Appalachian dulcimer
From Wikipedia, the free encyclopedia
The Appalachian dulcimer is a fretted string instrument of the zither family, typically with three or four strings, although contemporary versions of the instrument can have as many as twelve strings and six courses. The body extends the length of the fingerboard and traditionally has an hourglass, teardrop, triangular, or elliptical shape (also called the galax). As a folk instrument, wide variation exists in Appalachian dulcimers. For example, a courting dulcimer has two fretboards, which allows two players sitting across from each other to perform duets, hence the name. Jean Ritchie (The Dulcimer Book, 1974) and others have speculated that the Appalachian dulcimer is related to similar European instruments like the langeleik and scheitholt.
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[edit] Playing
A traditional way to play the instrument is to lay it flat on the lap and pluck or strum the strings with one hand, while fretting with the other. There are two predominant methods of fretting. First, the strings may be depressed with the fingertips of the fretting hand. Using this technique, all the strings may be fretted allowing the player to produce chords. Second, the melody string, the string closest to the player, may be depressed with a noter, typically a short length of dowel or bamboo (see photo at left). Using this method, only the melody string is fretted and the other strings act as drone strings (the melody string may be doubled so that the melody can be better heard over the drones). In this second style of playing, the combination of the drone strings and the buzz of the noter on the melody strings produces a unique sound.
In practice, a wide variety of playing styles have long been used. Jean Ritchie's The Dulcimer Book (1974) has an old photograph of Mrs. Leah Smith of Big Laurel, Kentucky, playing the dulcimer with a bow instead of a pick, with the tail of the dulcimer held in the player's lap, and the headstock resting on a table pointing away from her. In their book In Search of the Wild dulcimer (1974), Robert Force and Al d'Ossché describe their preferred method as "guitar style": the dulcimer hangs from a strap around the neck, and the instrument is fretted and strummed like a guitar; they also describe playing "Autoharp style" where "the dulcimer is held vertically with the headstock over the shoulder." Lynn McSpadden, in his book Four and Twenty Songs for the Mountain Dulcimer, states that some players "tilt the dulcimer up sideways on their laps and strum in a guitar style." Still other dulcimer players use a fingerstyle technique, fingering chord positions with the fretting hand and rhythmically plucking individual strings with the strumming hand, creating delicate arpeggios.
Contemporary players have also borrowed from chord theory and guitar analogues to create a variety of more complex ways to play the dulcimer. Some dulcimers are constructed with four equidistant strings to facilitate playing more complex chords, particularly for playing jazz. In another line of contemporary innovation, electric dulcimers have been used in rock music. The Appalachian dulcimer is both easy to learn to play, and capable of complexity, providing scope for a wide range of professionals and hobbyists.
[edit] Strings and tuning
The frets of the Appalachian dulcimer are typically arranged in a diatonic scale. Traditionally, the Appalachian dulcimer was usually tuned to DAA, or notes with this 1 5 5 relationship. The key note is on the bass string and the middle string is an interval of a perfect fifth above it. The melody string is tuned so that the key note is at the third fret. This facilitates playing melodies in the Ionian mode. The melody played on the top string (or string pair) only, with the unfretted drone strings providing a simple harmony, gives the instrument its distinctive traditional sound. To play in a different key, or in a different mode, a traditional player would have to retune the instrument. For example, to play a minor mode melody the instrument might be tuned to DAC. This facilitates playing the Aeolian mode, where the scale begins at the first fret.
Modern instruments usually include an additional fret a half step below the octave position, the so-called "six and a half" fret. This enables one to play in the Ionian mode when tuned to DAD, the traditional tuning for the Mixolydian mode, where the scale starts on the open fret. This arrangement is often found to be more conductive to chordal playing, as opposed to the more traditional dronal style. Among modern players, it's fair to say that the intrument is most commonly tuned to DAD. So-called "chromatic dulcimers" are sometimes made, to permit play in any key without re-tuning.
While currently the most common tuning is DAD, it is often easier for the beginning player to tune to DAA or the so-called "Reverse Ionian" tuning, (DGD). "Reverse" tunings are ones where the key 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 as an easier tuning. From (DGD) one can put a capo on the first fret to play the Dorian mode, or retune the second string to (A), to play the Mixolydian mode, then from Mixolydian capo the first fret to play the Aeolian mode. DAA tuning should not be thought of as simply a "beginner" tuning, however. Many accomplished, inovative players use this tuning.
Those without a tuner can tune the Dulcimer to itself. Pluck the third string, the one furthest away from you, the big thick one, and tune it to something that sounds good to you. Then press the third string at the third fret and tune the second, or middle string to that note. Then press the third string at the 7th fret, an octave above the third string note, and tune the first string(s) to that note. This puts you into the Reverse Ionian tuning. To switch to Mixolydian, press the third string at the fourth fret and tune the second string to that note.
If tuning is a problem, pluck the strings being tuned and the 3rd string then listen for a warbling sound. It will be less and less as the strings come closer to being in tune with each other. When you can no longer hear the warbling, your dulcimer is in tune.
If you don't have a capo, you can make one with a pencil and a rubber band, laying the pencil across the strings just below the first fret, and holding it in place by wrapping the rubber band around both ends and underneath your dulcimer.
[edit] Usage
The Appalachian dulcimer is widely used in the American old-time music tradition. The instrument first appeared in the early 1800s from the Scots-Irish in the southern Appalachian Mountains, and is thus also called a mountain dulcimer. The instrument was based on pre-existing similar European, instruments, particularly the German scheitholt. Soon it acquired a distinctive American flavor. The instrument became used as a parlor instrument, as its sound volume is well-suited to small home gatherings.
The Appalachian dulcimer achieved a renaissance in the 1950s urban folk music revival in the United States through the work of Jean Ritchie, a Kentucky musician who introduced the instrument to New York City audiences. In the 1960s, the American folk musician Richard Fariña (1937–1966) became the first to utilize an Appalachian dulcimer in a less traditional way, pointing out its similarity in tone to some Middle Eastern and Asian instruments. Styles performed by modern dulcimer enthusiasts run the gamut from traditional folk music through experimental forms, although most perform in more or less traditional styles. Dulcimer festivals take place regularly in the United States, Canada, the United Kingdom, and Ireland, as the Appalachian dulcimer has achieved a following in a number of countries. Virtually every culture has an instrument based on the working idea of the Appalachian dulcimer.
[edit] Production
Appalachian dulcimer manufacture is often conducted by small, family-run businesses located in the American South and particularly in Appalachia. John Bailey's book tells you how to make one yourself:
- Bailey, John [1966]. Making an Appalachian Dulcimer, 1st, The Folk Shop Instrumental Series, The English Folk Dance and Song Society. ISBN 0854180397.
[edit] Musicians who use the Appalachian dulcimer
Since Fariña, prominent musicians who have used the dulcimer in contemporary settings include Ben Harper, Joni Mitchell, Patrick Wolf, Cyndi Lauper, Lucy Joan Sollogub, David Massengill, Wendy Waldman, McCoy Tyner, Jimmy Page, Peter Buck of the group R.E.M., Rich Mullins, and Dolly Parton. The group Little Big Town used the dulcimer on their second album, The Road to Here. Many British folk-rock groups of the late 1960s and early 1970s used it as well; these include Battlefield Band, Pentangle, Fairport Convention, Steeleye Span, and The Strawbs. The dulcimer is the prominent instrument in the Rolling Stones song "Lady Jane", where it was played by the group's talented multi-instumentalist Brian Jones. Vancouver musician Randy Raine-Reusch played the dulcimer on the Aerosmith album Pump (1989), in the track "Dulcimer Stomp." Amanda Barrett of The Ditty Bops is also known to play the dulcimer. The cello-rock band Rasputina has employed the dulcimer on their fourth album Frustration Plantation, and the band's lead member Melora Creager has used the dulcimer on her solo album Perplexions, released in late 2006.
Nashville-based David Schnaufer, who recorded with The Judds, Kathy Mattea, Johnny Cash, and Mark O'Connor, was responsible for many of today's studio dulcimer recordings. Schnaufer was also a historian of the instrument and the world's first and only dulcimer professor; he served as Adjunct Associate Professor of Dulcimer at Vanderbilt University's Blair School of Music from 1995 to his death in 2006. Jerusalem-based multi-instrumentalist Bradley Fish's dulcimer loops on Sony Digital Pictures[1] are the most widespread in the world. Fish became known for using the instrument with an Eastern-influenced style and electronic effects on his 1996 collaboration "The Aquarium Conspiracy" with Sugarcubes/Björk drummer Sigtryggur Baldursson.
