e N
ulcimer D layers P The Journal for Dulcimer Enthusiasts
Vol. 34 No. 2
s w
Spring 2008
$10.00
More Sheet Music Than Ever! Fine Tune Your Timing Everything You Need to Know About Theory A World of Hammers Arranging 101
Targeted Practice
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!
SHENANDOAH UNIVERSITY Winchester, Virginia
2nd Annual Mountain Dulcimer Week “Echoes of the Valley” — July 6 -11, 2008 Co-coordinators Madeline MacNeil and Ralph Lee Smith will co-host a weeklong series of dulcimer classes, workshops, concert performances, open stage events and much more! Guest instructors and performers include: Madeline MacNeil — Beginners Janita Baker — Advanced Beginners Tull Glazener — Intermediate Rob Brereton — Advanced Ralph Lee Smith — Dulcimer Traditions
Come this summer to hear the “Echoes of the Valley” through the beautiful sounds of the mountain dulcimer as we begin our second “Mountain Dulcimer Week” at Shenandoah University. No experience necessary. Rental dulcimers will be available for your use during the week.
Tuition: $325
For more information on housing and meal plans contact: Jo Miller at 540-665-5442 or e-mail jmille3@su.edu
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In This Issue - Spring 2008
Dulcimer Players News Volume 34, Number 2 Spring 2008 © 2008 • All rights reserved ISSN: 0098-3527 Publisher
Dulcimer Players News, Inc. Post Office Box 278 Signal Mountain, TN 37377 (423) 886-3966 Email dpn@dpnews.com Web
www.dpnews.com Editor
n
Dan Landrum Production Team Butch Ross Angie Landrum Contributors Nick Blanton Ken Bloom Christie Burns Sam Edelston Grahame Hood Adrian Kosky Roger Nicholson Steve Schneider Ralph Lee Smith Neal Walters Mark Alan Wade Kendra Ward 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.
Letters It’s Time We Get Together - Dan Landrum Making Arrangements - Steve Schneider People You Should Know - Grahame Hood Modes - Roger Nicholson Guide To Included Sheet Music Everything I Know About Theory - Butch Ross Hammers Pizza-wha? - Mark Alan Wade Technical Dulcimer - Nick Blanton Bowed Dulcimer - Ken Bloom Music Reviews Tales & Traditions - Ralph Lee Smith Walkabout - Adrian Kosky Festival Listing - DPN & EverythingDulcimer.com Index to Advertisers Classified Advertising Funnies
2 4 10 16 20 24 29 36 42 48 52 54 62 66 68 70 71 72
Dear Readers, With butter knife in hand, I prepare to please my young houseguests. Four slices of bread await their destiny. The lid pops free from the glass jar of sweet gooey jelly and the top spins off the plastic container of peanut butter. It all hangs in the balance as the creamy aroma fills the room. Like a wool mittened hand clap, the slices come together quietly and my work is done—or so I think. As it turns out, Thing 1 doesn’t like peanut butter at all, and Thing 2 thinks she’s allergic to crust. So what does all this have to do with Dulcimer Players News? We begin each issue by surveying our possible ingredients. There are always more stories, photos, and music than we can fit between the covers. Decisions have to be made, and the selection process that ensues will hopefully end with a balanced magazine. Do we count to make sure we have the exact same number of mountain versus hammered dulcimer stories, or pictures of men versus women? No, but we are aware that balance matters, and strive to give you the best of both worlds. We don’t keep score, but a recent letter reminded that some folks do: The group of mountain players I play with on Saturdays was complaining about the new look of the magazine and felt you were mostly catering to the hammered fans, and I agreed with them. We were going to not renew our subscriptions. However, after a very detailed and careful examination of your work this last week, I told them we are wrong, I love the new look, and that there is lots and lots of info in there for the MD player. I’m sure I have convinced them to continue.
We’re just thankful we passed the test! Remember, many stories, even if written from the perspective of one camp or the other, are pertinant to the dulcimer world in general. Hammer and strum on! - Dan Landrum
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Letters . . . . . . . . . . . . . .. . I read your article on Pirate Pete with interest and think the problem goes deeper than what was discussed in your conversation. The deeper issue is about how our “gifts” and art, which is a gift, are valued in our society. For a thorough discussion on that I would recommend reading “The Gift” by Lewis Hyde. The main theme is that a gift we are borne with or it is given to us is something that has to be passed on to remain alive. You give and receive gifts it is circular. Gifts that are not passed on i.e. shared die. Another way of looking at it is that it is an energy exchange, if we value what we are given then we should give energy (in this case you use greenbacks) in return for what we received and used. Not partaking in that process amounts to hoarding which means we are coming from a place of scarcity. Which begs the question of why Pirate Pete is so impoverished. There is also an issue of sincerity involved. As an artist I take every time I play for others, whether for pay or not, serious and value it accordingly. In that light I will not play music that I don’t value so it would be appropriate to pay for an arrangement. To me the argument about the qualifications of the arranger are bogus. If I like it, who cares about the shingles on the wall of the arranger. In the larger picture our economy is based on the lowest price possible even if it means buying products that the people who make them can’t afford to live reasonably on the wages they get. It is slavery or usury in a new cloak. Our friend Pirate Pete seems to have bought in to it lock stock and barrel. Jeremy Seeger, FL Your timely article in the winter issue of DPN should indeed “spark discussion” and get people thinking about this topic, and maybe even REthinking their attitude toward what ews 2 Dulcimer Players N
constitutes acceptable (or morally defensible) practices when it comes to copying other people’s material. If your buddy “Pete” truly “represents a new and very common way of thinking,” that’s sad and a little alarming. You wrote that you would trust “Pete” with your possessions; well, I surely wouldn’t, because he comes across to me as a totally arrogant, self-centered [expletive deleted]. Best wishes with continued DPN success---the magazine is clearly in very capable hands. Bill Collins, DE I am a long time subscriber to the Dulcimer Players News. At one time it was possible to find the MIDIMelodies of your sheet music on your website. It is very helpful for those who can “hear” music better than “read” it. Are those that used to be posted still available? If so, I cannot find them. If not, is there any possibility that this service could be available at a later date? It would be greatly appreciated. Marie Stevenson, FL Marie, we are busy working behind the scenes on a new web site that, among a few other suprises, will again include midi files. - Dan I’m glad you went back to printing the festival listing in blocks instead of lines it is so much easier to read them this way! Lori Keddell, NY I have developed a passion for the HD, inspired by listening to performers such as John McCutcheon, Walt Michaels, Bill Robinson, and of course, Lucille the dulcimer lady, not to mention the CD included in each issue of your magazine. I discovered DPN on the internet, and have been a regular subscriber for the past 3 years. It is one of the most professional, helpful, and interesting
magazines I have ever read. Thanks to your magazine, the dulcimer, and all those associated with it for making my retirement years so stimulating. Robert F. Brown, NM Your publication adds polish and accountability to the humble mountain dulcimer. This instrument has so many voices and directions it can travel. Thank you for presenting the MD in that light. The word, “legitimize” comes to mind, for those of us who need to stand a little taller while pursuing our musical journey with this humble vehicle. Thank you. Cynthia Cero, GA In Mark Wade's very useful article about flying with hammered dulcimers, he mentioned that he hadn't known of anyone getting an extra seat for a dulcimer. Well, recently I did! It was this past October from Richmond to Dallas and back. They charge slightly less (I guess because dulcimers don't check bags or eat pretzels or use the restroom), and you need to ask for a seatbelt extension which you thread through the handle to keep it secure in case of huge turbulence. For my Dusty Strings D600 I needed a bulkhead seat, and they insist that the dulcimer be next to the window so it doesn't block emergency exit. Also, you have to be ready to answer lots of concerned questions as the other boarding passengers come past you! Another important note: I had my Rizzetta custom flexible hammers in a white PVC case in my carry-ons; security at DallasFort Worth almost shut the airport down because of that suspicious item. The security director said that if I had had a spare string with it the terminal would definitely have been closed. Never again with that! We recommend using the clear polycarbonate version of hammer case instead. Tim Seaman, VA
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9th Annual
*UNE *UNE s #ULLOWHEE .ORTH #AROLINA
Mountain Dulcimer Week Enjoy six days in the beautiful Smoky Mountains as part of our friendly dulcimer community. This program that sets standards in mountain dulcimer music and instruction can help you bring out the potential in your dulcimer – and yourself!
THE CLASSES: Over 200 hours of classes are offered in seven skill
levels of playing instruction, with a tasty assortment of different music styles. Our dulcimer building course requires no experience, and nonplaying spouses have loved it!
MORE TO ENJOY: Get-Acquainted Banquet • Concerts • Open Stage Mountaintop Jam • Dulcimer Marketplace • Free Loaner Dulcimers • Economical Tuition & Modern On-Campus Housing/ Meals • Free On-Campus Shuttles Dulcimer Doctor • Over 30 StaffLed Jam Sessions & Sing-Alongs Informal Jamming • Scholarships
THE 2008 STAFF: Our schedule gives you an opportunity to take classes with six to twelve of the country’s favorite dulcimer player/instructors, including: Leo Kretzner Paul Andry Kenneth Bloom Betty Smith Terry Lewis Will Peebles Paul Henderson
Larry Conger Don Pedi Michael Fox Mark Gilston Norris Bennett George Haggerty Homer Phillips
Linda Brockinton Bill Taylor Lois Hornbostel Susan Boyer Haley Ron Ewing Joe Shelton ...and more!
Peter Tommerup Anne Lough John Huron Mike Anderson Joel Paul Elaine Conger
TO REGISTER: Our catalog and registration form are mailed in February. To be on the mailing list contact Bobby Hensley, Educational Outreach, Western Carolina University, 138 Outreach Center, Cullowhee, NC 28723, or e-mail Hensley@email.wcu.edu. For curriculum and staffing questions contact Lois Hornbostel, P. O. Box 907, Bryson City, NC 28713, or Loisdulc@verizon.net. Online registration at our website, http://dulcimer.wcu.edu after catalog mailing. WCU is a UNC Campus and an Equal Opportunity Institution
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It’s time we get together by Dan Landrum
Does the thought of practicing with a metronome make you cringe? If so, you are not alone. Armed with a results driven practice plan and a decent metronome, any musician, regardless of skill level, can become a better musician. The first step is to make sure you’re really listening.
“I just want you to listen to me. Is that asking too much?”
W
hen learning a song, if you already know the melody, or have the sheet music in front of you, you should eventually get all the notes right. This is true even if in the learning process you play a lot of wrong notes. If while learning the correct notes you also teach yourself incorrect timing, then you’re in the position of needing to unlearn.
knows the song you’re presenting, chances are they may be so busy recreating the melody in their minds that they won’t notice wrong notes. This is doubly true of melody notes you leave out all together. But skip a beat, rush, drag, or stop abruptly, and you will experience the musical version of a train wreck.
Try tapping your way through any song you’re having difficulty playing. Reduce the tempo until you’re able to tap it out with rhythmic accuracy and stay with a metWhen your timing is off, it doesn’t matter if you play all ronome. No one wants to hear this, but if you are the right notes. Faulty timing distracts the audience and unable to make it through the song in this can choke the essence of the song you’re trying to pres- simplified manner, then there’s a train wreck in you future. ent. Unlearning is harder than learning.
If I had to choose between playing the wrong note and getting lost in terms of timing, I’d chose the wrong note every time. Yes, both are important, but if the audience ews 4 Dulcimer Players N
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Learning to use a metronome begins with the obvious: get a metronome. A great feature on most digital metronomes is the abiliWhen musicians talk about a train wreck, they mean an unstoppable de- ty to subdivide the beat into triplets, eighths, and sixteenth railing. The musicians will live through it, notes. Most digital models can produce a different sound on the first beat of the measure, and sometimes have a vibut the song will suffer a noisy demise. sual indicator for the beat. An earphone jack to allow you Wrong notes rarely knock a musical train to listen at lower volume levels is another nice feature, but off track. The villain is almost always bad timing learning to hear the click acoustically in the room while which can be remedied by quality time spent with you’re playing is even better. If you are playing too loudly to hear the click, then a metronome. Good, inexpensive digital models can be found for around $20. An older mechanical the metronome can help you learn to back off a bit and metronome will work just fine, but I would avoid newer, listen. inexpensive pendulum based models. High quality meLearning to listen to more than just yourself is a chanical metronomes can be quite expensive. If you are very important part of developing rhythm. using a mechanical metronome, it has to be on a perfectly level surface or it will be innacurate. If you need to focus on a particular strumming or hammering pattern that you can’t play correctly with the metLearning to ignore a metronome is possibly the ronome, then either turn it off, or slow down until you worst thing you can do in regards to improving successfully stay with the click. Take your time and keep your sense of rhythm. It is also very easy to do. reminding yourself that you are working on a specific skill
Improving Timing With a Digital Delay
A
digital effects delay offers a fun alternative to using a metronome. It is also costlier, and requires tinkering with microphones, cables, pickups and such. This isn’t for everyone, so please, don’t feel compelled to spend the money or time to wire and plug in your dulcimer, unless you were already thinking about doing so. A metronome is sufficient as long as you absolutely do not allow yourself to ignore it. Digital delays are great training tools because you can’t ignore them. You are the click. You strum a chord, or strike a note, and then you hear it back at the interval to which you’ve programmed the delay. Your tempo can’t stray without causing a train wreck. If you begin to rush or drag just a little, then you’ll hear it, and hopefully be-
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gin to recover. You get the instant reward of tightly aligned echoes when your timing is spot on. A digital delay does a better job of letting you feel what it is like to play with other musicians, and allows you to push and pull against the tempo without actually speeding up or slowing down. If you’d like to pursue setting up a digital delay and need help choosing a microphone system, see Amplifying, Dulcimer Players News Volume 33, No. 4. A very simple system would include a transducer pickup with enough signal level to feed an effects processor. The output of an effects processor (such as a Digitech RP50) or dedicated delay would then be fed to headphones or an amplifier.
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June 22 – 27 We invite you to join us in beautiful Bardstown, Kentucky for a wonderful week filled with classes, jam sessions, concerts by instructors and participants, workshops, and so very much more! Choose up to five classes a day with nationally known instructors teaching all levels! Customize your week to fit your needs and enjoy this unique opportunity to learn in this fun-filled atmosphere! Daytime activities include classes, afternoon miniworkshops, afternoon jam sessions, and festival general store open all day, every day! Evenings offer two performer concerts, campground jams, evening “open stage” and a finale’ party/jam! A separate Kids’ Camp (age 6 and up) and Teen Camp run parallel to adult classes. Rental instruments are available. Classes are held at a new, single-level school, fully air-conditioned, with close parking. Hotel and camping arrangements are available online. For more information, please contact us at: KMW P. O. Box 86, Bardstown, KY, 40004 502-348-5237 Email: KYTreeFrog@aol.com
Over 95 class choices with the finest instructors anywhere! MOUNTAIN DULCIMER Robert Force, Shelley Stevens, Tull Glazener, Susan Trump, Stephen Seifert, Janita Baker, Butch Ross, Karen Mueller, Sara Elizabeth, Dave Haas, Bing Futch, Molly McCormack, Gary Sager, Jeffrey Miller and more! HAMMERED DULCIMER Randy Marchany, David Moran, Cathy Barton, Rick Thum, Guy George, Jim Miller, Stephen Humphries! BOWED DULCIMER – Jim Miller GUITAR – Rick Thum, Dave Para, Jim Miller, Peter “Madcat” Ruth, BANJO – Cathy Barton & Dave Para FIDDLE – Jory Hutchens STEEL DRUM – Guy George AUTOHARP – Karen Mueller TIN WHISTLE – Guy George CELTIC HARP – Donna Missigman MANDOLIN – Jim Miller & Turner Hutchens UKULELE – Peter “Madcat” Ruth VOCAL CLASSES – Dave Para, Cathy Barton, Vera Frazier, Molly McCormack BOWED PSALTERY – Donna Missigman HARMONICA – Peter “Madcat” Ruth PYSANKY – Angie Ford Hamilton STAINED GLASS – Gale Sturm
Visit our web site for a brochure and detailed information:
www.kentuckymusicweek.com
BASKETRY – Mary Carty FABRIC SMOCKING – Angela Rojas DULCIMER DOCTOR - Gary Sager PLUS LOTS OF FREE ONE-TIME WORKSHOPS!
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LarryConger TUNE OF THE MONTH
Now in its 5th year!
Listen and Learn CD with Tab Detailed Lessons by Mail! Taught by a Former National Mountain Dulcimer Champion. Advancing Beginner/ Intermediate Players. Accompaniment/Performance Track Included.
Only $12.95 Per month. Postage paid. (No minimum purchase - cancel at any time) Sign up today to activate your monthly subscription!
DULCIMERICAN MUSIC P.O. Box 131 Paris, TN · 38242-0131 dulcimerican@aol.com Additional books and CDs available at
www.larryconger.com
6th Annual Blue River Folk Music Festival Shelbyville, Indiana May 17, 2008
Cathy Barton & Dave Para Les Gustafson-Zook Larry Conger For details contact Renee Moore 317-392-3608 · renee@blueriverfolkfest.com
www.blueriverfolkfest.com Sponsored by Shelby Arts Council
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that requires practice and patience. Your focus is on improving timing, not playing a song. If you haven’t yet purchased a metronome, you could instead use an online version found at www.metronomeonline.com. We’re not all created equal. Sorry, but this is the truth. Experience has helped me understand that not everyone is born with the same sense of rhythm, nor does everyone learn easily. But how much rhythmic experience do you need to succeed? Not much. If you can march, bob your head, tap your foot, or clap your hands in time to music, then you have the basic skills to benefit from practicing with a metronome. Try to think of the click as functioning like lines on a piece of writing paper. The lines help you learn to write so that other people can read your message. When you’re first learning to write you use paper with wide lines. This helps you learn the fine motor skills needed to communicate clearly. As you progress rythmically, you’ll begin to bring the clicks closer together (faster). In our first exercise we’ll focus solely on the click, so silence any other audio distractions. Give yourself at least fifteen minutes for the following exercise. Set your metronome to around 72 beats per minute. The exact setting doesn’t matter, but don’t make it much faster than 72 bpm. Listen. Take longer than you think you need to absorb the click as you: •
Close your eyes and see if you can hear it bouncing off walls or items in the room.
•
Relax and try to time your breathing to some division of the click.
•
Tap your foot, clap your hands, do a little imaginary conducting of your private orchesta.
•
Do all of the above at differing volume and intensity levels and pay attention to the results.
•
Double your speed, cut it in half, divide it in thirds.
Ask yourself a few questions. Do you tend to get ahead of the click when playing loudly? Is it easier to stay with the click when you focus intently on it, or does it help to relax a bit? Are you leading with a particular hand? If so, can you swap the lead to another hand and still stay with the click? Determine what it is that derails you, and then work on clearing the tracks by slowing down and working at a speed at which you’re successful.
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Fine Tuning a Tune After you get a good handle on what sorts of habits you need to correct, or hopefully reinforce, you can shorten the time you spend focusing on the click separate from music. Pick out a tune you know well and try it at an abnormally slow pace with only the metronome as accompaniment. When you play a song in this manner you may find out that you really don’t know it as well as you thought, especially in the harder, difficult to hammer or finger sections. It is easy to fool ourselves into thinking we know a song because we can begin it and end it. Practicing slowly helps establish patterns that allow the muscles to respond with a minimum of conscious intervention. This is in essence the purpose of practice. As you progress in slow but steady perfection, you’ll be tempted to increase the speed. Don’t be in a hurry to go faster. Take time to listen to the clarity and richness of each note and how slight changes in your playing style can change the overall feel. Experiment by changing accent notes and intensity. You’ll be teaching yourself to play music, not just notes. Gradually increase the tempo on your metronome. Remember to never set the speed faster than you can play the whole piece cleanly and with perfect timing. The metronome can be your friend, and we all know that friendship takes time.
7645 E. Lamar Alexander Pkwy. - Townsend, TN 37882
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by Steve Schneider
Making Arrangements: Step One
T
hanks to DPN readers Kendon Stubbs and Ken Sheller, both of whom share my enthusiastic appreciation for the music of Stephen Foster, I’ve chosen the song, Ah! May the Red Rose Live Alway! as the melody that we’ll work on for the next few issues. My hope and plan is to methodically and systematically approach this melody with the goal of creating a fullblown hammered dulcimer arrangement. My goal is to use this experience as a means by which you will enhance your musicality along with your arranging skills. I won’t get too deep here, but I hope to explore this music in such a way that it will whet your appetite to make you want to both play this particular song, create your own arrangements for it, and create your own arrangements of other music. The focus in this issue is solely the melody. As I’ve written in past articles, I encourage students to always learn the melody first, even when learning an arrangement. This includes music of all kinds and genres, including classical. You can much more easily make a melody within an arrangement sing, make it stand out in the foreground of the listener’s hearing, when you’re able to truly isolate and play it on its own. In addition, being able to play the melody by itself gives you the flexibility to play it with other musicians who might be able to provide the accompaniment. It also gives you the possibility of playing it in different registers and of transposing it to other keys. But the main reason to learn the melody first is simply to be able to more effortlessly make it easily heard within the arrangement that you will ultimately play. Arranging is a process that we can break down into various steps. I hope that the steps I identify here will help you to create arrangements of your own.
For those of you who wonder, as I did, about the word “Alway,” this is not a mistake. According to an online etymology dictionary, http://www. etymonline.com/, the word was a common variant until sometime in the 19th century. Nowadays it seems romantic and quaint, if not archaic. Ditto Foster’s liberal sprinkling of exclamation marks!! s
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One: Find a definitive source for the music. I recorded this song years ago on Stephen Foster Songs, a 1994 Linda Russell CD on Albany records. Thanks to the Library of Congress’ web site*, I was able to view the original 1850 publication of Ah! May the Red Rose Live Alway! arranged for piano and voice, and I used that as my source for this melody for this article. I wasn’t really surprised to find that the source I used for my 1994 arrangement was significantly different from the original Stephen Foster compositions. Being in the realm of folk music, they’re subject to change and interpretation according to the whims, cares, and understanding of publishers and performers. It might be interesting in subsequent articles to examine some of the differences (some I probably made myself ) and why they work (or why they don’t). For those of you who are looking for a source to find suitable versions of songs, check out Wikipedia’s Choral Public Domain Library. For this song in particular, I was directed to http://www.drdrbill.com/music.html, where I found the music clearly written out in fake-book style, as well as scored for a few different combinations of instruments. Two: Write it out yourself. I learned this technique from Bach, actually. From a very early age and throughout his entire life, Bach copied out scores of pieces of music that he wanted to understand. It may seem like a waste of time in our busy 21st century lives, but it’s decidedly not. There’s something about writing it down that enhances one’s learning and understanding of the music. Writing causes you to see and to hear music more slowly, deliberately, and thoroughly. It’s not necessary, of course, but it can be very helpful. I’ve reproduced the melody on the facing page, along with my understanding of the chord progressions as I interpret them in the original 1850 publication. Although ultimately I’ll be playing it somewhat differently, this is the music upon which I’ll base my arrangements. If you look at the original, you’ll see that the publishers included an 8-measure introduction—the lyrics don’t begin
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until measure 9. I’ve omitted the introduction here since, in the course of these articles, I’ll want to create my own. The original includes a handful of fermatas in strategic places (a fermata is a musical symbol that looks like a small eye with an eyebrow over it) that indicates the stopping of time, a place to rest. These symbols are subject to interpretation, and I’ve left them in to honor the composer’s directions and to offer some insight into how he might have wanted his music played.
If you’re not accustomed to writing out music, remember that the more you do it the easier it gets. It might seem really tedious and cumbersome at first—but it becomes much easier in a short time. We (Bach and I) highly recommend it.
Ah! May the Red Rose Live Alway! Stephen C. Foster 1826 - 1864
Single-line melody Transcribed by Steve Schneider
# 6 Uœ & 8
Not too fast G
em
œœœ
j jœ œ œ
5
&
#
9
œœœ œ œ
G/D
D
G
j œ œ œ & œ œ #
13
em
G
17
# Uœ &
œ œ œ
em
a m/C
&
21
# Uœ
œ œœ œ œ
œ œ J
œ
G/B
G
œ J D 7/A
œ j œ œ #œ œ G/D
‰
˙. ˙. A7
j œ ˙.
œ œ œ œ œ J
œ
œ J
A
œ œ #œ œ œ J
j j œ œ œ
D7
U
D
A7
C
G
D7
G
œ œ œ #œ œ œ
‰
œ
jœ œ
œ
G/D
j œ œ
œ
& œ œ œ œ œ œ
D 7/A
œ j œ œ #œ œ
a m/C
œ œ J
D
G/B
œ
em
G
# Uœ
C
D7
U
D
G
D7
œ J
˙.
œ œ œ œ #œ œ
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œ
œ.
#œ J
G
˙. ews Dulcimer Players N 11
Three: Analyze the melody. We’re not concerned with the harmony yet. This is akin to preparing a room for painting—the more thorough the preparation, the easier and the better the work. In no particular order, here are some features to look at before playing a single note: •
Key: GM. We know to expect notes from the GM scale and this helps guide us as to where on the dulcimer the melody might lay.
•
Accidentals: C# and D#. This helps us to plan for notes that are not in the usual diatonic patterns. C# is pretty standard, but some players might have to think about where their D#’s are (or even if they own one—a high one, in this case).
•
Meter: 6/8. However, since Foster indicates that this is to be played “Not too fast,” it’s probably not a true jig (although it certainly could be played that way).
A glance at the lyrics leads us to believe that this is more like a slow air in 6/8. Here’s the chorus:
“Ah! may the red rose live alway, To smile upon earth and sky, Why should the beautiful ever weep? Why should the beautiful die?” This is no Smash the Windows. If you’re asking how this is different from a waltz, that’s a good question. I would guess that Foster wanted his phrases to be 6 beats long (not 3), if only to accommodate his very romantic lyrics. If he had written it as a waltz, in 3/4, the chorus would be sung and felt more like: “AH! may the RED rose LIVE alWAY....” As Foster wrote it, the line would be sung more like: “AH! may the red rose LIVE alway….” Notice, also, that the eighth notes are not barred, as they normally would be for a jig. This mirrors the original publication of the song, and I would again guess that Foster wanted musicians to feel all 6 beats of each measure as a connected line (ONE two three four five six). If this was a jig, the 6 beats would be felt more as two groups of 3, and there would be a strong accent on beat 1 and another secondary accent on beat 4 (ONE two three FOUR five six). How we play the melody, and ultimately our arrangement, will be reflected in our having this understanding. s
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Additionally, the accompaniment for a waltz is vastly different from the dotted rhythm of a jig which is different from this long and relatively smooth form of 6/8. I’ll demonstrate the differences in a future issue. •
Rhythms: Looking at the rhythms helps prepare us for any rhythmic difficulties, and alerts us to any unusual patterns.
Foster gives us one small rhythmic surprise in mm. 2 and 4 (and repeated in mm. 18 and 22). Beat one has a smaller time value than beat two in these measures, so we have to be especially careful about where we’re going to put the accent. Our natural tendency is to put it on beat two (a quarter note), since it has twice the time value as beat one (an eighth note). The more musical approach, however, might be to accent the first beat despite its smaller time value. The Law of Agogics says that the longer notes within a measure are naturally accented, since their added time makes them seem to have more weight. Therefore, they will feel and be heard as though they are already accented, and don’t necessarily need to be played any louder. Playing the longer notes louder can seem like overkill, and may detract from the beauty of the melodic line. Therefore, I would tend to de-accent them. •
Form: Knowing the form of the music helps us to learn it in sections, and to see when parts might be repeated.
The form here is ABA, with each part being 8 measures long. The end of each phrase ends with a dotted half-note (a place of relative rest); and a double bar shows us the end of each part. Since the A part repeats, we now know that we have only 16 measures to learn, since the final 8 measures is a repeat of the first 8 measures (except for the fermata in mm. 7 and 21). •
Other Symbols: The 6 fermatas in this piece will help to guide us as to how Stephen Foster wished us to play it; however, while learning the melody, for right now, we’re going to ignore these symbols.
•
Range and Intervals: Finding the highest and the lowest notes of a piece gives you an idea of where on the dulcimer that piece will be played.
In this music the highest note is F# (m. 15) (although the D# will probably be our furthest reach), and the low-
est note is C# (mm. 3, 7, 19, 23). This is a span of an 11th, which is a relatively small range. Additionally, our largest interval is a D to a C (mm. 3 and 19), a somewhat respectable leap of a 7th. Four: Learn the melody by itself. Now is the time to focus solely on the melody. Learn it as a single line with no embellishments, harmonies, counterpoint, chords, or any other additional features. Use both hands, and become intimately familiar with how the melody sounds, and the most intelligent way to play it. Your hammering patterns while playing the melody alone will be very different from those you’ll use when playing your full arrangement. Without non-melody notes, you’re free to figure out the best hammering patterns that will enable you to play the melody as fluently as possible. Even though your hammering patterns will differ, learning to play the solo melody will positively affect how you play it within your arrangement later. This may seem to be a superfluous exercise, and you may want to skip this step and go right to arranging—but I know that it will aid you in being able to both create and to play your arrangement more musically. You will also enjoy much greater flexibility with it. Once you’re comfortable with the melody, try learning to play it in DM and CM (and other keys) if you’re willing and able. Experiment with playing it one octave lower. Get someone to play the chords while you play the melody. This is just the beginning of a process that will hopefully yield a beautiful arrangement. In the next article we’ll start to explore adding accompaniment, harmonies, etc., toward creating our own unique arrangement. You can hear me playing the melody simply, by itself, on the companion CD. I’d love to hear from you with any thoughts you might have about this process—please contact me (performance@steveschneider.com) with any comments, suggestions or questions. Keep the goals of mastery and fluency in mind as you learn the melody. The end result will be an increase in your ability to play the melody confidently, flexibly, and expressively. An added benefit of fluency is the enhanced ability to play through mistakes (unintended notes) with enough grace that the audience has little to no awareness of your temporary departure from the intended melody. To really know a melody is to be able to play it simply, clearly, and expressively, no matter what happens. The goal is progress, not perfection. Perfection is unrealistic,
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unnatural, and unattainable (uninteresting, too), and can only lead to frustration, disappointment, and failure. Instead, focus on progress—as long as it’s getting better, you know you’re going in the right direction. So, slow and steady is the key. Really learning the melody is the first step toward mastery of any piece of music. Once you own the melody, you’re ready to take on the rest of the music. One note at a time. One phrase at a time. One piece at a time. If you’re interested in seeing what hammering patterns I use to play the melody Ah! May the Red Rose Live Alway! and why, please visit my website at 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. This article
is the 2nd in a series devoted to learning and arranging melodies for hammered dulcimer.
*http://lcweb2.loc.gov/diglib/ihas/loc.natlib. ihas.200035562/default.html
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After my last article, a number of readers expressed interest in how my mother-in-law is doing. She’s okay as of this writing. She’s at home and more comfortable than not, but she’s awaiting further tests to determine whether or not she requires surgery. Thanks for your interest... we’re always hoping for the best.
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by Grahame Hood
People You Should Know [This is the first in a series about people who have shaped the dulcimer world, but with whom many new players, and readers, may be unfamiliar. Many thanks to Grahame Hood, with a little help from John Shaw, for this update on Roger Nicholson. Grahame bought a mountain dulcimer and learned to play In Good King Arthur’s Day in the late 70’s after purchasing a second-hand copy of Nonsuch for Dulcimer. He recalls meeting other new players in the South London circuit whose dulcimer beginnings matched his exactly!]
Roger Nicholson, born in London in 1943, started playing guitar in the early sixties for the usual reasons; “It was a cool thing to do, and attracted girls.” He took some lessons from a dance band guitarist, for which he remains grateful to this day, and developed an interest in fingerstyle blues and folk playing. He went on to lead a guitar class at Cecil Sharp House (the headquarters of the English Folk Dance and Song Society), a position he held for twelve years. Roger was perfectly happy with his guitar, until he attended a folk festival run by the EFDSS at Loughborough University in 1968. “I was playing American music: Merle Travis, blues, and ragtime. I met a visiting American with a dulcimer; he was visiting, not performing, and I thought, “What a nice looking and sounding instrument.” Upon returning to London, Roger saw an advertisement in Collett’s record shop for the dulcimer maker Frank Bond. He spent half a day with Bond before ordering a dulcimer of his own. At one point he thought about buying a dulcimer made by Vox, allegedly for Brian Jones of The Rolling Stones, but it wasn’t actually a very
good instrument. He stuck with the Frank Bond dulcimer, eventually owning three of them at various times. Unlike most dulcimer players at the time, Roger fingerpicked the instrument from the start. This was partly inspired by the American player Howie Mitchell, who Roger still regards as his greatest influence, and also by the fact that being used to playing guitar that way, it just felt right. (See sheet music for Howie’s Tune on page 25.) “Howie worked on new construction methods, playing techniques (particularly fingerstyle), and he is credited with inventing the six-and-a-half fret, which is sometimes called the Howie fret,” said Roger. “He showed me the potential of the dulcimer—what could be done outside the traditional way of playing. The dulcimer got me interested in modal music, so it led to my discovery of British modal music, which led to early music (particularly Renaissance lute music), and Eastern music. I listened to records and tried to copy the sort of music which sounded right on the dulcimer.” Within a few short years, Roger decided to make it his main instrument. He would sometimes take his dulcimer
“Howie showed me the potential of the dulcimer what could be done outside the traditional way of playing.” s
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along to his guitar group at Cecil Sharp House, and there he was heard by Bill Leader. Leader, who had set up a small recording studio in the basement there, told Roger he was starting his own small record label and invited him to record a dulcimer album. The resulting album was Nonsuch For Dulcimer, an extremely competent piece of work, especially on the tracks where Roger was joined by Bob Johnson of the now legendary electric folk band Steeleye Span. Many of the instrumental tracks were Roger’s own compositions, including the gentle, Spring Season (Requiem for Richard Farina). Roger’s career was given a boost by one of Britain’s most influential underground radio DJ’s, John Peel. Peel liked the album so much he played it every night for a week. “John kick-started my career, really. I’m sorry I never got to thank him.” Despite numerous performance tours, both in the UK and overseas, Roger never did become a full-time musician. He enjoyed his full-time job as a Public Relations officer in the Foreign Office, fitting gigs in where he could on weekends and holidays. In 1974 the British folk record label Argo was issuing a series of albums featuring unusual instruments, and Roger was asked to do a dulcimer record. Though mainly a solo album, The Gentle Sound Of The Dulcimer also featured: Jake Walton, Gerry Roff on dulcimer and banjo, and Trevor Crozier. The instrumental album was a mixture of traditional and early music, some of which were Roger’s own compositions. Roger teamed up with Jake, this time on hurdy-gurdy, again on his 1976 recording Times & Traditions For Dulcimer, and was also joined by Andrew Cronshaw on hammered dulcimer, chord harp, and flute. As well as playing, Roger began corresponding with other players and had many articles and arrangements published in various magazines in the UK and the USA. His erudite and succinct appendix on modal music in Neal Hellman’s 1977 Dulcimer Songbook is particularly recommended. [This is reprinted in its entirety beginning on page 20.] He also published two books of arrangements taken from his first two albums. The pieces he wrote for Dulcimer Players News led to Lorraine Lee arranging a two week tour of New England for him and Jake in 1978, the first of five tours of America they undertook. The same year, Roger recorded another album for Bill Leader, The Dulcimer Players. This was an anthology of players including: Please do not reprint or redistribute without the permission. Contact dpn@dpnew.com
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the American Holly Tannen (who was working in Europe at the time), Pete and Chris Coe, and Liz Sobell (who was married to the instrument maker Stefan Sobell). Though best known these days for his guitars and bouzoukis, Stefan’s distinctively shaped sixstring dulcimers were the industry standard for professional players on the UK folk scene in the late seventies. “Liz is a great player of jigs and reels, and took a lot of persuading, but I think she is one of the best things on the record.” There were two more records recorded in the US: Bygone Days in 1980, and An Exultation Of Dulcimers with Lorraine Lee the following year. The latter being the only one of his albums currently available on CD. “Jean Ritchie invited me to a festival in Kentucky, and then she played over here and toured. She asked Lorraine and me to record for her label. It was great to work under Jean’s auspices (she appears on a couple of the tracks), and with such great musicians.” There was one more album by
Roger was impressed by the growth in interest in the dulcimer in the US, saying in an interview at the time, “It’s just got bigger and bigger; there are societies, clubs, up to a hundred festivals of various sizes. I think the simplicity of it is an attraction. There were many people at Swannanoa who were in their sixties and seventies who were playing an instrument for the first time, and it was a dulcimer. There is a large bedrock of the dulcimer audience who are like that, and good for them. There are many people who make a living from the dulcimer over there: Neal Hellman, Lois Hornbostel, Lorraine Lee. If I was living there, I could probably make a living, too, which would include teaching, but a lot of travel, and that doesn’t appeal to me.” Roger retired from his regular job in 2002, and while on holiday in Syria in Easter 2005, he was hospitalized by a heart attack. He has since made an almost complete recovery and still plays both dulcimer and guitar at home. He rarely plays in public
Discography Nonsuch for Dulcimer (Trailer LER 3034, issued in 1972) The Gentle Sound Of The Dulcimer (ArgoZDA204) 1974 Times & Traditions For Dulcimer (Trailer LER2094) 1976 The Dulcimer Players (Transatlantic LTRA502) 1978 Bygone Days (Front Hall FHR015) 1980 An Exultation Of Dulcimers (Greenhays GR707) 1981 The Free Spirit-Music For Dulcimer (Folk Freak FF4008) 1982
Roger remains the most influential British dulcimer player . . . Roger, The Free Spirit-Music For Dulcimer, which was recorded with Jake, Lorraine, and Marc Robine. It was issued in Germany on the Folk Freak label in 1982. Roger decided to stop touring in the US in the mid-eighties, “It was just too tiring. I’d come back and have to go to work the next day, so I decided not to do it anymore.” Roger still accepted a few invitations to teach at festivals in the 90’s, including the Nonsuch Dulcimer Society in London, and Swannanoa in North Carolina. s
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now, though he still teaches dulcimer, an activity he enjoys enormously. He deeply regrets he can no longer ride his beloved racing bike. Roger currently owns two dulcimers, one by Frank Bond, which he uses for AAD and GAD tunings. The other is a unique, ornate model by Australian builder Bill Docherty, who made a similar instrument for Jean Ritchie. “I’m grateful every time I open the case, it’s a lovely instrument.” Roger uses his Docherty dulcimer for CGC and BbGC tunings.
“The tunings are what suit the respective dulcimers. I’ve experimented over the years with various string gauges and tunings. It can make a lot of difference.” These days, neither of Roger’s dulcimers have a six-and-ahalf fret, and that is just how he feels it should be. “I’d been playing for four years before I even heard of one, and just used tunings to get the modes, so I never needed it. (He does sometimes bend a string up a semitone to get a note that would be otherwise unavailable). Likewise I don’t use a
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capo, as I don’t sing and don’t need to play in odd keys. A lot of American players don’t use modal tuning—they put the capo on the first fret and get the minor modes that way. Another thing I feel strongly about is using the left thumb, which I think is limiting to your technique. You get the stretch, but the hand position is turned, and if you are going to play with any dexterity you need your fingers all in the same plane. It slows you down.” “In America I saw people using capos, the six-and-a-half fret is standard, and I saw one-and-a-half and even eight-and-a-half frets in use. The dulcimer has its limitations and you have to work ‘round them. People are trying to play blues and ragtime on dulcimer. I do that on guitar. I don’t think that kind of music suits the dulcimer. One instrument doesn’t suit every sort of music. The special quality of the dulcimer is its modal aspect, it’s the only Western instrument with modal fretting and it would be nice to keep it that way.” Roger remains the most influential British dulcimer player, and his albums are not too difficult to find on ebay or in specialist record shops. None of his early albums are available on CD at the moment, though public fascination in Britain with early 1970’s folk music is the strongest it has been for decades. There may be a new crop of youngsters learning In Good King Arthur’s Day yet!
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Grahame Hood (with thanks to John Shaw)
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[The following excerpted article is used by permission. It was written by Roger Nicholson for Neal Hellman’s 1977 Dulcimer Songbook and appeared under the heading appendices.] To the uninitiated listener the music of the East has an unusual and discordant quality; this is because it is based on an intricate modal system of various sharp, flat and natural notes interwoven with micro-tones which, while allowing an infinite variety of subtleties within the linear melodic form, contain much that is unfamiliar to ears accustomed to hearing music in a standard major or minor key, structured with layers of harmony and counterpoint. Also, Eastern music is mainly improvised, while the Western performer is only free to interpret matters of phrasing, tempo or dynamics and must play exactly what is written down. This, however, has not always been the case. Up until the sixteenth century all European music was governed by a strict system of seven modes that, apart from plain chant, only survives today in the heritage of traditional music which also involves the use of variation and ornamentation. Modes can be traced back to man’s earliest civilizations in Assyria and Babylon where they were closely identified with astrology and astronomy. These people were very aware of the universal harmony of the universe, and concluded that as man could make music conforming to the same principles, he could become one with it. This philosophy is an integral part of Eastern music today, particularly in India where sounds are regarded as being of two types, those termed s
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by Roger Nicholson unstruck caused by the music of the spheres which can only be heard by the most advanced mystics, and struck sounds produced from musical instruments. The Ancient Greeks (and, by tradition, Pythagoras) in the sixth century B.C. were the first to fix the modes scientifically, and did so by using the monochord—a single-stringed instrument with a fingerboard running along the top of a wooden soundbox on which the intervals were marked out - and named them after different races in Asia Minor. They are still so called and known as the Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian modes. In addition, each was allotted its own character derived from aesthetic and astrological principles, so that the Ionian, Aeolian and Locrian were considered to have unsuitable aspects, while others such as the Lydian were recommended for their therapeutic properties. In the early years of the Christian religion there was a strong Greek influence, and during the fourth century A.D. St. Ambrose, the Bishop of Milan, authorized the four original Greek modes (Dorian, Phrygian, Lydian and Mixolydian) for use in the church. To these authentic modes, as they are known, Pope Gregory the Great (540-604) added four others known as Plagal modes which were really only other ways of utilizing the existing ones, but each began a
fourth lower and were called the Hypo-Dorian, Hypo-Phrygian, etc., so establishing the form of plain chant which is still used today in the Roman Catholic church. These Plagal modes can also be played on the dulcimer; for example, tune to the Dorian but, instead of starting the scale at the fourth fret, begin on the first fret and continue up to the eighth. For eleven hundred years modes dominated all forms of secular and religious music until gradually abandoned during the sixteenth century in favour of the major and minor scales, which were more suitable to the developing forms of harmony and counterpoint. In later years modes were occasionally used by some of the great composers, such as J.S. Bach in his Dorian Toccata and Fugue, by Mozart, whose Mass K.258(Missa Brevis in C major) is mainly Mixolydian, and Beethoven, who wrote one of the movements in his String Quartet in A minor in the Phrygian mode. During the late nineteenth century some English composers began to write modal works inspired by their discovery of traditional and early music, in particular Ralph Vaughan Williams, whose majestic Fantasia on a Theme of Thomas Tallis in the Phrygian mode is most well-known, and in France where Claude Debussy was directly influenced by the old European and Oriental modes in his piano works.
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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.
To order send $15 + $2 s/h to: Jeff Furman · 120 Conner Dr. Chapel Hill, NC 27514 email: dlcmr@yahoo.com · www.jefffurman.com
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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A mode is not a key but an arrangement of the seven tones and semi-tones of a diatonic scale, and can be played at any pitch, so there are seven modes for each of the twelve keys. Below, for the sake of convenience in comparing them, they are all related to the key of C.
The Ionian Mode of C, D, E, F, G, A, B, C is the same as our modern Major scale; the Greek and Medieval theorists considered it to have extrovert and playful aspects, and so excluded it from use in the church—virtually the sole province of music at that time. Today music in this mode can still be considered to be bright or happy, as opposed to that in the minor, which tends to reflect sadness, and interesting comparisons can be drawn with the early morning Indian raga Bilawai which has identical intervals and is associated with light and happiness. The Ionian Mode accounts for a large proportion of traditional songs of which Three Jolly Rogues of Lynn, Barbara Allen, and The Greenland Whale Fishery, are random examples.
The Phrygian Mode is C, Db, Eb, F, G, Ab, Bb, C and was identified with Mars, as it “Causeth wars and enflameth fury.” As such, music in this mode was played during the training of Spartan soldiers and on their way to battle. Its use in folksong is very rare; out of over 3,500 songs collected by Cecil Sharp in the British Isles and Appalachian Mountains he only discovered four, including the children’s rhyme Matthew, Mark, Luke and John, Bless the bed that I lie on, also known as The White Paternoster. The Phrygian mode is, however, very characteristic of Spanish flamenco music with its Moorish origin.
The Dorian Mode begins on the same tonic note (C in our case) but its sequence is C, D, E , F, G, A, Bb, C. It was considered to be the “Bestower of Wisdom and Chastity” and governed by the planet Saturn, which is echoed by its Arabic counterpart of Maquam Hijax Kar Kurd. This mode is widespread in English folk songs such as Souling Wassail, Newlyn Town, John Barleycorn, and even What Shall We Do with the Drunken Sailor?, and its particular qualities are frequently mentioned in literature of the past, including John Milton’s Paradise Lost which relates, “ ... Anon they move/In perfect phalanx to the Dorian mood of flutes and soft recorders.” s
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The Lydian Mode of C, D, E, F#, G, A, B, C was ruled by Jupiter and “Doth sharpen the wit of the dull and maketh them that are burdened with earthly cravings to desire heavenly things.” For this reason, perhaps, it is widely used in plain chant, but out of the whole of traditional music is only known from one or two songs, including the ballad tune The Woods So Wild which dates back to the sixteenth century (when it was arranged for the virginals· by William Byrd and the lute by Francis Cutting). John Milton refers to this mode in his poem L’Allegro: “And ever against eating cares, lap me in soft Lydian airs.”
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The Mixolydian Mode was the ancient major scale, only differing from the Ionian mode by its flatted seventh (C, D, E, F, G, A, Bb, C) and was associated with the sun. The unexpected flat note makes it very distinctive, particularly in songs such as Blackwater Side and the Scottish lament Flowers of the Forest, where its appearance is delayed until near the end of each verse, the first of which occurs on the phrase “Now they are weeping, lamenting and sighing,” creating a feeling of great poignancy. This mode is also the vehicle for many pipe and fiddle tunes, including Bonaparte’s Retreat, The Little Beggarman and Old Joe Clark.
The Locrian Mode of C, Db, Eb, F, Gb, Ab, Bb, C was known as a bastard scale due to the uneveness of its intervals and, being only of theoretical interest, was never used. There are no traditional songs within its compass, but two years ago a young folk musician called John Kirkpatrick made good use of its uneasy sound in his song Ashes to Ashes, which tells the story of a grave digger and has all the hallmarks of being absorbed into the traditional repertoire in the future.
The Aeolian Mode is the normal minor scale of C, D, Eb, F, G, Ab, Bb, C. Its widespread use in many quiet and sad songs perhaps reflects its character of “Appeasing the tempests of the mind and lulling them asleep.” Like the Dorian minor mode it occurs in many traditional songs such as Searching for Lambs, Scarborough Fair or the beautiful, Bushes and Briars. Some songs and tunes are pentatonic (five note) or hexatonic (six note) so fall within the scope of two modes. The pentatonic scale is most often found in Celtic traditional music, as in the familar Auld Lang Syne or Ye Banks and Braes and in The Seeds of Love, the first song collected by Cecil Sharp (who heard it sung in1903 by a gardener aptly named John England). These modes were a source of great surprise to the early folk song collectors, some of whom thought the tunes were incorrect, so notated them to conform to the standard major or minor scales and added quite unsuitable harmonies for accompaniment on the piano (which is never used in traditional music) to facilitate their performance in recitals, as a result totally destroying their unique character. Fortunately, however, later collectors such as The Reverend Baring Gould, Cecil Sharp, Percy Grainger, Ralph Vaughan Williams, and others realized the special qualities of these songs, which had existed almost unknown for generations, and took great pains to ensure that their modality was preserved in transcription. As with other forms of modal music, folksong is entirely melodic and was normally performed unaccompanied. If an instrument were used it was normally restricted to doubling the melody and providing a drone; the drone being the tonic note of the mode and serving to emphasize its intervals as well as establishing the keynote for the performer and listener. This is especially evident in Eastern music where its continuous sound is related to the basic pulse of life itself—the heartbeat. The popular use of the guitar in recent years to accompany folk songs is really quite inappropriate, as its chordal and chromatic basis is out of keeping with modal principles. Because of the drone element direct comparisons can be made between the many forms of bagpipes, the dulcimer and its related instruments, the jaw harp, sitar, hurdy-gurdy, etc., all of which have origins in antiquity and are still used throughout the world to play modal music. - Roger Nicholson
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DPN Guide to Included Sheet Music Page #
11. Ah, May the Red Rose Live Alway - Presented by Steve Schneider. This is a singleline melody version of the classic Stephen Foster song. Steve will be building upon this arrangement in coming issues.
Lee Cagle’s
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25. Howie’s Tune - A tune written for Howie Mitchell by Roger Nicholson. This is from Roger’s out of print album Nonsuch for Dulcimer. 26. Paspie Menuet - This is a bonus performance track from Karen Ashbrook’s new Learn to Play Hammered Dulcimer DVD. 27. Just a Closer Walk with Thee - This arrangement is from John Sackenheim’s book The Mountain Dulcimer Plays Patsy Cline. 45. Logan Water - An arrangement by Mark Wade. This piece is from Mark’s T.N.T. book and is used to illustrate the pizzacato technique on hammered dulcimer. 46. Black Hawk Waltz - This traditional tune is featured on Gary and Tony Sager’s CD Rats in the Fence Corner. 47. Breton Lullabye - This arrangement of a traditional Breton tune is by Neal Hellman. It is from his newest CD Emma’s Waltz, which is reviewed on page 55. (Sorry, but we had no choice other than to print it sideways. We had a lot of music for this issue.)
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Your
You know, the one with the ruler? If there are people who feel like you need to know a lot of theory to be a musician, they’re not gonna like this article. You can spend your entire life studying music theory without learning everything. Heck, you can spend it studying the theory behind one Note: There are a lot person’s music. In fact, Bach, of musical terms in Beethoven, and the Beatles all have this article. It is not necessary to learn or scholars on their work. There are memorize them, but to people who study jazz theory, modal keep these terms clear, theory, 12-tone compositional they are written in ALL theory, as well as, scores and CAPS. recordings; and you can study until you know all you can possibly know.
That’s right. The first song many of us ever learned has all the theory you need to get started. Over the course of the next few pages we’re going to learn theory. Or rather, I’m going to show you what you already know. First, A few basic questions. How many notes are there from C to C on a piano? I’m asking for all the notes, the black and white keys. Did you say twelve? eleven? Both are right, the answer depends on whether or not you want to count the last C. For our purposes today, we do. So, twelve it is. [Fig. 1] Now, how many notes in a SCALE? Did you say eight? I thought so, most everybody knows do-remi-fa-so-la-ti-do (note the octave “do”). [Fig. 2]
Or you can play music. In truth there is very little about music you “need” to know. Even if you choose to study theory, there is very little you need to know to be able to learn new music, join in jam sessions, or improvise. And all the theory you need to get by is found in one song. Boil Dem Cabbage
Fig. 2 SCALES are the NOTES in a particular KEY which are drawn from the twelve notes between C and C, in other words: eight notes out of a possible twelve. Which eight notes (in other words, which combination of black and white keys) are used determines what the KEY of the
Fig. 1
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ews Dulcimer Players N 29
song song is. is. If If you you look look at at the the beginning beginning of of aa piece piece of of sheet sheet music, music, you you will will see see aa series series of of pound pound signs signs and and lower lower case case “b” “b” things things at at the the beginning beginning of of the the music, music, hanging hanging out out next next to to that that thing thing that that looks looks like like an an overly overly fancy fancy cursive cursive “G”. “G”. [Fig. [Fig. 3] 3] Th This is is is called called the the KEY KEY SIGNATURE SIGNATURE of of the the song. song. If If you you look look at at aa piece piece of of music music written written in in the the key key of of C, C, you’ll you’ll see see that that the the key key of of C C contains contains no no sharps sharps or or flflats, ats, in in other other words, words, no no black black keys. keys. If If we we move move right right on on the the CIRCLE CIRCLE OF OF FIFTHS FIFTHS (more (more on on what what that that is is later) later) the the next next key key is is G, G, which which has has one one sharp sharp (one (one black black key key at at F#). F#). D D has has two two sharps sharps (F# (F# and and C#—two C#—two black black keys) keys) joining joining the the fray. fray. Th Thee KEY KEY of of A A has has three three black black keys, keys, and and so so on. on. Now Now ifif even even this this little little bit bit of of theory theory is is confusing, confusing, don’t don’t fear. fear. Dulcimers, Dulcimers, both both hammered hammered and and strummed, strummed, remove remove most most of of the the notes notes you you don’t don’t need, need, so so most most of of the the time time you you don’t don’t need need to to think think about about this this stuff stuff.. (Th (Thee hammered hammered dulcimer dulcimer is is actually actually arranged arranged around around the the circle circle of of fififths.) fths.) It’s It’s later, later, when when you you want want to to try try and and play play in in EE or or C C or or something something like like that, that, that that the the knowledge knowledge of of which which eight eight notes notes to to use use becomes becomes very very important. important. Okay, Okay, so so now now that that we’ve we’ve determined determined that that we’re we’re only only dealing dealing with with eight eight notes notes (the (the eight eight notes notes of of the the KEY), KEY), let’s let’s talk talk about about CHORDS. CHORDS. What What is is aa CHORD? CHORD? Simply Simply
Fig 3.
put, put, aa CHORD CHORD is is three three notes notes (called (called aa TRIAD) TRIAD) playing playing at at the the same same time. time. Interestingly, Interestingly, ifif you you play play more more than than one one note note at at aa time time (two (two notes notes are are called called an an INTERVAL) INTERVAL) your your mind mind will will begin begin to to try try and and put put itit into into context. context. Try Try this. this.
Fig. Fig. 44
MD MD First First strum strum your your open open and and tuned tuned instrument instrument in in DAD. DAD. Just Just run run aa fifinger nger across across the the open open strings. strings. Now Now fret fret the the middle middle string string at at G G (6th (6th fret) fret) and and the the melody melody string(s) string(s) at at C# C# (6 (6 1/2 1/2 fret) fret) –be –be sure sure to to strum strum just just the the two two strings strings and and not not the the bass bass string. string. Does Does that that sound sound dissonant dissonant and and weird? weird? Yes, Yes, of of course course itit does, does, but but now now add add an an A A on on the the bass bass string string (4th (4th Fret) Fret) so so you’re you’re playing playing aa chord. chord. Now Now strum strum all all three. three. [Fig. [Fig. 4] 4]
HD HD Simultaneously Simultaneously play play the the fifirst rst G G on on the the right right hand hand side side of of your your treble treble bridge, bridge, along along with with the the note note immediately immediately to to the the left left but but down down one one note note on on the the left left hand hand side side of of the the bridge. bridge. Th This is is is aa C#. C#. Now Now add add the the EE which which is is 22 notes notes above above the the C#. C#. Sound Sound better? better? II thought thought so. so. When When you you were were playing playing just just the the G G and and C# C# you you were were playing playing what what is is called called aa TRITONE, TRITONE, also also known known as as the the “devil’s “devil’s triad”, triad”, an an INTERVAL INTERVAL so so arresting arresting and and discordant discordant that that itit was was at at one one time time banned banned from from some some liturgical liturgical music. music. But But add add the the A A note note and and you’ve you’ve made made itit an an A7 A7 chord. chord. When When A A is is added, added, we we automatically automatically associate associate the the C# C# as as the the third third of of the the chord chord and and G G as as the the Dominant Dominant 7. 7. [More [More on on Dominant Dominant chords chords in in the the sidebar] sidebar] So So how how do do we we determine determine which which three three notes notes are are in in any any particular particular CHORD? CHORD? On On the the piano, piano, in in the the key key of of C C (which (which is is all all white white keys), keys), these these notes notes would would be be every every other other white white key. key. Although Although you you can can buy buy chord chord books books with with hundreds hundreds of of chords chords in in them, them, chords chords break break down down into into three three basic basic types: types: MAJOR, MAJOR, MINOR, MINOR, and and DOMINANT. DOMINANT. Each Each NOTE NOTE in in aa scale scale has has aa CHORD CHORD that that goes goes with with it. it. Th Thee way way you you build build aa CHORD CHORD from from aa scale scale is is by by counting counting every every other other note note on on the the scale scale or or 1-3-5. 1-3-5. Th Thus us from from the the following following scale: scale: D-E-F#-G-A-B-C#-D D-E-F#-G-A-B-C#-D —D —D Major Major would would be be D-F#-A D-F#-A —E —E Minor Minor would would be be E-G-B E-G-B —F# —F# Minor Minor would would be be F#-A-C# F#-A-C# …and …and so so on. on.
s
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The Magnificent Seven
Th Thee Seventh Seventh degree degree and and Dominant Dominant chords chords If If we we are are building building chords chords using using every every other other key key on on the the piano, piano, major major and and minor minor chords chords appear appear beautifully beautifully under under our our fifingers ngers (this (this is is also also true true ifif we we go go up up the the neck neck of of our our dulcimers dulcimers while while playing playing so-called so-called “L� “L� chords). chords). Th That at is, is, until until we we get get to to the the seventh seventh note note of of the the scale. scale. Th Thee chord chord that that gets gets built built here here is is B-D-F B-D-F or or Bmb5. Bmb5. Th There’s ere’s aa long long mathematical mathematical and and theoretical theoretical explanation explanation for for why why this this is, is, but but all all you you need need to to know know is is that that itit generally generally sounds sounds wrong. wrong. Th There ere are are two two ways ways to to fifixx this. this. One One is is to to substitute substitute the the V V chord chord at at second second inversion. inversion. A A second second inversion inversion is is when when we we swap swap the the fifirst rst note note in in the the chord chord (the (the “one� “one� of of 1-3-5) 1-3-5) and and put put itit last last (making (making aa 3-5-1). 3-5-1). It’s It’s the the same same three three notes, notes, but but in in aa diff different erent order. order. Th This is creates creates aa bit bit of of harmonic harmonic tension tension that that resolves resolves nicely nicely when when we we land land on on either either the the Tonic Tonic (or (or Root) Root) chord chord or or its its relative relative minor. minor. [Fig [Fig 1] 1] Both Both of of these these can can be be found found frequently frequently in in popular popular music, music,
Fig. 11 Fig.
especially especially the the Beatles. Beatles.
Th Thee other other way way is is to to substitute substitute aa DOMINANT DOMINANT SEVENTH SEVENTH chord. chord. Th Thee DOMINANT DOMINANT SEVENTH SEVENTH is is aa chord chord that that is is made made up up of of four four notes—a notes—a major major triad triad with with an an additional additional fourth fourth note note that that is is aa step step and and aa half half above above the the fififth. fth. Th This is generally generally relates relates to to the the seventh seventh note note of of the the scale. scale. (In (In the the C C major major scale scale this this only only occurs occurs naturally naturally at at the the V V chord chord G-B-D-F.) G-B-D-F.) Otherwise, Otherwise, “the “the seventh� seventh� is is aa note note outside outside of of the the scale. scale. When When we’re we’re dealing dealing with with the the seventh seventh note note in in the the scale, scale, it’s it’s common common to to substitute substitute aa dominant dominant seventh seventh chord, chord, B-F#-D-A, B-F#-D-A, for for the the DIMINISHED DIMINISHED chord chord that that occurs occurs naturally naturally in in the the
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seventh seventh scale scale degree. degree. On On the the dulcimer, dulcimer, you’d you’d play play aa C#7, C#7, which which is is C#-G#-B. C#-G#-B. [Fig. [Fig. 2] 2] Technically, Technically, the the chord chord is is C#-F-G#-B, C#-F-G#-B, but but most most of of us us do do not not have have FF natural natural where where it’s it’s easy easy to to fret, fret, nor nor do do most most of of
Fig. 22 Fig.
us us have have more more than than three three strings strings to to work work with. with.
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ews Dulcimer Players N 31
Depending on which note we start on, the chord will be MAJOR or MINOR (with two exceptions, see side bar). So how do we tell which ones are MAJOR and which ones are MINOR? Simply put, MAJOR chords sound “happy” and MINOR chords sound “sad”.
If you strum the open strings on you instrument in either DAdd or DAaa tuning, or play any combination of the 1st, 3rd, 5th, or 8th note in a D scale on hammered dulcimer, you’re playing a D chord. This means that there are only two other MAJOR chords possible, G and A. Most of In any MAJOR scale there are the fiddle tunes commonly “Boil dem Cabbage down boys, only three “happy” chords: played at dulcimer festival Turn dem ho’ cakes ‘round the root, the subdominant, jams are played in MAJOR The Only Song that I can Play and the dominant—usually keys, and many have only delineates the three major triads called the “I, IV and V” MAJOR chords. So if chords (not to be confused you’re in a jam and they within its respective key signature.” with the 1-3-5 pairing from switch to another chord, the scale. I know that that you’ve got a 50-50 chance can be confusing, that’s why of getting it right if you guess they used Roman numerals). These chords, respectively, (hint: it’s probably G the first time and A the second). are the organ riff in the introduction of the song Louie, Louie. It goes: I-I-I, IV-IV, V-V-V, IV-IV. They are also the “Oh, great Butch,” you say, “easy as pie, except I don’t know first, fourth, and fifth notes in the scale. In the key of D any chords!!! I only know one song hotshot, and it’s Boil Dem this would be D, G, and A. All other chords in this SCALE Cabbage. You expect me to sit at the KMW jam sessions, are MINOR. The one exception is the seventh chord in look at Jim Miller’s fingers, and know what to do?” Ah, but the scale (C#), which is DIMINISHED (see sidebar). So this is the secret; Boil Dem Cabbage is all chords! [Figure 5] if the KEY is D, then the SCALE of D is D-E-F#-G-A-BC#-D. The I, IV, and V chords are MAJOR, and they are D, G, and A (go back and count the scale, I’ll wait). So the remaining chords E, F#, and B (but not C#) are MINOR.
Now Sing!
This bears repeating: The MAJOR chords in any MAJOR scale are always I, IV, and V—everything else is MINOR or DOMINANT. Always. Always. Always. I should mention here that we are talking only about the MAJOR scale (or the Ionian Mode). There are MINOR scales, too, but they’re not important here. If you want to know more about modes, check out Roger Nicholson’s extensive examination of modes beginning on page 22. Now why spend so much time belaboring whether chords are MAJOR or MINOR? Well, what about the music you listen to? Is it happy, or sad? Generally it’s happy. In fact, the overwhelming majority of popular music, including fiddle tunes, pop tunes, waltzes, hymns, and even some classical songs, largely consist of MAJOR—or happy—chords. And in any key, there are only three. So even if you don’t know the song, if you know the key it’s in, by process of elimination, you can likely figure out the chord structure. s
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Fig. 5 This is also:
0-0-2 is D-A-F# or a D Major Triad 0-0-3 is D-A-G implying a G Major Triad 0-0-1 is D-A-E implying an A Major Triad We’ll talk about how to turn those implied chords into proper Triads a little later, but as you can see, by just moving one finger around the fret board, you are implying the chords of the song.
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The Circle of Fifths The circle of fifths (also
called the cycle of fifths) is a theoretical diagram that represents
mathematically
the relationships between the
notes
and
keys
of
Western harmonic theory. Basically, the way it works is this: moving clockwise, if you started in the key of C (remember that’s all the white keys on the piano) and counted up (that’s to the right) to the fifth note in the SCALE (C-D-E-F-G) you would be at the note G. G—not coincidentally—is the next KEY in the circle of fifths, it’s the one with only one sharp (F#). So starting on G now and counting up five notes in that SCALE (that would be G-A-BC-D) we land on the note D—which is synonymous with the next KEY, D with two sharps (F# and C#). By the way, the sharps and flats in the keys all build on one another: G has one sharp (F#), D has two (F# and C#), A has three (F#, C#, and G#), E has four (F#, C#, G#, and D#), and so on. You see that F# is in all of them, and that C# is in every one above G, etc, etc. You will never see a key signature that has, say, a C# without having the F#. This is also true of flats as you go in the other direction. Interestingly, going in the other direction, this becomes known as the circle of fourths. It’s the same game, only now you move five notes down the scale. So going from C again and counting down (to the left) five notes (that would be C-B-A-G-F) takes you to F (with only one flat). Starting in that key and counting down another five notes (F-E-D-C-Bb) takes you to the key of Bb, again the next scale on the circle. So why should you care? What’s cool about the circle of fifths is that in any key on the circle, the key to the right of it is synonymous with the V chord of the key you’re in, and the one to the left is synonymous with the IV chord of the key you’re in. So, if we’re in D, the IV chord is G and the V chord is A. If we’re in the key of C, the IV is F and the V chord is G, and so on. By looking at the circle of fifths, you can tell at a glance what the IV and V chords are gonna be in any key—a quick and important way to get
ahead of the curve when dealing with tunes you don’t know.
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ews Dulcimer Players N 33
Oh, but wait, it gets better! Not only is Boil Dem Cabbage a walk through the three Major chords, it is often a walk through the CHORD PROGRESSION of a number of other songs. What is a chord progression, you ask? Well, simply put: it is the order in which the CHORDS of the song occur. And the good news is that, while there are a multitude of different MELODIES in different songs, they often have similar or even identical—CHORD PROGRESSIONS. Check this out; get a friend who knows Soldier’s Joy, and ask him or her to play the B section while you play Boil Dem Cabbage (as tabbed above). They sound pretty good together, don’t they? That’s because the CHORD PROGRESSION of Soldier’s Joy is the same as Boil Dem Cabbage. 1
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tunes
would
share
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" ) ! Okay, this is a lot of information at once, so lets recap. 5
) ) )
0 0 3
0 1 3
) ) +* ) ) The) “G” )Chord
12
T A B
+* 13
+*
+* 14
+*
+*
15
16
Page 1 / 2
s
+*
0 0 3
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+* 17
1 0+
+*
To play a G chord, simply take the 0-0-3 7 6 8 9 10 and0 press1 down on the the middle string at 0 0 the1 first 0fret to form 0-1-3. Generally, it’s easiest to play the 1st fret with your middle
CHORD
" +* !
ew 34 Dulcimer Players N
T A B
MUSIC is played in KEYS. KEYS are essentially 8 out of 12. In any KEY there are three MAJOR chords and three MINOR chords, plus one DIMINISHED chord. Most music is built around the three MAJOR chords of any KEY, 2 3 and those Boil 0 0+ 1 three 1+ 2 chords 3 3+ 4 are 4+ 5the 6 song 6+ 7 6+ 6 5Dem 4+ Cabbage. 4 3+ 3 2"1+ Okay, now let’s fix those chords. Remember earlier I said! 12 that when playing Boil Dem Cabbage you were implyingT A the G and A chords? Well, to play properB chords, you only need to add one more finger.
) " )) ! A B
these
1 PROGRESSIONS is not an accident. In the Middle 0 D Ages, tunes were intentionally written aroundAD a handful of CHORD PROGRESSIONS so that musicians from different villages could still perform together. This is also the core of the MODAL theory ) that is so prevalent in the dulcimer community. ) by TablEdited
# $% $ $ $' $ $ & $ $ % $' $ % $' $ $%$ " # $ % $ $ $ % $ $% $ $ & $ ' $ ! +*
Hold on! There’s more! This progression works wellAD behind a number of other tunes (Cripple Creek, Old Molly Hare, the “B” parts of Soldiers Joy and CottonEyed Joe come to mind), and even in situations where the CHORD PROGRESSION is different than the one outlined above. For example, get your friend to play Arkansas Traveler while you play the above progression. 5 It’s not quite perfect, but it’s still kinda cool, isn’t it?T That
# " # $ !
1
+* 18
1
$ ' $ $% $ $ $' $ $ & $ $ % $' $ % $ ' $ & $ $ $ % $ $ % $%$ ( $%$ $
20
2 the 3 with your thumb. 3 4 added has the 0 0+ 1 1+fi2nger 3 3+and 4 4+ 5 6 6+ 7 6+ 6 5 4+ 4 3+ Th 3 is 2 1+ 1 0+ 0
benefit of leaving your ring and index fingers free to play other things—something you’ll need to be able to do if you learn to play chord melody style.
) ) Ross )) y Butch ) ) 0 1 3
( 4
0 13
+*
0 0 1
" +* ! 1 0 0
20
T A B
Th+ *e “A” Chord +* +* +* +* To play an A chord, place a finger on the bass string (the8 lowest one) at the10first fret11to make 7 9 a 1-0-1 chord. Generally I use my ring and middle finger to play this, as again it leaves my 21 22 23 24 index and thumb free to do other things.
+*
+*
+*
+*
21
22
23
24
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Custom Quilting
Dulcimer covers and hammer bags by Shannon Baughman
+* Other +*Keys +* +* +* +* +* This Boil Dem Cabbage trick works equally well in the keys of G and A, if you have a capo and a 61/2 fret. 14
15
16
17
18
19
To play in G Place the capo at the third fret. Boil Dem Cabbage now starts on the 5th fret. Use the 6 fret, but not the 61/2 .
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To Play in A Place the capo at the 4th fret, Boil Dem Cabbage starts on you1do the 61/2 fret. Now Page / 2 not want to use the 6th fret.
11
19
6
)) )
T A B
+*
Conclusion It’s true that a little knowledge is a dangerous thing, so learning more about theory from a qualified and ruler-free music teacher is never a bad idea. But hopefully, armed with these three chords and this rudimentary knowledge of theory, you can include yourself in jams, strum the chord progressions of songs you don’t yet know, and otherwise stay involved in club meetings and jams. The key here is to have fun, ignore the rules and don’t be afraid to make mistakes. If it sounds good, it is good. Woody Allen once said that 80% of success was just showing up. Page 2 / 2 I’ve given you a handful of tools; the rest is up to you.
Page 2 / 2
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Ken Bloom and Dan Landrum contributed to this article. Butch Ross is a dulcimer player, singer and songwriter who frequently bites off more than he can chew.
Thistledew Acres – Lee and Doug Felt P.O. Box 134, Marengo, OH 43334 419-864-1736 — leefelt@bright.net
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ews Dulcimer Players N 35
Hammers
O
ffering a definition on what constitutes a good hammer can spark a hotter conversation than revealing your preferred choice for president. I’ve been playing for over 20 years now, and I still argue about hammers, mostly with myself! How do they feel? How do they sound? Quick answers to even questions like these can be misleading. Do they just feel or sound strange because I’m not used to them? If I adjust my playing style, does that make a difference? Would they work for one type of music and perhaps not another; how about one instrument or another? A single
pair of hammers won’t sound the same on different instruments no matter who is holding them. Thank goodness we have a lot of choices these days. This article, decidely short on advice, celebrates the diversity we find today among hammer choices. Rather than trying to describe the way hammers sound with words, I’ve included a track of audio samples on the accompanying sampler CD. It includes some brand new designs by Rick Fogel with interesting names such as Clackers, Double Headers, Bowers, Multiple-Pickers, and Variable Heads. - Dan
M
different woods long enough to explain the properties of what I use. When referring to any kind of woods, you will hear the terms soft and hard. Softwoods, usually pines, poplars, and basswoods, are light and great for decorative projects and furniture. Hardwoods are walnuts, maples, oaks, cherrys, paduaks, bubinga, and many more. These woods are very heavy, and you can make about anything from them. Moisture content is what a log has
aking & selling hammers is a hobby for me. I love to work with wood. I make just about anything out of wood. My main job is engraving Spacecraft parts for JPL (Jet Propulsion Laboratory) in Pasadena, CA. I tell you this to let you know I am not an expert in wood nomenclature, but I have used the s
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Try it yourself, with a little help from Bob Bedard If you’re interested in making your own hammers, we’ve enlisted the help of an expert. Bob Bedard has graciously allowed us to put together a multi-part video in which he demonstrates the steps he takes in hammer building. These clips are available on the dpnews.com web site. Here’s a summary of Bob’s process: 1. Using a scroll saw, cut out your hammer pattern on wood thick enough for two pairs. 2. Sand the rough edges left by the scroll saw blade. Bob uses an oscillating sander for this step. 3. Center and drill the correct size hole in the hammer head. 4. Split in two with a band saw. 5. Use a belt sander to flatten the rough edge left by the bandsaw. 6. Split the blocks into two pairs, again with the bandsaw.
7. Keep the pairs together by marking one side, so you have a matched pair. 8. Glue on handle blanks and let dry. Handle blanks are precut rectangular blocks of wood which overlap the handle area. 9. Using an oscillating sander, sand away the excess wood in the handle blanks. Be careful to stop when the blanks match the contour of the hammer. Repeat this process on the matched hammer. 10. Now repeat step 9 while tightly holding the pair together. Make sure the sides you marked in step 7 are aligned. This step assures the handle grips match. 11. Using a combination of oscillating sander, handheld sandpaper, and a rotating flap sander, smooth all rough edges. This is one of the most time consuming steps.
12. After all edges are smooth to the touch, hand brush a tiny coat of lacquer. Avoid edges which will eventually have leather attached. These surfaces will be sanded again to make sure all finish is clean, so it is OK if a little lacquer bleeds. 13. Let dry. Drying time should only take a few minutes, if you used a thin enough coat of lacquer. 14. Use steel wool to smooth the hammers, then give them a second coat of lacquer. 15. Hand sand any edges to which you intend to glue on leather or other padding. 16. Carefully glue on any padding. Avoid excess glue. 17. Let the glue thoroughly dry before using.
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ews Dulcimer Players N 37
when it is harvested. There is a lot of sap in it when it is wet. Drying wood can be as simple as leaving it in a dry place to age, or it can be dried by heating it in a kiln. The denser the wood grain, the harder it is. A soft wood like pine can be scratched easily with your fingernail, but a hardwood like oak is almost impossible to scratch. Domestic woods are trees that are grown here and replenished when harvested. We grow a lot of hardwood species. Rainforest woods usually come from endangered trees. For this reason, I try to use only domestic woods. The types of wood I use are: maple, cherry, walnut, red oak, and paduak. I choose these woods because they are plentiful and have traits that make a good hammer. Because wood is a product of nature, you will never find two pieces the same. Even pieces from the same board will differ. I customize my hammers with laser engraving. The laser is controlled by a computer, and can accurately reproduce almost any design. The laser uses a beam of infra-red light to make a cut that is .003” thick—much smaller than a human hair. I’m always looking for good designs, so contact me through www.laserelegance.com with suggestions.
The maple hammer has a softer, more mellow sound than the others. Maple engraves nicely because of its light color. The laser darkens the wood where it engraves.
Cherry is a little heavier than maple because its denser. The grain is more pronounced and it has a reddish/ brown color with dark streaks running through it. Cherry engraves beautifully and is my most popular hammer (I think because it matches more dulcimers). Because cherry is denser, it has a brighter sound.
Walnut has a closer grain, and is a little denser, making it a good choice for a heavier, louder hammer. Walnut can be so dark that you have a hard time seeing the engraving.
Red Oak is the heaviest hammer I sell. The grain is close and the wood is very dense. This makes a loud, bright sound. The body of the wood is honey colored with red streaks running through it. I think it is a pretty wood, but the grain makes engraving hard to see. Most all of the hammers end up weighing about the same, even with the differing wood densities. Hammers made out of maple wear out faster than ones made of oak, because of the difference in density.
Bob Alfeld of laserelegance.com, does more than make hammers and engrave spacecraft parts. He’s also an actor, having made appearances in several movies and on lots of TV shows. You can often find Bob hanging out in the forums at www.everythingdulcimer.com.
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Backyard Music
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BackyardMusic.com Backyard Music
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New Haven, CT 03652-0047 or call 203-281-4515 from 7 AM to 10 PM
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ews Dulcimer Players N 39
by
He
Ken dra Ward
O
kay, I admit it. I play with truly different hammers! When I first started to play, dare I admit it, back in the 60’s, hammered dulcimers were hard to find, and dedicated hammer makers were unheard of. My first instrument came with a set of hammers, so I assumed all hammers must be like those. But as I learned to play and develope my own style, I began to think of ways to improve upon those original hammers, and make them better fit my needs. I didn’t know if that was even legal, but I asked my Dad to help me customize some hammers anyway. My originals measured about 11 inches in length. They had a flexible wooden shaft and a huge 1½-inch wide head. I decided that I wanted a shorter shaft with more flex, and a smaller head. Dad and I worked together until we came up with the perfect prototype. The hammers I use today are still made exactly like our original prototype. Dad thought hickory would be an ideal wood for the hammer shafts. Hickory is quite abundant here in the Appalachians, and it is incredibly strong. Dad also decided it was best to work with the wood while it was still green. He must have been right, because I have never had a hammer shaft break, and the flex stays true for years and years! We split the hickory lengthways with the grain, much like a basket maker would do to prepare strips for weaving their baskets. We kept splitting and re-splitting until we had a bunch of flat little sticks that would become the shafts. Now we had to get all the splits thinned down to the right thickness. Originally we did this step entirely by hand, but before too long Dad designed and built a miniature motorized thickness sander just for sizing our splits. The end where I hold the hammer is a little wider than the end that strikes the strings, so after Dad and I had our splits thinned down; we tapered them, and cut them to 10 inches in length. Next, we glued the heads on to the
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n
a C , y
ry T I
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shafts. The heads were made of cherry, which I think combines a great sound with a long life. I hold the hammers all the way at the end with my thumb on the top and my first and second fingers on the bottom of the shaft. To help keep the hammers from flying out of my hands when I play, we glued a small scrap of pine at the very end of the shaft to act as a stop. I whittled this piece to exactly fit my middle finger, which rests against it. I use pine because it is very soft and easy to whittle. (I still like to whittle with my Dad’s old pocketknife.) Now I needed to carefully bend each hammer to see where it naturally flexes. With a piece of broken glass, I scraped about an inch or so on both sides of this point until the shaft flexed just so. This was all done by feel— no specific measuring. No two hammers are ever exactly alike, but they are very close. The interesting thing is, with every pair, I have a righthand hammer and a left-hand hammer! I can’t play with them in the wrong hands! Just before my dad passed away in 1994 he told me, “I have left you with enough hammers to last you into your old age!” I have not been able to use these though, because they mean so much to me. There will never be another set of hammers made by my dad. I have also retired a few other sets that he made. Once when I wore a pair down (the hitting surface had chopped away), he sanded them off and glued a new thin strip on them. He called those the retread hammers, and I keep that pair in a safe place, too. The hammers I use now are made by my husband Bob and me, just like Dad and I made them. Each set usually lasts several years, so we don’t need to make too many. Everywhere I go, though, people ask me if I would sell my hammers. I just laugh and say, “Try ‘em.” They are so light and so long that most people can’t control them. Most people usually change their minds about wanting a pair!
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Bill Robinson Corset Stay Hammers
K
endra’s hickoryshaft flexible hammers (facing page) feel stiff when compared to Bill Robinson’s signature corset-stay hammers (right). The photo shows the hammer’s striking side. Bill marked these to show where your pointer, middle, and pinky fingers go. Your thumb rests on the top between the pointer and middle fingers. Moving between flexible and stiff hammers isn’t easy. When using rigid hammers, doublestrokes and rolls resemble percussion rudiments. Flexible hammers store a lot of energy in their springy shafts and can effectively be used to create multiple bounces with less hand motion. The compromise is (arguably) slightly less control. - Dan
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ews Dulcimer Players N 41
Mark Alan Wade explains the classical string technique of pizzicato and demonstrates the technique with the tune Logan’s Water
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leaving plenty of room for your piece to grow and develop. Compositionally speaking, there is a classical precedent to framing a piece with a recapitulation of the introduction. The return of a plucked introduction provides a delicate dénouement to your arrangement and pulls the listener back into familiar material. It is also extremely effective to completely pull the rug out from under your arrangement and sneak this technique into the middle of your piece. This is a fun and versatile trick that you will quickly assimilate into your own style and your own arrangements. The “Why?” is answered simply in this: it sounds great! I remember a concert at a festival when Steve Schneider and Paul Oorts brilliantly plucked Eleanor Rigby and everyone in the concert hall was up on the edge of their seats trying to see how those sounds came out of a dulcimer. That is how stark the change in sound is! In an instant your dulcimer is transformed into a concert harp. Still skeptical? Imagine you are judging a dulcimer concert, or are simply in the audience to hear yet another rendition of (name your favorite tune here), and all of the sudden you hear the rolling chords and soaring melody of a harp, followed by some tasty hammering to boot. Or, for those of you who compete yourselves and have only six minutes to show a judge everything you can do on your instrument—want a secret weapon? HERE’S HOW or the basic harp style, your right hand plucks chords and your left hand plays the melody on top. The chords are close spaced either root position, or inversions, but must fit under one hand. The right hand chords are released in succession, always from the bottom up, followed by the melody note last. This is the key to harp-like playing. You will want to simplify the melody for the plucked passages and save the fancy licks for your hammers.
F
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Pizzicato - Ostinato - Vibrato - Marcato - Portam
hen we sit down to play the hammered dulcimer, we have a kaleidoscope at our fingertips. Just like the changing colors and patterns of the kaleidoscope, we spin and turn out an artist’s pallet of sounds. Each color on the pallet has its place. A light hammer when used in the treble range of an instrument produces a distinctive color, as does a rich warm leather-sided hammer for another sound. We all have our favorite hammers that have the feel we like and that paint the sound we want. Most of us have a bag (or bags) of hammers hanging from our instrument. It’s just easy for us to let our kaleidoscopes get a little rusty now and again, not exploring the cool things that happen when you give your arrangements a twist. This article offers a technique to put a new spin on an under-used color and the best part is—it won’t cost you a penny. No need to buy a new gadget. You were born with ten of them! I’m talking here pizzicato |,pitsi’kätō| about pizzicato, or adv. plucking the strings of a violin or other stringed instrument with one’s finger. plucking your strings adj. performed in this way. noun ( pl. -tos or -ti |-tē|) with your fingers. this technique of playing. When used properly, a note or passage played in this way. this technique can add a whole new dimension to your playing. It takes some time and sore fingers to get it down, but it is far worth it! I obviously didn’t invent this technique, my own use of it has been inspired by more innovative players than myself. I just fell in love with this new dimension and want to share it with my friends. Before I get to the “How?” for this technique, I’ll begin with the “Where” and “Why?” Pizzicato is extremely effective when used in introductions and conclusions to your arrangements. By its very nature, the pizzicato passages are softer and more intimate,
ato - Vibrato - Marcato - Legato - Staccato -
Pizza-wha? Playing pizzicato on hammered dulcimer
Next, be sure to use the flesh of your fingertips on the strings. Basically, if it doesn’t hurt, you are not doing it right! Personally, I don’t care for the sound of fingernails or picks on these steel strings. For me, it’s not a matter of a player lacking finger or pick technique. I find that sound to be strident—which also has its place! I should add, however, that picks (or hammers with built-in picks) work great for glissandi (rapidly moving up or down the strings), and they don’t hurt your fingers one bit! But for general use of pizzicato, for me, there is nothing better than the sound of the fleshy fingertips on the steel strings. As you will hear on the sampler CD, and the video online, the sound is remarkably similar to a harp. Check out the sampler CD for an entire piece played with this innovative technique. Sheet music for this piece, Logan Water, is on page 45. The song En Gedi, from our Hammer On! CD, uses pizzacato for the entire bass dulcimer part. It is also included on the sampler CD. The FBI has no clear fingerprints of Mark Wade thanks to his frequent use of the pizzicato technique. —www.markalanwade.com
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ews Dulcimer Players N 43
How to Pluck the Strings: 1. Use the flesh of your fingers, not your nails! Only your fingertips will give a harp-like sound and a uniformity of articulation to each note. If you try to use your nails, some strings will inevitably catch your nails wrong and pop out quite loudly ,while others will miss the sweet spot of your nails and won’t speak well at all.
3. Roll the chords (the notes indicated with the stems going down) with your right hand. Form your hand into a relaxed claw-shape and roll your hand away from you so your thumb moves clockwise. For a more harp-like sound, release the notes separately in a tight succession, rather than all at once. I time it so the melody hits last and is perfectly in time after the right hand’s last note. 4. Pluck the melody in your left hand using your index or middle finger. It should be 10% louder than the chords below. 5. Don’t try to pluck both strings in the course—just the top string for your fingers and the bottom string for your thumb. 6. Be careful not to set your fingers on the strings too early when plucking a series of chords, as that will dampen any strings already ringing (unless you want to mute them). How to Roll the Chords in the Hammered Section: 1. When hammering and plucking, always roll the chords from the bottom up. That means that the melody note will be the last note to sound. 2. Three-note rolled chords, as in measures 10, 11, 12 & 15, should be played right, left, left. This is a quick and easy glance stroke in the left hand. The right hand begins these figures on the bass bridge. The left hand only has to move about an inch and a half from the right side of the treble bridge to the left side of the treble bridge. Easy! 3. In both the pizzicato and hammered versions, carefully subdivide the 16th/dotted 8th rhythm as this is a defining aspect of Scottish style. See measure seven, for example. 4. Consider using leather-edged hammers for this piece to give it a dark, melancholy sound. s
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Pizzicato - Ostinato - MarkWadato - Legato - Vibrato - Staccato - Pi
2. You normally strike the strings with your mallets at about two finger-widths from the bridge; however, when plucking the strings you should double that distance from the bridge. This is for two reasons: it sounds better and hurts less. The strings are anchored on top of the bridges and do not give when you pluck them. This hurts! Plucking four finger-widths from the bridges finds the strings suppler when plucking, and most importantly, sounds better.
egato - Vibrato - Staccato -
Logan water
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ews Dulcimer Players N 45
Black Hawk Waltz Tune DAD Capo 3 Key of G
G C A �� � � � �� �� � �� �� � � � � � � � � � � � � � �� � � � � ���������������������� � � � ���� ��� � �� �� � � � � �� � 1 2 3 4 5 6
0 0
4
0 0 0
5
4
5 (s) G
6 4 4
4 4 0
4 0 (p)
5
4
�� � � D � �� ���� � � � � � � � � � � � �� � �� � �� � ��� �� � � �� �� ������ ���������������������� �� � � � � 5 6 7 8 (s)
4 0
4 0 7
5 4
8
9 (s)
0 0 8
(s)
0 0
7
5
6
5
0 (p)
�� �� � � � � � � ��� �� �� � � � � � � � � � � � � � � ��� �� � � � ���������������������� �� � � � (s)
C
9
0 0
4
10 0 0 0
5
4
5 (s)
11 6 4 4
A
12 4 4 0
4 0 (p)
5
4
� �� �� �� � � � � � ��� ���� ���� � � � � � � � � � � � � � � � � � � � � � � � �� � � � � � ���������������������� �� � � � � D
13
4 0
(s)
G
14 4 0 8
5 4
15 0 0 0
5 7
5 0
4 (h)
16 0 0 0
7
6*
7 (s)
� ��� � �� ��� �� ��� � ��� ��� �� � � � � �� �� �� � � � � � � � � � � � � � � � � � �� � � � ��� ����������������������� � � �� � � chorus
C
17
0 0 8
ws 46 Dulcimer PlayersNe
18 0 0
7
5
0 (p)
7 6*
7 (s)
19 6 6 8
A
7 7
20 4 4
5
4
6
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(s)
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ews Dulcimer Players N 47
by Nick Blanton
Technical Dulcimer
Can You Name That Tuning Pin? (Ding. The shop door opens.)
Hello, I’ve just bought this hammered dulcimer, but I need a whatchmacallit to turn the little gizmos. Yes, you need a tuning hammer. Uh, well, I’ve got the hammers, to play with. I need a wrench-thing to turn the gizmos. Tuning pins, they’re called. You need a tuning hammer. There are different kinds. It’s called a hammer because centuries ago the early-style tuning pins would work their way out of the pinblock, and had to periodically be hammered back in. That’s why the tuning hammers were often all metal. But modern tuning hammers aren’t used to actually hammer tuning pins anymore, because the modern pins don’t need it. So, I need a dulcimer tuning hammer for dulcimer tuning pins. Er, no. What are called “dulcimer pins” in the supply catalogs are the smallest size of piano tuning pin. They aren’t used much for dulcimers anymore. If you had those, you’d need a piano tuning hammer for turning them. OK, so what tuning hammer do I need? What the supply catalog calls a harpsichord tuning hammer. Great! So I can tune harpsichords, too? Er, no. Thirty, forty years back, harpsichord makers used tuning pins like the ones on your instrument, but then there was a movement towards greater historical authenticity. Most good harpsichords now use a smaller, early-style tuning pin, of a different shape, which sometimes needs to be
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e will now turn away from this tragic scene. Nobody actually set out to make tuning pins complicated. They’re not. They are a very elegant, simple and cheap solution to the problem of how to put an exact amount of tension on a whole lot of strings. I mean, you’ll spend anywhere from $40 to $300 and beyond for a set of tuners for your guitar, and those only tune six strings, and take up the whole peghead to do it. Six tuning pins would do that for about $1.25, and take up only a couple square inches.
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hammered back into the pinblock, just like the early tuning pins. Your tuning hammer wouldn’t fit, and it can’t be used for hammering, anyway. So my hammered dulcimer doesn’t have dulcimer or harpsichord tuning pins? No, it has zither pins. Great, so I can tune zithers, right? Well, some of them. Many of the older concert zithers have a different tuning pin, your tuning hammer wouldn’t work for them. In fact, they’re similar to the pins the newer harpsichords use... Let’s see if I’ve got this right. I need a harpsichord tuning hammer (that can’t hammer and isn’t for new-old harpsichords, only older-new harpsichords), to turn the zither tuning pins on my dulcimer (which aren’t dulcimer tuning pins, which need a piano tuning hammer, which also can’t hammer). But the harpsichord tuning hammer for zither pins might not work for tuning older zithers, which would need something like the tuning hammer used for actually tuning harpsichords, which actually can hammer something... Er, no, probably the tuning hammer that works for the harpsichords wouldn’t work for the older zithers. Why does that not surprise me. But those older zithers have pins that don’t need to be constantly hammered in, so that tuning hammer wouldn’t have to..... Stop. Just stop. Could you show me your banjos? Right over here.
The early tuning pins, as said above, had to be hammered into the pinblock regularly. The modern tuning pin has fine spiral threads, so it screws itself into the pinblock and resists coming out. The early tuning pins did not. They also did not have a hole in them; actually, they did not need one. The brass and iron wire that was used was thin and soft enough to be simply wrapped around the pin much like thread onto bobbin, and it wouldn’t slip. Only when thicker springy steel wire came into use in the late 1700’s was it found necessary to drill a hole to lock it
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ews Dulcimer Players N 49
is starting. And it starts to rain on you. What will happen to your instrument? No, not the finish; it might spot a little, but it’s going to be fine. But if water gets down into the tuning pin holes, the wood will swell. When the wood dries it will shrink back further, the holes will then be bigger, and the tuning pins a little looser. The pins can also rust, if they get wet. If they get rusty enough, they get rough, and turning them back and forth will grind the holes bigger, too. And no, nickel-plated pins can rust, too; the L to R, Tuning pin from P.Wight plating can flake Hammered Dulcimer, New York, off from turning c. 1848 ; modern “dulcimer pin”; the pin back and nickel-plated zither pin (notice forth, and then the rust!); blued zither pin. the rust can take hold and expand into place. And some early hammered beneath it. In any dulcimers I’ve seen had another solucase, repairing an tion; each tuning pin had a notch cut instrument with into it with a chisel. The string end loose pins is not had been laid into the notch, and the easy; there are edge of the notch hammered over to many temporary hold it. This seems to have been very solutions, like L to R, stages of making a harpsichord-style tunreliable; one Pennsylvania instrument wrapping the pin ing pin: 16d Duplex nail, the ends cut; the taper done this way was missing the treble with cigarette pafiled; the head flattened; the hole drilled and tool bridge, bass bridge, and most of the per and tapping it marks removed. Modern harpsichord tuning pin finish, but it still had all of its very back into the hole, on far right: note the complete lack of soul. rusty strings clenched in place. Rusor putting crazy sell Fluharty once said it took about 25 glue into the hole. years for a set of new strings to sound good. The maker of For pianos, they simply put in an oversize pin, but the that instrument definitely had Russell’s philosophy. oversize zither pins are often not oversize enough to make Tuning pins have their weaknesses. The heavier the a difference, and the hole has to be reamed bigger, plugged string, the bigger the tuning pin has to be; if it’s too small, with a laminated wood plug, and redrilled. It’s a meticuthe string tension can be enough to make it ream out its lous job, and it’s hard to make it look neat. hole bigger, or even bend the pin. Thus, harpsichords Another weakness is the pinblock splitting, but with have very small tuning pins, and grand pianos have very the advent of laminated pinblocks this is much less combig ones. As hammered dulcimers have changed over the mon than it used to be. The fix is the same: drill out the centuries, going from lightly-strung salterios, to heavily- hole and plug it—but in this case, you inject epoxy into the strung cimbaloms, to medium-strung regular hammered hole, then put in the plug. dulcimers, there have been a variety of tuning pins used I had a few modern-made harpsichord tuning pins layin them, and a variety of tuning hammers made to tune ing around, but when I looked at them closely, for this arthem. The heavier the string, the bigger the tuning pin, ticle, I realized they looked wrong. Sure, the hole for the and the longer the lever needed to turn the tuning pin. string was a modern addition, but it wasn’t that; that hole This is the reason you see both T-tuning hammers and is useful. It was the completely soulless machine finish that gooseneck tuning hammers in use for things with zither was wrong. So, I decided to knock out a couple of real old pins. The torque needed to tune is not so great that you tuning pins for this article. Now, after much time spent can’t use a T-hammer, but a gooseneck is often more com- filing out wood screws by hand in Colonial Williamsburg, fortable. If somebody is only going to carry one, I tell them I might be biased, here. But I really don’t think it is a difto use a T-hammer, as it’s the easiest to use for changing ficult thing to do. Take the usual safety precautions; wear strings. But if somebody has carpal tunnel syndrome, or gloves and eye goggles. other wrist problems, I tell them to use a gooseneck. The process is shown from left to right. On the far left is Another weakness, put simply, is water. You’ve been a 16d nail ( Duplex, but any ungalvanized, uncoated steel asked to play at a wedding; there’s shelter for the bride and nail of this size will work.) Chop off the ends, so you’ve got groom, but none for the musician. It’s spring, the service s
ew 50 Dulcimer Players N
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a two inch rod(2nd from left). Put the rod into the chuck of a drill press. Turn the drill on , and use a 12” or so coarse bastard file to taper the end ( 3rd from left). You will want to get similar taper on all the pins, but it’s not real critical. Then hold some 100 grit sandpaper against it while it rotates, to clean off the tool marks ( you can also do this as the very last step). With a pair of pliers (ones with grooved jaws are best), hold the middle of the rod, heat the non-tapered end to red hot with a propane torch, and with a light hammer, hammer it to get a nice wedge-fan shape (4th from left). You will need to take some time to find and place the anvil-like object. (Do not wait until you have a very hot rod in the pliers in your hand to begin looking. Bad things will happen.) Take a piece of scrap wood ( a chunk of 2x4 will do nicely). Make a groove in it—the coarse bastard file can be used again for this. This will hold the pin for marking drilling. The fan-head will help keep it from rolling. Make a dent mark on top, dead center of the pin, with a center punch, to guide a drill. Drill the hole with a #50 drill bit in the drill press. Go slow, here. You will likely break a drill bit or two until you get the hang of this, so buy a few of them, they’re not that costly. The tuning hammer? You can actually buy one of these in advance, from a harpsichord maker/supplier like Zuckermans, and use it when you’re hammering the heads to make sure the heads fit right. If you have metal lathe, you can also drill a short piece of 3/8” steel rod to fit a 16d nail, then hammer the end, like you did the tuning pin heads, which will squash the hole to an oval. Squash it until it fits the tuning pins you’ve made. Mount it in a handle, you’re ready to tune. I found a #27 drill made a good-size hole for these pins, but don’t be afraid to experiment. And I did time this; at shop rates, I figure it would be about $5 per tuning pin for me to make them. I might be doing a scheitholt with these sometime, but I won’t be making enough for a hammered dulcimer real soon.
500
Sweet Strings!
Jon doesn’t like to brag about the fine instruments he makes down there in Alabama, but Clara says it’s time he does!
Sweet Strings Dulcimers Jon W Harris 416 Gillespie Rd, Madison, AL 35758 (256) 837-6218 jonwharris@knology.net
Nick Blanton is a well-regarded hammered dulcimer builder. He also plays a number of different instruments well, and is DPN’s go-to guy when the complicated needs simplification.
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ews Dulcimer Players N 51
D u l d c e i m w o er B by Ken Bloom
Onward!
U
sing a bow on the dulcimer is a very old practice and goes back at least to the 15th century in Europe. At that time it was not uncommon to have instruments that were both plucked and bowed, especially in Muslim Spain, but also in Northern Europe. The hummel was one of these. In the 18th century, a lot of immigrants came to our shores from Northern Europe, many of them from Germany. The name that was common for our beloved dulcimer at the time was zitter. If you take a look in L. Allen Smith’s seminal work A Catalogue of Prerevival Appalachian Dulcimers, you will see several examples of bowed zitters. They mostly have the familiar trapezoidal shape, and frets for one string. We know they were bowed from the bridges, which are curved so that the bow can access all the strings. The bows were often rather crude affairs, not unlike some of the earlier nyckelharpa bows. I built a few replicas of these old instruments using the specifications given by Professor Smith. The tone was, shall we say, a bit strident. These instruments were fine, and treasured in their day and in their context, but for modern ears, I’m afraid the tone of the old bowed dulcimers is an acquired taste. Onward! When I built my very first bowed dulcimer, I was basing it on some of the Eastern European fiddles that I was familiar with, like the gadulka. These instruments had flat tops and were the same depth throughout. The results were disappointing. They sounded as harsh as the earlier zitters. Onward! I went to a more conventional soundpost and instituted a depth change. By making the top and back non-parallel, I eliminated some of the standing waves and, voila, the tone improved. I continued this way for some time. I refined certain aspects such as the angle that the strings cross the bridge, how much of the staff contacts the soundboard, etc. Things improved, but I still wasn’t satisfied. Onward!!!
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After reading widely in the bowed instrument literature, especially about the viola da gamba, I figured I should try a carved and graduated top and back, and see what would happen. Eureka!!!!! The results were immediately dramatic. The instrument had huge tone and was rich and wonderful. The carving of the top made all the difference. The first such instrument was the one I used for my first CD The Bowed Dulcimer. My bowing skills were still in their infancy, but the instrument was so much better that people immediately took notice. Over time, I realized that I could imitate the gamba and use a thinner, but flat, back. Over the last seven years I have been refining the whole formula. About three years ago, I came upon the best formula for doing the graduations on the top. I have continued refining the setup: shortening the tail piece, increasing the angle of incidence, and being more precise about the thicknesses of the back and sides. Improvements continue. Onward!!! I made another wonderful discovery. I was beginning to get requests for instruments with a more refined and elegant tone. At the same time, my friend Janet wanted a Scottie carved into the peg-head of her new instrument (pictured). I thought, why not make the back and sides out of Macassar ebony? Since ebony is so much denser than maple, I knew I was going to have to make it substantially thinner to get any kind of resonance. I arrived at making it 20% thinner. It looked wonderful! The real surprise was the sound. Loud, resonant, and complex. The tone is broader and works well for classical music, as well as the many folk styles now common among bowed dulcimer players. I then had an opportunity to build a second one using this remarkable but expensive wood. The results were the same. Fabulous tone. These are the hotrods of the bowed dulcimer world. They require more bowing control, but you do have more versatility in terms of tone. Onward!!!!!!!!!!!!
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((((((((((((((((((((((( ( ( ( ( ( ( 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
Are you a hammered, or mountain dulcimer builder, teacher, festival or workshop organizer? Dulcimer Players News would like to send you recent back issues to give to your customers, students, or event participants at no cost to you. Contact DPN at 423-886-3966 or dpn@dpnews.com.
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Mu s i c R e v i e w s Learn to Play the Hammered Dulcimer Karen Ashbrook - reviewed by Dan Landrum
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Dulcimer Rock
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Bing Futch - reviewed by Sam Edelston
aren’s latest work lays the foundation for anyone who’s just ulcimers connect us strongly to starting out, or for the player who bought an instrument, certain musical traditions, and at but perhaps lost interest after finding out it isn’t as easy the same time, they can take us as it looks. This DVD will get you on, or back on, track. to places incredibly far beyond. Bing Futch’s new DulKaren’s instructions are clear and easy to follow, aided cimer Rock CD takes you on a journey through both his by transparent camera work and lighting. The overall roots and some exciting, rarely explored territory. feeling is that of a patient master teacher waiting In the first cut, the hypnotic opening notes and percussion in your living room while you learn at your own draw you into a special musical place. As it emerges, the piece, pace—or better yet, of joining Karen for lessons in titled Raga 111806, develops into an impressive 3-string imitation the historic Gaasbeek Castle in Belgium, where of an Indian sitar raga. the project was recorded. In the next two cuts, Bing pays homage to his own roots. Cut #2 is The exercises build logically on each otha haunting, addictive and very learnable instrumental titled Seminole er, with Karen dropping in small bits of ear Solstice, with an appropriate Native American feel. Next, Bing visits training, eye training and theory as she sys- his African roots with a traditional slave stomp, Run On (more powerful tematically unfolds hammered dulcimer bathan Johnny Cash’s version). As the sics. I suspect the lessons will be revisited music grows in intensity, it transagain and again, as you’ll be able to glean forms, and suddenly there’s a more information after the basics become distortion effect on both the second nature. slide dulcimer and the chords. Belying Karen’s reputation for playing You have reached Dulcimer Irish music, these lessons are, for the most Rock. To the casual listener, part, stylistically neutral. It means you’ll most of the next several cuts learn fundamentals that apply to just about will sound like a rock band with any direction you want to take your playing. a drummer, bass, tight vocal harThe elements of scales, intervals, eye train- monies, and electric guitars that do some screaming solos. But there ing and arranging apply across the board. are no guitars on this CD—Bing does it with solid-body electric and Karen’s teaching method is friendly, flexible reprocessed acoustic mountain dulcimers. Original songs like Crazy and full of alternate ways of approaching the Feels Like, Monster, and Time Bomb would be very comfortable on exercises. It is nice to hear her advise people to any alternative rock radio station. This part of the CD also features use “whichever a funky, electric version of Robert Force’s Wellyn. way is comfortFinally, the journey closes with a heartfelt arrangement of able.” Auld Lang Syne, which includes a special voice from Bing’s Remember when own past at the tail end. you bought that big Except for a bass track on one song, Bing plays all the instruscreen TV and you told ments on this album—sometimes overdubbing as many as yourself it was going to be four dulcimer parts or four vocals—yet his performance put to good use? This is the is so comfortable that it sounds like a real band playuse you were looking for. If you ing together. Buy two copies of this CD. Keep or someone you know has a new one, and give the other to a friend who hasn’t hammered dulcimer, they’ll benefit started playing dulcimer… yet. from Karen’s patient and logical teaching on this new DVD.
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Mu s i c R e v i e w s Cleansing Fountain
Emma’s Waltz
Timothy Seaman, - reviewed by Christie Burns
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I
Neal Hellman - reviewed by Butch Ross
ubtitled, An Acoustic Instrumental f you already own either of Neal’s first two CDs, October Journey Down the Blue Ridge Parkway, County or Autumn in the Valley, stop what you’re doing, this new release of folk hymn tunes from go to Gourd.com and buy Emma’s Waltz. Neal has done Timothy Seaman is a beautiful meditation on place, it again, with help from producer William Coulter. Emma’s journey, and sound. Waltz features the usual unusual mix of string instruI’m immediately struck by the instrumentation, not ments playing original and traditional tunes from only the number of instruments used on the recording, but around the world. The arrangements are placid and the overall harmony achieved by the blend of hammered dulbeautiful. I think the term, chamber folk, would be cimer, mountain dulcimer, flutes, autoharp, bowed psaltery, an apt term to describe this CD. guitar, banjo, percussion, and others. Even the human voice Neal branches out a bit adding Breton and comes into play here, used purely as a wordless instrument, and Swedish traditional tunes to the usual mix adds one more beautiful dimension. of old-time, Irish, and European folk tunes. Cleansing Fountain is the kind of recording that can create a Guests include (among others): Karen Murelaxing atmosphere from start eller, Robin Petrie, Barry Phillips, and even to finish, while also giving the Neal’s son, Shiloh. Olaf Johansson, of the close listener an abundance group Vasen, adds Nyckelharpa—the Swedof goodies to enjoy. Timoish keyed fiddle—to several tracks. Johansthy’s intricate weave of son is probably the best living player of this instruments, melodies, exotic and wonderful instrument. harmonies, and expert The arrangements here are simply stunarrangements is masterning with harp, acoustic and electric(!) guitar, ful, imaginative, and probcello, mountain and hammered dulcimers, ably one of the best prodand Nyckelharpa coming and going in suructs of its kind to be found in prising and beautiful combinations. A great the Virginia roadside gift shops. example of the multicultural mix that embodThe second track, Journeying, is a medley of Babel’s Streams, ies Emma’s Waltz would be the track we’ve sePilgrim (John Barleycorn), and Bound for the Promised Land. This lected for the sample CD. It’s called Breton Lullaparticular track exemplifies the broad use of instrumentation on by, a song Neal learned from the Irish band Danú. this recording; as it begins with bowed psaltery, transitions to This lovely tune features Celtic harp, wooden flute mountain dulcimer, and introduces the hammered dulcimer, (here played by another Swede, Lars Johansson) celalong with a very tasteful jaw harp. The hammered dulcilo, and guitar— along with Neal’s Blue Lion dulcimer. mer takes the lead nearly halfway through with the help Even the Richard Fariña tune Tuileries—usually a of some other percussion. As the medley winds its way solo dulcimer excursion—benefits from light percustowards the end, we’ve passed through several musision and tasteful mancal landscapes on the journey, and what a pleasant dolin by Karen Mueller. trip! Everything on this CD is so tasteful! Like a good joke, each new twist in these thirteen arSee rangements comes as both a complete 58 f Pag o e surprise and a perfect fit. Full of gorgeous info r con r t m melodies and sharp arrangements, this CD a rev iew ation ct is a joy to listen to from top to bottom, and two s on th for a must for fans of Neal’s earlier albums. e p
age
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Steve Eulberg
We hear you . . .
Quick Picks
. . . well, at least we want to!
W
ith this issue of DPN we embark on 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.”
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• 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.
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Quick Picks
Title: Man in the Moon Artist: Jan Hammond Artist Statement: This CD is produced by my friend and playing partner, Tom Conner. He adds his amazing guitar mastery to eight tracks. Nine songs are original. Track List: Man in the Moon, Old Banana Joe, Lil’ West Arm Shuffle, Blessings, As Long, End of May, Lover’s Waltz, Chances Crossroads, Peace At Christmas, Chickadee’s Fancy, Inukshuk, Ain’t No Sunshine, Da Slockit Light Contact: 2145 S. Medina Line Road • Wadsworth, OH 44281-9301 jan4dulcimer@yahoo.com
The best
memories A R E M A D E AT DULCIMER EVENTS.
Take a unique hands-on vacation where you make the music while
Title: The Mountain Dulcimer Plays Patsy Cline Artist: John Sackenheim Artist Statement: The Mountain Dulcimer Plays Patsy Cline is the second tab book of my new series. The first was on Hank Williams’ music. I use the 1+ fret in the tab but explain how to play the tunes without it. 16 songs totaling 21 arrangements - 14 in DAd, 7 in DF#A. Track List: Always (DF#A), Crazy (DAd & DF#A), Faded Love (DAd & DF#A), Half As Much (DAd), I Fall To Pieces (DAd), I Love You So Much It Hurts (DF#A), It Wasn’t God Who Made Honky Tonk Angels (DAd), Just A Closer Walk With Thee (DAd & DF#A), Leavin’ On Your Mind (DAd), She’s Got You (DAd), South Of The Border (Down Mexico Way) (DAd), Sweet Dreams (DAd), True Love (DAD & DF#A), Walkin’ After Midnight (DAd & DF#A), The Wayward Wind (DAd), You Belong To Me (DAd) Contact: John Sackenheim • PO Box 220 • Okeana, OH 45053 Title: T.N.T. Starting Off With A Bang! Artist: T.N.T. (The Nameless Trio) Artist Statement: We are called T.N.T, The Nameless Trio. This CD is our first, and we attempted to include a variety of tunes with multiple parts. The trio, which includes: Deby Libby, Linda Smith, and Ginny Cliett, started playing together regularly in October 2006. Track List: Not provided
Contact: Linda Smith • 1017 Pintail Road • Knoxville, TN 37934 865-789-9617 (Ginny Cliett Cell) • www.tntdulcimers.com dulcinote@aol.com (Ginny Cliett)
enjoying the beautiful wooded setting of the Ozark Folk Center State Park. Log on or call for event and workshop information. Dulcimer Jamboree: A Traditional Music Event April 24-26 Mountain Dulcimer Workshops July 21-24 Hammered Dulcimer Workshops August 4-7
M O U N T A I N V I E W, A R K A N S A S
Information: 870-269-3851 Cabin Reservations: 800-264-3655 OzarkFolkCenter.com
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Quick Picks Title: Ashes on the Stream Artist: Harry Vayo Artist Statement: When I recorded Ashes on the Stream, my second CD of hammered dulcimer music, my goal was to create a musical oasis of tranquility and repose, yet explore a variety of styles and moods. Included are tunes from the Far East, the Celtic realm, and several original compositions. Gentle percussion accompanies the dulcimer on several tracks. Performers: I play hammered dulcimer on all tracks, percussion on tracks 1,2,6,10, and 11, and didgeridoo on track 9. Floyd White plays dumbek on track 6. Tim Adams plays bodhran on track 7. Track List: Morning Has Broken, Walking in the Air, Mrs. Crawford/Bovaglie’s Plaid, Snow on the Hills/Captain O’Kane, Fishing Boat Song of the Night, Labrador Tea/ Goose Eye, Lord Inchiquin, The Lone Shieling, Floating Hearts, Sakura, Ashes on the Stream Contact: Harry Vayo • 304 Rocky Shore Lane Oakland, ME 04963 email: vayowoods@roadrunner.com • www.harryvayo.com 207-465-2691 Title: Classic Celtic Collection Artist: Linda Brockinton Artist Statement: Classic Celtic Collection is not classical music, just a collection of lovely traditional Celtic pieces that have been passed down over the years. Most pieces have a beginner and intermediate part and also a harmony. This book is great for making your own arrangements or playing with your favorite group. Track List: Ardaigh Cuain, Aaron Boat Song, Carrickfergus, Dark Island, Foggy Dew, Harvest Home, Haste to the Wedding, I Know Where I’m Going, Keel Row, Lark in the Clear Air, Londonderry Air (Danny Boy), Oh Rowan Tree, Parting Glass, Robin Adair, Rosin the Beau, The Thrush’s Nest, Saint Anne’s Reel, Saint Patrick’s Day (GDg), Southwind, Star of the County Down, The Water is Wide Contact: Linda Brockinton • 3343 Wise Road Alexander, Arkansas 72002 • www.lindabrockinton.com lindabrockinton@sbcglobal.net s
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Quick Picks Title: 1,000 Steps Artist: Robert Fishbone Artist Statement: I wanted my new CD, 1,000 Steps, to be like attending one of my solo concerts where I combine eclectic music and original stories. I give my acoustic and electric dulcimers front stage in both traditional and avant-garde pieces. Other instruments include looped percussion and African harp and like in my shows, I play everything myself. Track List: Boys of Wexford, Colored Aristocracy, Dulci Dada, Comfort Story, The Master Drummer, Percussion Stuff, Helstedt’s Bridal March, The 1,000 Steps, Gahu Bells, Dulci Delay, Polska, Within You/Without You Contact: Robert Fishbone • 9441 Old Bonhomme Road St. Louis, MO 63132 314-692-2900 • 1-800-788-4044 • Fax: 314-692-8479 email: fishbone@fclass.netwww.robertfishbone.com Contact info from pages 54 & 55. Learn to Play the Hammered Dulcimer Karen Ashbrook 820 Dennis Ave Silver Spring, MD 20910 www.karenashbrook.com mail@karenashbrook.com Dulcimer Rock Bing Futch J.O.B. Entertainment Inc. P.O. Box 560727 Orlando, Florida 32856 (407) 342-1447 www.darkstudios.com bing@jobentertainment.com Cleansing Fountain Timothy Seaman Pine Wind Music, Inc. 127 Winter East Williamsburg, VA 23188 757-565-1461 www.timothyseaman.com Neal Hellman Gourd Music PO Box 585 Felton CA 95018 http://www.gourd.com neal@gourd.com
Please do not reprint or redistribute without the permission. Contact dpn@dpnew.com
Please do not reprint or redistribute without the permission. Contact dpn@dpnew.com
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Featured Editor’s Pick
by Butch Ross
No, there isn’t anything wrong with your speakers, it just sounds that way. This is 60 minutes of music and chatter, recorded before a very live audience and rescued some years later from a low-bias, slightly magnetized cassette tape.
I
t was never intended to be a document. It was a just a live concert recorded by the college radio station. As Robert Force puts it, “It arrived with one channel fluttering on a cassette tape, was listened to once and put in a box for twenty years.” With the untimely death of Albert d’Ossché in 1990, it became one of the few surviving documents of their partnership and a recording of a good night. No. Not just a good night. In fact, it happened to be a perfect gig. It was the second show in a three-week tour in support of their third album When the Moon Fell on California. The venue was Mama Sunday’s in Bellingham, Washington, a coffeehouse that Robert had started. The combination of the new album, the old venue, and a very warm audience, all added up to a great night—somewhat serendipitously preserved here. Robert and Al are in great spirits throughout, and you can hear the depth of their friendship expressed in the music. They finish each other’s sentences, riff off each other, and leap into spontaneous bits of absurdist comedy; there is no straight man. I have listened to this s
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CD over and over in the last few years, and I still cannot tell who is Robert and who is Al, despite the fact that they call each other by name. This was the night that Robert nailed Wabash Cannonball for the first time. The night they tried—and managed—to beat the best recorded record for their 60-second song Tabac Alegria. And the audience was with them: hanging on every word, laughing at every joke, breathless with every note. It was the night of transcendence about which every performer dreams. After Al died, Robert stopped performing for over ten years. He once told me, “I couldn’t see playing a song and not hearing that other voice coming back at me.” Today there’s merely a handful of people that remember F/d’O in their prime, and there is a whole generation of players who have no idea what the fuss was about. But that’s okay, it’s still all right here. No, it’s not the best sounding recording, it is in fact the worst, but of all the albums Force and d’Ossché recorded, this one is hands-down my favorite. [This recording is available at www.robertforce.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
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Tales & Traditions
T
he Fall 2007 issue of DPN contained my article on the beautiful Norwegian langeleik owned by Jim Ritter of Sag Harbor, New York. Jim supplied me with a wonderful set of draftsman’s plans for the instrument. Reproduced above is the scale drawing of the top, in reduced size, showing the heart, and the bridge placements. The edges of the heart are beveled. The drawing spanning the bottom of this page is a side view in the exact same scale. As indicated in my column, Jim is finishing his work on his scale drawings, and plans to build a replica. Are there other interested builders out there?
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by Ralph Lee Smith Construction Notes 1. Main Body carved from one piece of wood, probably spruce 2. Bridges - Hardwood and set in a dado 3. Bridge to bridge length 4. Frets - Bone glued to top, each shaped by hand and vary considerably 5. 1st Fret acts as a nut 6. Scale length of melody string 22 3/4” 7. Screw eyes used to shorten drone string length 8. Wire bent to form a flat “U” shape inserted thru top and legs turned to form hooks for ends of strings 9. Round head screws hold strings on the left side 10. Back is open, no evidence of any kind of support to lift it off a table 11. All dimensions vary somewhat due to being shaped with hand tools 12. Do not scale fret locations from drawing - use the fret table
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A Great Photo From Minnesota
M
eanwhile, other fugitive information is coming in. Fred Petrick, a DPN reader, keeps his eye on ebay. This kind of vigil is usually rewarded sooner or later, although it takes patience. Fred hit the jackpot. He sent me a jpg of this wonderful photo of a langeleik player in full traditional Norwegian costume! The instrument’s features include a peg, of trefoil design, on the side, matching the design of the pegs in the scroll. Fred’s message read in part, “It’s a carte de visite, about 2x4 inches, out of Minnesota. Cartes de visite were a popular photo type from around the Civil War to about 1900. The seller obtained it at an estate sale, and has no information about it. He listed it as a zither player in native costume or something like that (which is probably why I had no competition for it).” Lucky Fred! Regarding the player’s costume, Fred said, “I Googled, Norwegian costume 19th Century, and immediately found that our mystery player is wearing a 19th Century costume called a bunad. It’s still popular today.”
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KATHY DANTZLER-OLSON, MINNESOTA LANGELEIK PLAYER
I
have a flyer in my file, similar to the flyer for Beatrice Hole, described in my May 2007 column. I cannot recall how these two flyers got into my file, but I am glad they did! The photo on the flyer shows Kathy of Dawson, Minnesota, sitting in front of two langeliks! The text reads, “The Norwegian langeleik is a folk instrument that once was found throughout Norway. Introduced in the 1500s from Europe, it was enjoyed in the home and played primarily by women. When the Hardanger fiddle became popular, the langeleik declined to the point where only the Valdres area can still claim an unbroken 500-year-old tradition. Besides dance and church tunes, many contain folk stories with a blending of Christianity and Old Norse mythology.” I called Kathy, and spent a delightful hour on the phone with her. She explained to me that the Hardanger fiddle, introduced in the 1600s-1700s, has eight strings in two rows of four, including sympathetic strings. It is louder than the langeleik and can be played in more tunings.
Kathy’s Search
K
athy was led to the langeleik by her quest for early Norwegian music. Her husband is part Norwegian and part Swedish. Kathy played the Irish folk harp, and wished to play old Norwegian tunes. She made contacts in Norway, who told her that old tunes could be transposed from music played on the langeleik. In 1992, she s
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and her husband visited Norway. In the Ringve Museum in Trondheim, she saw langeleiks, but the museum had no music. Kathy began to search. At first she found nothing. Neither the Norwegian Department at the University of Minnesota nor the Norwegian Department at the University of Wisconsin could help her. But she got a key tip from St. Olaf ’s College in Northfield, Minnesota. A language professor there told her that a Norwegian exchange student named Gyda Grondelien, on a one-year scholarship at St. Olafs, played the langeleik and had two of them with her. Kathy called Gyda and visited her. Gyda showed Kathy her langeleiks and taught her how to play. There was little or no written music, Gyda said. The tunes were passed down through tradition and learned by ear. There were, however, recordings in Norway. Kathy learned that old-time players used a pick that was often made of cow’s horn. In some instances, a player might recite an old tale while playing, or intersperse a song in a spoken narrative. The instrument was also used for dancing, but could not be played in church. (This problem led to the introduction of the psalmodikon in both Norway and Sweden. See article on the psalmodikon in the May 2007 issue.) The langeleik was also played with miniature doll theatres, in which small puppets were attached with strings to the player’s fingers, making the dolls move and dance. Kathy obtained some recordings from Norway, listened to them, figured out the tunes, and, in 1993, ordered a langeleik from a traditional maker named Lars Forberg of Rogne, Norway, which is part of Valdres. She has played at many Sons of Norway
functions, at the Migration of Traditions Exhibition in St. Paul, and even as far afield as the Decorah, Iowa Nordic Festival, where a Norwegian farmhouse has been brought to the site and reconstructed.” Well now, you Midwest dulcimer clubs. If you are looking for something new and different for your next get-together, how about this? Kathy can be reached at 320-752-4583, or by email: pkffarm@farmerstel.net.
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Maggie’s Music from the deep well of our ancient folk traditions
A Celtic Fair New CD! by MAGGIE SANSONE
A festive gathering of Celtic & Renaissance tunes on hammered dulcimer, Irish flute, fiddle, woodwinds, guitar & percussion. “Harmoniously walking the tightrope between ancient Celtic cadences & progressive world beat sounds, Sansone easily fuses the best of past and present musical styles into an adventuresome outing that is lovely as it is stirring.” The Washington Post
To order:
www.maggiesmusic.com (410)867-0642
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Road Trips and Friendships
I
learned of Robert Force through being awarded the Albert D’Ossche scholarship to Cullowhee in 2005. Robert and Al were performing musicians, specializing in the Mountain Dulcimer. I was intrigued by their story, and called Robert one day from Australia to find out more. He told me of the Kindred Gathering, a festival that he and his wife Janette and Al started 33 years ago. I have since attended this event twice and keep going back to Port Townsend to make sure Robert gets a dose of wandering Australian troubadour at least once a year. In return, he and Janette have treated me to such American delights as my first weenie roast, my first s’more (and my second), and a clam bake after digging the clams. These things are, to me, more important than learning any dulcimer tricks, due to my short attention span, and food fetishes! Whilst at Robert’s place, I played a beautiful old instrument that he built for a lady more than 20 years ago, possibly his finest work. Not many people know that Robert and Al built beautiful instruments, the legacy surviving today in the Blue Lion Force D’ossche model. The lady returned the instrument to Robert as a gift. This one belongs in a museum, and is very beautiful. The hard case had one sticker on it, from a unique little town in Australia that is a rocket launch base called Woomera. s
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That instrument has gone places even I haven’t been. Robert also had an instrument from the seventies that he designed and someone else built. It had a floating bridge and deep body, very reminiscent of Kurt Simerman’s work—without the developments and finesse that comes from repeating designs over and over. More a prototype, but fascinating. Robert has taught me that tradition is not only about old ways. It is about people following and repeating ways. Robert has inspired two generations in front of him to play standing up, making a new tradition. Quick Lesson Aussie pronounced ‘ozzy’ Kookaburra pronounced ‘cook uh burruh’ Laugh pronounced ’luuuuhhhhhhhff’
I am fascinated with the history of this instrument, and the renaissance and new traditions that are unfolding as I type. The song Road Trip, off my recent album High Side of the Low End, is a story written about the journey undertaken with Robert, his wife Janette, and their granddaughter Molly to my first Kindred Gathering. The song is constructed much like a collage or patchwork quilt, using snippets of what happened on the trip, combined with sayings and inscriptions encountered in their family
home, and stories told and heard along the way. I don’t much care for taking pictures, but the images in my head resurface as songs, serving as snapshots of a moment in time. Molly Force, Robert’s nine year old granddaughter, and I are friends. We spent 1000’s of miles together in the back of a Jeep, telling stories and singing songs. I invested a lot of training into Molly so she could sing Kookaburra Sits in the Old Gum Tree, with an Aussie accent. Molly said they were singing it wrong at school; so when I arrived in Port Townsend, the school was notified of a serious flaw that needed to be rectified in the music program. I taught them the right way, then they taught me their way, with shrieks of laughter, followed by a quick lesson on how to actually laugh like a Kookaburra! I also got to explain the inspiration behind Road Trip—to which Molly can verify because she was there. The children, without my encouragement, formed a conga line to the song, redefining for me what’s possible on the mountain Dulcimer. I am currently in Memphis, TN on yet another wonderful adventure into the back roads of the US. Hope to meet you somewhere along the way. - Adrian
Please do not reprint or redistribute without the permission. Contact dpn@dpnew.com
Olde-TYme Music Festival
downtown Hendersonville North Carolina
Saturday May 3rd 11-4 pm
Sunday May 4th
1-4 pm
Rain or Shine Free
Call Jan Hranek at (828) 692-8588 or e-mail missjan@brinet.com 200 Sweet Lane, Hendersonville, N. C. 28792 ews Dulcimer Players N 67
Festival Guide April 24-26 Dulcimer Jamboree and Workshops, Ozark Folk Center Mountain View, AR Instructors: Rick Thum, David Moran, Ruth Smith, Lois Hornbostel, Judy Klinkhammer, Larry Conger, Jeff Hames and Joe Collins. Contact: 870-269-3851 www.OzarkFolkCenter.com April 25—27 National Trail Dulcimer Festival 2008 South Charleston, OH Instructors: Butch Ross, Christie Burns, and Gary Sager. Contact: Dean Yoesting, 937-845-0846 or director@ nationaltraildulcimer.com. www.natinaltraildulcimer.com May 1—3 Southern Appalachian Dulcimer Association McCalla, AL Contact: Robert Angus, 205-987-7976 or raangus@ bellsouth.net. www.southernap
palachiandulcimerassociation.org
May 2—4 Branson Spring Dulcimer Social Branson, MOInstructors: Don Pedi and more! Contact: Cindy Muston, 800-338-2842 or mustoncompany@aol.com. www.musicmountaindulcimers.com May 9—11 Cumberland Gap Dulcimer Gathering Middlesboro, KY Classes, concerts, and jams. No fee. Contact: Terry Lewis, 276-861-2925 or terry@ terrylewisdulcimer.com
www.terrylewisdulcimer.com
May 2-3 Winston-Salem Dulcimer Festival Winston-Salem, NC Instructors: Karen Ashbrook, Paul Oorts, Jem Moore, Linda Brockinton, Joe Collins, Fiona
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McAllister, Wayne Seymour, Ken Bloom, Jeff Sebens, Marya Katz, Anne Lough, Ruth Smith, and Jeff Furman. Contact: Terry Lefler, 336-768-3918, musicfestival@ collegeparkbaptist. org, www.musicfestival. collegeparkbaptist.org
Rohl, Brian Bowers, Steve Endsley, Sherri Farley, Diane Ippel and Rob Williams, Ken Kolodner, Dan Landrum, Bill Robinson and Friends, Rick Thum, and Susan Trump. Contact: Robert Williams, 708-331-6875, webvizier@ gwdf.org, www.gwdf.org
May 3-4 Olde Tyme Music Festival Hendersonville, NC Contact: Jan Hranek, 828-692-8588, missjan@ brinet.com, 200 Sweet Lane, Hendersonville, NC 28792.
June 20-22 Historic Roscoe Village Coshocton, OH Instructors: Rick Thum and Bing Futch. Contact: 800-877-1830, www. roscoevillage.com
Bloom, Michael Fox, Lois Hornbostel, John Huron, Betty Smith, Mark Gilston, Susan Boyer Haley, Mike Anderson, Terry Lewis, Norris Bennett, Ron Ewing, Joel Paul, Will Peebles, George Haggerty, Joe Shelton, Elaine Conger, Paul Henderson, Homer Phillips, Phyllis & Jim Gaskins, and more. Contact: Bobby Hensley (registration/ housing) 828-227-7397, hensley@email.wcu.edu, www.dulcimer.wcu.edu
June 22-27 Kentucky Music Week May 17 June 20-22 Bardstown, KY Blue River Folk Music Chattanooga Dulcimer Instructors: Janita Baker, Festival Festival Cathy Barton, Mary Carty, Shelbyville, IN Chattanooga, TN Sara Elizabeth, Robert Force, Instructors: Cathy Barton, Instructors: Mark Wade, Bing Futch, Guy George, Tull Dave Para, Les GustoafsonStephen Humphries, Dan Glazener, Dave Haas, Jory Zook, and Larry Conger. Landrum, Christie Burns, Hutchens, Turner Hutchens, Contact: Renee Moore, Kendra Ward, Mark Gilston, Jeffrey Miller, Jim Miller, 317-392-3608, Renee@ Agene Parsons, Rick Davis, Donna Missigman, David blueriverfolkfest.com, www. Joe Collins, Butch Ross, Jeff Moran, Karen Mueller, Dave blueriverfolkfest.com Hames, Bruce Ford, Lee Para, Butch Ross, Stephen Cagle, Neal Hellman, Stephen May 30-31 Seifert, Shelley Stevens, Seifert, Ken Bloom, Randy Jubilee of Acoustic Music Gale Sturm, Rick Thum, Clepper, Fletcher Bright, and Lee’s Summit, MO and Susan Trump. Contact: Will Smith. Contact: Angie Instructors: Christie Nancy Barker, 502-348-5237, Landrum, 423-886-3966, Burns, Butch Ross, Dana KYTreefrog@aol.com, www. angie@dpnews.com, www. Hamilton, Princess Harris, kentuckymusicweek.com chattanoogadulcimerfest.com and more. Contact: June 25-29 Mike and Kay Connelly, June 21-27 Hill Country Acoustic Music connelly@kcnet.com, www. Northeast Dulcimer Camp jubileeofacousticmusic.org Symposium Kerrville, TX Blue Mountain Lake, NY June 6-7 Instructors: Karen Ashbrook Instructors: Lance Frodsham, Yellowbanks Dulcimer and Sue Carpenter. Other Ken Kolodner, Jody Marshall, Festival instrument classes as well. and Ken Lovelett. Contact: Owensboro, KY Contact: 830-896-5711, www. David Moore, PO Box Instructors: Peggy Carter, tacef.org 358, Annapolis Junction, Atwater Donnelly, Kara MD 20701, NDS2008@ July 6-11 Barnard, Jeff Hames, Bing nedulcimer.org, www. MD Week in the Futch, and Gary & Toni Sager. nedulcimer.org Shenandoah Valley Contact: Thelma Newman, Winchester, VA 270-684-1631, yellowbanks@ June 22-27 Instructors: Maddie bellsouth.net. Western Carolina University MacNeil, Janita Baker, Tull MD Week June 14-15 Glazener, Rob Brereton and Cullowhee, NC Gebhard Woods Dulcimer Traditions, and Ralph Lee Instructors: Leo Kretzner, Festival Smith. Contact: Jo Miller, Larry Conger, Linda Morris, IL 540-665-5442, jmille3@ Brockinton, Peter Tommerup, Instructors: Mike Anderson, su.edu, www.su.edu/cont-ed/ Paul Andry, Don Pedi, Bill Cathy Barton and Dave dulcimer.asp Taylor, Anne Lough, Ken Para, Gordon Bok and Carol
Festival Guide July 18-20 Cranberry Dulcimer & Autoharp Gathering Binghamton, NY Workshops for HD, MD, and Autoharp. Contact: CarolLynn and Gene Langley, 518-283-4769, clglangley@ juno.com, www.jonweinberg. com/cranberry/ July 20-25 Heritage Dulcimer Camp Parkville, MO Instructors: Princess Harris, Cathy Barton Para, Mark Wade, Maureen Sellers, Steve Eulberg, and Bonnie Carol. Contact: Sharon Lindenmeyer, 785-472-4285, slndmyr@carrollsweb.com, www.heritagedulcimercamp. org
Dulcimer Celebration Week John C. Campbell Folk School Brasstown, NC Instructors: Anne Lough, Medline MacNeil, Ray Belanger, and Rob Brereton. Contact: 1-800-FOLK-SCH, www.folkschool.org August 3-9 Swannanoa Gathering Dulcimer Week Asheville, NC Instructors: Terry Lewis, Stephen Seifert, Steve Eulberg, Lorinda Jones, Lois Hornbostel, Ken Kolodner, Dan Landrum, Jody Marshall, Bill Troxler, Stephen Humphries, and Bill Robinson. Contact: Liz Brace, Warren Wilson College, PO Box 9000, Asheville, NC 28805, gathering@ warren-wilson.edu, www. swangathering.com
Everything Dulcimer.com
D
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.
August 8-10 Gateway Dulcimer Music Festival Belleville, IL Instructors: Larry & Elaine Conger, Susan Trump, Doug Felt, Gary Sager, Mike Anderson, Al MacFarlane, Chris Tally Armstrong, Neal & Coleen Walters, Dana Hamilton, Rick Thum, and more. Contact: Sharon Hargus, 618-651-8271, hargus65@hometel.com, www.gatewaydulcimer.org August 8-10 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
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.
Spencer, and Gayle Sheets. Contact: Lucinda Durkee, 716-676-2260, radiantspirit@ juno.com, www.hotafest.org August 15-16 Little Rock Dulcimer Getaway Little Rock, AR Instructors: Wessa Boyd, David Patterson, Linda Thomas, Dan Delaney, Linda Brockinton, Joe Collins, Scott Odena, and Charles Whitmer. Contact: Jim Munns, 501-765-1131, jmunns@phbcir.com, www. arkansasdulcimersociety.com
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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 Autoharp Qarterly
21
Hill Country Acoustic Festival
19
Off-The-Wall
53
Backyard Music
39
Historic Roscoe Village
14
Olde-Tyme Music Festival
67
BB Hammers
59
Jeff Furman
21
Owl Mountain Music
56
Beth Lassi
71
Jeremy Seeger
59
Ozark Folk Center
57
Bing Futch
33
Joellen Lapidus
24
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59
Blue Lion Musical Instruments
24
John C. Campbell
inside front
Prussia Valley
53
Over 4” static free hog bristles set in a wooden handle. Comes in a storage tube.
Bonnie Carol
31
John Harris
51
Ron Ewing Dulcimers
27
Brett Ridgeway
12
John Kovac
71
Salient Music Works
39
$18.00 free shipping. Samples & disc. available to dealers.
Butch Ross
21
John Sackenheim
41
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35
Carey Dubbert
19
Joyful Noise - Bob Bedard
38
Shelby Arts Council - Blue River
Dandy Duster
Cliff’s Custom Crafts 43 York St., Bay City, MI 48708 989-892-4672 cliffscrafts@chartermi.net
Chattanooga Dulcimer Festival
7
Shelley Stevens
39
70
Lee Cagle
24
Shenandoah Dulcimer Festival
Coog Instruments
71
Linda Thomas
64
Stephen Humphries
43
David Moran & Joe Morgan
61
Little Rock Dulcimer Getaway
33
Stewart MacDonald’s
70
David’s Dulcimers
61
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71
String Fever Music
26
Doug Felt
59
Maggie’s Music
35
Sue Carpenter
43
Dulcimer Shoppe, Inc.
28
Mark Alan Wade
43
Susan Trump
51
Master Works
49
Swannanoa Gathering
8
inside front
inside back
Dusty Strings
65
Maureen Sellers
17
Talisman Music
71
Gateway Dulcimer Society
28
Mike Huddleson
61
Thistledew
35
Gebhard Woods Festival
67
Missigman Music
44
Western Carolina MD Festival
Glee Circus Music
72
Moons & Tunes
41
Whamdiddle
19
9
Music Folk, Inc.
39
Windy River Dulcimer
53
Greibhaus Instruments
15
Music for Healing
26
Wood-N-Strings
Harp Doctor
17
Musicmaker’s Kits
12
Yellowbanks Dulcimer Society
Helen Johnson
53
Neal Walters
31
Heritage Dulcimer Festival
61
Northeast Dulcimer Symposium
65
Gourd Music - Neal Hellman
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Kentucky Music Week
Cliff’s Custom Crafts
Dulcimerican Music -LarryConger
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Inside Back
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9 44
Classified Advertising Advertise in DPN Classifieds: Classifieds cost just 45 cents per word. All advertising is subject to approval. Send your ad to: angie@dpnews.com. We’ll email your invoice along with the approved text. Ad deadline for the Summer 2008 issue is May 15, 2008. 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. 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 ($25). Hammered Dulcimer Solos Volume 1 with CD ($22) and Volume 2 with CD ($25). Carrie Crompton, 11 Center Street, Andover, CT 06232. barolk@sbcglobal.net or www.carriecrompton.com. Cimbaloms. Large chromatic hammered dulcimer with pedals. New and reconditioned. Various prices. Alex Udvary, 2115 W. Warner, Chicago, IL 60618. www.cimbalom-master.com.
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. 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.
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
HYMNS for Hammer Dulcimer (10 hymns, 3 Christmas & 1 original tune) creatively arranged by Janet Harriman. $12 post pd. Order: 2956 S. Union St., Rochester, NY 14624 or JHComposer@AOL.com. Jerry Read Smith Grande Concertmaster, 4 1/2 octave, sitka spruce soundboard, builtin microphone, bought new in August 2005, absolutely gorgeous workmanship, sweet & beautiful singing tone. Case included. $3500. Call Beth at 281-480-8500, kytexbeth@ aol.com
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. ews Dulcimer Players N 71
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. Since 1950, Sing Out! The Folk Song Magazine has covered the world of traditional and contemporary folk music. Each quarterly 200-page issue 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. SUPERB Michael Allen / Cloud Nine 15/14 Hammered Dulcimer. Walnut / Paduak / Black WRC Soundboard. Main Street Case, Stand, Electronic Tuner, Hammers, Books. Total Value $1300 plus. Sell: $850. Jon Rudnick, (505) 989-8080, sjrudnick@comcast.net Wonderful prices 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.
“You put your dulcimer in the lifeboat before me. So yes, I’m a little angry.”
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Dulcimer Players News and
A progressive, three-day festival focusing on advanced techniques and rudiments (with plenty of time to have fun) for advanced players and beginners alike. Located just three hours away from both Cullowhee and Kentucky Music Week, the Chattanooga Dulcimer Festival is a unique opportunity to hone your technique while warming up for those weeklong festivals.
Get your festival season started right!
present
Instructors: Mountain - Joe Collins, Butch Ross, Jeff Hames, Bruce Ford, Lee Cagle, Neal Hellman, Stephen Seifert, Quintin Stephens, and Mark Gilston Hammered - Mark Wade, Stephen Humphries, Dan Landrum, Christie Burns, Kendra Ward, Agene Parsons, and Rick Davis Plus - Bowed Dulcimer - Ken Bloom, Bouzouki - Randy Clepper, Fiddle - Fletcher Bright, Autoharp - Will Smith Vendors: Master Works, Wood-N-Strings, Greibhaus Instruments, Mountain Music, Sweet Strings, Barryâ&#x20AC;&#x2122;s Embroidery, Susan Parry, Vander Woude, Quintin Stephens, Harp Doctor, Creek Hill Dulcimers, Cloud Nine Dulcimers, Jerry Read Smith and more!
www.chattanoogadulcimerfestival.com