MORE DETAILS WRITE: DULCIMER FESTIVAL. BOX 330, RIO GRANDE, OHIO 45674 OR CALL (614) 245-5305

SEE YA'LL THERE

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July 15-18 EV.\RT, 'U

The Orioinal Dulcimer Players Club, Inc. will sponsor the 9th annual ~OS-ELECTRICAL m:SICAL fUN fEST. There will be workshops , concerts and music - related crafts and sales. There is no adniss~on ~ee, but there is a camping fee for rustlC camping which is avai lable on the fairgrounds. Location: Osceola County 4-H and ffA fairgrounds in Evart . Info: E. A. Cox, Box 136 , Byron Center, Mol 49315 (616J 878 - 1128.

July 2] - 25 BI SGHA.'ITON,

CRA.~BERR\, HA.'L'IERED Dl:LCH1[R GATHE:RING will feature dulcl!:llsts Dana Hamilton, David Lindsey and Russell Cook o! Texas and Leo Kretzner of Massachusetts. As in the past, the Gathering WIll hlwe lots of workshops on both bUllding and plaYIng (with mt. du l cimers also covered), concerts on Friday and Satu rday evenings, and a continuous open stage. Info: Bob and Louise Wey, 21 Redcoat Lane, RfD 3 , Plainville, MA 02762.

The annual

'V\'

~ohn McCutcheon and Paul Van Arsdale Augusta Heritage Workshops Photo: Imre Barsy

24-25 RIO GRANDE, OH

~uly

August 5-8 LOUISVILLE, XY

August 20-24 ST. LOUIS, MO

August 20-24 COSBY, TN

Doug Murray, Lona Southeastern Dulcimer festival Photo: G.M. Wells

The DULCIMER FESTIVAL held at Bob Evans Farm will feature morning concerts, afternoon competition events and informative workshops . No registration or admission fees. Awards , cash prizes, and participation tokens. Camping and lodging nearby . Located on the scenic Bob Evans Farm with other activities available . Info: Bob Evans Parm, P.O. Box ))0, Rio Grande, OH 45674 (614) 245-5305. The 7th annual KENTUCKY MUSIC WEEKEND will bring together fine musicians, dancers and callers, singers and storytellers at the Iroquois Amphitheater , Iroquois Park. The daytime workshops, concerts and dances are free and there is a small charge for the evening concerts. Primative camping facilities available nearby. Free brochure available after May 1st. Info: Iroquois Amphitheatre Associati on, Box 13334, Louisville, KY 40213. The 7th annual FRONTIER FOLKLIPE FESTIVAL held on the grounds of the Gateway Arch is free to the public. Programs include cowboy singing, western and Native American crafts demonstrations . Site accessible to disabled and ablebodied people . Info: Folklife Program, 11 N. 4th St., St. Louis, HO 63102 (314) 42 5-600 4 or 425-4465 TTY for hearing impaired visitors. The 13th annual FOLK FESTIVAL Of THE SHOKIES sponsored by the Folk Life Center of the Smokies will feature workshops of various instruments, folk dances, games, storytelling and crafts and things for children. On site primitive camping with motels, restaurants and campgrounds nearby. Admission fee . Info: Folk Life Center of the Smokies, P.O . Box 8, Cosby , TN 37722 (615) 487- 55 43.

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CONCERTS, WORKSHOPS DANCES

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September 2-5 COU~CJL BLUffS, IA

The OLD-THIE COU~TRY !>IUSIC CONCERT AND PIONEER EXPOSIT I ON has been expanded to add a Hank williams Songwriting Chal!l?ionship and the first Nidwest Clog Dancing ChampionShl0. l~e11 over 25 other categories of competition are a part of this festival. Info: Bob Everhard, 106 Navajo, Councll Bluffs, IA 51501 (712) 366-1136 .

Sept . 16-19 wINrtELD, ICS

Daily concerts. workshops and contests will be featured at the 11th annual 'tI'AL~ L'T VALLEY FESTIVAL. Natlonal MOuntain and Ha~ered DulCImer Championship contests are included in the competItions . Info: Bob Redford, Walnut Valley Association, Box 245, I\'lnfield. KS 67156 (l16) 221-)250.

Sept. 20-24 PINEVILLE, ICY

Pine Mountaln State Park lS offerin9 DULCIMER WEEK III wh ich IS a buildinq and playinq workshop for mountain and hammered dulci~ers. Session leaders are Jerry Greenlief and 8ill Br yant. Square dances, concerts and nature h ikes are also plan ned. Info: Oick Albin, P.O. Box 271 , Stanton, ICY 40 380.

Sept. 2)-25 PINEVILLE, ICY

The GREAT ~~ERICAN DULCIMER CONVENTION is sponsored by the Kentucky State Parks Department. Works hops, conce rts square dances, open stage, craft sales and other hammered and mountain dulcimer events are pla nned. Camping and lodging is available in nearby Pineville and Middleboro . Info: Dick Albin or Barry Howard, Pine Ht. State Park, Pineville, KY 4097 7 (606) 627-)204.

Q:t.

16-17

WAYNESBURG, PA

The 13th annual HARVEST FESTIVAL, which is sponsored by the Greene County Museum and Historical Society, will feature Sam and Carrie Rizzetta and R.P. Hale in concert . Info: Mary Childs, Greene County ~ useum , RD 2, Waynesburg, PA 15370 ( 412) 627-3204.

Dulcimer Days participant Roscoe Village Coshoct.on, Ohio

Susie Petersen and Sally Geor ge Bob Evans Farm Dulcimer Festival Photo: Dave Petersen

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CJJeow 0iJhould @ C~ur rcAr.uc: e€(}~~ GRI1i~W . Ou1«m . . PlaY"9 Techn'que. of LORRAINE LEE and ROGER NICHOLSON by AMY FONOROFF Cambrldq~,

Ha.eachus.tta

Lor a~ ~ and iblr'r NlcM1..an Urat __ t in thI!- F'aU of 1978 Ib'ln tDcniM. t\.wing t..ard of 1IOqou"'. ln~t<!at in caN~ to tM StlIU!S. hMd IJp w.>rk fcc his ard J~j(J/! ~ltcr1's heir ~rlC¥1 tour. lIxraiM __ dra-or. to iCqr.r . . iWlOwr -.u.l.;l." o,tlC) had p..1t tt"JI!' kind of ()3!f":1 tllll'mt and ~acs of pla'f1nCJ into ~ Juleurrr AS aNo had, and tb-y tOOk gr-.ot pl,.aSl.lc,. 11"1 IoOrking out lII.luic togf'thP.l . 1b>rl! .lie.. diff.. r .. I'IO'lS not ooly 111 tMir stim u( playing. b,lt. in tho .,.t~ of tMir i.nstr~U tlPnIfohm•• ~r Itn!'lg:O his dulcu.r With II .010 g&q! stnng. a .011, .m A WlUrd .022. 1he lat~r gi....... him a 9CCd bUe BOtrd. wtao is partio..Il.arli' I.lIp;lt'tMlt \otII!n t.. p1A/8 CXIlFIt"rpc)lnt pi"!O'ts. He 11k",. a high ktl<:n

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on his

lnStrlllf'!nt,

bP.caur

tMs CAIJ3<'. t1r aU" If'I9S to .-.p bacll f1'OI'I! q.J1cd:/ and cl!O,)111z" m dYt dllarations which ae .. 80 IIUCh a part of his atylf! . lJ)rraiM ' playing inwl_ a g'I!at ",,"al

of Cast e.liding fran a'\P. p.nd of tm CCl'ltbooud to till" othP.r . and a w,..,.r action bo'1p8 Me to do that . QI II thcfW! string Aolc1J!rr . aM \JSlI>5 light ga". strings 1.009, . 009 , and .QUI for a ftXf! tr~ m.m. and ..... adds t,hooo ..ant .022 on a w~r finrrrboerd to play Vlth four I!q.laUy ~ strlnqll . 0"1 .... intricate harp pif!Cl! lU:" "( 'carolan'. Cl::r'IcI!rto'", lotIicb WIJ 0I"IIt or thP hut t~ ttv!y 1OOCl(ec! OJt to'7-~r , lDr"ralM plays with a nat piclt an C:C~ higtW'!r thin fb:1o"r, who flntl"'rpic:lts . ~r carefully IooOrkll out his arr~t o f INCh t.uno" , W'lU~ Lorrain,. odmits to bning -sub)f!Ct to wild flights of farq wn t

pl.a). *, yet thr> 1C dl H"nng sty1".. blon:!

_11 «'Id a:.pl--.t each othl!or . LorralM hU lo n playing &ISle With ~r t.lab.rd Pick sil"lOl'" thI!y t at a foh ("stlval in 1962 «'Id is quit.!! o:afoctabl.. )lIIl'mU19 Vlth otlY!r DJSlcians, .... tch _y onP. tfta.... "tl'rJ .,." rar,.ly plays a pif!O' tM S&'TP way r;wicp.. "Althrough 1'111 carmit~ to trying to writ.!! dooc\ nusie and l"alning formal nusie, 00 thf' o~r hand , anything that locks a pif!Oe o[ DJsic: f!lthPr in writing or on rPCOrd has capwrf!d it. It's in a kitd of cq Wt 1 tty to n ~1n. Each tlM I play a KInq, I --.t to .6J"t it (r"",." If IOrr ~ his arr~t (lr a .:)10 PIf!Cf!, It's a 'lracLal prOCfHJS. fobst of his "[[ort 1P'"r'lt in trying to captur,. dIP styV- and ~irlt of tunes, ftSP'!C'ully thc:IeI! or 19 i no1l1 Y oWIt (or harp ex lutft or ot1'lF'r DJiti-str1nqood instCUW'nta. To illustra~ LaraiM and ~r'lS individual awrrudY!'II, includPd is tho> tablatucp. (or thP.lr SI"poltD.tfl arrllfl(}'!lD'!nt of W Eli xabl>than 801'19 "How Should I Your TrUl" ~ Know?'". ~1ia ' s acn;J [rell '"HaIdet" . NotlOl'

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~ tlw-ir first string to thP ..... pitch : 8 low lliddll! C. Roqf>r ' lI IIf!ICXnd strl111jJ and Lorrainf". third arf! roth G low aiddl,. C, but IbcJo"r's thud Strinlj ls a full t:Wit bl!low aictJlot C lotIU" lDr"rainf! ~ hl>ra to III.1ddl" C. 'rhI!y rf!O'J«ltld this plP.Ql! on -An £)cultatlon of D.JlciJ!f!u" , CreP.nhaya 707 . .14k" Kllten accarpaniflJd tht!m on guitar and thP. guitar chocds ar ..

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White his .hroud a. the .oun~ain snow, Lauded all with flowers That bewed to the grave did go With true love' • • howers.

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SERIOUS PLAYERS :

BOB DoYLE, LORRAINE LEE, DEBBY

M e CLAiCHY. ROGER NICHOLSOt-J, R.Ot-..} PE.N\)(. ELAI NE 51 LVcR, JA,\(.E WAL.,Ot-..l 4 eat!> WE"Y OWt-.1 • pe~FO'l<.M WITH ONe

012 MORE-

OUR

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AS SERIOUS MAI(ERS WE WOR,,- IN A HUMIDITY CONTCOLLED SI-IOP U511\lG SELECT. OUAt2:TER. SA,,\NN • BCX::>K MATC~ED ,

WALNUT SIDES 4: e.ACK.S ¢ R.EOWOOD TOPS, WIIH THE REST 01= THE BODY WAUJUT.THE PEGS ARE W6LL SEATE.D

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lUNING AN E"'SE. A"-lD I<:.EEP THE INSTRUMENI PHYSICALLY A'-IO VISUALLY eALAt-!C6D. HIE SCALE IS TEMPERED WITH LOW .6C..T\ON ANO c.\-I.OQ..OS Ac.c.Ui:2A'ELY IN A.NY MODE THE FULL LEt-!GTH 01= THE 5C.ALE. MUCH TiME AND A,TENTIOt-! IS GiVEN , 0 DET"ILS o!V\JD TO T\-IE- I-lAt-ID RUBBED TUI-IG OIL FINIS\-I.

WE 01=1=101' ... MODEL'S 01= APPALAC.\-IIAN DULC.IMERS . 2 01= HAMMERED DUL.C.IMERS 1\0 2 OF R2.ETLESS \;!>ANJOS .

FOR

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BQOC\-IURE

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SPQ.\NG ~ PA .

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(814) 224 - 2890

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an interview with

Mitzie Collins 8y MARIAN B. TALLMADGE

Victor , New York DPN

When you and 1 first ~t . you wer~ p la ying mountain dulcim~r and gUltar . When , and how , did you get lntp[e s tpd in thl!! hammered dulcimer?

Mitzi i"ill'968 or 1969 .

â&#x20AC;˘

I wlI!nt t o thp Fox

Hollow Folk Festival. There I heard a fabulous sound , a hammered dulcimer played by Howie Mitchell. This was my introduction t o the instrument and it won my heart. Dennis 00[091 built my mountain dulcimer , with which I was pleased, and so I asked him to makf> IIII'> a hammered dulci~r. He said he had m.ver made onp. . but would do so , and 1f I didn ' t like it I needn ' t buy it.

notes co rrectly seemed secondary . The more I play the dulcimer , the more I realize the lnfinite potential , and I'm just beginning to {jgure out the dynamics , and possibilitif!S of sound . I ' m becoming a better player since I've been going to the dulciffiP.r gatherings and playing with so many different players , studying the varied techniques , types of equipment , etc . NOw I think the dynamics involved are most challenging.

DPN

Do you rp.c om~end this method o [ buying a dulcImer for a beginner? Ml tz i

No , but I was fortunate. t r ibutp. to thl!!

It was a

superior craftsman-

ship of Mr. Oorogi that I have a beautiful instrument . One should know mor e about playing, tuning , constructio n, sound, etc . than I did . Incidentally, 1 refer you to an article i n DPN (Winte r 1981), by Dick Tracy, On Buying a Mountain Dulcime r . Maybe there i s such an article somewhe r e about hammered ones? (Ed. note: DPN Vol 6 , No . 3)

DPN

HiVe you felt overwhelmed , as I have , with the classical possib ilities of the hammered dulcimer? I couldn ' t believe I was hearing co rr ectly when I heard Jim Cou za play classical Irish selections at the Cranberry Gathering .

DPN

HOW

did you learn to play? find a teache r?

â&#x20AC;˘

Did you

Mitzi T"""1OUnd it very rough going at first. I read Howie Mitchell ' s instru ct ion book several times, all about tunings etc ., and at the end of about six weeks I wa s pretty discouraged. These instruments are quite difficult to tune when they are new, and not having anyone to ask about it , I ' m afraid my progress was very slow . After about four months I could do more , but still no real progress . The following year I went back to Fox Hollow, and heard Bill Spence play , bought his tape , and he gave me a few pointers . I think the hardest thing of all was not having anyone to play with, but I was so fascinated by the actual sound of the instrument that playing

Mitzi In some ways , I ' m rather bemused by all this interest in classical music . r had a lot of classical music i n my background , and so to learn to play fiddle tunes without the music was my idea of really learning how to do som~thing . Here are people going back to playing with classical pieces in front of them , and really practicing them ! Personally , I ' ve done all the practicing I want to do, and now r just want to 'v and work out interesting musi combinations . DPN

Do you feel that the mou

hammered dulcimers are 21

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ballaa is the whole itell, co~plete unto itself, and it is being shared by the audience who aren't just singing along on the chorus , but are a part of the whole story as it is being sung .

being â&#x20AC;˘â&#x20AC;˘de to sound entir~ly too sophisticated and complicated? Mitzi

~ty~s

of dulci~rs are certainly ~ing pushed - first the .auntain and now the hammered . No longer ar~ players limiting themselvps to the types of music they have heard played. As their technique gets better, they no longpr worry about technically getting fro. one place to another and are realizing infinitely varied personal styles of playing.

DPN

Let ' s return to the dulcimer . Is there an accepted traditional method of learning to play the instrument? Mitzi Yes, I think the oral tradition . such as I learned this year from Paul Van "rsdale . He played a phrase then I played it. He added a phrase , and I did also. Then he did the two phrases and I did the same. This is the time honored way of learning something orally. He has also taught this way and feels it is best, and I tend to agree with hi. . One thing especially I learned from Paul Van "radale is his economy of action. His style of playing is such that you can ' t tell from behind hi. that he ' s playing. He doesn't .ave around unnecessarily, as many other players do . Chances are his grandfather taught him that way. It was a thrill to all of us at the cranberry Gathering this year to hear the three Van Arsdale brothers perform together , for the first time . They had performed at their fallllly gatherings , but never before in public, ar.d this was a rare treat . The Van Arsdale faaily is one of the oldest dulcieer playing families in the country, and this was an occasion never to be forgotten.

DPN

When 1 firat saw and heard you sing . unacco.panied mostly , I was impressp.d with the honesty and truth of your performance . Th~re was no phony artist ry in your bearing . Can you f!xplain the dlfferf!nce bP.tw~en thp. traditional music and other typ4!'S , and why folk music is what i t i.a? Mi tzi

a tough one, but I'll try! It's a style of performance where the performer is only the vehicle that carries the content of the ballad, or instrument and transfers it into the minds and hearts of the listeners . I beca~ interested in traditional folk music with no recognizable background in my own family; what music we did together was not folk music, as such . I think I came to the understanding of traditional .usic through the experiences I had at folk festivals . I heard some very good people at Fox Hollow and at Pinewoods Camp . 1 sat at Jean Ritchie ' s side while she taught dulci.er, and I realized that not only was she singing and playing her music , but that this music was a very substantial background of her life style . Her whole bP.ing is an outgrowth of this kind of f"rally life . "t Pinewooc:ls there were .any discussiona about tradition"l music . Consciously and unconaciously I think I studied not only what people were doing, but how they were perfor.ing . It is definitely ~usic that is attached to the oral tradition, and it is a style of performing in which th~ performer is a vehicle through which the music comes out . When perfor. , it's not really me perfor.ing, but I'm there. The ballad is co.ing out fro- within me and the story is projecting itself through ae. You could have thp same ballad sung by a pop singM, and then it's a part of the perforllancp. . The traditional singer , ially in unaccompanied ballad , is only a vehicle . The

DPN

Do you like tablature or is It con-

fUSing to you? Mitzi TiEIiture is confusing . I've read music for so long that 1 prefer notes . DPN

~it

difficult for a person who has read music frolll the beginning to unlearn enough to play music by ear?

Mitzi Yes , but it is certainly possible ; I did, especially with the dulcimer. I started doing it on guitar, but found it easier On the dulcimer . The more you listen , the better you become , and you just have to k~p.p at it. I hear, and then I write it down. The .ore I have done this, the quicker I've bP.come in understanding. so I don 't have to write . I can get it by ear. It's been very hard for m~ to get away from having to read everything . but 11m

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Phyf~

tPlt '""..,..ertd !Nlc!"",r -nQlllLl7.o1'1

'~<I L",.,!:

A Comolett :l'Istr~ctional !y\l. .

f~r Bpqlnntrs to !nterwtdl.tt PI<lytrs. Ft<llurlI'I9 roe ... Ubillturt. I,I\ICIII nt t<ltl on lind inHr~CliOn.1 UO(l

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-- 56.95 Tllpe -- 56.95 Book & rape Se t -- 510.95 Include 51.50 for postllge and hAndling

Mal I o rders c/o linda lowe Thompson 1517 llurtlwood Denton , Teus 76201

Photo: Sally

Davidson

working lit it . I think thf!' art of transcribing tunf!' S is a good wa y or q .. tting rro. notation to thp. f!'ar . . . you hear , and th,.n writ~ it down . Anoth,.r Important way is to go places wh"rf!' tun'!s ar .. bP.ing pp,rfor.f!'d . Go oftf!'n , lind juSt litt,.n . I ' d Uke to say on,. mor,. thing about thp dulcimer . and what playin9 it has don .. ror .p. It not only provldf!'s a .ualcal life . but a social liff!' as w.. ll. and is a n.. w way that I can r .. lot .. to people . I phy with soa.. [in .. • ualc!ans . t play ror dancea . Gold"n Link Folk Mu aic Club in ochpst .. r , N. Y. is part or my social life. I 90 to ffl) s tlvols where play music with people I ' ve never l1 .. t bf!forf!' . Thia a,.p.ms to be a way lhat 1 can not only exp r ess mys,.lf . but conn .. ct with o lher peopl,.. Theee ia cpetainly great satisCactlon in th.. artiatry o f perfor_in9 alon9. but for me it's -are i_pectant to play a.cn9 other people. So.ewhece in all of these words ia .y definitivf! statf!'aPnt=. o

PLUCKED DULCIMERS kits fro", $35 rnstrul'1ents fro", $80

M""y choius of ",04..1$

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P"" 1c ~ S . Ctl".~ 1IJOr'1c. t_ ~

HERE I INC. # DPN 25 N.4th St. Mpls., MN 55'101

P~ '

tI!::!I~

John Buquol 916 BrAdlty Athens, Tun

75751

""ndemf"d of qual'it) 6oobnotchtd (u,"{woods,

Spruu, (<dor or JW{"oocf oops. G",,'<T pe9" Bon' ~C5 . AnllCn6Ct

1ft

TRADITIONAL mLK ;

or 11\ CONCERT ModtJ, fwturing illcrensccf \'ofumt. nnd' reSOIUUtce. [ncrl illstnunent signed', Ilunt&nd' ana 9uamn"cd. Stnd' S.A.S . E. for phDlOSji.\p 1414 tl9fllli St .• New OMUU. LA. 70115

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II SHGPPI

THI DUI.C

Handcraft ed Mus ical In strume nts By McSpadden

RECORDS

FOLK CRAFTS

BOOKS

Drawe r E · Highway 9 North

MOU NTAIN VIEW . ARKANSAS 72560 Phone 50 1·269·8639

.. 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 case and instruction

book included in price :

U '.

• Scroll, fretboord, back on~ sides of walnut; face of spruce or

book-matched walnut:

Grover tuning pegs with rosewood

buttons : .. Chosen as prizes by first

place winners at National Dulcimer Contest in 1978 and 1979:

Wide selection of dulcimer books, records, and accessories

available by moil:

Send 25, (for postage) to receive our own Dulcimer Shoppe Newspaper. Send SI.00 for our fu l ly i llustrated catalog.

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Dulcimer Chord Charl By DOROTHY

~1A \'

Prairie \'illa c;: e, 1'5 II chord. The accompanying chart should

An Am (A minor) cho rd would then be played as VIm.

enable you to play Just about any major key folk-tY?e song (includIng .ome pop music ) with chord~. Chord charts can be found in l'1anr bCCl'lnnlnq books and various back issues of DPX. They are usua l ly listed With MC M as horne base , with the dulcimer in CIon ian tunIng. Now you can transpose painlessly to your own instrument - regardless of its key. WARNING: When you transpose, you are no longer playing in the written key. It works fine for your o wn Singing and playing, but if you are playing with a guitarist . s/he needs to transpose too. They can do this easily with a capo. Example 1. If the song is in the key of C. it has no sharps or flats and it ends on a C major chord. Refer now to the 1st column of key Signatures. C is your 1 chord Ifar left column of Roman numerals}. The next chord you will probably e ncounter is a G or an F. These are your V7 and IV chords respectively. What if the writer throws in a 0 chord? Many gospe l tunes do this. That would be your

Kp.y signaturp.

Kp.y (and I chord)

Example 2. \~hat if the song the key of A1 Don't retune if rou llke the way your strings fecI. and your \'oice sounds good with your present tuning. A song is

in the key of A would have 3 sharps 1n the key signature, and end on an A (maJor) chord . Now refer to t he 4th column of key signatures .

and so on.

The chords are listed in the frequency that they occur in most music.

After you start thinking

I - IV - V - relative minor, instead of C - F - G - Am, your cho rd

changes will feel more co~fortablc. The pattern across the table C G o A E etc. is intentional. It repeats on the other lines. but starts in a different place. That's because the keys are arranged in the Circle of Fifths. Now such as with it! play. ]I

VIm

P,.

A C'm

G'm

Illm

Plm

C'm

G'm

O,m

VIIdim

Bdim

E,dim

C,dim

G,dim

Oldim

Aldim

..,

I'J>

01>

Kp.y (and

6' / 6 b

chord) PI I rP

Key signature

For

a written A. you play the I chord (far left column), for 0 you play the IV chord , ÂŁ7 you play the V7,

c, lob'

b A'

01>'

ob'

IVm

cJ>

01>

Dlm/~m

rPm

GI / Ab

01>

III

Alm/ shm

VI Id illl

Edim

Cdim

Gdim

Ddilll

Adim

Edt ..

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

....zy Ridge lnatnl..,."ts

P. O. Boll 295 Cant.. V.II â&#x20AC;˘ .." PA.

(2 151282-1822

MOdel DA 12/ 11

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This Baroque piece of music, originally written for the harpsi-

Theme

chord , is well suited for the dulcimer.

GEORGE FRIDERIC HANDEL (1685-1759) Arranged for Hammered Dulcimer

by DAVID NEIMAN

Cambridge. MA

It is often referred to

as the -ilarmonious Blacksmith-.

It appears in Prederick Noad's SOLO GUITAR PLAYING in the key of A, but I transposed it to the key of G in order to make it eASy to play on a standard 12/11 dulcimer. A few of the low bass notes had to be raised an octave to

accommodate the range of the dulcimer .

Most of the classical music I play on the hammered dulcimer is arranged from fairly Simple classical guitar music . Most of it haa a melody line and a bass

I-

line. The melody is genera lly played with the left hand and the bass line with the right hand, although some eighth note runs will be more fluid if played by alternating hands. The three and four note chords should be played as fast arpeggios . The suggested tempo for the piece is .J - 92, with a flowing and continuous feeling.

1,'* ~)I pl;{J1 ~ pi} fBI; Pi! r;1 #TIl F

~:;It ~IP(lt;'r ~1: ~I(f¥r *~ ;1 ; tIP;JlfJptpIP?lpPIP LCIMERS, De, BANJOS, AND THINGS* ign own Cus.t om· made Dulcimer. Selt.d:. yOUr"

from three pages of spe cial features to odd to the baSIC Teardrop " Hourglo •• ;hoped dultimer. Send three first·dO'. p<!'t...9" ,tamp' Or 50~ for Coeolo3 .

~ ,j..,J) , 1* lIMIERJAtKS,

WOOD CARVINGS,

;;;;E;;-; N;-H ;·-;A~M;;;;B:-;-l~IN-;----' K

' - -7.

tuSTOM mES,

P.O. BOI 894

PEARL INLAY,

Salem, Va. 24153

tNSTRUMENl RfPAtk. .

PIIM,

1 70ll l62-202' --~

model; avoil.ble olso. All hove lifetime

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

.c9uicK fose acliofl for easy cnordtflj ·lifrfilfl2 .JlIIlra,.he

t..A

IfIIIt

pmr.r ",mMr~. «""'1.""''''4,It! "".Il«"fM'I! 01 '/tr.n 01

IkdK.,NI t.

.Preciseft{ flt nanaca"hreclpegs .finesf seasoll£a Appofochjpn Mim1llf}(X/s

~ ;

dfccurale frd J"'ftertt

." "twA of.IIIII/r ''l.II/1U''II'''' mmltw'HHt

? Itt

GUIld II

''If,.....

"l.ro.m., ,/JlI.

l/tr

~It;ntnlf

.).rt'm

GAL {)VII""'" "......,,'I!' ~""M IrotelytK.1 ."Kk,

".I'nt OM.

C-r._

.,., _r

•. •tfd

.I. .'

Exit.,.' ....

'"","-HlIIl

.,.It

TIr!e t;.,Jd 01 AtIW:'.c~ Lvt~,.. 8111 So./f/t p.,1(. AoC'qW nc- I4bltlnllOn 98408

L3815 Kcndale Rd. Annandale Va.)

Here ,Inc:. #DPn

lt5 nor111 'Ith St. !IIpls.,rrln 55'101 Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

.)lum'ba;ga,h A DULCIMER ARRANGEMENT FOR BEGINNERS

This widely-known song can be played with a Rater by playing on ly the melody (indicated on t he bottom line oC the tablature) or by a simpl e hanmony usi ng the thumb o n the melody string (bottom line of t he tab l ature) and index fin ger on tho bass string (top line of the tablature), J've d rawn in Bome strumming directions to help you with the r h ythm . You'll notice that some notes have several .trummlng arrows . This ia to keep the stri ngs going with no long pauses when thece are long - valued notes. My basic s trum is toward .yaelf. If yours is away from yourself, reverse all of the arrovs. In each DPN - or at least now and then - we ' ll have tunes for beginner.. If you have A tune you'd like to lee written out in dulcimer tablature , let u. know .

TUNE;

~ ~

TRADITIONAL arr ; Madeline MacNeil

(Do Sol Sol)

, ,

•

• •

.. ba-

....

yah .

Lord,

:; 7

I• • ••

Kum- ba-

0 '7

o (

.., ..,

•

yah.

Lord.

0 '7

Kum- ba-

ba-

yah.

D FI

0 FI

()

Oh ,

0 7

Z :1

loa

Lord,

()

'77

Lord - --

. ....

yah.

Z If n -0

.. ..... "'_-&

• ...

,~"

~ Kum-

") ()

Kum- ba-

yah.

Kwo- ba-

.. .. ..

•

...

yah .

..,,---,,~

I·

Kum-

0 7

•• • " •

•

I. V

K~-

Z ,'1

. . ...,. ..

•

10 1'1

•

..9~..

ba-

yah.

' ''I

J 4. Bring us peace , 0 Lord, Kumbayah.

2. Someone ' s crying . Lord , Kumbayah. (3 ) Oh , Lord . Kumbayah.

5 . Bring UB love , 0 Lord , Kumbayah . 6 . Kumbayah, my Lord, Kumbayah.

3. SOIDeOne ' s 8ingi n9. Lord, Kumbayah. 3S

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DENNIS DOROGI

.. •. •

.... i

"••

•3

,.z

--.•". .,•.-

•· •

• 5

.... -. ~

Round Family Dulcimer Company 0 6470 81h Ave ., Grandville, Michigan 49418 (616) 457·2 172 Send for our cotolog.

,.,n

H.....r.d Dulcioner I ..onl. of S6,95.0d0 ppd. 1. Joy Round and Friends -Traditional -Instrumental 2. Jay Round With The Williams Family-Bluegrass flovor·Some vocol. 3. Joy Round-One Time Friend-Some Old , Some New-Some Vocol 4. Joy Round -Don 'IGet Around Much Anymore-Jazz Hammered Dulcimer !;; , W Minute Cossette Hammered Dulcimer

Instructional Tope-flO.GO

I RI~n

MU~la il@J1>

uhe

~ ® m~~ i~~~ 0m~~~~~~ IRIC;H 'L'StC fat TIE "O.'m"AIN 11..'1.CI\O. by Bob I-litchlnson d '1"'1 rT'. Book SSJIS/Jape SS.95J&lok - Tape Sil.

silver. spear

.....

publications

ThIs 62-pege book tanS 'fO.J evervthi!1t )'OJ tweed

to kn:::JWabouc .s.pc:tng

Irish dance tLrlrS. al n.

and songs to the 'I'QrItAln dulcimer. Written by Bob i1Jtchinson (0 wellkrown dulcimer pI aver. teacher. al'd IMker) and

Jim Corr ea prtze.......nmJng ~Titerlsl.r (f'OII

P.O. Box 81085

Pittsburah. Pa. 15211

Tyrone,

t~landJ. [hl~

IoQrk is a ldrdlurk In

cLJ.cimer ins[nrtlon ard is SUitable ( ~r'! and loceredlate playen. Expand )"CUr "'lSleal horizorb'

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- - -- - - - - -

1!W'tl2in9 to

cRe.ad cAl!u~ic

by MAGGIE SANSO:-lE

f07. d!-an2nU;,7. fJ:Ju[cime't The exercises on the following pages include diagrams which indi cate the names of the notes and their locations on the instrument.

Pitch (high or low sound) and duration (length of a sound) are two

elements we will learn to read through musical notation .

There are

five lines and four spaces in the musical staff and the first seven letters of the alphabet (A through

In addition to recognizing and playing the notes , it is necessary to know how the printed notes in dicate duration, or length of sound.

C) are used to name the notes which are placed on the staff . These

elements serve .s an effective visual representation of music . The hammer dulcimer usually has two bridges over which the many strings cross. Possibly your instrument came with a chart indicating the letter names for each set of steings. I recommend making strips of paper with the appropriate letter names and pla-

Half Note

Quarter Note

Eighth Note

) ., ::j..

Rests are symbols t hat represent periods of silence. Each note has a corresponding rest sign shown below .

cing them under the strings. I t will then be easy to see, at a glance, the name of each string.

TREBLE BRIDGE

Whole Note

BASS BRIDGE

- 13 ~I)YI

At the beginning of the staff there is a time signature (two numbers , one above the other) . The top number indicates the number of beats per measure while the bottom number points ou t what kind of note r eceives one beat. You may find it he lpful to find a beginning music theory book which elaborates further on these basic principles. As you begin t he exercises which follow, keep these points in mind: 1 . Kee p your eyes on the music! (It can be done ! ) In time you will know by insti nct the proper distance between strings . 2 . Keep an even , steady beat. Use a metronome, or tap your foot . 3 . Say the names of the notes out loud as you play. 4. Follow the hammering patterns alternating between left a nd right hammers as much as possible . 5. Play slowly at first, and then build up speed . The goal is to play each exercise without making mistakes.

Letter names on strips In the following exercises , we will practice reading music beginning with the notes on the bass bridge (the right side at the instrument). First, locate middle C on vour instrument . On most instr~nts , it will be on the bass side , four notes up from the bottom . The use of a chromatic pitch pipe , with a range of middle C to the C above would be helpful in locati ng this note . Written on the staff , middle C looks like this:

Notice t hat it is below the staff and has an extra line drawn through it (ledger line) . Learn this note and its location on your instrument. From middle C , move up one note at a time. 0 is one space below the staff and looks like thiS:~

If you have questions or comments, please do not hesitate to write : Maggie Sansone 1743 Berkeley Way, Apt. 0 Berkeley , CA 9470)

t is on the bottom line of the staff. F is in the first space . 37

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DRELI~l~A~Y

EXERCl~ES

/ ~ "

Our

at4rt.~ q

on bass

no t e

~de ~~

Middle C -

Bass Bridge

Co nt :

L ?

1 2 3 4 12 3 4

R L

2 ]4

1 2

] 4

R- -- - - ----

R L-------------

LR L--------------

1t~

Treb l e Brldoe ( Riaht Side)

Ba s s Br idge

•

~~--- -- -- ----- - -----

~~!~l;Jt~~~~~~~

· Cr o ss ove r t o rig ht tre ble notes

-& " Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

L --- -

C Maj or Scale - one octave

C Arpeggio

R L---- -- -- - __ _ GO TELL AUNT RHODY

~°4tL

AN ALBUM 01 CelU(. R_..u,..a 0"9'.... women ,(Ien " fted IoOOIIJ ind 1MI'-dI .a:omO,lIed on pk>c:k~

"'"'-

Rum 8«Ten & Cvn!,. Smull, $1. II .... S 1.30 Ales tax & IlQSlIQ<l,. 41" Md:0MtI1 Blvd.. LO$ Angeles. Ca. 9OCl66.

- "

AT LAST-A dulcimer case that really protects yet weighs only 2J7 pounds!

Tan water repellant ca nvas shell with contrasting brown trim • Full ~. tufflex padding • Durable brown co rduroy lining • Full l e ngth heavy-duty YKK polyester coil zipper with hang -up loop • SxS" i nterior pocket with velcro cloaure • Identification ca rd holder • Fits dulcimers up to 38~ inches long and I. inches wide Satisfaction Guaranteed Price : $30 + $2 shipping (Va. residents add $1.20 ta. Gary Putnam. Keith Young or 2HO N. Thomas St. 3815 Kendale Rd. Arlington, VA 22201 Annandale , VA 2200) 0

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cLassfpev aVs FINELY DESIGNED HAND- CRAFTED FOLK TOYS: Limber Jack, Limber Dog, Limber Pony S10.95 each includes shipping. Jean's Dulcimer Shop , P . O. Box 8, Cosby , TN ]7722.

The cl.lSsi[io!d sectIon of OOl.CL\lE~. PLA~ ':nos 15 a low COSL W3y to reach hundreds f DP'< readers. Classified ad rates: 20¢ ... , t,oOCd , $5 minin:r..JQ. A flyer on larqer I

rates and composition is .pest.

BUMPER STICKERS:

av~iLable

upon

TABLATURE FOR APPALACHI~~ DULCIMER. Also fidd l e, clawhammer/ bluegrass banjo , and flatpick/ fingerpick guitar. Send SASE fcr single style list or Sl for complete catalog plus sample t~b (specify style) . Jane K~efer , 1155 19th St . • NE , Salem, OR 97301.

"Mixolydian is

with dulcimer design . $1 ppd. or iOC for 10 or more . Dul -

~lerry",

cimer Society of Northern Illinois, 8)5 Linden Ave ., wilmette , IL 60091.

AVAILABLE: Comprehensive guitar scale charts $5, Mountain dulci me r manual - beginner through inte r mediate S4.50, Individual pieces - Sarah Jacqueline's De light (Elizabethan - Aeolian), Canterbury Bells (Lydian) . Re membrances (Ionian), Shrub Oak Jig (Ionian or Mixolydian), Salterello (Renaissance - my arrangement) Sl each. Please add Sl for postage on manual and 50e for single pieces. M. Blatter , ]12 Jay St . , Katonah , NY 10536 .

~~ING DULCI~£R CAPOS : Handmade of naple, cherry or wal nut with brass

•

l~ather

fittings.

Used by many

tO~ Dl~yers.

so why buy an imitation? Only 56 inc. tuning chart , lnstructions. Quantity discounts iwailable for classes , etc . Dealer inquiries invited. DULCIMERS, DULCDIETTES from 560 featurina ne w hourqlas5 dulcimette . 12/11 HAMMER DCLCIMERS from 5350. Stand , cover also available. All lnstruments feature finest woods and workman ship WIth hand-r ubbed fInish. Send SI\SE for particulars . Ron Ewing. 2318 Rahn Rd .• Kettering, OH 45440.

COTTON PRINT PADDED DULCIMER BAG: 40" bv ll- with shoulder strap . book pocket and zippered accessory pocket . S12.95 includes shipping. Homemade from Jean ' s Dulcimer Shop , P.O. Box 8, Cosby, TN 37722.

HARD CASE becomes STAND - custom nade to fit your hanmered dulci ~er. SlOO . Write for details: LIn Parker . George School, Newtown, PA 18940.

What's

played and sung by Gene Wandzy , Kathy Wheeler and Jason Little on hammered dulcimer, recorders, guitar , mandolin and keyboard. Se l ections include Groundhog , Banks of the Ohio, Rose bud in June , and Lark in the Morning/ Ki ngston Hornpipe.

New?

CHICKEtlfi IN THE YARD Mill Run Dulcimer Band ]815 Kendale Road, Annandale, VA 22003 . Vocals and instrumentals with mt. dulcimer, autoharp, fiddle, bass, guitar, mandolin and banjo . Se l ections include Red-Haired Boy, The Roseville Fair, Victory Rag , Sweet Sunny South.

THE FOLK , COUNTRY, , BLUEGRASS MUSICIAN ' S CATALOGUE Henry Rasof. St. Martin ' s Press , 175 Fifth Ave., New York, NY 10010 ISBN: 0-]12-29696-7. This book gives sources and resources for instruments, kits, books, records, repairs, festivals for guitar, banjo, fiddle, bass, hammered dulcimer, fretted dulcimer, mandolin, autoharp, harmonica ~n~ ~ ~~er instruments. J UST US Lily . HummingByrd Productions, Page Hill Rd., New Ipswich , NH 0]071 LOC I 81750 ) 69 . Songs and instrumentals

JAXEY'S AMBLE Christy Cook , Fred Cook, Pat Kane. 8 Redwood Lane , Ithaca, NY 14850. Scottish and Irish vocals and instrumentals wirh hammered dulcimer, flute whistle, bones, fiddle, mandolin and guitar. Selections include The Mason ' s Apron, The LimeriCK Rake , Farewell to Rosema~y, and Victoria Hornpipe.

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•

Jean's Dulcimer Shop

PHONE:

P.O. BOX II, COSBY, TENNESSEE 37722

(615)-487-554]

We spectalill In .auntain and ha. .ered dulci.ers and everythln, for the. •• finished instJ'UllentJ .nd kits by seven i .. kers, builders' supplies, accessories, and nearly every Instruction book and record album I n print fOituri"1 either kind of dulc1.er . Dulcl.er Instruction looks FrOll CRY ING CREEK PUBLISHERS:

OLD TIME FiDDlE TUNES FaA. THE APPAlACHIAN DULCIMER (Wllh pl"ying

and tun1ng techniques (or novices) , ~ ol«D'l !"-chiUi/1f1 Sl.9S ~~...\ StJrlGS AND THINGS FOR CHllDMJC (With beginner's munt.tn eNid.,. \ Instruction, crafts projects, etc.l. br Schil.liltg Sl.9S ¥~.\ THE DULCIMER fAIR TABLATURE BOOK (How to play the ~nt.ln dulcl.er. (I"0Il simple to advanced), "" L#o KNt&?W:1'" 16.95 CHOfWAl EXPlORATlOfrIS FOR 3-STRIHG DUlCIMER, )ONIArI TUNING: G-G-t \

'«m

(lntemedhte level instruction) b!t .1."11 RocJcwU « .95 TWELVE TRADITiONAl TUNES fOR 3-STRING DUlCIMER TUNING A-A-D (An excellent beginner's prl~r I ~ .I.~ Rocku.Zt SI.SO

DulclMr .... sic: Fro- T'RADlTl(lHAL RECORDS ($6." Each):

01..0 TRADlTltwtS,

.I.aY1 SchHting

Cslbua dbc)

PORCHES

THE POOR , bll .1«111 cmd LH Schittl"" Cslbu. disc)

HOUHTAIN DULciMER AND PSALTERY INSTRUMENTALS, bN .I.~~ Roo~ZZ cmd

DULCI MER FAIR,

bJi lAo ANti"''' and

.Ia.N Leibovita

Ha'f1l AM ~Za

(60 Hlnute c.ssette)

(Iilx... disc)

Our CRYING CREI!K PUBLISHERS books and TRADITIOHAL RfCORDS aibUlIS and tape . . . y beevailable froll )"OUf local ...,slc stONl, record deller, Of dutcillCf .. ker. For _II-ordef service fro- JEA.~·S DULCIMER SHOP, send pun:h. .e price plus shippillJ and handlin, charles or 75. for the rlrst title, 25. for each additional title.

JEAN'S DULClNER SHOP serve. both the rotail and the ... holesale ... sic tfldes. Dealer inquiries are invited.

n.a1e:UttI' People Servin& The Needs Of Dulciaer People letell Catalol SI .OO, Refundlble With Order

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71couHic Variable-s in Mountain Vulcime-r ConsHuction by BONNIE. CAROL

rlNGERBOARO CONSTRUCTION;

Boulder. Colorado

Reallzlng that Itandards and the way. they de\'elop are arbI-

trary, let

propo .... few atan-

darda ror dulCl.er sound.

begin wlth, accurate tuning,

[ratllng. and nut and bridge place. . nt ,lire e •• entHIl. ".xt , " dul Clmer mUlt be audible 1n the contoxt where it will be used: 1n ..

The

fingerboard of • dulcimer acta like .. long. heavy brace, going the length of the exterior of the soundbox. Thought of In thll way. and re. . mbering all the braCing experi .. ntl done wlth qUI tara and other .trinqed Inltr~nts, the importance of the fingerboard In detenliinlng dulciller .ound i . obvious. There are .ev.ral ba.IC typel of dulCimer fing.rboard.: solid. rout.d, arched, and la.lnat.d,

strong band, volume ia more important than in .. cabin on .. quiet

mounta1n .ara tond lona t han The note I

road . I personally •• o[ .. aweet. IUltaintnq .. Iharp, ~njo-lik. tone. need to be individually

clear 10 the nelody 1. dlstin-

quilhable 1n whatever octave on whatever atrlng It 11 played. and the perceived volume or the pitche. need to be si_ilar from low

ARCHED

SOLIO

to high. Sound 11 an Important facto r in Judging the quallty of a mu.ical

in.trument alon9 with qeneral crafting. dura bility, (unctional requir.ments , .nd the e'lually nonspeclfic attribute ~f a •• thetic appeal . [ven 1f there ar. not ItrlCt, non - lubJective Itandard. for what II good lound, it is u.eful al bUilder. to know how to control and change the .ound. Probably the mo.t IMportant le •• on that I have learned about the .ound of a dulCimer, and other In.trumentl a. well, I. that the overall .ound o( a pa r ticular In.trument il determined by the Interaction of a number O! acoustic variable.; it il not governel! by only one or tWO facters . for exa~ple, sone dulcimerl With harcwool! tOpS are very qUiet, but otherl are not. There i. more to the .to::-}'. In!:!lY experience, the InteractlOn o~ three ~]or .ound ,'ar.ables creates .O:llethlng like 75' o! the sO,ln(!. ',arlatIOn in dulcu"ers. :-hele :!e!~nlt1"e sound detemllnants are 1 the ~.nner of con.tructlon o~ ~h. ~lnqerboard, ' 21 the relatl0r1lh:.;:; o~ the stzel of the >,arious ~ar~I, .l"I~ ]j the ~aterlal. ~Ied ~or ~!te ~ ... lc.-er.. ;.. nu~ber of o,:hl!!r. :ess ~-;::o::-":.n"; ""rlable. In ::1._0' IbJ ·. '0' ~l-!teci to , type o~ f.~ .• h J.e~. ~elyht anI! size of the heacs":oc~ and endblockl, action, and Itr~~~s .cco~nt ~or the re. . 1nlng 25~ c!: 10Jnc. ·adatlon.

LAMINATEO

ROUTED

S.v.ral of these type. can be u.ed In combination With others; for example . routed and arched or arched and 1•• lnated.. Non. of these four fingerboard type. 1. difficult to con.truct. Th• •olid one requires the leaat .ffort, being simply a aolld piece of wood. In my experience, the routed atyle. 1. the most common in contemporary con.tructl0n . It is built beglnnlnq with a solid fingerboard and th.n varytu!"! amount I of the und~r.id. oC the fingerboard are remov.d With a router. rroa a 7/8~ tall by II/2 M Wide fingerboard, [ remove appro~l . . tely 1/2- by 1M of wood, u.ing .everal pa •••• of the router.

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I almost always use an arched fingerboard. More than half of the time, I use a hardwood top, and I like the tone quality and volume of the lighter fingerboard in combina tion with the other sound variables I use . Also, I frequently play with a capo and the arches lend themselves to t.his .

I cut the arches on a band saw and then use a drum sander in a drill pres. to sand the arches smooth. A laminated fingerboard is probably the most stable one, not being as susceptible to changes in humidity that the weather and seasons bring . The laminations can follow any pattern, and a couple of possibilities are shown in drawings 1 and 2 .

The manner of constructing the bridge end of the fingerboard significantly affects the dulcimer's sound as well. The most common .ethod is to extend the fingerboard to the end of the soundbox, with or without a strum hollow. Sometimes the fingerboard ends after the last fret and before the bridge . Another method is to extend the fingerboard to the end of the soundbox, and leave space between the fingerboard and the top of the endblock. Sometimes there are cuts made in the top to further disengage the fingerboard fro~ the endblock. This method is frequently referred to as a floating bridge and is an idea I learned from Howie Mitchell. The idea ia that the fingerboard can vibrate more freely if disengaged from the box and dulcimers made this way are usually quite loud. It is necessary to have

a stiff fingerboard and is adVIsable not to use a strum hollow to lnaure that the string tension doesn't warp the fingerboard or crack the top. Generally the bridge of the dulcimer is over the endblock or near there, but the tone and volume of the dulclmer can be significantly changed by moving It away from the end block toward and even into the middle of the lower bout. If the bridge is mounted on the fingerboard, the tone is not quite so markedly changed as If the fingerboard ends sometime before the bridge and the bridge is mounted directly onto the top of the soundbox. In this case the dulcimer begins to sound more like a banJO in that there is a loud attack and not .s much sustai n as dulcimers usually have. This also makes for quite a loud dulcimer. MATERIALS: The historical home of the dulcimer in this country is Appalachia and early dulcimers were constructed almost exclusively of woods available in the forests the builders inhabited: walnut, cherry and maple were the raost common. Now we have continued this somewhat arbitrarily chosen early tradition and probably half of the dulcimers constructed today are from these woods . The other half are made of almost anything from plywoOd, formica, roofing cedar and fir two-by-fours , to the most exotic of imported woods; koa, zebra wood, vermillion, rosewood, goncola alves, sheddua, mahogany, and narra to name a few I have tried and seen used successfully. The harder, stifter, and denser woods give a more mellow quieter sound than the lighter, more flexible woods. Rosewood, hard maple and ver~illion are among these . ~oa and mahogany are among the lighter hard woods, and their tone is brighter and louder (all other tactor. bein9 the same) . The choice of a softwood top (cedar, spruce or redwood) gives ~ louder and brighter sound to any Instrument , all other factors being equal . Walnut and cherry are somewhere in the middle of the denselight continuum . Generally, 1 prefer the less dense woods such as walnut or koa to the more dense ones such a goncola alves or rosewood. However , when I use a wood that is at one end of the dense-light continuum , I simply alter other acoustic determinants. Por example, if I use a dense wood for the back, sides and fingerboard of the dulcimer, r will use a spruce top, or if I use a hardwood top, I will thin the top and back a little. Rosewood tops are generally 1/64- thinner than the usual l /S- and mahogany or spruce ones are about 1/64~ thicker .

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I would not use a dense wood for a top and also use a solid fingerboard. These are examples of ways to combine acoustic variables to get the sound you want. VOLUME OF THE SOUNDBOX: The volume of the soundbox is determined by the length and width of the instrument and the shape chosen . The most common shapes are hourglass, teardrop, elipse, violin, lute and asymetrical ones.

This discussion is meant to leave you free to believe your own ears . Eventually the dulcimer field will be more dictated by standards, but I hesitate to guess what instruments being constructed today will have set the standards when we look back in fifty years . In the meantime , it is a unique joy being a dulcimer builder in that the standards are loose enough to allow all sorts of acoustic and aesthetic experiments . I almost prefer the current situation where what you like is what you like!

It is possible to determine the area of the top by drawing the shape you have on a piece of graph paper and counting the boxes, subtracting soundholes, linings. bindings . etc. Then to determine the volume of the instrument, multiply by the depth of the sides . The tone of the instrument is, in part . determined ~y the volum of the box. A larger box tends to re inforce the lbass tones more, and a smaller one tends to reinforce the treble tones. The relationship of the area of the top to the depth of the sides is important here . Bass tones can be further reinforced by making the sides deeper in comparison to the area of the top, and treble ones can be reinforced by making the area of the top greater in comparison to the depth of the sides. There are extremes of these two variables which I do not find pleasing: increasing the depth of the sides too much tends to make the sound shift from more mellow and bassy to downright muddy if the top area and string length are not similarly increased; in other words, the entire size of the instrument is relevant in supporting these bass tones. Conversely, very shallow sides and a large area top get somewhat brassy sounding and these dimensions need to be altered together also . I think of the dul cimer as primarily a treble instrument; as currently built, it is somewhat frustrating to attempt a full bass response from a dulcimer . But then, neither do piccolos play resonant bass tones! 44

SUSIE PETERSEN

CAROL REICHENBACH with

ROBBIE DAVIS &0 SIMPKINS MIKE SCHRADER

An album of mountain dulcimer music shared by good friends_ Other instrument~ include hammered dulcimer . guitar, harmonica, 5-string banjo plus vocals . Selections include: Old Joe Clark, June Apple, Over The Waterfall, An Uncloudy Day, Scotland The Brave and more. S8 Post-paid Kitty Paw Records 7214 Bla~ier Court Louisville . KY 40228

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DULCIMERS FROM THE OZARKS Onp-o f-a-klnd instruments by one c raft s man apec ial izinq in mounta in and hamme r ed dulcimers . Moun tain dulcimers have the 6 1/2 fret. Fr etboa rds are inlaid at no ext ra coat.

L. O. Stapleton 201 Midland Springdale , AR 72764 (501) 756-)])0

I also build wood -top banjos , psalteries , e t c . EACh instrument is pri ced 8S to t o ne and ~auty . Ca ll or write f o r more info rmati o n .

Qeflections on the Carter family A new album by RON PENIX, CATHY BARTON-PARA, DAVE PARA and JAY ROUND Ten of our favorite Carter Family vocal tunes plus four instrumentals using Carter-style Guitar and Autoharp, Clawhammer Banjo, Hammered Dulcimer, Flat-picked Guitar, and Bass.

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REFLECTIONS ON THE CARTER FAMILY T2P-002 $7 .50 HAMMERED DULCIMER REUNION T2P-00l $6 . 50 Prices Include Shipping. Maryland Residents please add 5% sales tax . Available From:

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