2008-03, Dulcimer Players News Vol. 34 No. 3 by Dulcimer Players News

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ulcimer D layers P The Journal for Dulcimer Enthusiasts

Vol. 34 No. 3

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Summer 2008

$10.00

Making Tradition Your Own Please do not reprint or redistribute without permission. Contact dpn@dpnews.com.

Brasstown, North Carolina

John C. Campbell Folk School

Explore weeklong and weekend classes year-round in craft and art, music, dance, cooking, writing, photography, storytelling, gardening, and nature studies. Both novice and advanced students will find that John C. Campbell Folk School offers a special environment full of art and life.

Offering mountain and hammered dulcimer classes! Weeklong and Weekend Classes On Campus Housing Delicious Meals Fun and Friendly Environment Join us for Dulcimer Celebration Week July 27-August 1, 2008

To request a free course catalog or register for a class,

call

1-800-FOLK-SCH or visit www.folkschool.org

Make your own mountain or hammered dulcimer at the Folk School!

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In This Issue

Summer 2008

How to Win at Winfield Chatting with the champs. Past winners offer advice on winning at Winfield and what that really means.

Editor

Production Team Butch Ross Angie Landrum

Christie Burns Nancy Garrett Steve Schneider Mark Shelton Ralph Lee Smith Neal Walters Andy Young Subscription Rates

(Four issues) United States $30; Canada & Mexico $44; all other countries $48. Visa, Master Card, American Express, Discover, checks drawn on American banks, cash and money orders accepted. Payment should be sent to the above post office box, or charged online at www.dpnews. com.

The double stroke roll is a technique that should

People You Should Know Christie Burns

Malcolm Dalglish

Tales and Traditions Ralph Lee Smith Charles N. Prichard of

Grass doesn’t have time to grow under the feet of Malcolm

Huntington, West Virginia

Dalglish. Learn about is latest project - Ooodoo.

(1839-1904) decorated his

Dan Landrum

Ken Bloom

Mark Shelton

be in every hammered dulcimist’s bag of tricks.

Dulcimer Players News, Inc. Post Office Box 278 Signal Mountain, TN 37377 (423) 886-3966 Email dpn@dpnews.com Web www.dpnews.com

Contributors

Rolling 101

Making Arrangements

instruments as works of visual art.

Steve Schneider Steve adds a bass line and corrects the course with a little help from Chuck Boody.

Stephen Foster

About The Cover Letters Editor’s Column Breaking News Tales & Traditions - Ralph Lee Smith Cymbalism - Andy Young Dulcimers in School - Nancy Garrett Pilot Mountain Bowed Dulcimer Festival - Ken Bloom Musical Worlds of Malcolm Dalglish - Christie Burns Making Arrangements - Steve Schneider Winning at Winfield - The Champs Rolling 101 - Mark Shelton Reviews Sheet Music Beach Spring for MD Beach Spring for HD Waltz for Wendy Woodicock Festival Listing - DPN & EverythingDulcimer.com Index to Advertisers Classified Advertising Funnies Please do not reprint or redistribute without permission. Contact dpn@dpnews.com.

3 4 6 9 10 13 16 18 23 26 32 40 44 54 55 56 57 58 60 61 62 ews Dulcimer Players N 1

Electric Eclectic Fantastic

Plugging your instrument into a new world of musical possibility doesn’t mean unplugging from tradition and quality. Every Greibhaus Dulcimer is meticulously formed from high-quality tonal and exotic woods and topped-off with an exquisitely hand-rubbed ﬁnish. But this beauty isn’t only skin deep. Tucked inside you’ll ﬁnd state of the art electronic components working together to blend shimmering natural tone with rich, warm sustain.

Go wild, or just go Wildwood Flower. This versatile tonal palette is well-suited for anything from Hymns to Heavy Metal. Order yours online today, or give Jerry Cripe a call and discuss a custom built instrument that is uniquely you.

j.cripe@worldnet.att.net

www.greibhausinstruments.com

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217-632-4551

About The Cover

The Unique Traditionalist Music Art by Karen Cannon Music speaks a universal language of the trials and smiles of life. Known as “The Norman Rockwell of Music Art” Karen’s artwork relays all the warmth and humor truly reminiscent of that legendary illustrator. Karen’s work covers every genre of music, with an emphasis on acoustic stringed instruments. Newly-introduced designs in the collection include mountain and hammered dulcimers. The Music Art of Karen Cannon is internationally distributed by the Hal Leonard Corporation. Karen personally exhibits in several Bluegrass/Folk festivals, including the Walnut Valley Festival (Winfield, KS), California Bluegrass Father’s Day Festival (Grass Valley), and the IBMA Fanfest (Nashville, TN). Karen and her husband, Brent Hawley, live in Fort Collins, Colorado. To view Karen’s collection, please visit:

I met Karen Cannon earlier this year at the Colorado Dulcimer Festival while thumbing through samples of her art. Always the pragmatist, I was thinking it would be great if we could get her to paint a DPN cover. I introduced myself, and in the next sentence presented the idea. I don’t remember her exact words, but they were (rightfully so) something similar to, “Who are you, and you want me to do what?” I remember thinking I had probably blown the chance, and I didn’t get to talk to her again until the festival was over. The final event was the Saturday night concert. During my portion I talked about honoring tradition, but also about how traditions are born when a player makes the music uniquely theirs. Your job, I told the audience, is to find your musical voice and develop it. I give this little speech fairly regularly because I believe it, and I hope it prepares them to give my unique style a chance. After the performance, Karen was waiting, and I remember her words exactly. “I get it,” she said, and then explained that she tries to do the same thing with her own work. Sure, she learns from the traditions of others, but her goal is to create her own art. She agreed to do the cover. The subjects are Bill Robinson and Bing Futch, each an undeniably unique traditionalist. — Dan Landrum

((((((((((((((((((((((( ( ( ( ( ( ( P.O. Box 3395 ( ( ( ( Lake Jackson, TX 77566 ( ( ( ( 979-297-7015 ( ( ( www.helenjohnson.biz ( ( ( email:Helen@helenjohnson.biz ( ( ( ( ( Books of Mountain Dulcimer ( ( ( Arrangements ( ( 1) Favorite Christmas Carols ( ( ( ( 2) Favorite Hymns & Gospel ( ( 3) Tunes & Ballads ( ( ( 4) How Great Thou Art —Duets or Solos ( ( ( 5) Fiddlin’ Around ( ( 6) The Promised Land ( ( 7) Deep Roots—Easy Folk Songs ( ( ( ( w/demo CD ( ( ( ( ( DAD—Easy to intermediate level with ( melody line, tab, chords & words. ( ( ( ( —$15.00 ea+ s&h— ( ( ( ( ( CD including several of Helen’s ( ( ( arrangements. ( ( —$10.00 + $2 s&h— ( ( ( ( (((((((((((((((((((((((

Helen Johnson

www.KarenCannon.net www.ArtStringsPublishing.com

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ews Dulcimer Players N 3

Letters I just had to write you to remark about how wonderful the Spring Issue is. It is the best one yet! It is so educational as well as having lots of music. I play a Blue Lion Mountain Dulcimer and enjoy every song I play. I love the new look of the DPN (I have been a subscriber for many years) and play the CDs all the time in my car. Great Job! Annie King, CA Your new Dulcimer Players News is beautiful, colorful, and very modern; however, I am old fashioned and long for simplicity. The whole world is very busy and attempts to cram as much as possible into a short period of time or in this case into one magazine. As I paged through a Dulcimer Players News from 1998 (saved because of music and articles) I felt very relaxed and drifted back to a time when people took the time to enjoy a more uncomplicated life style. I realize that you as a publisher must keep up with modern times. I am the one that must find a way to adjust. Agnes Bierbaum, FL You probably have already discovered that the sequence for the Dorian mode in Roger Nicholson’s article is incorrect; it is actually the sequence for the Mixolydian mode! The Dorian sequence reads: C D Eb F G A Bb C. The other information about the modes is so interesting; thank you and Mr. Nicholson. My experience from my college theory at the University of MN is with studying the modes with a moveable “do” rather than a fixed “do”, using the piano keyboard white notes and findws 4 Dulcimer PlayersNe

DPN Readers ing each mode’s sequence of whole/ half steps visable on the white keys at each step of the C scale. C is Ionian, D is Dorian, etc. Speaking of visable theory, cheers for the mountain dulcimer as the perfect picture of whole/ half steps of each mode according to where each mode begins. But, of course, that would have been too simple for college students! That all said; I LOVE the DPN these days—appearance and information are wonderful. Thank you so much for your efforts! Mary Bourn, NM Mary and others, we did notice the Dorian scale mistake. If you look back closely at the article you’ll see there’s actually a space where the flat symbol should be. We’re not sure how it escaped the page, but what a difference one tiny omission can make! The number of letters received pointing this out is a testament to DPN reader knowledge of theory. Thanks - DL Thank you for the renewal reminder large enough to notice. I usually just rip off the envelope and dive right in to the most exciting magazine I receive. Each issue I receive is better than the one before, but how can you possibly top the Spring 2008 issue and CD? It is tremendous! I’m delighted to hear samplings of such a diverse dulcimer field, including examples of “my kind of music” (classical and beyond) as well as other areas to stretch my brain and imagination. I usually skip over vocals, but your examples have been really listenable. These tracks have helped me decide what CDs I’d like to add to my library and some, like the hammer

demonstration, are very informative. To show the diversity of Kendra Ward’s hand carved hammers, along with how to choose wood and make them with machines was a delightful addition, especially when enhanced with the CD presentation. I loved the opportunity to hear as well as see the music for Mark Wade’s pizzicato article. I may develop some calluses trying that out. My only constructive criticism regards page 29 [Vol.34 No.2] and the scale at the bottom of the page. I wish you would have used sharp names going up and flat names going down as the scales are traditionally presented in the musical world. Deanna Mitchell, MI I’ll try one more year. PLEASE remember that the dulcimer is a TRADITIONAL FOLK instrument. All the crap in your magazine about electric dulcimers and “more and more extra frets” (why not just buy a guitar?) - it’s too much. I know things change, even traditions change. But how about showing a little more respect for the history of the dulcimer and the styles of playing it. Respect the culture. I have played the Appalachian dulcimer well over forty years. My picture is in Jean Schilling’s book and one of my arrangements is in Neal Hellman’s first book - but I feel like I’m a stranger when I read DPN. Nick Hallman, SC I miss the hominess of the old magazine, but I really enjoy the CDs each month. I really appreciate your efforts. I haven’t ventured into playing yet, but I do love to listen. Alta Gaither, KY I subscribed to DPN for about 12 years when Maddie was editor. Somehow I stopped. Recently Wanda Degen gave

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me a gift of your present day DPN. I was impressed, thus my new subscription. I am enjoying the magazine and the CD. Congrats to Sarah Elizabeth and her version of Wellyn [Vol. 34 No.1] which I have enjoyed playing for at least 25 years. Her version fired me up. Roger Brundage, MI Another great issue. I am thrilled you are including basic music lessons, too. Metronomes - yes!! Keep up the great work. Karen Ashbrook, MD I love your revised magazine, especially the CD. The articles on Modes and reading music were great. I am going to buy a metronome. Patti Brady, MI I REALLY love the magazine! Thank you both so much for all the hard work you have put into it. The extra effort truly does show. I also really enjoy the CD.... matter of fact, it’s my favorite part!!! <grin> Many thanks! Karen Rogers, SC Thanks for a relaxing and informational day when the Dulcimer Players News comes. I enjoyed it when I first got it several years ago. And now, much to your credit, you have moved to another level. Jack Perskari, OH I really enjoy the new format. The content is always excellent - informative and well put together. Thanks for your hard work. Stephanie Barrett, NY I am so excited about the new format of the Dulcimer Player’s News magazine. I eagerly await its arrival and start to read it immediately. The enclosed CDs are an added bonus. It is a great way to keep abreast of my favorite artists and some new ones as well. I play the music while I am working in my art studio and it gives me great inspiration. Thanks for taking on such a challenge and making a great maga-

zine even greater. Sue Harrell, MO Enjoying the new format and especially music CDs. Glad for more music and educational offerings. Many thanks for your good work. Judy Taylor, FL I loved Park Avenue, I Used to Have a Father and Mother (Cathy Barton), and Sonata in C (Maddie MacNeil) on the CD! You’ve done wonders with the magazine! Keep it up! Tom Riddering, MN I’ve been playing dulcimer since 1965. My initial teacher was Richard Farina. We met when I wrote an article abut him and Mimi for KOOT magazine. Although I’d heard the instrument before, I fell in love with it through Richard’s music, and he was gracious to give me a few lessons the last times I saw him. Over the years, I’ve played at many folk festivals including Fox Hollow and the Philadelphia Folk Festival, where I ran the dulcimer grove workshops, which were conceived with me in mind. These days, I just play for love and enjoyment. Keep up your good work, and keep my subscription coming. Chuck Klein, NY We try to include as many letters as we can each issue, and appreciate the feedback. I hope you’ll take time to read my Editor’s Column on page 6, as it addresses some of the concerns expressed in letters regarding DPN’s new look. Submit your letters to: Dulcimer Players News PO Box 278 Signal Mountain, TN 37377 email: dpn@dpnews.com

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Editor’s Column

ummer’s heat and humidity have settled upon us here in the South, and the festival season is in full swing. It has been a pleasure visiting with DPN readers at the festivals we’ve attended so far, and we appreciate your words and notes of encouragement and admonishment, as well as your suggestions. Hopefully, you’ve seen evidence of your ideas put into practice within these pages.

Dan Landrum

classifying the average dulcimer player, or DPN reader. Our readers range from hobbyists who want nothing more than to play a simple tune and hang out with friends, to people pursuing careers in music. Their ages and musical tastes reflect that of America, and are as diverse as the instruments they choose to play and call dulcimers. The two players on the cover of

how he holds the instrument. Dangling a hammered dulcimer from your waist is certainly not playing in a traditional manner. However, watching him play this way excites audiences and helps expose more people to the music. Bing Futch is another story altogether. I mean, c’mon, how many dulcimer players do you know with dreadlocks and facial piercings? “He must be way out there,” I thought,

Even as we walk forward, we always have one foot in the ever changing past. While most of the mail and conversations regarding DPN are positive, we occasionally hear from readers that we just can’t seem to please. I’ve noticed that in these cases, the point of contention almost always centers around interpretations of tradition and simplicity. On the desk in front of me is a letter expressing such a concern. “You’re forgetting,” the writer states, “that these are simple instruments and traditions. You’re improvements in the magazine are costly and mostly for show. I miss the simpler DPN. How sad.” While I don’t look forward to letters like this, the opportunity they present and the questions they raise are a gift. This letter illustrates something I’ve come to believe: we each define tradition and simplicity through lenses we call our own, but which were crafted by others. Tradition is something we learn from others, but it isn’t tradition until we make it our own, and simplicity is that which we fully understand and feel comfortable around. Letters like this remind me that while our choice of instruments may give us a common interest, there’s no ws 6 Dulcimer PlayersNe

this magazine illustrate this well. Bill Robinson, hammered dulcimer, and Bing Futch, mountain dulcimer, are about as different from each other culturally as any two humans can be. Yet, they’re more alike than I could ever have imagined. This is one of the reasons I chose to send their pictures to Karen Cannon to paint. [See About The Cover on page 3.] Both these men are examples of why you should never judge a book by its cover, or a singer by just one song—not that I don’t do it myself. For example, I remember hearing tales of Bill Robinson leading all day jams without ever running out of traditional tunes. “Now here,” I thought, “is a true traditionalist. He’ll probably be stodgy.” (Shame on me.) It only took a few minutes of getting to know Bill to catch a glimpse of his passion for sharing the joy of music with others. I later learned that Bill has written more tunes than most folks have ever learned. Can a tune be called traditional if it was written just last year? I’ll leave that answer up to you. If your introduction to Bill was to see him on stage you, could easily pass him off as a nontraditional player just by

after first discovering him through his website. (Shame on me, again.) Spend a little time listening or playing music with Bing, and I challenge you not to smile. He absolutely lights up when he gets to hang out and share traditional songs with like minded people. He’s also doing the dulcimer world a great service with his talent as a videographer—more on that in a moment. Players like Bing and Bill are fun to watch because they have made the traditions their own. There is honesty in their presentations, and it is obvious they are just being themselves. They’ve found a way to enjoy something that predates them, in a way that reflects who they are today. This is the essence of tradition and illustrates that even as we walk forward, we always have one foot in the ever changing past. Speaking of moving forward, have you been to the DPN web site lately? On April 16th we quietly unveiled a new weekly podcast service. There are now nearly three months worth of audio and video podcasts available for download or online viewing. Even starting this service has not been without controversy. We’ve re-

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ceived a few letters expressing fears that we’re trying to turn this into a web based magazine. This simply isn’t true. We’ve been careful to make sure stories presented in DPN stand alone, without additional web based material. This is one reason we include the CD. Some readers have suggested we put everything on the web, instead of the CD, and save ourselves a lot of money and work, but in the process we’d leave out many readers who have no, or only slow, internet access. There are, however, advantages for those who do have high speed access. Earlier I mentioned Bing Futch’s talent as a videographer. Well, we’re proud to say he is working for DPN (and you) to archive weekly what is happening in the dulcimer community. We’re calling this service DPNews Online and we’ve committed to givingnitera one nce Corwanted to e F year trial run. We actually e h t n I announce this in the Spring issue, but thought we’d better get a few shows under our belts first to make sure we could meet the weekly deadlines. So far, so good. Bing’s first quarter of weekly programs includes interviews and music from festivals across the country. There are too many people and events to list here, but some highlights include interviews with Steve Eulberg, Paul Conrad, Gary Gallier, Lois Hornbostel, Jim and Sherry Miller, Mike Clemmer, Don Pedi, Terri and Pam Lewis, and Nic Hambus. There’s performance footage from dozens of festivals. It’s all free at www.dpnews.com. We’re getting reports of record attendance at festivals. We hope to meet you at one. There is no doubt that the number of players is growing.

Rats

Play. Enjoy. Repeat, and slow it down if you prefer. - Dan Landrum

7645 E. Lamar Alexander Pkwy. - Townsend, TN 37882

Rats

in the Fence Corner Gary and Toni Sager with Doug Felt and Stephen Seifert Autoharp and Mountain Dulcimer Instrumentals

Featuring

ACOUSTIC MUSIC SHOP 122 North Market Street Waverly, Ohio 45690

Prussia Valley, McSpadden, Folkcraft, Master Works, Dusty Strings, Rick Thum, Tacoma, Oscar Schmidt, Austin, Deering, Guild, Ohio Valley, Songbird, Thomson, Sweetwoods, Evoharp, Washburn, Walnut Creek.

MasterCard, VISA & Discover accepted Plus CDs, Videos, Instruction Books, Tuners, www.pussiavalley.com Strings, Straps and more...

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LISA & HEATHER MALYUK

LISA & HEATHER MALYUK 13 Tunes is a collection of original tunes and traditional sets of music played on hammered dulcimer, guitar, ďŹ ddle and banjo uke. Featuring Lisa and Heatherâ&#x20AC;&#x2122;s exceptional musicianship, fresh arrangements and inventive transitions, this is a must for any fan of traditional acoustic instrumental music. Hear samples and buy online at

lisa-heathermalyuk.com

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Congratulations

ull Glazener has a new

open mics, dulcimer jams also

workshop CD available.

find their way into their easily

The tune is Dream A Little Dream of Me. The workshop

searchable database.

in detail, looping entire parts,

and culminating with a play-

Bill Robinson) have reissued the

along track.

long out-of-print cassette Paul

CD is divided into individual tracks covering small sections

oted hammered dulcimer player Paul Van Arsdale

(and his former musical partner

Doctor of Musical Arts The Ohio State University June, 2008

and Bill as a two CD set. This

ary Gallier has a new

release is in honor of Paul’s first

and improved web site

ever visit to the ODPC Fun Fest

at www.dulcimercentral.com.

in Evart, MI. The special-edition

The new site is easy to read,

double CD is $25 and available

easy to navigate, and beautiful.

through www.dulcimers.com/

Gary has also been feverishly

PaulandBillCDs.

working up new arrangements

the page you’ll need to enter

and

the user name “pauls” and

regularly posts them on his

the password “friends”.) For

web site. You’ll need the free

those of you who don’t know

tef-viewer program to see

him, Paul has recorded with

‘em. But, like the rest of Gary’s

John McCutcheon and Bill

work, the arrangements are

Robinson, and actually learned

clever, challenging (but not too

to play from his grandfather

hard), and tons of fun.

Jesse Martin, who was a

traditional

Dr. Mark Alan Wade

tunes,

(To

access

So Proud! . . . Dad & Mom

hammered player in Henry

erry Rockwell and Steve Siefert embarked on a 6-date

tour of Ohio, playing concerts and shows throughout the

Ford’s orchestra!

rom

the

forums

everythingdulcimer.com:

state. Having two players this

What strings should I use, looks

good and this inventive on the

vs. sound, amplification, festival

same stage surely was a treat to

reviews, instruments on ebay,

those lucky to catch them live.

suggestions

Let’s hope they do that again

instruments, rudiments, blues

sometime soon!

on HD, getting back into the

inexpensive

groove, and much more.

olkjam.org is a web site dedicated

for

keeping

track of local jam sessions nationwide. Though the bulk of the listings are for bluegrass and old-time jams, jazz jam sessions, Irish sessions, and

www.everythingdulcimer.com Do you have news or projects of interest to the dulcimer community at large? Send your info to breakingnews@dpnews.com We can’t guarantee we’ll use everything, but we’ll sure try.

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TAles & TrAditions

by Ralph Lee Smith

n Saturday morning, May 3, I stood in the workshop of Keith Young, the fine dulcimer maker and restorer of Annandale, Virginia. There on his work table was the dulcimer that is shown in Photo #3, which had been sent to Keith for restoration. It bears no identification, but there can be little doubt that it was made by Charles N. Prichard of Huntington, West Virginia (1839-1904). Prichard and his dulcimers are described in my book, Appalachian Dulcimer Traditions, Scarecrow Press, 2002, paperback, in print. Unique among old-time makers, Prichard painted many of his dulcimers in a number of different colors and patterns. This article illustrates three of them—if, in fact, the second one was made by Prichard!

Rose and Gold

A Swirly Design: Orange and Black Swirls.

The photo above shows the back of “The dulcimer that passed through Jimmy Costa’s log cabin in 1991.” Its story, with a black-and-white photo of its front, appears in Appalachian Dulcimer Traditions, and I won’t repeat the tale here. The painting on the back is much brighter and fresher than the painting on the front. The instrument must have hung with its back to a wall, perhaps for as long as 100 years. Here it is, in all its swirly glory!

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The photo below is painted in old rose color, with a gold stripe around its edge. It looks like a Prichard. But according to family tradition, it was made by someone else! I first learned of the instrument from Kimberly Burnette-Dean, Lead Historical Interpreter for Virginia’s Explore Park in Roanoke, VA. Kimberly sent me an email describing a posting that had been made by a lady named Peggy Farrell on a Google dulcimer list. In her posting, Peggy described an old dulcimer in the possession of her friends, Al and Ann Asbury of Kingsport, TN. I called Al on the phone. He told me that, according to family tradition, the dulcimer was made by his great-grandfather, James Allen Christian (1842-1925). Christian lived in Central City, WV, which became Huntington. He was a Union soldier in the Civil War, serving in West Virginia. About 1890, he lost part of one arm in a farm machinery accident. If he made the dulcimer, it is unlikely that he made it after this accident.

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The pattern, design features, and measurements of the instrument are those of Prichard dulcimers. But the hole in the strum hollow and the design of the pegs are unique among Prichards that I have seen. Christian and Prichard both lived in Huntington, and were contemporaries. Prichard made dulcimers between the 1870â&#x20AC;&#x2122;s (beginning date uncertain) and his death in 1904. All one can say is, one wishes this instrument could speak!

A Cross-Hatch Pattern In January, Ben Benjamin of Poinciana, FL sent me an email that read in part, â&#x20AC;&#x153;One of our brothers just arrived at our Florida home for a New Yearâ&#x20AC;&#x2122;s visit, and in his possession is an antique mountain dulcimer that has come through his wifeâ&#x20AC;&#x2122;s ancestors, tracing back at least to London, Kentucky in the mid-to-late 1800â&#x20AC;&#x2122;s.â&#x20AC;? Ben did some research, and sent me a second email. â&#x20AC;&#x153;We believe,â&#x20AC;? he wrote, â&#x20AC;&#x153;that the best probability is that the original owner was Samuel J. Booth, born November 3, 1842 in Wayne County (Huntington) West Virginia, died October 26, 1879 same location. Records show he enlisted in the 16th Virginia Cavalry, served as a private, and saw action at Gettysburg, as well as other regional battles.â&#x20AC;? Samuelâ&#x20AC;&#x2122;s grandson, Joseph Booth, was born in Wayne County, moved to London, Kentucky and married there, and then moved to Florida. He was the grandfather of Benâ&#x20AC;&#x2122;s sister-in-law on her motherâ&#x20AC;&#x2122;s side. Len Ward, the sister-in-lawâ&#x20AC;&#x2122;s father, lives in Melbourne, Florida, and owns the instrument. â&#x20AC;&#x153;Mr. Ward tells of his beginning attempt some years ago to restore it, mainly by stripping a black crosshatched paint pattern, shadows of which are still visible on the instrument,â&#x20AC;? Ben wrote. â&#x20AC;&#x153;He unfortunately discarded the wooden tuner pegs, nut, and bridge,

Ron Ewing Dulcimers

From a Musicianâ&#x20AC;&#x2122;s Hand Fine Instruments from Dulcimettes to Baritones Since 1970

CAPOS Since 1975

Walnut or Cherry - $18.00 Ebony or Rosewood with Pearl Snowflake -$23.00 All Prices Postpaid

& .BZOBSE t $PMVNCVT 0) t

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ews Dulcimer Players N 11

thinking that they weren’t useable.” Keith replaced all of these in his restoration. Small traces of the cross-hatch pattern are faintly visible at a few places on the front, and, of course, the full pattern is visible on the back, where it has only been partially removed. We need to see more Prichards, and we need to know more about him. Please let me know of anything that crosses your path! Ralph Lee Smith is a leading authority on the history of early Appalachia, on traditional Appalachian music, and on the Appalachian dulcimer. His most recent publication is a songbook and hsitorical reminiscence called, Greenwich Village: The Happy Folk Singing Days. You can read a review of it on page 46.

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Autoharp Quarterly® magazine is published four times a year and is sent First Class mail the first week of November, February, May and August to subscribers world-wide. Each issue contains articles and music covering such subjects as Beginners, Children, Classics, Chromatic, Diatonic, and Jamming. Also included is a Sacred ’Harp feature and an Interaction Lesson in which players can get a personal critique from an accomplished artist. Each issue contains artist’s schedules, festival listings, reviews of new recordings, news of the autoharp community and technical and/or how-to articles. There is a MarketPlace which offers autoharp-related CDs, books, and accessories for sale. US, $24; Canada, $26; Europe, $28 and Asia (including New Zealand and Australia), $30. All rates are in US Dollars. Sample copies are sent on request and gift certificates are available in any amount. We accept checks, money orders, VISA, MasterCard and American Express. Subscribers receive a 10% discount on merchandise ordered from the MarketPlace.

Stonehill Productions P. O. Box 336 • New Manchester, WV 26056-0336 (304) 387-0132 • ahquarterly@comcast.net www.autoharpquarterly.com

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Andy Young

ing to my journey as Giani Lincan. I offer here a review of three musicians whose recordings you might want to familiarize yourself with if you have any interest in applying jazz music to the hammered dulcimer.

or a long time I have loved playing and listening to the hammered dulcimer. Longer still, have I been a fan of jazz music, particularly in my younger days as a drummer. In more recent years I have taken an interest in Gypsy swing, that style of jazz pioneered by the master guitarist, Django Reinhardt. However, for the most part I have regarded the unwieldy, mostly diatonic, sustain laden instrument they call the dulcimer as fairly incompatible with the complicated, rather chromatic, improvisation-based genre known as jazz. And then one day in 2006 everything changed. I was listening to a live recording of Gypsy jazz guitarist, Tchavolo Schmitt (who you may have seen featured in the Tony Gatlif film, Latcho Drom) and amidst the Django-inspired guitar solos appeared this

wonderful cymbalom playing unlike any I’d heard before. This was not the traditional Eastern-European folk music I was used to hearing on the cymbalom which, to be honest, has never interested me much. This was jazz. Hot jazz. Aggressive jazz. This was Romanian cymbalist, Giani Lincan.

Costel Birlic: violin, string bass Giani Lincan: cymbalom Ionica Minune: accordion

Listening to Lincan has inspired me to stretch the chromatic and harmonic boundaries of my own playing and to begin exploring jazz on the dulcimer more seriously. It has also led to my discovery of other European cymbalom players as equally inspir-

Stano Palúch: violin Marcel Comendant: cymbalom Róbert Ragan: string bass

The first is Marcel Comendant, a Moldavian cymbalist with the PaCoRa Trio. The group released their self-titled debut CD in 2005. The trio consists of nothing more than violin, cymbalom, and upright bass. In this lineup the cymbalom takes on what might typically be seen as the role of a piano, laying down chord changes and taking requisite solos. Although Marcel Comendant commands this role with confidence, the album’s opening track, a lively rendition of Gershwin’s Liza, conjures up Toni Iordache more than Nat King Cole. From the first notes of the tune, Comendant establishes himself as a true cymbalist, using the traditional technique of an inverted pedal point, a drone note in the upper

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register underneath which he drops chord tones to provide a bouncy accompaniment for the violin’s lead melody. You often hear this rhythmic style in traditional Hungarian cymbalom playing. But to blend it into the American jazz standard like this grabs the listener’s attention with immediacy. In a similar homage to the American Songbook, the album continues with the Cole Porter standard, Anything Goes. While the intro to this tune is a wonderfully infectious, polyrhythmic play on the melody, Comendant’s greatest strength may be his ability as an accompanist to use chord voicings, arranging notes within a chord to af-

a sparse array of notes. Listening to Comendant navigate this successfully is both inspiring and puzzling. With the lean configuration of a jazz trio there is plenty of room on this recording for the listener to enjoy the prominence of the cymbalom. In addition to his accompaniment skills, Comendant takes solos throughout the album, which only further confirm his ability to tastefully meld jazz theory with Eastern folk roots. I really cannot say enough how much I enjoy this album. Whereas Marcel Comendant’s playing is integral to the PaCoRa Trio, Giani Lincan’s appearance on Tchavolo Schmitt’s latest release, Seven Gypsy Nights, resembles

I lived with a misconception that there are things you just can’t do with a dulcimer. fect chromaticity and melodic movement. To do this, one must shuffle chords around to find melodic lines, for instance, that ascend or descend by half-steps while maintaining the appropriate chord progression. This is no small job for the jazz pianist who has ten digits with which to execute the task. Being limited to two hammers brings with it the added challenge of inferring the correct chord within

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more of a guest appearance. But don’t let that deter you from giving it a listen, because Lincan is nothing less than a virtuoso. He has played cymbalom since childhood, and studied at the celebrated George Enescu Institute in Bucharest. While he is well known for his classical training, on this recording Giani Lincan swings! Given that he is playing with some of today’s top Gypsy jazz players, it’s

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Marius Preda: cymbalom

a testament to his skill that he keeps his own in their midst. He does not play on every track, but when he does, it’s marvelous. I won’t spoil the surprise by identifying the first track on which he appears, because I still find it delightful when seemingly out of nowhere the cymbalom appears. Lincan’s solos are filled with the very things that make Gypsy swing what it is. Listen as he runs a chromatic scale down three octaves in 16th note triplets. Simply breathtaking. Listen for the tri-tones, two notes that are three whole-tones apart (for example G/C#), or the diminished arpeggios, which are really nothing more than a couple tri-tones stuck together. Listen to his speed and dexterity, his use of syncopation and chromatic accidentals. This is deeply jazzy, deeply Gypsy stuff. Then listen, as he takes on the ballad, Summertime, with a sweet bluesy saunter I never imagined possible on a dulcimer. Lincan’s use of dampers is equally impressive. He’ll play a soft, flowing phrase with open resonance, then just as it rises to a peak the dampers close and notes come cascading down a staircase of musicality with an astounding sense of both chaos and accuracy. It’s really worth it to listen to any recording you can find of this master. My third recommendation, Marius Preda, whom I happened upon while searching YouTube, is another alum of the Enescu Institute. His latest project is a trio called Mission Cymbalom and, while they don’t have an official release yet, you can listen to several tracks on their website: www.missioncymbalom.com/ A brief web search will yield several video examples of Preda’s cymbalom prowess. Whether playing traditional folk, classical, or jazz, Preda’s inventiveness and playfulness might just be unprecedented. Certainly, his previously released CD entitled The Swinging Cymbalom was groundbreaking work bringing jazz to the cymbalom. But this latest project, Mission Cymbalom, bears uniqueness as possibly the most prominent example yet of modern jazz on the instrument. With arrangements that include electric bass, drums, and keyboards, they are truly pushing the envelope here. Especially remarkable is Pre-

da’s use of funk and blues riffs. Hearing these lines synched up with a drum kit further convinces me that for years I lived with a misconception that there are things you just can’t do with a dulcimer. My sense is that this young player is someone to watch in the coming years. While the difference in tuning schemes between the dulcimer and cymbalom may keep some from taking interest in these artists, I believe there is much education and inspiration for the adventurous dulcimer player to find in their recordings. I, for one, have come to see my instrument in an entirely new way. Andy Young plays Irish traditional, Quebecois traditional, and jazz music on the hammered dulcimer in Chicago, IL. His website is: www.andyyoungmusic.com On the rare occasion he blogs: www.dulcimist. blogspot.com

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Editor’s Note: There has perhaps never been a better time for local dulcimer clubs to get involved with their local school systems. Schools that have faced years of music education cutbacks are looking for creative ways to expose their students to the arts. The Rock Prairie Dulcimer Group in Milton, Wisconson did just that, and the results were music to the ears. DPN is happy to share their story and anxious to hear from other groups and individuals who are making a difference in their local communities.

uring 2007 I found myself totally immersed in a course titled Self-Expression and Leadership (SELP) by Landmark Education (www.landmarkeducation.com). The goal of the SELP class is to produce and execute a project that helps your community. While deciding about my project, it struck me that our Rock Prairie Dulcimer Group could perform and collect donations to purchase student dulcimers for the local school. I met with Alison Jewer, a Suzuki violin teacher, now teaching music in the Milton schools. She felt this was a great way for students to get their hands on an instrument, and thought the American folk instrument would be a great addition to her music program. The United Arts Alliance, Mac Dowell Music Group, coffee shops, Meriter Hospital’s holiday party, and other groups wanting entertainment contacted Rock Prairie Dulcimers to play and donated money. We’ve earned nearly $1,800.00 to purchase 29 cardboard dulcimers, 2 electronic tuners with pick-ups, extra melody strings, extra picks and Stephen Seifert’s book Foundational Techniques for the Beginning Mountain Dulcimer Player for Milton Northside Intermediate School. Alison is very excited about our group donating the student dulcimers for use by the sixth graders. She started lessons with her classes at the end of March 2008. A big thank you goes to Stephen Seifert for letting us use his beginning lessons with these classes. His DVD instruction helps the students understand the correct procedures for playing the mountain dulcimer. I’m presently assisting Alison with the instruction of her five, half hour classes, one of which has 29 students. We are working with the simple strums for Bile Them Cabbage Down, and the students are sounding good. It will be interesting to see how the students prog-

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CD Included!

Abide With Me - Amazing Grace - Beautiful Savior - Canon in “D” - Come Thou

Members of the Rock Prairie Dulcimer Group (L to R): Nancy Garrett, Nancy Hasse, Dan Reese, Judy Figi, Betty Jo Ban, Linda Merrill (front).

Fount of Every Blessing - In the Garden - Love Divine, All Loves Excelling - Spread Your Wide

Wings - Victory in Jesus - What a Friend We Have in Jesus - Whispering Hope

ress, and what happens in the future, as these students enrich their lives with music. To learn more about this project, contact Nancy Garrett via email: kyuk_04@yahoo.com. You can hear audio excerpts from the school program at: http://gazettextra. com/news/2008/mar/01/how-sweet-it-students-listenplay-dulcimers/

O O T .. () -

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D u l d c e i m w o er B by Ken Bloom

or those of you reading this article who are not (yet!) bowed dulcimer players, a little history. For several years, the only real teaching opportunity I had for the bowed dulcimer was at the Dulcimer Workshop at Western Carolina University in Cullowhee, NC. Thanks to the enthusiastic support of Lois Hornbostel, a morning bowed dulcimer course was instituted and was met with surprising enthusiasm. After a year or two, it became apparent that there needed to be more such opportunities. I live in a very small town, Pilot Mountain, NC, but we have a wonderful music club

here called the SawBriar Cafe. The owners, Ben and Cammie Collier, had often remarked to me that they would be interested in doing educational events, so I approached them about

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doing a bowed dulcimer weekend. Thus was born the Pilot Mountain Bowed Dulcimer Festival. The festival has become a community effort involving the local hotel, our library, and the good folks at the First Baptist Church. The hotel provides rooms at a reduced rate, and a nice large room for us to use for our Friday night events. The library provides a comfortable, large room for the classes on Saturday and Sunday, and the First Baptist Church furnishes a wonderful sounding hall for the Saturday night concert. Iâ&#x20AC;&#x2122;ve watched the event slowly grow and expand, and this, the fourth year, was the most rewarding. This year I had four instruments to deliver, one was a surprise. Everyone arrived Friday night. I was working hard to complete an instrument for Claire Danielson. Her husband had contacted me back in January about how taken Claire was with the instrument, and how she was thinking of coming to Pilot Mountain if she could get a loaner. He wanted to surprise her with her own instrument.

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The plot was fostered along for several months and on the Friday night, it was hatched! We do a beginner’s session at the hotel from 6:30-8:00pm. Claire was there for the session. I came charging in with instruments in my grubby little paws. When she pulled out the one I gave her from its case, her eyes got very large. It was then I informed her that the instrument she was holding was hers. Her response…“No way!!!” I said, “Way.” Her husband was backpacking and out of contact by any means. It was a delicious moment. The beginner’s session went well, and by 8:00 a lot of familiar faces had drifted in. Thus began our traditional Friday night jam, with lots of people playing all sorts of things. We just started a tune, and those who knew it, played along. Those who didn’t, found a few notes that worked. I always tell people, when in doubt, play a D. It’s going to be right a large part of the time. Around 10:00, I went home to continue stringing bowed dulcimers. The jam went on after I left. Classes began promptly(?) at 8:30 the next morning. New instruments were delivered. There was Jane Smith’s with the poodle carved in the peghead. Lucy Roads got a Grande Pardessus, and Zane Moore received his d’amore. I took a little different tack for this weekend than I had previously. We devoted the first session in the morning strictly to exercises. Many folks had asked about this and so onward we pressed into Exerciseland. We began with just bowing, and then proceeded to actually using left hand fingers. The slow warmup and emphasis on tone, I think, helped a lot, because after the break, when we launched into music, it sounded much better. We already had those bows moving and those left hand fingers wiggling in an orderly fashion! When I have a large room filled with people at wildly different levels, I use a method that has evolved over time and seems to work pretty well. I take a piece of music and write it up in three parts. The first parts are for the experienced players. They have position shifts, fancy bowings, dynamic markings, all the stuff that makes music both wonderful and challenging. The second parts are for the intermediate players. Everything is mostly in first position, and the bowings are more straightforward. The third parts are for the beginners. Anyone who could play a scale from the session the night before had all the skills they needed

These are just a few of Linda’s favorite Scottish and Irish tunes that she has arranged over the years. You will ﬁnd a mixture of novice - intermediate tabs with lots of harmony and chord parts. $15.00 (plus shipping)

www.lindabrockinton.com

Don’t Forget! Duets at the Dixie with Larry Conger August 23-24, 2008. See website for details.

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to play the third parts. All in first position. All the notes on only the low and middle strings, and lots of long notes with simple bowing. Everyone gets all the parts. That way, they can go home and have some nice trios to play. Everyone also hears the explanations about all three parts, so that as someone advances, they can go to a piece and try it out. We did one of Praetorius’ Jane more famous pieces, a Bouree. When we had all three parts going, we had our own little chamber orchestra of bowed dulcimers. I should mention that we had people there with all manner of bowed dulcimers: basses, standards, d’amores, Pardessus, and Grande

Pardessus. This makes for some great sounding ensembles, especially with those basses.

Smith

G a i l We s t

Each year I’ve done the concert with the wonderful help of Jeff and Janet Furman. Jeff and Janet do great music in their own right, but they are invaluable to me as my band for

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this and other events. They are very kind and willing to put up with my musical schizophrenia. In the past, we’ve done: klezmer, old-time, swing, Eastern European, and my own compositions, smiling through it all—well, most of the time. For this concert, we did a few swing tunes, several of mine, and a few old favorites like Da Slockit Licht and La Golondrina. If you’d like to check some of this out, you can go to YouTube, do a search for Ken Bloom, and see some of the tunes we did. After the concert, we all went back to the hotel to play tunes! After all, that’s what it’s all about! Too much fun to be legal!! Sunday morning, we all limped in for the final session. We reviewed

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playing BDers whose bright attitude has helped and encouraged so many. We had more new

tin Pegg y Ma r

what we had done the previous day, and I asked folks what they liked and didn’t like about the weekend. This group was not shy about letting me know what worked and what didn’t. This festival is a group effort to make it as worthwhile as we can. There are a lot of folks who work very hard to make this all happen. I have already mentioned Ben and Cammie Collier, without whom this event could not take place. Gail and Kerry West have been huge supporters of the bowed dulcimer from the very beginning and continue to contribute so much, with work on the web site, helping with music, name tags, and dozens of other things. Ruth Randle is our St. Ruth, providing music that people can actually read, as opposed to my henscratchings. Janet Furman is also enthusiastic in this area, as well as helping out with bowing instruction for the overly tense. John Piston is another of the long

Ta m m y Tu rkett

people at the event than w e have ever had before. I’m always impressed by the distances people travel to be here for the weekend. We had folks from Indiana, Virginia, Georgia, New York, Louisiana, and even a lot from North Carolina! My thanks also goes out to Darla Matthews and Burt Kahn. Darla has really been there from the beginning. Burt is our photo-journalist. It was a wonderful weekend and we are planning on doing a Fifth Annual next year in early April. If you’ve ever wondered if the bowed dulcimer is for you, stop by if you can. You’ll see more versions of the bowed dulcimer here than anywhere else. It’s the only bowed-only event of the year. We’d love to see you in Pilot Mountain, the little town that time forgot.

Ken Bloom Bowed Dulcimer Builder, Teacher and Performer

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D Y M

Malcolm Dalglish Exploring His Musical World by Christie Burns

f all the different styles of music that get played on hammered dulcimers, few resonate so naturally as the original music of Malcolm Dalglish. While he at one time was best known for his work with the group, Metamora, and Banish Misfortune, an album that influenced many of today’s professional players, Malcolm has remained in motion. Since the last time an article about Malcolm Dalglish appeared in Dulcimer Players News, his body of work has expanded, and likewise, his contribution to the repertoire of music natively written for hammered dulcimer. In Malcolm’s musical world, however, the dulcimer rarely stands alone; he uses it to accompany choirs, large and small, far and wide. I’ll never forget the first time I heard the recording of Hymnody of Earth, Malcolm’s original song cycle performed with the American Boychoir, and accompanied by himself on dulcimer and Glen Velez on percussion. That’s it. Dulcimer, percussion, and choir. No orchestra, no piano, no organ. Just the purest voices, hand percussion, and the crystal clear strikes of Malcolm’s self-built dulcimer (I ask the same question I ask of Jem Moore: How do you make a dulcimer sound so much like water?) The texts of most of the songs in Hymnody

Malcolm Dalglish

of Earth are the poems of Kentucky farmer/poet, Wendell Berry. The music Malcolm drew from these poems seems so right, so fitting, that it’s impossible for me to read a Wendell Berry poem now and not hear music. With Hymnody planted firmly on my list of desert-island-discs, imagine my delight in 2001 when I learned that Malcolm would be hosting an outdoor singing camp in northern California. For two weeks, we young musicians lived in cabins just outside Yosemite National Park. We circled up in aspen groves to practice Malcolm’s songs, praising the glory of the natural world that surrounded us. During those two weeks, we had a handful of opportunities to perform our music for audiences in the area. Though it was over

all too quickly, it has lasted with me through all my musical travels. Now, when I hear the voices on Malcolm’s recordings, I believe I know the joy the singers are experiencing. As recently as spring of this year, Malcolm toured Australia with the Young Voices of Melbourne. Called the Into the Sky tour, they sang only songs having to do with birds, clouds, flight, and trees. This was Malcolm’s third tour in Australia, working in collaboration with Mark O’Leary, who discovered Malcolm’s music through the Hymnody of Earth album. Mark says, “Malcolm and his music has a special place in our hearts. He is an amazing performer and a wonderful composer. His music is full of colours and fresh sounds, and his texts are

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Malcolm Dalglish, Glen Velez, and the Young Voices of Melbourne perform Into The Sky.

always beautiful to sing. His music is accessible but also new and fresh— loved by the choir and the audiences. The kids are inspired to reach new heights of excellence through Malcolm’s music.” According to Malcolm, it was a unique experience for him, because for the first time he appeared at folk festivals (the Port Fairy Folk Festival and the National Folk Festival in Can-

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berra) with a choir. It seems natural enough that a hammered dulcimer would be seen on a stage at a folk festival, but far more rare to see a choir. This is where Malcolm bridges the gaps between choral music, folk music, dulcimer music, and original composition. Because Malcolm adopts many of the same playful attitudes of folk music in his writing, such a juxtaposition of a choir at a folk festival is

no stretch at all. His music is all about having fun with the words and melodies. Whether serious or jovial, Malcolm ensures his songs are enjoyable for the singers, and this enjoyment gets easily conveyed to the audience. Malcolm is quick to point out that so much of the appeal of playing the hammered dulcimer is the physical motion of the hammers dancing over the strings. (Would any player or observer of the hammered dulcimer disagree?) Malcolm’s true artistry is in how he translates the kinetic energy of dulcimer playing to the human voice. He explained to me that the two processes are the same: in developing music on the hammered dulcimer, he embellishes the tune until he’s satisfied with how his hammers are moving around his instrument; in developing music for singing, he talks through the words until he’s satisfied with the way the sounds of the words play together. For his singers, Malcolm creates (or shall we say choreographs?) a physical experience. The words do not only carry their meanings, but they also each have their own unique shape in the mouth and musical effect of being sung. If there’s any way to reproduce, in the human voice, the excitement and wonder of hammers dancing across strings on a dulcimer, Malcolm has done it. And continues to do it all year long. This summer, Malcolm will again host Camp Ooolation! in the Eastern Sierras of California. A group of 18-25 singers between the ages of 13 and 21 will spend two weeks in the woods and mountains practicing and performing Malcolm’s pieces. They will sing about the spiritualism of trees, sky, birds, and mountains, while amidst it all. A truly uplifting experience.

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We should also be on the lookout for future performances of the baseball operetta Malcolm recently wrote, entitled, Free Range. It’s a twentyminute operetta about a kid who dreams that his family’s chickens have turned into baseball players. Says Malcolm, “It’s like Field of Dreams, except with chickens.” The operetta has already toured China in 2007 with the Appleton Boychoir of Appleton, Wisconsin, and will surely be performed (and perhaps recorded) by more singing ensembles. One can only guess what imaginative ideas will come forth in Malcolm’s music next. But hammered dulcimer players and fans can be sure that the dulcimer remains a common thread throughout Malcolm’s musical meanderings. It seems he continues to be as inspired by the instrument as we are by his compositions. Christie Burns remembers life before dulcimers, but doesn’t recommend it. She lives in Chattanooga, TN where she rides her bike, plays old-time music, and frequently updates her music blog at www.christieburns.com.

Ooodoo

Yes, that’s with a triple and a double “o.” Ooodoo is Malcolm’s pared down ensemble consisting of himself, Moira Smiley, Joshua Kartes, and Naomi Dalglish. Longtime fans of Malcolm Dalglish’s music will easily see Into the Sky as the fresh new growth at the top of the same tree that bore the fruit of Metamora and the Dalglish/Larsen collaborations. This 2007 recording features luscious hammered dulcimer supporting (and at the same time being supported by) the voices of the ensemble, which carry the poetic lyrics about birds, trees, wind, and the cycle of life—a sincere “thank you” to the universe. And thank you, Malcolm, for continuing to compose with unabashed imagination, letting the dulcimer play to its fullest potential, and giving us all a song to keep in our hearts. When I first heard the opening track, Walking in the Cradle of Our Land, I thought no other track on the CD could come close to matching its beauty, but I was certainly wrong. Into the Sky unfolds like a story, and after each track, you just can’t wait to hear what happens next. The eleventh track, Dappled Things, is a prime example of Malcolm’s ability to play with the sounds of words, the contours of melody, and support it all with the hammered dulcimer. Nearly the whole song is sung in unison by two female voices, until the final line when they branch off into splendid spinning harmony. Deliberately, Malcolm keeps the musical texture sparse to allow room for Gerard Manley Hopkins’ consonant-driven poetry. The majestic arpeggios on the dulcimer pave the way for the parade of dancing words: “With swift, slow; sweet, sour; adazzle, dim…” If hammered dulcimers could speak, they’d be reciting poetry just like this. —C.B.

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by Steve Schneider

Making Arrangements: Step Two

his is the third in a series of articles devoted to learning and arranging music for the hammered dulcimer, and we’re focusing on the Stephen Foster piece, Ah! May the Red Rose Live Alway! In the last issue of DPN (Spring 2008), we explored the single-line melody and looked at some of the many practical considerations that lead to learning a new

piece. Sprinkled throughout the article, I made certain observations about the music, some of them my own interpretation. Thanks to the watchful eye and excellent scholarship of hammered dulcimer player Chuck Boody from Mound, Minnesota, I present here a number of corrections and changes to my previous article. Chuck was kind enough to point out

Clarification One: Historical Connections Chuck pointed out that all the connected 8th- and 16thnotes in the music are beamed, even though I had written that I was presenting them unbeamed, just as Foster’s original publication showed them. When I saw the original publication, I came up with a plausible interpretation of why a composer would choose to not beam 8th- and 16th-notes (see DPN Spring 2008) and thought it would be a good idea to present the music this way. Chuck also points out that the whole beaming thing had nothing to do with Foster’s musical interpretation, but it had everything to do with the fact that it was simply the common practice in those days (until about 1930) to not beam notes when they were connected to a vocal text. This led to some pretty awful interpretations of some beautiful music. In my final analysis, I’ve decided to leave the beams in the music, since they make it much easier to read anyway. If you want to see the original music without the beaming, go to lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.200035605/ default.html to see what I mean.

a number of my mistakes, and, at the same time, to agree with some of my conclusions about the music. What follows, before we get to the next step in arranging, are some of his observations, all of which are helpful in understanding and interpreting, and, ultimately, arranging this music.

Two: Left Turns Chuck noticed I left out the “turn” in measure 16. Of course, it’s easy to see in the original manuscript, especially when someone points it out to you. He feels that it’s an ornament that is really important to the style of the era, and, therefore, should be included. You’ll see that m. 16 now has the turn, and it looks like a wacky moustache. It does add a great deal to the feeling of the music, so I hope you have fun putting it in. Please check out the example below to see what a turn looks like and how it might be played. [Fig. 1] Three: Minor Changes - Major Differences Chuck was confused by my use of “GM” in the article to indicate G Major. In attempting to be as clear as possible, long ago I adopted the system that shows major chords with capital letters. For example, “G” or “GM” refers to G Major. In contrast, minor chords are presented in lowercase letters: “g” or “gm” for g minor. It’s simply another indicator that makes understanding the text more immediate. When I see uppercase letters, it’s always Major, etc. The reason I included the “M” in “GM” within the text was to make sure that it was clearly differentiated from the note “G”. It’s a useful and clear shorthand, but only if you know how it works.

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To sum up, it’s easy to tell a chord name from a note within notated music, so you don’t really need the “M” to indicate a major chord. However, just for the sake of clarity, I always use a capital letter for any Major chords, and a lower case letter plus the lowercase “m” to indicate minor chords (see mm. 2, 6, 18, and 22 on page 28). Analysis: Issues Of Scholarship Lastly, I think Chuck agreed with my analysis of why Foster wrote the piece in 6/8 and where some of the accents are to be played (see DPN Spring 2008), so it’s probably correct. It has been a nice surprise to have had this correspondence with Chuck Boody about some teeny weeny issues within this piece. But he and I both know that it’s the attention to those teeny weeny details that makes all the difference. The bottom line for me is always, always, always: how does it sound and how does it feel? Scholarship is meaningless if it simply leads to more scholarship—the proof is in the playing and the hearing, and I hope this attention to detail has at least been interesting, if not even useful. (By the way, you might appreciate the fact that he and I refer to this piece as our “Foster child.”) If you’d like to pick Chuck’s massive musical brain, you can contact him at cboody@ mcfmail.net. Thanks, Chuck. One More: I Don’t Have That Note Finally, I received an email from hammered dulcimer player Sally Leonard of Morgantown, WV, who was wondering about playing m. 16 since she doesn’t have a D# on her instrument. I suggested that she repeat the E before it, and that if she played it quietly enough, it would sound just like the missing D# to those listeners who knew the music and were expecting a D#. Thanks Sally.

Library of Congress Document Ah! May the Red Rose Live Alway! by Stephen Collins Foster, 1826-1864 Stephen Foster’s Ah! May the Red Rose Live Alway! is not one of his more popular songs, but it is one that deserves a wider hearing. Quite different from Foster’s minstrel songs of the same period, this song is an example of the composer’s parlor ballad, or type of popular song characterized by a sentimental quality, typically strophic in form and usually in a slow tempo. As the ballad has roots in the Anglo-Scots-Irish song tradition, scholars have noted that Foster’s Ah! May the Red Rose Live Alway! is reminiscent to Irish musician Thomas Moore’s The Last Rose of Summer, although Foster’s melody is simpler than that of his Irish predecessor. After a brief piano introduction, the vocal line of Ah! May the Red Rose Live Alway! opens with a high D that is held with a fermata, perhaps to give the illusion of stalling the passage of time. Foster has placed additional fermatas throughout the song, possibly with similar effects in mind. Also of interest is Foster’s use of the marking ad lib in several places in the song. This flexibility allotted to the singer is atypical from Foster’s usual preference of precise, literally exact note for note, interpretations. Thus, the ad lib designation was scarcely used by Foster and can, in fact, be found in only two of the composer’s previous songs: Mary Loves the Flowers (1850) and Jeanie with the Light Brown Hair (1854). Ah! May the Red Rose Live Alway! was published by F. D. Benteen of Baltimore in April of 1850. Foster probably hoped that the publication of his parlor ballads helped diversify his reputation as a song composer, but the ballads proved financially unsatisfactory as compared to his minstrel songs. In his account ledger of 1857, Foster recorded that Ah! May the Red Rose Live Alway! had earned a mere $8.12 in royalties over a seven-year period. As a result, Foster redirected his compositional efforts to minstrel songs, which averaged a return of nearly ten times more than the ballads published at that time. Beginning in 1860, Foster returned once more to the sentimental ballad, the most noteworthy being Beautiful Dreamer, published in 1864 just after the composer’s death.

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*Play one octave higher if you don’t have a low D +Play one octave higher if you don’t have a low E. **Just play the melody note if you don’t have a low D ***Play this D if you don’t have a low D. ~is a turn (m.16) see [Fig. 1] Play stems-up notes with left hand, stems-down noteswith right hand. Consider playing the turn in m. 16 with both hands. The right hand isn’t doing much of anything here anyway!

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ack to step two of arranging Ah! May the Red Rose Live Alway! Now that you’ve learned the single-line melody and can play it fluently and confidently, it’s time to start altering some musical features for added contrast and perspective. Variety is achieved by simply doing something differently. I’m going to make these changes or additions gradually, progressively, and consciously for the sake of this article. Therefore, we’re going to look to the elements of music, since they are the very things we can willingly and consciously change.

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Our next step in arranging will be to add low bass notes to the melody. The effect of this in relation to playing the single-line melody by itself can be dramatic and exciting. Adding low bass notes to a melody can: 1. Bring a new dimension of depth to the experience of hearing the melody. With notes ringing below it, we hear the melody within the context of these lower, more resonant tones, and this changes how we hear the melody. 2. Help to define the harmonic context in which we understand and play the melody. 3. Add tension, movement, and color to the melody. Since the underlying harmonies aren’t played when we play a single-line melody (no chords, bass notes, etc.), the harmony can only be surmised indirectly by listening to the melody. This is part of the mysterious beauty of hearing a melody all by itself—you get to fill in the harmonies in your inner ear. It’s a relatively stark experience, but its simplicity enables the listener to clearly and easily hear the melody without any interference, without competing sounds such as chords or low bass notes. As soon as we add an underlying bass note to a note in the melody, we are altering the listener’s experience by narrowly defining the harmony in which that melody note exists. Doing this fundamentally changes the way we hear the melody. Since contrast is the key element in arranging, we now have the means to create some real contrast, and in doing so, create an arrangement: play the melody by itself, and then play it again with the addition of low bass notes. When written correctly, notated music gives us all the information we need in order to add low bass notes to a melody. The chord name tells us exactly what bass note to play, and its placement in the notated music tells us exactly when to play it. In m. 1 we see G written directly over a D note on the first beat. This means that we’re going to play a low G along with the melody note D on the first beat of the measure. You have a number of G’s on your dulcimer—which one should you play? Ideally, you play one that’s lower than the melody note, otherwise it might compete for attention with the melody note (notes higher in pitch are experienced as being louder). So, depending upon the range of your dulcimer, you can choose any of the 2 or 3 G’s you have below that D. The gist of this process is that whenever you see a chord designation, you can play that note along with the melody note and it will enhance the melody. In m. 1 this means that when you see the chord G, you play a low G note at

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the same time you play the melody D note. The next bass note appears in m. 2. The chord is em (e minor), which means you should play a low E note. On beat 4 of m. 2 we have a C (C Major chord), so we would then play a low C note, and so on. In mm. 3, 6, 7, 10, 19, 22, and 23, there’s a designation with a slash that looks like G/B. This means that the composer or transcriber wants a different bass note than the name of the chord. The letter on the left side (on the top of the slash) indicates the name of the chord; the letter on the right side (below the slash) indicates the lowest note of the chord. In this case, the accompanist would play a GM chord with a B note as its lowest note. We’re going to just play a B note since we’re not playing any chords (yet). There’s a D7/A in the second half of m. 3 over the melody note C. Therefore we play an A note under the C , and so on. Let’s choose the marked G on your bass bridge to play in m. 1. This is a good choice since it’s lower than the melody note, which means that it will have less chance to interfere or get in the way of the melody. Now we have created two interesting questions: What happens to the lovely hammering pattern we established in learning the single-line melody, and how are we going to make sure that the lower note doesn’t overpower the melody note? Let’s look at the hammering pattern first. Playing the dulcimer is a lot like playing chess or any other game of strategy. There are certain rules, but within those rules is a vast degree of choice, and it’s your job to come up with your particular best approach among all the possible choices. With that in mind, here are some guidelines I use when deciding about hammering patterns. After establishing a working hammering pattern to play the single-line melody, you have to develop a new pattern as soon as you start adding harmony, chords, low bass notes, or anything else. Each time you add something it’s going to change the pattern in some way. One approach to playing this piece with low bass notes is to play the entire melody in your left hand, and to play all the bass notes in your right hand. This approach is straightforward and clear, but in certain circumstances it could become cumbersome, especially for the left hand. So, another approach is to play all the bass notes with your right hand, but to occasionally lend your right hand to the melody so that it might sound more fluent. Either way, it’s a great exercise for hand interdependence, with the major challenges being accuracy and making sure the low bass notes are softer than the melody and doesn’t overpower it.

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For our purposes, we’ll begin with the first approach and play the melody with the left hand, and the low bass notes with the right hand. Looking at the music, this means that all notes that are stems up are played with the left hand, and all notes that are stems down are played with the right. Simple. This right/left separation works nicely when the music is slow. I strongly suggest practicing hands separately, and then learning to play with both hands once you’ve developed some confidence in each hand. Here are some helpful hints in learning to play in this way: 1. When practicing the right hand, move slowly but steadily to the next note once you play a note. This is called “anticipatory playing” or being prepared for what’s coming. This is a tremendous help in playing fluently and smoothly, especially when a hand doesn’t have a heck of a lot to do. 2. Figure out where you need to look while playing with both hands separated like this—is it easier to look at one of your hands, or is it easier to take in the whole picture? There might be times when there are larger jumps and you’ll need to focus on one hand or the other. 3. Learn the music in 2-measure phrases. This will help in speed and longevity of learning, and also in memorizing. 4. Practice hands separately at first—this is very important. A recording of my playing Ah! May the Red Rose Live Alway! with bass notes is on the CD accompanying this edition of DPN. I’ll play it once through with the bass as written. Also, I’ll try my best to play it exactly as it’s written. You’ll hear that I’m honoring a couple of the fermatas —see if you can hear which ones. In addition, go to steveschneider.com to see how I hammer both the single-line melody (including the turn in m. 16) and the melody with low bass notes (especially if you’re intrigued about my suggested hammering pattern when having the right hand helping the left hand play the melody). If/when you have any questions, suggestions, or (ahem) corrections, please contact me at steve@steveschneider. com. Be well, and stay in tune. Steve Schneider has been playing and teaching hammered dulcimer since 1984. He loves the instrument because of its wide dynamic range and its mystical sustain.

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How to Win at

Contesting is a great way to get your name around, meet people, and play at the peak of your ability. But what does it take to be a winner, how should you prepare, and why would you even bother to compete? To find out, we asked a number of contest winners, judges, and competitors to chime in on their experiences from the mother of all contestsâ&#x20AC;&#x201D; Winfield. Some of the folks youâ&#x20AC;&#x2122;ll be hearing from are Hammered Dulcimer Champions Stephen Humphries (2007) and Joshua Messick (2003), Mountain Dulcimer Champions Joe Collins (2007), Jeff Hames (2006), Sue Carpenter (2005), and Gary Gallier (1987). Finally, Mark Wade offers a top ten list of perks that come from winning.

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(and what that really means) Photography by Glenn Jerrell

HOW THEY ENDED UP ON STAGE

Sue Carpenter —My desire to compete in Winfield started in the mid-1980’s, driven by a personal challenge, but also fueled by the fact that no woman had ever won first place in mountain dulcimer at Winfield until Linda Brockinton’s win in 2001. After years of my talking myself into and out of competing at Winfield, my husband decided it was time for push to come to shove. He called me at work in June of 2003 and told me to schedule vacation days in September. We were going to Winfield; he had entered me in the competition. My initial reaction was excitement, but then trepidation reminded me that I had less than four months to prepare. All I could do was choose pieces that I had been playing for years and hope for the best. The best that I hoped for was to control the hyper-overdrive rush of adrenaline by keeping my fingers steady and brain focused. My goal was to be pleased with how I played; my placing second was icing on the cake. Joe Collins—About eight or nine years ago I was progressing slowly as a player. I had been attending the Mountain Dulcimer Playing Workshop at Boone and

then Cullowhee, learning from a lot of good instructors. However, my playing lacked an edge that would make it stand out. I had heard about competitions and decided that they might push me to the next level. I’ll admit that before my first competition, I had high hopes of winning. After all, I was the best player in all of Shelby, NC (actually, one of a very few players). That first competition was a very humbling experience. Steve Eulberg—I’ve competed in both National Mountain and National Hammered Dulcimer Contests at Winfield and have been disappointed in the prize category a great many times. True, I’ve also been blessed to return home with a trophy or plaque, some cash, and a new instrument on several occasions.

IF AT FIRST YOU DON’T SUCCEED

Joshua Messick—I had a youthful, unhealthy approach during many of my competition years. I wanted to win for the sake of winning, with this attitude came grave devastation if I didn’t win, and dissatisfaction if I did win. I wasn’t happy with or without a trophy! Every person is different, and motives for competing can vary drastically.

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GARY GALLIER

SUE CARPENTER

Thankfully, I was not allowed to win the National Championship until I had learned that it was a privilege and responsibility that must be accepted humbly and is most joyously received whenever personal motives are correctly placed. Sue Carpenter—My second Winfield competition in 2004 was not as rewarding as the first, but it definitely taught me the difference between hopefulness and hubris. I was sure I would win first place; I crashed and burned 20 seconds into my first piece

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STEPHEN HUMPHRIES

Joe Collins—I turned that first competition into a winning situation by picking the brains of anyone who could give advice on competing. And there were many kind, gracious players who did. In every competition, I walked away with some prize of information that I could work on to improve my playing. Steve Eulberg—My dulci-mentor Esther Kreek said, “For me the point isn’t winning a prize. I always try to play beautiful music for the people.” Truly, that advice completely reframed my focus, and then I began to have fun with the process.

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JEFF HAMES

JOE COLLINS

JUDGE NOT, LEST YE BE JUDGED

Gary Gallier—Like all contests, it can’t help but be somewhat subjective based on who the judges are, their tastes, even their own level of skill on the dulcimer, but Winfield does the best I think possible to make it fair. Joe Collins—Although I played about as well as I could the first year, I realized that my playing could not stand up to the scrutiny of judges, as well as those who had placed. They were simply better than me, but I was not sure why.

JOSHUA MESSICK

Jeﬀ Hames—At a national competition, I think the judges are judging you as a future performer and your ability to perform. So show them what you’ve got. Joshua Messick—When competing, you should be concerned about giving reasons for the judges to give high marks. Steve Eulberg—I’ve heard some hot players dealing out a David Schnaufer arrangement, very cleanly played, who were dumbfounded to discover they didn’t advance in the contest. On the flip side, I’ve heard some original arrangements that were not played cleanly, which also did not net an award.

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Gary Gallier—Regardless of tastes, however, there are some fundamentals that I feel have to be met, the most Stephen Humphries—Make sure you take time to meet important of which are: play one you know, play clean, and people. There are so many great musicians at the festival don’t wander tempo (unless it is on purpose, of course). and participating in the competition. Lots of times there Joshua Messick—While skill level is important, simply are people from all over the country that you have already playing many notes does not impress the judges. Instead heard of before, but now get the of playing many notes, give reason chance to meet for the first time. for the judges to actually remember Steve Eulberg—The addition of a the notes that you’ve played. Contestant’s Tent, has helped to Joe Collins—Some sage pieces of create a community feeling among advice I’ve heard over the years the players that wasn’t present include choosing songs that you back when each contestant was know you can play very well. Playing looking for a quiet nook or cranny a simple piece well goes further with to prepare to compete. judges than playing a difficult piece Steve Eulberg runs amok at Winfi eld Joe Collins—[from talking to poorly. In addition to being a regular finalist in others] I learned about arranging, both the hammered and mountain dulcimer playing cleaner, getting a variety competitions. Steve Eulberg has been single Joshua Messick—One thing that of timbres out of the instrument, handedly raising the profile of the mountain many people may not consider is balancing the sound, using dulcimer at Winfield. Here’s Steve on two of his ongoing projects. that the judges are listening over a dynamics effectively, and other microphone, and it sounds different skills that made my playing more Second Set Concert—“The disappointment of having two orphaned tunes when one does to them than it does to you! Record competitive. NOT advance to the second round, led to the yourself. Jeff Hames—I often ask other Second Set Concert hosted with my campJoe Collins—Work on the song until people to sit and listen to me mates at JimJim and the FatBoys on Friday night. Each mountain dulcimer contestant the arrangement is uniquely yours. play and have them give me is invited to share the second two tunes of Never stop working on the song constructive criticism. I listen to the four they prepared. Then all are invited between competitions, working on what they are saying because they to join in a marvelous jam.” the arrangement, the rhythm, the hear things that I don’t. The Flash Mountain Dulcimer Brigade— cleanness of your playing, etc. Play Stephen Humphries—It really is “This was a response to a lack of mountain all your songs as often as you can in to your benefit to be able to talk dulcimer workshops and performers. I put out a call for mountain dulcimer players front of live audiences. to the people you are competing to appear at successive posted times and Jeﬀ Hames—Is there a perfect with. The camaraderie back stage locations throughout the festival grounds competition song? Well, I asked is awesome, so enjoy it. to play a few tunes and then melt into the crowd. Th e goal of this is to help raise David Schnaufer and he told me, Joshua Messick—If somebody is the profile of mountain dulcimers and “Pick a song that you can play in better than you, don’t be jealous; help players recognize and find each other your sleep with your toes.” be excited that your common goal throughout the festival.” Joshua Messick—Play solo. The of improving your instrument has judges are only scoring your been increased! instrument. You also don’t want to risk getting points docked for your support musician making a note error Jeﬀ Hames—Read the rules of the competition. Find out or timing mistake, and don’t use a support musician as a what is required and what is allowed. timing crutch. Steve Eulberg—The rules which guide the judging are Stephen Humphries—Remember why you are there, and important to consider when choosing what to play. 40% of the why you love to play music. If you can show why you love points are for arrangement, in which difficulty and originality music by how you play, you will leave an impression that’s are considered. not easy to forget.

MEET YOUR PEERS

TIPS FOR WINNING

KNOW THE RULES

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SOME THEORIES ON PRACTICE

Joe Collins—Practice as if you were competing (songs in the same sequence, you in the same posture, with the same instrument, etc). Stephen Humphries—Know what pieces you will play, and practice them. Music isn’t something that you can cram. It takes muscle memory as well as actual memory of the pieces. Jeﬀ Hames—I choose my instrument that I will use in the competition and use that instrument to practice my songs. Gary Gallier—Even though you may be a seasoned performer, contests are a different bird. It can be distracting to be preoccupied with the fact that someone is listening for mistakes and judging how well you play. Stephen Humphries—Practice like you are going to perform. One of my teachers in high school told me something that has stuck with me ever since: “Practice makes permanent.” Joe Collins—About 4 to 6 weeks before the competition, settle on the arrangement you are going to play in competition, and play it until you can do it with your eyes closed. Jeﬀ Hames—About a month before the competition I send my instrument to the Dulcimer Shoppe for a complete check-up. I have the frets checked and/or replaced, strings changed, etc. I can not stress the importance of fresh strings and good frets!

MAKE IT YOUR OWN

Jeﬀ Hames—Express yourself in your music. Your feelings come out in your music. Joshua Messick—Passionate playing must come from within. In my best performances, I’ve noticed that I’m smiling, laughing, or crying. This is not an acting performance—I feel the music I’m playing. Gary Gallier—Be you. Do what you do that makes you unique. After all, what satisfaction would it be to win because you sounded like someone else? Jeﬀ Hames—Make the songs yours. It does not matter if someone else is known for playing a song, you can still make it yours by changing it up and changing the mood of the song. Steve Eulberg—The real temptation is to try and substitute what one is prepared to play after hearing the other contestants warm up. A cloud of self-doubt can hover Please do not reprint or redistribute without permission. Contact dpn@dpnews.com.

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From The Deep Well of Musical Tradition

Ken Kolodner

Mark Alan Wade on the Top 10 “Perks” of Being a National Hammered Dulcimer Champion 10. No trouble with the paparazzi.

Jody Marshall

9. Lots of free time between gigs. 8. Don’t have to leave that wonderful day-job.

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7. No goggles needed on stage to protect eyes from hurling articles of clothing from the wild audience. 6. The “Do Not Call” List apparently extends to social calls. 5. Title 1997 Walnut Valley Festival National Hammered Dulcimer Champion fits easily onto business cards. 4. The trophy makes a nice hood ornament (with a little epoxy). 3. It makes a good excuse to raise your fees. 2. The Wheaties commercial endorsements. 1. The self-funded trip to Disney World! above one’s head like in a Peanuts cartoon. To banish it, I have to keep repeating to myself, “I’m not here to play like him or her, I’m here to play like me.” Gary Gallier—I played for the audience’s enjoyment and tried to forget I was in a contest. Stephen Humphries—It doesn’t matter what anyone else has already played, or will play later, you are the person that the audience and judges are hearing at the moment. So play like you are the one everybody came to hear.

WHY COMPETE?

Joshua Messick—Competition is a great tool to improve your skills, expand your experience, and progress your instrument. These are the best and most fruitful reasons for competing. ws 38 Dulcimer PlayersNe

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Joe Collins—Competitions are not for everyone. They can, however, be very beneficial to players who actively seek critique and are not upset easily. If you can walk away from a competition with something to make you a better player, you will win every time! Sue Carpenter—Competing provided me the opportunity to perform under pressure and to challenge myself to play as close to perfectly as possible. Although my goal was to win, my motivation was for improvement, confidence building, and personal validation of my musical abilities. Steve Eulberg—I see music competitions as an opportunity to prepare some music to share with appreciative listeners. The process of preparing tunes for this kind of presentation is an intensive artistic endeavor! Joshua Messick—Make sure that you genuinely love your instrument, love playing, and want to use it to bring joy and happiness to your life, and to all who hear you play.

FINAL THOUGHTS

Jeff Furman Jeff Furman is an award-winning mountain dulcimer and clawhammer banjo player who is known for his melodic and rhythmic style and his ability to combine this energy with sensitivity and expression. PRETTIEST GIRL IN THE COUNTY On this latest CD, Jeff is joined by the band Well Strung Wood to create a collection that ranges from slow airs and waltzes to rousing fiddle tunes and traditional ballads. “I can’t remember enjoying a new CD as much as I have been enjoying yours.” - E.S.

JORY’S LADDER The mountain dulcimer, in the right hands, is capable of producing an amazing array of sounds and emotions. With traditional music and original tunes, Jory’s Ladder is not just for lovers of the mountain dulcimer, but for all lovers of wonderful music. “The music is beautiful…it truly touched my soul.” A.J.

Stephen Humphries—Have fun while you do it, and try to make it fun for everyone else as well. Joshua Messick—Have fun! Win or no win, this is guaranteed to bring satisfaction. Jeﬀ Hames—Have fun while you are playing your music. Gary Gallier—I have always had a blast. Joe Collins—The secret to winning at Winfield, or any competition, is going after the right prize.

To order send $15 + $2 s/h to: Jeff Furman · 120 Conner Dr. Chapel Hill, NC 27514 email: dlcmr@yahoo.com · www.jefffurman.com

Sam Wachtler

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Rolling Rolling S

trike one course on the hammered dulcimer and listen. The sound sustains for several seconds but immediately begins to fade in volume. As dulcimer players, our chief means of sustaining a pitch AND controlling the volume is with a roll. A skill that is so necessary to most percussion performance is often overlooked and de-emphasized on the hammered dulcimer (most certainly a member of the percussion family). Not only does the ability to roll give a dulcimist the aforementioned sustain control, but it also bolsters other aspects of technique, timbre manipulation, and phrasing. Although there are examples of one-handed rolls, most rolls are produced by both hands. This article will focus on the three basic two-handed rolls that can be produced on the dulcimer: the single stroke roll, the double stroke roll, and the buzz roll. The most basic roll is the single stroke roll. As the name states, a hammer strikes once followed by one strike from the other hammer in rapid alternation. Some of the skills learned with this roll will carry over into learning the other rolls.

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Mark Shelton

Begin to practice the single stroke roll without the dulcimer and hammers. Place your hands on a table and strike the table once with your right hand followed by one strike with your left hand. Keep this alternation at a very slow tempo. Listen to each hand. Try to make the sound consistent from hand to hand. Very gradually, begin to increase the tempo. Stay relaxed as you continue to increase the speed until you reach that point that you are beginning to lose control of the speed and/or evenness. Remain at that point for a moment more, and then begin to very gradually slow down to your original starting tempo. This process is called opening and closing (and opening) a roll [see Open Closed Open p. 42]. It should take about one to two minutes. Percussionists spend hours opening and closing rolls and other rudiments. Doing this gives you the ability to control and play these figures at a wide variety of speeds. Play the single stroke exercise a few times at this practice session. At your next practice session, when the roll has progressed to near your fastest (closed) speed, try to

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push the speed just a bit more, hold it, and gradually slow down to open. At each session, try to increase the speed slightly. Eventually, it will start to sound like a single stroke roll. Listen carefully to each hand, so that each is the same volume. The roll should not sound one-sided. Now that you have become an accomplished table player, move this single stroke roll exercise to the dulcimer. If you use hard hammers, you will be better able to hear and correct inconsistencies. As your proficiency increases, play the exercise at different dynamic levels. The next step is learning to start the roll without having to go through the open-close-open process. Think about the speed that you want to play the roll and try to play the roll immediately at that speed. Practice this not only at different speeds, but also at a variety of volumes, so that you can play rolls immediately at any tempo and dynamic level that you desire. The double stroke is produced by one hammer striking twice (called a diddle) followed by the other hammer playing a diddle. As in the single stroke roll, the hands alternate rapidly. The sound of this roll is quite different than the single stroke roll, and the ability gained from developing a good diddle stroke can carry over to producing other ornamental stokes. Back to the table, strike twice with the right hand, making sure that both sounds are the same volume. Strike twice with the left hand, again listening for evenness of the two sounds. Begin the open-close-open process, always paying attention to the consistent volume within the diddle and from hand to hand. As in the single stroke development, advance the speed to your limits, hold it there for a moment, and gradually return to your starting open speed. Continue to push your speed at each practice session. Like the single stroke roll, you should eventually achieve a roll speed. When this is transferred to the dulcimer, you will quickly notice that the rebound will assist in producing the diddle. Take care that you do not rely on the bounce to the point that you hear an audible difference in the volume of the diddleâ&#x20AC;&#x2122;s second strike. Practice the roll on the dulcimer using the open-close-open process and also develop the same ability to start the roll at different speeds and volumes. The double stroke roll is often performed in a measured style; the diddles are played as 32nd notes as the hands move in a 16th note rhythm. Please do not reprint or redistribute without permission. Contact dpn@dpnews.com.

ews Dulcimer Players N 41

Open—Closed—Open by Dan Landrum

Aspiring percussionists learn the concept of playing open—closed—open right from the start, but the term is mostly foreign in hammered dulcimer land. You can think of open—closed—open as slow—fast—slow, but it is much more than this. In the “open” part of an exercise, everything is exaggerated. You should play so slowly that you can easily think about the pattern you’re playing and execute it perfectly. It is also in this open portion that you pay attention to your body kinetics. Rather than just playing slowly, try to imagine yourself playing in super-slow motion, exaggerating each stroke. The open position uses most of the large muscles in your upper body to place and lift the hammer. As your speed increases, you will gradually close your strokes.

Your strokes become smaller, while your hammers, along with all of the motion involved in each strike, move closer to the instrument. When you’ve reached a fully closed position, there is very little motion in your arms—at least this is your goal. As your speed increases, your goal is to relax your grip and put less energy into each stroke. You want to become aware of the energy that still remains in the hammer after it rebounds from the strings. If you can simply catch and redirect this energy, then it takes less and less effort to sustain motion. While in the closed position you should be able to relax and sustain a roll. If you feel your muscles tighten, or your hammers begin to flail out of control or out of rhythm, then slow down until you regain control. End the exercise by working your way back again out to the open (slow) position. Alternate and repeat all open— closed—open exercises by leading with opposite hands.

Double Stroke Roll

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Double Stroke Roll Exercises The hammer markings indicate right hand lead, but should also be practiced with a left hand lead.

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The third type is the multiple bounce, or buzz roll. This roll achieves yet a different tone color than the previous types. This roll is frequently heard in orchestral snare drumming and trap set performance. No table is needed for this one. You need a surface that will produce a rebound. The dulcimer strings are great for this (as is a drum head). Drop the hammer on a course and allow it to bounce until it stops. Repeat this with the same hammer, trying to get as many bounces as possible. Try to count the bounces and get a feel for getting a fairly consistent number of bounces. (You will not be concerned with the exact number of bounces later on in the process, but at this point, it will assist in developing consistency.) Switch to the other hand and try to get the approximate number of bounces as the first hand. Practice until you can control a fairly consistent amount of bounces from each hammer. The next step is to alternate the hammers. Start the first hammer bouncing. Just before it stops bouncing, start the other hammer so that the rebounds overlap. Gradually speed up the alternation. It will not require much speed for this to achieve a roll sound. Work this roll also in open -close-open with the same attention to evenness from hand to hand. As with the others, you will eventually work toward starting the roll at various speeds and volume levels. As these rolls are developed, notice how each roll has its own timbre, giving you additional ways to color your music. Roll speed can be used to affect phrasing much like vibrato on a wind instrument; changing roll speed can create tension and release. Another by-product of roll development will be a general boost in your ability to move your hands quickly in other technical situations. Listen to music for ways to apply rolls. Study not only dulcimer examples, but also listen to performances on instruments such as cymbalom and yangqin, along with marimba and xylophone. Developing the ability to roll will not only allow you to sustain indefinitely, but also enrich technique, timbre manipulation, and phraswww.marksheltonmusic.com ing. Roll on. Mark Shelton leapt at

the chance to play the snare drum in elementary schoolâ&#x20AC;&#x201D;little did he know it would lead to

carrying

around

trapezoids covered with strings.

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ews Dulcimer Players N 43

MUSIC REVIEWS The Sum of the Parts

Looking Ahead

Bill Collins & Nina Zanetti- reviewed by Heidi Cerrigione

Joe Collins & Mike McGee -reviewed by Neal Walters

f you’ve ever had the opportunity to create magic with a duet oe Collins, 2007 National Mountain partner, you know what a wonderful experience it can be. Bill Dulcimer Champion, has established a Collins and Nina Zanetti have captured the essence of moungrowing reputation as a dulcimer performer, teacher tain dulcimer duet playing in a new recording entitled The and maker. Joe has been a folk musician and mountain Sum of the Parts. In a generous selection of 22 tracks dulcimer player since the late ‘70s. He is a songwriter, in over 70 minutes of music, Bill and Nina each play vocalist, and an occasional guitarist. He was originally eight pieces separately and six selections together. inspired by artists like Simon & Garfunkel, Gordon Lightfoot, They play a variety of dulcimers and include sevBob Dylan, and Kris Kristofferson. However, now that he is eral O’Carolan tunes, a Shaker medley, some older and “pudgier,” he realizes that Burl Ives was a much stronger Scottish and American melodies, and a couple influence than he ever imagined. Joe’s performances are sprinkled lovely compositions by Bill. Nina’s rendition of with humor and excellent mountain dulcimer playing—sure to bring The Londonderry Air is exquisite and perhaps a smile to audiences of all ages. the best version I’ve ever heard. Cool WaJoe and guitarist Mike McGee began playing together in 1988. ter, Castle of Dromore and Skye Boat Song Looking Ahead is their 5th album as are more examples of very creative arrangea duo. They mix traditional and ments played with utmost clarity. Her use original pieces with some of of harmonics over the melody makes you their favorite tunes from wish you could see her hands to see how the pop charts, including she does it. Bill’s solo on the Shaker medley material from the likes of is very haunting and powerful; he plays it Carole King, James Taylor, on a baritone dulcimer in a minor mode. and Chet Atkins. The album You can hear some fancy finger work in is all-instrumental, despite Hewlett/Fanny Power, which is a good the fact that Joe has won several showcase of Bill’s talent and creativity. Blue folk singing competitions at various Bells of Scotland/When the Saints Go Marchfestivals over the past few years. Joe’s playing is confident and assured ing In is a nice pairing of melodies played with and, as befits a Winfield champion, a step ahead of the rest of us mere heartfelt dynamics. mortals in just about every important area. He plays smoothly, Both players are very talented and creative cleanly, and with great feeling. The guitar and the dulcimer fit individually, but hearing them together is the together like the proverbial hand in glove, and the arrangements icing on the cake. The very first duet of Hector the are put together with great care, maximizing the contribution Hero caught my ear and had me listening intently to of each instrument. Joe and Mike can play traditional material the beautiful interaction between the players. It is a as well as anyone, but this album really sparkles on those gentle exchange, each knowing where to let the melody “old” pop standards that make you wonder, “Why didn’t I breathe and where to fill ever think of playing that on dulcimer?” There are also in the spaces. Their duets several original tunes that Joe has written, and these on Believe me, If All Those stand up very well next to the “chart toppers”. All Endearing Young Charms, and in all, this is a very entertaining album that All Through the Night are equally should quickly find a comfortable place in moving and beautiful. I believe The Sum your favorite CD rotation. of the Parts equals a beautiful collaboration of gentle dulcimer music that should be in everyone’s collection.

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MUSIC REVIEWS Garden of Mysteries

13 Songs

Ruth Barrett, -reviewed by Neal Walters

Lisa and Heather Malyuk, - reviewed by Dan Landrum

uth Barrett is an award-winning dulcimer isa and Heather Malyuk are a sister duo from Ohio with a player and singer who specializes in original promising musical future. Lisa plays hammered dulcimer compositions inspired by folklore, mythology, and and banjo uke, and Heather plays guitar and fiddle. 13 Tunes, the celebration of nature. Perhaps best known to DPN their third CD, is a mix of mostly original tunes. If you readers from her long-time collaboration with Cyntia didn’t know it, you’d think you were listening to tunes Smith (they were DPN “cover girls” back in the mid-1980’s), that have been enjoyed for generations. Ruth has just released her tenth CD. Garden of Mysteries The opening cut features two original tunes, No showcases Ruth’s excellent finger-picking dulcimer style and Caboose and Jump in the Well My Pretty Little her powerful, beautiful voice. The songs all share a common Miss. The tunes are catchy and fun, and I won’t thread of encounters with magic and mystery—be it with a lover, be surprised if we soon hear them being passed an Otherworld being, a goddess, a transition into a new state of around at festivals. In fact, all of the original being, or the Earth itself. In addition to Ruth’s dulcimer and voice, tunes on this CD are surprising and memothe recording features her daughter Amanda on vocals, and a host rable. They also demonstrate outside the box of backup musicians including Sylvia thinking, both chordally and melodically. Woods on harp, Abby DeWald Lisa and Heather are joined on several on guitar, Mark Simos on tracks by the solid upright bass playing of guitar and fiddle, Ellen Bryan Thomas. Burr on flute, Cait Reed I didn’t have the liner notes the first time on fiddle and whistle, and I heard this CD, and I remember wonderDaniel Bienenfeld on ing where they found the beautiful, obviconcertina. While the ously French tunes, Valse de la Pluie and garden may be mysterious, Les Enchante´s, on cut four. It was only afthere are many delights within! ter reading the CD jacket that I discovered Ruth’s dulcimer playing anchors all these tunes are also Lisa and Heather origibut two or three of the 15 tracks, and her playing is perfectly suited to nals. The following cut, titled simply 5 is anher material and her voice. Listening to each song is akin to picking up other original, only this time with a Spanish a series of beautiful objects, each begging for your rapt attention. As flare. I couldn’t help smiling when I realized you begin to really appreciate the wonder and promise of the object that cut five is in the 5/4 time signature. you’re holding, it fades only to be replaced by a new and equally I’ve seen Lisa and Heather play, and while I mysterious subject for your careful examination. Each object have to say this home recorded album does a pretis a differing facet of a very cohesive whole, and the listening ty good job capturing their energetic grace and asexperience is as restful and thought provoking as an actual tounding profficiency, it would be nice to hear them trip to a real garden. Ruth’s original compositions sit recorded in a professional studio. Still, this is a great nicely alongside songs from Robin Williamson, Mark project and worth notSimos, Les Barker, Lorraine Lee Hammond, and ing that these unedited others. There is a definite but mystical bond at tracks were captured live, work, and I’d be surprised if you didn’t feel it without overdubbing. too. I like this a lot. The Malyuk’s are a great asset See P to the dulcimer community, and it is 52 fo age r easy to recommend this album. con i

tact nform revie ation fo r ws o two p n these ages.

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ews Dulcimer Players N 45

MUSIC REVIEWS Greenwich Village: The Happy Folk Singing Days

MUSIC REVIEWS The Russell Cook Book By Russell Cook

By Ralph Lee Smith with Madeline MacNeil

he most recent book by Ralph Lee Smith (with Maddie MacNeil) focuses on the music of the folk boom of the late 50’s and early 60’s, especially as it relates to Ralph’s time in New York’s Greenwich Village. The book is half music, half anecdotal history lesson. It has forty pages devoted to Ralph’s experiences in the Village, with maps, personal and well-known photos of many of the major characters, flyers for shows, album covers, and other ephemera. Throughout the first half of the book, Ralph reminisces on the times and the people, discussing music shops, Washington Square jam sessions, coffeehouses and clubs, and places where Bob Dylan hung out. The second half of the book, supplied by Maddie MacNeil, is a compendium of 21 songs and tunes commonly played around the Village at that time. The tunes range from English ballads, to cowboy songs, to Appalachian fiddle tunes. Many of the transcriptions are provided in both DAA and DAD tablature, with one tune in DAG, and another in DGD. Guitar chords are also provided. The vocal melody is supplied as notation, and the dulcimer arrangements follow the melody closely. As is typical of Maddie’s transcription work, the arrangements are quite lovely and fairly easy to play. Even if you’re not a fan, or particularly interested in that era of popular music, this book is still worth the price of purchase. The tunes included are fun, well known, but not terribly common, and would make a great addition to anyone’s repertoire. If you are a fan of the so-called “Folk Scare,” there is a wealth of information to be learned from the first-hand account of someone who saw it happen. Butch Ross

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f you’ve ever listened to any of Russell Cooks CDs, then you already know that his recordings, just like his instruments, are masterful creations. If you’ve tried to transcribe one of Russell’s arrangements yourself, then you know how time consuming that can be. Russell made a lot of people happy in 2003 when he hired hammered dulcimer master David Moran to transcribe 14 of his songs for The Russell Cook Book. These transcriptions come as close as possible to capturing on paper the peaceful emotion Russell’s playing exhibits, while noting, “There are obvious notes and licks on the hammered dulcimer which are not or cannot be noted completely in music.” For many, it definitely helps to have the recording at hand when learning a piece of sheet music, and until now, you would have to purchase seven different CDs in order to hear all the arrangements in The Russell Cook Book. Russell has released a compilation CD that includes every song in the book. This will definitely be a big help for those who have never mastered sight reading, and for those who are learning to sight read. It is hard to categorize these arrangements on a beginner to advanced scale. None of the arrangements are extremely hard, but they are all extremely good. I definitely recommend this book and CD for novice and veteran players alike. I also recommend this CD to nonplayers. The compilation is a great listen and reminded me once again why I love this instrument. Thanks Russell for all you do. - Dan Landrum

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Editor’s Pick: Neal Walters The Most Dulcimer

Jean Ritchie

y editor’s choice this time is from the music of Jean Ritchie. Jean is one of our dulcimer icons, and with good reason. Born and raised in eastern Kentucky, she’s been playing the dulcimer and singing the music of her family nearly all her life. In the mid-1940’s after graduating from college, she moved to New York and took a job as a social worker in the Henry Street Settlement. She met and started singing with the likes of Woody Guthrie, Oscar Brand, Leadbelly, and The Weavers. She brought the dulcimer along with her, and the rest is history. She’s made over 30 albums and has had her songs recorded by many artists including Judy Collins, Linda Ronstadt, Dolly Parton, and Emmylou Harris. She recently released a CD of her 1954 field recordings made on a trip to the UK as part of a Fulbright Scholarship aimed at tracing the links between American ballads and the songs of the British Isles.

I’ve chosen a couple of songs from her 1992 album called The Most Dulcimer for my editor’s picks this issue. Jean was always being asked which album has the “most dulcimer,” so she made one that she could confidently point to when she got the question. Feed My Sheep is a great example of Jean’s playing. She is accompanied by Mike Seeger on mandolin. The second tune, Go Tell Aunt Rhodie R.I.P., demonstrates how she can take a simple folk tune and weave it into a work of art. I chose these two because of the contrast between them. Thanks to Jean and to her husband, George Pickow, for permission to use this material on our compilation CD. Jean has released some nice video material recently, as well. Perhaps we’ll get the chance to review that in a coming issue. In the meantime, I’m sure everybody will enjoy Jean’s playing on this issue’s CD.

Editor’s Pick: Dan Landrum Is There a Doctor in the House? Mark Alan Wade

This isn’t really a music review but it is certainly music related. My friend Mark Wade, or I guess I should now say Dr. Mark Wade, after what probably feels like centuries to him and his family, graduated a few weeks ago with his Doctorate of Musical Arts in Trumpet Performance from Ohio State University. The good news doesn’t stop here though. He’s already landed a new job as Visiting Assistant Professor of Music at Denison University where he’ll teach trumpet, music theory, and music history, direct the wind ensemble, and coach two bluegrass lab bands. As they say on TV, “But wait, there’s more!” (I saved the best for last.) Mark is getting married in July to Cristina Santelli. She is also a trumpet player and teaches band in Westerville, OH. Mark and Cristina met at trumpet auditions at OSU, but I have several witnesses who will testify that I brought them together publicly. Cristina was in the band for one of Mark’s Liberty Christmas Concerts a few years ago and I was testing microphones during rehearsal. After tiring of saying testing, testing, testing, I pointed to Cristina and blurted out, “Mark, she’s cute, you should ask her out.” Not long after that, he did! Mark has multiple recordings which you can sample on his web site, www.markalanwade.com, but the cut you’ll hear on the sampler CD is from his first recording project,

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ews Dulcimer Players N 47

Foggy Mountain Favorites. This CD is now out of print, but I’ve chosen the cut Redwing because it taps into Mark’s energetic delivery of the traditional music he grew up listening to and learning. Congratulations Mark, and if you listen closely, you should be able to hear toasts being raised by dulcimer players across the country to your good fortune and accomplishments.

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Editor’s Pick: Butch Ross Uncle Dulcimer David Schnaufer

ruly great artists are multifaceted. Pablo Picasso will always be remembered for his cubist work, but there are also the sculptures and assemblages he made,

his minimalist drawings, and his “blue” period. Same of Leonardo Da Vinci, he was an inventor, a scientist, a mathematician, and oh yeah, he dabbled a bit in painting. What was that girl’s name? Mona something? David Schnaufer will always be remembered as one of the greatest dulcimer players ever, and he really deserves credit for being largely responsible for bringing the instrument into the modern age, and developing a good portion of the technique and repertoire we use today. In the face of that, it’s easy to overlook David’s other talents. Uncle Dulcimer could easily have been called, The Other Sides of David Schnaufer, as it showcases his banjimer and electric playing, his fingerpicking, singing, and most importantly, his songwriting. The CD kicks off with David’s Tennessee Valentine. David sings this original composition in a hushed, gravelly baritone over a finger picked dulcimer melody, a bowed Tennessee music box, and an atmospheric electric dulcimer—creating a sonic palate that sets the tone for the rest of the album. Next tune is Brush Arbor, another original that shows up as an instrumental on his CD Delcimore. Here it’s sung, the dulcimer highlighting David’s cleverly homespun lyrics. And so it goes, over the course of these ten songs. It’s a moving and subtle coda to his career, and a must for anyone who wants to better understand why he is still considered “the best.” Uncle Dulcimer and many other David Schnaufer CDs are still pressed and distributed by McSpadden, and are available at a number of dulcimer stores, or online at www. mcspaddendulcimers.com.

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QUICK PICKS

Want to see your CD in DPN? Read this. W

ith each issue of DPN we‘re now using a redesigned deliverly method for announcing new print and recording projects. Our new Quick Picks section makes it easy for you to let everyone know about your dulcimer related project. It also gives DPN readers a chance to hear your voice, and share in your excitement. Being included in the Quick Picks section doesn’t preclude inclusion in the regular music reviews section. However, there has never been, and likely never will be, enough room to provide full-blown reviews of every dulcimer project we receive each quarter. Our new system only works if you send in your material, so here’s how!

The place to start is with email, or a good old fashioned postcard if you don’t have computer access. Drop us a short note so we know your material is on the way, and so we can give you current deadline information. When you’re ready to submit your material, we must have, via email or US postal: • Artist Statement: Describe in 50 words or less the material you are presenting. Do this in your own words and make sure it is something you would be comfortable seeing in print! Example: “This is my third CD

and I wanted to see what would happen if I teamed didgeridoo and dulcimer. I enlisted my buddy David Hudson and we call the results Appalachian Oz - the Mountains Out Back.” • CD Titling Info: List the CD title and all performers on the CD. Correct spelling is a must, since this is how they will appear in the magazine. • Your Recommendation: Tell us which track you’d like to see on the review CD, and in your own words explain why you chose this cut. List all the performers on the track(s). • Release Forms: Download, fill out and return the IPR Waiver and Release Form. (Forms available at www.dpnews.com)

• Track Lists: List the title and track number for each track on the CD. • Contact Information: Include your phone number, web site, email and postal mailing address. If there are any of these contact points which you would like to remain private, then clearly indicate so. Remember, the easier it is for customers to find you, the more likely they are to buy your product. That’s all there is to it! Now, get busy on that recording or book project you’ve been promising yourself. The dulcimer world is waiting! Give DPN a call if you have any questions: (423) 886 3966.

Lee Cagle’s

Tablature and Instructional CDs for Mountain Dulcimer

Blue Smoke Risin’ on the Mountain

A beginner’s guide to the mountain dulcimer & companion CD *OUSPEVDUJPO UP 'JOHFSQJDLJOH t $FMUJD 5VOFT t 'JEEMF 5VOFT $ISJTUNBT .VTJD t .PSF

www.LeeCagleDulcimers.com

901-877-7763 P.O. Box 224, Moscow, TN 38057

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ews Dulcimer Players N 49

QUICK PICKS Title: Tunes ‘n Tabs Sacred Edition Artist: Rebecca Askey Artist Statement: I would consider the songs in this book to be more for intermediate players, not beginners. The arrangements are complete with accompaniment chords and rhythm notes for the tab. $15 includes postage. Most of these hymns I learned (including the Swedish Tryggare Kan Ingen Vara) while growing up in a Luthern church in NW Pennsylvania. Tunes: Features 52 arrangements for hammered and mountain dulcimer including: Ash Grove, Beach Spring, Blessed Assurance, Come Thou Fount of Every Blessing, How Can I Keep From Singing, I Will Bow and Be Simple, In The Garden, Jesus, Lover of My Soul , Once To Every Man and Nation, Shall We Gather At The River, Steal Away, and There is a Balm in Gilead. Contact: Rebecca Askey, 134 E. Winding Hill Rd., Mechanicsburg, PA 17055. $15 ($13 + $2 s&h) Title: Between Sunset and Stars Artist: Simple Gifts of the Blue Ridge Artist Statement: This CD is a collage of original tunes and songs, written between 1995-2003, which come together to tell a story filled with thoughts and dreams at the end of a busy working day. Simple Gifts of the Blue Ridge are Charles Bostian (hammered dulcimer, upright bass), Marya Katz (hammered dulcimer, guitar, voice, percussion), Jack Webster (guitar, voice), and Carolyn Smith (flute, percussion). Tunes: Welcome Home, Mom / Midwinter’s Jig / Meals on Wheels / The Surreptitious Plumber, I Saw a Herd of Deer Grazing, The Porch Swing, Sunset’s Song, I Was Supposed to be Cleaning, Chasing After Leaves on a Windy Day, Empty Evening, Hidden Delight, Of Twin Towers and Thousands of Flowers, Watching for Snow, Crystal Celebration / Ebony and Leather, Waltz for Wendy, Flag Slip, Benched, Kicking Up Sawdust / Dancing Boots / Old-Town Breakdown, Busy Day, La Luna Giubilante, Persimmon Shake at Midnight, Piseag, Teacher, Teacher-I Can’t Find My Clothes!, Wisps and Wishes, Suspended Spring, The Wishing Star, and Prayer. ws 50 Dulcimer PlayersNe

QUICK PICKS Contact: Marya Katz SG Records SG008 702 Elizabeth Drive, Blacksburg, VA 24060 540-961-4435, maryakatz@gmail.com Title: English Country Dance Tunes for Dulcimer, Volume 1 Artist: Mark Gilston Artist Statement: The mountain dulcimer seems like the perfect instrument for English country dance tunes. Both delicate and robust, and strongly rhythmical when used with a pick, it manages to capture that particular sound which I associate with the late Renaissance and Baroque periods in which these dances flourished. Volume 1 contains all tunes from the 1651 first edition of Playford’s Dancing Master. Tunes: All in a Garden Green, Argeers, Beggar Boy, Bonny Bonny Broome, Cuckolds All in a Row, Daphne, Drive the Cold Winter Away, Gathering Peascods, Goddesses, Halfe Hannikin, Hearts Ease, Jack A Lent, Jenny Pluck Pears, Mage on a Cree, The Maid Peeped Out at the Window or Friar in the Well, Maiden Lane, Nonesuch, The Old Mole, Parson’s Farewell, Scotch Cap, Upon a Summers’ Day, Up Tails All, The Wish, Woodicock Contact: Mark Gilston, 1507 Fall Creek Drive, Cedar Park, TX., 78613 512-336-8549, info@markgilston.com, markgilston.com Title: Swallowtail Butterfly Artist: Dream Spirit Baroque Band Artist Statement: Dream Spirit is a group of four people who taught for years at the community college in Lake Tahoe, California. Our trademark is playing mostly traditional music from around the world in a sort of string quartet form. The quartet is made up of classically-oriented violin, cello, and guitar, played by Diana Woodbury, Suzanne Stone, Jon Smart and Jack Shipley on either hammered dulcimer, recorder, or percussion. The recording is titled after the two traditional Irish jigs that bookend the CD. Track List: Not Supplied Contact: Jack Shipley, P.O. Box 88, Lee Vining, CA 93541 bodiejack@schat.net, (760)647-6267

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Title: Share the Music Artist: Janet Harriman Artist Statement: Share the Music is a book of hymns arranged for hammered dulcimer. While some are just beautiful, others are at the same time challenging. Harmonies and embellishments are interwoven to enhance the beautiful melodies. Also included are a few Christmas songs, as well as Julianna, an original tune. Track List: not supplied Contact: Janet Harriman, 2956 S. Union St, Rochester, NY 14624 585-594-2986, JHComposer@aol.com Title: Inventio Artist: Martha Giles and Robert Wadsworth Artist Statement: Bob and I first met at the Williamsburg Quarterly Gathering of Hammered Dulcimer Players. Since we shared an interest in classical music, we decided to try a “long-distance” duet. Living 100 miles apart, we separately learned our parts for Bach’s Invention No. 8, with a plan to play it together at the next Williamsburg Gathering... where our fellow dulcimists received it with enthusiasm, and encouraged us to record it. These Inventions are so wonderful that we couldn’t stop with just one... Contact: Martha Giles, 2261 Calvert Street, Virginia Beach, VA 23451 (757) 496-0241, music@marthagiles.com, www.marthagiles.com www.robertwadsworth.com Robert Wadsworth 213 Reams Court Richmond, VA 23236 (804) 320-8474 bob@robertwadsworth.com Title: Good Old Gospel Book 1 and 2 Artist: Judy Klinkhammer Artist Statement: I’ve gathered my favorite gospel songs for this offering. Each book provides EZ to read DAD tablature in chordmelody style with fingerings, chords, words and CD. Every song is played at slow tempo. The 1½ fret is frequently used but not mandatory. No capo necessary. Please do not reprint or redistribute without permission. Contact dpn@dpnews.com.

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Tunes: Book 1 The Unclouded Day, Diamonds in the Rough, I’ll Be Somewhere Listening, Will the Circle Be Unbroken, I’ll Fly Away, Farther Along, Amazing Grace, Where the Soul Never Dies, Just As I Am, Where the Roses Never Fade, Happy Land, What a Friend, Sweet Hour of Prayer, Wonderful Words of Life, My Lord What a Morning, Chord Chart for 1½ Fret Book 2 Jesus Loves Me, Where Could I Go, Angel Band, Give Me the Roses, Jesus Hold My Hand, Sweet Beulah Land, Just a Little Talk with Jesus, Drifting Too Far from Shore, Beautiful Star of Bethlehem, Whispering Hope, Just a Closer Walk, Who Will Sing for Me, Shall We Gather at the River, If We Never Meet Again, Going Home, Chord Chart for 1½ Fret Contact: Judy Klinkhammer Double K Dulcimer Books PO Box 96, Mountain View, AR 72560, 870-269-8298 peteklink@mvtel.net Title: Dulcimers Are Allowed Artist: Dave Holeton Artist Statement: Dulcimers Are Allowed is a collection of traditional and original songs that can be played on the mountain dulcimer. The dulcimer is played in traditional and not so traditional modes, and the music is intended to provide examples where mountain dulcimer players can play music with other instruments, in other modes, and sing while playing. Tracks: The Star Spangled Banner, Boil Them Cabbage, Old Gray Goose Medley, Hey Ho Nobody At Home, Celtic Medley: Kelvingrove/Down by the Salley Gardens, Wearin’ of the Green, Londonderry Aire-Danny Boy, Grandfather’s Clock, Let It Go, Hold On, Do It Right the First Time, Hey Telephone Man, Get On Your Way, Mixo Em, See The Light, Don’t Fall Off, Phrygian March, Phrygian Free, Can’t Can, Bill Grandma, Wrong Time, Medley: Wayfaring Stranger/ Amazing Grace. Contact: Dave Holeton, 110 Wealdwood Drive, Clinton, TN 37716 865-463-7107.

Want your CD in Quick Picks? See page 49 for details. ws 52 Dulcimer PlayersNe

Contact info from pages 44—46

The Sum of the Parts Bill Collins & Nina Zanetti 4306 Marlowe Road Wilmington, DE 19802 302-762-6270 dulcibill@aol.com

Looking Ahead Joe Collins & Mike McGee 1010 Castlewood Dr Shelby, NC 28150 704-484-8414 dulciman@bellsouth.net www.jcdulcimer.com Garden of Mysteries Ruth Barrett 608-882-3684 chngemkers@yahoo.com www.dancingtreemusic.com 13 Songs Lisa and Heather Malyuk 364 Ravenna Road, Streetsboro, Ohio 44241 info@lisa-heathermalyuk.com www.lisa-heathermalyuk.com Greenwich Village: The Happy Folk Singing Days By Ralph Lee Smith with Madeline MacNeil Mel Bay Publications. Mel Bay strongly encourages you to shop at your local retailer, to ﬁnd the one closest to you go to www.melbay.com The Russell Cook Book Russell Cook Master Works Dulcimers P.O. Box 167 Bennington, OK 74723 580-847-2273 info@masterworksok.com www.woodnstrings.com

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Congratulations

Sam Wachtler of Colorado Springs 2007 National Hammered Dulcimer Championship Runner-up

Mike Huddleson Stringed Instruments

Handcrafted Hammered Dulcimers Since 1988 6622 West 35th St. So. Wichita, KS 67215 316-524-0997 mhuddleson@aol.com Read about our upgrade program at:

www.MikeHuddlesonStringedInstruments.com

The most versatile hammered dulcimer music holder on the market.

String Fever Music Visit our web site for details on a wide variety of dulcimers and accessories!

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Festival Guide July 6-11

MD Week in the Shenandoah

July 20-25

Lorinda Jones, Lois Hornbostel,

Parkville, Mo Contact: Sharon Lindenmeyer, 785-472-4285, slndmyr@carrollsweb. com, 405 Court, Ellsworth, KS 67439, www. heritagedulcimercamp.org, Presbyterian Conference Center, 16965 NW 45 Highway, Parkville , MO 64152

Jody Marshall, Bill Troxler, Stephen Humphries, Bill Robinson, David Brose, And Jim Miller., Contact: Liz Brace, gathering@warren-wilson.edu, Swannanoa Gathering, Warren Wilson College, P. O. Box 9000, Asheville, NC 28805-9000, www. swangathering.com, Warren Wilson College, Warren Wilson Rd., Asheville, NC 28815-9000

July 24-26

August 8-10

Heritage Dulcimer Camp Ken Kolodner, Dan Landrum,

ValleyWinchester, VA Instructors: Maddie MacNeil, Janita Baker, Tull Glazener, Rob Brereton and Traditions, and Ralph Lee Smith. Contact: Jo Miller, 540-665-5442, jmille3@ su.edu, www.su.edu/cont-ed/ dulcimer.asp July 6-11

Common Ground on the Hill, Traditions Week I

Westminster, MD Instructors: Lois Hornbostel, Susan Boyer Haley, David Lindsey, Bill Troxler, Joe Healey, and Jutta Claar.Contact: Walt Michael, 410-857-2771, cground@qis.net, McDaniel College, 2 College Hill, Westminster, MD 21157, www. commongroundonthehill.com July 14-19

Bayou City Old Time Music and Dulcimer Festival

Houston, TX Contact: Gordon and Sandy White, 281 449-1632, gswhite@ hal-pc.org, 4818 Cicada Lane, Houston, Tx 77039, www. geocities.com/bayoucityfestival, 4422 Lauder Road, Houston, Tx 77039

Catskills Irish Arts Week July 25-27 8th Annual Redwood East Durham, NY Instructor: Karen Ashbrook Dulcimer Weekend

Bonny Doon, CA Instructors: Lance Frodsham, Bing Futch, Neal Hellman, Janet Herman, Peter Tommerup, and Ron Beardslee, Contact: Janet Herman, 831-429-1691, fasola@ cruzio.com, 205 Jackson St., July 17-20 Santa Cruz, CA 95060, www. ODPC Funfest (aka Evart) folkplanet.com, 60 Verde Dr., Evart, MI Bonny Doon, CA 95060 Contact: Sharon Skaryd, 989-781-0849, sharon@ July 27-August 1 dulcimers.com, Osceola County Dulcimer Celebration Fairgrounds 199 Recreation Week at John C. Blvd., Evart, MI 49631 Campbell Folk School Contact: Michael J. Quill, 800/434-FEST, irishartsweek@ gmail.com, Irish Cultural and Sports Center, 2119 Route 145, East Durham, NY 12423, www. east-durham.org/irishartsweek/

July 18-20

Cranberry Dulcimer & Autoharp Gathering

Binghamton, NY Contact: CarolLynn and Gene Langley, 518-283-4769, clglangley@juno.com, 282 Blue Factory Road, Averill Park, NY, Unitarian Universalist Church, Riverside Dr., Binghamton NY

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Brasstown, NC Contact: John C. Campbell Folk School, 1-800.FOLK.SCH (365-5724) or 828-837-2775, One Folk School Road, Brasstown, NC 28902 August 3-9

Swannanoa Gathering Dulcimer Week

Swannanoa, NC Instructors: Terry Lewis, Stephen Seifert, Steve Eulberg,

Heart of the Alleghenies Folk Music Festival

Bradford, PA Instructors: Dan Duggan, Tom Hodson, Henry Jankiewicz, The Allegheny Mtn Dulcimer Players, Jim Kimball, Sterl Van Arsdale, Gerry Hoffman, Diana Wagner, Dr. Larry Spencer and Gayle Sheets, Curt Osgood, Hope Grietzer, Jim Macwilliams, Confluence and so much more! Contact: Lucinda Durkee, 716-676-2260, radiantspirit@ juno.com, P.O. Box 477, Westfield, NY 14787, www. hotafest.org, 300 Campus Drive, Bradford, PA 16701 August 15-16

Little Rock Dulcimer Getaway

Little Rock, AR Instructors: Weesa Boyd, Linda Brockinton, Joe Collins, Dan DeLancey, Scott Odena, David Peterson, Linda Thomas, and Charles Whitmer. Contact: Jim Munns, 501-765-1131,jmunns@ phbclr.com, 2200 Kavanaugh Blvd., Little Rock, AR 72205, www.arkansasdulcimersociety. com August 15-17

August Dulcimer Daze

West Dover, VT Instructors: Dallas Cline, George Haggerty, Lori Keddell, Sandy LaFleur, Beth Lassi, Bonnie Leigh, and Nina Zanetti. Contact: George or Mary Haggerty, 802 368- 7437,

swewater@sover.net, P. O. Box 88, Jacksonville, Vt 05342, www.augustdulcimerdaze.com, Handle Road, West Dover, VT 05356 August 21-24

15th Annual Midland Dulcimer Festival

Midland, MI Contact: John Skaryd, 989-781-0489, john@dulcimers. com, www.folkmusicsociety. org, Midland Fairgrounds, 6905 Eastman Road, Midland, MI 48640 September 5-7

BlueGrass Creek Dulcimer Festival

Evansville, IN Instructors: Butch Ross, Christie Burns, and Maureen Sellers. Contact: Eric Donnan, 812-868-8664, edulcimer@ sbcglobal.net, 3737 Schroeder Rd., Evansville, IN 47725, www. bluegrasscreek.com, 1040 E.Boonville New Harmony Rd., Evansville, IN 47725 September 12-14

Greenwood Furnace Folk Gathering

Huntingdon, PA Contact: The Huntingdon County Arts Council, 814-643-6220, huntingdonarts@ comcast.net , P.O. Box 216, Huntingdon, PA 16652, www.folkgathering.com, Greenwood Furnace State Park,

15795 Greenwood Road, Huntingdon, PA 16652 September 19-21 Double Dulcimer Gathering

Madison, AL Instructors: Tull Glazener and local instructors. Contact: Ron Zuckerman, 256-830-4830, hsvmda@ gmail.com, www. everythingdulcimer.com/ mda, 4257 Sullivan St, Madison, AL 35758

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Festival Guide September 26-27 Old Capitol Traditional Music Festival

Corydon, IN Instructors: Colleen and Neal Walters of Doofus, and Terry and Pam Lewis. Contact: Jackie Armstrong, 812-945-6003 or 502-641-9059, jackiearmstrong@ insightbb.com, 548 Stoneview Dr, New Albany, IN 47150, www.corydondulcimersociety. org, O’Bannon Woods State Park, 7240 Old Forest Rd, Corydon, IN 47112

September 26-27 Nutmeg Dulcimer Festival

Hamden, CT Instructors: Robert Force, Doug Berch, Carrie Crompton, Susan Trump, and over a dozen more. Concerts: Dan Duggan, Tina Bergmann & Bryan Thomas, and Neal Hellman. Contact: Sam

Edelston, 203-248-2053, samhd@ optonline.net, 34 Daffodil Lane, Cos Cob, CT 06807, www. NutmegDulcimer.com, 700 Hartford Turnpike, Hamden, CT 06517

Martha Richard, and Greta Gillmeister.Contact: Donna Boeke, 417-276-1087, donnaboeke@msn.com, 800 S. Cherry, Stockton, MO 65785, City Park, Stockton, MO 65785

September 26-27 Memphis Dulcimer Gathering & Folk Festival

September 27-28 14th Annual Harvest Festival of Dulcimers

Memphis, TN Instructors: Aubrey Atwater, Lee Cagle, Betty Dawson, Steve Eulberg, Jim Miller, and Rick Thum. Contact: Lee Cagle, 901-877-7763, Lee@ LeeCagleDulcimers.com, P.O. Box 224, Moscow, TN 38057, www.LeeCagleDulcimers.com, 2400 Union Avenue, Memphis, TN 38112

September 26-28 Black Walnut Festival

Stockton, MO Instructors: Lorinda Johnson,

Everything Dulcimer.com

ulcimer Players News and EverythingDulcimer.com have made it easy for you to get your festival posted online and in DPN. First, go to:

www.everythingdulcimer.com

At the top of the page you’ll find separate Festival and Event tabs. Events are things like concerts, jams, and miniworkshops. The Festival tab is for dulcimer festivals only. Click the tab of your choice and you’ll be taken to a list view. This list is sortable by date, name, city or state.

Dana Point, CA

Instructors: Jeff Hames, Jem

Moore, Patti Amelotte, Cyntia Smith, Carol Burrill, Margie Mirken, Greg Mirken, Jennifer Ranger, Patti McCollom, Mintze Wu, and Shirley Orlando. Contact: Jim Romano, 562-861-7049, jsromano!2yahoo. com, 8121 Adoree St., Downey, CA 90242, www.scdh.org, 34451 Ensenada Pl., Dana Point, CA 92629 Want to see your festival listed in DPN? So do we! Instructions are at the bottom of this page.

Better Together!

You’ll also find links to creating new entries, or modifying current ones. If this is your first time to create an entry, you’ll be asked to choose a username and password. Write this down. You’re going to need it again. After logging in with your username and password, simply fill out the form. Now, click submit, and your information will be automatically emailed to Dulcimer Players News for verification.

October 3-5 Winter Creek Reunion

Bennington, OK Contact: Laurel Hamrick, 903-465-9081 or 903-640-0003, rrvdc@texoma.net, 212 S. Burnett Ave., Denison, TX 75020, www.texomalinks. com/rrvdc, 654 Acorn Lane, Bennington, OK 74723

October 11 Red Hill Music Festival

Sumner, IL Instructors: Tull Glazener, Chris Carlisle, Molly McCormack, Jon Hall, Guy George, Bob and Sherry King, Marilyn Barrett, and Dennis Jackman. Contact: Jerry Pacholski, 618-943-5610, jerrypacholski@verizon.net, 508 20th St., Lawrenceville, IL 62439, www.geocities.com/ rhdulcimers, 400 S Christy Ave., Sumner, IL 62466

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This verification step assures that DPN has accurate information for the magazine listing, and gives us a chance to guard against imposters and spam. We will notify you if any vital information is missing. Please be patient, this could take up to 24 hours, but we take care of it as soon as we see it. Once your new entry appears on EverythingDulcimer, you’ll be able to make changes immediately using your username and password.

If you’re a festival organizer, but don’t have access to the internet, all is not lost! You can still call or write with your event information and we’ll enter it for you. We do ask that you at least attempt to get someone in your organization to enter the information. This is the best way to assure accuracy. Our mailing address is: Dulcimer Players News P.O. Box 278 Signal Mountain, TN, 37377 423-886-3966

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index to Advertisers

August Dulcimer Daze

Joellen Lapidus

Autoharp Qarterly

John C. Campbell

Backyard Music

John Kovac

Prussia Valley

BB Hammers

John Sackenheim

Ron Ewing Dulcimers

Beth Lassi

Joyful Noise - Bob Bedard

Salient Music Works

Bing Futch

Kendra Ward & Bob Bence

Shannon Baughman

Blue Lion Musical Instruments

Lee Cagle

Shelley Stevens

Bonnie Carol

Linda Brockinton

Stephen Humphries

Carey Dubbert

Linda Thomas

Stewart MacDonald’s

Chautauqua on the Wabash

Lisa & Heather Malyuk

String Fever Music

Cliff’s Custom Crafts

Little Rock Dulcimer Getaway

Sue Carpenter

Coog Instruments

Lorinda Jones

Susan Trump

David Moran & Joe Morgan

Maggie’s Music

Sweet Sounds Dulcimer House

David’s Dulcimers

Mark Alan Wade

Debbie Porter

Master Works

Doug Felt

Maureen Sellers

Dulcimer Shoppe, Inc.

Dulcimerican Music -LarryConger

inside front

Pineland Folk Music Center

Swannanoa Gathering

back cover

Talisman Music

Heartland Dulcimer Club

Memphis Dulcimer Gathering

Thistledew

Mike Huddleson

Whamdiddle

Dusty Strings

Missigman Music

Windy River Dulcimer

Glee Circus (Jim Bows)

Music Folk, Inc.

Wood-N-Strings

Greibhaus Instruments

Music for Healing

Guy George

Musicmaker’s Kits

Harp Doctor

Nutmeg Dulcimer Festival

Helen Johnson

inside back

Peggy Carter

Neal Walters

Heritage Dulcimer Festival

Off-The-Wall

Jeff Furman

Owl Mountain Music

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Ozark Folk Center

Astounding Inventory at Wildwood Music. We have over 400 new acoustic instruments in stock - including fine displays of mountain and hammered dulcimers. Wildwood Music, Historic Roscoe Village, Coshocton, OH 43812. 740-622-4224, www. wildwoodmusic.com.

Banjo-Mer Website: www.banjomer. com. See the many Banjo-Mers and the new items! Phone 909-987-5701. Books by Carrie Crompton: Expressive Hammered Dulcimer, an instructional method. Hammered Dulcimer Solos Volume 1 and Volume 2, solo repertoire. 11 Center Street, Andover, CT 06232. barolk@ sbcglobal.netorwww.carriecrompton. com. Cimbaloms. Large chromatic hammered dulcimer with pedals. New and reconditioned. Various prices. Alex Udvary, 2115 W. Warner, Chicago, IL 60618. www.cimbalommaster.com.

inside front

Jeremy Seeger

American Lutherie, the world’s foremost magazine of string instrument making and repair information published by the Guild of American Luthiers. See our web page for photo previews of back issues and images of our many instrument plans: www.luth.org. Or contact GAL, 8222 S Park Avenue, Tacoma, WA 98408, 253-472-7853.

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Classified Advertising Davis’ Dulcimer Delights Book 1 plus CD $20.00. For absolute beginner to advanced. DAD tuning. Davis’ Dulcimer Delights Book 2 plus CD $16.00. Three separate parts. DAD tuning. Beginner Bluegrass and CD $20.00. DAD tuning. Bluegrass Dulcimer and CD $17.00. DAD tuning. New: Polkas. DAD tuning. $10.00. Norma Jean Davis, 205 Engel Road, Loudon, TN 37774, 865-458-5493. Dulcimer Players News back issues - get them before they’re gone! Order online at www.dpnews.com or call 423-886-3966. E-mail: dpn@dpnews. com.

includes articles, news, reviews, festival listings, and instrumental “Teach-Ins” 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.

PVC Musical Instruments And How To Make Them Harp, Violin, Cello, Slide Guitar, & 12 more. 120 pages of step-by-step plans and instructions.

Full Size Templates & Readily Available Parts

• Fun and easy to build and play • Low Cost—Great Sound • Most built in under 2 hours. • Includes a FREE CD of band tunes, solos & tunings $25.95 + $5.00 S&H

John Kovac—Harpmaker

148 E. High Spruce Road, Front Royal, VA, 22630 (540) 635-2534 www.johnkovac.com VISA and Master Card accepted

FOR SALE: 1987 Jim Taylor custom 16-15-3 course chromatic hammered dulcimer with Main Street case, stand, and all accessories. Full details and pictures at: http://www.magills. net/hd.html or contact Jim Magill at 828-273-2419 or jmagill@warrenwilson.edu. For Sale: 2 Hammered Dulcimers – need some repair $50.00 or B/O, location Miami, Florida area, contact Kathryn ksmervine@yahoo.com or call 786-218-8406. Laser Engraved Dulcimer Accessories; Dulcimer Hammers, Music Holders, Jewelry, Dusters, I.D. Tags & more. Visit: www.laserelegance.com. Leo Kretzner – songs & tunes, festivals & workshops: leoleo1@verizon.net www.leokretzner.com. Master Works: 15/14 (mahogany top) hammer dulcimer made by Russell Cook. Purchased new 11-07, learned very fast, just purchased new 16/14c. Impeccable condition with new case - $795 includes shipping to you. 940-648-5090

Since 1950, Sing Out! The Folk Song Magazine has covered the world of traditional and contemporary folk music. Each quarterly 200-page issue Please do not reprint or redistribute without permission. Contact dpn@dpnews.com.

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d Bran

Come See Russell: The 46th Annual Amish Acres Arts & Crafts Festival 2008 July 31st - Aug. 3rd - Nappanee, IN

atalo C w e

Call or email for your free, 40 page catalog. It is chock-full of dulcimer goodies!

Yours for the asking!

The National Hammer Dulcimer Championship at The 37th Annual Walnut Valley Festival Sept. 17th - 21st - WinďŹ eld, KS

Now Available! THE RUSSELL COOK BOOK & NEW COMPANION CD

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Book & CD $30 CD only $15

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