Thank you both, Ken & Greg/Banjimer. I, too, find dulcimer ideally suited to syllable playing unlike guitar which tend to be closer to "incessantly repeating a pattern." I was fairly sure this 1/4 vs. 1/8 notes was what was happening, but thought it deserves clarification. Our Ditties are never Bum!
Think of the "Bum" strum as a quarter note. The "Ditty" strum is two eighth notes. So when Ken says he's a syllable strummer, he is using the "Bum" strum for a single syllable of a quarter note duration and the "Ditty" strum for two syllables of an eighth note duration each.
To play two eighth notes (double syllable) in the same amount of time as one quarter note the strings are strummed on both the outward and inward movement of the pick. For the quarter note (single syllable), the strings need only be strummed on the outward motion of the pick.
Like Ken has stated, strumming well is not a matter of incessantly repeating a pattern, but rather matching a tool box of strums to the melody as reflected in the way the syllables fall in relation to each other. Further complicating the matter are "fill notes", which can be used to extend the duration of notes longer than quarter notes.
Lois, I'm not really a bum ditty player. I'm more like Don Pedi describes as syllable player fitting the strums to the words of songs. As I understand bum ditty it is a single strum followed by a double strum. You can also do ditty bum which is the opposite; a double strum followed by a single strum. Hope that helps you.
Ken
"The dulcimer sings a sweet song."
If she can count to five, then this tune might be very helpful to start with:
https://dulcimer-noter-drone.blogspot.com/2009/02/new-player.html
It's absolutely the easiest tune to play for a beginner, and can be played noter style (or fretted with one finger) on the melody string only, with the other strings brushed unfretted, as pretty harmony notes that go with the tune naturally.
This discussion is split between "Fret Addition" & talking about strums. I noticed Banjimmer (@greg-gunner"> @greg-gunner ) gave the common strum using "Bum - Ditty." I suddenly realized I've had a problem with this common strum that maybe can be clarified here.
My question is "Does 'Ditty' imply 2 strums just as the word 'ditty' is 2 syllables with probable emphasis on the first half?" On guitar the strums were highly clarified, but it looks less obvious for dulcimer. I do strum in both directions unless the song seems to require repeated strokes in one direction to stress the gravity of the melody. If I'm doing Bum-Ditty is it something like "In - Out" (or vice-versa) or is it "In - Out - In" or even "In - Out - Out" with the part after "In" occurring in the same amount of time as a "Bum"? To put it another way: Whole - Half/Half? Because of the time signature I'm presuming the latter as opposed to Whole Note in one direction, then Whole Note in the opposite.
Hope this makes sense and all you Bum-Ditty-ers don't mind clarifying this.
Not much to add that hasn't already been said. Like, Dan, I hope you are not planning to add a fret to a hundred year old dulcimer or one from on of the historic traditional builders. Keep in in mind that adding the 6 1/2 fret is not just putting a fret midway between the sixth and seventh frets. You need to calculate the proper placement for the 6 1/2 fret either by doing the math yourself or using a fret calculator. If you already have the equipment to do the job yourself, go ahead. If not you may find it less expensive to have it done by a professional.
Ken
"The dulcimer sings a sweet song."
Lorilee, my oldest grandson is also on the autism spectrum. He is 13 and in junior high school (8th grade). Early on I tried to interest him in dulcimer, but was unsuccessful. He is in the middle school band and plays percussion. His father helps him. His father is not a percussionist, but plays guitar, trumpet, and piano and has picked up some percussion from being in bands. Our grandson seems to identify with the various patterns of drumming as well as different intensities (soft to loud). I don't know if one of his stims (watching things spin) is related to his drumming or not. He is not particularly proficient in math but is very good a remembering numbers.
You could approach your granddaughter by doing some simple counting. Count the scale 0 - 7 (if in DAd) or 3 -10 (DAA). Start with one strum per note, then add a strum to each note, and so forth. You can then introduce different rhythms 3/4, 4/4, etc. I suggest she use her index finger to do the noting even if you have to lower the strings in pitch a little bit. Holding a noter can be frustrating until you master the technique. Slipping in to the middle string causing an extra rattling noise can be disturbing. Of course, you can show her how to hold the noter properly and she how she does. Take it slowly in small increments at first. Don't force it. If she shows an interest, help her to be successful at it.
Ken
"The dulcimer sings a sweet song."
It's a beauty-- I love seeing Ohio-built dulcimers. :)
Lorilee,
I'm no expert on autism, but if you think math might be the key to getting your granddaughter interested in music, there are lots of places to find it.
Right hand strumming is all a matter of fractions. Does your daughter already know about note duration? If we start with a tune in 4/4 time, then a whole note gets one strum to last the whole measure, but we can cut that in half and get half notes, so you strum twice in that measure, we can cut each half note in half and get quarter notes and strum four times in a measure, we can cut those quarter notes in half and get eighth notes, in which case we strum eight times in a measure, and so forth. And we can mix and match those strums, with the understanding that all those fractions have to add up to 1 for each measure.
The left hand is all about math, too, but at least on the dulcimer we don't work with fractions but integers. If your granddaughter is going to be playing other instruments--likely if her elective is band--then I would stress not the numbers of the frets but the intervals between notes. So the root or tonic is the 1st, the next note of the scale is the 2nd, the next note is the 3rd, and so forth until you get to the octave, the 8th note.
I would have her start by playing in a drone style (she can use her fingers rather than a noter, I would think) and show her a simple melody, noting the intervals involved. You might even make a game of it, playing the first notes of a song and asking her to figure out what the interval is. Twinkle Twinkle begins with a 5th. Here Comes the Bride begins with a fourth. My Bonnie Lies Over the Ocean begins with a 6th. Show her those intervals on the fretboard and see if that piques her interest.
Having said all that, you might also just put the dulcimer on her lap, show her a simple melody, and see what she does on her own. Some children with autism have the ability to very quickly learn pretty complicated pieces of music, and it might be that the mathematical patterns of music are more easily understood by people with autism than they are by the rest of us supposedly "normal" people. I think if you are attentive to your granddaughter, you might find she takes quickly to music without you having to point out the math behind it.
Hello All,
I am looking for a little advice. Here's the situation. My only grandchild is 10 going on 7. She's autistic and very ADHD. She is also very intelligent, but it is hard to get her to focus on any one thing for very long. She is verbal (loudly!), but can't really carry on a 2-way conversation very well. Also, math is her favorite subject in school.
I know there is definite connection between math and music, so you can probably see where I am going with this. I'd like to TRY to sit her down with a dulcimer and teach her some basic things. My logic tells me that noter style is probably the best way to start with her. Yes? She maybe can pick out some tunes that way and have some easy and early success.. Any suggestions for this? Also, are there any materials out there for teaching kids to play? I'm a retired HS Science teacher, but younger kids are a whole different challenge. Is it a good thing to teach her tab or just go by ear?
This kid is going to middle school next year(which scares me to death). Her one elective will be band. As it stands, I just don't see that as feasible. Maybe the dulcimer might get the love of music alive in her before then.
Thanks Robin. I'm very happy with my Ron Gibson dulcimer, I bought it about 2 years ago. Here's an original photo of it, but I string it differently these days.
There are some things to think about for fret installation;
1. tools; fret saw with depth control, square, hammer/press, measuring device and file[s] for leveling and finishing the ends.
2. where to put the slot
3. the correct size of fret wire
The 6+ is far enough from the nut-0 fret to be rather difficult to place, the 1+ is easy.
It's probably more efficient to pay for a single installation unless you think you may do more of them.
As KenH has already told you, strumming in both directions is not mandatory. However, being able to strum in either direction is a great skill to have in your toolbox. Your strumming hand creates the rhythm, and strumming is a combination of out and in strums. Begin slowly strumming in one direction only (Bum Strum). When you can do this without difficulty, strum out and in and strike the strings on both the out and in strum (Ditty Strum). Then alternate the two strums (Bum-Ditty Strum). Finally, try different combinations of the Bum and Ditty strums to match the rhythm of the time signature.
4/4 Time
Bum - Ditty - Bum - Ditty etc.
Bum - Bum - Ditty - Ditty etc.
Bum - Ditty - Ditty - Bum etc.
and so forth
3/4 Time
Bum - Bum - Bum etc.
Bum - Ditty - Ditty etc.
Bum - Ditty - Bum etc.
and so forth
The key is to not keep repeating the same pattern over and over, but rather to freely change the pattern within the song to create variety and interest.
The key to playing in both directions is to practice very slowly and often. You'll get it! Sit yourself down and practice slowly and stick with it. In the end you'll be glad to have the skill. Your hand has to go in both directions anyway, so why not make good use of it?
Once you get comfortable with it you'll find your playing gets more fluid and pleasant sounding. When I hear an audio clip of someone playing and if right off the bat sounds unpleasantly choppy to me and with awkward timing, it usually turns out they are strumming or picking only in one direction.
Think of it like walking with both legs as opposed to hopping along on one leg. One leg will get you from point A to point B, but it'll won't feel very smooth and pleasant.
If you play in chording style (fretting across all strings) then yes a 6+ fret is going to make things waaaaay easier for you. (And you won't have to learn all the different chord fingerings for each tuning.)
If you are only going to be fretting melodies on the melody string then learning to retune to different modes will be all you need to do. (and in most cases you'll be only retuning one string.)
If it were me I would get a pro to install that fret since you don't want to mess up the fretboard and you'll want it to not come out later and to look matched. I once went to a music store/guitar store and they did a nice job for a small fee.
I enjoyed your song, @jimmy! And your Ron Gibson instrument sounds great!
First of all, you do not need to "strum in both directions". I spent some 25 or 30 years being an 'outie only' strummer before one day accidentally strumming both ways and making it work. I still strum 90% out-only. You're just starting -- give it time.
Secondly, you do not need a 6+ fret, because you can retune (usually only 1 string) in just a few seconds, to change between the most common tunings to get notes you don't have in your base tuning.
I think you should first spent some time (a week or two) daily practicing and learning how to re-tune quickly between DAd, DAA, DAC and DAG (the 4 most common Modal tunings). Play a song in one Mode, retune the melody string, play a song in another Mode, re-tune the melody string... rinse and repeat. After a couple of days you'll become a wizz at changing that one melody string in just a few seconds.
I think if you're dead set on having a 6+ fret you should, if possible, first borrow a 6+ fretted dulcimer for a few weeks to see if it really is your cuppa tea before possibly irrevocably changing a dulcimer which was intentionally built without the modern non-diatonic 6+ fret. If you can't borrow a ^+ dulcimer, make a temporary 6+ fret with some tape and a piece of paperclip.
www.soundcloud.com/user-553662963-535000276/i-love-folk-music-1
It's tuned dAd with equidistant stringing. The A string is tuned normally, and the 2 d strings on both sides are tuned to the same d note. All strings are unwound strings. I really love this type of tuning/stringing.
To fret or not to fret, that is the question...yes it will make contemporary play much easier. I am a traditionalist and simply retune, but I realize retuning aint' for most folks and the 6+ is the way to go. IMHO
P.S. Please tell me it aint' a hundred year old piece you're fittin' to add a fret to?
I got my 3 string dulcimer and am enjoying the learning process. (However, I'm finding that strumming in BOTH directions while fretting is like rubbing my stomach and patting my head at the same time.) Anyway, I got an instrument that does not have a 6+ fret. I'm starting to think that a 6+ fret would give me more playing options. So, my question... What do you think of me installing a 6+ fret? I've never actually installed frets before but I have replaced some missing frets during a banjo restoration. Any input greatly appreciated.
Thanks again to everyone for their input. I have been ordering a few new books, so I'll add Neal Hellmanns Dulcimer Chord book to the list.
I really appreciate the information you've all been sharing!!
@Jost, you may be right about Pretty Saro. I have seen folks play it on dulcimer by tuning mixolydian and then basing the home note on the middle string.
Saro is probably not a good example for me to use. There are many versions of that ballad, and some sound major and some sound more minor... so I guess you could play it in various ways.
Complicating matters is that you can sometimes be in a tuning that is associated with a certain mode, but be playing a tune that is in a different mode... especially if you play melody notes across strings- on more than just the melody string.
@jost :
Keep in mind that as long as you are playing the melody on one string [the melody string for instance, the other 2 are drones], the tune can be played in any mode [tuning]. Off the top of my mind, DAC [Aolean], CGC [Mixolydian], GCC [Ionian]. This is because a key scale consists of all 7 modes, each mode beginning with one of the notes in the scale. For instance, there is an Aolean mode in each key scale, it starts with the 6th note of the scale as the lowest, or beginning note. The notes are different for each scale, since the "parent key scales" are different.
G key scale = GABCDEF#G [Ionian], EF#GABCDE [Aolean]
D key scale = DEF#GABC#D [Ionian], BC#DEF#GAB [Aolean]
Just for giggles, playing on just one string, no drones, is not a mode or is all modes, take your pick.
If you are at the stage where you want to experiment just a bit but don't quite understand all the details yet, then you can stay with your first familiar tuning, OR play with DAd and DAA both, OR you can dip your toe in the water by adding a third tuning- I'd suggest DAC, for playing the beautiful lonesome sounding Aeolian mode tunes like Shady Grove or Cluck Old Hen or Pretty Saro.
Many good answers already. I will just add something to confuse you even more
You asked for the GDG tuning. This is (in theory) the same tuning like DAD (mixoyldian mode) just for the key of G. There is a catch though. Depending on the VSL of the dulcimer the bass string might break if you try to tune it to this.
For such cases there are the so called reverse tunings which change the key of the bass and middle string. Thus GDG gets DGG, GDD (G ionian) gets DGD, GDC (G dorian) gets DGC etc. It works quite well and might be of interest when playing something in the coresponding key.
As introduction I highly recommend Neal Hellmanns Dulcimer Chord book which has a great introduction to the modes and tunings. I don't even play any chords (strictly noter/drone player on my Dulcimer, if I want to play chords I pick up my guitar) but would recommend this book to any dulcimer beginner (noter/drone or chords) because of the good introduction to the modes.
Another unorthodox way to tune are the so called bagpipe or unison tunings: They are mainly used for mixolydian mode. The idea is to tune the middle and melody strings like the Bass just one octave higher. Thus for D mixolydian the bagpipe tuning would be tuned like this: Tune the dulcimer to DAD. Tune midlde string from A to the same pitch as the melody strings.
It works great for mixolydian tunes like Old Joe Clark, Going to boston etc. It's also nice to take tabulature for DAD (or another mixolydian tuning) and try it out in a bagpipe tuning: London Bridge, Mary had a little lamb, Brother Jacob and other nursery rhymes just get a lot more interesting just by changing the pitch of the middle string ;)
Hellmann's Dulcimer Chord book and Jean Ritchies book "Dulcimer people" both have a section by Holly Tannen where she propagates these unison/bagpipe tunings for jam sessions with fiddlers/guitarists etc especially Irish music.
Stuff like these is part of the reason I love the dulcimer so much: Even as somebody who never had a real musical education (my last music theory lesson I had at school when I was twelve years old and I forgot everything) you get a basic introduction just by having fun with the instrument.
I hope I didn't add to much confusion :)
I'm always tuning between daa, dac, and dag. It's the way those of us who play primarily diatonic dulcimers find those extra frets. Modes expand the dimensions of our instrument....Robert
Btw since you play banjo-
Adding DAC aeolian mode tuning as an option to more easily play lonesome sounding tunes in the key of D is just like how oldtime clawhammer banjo players add 'sawmill tuning' ( gDGCD) to their repertoire in addition to their basic gDGBD tuning, when they want to play spooky or plaintive g modal tunes on the banjo. Once someone learns Sawmill tuning (sometimes called Mountain Minor tuning) on their banjo, they usually want to come back to it often. It's pretty addictive, exactly the way DAC tuning is on the dulcimer. 
Melvoid, so much about tunings depends on two things: 1) what key you want to be playing in, and 2) the limits of your string gauges in tuning to various notes without being so tight as to break, or too loose as to be floppy.
If you are at the stage where you want to experiment just a bit but don't quite understand all the details yet, then you can stay with your first familiar tuning, OR play with DAd and DAA both, OR you can dip your toe in the water by adding a third tuning- I'd suggest DAC, for playing the beautiful lonesome sounding Aeolian mode tunes like Shady Grove or Cluck Old Hen or Pretty Saro.
I've explained a lot about tunings and modes in many posts on my noter/drone blog, but here's one post from it that includes a simple video of retuning between the four most common modes and tunings for dulcimers:
https://dulcimer-noter-drone.blogspot.com/2010/02/video-re-tuning-between-four-common.html
Using the key of D for my example, and starting in DAd tuning, I demonstrate how to tune from mixolydian DAd to aeolian DAC, then to ionian DAA, and finally to dorian DAG. Then I re-tune back through each made again until I'm back in DAd. This method is a simple way to get into the concept of retuning for dulcimers. Hopefully it helps in some way.
I see. I do understand the method, but thought maybe it was a bit tricky for new students. I find it often takes a bit for their ears to get used to tuning off other fretted strings. At any rate, my most recent convert (from guitar to dulcimer), just dropped some bucks on a nice instrument and case and she's coming along nicely... and that's mainly what matters.
I also found this table somewhere in my research. Pretty much the same but there are some differences between this and my earlier chart.
I think MOST dulcimer teachers/books etc teach tunings from the bass string first -- because that is the note which defines the Keynote -- the note the instrument is tuned to. Gotta remember dulcimers are not guitars or mandolins, and we have our own way of doing things. Like referring to the Bass, Middle Drone and Melody strings rather than Low or High strings.
I've used Jerry Rockwell's "relative" tuning techniqus successfully for decades -- set the bass string to X, fret to bass string at fret 4 and tune the middle drone to that fifth; if tuning to a Mixolydian 1-5-7, fret the bass string at 7 and tune the melody string to that fretted note. There detailed instructions for Ionian, Mixolydian, Dorian and Aeolian Modal tunings in my I Just Got A Dulcimer... booklet.
Most tabulature has the name of the tuning at the top, and assumes that the player knows how to tune to them.
Thanks. For now, we're using D as the low string, but I noticed that in some books, they say DAD, or GDG. Seeing these are guitar students and we've already learned G, C, and D chord on the guitar, I may go to that. But the scale degrees helped in Skip's answer, too. 1, 5, 5. Doesn't matter what notes we use as long as the intervals are correct.
My main problem was that in one book, they only told how to tune by setting the low string and then tuning the other strings from fretted notes on the low one... OK, but not great for beginners;
In another book, it had a few, but there were mistakes. It showed a keyboard with the notes, and it was labeled incorrectly.
In another, it had simple tunes and at the top it told the name of the tuning, but not how to tune it.
I don't have enough hair left to pull out, or I would have.
I've had these book since the '70s and '80s and hope maybe some good beginner books have been written since, but I'm starting with what I have because I already have them.
I've only been a member of this site for a week or two, and already I've had several of my questions answered. I appreciate everyone's help.
ms
Skip's post gives you the straight dope. I've used a similar chart for years to show basic Modal Tunings. Of course those are the "key of D" Modal Tunings,, and any tuning can be "transposed" to the same Mode with other key notes (C, G, E, B etc).
If you join the Beginner Players Group, at the top of the Group page you'll find an article I wrote years ago to answer many newcomer's questions about the tuning, playing, care and feeding of their dulcimer. It also includes an illustrated glossary of terms so we all speak the same jargon in regards to the instrument. The article is called I Just Gof A Dulcimer, Now What?
Also, I've attached a PDF of another article I wrote called Uncontrite Modal Folker, which explains in detail about Modes and Modal Tunings
This is the first time I have seen the different tunings make some sense
thanks
THANK YOU!!! For some reason, I had a really hard time finding these.
I may have mentioned recently that I've dabbled with the dulcimer for a long time, but mostly for my own enjoyment. I DO give banjo and guitar lessons, and recently one of my guitar students showed an interest in dulcimer. Do I dug out several old books for ideas. One problem I'm having is that none of the books seem to have a basic list of the various tunings and the notes. They're all based on tuning to itself off of fretted strings. Not bad, but for my beginners, I think it's easier with an electronic tuner and note names. I'm having a hard time finding a source for more than Ionian and Mixolydian. I have one old Mel Bay book with other tunings, but it's full of errors!
Does anyone have a source for just the tunings with note names?
Update: I have since found a forum at wikihow.com/Tune-a-Dulcimer, and that seems to disagree with the Mel Bay book on a few of the tunings (Aeolian, for example - heavy sigh).
I realize that, for now, Ionian and Mixolydian are probably all I'll need, but my OCD side is showing and I want to have it all correct for my own peace of mind, if nothing else :-)
thanks
Glad to see you active again. Looking forward to your participation.
Thanks Robin. That not only honors Cari but also brings back some wonderful memories.
Ken
"The dulcimer sings a sweet song."
Though this isn't from this year's virtual Hindman Homecoming fest, I want to honor Cari Norris in this thread. I share this from Molly McCormack-- I especially love Cari 's singing on the Jean Ritchie song Sweet Sorrow in the Wind in which she is joined by Molly. I'm guessing Cari could be playing her grandmother Lily May Ledford's guitar in the song.
Uncontrite Modal Folker.pdf - 92KB
