Forum Activity for @dusty

I have so much to say about this, I'm not sure where to start.  @ocean-daughter, I will address your issue of "making the notes sound connected" in separate comments, since I have too much to say about virtual festivals.

Just last night was the inaugural event of the virtual dulcimer festival of the Dulcimer Association of Albany.  There were no workshops, performances, or jams.  Instead, it was just a kick-off Zoom session, when anyone who wanted to joined in to say "Hi." It was a two-hour event, and at its height about 40 people were in there just chatting away.  That is only a little more than 1/10 of the number of people registered for the event, but it shows, I think, one of the main reasons we go to dulcimer festivals: camaraderie.  We attend dulcimer festivals as much to meet other dulcimer players as to get formal instruction on playing. This is important to remember, especially for festival organizers.

I had the good fortune of being part of the first ever online dulcimer festival, the Berkeley Dulcimer Gathering. That event happens in May, and it was the first festival last spring to choose to go on Zoom rather than just cancel.  Although I would like to think that the workshops were successful (especially the couple that I taught! ) our main success, I think, was structuring in lots of time for people to just hang out.  There was a homeroom (meaning a Zoom link) where we all met in the morning just to chat and go over some festival logistics, but it was consciously treated as a social experience.  The "homeroom teacher" was Erin Mae, and two or three times she broke us into small groups of 5 or 6 and put us in little breakout rooms so we could interact in a more intimate settings. We talked about where we were from, what instruments we were using that day, and so forth.  After the morning workshops we again met in the homeroom for a lunchtime Q & A, when people could just ask questions of others.  Some asked questions specifically of certain instructors and some just posed questions to the group at large.  But some really interesting conversations ensued.  At the end of the day of workshops, we met again in the homeroom for a song circle. And throughout the day, the homeroom was open for anyone who wanted to pop in.  During one slot when I was not teaching I joined the homeroom to see how Erin Mae was doing and there were a handful of people there just chatting.  One of them asked me a question about a particular technique I used in a video I had posted, and rather than inflict our conversation on everyone else, Erin Mae put us in a breakout room where we could have a private conversation, after which we just clicked into the homeroom again.

These kinds of informal interactions are an essential part of the festival experience, and we have to work on ways to incorporate them into virtual festivals. It takes a little work, and it is not exactly the same as sitting next to someone, but if virtual festivals are going to strengthen the dulcimer community and not just help us become slightly better players, they are essential.

So that community building, that room for social interaction is, IMHO, what's missing from many dulcimer festivals, especially the biggest ones.

What do the virtual festivals do well?

First and most obviously, the virtual festivals provide support for dulcimer teachers.  How many of them freaked out a year ago when all their gigs got canceled? The online festivals have allowed dulcimer teachers and performers to continue as musicians and not take jobs driving for Grub Hub or whatever other jobs might exist in the middle of a pandemic. Many of them have adapted quite well to the virtual world and have started offering a range of different kinds of workshops and interactive concerts and stuff.  Just last night night, Aubrey Atwater, who had never used Zoom before the Dutchland DulciZoom festival last summer, proclaimed "I will never be without a gig again." When she has an open date, she can just prepare a workshop or concert or some other kind of online event, put the word out, and easily get enough people from around the world to make it worthwhile.

And that brings up a second great benefit to both teachers and players: the lack of geographical boundaries.  I have a job.  And I have a family. And I don't have a lot of time or money.  I would never have been able to drop my responsibilities and fly to Albany, NY to join the Dulcimer Association of Albany for an in-person festival. But I can click a Zoom link and join with others from around the world.  @ocean-daughter has joked that she has "been" to Florida and Georgia for virtual festivals. I, too, have "been" to Pennsylvania and New York and LA and elsewhere for virtual festivals.  I have been able to meet dulcimer players that I would never be able to meet any other way.  

My own local dulcimer club is also no longer local.  Although we started with those who had been meeting in person, more than half people of those who join my online group monthly come from some distance away, from Tennessee and Oregon, Texas and Maine, Ireland and New Zealand.  One woman told me that she lives in a pretty desolate area, is not fully mobile, and had never been able to attend a dulcimer group or festival in person.  But she joins our group every month and is having a blast.  And when the North Georgia Foothills folks asked me to teach at their next virtual festival, they explained that many of their 400+ members have "aged out" of in-person festivals, meaning they have reached an age when traveling to a state park or other location, carrying around their instruments and music stands, and so forth, is too difficult. But they can sit down in their living room and turn on their computers.  So a third benefit of virtual festivals is that they include people who could never attend in-person festivals.

By the same token, they can allow workshops on pretty esoteric topics, a fourth benefit.  At a local or regional dulcimer festival, workshop teachers have to come up with topics that enough people will find interesting.  When I proposed a workshop on Songs of the American West (I thought I was clever and called it Dulci-Ki-Yi-Yo), Neal Hellman, the festival organizer, expressed skepticism that I would garner enough attendees.  But once the decision was made to go virtual, the question of popularity disappeared.  In the end, the workshop got plenty of attendees to run (although my workshop on Irish ballads had twice the enrollments).  That concern Neal expressed does not exist with large virtual festivals since the pool of potential attendees is so much larger.  I took an advanced workshop taught by Bill Collins on Icelandic tunes.  The music was pretty strange, I have to say, and I doubt that such a workshop would draw many people at a regional dulcimer festival.  But we were online, so he was able to garner enough people from around the world to make it worth it. Workshops on bizarre tunings (beyond the main 4 or 5) or specific, niche techniques, or some little known corpus of music might be hard to justify at regional, in-person festivals, but they can thrive online.

A fifth and final advantage of online festivals that I'll mention now (the list goes on, of course), is that everyone has a front-row seat.  Perhaps you've seen how Stephen Seifert teaches his online workshops.  He uses three separate cameras. One shows a line or so of tablature, and one shows a close-up of his face.  But the main part of the screen shows an overhead view of his dulcimer fretboard, so you can see exactly what his fingers are doing.  If you've taken an intermediate workshop with him live at a big even such as Kentucky Music Week, you most likely had to sit so far away from him that you could barely see his fingers. I only use two cameras when teach online, one on my face and one angled from above on my fretboard, which I also flip around so you get the "player's view."  I made that last adjustment at the request of students who love to see the dulcimer on the screen exactly the way it looks on their lap. The wonders of technology make it appear you are behind me with your head resting on my shoulder with a close-up view of the dulcimer, and yet, you might be thousands of miles away.  What a world we live in!

I'll stop now. I've outlined a major piece missing from the large festival (the social experience) and highlighted several of the obvious advantages of virtual festivals.  A big question confronting us all is what things will look like when we can gather together again.  How can we enjoy gathering in-person without excluding those unable to travel to the location? Will regional, in-person festivals disappear as they're getting used to the extra registrants and the lack of venue costs? What will hybrid dulcimer festivals look like?  Will our venues change from churches and community centers to conference settings better equipped with wifi?  Will workshops join together people live and people online or will there be separate in-person and online workshops at each festival?  

Good idea. I think it will be an active discussion.  I was tempted to do start one myself, but it was your idea!

That's great news, Ken.  We're all delighted to hear it.

So can you help me move this weekend?

Lisa, this YouTube video shows a Mize dulcimer purchased in 1992 that has the same tuning pegs as yours.  I think they are original. 

About twice a year I treat my dulcimers to a rub down with Howard's Feed N Wax. The stuff is inexpensive and you can get it at any hardware or home improvement store.  Here is Bing Futch demonstrating how he treats his instruments with the stuff.

If this were my instrument, I would clean it up, add the Howard's, and then put on new strings. I bet it will sing!

I agree with John.  Those cracks do not look serious at all. They might have been caused by excessive aridity.  Does the wood feel dry to you?  Perhaps you could treat the whole instrument with some Howard Feed N Wax.  I bet you it will help rejuvenate the wood.

Good point, @strumelia.

@ocean-daughter, you might want to check out the Festival Directory maintained by Dulcimer Players News .  It lists nearly all the upcoming dulcimer festivals, most of which are online at the moment.

Once again, Ocean Daughter, I want to commend you for thinking about this issue rather than just posting somewhere arbitrary.

You are right that FOTMD works very differently than Facebook, which often centers on a constantly scrolling stream of recent posts.  We do indeed try to organize things here so that people can find material (hopefully) rather easily.

There is in fact a listing for the DAA virtual dulcimer festival in the Festivals/Gatherings area. You can find it here .  However, you'll notice that other than a few comments I made, little discussion is found there, and that listing will disappear a few days after the festival ends.

If you want to start a a general discussion about the good and bad of online festivals or something like that, I would suggest using the General Mountain Dulcimer or Music area in the Forums. But if your question is really specific, like what kind of equipment you need to be able to take part, you might consider joining the Technology/Software/Amplifying Group and starting a discussion there.  Note in general that we have lots of groups on specific interests, but you can only see the full discussions there if you join the group.

And just to warn you, I have taught at a few online festivals and attended a few as well, so I will likely join your conversation wherever you post it.

Hi Ocean Daughter.  Many people--especially those new to the site--would just start a new thread, not bothering to look to see what people have already discussed, so I applaud you for even noticing that there are many older discussions that are still relevant to our concerns today.

My suggestion would be to tag onto an older thread if that discussion is really close to your own. We don't need a dozen discussions all about how to avoid pick clack, for example; one will do.  And one advantage to adding to an older discussion is that everyone who took part in that original discussion will be notified about your comment, so you are likely to get responses pretty fast.  And don't worry about how long ago a thread was active. You can rejuvenate it!

But if your topic is is just loosely on the same general subject as an older thread, then you might start a new one.  Too many discussions start on one topic, a topic clearly identified in the subject line, but then people tag on semi-related comments, and the discussion meanders too far from the original idea.

Either way, once you post your comment will show up on the main Activity Feed so people who log on will see it.

Wayne's a lefty! Patricia, I've been looking at the picture of your McSpadden "courting" dulcimer and trying to figure out why you don't just call it a double dulcimer since both fretboards go in the same direction.  Then I remembered: Wayne's a lefty!

That looks like a beautiful dulcimer, by the way.

And I've really enjoyed the last couple of episodes. Each one is a gem.

No surprise that the daughter of a beekeeper became an entomologist.

I like the gnarly roots of the Ginseng ficus, too, but I wasn't sure my daughter would. And yes, that was Bubbles's favorite gift this past holiday season, although she thinks that makes her a nerd.

The one I got my daughter is also a ficus, specifically a Golden Gate ficus, which is a variety that does well indoors.  It came in a ceramic pot and was packaged in a remarkably careful manner such that not only were the plant and the pot protected, but the soil was held in place as well.  I got it from an outfit called Brussel's Bonsai.  I see they sell a Ginseng grafted ficus as well.

My teenage daughter has filled her bedroom with plants during the pandemic.  She currently has over a dozen in there. And its a small room.  Some are on the floor.  Some hang from the ceiling.  Some are on her desk.  Some just sit on top of books.  Since she attends school via Zoom from her room, I think they offer some comfort to her and liven things up. 

Although we complain about going stir crazy, it's nothing compared to what folks have to deal with in places that get a real winter. We still go outside nearly every day to do yardwork, walk the dog, or just go jogging.  But still, the houseplants help brighten up the space where we all go to work and also enjoy our life.  One of the plants is a small bonsai I got her over the holidays.  It seems to be doing well so far.

The noise from straps might be as much a function of the instrument's finish as it is the strap itself.  My main dulcimer strap makes no noise on most of my dulcimers, but the one I'm playing right now has all kinds of squeaking from both ends.  If I want to record something I have to shove a piece of cloth in between the leather strap and the dulcimer to quiet the noise.

Venni, how to start will depend on a few things, most notably whether you have any experience playing music.

I would suggest you start by tuning to either DAA or DAd (check out Get Tuned for help) and then just trying to pick out melodies on the melody string (the string closest to you when you lay the instrument on your lap.

And yes, the Beginner Group that Robin points you to is the place to start here at FOTMD.

There is tons of beginner stuff available here at FOTMD and elsewhere online, and there are also lots of beginner instruction books available.  If you want formal lessons to help you get started, there are lots of folk who give lessons via Zoom or similar platforms. But nothing can beat just exploring the instrument on your own and watching lots of videos of other people playing.

He describes what musicians do as delivering 'the pleasure of sound."  That's a nice concept.

Thanks, John.  I like that a lot.  Did you come up with that yourself or is that some ancient Chinese saying or something?

Other points in response to others:

@dan, isn't it interesting that even around the turn of the twentieth century, the dulcimer was viewed as a disappearing instrument that represented a romanticized past?  The dulcimer had only been invented a few decades earlier and was already seen as 1) very old; and 2) disappearing.  Both assumptions were wrong.

@sgarrity, your experience at Quarantune mirrors my experience when I first attended a dulcimer festival. I had only been playing a few months and could not wrap my head around the diatonic fretboard.  But because I had played other instruments, I did not need instruction on how to strum or how to fret the strings.  It was really frustrating to find a workshop that fit my abilities.  But those in-person festivals had something that Quarantune lacks: a chance for socialization. In between workshops, during lunch, and at the end of the day during the long jam circle, I was able to just meet other people, learn about their different playing styles, ask questions about the various instructors, and more.  Quarantune lacks the social networking that is usually the most fun part of in-person festivals.  There are ways to approximate that social experience at online festivals, though perhaps not at festivals as large as Quarantune.  Anyway, to your original point, now that I teach workshops on my own, I often attend workshops not expecting to learn some new technique, but to see how other people teach.  Most dulcimer players very quickly become informal teachers, as the many discussions here at FOTMD demonstrate.

@ken-longfiled, your experience is similar to mine. My monthly dulcimer club has grown online, but by picking up experienced players from around the country (and even a few from overseas) rather than gaining any newbies.

There are ways to approximate informal social interactions at online dulcimer festivals. Some of the smaller, regional ones have been doing this.  At the Berkeley Dulcimer Gathering we thought very hard about how to do this. We had a Zoom "homeroom" where everyone gathered in the morning for informal chitchat, and Erin Mae Lewis was the "homeroom teacher."  She broke us into smaller groups of 4 or 5 and let us interact a bit.  I think that happened three times, so everyone got a chance to meet some of the other attendees.  Then we also gathered in that same space at lunch time for an open forum when people could ask questions or just make comments.  And at the end of the day, we gathered in the homeroom for a "jam" which, because of the limits of distance technology, was more like an open mic song circle, with different people taking turns playing songs.  Others could play along, if they wished, and I certainly did.  That homeroom was also open all and each time I popped in there were a few people chatting.  At one point someone asked me a specific question about how I played a tune, and Erin Mae just moved us into a private room so we could have our conversation without forcing everyone else to listen to us.  It's certainly not the same as being able to sit down with someone with dulcimers on your laps and share music, but I found the social interactions--even online--to be the most gratifying part of the event.

Thanks, everyone, for your thoughts on this.  Perhaps I should have specified more explicitly that my concern is about recruiting newbies while our festivals and club gatherings are online.  I agree with many of the suggestions about setting up booths at other kinds of musical events, and we should do that once social distancing guidelines are no longer needed.  But when we were able to meet in person, every festival I've ever attended had a decent crop of people who had never played before but were given a loaner instrument to use for the beginner workshops.  Some of those people became enamored (as are many of us, I assume), eventually buying their own instruments and joining the community.

When my local dulcimer club was meeting in person, I almost always had a least one newbie every month. I specifically offered the first hour for a free beginner lesson, which allowed us to incorporate new people. I would always bring an extra dulcimer for them to use, too.  Since we met at a music store there were often people who would see me setting up or playing a tune and ask about the instrument. I would sit them down, put an instrument in their lap, and show them a tune.

As my original post explains, similar spur-of-the-moment decisions could get newbies to come to festivals. I remember one newbie who borrowed a dulcimer I had brought as a loaner, completed her first workshop, and then asked me if she could buy it from me.  I didn't sell it to her, but pointed her to a table where there were indeed dulcimers for sale. She bought one and is now a regular at regional festivals.  That kind of experience could happen with in-person festivals, but it is not apparent how to replicate it online.

If we are all isolating at home and not interacting in music stores or town squares or the campus quad or the local coffeehouse, how can we reach people?

My fear is that the large, successful dulcimer festivals like Quarantune are great for providing the professionals an opportunity to make some money, which they badly need given the lack of gigs, and for allowing the many existing dulcimer enthusiasts to share their love of this humble instrument. But they do not appear to be good vehicles for the recruitment of newbies. Only people who already know about the dulcimer and already have an instrument would even know to register.

I've got to go now to send out an email about my dulcimer club's meeting later this month.  No newbies will be getting my message.

@strumelia and @robin-thompson, you both may be correct that many small dulcimer festivals were struggling before the pandemic.  Especially if the organizers were growing older, it would be understandable that if no one else took over, the festivals would have to shut down. 

But the two annual dulcimer festivals that I had been a part of were growing slowly each year over the last 10 years.  And each year there were a certain number of people who showed up having never played a dulcimer before and needing a loaner.   Their new-found excitement really energized everyone.

But the online festivals mostly lack those newbies.  It is one thing to sit someone down, hand them a dulcimer that's already in tune, and show them how to play a few simple tunes.  It's another to convince them to get a dulcimer, find a comfortable spot in their home, turn on Zoom, and trust that you'll be able to teach them.  The online festivals require a level of planning that mitigates against the recruitment of newbies.  I recently heard from the Dulcimer Association of Albany, which is holding its annual festival online next month.  All the intermediate and advanced classes are full but there are plenty of openings in the beginner classes.  Hmm ...

My monthly dulcimer club used to start each month with a free, one-hour, beginner lesson.  Almost every month one or two people would show up who had never played before. And after the beginner lesson, our group play would start with more accessible tunes, so the beginners could play along, at least a little, and become part of the group. But now that we are online, I don't hear from beginners at all.

I wonder if we should start advertising dulcimer festivals on banjo and fiddle and native American flute sites or elsewhere online where we might start that spark in potential players. Then perhaps we could set up a network of people around the country willing to loan a dulcimer to people who want to give it a try.

At most dulcimer festivals, beginners--even those who had never held a dulcimer before--represented a decent minority of those in attendance.  I once convinced a stranger to come to a festival after she saw me walking down the street with a strange instrument and asked what it was.  On another occasion, I was driving to a festival with a friend who convinced her daughter to join us. When we picked up her daughter, we convinced her roommate to come, too. Both of those were spur-of-the-moment decisions the morning of a festival.

On a few occasions I've taught the rank beginner classes, what I call "Mountain Dulcimer 101" but what @steve-eulberg calls "String Side Up." (Steve is obviously far more clever and humorous than am I.)   At the Berkeley Dulcimer Gathering we always made sure to have a beginner track, so newbies would move from the rank beginner class into a second class on beginning repertoire and then perhaps an introduction to basic chords or something like that.  I always felt great pride in helping someone who had never played before realize the joy of making music.

But now that so many festivals have moved online, the presence of beginners has decreased enormously.  Are beginners the roadkill on the dulcimer's cyberspace highway?  A quaint relic of a pre-digital age?

Obvious obstacles exist.  Beginners have to plan ahead of time to register and get an instrument.  We can't just pull them off the street and put dulcimers in their laps.

It would be easy to assume that when the pandemic is over, dulcimer festivals will go back to the way they were, with everyone gathering in the same place at the same time.  But I doubt that is the case.  Smaller festivals have been able to reach a much larger audience by going online, and at the same time they've saved money by not having to pay travel expenses and rent venues. And many attendees at online festivals are not the same folk who attended live festivals, but because of location, mobility or other issues, they can only attend online.  I moved my local dulcimer club online, but now at least half of those attending live thousands of miles away and have urged me to continue with an online gathering even after we can meet in person again. We have found new dulcimer players in our move online, but we seem to have lost access to beginners.

Online festivals are here to stay. I see our biggest challenge to be recruiting beginners. 

So . . . what can we do to recruit beginners to dulcimer festivals and other online gatherings? 

I am sure that people who can explain the difference between the aeolian and the ionian modes should be able to come up with some ideas.

I eat with unamplified spoons. Will that get me on TV? 

The solid body electric dulcimer played with a noter is a nice juxtaposition of tradition and modernity. Like talking on a cell phone while riding a horse-drawn buggy.

Interesting that they take a break from music to put some fretwire into a fretboard.  I can't imagine that on American TV.

It's too bad about the typo, David, but there would have probably been a mistake somewhere no matter how many times you edited it. 

I was really impressed with Ashley when I worked with her last year.  DPN is in good hands.

Perhaps the black stain makes it resemble the Thomas dulcimers, but according to the article, @Dan's 9-foot dulcimer is "partially patterned on John Mawhee's dulcimore."  One obvious modern element is the machine tuners, since wooden pegs would never be able to handle the tension of such long strings.  

Woops!  I see Ken beat me to a response. I guess his coffee is better than mine.

Great article in the February 2021 issue of Dulcimer Players News by @david-bennett about @dan's 9-foot long dulcimer.  Nice work, guys!  Everyone should give it a read.

Perhaps this metaphor will work.  Imagine your first time ordering a steak at a restaurant. The waiter asks how you'd like it cooked.  Obviously, the extremes won't work, for fully uncooked could get you sick and completely burned will be a bunch of charred carbon with no meat.  But in between there is an acceptable range from rare to medium rare to medium to medium well to well done, with variations in between.  Maybe you ask what most people choose and you are told "medium" is the most common choice, but just to be safe, you should ask for it a little more rare, since you can always put the meat back on the grill.  That advice is like the string gauge calculator, which errs on the light side.  But then you have to develop and identify your own preferences in relation to that.  So you experiment.  You try a steak medium rare or a string a bit lighter than the gauge indicates, and you see how it fits.  Then you try a steak medium well or a string a bit heavier than the gauge indicates, and you see how it fits.  You have to experiment and decide how you like your steak, or how you like your dulcimer to sound and to play.

Like @susie, I find the string gauge calculator significantly lighter than my preferences.  Tuned DAd on my main dulcimer, I use .026 wound on the bass, .016 on the middle, and .014 on the melody.  And that's for a dulcimer with a pretty short (25") VSL.  I like the heavier gauges for the increased volume, clearer tone, and ease of controlling techniques such as bending strings.

Sometimes, such as when I fingerpick, I like a little extra give in the strings, but instead of changing strings, I just tune down a half step or whole step to C# or C. And when I play fast flatpicking tunes, I want the strings really taught so they are more responsive to the pick, so I tune up to Eb or E.

These are my preferences, and as @ken-hulme explains, you will have to develop your own.  And I make some adjustments depending on the dulcimer I am playing as well.  Some instruments seem to do better with heavier or lighter gauges.  Over time you will figure this stuff out for your instruments and your playing style.

I would suggest buying a whole bunch of strings and playing around.  Once you know how you want to set up your dulcimers, then you can buy strings in bulk and you never have to think about it again.

My heart as well.  I think sheltering at home has decreased the influence of her peers relative to her parents and opened a little doorway for me to sneak Joni in there.  And I gained a little stature in her eyes when I told her the woman who made Joni's dulcimer and I attend each other's online dulcimer gatherings.

I heard my teenage daughter listening to a female pop singer with a really melodic voice, and I said, "If you like this, you'll really love Joni Mitchell."  We listened to "Chelsea Morning" together, and then I told her to check out the Blue album. A few days later she told me with a smile on her face that she loves it!

I'm just delighted Robin refers to a dulcimer as  "tool." That makes it so much easier to justify buying another one.  I must have a dozen hammers in my garage, so I should have at least that many dulcimers.

Don Pedi is an American treasure, that's for sure.  He both collects and plays the old music.  He's like the Seegers and the Lomaxes all rolled into one. 

In the 2012 picture to which Strumelia links, he is holding a Modern Mountain Dulcimer, which he seems to have been using for his main dulcimer for several years now.  It does indeed have both a 1+ and a 6+ fret.  Most of the still photos he uses for media stuff show trad dulcimers with friction tuners and no extra frets, but he makes practical use of modern innovations like geared tuners and extra frets.

What impresses me consistently in Don's playing is not the speed of his fingering-as impressive as it is--but his rhythmic strumming.  He never relies on a rote pattern but keeps tunes moving in a danceable and yet varied rhythm.

Don's playing is always stellar, and this clip is no exception.  Thanks for sharing this, Robin.

And for those players out there who fret with their thumbs, note the angle with which Don holds the dulcimer on his lap.  The strumming end is tight against his body, but the fretting end sticks way out over his knee. The instrument is not parallel on his lap. He needs that angle to be able to fret comfortably, especially up the fretboard.  You can see that angle best during the first 1:20 of the video.

So glad to hear from you, Ken.  You just need to tell the docs that it's not "an irregular beat."  You're a musician; it's called "syncopation."

I'm sure the residue from the stickers will come off eventually using any of the remedies suggested here.   Just be patient.  My concern would be if the wood underneath where the stickers were is a slightly different color than the rest of the fretboard.  If that's not the case, you're probably lucky.

Once you have the residue off, you might try a light rub down with Howard Feen-n-Wax. I use it periodically on all my dulcimers, including the fretboards.

I attended an online funeral service today.  It would be more accurate to say I "viewed" a funeral service.  It was livestreamed on YouTube.  Only the immediate family was live in attendance.  It was so sad to see the enormous church with only a handful of people up front.  And what a sad occasion for me to learn what a phenomenal flautist my cousin is as she played a piece by Bach as part of the service.

Most of the time the camera just looked down from the back, but when the organist played we got a close up looking over his shoulder, and at times the camera panned over the artwork in the ceiling, which was nice to see.  But otherwise, the inability to physically comfort family and friends was sorely missed.  Typing condolences in a text chat is a poor replacement for a hug.

Wild looking instrument.  Thanks for sharing that, Robin.

John, I just created a couple of screenshots to demonstrate the process.  There are only 5 easy steps.  Check out the discussion I just created in the Site Questions Forum .

There are 5 steps to creating a new discussion with a Group.

1) Join the Group.

2) Click the "+" sign at the far right of the Discussion Forum banner.

3) Choose a brief but descriptive title for your Discussion.  Try to imagine someone scanning through discussions a year from now and make sure you title would adequately convey the content.

4) Write a more complete description of the discussion.

5) Click "Create New Discussion."

See the two screenshots below.

Hey just an idea, people, but we have the Call the Tune Group which was intended for people to share different versions of the same tune.  Someone (John? Gordon?) could start a thread on music for Lent and have people contribute different tunes.  That way all those tunes could be found in one convenient place.

It's indeed a striking collaboration.  Thanks for sharing this, Robin.

For those who like enjoy this kind of east-west mashup, you might be interested in the recent Smithsonian Folkways album by Wu Fei and Abigail Washburn and produced by Bela Fleck.  Here is a live performance of one of the tunes, which has no dulcimer, unfortunately, but some wonderful singing as well as soothing banjo and guzheng:

@Traildad, you are making a false assumption that a note using an upper case letter always refers to a note below middle C.  I tune my baritone dulcimer GDg. All of those notes are below middle C.  I use the lower case g to indicate that the string is an octave above the bass string. I also have an octave baritone dulcimer, meaning it is tuned an octave above that baritone, and I still indicate the tuning as GDg even though only the low G is below middle C and the D and high g are above it.  I also have octave dulcimers that I often tune DAd, but all those notes are above middle C.

In other words, the use of the upper and lower case letters shows how the notes relate to each other, not how they relate to some objective standard like a piano.

There are ways to indicate exactly which octave on the piano a given tone is from, but almost none of us bother with that.

Strumelia's blog was not specifically about string gauge, but she does mention that she stopped using a wound bass string and only used string gauges around .10 or .11.  The blog post is about how she gets to the main 4 keys of C, D, G, and A with two dulcimers, one that can tune to C and D and one that can tune to G and A.

If all you want to know is what octaves one uses for 1-5-5 tunings in those four keys . . .

C-G-G would usually be C3-G3-G3

D-A-A would usually be D3-A3-A3

G-D-D would be either G2-D3-D3 (as a baritone) or G3-D4-D4 (as a 3/4-size instrument like a Ginger)

A-E-E would be either A2-E3-E3 (as a baritone) or A3-E4-E4 (as a 3/4-size instrument)

Of all those notes, only the D4 and E4 are above middle C.