Ball End Dulcimer Strings? Top Answer Update

About the dulcimer

A dulcimer is a plucked musical instrument. The instrument first appeared in the southern Appalachian Mountains in the early 1800s by the Scots-Irish and is therefore also known as the mountain dulcimer or Appalachian dulcimer. There is a wide variety of Appalachian dulcimers and some can have as many as 12 strings, but are most commonly found with 3, 4, or 5 strings.

How to tune a dulcimer

As mentioned before, there are many types of dulcimers, so I will only explain how to tune the most common dulcimers, the 3, 4 or 5 string dulcimer.

There are many ways to tune a dulcimer, but currently the most common tunings are DAD, DAA, or DGD. DAD is the most common, but it’s often easier for beginners to tune into DAA, or what’s known as “Reverse Ionian” tuning (DGD).

Difference between 3-, 4- and 5-string dulcimers

Below I will explain how to tune a 4 string dulcimer. A 3-string and a 5-string dulcimer are basically tuned to the same pitch as a 4-string dulcimer. The difference is that a 3 string has only 1 melody string and the 5 string dulcimer has 2 melody strings and 2 bass strings. These pairs of strings are tuned to exactly the same note for a harmonizing effect.

Tuning a dulcimer with a keyboard or piano

Tune a dulcimer to yourself

D Ionian (DAA) tuning

Tune the 3rd or bass string to the D below middle C on the piano (or the open 4th string on a guitar). Press the 3rd or bass string immediately to the left of the 4th fret and pluck that note (A). Tune your middle or second string until it matches that pitch. Tune the 1st or melody string to the same note as the open middle string.

D Mixolydian (DAD) tuning

Tune the 3rd or bass string to the D below middle C on the piano (or the open 4th string on a guitar). Press the 3rd or bass string immediately to the left of the 4th fret and pluck that note (A). Tune your middle or second string until it matches that pitch. Press the 2nd or middle string just to the left of the 3rd fret and pluck that note (high D, an octave above the open bass string). Tune the 1st or melody string to this note.

1st String (Bass) – 2nd String (Middle) – 3rd String and 4th String (Melody Strings) 1st String (Bass) – 2nd String (Middle) – 3rd String and 4th String (Melody strings)

That’s it! If you have any questions or comments, post them below.

The Appalachian dulcimer is a fretted stringed instrument of the zither family, typically three or four strings, originally played in the Appalachian region of the United States. The body extends the length of the fingerboard and its fret is generally diatonic. Brian Jones of the Rolling Stones played the Electric Appalachian Dulcimer on their 1966 album Aftermath, specifically on “Lady Jane”. There’s also Joni Mitchell, who first played the instrument in studio recordings in the late 1960s and is best known on her 1971 album Blue, as well as in live concerts. And Cyndi Lauper is also a big fan of the instrument. She is widely regarded by Appalachian Mountain dulcimer enthusiasts as one of the finest straight-line performers on the obscure instrument. Hear her play dulcimer on her ninth studio album, The Body Acoustic, and on tour in support of the album, she performed songs like “Time After Time” and “She Bop” solo on the dulcimer in the mountains.

Bound String Instrument

The Appalachian dulcimer (many variant names; see below) is a fretted stringed instrument in the lute family, typically with three or four strings, originally played in the Appalachian region of the United States. The body extends the length of the fingerboard and its fret is generally diatonic.

name [edit]

The Appalachian dulcimer has many variant names. Most often it is referred to simply as a dulcimer (also rendered “dulcimore”, “dulcymore”, “delcimer”, “delcimore”, etc.). When it needs to be distinguished from the unrelated hammered dulcimer, various adjectives are added (drawn from location, playing style, position, shape, etc.), for example: mountain dulcimer; Kentucky dulcimer; plucked dulcimer; fret dulcimer; Dulcimer; drop dulcimer; Dulcimer; etc. The instrument has also received a number of nicknames (some shared by other instruments): “harmonium”, “pig fiddle”, “music box”, “harmony box” and “mountain zither”.

Origin and history[edit]

Although the Appalachian dulcimer first appeared among Scots-Irish immigrant communities in the Appalachian Mountains in the early 19th century, the instrument has no known precedent in Ireland, Scotland or northern England. For this reason, and due to a lack of written records, the history of the Appalachian dulcimer has been largely speculative until recently. Since 1980, more extensive research has traced the instrument’s development through several distinct periods and probable origins in several similar European instruments: the Swedish Hummel, the Norwegian Langeleik, the German Scheitholt, and the French épinette des Vosges.[5] Folk historian Lucy M. Long said of the history of the instrument:

Because there are few historical records of the dulcimer, the instrument’s origins were open to speculation until recently, when Ralph Lee Smith and L. Alan Smith reconstructed the instrument’s history by analyzing older dulcimers. The organological development of the dulcimer can be divided into three periods: Transitional (1700s to mid-18th century), Pre-Revival or Traditional (mid-19th century to 1940), and Revival or Contemporary (post-1940).[1]

Charles Maxson, an Appalachian luthier from Volga, West Virginia, speculated that early settlers were unable to make the more complex violin in the early days due to a lack of tools and time. This was one of the factors that led to the construction of the dulcimer, which has less dramatic curves. He also cited the Langeleik, Scheitholt and Épinette des Vosges as ancestral instruments.[6]

Few true specimens of the mountain dulcimer exist before about 1880, when J. Edward Thomas of Knott County, Kentucky began building and selling them. The instrument was used as a kind of parlor instrument as its modest volume is best suited for small family gatherings. But by the first half of the 20th century, the mountain dulcimer was rare, with a handful of manufacturers supplying players in scattered areas of Appalachia. Virtually no audio recordings of the instrument exist from before the late 1930s.

Vogue with an Appalachian dulcimer. Loraine Wyman collecting folk songs in the field and performing them in concert halls was featured in the May 1, 1917 issue of Holding an Appalachian Dulcimer.

Soprano Loraine Wyman, who sang Appalachian folk songs in concert halls during World War I, made a brief appearance for the Appalachian dulcimer by demonstrating it in concert, and was profiled in Vogue magazine (right) with her instrument, a Thomas. But Wyman preferred to sing with the more robust support of the piano. The instrument had its true renaissance in the urban folk music revival of the 1950s United States through the work of Jean Ritchie, a Kentucky musician who performed the instrument to audiences in New York City. In the early 1960s, Ritchie and her husband George Pickow began distributing dulcimers made by their Kentucky relative, Jethro Amburgey, then a woodworking teacher at the Hindman Settlement School. They eventually began producing their own instruments in New York City. Meanwhile, American folk musician Richard Fariña (1937–1966) introduced the Appalachian dulcimer to a much wider audience, and by 1965 the instrument was a familiar presence in folk music circles.

In addition to Amburgey, who had ceased production by then, the mid-1960s included Homer Ledford, Lynn McSpadden, A.W. Jeffreys and Joellen Lapidus. In 1969, Michael and Howard Rugg formed a company called Capritaurus. Not only were they the first to mass produce the instrument, they also made design changes to make the instrument easier to make and play. The body was made larger and they installed metal friction or gear tuners instead of traditional wooden pegs to make tuning easier and more reliable.

Construction and shape[edit]

Organologically, the Appalachian dulcimer is a plucked box zither; it is considered a folk instrument. Appalachian dulcimers are traditionally constructed of wood, and early instruments were typically all made of one wood, using wood commonly found in the particular area of ​​the mountains where the builder lived. More recently, guitar aesthetics and construction ideals have been applied, with a preference for a tonewood such as spruce or cedar for the top of the sound box. A harder wood such as mahogany or rosewood is used for the back, sides, and neck, and a hardwood such as rosewood, maple, or ebony is used for the fingerboard. Because the modern dulcimer originated in America and most are still made there, American hardwoods such as walnut, oak, cherry, and apple are also still commonly used by manufacturers.[8]

As with many folk instruments, the Appalachian dulcimer has been and continues to be made in many shapes, sizes, and variations in construction details. however, certain forms have proved more popular than others and have tended to be dominant. The general format has a long, narrow soundboard, with the “neck” centered in the soundboard and extending the length of the instrument. Typical instruments are 70–100 cm (27 1/2–39 1/2 in) long; 16–19 cm (6 1/2–7 1/2 in) across at widest point; and the sound box has a uniform depth of about 5-6 cm (2-2.5 inches). The top of the fretboard is approximately 1.25 cm (1/2 inch) above the top of the sound box. The resonance body typically has two to four sound holes, two in the lower bout and two in the upper bout. These take a variety of forms, with traditional favorites being a heart or the violin’s traditional “f-hole”, but manufacturers often personalize their instruments with their own unique sound hole shapes.

The overall shape of the instrument has taken many forms, but the most popular are the hourglass (or figure 8), the ellipse, the teardrop, and a long narrow trapezoid or rectangle.

At one end of the neck is the headstock, which contains the machine heads. Headstocks most commonly have either a spiral shape (similar to the headstock of orchestral stringed instruments such as the violin) or a shape resembling that of parlor guitars or banjos. To a certain extent, the shape of the headstock can be dictated by the type of mechanics chosen. Older instruments and some modern “traditional” designs use violin-style wooden friction pegs. Modern instruments are more likely to use metal tuning machines, either with adjustable friction or geared (e.g. guitar).

At the other end of the neck is the tailblock, which contains pins or brads to secure the other (loop) end of the strings. The strings are stretched between the end pins and machine heads and run over a bridge (at the tailblock end) and a nut (at the headstock), which determines the sounding length of the strings. Between the nut and bridge lies the fretboard, fitted with (typically) 12–16 diatonically spaced metal frets; a zero fret may or may not be used. Between the end of the fretboard and the bridge, the neck is carved down, creating a jagged trough that passes close to the top of the sound box. This area, called the string cavity, is the space where the pick, fingers, or mallet are used to make the strings sound (see Playing).[9]

Both single-player and two-player instruments were made, as were single-player units with multiple necks (see variants). The vast majority of Appalachian dulcimers are single-necked, single-player instruments, and these were made with anywhere from two to a dozen strings, with three being the most common number on older instruments. Modern instruments typically have 3, 4, 5, or 6 strings arranged in either three or four courses. There are many possible string arrangements, but the following are typical:[10]

3-string: Three single-string courses.

: Three one-string choirs. 4-string: Three courses, two single-string; a double string. The doubled price is almost always the highest (melody) price.

: Three courses, two single-string; a double string. The doubled price is almost always the highest (melody) price. 4-string: Four single-string courses.

: Four one-string choirs. 5-string: three courses: two double-string; a one-string. The single string is usually the middle course, with the bass and melody courses being double-strung.

: Three courses: Two double strings; a one-string. The single string is usually the middle course, with the bass and melody courses being double-strung. 5-string: Four courses: One double string; three single string. The two-string course is the melody course.

: Four courses: A double string; three single string. The two-string course is the melody course. 6-string: Three double-string choirs.

production [edit]

Appalachian dulcimers are often made by individual artisans and small, family-run businesses in the American South and particularly in the Appalachian Mountains. It’s easy and fairly common to order custom instruments, and custom Appalachian dulcimers can cost significantly less than other custom stringed instruments (such as a guitar, mandolin, or banjo).

Cheap imports from Romania, Pakistan and China are slowly pushing their way onto the American market.[11] John Bailey’s book Making an Appalachian Dulcimer[12] is one of several books in print that contain instructions for building a dulcimer.

Frets, Strings, Tuning and Modes [ edit ]

Fret placement[ edit ]

The frets of the Appalachian dulcimer are typically arranged in a diatonic scale. This is in contrast to instruments like the guitar or banjo, which are chromatically fretted. As early as the mid-1950s, some manufacturers began incorporating at least one additional fret, usually the so-called “six and a half”, “6½” or “6+” fret, which is half a step below the octave. This allows playing in Ionian mode when tuned to D3-A3-D4 (the traditional tuning for Mixolydian mode), with the scale starting on the open (unfretted) string. This arrangement often proves more conducive to chord-melody playing. It also became common to add a fret an octave higher than the 6+ fret, called the “13+” fret, and by the late 1970s these additional frets had become standard.

Eventually, some manufacturers began offering other additional frets in the “1+” and “8+” positions, or (as an alternative) the “4+” and “11+” positions. These additional frets make it easier to use even more scales and modes without retuning. As was probably inevitable, this trend eventually led to the availability of fully chromatic dulcimers with twelve frets per octave, which allowed playing in any key without retuning. However, chromatic fretting remains somewhat controversial among dulcimer players, with traditionalists preferring what they believe to be the greater authenticity of the diatonic fingerboard.

strings [edit]

Appalachian dulcimers are strung with metal wire; wound strings can be used for the deeper courses. These strings are very similar to those used on banjos and guitars, and before manufacturers made special “dulcimer sets” available, banjo strings were commonly used. For a typical dulcimer string, gauges range in diameter from about 0.026 inch to 0.010 inch, although gauges outside of this range can be used to facilitate special tunings or extended range playing styles.

Tuning [ edit ]

There is no “standard tuning” for the Appalachian dulcimer, but as with the instrument’s shape, certain tuning arrangements have proven more popular than others. Traditionally, the Appalachian dulcimer was usually tuned (from left to right) to G3-G3-C3, C4-G3-C3, or C4-F3-C3. Note: Because the dulcimer is most commonly played on the lap or with the instrument on a table, when the instrument is held upright (spindle plate up), the highest string is on the left, the opposite of most other stringed instruments (e.g. guitar, bass, violin, etc.) where the lowest string is on the left. However, dulcimer players are used to naming their strings from lowest to highest (like a guitarist or violinist would). This means that the strings are usually named in the reverse order in which they appear on the instrument, i.e. right to left. Therefore, the tunings cited above would more often be given as: C3-G3-G3; C3-G3-C4; and C3-F3-C4. This convention is followed for the rest of the article.

With the revival of the dulcimer in the Appalachian Mountains in the 1950s and 1960s, players began to prefer higher tunings. This is not uncommon in the history of many stringed instruments, with players often claiming that the higher pitches make their instrument sound “brighter”. As a result, the original traditional tunings went up a whole notch, becoming: D3-A3-A3; D3-A3-D4; and D3-G3-D4, the most common modern tunings for three-course Appalachian dulcimers.

Modes [ edit ]

D3-A3-A3, is in an I V V harmonic relationship.[15] That is, the tonic of the diatonic major scale is on the bass string, and the middle and melody strings are a perfect fifth above. This tuning places the tonic (diatonic) fret on the melody string. This makes it easier to play melodies in Ionian mode (the major scale). The melody is played on the top string (or pair of strings) only, with the fretless drone strings providing easy harmony and giving the instrument its distinctive sound.

To play in a different key or mode, a traditional player would have to retune the instrument. For example, to play a minor melody, the instrument could be tuned to D3-A3-C4. This makes it easier to play the Aeolian mode (the natural minor scale), where the scale starts at the first fret.

While the most common current tuning is D3-A3-D4, some teachers prefer the more traditional D3-A3-A3, or the so-called “reverse Ionian” tuning, D3-G3-d4. “Inverted” tunings are those where the root note is on the middle string and the bass string is the fifth of the scale, but in the octave below the middle string. This is sometimes suggested by teachers as an easier tuning. From D3-G3-D4 one can put a capo on the first fret to play in Dorian mode, or retune the second string (on A3) to play in Mixolydian mode, then from Mixolydian, capo the first Bund to play in the Aeolian mode.

play [edit]

Appalachian dulcimer sample Problems playing this file? See media help.

With only three or four strings and a simple diatonic fret pattern, the Appalachian dulcimer is widely considered one of the easiest stringed instruments to learn. The traditional way of playing the instrument is to lay it flat on your lap and pluck or strum the strings with your right hand while fringing with your left hand. Alternatively, the dulcimer can be placed on a wooden table, using the table as an extended resonator to increase volume. The instrument is generally strung with the melody string (or pair of strings) on the player side of the instrument and the bass string on the outside.

In traditional playing, fretting is achieved with a “noter” – typically a short piece of wood or bamboo (see photo at left) – in the melody progression, while the middle and bass strings are sounded as fretless drones. This style of play is now referred to as “Noter Drone” play. In some traditions, players use a quill with the barbs removed to play the instrument. The frets on early mountain dulcimers were usually simple wire clips that only extended halfway down the fingerboard, meaning only the melody string run could be fretted. By the early 1960s, many dulcimer manufacturers had abandoned staples in favor of manufactured fret wire that ran the full width of the fretboard. This allowed players to fret all strings, allowing for chords and an expanded melodic range. A variety of new, “noteless” playing styles emerged, now collectively referred to as “chord-melody” playing. The advent of full-width frets also forced manufacturers to tie their instruments in tune. The fret patterns of the older half-fretted instruments were seldom of the same temperament, and intonation varied from builder to builder. With a simple melody played against the drone, these idiosyncratic scales could add warmth and a distinctive flavor to the music, but the ancient, non-standard fret patterns often create dissonance when played with chords that some find unacceptable.

Using modern dulcimers with full-width frets arranged for equal tuning, contemporary players have borrowed from chord theory and imported techniques from other stringed instruments to greatly expand the instrument’s versatility. But for a long time the most diverse styles of play have been used. For example, instead of strumming the strings with a plectrum, they could be strummed or plucked with the fingers, or even struck with a small stick. Jean Ritchie’s The Dulcimer Book[16] contains an old photograph of Mrs. Leah Smith of Big Laurel, Kentucky, playing the dulcimer with a bow instead of a plectrum, with the tail of the dulcimer held in the player’s lap and the headstock resting a table pointing away from her. Robert Force and Al d’Ossché, in their book In Search of the Wild dulcimer,[17] describe their preferred method as “guitar style”: the dulcimer hangs around the neck by a strap, and the instrument is strummed like a guitar, however your fingering style is still overkill. They also describe “autoharp-style” playing, in which “the dulcimer is held vertically with the headstock over the shoulder”. Lynn McSpadden writes in his book Four and Twenty Songs for the Mountain Dulcimer [18] that some players “tilt the dulcimer sideways on their laps and strum guitar-style”. Still other dulcimer players use a fingerstyle technique, fingering chord positions with the gripping hand and rhythmically plucking individual strings with the strumming hand, creating delicate arpeggios.

Contemporary usage[edit]

The Appalachian dulcimer is now a core instrument in the old-time American musical tradition, but the styles performed by modern dulcimer enthusiasts range from traditional folk music to popular and experimental forms. Some players take advantage of its sound similarity to certain Middle Eastern and Asian instruments. Increasingly, modern musicians have contributed to the popularity of the solid-body electric dulcimer. Because the Appalachian dulcimer has gained a following in a number of countries, dulcimer festivals are held regularly in the United States, Canada, the United Kingdom, and Ireland.[19]

Although the mountain dulcimer has long been associated with the older generation, it has gradually attracted a number of younger players who have discovered its appeal. Because it is easy to play, many music teachers consider it a particularly good teaching instrument. Consequently, it is often used in educational settings, and some music classes make their own dulcimers. However, due to budget, time and craft constraints, they are usually made from cardboard.[20][21]

Brian Jones of The Rolling Stones played the Appalachian electric dulcimer on their 1966 album Aftermath, most notably on “Lady Jane”. He plays the instrument during her appearance on The Ed Sullivan Show. He was influenced to use the instrument after hearing recordings by Richard Fariña. Perhaps one of the most famous players of the Appalachian dulcimer is singer-songwriter Joni Mitchell, who first played the instrument in studio recordings in the late 1960s and most famously on the album Blue (1971) and in live concerts. 22] Peter Buck of R.E.M. plays the electric Appalachian dulcimer. Paul Westerberg of The Replacements also plays an Appalachian dulcimer on their 1989 single I’ll Be You.

Cyndi Lauper is also a top-flight mountain dulcimer player, having studied with the late David Schnaufer. Lauper plays dulcimer on her ninth studio album, The Body Acoustic, and on tour in support of the record, she performed songs like “Time After Time” and “She Bop” solo on dulcimer in the mountains. Contemporary professional musicians who consider the dulcimer their primary instrument include Nashville’s Stephen Seifert and Irish blues guitarist Rory Gallagher, who used a dulcimer on his later albums. Orlando-based musician Bing Futch performs with a custom double-fingered dulcimer as well as a custom resonator, and is one of only two dulcimer players to have competed in the International Blues Challenge and advanced to the semifinals of the 2015 edition of the competition;[23] During the 2016 edition, Futch made it to the finals and was awarded “Best Guitarist” in the solo duo category, despite performing exclusively on the dulcimer in Appalachia.[24]

Variants [edit]

As a folk instrument, Appalachian dulcimers vary widely.

Body Shapes: As previously mentioned, dulcimers come in a variety of body types, many of which are listed in A Catalog of Pre-Revival Dulcimers. [25] A representative arrangement would include: hourglass, teardrop, trapezoid, rectangle, ellipse (“Galax style”), fiddle shape, fish shape, and lute back.

. A representative arrangement would include: hourglass, teardrop, trapezoid, rectangle, ellipse (“Galax style”), violin shape, fish shape, and lute back. Materials: In addition to plywood, laminates, and solid woods, some builders are using experimental materials such as carbon fiber. Dulcimers are also made from cardboard. Often sold as inexpensive kits, cardboard dulcimers offer surprisingly good sound and volume. Their low cost and resistance to damage make them particularly suitable for institutional settings such as elementary school classrooms.

court dulcimer

Number of strings: dulcimers can have as few as two or as many as 12 strings (in up to six courses). Up until the 1960s, most mountain dulcimers had three strings. The most popular variation today is four strings in three courses with doubled melody strings.

A variety of dulcimer shapes.

Sizes and Ranges: Larger and smaller dulcimers are made that extend the instrument’s range to higher and lower registers and fill parts in dulcimer ensembles: Baritone dulcimer: These are just larger versions of the regular dulcimer designed to to be tuned a lower pitch. Typically they are designed to be tuned a fourth lower: A3-E3-A2 or A3 A3-E3-A2, although any of the divergent tuning patterns can be adapted to this lower-pitched instrument. Bass dulcimer: Very rare, these monsters can grow to nearly a meter in length. Designed for ensemble playing, they are tuned an octave lower than the dulcimer: A2-E2-A1 or A2 A2-E2-A1. Soprano or piccolo dulcimer: These are smaller dulcimers, ranging in size from about 80% down to about 50% the length of the regular dulcimer. They are designed to support higher pitches and are usually tuned a fourth higher: G4-D4-G3 or G4 G4-D4-G3. The smaller size and reduced scale length also make it easier for people with smaller hands, such as B. children. Other sizes have been experimented with, including double bass dulcimers. [26]

Courtship dulcimer: An unusual variant is the “courtship dulcimer”. This instrument consists of a large dulcimer body with two separate fingerboards. The instrument is placed across the laps of two people facing each other (the eponymous “courting” couple) and used to play duets.

Double-necked dulcimers: Similar to a “courting dulcimer”, but with both fretboards (or “necks”) pointing in the same direction. Made famous by performer Bing Futch, it allows for multiple tunings without changing instruments.

Solid-state electric dulcimer: Acoustic dulcimers can be electrified with pickups, and several manufacturers make solid-state electric dulcimers.

Aquavina: a dulcimer with a metal resonator partially filled with water. The resonator moves as you play, creating an eerie oscillation in overtones.

Hybrid instruments[ edit ]

String dulcimers: dulcimers that can be played with bows; in modern times, heavily modified variants were made exclusively for pranks.

Guitar dulcimer: a cross between a guitar and a dulcimer, with the body more like a guitar but the string configuration and pegs of a dulcimer. The stringing pattern on these instruments is often the opposite of the dulcimer, with low strings on the left and high strings on the right, and they are usually held and played in guitar position like a guitar. This variant was first explored by Homer Ledford [27] and later patented and referred to as “Dulcitar”. (see below)

and called “Dulcitar”. (see below) Dulcitar (also dulcimer or strum stick): a long-necked fretted instrument, similar to a guitar or mandolin, with a diatonic dulcimer fret. It differs from the guitar dulcimer primarily in that it has a much narrower and flatter body, closer in proportion to the sound box of the Appalachian dulcimer. These instruments go by many different names, with the most common commercial model being the McNally Strumstick.

principally by having a much narrower and flatter body closer to the proportions of the Appalachian dulcimer sound box. These instruments go by a variety of names, with the most common commercial model being the . Banjo dulcimer: similar to a standard dulcimer but with a banjo head on the body. This variant was first explored by Homer Ledford [27] and later patented and referred to as “Dulcijo”. Similar instruments include the “ban-jammer” (Mike Clemmer), the “banjimer” (Keith Young), and the “banj-mo” (folk notes). The “Dulci-Jo” is a banjo/dulcimer hybrid with a thumb string like a clawhammer banjo, 3 strings and a diatonic fret pattern, shaped more like a banjo and played upright, and built by Michael Fox of NC.

and called that “dulcijo.” Similar instruments include the “ban-jammer” (Mike Clemmer), the “banjimer” (Keith Young), and the “banj-mo” (folk notes). The “Dulci-Jo” is a banjo/dulcimer hybrid with a thumb string like a clawhammer banjo, 3 strings and a diatonic fret pattern, shaped more like a banjo and played upright, and built by Michael Fox of NC. Resonator dulcimer: A standard dulcimer with a resonator attached to the body, in imitation of the resonator guitar. This variant was first explored by Homer Ledford[27] and later patented and named “Dulcibro”.

See also[edit]

Caring for a dulcimer

Dwain Wilder

Caring for a dulcimer is similar to caring for a good musical instrument. But besides these usual steps, there are a few other things we can keep in mind out of deference to the casual way we use a dulcimer rather than, say, a cello. Let’s address these things first, as they tend to pertain to problems unique to the dulcimer.

Be careful when playing outside

One of the beautiful joys of playing folk music is its spontaneous nature. So we’re just as likely to find a dulcimer on a hiking trail, mountain camp, or yard party as we are in a concert hall, maybe a little more likely. Such venues have their challenges for wood and lacquer, to say the least. Here are some tips on how to protect our instruments from unreasonable hardship.

Sweat: Although an inevitable accompaniment to musical exertion, sweat is harsh on wooden surfaces. Any stringed instrument player will find out after a while that it’s a good idea to have a towel handy to wipe the fiddle’s fevered brow. But we also have to be careful not to play in shorts! Exposing the back of the dulcimer to the sweat of your thighs can also cause damage to the finish if you don’t wipe it down after a good hot session.

Mosquitoes: Insects will not harm your dulcimer. However, what you use to fight them can do a lot of damage. All of these insect repellents contain propellants and solvents that can dissolve a musical instrument’s finish. Unlike sweat, which varnish can tolerate for some time, these solvent cocktails can ruin your beautiful instrument in an instant. If you need to spray or apply a little citronella oil on yourself, do the following:

1. Bring your instrument out of the combat zone until done.

2. Before picking up your beloved dulcimer, wipe down all areas of your fingers, hands, arms and clothing that will touch the dulcimer.

3. Protect the back of the dulcimer from the mixture of sweat and insect repellent on your lap, perhaps with a towel.

Sunlight: Old Sol can make wood and surfaces quite aggressive. Some woods change color when exposed to the sun; Redwood is a famous example. Try to protect your instrument from prolonged direct sunlight. Chances are, if you need sun protection, the environment is too harsh for your dulcimer. Sitting in the shade is nice when you’re making music, don’t you think?

General care

For the best advice on caring for your particular musical instrument, consult the manufacturer. She or he knows the instrument like no one else (besides you) and therefore knows best about its workmanship, where the bracing sits, what kind of knocks its construction is most susceptible to, etc. But that being said, here are some tips to keep you up to date that you can rely on.

Prevent damage in extreme heat and cold: Temperature can have very detrimental effects on stringed instruments. If you need more than a light jacket, your instrument will feel some effects from the cold. And if you’re baking in a t-shirt, shorts, and sandals, your dulcimer is likely to suffer, too. Moderate temperatures are best for stringed instruments.

The best thing you can do to protect your instrument from cold shock is to loosen the strings. This will prevent the tension from increasing due to cold. It will also solve the overall burden of the instrument. Don’t take them all the way down too loosely. You want to get them with the strings still tight, maybe an octave down. When it’s cold, the wood and finish of the instrument, as well as some fittings, become more susceptible to damage from impact, so avoid hitting hard.

Cold often goes hand in hand with low humidity. The wood in your dulcimer can become so dry in this state that the fretboard warps slightly, the vibrations of the wood change, etc. It will start singing the winter blues all by itself!. There are humidifiers specifically for stringed instruments. The snake, for example, is a long tube filled with foam that you wet with water and slide into an instrument through the sound hole. Other devices can easily be accommodated in the case. Try one of these if your dulcimer seems “off the chuck” in extremely cold weather.

Heat can severely damage surfaces and adhesives in a dulcimer. Most modern adhesives do not cure to a fully solid state; they remain flexible and plastic. Under normal conditions (which you find comfortable) this is an advantage – an impact can’t tear a joint apart if the glue has this elasticity. But as the heat increases, the plasticity of these adhesives increases. And at really elevated temperatures above about 115°F, even hide glue can suddenly break its molecular bonds. There are many sad stories about musical instruments that completely decompose in high heat.

Finish Care: There is a wide variety of finishes used on dulcimers. I once saw a homemade dulcimer finished with shoe polish! (It was a rather bizarre-looking musical instrument.) In this department in particular, your instrument’s builder will be your best guide. That being said, here are some tips that apply across the board.

Scratches, dents and chips: these are heartthrobs and the impulse to “do something” can be almost irresistible. But they are best left as illustrative material and are not repaired until they have accumulated a bit. You don’t want to regularly send your instrument in for scratch repairs. It’s excruciating to look at your scratched top. After getting a few of these and learning how to avoid them, send the dulcimer to the repair shop. This way, the post-processing process, which allows removing part of the finish and thus thinning the top of your instrument, is only performed when absolutely necessary. In fact, if it still sounds like your dulcimer despite its wounds, it’s best to just leave the scratches and dents alone.

Cleaning: You can clean almost any surface with a damp cloth. Damp, not soaked, then wrung out. Use the damp cloth to remove finger oils. Never use soap or solvents unless you know the specific finish materials or have been advised by a professional luthier. Waxing can be a real protection for the finish, but don’t use furniture wax. Use floor wax. It’s tougher, protects better and doesn’t build up. Avoid clear waxes as they can appear white as they clog pores in the wood. A brown-red wax that I use and highly recommend for Bear Meadow dulcimers is TreWax Indian Sand. But any floor wax that’s high in carnauba wax will do a good job. Apply it lightly and follow the instructions carefully. Waxing should only be done when the finish needs more cleaning than a damp cloth can do or has generally become dull. Don’t make it a routine.

Instrument Case: A case is a very important part of taking care of your instrument. There are four different types of cases.

The Drawstring Purse: Some people love to make their own bag out of a favorite material. The shape is almost always a bag with a drawstring closure, but Velcro and simple wraps are also used. These prevent your dulcimer from getting damp or dusty and protect it from sunlight. Often this is all the protection you need at an outdoor festival when you simply spend a day wandering from event to event, dulcimer in hand.

The Foam Padded Case: These give you a surprising amount of protection from bumps and drops, as well as a better way to store gig bag stuff. Sometimes called gig bags, these cases also usually have a shoulder strap and a handle, making them more versatile in transportation. Protection varies greatly depending on the quality of the foam, design of the latches, etc. If you look around at some music festivals you can get a good idea of ​​the range on the market.

The Hard Case: These can offer very good protection. In a hard-shell case, your instrument is safe from the heaviest of attacks. Your dulcimer manufacturer may be able to supply or recommend a case for you. Otherwise, Harptone (New York City) makes a generic hard case. If you’re used to throwing all your musical instruments in the back of the van without paying attention to what lands on what, a hard case is for you.

Carrying Cases: These are the ultimate protection, although they will likely cost at least as much as your instrument and weigh 20-30 pounds. When you’re touring and the airline can’t get the airline to let you on the plane with your instrument (and for some reason can’t afford to buy a separate ticket for your dulcimer!), a fiberglass/aluminum carrying case is the way to go the right thing your ticket to mobility. Definitely a last resort.

Storing dulcimers without wall mounting: There has been some debate among dulcimer players about the merits (or sins) of hanging a dulcimer on a wall. There’s something about a dulcimer that invites this treatment. The jury hasn’t returned with a final verdict (like in most things in life), but the general consensus seems to be that it’s okay to do so. However, there are a few things to consider.

First, make sure you’re not hanging it on an outside wall that forms the outer shell of your home. Hang it on an indoor wall so it doesn’t get so cold in winter. Those outside walls in a room can get pretty cold!

Second, dust the dulcimer occasionally so spiders get the idea and don’t lay eggs in it. (I once found a spider egg in a stove’s gas nozzle in a garage that hadn’t been used in a few years. Come on, ask me what a spider does in a stove’s gas nozzle!)

Thirdly, of course, a secure holder for the dulcimer. A rubber band around the swivel head hanging from a straight pin wedged into a crack in the plaster is just too hippie for words!

The best care

The best care you can give your dulcimer is to play it! No joke. Don’t honor a favorite instrument by burying it or leaving it at home. Playing a fine instrument keeps it alive and alert. There’s something about storage that mutes a really good stringed instrument. Also, the more exposure you have to it, the less likely you are to feel uncomfortable with it. Playing is the best care for a musical instrument for many reasons.

Care and cleaning of hammered dulcimers

The Hammered Dulcimer is a unique musical instrument. They have more strings than any other stringed instrument except for the piano and harpsichord. By far the most critical aspect of owning a Hammered Dulcimer is the mood. Upright pianos have an extremely heavy cast iron support system to keep the soundboard and therefore tuning stable. A piano is anything but portable! One of the names for a hammered dulcimer in the American Northeast was “Lumberjacks Piano”. HDs are very portable…which is wonderful because you can play them anywhere! HDs need to be tuned, and if you’re the owner/player of a hammered dulcimer, YOU are the person who needs to be familiar and familiar with it…tuning it! I usually tell people when they buy their first HD that they should spend equal amounts of time tuning and playing. It doesn’t sound like much fun, but it pays off later. Your HD… may not seem like it needs much tuning, but if you take the time to listen carefully and check the accuracy of the tuning, you will improve your hearing… and improve the tone of your instrument, that makes the music better. Here are a few tips to keep your instrument in the best possible tuning:

Never leave your HD in direct sunlight…like in front of a picture window. Try not to play it in direct sunlight either… seek a shady spot if possible. Never place your HD near a heating or cooling source such as heating/cooling vents in your home. Play your HD every day for at least 10-15 minutes…even if it’s just scales. An HD keeps its tune better the more you play it. If you’re traveling somewhere you normally play… pack it up just before you leave and unpack it once you arrive at your new gaming location. Let it acclimate for as long as you can comfortably before checking tuning and playing.

A good general rule is… if you’re comfortable… your HD is probably comfortable. Not too warm, not too cold, not too humid…not too dry!

A good way to keep dust off your instrument is to place a breathable, fine-thread-count pillowcase over the strings when you’re not playing them. It’s likely to collect some dust over time and a good way to clean it up is to use a soft, long-bristled brush. Brush in the direction of the strings.

Sometimes the strings can easily corrode either from the climate…or from excessive touching with hands. We offer a few accessories to help you make your strings sound bright, shiny, and real. One is the Blitz String Cleaning Kit and the other is an Emory impregnated rubber polishing cake that works like an eraser! You can find both in the accessories section of the online shop.

By Wayne Peas

It’s amazing how many people dream of playing a stringed instrument. When they finally get around to trying out a guitar, banjo, violin, mandolin, or bass, they sometimes find that it takes a little more work than they thought to achieve their dreams. If you’re one of those people who always wanted to make your own music instead of buying it pre-packaged from the store, let me tell you about an instrument that’s both very easy to play and cheap to buy – the dulcimer.

Of all the stringed instruments imaginable, the dulcimer is the one whose history has always been a mystery. Take his name for example. Although most people refer to it as a dulcimer, others insist on spelling it as it is sometimes pronounced: “dulcymore”. Even more confusing is the fact that there are actually two different instruments that have the same name! The one we are going to talk about is a long, slender instrument, usually fitted with three or four strings. It is always played on the lap and is therefore also known as a lap dulcimer, but it also corresponds to the names Appalachian dulcimer, mountain dulcimer or plucked dulcimer.

Competing for the name, however, is an entirely different instrument, shaped like a trapeze and played with light mallets. This “dulcimer” is often referred to as a hammer or hammered dulcimer. are you totally confused

When most people think of the Appalachian dulcimer, their brains often conjure up quaint ancient scenes of quilts, baskets, and winding roads winding through deep Appalachian canyons. Although this stereotype is generally a sham, it is true that the dulcimer has evolved in the Appalachian Mountains over the years. Unfortunately, his history before that is still a mystery. Musicologists have been arguing about the origins of the dulcimer for over thirty years and have yet to come to a consensus. The general consensus is that immigrants from Northern Europe brought related instruments (or the idea of ​​instruments) to America during their crossing to that country. European instruments that may have served as prototypes include the Norwegian langeleik, the Swedish hummel, the German sheitholt, the Icelandic langspil, and the French epinette des Vosges.

American craftsmen working in their homes and workshops no doubt borrowed ideas from some of these instruments and made their own handcrafted instruments, which later came to be known as the “dulcimer”. The individuality of these handmade instruments is amazing. Early versions of the dulcimer varied in almost every construction detail. Eventually, several general shapes came into common use, and most dulcimers found today share numerous features, including a long, slender body with a hollow fingerboard that runs the length of the instrument, a movable bridge, and hand-carved tuning pegs .

That’s not to say that there isn’t still a wide variety of dulcimer styles. Homer Ledford of Winchester, Kentucky, for example, is known for combining the dulcimer with the dobro guitar (a “dulcibro”) and the dulcimer with the guitar (a “dulcitar”).

Occasionally one also finds an enlarged dulcimer with two fretboards sitting side by side. Often referred to as a courtship dulcimer, this instrument was designed to be played by two people seated opposite each other. According to legend, the instrument was often played by young couples engaged in the curious act of “courting”. With their knees practically touching as they strummed the dulcimer, it was as daring as mountain etiquette would allow. The rule was that couples could be left unsupervised as long as they were playing the dulcimer. However, when the music stopped, one of her parents ran over to find out what was going on. I wonder how many couples have decided to take the plunge and get married just so they can visit without having to play that damn dulcimer the whole time!

Now that we have a little background on the dulcimer, let’s talk about choosing a dulcimer. Although not as widely used as guitars or banjos, dulcimers are available at many music stores across the country. In southern Appalachia, dulcimers are easy to find at most craft stores. Traditionally, dulcimers were made by hand by individual craftsmen in small workshops. The dulcimer has gone down the road of modern times in recent years and has become another victim of technology. Dulcimers are now mass-produced in Japan, South Korea and Czechoslovakia. Instead of using fine hardwoods, the factory-made instruments have given way to plywood. Of course you can still play a plywood instrument, it just sounds like it’s being played in a paper bag!

When choosing a dulcimer, it’s a good idea to sit down and play as many dulcimers as possible to compare playability, tone, and general appearance. As you begin purchasing your instrument, you’ll quickly find that you have a number of important decisions to make. Take strings for example. There are dulcimers with different numbers of strings. I suggest a three-string dulcimer, although a four-string dulcimer is perfectly fine too. Some dulcimers have double strings on some or all of the strings. That’s fine too, but remember that the more strings you have, the more tuning you have to do. My philosophy is the fewer strings the better.

The next important decision you need to make are tuning pegs. Traditionally, hand-carved pegs are part of the standard equipment of home-made dulcimers. Although pegs of this type suit the character and temperament of the dulcimer, they are often meticulous and difficult to tune. The solution is to attach fine metal mechanics to the strings between the bridge and the tailpiece. Fine tuners are the greatest thing since sliced ​​bread; They make tuning a breeze. To attach the fine tuners, there must be at least an inch of space between the tailpiece (where the strings attach) and the bridge. Without this space, the fine tuners will not fit. If the Dulcimer you own (or plan to buy) cannot be fitted with fine tuners, you might want to consider upgrading to what are known as mechanical tuners. While non-traditional and certainly not as aesthetically pleasing as hand-carved pegs, machine tuners certainly make tuning easier, even more tolerable.

The other decisions you need to make aren’t as important as the ones you’ve just dealt with. Mainly they have to do with the external appearance of the instrument.

Top: The top or soundboard of the dulcimer is largely responsible for the sound quality. The best dulcimers are made of quarter-sawn spruce for the top, the same type of wood used in fine guitar making. Ask the clerk at the music or craft store what wood is used for the top.

Sound Holes: Dulcimers have always had a wide variety of sound hole shapes. For you, it’s just a matter of aesthetics. Heart-shaped sound holes are the most common and rather romantic, don’t you think?

Size: In general, the larger the dulcimer, the more volume there is. If you plan on playing in a band (or on the Grand Ole Opry), you might want to buy a dulcimer with a slightly larger sound box. However, if you are learning for the first time, “rest is beautiful”.

Strings: The easiest way is to simply purchase a set of dulcimer strings that are already boxed and ready to use. However, dulcimer strings are often hard to find. Eeeks. Please keep calm! There is a simple solution. If you can’t find dulcimer strings, just buy a set of thin banjo strings. When it’s time to change strings (every few months, depending on how often you play), rest your dulcimer on your lap with the tuning pegs to the left. The string closest to you is called the first or melody string. Sometimes this string is double-strung. The string farthest from you is the bass string and is called the third or fourth depending on the number of strings on your dulcimer.

So, unwrap your set of banjo strings, being careful not to bend or pinch any of the strings. The fourth banjo works for your bass string. Since the first and fifth strings of a banjo are identical, you can use them for your first and second strings. If you have doubled first strings, use the banjo there as the first and fifth. You can then use the banjo second for the middle string on the dulcimer. Feel free to experiment with strings, as almost every dulcimer player you speak to uses different strings on their instrument.

poll

Dulcimers are tuned in a variety of ways depending on the type of song you want to play. First, let’s learn to play in the most common tuning, which is called Ionian. Using a pitch pipe, electronic tuner, piano, or other tuned instrument, play a D note and tune your bass string (which is furthest from you when you’re holding it on your lap) to it. If you don’t have another instrument to tune, don’t panic! Simply tighten the bass string to about medium tension. When you have the bass string where you want it, fret the bass string to the left of the fourth fret (or press down with your left index finger). The note produced is an “A”. The other two or three strings should be tuned to this note. Just play that fret note and change the other strings until they match that note. Counting from the first to the third or fourth string, the tuning of your dulcimer is then AAD or AAAD, depending on whether you have three or four strings.

Tuning Tips:

Don’t forget that fine tuners will save you tens of hours fiddling around with your dulcimer trying to tune it. Go ahead and get some. (Bring your dulcimer to make sure it fits your instrument).

More tuning tips:

You may well like their wonderful, graceful, traditionally hand-carved swirls! To make them work better, try pushing them in slightly while rotating the pen. Don’t hold the pit.ch and keep slipping, check if the pegs are smooth. If this is the case, remove the pin and roll them in 100 grit sandpaper just one turn to roughen them up enough to hold. Some people also recommend chalk to give the pen a bit of resistance. If you have fine tuners and your pegs are slipping, you can buy a cheap piece of violin rosin at the music store and just power a corner of it and apply it to the peg. This method makes the pegs very sticky and difficult to turn, so think of the rosin as a weak glue holding your slippery pegs so you can tune them with the fine tuners. Excess rosin can be removed by washing in warm water and soap. However, moisture tends to expand the pegs, so remember that washing the pegs could make tuning worse.

playground equipment

Although dulcimers can certainly only be played with bare fingers, some players use a left-hand “noter” to play the notes. A note is nothing more than a round stick or dowel (about 3/8 in diameter) and about two inches long. If you like the idea of ​​fringing the strings with a note, that’s perfectly fine. If not, your fingers will do a good job.

More play equipment

Some traditional dulcimer players insist on using a turkey feather or quill pen to strum the instrument. Here, too, it is a matter of taste. Let’s start with our fingers and later if you wish you can switch to a turkey feather or its modern equivalent: a pickaxe.

Let’s start with a beautiful old anthem, “Amazing Grace”. Remember that you will fret the first or melody string (the one closest to you) with the index finger of your left hand or with a note. The other strings are struck “open” or fretless, creating a drone or bagpipe effect. As you fret the melody string, be sure to press down in the middle of the room. The third gap or fret would be, for example, between the second and third metal frets.

For your right hand, simply strum all the strings with your right index finger. The direction your shot will be away from you. If you happen to have a pickaxe or quill handy, you can certainly use them.

So now we’re ready to play Amazing Grace. The numbers above the words tell you which fret to play on the first or melody string. The zero tells you to play the strings open or fretless. The arrows are there to remind you to strum “down” or “over.” It helps to sing or hum a song to yourself while playing. Be sure to strum all the strings with your right index finger or pick.

Game note:

Until you get used to which fret is which, it’s a good idea to write the number of frets on the fretboard so you can easily identify which fret you want to play. Use a soft, blunt pencil so as not to mutilate your beautiful dulcimer too much.

Amazing Grace

Amazing grace how sweet the sound

0 3 5 4 5 4 3 1 0

That saved a poor guy like me.

0 3 545 4 7

I was once lost but now I’m found

0 3 5 4 5 4 3 1 0

Was blind but now I see.

0 3 5 4 5 4 3

Bound String Instrument

The Appalachian dulcimer (many variant names; see below) is a fretted stringed instrument in the lute family, typically with three or four strings, originally played in the Appalachian region of the United States. The body extends the length of the fingerboard and its fret is generally diatonic.

name [edit]

The Appalachian dulcimer has many variant names. Most often it is referred to simply as a dulcimer (also rendered “dulcimore”, “dulcymore”, “delcimer”, “delcimore”, etc.). When it needs to be distinguished from the unrelated hammered dulcimer, various adjectives are added (drawn from location, playing style, position, shape, etc.), for example: mountain dulcimer; Kentucky dulcimer; plucked dulcimer; fret dulcimer; Dulcimer; drop dulcimer; Dulcimer; etc. The instrument has also received a number of nicknames (some shared by other instruments): “harmonium”, “pig fiddle”, “music box”, “harmony box” and “mountain zither”.

Origin and history[edit]

Although the Appalachian dulcimer first appeared among Scots-Irish immigrant communities in the Appalachian Mountains in the early 19th century, the instrument has no known precedent in Ireland, Scotland or northern England. For this reason, and due to a lack of written records, the history of the Appalachian dulcimer has been largely speculative until recently. Since 1980, more extensive research has traced the instrument’s development through several distinct periods and probable origins in several similar European instruments: the Swedish Hummel, the Norwegian Langeleik, the German Scheitholt, and the French épinette des Vosges.[5] Folk historian Lucy M. Long said of the history of the instrument:

Because there are few historical records of the dulcimer, the instrument’s origins were open to speculation until recently, when Ralph Lee Smith and L. Alan Smith reconstructed the instrument’s history by analyzing older dulcimers. The organological development of the dulcimer can be divided into three periods: Transitional (1700s to mid-18th century), Pre-Revival or Traditional (mid-19th century to 1940), and Revival or Contemporary (post-1940).[1]

Charles Maxson, an Appalachian luthier from Volga, West Virginia, speculated that early settlers were unable to make the more complex violin in the early days due to a lack of tools and time. This was one of the factors that led to the construction of the dulcimer, which has less dramatic curves. He also cited the Langeleik, Scheitholt and Épinette des Vosges as ancestral instruments.[6]

Few true specimens of the mountain dulcimer exist before about 1880, when J. Edward Thomas of Knott County, Kentucky began building and selling them. The instrument was used as a kind of parlor instrument as its modest volume is best suited for small family gatherings. But by the first half of the 20th century, the mountain dulcimer was rare, with a handful of manufacturers supplying players in scattered areas of Appalachia. Virtually no audio recordings of the instrument exist from before the late 1930s.

Vogue with an Appalachian dulcimer. Loraine Wyman collecting folk songs in the field and performing them in concert halls was featured in the May 1, 1917 issue of Holding an Appalachian Dulcimer.

Soprano Loraine Wyman, who sang Appalachian folk songs in concert halls during World War I, made a brief appearance for the Appalachian dulcimer by demonstrating it in concert, and was profiled in Vogue magazine (right) with her instrument, a Thomas. But Wyman preferred to sing with the more robust support of the piano. The instrument had its true renaissance in the urban folk music revival of the 1950s United States through the work of Jean Ritchie, a Kentucky musician who performed the instrument to audiences in New York City. In the early 1960s, Ritchie and her husband George Pickow began distributing dulcimers made by their Kentucky relative, Jethro Amburgey, then a woodworking teacher at the Hindman Settlement School. They eventually began producing their own instruments in New York City. Meanwhile, American folk musician Richard Fariña (1937–1966) introduced the Appalachian dulcimer to a much wider audience, and by 1965 the instrument was a familiar presence in folk music circles.

In addition to Amburgey, who had ceased production by then, the mid-1960s included Homer Ledford, Lynn McSpadden, A.W. Jeffreys and Joellen Lapidus. In 1969, Michael and Howard Rugg formed a company called Capritaurus. Not only were they the first to mass produce the instrument, they also made design changes to make the instrument easier to make and play. The body was made larger and they installed metal friction or gear tuners instead of traditional wooden pegs to make tuning easier and more reliable.

Construction and shape[edit]

Organologically, the Appalachian dulcimer is a plucked box zither; it is considered a folk instrument. Appalachian dulcimers are traditionally constructed of wood, and early instruments were typically all made of one wood, using wood commonly found in the particular area of ​​the mountains where the builder lived. More recently, guitar aesthetics and construction ideals have been applied, with a preference for a tonewood such as spruce or cedar for the top of the sound box. A harder wood such as mahogany or rosewood is used for the back, sides, and neck, and a hardwood such as rosewood, maple, or ebony is used for the fingerboard. Because the modern dulcimer originated in America and most are still made there, American hardwoods such as walnut, oak, cherry, and apple are also still commonly used by manufacturers.[8]

As with many folk instruments, the Appalachian dulcimer has been and continues to be made in many shapes, sizes, and variations in construction details. however, certain forms have proved more popular than others and have tended to be dominant. The general format has a long, narrow soundboard, with the “neck” centered in the soundboard and extending the length of the instrument. Typical instruments are 70–100 cm (27 1/2–39 1/2 in) long; 16–19 cm (6 1/2–7 1/2 in) across at widest point; and the sound box has a uniform depth of about 5-6 cm (2-2.5 inches). The top of the fretboard is approximately 1.25 cm (1/2 inch) above the top of the sound box. The resonance body typically has two to four sound holes, two in the lower bout and two in the upper bout. These take a variety of forms, with traditional favorites being a heart or the violin’s traditional “f-hole”, but manufacturers often personalize their instruments with their own unique sound hole shapes.

The overall shape of the instrument has taken many forms, but the most popular are the hourglass (or figure 8), the ellipse, the teardrop, and a long narrow trapezoid or rectangle.

At one end of the neck is the headstock, which contains the machine heads. Headstocks most commonly have either a spiral shape (similar to the headstock of orchestral stringed instruments such as the violin) or a shape resembling that of parlor guitars or banjos. To a certain extent, the shape of the headstock can be dictated by the type of mechanics chosen. Older instruments and some modern “traditional” designs use violin-style wooden friction pegs. Modern instruments are more likely to use metal tuning machines, either with adjustable friction or geared (e.g. guitar).

At the other end of the neck is the tailblock, which contains pins or brads to secure the other (loop) end of the strings. The strings are stretched between the end pins and machine heads and run over a bridge (at the tailblock end) and a nut (at the headstock), which determines the sounding length of the strings. Between the nut and bridge lies the fretboard, fitted with (typically) 12–16 diatonically spaced metal frets; a zero fret may or may not be used. Between the end of the fretboard and the bridge, the neck is carved down, creating a jagged trough that passes close to the top of the sound box. This area, called the string cavity, is the space where the pick, fingers, or mallet are used to make the strings sound (see Playing).[9]

Both single-player and two-player instruments were made, as were single-player units with multiple necks (see variants). The vast majority of Appalachian dulcimers are single-necked, single-player instruments, and these were made with anywhere from two to a dozen strings, with three being the most common number on older instruments. Modern instruments typically have 3, 4, 5, or 6 strings arranged in either three or four courses. There are many possible string arrangements, but the following are typical:[10]

3-string: Three single-string courses.

: Three one-string choirs. 4-string: Three courses, two single-string; a double string. The doubled price is almost always the highest (melody) price.

: Three courses, two single-string; a double string. The doubled price is almost always the highest (melody) price. 4-string: Four single-string courses.

: Four one-string choirs. 5-string: three courses: two double-string; a one-string. The single string is usually the middle course, with the bass and melody courses being double-strung.

: Three courses: Two double strings; a one-string. The single string is usually the middle course, with the bass and melody courses being double-strung. 5-string: Four courses: One double string; three single string. The two-string course is the melody course.

: Four courses: A double string; three single string. The two-string course is the melody course. 6-string: Three double-string choirs.

production [edit]

Appalachian dulcimers are often made by individual artisans and small, family-run businesses in the American South and particularly in the Appalachian Mountains. It’s easy and fairly common to order custom instruments, and custom Appalachian dulcimers can cost significantly less than other custom stringed instruments (such as a guitar, mandolin, or banjo).

Cheap imports from Romania, Pakistan and China are slowly pushing their way onto the American market.[11] John Bailey’s book Making an Appalachian Dulcimer[12] is one of several books in print that contain instructions for building a dulcimer.

Frets, Strings, Tuning and Modes [ edit ]

Fret placement[ edit ]

The frets of the Appalachian dulcimer are typically arranged in a diatonic scale. This is in contrast to instruments like the guitar or banjo, which are chromatically fretted. As early as the mid-1950s, some manufacturers began incorporating at least one additional fret, usually the so-called “six and a half”, “6½” or “6+” fret, which is half a step below the octave. This allows playing in Ionian mode when tuned to D3-A3-D4 (the traditional tuning for Mixolydian mode), with the scale starting on the open (unfretted) string. This arrangement often proves more conducive to chord-melody playing. It also became common to add a fret an octave higher than the 6+ fret, called the “13+” fret, and by the late 1970s these additional frets had become standard.

Eventually, some manufacturers began offering other additional frets in the “1+” and “8+” positions, or (as an alternative) the “4+” and “11+” positions. These additional frets make it easier to use even more scales and modes without retuning. As was probably inevitable, this trend eventually led to the availability of fully chromatic dulcimers with twelve frets per octave, which allowed playing in any key without retuning. However, chromatic fretting remains somewhat controversial among dulcimer players, with traditionalists preferring what they believe to be the greater authenticity of the diatonic fingerboard.

strings [edit]

Appalachian dulcimers are strung with metal wire; wound strings can be used for the deeper courses. These strings are very similar to those used on banjos and guitars, and before manufacturers made special “dulcimer sets” available, banjo strings were commonly used. For a typical dulcimer string, gauges range in diameter from about 0.026 inch to 0.010 inch, although gauges outside of this range can be used to facilitate special tunings or extended range playing styles.

Tuning [ edit ]

There is no “standard tuning” for the Appalachian dulcimer, but as with the instrument’s shape, certain tuning arrangements have proven more popular than others. Traditionally, the Appalachian dulcimer was usually tuned (from left to right) to G3-G3-C3, C4-G3-C3, or C4-F3-C3. Note: Because the dulcimer is most commonly played on the lap or with the instrument on a table, when the instrument is held upright (spindle plate up), the highest string is on the left, the opposite of most other stringed instruments (e.g. guitar, bass, violin, etc.) where the lowest string is on the left. However, dulcimer players are used to naming their strings from lowest to highest (like a guitarist or violinist would). This means that the strings are usually named in the reverse order in which they appear on the instrument, i.e. right to left. Therefore, the tunings cited above would more often be given as: C3-G3-G3; C3-G3-C4; and C3-F3-C4. This convention is followed for the rest of the article.

With the revival of the dulcimer in the Appalachian Mountains in the 1950s and 1960s, players began to prefer higher tunings. This is not uncommon in the history of many stringed instruments, with players often claiming that the higher pitches make their instrument sound “brighter”. As a result, the original traditional tunings went up a whole notch, becoming: D3-A3-A3; D3-A3-D4; and D3-G3-D4, the most common modern tunings for three-course Appalachian dulcimers.

Modes [ edit ]

D3-A3-A3, is in an I V V harmonic relationship.[15] That is, the tonic of the diatonic major scale is on the bass string, and the middle and melody strings are a perfect fifth above. This tuning places the tonic (diatonic) fret on the melody string. This makes it easier to play melodies in Ionian mode (the major scale). The melody is played on the top string (or pair of strings) only, with the fretless drone strings providing easy harmony and giving the instrument its distinctive sound.

To play in a different key or mode, a traditional player would have to retune the instrument. For example, to play a minor melody, the instrument could be tuned to D3-A3-C4. This makes it easier to play the Aeolian mode (the natural minor scale), where the scale starts at the first fret.

While the most common current tuning is D3-A3-D4, some teachers prefer the more traditional D3-A3-A3, or the so-called “reverse Ionian” tuning, D3-G3-d4. “Inverted” tunings are those where the root note is on the middle string and the bass string is the fifth of the scale, but in the octave below the middle string. This is sometimes suggested by teachers as an easier tuning. From D3-G3-D4 one can put a capo on the first fret to play in Dorian mode, or retune the second string (on A3) to play in Mixolydian mode, then from Mixolydian, capo the first Bund to play in the Aeolian mode.

play [edit]

Appalachian dulcimer sample Problems playing this file? See media help.

With only three or four strings and a simple diatonic fret pattern, the Appalachian dulcimer is widely considered one of the easiest stringed instruments to learn. The traditional way of playing the instrument is to lay it flat on your lap and pluck or strum the strings with your right hand while fringing with your left hand. Alternatively, the dulcimer can be placed on a wooden table, using the table as an extended resonator to increase volume. The instrument is generally strung with the melody string (or pair of strings) on the player side of the instrument and the bass string on the outside.

In traditional playing, fretting is achieved with a “noter” – typically a short piece of wood or bamboo (see photo at left) – in the melody progression, while the middle and bass strings are sounded as fretless drones. This style of play is now referred to as “Noter Drone” play. In some traditions, players use a quill with the barbs removed to play the instrument. The frets on early mountain dulcimers were usually simple wire clips that only extended halfway down the fingerboard, meaning only the melody string run could be fretted. By the early 1960s, many dulcimer manufacturers had abandoned staples in favor of manufactured fret wire that ran the full width of the fretboard. This allowed players to fret all strings, allowing for chords and an expanded melodic range. A variety of new, “noteless” playing styles emerged, now collectively referred to as “chord-melody” playing. The advent of full-width frets also forced manufacturers to tie their instruments in tune. The fret patterns of the older half-fretted instruments were seldom of the same temperament, and intonation varied from builder to builder. With a simple melody played against the drone, these idiosyncratic scales could add warmth and a distinctive flavor to the music, but the ancient, non-standard fret patterns often create dissonance when played with chords that some find unacceptable.

Using modern dulcimers with full-width frets arranged for equal tuning, contemporary players have borrowed from chord theory and imported techniques from other stringed instruments to greatly expand the instrument’s versatility. But for a long time the most diverse styles of play have been used. For example, instead of strumming the strings with a plectrum, they could be strummed or plucked with the fingers, or even struck with a small stick. Jean Ritchie’s The Dulcimer Book[16] contains an old photograph of Mrs. Leah Smith of Big Laurel, Kentucky, playing the dulcimer with a bow instead of a plectrum, with the tail of the dulcimer held in the player’s lap and the headstock resting a table pointing away from her. Robert Force and Al d’Ossché, in their book In Search of the Wild dulcimer,[17] describe their preferred method as “guitar style”: the dulcimer hangs around the neck by a strap, and the instrument is strummed like a guitar, however your fingering style is still overkill. They also describe “autoharp-style” playing, in which “the dulcimer is held vertically with the headstock over the shoulder”. Lynn McSpadden writes in his book Four and Twenty Songs for the Mountain Dulcimer [18] that some players “tilt the dulcimer sideways on their laps and strum guitar-style”. Still other dulcimer players use a fingerstyle technique, fingering chord positions with the gripping hand and rhythmically plucking individual strings with the strumming hand, creating delicate arpeggios.

Contemporary usage[edit]

The Appalachian dulcimer is now a core instrument in the old-time American musical tradition, but the styles performed by modern dulcimer enthusiasts range from traditional folk music to popular and experimental forms. Some players take advantage of its sound similarity to certain Middle Eastern and Asian instruments. Increasingly, modern musicians have contributed to the popularity of the solid-body electric dulcimer. Because the Appalachian dulcimer has gained a following in a number of countries, dulcimer festivals are held regularly in the United States, Canada, the United Kingdom, and Ireland.[19]

Although the mountain dulcimer has long been associated with the older generation, it has gradually attracted a number of younger players who have discovered its appeal. Because it is easy to play, many music teachers consider it a particularly good teaching instrument. Consequently, it is often used in educational settings, and some music classes make their own dulcimers. However, due to budget, time and craft constraints, they are usually made from cardboard.[20][21]

Brian Jones of The Rolling Stones played the Appalachian electric dulcimer on their 1966 album Aftermath, most notably on “Lady Jane”. He plays the instrument during her appearance on The Ed Sullivan Show. He was influenced to use the instrument after hearing recordings by Richard Fariña. Perhaps one of the most famous players of the Appalachian dulcimer is singer-songwriter Joni Mitchell, who first played the instrument in studio recordings in the late 1960s and most famously on the album Blue (1971) and in live concerts. 22] Peter Buck of R.E.M. plays the electric Appalachian dulcimer. Paul Westerberg of The Replacements also plays an Appalachian dulcimer on their 1989 single I’ll Be You.

Cyndi Lauper is also a top-flight mountain dulcimer player, having studied with the late David Schnaufer. Lauper plays dulcimer on her ninth studio album, The Body Acoustic, and on tour in support of the record, she performed songs like “Time After Time” and “She Bop” solo on dulcimer in the mountains. Contemporary professional musicians who consider the dulcimer their primary instrument include Nashville’s Stephen Seifert and Irish blues guitarist Rory Gallagher, who used a dulcimer on his later albums. Orlando-based musician Bing Futch performs with a custom double-fingered dulcimer as well as a custom resonator, and is one of only two dulcimer players to have competed in the International Blues Challenge and advanced to the semifinals of the 2015 edition of the competition;[23] During the 2016 edition, Futch made it to the finals and was awarded “Best Guitarist” in the solo duo category, despite performing exclusively on the dulcimer in Appalachia.[24]

Variants [edit]

As a folk instrument, Appalachian dulcimers vary widely.

Body Shapes: As previously mentioned, dulcimers come in a variety of body types, many of which are listed in A Catalog of Pre-Revival Dulcimers. [25] A representative arrangement would include: hourglass, teardrop, trapezoid, rectangle, ellipse (“Galax style”), fiddle shape, fish shape, and lute back.

. A representative arrangement would include: hourglass, teardrop, trapezoid, rectangle, ellipse (“Galax style”), violin shape, fish shape, and lute back. Materials: In addition to plywood, laminates, and solid woods, some builders are using experimental materials such as carbon fiber. Dulcimers are also made from cardboard. Often sold as inexpensive kits, cardboard dulcimers offer surprisingly good sound and volume. Their low cost and resistance to damage make them particularly suitable for institutional settings such as elementary school classrooms.

court dulcimer

Number of strings: dulcimers can have as few as two or as many as 12 strings (in up to six courses). Up until the 1960s, most mountain dulcimers had three strings. The most popular variation today is four strings in three courses with doubled melody strings.

A variety of dulcimer shapes.

Sizes and Ranges: Larger and smaller dulcimers are made that extend the instrument’s range to higher and lower registers and fill parts in dulcimer ensembles: Baritone dulcimer: These are just larger versions of the regular dulcimer designed to to be tuned a lower pitch. Typically they are designed to be tuned a fourth lower: A3-E3-A2 or A3 A3-E3-A2, although any of the divergent tuning patterns can be adapted to this lower-pitched instrument. Bass dulcimer: Very rare, these monsters can grow to nearly a meter in length. Designed for ensemble playing, they are tuned an octave lower than the dulcimer: A2-E2-A1 or A2 A2-E2-A1. Soprano or piccolo dulcimer: These are smaller dulcimers, ranging in size from about 80% down to about 50% the length of the regular dulcimer. They are designed to support higher pitches and are usually tuned a fourth higher: G4-D4-G3 or G4 G4-D4-G3. The smaller size and reduced scale length also make it easier for people with smaller hands, such as B. children. Other sizes have been experimented with, including double bass dulcimers. [26]

Courtship dulcimer: An unusual variant is the “courtship dulcimer”. This instrument consists of a large dulcimer body with two separate fingerboards. The instrument is placed across the laps of two people facing each other (the eponymous “courting” couple) and used to play duets.

Double-necked dulcimers: Similar to a “courting dulcimer”, but with both fretboards (or “necks”) pointing in the same direction. Made famous by performer Bing Futch, it allows for multiple tunings without changing instruments.

Solid-state electric dulcimer: Acoustic dulcimers can be electrified with pickups, and several manufacturers make solid-state electric dulcimers.

Aquavina: a dulcimer with a metal resonator partially filled with water. The resonator moves as you play, creating an eerie oscillation in overtones.

Hybrid instruments[ edit ]

String dulcimers: dulcimers that can be played with bows; in modern times, heavily modified variants were made exclusively for pranks.

Guitar dulcimer: a cross between a guitar and a dulcimer, with the body more like a guitar but the string configuration and pegs of a dulcimer. The stringing pattern on these instruments is often the opposite of the dulcimer, with low strings on the left and high strings on the right, and they are usually held and played in guitar position like a guitar. This variant was first explored by Homer Ledford [27] and later patented and referred to as “Dulcitar”. (see below)

and called “Dulcitar”. (see below) Dulcitar (also dulcimer or strum stick): a long-necked fretted instrument, similar to a guitar or mandolin, with a diatonic dulcimer fret. It differs from the guitar dulcimer primarily in that it has a much narrower and flatter body, closer in proportion to the sound box of the Appalachian dulcimer. These instruments go by many different names, with the most common commercial model being the McNally Strumstick.

principally by having a much narrower and flatter body closer to the proportions of the Appalachian dulcimer sound box. These instruments go by a variety of names, with the most common commercial model being the . Banjo dulcimer: similar to a standard dulcimer but with a banjo head on the body. This variant was first explored by Homer Ledford [27] and later patented and referred to as “Dulcijo”. Similar instruments include the “ban-jammer” (Mike Clemmer), the “banjimer” (Keith Young), and the “banj-mo” (folk notes). The “Dulci-Jo” is a banjo/dulcimer hybrid with a thumb string like a clawhammer banjo, 3 strings and a diatonic fret pattern, shaped more like a banjo and played upright, and built by Michael Fox of NC.

and called that “dulcijo.” Similar instruments include the “ban-jammer” (Mike Clemmer), the “banjimer” (Keith Young), and the “banj-mo” (folk notes). The “Dulci-Jo” is a banjo/dulcimer hybrid with a thumb string like a clawhammer banjo, 3 strings and a diatonic fret pattern, shaped more like a banjo and played upright, and built by Michael Fox of NC. Resonator dulcimer: A standard dulcimer with a resonator attached to the body, in imitation of the resonator guitar. This variant was first explored by Homer Ledford[27] and later patented and named “Dulcibro”.

See also[edit]