Robin.... I prefer to re-tune, but sometimes those durn fiddlers want to jump right into a tune in a different key. A capo is the quick way to get there (unless they're going to C lol.)
Here's a mournful little Russian song, requested by Oliver Ogden. It's 2 pages: the first just the melody playing using a capo on 1 in DAd tuning; the 2nd is still in DAd tuning but using chords without a capo, still in E minor. It was a fun song to tab out and will be a great addition to the repertoire.
I understand it very well, believe me 
I play a lot with other instruments, special the violin. The violin is a chromatic instrument and transposing, or just shift your fingers, is rather easy, where on the dulcimer the diatonic fret board is a hazard. Violin players won't give up playing open strings 
, unless they are more secure about there playing. (When a singer better sings in Eb rather than in D, the violin player is against plying a different key, not the guitar nor the bass player. I will not mention the percussionist.
To use a capo the best way is on a chromatic dulcimer, so playing a lot together with other instruments, leave the diatonic ones behind.
BTW to make the sound of the guitar more flamenco, flamanco players use another guitar made of different wood. Using a capo is a trick, but doesn't make it sound gypsy like. https://en.wikipedia.org/wiki/Flamenco_guitar
Lexie, I hope you'll be able to travel southeast someday and visit, play some tunes and share in fellowship at a mountain dulcimer gathering!
Wout, I don't think you understood the first part of my response. Fiddlers (especially) play songs in certain keys, they won't play a tune written in the key of A in D. That's where the capo comes in. When you play with other instruments, they are not going to play everything in D. A capo is quick way to get to G or A (with a 6 1/2 fret) on the dulcimer.
Actually, it was given to Jean when she won an award (the name escapes me), and donated to HSS by Jon & Peter upon her passing. Four of those "award chairs" are in the Great Hall - James Still, Albert Stewart, and (I think) Loyal Jones.
That's what I said: a different quality in sound, but a flamenco guitar is a chromatic instrument, the dulcimer isn't...
Transposing to D (Dm) allow same chords. Once you know these in these two keys, you can play everything without learning new grips.
Anyway, I have a capo 
And the rocking chair in Ken's picture is the one Jean used when she came to the school. Quite the tableau there!
Wout, use of a capo can be handy when playing with other instruments. Fiddle tunes are played in certain keys. If you ask a fiddler to play Old Joe Clark or June Apple he'll immediately start playing it in the key of A, not D. A capo on 4 is the easy way to get to A, particularly if you're in DAd. Old Black Cat and No Corn on Tygart are in G, so capo on 3 and off you go. Then again, sometimes you just want a different "sound." I took a flamenco guitar master class with Chucales once and we were using a capo. I asked him why, since we weren't accompanying a singer. He said, "so it will sound more flamenco." There you go!
Sounds like a great time! I've got to try to make it out there.
Here is a photo of the Ritchie family dulcimer that Ron Pen shared with folks at the Homecoming.
And then, there are folks like me who have no idea how to transpose anything--for us musically challenged folks, it is indeed easier to slap a capo on. :)
I don't understand the use of a capo that much, unless you are playing on a chromatic dulcimer. To me transposing a song to D or Dm is easier than using a capo. I can use the same chords grips. Surely, there are songs which need a high register sound, like German Zweifager, but that's an exception to me 
okay cool I like learning about different dulcimer makers as maybe one day I will get a hand made one..
thanks
Maria
I use one of Mike Clemmer's Capos got it for 25.00 works and looks great Mikes shop is Wood and Strings in Townsend TN.
Hmmmmm Maybe I should have found this post before I ordered my Roosebeck. Well I hope when I get it that I'm as happy as John Stephen's was with his first dulcimer. I had some credits on Amazon and it's what I could afford right now. (especially that I haven't ever played one before) I will let you all know.
I know the seller on Amazon does have a return policy and I think after watching a gazillion videos I will know right away if it's garbage. I hope I get a good one! To be honest I have some pretty high end guitars (Taylor, Martin) and then some inexpensive ones whichwere fine to learn on and aspire to nicer ones. Hopefully the Roosebeck cut away will do the same!! (I figured since I'm a guitar player maybe I would experiment with holding it both ways!) There is one Video on Youtube and I tell you I think it sounds pretty good!!
Take care
Maria
cut a way played like a guitar
Yes, I think I'll go with the Ewing. Funny thing is if I follow the link above they seem to be 17 but don't know what the shipping is. I guess I will go direct to the Ewing site where the price of 21 includes the shipping!
thanks again
Maria
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?
Great write up, Rob--I could picture it all, you described it so well!
Now I'll have to see Ken's photos....
I have to get a new capo myself. I've lost my Ewing and my "Hewn from the Mt." I've noticed the Koch ones and I think they look pretty good. I have to measure a couple of fingerboards to see how many it will fit.
Yep, it was a fun time, and the weather was great. Lots of music, history, friends, and good times.
Things in Hindman seem to be progressing well now. And the new dulcimer museum is fantastic!
Yes, I had a great roommate for the Homecoming. I had a great one last year, too, but this year's didn't snore! Dusty, Lexie, I hope y'all can make it East some time. Hindman is a great place to be. Robin was telling about her room, Ron had Jean Ritchie's Thomas dulcimer with him. So we saw some special history (as if the museum didn't have enough history for you.)
Happy birthday, Susie!
cool thanks so much to both of you!!
Maria
Aw, man, you made us blush.
From what I'e seen doing a search on 'dulcimer capo' $18-20 is about normal for a wood capo. I do suggest you don't get one of the plastic ones, I did for my first one and it broke fairly quickly. I would assume that most MD dealers/luthiers would have them available.
I see one on amazon for $20 (roosebeck.)
but I also see some on ebay that say hand made by KOCH. Same price.
Any opinions on these or any other? that's in that price (or better lol)
thanks so much
Maria
Happy Birthday to me then (really....today's my day).
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.
Rob that was an amazing report of your time at Hindman, so happy you did so well with your classes and glad you enjoyed it all.
I would so love to be able to make it all that way to soak up all the history of the mountain dulcimer and meet all the great people who keep it singing today. It especially is a dream of mine to meet some of our members/ Friends and learn from you and play a tune with you.
Thank you Ken, Rob and Robin for sharing your time there and Ken thanks for the wonderful tour of pictures. 
Sounds like a great time. Maybe someday I'll be able to make the trek from the left coast.
Nice summary of your activities Rob, but you forgot to mention how great your roommate was. LOL! I did something a little different this year and decided to have a table in the vendors area to show my J.E. Thomas dulcimer and have some dulcimers and accessories for sale. Although I did not sell any dulcimers, I did sell some books, picks, noters, a tuner, etc. I had a wonderful time, enjoying workshops and the seminars, playing dulcimer and guitar, renewing old acquaintances, and making new friends. I'll post some photos of the museum.
Ken
"The dulcimer sings a sweet song."
Rob, great run- down of the weekend! I felt like I'd made it to Appalachian Dulcimer Promised Land in Hindmam! I hope to go back!
PS- Kathy V and I had been, unknowingly, assigned to the apartment Jean Ritchie, George Pikow, and Edna Ritchie used when they visited Hindman. It seemed the history of the school and the village was present.
I knew I would miss something good when I couldn't go this year. Sounds like a fun time for sure. I know last year was great, so next year will be even better.
Thanks for your imput , Rob. You whetted my appitite for next year.
The folks at Hindman, Ky, outdid themselves; this 2nd festival was better than the 1st one. We registered on Thursday. It was great to see the other presenters/performers again. Don Pedi, Anne MacFie, Randy Wilson & Cari Norris, none of them I'd seen since last year. It was also great to see our fellow members John Knopf, Dan Cox, Ken Longfield, Robin Thompson, and Mike Slone. After a visit with Mike & Doug Naselroad at the Dulcimer Shop (and future School of Luthierie) the festivities began Thursday night in the new Museum of the Mountain Dulcimer in beautiful downtown Hindman. We were treated to a concert by banjo performer/historian/collector George Gibson with one of his students, followed by Bob Young on dulcimer and vocals. After some conversation both at the Artisan Center after the show and at the cabin, we all retired for the evening, anticipating tomorrow's activities.
After a splendid breakfast of biscuits & gravy, eggs and sausage at the Hindman Settlement School we trekked across the campus to the School of Crafts to begin our workshops or man our sales tables. If you are unfamiliar with the Settlement School in Hindman, it has had connections to the dulcimer since its beginning. Uncle Ed Thomas was a visitor there, Josiah Combs was a student, Jethro Amburgey taught, and John D Tignor was a student as well. The 1st workshop I was to teach was "Accompanying your Singing," and I'll have to admit, though, I do it every day, I was a little nervous about this one. I had 7 students to face and as I started the nervousness left, and we had a great time, singing and using different methods to accompany ourselves. I believe they enjoyed it as much as I did.
When it was over, I wandered back across the campus and into town for lunch. After that great refreshment at the Artisan Center Cafe, I went back to the School of Craft to catch a little of Anne MacFie's rhythmic strumming workshop. After trying to teach something at least similar for a while now, I thought a new perspective on how to communicate with the students might be in order and, thank you Anne, got some ideas from you. When I got back to the Settlement School, there was Alan Darveaux sitting at one of the picnic tables outside the May Stone Center playing away. So I did what any fan would do: immediately sat and listened. Hung out 'til supper was over then Randy Wilson, Anne MacFie and I had to get ready to perform. Great concert, tho' my part could have used a little more polish. A little jam on the front porch of the cabin before bed followed.
Saturday morning found me up and at 'em although since my workshop wasn't until the afternoon I hung around the cabin for a bit after breakfast then moseyed over to the dulcimer shop. I got to play some great instruments there (at Doug's request) for folks who were coming in the shop. After lunch it was back to the School of Craft for my workshop on Tunes from the Sacred Harp. Again, small attendance, but because of it we were able to get into the songs and techniques for playing them a little more perhaps than in a bigger class. That night after a fine supper we enjoyed Ron Pen, Cari Norris and Don Pedi in the evening concert. Following that, who'd uv thought it, a jam.
I forgot to mention the seminars: Don Pedi, The Way of the Dulcimer and Ron Pen: Singing Family of the Cumberlands, both of which were excellent presentations.
What more is there to say? Come next year. The setting, the people, the music makes this a great place to come and drink in the atmosphere saturated in dulcimer history. Josh and Jessica of the Artisan Center, Brett at the Settlement School, Mike of the Dulcimer Shop and all the others who have had a part in the festival did an excellent job of making this a great time for all involved. Get yourselves down there, up there, over there next year and be a part of historic Hindman and its dulcimers.
Katyusha.pdf - 58KB
