Forum Activity for @dusty

Thanks for the thoughts, Wout.  There was a jug bass there, but the guy who brought it is a beginner musician and isn't very good.   He doesn't really understand the role of a bass and was just kind of mimicking the melody line.

When I played bass I did a version of what you describe, just moving from the tonic to the third, the fifth, and then back to the tonic, for example. But that was getting tedious, I think.  I was able to throw in some bass runs when the chords were changing, but I got a little stuck on those tunes that sit on the same chord for a while.

By the way, I was using the tapewound strings you recommended. I love the tone.

I joined a jug band group last night and played this acoustic bass for about 1/3 of the tunes. It was fun, but I still have a ways to go.  I just don't have enough ideas of bass riffs to play when the melody sits on one chord for a while.

Bob, I watched that whole thing and still don't quite understand how it works. It sounds pretty cool, though, like magical bells.

I don't have an answer to this question, not because I nail every tune I attempt, but just the opposite. I try to play a lot of tunes on the dulcimer, and most don't work out. Some I have never gotten (at least not yet) and others were put on the shelf for a while only to be resurrected successfully later on. 

There was one tune that I worked on really hard and could not get it at all.  I got frustrated and just threw the tablature off my desk.  But about a year later I was cleaning up and found that tab behind a bookcase.  I sat down and tried to play it, and lo and behold I was able to do it!  What had seemed impossible was now easily approachable.  The lesson for me was to never give up, but also not to get frustrated. If something is not working, put it away for a while and come back to it later on.

I also want to comment on Bob's remarks at the beginning of this conversation. I first discovered the mountain dulcimer from Stephen Seifert's video of Whiskey Before Breakfast, which had long been one of my favorite fiddle tunes.   I was entranced by Stephen's soft but quick fingering and the beautiful woody sound of the dulcimer.  Of course, I wanted to play that song and worked on it for a while.  Eventually I posted a version on Stephen's Dulcimer School, expecting to get some tips from him.  And he did offer some helpful comments. But others commented at how good it was, a couple suggesting it was ready for public performance.  That experience taught me not to measure my playing by the abilities of someone else, but only by my own desire to present my own musical ideas.  Nowadays, I only play the song a little better than I did three years ago when I posted this video , but I don't let the fact that Stephen blows me away to stop me from offering my own version of the tune.  

There are a lot of ways of being musically expressive, and even if you can't play as fast as someone else or with as many notes as someone else doesn't mean you can't find a way to say something with a song.  One cool lick might say more than a whole verse of virtuoso improvisation.  I have learned to play within my limits and to still find ways of inserting my own musical sensibilities into the tunes I play. As I've said elsewhere, if you start with a pretty tune and play it on a beautiful instrument, the real trick is to stay out of the way and not mess things up.  If I tried to play as fast as Stephen Seifert, I would mess things up for sure.

The short answer is yes, that is an A7.  

It is standard, however, in the dulcimer world to refer to chords beginning with the bass string and then moving towards you, so the chord you describe would simply be 324.  Another easy A7 is 123. And remember that in DAd tuning, all the chords are reversible, so 324 can also be 423.  123 can also be 321.  Easy, isn't it?

I have one of those quick release brass capos that look real fancy. It costs three times as much as the Ron Ewing capos and works almost as well. 

Seriously, Ron Ewing's capos are the simplest and also the best. They are also affordable. What more do you want?

That's wonderful, Strumelia!  Thanks for posting.  Paul is a phenomenal player.

The A part does indeed seem unresolved because it goes to the IV chord.  Interestingly, the modern version of the song makes that same move but a bit earlier but then goes into a melody that resembles the B part of Foster's original. The A part of the modern song seems to be a kind of mashup of the two parts of the original.

Sounds like a great time. Maybe someday I'll be able to make the trek from the left coast.

Tull Glazener sells a workshop arrangement of "Over the Rainbow." It comes with a melody and harmony part in tab and a CD that goes over the arrangement measure by measure.  You can find it at his website .

Gale, I would check with the folks at Folkcraft before doing this.  The box might indeed need greater reinforcement to handle the heavier strings.

About a year ago I asked Janita Baker at Blue Lion about buying a baritone to use as either a baritone or a bass dulcimer and she suggested that stringing it for bass would throw the intonation off. So other kinds of adjustments might be necessary.

Charles, if those dings and scratches were earned in the line of duty, then they only add to the character of the instrument.

Well perhaps as a warm-up to your week-long summer festival, you might take a weekend this spring and come up the coast to the Berkeley Dulcimer Gathering. I think it's the first weekend in May this year. You could probably take Amtrak and jam the whole ride up!

Kimberly, I would second the idea of announcing ahead of time some of the tunes you are going to play. Some groups choose a song book together that everyone buys. In my group I post a list of our songs with tab on our website so people can practice before coming to the group.

In general you will want to play much slower than feels right, assuming you have lots of beginners.  It is standard in Irish sessions to play each song three times, but when people are trying to learn, that may not be enough.  When teaching songs, you may have to play more than that.

And although it isn't common enough in dulcimer circles, I spend some time demonstrating and discussing how to join the jam even when you don't know the song.  It was not written in stone on Mount Sinai that everyone has to play the melody all the time.  Teaching people how to add rhythmic or other types of accompaniment when they don't know the song will help everyone feel included.  Most people in my group play across all the strings, so I teach them how to isolate the chord changes and just play those as backup until they learn the entire melody. That also allows us to play some songs up-to-speed some of the time and still include everyone.

Condolences, Dana.

I still have my first dulcimer, though I don't play it very often.  Still, I can't get bear to part with dear Rosa.

When I decided to buy a dulcimer I checked all the local music stores.  None sold dulcimers.  But one told me (on perhaps my fourth or fifth inquiry) that they sometimes stock one or two.  About a month later there was one on the shelf, but it was unplayable.  I could tell it was cheap and crappy and what some would call not an instrument but a "dulcimer shaped object."  So I began scouring the internet for luthiers who were nearby.  I found one --Johny Nicholson of Unicorn Woodworks--whose phone number indicated he was in Northern California. But when I called it turned out that he had moved to Idaho.  I was stumped, for I wanted a decent dulcimer but I was afraid to buy one without seeing and playing it first, and on the west coast, dulcimers are few and far between. But when I explained all this, Johny told me that he still bought his wood from a shop in Berkeley, meaning twice a year he drove his little car along the highway a few miles from my house.  So on his next trip, we made a date.  I literally met him off the highway, where he got out of his car and opened his trunk, revealing not a bunch of illegal drugs, but three dulcimers. I chose the one with the rosebud soundholes, partly because the mahogany back and sides made it the least expensive of the three. But I played them all, enough to know that the intonation was good, the sustain was great, and this was a real instrument and not a mere collector's item.

On my drive home I propped the instrument up in the back seat so that I could see it in the rear view mirror, even though I had also bought a soft case. But I was so eager to play, I couldn't complete the 20-minute drive home. I pulled off the highway and into a fast food joint's parking lot, jumped in the back seat, and started to play.  In the three or four months from the time I first saw a dulcimer on YouTube to the time I bought my sweet Rosa, I had watched Bing Futch's demonstration of "Rosin the Beau" so much that I was able to play it (not very well, of course) from memory that very first day!

That was over 6 years ago.  Since then I have purchased more expensive and fancier-sounding dulcimers, but I still have Rosa.  Because so few people know of Johny Nicholson and Unicorn Woodworks, were I to sell it, I would not get close to what the quality of the dulcimer is worth, and for that reason as well as pure sentimentality, I still have it.  The tone may not be as big and round as my other dulcimers costing three or four times what Rosa cost, but Rosa still has that precise intonation, the great sustain, and a pop or punch that many fancier dulcimers lack.  Plus, she was my first.

Thanks, Robin. Every now and then I see a Sunhearth for sale. I know they are very well respected dulcimers.  There was one I should have scooped up on Ebay, for it had a very low asking price, but the seller didn't know who the maker was.  In my dumb honesty, I sent him a message telling him in was a Sunhearth, and suddenly the asking price went way up, beyond my means at the time.

And a lot of people praise their Jerry Rockwell dulcimers. I wish I could hear one live.

Hi Kimberly.  

I started a group here in Northern California about 3 years ago. At first I only had 4 email addresses, but now I have a list of about 40 and we range from 6 to 18 on any given month.  It took some time, but we have slowly developed a decent structure for our gatherings that works for newbies and advanced players both.

We meet for about 3 hours. The first hour is a free beginner lesson.  I tailor that to whoever is the "beginningest," if you know what I mean.  I want to be able to welcome people who have never played before. Lots of people call themselves beginners thinking they are not very good, but they are more advanced than they let on.

The second hour is devoted to group play of a growing repertoire.  Dulcimer standards are included, like Southwind, Morning Has Broken, Skye Boat, etc.. There is some teaching that goes on here, too, as people ask how to play certain sections, and we try to play each song many times so that people can slowly learn the tunes.  Several months ago some people complained that they didn't know chords very well, so when I would refer to a G chord they didn't know what to do even though they could easily play 3-1-0 in DAd off of tablature.  So I started adding some sing-a-long tunes where we just strum chords and sing Hank Williams tunes or Beatles tunes or whatever. When we do this it is in between the beginner lessons and the group play.  We also have a few ensemble pieces that require three or more separate dulcimer parts, and it is in group play that we work on that stuff.

The third hour--which is sometimes just 30 minutes or so--is a song circle when people play a song solo, request a song for group play, or just sit and listen. It was requested by some beginners who wanted to hear what the more advanced players played when they were not trying to teach the beginners.  This section of our gathering has been inspiring for the beginners and also very helpful for the more advanced players since it provides motivation to get a song ready for public performance.

And we always end with some finger food and friendly banter.

Although our group sometimes devolves into me teaching songs to others, I think it is important that everyone feel the group belongs to them.  I encourage people to request songs by bringing in tablature or just asking if we could figure out how to play a song they like.  And sometimes we break this routine. A few months' back some people expressed interest in playing blues, so we spent the time after the beginner lesson on an intermediate lesson on the blues. But on the whole, this three-part structure keeps the group together while bringing in beginners and also allowing an outlet for more advanced players.

When I first started this effort, I was actively seeking members by perusing the pages here and at ED looking for local players and trying to convince them to join us. But I then started a website , making sure to put on the homepage all the terms that people might use in a Google search, and I usually get one or two people contact me every month.  The website also includes tab to the songs we work on as a group, so people are not reliant on handouts at the meetings but can work on their own.  We also moved from a private home to a local music store, and that has gotten us some exposure as well. It is also handy when someone shows up with a decades-old dulcimer with strings as stiff as nails.  A few people have joined us after seeing us in the store and asking what in the world was that instrument on our laps!

That's the most fun part of this, watching people discover a new instrument and learn pretty quickly that they can play it.

Neil, I also have a MMD and a Blue Lion as well.  The MMD is made entirely of lacewood and has a false or galax back.  It is my favorite dulcimer for flatpicking. The action is so low that my fingers barely have to touch the strings, so it's really conducive to playing fast.  But I don't like it for fingerpicking. The action is too low for my picking fingers to get ahold of the strings unless I pick right in the strum hollow.  The strings are also close together, which facilitates fast play with a flatpick, but my fat picking fingers have trouble.  The Blue Lion, however, sings when it is played with fingers (no surprise, since Janita Baker mainly fingerpicks).  I realized a long time ago that that instrument sounded good with a flatpick but great with bare fingers.  And the strings are further apart, which caused me trouble when I was trying to flatpick on it but works well with my chubby little digits.

Both of those dulcimers produce big, round, bassy sounds.  Most of the time that's wonderful for the style of music I play. But I do have a couple of songs that require more balance.  That's what my Rick Probst dulcimer is for! It is also loud and round but the middle and melody strings hold their own better against the bass string.

I used to think that someday I would find the single instrument that would be my favorite for everything I do. But to the detriment of my checking account, I now see that different styles of music lead me to different instrument designs.  

Ken, I think your comment gets to the general point that there is no "best" dulcimer out there.  Having played the guitar for 40 years, I do indeed like a mellow-sweet sound.  And in fact, I have a Blue Lion precisely because a noter/drone player found that the big bass drowned out the melody, so she sold it to me. What didn't work for her is exactly what I love about the instrument.  Obviously, different styles of music and different styles of playing lead to different styles of instruments.

What was the action like on the Bonnie Carol dulcimers you've played? I know playing with a noter means the action isn't as big a deal as it is for those of us who torture our fingertips, but I'm sure you have a sense of how low the action was.

Thanks, Rob. You sure went into the archives for that one.  I now see that Bonnie Carol with the scalloped fretboard in a lot of photos of David. Somewhere I read something about a Nashville Luthier who passed away, and perhaps that confused me.

Anyone else have a Bonnie Carol? How does it sound in the hands of a mortal?

Well, Bob, a really bad musician won't sound good no matter what they play. And a really good one will sound great on a great instrument and OK on a bad one.

But I hear a lot of musicians all the time and yet there are many dulcimers by famous luthiers that I have never heard. I know what a McSpadden sounds like. I have no idea what a Bonnie Carol sounds like.

I also know that I sound better on my Blue Lion than I do on that unknown dulcimer I bought for $10 at the flea market that I am tempted to use as kindling.  And when you have really nice instruments that sound great, all you have to do is strum a chord or play a pretty melody.  I've spent a lot of time in recent years learning how to simplify my playing, how to stop trying to impress with a fancy lick but instead how to find the essence of a pretty song and play it on a nice-sounding instrument while I stay out of the way.

I am lucky enough to have accumulated a few of those nice sounding instruments but I know there are others out there and I'd love to hear people playing them.

Rob, I'll have to give that album another listen.  The videos of Schnauffer always have him playing that unique dulcimer by the now deceased Nashville luthier.

Bill, when you do make a video, please don't make one of Monster High dolls riding stuffed animals to the land of unicorns. I've seen enough of those.

I would love to hear some of those dulcimers. I've heard one Jerry Rockwell that Stephen Seifert was playing for a while, but he has such sophisticated microphones and all that everything he plays sounds great. I did find one of Rob's videos of a Rockwell as well.  To my knowledge, I've never heard a Bonnie Carol dulcimer, but they sure look beautiful.

That looks beautiful, Joy. I have two small dulcimers, the baritone dulcimette I refer to above which I tune to G or A above a standard dulcimer and an octave dulcimer by David Beede (the model he calls the Eedy Beede). Here is a video he made of it before he sent it to me:

 Cool!  Thanks so much for making this happen.

Thanks, folks, for chiming in.  

Rob, I'll have to look at some of your videos. It was actually a comment by Jerry Rockwell that although he had been dealing with some family stuff recently he was going to get back to building which set off this whole thing. I had been considering investing in a really nice dulcimer now that I've managed to pay off some bills, and I realized that I've almost never heard dulcimer by him or Gary Gallier or any of other folk I list above.  I've heard Aaron O'Rourke and Erin Rogers play in person, so I've heard the David Beede dulcimers, but they all seem pretty rare in video.

Joy, I'd love to see and hear that Jim Fox dulcimer.  How short is the scale?  Just today I began re-acquainting myself with my baritone dulcimette by Ron Ewing.  I wrote a cute tune for it, so once I brush the dust off my technique I'll be posting something soon.

Bill, it should be pretty easy to make a video with your iPad.  My 10-year-old daughter does it all the time!

We know there are lots of fine luthiers out there making high-end dulcimers.  And some of them have long waiting lists, so there must be lots of people buying their dulcimers. Where are they?

I would love to see folks playing the fine dulcimers by the luthiers I mention above (and several others as well) but it seems all we can find is another McSpadden or Folkcraft. Those are both wonderful dulcimers, but I wish there were a greater variety of dulcimers in the videos we post.

If any of you have a fine, high-end dulcimer, please record yourself playing so we can all enjoy the fine music these wonderful machines make.

And if you have one of these high-end dulcimers and are not playing it, please consider putting it on the market so someone else can find it and let it sing to the world!

 James, as you can see, Frank linked to two versions of the song, both in DAd.  The melody goes down (in fact starts on) the middle A string.  So if you want to play melody drone, you will need to tune DAA and adjust the tab accordingly.

Hey, Hey! Mr. Keane ain't monkeyin' around!

Tumbleweed, I guess we'll be learning the bass at the same time.  If you've got any tips, pass them along.

Wout, I put on the tapewound strings yesterday and really love the sound.  The tone is wonderful, reminiscent of an upright bass fiddle.  Thanks so much for that suggestion!

Kristi, try Liquid Skin or New Skin or any of those liquid bandaids.  They were actually intended to apply to your skin, which superglue was not, though it does work.  My cousin's cello teacher told him to use one of the liquid bandaids when his fingers couldn't go any more but he still wanted to practice. Plus, it's good stuff to keep around the house.

Thanks, Bill.   Yeah, there is a reason the bass and drums are considered the rhythm section.  If I can just learn enough to play some decent tracks on tunes I record for myself I'll be happy.

Thanks for the encouragement, James. Just in fiddling around and trying to get some blues bass riffs, I've found I'm using my pinky. But I'm going to slow down and find some online lessons since I don't want to develop any bad habits.

Wout, I picked up a pack of the tapewound strings and am putting them on right now. There is definitely a loss of some volume, but I like the tone and the feel.  Thanks for the suggestion.

Thanks, Wout.  In the video the guy is playing a bass with frets, and the strings sound pretty good.  One question: what kind of volume do they have when you are not plugged in?  Is there any reason to think they would have less volume than steal strings?

Thanks for the advice, Wout.  

Since I don't really play bass (I can fake it since I play guitar, but my technique is really lacking) I can't tell how the action is. It seems pretty good, for the strings even up the fretboard are not too high. I haven't formally tested the intonation, but I think I would have noticed problem if it were obvious enough. 

It's good to know I might not have to use my pinky much, but my hands are not that large, so we'll have to see.  I've been working on strengthening my pinky for dulcimer and guitar playing, so it can't hurt to keep working on it.

In my initial post just below the picture I have a link to a review of 4 or 5 ABGs by a bass guitar website.  According to them, the only one that could really function in an acoustic setting without being amplified is the Boulder Creek.  So although you may be right that it seems louder to the player because of the soundhole on the top (Boulder Creek's "signature" design), it appears that it really is louder than most of the others. I think it is a bit bigger than the others, too, which might be part of the reason for the volume, though Boulder Creek tries to credit their bracing system.

I'll have to look into your suggestions on strings.  The Shop gave me a free set of phosphor bronze strings since the ones on there are a bit old, but I was planning on picking up some Elixir or other "squeakless" strings.  I'll have to experiment a bit. As I've said, this is all new territory to me.  Thanks again for the advice.

Thanks, James.  My hope is to eventually develop some arrangements that include the dulcimer, guitar, and bass, and to record them all myself. I've got a ways to go, though.  My pinky is really weak and I get a lot of buzz when I fret with it.  It's going to be a while before I'll be able to play cleanly.

Thanks, Ken.  It was a good deal for both of us. The shop wanted to make room for more instruments for the holiday season and is also gearing up to move to a nicer location (with a permanent theater for all those dulcimer concerts!).  I wanted an acoustic bass guitar but would never have spent the $1000  Amazon lists.  

I can't wait to join some jams and give it a go.  Just playing around on it makes my fingers feel so weak, though.  I need to do some weight training for my fingers!

Well, I've never really played bass before, but I have found myself in a few jams where we needed a bass, and I have visions (fantasies?) of making some recordings where I play multiple instruments  . . . so . . . I couldn't pass up the opportunity for a really nice price in this Boulder Creek acoustic bass guitar.  I had had my eye on it for some time at a local music store where my dulcimer club meets, and they were running a clearance sale to make some room for new stock. None of the acoustic basses were chosen for the sale, but I asked about this one and the owner agreed to sell it to me for 10 percent over his cost, which is way less than half of the price on Amazon and 40 percent lower than any price I could find anywhere.  When he threw in a slightly used case, I couldn't resist.  Now I've got to strengthen my fingers to be able to play the darn thing!

Bass Player website has a nice review of the instrument here . What I like most about it is that it is loud enough to be heard in an acoustic jam without being plugged in, but it has a pickup and pre-amp if I need to go electric.