2002-04, Dulcimer Players News Vol. 28 No. 4 by Dulcimer Players News

111 tltI8188He. ..

* Early Dulcimer Recordings and Edison Cylinders * AGlorious Tennessee Music Box * Growing in a Group * Building Dulcimers: Sanding and Sanding Blocks * Performing: Forgive but Don't Forget

Meet. .. * Doug and Susan Hood

* Jeanne Page * Katie LaRaye Waldren PIH8. .. * Events, Music, Reviews, and more...

Katie LaHaye Waldren

~UlCIM[R ~lRnR~ NfW~

Contents

Dear Readers Letters To Us

Dulcimer Clubs

Events

Musical Reviews· Neal Walters

• Madeline MacNeil, Publisherl Editor Tabby Finch, Editorial Assistant Post Office Box 2164 Winchester, Virginia 22604 540/678-1305 540/ 678-1151. Fax dpn@dpnews.com, E-mail On line at: www.dpnews.com

Hammered Dulcimer Tales & Traditions· Paul Gifford

4March Arcadia

Mountain Dulcimer Tales & Traditions· Ralph Lee Smith Interview: Doug & Susan Hood· A Family Of Dulcimers

18 21

Growing In A Group· Katie LaRaye Waldren

~ Skye Boat Song

Profile: Jeanne Page, Teacher, Musician, Inspiration

27 30

Technical Dulcimer· Sam Rlzzetta

The Art of Performing· Steve Schneider

Hammer Dulcimer· Linda Lowe Thompson

Technical Dulcimer Column· Sam Rizzetta

44 46 47 48

Ding Dong, Merrily On High

What's New · Neal Walters Advertiser Index Unclassifieds

• Columnists

Mountain Dulcimer History · Ralph Lee Smith Hammered Dulcimer History · Paul Gillord What's NewlMusical Reviews Neal Walters The Art of Performing· Steve Schneider Profiles· Rosamond Campbell

•

An In!/JIview will, 1J~vg- k t;v.an #~~J, fage .,,1

Office Management Clare Ellis

Transcriptions Ruth Randle

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Design. Typesetting & Production lefkowitz Design, LLC

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Founded In 1975 by Phillip Mason

The

Oulcimer Players News

is published four times each year. Issues are mailed (via 3rd class) to subscribers in mid-January, midApril, mid-July and mid-October. Subscriptions in the United Slates arc $22 per year. $42 for two years. Canada: $24 per YCilr (VislI, MasterCard. US banks or international money orders only). Orner coumries (surface mail): $26 (US funds, US banks or inleOlutionai money orders onl y). Recent back issues mc usually :lv;lilable.

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Fall 2002 â&#x20AC;˘ 1

Dear Readers

ne summer many years ago I was fortunate enough to study choral directing and sing in the Detroit Symphony Orchestra Summer Chorus under the tutelage of Robert Shaw. I was very yo ung, inexperienced (especially in the choral directing class), quiet, wide-eyed, and open-eared for the entire six weeks. Those days brought ideas and enlightenments that stayed with me as I started exploring folk music and spread my wings in other directions. As Robert Shaw spoke and worked, I remember saying to myself, " Maddie, if you're smart you'll pay attention and remember this." One afternoon Mr. Shaw mentioned freshness in approaching a piece of music, a lways looking at it, the playing a nd singing of it as a new adventure. He told us that recently he was scheduled to direct the Brahms Requiem and intended to bring his often-used, well-marked copy of the music along with him to study during a flight to California. He forgot the music and bought a copy to go through on the way home. Mr. Shaw told us that he suddenly saw the freshness of the music, which brought him new ideas and enthusiasm . He sa id he could hardly wait to attend the first rehearsal for this piece which he had directed so many times before, because he wanted to try different approaches. As a performer, I have definite musical favorites; yet the nicest part of playing and singing these oft-repeated songs is hearing the music in my head for the first time. The words create new stories tempered by the audience members for whom I want to share them. It is though I am discovering them for the first time. Robert Shaw's words encouraged me that day-although I didn't realize it at the time!

I think I speak for most of us who teach dulcimer workshops and classes. Those of you who study with us invite us to look at the music aga in a nd again, and to explore. How do you do this? In many ways. Perhaps you're having difficulty with some ornate fingering or hammering and we find the core of the tune again. Perhaps we've hidden it a bit through our years of playing. Or you ask us questions about the style of music or the origin of a title or some of the words, enticing us to look a bit further. A vignette from this past summer brought Robert Shaw to mind again, and once again I realized why his words remain with me. I came home from teac hing a week-long workshop, carried the dulcimer into the house, and, before doing any other end-of-trip duties, opened the case, pu lled out the dulcimer, and began to play, with fresh ideas, a song we'd explored that week. Robert Shaw couldn't wait to begin the rehearsals for the Brahms Requiem; I couldn't wait to play "Down By The Salley Gardens." When you study with us you probably consider that you are the student while we are the teacher. More times than you'd realize, the opposite is also true. The experience of music, whether we're new to OUf instrument or seasoned professionals, draws all of us together and teaches us all. Late September Update: The perpetrator, a brown recluse spider. The victim, me. Eight days in the hospital, but I'm on the mend. My loving thanks go to all of yo u who were with me every step along the way. I'll be in touch. Dulcimerrily,

NETWORKING Closing dates for the February-April 2003DPN (To be mailed to subscribers in mid-January)

Display Ads: 1/12 page $35 1/6 page $70 1/4 page $105 1/3 page $140 1/2 page $200 Fu ll page $400 Information for News & Notes, Inside back cover $450 Letters, Music Exchange, etc: Outside back cover ( ~ page) November 5th $290 Unclassified Ads: Nov. 5th Contact us concerning multiple Display Ads: Nov. 5th (space

insertion discounts. Advertisers: Please be sure to mention which kind of dulcimer is featured on recordings.

reserva tion), Nov. 15th

(camera-ready copy) Ad Prices

Unclassified Ads: 45e per word. 4 issues paid in advance without copy changes: 20% discount.

For inquiries concerning interviews and articles, contact us for details and a style sheet. Unsolicited manuscripts are welcome. For returns of

manuscripts. photos, or artwork, please enclose a stamped envelope; otherwise DPN is not responsible for their eventual fate. The DPN reserves the right to edit all manuscripts for length and clarity. The opinions expressed therein are not necessarily those of the Dulcimer Players News.

News and Notes, Letters, Events, Clubs Dulcimer Players News

PO Box 2164 Winchester, VA 22604 UPS address: 202 N. Washi ngton Street Winchester VA 22601

Technical Dulcimer Questions Sam Rizzetta Rizzetta Mu sic

PO Box 530 Inwood, WV 25428 Recordings and Books for Review Neal Walters

12228 Hollowell Church Road Greencast le, PA 17225

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In 1812, we began making dulcimers because they were easy to play, not too expensive, and lots of fun. Alter 29 years, Black Mountain Dulcimers still are. FREE Calalog of Dulcimers, books, CDs and more

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Letters To Us Dear DPN: The article in the Summer 2002 issue of DPN , "Dulcimers in Cyberspace" by Tull Glazener, was good, but had some outdated information on the hammered dulcimers email list. To subscribe, send an empty email to hammered_dulcimers -subscribe@lists.fmp.com. If you prefer the digest version, email tohammered_dulcimers-digest-subscribe@lists.Jmp.com In both cases, you can leave both the body and the subject line blank. They are ignored. If you have any questions, let me know. I am the list owner/manager. Bob McClure, Jr. , robertmcclure@earthlink.net DPN Vol. 28, NO.3 (Summer 2002) correction: The wonderful drawing of Fred Woodley was done by Ron Parker. We neglected to include his name.

Heartstrings to my Mom, with love

Sweet is the voice of my dulcimer, as I pick out '~mazing Grace"But sweeter still is the love I feel , looking into my mother's face. The words that I say now don't always get through, but the music reaches her soul. I know that it touches the love in her heart, and helps to make her whole.

FEATUR,iING

!butt

pan ish lCI~lssic:al & L tin Folk Music on the Hammerei:! Dulcimer /.

'}\ concept that is long overdue. Played with all the skill and passion such music demands. Wonderful. "-oPN Duff's sensitive interpretations capture the spirit of tbese pieces beautifully. "--5ing Outl

The vibrating strings give voice to the tune, and the tune reaches deep down inside To vibrate the heartstrings that lead to her soul, and the "knots" in her mind come untied.

She looks up and whispers a word or two, and her face lights up with a smile. "Have you met my daughter, Ruthie?" she asks of the nurse. "I'll introduce you after a while." "She comes here from Virginia, so far away, I don't know how many miles, I' m going to live with her someday, you know,"

and her voice drifts away, and she smiles. My heart knows the truth, and I know hers does too, though we no longer say it aloud, But I play her the music that still binds our souls, and I know that of me she is proud. Sweet is the voice of my dulcimer, as I pick out "Amazing Grace"

But sweeter still is the love that I feel , looking into my mother's face . Ruth Randle, Manassas, Virginia, ©712212002

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Fall 2002 â&#x20AC;˘ 3

Dulcimer Clubs

Possible new dulcimer club in the Boston area On Thursday November 21st fro m 7-9 p.m. players of hammered and mountain dulcimers and autoharp will gat her to explore the interest in forming a club in the area. The meeting will be held at the Scandinavian Living Center (www.slcenteLorg), 206 Waltham St., West Newton, MA 02465, 617-527-6566. T he first half ho ur will be a n open stage/concert for the SLC reside nts followed by jam sessions and possible workshops. Those interested in the club idea (even if unabl e to attend the November 21st gathering) should co ntact Ken Mattsson at 617-576-9331 or kenm@walkways.org.

New Clubs

Ohio Dulcimer Friends of Caesar Creek

Canada Southern Ontario Dulcimer Association

Sally Smith/Pickers Porch 8572 O ld Stage Road Waynesville, Ohio 513-897-0654 sa lly@ pickersporch.com www.pickersporch.com/groups.htm 2nd & 4th Tuesdays (HO, MO)

Peter Nemeth 650 Srigley Street Ontario, Canada UY 1 W9 905-836- 1020 yope terbuddy@ aol.com 2nd Tuesdays

Arizona Southern Arizona Mountain Dulcimer Club Candy 0 ' Addario 77 11 East Linden Street Tucson, AZ 857 15 520-885-8240 daddario@sprintmail.com http://dakotacom.net/ -daddario/ dulcimer C1ub.html

Texas Austin Area Acoustic Music Society Mary Ann Hetrick 200 Mesa Trail Lea nd er, TX 78641 5 12-259-7702 aaams@ msn.com 2nd & 4th Wednesdays

cradle. Your ""OU A~ nta/"" Ou Ielmer In The Best Designed and Made by Dulcimer Players for Dulcimer Players THISTLEDEW ACRES Lee and Doug Felt P.O. Box 134 Marengo, OH 43334 4 t 9-864-1736 lecfclt@bright.net

Send for free brochure! Nylon Cordura@Bagsfor One or Two Dulcimers

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..Hearts starve as well as bodies; give us bread, but give us roses." -James Oppenheim

Blue Lion DUlCIMERS, GUITARS AND ACCESSORIES 10650 Little Quail Lane Santa Margarita, CA 93453 (805) 438-5569

Moons and Tunes with BONNIE CAROL Moons and tunes. notes and boats: our 5th annual musical wilderness

Call or write for free cata log

river t rip will feature a li ttle whitewate r as requested by past part icipants. Well be on the Colorado River in a deep. red sandstone canyon wit h experienced guides,

A REPERTOIRE BOOK for the Fretted Dulcimer

20th ANNIVERSARY Innovative, Winsome Arrangements Classical -Traditional. Popular-Seasonal

ANNA BARRY PO Box 128 SUGAR GROVE, NC 28679 DPN Readers' Special: 515,00 Postpaid

Folk Notes Dulcimers A Large Selection of Quality Folk Instruments-Great Prices See Our Ad in The UnClassifteds! Dennis DenHartog Ph#: 260/484-9078 www.folknotes.com

Fblk Notes Dulcimers 2329 Curdes Avenue Fbrt Wayne, IN 46805

great food and beautiful music made by you! River r unning. deser t strolling, riverside camping, mus ic in starlit amphi t heaters. costume extravaganzas - the camaraderie of a music camp and a river trip all rolled into one. Come with dulcimers and gui ta rs. fl utes and whistles. accordio ns and voices - or come to boat and listen - all are welcome. Bring your camping get- up, your s miles and yo ur friends. and well bring whatever s pecialized rive r equipment you need. No river run ning e xperience is necessary. Last yeal's trip Ailed early, so dont dally.

$450 is due Mar. 1st, 2003, Trip is June 13 - 16 , 2003, Get in touch for more specifics, Bonnie@BonnieCarol.com IVww.BonnieCarol.com 15 Sherwood Road Nederland , CO 80466 (303) 258-7763

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Fall 2002 • 5

Events November 9 • Elizabethtown, KY Heartland Dulcimer Fall Festival. Workshops for MD, HD, harmonica, guitar, tin wh istle, etc. Open stage, con-

October 24-27 • New Harmony, IN Dulcimer Chautauqua On The Wabash. Features works hops, jam barn, singing, concerts and pot luck supper. Info: Maureen Sellers, 4708 Corydon Pike, New Albany IN 47150. 812-945-9094, MaureenSel@aol.com. November 8-9· Ridgeland, MS Central Mississippi Dulcimer Association Fall Festival. Workshops for MD, HD, gu itar, penny whistle. Concerts, open stage. Info: Connie Seaney, 2359 Upper Drive, Pearl, MS 39208. 601-939-2780, bcseaney@netdoor.com. November 8-10 • Pigeon Forge, TN Smokey Mountain Dulcimer Retreat. HD, MD. Workshops, concert. In fo: June Goforth, 865-687-9418, jmgof99@aol.com.

e 9 ..--_--. e

certs. Info: Craft Merchantile, 270-8775551 , dulcimore@aol.com. www.geocities. com/heartlanddulcimerclub.

Nov 10-16· Brasstown, NC Workshop: Beginning Mountain Dulcimer. In fo: John C. Campbell Folk School, Brasstown, NC 28902. 800-365-5724. www.folkschool .org. November 16 • Athens, OH Southeast Ohio Dulcimer Festival. Workshops (MD, HD) and evening concert at the Dairy Barn Cultural Arts Center. Info: Jerry Rockwell, PO Box 79, G uysville, OH 45735, 740-662-3011 , jermar@frognet .net, www.jcrmusic.com.

November 22-23 • York, SC Yorkville Music Weekend. HD, fiddle works hops, concert. Info: Susan Sherlock, PO Box 1281, York, SC 29745, 803-628-0543, svshe rlock@rhtc.net.

I November - January Issue: I Events from the 2nd weekend of Nov. I through the 2nd weekend of Feb. I Deadline: August 1st I I I February - April Issue: I I Events from 2nd weekend of Feb. through the 2nd weekend of May I I Deadline: November 1st I I May - July Issue: I I Events from 2nd weekend of May I through Labor Day weekend I This is our largest yearly calendar I I Deadline: February 1st I I August - October issue: I Events from the 2nd weekend of Aug. I through tbe 2nd weekend of Nov. I Deadline: May 1st I I L--- ____ _ _ .J continued on next page

Dulcimer Cruise May 10-17,2003 Cruise the Western Caribbean on Royal Caribbean' s premier ship, the Explorer of the Seas" . Visit exotic ports at Hispanio la, Jamaica, Grand Cayman and Cozumel. Royal Caribbean ofTers a wide variety of speciality restaurants and ac tivities including shopping, (thin k 4 story shopping mall , with shops, cafes, and street performers) 9 hole golf course, theaters, casino and even an ice skati ng rink. In port, visit prehi storic ruins, waterfalls, snorkel in the warm waters or just relax on sandy beaches!

Jam sessions on deck , concerts, hammered and moun tain dulcimer in stTuction with dulcimer artists Rob Brereton, Madeline MacNeil and Janita Baker and the camaraderie and memories of an incredible dulcimer adventure await yo u! This is a not-to-be-missed dulcimer week- there is something for everyone ! Prices stalt at $875.00; early reservations highly recommended.

For Reservations and Cruise Details contact: Cruise Holiday 56 Danblll)' Rd New Milford, CT06776 860-354- 2669 800-305-7447

For inJormatiol/ 01/ dulcimer activities: Dulcimer Players News P.O. Box 2 164, Winchester, VA 22604 540-678-1305 dpn@dpnews.com www.robear.netldulcimercmise

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

6 • Dulcimer Players News

November 22-24' Helen, GA Foothills Dulcimer Festival. Concert, workshops (MD & HD), and open stage at Unicoi State Park. Info: NGFDA,6065 Rosewell Rd ., NE, Suite 1163, At lanta, GA 30328. http://ngfda.org. November 23 • Subiaco, AR Red Bench Hammered Dulcimer & Guitar Workshop. Workshops for begi nnin g and interm ediate ham mered dulcimer, flatpick guitar, guitar styles and theory. Saturd ay eve ning concert. Info: Gregory Pilcher, PO Drawer 130,

Jonesboro, AR 72430-0130, 870-933-5662, gregory@ ipa.net. Nov. 25-Dec. 1 • Brasstown, NC Workshop: Continuing Hammered Dulcimer. Info: John C. Campbell Folk School, Brasstown, NC 28902. 800-365-5724. www.folksc hool.org.

The Music for Healing & Transition Program Develop t he skill s to provide live, hea li ng mus ic to comfort the ai ling or dying atthe bedside and experience the joy in being of service. The Music for Healing and Transition Program, Inc. (MHTP) offers a course-of-study for musicia ns, music students and voca lists at sites throughout t he US, leading to

December 8 • Brasstown, NC Workshop: Learn To Play Mountain Dulcimer. Info: John C. Campbell Folk School, One Folk School Road, Brasstown, NC 28902. 800-365-5724. www.fo lksc hool .org. January 3-5 • Huntsville, TX Dulcimer Retreat. Weekend of jamm ing for all acoustic instruments plus wo rkshops. In fo: Linda Evans, 11129 Highway 90 West, Beaumont, TX 77713, 409-866-0848. ssd ulchse@aol.com. W\vw.d ulcimerhouse.com.

January 12- 18' Brasstown, NC Workshop: Intermediate/Advanced Hammered Dulcimer. Info: John C. Campbell Folk Schoo l, Brasstown, NC 28902. 800-365-5724. www.fo lkschool.org. January 17-19' Bardstown, KY Kentucky Music Weekend Winter Festival. Info: Na ncy Barker, Box 86, Bardstown, KY 40004. 502-348-5237. www. texas. net/-squarel/kmw.

Jan. 18-19' Appling, GA Mistletoe State Park Jam. Mountain dulcimer jam (i nd oor faci li ty) open to all other inst rument players and non· players. Camping info: 800-864-7275. Event info: Rick or Peggy E rtz, 706855-7041. gokarter@pop3.concentric.net. January 19-25 • Brasstown, NC Workshop: Intermediate/Advanced Mountain Dulcimer. Info: Jo hn C. Campbell Folk School, Brasstown, NC 28902. 800/365-5724. www.fo lkschoo l.org. February 1 • Loudon, TN Workshop. All levels of mountain dulcimer players. Info: Norma Jean Davis, 205 Engel Road, Loudon, TN 37774. 865-458-5493. davis_music@juno.com. February 2-8 • Brasstown, NC Workshop: Beginning Hammered Dulcimer. Info: Jo hn C. Campbell Folk School, One Folk School Rd., Brasstown, NC 28902. 800-365-5724. \vww.folkschool.org.

Announcing The Second Annual

Heritage Dulcimer Camp Mountain and Hammered Dulcimer Novice through Advanced Classes

certification as a Music Practitioner. Courses offered throughout the country:

Tucson • San Jose • Denver • Tampa

Atlanta • Chicago • Ann Arbor • Austin Portland, OR • Hillsdale, NY • Seattle Manchester, NH For a comprehensive brochure outlining the course and a current schedule of classes and locations, please write to:

The Music for Healing & Transition Program

22 West End Road. Hillsdale, NY , 2529 Email: mhtp@bcn.net

July 20-25, 2003 Parkville, Missouri for information contact:

Sharon Lindenmeye r 405 Court· Ellsworth , KS 67439 (785) 472-4285 • sindmyr@in formatics.net http: //wvvvv-personal. ksu .edu/ - 30 14tum/ he ritage

Website: http://www.mhtp.org

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Februarv 2-8 • Abingdon, VA HD Plaving Elderhostel. Info: Jeff Sebens, P.O. Box 16, Meadows of Dan, VA 24120. 877-426-8056. www.mead-

ows-music.com.

2003

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Februarv 7-8 • DaliaS/Fort Worth, TX Winter Festival of Acoustic Music. HD, MD, autoharp, harp, guitar and other instrum ents. Workshops and concerts. In fo: Linda L owe Thompson, 309 Pennsylvania, Denton, TX 76205. 940-387-4001, IIt6@earthlink.net.

~ ~

11. 1

_' i'

....

RECREATION UNLIMITED Camps far Indivi duals with Disabilities Ashley, Ohio

PERFORMERS & WORKSHOP LEADERS Mountain Dulcimer Sue Carpenter Cindy Funk (Sweetwater) Vici Gombaski Shelley Stevens (Sweetwater) Katie LaRae Waldren

Februarv 8 • Loudon, TN Workshop. All levels of mountain dulcimer players. Info: Norma Jean Davis, 205 Engel Road, Loudon, TN 37774. 865-4585493. davis_music@juno.com. 0

'n- 1 (800) 636-FOLK

New festival coming to Texas in 20031

Palestine Old Time Music and Dulcimer Festival March 27-30, 2003 Palestine, Texas

New £rom Tcm Baehr •

"Ancient Echoes" Muaic (or Dulcimen and F1utelf

0rWnal irutnunenw. on ltandard, baritone and baM fretted dulcimer., ceramic lIute and fife, pi", m"';" by F.......do 50r and 1. S. Bach Includes "Crt:tcent Rae," "KaleidOKOpe" CD $t5 pi... $2 obip~ ""d """~ • AIoo by T.." Saw • "An Inhabited Garde." V~eUel rOT Fretted Dulcimer Original tunes plus mlllic from the BritUh blel Includes "MOC'!an MA8&D," "Independence Rag" Casaette $10 pi", $2 .hip~ and """~ !J{"IJfoUlk Press P. o. Bo, Z721 Wobum, MA 01888· 1121 baehr@""orId.8td.com

March 5 - 9, 2003 at

Feb. 7-8. White Springs, FL Florida Dulcimer Retreat. I nfo: Stephen Foster Folk Culture Center, PO Drawer G, White Springs, FL 32096. 386-397-4462.

•

BUCKEYE DULCIMER FESTIVAL

Lorraine Lee Hammond Tom Brad and Alice Bruce Greene . Steve Seifert Lloyd Wright. Don Pedi Carl Jones. Josh Goforth Russell Cook· Glenn Flesher Linda Thomas . Dan DeLancey Wayne Henderson

You will love this festival. The old time world and the dulcimer world will come together for a weekend of visiting, learning, sharing and jamming . For more information contact: Jerry Wright (713) 432-1058 Email pickin@aol.com

Hammered Dulcimer Bob Bellamy Dorothy Buchanan Chris Cooperrider Dan Duggan Joyce Harrison

Autoharp Karla Armstrong Belly Thompson Band Together Shari Wolf (Sweetwater) More to be Announced For more information and a brochure visit: www.geocilies.comlbuckeyedulcimer or contact Louise Ziegler 232 W. High Street Ashley , OH 43003 Phone: (740) 747-2326 Email : buckeyedulcimer@yahoa.cam

Web: www.geocities.com/pa lestinefestival

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•

208-354-8827

Fall 2002 â&#x20AC;˘ 9

Musical Reviews Neal Walters

tri ng Fever is the "nom de CD" of Missouri's Dave and Laurie Thompson and they have two new releases to crow about. Both are all-

instrumental and feature Laurie's

bring the tunes to life. His d ulcimer playing is strong and confident and he has a nice way of letting the instrument "breathe" using va riations in both tempo and volume to great effect. His arrangements sparkle with originality-his solo guitar version of Si Bheag Si Mhor is magnificent- and he has a way of weav-

ing the various tonalities, textures and rhyt hms of his instruments to belie the fact that he's playi ng them all himself. Tunes include the Chanter's Tune, The Butterfly, Within a Mile of DublinlWind that Shakes the Barley, Gander in the Pratie Hole, Cooley's Reel, Jasmine Flower and Erin's Smile.

extraordinary hammered dulcimer playing accompanied by Dave's guitar and bass. Diamonds in the Snow is a holiday recording that evokes images of "Nativity scenes, zigzagging jackrabbits, gi ngerbread and pine, giant icicles, Christmas caroling, impromptu ice skating parties, ribbon candy, and believing di amo nds in the snow were rea1." Since I couldn't say it any better, I think I'll just leave it that way. The tunes range from traditional versions of Silent Night and a Holy Night to the more contemporary Winter Wonderland, White Christmas, and It's Beginning to Look a Lot like Christmas. Snnday Best adds Jan Pierce

on tenor and alto recorders, Steve West

Sandy River to name a few, plus their

on banjo, and Buddy Brown on fiddle and mandolin and focuses on the "old hymns and the stories they tel1." On both

usual admixture of whimsy, originality, and hot licks on hammered dulcimer and guitar. Guy George joins them on steel drum and soprano sax. Scott adena plays mo untain and bass dulcimer and delivers an exceptio nal banjo break o n Last Date. David's exuberant and eclectic approach to the dulcimer is evident not only in the choice of tunes but also in his "signature" string bends and perfectly placed chromatic turns of phrase. A fi ne lead player, he also does a great job of supportive accompaniment when Joe takes the lead. Joe's guitar playing is also very steady in support of the dulcimer and he has several flashy moments of his own. The album design is great too, from the pictures of Burford's Catfish BBQ joint on the cover to the leftover BBQ that is almost ready to eat the set list o n the back. You'll have a good time with this one.

albums, Laurie's hammered dulcimer playing is deceptively simple and tasteful. She seldom deviates too far fro m the melody but her accompa nying fills are perfectly chosen. Dave's guitar is an ideal complement to Laurie's playing as is the addition of the occasional recorder, fiddle, mandolin and/or banjo. These are both excellent recordings that showcase very considerable talent.

andy Clepper is a multi-instrumental ist from the Columbus, O H area and his debut release, Within a Mile, is a wonderful recording of mostly Irish/Celtic tunes with a sprinkling of one Chinese folk tune, one Belgian tune, and one original. Randy plays hammered dulcimer, cittern, whistles, strum stick and guitar. Randy plays all the instruments except the djembo which he leaves to Steve Harris. His hammered dulcimer and whistle playing are melodically prominent but his cittern and guitar playing are equally appealing and really

avid Moran and Joe Morgan have been delighting audiences in middle America since they officially started playing together in 1996. I Wish They Hadn't Done That brings us their definitive ve rsion of Floyd Cramer's Last Date, and James Brown's I Feel Good, the Beatles' I Will, and Bill Monroe's Big

he Nashville Dulcimer Quartet is Natasha Deane, Lee Rowe, Sandy Conatser, and Linda Sack playing

mountain dulcimers in various combinations and configurations. All of these players are outstanding. Four Part

Inventions is one of the most "musical" recordings to come my way in some time and is in and of itself a complete primer on how to play mountain du lcimer as part of an ensemble. T ho ugh most of the tunes are widely played standards, they are given new life in the hands of these

four remarkable musicians. The arrangements feature everything from hot picking and sweet harmonies to great tremolo playing, string bend ing, and o ther special effects, and it all works to create the proverbial masterpiece that is greater than the sum of its parts. The Q uartet credits David Schnaufer with being the inspiration and guiding light fo r the group and he joins in o n Jew's harp on one number. This is o ne of the strongest mountain dulcimer CDs to come along in a wh ile and you won't wa nt to be witho ut it for long. Tunes include My Pretty Q uadroonlElk River Blues, Dona Nobis Pacem, The Cuckoo/Shady Grove, Minuet in G, Si Beag, Si Mhar, and the

Tennessee Waltz.

sther Kreek's latest hammered dulcimer project is a hardcover children's book packaged with an audio [ CD. A Dulcimer for Elspeth tells the story of Edwa rd, who is returning to his family after being away performing a mission for the King. Edward has an accident while crossing a river during a storm and loses the package of gifts that he was taking home to his fam ily.

eeking shelter from the storm, Edward finds Samuel and Carrie in their cabin in the woods. Upon hearing Edward's story, Samuel introduces Edward to the music of the hammered dulcimer and gives him an instrument to take home to his wife, Elspeth. The book is very nicely laid out and includes great illustrations by Richard Raney. T he audio CD contains Esther's narration of the story, complete wit h superb sound effects and a ge nerous helping of accompanying dulcimer music by Esther and Sam Rizzetta. T his is a lovely book that will be Sllre to delight childre n of all ages. continued on next page

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10 â&#x20AC;˘ Dulcimer Players News

I Heidi Muller's new book/CD, So

Sang the River, is a superb collectio n of eighteen songs gathered from the first ten to fifteen years of Bill Staines' original repertoire. She indicates that this is Volume I of a projected two-volume series. Bill Staines is certainly o ne of our finest writers and much of his music is idea lly suit ed for the du lcimer. The book contains two versions of each

song. The first is designed to be an arrangement fo r playing and singing the melody while the second version offers a harmo ny arrangement that can be used as an accompa niment to singing. He idi has included a CD to be used as a listening guide for those who learn by ear and to demonstrate strumming patterns. The

book contai ns some of Bill Staines' most popular songs and includes A Place in the Choir, River, The Roseville Fair, The Lost Mine of the Chisos and The Sampler Song.

erv Rowley is interested in playing songs that don't always lie easily on a diatonic instrument like the mountain dulcimer. He previously published a landmark book on playing the chromatic dulcimer and now has a

new o ne that features the D-F#-A (1-35) tu ning. T his is the du lcimer equivalent of an open tuning o n the guitar in that you can playa major chord triad without

fTetting any strings and, as you travel up the fre tboard, barreing the strings at any fre t also produces a major cho rd triad. It also allows you to playa full range of chromatic notes on a diatonic fingerboard having a 6+ fret. Love's Old Sweet Songs has twenty tunes, tabbed out for dulcimer in the D-F#-A tun ing. Tunes include Alter the Ball, America the Beautiful, Just a Closer Walk with TIlee, Love's O ld Sweet Song, and Peg 0 ' My Heart.

usan Howell and her husband, Niels Andersen, are a staple of the West Coast dulcimer scene and produced a wonderful book in 1994 called Dulcimer Accompaniments for Swing that featured "snazzy chord progressions" and allowed playing in six keys using the standard DAC or Aeolian tuning. Susan is back this year wit h Favorite limes on the Mountain Dulcimer, a new repertoire book for the interm ediate player. Many of the tunes are classics and some have never been published before, but they're all great tunes to add to your own play list. They include versions of tunes like Lover's Waltz by Jay Ungar and Pete Sutherland's Sunday River Waltz, which have not been published in dulci mer tablature before but which everybody should learn ! Other tunes include Goodbye O ld Paint, Dan and Anna's Waltz, Erie Canal, Un Canadie n Erra nt, Colorado Trail, and many, many more. A special bonus section has several tunes from the o riginal 1994 book as well.

New Release on CD!

Wateree Tl"3ditional and original music on hammered dulcimers. fiddles. mandolin and guitar

Acomplete line of Hammer Dulcimers and accessories handcrafted by Rick Fogel

~-~ DULCIMER CO.

C8laJogAvallable .:. 19 16 Pike Place, Oox 906, Seattle, WA 98 101 .> (2 06 )9 10-8259

Susan 'Vinson SFier{ock. On (tammereaVu{cimer With Albert Dulin, Dan Bright, Fred McKinney

.:Ana Syecia{ ljiuest

Xen xo{oaner :JfammereaVufcimer, J'itfJik CDs - $15.00 + $2.00 5 & H PO Box 1281 York. South Carolina, 29745

SVShe rlock@aol.com

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Diamonds In the Snow and Sunday Best String Fever, 1025 Ha Ha Tonka, Camdenton, MO 65020, 573-346-4642, strfvr@ lakozarks.net (CD).

NfWAND DI{{fRfNT! ROSAMOND CAMPBELL

Within a Mlle' Randy Clepper, Large Furry Things Productions, 974 Bryn Mawr Dr, Gahanna, OH 43230-3843, 614-655-3504 (CD).

presents

PLAYING DULCIMER IN THE CHORD-MELODY STYLE

I Wish They Hadn't Done That • David Moran and Joe Morgan, 2624 Quail Ridge, Irving, 1)( 75060, 972-986-6371 , jmm1 @flash.net (CD).

A Mel Bay Publication

Four Part Inventions' Nashville Dulcimer Quartet. 4820 Milner Dr, Nashville, TN 37211 , www.nashvilledulcimerquartet.com (CD). A Dulcimer lor Elspeth· Esther Kreek, 10308 Metcalf Ave, PMB 109, Overland Park, KS 66212, 913-661-9590, serenesnd@aol.com (Book/CD).

An Instruction Book for All Playing Levels - Includes 25 songs fram varied sources: Early music, American and British traditional, Victorian, Shaker and more. - Detailed, specific instruction in friendly, encouraging style. - The elements of chord-melody style illustrated in text and music.

So Sang the River' Heidi Muller, Cascadia Music, PO Box 76, Hope, NJ 07844, 206-528-2526, httpJIwww.heidimuller.com (Book/CD).

- Special sections on Practice, Performance, Errors, Editing Music, Taste, Fingering, Fudging (yes!) and more.

Love's Old Sweet Songs' Merv Rowley, 665 Lakeview Court, Roselle, IL 60172, 630-529-0197, Daa4me@aol.com (Book).

Rosamond Campbell 1037 Central Ave. Wilmette, IL 60091-2609 Email: RosamondCBell@ao/.com

Favorite Tunes on the Mountain Dulcimer Susan Howell, 6529 Greenwood Ave. N. , Seattle, WA 98103, showell@mcn.org (Book).

Still available - Prices incfude shipping:

$24.95 + $2.50 S&H

The Victorian Dulcimer Book $5.00 CD $8.00 The Parlour Dulcimer Book $7.00 CD $B.OO A Tender Recollection Cassette $8.00

Discover your dulcimer's

hidden voice with

THE DOOR TO CHRISTMAS with Dave Neiman "This l.s not your ordinary collection of Chlrislmas- i songs. It is a magnificent array of seasonal soogs...

the musle is performed with such strength, beauty and warmth you at once feel at borne with them. The Door to Christmas is enlightening, ~ stunning, and moving - all at once." New England Performer

"This l.s one Christmas album you won't ever tire NAPRA Trade Journal

Also available this holiday season ... Bow your dulci mer with }imBows 10 create a beautiful bowed psaltry sound. Use your current hammering patterns or find new ones as you explore your dulcimer's exciting new voice. Instruelion booklet ~ and rosin included. Works on mountain '~ dulcimers, tool " For more details visit or call:

www.gleecircus.com

~ e-mail: jim .wells@gleecircus.com "/IJC«d. phone: 650-573-8948

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'Bonnie Leigh, CMP

" C III nlllb 0 allr dl " DlUllici.1IlIliel!'s llllllldl Kits

• Bridge of Flowers Bonnie Leigh origina l songs of life &. love. \Vith Heidi & John Cerrigione, Neal & Coleen \·\.nlters & Tom White

• Down in the Shady Mou ntai n Dulcimer instrumclHals from the 1800's and carlier.

• Straight From the Heart Bonnie Leigh o riginal songs with 6 Mm. Dulcime r instrumentals .

• Reflections Folk &. Bonnie Leigh originals with 4 Mm. Dulcimer inst rumentals. Casso only

Since 1980, Backyard Music has sold over 20,000 of these sturdy, inexpensive full-sized lap dulcimersjust right for schools, beginners, and camping trips . Three strings, solid wood fretboard, geared tuners, painted corrugated soundbox. Playing manual, extra sb·ings, pick, noter, and 4 mil poly bag included. Hearing is believing, so we offer a 30-day money-back guarantee.

Bonnie Leigh Songbook Songs from Straight From Heart & Re flections

Pre fretted Simplicity Kit Simplicity Dulcimer

Bridge of Flowers Songbook Down In the Shady Grove Songbook

It's the Little Things 101 Poems love &: A Delicate Flower' 02 Poems

Casso $10. CD $15. Songbooks $16. Poem books $7. S&H $1 .50

$48 $62

ill $32 $48

For shipping, add $5.00 plus $1.50 per dulcimer. Fourth string and extra fret available at extra cost. Call for details. Backyard Music PO Box 9047 New Haven, CT 06532-0047 or call 203-281-4515, 7 AM to 10 PM. "Remarkably good sound" Mother Earth News

Barry & Linda Evans 11129 Hwy 90 West Beaumont. Tx 77713 phone 1-877-860-0848 or 1-409-866-0848

Hammer Dulcimers, Mountain Dulcimers, Pick-N-Sticks, Walkabout Dulcimers, Bodhrans, & Crystal Rutes Large Selection 0/ Books, Tapes, CD's,Jewelry, Accessories, MD soli cases, single & double, 01 our own design, and much more.

www.dulclmerhouse.com SSDulcHse@aol.com

FIRST LESSONS -< HAMMERED DULCIMER,., !1Y Linda G. ThomllS. The melodies in this collection

include a variety of hymns, holiday music and fiddle lunes written in standard nolation, with instructions on how to read the notation. lyrics and suggested chords for accompanying instruments are also induded. The companion CD offers two tracks for each selection: a perfomlancc track 1'Vilh rhythm guitar and an instructional track with detailed phrase-by-phrase demonstration. This method provides a "private lesson- approach for success on the hammered dulcimer. 32 pages. Book/CD set (20066BCD) $7.95.

THE WONDERFUl -< WORLD OF DAA ,.,

ARRANGEMENTS FOR THE MOUNTAIN DULCIMER IN DM TUNING

lh' Madeline MacNeil. OM is a beautiful tuning

for the mountain dulcimer. This book conlains 19 arrangements of traditional Irish, Welsh, French Canadian, Scottish, and American folk tunes and songs thai are rich within their melodies, complemenled by the OM tuning. These arrangements arc written in notation andlablature for Ule threesiring dulcimer wilh chord symbols, with a mix of strumming and fingerpick/natpick arrangements. Lyrics are Included where appropriate. The companion play-along CD reatures all of the tunes in lhe same order as the book, played by the author helping 10 make the unique sty:fe of the dulcimer dear. 32 pages. Book/CO set (96753BCD) $17.95. I'/f'{lseadd shipping ami hamlliniJ: S5,OO far 1 item. 4lk each mlditianar item.

-Publisblngtbejlnest In musfcjorOt"t'1" 5O)YI(lTS.I-

MEL BAY PUBLICATIONS, INC. 1'.0. Box 66 • l':Iciflc, MO 63069

1-800-8-MEL BAY ( 1-800·863-5229)

FAX (636) 257-5062

Visllils Oil the Web at wllIllI.melbay.com E-mail usatemall@melbay.com

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Hammered Dulcimer Tales & Traditions

Fall 2002 â&#x20AC;˘ 13

by Paul Gifford

The Earliest Dulcimer Recordings: Roy Gibson, William Moriarity, and Edison Cylinders

IT homas

A. Edison developed and patented the first sound recording device in 1877. His apparatus allowed acoustic waves to engrave a tin foil cylinder, which could be played back. He e nvisioned it as a tool for business, primarily for executives dictating len ers. Although his Dictap hone did prove to be successful, the primary commercial value of such recordings was soon fo und to be the reprod uction of music. In 1887, he fo rmed the Ed ison Phonograph Company to man ufacture his cylinder-playing phonograph and to produce cylinders to play on the machine. Imp rovements on the product led to the use of a brown wax in 1892. From 1892 to 1901, Edison and othe r companies produced a large number of cylinders fo r a market which, by the late ") 890s, had changed from expensive machines found only in publ ic places to more affo rd able ones inte nded for individuals in the ir homes. The music recorded on cylinders in this period consisted chie ny of bands playing marches, Vaudeville singe rs of sentimental ballads, comic monologues, banjo, xylophone, and other instrumental solos, hymns, and operatic arias. The recordi ngs had to be recorded individually, at first three at a time for soloists and te n at a time by bands, but the process later developed so that five maste rs could be made from one performance fro m which twe nty-five cyl inders could be copied on a pantograph from each master cylinde r. Wear, however, still required the performer to repeat his selection if the particular performance was popular. Starting in 1902 Edison produced cylinders in a harder black wax from a single mold. These provided longer-lasting, better sounding reco rdings. Improvements in disc recording in

the early 1900s caused the public to turn away from cylinders, and in 1913 Edison introduced a disc machine. Othe r companies were leaving the cylinder busi-

ness, and, a lthough Edison cont inued to produced cylinders until 1929, the cylinder in the twen ties was considered

something outdated a nd re legated to rural areas.

In the early 1970s I learn ed that Edison had issued six cylinders of dulcimer solos. Two, by William Moriarity, appeared on the black wax molded cylinde rs in 1902 and I904. Four were recorded by Roy Gibson on brown wax cylinde rs in 1901. The Moriarity cylinders are relatively com mo n a nd I knew someone with a copy of his " Llewellyn March." But the Gibson cyl inde rs would be much harde r to locate. Brown wax is re latively soft and is prone to fungal growth, causing many to become unplayable. Discographer Dick Spottswood even told me to forget about ever findi ng a playable G ibson cylinder. If playable at all, brown wax cyl inders carry no inscriptions and can only be identified by hea ring the name of the artist and title anno unced at the beginning of the selection. Finding the occasional brown wax cylinder in the goods of an antique dealer wo uld thus be no help in finding these particular cylinde rs.

few yea rs ago, to my surprise, I found a Roy Gibso n cylinder on an auction and was able to purchase it. This was "March Arcad ia,"

issued in 190 1. Like his othe r selections (" G ibson March," "7th O hio Regiment March," " Rosetzky March"), it is a march, with nothing much to dist ingu ish it from oth er contemporary marches except the instrum ent on which it was played. I have not been able to find anything about Gibson. A fire at the Edison company abo ut 1906 destroyed many records, including payro ll records, which might have provided a n address for Gibson. I looked at indexes to the 1900 a nd 1920 censuses and found severa l people with that name old e nough to

have played at the recording session in 1901, but could not make any positive identifica tion. Thus we are left to speculate. The name "Roy" suggests someone relatively young, as the name did not start to become used much until the I870s or I880s. The title " 7th Oh io Regime nt March" suggests an Ohio origin, as the tune was probably named for a Civil War regiment, which, if it was the 7th Infantry Regiment, was raised at Camp Den nison, Oh io, in 186 1, and saw service at Ant ietam and Gettysburg. Did Gibson play the du lcime r on the Vaudeville circuit, like other early record ing artists? Possibly. But pe rh aps a belte r explanation may be that he was a bandsman who played the corn et or other wind instrument professionally and the du lcimer only as a side instrument. This might account for both the selection of recordings and how he happened to come to the Edison studio in the fi rst place. At that time the dulcime r was found almost entirely in rural areas, associated mostly with the fiddle and square dance music. Gibson's choice of marc hes rather th an old fa miliar square dance

tunes was thus somewhat of a novelty fo r the instrument. On the other hand, the popularity of the two-ste p, which was danced to marches and was introduced in 1898, may have inOuenced not only the tunes that Gibson recorded but most of Edison'S instrumental output as well. Besides, local fiddlers in many parts of the country learn ed to play marches fo r two-steps. Such turn-of-thecentury marches as " Under the Double Eagle," "Rcpasz Band," and "Jolly Coppersmith" are still played by oldtime fiddlers today. Had Gi bson recorded tunes like "Soldier's Joy," "Devil's Dream," or " Irish Washerwoman "-which he cer-

tai nly would have known-we might

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continued on page 15

14 • Dulcimer Players News

March Arcadia 8

I, Mil: J J J J

Ir Fr r E BO Ir

as played by Roy Gibson, 1901

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Fall 2002 • 15

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probably accord him the honor of having played the earliest authentic rural music to be recorded commercially in the United States. Although elements of varieties of music that later developed into Hcountry" music were recorded in the interve ning yea rs, the first recording sessio n of such authentic music is generally rega rded to be th at of Texas fiddlers Eck Ro bertso n and He nry C. Gilliland in New York in 1922. Gibson's march recordings, long neglected, deserve some atte ntion and recognitio n as perhaps the earliest rural American music to be recorded. The ract th at th ey we re marches should not detract much from this fact. After all, Robertson probably played some as we ll ; he just did not reco rd any. Cert ainly in the 1920s rural string bands recorded marches. The o nly copy of any of Gibson's cylinders known to me is " March

Arcadia," which is in my collecti o n. A transcripti on appears here; I hope to include it o n a compact disc some day.

J Ir

IIr

rrr

March" may in fact be Johann Strauss's we ll-known composition " Radetzky March." The "7th Ohio Regiment March " may have been something composed in ho nor of the regiment, or perhaps it was actually the Civil War unit's own march that Gibson somehow learned o rally. William Mo ri arity's "Ain't Dat a Shame," reco rd ed in 1902, was written in 1901 by Walter Wilso n and Jo hn Q ueen and populari zed by singe r Lillie Lawson. " Llewellyn March," li ke those of G ibso n's marches, is totally obscure. Beyo nd the reaso nable specul ation th at William Mo ri arity was of Irish descent, no thing can be said about him either. His play ing seems a little mo re li vely, but that may have been due in part to th e introdu ction of th e new mo lded cylinde r. Gibson's brown wax

rr r

U rrrrI

r r lie r

cerrrr :liP

N though I have not been ab le to search completely, I have no t found any evide nce th at " March Arcadia " was published. Like ly his " Gibson March" was an o ri ginal compositio n. " Rosetzky

• i

Discography of Edison Dulcimer Solos Roy Gibson, dulcimer solo Gibson March 7769 Rosetzky March 7770 7th Ohio Regiment March 7771 (above titles released April, 1901) March Arcadia 7933 (released October 190])

William Moriarity, dulcimer solo Ain't Dat a Shame 8021 (released June 1902) Llewellyn March 8665 (released April 1904) cylinders required him to play repeatedly in order to produce th e num ber of cylinders th e company needed, while Moriarity o nly needed to get his single best perfo rmance o n a particu la r master. His recording of "Ain't Oat a Shame" suggests th at he was musically literate and perhaps a professiona l musician. 0

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Heidi Muller "On~ofth~dulcimer

community's best songwriters: and performers" Dulcimer Players News

Mountain Dulcimer Song books

C.!'1'IL""

/. ~

'- '

<':I"~' '.

Featuring excl usive dulcimer jewelry Beautiful pins, earrings and pendants

So Song the River, Songs of Bill Staines, Vol. J • $25 18 songs, 36 tab arrange-

Also embroidered denim shirts, totes, briefcases, ball caps Dulcimer music and Herdim picks

ments for both singi ng and instrumental playing, with companion CD. Includes

www.dulcimermountainarts .com

River. Roseville Fair. Sweet Wyoming Home and other 1.._ __ _ _.. favorites.

DULCIMER MOUNTAIN ARTS

407-579-0041

Missigman Music MASTER WORKS Hamm ered Dulcimers and Psalteries McS PADD EN Mountain Dulcimers SPECIAL Co mpl ete Hammered Dulcimer and Psaltery Packages incl uding stand, case, tun er, accessories

Dance with Orion - S 15 12 original songs and tunes for mountain dulcimer by

Heidi Muller. Includes Cassiopeio, MyOldCar.

wood and VERY light weiglu!

Jacko/ope Jig. Methow Suite.

Gypsy Wind and other CDs are available fOf $ 15. See Heidi's website fordetails and sound clips. Plcaseadd shipping of 53 for ordersof$ 15; S4 for $25·$30; and $5 for S40-S60.

For orders and information on Heidi's other recordings. performances and workshops please

"''''act

Heidi Muller, PO Box 76 Hope.N.J 07844,1206)528-2526 www.heidimuller.com

Fits inside your Mountain Dulcimer case. Perfect for worl<shops & festivals. Holds 2 single sheets of music.

No more heavy, m"'kward, metal stands. Cost: $10.00 which include. shipping! The Clip Stick© 2200 Kavanaugh Blvd. Lillie Rock, AR 72205 (501) 661-1129

jimmunns@phbcarkansas.com

BOOKS, BOOKS, BOOKS Recordings by Donna Missigman Visit www.Missigman-Music.com ror instrume nts, books, accessories, recording sa mples MC/Visa or check to: Missigman Music Box 6, Lapon e, PA 18626 570·946· 7841 e· mail : dulcimer@epix.net ww,..,.M issigman-M usic.com

Dealers The Duldmer Shoppe 1I04 S)'b.ft\ofe MI. V_, AR72560 877,269-4422

Clear Sound Choice!" These instruments are the result of years of experience and performance requirements of Rick Thum. He demanded a dulcimer of clarity and power, without the problem of excessive sustain.

Th e experienced player will discover afast ~~~1Ii attack, broad dynamic range and balanced voicing. The new player will notice a clear, beautiful tone and easy _ _ playability in a handsome, cleanly designed instrument of surprisingly light weight. Play the Rick Thum Dulcimers and compare them to others. This will be your dulcimer for a lifetime, which is how long we guarantee its quality and workmanship, Available in two modes: Lightweight and P,·ofessional (both 16/16) Dealer inquiries welcomed. Phone: (636) 677-7477 or E-mail: rthum@rthum.com Visit our web site: www.rthum.com

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Moontain View ~I usic: & Gifts 123 West Washington MI. View, AR 72560 870-261)'9044 Mountai n MUIi\c Shoppc: 11200 J ohl1lOn Drive Shawnee. KS 66203 913·962·9711

Elderly Instruments 1100 N. Washington

L:uu!ng, MI 48906 517-334·5840 Hooseof Musica.I Traditions 7040 Carrol Ave. Takoma Park, !'olD 20912 301-270-9090

Gcoffrey J . Scitz, Violin 4171Inughbon:1IIg.h SI.L.ouis,M0631 16 3 14·353·1312 Main Street Mereantile 3 11 S. Main St. Carthage, MO 64836 417-358-1800

RMr Song ~fusic Shop 7 Nonb 2nd. St. RIpley. OH "5167 883--382-9274

Silvc:rChords Dulcimer & Gift Shop 125 E.. M,i n SL Jonesborough. TN 37659 423'788-2863

Pic:k·N·llam mer 16142 11exhanl Or. Spring. TX m79 281-37D-9495

I ..... -41,,,.. I

Steve Eulberg

'IrCU£itiona{ 'WecMing C{assics

'nnll ... I< .... '

1) ....

"1:

presents

Nine time~honored wedd in g standards for th e marriage ceremony, includin g Pachelbel's "Canon In D" arranged for the illlenned ialc level mountain dulci mer player in O-A-dd lUning by Larry Conger. Includes standard musical notation. tnblnlllre and guitar chords.

A nnouncing the fan-demanded recording of songs and

Tab Book on ly BooklDel11o CD

instrumentals from Steve's live performances.

Soaring is not a "dulcimer album", but dulcimers are an integral voice in all but four of the original and traditional tunes on this album.

$6.95 $ 15.95

Please add $ 1.00 for shipping

Send check or money order 10 Companion CD now avai lable

CONGERGATION MUSIC P.O. Box 13 1 Pari s, TN 38242-013 1 ~

Recorded, Mixed and Mastered by KIVA Records

1015M S . Taft Hill RD #144, Fort Collins. CO 80521

TNDulc iman @aol.com

Ai::;'; ';.",.,. ,/""

Feahlring:

Rud. B.... rett ...d C"utia Smith, Jol ... mo";~... Mike

CaRey!

Larry Conger, awilaIJlefrom Susan Trump Music:

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Mountain Dulcimer Tales & Traditions by Ralph Lee Smith

A Glorious Tennessee Music Box I[

arilyn Vice of Fallbrook, Califo rnia, has become a great hunter of old dulcimers on ebay. She has recently bought six instruments that represent most of the best that has been offered on ebay for some time. Carolyn's activity is of great benefit to dulcimer lovers and folk music historians, because the instruments do not come into tbe possession of many d ifferen t individuals, with some of them disappearing partially or wholly from further public know ledge and view. She makes photos of her acquisitions, and all the information that she can acquire abo ut the m, fully ava ilable to the dulcimer world. In this way she forms a team with Josie Wiseman of Crestwood, Kentucky. Cmilyn's and Josie's collections are approaching the status of national treasures.

Five of Carilyn's recent purchases are shown in Figure 1. All will be described in one or more future columns. A sixth ite m, which she just acq uired, is a dulcime r of totally unique shape, which will also be described in a future column. The top and bottom of the body form convex curves, the sides,

Figure 1

longer concave curves. The instrum ent

was described by its seller on ebay as "a c.1850 hand made dulcimer from the Appalachian Mountains...the !'rets are made out of copper. .. The gentleman who hand carved this instrument. .. was a na tive of Burnsville, N.C." The Tennessee Music Box, second from left in Figure I and illustrated in Figures 2 and 3, is a major item by any standard. In one of those wonderful ebay dramas, Carilyn fought off a dete rmined-and undoubtedly very disappointed-bidder to acquire this! The

Carilyn bought the instrument, she contacted Ronnie, who wrote her a letter and sent her two photos of the owner. The letter read in part as follows: "eari/yn,

"This halldmaid dulcimer was reeDV路 ered from my great, great grandfather's smokehouse after his death ill 1964. His name was Benjamin Franklin. Hardin. & he ma/ried Nallcy Ella Voyles in 1895.

Chastain of Corinth, Mississippi, is a direct descendant of the owner, who

Ben Hardin was known 10 have made small tool boxes & other small \Vooden items so it is possible that he could have made this dulcimer ill the years between

may also have been th e maker. After

1890-1930s. Abby Voyles; a close kill to

instrument came with an interesting narrative history, Th e selier, Ronnie

Ella Hardin was known 10 have been a musician & could have been. the one who played this homemade instrument ... Ben Hardin was a C01penter here in Corinth, Mississippi where he built several houses. He was bam in the late 1860's or early 1870's & had 8 children ... This is ali I can remember on this part of my family. " Figures 4 and 5 are the photos, one of Be njamin and one of Benjamin, Ella and a child, that Ronnie sent to D rilyn . Carilyn provided the following dimensions for the instrument: Length, 27-1/2 inches. Vibrating String Length, 27 inches. Width, 10-5/8 inches. Fretboard, 1-1 /2 inches wide, 1-1 /2 inch-

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Fall 2002 â&#x20AC;˘ 19

Figure 3

Figure 2

Figure 4

es high. Depth of body, 2" inches. The calVed fret nu mbers show the same inte resting anomaly as the Ache scheitholt, descri bed in my book, Appalachian Dulcimer 7/-tulilions, pages 142- 144, and the scheitholt-in-a-box owned by Rando lph Case, pages 20-22. Carilyn's instrument is fretted in standard du lcimer fas hion, with the first note of the Ionian scale at the third fret. Therefore, playing the instrument fro m the open fret and following the numbers will produce the Mixolydian rather than the Ionian scale. Congratulations, Ca ri lyn, a nd thank yo u for sharing pictures and info rmation on this great dulcimer with liS! 0

Figure 5

Answer to the Puzzle in the Last Issue How Old Is This Instrument? In my column in the August - October 2002 issue of DPN, I described and illustrated an old dulcimer owned by Josie Wiseman, with ca lVings at the foot of the fretboard th ~t read, " O.T. J841/Adams Co." T he instrument is clearly primitive. T he questIon IS, how reliable is the date? As I explai ned in my column, after Keith Young had removed the bottom and I was carrying it in the bright sunlight, I noticed some extre mely fa int pencilling on the underside of the bottom, wh ich had been virtua lly invisible under artificia l light. It consisted of two lines, of which the bottom is in cursive handwriting and is, at least for me, indeci pherable. Above It, . and decipherable beyond questio n, was the date: 1932. Examine the photos of this instrument carefully. It is a grad uate course 111 try ing to date old dulcimers!

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Fall 2002 â&#x20AC;˘ 21

Afamily Of Dul(imen An Interview with

Doug &~u50n Hood by Shannon Marie Sharpe North Beach, Maryland

I"Y

ou'll need that,' Doug Hood sa id, advising me to keep my jacke t on as we made our way to his dulcimer shop. A last count, abo ut 255 of the custom-made instruments had their start in this most hum ble of places. Sold via annual fest ivals, word-of-mouth, a nd the intern et, each one was carefully crafted in a small shop in his backyard in Lusby, Maryland. Now, at first glance, the interior of the workshop may seem like a lackluster dust haven th at on ly a tru e woodworker could

love. But within these tool-lined walls Doug has been able to transform the piles of wood scattered abo ut into some of the most eye-catching works-or-art, pleasing to anyo ne's eye. He starts wi th a rough cut of wood and saws it down to size. To make the back of the dulcime r, he lays two wood pieces side-by-side, so they are "book-matched," much like a book that is left open. He said by doing this ithe instrument makes it more visually appealing, im proves the sound and helps prevent wa rping. Once the wood pieces are glued together, a pattern is used as a guide to create the curves. Already the du lcimer begins to take shape. Doug continues to demonstrate the rest of the process step-by-step, making the task look quite simple. " It is," he said. "Act ually, it is easy; yo u just need to know how." He reca lled a time when his daughter, Holly, made her own dulcimer, personalized wi th sun and moon-shaped sound holes. She, as well as a few privileged others, has used the

Andy, Doug, and Susan Hood

Accord ing to D oug's wife, Susan, Doug was more of a nat-

ural when it came to bu ilding dulcime rs. " Because Doug has a knowledge of woodwork ing and a music background, he makes his dulcimers easy to play," she sa id. "He really does a good job."

aug began making music long before he ever set his eyes on his fi rst du lcime r. In fact, he sta rted playing the gu ita r when he was only in elementary school. " It was

before I met you," he said, smiling at his wife.

When Doug was in junior high school, he was in a band

shop under D oug's supervision to const ru ct her very own m as-

called T he Twil ights. "We eve n had our own manager," he

terpiece. "1 just guide them through it," Doug said. " I'll have the wood and supplies, but they'll do the cutting and sanding. " But whe re did Doug first receive a bit of guidance? " ] took an August Heritage class at Davis & Elkins College in West Virginia," he said. ''It was a week-long class with ten or fiftee n people, usually people who had never built anyth ing before. In just a week, everyone was able to build a dulcimer, learn how to playa song on it and have the opportunity to play it on stage." Although evelyone came out of the class with something that resembled the same instrument, not all of them possessed the same ease in playing nor the same quali ty of sound.

said, recalling the gigs the band played in thei r community and su rround ing areas. T he group had a num ber of appea rances on a iocaiteievision show called Wing Ding, where they

played alongside the legendary Stevie Wonder, as well as Link Ray and other artists topping the charts at the time. Doug was still playing with the band at age sixteen, when

he started working at Clark's Music Center in District Heights, Maly land . "And that kind of kept me going [musically]," he said . "That's where I me t her [Susan]."

continued on the next page

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22 • Dulcimer Players News

Alt ho ugh Do ug seemed to re me mber seeing his first glimpse of a du lcimer a t a festival , Susan recalled seeing a few at th e music store whe re they worked. Eithe r way, Do ug beca me inte rested in lea rning more a bo ut th e uniqu e instrument. When th e coupl e

Susan said th a t o ne o f the first songs the gro up lea rn ed was "Go Tell Aunt Rhody." It is also one of the firs t songs in a beginning tab book they fea ture o n the ir web site, www.dulcime rrnusic.com. The boo k co nt ai ns so me basic so ngs for the novice, as we ll as instructio ns for tunin g th e instrum e nt an d a list of du lci me r reso urces-places providing les-

had been married for some time and their first child, H o lly was about to celebrate he r seco nd C hristmas, Susan decided to specia l-o rde r a dulcim e r from a shop in Washington, D.C. to give to Doug as a gift. '~ll we could do was strum it," she sa id, la ughin g along with her husband. " We wou ld play ' Go Tell Aunt Rhody' over and over again. I guess you could say it was o ur song. That's the one we always sta rt peo ple on." Bot h Do ug a nd Susan have bee n teaChing a sma ll group of regul a rs how to play dulcimer. " Well , we didn 't start th e gro up, bu t probably about ten to twe lve people meet every week; we only go every co upl e of weeks," Doug said. Susa n exp la ined, "There were some people who wa nted to lea rn how to play th e dulcim e r, so they found a place to mee t - a coffee shop, Co mmon Grou nds, in Prince Frederick, Maryland ; th ey asked Doug a nd me to teac h the m."

sons. Without yet hav ing his own lesso ns, Do ug te mpo ra rily re tired his first du lcime r after " th e co uple's song" beca me somewhat " p layed out." " It was pre tty much li ke what happe ns with a nyone e lse," Susa n said . " It [the dulcim er] was played for awhile and th e n it just hung there o n the wa ll." " It wasn't until a co uple of yea rs later th at I built my first

one," Doug said. Although Do ug seems a tad modest a bout his first a ttempt, Susan is still impressed today. She sa id she was a mazed at how he built the sides by ge tting them we t and be nding them a round pipes. Nobody showed him how; he just

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Fall 2002 â&#x20AC;˘ 23

figured it out by himself. " He took a piece of wood that looked like the side of a ba rn door and turned it intowell, I was impressed," she said, adding that it did somewhat resemble a dulcimer with the exception of a couple extra strings. "I still have it," Doug said, proudly displaying the first of many dulcimers he's crafted. " It looks like a boat oar." But when he flipped it ove r, Susan wa s again impressed to see that even the n, Doug made sure to book-match the back.

" He got it all done and took it to a Waterford show," Doug said. "A fellow there was carving carousel horses for

sale. When he saw the dulcime r, he had to have it, so Andy sold it to him - I think it was a good boost for [Andy], having someone that good at woodworking be interested in his instrument. "

Since then, Andy has been he lping his father build the instruments fo r sale. Doug, whose father, Jay, also lends a

s impressed as Susan was with Doug's first attempt at making a dulcimer, it would not compare with what was to come. He started to improve his technique unde r the watchful eye of Keith Young, who first taught him to build. Keith Young was also the founder of a group known as the Dulcime r Disorganization of Greater Was hington. Seeing the group play inspired both Doug and Susan to continue pursuing their love of the instrument and others in the dulcimer family. The couple broadened their interest

Jay Hood

tions; they would take a few takes and

then edit them," Doug said. "But we go and there we re about fifty people, and it was actually recorded live." "That was a little unnerving," Susan chimed in. "We

had to play for the opening, into commercial , out of commerci al; it was nerve

wracking," Doug agreed. Despite the nerves at the radio show, the talented pair continues to perform.

in dulcimers when they first saw a ham-

However, th ey are not th e only musi-

me red dulcimer in the mid-80s at the Fiddle r's Conve ntion in Galax, Virginia. A few years later, they bought a hamme red dulcimer as a Christmas present to each othe r. "She was my first hammered dulcimer teacher," Doug said, handing over a copy of a flyer announcing Madeline MacNeil's upcoming performance at his church. He was honored to have he r play in the same place he had performed so many times before. Doug remembered pl aying '~m azin g

cians in the family. Their childrenHolly, Brandon and Andy-a re all musically inclined and help one way or another with the family dulcimer business. Both Holly and Brandon have helped with booths at annual fes tivals where Doug displays his dulcimers for

Grace" at the church as one of his first experiences demonstrating the ham-

school," Susan Said.

mered dulcimer in public. It wasn't long before he and Susan we re playing at va rious other churches, retirement homes

and special events, and weddings. 1n 1997, Doug and Susan had the opportuni ty to play on a radio program out of Annapolis. "That was a trip, because when they called us to do it, we just thought we would be do ing a few songs and answe ring a couple of ques-

sale, but Andy has become even more

involved in the process. The ir youngest son took the couple by surprise when he wanted to build his own dulcimer. "He was our only child who did not have piano lessons or play in the band at But Andy did play the guitar in his band, which may have explained his final product. First of all, he was determined to use Bubinga, a difficult wood with which to work. He also made sure it had an ebony fret plate, gold-plated tuning knobs and of course, an e lectric pickup that he wo uld plug into various distortions pedals to make sounds seldom heard fro m a dulcimer.

hand in the sanding and fini shing department, has been selling custommade dulcimers since 1995, first displaying the m at the Patuxe nt Rive r Appreciation Day. "The first show actually we nt we ll, even though we'd never do ne anything like that before," Doug said. " I had a tune r with me for a hammered dulcimer a nd I even sold thaI." Afte r two years at Patuxent River Appreciation Day, it was lime to move

on to something bigger. "Someone told us about Harper's Ferry," Doug said, refe rring to the Mountain Heritage Arts and Crafts festival near Harper's Feny, West Virginia. Not just anybody could "set up shop" there. They had to first be judged. "The peo ple had such elaborate displays," Doug recalled, "but we just set our dulcimer on the table. Then we were told to leave the room; we couldn't be in there during the judging. People we re saying that they had been trying to ge t in for yea rs, but couldn't. I didn 't think we would make it- it would be a learning experience-but we did [make it in]," he said. "And we sold everything we took to Harper's Ferry," Susan added. The dulcimers keep selling out as the family continues to display its wa res at

various festivals, including Waterfo rd Arts and Crafts Festival in historic Waterfo rd, Virginia. 0

Shannon Marie Sharpe is a former writer and current editor at a publication in Southern Maryland. Handcrafted Dulcimers 1012 Vine Street Lusby MD 20657 410-326-4668 www. dulcimermusic.com doughood@dulcimermusic.com

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24 â&#x20AC;˘ Dulcimer Players News

have always found it reward ing to wa tch as a person begins the ir musical journey on the dulcimer,

a nd as they grow, see them band together with others to enjoy music collectively. Whether in the form of a club, works hop, or as a member of a performing gro up, my own musical growth has been e nhanced through my involvement with othe r musicians. Each taught me some thing that I wo uld never have learn ed on my own, and helped me gain

a deeper understanding of what I need to be musically fulfilled. If I were to choose the one that has produced the

know another person enough to trust them, we have to allow room for our first impressions of the people we meet to change. People and their lives are always in a state of flux. Consequently, "change" becomes the inevitable and unseen partner in any performing

by Katie LaRaye Waldren "

y kinship with the dulcimer has continued for many years wi th or without musical partners, but what began as a personal journey

was destined to be shared. I realized this through my interest in arranging

however, it wo uld have to be the performing gro up. We are a ll looking fo r somethin g from our music, but what fulfills me may not fulfill another person. While some people e njoy the camaraderie of

duets. The concept of creating counter-

wish to involve themselves only fo r the music. I know musicians who play in several ensembles, never seeming to get

e nough, while othe rs, like me, enjoy working wit h a group, but feel the need to pull away from time to time to reclaim th eir own mu sical identity.

After relocating from North Carolin a to Wisconsin, I took some time to do just that. I looked for ways to breathe new life in to my solo repert oire a nd ga thered tunes for a new lap dulcime r collection, a ll the while re maining open to the possibi lity of performing with a group again. Though I was curious abo ut the for m it would take, past experience taught me that committing to a group was not something 10 ru sh into.

To me, the members of a performing e nsemble are li ke a n extended fami ly, not just because they share some of the worst and best moments together, but

because music has a mystical ability to create special bonds between people, affecting us on levels that are uncharted, and occasionally leaving us more

emotionally vulne rable. The resulting Formation, much li ke that of the family, becomes an interdependent ring requir-

ing responsibility, tolerance, and comprom ise to succeed. Trust becomes an important element in that kind of partnershi p. Because it takes tim e to get to

rOWIO I

group.

most significant musical growth for me,

other musicians, there are those who

â&#x20AC;˘

parts, interesting enough to stand on

their own, that compleme nt and e nhance a melody wi thout detracting from its singular beauty, has always

intrigued me, and this essentially became the premise fo r the kind of group that I wanted to be a part of. I e njoy the process of giving, taking, and ble nding-finding those pleasant little surprises within "mistakes," and creat-

ing alternate rhythms within the melodic lines. Though these things do happe n to some extent when [ play music alone, they are more extrao rdinary when they are experienced with other musicians. We can't expect another person to com-

plete us musically, but we can anticipate that the music will be unexpectedly changed by their contribution. Whether you relate one on one, or with many, your musical abilities are guaranteed to be stretched in all sorts of directions, and if you are a tru e "groupie," you will come to love this

process. One thing that may help decide the size of the gro up you perfor m with, is to ask yourseLf if "More is merri er. "

Members of smaller groups may have less flexibility when it comes to instrumentation in a concert setting, but they have an easier task scheduling musical events to coincide with everyone's li fe.

Depending on the venue, larger groups can always downsize to make themselves available as duos, trios, etc., and

smaller groups can add additional members fo r special events. At present, [ play in a duo called Heartwood, and

Katie (left) with Candace Kreitlow as the duo Heartwood

Whether you relj, or with many, yow are guaranteed t( all sorts of directio . a true groupze, to love thi~

though we both have other instru ments

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((

Fall 2002 â&#x20AC;˘ 25

rou â&#x20AC;˘ Mazomanie, Wisconsin

that we are unable to play simultane-

process "making a tun e yo ur own," and

o usly in performance, we compromise by e nhancing o ur recordings with them.

lective course that incorpora tes the

This cuts down on our rehearsal tim e

strengths of everyone, resulti ng in the

and simplifi es OUf setup at concerts, leaving more time to balance fam ily and other activities without inhibiting o ur creativi ty o r musical growth.

ve rsions that , in time, become recogniz-

Since invo lvement in a group

depends closely on the dictates of o ne's life, it is best to be clear about your ability to commit. Life gets hectic for us all at times, but the choice to be more or less involved is always the re as long as it is communicated to others. Open

I. I

and honest communication doesn 't always come easy, but it often frees us from misund erstandings. This is especially true when it comes to the subject of mo ney. Tho ugh money was mo re of a surv ival issue for me when I wa s a single

parent,

it rem ain s for me a form of va li-

dation and measure of my self-wo rth. I am reminded each time I tune my hammered dulcimer of the preparation that goes into just one performance, but as a folk musician, putting a price tag on what it takes to prepare for a gig is not as simple as charging an hourly rate. Wouldn't it be great if we received steady incomes from the king to keep us

ably earm arked with the gro up's uni q ue so und. Many gro ups recognize this collective sound early o n and work we ll with each other to "welcome " it into the ir repertoire based on the ir instrumentatio n and styling. But inside the group that struggles with compro mise, you will often find individuals that hold o n too tightly to th eir own contribution and lose sight of the bigger picture. Since crea tive juices stop flowing when heels dig in, it is best to remember, "The more forcing the more trouble !"

(Winnie The Pooh)

a matter how versa tile th e rol e in a

group, there may be o ther musical challe nges that members want to experience. Believing that it is important to pursue your own individual growth as a musician makes it easier to suppo rt yo ur partn er's decision to do so, even if this leads to involvement with o ther musicians or as a solo perfo rm er. These add ed experiences help

and our instruments in good repair like

to make each member a more vi tal co n-

the bards of long ago? Since we are aware that music can help to champio n a CHlIse, Heartwood perform s fo r a select number of benefit concerts per

partner, Candace Krei tl ow, also performs and records w ith her daughter,

yea r, and we barter or adjust our fees

for th ose worthwhile organizations that

'lte one on one, ~ musical abilities ) be stretched in ns, and if you are " you will come ') process.

for a performin g gro up, it fo llows a col-

would not otherwise have the funds to hire us. The sales from our recordings provide an added source of inco me, and we do charge our regular fee to clients that can easily affo rd us. Even so, we have come to accept the fact that

tributor to the group in the e nd. My

a nd though I occasio nally join them, I spe nd a great deal of my time writing an d arranging for my students. Having this "elbow room " is an important

growth factor for both of us. If you or your group arc not growing

musically, it is a sure signal that it's time to consider making a change. Just remember th at th e interconnectedness

rewards in th e music business are not

of the group becomes much like the

always of the mo netary va ri ety.

inner workings of a clock; movemen t of one in any direction causes movemen t

Writing an original piece of music, or arranging and personalizing a tradition al tune, is one of the best ways to devel-

for everyone. Though keeping the group alive in its original state m ay not

op musically. Though it comes easier for some people, this ability is born fro m the creative energy that all of us

a lways be a possibility, you can always

ca n tap into. As a teacher, I enco urage

but they are the door to new o pportunities and growth .. . it's all in the way you look at it.

each of my students to draw from their own strengths and add a part of themselves to the tunes they play. I call this

reap what yo u have, and regroup. Transitions ca n be troubl esome at first,

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

continued on the next page

26 • Dulcimer Players News

DISCOGRAPHY Intrigued by its modal sound and the shape, Katie LaRaye Waldren first encountered the mountain dulcimer in 1971. By 1977 she had co-authored a collection of solos and duets called Mixolydian Menagerie. En route to Wisconsin from California, Katie spent thirteen years in North Carolina's Appalachian mountains, where she raised her three child ren and participated in music festivals. She founded the Western North Carolina Dulcimer Collective in Asheville, a club that is still active today. Shortly after her introduction to the hammered dulcimer in 1985, she formed an eight-year association with Braidstream , an eclecticlfolk ensemble. In 1992 Katie moved to the Madison, Wisconsin area where she performs in the duo Heartwood, and shares her passion for the dulcimer by teaching workshops locally and nationally.

Books The Hamme red Dulcimer Companion (2002) The Mountain Dulcime r Songswap Companion (2000) The Mountain Dulcimer Workshop Companion (1997) The Mountain Dulcimer Companion (1995)

Recordings Night Dancer (1999) Heartwood (1997) Waterda nce (1996) Cold Frosty Morning (1993) Braidstream (1991) Katie LaRaye Waldren PO Box 24 Mazonmanie WI 53560 608-795-2931 ktbmoms@chorus.net www. Katiewaldren.com

Traditional Virginia Noter Style Dulcimer!

MAKERS OF HAMMERED DULCIMERS AND FOLK HARPS with a solid reputation built on quality and service • Ten models of dulcimers, from rwo (0 four ocraves • Five chromat ic models,

incl udi ng the Piano Dulcimer • Seven model s of lever harps • Srands, dampers, cases, hammers, books,

and videos

ColltnCI IIJfor

free color brochure

(206) 634- 1656 Dusry Strings CO. F" (206) 634-0234 3450 16[1. Ave. W. www.du stystrings.co m Seattle. WA 98119

Phyllis Gaskins

Mountain Dulcimer Galax Style ... tunes from Southwest VA in the traditional Galax style by a champion dulcimer player.

Home NowFrom the Shenandoah to the Shannon ... tunes from Ireland, Scotland, and the mountains of VA cassettes $12 --- CD's $17 (includes s/h) 10575 Jacksons Way Port Republic. VA 24471 phylgdulci@rica.net

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Fall 2002 • 27

Skye Boat Song 0 11\Jl ...:

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

End

....

28 • Dulcimer Players News

Skye Boat Song

Traditional Scottish arr. LK Waldren

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

··

Fall 2002 • 29

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2. Though the waves leap, soft shall ye sleep. The ocean's a royal bed. Rocked in the deep, Flora will keep, Watch by your weary head. Many's the lad fought on that day. Scattered the loyal men. Yet e'er the sword cool in the sheath, Our Charlie will come again.

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30 â&#x20AC;˘ Dulcimer Players News

Jeonne Poge, Teo(her, Musi(ion, Inspimtion by Kathy MillI! Wimmer Albuquerque, New Mexico twas a fortunate mistake that led Jeanne Page to the hamme red dulcimer. She and he r husband, [ Shane, had just received a new mou ntain dulcimer as a gift from his parents. Excitedly, Jeanne began to " noodle" on this instrument that had been fam ilia r to her for years, but that she'd never really played before. She had a great time learning to play by

ea r, but wa nted to find ways to improve. One day, while on vacation, Jeanne stumbled upon a "dulcimer"

recording. She eagerly bo ught it, hoping it wou ld he lp her learn to play the new instrum ent.

She was in for a surprise when she

pl ayed the recording, however, " When

I heard it ," she says, "I suddenly realized tha t the instrument o n the recording was not the instrument in my lap. You just can't ge t sound like that o ut of a mountain dulcimer! " It was, of course, a hammered dulcimer record-

ing she'd purchased. " [ didn't know what a hammered dulcimer looked li ke, o r how you played it. I just knew I had to have one," she says. "I went on a search and finally fo und a big old industrial model in Colorado, bought it, and we were off on O Uf musical adventure,"

That musical adventure originally began when Jea nne was twelve yea rs old and took up the folk guita r. After she met and married Shane, she took him alo ng o n he r musical ride, and soon they were e mbarkin g on their differe nt dulc imer jo urneys. Once Jeanne became sm itten with th e hammered

dulcimer, it became her primary focus. Shane cont inued o n the mountain dul-

While playi ng at a festiva l, we ra n into a pennywhistlelbodhran player, and

Jeanne found herself not o nly perfo rm-

before we knew it, 'H eirlooms' was

all the folks who were intrigued by these unusual musical tools. People were so curio us abou t ou r instrume nts, we decided to open the store," she says. "We thought we'd give it a try for aboLl t a year. We were surprised whe n so many people found us! " Over the years, Apple Mountain Music has grown to be the larges t folk instru-

born. Altho ugh the make-up of the band has changed over the last twelve years, Jeanne and Shane have remained the driving force behind the grou p. They

ci mer, and even tu ally th e two of them

soon opened a store as a result of audi-

began playing at local arts and crafts fairs. "We wanted to highlight the dul-

ence interest: Apple Mountain Music.

cimers," Jea nne tells us, "so we asked a

Listeners were attracted to the vast array of musica l inst rum ents th ey were

friend to play back-up guitar for us.

hearing at Hei rl ooms perfo rm ances.

ing, but also answering questions from

ment store in New Mexico, with a large inventory of mountain and hammered

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Fall 2002 • 31

dulcimers. folk harps, and other instruments and musical accessories. In opening Apple Mountain Music, Jeanne says, "We wanted to be sure that it was not just a store, but also a community outreach for encouraging folk music." That led her, in 1996, to start the Apple Mountain Dulcimer Club and the Apple Mountain Harp Circle, (the folk harp being another instrument she picked up along the way). It was through the store that Jeanne discovered another love: teaching others to make music. "I love taking the information I know and breaking it down into bitesized pieces for my students," Jeanne says. She now has a full plate of classes in hammered dulcimer and folk harp, through workshops and classes at the store, and through the University of New Mexico. For Jeanne Page, teaching is a wonderful upward spiral. The more she teaches, the more she learns. The more she learns, the more information she has to pass on to her many students.

il; '

"_."

rue to Jeanne's dreams, the Apple .' : Mountain Music store has now : ... ! become a hub of folk music activi.... ~ ty. Because of her knowledge and expertise, Jeanne was asked to join the founding committee for the Albuquerque Folk Festival, created to promote all kinds of folk music activities. Jeanne also instituted the Harps In Healing Service program to train volunteers to play in hospices and hospitals, and she is musical director of the Apple Mountain Harp Kids. She has written several books that have come about as a result of the effort she's put into preparing lessons for her classes and workshops. In addition, Jeanne produced the Apple Mountain Music television show to educate the community about folk music and instruments [See DPN, Vol 27, No.3 for a story.]. That show became a real family affair as she and Shane involved their children, Laurel and Adam, in every aspect of behindthe-scenes studio work. Local musicians were featured, as well as national and

international folk artists traveling through Albuquerque on their concert tours. Sometimes those artists will invite her to perform with them. "One of the highlights of my musical life has been playing with the Chieftains," she says. "Playing on stage with musicians of such international acclaim was a rare opportunity-one I wouldn't have missed for the world." Performances like that give her great joy, and, despite her busy schedule, she finds time to perform solo and with three groups: Heirlooms, Tapestry, and Children of Lir. Teaching, though, is what she loves best. "It's so fun to watch the students succeed, not only musically-seeing them play for their own and for others' enjoyment-but I love to see what it does for their lives." Nowhere is that more evident than in her work with her young student, Johanna Jimenez. Johann's mother had come into Apple Mountain Music looking for a musical instrument that her daughter could play. Johanna has a physical condition that restricts the use of her hands, and her mom hoped Jeanne could suggest the most suitable instrument for her. Jeanne recommended the hammered dulcimer and took her on as a student, to the delight of both mother and daughter. Johanna's mom did not know if her daughter would ever be able to be a musician, but felt that at least the lessons would be beneficial as physical therapy. But Jeanne's new student proved to be a star pupil. Johanna took to the instrument beautifully, and soon was good enough to perform in public. Johanna began to bloom as a musician, and even entered a local dulcimer contest. When she placed in that contest, she was encouraged. A visit to Russell Cook's Wood 'N Strings store in Texas, and positive comments from him, motivated her even more. In October of 2001, she competed at the Oklahoma State Dulcimer Contest at the Master Works Sawdust Dulcimer Festival in Bennington, Oklahoma. As soon as the announcement was made, Johanna called Apple Mountain Music long distance to tell Jeanne the

good news. This young girl, who was unsure of ever making music, let alone competing, had take 2nd Place in her first regional competition. "I'm so proud of her," Jeanne beams. "It's amazing!" Yes it is, and so is Jeanne Page. 0

Jeanne Page Apple Mountain Music 505-237-2048 applemtn@flash.net www.applemtnmusic.com Kathy Mille Wimmer, an actress and musician, plays guitar and sings with Heirlooms and plays harp with Children of

DISCOGRAPHY

r·:·{Ri¢Qtdl:r.g.·; "';<':'~' ';"" " Time's Gone :By (2002) ~'I!jchoesOfnaciition (1996).

00ks' ". .... . . . . . . . . . .

i<8

,:$¢cjtlish:,SOllg' Book fot·i:t~fr[)U1;eted '" :])u1~hn~r(200~):' ,.......•. '. i)F~i.sh\,$Qhg'B,96~,4ll!i·~~~#~4·'·

. Dulcimer (2002)' . ' ' ere9Dulcimer ~"~ClDging for (2fm2) .. 'Dancin~ WitbMyDarlin':

Hamm

:::\'A·CoUection·of.()I(Ji'Tifue :;Waltzes (AOOl) . " ". ." ·.,.• ~~is:.t~e . S~a~on;.·lt.·.99qep~~!1•. ~9r

f.·~l,)':·}~9iiday~.::and:~le~~~~riS.·.'(2(jo.i)·:' :~·\Vitb,nus R~:A·:Cplle~~onfor .' ;::·,·.:Weddings.and··Speqi~:·(jccasioIis

. (2001)

:-?QflO;Pulcimer'(incll,tSip~g,.~OOO)'

:;Hammered Dulcimer ,Chords (1998).

Mountain

1hour 20 min. VIDEO

DULCIMER Making for fun & profit

s~ows all the steps to make abeautiful hourglass style Mt dulcimer, including

the fonn, bending sides, laying out fretboard, inlaying pearl, finishing, etc. In· cludes plans and sources for materials. Bud Updyke, 9Updyke Rd.,

OnlyS39.95 plus $2 shipping

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

Hunlock Creek, PA 18621 l'IiWI.digital-aUIO.CorrJdulcimer.htm

Katie LaRaye Waldren R,T, AUD IO

Prese nts

Rick<J1uun New Release

"Fro nt Porch Wa ltz" An instrumental and vocal e1lsemble, f eaturing the hammered dulcimer.

,me'r ed Dulcimer Songs from Canal Day s CD $15 Books with Melodies, Chords, & Lyrics Linda's Feature DAD Tab Songs from Canal Days Cellic Ballads and Song (& CD) Appalachian Ballads and Songs Christmas Songs Old Time and Fiddle Tunes (& CD) (Books $12, CDs $12) Bill 's Include DAA or Autoharp Tab Dulci-More Public Domain Songbooks General (DAA) $30 plus slh $5 ' Autoharp $30 plus sl h $5 ' Vols.I-6 & Christmas (DAA) $7.50 $2 (except ') 1st item, $.50 each add'i Linda Sigismondi 474 Kathy 51. Gallipolis. OH 45631 740-446-9244 Isigis@zoomnet.nel

"":;::;;::::=] Featun"ng: "LaParrito" II with Ken Kololler and

Ap!*,lachl,~n/P:riti,:h

Isles Folk Cor~enlpolrary AI;,,~rlc,an Folk

Robin Bullock, "Wild Rose of the Mountain " w ith Dauid Schno ll/er, six new fiddle tunes, Oh

Susallna

CDs / Books / Tapes Workshops / Concerts

Rick's other CD's "A Reason to Dance" Old~ time stn"ng band jam liue.

For Informallon, bookings, orders, please contact Katie at P.O. Box 24 Mazomanie, WI 53560

-Roll out the rug ami start into dancing. This music is (I good reason todojust that. ~ Walt Michael

"Hammered Fiddle Tu n es" Traditional Americanfiddle hltles jeallJring tile hammered dulcimer.

608.795.2931

To Order: send $15.00 plus $2.00 shipping to: Rick llmm, 6710 Twin River Road, Eu reka, MO 63025

klbmoDl8@~horus.nel

Bill Schilling 984 Homewood Ave. Salem, OH 44460 330-332-4420

or vfslt her on the >WI> al

Phone: (636) 67J~74n

w\Vw.k.1ticwaldrcn,com

bill@billschilling.org

E~ma il :

rthum @rthum.com Visit our web site: www.rthum.com

blllschiUing.org

Fo~R.9t>C

and other

requested/ooorites.

Supplies for Dulcimer Makers

InS'lRYfnE>n"U;

Fo lkcrafl is your source for instrument mak ing supplies. All wood is carefully dricd and seasoned. Tops, backs, sides, and fin ge rboards are sanded to exact tolerances and matched. You ' ll also find quali ty accessories and strings, and quick deli very. Li sted below is a sample of items available. Call, write or visit our web site http: //ww.o.V.folkcraft.com for our complete supply li st for Dulcimer, Hammer Dulc imer and Bowed Psaltery! We accept Checks, Visa, MasterCard, Discover & American Express. HAMMER DULCIMER & OULQMER BICK! /,.Jr . vr l, I. DULCI MER HARDWARE ACCESSORIES PSALTERY SUPPLIES 8"132' 11Jt1~lpc (two~'p4jrWld MACHINE HEADS .Individuab with wew1. ~g peal!od DULCIMER PICKS 1·$ 6·11 12&1.f IlInon. can be used lar eilhemrtiu! or OOrIlOtltail1'Q:Jnting. 5011 Herdim® "3 in I" picks TUNINC WRENCHES

~I ChmyI~_ l o.IO 960 8.60 ~2 0imy2f1C.-_ II s.5 10.95 9.$i ~3 ~1iI1It Ip'--. HS us 1.15 ~W3.1It2f1C.-_ lo..95 10.10 US SOUNDBOAROS S'll2'I!JS" 1of2pc [1wo "IQI SCb S~~!ld'lir:MI RtdCtd.lrI WftiaIViD IUII 14.10 12.10 m S;nu 2pc._ SS-I W.R. Ce:lIrl~_ IUO 1'10 12.10 m S.""'.t~:/12PL-Il.JO IllO 10.00 DUl ClMERSlDESm 2'd2'IUlO'UIQ) . , ""'_ _ _ ,IS ).95 l.s.5 602 WJ!/:I:L.. ___ . l95 lIS 1'0 OUlClMERPECH£AOBWiKS ~,I pcor2pc I Wd'xS'hrlpc ~ 1wo1l4'pcs-IYld' xS" OULOMER TAll BlOCK BI)JIKS '1' II Y,' ll' fl/lGlRBOARDBlAIlKS lI",l2"1I Yi' /lUT. BRIDGE &fRfT SLOTSG!l1I lllrertm~s (IStal sttsllCWe,1be6 \t fnt"* is 21'.) M:l

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from $50.01 to $80.00 add $10.50 lor shipping $80.01 Please Call for Shipping Amount

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linda Thomas

WINDY RIVER

New Book

CARDBOARD

CDse! (A Pn'flale Le~on

DULCIMERS

approach)

Dark cherry cardboard sound box, 24-1/4" woodfretboard, standard machine heads, very substantial. 6-112 & 13-1I2frets included. Ideal for schools and beginners.

First lessons Hammered Dulcimer $7.95 This book/CD set is designed 10 instruci beginning players tM hammflred dulcimu. ThfJ melodies ill/his col/eclion illelude a L'Oriety o(hymlls, holiday music alld fiddle tU1l1!S u:riUl'"fl in sta"dard notation. I.yrics and suggested chords (or accompanying instruments are also included. The accompanying CD oITus two tracks (or each selection: a per(onnance trock u:ilh rhythm guiJar. mId an instructilmal track with phrase-by-phrase demollstratioll.

0 11

$ 50.00 Instructional Videos Debbie Porter Teaches Frelled Dulcimer For absolute beginners [0 novice level, this 90 minute video and lab book teaches 11 songs using "hird 's eye view" camera angles. (DAD tuning) Enjoy participating in a 20-minute jam session at the end.

Onl), 520

+ S&H

Building Your Repertoire on Fretted Dulcimer 20 runes for 520 dollars. 90 minute novicel intermediate video/ tab (DAD tuni ng) also uses "bird 's eye view" ca mera anglcs and femures a jam session with a rcal d ulcimer club to assist you in playing the tu nes up to speed. "Great Video!!! , live in a I1lml (Irca widl NO other dulcimer players. lou r video let

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The Art of Performing hear it. They enjoy watChing you have a good time on stage, and making the

by Steve Schneider

occasional mistake means littl e or noth-

Forgive but Don!t Forget

ing to them. In fact (and you've probably heard this before) unless you point it out to them, your audience won't even know

you've made mistakes. They're clueless, actually, and all they want is a good time, to hear some music and to con nect

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

with yo u. They want to enjoy themselves, and not at your expense. Perfonning can be a reciprocal experience, a real give and take, a true two-way relationship.

The more you can give, the more you ge t back. And the more you give yourself the opportunity to be human, to take chances, and to make mistakes, the more likely yo ur performance will be successful. Now, what is a "successful" perform-

ance? That truly depends upon whom you ask. For a first-time performer, suc-

cess may be just surviving the expe rience. Well-seasoned performers should have a set of criteria that they apply to judge a particular performance. And when I use the term "judge," I don't mean it in a critical or harsh way; I mean it in a constructive and positive way.

I"W

e've all practiced our hands off to prepare for the performance. We know the piece "inside and out" (w hatever that means), it's as famil iar as the backs of our hands (exactly how familiar is that, rea lly?), and "we can play it in our sleep" (and sometimes we have to). And yet, many many times out of ten (or any number, actually) we make mistakes. Mistakes come in many flavors: memory loss, unintentional notes, left ou t notes, and unintentional

harmonies and chords. O n stage, hamme red dulcimer players lose their hammering patterns, and mountain dulcimer

players lose their strumming or picking patterns. On both instruments, our hands freeze and shake, we sweat, we stammer, we forget our own names. All this after we've played it "perfectly" at home. What's going on here? Firstly, I'm not convinced th at we

really played it perfectly at home. When we're at home, we tend to be much morc

forgiving, and we can easily and quickly forget

OUf

mistakes. At home our mis-

takes are less meaningful, and we te nd to fix as we go along. Not a good way to prepare for performance, (as I discussed in the last article.) We're much kinder to ourselves at home, and when there we

allow a reasonable degree of human error. On stage, that magnanimous stance often evaporates, and we refuse to

cut ourselves a break. This is a tragic mistake on many levels. It creates tension in our perfonning where we don't need or want it, it keeps qualified performers from perfonning, and it robs the audience of a certain amount of real play or spontaneity. The majority of people I talk with just after a perfonnance usually tell me how terrible their performance was-they can tell me how many mistakes they made, what th ey forgot, how nervous they were, and,

of course, how they played it perfectly at home, how they know it like the backs of their hands, and how they could play it in their sleep. I think that forgiveness goes a long way, and your audience will feel and

he first question I ask when I catch my breath afte r a performance is ~ " How could I have done it better?" Lf there are obvious answers to that question, remember them and figure out how to apply your new awareness to your next performance. Ask yourse lf about what worked well, and why, and then figure out how to keep those elements in you r performances. Ask yourself what didn't work, where you were weakest (areas include aud ience palter,

the set list, too many pieces in a row in

the same key, meter, and fee ling, playi ng too fast. . .), and let this be a guide to you in your practice and preparat ion. All of the feedback you get and that you give yourse lf is inval uable information that will help to shape yo u as a performer. In this way, you're always growing, your performances stay fresh, and

your audiences will always be noticing your growth over time. With this altitude, your last performance is usua lly your best.

•

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Dulcimer Builders Supplies

Mountain Music Shoppe The trap we fall into, though, is to eithe r give ourselves a hard time for a less than stellar pe rformance, or to strut around afte r a wonderful performance. Il can be dangerous to over-identify with performing. Get in the habit of reviewing each performance fo r the purposes of learning and growing. Keep a performance diary with just a few choice wo rds after each o ne to remind you of the key things to remember and to work on for next time. Each performance is a dress rehearsal fo r the next, and each mistake is an opportunity to grow. Practice does not make perfect, but it does make for greater flexibility and flu ency. Il's no accident that all great musicians spent a significant part of their lives practicing. if you have perfo rming in YOllr set of goals, it would be wise to practice performing, firs t alone (by imagi ning yourself in performance situations) and then under controlled circumsta nces (invite fri ends, fa mily, neighbors, pets ... ) to yo ur home. Get feedback, and act on it. In orde r to polish a gem, to bring out its true luster, you've got to first accept its imperfections. So, forgive, but don't forge t. Let your mistakes and weak spots be yo ur guides. And keep polishing-the treasures are great, both for you and for your audie nce. If you'd like to share your own perfo rming experiences, especially ones in which yo u've honed your performance skills or overcome some diffic ulty, please write to me at performing @steveschneide r.com. In the meantime, be well, stay in touch, and stay in tune. 0

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long with

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~! to Linda Brockinton 200 I National Mountain Dulcimer Champion Thanks for playing and promoti ng

.McSpadden Mountain Dulcimers Linda is pictured he re wi th th e Maple/S pruce Custolll McS padden Dulcime r she played in winning the National Champi onship at the Wa lnut Valley Festival. She joins a long line of champi ons to wi n pl ay ing a .McSpadden. For information on pe rformances, workshops, recordings, and othe r pUblications, contac t Lind a at: Lind a Brockinlon 3342 Wi se Road Alexander, AR 72002 Ph: 50 1-3 16-2055

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Fall 2002 â&#x20AC;˘ 37

Technical Dulcimer Sam Rizzetta

A Fine Finish: Sanding and Sanding Blocks

a matter how bea uti fully we playa piece of music, if we make a n ugly mistake at the finish it may likely be considered a fa ilu re by bot h playe r and audie nce. The subtle dynamics of th e introduction, the sensitive inte rpre tati o n, the bold cl imax, all may be forgolle n in th e fina l impression of a poor fini sh. On the other ha nd, the "finish" on th e wood of o ur dulcime r is its introduction. It may be judged o n this introductio n. A nd if th e first im pression is a poor o ne, people may be slow to apprecia te its beller qualities. It is definitely more e njoyable to play a nd own a n instrume nt tha t looks good a nd feels good. Anything th at makes me feel better about the tools I'm using inspires me to do good and crea tive work, to put forwa rd my best e ffo rt. And musical instru-

me nts a re the tools of music. T he finished wood surface is o ne of the most obvio us aspects o f o ur dulcime rs. Much a rgume nt has revolved aro und instrument fi nishes over th e centuries. Today the re is a dazzling and confusing va ri ety o f modern fini shin g ma teria ls. Some require costly applica tion equipme nt, special enviro nm e nts, special ski lls, a nd safety eq ui pment. But so me finis hes, such as the penetrating oil finishes like Tung oils, ' ~ Danjsh " oils, wipe-o n gels, a nd Minwax, arc easy to usc a nd work well for dulcimers a nd th eir wood accessori es like Do ter sticks, ha mmers, a nd stands. Oil fin ishes and fi nishing proced ures arc described in th e Technical Dulcimer column, DPN Vo l. 20, No. 1, J a n. 1994.

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.. ....~ As is often the case, the deta ils a re import a nt. To ge t a good finish we must sta rt with a we ll-prepared surface. This is especially true with oil finishes. And the three secre ts <!) of a we ll-pre pared surface, a nd a good fini sh, are sanding, sa nding, a nd sa nding! Gelling the wood surfaces to really loo k good involves more th a n just rubbing th e m with sand-

continued on the next page

Walh'n) !7Iroundl3uchy Robert & Janita Baker with Madeline MacNeil, Karen Mueller, Howie Bursen, Kelly Powers and Jean Sutton

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(805) 438-5569 CD $16.50, includes shipping CA reside nts please add 7.25% sales tax

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38 â&#x20AC;˘ Dulcimer Players News

pape r to make the m feel smooth. We must remove cutt ing and planing marks, scratches, and oth er surface imperfecti o ns, while keeping th e Oat surfaces fl at (l ike to ps and backs) and the curved surfaces curved (l ike fre tted dulcimer sides and the ro unded edges and corners of hammer dul cime rs). Sand ing with a piece of sa nd paper in O Uf hands may result in wavy surfaces and uneven edges and corn ers. The solution is a sanding block, and you can make your own. A sanding block is nothi ng mo re th an a block of moderately hard mate ri al, like wood, th at is used to back up a piece of sandpaper. The block is usually rectangul ar. Sandpaper is placed with the paper back side aga inst the bott o m of the block. T he paper is fo lded up th e sides of the block. The block is held wi th the palm of o ne hand aga inst the back of the block a nd with the thu mb a nd finge rs ho lding the sandpaper to th e sides of the block so th at the sandpaper is pulled fl at tightly across the botto m. If th e bott o m of the block is fl at, the sand-

paper will be flat. Any surface we rub will become Oatte r or will remai n Oat a nd level if it is already Oat. O n ve ry large sanded surfaces, like table tops, o r wooden and fiberglass boat hulls and airplane wi ngs, large sanding blocks are necessary. I've used some sanding blocks fo ur feet long. A nd since our hands are not fo ur fee t lo ng to ho ld th e sandpaper in place, it is necessary to glue large pieces of sa nd paper to the block. This glueing is a pain because sandpaper wea rs out q uickly and we must use many di ffe rent grits to achieve a surface ready fo r fi nish. For d ulcimers, however, a ha nd-sized block is fine. Paper is readily he ld in place wi th fingers and th umb and changed in seconds.

y now yo u a re wond ering why I do n't just use electric sanders. Well, I do! But th e truth is that there are many tasks that are done more easily, safely, and carefully with hand sa nding. It is all too easy to get a wavy sur-

face with power sa nde rs. Truth to tell, I spend much, much more of my sanding time with hand sanding blocks th an with power sanders. The power sa nde rs are great and speed my work o n large jobs. But fo r th e more numero us small and delicate tasks around musical instruments, hand sand ing blocks are truly indespe nsible. If you want to build a dulcimer, or a few dulcimers, the sanding block is all yo u need to start. You may find vario us kinds of sanding blocks among the paints and fi nis hing supplies in hardwa re stores o r in woodwo rki ng catalogs. I have n't tried any that are as comfo rt able, versa tile, and handy as the simple ones I make for myself. Start with a piece of 3/4 inch thick hardwood that is planed Oat on both sides. Almost anything will do; I've made th em fro m scraps of oak, walnut, and maple. A n ideal size is about 5 inches lo ng and 2 inches wide or a little wider. Plane o r sa nd all th e surfaces Oat and squ are. Make sure the top and back 5 x 2 inch surfaces are Oat. Flat as a pan-

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Fall 2002 â&#x20AC;˘ 39

cake. Even flatte r th an th at. Really, really nat. Yo u get the idea. One way to do this is by placing a sheet o f sandpaper sand side up on a nat tab le o r workbench. Hold the sa ndpape r immobile o n th e table and rub the block across th e sa ndpaper until its surfaces are fl at. There is an easy way to see if they are nat. Draw parallel pencil lines freehand across the surface being sa nded. Make the lines abo ut 1/4 inch apart cove ring the surface from o ne end to th e o ther. Sand until all the pencil lines are go ne. To make the sanding block mo re versatile o ne o f the 5 x 2 inch sides sho uld be padded. The padding needs to be resilient but not too soft . I li ke blocks padded with 1/4 inch thick hard feit , rubber, or medium hard closed cell foam. Felt ca n be glued into place with any wood gl ue. I like Titebond II beca use it is wa ter resistant (useful for sanding lacq uers and va rnishes with water as a lubrica nt) . Suitable rubbe r and closed cell foam are cheap and easy

Welcome your family and friends with a

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Dulcimer Door Chime from

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to find. Old bicycle inne r tubes work O K. The ru bber is thin and you may wa nt to experiment by adding more layers to make it a little thicker and softer. For closed cell foam you ca n use a piece of camping sleeping mat 1/4 to 3/8 inch thick. Camping mats are too lo ng anyway. [t wi ll fit easier in your backpack, and you'll never miss that 2 inches off th e bottom. Or maybe your child will never miss it! Attach the rubber or foam with contact cement. Weath er strip adhesive from th e au to parts store is excelle nt. You can, if you choose, use an oil fin ish to seal the wood o n the exposed, unpadded sides of th e block.

Iy our

block will fit a handy, quarter sheet of standard, 9 x 11 inch sandpape r. Just fold a sheet into quarters and tear into four equal pieces. The unpadded hardwood side of the sa nding block is used to back up coarse and medium gri t sandpapers when mak ing large surfaces nat and when trying to

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sa nd out scratches and imperfecti ons witho ut getting a wavy surface. Be certain to hold the paper tight and nat to th e block. Depend ing o n th e nature of the task, I mi ght start wi th 100 grit and fi nish wit h 150 o r 180 grit. Finer grit sa ndpape rs wear o ut quickly if th ey are used without a padded backing. So, I wi ll switch to the padded side of th e sanding block fo r work ing th rough the progressively fi ner grit sandpape rs such as 220, 320, and 400. These fine grits are less likely to degrade the flatness o f surfaces. Once yo u have sanded o ut all the scratches from a previous grit and achieved a unifo rm smooth ness, you may switch to the next fi ner gri t paper. A good stro ng light shini ng at a n angle to th e surface will help you see if sc ratches and impe rfectio ns remain. On curved surfaces, like rounded corners and fretted d ulci mer sides, sa nding with a hard unpadded sandin g block may leave unsightly fl at spots in the

continued on the next page

Swinging ana Gate

Phil Passen Tom Conway

_ _ 0uICI~" Guoll<

Phil Passen and Tom Conway play traditional Ameri ca n and Ce ltic music w ith energy and emotion . Driving hammered dulcimer a nd percussive guitar make this first CD spa rkle.

"Toe-tapping!"

"Very soothing."

"Marvelous! " Pricing : 1 copy, $15 + $2.00 58tH 2-5 copies, $14 ea . + $4 .00 58t H Check payab le to Phil bar Music PO Box 617913, Chicago, IL 60661 Also available at Amazon. com, CDBaby,

Borders and other stores.

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

40 â&#x20AC;˘ Dulcimer Players News

wood. Once the rough shaping is done use mostly the padded side of the block on curves and corners. You may want a

relatively "soft" pad for this task, like the camp mat foam or felt. Work the wood smooth thro ugh at least 220 grit.

I To achieve the smoothest o il finish with the least sa nding and difficulty between finish coats, you will want to raise the grain of the wood. T his can be a help in preparation for other finishes also. Soak a soft collon cloth in water and wring it out so that it is very damp but not dripping wet. Wipe the surfaces of the wood you are finis hing so that they are well da mpened but not soaked. Keep welling the cloth if it dries too much before yo u dampen all the wood. Let the wood dry for an hour or two until it is definitely dry. If you rub your hand gently over the wood yo u will probably now feel a slight roughness to some of the grain. The moisture has expanded some of the fibers and they

dried without contracting to their previous smooth surface, thus raising the grain. Sand lightly with 320 or 220, whichever it takes to remove the roughness. Wet the wood and raise the grain again. If the wood is not as rough when dry, you can switch to a finer grit sandpaper. Work your way through 320 or 400 grit. When the wood grain is no longer raised when dampened and dried, you can proceed to final sanding. Do this without the sanding block. Fold a small piece of 400 gri t paper into a convenien t size and sand by hand very lightly until a uniform smoothness is achieved. The wood is now ready for a penetrating oil finish or your finish of choice. My sanding block is so constantly useful that I am annoyed whe n it gets lost in the debris on my workbench. So I made two more identical blocks. The result is that whenever I need o ne, all three are lost in the debris on my workbench! Mu rphy's Law must have a corollary that describes this phenomenon.

There are other ways to prepare a flat, level, and smooth surface by hand, such as using a metal cabinet scraper. Some of the old-time dulcimer makers described to me how they scraped tops Oat with a sharp piece of glass. I even used to use glass microscope slides to scrape fingerboards for guitars, violins, and dulcimers until microscope slides were " improved" by having the sharp edges removed (so absent-minded biologists wouldn't cut themselves). But today sanding is the first and foremost route to a smooth finish. If yo u are not wellacq uainted with the sanding block, try it on your next woodworking project,

whether it 's a spice rack for the kitchen, a set of hammers, or that new dream du lcimer. You now know how to have the slickest dulcimer on the Hblock! "O

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A Little

Felt

A DULCIMER FOR ELSPETH

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A Children 's Story w rill e n

o/This & A Little o/That

ESTHER KREEK

Illus tra ted book w ith CD Narration by Esther lvlusic played by Esther & Sam Rizzella

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9\[flslivi{{e 'Du{cimer QJlartet !four-Part Inventions Produced by David Schnaufer ........ NDQ plays wilh love, passion, Qnd friendship. Tltis mllsic was 1I0t arranged ;1/ th e traditional sense, bl/1 growll like a garden, roots reachillg deep alld the/mit ripeJor pickillg ... ... 'David Scrmaujer

Available in CD only· Send $15 plus $2 shipping to: Nashville Dulcimer Quartet 4820 Milner Drive Nashville, TN 37211

nashvilledulcimerquartet.com Wholesale inquiries weJcome .... (615)832·1945 or by email atsandyc @usit.net

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44 • Dulcimer Players News

Ding Dong, Merrily on High arranged by Paul Furnas

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Fall 2002 â&#x20AC;˘ 45

Ding Dong, Merrily on High Alternate Setting of Melody in v' A,V Tuning arranged by Paul Furnas D

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The delightful melody of this piece is a late sixteenth-century French dance tune by Thoinot Arbean. An Englishman, G. R. Woodward (18481934), added words to it in the early twentieth century, turning it into a Christmas carol. In addition to the setting for three dulcimers, which can be played in either D-A-A or D-A-d tuning, I have included another setting of the melody by itself in D-A-d tuning, which includes the type of left-hand fingering that I use for playing melodies and counter-melodies. I use two very different approaches to left-hand fingering, depending on whether I'm playing a melody or counter-melody, or whether I'm playing in a chordal or broken-chord style. When playing in a chordal or broken-chord style, I generally try to create the effect of three-part harmony with elements of a bass line and a counter-melody as well

as a melody, so I want to keep all three strings ringing out as much as possible. To keep the strings ringing, I need to hold my left-hand fingers down on the frets as long as possible. To do this, I need to use my left-hand fingers as efficiently as possible. For single-line melodies or countermelodies, as used in this piece, it isn't necessary to hold down all three strings, so I'm free to use my two most agile fingers. I also find that using slides, hammer-ons, and pull-offs can enhance the musicality of a melody or countermelody. Musical instruction books from the seventeenth and eighteenth centuries emphasize the use of tonguings for wind instruments, bowings for string instruments, fingerings for keyboard instruments, and articulations like slides, hammer-ons, and pull-offs for fretted instruments, to create pairs of two, or

occasionally groups of three, notes. The development of more modern instruments in the nineteenth century was accompanied by an emphasis on much longer and smoother phrases, but I find the older baroque style of phrasing to be particularly effective on the dulcimer. The slides, hammer-ons, and pulloffs that I have indicated are certainly not required, especially if you are not experienced with them, but I recommend that you practice using them until you are comfortable with them. You can start experimenting with your own choices for slides, hammer-ons, and pull-offs. There is no absolutely correct choice, but there are various options, some of which will be more satisfying than others; and it can be a lot of fun discovering the options that are most satisfying to your own ears and fingers. 0

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What's New by Neal Walters

Heartland Dulcimer Club Heartland Dulcimer Club, Elizabethtown, KY, www.geocitie4s.comlheartlanddulcimerclub (CD) The Heartland Dulcimer Club has a fine new CD of their ensemble playing. Like most clubs, they exist to share their music in the community, at regular meetings, and when performing. The club has grown to 52 members, and I count 33 performers on the recording. Selections include Spotted Pony, Rosin the Beau, June Apple, and Peer Gynt Suite.

Chris and Joe Frazer Street Production, 314 Frazer Street, Findlay, OH 45840,419-422-0212 (CD) Chris and Joe are Chris Cooperrider on hammered dulcimer, bass, and vocals teamed with Joe Steiner on banjo, guitar, harmonica, mountain dulcimer, bass, and vocals. They describe themselves as the "original, curiously eclectic, string duo" and this is their first CD together. Tunes include Cold Frosty Morn, Train 45, Fannie Poer, Edsel Breakdown, Riley Ridge, and Temperance Reel. Refl~clions

Kruse Elementary School, clo Steve Eulberg, 1015-M S. Taft Rd, #144, Fort Collins, CO 80521,970-472-1352, OwIMntnSbe@aol.com, www.owlmntnmusic. com (CD) Reflections is the latest result of Steve Eulberg's continuing work in the schools. This year he helped four 6th grade classes in Fort Collins to complete a songwriting project. After a day-long workshop that allowed the students to brainstorm musical ideas, the students spent several weeks honing their lyrics, melodies and arrangements in regularly scheduled classes. The end result is a CD that contains five songs performed by the students with Steve's accompaniment on various instruments which include hammered and mountain dulcimers.

A Dulcimer Builder's 00-11-Yourself Guidebook Randy "Ardie" Davis, 1504 Frontier Dr., Arlington, TX 76012, RDavisABC@ Hotmail.com, www.hamiltonardie.coml DIYBookPage.htm (E-Book/Book) To my knowledge, Ardie Davis' new book on building a hammered dulcimer is the first dulcimer-related E-Book. Subtitled A Hobbyist Woodworker's

Guide to Building Fine Hammered Dulcimers, the package is comprised of the book in various versions (CD-ROM, Adobe Acrobat .PDF download, and Print Edition) and a supporting website dedicated to builders. The website is open to registered purchasers of the book and provides answers to Frequently Asked Questions, frequent updates to supplier and resource information including links and E-Mail addresses, a builder's chat room, and a builder's E-Mail list. The book itself contains 188 pages and over 100 photographs and illustrations.

The Hot Rod Sleigh Robert and Janita Baker, Blue Lion Enterprises, 10650 Little Quail Lane, Santa Margarita, CA 93453-8615, 805-438-5569, bluelion@thegrid.net, www.bluelion instruments. com (CD) Robert and Janita Baker's newest effort is a non-traditional Christmas album. The Hot Rod Sleigh is a real showcase for Robert's guitar and vocal stylings with help from Janita on mountain dulcimer and autoharp, Kelly Powers on fiddle, mandolin, accordion and vocals, Jean Sutton on vocals, and Peter Morin on dobro. The fourteen holiday numbers include Wrap My Heart in Ribbons, Reindeer Boogie, Walkin' the Floor This Christmas, Santa Looked a Lot Like Daddy, and Christmas Carols Around the Old Corral.

A Dulcimer Chrisbnas Judy Schmidt, P.O. Box 188, Canton, MO 63435,573-288-3807 (CD) Judy Schmidt's new holiday offering features her hammered dulcimer playing on seventeen well-loved tunes of the season. All but one of the carols are traditional and Judy has developed new

countermelodies with arrangements that feature her and Carl Schmidt on hammered dulcimers, Jean Murray on guitar, Jane Polett on violin, Jill Schinderling on flute, and Mary Ellen Stiegemeir playing hand bells.

Erin's Wish Joe Collins and Mike McGee, 1010 Castlewood Dr, Shelby, NC 28150, 704484-8414, dulciman@bellsouth.net (CD) Joe Collins and Mike McGee have played Christmas music together for years on "street corners as well as in churches and auditoriums." Their latest release is a seasonal offering that features the mountain dulcimer as the primary instrument. Joe plays harmonica in addition to dulcimer, Mike plays standard and 12-string guitar, Joe's son Sean helps out on drums, and David Putnam also contributes on guitar. The project is a mixture of the familiar and the not so familiar and includes Little Drummer Boy, French Carol, Coventry Carol, and Angels We Have Heard on High.

Spring Dulcimer Week April 6-11, 2003 Week-lon9 workshops for all levels!

Hammered Dulcimer Jody Marshall. Ken Kolodner Patty Looman. Rick Fogel Mountain Dulcimer Anne Lough. Heidi Cerrigione Lee Rowe. Lorraine Lee Hammond Autoharp Les Gustafson-Zook plus Madeline MacNeil. Keith Young. John Cerrigione For information. contact

Augusta Heritage Center Elkins, West Virginia

1-800-624-3157

www.augustaheritage.com

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Advertiser Index Accessories SS Hammers . . . . . . . . . . . . . . . .35 Colorado Case Company ... .............. 8 Dulci mer Mountain Arts. . . . ... 16 Glee Circus Music ..... .. . ... . • • ....... 11 Laural Mounta in Dulcimers . • •....... 39 The Cl ip Stick ............... .. •...... 16

Main St reet Case Company .... , . . . . . . Thistledew Acres ..... ,.

. .8

. . . . • • . . .. . . .3

Books, Magazines, Music Anna Barry ........... . .....• •• . . . .... .4 Anna Duff .. . . . . . . . . . . . • .• .. . .. . .. 2 Bonnie Carol . • • . • . • • • • • ....... 8 Bo nnie Leigh ... • •. . .••. •...... 12 Ca rey Dubbert ..........• . •........... 12 Congcrgatio n Music. . . . . . • . •. . . . . . 17

Debbie Porter. .

. ..... . . . .......... 33

Doo fu s Music . . . . . . . . . AO Do ug Felt .. . . . .. .42 Dulcimer Music O nline.. . .. . ... .4 Esther Kreek ..... , ................ . ..42 Gourd Music .................. Back Cove r G uy Geo rge . ....... , .. .•............ .20 He idi Muller ....... . . .. . . ............. 16 He len Johnson ..... , . .. •. • •.. .. . . .... .47 I-Iogfidd le Press .. .. .. . ••. • •. . ..•....... 7 Karen Mu ell er ' .. , , . . . . . . • . . . . . . .... 3 Katie Waldren ........................ 32 Sara J ohnson ......................... 37 Bill Schi lling & Linda Sigismondi ... .32 Linda Tho mas .. 33 Lo rinda Jo nes . ................ . .38 Maiden Creek Dulcimers ....... . .4 1 Maureen Se llers ......... . Inside Back Cove r Mel Bay Publicat io ns ...... 12 Michael Ocone & Susan Robins ....... Inside Back Cove r Missigman Music. . . ... . .......... 16 Nashville Dulcime r Quartet .. . . .. 042 Off·The-Wall Dulcime r Society .. .. 10 Owl Mo untain Mu sic..... .17,22 Peggy Carter. . . . . . . . . ... 22 Phil Passe n .. ..............•.......... 39 Phyllis Gaskins. . . . . . . . . . . . .. . ... 26 Rick T hurn ........ . .......•.......... 32 Robe rt & Janita Baker. . . . . . ....36,37 Roots & Branches Music ..... . •..... .I nse rt Rosamo nd Ca mpbell ..... . ... 11 SIeve Schne ider .... . .. . ... 11 She lley Stevens . . . . . . . AI Sue Carpe nter ....... . .•........ . .47

Susan Trump .......... .. .. .... ..... 17 Susan She rlock. . . . . . . . . . . . •• • . . . . . . . 10 Daryl Yearwood . . . ...... .43

Festivals Buckeye Dulcimer Festival ...... .... . . .7 Dulcimer Cruise 2003 ........• .. .. , ..... 5 Heritage Dulcimer Camp .. . .... 6 Moons & Tunes 2003 .. . . . . . . ....... A Palest ine O ld Time Music & Dulcimer Festiva l ........ 7 . ..46 Spring Dulci me r Week. Slringa long Worksho ps .. .7

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Instruments Keith Young ................. .. ... .43, 47 BacJ...')'ard Music...... . ..... 12 Black Mo untai n Instrum ents. . . . ....... 2 .... 4 Blue Lio n Musica l Instru ments . Burl Updyke ...... 31 David 's Dulcimers .. .43 Dusty Strings ........ . .. 26 Folkcraft Instruments .....•... . .... 8, 32 Folk Notes .. . ........... 8 Hobgoblin-Stoney End ................ .41 Je remy Seeger Dulcim ers .. .. .... Back Cove r Mike Huddl eston Stringed Instrullle nt s .... 33 Mode rn Mounta in Dulci mer . . ....... .33, 35 Rick T hurn Dulcimers ................. 16 Ron Ewing Dulcimers .... .. .. 38 TK O ' Brien's .. . . .. .43 Whamdidd le .. . . ... 10 . .I nse rt Wood' N Strings

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Helen Johnson P.O. Box 3395

._ Lake Jackson, TX 77566 ._ ... Telephone: 9/9-297-70 15 ... _" Email : azalea@computron.net ." www.HelenJohnson. biz

13 13

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Services Music Fo r Hea ling & Transitio n

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Shops Dulcimer Shoppe, Inc. . . . . .• . . . .36 Elderly Instru me nts. .. .. . . .. 20 Family Tree Music ........... . .. , ..... .41 Folk No tes ... . . . . . . , •.... . . .4 Mountai n Music Shoppe ......... 35 Mountain Made Music ......... ,.. . .. 36 Music Folk Inc........... .I nside Back cover ... 39 Prussia Vall ey Dulcimers Sim ple Sou nds ... .. 20 Southwind Dulcimer Sho p ........... .40 Steward MacDonald 's Guitar Sho p Supplies .. .. .. .35 Swee t So unds Du lcime r HOllse ..... 12 Windy River Dulcime r Shop ... .. .. .33

Sue e.a.'lpel1J;e'l presents . ..

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Want to make a Mountain Dulcimer? Check out Keith Young's two volume, three hour video "How to Make a Mountain Dulcimer". A book contains plans, procedures, lists of materials, tools and supplies, fret calculations, "secrets" and more. $59 plus $5 priority mail. More information at www.AppalachianDukimcrs.com. Kcith Young. 3815 Kcodalc Road. Annandalc. V A 22003 phonc: 703-941-1071. cmail: kcith@appalachiandulcimcrs.com

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Unclassifieds add. item. P.O. Box 2164, Winchester, VA 22604.540-678-1305. Order online: www.madeline macneil.com. Visa/MC.

Unclassified ads are 45e per word, payable in advance. There is a 20% discount for pre-paid (4 issues) unclassified ads running unchanged in 4 or more consecutive issues.

Hammered Dulcimers: Instruments and kits from $195. Also stands, hammers, books. Since 1976.800-419-9802. www.Grass rootsDulcimers.com. For Sale: Oscar Schmidt autoharp. Excellent condition. New case, some music. May be antique.$200.00. Rlzzetta 13/12 Augusta HD made early 1980's. Excellent condition. Fitted for monopod legs, hammers, tuning wrench, custom soft case with both hand and backpack straps. Whamdiddle stand, Barcus/Berry pick-up, some music. $900.00. Inf: Cheree, 860296-4922. Leave message. At Folk Notes, we select our dulcimers for the best sound and workmanship in each price range. Black Rose, Folkcraft, Folkroots, Jeff Gaynor, McSpadden, TK O'Brien, and Simerman mountain dulcimers. Black Rose Banjimers and our Folk Notes Banj-Mo, a hybrid banjo/mountain dulcimer with old-time banjo sound. Songbird and TK O'Brien hammered dulcimers, folk harps, open back banjos, autoharps, Irish and Indian flutes, tinwhistles, bodhrans, ethnic percussion instruments. Dulcimer and autoharp lessons. Mon-Friday, some Saturdays. Call for info or appointment, 260-484-9078. 2329 Curdes Ave, Fort Wayne, IN 46805. www.folknotes.com Instant Dulcimer Chordlng!-new, open tuning, barre chording method. Please see www.guitar simplified.com/dulcsimp.htm Hammered Dulcimer Book & CD, Video" For beginning to intermediate hammered dulcimer players. 1Wenty-five tunes and arrangements. Also, book w/CD, video for mountain dulcimer. Mel Bay Publications by Madeline MacNeil. Book & CD: $20.00; Video: $30.00. Shipping: $3.00 first item, $.50 for each

Dulcimer Players News recent back Issues $6 each. Dulcimer Players News, P.O. Box 2164,Winchester, VA 22604.540678-1305. E-mail: dpn@dpnews.com. Order subscript ions online: www.dpnews.com.Visa/MC. Since 1950, Sing Out! The Folk Song Magazine has covered the world of traditional and contemporary folk music. Each quarterly 2oo-page issue includes articles, news, reviews, festival Iistings, and instrumental "TeachIns" plus lead sheets for twenty songs. Subscribing Membership starts at $25/yr. Basic Membership (includes CD each quarter with all the songs in each issue) starts at $50/yr. Info: Sing Out!, Box 5253-D, Bethlehem, PA 18015-0253. info@ singout.org, www.singout.org. "His records, books, festivals and appearances have literally influenced thousands of dulcimer players." -Victory Music Review, Seattle. Booking information, recordings, Wild Dulcimer Online at www. robertforce.com .. Autoharp Quarterly, the intern ational magazine dedicated to the autoharp enthusiast. Subscriptions: US-$20, Canada$22, Europe-$24, Asia/South Pacific-$26. US currency, please. Stonehill Productions, PO Box 336, New Manchester, WV 26056-0336. ahquarterly@home.com, www.fmp.com/aq Acoustic music Instruction with Seth Austen. Private lessons or group workshops in scenic New Hampshire location. Acoustic guitar, fretted dulcimer, mandolin, bouzouki, fiddle, banjo, percussion, recording techniques. Styles include Celtic, Appalachian, bottleneck, blues, klezmer, international and more. For information visit http://www.sethausten.com, email seth@sethausten.com or call 603-539-8301. Sampler Records Lm. We sell antique and new hammered dulcimers; McSpadden mountain dulcimers; recordings of ham-

mered dulcimer, mt. dulcimer, fiddle, harp, Shaker, Celtic, hymns, children's music and more. Check our sales specials and Mitzie Collins' concert and mountain and hammered dulcimer workshop schedule in Western New York State on our website, www.samplerfolkmusic.com. Sampler Records Ltd, PO Box 19270, Rochester NY 14619, 585-328-5856. E-mail: samplerrec@aol.com. Instrument Builders: Our respected quarterly journal American Lutherie is entirely devoted to building and repairing dulcimers, guitars, mandolins, lutes, violins, and other string instruments. We also have instrument plans including a hammer dulcimer. Write for complete info, or send $39 for membership. GAL, 8222 S. Park, Thcoma, WA 98408. www.luth.org. Wonderful Prices at Wildwood Music. We have over 600 new acoustic instruments in stockincluding fine displays of mountain and hammered dulcimers. Wildwood Music, Historic Roscoe Village, Coshocton, OH 43812. 740-622-4224, www.wild woodmusic.com. Clmbaloms. Large chromatic hammered dulcimer with pedals. New and reconditioned. Various prices. Alex Udvary, 2115 W. Warner, Chicago, IL 60618. www.cimbalom-master.com. New: "Memorable Melodies" for 4 equally spaced strings. $16 plus $2 StH. Norma Davis, 205 Engel Rd., Loudon, TN 37774. For other books, write or visit www.woodsong.com/davis music/index.htm. Maximize your practice, playing, or perfonnlng with Steve Schneider. Personalized long-distance learning on hammered dulcimer/music/performance via audiocassette, cd, minidisc, or videotape. For details: 1-888-DULCIMER or write info@steveschneider.com. Blue Lion mountain dulcimer for sale. Style II, walnut with rose inlay on fretboard, rose soundholes. Stand included. Like new condition. $450, $10 shipping. Info: Karen Roess, 276-623-2309 Klsox@naxs.com.

For the absolute beginner to advanced: DAD Thning Davis' Dulcimer Delights, book 1 plus CD, $20. Classical Dulcimer DAD Fingerpicking, $16. StH $3. Norma Davis, 205 Engel Rd., Loudon TN 37774. Expressive hammered dulcimer: An instructional method by Carrie Crompton. Technical exercises and repertoire in a graded series of lessons for beginners. Covers melodic playing in eight keys and four time signatures, and beginning backup techniques that sound really good. 130 pages. $25 postpaid to: Carrie Crompton, 11 Center Street, Andover CT 06232. baroik@infi.net.

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For Sale: Songbird 15/14 hammered dulcimer. Carrying case, Korg CA-20 chromatic tuner, adjustable dulcimer and music stands, hammers; $700, ppd within USA. Pat Schwenk, 419734-4154, bpilgrim@cros.net. Edd Presnell 6-strlng Concert Dulcimer for sale. Beautiful dulcimer hand-made in 1972. Incredible tone. One owner. Hard-shell case included. Description, pictures and contact information: www.geocities .com/bluelynne/dulcimer.htm. Modern Mountain Dulcimer would like to take this opportunity to thank Public Radio Stations around the country for playing Acoustic/Roots/Celtic/Folk music. You are a breath of fresh air to the Dulcimer world. Special thanks to our local Public Radio Station, KASU 91.9 FM in Jonesboro, Arkansas. You make being home on the weekend instead of attending at a Dulcimer Festival bearable. We also want to thank all of the peopIe who have ordered the new MMD DREAM dulcimer for such positive feed back and so many referrals. Drone on!! As always we want to invite you to visit our web site http://www. modernmountaindulcimer.com to learn more about our high performance mountain dulcimers or call David McKinney at 870-251-3665 to place a order, answer a question, or to arrange a visit to the place where they are created in Batesville, AR. Stay in tune!

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

********************* ::: Maureen Sellers :::

Kaleidoscopic colors and te.xlures. innovative arrangemenLs. and an improvisational approach combine in an evocative recording of world folk melodies and original composilions. As a duo. Susan Robbins (artistic director of Libana) and Michael Ocone (of }(allet. Epstein [; Cicone) creale uncommon music w ith shimmer and soul.

$16 + $2 shiPPing - wnte and send checks to Michael Clcone, 53 Lunda Street. Waltham, MA 02451 - or VISit www llbana com

** *** ** *** *** ** ** * **

presents

** *** * ** *** ** * ** * ** ** ********************** MY TEACHING BOOK VOLUME ONE- $12.00 NEW!

MY TEACHING BOOK VOLUME TWO- $12.00

CD FOR VOL. 1 & 2-

$15.00 (The books I teach from at the universities.)

"'Coming Soon- Simply Duets!'" Simply Gospel One- $12.00 Simply Gospel Two- $12.00 Simply Gospel Three- $12.00 Simply Remembered- $12.00 Songs of the Civil War- $12.00

Fretboard Companion~ $6.00 Chord Chart路 $2.00 Great Players of the Mountain Dulcimer -CD路 $15.00 Send 52 .50 each for shipping & handling plus 51 .50 for each additional item. IN residents add 5% sales tax . Maureen Sellers, LLC 4708 Corydon Pike, New Albany, IN 47150 E路Mail路 MaureenSel@AOL.com For workshops/perfonmances(812)945-9094 www.maureensellers.com

music f~lx

8015 Big Bend Blvd. St. Louis, Mo 63119

1-800-892-2970 www.musicfolk.com musicfolk@musicfolk.com

Mountain & Hammered Dulcimers Folk Harps, Flutes, Recorders & Whisdes Blue Lion - McSpadden - Folkcraft Cripple Creek - Butch Sides - Dusty Strings Master Works - R.L. Tack - Songbird - Grassroots Triplett - Stoney End - Mid-East Guitars - Banjos - Violins - Mandolins - Autoharps Books - Tapes & CDs - Videos - Accessories We also make custom cordura cases for hammered dulcimers!

I nside Back Cover

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

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PRSRT STD U.S. Postage PAID Winchester, VA Permit No. 107

November 2002-January 2003 Issue Subscription copies mailed in October.

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Subscribers: If your mailing label is dated 11/1/2002, that means your subscription ends with this issue. Time to renew! To keep your DPNs coming without interruption, send us your renewat before January 1, 2003. Labets dated 2/1/2003 mean you have one issue aller this one. Renewing earty is just fine!