Forum Activity for @dusty

Ivan, tune a string to a note. Any note. Now tune it a 1/2 note higher. That is all a lever does.

It might be that in the picture I posted the VSL appears to change. But on one harp I looked at this morning the levers were situated in between the bridge and the pin, so only the tension of the string is changed, not its vibrating length. In the other example I saw, the lever was itself a bridge. Each string went over a small horizontal pin, and it stopped vibrating there. The lever pushed a small piece of metal onto the string just after that pin, increasing the tension of the string. But the pin itself did not move, so the VSL did not change.

Ken is correct that the levers work essentially in the same way as fine tuners. Violin players do not have to change where they finger a note because they used the fine tuners. The tuners--like the levers--are situated on part of the string that does not vibrate.

There may be different models of levers that work in different ways. Maybe some really do change the VSL, and maybe that change in VSL would be enough to throw the fret pattern out of whack. I don't know. But there are at least a couple of examples of levers that don't alter the VSL at all.

Dusty, I just took a measurement on the dulcimer I have in the office with me. If I remember correctly it has a 25-1/2" VSL. The distance from the zero fret to the first is 2.8". So, to raise the open string a semitone would require a lever that would shorten the string by roughly 1.4"+. If you think of effectively moving your bridge/saddle 1.4", I believe it would make a significant difference in fret placement. It's far more than compensation for string gauges, the VSL has been changed from 25.5" to about 24.1".

BTW, I checked online and the one source I could find stated that harp levers work by changing the VSL of the string. Obviously some tension must be applied, in order for the lever to be effective, but it's essentially the same as when you fret a string, you have to apply tension to press the string down to the fret, but it's the change in the VSL that you're actually trying to achieve.

I honestly think people are over-thinking the theoretical aspects of this issue.

The spacing of frets is determined both by the VSL and by the gauge of the string. That is why the best instruments have fully compensated fretboards. So obviously, anything you do to change the pitch of a string will alter slightly where the ideal frets would be. But I think a half tone would not be noticeable any more than switching from 12 to 14 gauge strings would be.

And on the harps I've seen, the VSL does not change. What changes is the tension of the string, for the lever sits in between the bridge and the zither pins and simply presses on the string enough to increase the pitch by exactly a half tone.

Yes, John, one of the ways I imaged using this would be toflip a lever while playing. I got the idea watching my cousing play the harp. She was running up the strings for an arpeggio but flipped the lever on one string for one note and then immediately after she played it, she flipped it back.

Could something like that work on the dulcimer? I don't know. That's one reason I posted this question. But those tremolo bars that electric guitarists use made me think it might be possible to rig something up.

On a fretboard, the distance between frets is mathematically determined from the VSL. If the VSL is changed (shortened, in the case of a sharping lever) then the open string might be changed an exact semitone, but the successive frets, having been calculated on a longer VSL, will be more and more out of tune as one travels up the fretboard.

Sharping levers work on the VSL of the harp string, not (particularly) on the tension as fine tuners do. Sharping levers are placed on the "working" part of the string, fine tuners behind the bridge/saddle.

Bobby's right that such an arrangement could be used on the drone strings of one of his dulcimers, and that could possibly be useful.

folkfan said:

Using a lever which either bends the string or pinches it, depending on the brand, changes your VSL length. Example I used the pinch off or imobilizing at a certain point on the string method sort of like the Truitt levers. To go from a C on my bass to a D I have to pinch off at just about 2 5/8" inches in from the bridge. That makes my VSL go from 25 7/8" to about 23 2/8 " which means at the open position I have D but at the 7th fret it a sharpened E. So unless you are going for just the D at open on the string for your tune, sharping levers wouldn't work with a fretted dulcimer.

The levers aren't place beyond the bridge like fine tuners are. And depending on the string gauge and how much they stretch will make moving or adjusting the levers when ever you change gauges or even string sort of necessary. Harp strings aren't changed as often as dulcimer strings are. So I think I'm right in saying that there would be more of a need to adjust the positioning of the levers. Fortunately their screw holes are designed for this minute adjustment factor.

On the treble string if I go from G to A (slightly flat) my 7th hits a B almost right on. Just wish we could come up with a way to move the frets as quickly.

I'm think I'm probably not understanding you then Dusty.

The second part certainly sounds do-able and obviously avoids the sort of problems that arise when using a capo.

It's the first part I don't get, Are you sugesting that you use the lever in play, rather than just when tuning/setting up. If so I don't understand how that works.

john

Dusty. Your sharping lever is more or less like the fine tuners - beads or screw levers - used on violins and dulcimers with wooden tuners. Second cousin to a reverse capo.

The difference is the sharping lever gives you precisely a half tone difference. I'm pretty sure something like that could be made to work with a dulcimer, but you'd want a long space aft of the bridge and before the break or string pins in which it could operate. I don't think it would be feasible in the middle of a song, but

John, maybe I am not explaining myself well. What the lever does is raise the pitch of a string by a 1/2 note. It is that simple. If the lever were active on a stringon a fretted instrument, then every fret would play a note 1/2 note higher than it would have with the lever down. So I got to wonderingwhether it might be possible to use a lever on a dulcimer so that you couldhitthe lever andplay the 1st fret to get the equivalent of a 1+ fret. If you could do that easily, then you mightbe able to play chromatic music without adding extra frets.

My second thought was that if you had a lever on every string, and the levers could adjust the tuning by a whole note, then you could easily go back and forth between a C tuning anda D tuning, for example.

Bobby had a more do-able idea of a lever on the melody string that would allow you to switch between aeolian tuning and mixolydian tuningjust by flipping the lever.

To be honest, I don't know modes that well, but I do know of some songs that go back and forth between major andminor keys, and the ability to change tunings like that in the middle of a song would sure be helpful.

john p said:

Hi Dusty,

I think there is a danger of misunderstanding what the semitone levers do. As I understand it, the harp is a diatonic instrument, and the levers don't add any extra frets.

I think you are right, Bobby. The lever sits between the bridge and the zither pins. When you raise the lever, a small metal piece pushes down on the string, raising it a 1/2 note. There may be some other models, but I just looked at a one at my local music store and that's how it works.

Some harpists only put them on certain strings, but in the picture above each string has one and they are color-coded to help the player know which string is which. Obviously, nothing that elaborate would be needed for a dulcimer.

Hi Dusty,

I think there is a danger of misunderstanding what the semitone levers do. As I understand it, the harp is a diatonic instrument, and the levers don't add any extra frets. What they do is rearrange the pattern of intervals and are, in essence, movable frets. It's easy to see this as changing pitch but the reality is that you are doing the equivalent of moving the frets about.
For example, if you are set up to play a tune in C Ionian then it is not possible to play a tune in C Dorian without some sort of re-tuning. On a dulcimer you would do this by re-tuning your tonic to a position that gives you the right pattern of intervals. On a harp you would do this by leaving the tonic where it is and adjusting the set of intervals that follow from it. That is, you would flip the 3rd and 7th.

I have seen something like this on a banjo, no idea if this is used for tuning purposes, mainly it seems to be used to get a bend effect on notes.

john

Bobby, I don't know if you were thinking backwards or not, but you clearly seem to understand what got me thinking about this to begin with.

Folkfan, why do you suggest a fretless dulcimer? On a fretless you could get any note you wanted anyway. I see the lever as a way to compensate for the limits of a diatonic fretboard.

If I had the talent to play a fretless dulcimer,I wouldn't have this problem to begin with.

Shawn McCurdy said:

Now if you happened to have a fretless dulcimer.....

Ivan, my understanding is that the harp lever sharpens the string by exactly a 1/2 note. So a C becomes a C#,an F becomes and F# and so forth.If that same balance could be achieved on a dulcimer, then the lever would make every note a 1/2 note higher (not just the open string).

I imagine two possible uses. One would be if it were easily accessible like the tremoloor whammy bar on an electric guitar (or that littlebutton on chromatic harmonicas). When you wanted a notethat could only beplayed with a 1/2 fret, you could finger the fret just below the note andhit that lever to get the note you needed.

The second use would be if you could design those levers to alter the tone a full note instead of a 1/2 note.Then you could tune to C and flip all those levers to quickly get into D tuning. For those of us who play a lot in multi-instrument jams, that would be really helpful since there is not always time in between songs to re-tune 3 or 4 strings.

Ivan Bradley said:

Dusty, a harp lever works by shortening the VSL of an individual string, making it a semitone sharp. With a fretted instrument, shortening the VSL to make the string any significant amount sharp would play havoc with the fret spacing - they'd all be out of kilter except for the open string.

Might work on a fretless dulcimer as it would change the VSL, but you'd need a couple of inches of flat fret board the height of the bridge and before the bridge to place a lever. With my strum, I think I'd end up snagging my right hand on a flipped up lever. As it is I have problems in the winter with snagging when I put on long sleeves.

Now if you happened to have a fretless dulcimer.....

Dusty, a harp lever works by shortening the VSL of an individual string, making it a semitone sharp. With a fretted instrument, shortening the VSL to make the string any significant amount sharp would play havoc with the fret spacing - they'd all be out of kilter except for the open string.

Many of us are familiar with the levers that harpists use to adjust the tuning of a string by a 1/2 step. The obvious advantage is being able to play a diatonic instrument and still get those accidentals when necessary.

Has anyone ever triedinstallinglevers on a dulcimer? It might be done just on the melody string or on all strings, and it might be a way of playing chromatic music without adding all those pesky frets all over the place.

If levers could adjust a string by a whole note, you could conceivably "flip the levers" to change from a C tuning to a D tuning.

Am I off my rocker or is this feasible?

Lucky you, John, to have seen that show. It's kind of funny to hear those two dulcimer tunes after an electric set with a big bass and all. Some of it reminds me of the Miles of Aisles album where she has a full band, including electric bass, horns, and everything, yet behind it all is Joni's melodic voice and acoustic sensibilities.

By the 80s you could hear her voice changing, getting deeper with less sustain, signs of both age and cigarettes.

I'd be her "mean old daddy" anytime.

Thanks for that Dusty, I think I really liked her best in the early years.

From a later concert : http://www.youtube.com/watch?v=XPrJNKJcRrs in 1983.

"A Case of You" starts at 19m 24s and is followed by "Carey".

I was lucky enough to get a back stage pass, great night.

john

Some of us have seen pieces of this clip, but the whole concert is available on YouTube. I've cued it to the spot where Joni Mitchell introduces her dulcimer to the audience and then plays "California," one of my favorite Joni songs.

http://youtu.be/qH9DzMKxulc?t=16m14s

THANK YOU! The check's in the mail!! I'm so excited. I love a challenge, and Si Bheag Si Mohr is one of my favorites to play.

Paul Furnas said:

Hi, Johanna.

The duet features one dulcimer playing the original melody and a second dulcimer providing a more challenging finger=picking accompaniment.

If you will send a suitable mailing address and $5 to

Paul Furnas

P.O.Box 385

Davis, CA 95617-0385

I will send you six sheets of tablature on card stock:

1 sheet . . . the original melody

1 sheet . . . the finger-picking accompaniment

2 sheets in duet format . . . original melody + simplified chordal accompaniment

2 sheets in duet format . . . original melody + finger-picking accompaniment

The finger-picking accompaniment is rather challenging, but it is extremely satisfying to play (and the conventional chordal arrangement is a good way to prepare your left hand for the more challenging version).

Sincerely Yours,

Paul Furnas

Thank you Dusty for sharing this lovely duet, they both are fabulous players. very soothing and beautiful.

Very beautifully played Ron and Paul. Really enjoyed listening to you.

Dusty Turtle said:

Thanks for listening. I recorded that at the Redwood Dulcimer Day last summer, and you can hear all the folk in the audience. But Paul and Ron recently recorded a cleaner version of the arrangement:

What a gorgeous arrangement and so beautifully played! Is the music for this duet available to the poor folk who don't live on the west coast? I would love to learn this arrangement.

Thanks for listening. I recorded that at the Redwood Dulcimer Day last summer, and you can hear all the folk in the audience. But Paul and Ron recently recorded a cleaner version of the arrangement:

i thoroughly enjoyed that, thanks for posting it!

Just saw this marvelous video - what a gorgeous performance of one of my favorite melodies. I've heard it performed many times on a variety of instruments and settings, and this has to be one of the best. Thanks so much, gentlemen.

Thank you so much, Paul! When I get back home again I'll send in my order! This is very appreciated!

Jan, I'll make sure Paul sees your request. It is indeed abeautiful arrangement, and I can understand why you'd wantto play it.

Jan Potts said:

Is this duet arrangement available for purchase? I love both parts--and would like to learn both! And, Rob, if you learn them, too, we'll play a duet some day!

Is this duet arrangement available for purchase? I love both parts--and would like to learn both! And, Rob, if you learn them, too, we'll play a duet some day!

Very very pretty. Thanks for sharing this Dusty.

Thanks, Wayne and John. I'm glad to get one of Paul's arrangements some exposure.

Wayne, what makes you think it is tab and not standard music notation? (Actually, I think it is tab that Ron is reading, but I just wanted to give you a hard time. ) Paul arranged the piece for two dulcimers and not surprisingly he knows it better than Ron does. The arrangement is so precise that if Ron were to play a note that might sound great when playing solo but is not exactly what Paul had written, he would ruin the harmonies and counter-melodies that Paul intended.

That was really nice. Thanks for posting this!

Dusty,

That was one of the most beautiful duet arrangements I've ever heard! (Just for the record, I had typed beautiful, gorgeous, wonderful and amazing before settling on beautiful.) I'd love to have someone with which to try something like that. I can't say thank you enough. Yep, Carrie, you're not an original on that 3 finger, no thumb style. :( I had thought you were.

I wish I could say thanks, Carrie and Cheryl. All I did was hold a camera. We're going to try to make another recording with a better mic on Paul's dulcimer. And hopefully my dulcimer group will record one or more of Paul's arrangements. He's got a couple with three or four parts of increasing difficulty, so everyone from the beginners to the more advanced can play a part.

Really beautifully done!! Bravo!

Since I am not playing in this video, I can't upload it to our video library, but I wanted to share with everyone this carefully arranged duet of Turlough O'Carolan's "Si Bheag Si Mohr" which Paul Furnas and Ron Beardslee played at the Redwood Dulcimer Day this past weekend.

Both are founding members ofmy dulcimer group, River City Dulcimers. Paul has been playing and teaching the dulcimer for decades. He has a doctorate in early music and is a font of knowledge about music history and music theory. He has many arrangements of songs, all very carefully thought out. It is a bit hard to hear his fingerpicking here, but hopefully you can all see how pretty the arrangement is. And Paul's smile at the end is precious!

Listening to this soft and carefularrangement of the song makes me feel like that proverbial bull in a china shop when I play my awkward strumming version of the tune.

From personal experience, I've found that using the middle, ring and pinky finger for barre chords keeps my wrist in a better anatomic position.

Ken has an article on hand health for MD players on the Everything Dulcimer site. I find it helpful to do a these before and after playing.

http://www.everythingdulcimer.com/articles/28/hand_health.pdf

Joseph, personally I do tilt the dulcimer up a little bit, not fully vertical like a guitar, but just enough so the back is off my lap. But I do that more for the comfort of my strumming hand and not my fretting hand.

First, most of the time when dulcimer player refer to barre chords they do not actually mean they finger them as barre chords with a single finger. Most dulcimer players fret across all the strings on the same fret by using either their middle, ring, and pinky fingers or their index, middle, and ring fingers. Mark Gilston does the former; Linda Brockinton does the latter. I do both, depending on the chords or notes immediately before and after the barre chord.

Second, people who do barre a lot with a single finger tilt their hand so that it is more the side of their finger making the barre than the soft bottom. Using the side allows you to use the bone of your finger as a brace. If I am not mistaken, Stephen Seifert uses his ring finger to barre in that fashion.

Third, professionals who barre a lot get dulcimers with what is called a radiused fretboard. That means the fretboard is curved so as to allow an easier barre. Almost all guitar fretboards are radiused, but a different degree of curve is necessary for the dulcimer. Both Aaron O'Rourke and Erin Rogers play on dulcimers made by David Beede with radiused fretboards.

Fourth, Ken is correct that as you stretch for more chords you will be using muscles in your fingers and hands that have rarely been used before. Some discomfort at first is to be expected. But you should definitely not continue doing things that cause you pain. In order to play well you have to be comfortable. If some chords necessitate a stretch that hurts, find another way of playing the chord. Over time those stretches will be easier and easier, but you certainly don't want to hurt yourself.

Fifth, Ken is also correct (notice a pattern here?) about arched fingers. Obviously he is not referring to forming a barre chord with a single finger, but when you finger the fretboard, you should be using the very tips of your fingers, not the fat pads. To do that well might require developing some strength in the fingers, but that will come with time. When my daughter plays the piano, I encourage her to hold her hands so that an egg could fit beneath her fingers and palm on the keyboard and her hand won't crush it. As a general rule that is good advice for the playing the dulcimer as well.

Are you barring with the edge of your little finger, or with three fingertips? As a new player, you're bound to get twinges of pain now and again, especially if you've not played other stringed instruments, or if you're changing from playing vertical guitar to horizontal dulcimer fretting. The only real rule of thumb (as it were) is that there is no one way to finger a chord. I'm not a chord-melody style players, but from what I've seen, arched fingers are better than flat.