Forum Activity for @gwen-caeli

Gwen Caeli
@gwen-caeli
05/06/16 09:54:28PM
3 posts



Got to be some shared chromosomes there, Strumelia!  Figured that in 7 years there would be enough player turnover that the topic should be revisited - it is important.  The post originator, Bill D., emailed me on a different dulcimer topic this morning and I ran across this old thread, so thanks, Bill!  

I am a strong believer in understanding the historical context of any of our music - if we do not look at where it came from and why it grew to popularity at that point in history, then we are just playing symbols on a piece of paper without any emotional involvement that gives us the key to unlock how a piece of music should be played.  The only way to 'get' old-time music is to wrap our heads around it and tie it up with our ears in a bow!

Gwen Caeli
@gwen-caeli
05/06/16 08:24:44PM
3 posts




In my experience, “old time music” is a very distinct type of American homegrown tradition that includes use of certain instruments – typically clawhammer or folk banjo and fiddle. It is called “old-time stringband music” by my friends that play in old time bands.  Instrumentally, old-time is rhythmic, danceable music that is easily identified after spending time with it.  Vocally, old-time is often sung with humorous words (think Uncle Dave Macon on earliest Grand Ol’ Opry). Other traditional music genres sometimes cross-blend into these established “old-time” tunes, but are not defined as “old-time music” – early country, bluegrass and contra-dance music.  In my research, the old English cross-over ballads, country(contra) tunes, Child ballads, Morris dance tunes, old Irish and Scottish tunes were an early step in the progress of musical styles, but “old-time” music came much later in history.  They are old, yes, but not “old-time”.  

To understand the distinct genre of “old-time music”, one must develop an ear for what it is – requiring listening and absorbing yourself into that distinct music culture.  I like this documentary of Clifftop, one of the most popular old-time festivals

.  Sometimes “early country” can be construed as “old-time”.  I recently did a workshop on this for dulcimer – the music born from Atlanta’s famous fiddle conventions from post-Civil War times into the 1920-1930’s, as plantation workers and freedmen moved to the textile mills in the city, around which time early field recordings were done. With the advent of radio and the vast number of early 'hillbilly' musicians, Atlanta was destined to become America’s music capitol (Nashville won out!).  This was the heyday of early country musicians like Gid Tanner and the Skilletlickers (Tanner homeplace is six miles from me), Fiddlin’ John Carson and his daughter, Moonshine Kate, Georgia Crackers and many others. (Dulcimer tab from this genre and two sound files for “I’m Growing Old and Feeble” (Little Old Log Cabin in the Lane) is on the free tab page at www.gwencaeli.com .)

Instead of thinking of my favorite old-time songs, I think of my favorite legendary old-time musicians and study their music to develop my old-time ear - like Melvin Wine, Lester McCumbers, Clyde Davenport, Tommy Jarrell and all the musicians from the Round Peak area in North Carolina, Emmett Lundy, Fiddlin’ Arthur Smith, Estill Bingham, Pug  Allen, Charlie Poole, etc. 

My favorite "second generation" old time musicians that keep the tradition alive are Mike Seeger, Bruce Molsky, Rafe Stefanini, Brad Leftwich, Ira Bernstein, David Holt, Bruce Greene (Don Pedi’s dulcimer recordings are mainly old-time Kentucky tunes learned from Bruce) and Jere and Greg Canote (listen to their old-time music at http://stringband.mossyroof.com/ ).  

Some of my favorite old-time tunes:

  • Step Back Cindy
  • Sally Ann
  • Drunken Hiccups
  • Angelina Baker 
  • Fly Around My Blue-Eyed Gal
  • Camp Meeting on the Fourth of July
  • Old Yellow Dog Come Trotting Through the Meeting House (on my “Hoe the Corn!” Appalachian/OldTime CD)
  • Sail Away Ladies
  • Oh, My Little Darlin’
  • Reuben’s Train
  • Knoxville Girl
  • Pretty Polly (also on “Hoe the Corn!” CD) . . .and about 200 others!
Gwen Caeli
@gwen-caeli
05/31/15 06:21:40PM
3 posts



Yep! Ken is right on - he is so musically gifted! A way to think about it is, when you place your capo on fret 3 for the key of G, that now becomes your new "0" fret. Go on up to the next fret "4" which now becomes your new "1" fret, the next "5" fret becomes your new "2" fret, etc. Just know that now you will play fret "6", not the "6+" as in the standard DAD scale played from fret 0. But, your ears will tell you that when you strum the scale! Just know that if you find written dulcimer tab in the Key of G, it will use a "0" number for the third fret and the other fret numbers will be same as without the capo - i.e. "0, 4, 5, 6, 7".

A capo is my best friend when I play with 'hotdogging' bluegrassers, as I have to be prepared to quickly get to different keys. Key of G is their favorite, until some fiddlers show up for Key of A. For keys that I can't get to without retuning the dulcimer (C, F, B flat) I will play partial backup chords or hit the dessert table!

Have fun with it!

Gwen