Forum Activity for @strumelia

Dusty outlined the method well.  

One little detail though- if you are typing in "@" or hyphens when typing in their name, you should not do that-  just start typing their user name without  a @.  Don't put hyphens in either.  For example, for Dusty Turtle, I'd just start typing Dusty...and he would pop up as one of the choices of members who have "Dusty" in their profile name...and I could select him probably before I even get to the "ty" of Dusty.  I would not start typing @dusty-turtle, I'd start typing Dusty.

A couple of quick questions first Colleen-

Where was it being stored?- in a location that has different temperatures and humidity than your normal living areas?  If so, has it had time to adjust for a day or two?

Also, have you changed the tuning from what you were using a year ago?  Or have you put on new strings since last time you were playing it?

Ozark, there is also a large image picture on our Home Page which will take you right to the For Sale forum if you click on it:

Please follow the link here to check the public domain status of the Christmas carol you're thinking of posting on Fotmd...  Thanks!   

http://fotmd.com/strumelia/group_discuss/833/common-christmas-carols-are-they-copyrighted-or-public-domain

Thanks Patty, that was an old post, so I deleted it just now.  

Hi Ethany! -we have a Forum with various thread about how to do things on the site...and in it, there is a thread about how to send private messages:  http://fotmd.com/forums/forum/new-site-questions-how-do-i/14488/private-messaging-system-questions

hope this helps  

Hey don't 'shoot' the messenger!  

The chances that you are playing the more modern oldtime version of Angeline/Angelina are about 90% I'd guess.

When i looked through the Stephen Foster original sheet music, it seemed odd to me because I was so used to the modern version.  Doesn't quite do the 'expected'.

Here's a handy modern site with some basic Stephen Foster info and sheet music, lyrics:  Stephen Foster online songbook

These are Foster's lyrics:  Foster's lyrics   (gotta love the reference to a "wellumscope")

and here is the original sheet music:   http://levysheetmusic.mse.jhu.edu/catalog/levy:067.003

Here is my banjer friend Paul Draper doing an EXCELLENT job playing and singing the original Stephen Foster Angelina Baker as it was published by Foster in 1850, including the lyrics (and notice how "beat on the old jawbone" became "beat on the old banjo" over time).  Foster's version has a subtle edginess because of the way both the A and B parts have lines that end on a note that sounds unresolved and anticipatory...I just love how rich and alive it all sounds. By the way, Paul shakes a plastic bottle of aspirin for his percussion section   :

P.S., for what it's worth.... when I was fooling with my ocarina way back then, I did notice that various Christmas carols sounded very pretty and festive on ocarina.  It's that time of year now, so don't be afraid to try your favorite holiday/winter tunes.  

Terry, I'm afraid I didn't keep up with learning my ocarina.  I'd have to start all over from scratch again, and now I'm spending my 'learn new instrument energy' on learning the bones.  Sure wish I had three more weeks every month to just have fun and play everything I wish I could!  I'll be reading this thread though, to have vicarious fun from you all!  

This is all pretty cool.  Ok, so where are the vids of you all practicing and playing??  

Angelina Baker is the original tune as written & published by Stephen Foster in 1850.

Angeline The Baker is an oldtime tune/song that was clearly based on Foster's tune, but has evolved differently enough that I would consider them two separate tunes at this point.  If folks tried playing them together, it'd get confusing.

Both versions are 'traditional' - public domain.

Somewhere Over the Rainbow is a modern song that's under copyright, so one has to consider that when playing or distributing it.

Dave does have a membership here on FOTMD by the way, here is his profile page:

http://fotmd.com/dave-haas

Good for you Sheryl!   

First of all....Kimberly i'm so pleased to see you posting!-  I'm a big fan of yours.  

Rob has given some great tips already.

My 2 cents-   If you are 'leading' the jam you may have a certain short set list in mind that perhaps you have let the group members know about in advance.  Still, it's good to also allow folks to go around the circle at least once and be able to choose a favorite tune for everyone to play.  Two hours should certainly allow for all this.  

The important thing about that is that it can allow a relative beginner to start a tune they know, at a tempo that is do-able for them.  I feel that when someone at a beginner level chooses a tune, they should be allowed to have it NOT speed up.  I remember how bad i felt long ago at my very first club setting when I was a beginner player -- every single tune would eventually speed up so that I had to drop out.  I certainly understood this and everyone knew I was a rank beginner, but I looked forward to being able to start my one tune at my pace when it was my turn.  It was finally my turn to pick a tune.  I began the tune very slowly, as that was the best I could do.  Several more advanced players very quickly sped it up and half way through the first time through it, I couldn't keep up with my own beginner tune, and had to drop out.  That felt really bad.
As the group leader, you can prevent this from happening.   You could handle it by starting the jam with a welcome to the new beginners, and by assuring them that if they start their own tune slowly, everyone will follow and respect THEIR tempo and not speed it up.  Indeed, if others speed it up anyway, you can after the tune ends then say "OK let's play that tune one more time through but SLOWLY this time so we can all play together".

This is also the reasoning behind having some time set aside for a slooow beginner session or a beginner teaching help session.  No one should go home from a jam without being able to play through even one tune to the end.  A separate beginner help time would accomplish much the same goal, HOWEVER I still think it's important for seasoned members to be able to adapt to different tempos set by whoever starts a tune, and learn to not run roughshod over others simply because they themselves 'can' play everything fast. Playing well in a group is a SKILL that requires the ability to adapt to others in order for the group as a whole to succeed and sound good, after all.      Tunes can be at varied tempos...some can be expressive and slow while others can be fast and lively.  Then everyone can have a good time!

Two hours can get eaten up pretty quickly by pre-socializing, late arrivals, announcements, tuning issues and broken strings, book/stand/chair shuffling, and misc talk.  If you add a half hour of slow/beginner help, I think it should not be a part of that 2 hours, but rather come first and be in a different spot to the side if possible, to discourage seasoned players from joining in or disrupting it.

Tom Strothers has now fixed the online string calculator...yay!  It's working again at:

http://strothers.com/string_choice.htm

When i was first trying to play 'folk' music in a jam setting, I would take my little mandolin (I was not very good on it) to a night 'adult education' folk jam at a nearby community college...this was round about 18 years ago.  (seems like 100 years ago now) The jam was hosted by a biology professor there, who would bring his guitar.   There were Bunson burners and bottles of creatures in formaldehyde, and we all sat on lab stools.  There were mostly guitar players.  

One week, he brought an instrument I knew nothing about... but when he played it (Hang me O hang me) I thought it sounded like pure Heaven.  After the jam I asked him about it and he showed me how easy it was to begin playing, and I  had to get me one.  I knew nothing about the history or traditions of the dulcimer, the sound just really blew me away...there was something primal and pure about it.

At home I got on my then-first computer (windows 95, dial-up, blue screen of death...) and learned everything I could about mountain dulcimers before I made any decisions to buy.  After researching reliable makers, i ordered an all walnut hourglass McSpadden with a scroll head.

When it arrived, I got learning materials (which all seemed to be for DAd chord playing) and I happily began to learn to play. It seemed to me that McSpadden had a voice like an angel .

Later on, My younger teenage daughter began to play it too, in fingerpicking style.  She sounded so marvelous that I gave her my McSpadden and that's when I ordered my Keith Young teardrop.  My daughter took the McSpadden with her and now she's 34 and still has that walnut dulcimer, though she doesn't play anymore.  Maybe she will again one day.   

Many FOTMD members currently have just one dulcimer- their first one.  Perhaps they having only been playing for a week.  Others of us have more than one dulcimer, have been playing for many years, and we may or may not still own our first one.

Well I'd like to hear from everyone  about their very first mountain dulcimer - whether you got it last week or 50 years ago.  What kind was it?, how/why did you get it?, and do you miss it or still own or play it?  What were your feelings about that first dulcimer?

-Please don't tell us about or list your other dulcimers (I'll edit or remove posts about people's dulcimer collections or later dulcimer acquisitions).  Please, I'd like this thread to have only member stories about our very FIRST dulcimer.

Don't be afraid to sound sappy, sentimental, or bitter!       All I ask is that we be respectful of people's names and reputations.

Tell us about your first!

Ozark i just tried the strothers calculator and I believe it's currently not functioning.  I sent them a message about that.  Please see my recommendation for you in the beginners group where you asked this.  

We have a new feature added to our Groups function- something that folks have been wanting!

As it has always been , when you join a Group you can click the 'Follow' button in any group discussion so that you will receive a notification when there is a new post in that discussion .  Thus you can pick and choose which group discussions you want to keep updated on.

But members worried that unless they visited the group often, they might not be aware of when a new discussion started in a group, and they might miss out on something that interested them.

Well now we have a new added button that allows you to also 'follow' a group's discussion area so that you'll be notified when a new discussion is created as well!  -then you can go check out the new discussion and decide whether or not you want to 'follow' it.  

You will no longer miss any of the 'action' in your favorite Groups!     Hope you all enjoy this new feature.

Needless to say, you'll need to be a member of a group to be able to follow things in that group .  You'll also need to have your notification settings ON in your profile Settings --> Notifications TAB...if you have them turned to OFF then of course you won't be getting any notifications at all.

Here is what you will see now on the Group's page if you want to get notified of NEW discussions in your favorite Group, OR if you want to get notified about a new post in a particular group discussion:

Beating the straws, beaters, fiddlesticks,  ....it's an old fiddle percussion technique.  No need to associate it with anything negative, any more so than beating a drum.  Here's a great thread on fotmd about it:

http://fotmd.com/forums/forum/general-mountain-dulcimer-or-music-discussions/4572/fiddlesticks

 Shawn, try going to your profile page, and then hover over your name link at top right to view the drop-down menu, which should include "Groups I Belong To"- there you can see a list of the groups you are a member of.  If you don't get that menu item, try refreshing the page.  The Groups you are a member of does not show publicly on your profile.

Woot, I enjoyed all of those videos, thank you for making and posting them.  

It's funny how one can get some good deeper tones when the 'thumb-side' bone is held a lot more UP than the far bone....but it seems the result is always poor when the thumb-side bone is held a lot lower than the other bone.

I couldn't understand a lot of your words in the videos though, because your voice was too soft and low.  Can you tell me more about those very dark and flat ones you were demonstrating?

P.S. it was nice to see you!

The holiday season is fast approaching!  Here's a timely reminder with a link to some common holiday songs that are copyrighted or public domain: common-christmas-carols-are-they-copyrighted-or-public-domain

Good one Dusty.  

Also, try 1 up, 1 down, like Cuffy does here: 

Wow, i'm so happy we have a little group of us now here having fun learning to play!

Helen, though the grooves help keep the bones from sliding out of your hand slowing while playing, I think as yuo get better you may find you don't need them.  The advantage of not having grooves is that you can more easily change the positions of the bones experimentally, and you will find that this changes the tone and volume more than anything else- more than the type of wood even.  I have several different types of wood bones, and any type I can make louder or softer, crisper and ringy or dull and mellow- simply by changing their position in my hands.  Try experimenting a lot with that.

Yay!

Sheryl-  haha you got me on that one.  ;D

One would have to used UNWAXED floss, and any filament or hair would need to be rosined up I think.

I always get my biggest callus right at the tip of my longest middle finger.   I laugh because when I recently got into my bones playing frenzy, I actually got a small callus started on the side of one of my fingers where the bones rub against it. 

I would think she could test out the switch before actually buying a left handed dulcimer by flipping the dulcimer around and just going through the motions of making chords and strumming in her opposite hands...without paying attention to any 'wrong' sounds that result in the test.  The question would be if she can make and hold down chords with her hand that has tremors.  One other thing to keep in mind is that it's a little harder to resell a lefthanded dulcimer than a normal one.

I would think a large flexible pick made from cutting a big triangle out of a stiff plastic deli container- try the side, the bottom, and the lid for different stiffnesses.

I know our wonderful FOTMD member Lexie might be able to give some excellent advice here- i hope she jumps in! 

Thanks so much, Tumbleweed.   :)

Wout said:

"My ten years old son just hides my bones, but I have a rather large collection."

That reminds of the joke:  "Our parents moved around a lot when we were growing up. But we always found them."   lolol

Notice how Happy Birthday doesn't even have a "B part"?   ...'cause the candles are melting and so is the ice cream, so hurry it up! 

My upstairs office is directly above Brian's downstairs office.  For bones practice, I'm supposed to go in the other upstairs room to cut down on the racket...oops I mean rattle.   And 10pm is the bones curfew, which I think is quite reasonable.   lolol

Hey I'm just happy to have other bones nuts to talk to!

That's GREAT, Sheryl!   A practice buddy!!!  

Hmm...wondering if you could tune your bass and melody strings down a bit to C (middle string up to C), and then use a pencil or dowel to make barre chords across all your strings, and just play the melody if the songs are following a familiar structure, or else find your three I IV V main barre chords that match the tune's key.  Might not take long to figure out the key, and by knowing your zero fret is C, you can find the tonic barr chord right away and you're in business.  This could work fine especially since you have the 1.5 and 6.5 frets.   It'd be less to think about, no chord fingerings to keep remembering and switching, and might work well for that unusual situation, surrounded by key-changing guitars all night. 

Another option is to tune to CGc and do the same, making barre chords after you locate the tonic location for each tune they play.   Doing from the home base of C would be easier to calculate on the fly than starting in D on the open strings.

Life-altering game changer in all my music playing, on any instrument, has been two pronged
...and for me they've gone hand in hand:

-discovery of dronal tones and older intervals and dissonances...and how they can move me to my soul.

-embracing rhythm/beats/percussion as an equally important aspect (if not most important) as notes or melody in my music making.

Bob, you and your son are totally rockin!     Yayyy...we both met the challenge! 

Sheryl, we did about six takes for this video.  This one was the last take, and the only one where I couldn't resist putting in that final 'last word' click 'cause the silence was deafening... which made us both laugh. 

Tom, the lucky break of Dom actually coming to our town inspired me to try yet again with the bones, and this time it began to 'take'.  I love that we all inspire each other!

OK Bob, now you have to put yor money whar yer mouth is!:

-still rough, but I'm happy to be at this stage after two months of steady practice...lots of room to improve going forward!...

http://fotmd.com/strumelia/youtube/1797/bones-practice-with-fiddle-sept2015