George, I was looking at that one, too. I have no idea who made it, but it looks like it might be a pretty one.
There's a pervasive thought amongst string instrument beginning players that their hands are too small for a "normal/average" sized instrument. I used it as an argument many, many moons ago when buying guitars. My hands are still small but they were a lot smaller when I was 12 so what kind of guitar did I want? One with a very narrow neck. I found a used Gibson from the early 60's with an extremely narrow next which I though was ideal. But, was it? When looking for a good electric a few later, I returned to the Gibson section of the music store because of the smaller neck profile. Wonderful, huh? Maybe, maybe not!
Were I to have it to do over, I would have gone straight to the Gretsch section and bought on of those Chet Atkins models with the really wide, classical style neck. Why would I do that since I have really small hands? Because your fingers stretch with use. Your reach between your index and little finger gets to be huge with proper use and gentle stretching. When I studied classical guitar I saw the fallacy of my thoughts. In fact on a flamenco guitar forum in which I used to participate a fellow said he was 6'5" with large hands; all of his Spanish teachers were 5'5" or under with much smaller hands and all of them could stretch their fingers further than he could.
Fast forward to the dulcimer. I bought my first one and the vsl is about 30". Did I know that was "long?" Shoot, no. I knew it had 3 or 4 strings and you laid it on your lap to play it and that it seemed like it was fun to play. This was in the mid-80s so there was no one to ask; no one to say, "Boy! That's a big dulcimer. Bet it's hard to play." Nope, I just played it. My fingers stretched to make the reaches in some tab. If I were playing something by ear, I'd avoid those stretches if I could. LOL. The point (probably not well made) is unless you have a physical disability that keeps your fingers from moving "normally" you shouldn't be concerned with the vsl of a dulcimer you like in all other respects. If you play it the music will come out. Your fingers will adjust to the length with time and patience. That's a key thing with any instrument: patience. My classical guitar teacher taught gentle stretches for both the right and left hands which were to be done every day. Playing scales using all the fingers also "loosened" them up.
Bottom line point is, don't be afraid to challenge yourself. Get in there and play just a little beyond your comfort zone. Remember that comfort zone will change with time; don't be afraid to help it (push it) along.
Unfortunately most of these critics either have Indian blood but can't prove it or are wannabees. I love Arvil Bird and his music but when he criticizes, from the stage, "card-carrying Indians" it really gets me. Yeah, I prefer Indian. You're as much "native American" as I am, right? You were born here, so you're native, too. At one time some were trying to get folks to use Amerindian. I started to try to go on the Pow Wow Circuit once, singing Indian songs, Pete Lafarge, Floyd Westerman, maybe some originals. Decided there'd be too much compromise involved, so I didn't
Salt.... Ramp Salad... that's just too much, man! I've laughed about that one since you've posted it. Some folks probably think I'm a blithering idiot since if that comes to mind I chuckle regardless of where I am. Good suggestions, too.
Terry, Tho' I used "Cherokee Cowboy" as a Youtube handle, I wouldn't use it in a concert/performing situation because Ray Price will always be country music's "Cherokee Cowboy." I consider myself a country musician regardless of what I'm playing. I think Alan Freeman said something like that in his 1st (maybe only) interview in Dulcimer Player's News.
Mary, Yes, I am Cherokee, a tribal member of the Cherokee Nation of Oklahoma, one of 3 Federally recognized Cherokee entities. Both Grandmothers were what we call original enrollees. I am one of those card carrying Indians that some, both Indian and wannabee, criticize for being able to prove their ancestry to the satisfaction of tribal authorities.
Lisa, or just push the string through 'til you can grab it and pull it all the way out. If there's any "life" left in the string, I like to keep it around if it's long enough to go back on in a pinch.
Lordy, DT, that's great. "Where the coffeehouse meets the jailhouse," is pretty cool.
Roots/Americana (I know I ain't addressing it in order) I was that before anyone every called it such, I reckon. Back in the old days, when it was time for the cowboys to get their buckles polished, I might just play "The Prisoner's Song." What is that about 1917? Probably older, even. So yeah, that's one good way to describe what I do. Now, to be maybe a little more specific, this isn't for the dulcimer world; this is for the festival promoters, club owners, bookers who might not really know what a dulcimer is. They should know Roots/Americana, tho', at least I hope so. So that's a good one to keep in mind. But I feel I need, not a gimmick, but a hook to get them to listen seriously to what I'm doing. Good thoughts from both of you, DT & JK. May address some other things in the posts a little later.
Folks, I've been following Mary's discussion about a "name for her act" with much interest. Many of y'all's suggestions are generic enough to consider for a lot of different people. Here's the deal, though. I need to describe myself and my performances for venues at which I'm trying to score gigs. Now many of y'all have seen me in the past. I usually play in 1870s period clothing without direct amplification. I've been getting away from the old style clothing just a little. With my hair, beard and clothing I wouldn't want people to think I'm trying to imitate David Schnaufer! (like I could do that.) Am I the "Dulcimer Outlaw, the Willie Nelson or Waylon Jennings of the Dulcimer?" I don't want anyone to think I try to imitate either or them (or anyone else.) Am I just a dreamer who will probably never get a major gig? How do I describe myself to festival promoters? Do I just link to here or bandcamp and youtube or vimeo and let them look for themselves? Like Mary, I need something to help these poor old brain cells. Who better than you who have watched and listened these few years!
Thanks
Rob
Well, Linda, I used to live in Salisbury, and if I still did I'd volunteer to re-string it for you. Pegs aren't as bad as some folks make 'em out to be. I wouldn't change a thing on the Tignor. In his later period he used store-bought violin pegs, but he still carved pegs for some of them. I've never used peg dope on a dulcimer. I either spit on 'em or use chalk ROFL. Moistening them lightly will make them swell a little and stop most slipping; chalk is a great lubricant if they are sticky.
Yeah, Linda, get than Tignor down and re-string her. As the proud owner of 2 Tignor's I think they are really underrated by a lot of folks. They are great players, at least mine are, for whatever style you like to play.
I agree with Lisa G, In Search of the Wild Dulcimer is fantastic. What is your musical background? Jerry Rockwell's Music Theory and Chord Reference for the Mountain Dulcimer is great, too. I have said if I had to begin my dulcimer journey from the beginning, those would be the 2 books I'd get. In fact, a copy of In Search I found in a thrift shop in Washington state was what got me back into playing after laying off for about 10 years.
John came to the 2nd Wartz'n'All Gathering. It was a pleasure to meet him and have him with us, playing and singing. I'm sorry he couldn't make it back down for more of them. He'll be missed.
That's funny, Jan. Mary, I agree with Jan. Of the choices you gave us, Songs & Poems in Tune with the British Isles is my choice, too.
To give you further food for thought, muddy up the waters, keep you guessing, etc, the late Roger Nicholson titled his book to go with the album "The Gentle Sound of the Dulcimer" A New Elizabethan. Most of what he wrote was in an archaic style: pavanes, allemans, etc.
It's a great goal tho'. I'm too spontaneous to make such long-term plans. It's been nearly 30 years since I was in England and I'd love to take a musical journey over there now.
Mary, Salt = Salt-Springs. He made a comment on the little video. I'll tell you, it's not the DOING of the video I dislike, but the Watching of it afterward is another story. I don't mind a video being "wartz'n'all;" my live performances are, too. I love performing. If I can have a small group or a large crowd, it doesn't matter; I love to perform. Oh, I get a case of nerves for about a day and a half before a performance. Even one of the greatest classical guitarists (and the 1st one to record BTW) Augustin Barrios Mangore said something to the effect, "the day before a performance is sheer hell!" I get a brief set list together and then play what I feel. Hear that folks, I'd love to perform for y'all; in fact a western tour would be great in July :). Gigs in VA, OH, KY, TN, AR, OK, from here to Oklahoma City or Tulsa. Dulcimer clubs, folk venues, bars that cater to folkies, bars that like solo artists who do outlaw country. Book 'em!
Ok, maybe a little off topic, but who besides me read Lil' Abner in the 60s? I remember this very well:
http://www.adambaumgoldgallery.com/capp_al/Joanie_PhonieWB.jpg
I do not have a copy of what she collected. I'd assume a lot of them came from books, but some she may have gotten from family in Ark. She's dead now, so, if her research still exists maybe her daughter has it. I don't even remember the daugher's name. LOL. Seems like she might have been a little younger than me, so she may be still around. I'll do some checking on Ancestry and see what I can find. My version is sort of an Ozarks version, but with verses that now I couldn't tell you where I picked them up.
My mother's cousin who lived in Harrison, Ark. (her mother was my grandfather's sister from Stone Co., Mt View area) had what I thought was an interesting hobby. This was back in the 60s when I was just a child, and Marie's hobby was collecting verses for Barbara Allen. I think she had found around 150 and that's without the internet. Let's say over 100; I hate to exaggerate. I've had a "soft spot" for that song ever since she sang it for me. I hope I can do it justice for her
Dusty's advice is good and is a great way to start off playing duets. If I can get the darn thing off my onedrive, I'll send you a copy of a duet arrangement I've done.
Well, I've only had 2 that were unplayable; Kevin Messenger has one of them, but I haven't decided if it's worth a new fretboard. The other is here at the house as a reminder to "be careful." I've bought off ebay, goodwill, here, and if it wasn't for a lack of money (since I haven't worked since June) I've seen a couple recently I would have had to try.
The best might have been a John D Tignor, one of his larger, later ones. The picture was way too dark, but I thought I knew what I was bidding on, and sure enough, I did.
Let's throw another way of marking Barbry Allan in 4/4 meter. 
Y'all shouldn't get me thinking about such things. I mean, shucks, it's 5 a.m. and I've already tried to analyze my playing/singing of the old song.
Twas in the mer ry month of May
2 3 4 1 2 3 4 1 2 3 4 1
When green buds they were swel ling
2 3 4 1 2 3 4 1 2 3 4 1
Sweet William on his deathbed lay
2 3 4 1 2 3 4 1 2 3 4 1
For the love of Bar bry Al len
2 3 4 1 2 3 4 1 2 3 4 1
I've taken Lisa's (Lisa G) 3 beat pickup as correct, and whether it is "correct" or not, it seems to be the way I do it, too. You have to count this kind of fast probably around 120. I'm guessing on that using the second hand on the clock instead of a metronome, but you get the idea. It gives you a 12 bar tune, as well. I may record this, too, since about 2 years ago I kinda told Jessica Comeau I would.
Looking dignified (or is it indignant) is definitely important. Oh, there's also what I tell workshop students to do if'n they make a mistake playing a tune. If anyone asks say, "It seems to be a regional variation." Being from Oklahoma then living (and playing) in Maryland for quite a few years and now living in West Virginia, it seems reasonable.
I agree with Ken; you'd have to be really trying to screw it up to make it unplayable. It's just that some are a lot better than others based on how good the wood working skills were. I don't believe one would have to be a professional or semi-professional to do a good job. One would have to be careful. Since we don't know about the carefulness of the builder, I put the value on the low side. I'd rather be safe than have to spend more to correct any problems.
A Miles and Davis? No, I wouldn't add any frets to them. I would not change anything on them. But that's just me. Here's an interesting take on some 1/2 frets:
John's a great player.
Without seeing/playing it I would say $100-$150 max. That would include shipping if it had to be shipped. I wouldn't give more than that for a kit McSpadden, even tho' many of them are as good as the factory ones.
Very good, Kevin. I knew you'd do good.
My favorite place to play? Anywhere I can sit with a dulcimer. Although, if I can't sit, I will do the "Robert Force" standing method (tho' not too well.)
George, I have 2 John D Tignor's, 1 large one and 1 old Cumberland (Ralph Lee Smith's term.) The one on Ebay is a very large one. Tignor changed his fretting as time went by. Most of the large ones are ET. The workmanship is superb on both. I really think that big one is a little too high.
It sure looks good George. How does it sound?
Sorry to hear about Jerry. I met him at Old Pal 3 years ago. Nice guy.
I have a friend who deals in used jewelry. He sometimes gets Amerindian or psuedo-Amerindian pieces. Many of those use bear claws. I keep trying to tell him they are eagle talons and he needs to give them to me so he won't be arrested. No, I haven't been able to convince him to do that yet.
Seriously, there are some who claim Amerindian ancestry who have boasted of having eagle feathers. Some of us who are members of Federally recognized tribes have been trying to get the Guv'mint to enforce this law, but for some reason they haven't done it, at least not yet.
Robert Force, in one of his Youtube videos, shows his way of holding a large pick with the thumb and 2 fingers. I've tried it a little and it seems to work. I'll try to find in which video it's in.
He was quite the player. I only wish I'd have known him in the flesh. I'd think we'd have enjoyed each other's company over a 1/2 pint (or 2,) then played a few great tunes.
Well, I wanted to be on the Opry when I was young. Then I wanted to find a blues band that needed a guitarist. Now as a dulcimist I have 2 tab books in the cloud and on the hard drive of my computer that's in the shop (and quite a bit on a 3rd.) I've taught and performed at festivals. I'm working on a cd. Shoot, I just love to play; all the other stuff has been wonderful icing on the cake, particularly the great folks I've met, along with Jim. ROFL. Just kidding. Maybe I'm looking to finally be a pro at something musical.
