Forum Activity for @dusty

Brad, I have a six-string dulcimer that I only play with three strings now.  I much prefer the clarity of sound with the single courses. And certain techniques (like bending strings) just can't be done with those double courses.

If you are used to other chromatic instruments, you may get frustrated with the way chord shapes work on the dulcimer since they switch from major to minor depending on where on the fretboard you are.

They way I taught myself chords, and the way I encourage students to do so now, is to find some 3-chord songs.  Don't worry about playing the melody, but just strum to accompany yourself singing or humming or whistling.  Figure out those 3 chords by the nut, perhaps sticking to the first 3 frets.  When you have those down and can play them without having to concentrate on where to put you fingers, find different versions of those chords around frets 2-5 or so.  Do the same thing, strumming chords there until you get them down. When you fingers are comfortable there, find those same three chords around frets 5-8.

In the end, you've just been strumming chords and singing songs, but you've learned where to find the main chords you need up and down the first octave of the fretboard.

Paula, I moved your post to the For Sale: Instruments/Music Items/Wanted to Buy Forum.  

I have a Probst Dulcimer strung as a baritone, but I'd be lonely without it.

Good luck hunting.  You don't see either Probst or Gallier dulcimers on the used market very much.

Such a wonderful development in this 6 months-long drama! Thanks for joining, @rtemplin!

@lily-pad, I just responded to this question in the other forum you posted in.  I would suggest you start a new discussion in the Specific Features, Luthiers, Instruments Forum .

Hi @lilley-pad, and welcome to FOTMD.  My main, go-to dulcimer is a McCafferty.  (It's an older one with a standard piezo pickup but without the humbucker and MIDI interface he uses on the new Seifert model.)  I love it.  Great sustain. Great volume.  Big round tone. The fingerboard is very responsive to your left hand.  When I first got it a few years ago, I found the strings to be too far apart for comfortable flatpicking and had to make some custom adjustments, but Terry now uses a special bridge that allows you to adjust the distance between the strings.

However, if you want to continue this conversation, perhaps you could start a new discussion on McCafferty dulcimers in the Discuss Specific Features, Luthiers and Instruments Forum .

How exciting, @Lorillee! 

I hear you Wally . I had an aunt who had perfect pitch (and a Steinway piano worth about as much as my house!).  When my uncle was learning a right-hand picking pattern for the banjo, she didn't mind the repetition of the picking, but she couldn't stand that he was always practicing in the same key.  So he used a capo and would just change keys every few minutes.

@wally-venable, you are right that learning perfect pitch is not a reasonable goal, but to learn relative pitch should be. 

Students in most formal music education programs develop tricks to learn intervals.  The first two notes of "Happy Birthday" represent a 2nd.  The first two notes of "When the Saints Go Marching In" represent a 3rd. The first two notes of "Here Comes the Bride" represent a 4th.  The first two notes of "Twinkle Twinkle Little Star" represent a fifth.  The first two notes of "My Bonnie Lies Over the Ocean" represent a 6th. I can't think of one for either the minor or major 7th, but I'm sure you can look one up since there must be lists like this all over the Internet.  And the octave is "Somewhere Over the Rainbow."

I've stuck with the major scale (Ionian mode) here, but you could do this for the chromatic scale.  The minor 2nd is the dangerous shark music from Jaws.  The minor third is the first two notes of "Greensleeves."  And the list goes on.

Put on some music and grab an instrument.  Try to play along.  Your first task will be to determine the key.  Then you will pay attention to the structure of the music. Then you either start figuring out the chord progression or you start working on key melodic phrases. Eventually, you get the whole song.

Lather, rinse, repeat.

I played guitar (not very well) for years.  I started at family sing-a-longs, and I learned pretty quickly how to hear chord changes in a song. I also used to watch a lot of sports, and I would do so with a guitar on my lap. When the commercials came on, I would try to play along with the jingles.  That forced me to work through those steps above (determine the key, identify the melodic hook, etc.) super fast because each commercial might only last 30 seconds.  But by the third or so time a given commercial aired, I could usually play along.

If you want to train your ear, I strongly suggest not looking at tab while you play.  Look at your dulcimer and think.  Think about the relationships between the frets and the notes they represent.  Think about the relationships between the strings in the same way.  And I would advise not thinking about absolute tones, but about intervals.  For example, the distance from an open string and the second fret is a third.  From the open string to the fourth fret is a fifth.  To the seventh is an octave.  And so forth.

Eventually, you'll be able to hum a song in your head and imagine how to play it on the dulcimer. And that's a pretty cool skill to have.

Hi @austinpmckenzie and welcome to FOTMD. Make sure you get in touch with the Southern California Dulcimer Heritage Folks .  In fact, they are running a series of concerts, jams, and workshops this month.

Whenever I change steel strings I manually stretch each one repeatedly over the first few hours of play, re-tuning with each stretch.  It helps them "settle" faster.  I assume the same technique would work with nylon.

I'm curious how this goes, @grysbok.  A woman who comes to my local dulcimer club also has a metal allergy. I have encouraged her to try nylon strings, but so far she just plays wearing gloves and a face mask.

Please keep us posted.  I fear the dulcimer will not sound as nice with nylon strings (those octave dulcimers can chime like little bells!), but given your allergy you don't really have a choice.  My hope is that it will still sound decent.

The piano is easy. Push a button and a nice, clean tone comes out.  The fiddle is tough. You have to practice for a year just to be bad at it.

Good luck!

I don't own a Ron Gibson dulcimer, but I've played two.  One was a Barbara Allen baritone of which I posted a video fingerpicking a quick medley .  The other was a used Jenny Lind model that I encountered in a music store. I played a couple of tunes on it and went back the next day to buy it but was too late; it was gone.

Ron's dulcimers look and sound great.  His prices are very reasonable for the quality of instrument.

What poetic lyrics. And what a nice reminder of the purity of Garfunkel's voice. 

Nate's the only person in the world who can play Bile Dem Cabbage and make a jello mold with the same instrument.

@kendra-ward, are you referring to the discussion within Groups?  Make sure you have joined the group first. Then you should be able to see everything.

Nate, I just did the test and got 29/32.  All my mistakes were 1/64 of a note.  There were four such questions, and I got the last one correct, which makes me think you could get better if you practiced and trained your ear to hear such minute differences in pitch.

Edit: I did the test again and got 31/32.  Still, the one I missed was a 1/64, and I was kinda sorta guessing on the other 1/64 questions.

So I can clearly hear the 1/32 interval, but the 1/64 is still giving me trouble.

Any idea how the quarter tones relate to cents?  My understanding is that when we measure pitch in cents, each of the 12 half-notes of the chromatic scale measures 100 cents.  So is the 1/64 equivalent to 1.5625 cents (1/64 x 100)? I'm trying to figure out how accurate an electronic tuner has to be for it to be better than my ears.

Regardless of the veracity of the story, there is wisdom therein.

That's about what I know as well (see Chicago Chorale info here ). Niles claims to have heard a North Carolina girl sing a couple of lines, which he then enhanced and expanded into the song we know.  Regardless of how honest he was, if he only heard an individual voice, there was no "original" harmonic structure, so any chords he added represent his own "embellishment," as @strumelia says.  There is no way to know whether the original was major or minor.  And if it was modal, it was neither!

Good idea, @robin-thompson!

Unfortunately, I'll be traveling on Play Music on the Porch Day this year, so I'll have to just be a spectator and hope lots of dulcimer players post beautiful music for me to enjoy.

@tonyg, I think you are correct, but you would be playing in different keys.

I assume you are playing in a drone style and have no extra frets.

Let's say your bagpipe tuning is Ddd.  With the D drones, you can play in the keys of D or G.

If you tune to DdC, you would be in the aeolian mode in the key of D or the dorian mode in the key of G.

Some loss of volume when employing multiple slides or hammer-ons consecutively is inevitable.  A pickup goes a long way to solving that problem, and some dulcimer fretboards are more responsive than others.  So a lot of this is out of your hands (so to speak).

However, if you slide more deliberately and sharply from one fret to the next, you can create some extra pressure that will increase the volume and make the move sound more like a hammer-on.  That is hard to do if you are sliding across several frets to get to a single note, however.  This is something to work on. 

In general, I do not consider the tablature indications for the left-hand legato techniques (hammers, pulls, slides) to be mandatory parts of the tablature.  Depending on your fingering, a slide may be more appropriate than a hammer or pull or vice versa, so you have to take the tablature as a suggestion and develop your own approach.  You might simply break up that long slide and pick the string again at some point to get the volume you need.  You might also reduce the volume of the rest of the tune so that the loss of volume from the extended slide is less noticeable. And since good artists deliberately vary the dynamics of their playing, you might embrace the loss of volume as an expressive part of the arrangement.

Glad you enjoyed the Wallowas and are returning this year.  Tell Heidi and Bob I say hello.

And your hummingbirds won't need a nap, as I would if I enjoyed some whisky before breakfast.

It's a joy, isn't it, when we can lure wild birds to our garden.

It's so nice when the garden starts producing, isn't it?  We have three different tomato plants all fruiting right now.  The cherry tomatoes (sweet 100s) look like they'll be ripening first.

We had some friends over for lunch, and to accompany the grilled salmon, I made one of our summer staple salads: black rice with green onions, strawberries, and walnuts, tossed lightly with a lemon vinaigrette made with fresh-squeezed Meyer's lemons from our backyard tree.

The rice provides the substance, the strawberries some sweetness, the onions and lemon some zest, and the walnuts some crunch.  It's an interesting combination that is super easy to make.  No recipe required.

Molly, since the song is under copyright, you probably won't find free tab online anywhere.  Maybe someone published tab in a book somewhere, but none that I know of.

That version of the song is in the key of D, so I would suggest just playing along until you figure it out. You can get the entire melody out of DAA or out of DAd if you have a 6+ fret.

Everybody is a mother and/or has a mother, so Happy Mother's Day, FOTMD!

Looks beautiful., John!

Can you do one with oatmilk paint?  I'm lactose intolerant.

Michael, you will want to remove whichever of the double melody strings gets you closest to equidistant.  Usually that is the outside string.  But it's easy to measure or even just eyeball it.

My local music store carries single wound .020 strings.  As @jost shows, so does JustStrings.com.  Folkcraft carries both bronze wound and steel wound in that size.

If you have to go up to .022 it won't kill you (or the instrument). I use a .026 on all my standard-sized dulcimers.

Ken. I appreciate your thoughts and share many of them.  Neither Acoustic Guitar nor Flatpicking Guitar Magazine are available in physical form anymore. When a new issue comes out and I get a pdf in my inbox, I skim through it once and never look again. It's not like a physical magazine that you leave on the coffee table and return to again and again.

Personally, I find I do read a bit on my medium-sized tablet.  If you don't already, you might consider getting one, and pay specific attention to the size.  Some are too big to hold comfortably, and the screens on smaller ones are too small. Find that goldilocks just-right spot for yourself.

But I question why you refer to the "small number of people on the web."  There are more members of this site than there are subscribers to DPN.  There are more dulcimer players engaging on Facebook than there are subscribers to DPN.  To be blunt, the market has spoken.  I think the first sign was when DPN stopped including classified ads.  Websites such as this one are simply much more efficient and timely for selling used instruments than is a quarterly magazine, and yet those ads were a major source of revenue.  That change was the first bit of proverbial writing on the wall.

So while I also lament the end of the hard copy of DPN, I would like to see the sunshine rather than the clouds. As you point out, the great achievement of DPN was to create and sustain a dulcimer community that was spread thin across the country.  It brought us together.  The people are still here. Dulcimer festivals are still happening, both in person and online.  While we have seen many luthiers pass away over the last few years, many are still around and lots of new ones are making wonderful instruments.  Pat Clark gets 100-200 people joining her Send in the Music dulcimer jam every single week!  DPN played an important role for many years and created the connections that have made possible the flourishing of the dulcimer community online.  Let's celebrate it for what it accomplished and what it has meant for us.  And let's celebrate the dulcimer community. We can all make music by ourselves at home, but sharing that joy with others is why we read DPN or interact on FOTMD. In the end, it's all about the people, and we're still here.

So far so bueno!

@paula-brawdy, I know this discussion is 5 years old, but a while back I refined my arrangement of Boys of Wexford and wanted to update it here: Boys of Wexford .

Nate, it's not a dumb question at all, and I've wondered about it myself.  The historical origins of the two instruments are completely different.  The techniques of playing the two instruments are completely different. So what, other than the name, brings them together?

In terms of instrument design, both are types of zithers. So there's that.

But I think the more important similarity is that both are traditionally diatonic.  Yes, MD players like myself have added extra frets to get chromatic notes, and many professional HD players play modern instruments with chromatic notes added as well. But traditionally, both instruments were mainly diatonic.

Thanks for your supportive comments, @robin-thompson and @ariane.  I just love the fact that we are making IADD a way to celebrate our love for this humble instrument.

@nate, there is no doubt that dulcimer has a very bright, clear tone. Perhaps extra volume, too, although that's hard to gauge through the internet.  I look forward to hearing a full test run.

It was so cool to wake up on the west coast and catch up on the photos and videos already posted celebrating IADD.  My monthly online dulcimer club met today and I want to thank @Lisa-C for catching a screen shot before everyone left.

We played the American fiddle tune "Hollow Poplar," the Irish air "Bright Quiet Eily O'Carroll," and the Jimmy Rodgers tune "Waiting for a Train."

Then I also posted a tune on my own: "La Promeneuse," by the Québécois accordionist Réjean Lizotte.

Sad news.  I hope his family knows how wide Gary's influence was and how many musical souls he touched.

Well the published story is better than any of those we just made up!  Thanks, @silverstrings, for reaching out to Janet.