Appreciate everyone's input. I decided to drop and couple of strings and am now down to four (I kept the octave string at the bottom. I like it a lot more, but may end up going to 3 strings. I'm learning to play finger dance and fewer strings makes everything easier.
Another possible direction is to use the extra strings to create a non-standard sound. I typically tune my five string dulcimers with an unmatched pair of notes in the upper and lower courses. Use of DA-a-da yields a very contemporary sound that is great for improvising. When playing with double strings it is important to have the action low at the nut so that it is easy to fret them. Lots to try- have fun exploring.
Dusty - Great information. Thank you. I've been playing around with DAD and DGD and I've found I prefer DGD. For me the chord shapes seem easier to finger for the most part, through the first five frets anyway, and the melody string integrates easier. But I'm a rank newbie so it may change in time. Thanks for the help.
Brad
I think there are two questions there, Brad. The first is why tuning to D became standard and the second is why DAd (or 1-5-8 or the mixolydian tuning) is so common.
I'm pretty sure that once upon a time, people would tune a dulcimer to whatever tone resonated most saliently in that given dulcimer. They would "hoo in the hole," literally hum into the soundhole, find a tone that sounded really special, and tune to that. Later on, I think tuning to C was most common, and to be honest, I wish we still tuned to C because it would make explaining music theory so much easier. But I think around the time of the dulcimer renaissance in the late 60s or early 70s, people began tuning to D to play with fiddles, since there are so many fiddle tunes in D (and A -- It's those pesky guitar and banjo players who like playing in G).
In traditional drone play, you have to change the tuning of your melody string depending on the mode or scale of the melody you are playing. In the key of D, the four most common tunings are DAA, DAd, DAC, and DAG. The first two sound major and the latter two sound kind of minor.
When the 6+ fret became common--and it's pretty standard these days--a player could play in the mixolydian (DAd) or ionian (DAA) modes without re-tuning. How convenient!
You will often hear that chording is easier in DAd than in DAA. I do not believe that the simple act of playing a chord is easier in one tuning than the other. And I actually prefer the sound of chords in DAA better than in DAd. They are more compact and more coherent.
This is only a theory, but I think playing melody & chords together is easier in DAd because out of one chord position you can reach a greater range of notes, basically three frets' worth. The whole trick to chord/melody style is to be able to capture the melody out of chord positions with a minimum of hand movement. And DAd simply gives us a greater tonal range out of any one hand position. Anyway, that's my theory.
I happen to play in DAd 90 percent of the time because that was the most common tuning when I first started playing and I want to be able to play by instinct as much as possible, so that a musical idea goes from my head (or my heart) to my fingers with no hesitation, something that is much easier if you stick to one tuning. I also have a 1+ fret on my main playing dulcimers and find that with the 1+ and 6+, there is rarely a melody I can't get.
But I would never say that one tuning is superior to another. DAd happens to be the most common these days, and that's why I started with it. Now it's comfortable. When I tune to other tunings, I have to think about what I'm doing, and who wants to do that?!
Dusty, I see what you mean about the chromatic template. Thanks for the help.
Just out of curiosity, why is DAD tuning so popular?
Seems like I am going to check this software soon.
Brad, I would suggest not using a chromatic template to map chords for the diatonic fretboard. It might suffice for now as a quick reference to find a specific chord, but it will hinder your long-term understanding of the fretboard. As I mentioned early on in this discussion, one of the challenges with chord shapes on the dulcimer is that they change from major chords to minor chords as you move up and down the fretboard. In order to begin understanding why that happens, you have to see where those fat and skinny frets are. Using a chromatic template will make it harder to learn the layout of the fretboard and how those chord shapes work more generally.
Nate, I like your attitude! I'm always putzing around with different projects and I enjoy the process of coming up with a solution (oftentimes not real elegant, but.....). I actually bought a couple of screws to make one, but decided it's easier to just buy one.
You've inspired me to think a little more outside the box so it's off to the workbench to see what I can come up with.
Dusty - I know the frets look chromatic, but pretend they're diatonic and it will work. I didn't name each note, I'm just showing the note placement for each chord at each fret. I made it up for my use so it's probably less confusing for me, but I thought I'd just put it out there. If I'd found the Strumbly chart I probably wouldn't have bothered. But then I wouldn't have posted and wouldn't have gotten your pun!
Brad
Dusty - Thank you! That works for me. Off to pick up a capo.
Hey Brad, don't forget that dulcimer capos work a bit differently than guitar capos. Plenty of folks make nice dulcimer capos, but you can also use a pencil/chopstick/crochet hook fastened to the fretboard with a piece of string tied around the box of the dulcimer. I personally use a C clamp with a wine bottle cork super glued to the side of it
Nate
Brad, I'm having trouble with your chord chart since you appear to be using a guitar template. I can get past the 6 strings, but that chart shows chromatic frets. Are you playing a dulcimer with chromatic frets? That changes everything.
You might just Google "dulcimer chord chart DGd" and see what you get. Here is one chart and here is another. I'm sure there are others out there.
And remember that the easiest way to get your I - IV - V chords on a dulcimer in an open tuning is to use the bar chords. So if you are tuned DGD, then 000 is G, 333 is C and 444 is D. Of course, those are only partial chords, but they can help when you're in a jam. (Like that pun?
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I completely agree. Wooden flutes , like the native American flute, are about celebrating culture and style, not limiting who can make or play them
Where are the bagpipes then? 
@shanonmilan I had a music friend who was a very good mountain dulcimer player yet her mother didn't like hearing her play it. There's just no accounting for taste, it seems.
Hey, i resemble that remark, Dusty! 
Haven't gotten a capo yet, but I made myself some basic chord diagrams in D-G-D tuning. Thought I'd attach it. Please let me know of any mistakes, suggestion, etc.
Brad
Dusty - Thank you! That works for me. Off to pick up a capo.
@shanonmilan, try playing the banjo on your porch. That will have the neighbors begging you to play the concertina! 
Thanks much for the help. I think I get it. I'm going to just play and quit trying to figure it all out. I'll let my ears do the figuring.
I like to play concertina on the porch but my neighbor seems to hate me when I do so. Can someone explain why.
Brad, if you are tuned DGD, you are in what is basically an open G tuning. It will be pretty easy to play common tunes in G.
You can also play common tunes in G in a DAd tuning, but you have to pay attention. If you don't have a 1+ fret, you can't play a C chord down by the nut and will have to play 3-4-6 or 6-6-8 or something like that.
However, I regularly play in G out of a DAd tuning with a capo on the 3rd fret. You can also put the capo at the 4th fret to play in A. And if you have to play in C, you can quickly tune down to CGc (another reason to play with 3 strings and not 6 is the ease of tuning!) This approach allows you to play in the 4 common keys (C, D, G, A) at folk, old timey, and bluegrass jams.
A few years ago I made this video demonstrating how to play in G and A with a capo tuned DAd.
The jams I play at do mostly songs in the key of G. Would a D-G-D tuning be better that a D-A-D or some other? Or does it matter?
Thanks much for the help. I think I get it. I'm going to just play and quit trying to figure it all out. I'll let my ears do the figuring.
Brad, the short answer is that in traditional drone play, there are no chords. The first and fifth notes of the scale of whatever key you are in ring out throughout (or drone) on the bass and middle strings and you play the melody on the melody string.
Take a look at Robin Clark playing "Coleman's March" . In DAA tuning, he starts the song going from the 3rd fret to the 5th fret. At that point he is actually playing a D major chord (D on the bass, A on the middle, F# on the melody). But then he moves to the 6th fret (G note). If you were chording, you would switch to a G major chord there, but in drone style, there is no chord change. The bass and middle are still D and A even though there is no A in a G major chord, and yet the song sounds sweet, doesn't it?
Thanks for all your replies. Dusty, that's kind of how I've been doing it. I think I've got most of the chords I need mapped out.
Ken - I'm still a little confused. I understand about letting the other strings hummm along, but what happens when you change to a different chord in a progression, like G-C-D-G?
Thanks for all your replies. Dusty, that's kind of how I've been doing it. I think I've got most of the chords I need mapped out.
Ken - I'm still a little confused. I understand about letting the other strings hummm along, but what happens when you change to a different chord in a progression, like G-C-D-G?
Brad, I have a six-string dulcimer that I only play with three strings now. I much prefer the clarity of sound with the single courses. And certain techniques (like bending strings) just can't be done with those double courses.
If you are used to other chromatic instruments, you may get frustrated with the way chord shapes work on the dulcimer since they switch from major to minor depending on where on the fretboard you are.
They way I taught myself chords, and the way I encourage students to do so now, is to find some 3-chord songs. Don't worry about playing the melody, but just strum to accompany yourself singing or humming or whistling. Figure out those 3 chords by the nut, perhaps sticking to the first 3 frets. When you have those down and can play them without having to concentrate on where to put you fingers, find different versions of those chords around frets 2-5 or so. Do the same thing, strumming chords there until you get them down. When you fingers are comfortable there, find those same three chords around frets 5-8.
In the end, you've just been strumming chords and singing songs, but you've learned where to find the main chords you need up and down the first octave of the fretboard.
Good start, Brad. If you ever get tired of trying to figure out those chord shapes, you can simply play the melody on the melody string(s) and just let the others hummm along.
Well, I've been fooling around with my 6 string. It is now a 4 string and may very well become a 3 string!
There is a difference in sound, but not enough for me to add back strings. It still sounds great. In fact I can't even remember how it sounded before (one of the few benefits of old age) so I'm good. My plan is to play it in a BG jam I go to so I've been working on chord shapes (DGD tuning). It's difficult because I'm finding the dulcimer so different from any other instrument I've had. But I'm pressing on as a jam is coming up that I hope to be ready for.
Brad
Nate's right -- 6 strings give a richer, fuller sound... but it can be difficult to learn to play, pressing down pairs of strings. If you're trying to learn chords you might find it easiest to just remove one string in each course.for 6 months or so until you're comfortable playing. Then you can add back strings one at a time and see if you like the effect. Many of us who play Finger dance or Noter & Drone -- fretting justthe melody string -- like the tradition and simplicity of just three strings. But the real thing to know is -- whatever works is right for you -- regardless of what anyone tries to tell you
Most of my playing is on a small 6-string dulcimer which I adapted from a Korean instrument probably made in the 1960s.
I play noter-drone in Daa, but I use octave pairs on the middle and bass - Dd-Aa-aa. I use an 0.030W on the middle A. It probably is 0.012, 0.012, 0.014, 0.030, 0.012 and 0.028W.
I like it, and it is soft enough that no one in our group notices my mistakes, or at least is polite enough not to mention them.
Come explore new frontiers on the mountain dulcimer in the northern end of the Appalachian mountain range with Expedition Dulcimer: Roundhouse Lodge, July 25th - 28th, 2024
This is the second retreat in a series announced earlier this year, and the goal is to do five of these per year in different regions of the United States. Each Expedition will be hosted in a different location in the northeast, southeast, central plains, northwest, and southwest. During four days of immersive learning, each group of intermediate and advanced students (limited to 15 per retreat) will enjoy workshops, meals, and accommodations at breathtaking private estates, former inns, residences, and lodges across the United States. Beautiful, serene settings for focused learning and ample meditative downtime to reflect, practice, or simply relax.
The curriculum is rooted in my 17 years of teaching experience and encompasses skill-defining exercises, repertoire-building, and improvisational study. I take a dynamic approach to each session, tailoring it based on student feedback to address areas that need attention, reinforcing strengths, and presenting challenges in effective chapters.
While the core structure of study remains consistent for each retreat, the selected songs and styles draw inspiration from the lore and traditions of the surrounding region. Likewise, the meals we prepare and present are influenced by the rich culinary cultures of the locals. The schedule allows plenty of time to immerse ourselves in the dulcimer, take time for self-reflection, explore the sights, and even catch a rejuvenating nap.
Our second announced retreat for next year is Expedition Dulcimer: Roundhouse Lodge, July 25th - 28th, 2024 , which will find us n estled in the scenic region of Forest City, in northeastern Pennsylvania, at the corner of Susquehanna, Lackawanna, and Wayne counties, in the northern Appalachian mountains. Roundhouse Lodge, our home for four days, sits on 41 acres of private property, providing panoramic views of the picturesque countryside. The lodge offers oversized living areas, a double-sided stone fireplace, a rejuvenating hot tub, a foosball table, and a spacious kitchen where I'll prepare meals inspired by the culinary traditions of the region.
For details on this newly-added retreat, and also about the previously announced Expedition Dulcimer: Stone Mountain Manor - March 28th - 31st, 2024 , visit ExpeditionDulcimer.com
Let me know if you have any questions that aren't covered by the FAQ, and I'll be sure to add them. Jae and I are very excited about this new venture, and we're looking forward to bringing the experience westward soon!
Thank you for your time - blessings of music,
Bing
Nate - Thanks for your detailed reply. It gives me a lot to think about and experiment with. Maybe I'll try muting different strings just to get an idea of the sound.
Brad
6 strings provide a fuller "choral" sound. In my opinion, if you are doing a lot of chording, it is much more comfortable with three strings. If you are playing noter drone, more strings often make for a fuller sound. If you are mostly fretting on the melody string, you might consider leaving "courses" (aka 2 strings right next to eachother) for the middle and bass string, or just a "course" for the bass string. I usually play with three strings, and a lot of other folks do as well, but I personally prefer the sound of the extra strings, though it is more difficult. I hope you have a lot of fun exploring this instrument, and there is no harm in removing strings if you prefer to play that way.
Nate
I have a 6 string church dulcimer I built from a kit about 45 years ago and have decided it's time to learn how to play it. I find it very difficult to play as is and am thinking about making it a 3 or 4 string. Is there any compelling reason to keep it at 6? Thanks for your help.
Paula, I moved your post to the For Sale: Instruments/Music Items/Wanted to Buy Forum.
I have a Probst Dulcimer strung as a baritone, but I'd be lonely without it.
Good luck hunting. You don't see either Probst or Gallier dulcimers on the used market very much.
I am looking for a Gallier or probst dulcimer. Used or new. Anyone have one please private message me please? Thank you! Paula
And now the "circle" has rejoined! What a fine development from Randal's inquiry 6 months ago! Hope things work out with the repairs.
Dulcimer Chords DGD.pdf - 28KB
