Forum Activity for @skip

Thanks everyone! I reallyappreciate all of the input.

Thanks Robin;

Adefinitionthat is in non-music terms clears up a lot for me. I can work out the best way for me to backup/harmonize.

'the root and/or 5th of the scale being played' is the key of the tune, or open bass string, or????

Could you define a 'mode tuning' for me? It looks to me, after really studying Pauls post, with dulcimer in hand, that a 'mode tuning' is having all of a modes notes available on the melody string, rather than having them available on any string. [I tuned my MD to DAA and found a C major at 6-4-6.]And, probably something about the other strings not clashing? If this is the case, it makes many of the things I've read more understandable since I look at all of the notes available, not just the ones on the melody string.

Just a note; I've spent days n days, and a lot of paper, working on the relationship of keys, modes, and fretboard, which I don't have a problem with now. It's the mode tuning , not modes on one string, that gives me heartburn.

So, basically, if I/we want to backup/harmonize, or even play straight melody, using a different tuning, I/we would probably have a greater chance for success by xxx/chording, rather than xxx/droning, andrhythm.

Many keys, many tunings, one tab; Many keys, many tabs, one tuning.Different approaches for different goals.

I really don't like to retune, lazy I suppose. I have enough dulcimers to tune each to a different 1-5-8 but I only take one or two south with me.

I'm also getting to appreciate more and more the basic bass players approach,rhythmand one note chord backups. They do fancy stuff also but I don't know that I'll ever go there.

I kind of do the same thing since I don't really read music as much as translate it to tab. I can find numbers faster than notes though not at playing speed.

I tabbed Wildflower to 4 different keys for the DAdd tuning one time and it worked out ok. It's played on different areas on the fretboard.

Robin;

Watched your video's, we liked them. That is generally where I am aiming to go.

Folkfan; I agree with that. [Except for the modes part, which really doesn't mean as much to me as note availability. I leave that up to the writers/TAB producers and assume they know what they're doing.] The 'everyone would sound alike' is the part which bothers me, it's so sterile sounding [and ultimately boring] to hear everyone playing exactly the same thing. It's part of the reason for the original post.

Robin;

The question is based on Paul Certo's post about a player playing a DAA tabbed tune in DAdd. That player was 3 frets off of the SMN notes. In other words, when the tab indicated a DAA 3 {d} on the melody, the player was playing a DAdd 3 {g, s/b 0 [d]}. That's why it seems to me you should pay attention to the notes even if using TAB [Tab positions the fingers to the fretboard, not the notes].

Won't some of this depend on the style of the player, xxx/chord vs xxx/drone? Most of the folks I play with chord or fingerpick the melody, a few fingerdance. A couple of them can do harmonies, in DAdd.

I don't think many of them, maybe a couple, even know what a mode is. I know, technically, what they are, but don't really understand them. Probably because I play the separate notes as shown in SMN [or TAB].

I suppose the only way I can find out for sure, with my group, is to try it.

I'm probably wrong, but can't you play a mixo tune in DAA [tuned DAdd] as long as you play the notes, not the fret numbers [TAB], and all of the notes are available? Am I forgetting the effect of the drones?

Robin;

I've been learning how bass players do their thing, so what you posted makes perfect sense to me. I'm assuming when you said 'the note that matches the key of the tune', you meant the root note of the key or indicated chord; D, G, or A in the key of D for example.

Thanks y'all.

I should install a set of ddd and try that with some friends [if I can remember to do it]. Are there other tunings that may work with DAdd, other than DAA? My friends seem to enjoy the challenges and are willing to try new things even though they usually stick with a pretty standard set of tunes, with a some new tunes, every season.

I also need to figure out how to do harmonies. Any suggestions for someone not a 'good player', or to pass on to others?

Ken, did you finger pick in DAG?

Have you participated in a MD group that the players were using different, compatible tunings, for example DAdd, DAA, and ddd [everyone playing each tune, the different tunings being usedsimultaneously]? I was just curious since it happens all the time with groups using mixed instruments, guitars, dulcimers, fiddles, double bass, etc. If so, how do you think it worked out?

Well, take a deep breath,,,,,,,,,,,

then remember how you did it.

Thanks Ivan, I interepted that fom the Korg site. My bad.

I went to the Korg site and didn't see any other than the 120. I may have missed it or maybe it was an older model.

ff;

did the readout have the number before or after the note? If the number was before it is a dedicated tuner, like a guitar orukulele tuner. The number then represents a string.

Looks like folks could have a whale of a time with this and be doing it on porpoise, including bass and drum players.

I have a Peterson Flip[per], it's nice but pretty sensitive. Also, it's better for the shop because it'skind of big.

This it? Peterson makes one also.

http://www.amazon.com/Korg-OT-120-Octave-Chromatic-Orchestral/dp/B0...

Put the tune in TablEdit, then change from guitar to dulcimer as the instrument. The dulcimer part [module] would be missing notes because of being diatonic. I've done it, but I set up a custom chromatic dulcimer module in TablEdit. This allows me to get to a 3 string form which then can be modified to the various tunings.

I changed mine that way and it helped. Here is a site tht was recommended on another post, it includes a tension measurement that may help.

http://wahiduddin.net/calc/calc_guitar_string.htm

Additional sound hole for the little harmonics to fall through!

Does the separation stop at the brace? It may be difficult/impossible to pull it together without damaging something.

I used Epon for the few flyrods I made.

It looks like the glue released at the joint (got hot/wet maybe?). If that's true, the glue could be hide glue and repairing with hide glue should work.

My viewpoint, and I dabble a bit in each, not particularly good in any.

Visual; SMN for general or universal use, TAB for specific instrument, archives a specific variation of a tune/song.

Audio; storage devices [cd's, etc], individuals, archives a specific variation of a tune/song.

Both work, but not necessarily for everyone.

Each should be used as the situation indicates.

Stumalia hit the nail on the head in her blog.

What I called HD tab is really just the note names below the SMN just like MD tab. It makes it much easier for me. Tabledit has afeaturethat allows you to change between the tab numbers and the note name with just the press of a key [actually 2 keys, shift and 4, the $]. I also use the reverse tab function so any 'stacked' notes, like chords, read the same vertically as the SMN, bass notes at the bottom.

I used Musedit for a long time for MD tab. It's a good program and he did make it free but the programmer isn't working on it any more. I switched to Tabledit and found it good for the MD and it has a couple of features that lend itself to setting up MD tab for the HD if you don't read SMN very well. The programmer is very responsive to his customers also and he has a web page for customers to post comments etc. You may want to check them both out to see which youprefer. I feel they are both about the same as far as learning curve.