1975-05, Dulcimer Players News Vol. 1 No. 5 by Dulcimer Players News

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crhe Dulcimer Players 'NEWS Volume 1, Number 5

July-August 1975 THi: DULCIMER INFORHATION MA~INE

PLUCKED • HAMMERJi:D • FOLX MUSIC • BUILllERB

Kevin Roth

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1975 by The Dulcimer Players News

Please address all correspondence to: THE DULCIMER PLAYERS NEi'IS c/ o Phillip 14ason - Editor RFD 2, Box 132 Ban~or, Maine 04401 THE D.P.N . ADVERTISING RATES FULL PAG;;; ~ 40 8" by 10" copy 1/2 PAGE .,,20 5" by 8" -copy 1/4 PAGE " 10 4~ by 5" copy 1/8 PAGE ~5 (About business card size )2t )( 4 CLASSIFIED ADS ARE 20垄 PER ~IORD NOTE: Copy is reduced from the above sizes to fit our page size of by Black & white csmp.ra ready copy please. (photos extra)

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TOTAL CIRCULATION THIS ISSUE 1,5001 D.P.N DEALERS INQUIRIES INVITED

COVER PHOTO Our cover photo for this issue is of a really fine dulcimer player, Kevin Roth. Kevin is into the dulcimer in many aspects, and besides being a dulCimer scholar and player, he is a writer, performer, broadcaster and collector of dulcimers. A sood example of Kevin' s playin~ can be heard on his recent Folio/aye album (FA 2367) "Kevin Roth Sings & Plays Dulcimer". See the article by Kevin -in this issue in which some questions about the future of the dulcimer are posed. Also readers who 路 have any info for Kevin's radio ~how ~/hich he is now workinG on "The Dulcimer: Its MUSic and its People" are invited to contact him. National distribution is a possibility.

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THE FEEDBACK LETTER vow ~: - 1 JUlt contlnue to be am&&14 at the continuing big .ur~ in t.he popularity ot the 4ulc1•• I" . Here V8 are ag&1n with another D. P.N .

whlch h •• grown tro• .. oirculation ot 550 from the 1.500 tor thla 1.,u& .

M~ - Jun.

1 ••U8 to

The D . P.~. again extend ... bl! we}eo •• to all new readerl , fr1endl , and aubacrlberl , and .. big thanka to all tho •• ~an1 enthuIl.etia tolk. who have been pa"lng the word to their friende about our .ftorts in the true oral t.raditlon . It worka : And VI all OWl Il big t hanke to the lIIany contribut.o r . and. advertleerl who have helped to put t.hU leau. t oeether . ~. have begun accept.ing advertlsing t o me. t the man1 requeste of you reader. who have wanted to know IIIOrtt about .aurc •• of instrument.e and other Nl_t.ed dulch,.r ltlllll , It. 1_ no .. eret that the •• advertt •• r. ereatly help t.o lupport the laree printing that the D. P . N. now enjoy. and they in turn de.erve your .upport. Do let t.he. know that you tound t hem in the C. P .t~ • The article contrlbutora tor this i"ue are certAinly t.o be congratulated tor t.heir treell gi~en , enthusi.atlc ettorts to halp brln8 dulcl • • r intorm.tion to the attention ot all , and tor thla lasu. th., are I (1) 1:11"n Ralos, who dld the "Chord Charte" and troll who:ll we will be hearing IlION from 1n future i ..ue. . illeen la into the dulclmer qult. s.rlou.ly and find.s time t.o lnvolve her.elf in teachlng and per-Coralng locally on top oC her oth.r act.lvltles a. '''I t.- wlCe/mo ther/ hou ..wif./ •• cret.rt . I:n ••n also advlaes us that reg18traUons tor the North Carollna State Unlverslty dulcl~er bulldlng (from klts) and playlne cours•• wl11 be taken durlng late August for the Clr.t cla •• beglnlng Sept . 16t.h . InCo can be got.ten by wrl'Une; to 1'I.C . S.. U. Cont1nuing Education Dlv . ; Ralei(h, U. C. - or writ./call the U. C.S . U. Cra1't Shop in Ral.lgh (919) 7}7-21l15 . Ell . .ns add,.. .. 18 }}} fay.ttnUIe St .; Raleigh, N. C. 27601. (2) J.an SChl11in§1 who haa k lndly e:lven us the ~r=lsUon to prlnt "Blck.rlng TWo8o •• • This ls on. of Jean ' s own tun.s wr ltten tor a 8010 dulcl=er plece, and 11. lIay be heard on J.an and Le.' s al bu= "Porch•• of the Poor" (avallable trom Tradl tion Recordl ; P.O . Box 3 ; COlby . Tann . }1722 . ) ThU 80nl! can be played on a , . II I or 5 It.rlnS dulcber . 0) Bob Rodr1guez , who brlnge UI ano t her really f l ne dulc1mer album rev1."' . Dulclmer play.r . . . . ry .... h.re are l n Bob'. debt for ha ls truely a tri.nd of the dulclm.r , and • much .pprec1ated eood triend of the D. P .:f . !'ext iSlu. w111 f.ature two 1IIOl"'8 of Bob'l revie"'l wh lch wUl be on levin Roths new album as well al Roger Xlcholson '. new albua . (Il) RoFar Xlchol!OD , who continu.s wiL"1 hl. lerles of arUcles to the C. P .S . .... lth a very infonaaUve pl.ce on Modal. Kullc . Rofer layl, "Thia arUcle cont.alns most of the ob.cure , but 1 think interelting , lnror2allon on &Od•• etc . that 1 have com. acro •• in varioul books dur1n! the la.t. faw yaar • • (5) Xevln Roth , who ha. lupplled us w1th a Ihort art.icle poslng 80me lnt..rest1ng quesUon. on the dulcl . . r's future . Kevln has promls.d to contrlbut. a rBfUlar c ' lumn and pas. on lIuch information of wh.tl £olng on w1th lha dulclmer l n DatIy 4Uferent clrelal of tradltlonal and contempo rary i n t erest . Reade r 8 are ur£ed to contact itevin \11th coeentl and &lao t o oontact hll1 about any dulcllller 1nforastlon that alfht be of lnterest for a Radl0 show he's doln£ acon. c ......... P. " ~

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'P.O:Box 352.1. St 'PE:tE.R~bu\\&.t\~. 33731

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JoM F. ka, M. D. "Whp.t work. well And 'oWlcl. good to you" 1. probably the be.t n.1l1 to toll ow . Let your 1ol!.enulty be your guldl . A turkey or £00" quUl 11 IIOlt authentlc , but you'd better keep a razor blada handy tor trllt111lng; thlY wear out qulckly. (One accomplll1hed artlllt keepi the tradltlonal look. Jet avold, wearlng out hl, qul1l by glu.lnS ••••11 plec. ot plaaUc tub in/! tnlllde t he end ot It. .) Gultar olck. (the qulte nexlble kind) are Ulletul. pta.tic collar IItayl work . Salte good plckll ha.,1 beln .ade by trl11l111ng down old credlt. card. and landing the. thin at the bulllnl,1 end . :tour triendly nelghborhood vetlrlnarlan IIleht 'bII perlluaded to Blve you one ot t ho .. I1t.tle olalltlc appllc a torll t.hat come II with ear lIalve tor dog8 . Thl lltt.le plall1.1c lIien that. comell IItuck l n your atlak and II.YII "RARE" can be sanded a bit thlnner and ll lke' II good plck. A thln bl1. at hickory or bamboo -..orkll. 'lhe planlc uarker t hat. you tlnd pushed 1oto t he ~t with the nama ot your Atrlcan .,io1et on it can be u .. d . A b1t at dowel with a IImall plece ot leatber Lhong or old w~opecl p;ultar str1ng taped or IItapled t.o lt lIIake, • .,ery !ent.le lIOund . Thl dulclme r can alllO be played with a violln bow . One ~laYlr doe, a food Job wlth the nall ot her rl~t 10dex tlneer, allowed to grow a llt.t.le long and t.rlmcld tor t.h. purpoee. A gu1tar thumb pick can be ulled wlth lOme ot the IIIOre progrellslve IItyllll ot playlne; . For qulet IIt~lng JUllt tor your"lt alonll , try brullhing t he IItr10gll Sln1.1y witb the bare thuab .

t' or -all. buddlng dulcimer ylrt.\lOsoa 11. "'111 be 'aatl'" to .,.art by ullng a nour . ThiS can be almo't any l1.ick-llke obJec1. ~4" long and about i" ln dUmeter . J,. wood.n dowel works .... 11. Hardwood i ' pret,rable to IOtt . M.f belt noter 111 roaewood . Bamboo 1a good . Be caretul it IOU uae metal - 1t can ma r the lnatJ'"l..l..lnenta t1niah. ioor quick note changing and the utllOlt 1n llexibillty nothine, beatll uling onl or More lineerll to note with . Jult 01"8111 the a1.ring fl~y to the lett ot the fret and hel tree to awltch flneera at any \.lee. 1h• •11d. uo and down the fretboard can pit. bllatl r ll so take it a blt e ••y untll you r callUII.a develop . Sollil experlenced dulcll1le rl at.l "play" the fretboard almollt 11k. a olano , uling Lh. Imall and rlng l1ngerl lor t.he left-mOlt fret. And Lhe other l1neera for the relit . Experlment and flnd your "thin ". aecUon ot an old "Bic" oen aakell a dandl not.r that Illdel llkl grease up Md down t he 11.rlng" A noter 111 h'ld 110 that It proJect. only over the melody atring • • Tbl thumb should be on top and the index flnger la curved under the noter and alldla alons the sld. at the lretbeard , 11111t1og the turther .xtlnalon at the not.r 110 that lt doe. not bu •• agalnllt the drone Itrlnea .

HarE I

Dr. Moe ('500 Laf.yett. Road; I nd lanajlla, Ind . 46222) 111 a aource for dulclmera (kitl a: tlni,hed al win all lengel.lka , I pinette., IIchlltholtll, le.ng8p11a and hual'l • f

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CHARTER ~ Mn.QDY PIPE OF BAGPIP~ (HAS PIPES THAT DRONE) ClWIT.ERnl.E

= MELODY

STRING Olo~ D11LCnW~ (HAS S'l'R1NG~ THAT DRCtI E)

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Some ideas on DULCIMER BRACING By Rodger G. Harris t.o ..e 1 ..re ese'" \·1\.:. t.he Wlcl ..e r I'lnyer:: :el-s . :"1_ to cor,t.1.;lU$ your uo11t.:,. of cont.ent. . I "culd enjoy .I)()lnc c.rt.lcl.~ 0:1 de: lcn - ftL'1.ctior.o.l ~!ll. r.on-rU!'lctlon~.l. ;·:C.;bt Cal\l8 lct.'..l,!'Oa of ~cl"Olla. t. ll'Clecea . h..crt. or 8Ow~dhol.8 . ... ne! carvinca or ..ttl!, 1

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;.8 lonr "r; l ' lt 1'l)~ln( for d~clen 1de l'8 , here are ~o_ of t.he idesa : ;. '::'I ua1.ni: on } rnd 4 atr1.n:"" du101·:e1' • •• far aa fu.'1.o1. 1.on 1s

o .eor ad : 3M~1.:G

. .oat.ly 1 ' 0 usinr 1"'84\;00d , cedar t {nd ."ruee

(1n tho.t order) ~.uarur sawn 1r hl:.n!':. about 1M by l"by 2 t.o 3" . I'l~cod na aho'tfr. 1n ~lE . 1 ~h.n the ,)l',ok tenda

t.o ne stHf ~lth9Ut. :ny br . ainr . l ' t'! us1nC four l.Ir ac•• for very l1rht or nexible bnc1ca (CU'Lter::ut, tor exnaple) a. ho~" in :le. 2. • .usa I'll ua1nr: re4\iOod ("oatly) 0& cent.er st.r1-

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int on t 0 r,lece bade_ both \11t h ~~ln at r1 cht. M~lell to the 'oc.ck . end l n line "lth f rtl.in . can 't tell !llUch about t.hU but. lt. doe. prevent. the 'back from PUllinr; apart. at the ce:lter seu .

'.11th the dulcl:J1e r l ' " bulld1ne currently . I' m expe rlmentlng \· lth ana"" 14e. in oraclne; (allla .-le . 3) ual:"!£: thlnner iJr nc.s and pl(1clnC them Gometh1ne 1 1:te the P081tlon Bhown 1n r1e . 1 . 1 cf\l.l 1t "box brCl.cln(; " . I dontt think thl!l "box Lrac inr" '111 oroduce ...zIy add1ttonnl vol~~e unless t.he dulclser 1. e~ulpped with les. fer oley 1ne on r. t ble top .

Is 1. .• 1& correct ? - '~he c.ulcL.er top vH:Ml:te. up and ao\!'!. rovl:':.- t:~.e rretooc.rcl .8 \;ell . '1he back elthe r Co ;.l1!le. t'1o ove;llOnt of the top or reflects n, dependin.,. ('0 :'lether or not ,lB.!.'ed on t.he lap or (In a tt\ule \.0:' t

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t hla ~ 111 s \. n...··t a .~uch needed dlacuaalon Lnd be 01" Do~,e intereGt \.0 t."le !"er.de r a of \. he ":~e\·"8" .

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~.t ~l.he. fro m Oklaho.a. A. J . !tarrl. - Luthier 9607 .itratford Ok13~ Cl ty. O~ 7,120

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News from Dulcimer Builders 1\ REGULAR 7J.P.N . Dear

COLUM N

• ••• Our at.o"' carrl . . . . full line of Dulcimer. 1n kit. ond re{..t~ made tor. , The kite .... car rT are "lIIi-pl1wOOd and 1 ag.ree with ACU of your re,.dare that. t.he,. do prov ide an eeeen to t. he dulcimer t.h.:: t. ••)' ot.herwl&e not. be available . 1 make a nd •• 11 dulo i mers my •• lf . ua1ne. ao114 walnut. (ro8.",004 when ava1.lable ) . ..nd curlay maple . I I.e. apNce .nc! basswood for t.ha aoun4boarda . D .P .~

Gary N Key.er

Weat.hers Jo;ue lc/1.&.ncatlt.ar .,(.11

Salem , Oraeon 97'01 North Carolina Sta te Unlv . Dulcimer Buildtng &: Play1ns Clo.as Robert. Bryan "'111 be conduct.1ng t.he bulldlng and Me! 1 t.he b4a lc pI-fine Uchnlqu•• and of UULCIf.:ER BUILDltIG at.

n.o.

Stat.e t.his f r. ll !

'11111 have .. 6 " &eke cour .. - ,aven1ngs of OO1141n6 . 'of pl::.ylnt,; . 1he oour .. w111 cont1nue on throughout. t.he y.ar i t the Unlv.rUt.y'B ;i at.J Avanabla and interest contlnuea (vaa a valting 11et last sc:.ool J.ar) . Slncerely . S:lleen Halns ):n :-8yet.tevl11e St. . 1410 Rale l gh , 1; . C . 27601 I Just. reeleved aome wal nut. from Cr s.ft.aman ....ood Servlce or ChlC!lgo . It. lookll quae good . SoIQ8 ...·h a . at.reaks at the edres, but. not bad . Charle. Uudlay 11t.h St. . Dulclr:er Co . 1 20 E . 11th .:it. . ; t~ . 'f . C, 1000, t\ote t e nerle. 1. ha .1n£ aOIll8 .hop cov1nS problema rlght. now a nd hopea t.o tet back lnt.o full IIvlns bu1}dlng dulclmers _ealn by fall . The follovine Info com•• from dulcu.e r bullder. Bl11 "'aeel , At Bl11 ",,1}' II GulUr Shop , 451 11th Ave . S , : St. Peterabure.. r'1o. . ')101 ("'rlte for orlcse and pa rt.lewa rs) . "The Inat.l"UlD8nta I bulld sre t.e &rdroo in ahape 29" by 2':" by 6" . Meat have a flat helLd ... lth eultar t.unere . 1 ulle hollo .... flngerboard unde r -cut. from the last fret to t.he saddle and fro m t.h. 884dl. t.o t.he end- block . rhl e allow. t.he facII to re sonate 11ke _ u1tar . I a1eo uoa gultar-type b r acing In. lde t.h. face . Any of lliy du1c1:Derll can be played wlt.h .. gulta r and have enoueh volce to be heard . 1" 111 put. My a moun t of carvlne and/ or In1 &y the cUlltolllllr want.1 1nt.o li.n Inllt.ru;nent. . And froID Fred ..:ont.8£u8 i 16 Pat. rlot. Road; ra..,klbuf')' • •'.a01 . 01316 . coee I t.hl. ufo: ~' red haa been .aklne dulclIIIera ror o ve r a ye~ r and a half nov and hle ph1losooh1 U to Droduce an in.t.r"U.Itent t hat looke and soWld. beautiful vhU. lte.plne. t.he pr1ce v lt.h 1n t.he reach of all . AUo, fred P01nU out t.hat ha doe. not. usa plyvoods In any of hi. Inet.ruments . The Ma1c Inat.t'UlI8nt 115 made of aolld walnut .... lth a IIpruCO top , Th. ald.a are mat.ched 'PIll r 8 lind hand bent. t. o ehaoa . the beck 10 2 f.ce . and book matched . Fred orrere lata of opt.lon and O.alsn poe81b1l1t.1es .

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•. 1

fl'O!n

wlcimer

~lld.ra

cont.inued :

.... aro now 01 re rlnr npnlce 1-ops t or all our k1t.s . Our preMn\. racll1\.18. (1 0 , 000 square r .et) seec to ero'" 1nc".sln£11 cramped as t.he lnt.ereat. 1n dulcle!era cont.inues to grow . Havine. been 1n the dulcl:ner buslneaO co;n:nercll111y for riore t.han ten )'.n1'8 no"" . t.he cont.lnuln~ el'O\.t.h in lnt.erelt (end cocmet.1t.lon) cont.inue. to Burprise all of U8 here ftt. "HuEhea" . R . C . Rohwer Vice i'roaldent. Hughes Dulcimer Co •• Ino. 08 ... 1' D . l' ...

Just. ahort. not.. t.o t.ell you t.hl!!.t Illy husband (John) 1 • • dulc i me r QD.ker o."'ly a rr1ved to the Ehgl~d area fro:n roe.phis, renn •• where he htd Q!"l out,st.and1ne roputatlon 38 8 c r a1'ter or t.he inatrument. . :;ot. t.oo lonr ~tO one of hiS dulcl:nere was used by Arde nt. !te CONlng St.udios of ,·'.o::lph18 for atJ. album antit-Ied "Common :iGnas ". the art ist for whioh ":ns John .t'rino . The record no . of this albutll i8 AtlMtic 3D 13127 . Hr.vin7 8een a t:re&t va rlety of dulcIl1iers , r&neine from the eX'iuiUt.e t.o the eN e. 1 can honanly aay that moat. of the plywood versions I ;,sve encounteroed rOll 1ot.o t.he latter cat.eEOry and I do t.heroefore t.;Ce issue with t.he defenders of t.he so-to-apeak laminated varIety . All t.hAt I have olayed are pos ltl vely dead In t one . To my way of t.hInklng . the rino Amerlcan hard .... oods. n E.me lx walnut. cherry , and even maple . properly seasoned and olaned to 1{8 I nch . cannot. be esue.led 10 aOW'ld by any olywood • .·.o~ove r, Ruch dulclm;ers &re usually. 'rlp-orr" prlce'·lee nd do 1I\Ore 1.0 d leencM·nt. t.he novice plli-Jer t.han to exclte their lnt.ere s t. . ';ood luck wlth t he D. f . ij . It' s a vcl ua.ble source of 1ofonDation , and ~·o enjoy lt u lot . Elc:.lne Broekhulzen Box 37 Perkinav11le . Vermont. 05151

t,.",

Dear Ph1llip . 1 Illlsooa .Don Rom1oe ' s co:nrnentB on ply ... ood . but let me lay t.hat 1 completaly a~rea \11th R.L. Robl;"1son on6 Dr . Y.oe. eOJ)8clally on the subject or 1/16" Hnnlah B1rch . 'I"h18 tyre of ";'Ily ... ood 1s :roeolly creal. stuff (",no it. even CO:l;ea in 1/}2" or 1 mID thic·meao, 1f you crn believe t.hat.) . 1 c.beolut.ely "'ould not. uce plywood for yaars unt.11 1 diScovered t.he 1/16" birch for oOUfldboo.rda . {ofter much exper1a:ento.t10n and COlll;>!trlaon , 1 have decided that. t h 1s plywood makes better Bound bonrds than t.he so11d t.O?S that. mllny oeo.,le ufle - for one reason, you Simply Cli.n :"!ot 1d t.OD th<'t t. h 1n \>i it.hout. Freat danger of it cracklng . 'ile IIID-ke our 1. ....0 10' aal. pr1ced models "ith 1/16" bIrch ply t.ops ' nd hi ve aold t.~ou5l"ndB 1n t.l".e paot re ~· yours . or courae . stlll 1111>'(e four productlon alodele .... lth sol I d spruce tope for thoM peoole who mo'" the difference end a r e l111n-'o pey the ext.r· 1:('Iney for t.he ext.ra \;ork , Lut there 18 no denying t.ha.t our p1y.... ood lIIodel. are our b1reeat sellera • .:io plau.e don ' t ;.ut. down ply ....ood out. - or-hand; it doe •• indeed . ;"e.ve 1 \.s plru:e . 'lour reai.ara y be interested t.o leno'" that "e 1> 111 once .t.(t..1:1 be producl:1t ,·;'~lC ,·.CU:.1.U:: dulci .er kits . Our kit " 11) be 10 t.he tea.rdrop shape \ 1th tre - bent s1des &: :lre - cut fret alot.s . lill hcrd~'ood conal. .

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MODAL MUSIC By Roger Nicholson To the unlnltloted listener the ~ualc of the Laat ~8 tn unu.ual _ne! d1Scordant quallty . tht. 1 . c.cause it 11 bb ••e on an lntrlc· te mod .. ] .ynell of var10us ahar;) , flt.t. , .. no nal.lur5.1 not•• lntel""oven \ lth lItel"O-lol'le. "'hlch , "hUe hUo'lrln[ r.n 1n(1n1t.8 vcrlell of (lubtletl •• wlt.h1n H.e linear melodlc fOrlll , cor.t.fl l.na ueh of the unfllm1liar t.o 861"11 80CUlt.o.".d to hearlnt. .Juale In a atand.reS lilt" Jar at' lnol'" key and ItruCt.ured ~1th layer. of h&Mony and counter"Olnt . AlAO , ~at.em IlILllllc 1_ .RlnlJ haprovl.ed whUe t.he ...... t..rn oerformer 18 only tree t o lnU'r-ret :a&\.1.o r. of ;>hl"8s1nt . tllt.po , c r d:m&c lca fond .uat rl., eXACt.'!1 "'hal h

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t.he 16th Cent.ury :111 European nualc 'lola. Eoverned by " at.rlct. ayaUm of seven l'Iooeli tha\. , aPl" rt from pl&lnohan t. , only Burv 1 ves t.odfly 1n t.he ~e rlt. .re of tradlt.l ona] "ullte .hlch t.oo Involve. t.he ure o f var1atlon Iond omt. . . nult.lon . I".od •• ean be t.r6ced back to lDan ' 8 earll_ at. el v111 ~l\t10na In AII.yrl. (ond &a.bylon 'here t.he, were el0 ••1, laent.lf:..d ''It.h aatrclory and aat.ro:llony . 'the .. peo:-} ..... l'tI vel', "ware of tne un1ve a] naMon, of t.ha Wllverae find eone1uded t.hat. all ::u.n could lIIak. :flu.lc confor'lne to t.he a • • p rln cl·l~. he could t.eeo%tl one w1t.h 1t. 'lh1. philosophy 111 .. n tnt.frol p6.rt. of .:.aat.em l"u.1c t.oday , pf'rt.1cularl1 In Ind1a '"here aound8 .re refaroed ,.a ot1n!! of t.wo t,pfla , t.hose t."..ed ' Ul\Btl"..Iek' c.nd caus.d 1::1 t.he wale 01 the 80harea ~hlch CAn on11 be heard by the ~03l .dvLneed .yat.lea , end 'atruc'o( ' aOW'lda produced fro. :o:ualca} Inatruoer.t.a . lhe Anclent Greeks (pnd , by tr4dlt.lon , Pythar-Orf.o.a) 1n t he 6t.h cent.u ry D. C . were the flrst t.o flx the ,,,odell lelent1flcally Bnd did to by uBlnr t.ne rtonoehord - & alniltl Itrln!ed lnltl'U:l.ent. 'Wlt.h • flnrarboard Mlr,nln£. alone: the top of a ">ooden aoundbox on whleh t.he Interva) B .. ere =a rited out - nnd n . .ed t.he. af t.er dlfferent recoa In ;'1111\ ':lnor . 'lhey el"8 at.lll .0 oa1led and kno.n e5 t.he 10nlan , Dorlan , Phryel .. n , Lydlun, I.lxo],d1an , ~ol lan, and Loehrlan modea . In addlt l on , eLch .ea alloted itt! o"'n character derlved frolJi aathetlc fond llstrolol?lca1 ,rlnch,laa .0 tha.t the 10n18n , Aeollan, nnd l oehrlnn e,.. conaldared t.o ~ave un.ult.able •• poIlet.. ~hll. et.her. such aa the 1 'dll1n \.ere ree0: .e.,c\ed for t.helr ther:l[)4tut.le "rope rt.le • . In the e8rly ,ear. of the Ch riStlan rellelon there ~aa A st.ronr Gre."( tnfluenee nd durlne: the 4th .:::ent.ury h . D. St. . J.:.t:.rose , t.he 31ahop of )o.l1an , authorl;:.ed the four o rl yina) Cree" r.loda. (DarUn , PhrYfHm , Lyd1t>n , &: ;Uxolyd1l.n ) for use In l.he church . To theae ' Aut.hant.lo ' :nodea 83 tnay are nown , Pope ::irefo ry the Great. (450-' )04) Ildeed four ot.hera ;(..,o"n a. ' IDe"l' ::lOofta ...·hlcn .ere really only ot.her .oys of u.t.ll1zll'l!!' the extat.Ine- one. but. each bet."M a fourt.h ]o~ar and ..ere called the iiYc.o-Dorlan , H,pO-Fhl'J"f"lan , etc ., 80 enabl1ahlne- the for= 01 ~lalnchnnt "~lch 1 • • tlll used today In the kozan C~thol1c Cnureh . 'Inese Plne(.l lI~ea c, n also be played on the dulclme r . Joor e.ample , t.une to t.he Dorl an but In.tead of Rt& rt1nf t.he acale at. the fo~h fret. ber1n on the flrat fret and cont.1nue up to the elehth . ~or eleven hundred. yeara lIIode. do:lI1nated all form. ot aecular end relleloua ~ua lc unt11 tradua1ly ~bandoned du rln t the 31xteenth Cen t. In favor of the Jl8Jor 8nd &llnor 8cale. which "'ere ore 'ulu.ble to the oav.loping l OnDa of hr.rr.lQny .nd counte r ~lnt. . In let.'lr yeara modaa "'ere 00040810n811y USed by lIome 01' the great compoaer. ~uch as J . S . deeh I n hl. ' Dorlan 'locc~ta Md J'u£ue ', by Hozcrt. ""hose ....au K. 253 la 11181nly Mixolydlan , Md oee t.hoven ~ho wrot.e ona of t.he IlOver::an t . In h1a St.rln~ ~u8 rtet 1n A ~lnor tn the PhrYf1an 1100.. . DurlnE t.he )ate

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Modal Mustc cont Inu.4:

19t.h Century 80_ £noah co.~aer. beean t.o writ. modal worlta 1nspired by their dtscove ry ot tradItional and earll mu.lc , ~n parLlcUlar Ralph Vllu!han Will i ams whoae me.Jeat.lc ' Fant.aala on a 'lheme or 'lhomtlll Tallie' 1n the Phrygian mode 1& moat well known , and 1n }o ranee .... here Claude Debussy waa directly lnfluenced by the old ~uropean 8nd Orlant.al mode8 1n his pinno worke. Today the modee are bee:lnnlng t.o be used afain by Alan Hovhanea8 , an American ot A.r'ttIenlan descent. , TON Take.itau from Japan, and mM1 othera who are realiZing t.heir pot.entlal 1n cont.emporary lI:;u!lic . A IDOd. 18 not. key but. an arrangement of the .. ven ton•• o.nd &&.1-lon811 ot • diat.onic 80a1_ and clln be played at. any piteh , eo t.here are seven mod •• for each of t.he t.welve key •• Below, tor the aake of convenience 1n cOClp&rlne thea , t.hey .re .11 relat.ed to t.he key of C. 'Ihe Ionlan node of C, D, E , F , G, A, B. C ls t.he .... a8 our modem major Bcnle; t.he Greek and l.edleval theori.t. con.idered it to have ext.ravert. and playful a8peot.. 80 excluded it from UN 1n t.he ohurch vlrt.unlly t.he 801e province of mUSic at that time. Today mU81c'in t.hi. mode can st.lll be eon81der-d to be bright or happy 88 0>,,,08ed to that. in the lI1nor "'hieh tenda t.o reflect .adn•••• and lnt.re.tlns COIIparison. can be dra,,'l1 with the early momine Indlan r.e. 811."'al which has Identlcal Interval. and ls .ssoclat.d with 11ght and happin.ss , 'the I onian lIIode accounta for a lares porport.ion of tradit.ional sons. of whlch ''I hree Jolly Rogue a of Lynn' , 'Barbara AU.n '. and 'The G~n land "'h&le FiShery' are ra.."doll exa:nplee . The Dorian mod. bee:lna on the same tonic note (C in our cue) but Its sequence is C. D. E tl.t. F . G, A, 8 flat, C. It ~aa considered to be the ' Bestower ot Wl.dom snd Chastity' and Eovemed by the planet Saturn .... hich 1s echoed by it. Arablc counterpart. of .:aqub Hl~X dr Kurd. Thls mode la .... ide.pread in Enel1.h folk aong. auch a. Soullng Wa •• a11 ', tlewlyn Town ', ' John Barleycorn ' and even ''''hat aha}] ....e do wlth the Drunken Sallor ', and 11.' part1cular qualit1ee are frequently ment10n.d in literature of the pIlst including John )o111tona 'Para41ae Loat' which relat.a .. , .• Anon they 1II0ve . in pertect phalanx to the Dorten mood of flute. lind sott recorders," 'lhe Phori an lIode la C , D flat E flat , f , 0 , A flat, .:j nat, C and ...'aa identlfied with "'.ar. as 11. ' Causeth ".rs and enfla.meth tury' , As such , music In t.h1e mode .... a. played during the training of Spart.an eoldiers and on t.heir way to 'bat.tle . 11.& use In Colksong ls very r.re, out of over '.500 aongs collected by Cecll Sh.rp in the Br1t1eh ISle. snd Appal.chi.n r40untains he only dUcovered tour includ1ng the childrens rhyme ' j/.atthew, "':ark . Luk.e and John , Ble.,& the Bed that I Lie on' alao known Il' ' The White pfttemoater' . 'lhe Phryeian 1II0de 18, however. very characteri8tio oC Spanlsh flamenoo musio .... it.h its Moorish or1g1n . 'lhe Lydlan mode of C, D, E, r sharp, G, J., B. C waa ruled by Juniper and 'Doth aharpen the wit of the dull a nd aaketh t.he. th.t .re burdened with earthly oraving_ t.o de8ire heevenly things' , For t.hi. re.son perhapa it. l s widell uaed in plainchant out out ot the 'Whole ot trad1tional music ls only kno ...n from one or 1."0 eongB including the ballad t.une ''l h. Wood8 ao 'II'l1d' loIhlch d6-te. back to t.he 16th centurl 'r'hen 11. was IU'rane::ed for the virglnal. by "'l11i. . Byrd a.nd t.he Lute by francls Cut.t.ing . John Hilton refers to th1e mode In hia poe. 'L All.fro'. "And ever again8t eatlng cares . lap . . In sort Lldlan .1r . . .. The Mixolydlan lIIode ..... 15 the ancient m.Jor acale , only dlrferins rrolD. t he Ionian 1R0de by 11.. fl.ttened eeventh (C,D . E , h' , G,A , B flat,C)

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CHORD CHARTS : ION IAN MODE FUTIOARD FOfI

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THE MARKET '~. , PLACE" .. "

PAGE 1 FOR OUR AD RATES

.- . . ~trAuRus DULCIMERS

Pel_1M

Felt.n.Ca.IiIWnia IlIOIS • '4Ql13311· ...7S

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~ppahlt~ian ~uldDltr ,.

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LIVEWOOD DULCiMERS 10055

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CHfI,oj

WASHDAY STEW continued: Bobbie Wayne sent us this deliGhtful song and the tablature indicates how she plays it on her 4-string Field dulcimer tuned C C G C. Bobbie uses the "extra Fret" and has ~Iritten the melody - she says she usually finger-picks a countermelody. After the first verse and chorus Bobbie plays an instrumental break, repeats the intro, then goes to verse two: 2. My sister's pet canary was missing for a day. His little cage ~Ias empty, we thouGht he'd flown away, It's still a mystery, my friend, just where that birdie flew, And how he dropped his feathers in my mother's wash day ste~l. Repeat chorus, inst. break, repeat intro,then: 3. The country is recessing cause we've had some rotten luclt. \'/e've 'near run out of enerBY, and ketchup costs a buck. So dig inside your pocltets for an apple core or two, It's all allowed: we ain't that proud, in my mother's vlash day stew. Repeat chorus, repeat intra &: finish ~Ii th a harmonic: .

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Editor's note: Bobbie \layne is a friend of Kevin Kevin Roth's who got the inspiration to write "\Iashday Stew" from a dinner prepared by Kevin, who was helping her test some recipes for her cookbook Which she is hard at work on ("The Starving Artists Cookbook"). Another of the songs Bobbie has written appears on Kevin Roth's new Folkways album and is enti tled "Bold Pirate".

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In the above photo, amongst the beautiful Shenandoah Mountains of Virginia, sits our frlend Madellne Macnell playing her dulcimer. Maddie makes her llvlng by performing folk muslc and most of her time is spent ln The Shenandoah National Park performing at Skyland Lodge slx evenings weekly. In the off-season Maddle travels around performing her muslc (most recently ln Boston, Washington, and the georgeO~8 Gulf Shores Nat, Park in Alabama. Beginning on June 10th, and runnlng through Labor Day, Maddle wlll be holding 3 weekly ""orkshops at Skyland Lodge in the Park. These will be held on TUBS" ihurs, and Sat. at 4100 and are a grand opportunity for folks to stop in and get aquainted with the dulcimer. Keep Up the good work Maddie! Dulclmer Land needs you! Please do not reprint or redistribute without permission. Contact dpn@dpnews.com

From left to right in the photo above are Bob Riley, Diana Neff, and Dave Neff, a string band from Uniontown, Ohio. Both Dave & Diana play the dulcimer, and between them they recently snatched up a bunch of trophy's at the 1st Annual Roscoe Village, Ohio Spring Festival & Dulci.. r Contest (a well attended event they report). Dave says that wife Diana has a good dulcimer lick for fiddle tunes and can follow note for note alon~ with a banJo. They also use tne Courting (double) dulcimer in their string band which has been performing allover the mid-Ohio area for the past 4 years. And, incidently, they've been doing one heck of a Job in helping to spread the word about the D.P.N. in Ohio â&#x20AC;˘

.I. R. BULL, PROP. RT. 1. NEWARK. OHIO 4'01515

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vIe have recieved "Iord that a new dulcimer building book "CONSTRUCTING THE MOUNTAIN DULCUiER" by Dean Kimball will soon be on the market. It is beins published by David McKay PublishinS Co.; 750 Third Ave.; N .Y., N.Y. 10017. This should be available soon and an inquiry to the publisher mie~t set you some orderins information. Dean is a lons time dulcimer builder from the Ohio area who may be contacted about his instruments at the following address: 2420 S.R. 343; Yellow Sp~inss, Ohio 45387. LET I S HEAR FROM HAl-ll>iBRED DULCIMER FOLKS: : The hammered dulcimer (not a direct relat1..ve of the plucked dulcimer exactly) is a part of the musical tradition in the area in wh.ich the D.P.N. is published (lr.aine) so we would really like to have any possible information that anyone vlould like to send in on t~ese instruments and their history and ~layins styles from other areas. The D.P.N. plans to publish a small "Hammered Dulcimer Ca!,..aloBI' in which VIe plan 路 tolist any source of bammered dulcimers and accessories like Dooks and records on the subject. So if you are (or know of) a hammered dulcim~r builder then ~Ie' d sure like to hear from you and set yoa listed in this catalog. It will probably be mailed out to ALL the names on the D.P.N. Mailing list before the next issue is out. \"ie Vlould also like to have any photos of hammered du~cimers that anyone miBht be able to spare for eventual publication in the D.P.N.

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The fol l o~1ng tune 18 one of t he most w1de ly known song8 of the Southern Appalach1an •• "61D81e G1rl" po1nts out some of the ha rdsh1ps that the Ie 88 fortunate marr1ed gal II endured dur1Dg the rough-n'-ready p10neer day s.

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FOLKSONGS OF OLD ERIi:

JUDY MAYHAN WITH DULCIMER A Aev l ' w by Ro be rt Rodrlquez. In a prevl ous re vl e w o f "Noneau ch fo r Dulc l me r " by Reee r IH chol aon , I .ent l oned that.. a &1de from t h U re co rd (and Roge r ' a nev one) from ~l.l&.nd , t o lilY knowUdre the re "81 but one ot. he r record o1,1t.l 14e t he U. S . where t.he du1c l me r waa t.he promlnent. in l t. ruzent , 10 I ml eht al weU mention it. ;I1()re full~ here . the alowa 11 called Folkaonga of Old I reland- reco rded by Judy ~yhan , w1t.h dulcime r acco ~ panlmen t a by Judy he r se l f (trad ltlon 2075 ) . 1 mu s t .. y he re a ~ t.he out le t t.hat. t.h l1 album 18 probabl y hard t o fl nd 3 nd lndee d ~ i Eh t be out. o f pr1nt. , but 1f a t Al l poIslble t ho.e l nt.eresU d 1n fl ne dulo l me r o.ocolllpM l a:e nta t. o excellen tly done ballad s ahould run out. and s cour t.he ns l fhbo r nood , o H y , I t a t.e , country , o r .n1 ot her place f o r t h 1 s albua . It' l wo rth lt l ....e l eht l n dulcll!1e r s tr1."'Iel a t l ealt. . Unllk. t he Roge r Kl chol.an e.1bua , t h l . re co rd fel t ure. all vocal cutl ; &nd t.he a(me ' a re tradl t ional in nature , ballad. taken fro .. t he r lch t. re a _ure - tro ve o f Irl sh bellad ry . 'lhe l ons a incl ded on the albuJI are luch a a : The Rldd l e Son g , 'Ihe Cookoo , La u l- ro= t he Lew Country , 'troope r t.nd the lo.& l d , Yonde r s "~un t a in , 1- urt l e Dove , Hock l of &uehn , ,·.olly daun , Bn d so on . Judy Kayhan ' . rlch and hlghly eff ectlve sopr &no vo t ce adds. del l ght ful . allllO lt el fin . t ouc h t.o th i l album - ... be re the dulc l ate r flnds l tael f uled aa an accompany i ng ln l tnucent. t o t.he alng inr of ball adl , rat.he r t han a. a 1010 l natnldllnt f o r cl . . . l o&l o r old cance t unel . )l.el t. o f the eon I a re f~ 1 1 1 a r enou~ t.o Inyone fene r all y ac qualnted wlt h t.he f ol k=us l c Icene , and i t wl 1l no t. be ha rd t.o recoen l ze the old ballads fro~ the va ri an t l that Judy l inE. on t. h i _ a lbum . J. very n lce f .at ure of t.hll albwa 1. t.he t vhe re fU l.t a r acco.pan l ment s a re adde d t heI do no t. over'\oi"hel. t.he dulc l me r . The balance be t we.n gult a r Md dulcl=e r counte r bal a ncing Judy ' I fine h l e,h vo lce 1. just rl ght . ne i tbe r t.oo loud or t oo s o rt. , but a t. a polnt. whe re a ll t he In_t rwnentl plul t.he vo t ce oreate a ve r y flne blend lndeed . Throueh the u.e or t echn l que. includlng hammerl nE - on , s l~ ple cho rd st rum. , and t he use of the dulcll1e r 6 S a .eoond voice in ha l"'monl c bl e nd , t.hls a l bum almo.t. reaches lnt.o a I t ate or shee r Joy beyon d mealure, t o pa r aphra s e a IDQdem Br l t i .h v r lter . JudY ' 1 dulc l me r t.echn l f1 ue. are ne i t.he r fancy . no r a re they o m a t e t o t he po l nt of n ashy lIIull cal py rot.echn l cl , but. Jus t a 11111pl e and ve r y e fre ot.i ve of t he dulc l me r t o back up • • et or f l nely a r ranved t. rad lt lonal ballads l n t he vay dulc l lJ11 r l h a ve been, a nd Ihould cont.inue t.o be used . fo r a Ions t.l.e in the fleld of b&11ad a ccompan imentl. All ln a ll , J udy li..ayhan ' a lriah Folilsonc;. " lth Dulcbe r U an a lbua t.ha t anI one who 11k. . flne t rodlt1ona l line:1nS \> ith an e C'ual l y flne inst rumen t. e.1 beckup .hould polUS. , a t any COl t . As 1 I. l d . t.h ll lIIay be ha rd t o !ind , but. f l ndl ng lt 11 vo rt h all t.he " rou ble to l ook . and 1n thl. ca.e t.he resul t l of o"ll'lle r ehl p vll1 be ICClt reva rd1nf lndeed . Judy Y.ayhan ' • • "T~dl t. lon al Folks ongs of Old I re land " , 1 _ a ve r y fin e a l bum l ndeed .

1,1 "

Ed1to r' . no u l The D. P .N 1 s already l n ~1.e8s10n of t Wo IIIOra vo r y fine re vlewa by Bob Rod rl que~ , our mul t.l-t. a lan ted fo l klo r1Bt f r l end f roID Nev la r k . iU. rev l ewl on -Xev i n Rot h Sl nge and Playa Dulclme r " end Rofe r :achol lon'. ne .... albua "Gen tle Sound o f the Dulo1a:.er" vl11 be a p ;l8arlns in our ve r y next. Uaue . Bob al lo pro. U . I t o Cet ua 101118 deta Ued Wo on va r loue lII1no r dulc l l11e r re cordlng. : European .

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Modal Kue lc cont.inued: and waa ••• oclat.ed "ith t.M SUn . The unexpect.ed nat. note milk •• It. ver, d1st.1nct.lve. particularly 1n aonEs lIych a. 'Bl .c~Il t..r 31de ' pnd t.he ~ot.t.Uh lament 'Flo .... ,.. of t.he Forest.' "'hare It a It ''lpe'' N-nce 18 4818,84 unt11 n.a,. t.he end ot .ach verse , the firat. of "'h le n. occu r a on t!'!.e i'br••• ' ~9'" the, are w•• plne: . lalteOLine IUld 81fh1.ng' crept.lne • f •• lln<: of e:re~t. polen_ncy . 'fhi£ mode 18 51_0 t.he vehlcl. tor !t6ny pipe .. nd f1ddle tun•• lnOludln'r 'bon8 ?4rt ' . Ret.reat.', 'The 11t.Ue &ee!!arman '. i:n4 'Old Joe Clark • 'Iha Aeolian Clod. 18 t!:. non:6.1 = lnor leal. of C, Ut E. flat , ;. . G nat., A flat., D, C. It.a .... 14•• g,...d use 1n o ..ny quiet 6nd sad 80n88 perha;JI reflect.. 1t.a charaot-a,. of 'A,peaalng the telllp4t8U of t.he tllnd and lu1l1ng th••••le.p '. Lilla t.he Dorien mInor IIOde 1t. occurs 1n lIIan, trad1t.lonal sonf' suoh .s ' 3eL\rehln~ for Lamb. '. 'Sca rborough laI r' or t.ne beAut.iful ' Bullhell lind Brla r3 . The Loohrlan Mode of C, D flat. , E flat , ~ , G flat. , A flat. , a rlat., C vaa kno"''n aa a bl-etard aoale due to t.he uneveneaa of Ha 1nt.erv~la and be1ne only of t.heoret.loal lnt.ereat. waa never uaed . 'T!.ere 8.re no tradlt.lonal aonE' wlt.h1n Ita compasa but t ~o yaarG aeo A youne folk . muslclan named John Kirkpat.rlok ~ade Eood usa of 1t.a unasIy aound 1n hl. sons ' Aahe. t.o Aahe.' wh1ch tella tho 8\.ory of a r rave d lfFer .nd hal all the halloarkll of belnE abao roed Into lhe t.radlt.1onAl re1)ertolre In t.he future . Solie lIone8 and tuna. are .-nta.ton1c (5 note) or hexatonlc (6 nota) .0 f all wIthin the aco..- of t. .... o ~de • • 'lh. pent.at.onlc .of,le U .Ollt often found In CeltIc trcdlt10nal ... uslc fl" in t.he frlO1l16r 'Aul d Lane Syne ' or ' Ye Bant. and brae. ' and in "he aeeda of Love' the fIrst son1'" oo])ected by eacH Sharp ...1\0 heard It sune: 1n I~03 by 11 fal"dner a~t.l1 n&mlld John !:ngland. 'theaa lIIod.a .... re a aourc. of Ere.t. au r prl ae to the early folk &onE" coll.ct.orll &olDe of .... hom t.houeht. t.he tu."1ea .... ,.. incorrect. .0 root..d tt'.elll t.o contorll t.o the .t..ndard lIIaJor or _lnor 'Colea 6nd add.d ~ ulte unaul1.able har:conl.a for accomD'<nil:ent on t.he olano ( ...·h lCh 18 n.ver uS.d 1n t.rad1t10nal naic) t.o lac1l1tat.e t.helr oerfomance In rec1t. .. la, and . a ... reault, t.ot.all1 d.•• t.royln!" t.helr unique charect.er . rortwu\te11 . however, later collectors auch all t.he Reverend d6.rlo( Gould , Cecil Sharp . Perc,. Gralnper , Ralph ''''1111853 6.nd ot.he r. reallzed the a~clal qua11t.1.a of t.he •• sonts, ~hlch had exl.ted aleo.t. unknown for penerat.lona, and took palna to enaure t.hat. t.helr modallt.1 ~aa orel.rved 1n t.r&nlcrl ptlon. Ae ~ith other forma of modal mU81c . folk Ions 1. ent.lre],. ~elod1c and vaa normally perfoMied unaccOIllp2nied . It an 1natrwrent ~·eN! used it waa normally restricted to doubline: t.he lIIelody and nrovldlnp II drone; t.he drone heIne lhe tonlc note of t.he mode and ,.rv1ne to emphsslze It.e intervals •• well ~a establlahlne t.he key note for the performer Dnd llatener . 'Ihtl 1 8 .spechlly evldent In Eastern lbull1c ... here 11,.1 contlnuoua aound l s related t.o t.he baaic pulae of lUe Haelf - the heart.beat . The po'JuU· r use of t.he ruit.ar 10 rec~nt ye.ra t.o aoco:llp&.nJ folk aonell la really :ult.e un&.:'proprllit.e ca It.. chordal r<nd chromat.lo ba.l. 1. out of kee?in~ '''It.h aodal pr1nclple • . Because of the drone element dIrect. coeperlaona can be IIsd. bet. ... e.n the can1 frollla of b&e:plpea, t.he dU101.mer and He relat.d inet.Nm8nt.a , the J.... a harp , sltar , hurdY-furdy , etc . all of ...·h lch have or1fln. 1n antlc;ult.y and are at1ll \.:.ed throughout t.he "or1d to pla1 1100.&1 auale .

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OUR HEW AD POLICY

THE MARKET '.; PLACE "

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HUGHES DULCIMER CO" INC, 1111 Ilmm II Pllrilll... Til"",! I ..., 11171 H 117 lSI 1111

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DENV,. , COlOIADO 10215 TElEPHONE 217 . 0102

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I'I.AXDO· Ooa.tin~4

. , Urn. . . . .tlon to aQJ'0IW W1M.1D& to .xpIIIl4 b.U or _r .t11. 11 atUI. aa U ...., •• to t1n4 p'opl. -.bo_ 1N..1. JOll 11» IIIl4 Jaa wUll. 1.bI8. Iou. wUl .zparunoe ~rr1er. t.o let.t.1Da u.. au.110 noW I "lt~I.I.b\, tear ot loo~ tool.lIb, rruat.~t1oD at. ,ou.r tnabUU, to set. 1n t.\IDI' or pla, a. "",11 ... 70U t.b.1Dk ,ou. oucbt. to. Rat.bltr \.baa 1.aDor1Da or realfi1D& UliII .. t"l1n6'. tAD notA ot t.~8. tbItD. put t.~8 .al61 tor tbe d\U"&t.loa. ot t~ .... lOCI t.bIt,'ll tA.ob ,ou. • lot. about. 70\ll""lt •

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·u ,ou. dD. OOllDt "to n1M- 70U. ca.n ba • J>\I.loiMr n.,.r eo_ aD\Dt.ain toUt • .zoe wppo .. d t.o ha...... ld - t.hat 'a not qu.1tA tn. - 'ou mould ba 'ble to OAI'I"J' • t~ &1.0, aDd i t 70U. oara't 40 that, blt.tAr b\q • ol.oS 4011 innead. Jut i t 70U. haw ao .ar tor wl1o , 70U' ... '11 .. t.. 'Ira. ort. i t ,ou. .bould h&~n to wMt • .-t.ee4ard t.UD1n8 1n 8UI10&1. tA ..... 70U oee t.UD' t.o tbe . , ot G b)' tun1n.s; tbt -c..a. Itr1ns to G balow a144l. 0 an.d t.~ ....t. ot t.M atrlnA' t.o 1) .bo .... 81441' C. You wUl (no doubt.!) I'ItOOSllU t.hll •• tt. Ionlan t.uninS, but. thll t.iM lp'o1tloaU, 1n tbli . , at G. on- n ..b. at lDalsbt that lhoul4 atrl. 'au .bout now 11 t.hat., aba, I oan t.una to any .04. in any An4 th.t 10 010" to oo~ot that I won't dlloourap 70U • at .'11. 70U oan tun. to ao, aoct. .t.rt1118 on 8ZIJ' notA 70U w!eh. .lD7boW, tun'd to G a • •bo .... 'OU oan now pl', '1006 with" p1t.ar pla71n6 in G, or wlth a bauJo in itl G tun.lnS. !bal'lt' a .o_th.1n& • 11ttl. at~ 'bout an 'utoharp p18,.d toptbler wlth • dulobar. but taIl7 t1nd 11. intAl'Itat1.n.s. , • • • Whaok .t. h&4 • Lit.tl. IA.-b·. 'fbi .oal. at.art •• 1'It • •bar, .t. t.M th11"4 trat. ill Ion.lao tUll1.ns. Molt. tolk. sat thia tar an4 OAD. noodl. 11. out. tl'O' bel'lt. aod I'. not 60lna to pl'lt .. OIl with pl'llna 1.natNot1cma. It. problbll wUl Ju.at ·00. n.tura.1· and at OO\U"M tMl'It atn't no auba\1t\ltA tor p~otlO1. You oao pl', tun'l out ot 70\ll" bead .. al.aoat. anTtb.1na lOU. know - and tblt ... 'N lata of d\llot..r boota tull ot ~a. nll1n6 the .. . 104.1 ot • IOns h the -oat ooaaon v.7 or . .tinS dulol. . r wllo, Another .tt.reot.l..... thad 11 to p1.7 • oounU~10d7 or heNeln7 part Whil. a1nalDs tM _10d7 11M. K1x!"t. u.p ao., pl., and aln.1 the .104.7 on ona ... r .. : tMn pl., it wUhout yoo.ll thin pl., • har.cnl whil. a 1ns'"S tbe _1041" - It .... a tor. auch aDl'It ple.'ina and 1111tAnable p'r. to...-.cOl. It 1. po . .1bl. t.o atnla chorda on • tull .. rl'ltt.ted dulct.r. IID.d It. ta.a t.~.... obord..a to pl., .1006 w1t.h 11t.are.111 hun4red. of I4nsa. n. 11.11. call.d -'1nSerplo.k1.ns· oan .1.0 be a uaatuJ. ... r1auOD t.hat t.l.1 1n nl011, wit.h obord1D6. 81. "peol.Ul Jlc9paddan or J'utn" tor the. tAobniqUila.

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,.,. tlrlt duloimer ...... & p17t/ood kit du1ciJDer fro. MoSpadden _ I had a ball . . . . .bl1ng it, and I t.hoU6ht. it. aounded are.t. unt.il I 60t • chanOCl to pl.7 .. bet.t.er ani . And thl. 1a an other l'ROMan" polnt.: ANY dulol. . r wl11 aound good t.o JOu when 70U pl.y lt .t ho... tor ,our &elt .lon'. I lUll alt down with -r McSpadden ~d 11. atUl acundl good - and 11. on17 coat.

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30 in itUUl&l'7. I tUnk the pl1"oo4 m ls • good , ohe.p place to atart - le.rn how the dulc1JDer la bunt - 18.m how t.o pU7 it _ and thin, s radu&te to one or the ,an1 tln. CUItOd- made inst.rum.nt., avallable. It lOU can surt at the top, 'that.'a &1. 10 alnJ ot us Juat. oannot. I know Don . Roalne ...... d1aeua.ina P1JVood rea4.J--.Ae ~ulo1Mra. but. I'd bate t.o ba" • ahadgv C.lt. on th. Ut.I - the., .I'! eo n ••

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ABOUT THOSE

VERSA:[ ILi

"EDRA· FR£'TS by:

P. Ke.aon

It a.ama that thllre ara an lnora.aine; numbe r of dulellDlra be1ng bu1lt whlch lncorporate onll or 'two extra freta; ao here 18 110108 of tba IIt01"1 on them and What t hllT C&ti be used to a dvantage tor . You wlll flnd

that dulcimerll

wlth IIxtra freta placed

on them are u.ually aat up .a IIbown ln t hll followtng dlagr&llli

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Fret nwaberll

61 &tid 1,. indloatll the placlllllllnt of thll "extra." freta. You wlll not. f1nd many duloimer. wlth thll IIlIoond octave 1,. fre~. but thll 61 fret in thll firat oot.ave of the aoale 1. baoom1ne muoh 1II0re oommonlr "lin .

The daehed 11nell at pollltlona

A major advantage ot the ~ lIxtr&" tret. la thll capabllltr that 1. gained for plar!n6 the same keyed IIcall1l1 in two tuninga wlthout cbang1n6 the inltlal tuning pltch of the atring_, For example. when tunlld into any aoh.mII or the mixol1dian tunlng moda, TOU wlll be able, bW utl1lzlng the "extra" fret.a, t.o plar II Hlxo1rdlan or a Major ( Ionlan ) dlatonlc acal. through IIlther OM or t.wo ootave •• and can plaT eonS. in both tunlnga wlthout havlng to re-tune the lnlltrument . LIlt_ lIa, that we are tunlld up into the Mlxolydlan in the kilT or ,c. For thl11 tun1n6 key we would tune the flrat atrlng (or double etrlng. on a double me lody IItrln!lld 4-.tring dulclollr) 'to C (th. k.T note) the IIlIo ond IItrlng to 0 (the fltth) and thll ballll .t.rins to thll C one octave below thll pltch of the tlr.t IIt rlnsa C tone , In an alternate tuning. rou mlght t1"1 reverlllns thll two drone 11- atrlns' 2 and , tuned C and ~ , ln atead of G and C. Thill wlll aometlm.a SlY11 you a full.r 'ouod 10 aome keya, ellpeelallr t he higher pitohlld one •• It you u,. th1. altemate tuntns you mUllt remember to rever .. eVIl1"1th1ng you do on atr 1ng_ 2 and ,. lIuoh all t1og8rtng chorda, litO . Now that you are tuned ~p , lilt II play the two Ileal•• and ... Juat wh.re the "extra" 6t rret comlla 1nto the picture . C• .rTlNuP:

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1irlt plal ~ klzol141an ICal. tro. "dO " to "40". fila ltarU w1th the open (unt ... t.ted) "1odJ' .t.r~. anrl t.hen pro· c •• da to treta 1, 2, " 4, 5. 6, (Ikip 6t), and 7. Hov p~ tha Major (Ionlan) aoale. Whlch atarta I8Iln vlth t.bII Opell t1rat. Itrins and t~n prooeeda to treta 1. 2, " 4, 5, (Iklp tret. 6), 6t. 7. 'I'h.~ U not reall3' all that .uoh d1ft'renoe blt.wen t.be t.va tuninS' ezoept. tbat. the Miaoll!!lan .ode b.a a lovered ......nth 1l0te, Nov that IOU hf,......In t.M aem-. ot the t.wo d.1tterent. aoalea, 1O\J oan proa..d to tune int.o ~ III1xol,dlan . , and pl.., I~I 1n 11ther the k1xol,dlan or t.be Major tun1n6 .ode., '1'1'7 Old Joa Clark" In tbt JUx017di&n tun1na • It.a d.algnad tor It. • ...FOUR

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CH0RD6

Tbe tollow1n6 dl~a vl11 Ihow IOU tbe trett.tna pol. "'lUonl tor t.he tour lBOat u .. d ohord.; and t.he .. _, be u .. d ..1n 11t.her ot the two tunlnsa ()Uxol,dlan or Major) Wh10h 10\1 ean u .. wlth ~ abo.,.. deaorlbad. "ext.ra" tretl. The Itand&l"d 4un2.n6 Which U,I on C vaulC. cul tor lOur at.rtnal to be tun· ed 0, Q, low C.

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tour chord tJ.nt;erin6 pat.tent. can be \l. . d For Iu.ple, 1t IOU ..,. ... tuned lnt.o tba Dl ot 0, lOur open .tr~a would be tw.d 0 , D, lov 0 &Cd Tour nav chorda vould be 0, C, D. and 07, Whlch are the propar chord. tor t.bat tuntns ka,. With ,our "Extra" treta IOU oan nov P1.&l klzol,dlan and Major tunel 1n tha ltal ot 0, eto. in atJ.1 tun1n8 . , .

Try chord pla,tn& t.o t.he tun. ot thl1 t . .lllar 10nai

tUM, l1ttle baby,

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ALL AB011l' THE VERSATILE MIXOLYDIAN MODE

By Ph1ll1p Muon

To jump rl8ht lnt-a what. t.he K1xoly41an t.un!ng IDOd. 1. ' ) all about (It.. really JUst. 11ke • major Icale. except. for.

IOYered seventh nota). leta first. look at the two moat commonly used tuning Behems. tor the

JUxo11418n mode

on a three-

atrlng dulcimer.

'lhe tun1nS8 ..mlch are 61 Yen in thIs article apply to three-string dulcimora. 'Ihey can. how~n·.r. be ••• 11y adapted to tour-str1ne; dulcimers by simply tun InS 8trln~. 1 and 2 to the same tone 8S you would the Blngle tlrat. str1ng of .. three-

atring dulcimer. 'lhe f o lloWIng illuBtration sho"". how the str1ngs are numbered for rorerenos.

StrIng number 1 w111 alw&18

be the

at rIng 0108081. to you when playIng the duloimer your lap in the normal right-hand playing poalt.lon.

«,~

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S'11"",..1tJJ

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The first. tun1ng 101'8 101'111 take up 18 that tpr the so "Standard ot Mixolydian tuning. In the ker of G, for

axample, th1s tuning

would call tor lOU to tune ,our atringa

•• tollova: Strine; number 2D..!.. 0; strine; number 1ht!.!. to the o which 18 one ootave below the first atringe 0 tone; and at ring number two to D,_ f1!th above the third at ring. G tone. To obtain this tun1ng without the a1d of. pitch-pipe , or other 1nstrument. t o get a pitch froID, you 111&, Just tune the first atring to any p1tch whlch pl••••• your eari then tuna the th1rd It ring one octave below the first atr1nge tone. The aeoond strine mar then be tW'18d by frettlng the third atr1ng at the fourth fret. and tuning the open •• con4 atring to sound 10 un1Bon w1 th 1 t . lh. 88cond of thepopular tun1n6 scheme. of the Mlxo1141&0 mode 18 on8 which 1_ 80metlmes called the "Galax" Klxolydlan tuning; and it 18 Just the same tuning we .have d . . crlbed above with the exception ot atring number two. In the "Galax" Mixolydian tun1.ng, atrlng number two 1.. tuned in lDll.on with string nUllber one. In thla ~Clheme your .tring. aN now tuned G, Q, low G, for the kay ot G. 'lhe drone produced by haTing a lI:e, note and an octa•• note tor the drone atrlnls. tuning., a. in thla example, are qulte ettectl.. and wll1 produce a Une 'backround dl"Ome aocolDp&nllD8nt.

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In e1ther or theM two M1lI:olyd1e.n tuning mod •• tor the lI:ey ot G, your home note (G) 18 80unded on the unt~tt.. d tlrtJt etrln6, and the eode 1e played: open etrlng, rlret fret , eeoond tret, eta. (See the JanuarY 197~ 188\11 ot the »ulcuer Playere N.we tor an artiole on "extra trete N'ld how they can be, incorporated into the HlxolydlN'l mode . ) In the oy or G (your open fir8t etr1ng tuned to 00, the melody etrlng (tlret etring) or your dulcu.r '11111 pl..,. the mue1c&! notee indicated on the following fretboard and

mu.ioal

.ta~ir~ =-~ ~-=~~ . " i i I; , , ,""'''' ....

dr,_

nll:·....

I~/;~ ~ .:, '

\ ' \'\ \

:JriZ •.-;·· ·

........

\'''''

.... ,

....

.....

\ ,\,' ,,'.~ '''''

• You tour-.tr1ng dulcimer playera Who haTe four etrlnse epaced equallJ apart aoro . . your tretboard oan utilize three drone etring., inet••d ot two. Thie l ••vee many 1I0re optione o-pen tor vary1ng the tun1ng;8 ot the Mixolydian IIIode. Experiment around • b1t and you will rlnd more than one combinat1on ot atr111g tun1nge which aounde ple.eing to the ear. Dron•• • ound beet When tuned to a tUrd, titth, or octave tone a'War r rom the "lI:ey" note. TM follow1ng are three ea.y and cOllllllOnly ueed chord tingeringe tor dulc1mera with full wldth freta (und.r all ot the etringe):

'rr] T1T~ ir To.~ "('"1" TT] ~T "

1·1 1.1 I II ~;~ I I 1·1 I .I , I I I: 1.1 II -;1t I I I·' .I I , NT

6·)

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BJ Roger

D.P.N. REPRIH'r 19

Nlcbol~n

Gr~"tinES' from England ! 'rhl. 1a by vay ot an introduction to a "1'1•• ot articl•• whlch I hope to contrlbuta to Th. DulciMr Pla,.r. Ifav. (.a1 11. lnorea .. and pro.per) dur1n6 the next taw aonthe. The .. v111 00 .... 1' a .arlat, ot related (and even ob.cure) toplc' includtng "Tbe Orlginl ot Modal Kuelc" and It. u.e in Englllh Tradltlonal Hullo, "Bach on the Du].o1.me! "Colllparlion. batwe.n t.b. Du].oll11.r and the 81t.ar", "Th. Dul..p1n.t". and other odd. and end.,

K1 involve ..nt wlth the d\1lcilller bagan In 1967 Ihortl, atter .. eing one at the tlrlt &1'1' Folk "11.1.101. I immedlat.l, relat.d to it in a lIIuob 1II0re polliti.,. va, tban the l5Uitar Which I bad ba'n playlne;, and apart. trolll itll obdoull T'ieual aUraotion, v •• drawn by the qui.t intro.peoti.aoW'ld Which ..... d t.o h.ve t.he .... ql.lal.lt.le ••• the lute and ol .... lohord. Binoe tbat tl. . the dulclmer hall ba'n a conat.nt dell6ht to . . , and. .1. .arloul time. ba. tound Iteelt Involved In m.l.ny klndll at lIIu.l0 ra.D8in8 troll Bach to Blue,.

KJ approaoh 1a ... inl, tinger,tyl', initially throuah the innuance at Howle Kitch'll, tbe tine.t dulol . . r play.r I ' " heard, wlth Who. I bad • .. rle. at happ, corre.pond.no., and fro. _"re.l other 'ouroa., inoludtng Indian .itar at,le, whloh wlth thair \1._ at hallJllllred not." pull-art" .lid•• , and ome.ntation, can ba re&411y adaptad to the duloi. . r. The '010 lIIulllc I pIa, tall. into tbra. overlapplne; t,pe.; traditlonal tun. a, .ar1y aUllio, and own pl'ce,. The l.tt.r about trca a n.ed to pl.y au.lc that v •• entlrely dulclmer orlanted, •• oppoaed to thtnga W'hloh v.re adapted trolD ot.her lnatI"Wlllntll. 50, bJ way ot a .tart (and gattl t.1red at the aoW'ld ot .Y own wrlttng) here are two pUce" (Ha naxt page) W'hlob I hope you w111 enJ01 pl.,1ng. Both are in the Ionian and u" three t1llger. ot the rlght hand (thWl'b let 'tring, ind.x tinger 2nd ,trlng, aid41. f1nger .tring) vith • talrly coaple. lett hand t.chnlque invo1",1ng chord and oounterpoint pattern •• Neither UM the 61 or liB" fret, all rq du].oll111r' all h ..... on17 thlt .tand.rd frettine.

III,

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"Lament for Rlohard Farina" 1, olrca 1970. 11. 1. a alO"';QU1.t tun. and the mlddl. seotlon involve. Ulling the 11ttl. t1nger or tha 1.ft hand • • • barre on d.sc.nding pbraMs. -Wyatt l • J1SS" 1. 1II0re dlfticult, but being in tha at11e ot an Elizabathan Jig 1. not a. taat a. the Iriah varlet, . More ot the .. tabl.ture, are ava11.b~. in t.wo printed collectlon', Hona.uch for Dulot.rand "Mu.lck, Del1tA publ1l1h.d b, Bcratohvood Nualc Ltd. , 138 . 140 Charlng Cro •• Road, London, W.C . 2, England, and I have record.d tlwlll on oorre.pond1.ng: record albu.., Mone.uch tor Dulcl .. r (Tra11er LER }O}4) and "The Gentle Sound of the Dulot.r" (Argo ZllA 2(4).

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'1 1 I H 1 It, : 1 ]'·1 ~ 1 1\ rl I lj ' j j' 1 I 1 I 1 I I :' 1

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News f rom Dulcime r Builde r s continued : with 1/ 16" Finn i sh Birch ply top &: pre - cut hoa r t holes. E8ared t.un i ng pe gs . written guar antee &: complete in s tructions . Best ...·i shes f or your continue d su ccess with The Dulc I me r Pl ayers Xews . J ame s C . Shellnutt &: Co . P . O. Bo x 548 rl1l1 Va lley . Cel l f . 94941 Dear Bullde r s pnee : I ' m a Scotsman who just encountered dulc i me r s aeveral yell r s a£,o .... hen. I Clet c. young Ame ric an mus ic1 a."l t ravel11nC 1n Europe . I t ' s s .... eet t one s ~ e n sa of Dlay i n£; 1 ~.;:[e d 1 ately at t.rllc t e d me . I re ad the Je an R1tch1e book ...'here she told of 1t. s European he ritage . Ho...·ever . I felt I should come to the States t o d 1 scove r t !1e a rt of mllk in£" t hem . So I d1d . I ' ve Si nce expe rimente d 8 lot. &: really ?refer "to do custom t1o rk , but I have settled em 0. numbe r of ;:\odels " hi ch inco rpo r a t.e t he best renult s I' ve f oul1d . I UG9 only so1 1d '~oo dS ~Ih i ch I t a.ke e re a t ce re in selp.ct1ne . Essent i a l ly tr ~di t1 0na l hou rEl ~s s end te ardrop shape s ( soundholes vary) . I use bot h violin frictlon pees nnd br'njo r;el<re d tuners . ! orde r bot h d1rectly fro :n Sc!1alles in Cormc.ny 'here I fee l the bes t Ulllch ln1nG 1s done . I consider the bl.njo tuners f& r mo re aesthetically pleas i ng t hen cheap 8ult n r t une r s yet equally p reci se &: easy to tune . Cne technir-ue I use on sone lnstruments i s of rel1ev1ne: the fin gerboard by not Blueing t he l ast 1 - 2 inehes to t he t op . '/onen the strings a re t uned up t!1ey rai se the finge r b;lard off the to p (& smnll gap , perhaps l arge enouu.h f o r a p ick t o 51 ip uo lin in ch or so ) . Th is vastly increases the bass re sPOnse of the inst!'Ul~ent . ·....ell I hope sone of this infonna.tion 1 s of lnterest t o you a nd your readere . 1 ' d be dol i ghted t o nn~"er any ,!ue etions I CnD. . E . Lou lldey - Dervi sh Dulc . 1810 5 . Wood\':ard Bir;n1ngham , :.Iich 48011

!)ea r D. P . N" . I am t he pro prieto r nod f ounde r of t he Fa r~leberry Fa~ Steam Dulc1mer Wo r ks .5: ~.u8 ic Em oo r1U1n, of rewar k , Ohi o . I have been a full time dulci me r make r for o.bout six yea rs and have made somewhere ne&r 500 instruments . My dulcimers are all m&de of nat1ve hardwoodS , ueually che r ry , pine or walnut , alon£, traditional lines . 3 , 4 , &: OC&86ionally 6 s tr1n gs , ;-; lth v1011n o r viola pees fo r tunlne and the very best qua lity I C3J\ attaln . I ~I ork a l one exce pt for in the Summe r when one assiste.nt ~Iho i s "'o ric ing h i !) \,ay throuc:;h Harvard Law School helps me . Hi s nerne 1s Jonh Pra tt . 1 have no b rochures and do not ad ve rtiSe exce pt by going to arts/craf t s sho .... s and f olk mus 1c festiv als . I &l s o make hamoe r dulc1;ne rs , banjos , gu1ta r s , ha rpSichords , vir6 1na ls , &uto harps and ~"hateve r othe r i nst rume:'lt e strike my fancy . I am the founde r of the Gulld of Amer1can Lut.h iers, many o f whose members are dulc i Cle r make r s . AlthoUgh I have 1netru::le nts on hnnd to se ll , I a m not very keen on t he mall order bua1ness . I am quite ""1111n6 t o sh1p my in s trument s to people "'ho 've seen t hem and !mow ~Ihat t hey a re getting , but I think 1t i s f olly to a ttempt t o sell an expenSive dulc 1me r by trying to descr1be it i n a letter or brochure . Even very poo r 1ns trument s tend t o look good 1n a sm:;.l l phot oe:raph and s ound fine ,,'hen desc r1 bed

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!lews from Dulcimer Bullde r s continued : by enthus i astic sale amen • 50 If any of your readers are intere s t.ed 1n aeeine; my .... ork . t.hey are welcome to s to p in a t my shop or catch me at a ahOlf . but please don ' t. writ e and ask me to deBcribe my dulcime r s . I w~s tnterested to road your ongoing plywood controversy and as a bu11de r with conside r able experience I would llke to add my humble opinions . There 18 no doubt. a pla.ce for pl ywood 1nstrument s Just as much 08 for 8011d . 1 do think . however. the t in t.rms of the aecthe tic apneo.l of the finished inatrument. the ao11d ....ood mode ls l ook somewhat bei.te r . A plywood edce leaves aomething to be des lred i n spnear en ce as ..... 11 as feel . I wood s impl y suesest that if one is wi lling to pay I n exceas of 165 . 00 fo r a dulc1mer. he should 8Xn8Ct. to get sol i d wood . It i 8 true that. a good Quallt.y al rcraft ply~ood 1s probabl y more ex pensive than sol i d Wood . but It. I s eve r so much easie r t o bu1ld from ply\:ood s in ce no cOlllpl l cat.ed planinr; C'nd s~ndine i s re quired to pre pare the ~·ood . In sofar 6.a sound I s concerned , t.here are a grea.t mnny va.riabIes Involved in that. . o.nd t he wood involved 115 only one of t hem . One Ca.;1 compens&te for a poo r wood by experioenti"'E \'.'l th the deS1('ll of t he dulcimer and prooo.bly come up lO lth a vory Sl.t.l&.fe.ct ory instru=lent . to o r Instance. the "Ho\. 1e IUtchell" t.a llg1e ce "'111 greatly improve the vol ume of ne~ rly any dulci.~ r but. sometimes nt the riak of an eventually ""lulled - up fretbo&rd . I should think It \'ould 'be best i f \;e could all be t.olerr..nt of everybodyn d\11c i l::e r . I ho.ve rarely seen any inst rument that did not hove 30llle e;ood feature about it . 1hnnk you for filling a need . . • J . R. Beall - Lut.hler Rt . No . 1. S....a..,a Road l!eWark , Ohl0 43055 A new frlend to the C. P .ll ., Harc Robine of J'rtLnce writes :

"Ou r full t.lme dulclme r bu i ldlne. ~o rkahop hc.a been (o int. on for t he p:1at three yeara and the address is: LA BO l T;:; " l' OLK; 54 Rue Rlch&rd Coeur de Lion ; 47000 Agen . ~rance . French folk peo;"le Bene rally consider t hat t.hese inot1"Wllenta are amone t he best dulc l mers avo.llnble I n France .. • L-l ,,'rnnce . unfortunately . moat of the people th1nk that you can lIIake up c. dulc i ::l8r ~' lthln a half a day and becoo.e t he best player in the ..:o rld during t.he 8ocond half . As long as lIlu81c l ana w1ll th l n k t h 1n way t he instrument ":111 ha.ve only 0. limite d popularlty . and it a not r a re t o hee.r peo , le say '',.;ell I ' m not a mus1 cian . I only play t he duicilller" . This 1'Oally up60ts When I flrst heard t.he Roger ::lcholson "::oneouch for Dulc1mer" e lbum I t. was like a second birth o f the Inat rument 1n Illy heart . and al nce tha t day (2 yeara a~o) I ' ve started t.o play in the finCerp1cking st.y le (but I ne ver forle t t he Good old tr~d1t.ional style . of course) . The carrlo.ee of t.he t l"'Inch t'olk !Dusi e o.nd t.he dul eimer 1s wost interest1ng and I reallr, hope that the popularlty of the "Prettie s t. inat.rwtent in the \,'orld ' w1ll 1ncrease agaln and aCain 1n torOJlce .

me :

Dulc i me rly youra .

r-:orc Ro bine 17 Rue Drolte 06 300 N1ce, Fr ance

Note : :-'.arc is end \oo'aa t.urned onto the dulcimer from h is assoclat.1on "" lth the Eoinette des Voages wh1ch he fell in love ,, 1th i m::ed i llt e ly.

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MOtu: 0:; TH£ "KlNDffi:D GATH~hlNG"

uy Ro be rt.

I' 0

rce

'lh. enclo.ed O,.er t ••• ~fe 19} announce. t.he :,ort.h la c , ~c 1\111: Jtlndre ll Go.therlnll' •• £. deflnet.e onct'm l nr event. . cy prov ldln.r locltlon and an-.tol l,hln" the lnltl"-l lor-tall ea , Albfort. d'OU!cht , J,.;c" ell . rnd 1 loc .- t.o cre"t.1nr • for<1lll for 1nfOl":llat.lon tod u ls .eQ inl't.lon lOP : l'odp\J Dlualc , •• :J~cl',. r t.eelml ues , find lnte,rat.lnr t.he du}cllr.'r ln c t~l.o rt "1t.h ot \~r lnltr:J:I:t"r.ta . .. ,', fllt.. , "leJt",nder ' l'\ by tn. :.en , ls I1n art.l8\./crni tlnf' fUnd .,t.St.:!.' ,~ri 1n "nat u:lel! t.o be III c1rc. 10}O' I •••• 1d. resort. on It•• " •• t.-c '.1.rc) cot'st. 01 .. : 'h\nrt.on (.-U~ay 1(9) . In ,,"d~11.10n t.o t~ npen housc /c '-Ii he6. rl at.t.lt.uc.e ot l ne reoloentl taho ... e r s , 1.0Uet.. , 1<1t.ehena , etc,) t .,~N' La . 1 8C &I. co .... runit,y h:::ll , screl Ee for co.mp1ne , a.nd of courlle acce., to. l.he dunel (Jne landy bet-cne. nll.t.lve t.o t.h l s aroa . ,,'I~' rro Jlelld flrorra~ .. 1!'1t 1f! lor t.hare t.o be workshops lor .11 levell ti l oulclmer aX'18rt. l ' l I".S "ell ,... &em 1n.rs 10.1" e ther 1n 8trurnent.l!tI lat s r,lt'iule. .... 1th lrylnr to flgure out. IoIhere cUatonla ttnd t.he dulc 1 me r are cot.\n'" froID . ~1 :"ce ,,', are t.ry1nf' a, lIuch 0.8 po', l Lle t.o cover ell "I CM , ",. are "lao enCeUr&f1ng du1c1, 11" bull.:!!!r "er~Dho p • . tnd 2"st.]1, I e (ire provhU r. . a f'OW\d .,au .. Dnd n&£:1.nf 3 Ntll ~ 1th t.he t.hoU{'hl ln .. 1nd t.hat. th1s ~,e.! lll "'111 a l d t.h. 11rst -t.1ce and/or .r,1crorM'lr-ne - shy ,f"rl or:-:. r 1n dl"el0 1:,1" stafe awaren'" wh11e at t.he aUI t.1me elv1nr e"lryone a chancf'l to. hear everybody elae . Plehle lat. the re,dars ef the D .P. N . ItnO" t.hlit "a ure act.1'Ie11 aollc1tlnr peoj)le t.o '"rlte nhead - .spec1all, it t.hay hl.ve M ere. oj du]cl:D1rla t.ha,. '4 care t.o dlscourse on or &t.out. . ~ieBted aelLln:. 1' 1 worll.'ho ~s lop1cs _1eh\. Incl ude : t.!".e dulci:ller In Enel1lh lolluen, , t.ne 4u}cllaOr ln Apr-l.chlan t.rudlt.lcn , ... US1Cf} hUto ry t.n4 devll0 -C:'lt. of t.h. IJ'J'!cher , rhythll worluhopn , dulc1mer ... non-S.p;>oll'Chllln f'1"t-18N'ot d.v.·e~~nt. , 'dapt.1nf nen_ve.tern =u5 1c ~l 1 0~' , etc . 1 could eo on - but. 't; you au. see , ,,'r,IlIt. lo"a pre trylnF' t.o ("t' t. "l are cu~Jllct.lva a. ""ell lUI oeJect.tve overv1e"s about. t. he du]c1,-,cr ll'ld d l lt.0018, t.o "hlch .nd I e fler r n ~6~eGS~,r.t. of our ~~n v1c~ ~!nt . , •. All ,.crear. t.hls country (I,:. "ell os 3.trot. u) l here lore ~eo :e t:;o .. re s.,lnr "I cion do t.hat." :nc b ra Lo.Jl1dlr.c t: •• , :11.11:'1r olule ! e rs . , :r.y of the3- . _011_ hi>d no ,revlcua concel·t.lon 01 .• ow It. loouln ;At uor:l . Conc.ltuelll1 y "a are wHna.al0t' t.he emere-ence cl a nt''' fc·ll( t"'fdlt.lon en. nullt 100111y en t.he ld •• thlol 3f It. h,,.. el.nt. !'lote" .. nd r.o".( t.r1o-r. t hat el"('na , It. Pc dulcl<ar . '';e c~o 't. h l' vt' to enccurf.\e or dl.ceurllfl that _ 1t.'R 4"ul t.1 1nde l,e ndflnt of ttny of our effort.a • ..0 t.o "LlOt._ '!Il Sear!2.l" 2!.' .. ''It. ~ll bnlla dO""n to folk '!1u&lc , :r.d n.ver for, ·. t , no mltt-lr ~ ht,t. Anyone 8cya , t hlit follt mus i c t£ "h(.\ ~ e.o" .

id1t(lrll 1,(' \.': hob rolLn'" t c heve E. 11&t e. I ••~era t~ u:J;"c t " , ~,·d 1"lo" Ich,dul" 101' ~or,.o:s:c. G elc . r-.fcy t.t' :~ !l c',t t.~ t.l'-cle O. l' •., . 1"e 'Je r . "ho "N lr;tlrr.lted tl" . tt . . . lr.~ l ••e 1;::''''I'~C: ;Q::"r1n1:, ' Ml'I"\.''> : ho .... rl ioorc_; .. 1.71':,,Jer' : t. t ..... fi (.Cf'" ... ! t . ';,.• tCl!'l

def1:1~t.

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In..- K1dc.' 1:11111 , by LotR l ens); l 10 II cluo.nr:1n_ cM11 whlch febt.u,... t.he dulc1aer . 1 ' m not SU1"fr lt 1s 8tlll 1n 1t. w•• "r lt.t.eo y.ar. &ro .

book -

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L-- - - - - - - - -- -- - - - - - - - - - l.>1.

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DUl'CIM£R R£CDRDINGS N' SUCH Our friend Cane 6renner wr1tea trom Y.orrlaon, Colo . that there 111 • cut on the John ...enve r album "loare",.l1 Andro_ldfll" that haa dulcime r (ile r lte18Y Woman). Mao there's a boloed pu lt-ry on the '1'011 Rapp "Sun,f roat " albuJI - 3lue 'lhu=b kecorda BTS 56 . Galle ha. reeont.Iy moved to Colo . fro.1.he liaahlnt\on. D, C. ana 5nd repone aha '. aade 1118ny new 4ulc:lme r friends there already . lJ'.or-e dulcl.er record1n£1I reported br Galle are : (1) A ehlldren' s record with some dulc1mer on it \.11.1ad "Won '\. you be My rrlend1" put out. by J::ductlt.lonal Act!Vit.lea, Inc .: £0 r eeport , !I . Y. 11520 . (2) "Seeds of Love" , .10" tolk'llllya albual (l2021) of dulc 1me r ballads . 0) "Aftermath", by the Rolling ~t.on•• (London PS- 416) hal • re .... dulcimer cut.. (Brlan Jones doing "Lady Jane" &: "1 am lto alt.1ne: ") . (40 And t.here 111 a dulc i me r played on one Tom Rush e. l bum I've hear<' (1,:e rrlmac CoW\ty - 1 '1'1) . io' ro:n lJob Rodrlque z comea "'ord or a fe'" 1II0re dulc lmer cut.a ex18t:ant on t.he folloWln!! albuma : (1) " Broads l de Reunlon" Vol. 7 . f'ol~a l. 5316 feature a Uo dulclmer p le ce. bJ Il6.nny &: Judy Rc.ere"'oods (electrlc??) . (2) It?Uau.nt. 1: I»l1!!ht.tul" Pet.er Johnson's Vol . 1 - feature. Rick & Lorralne Lae - LorraIne olay ln£ dUlc 1me r on aeveral cut • • D) and "Sounds of the Oz~ric.lI. JllllllY Drlft ....oods recording tor Nat.l on_l GeoEra::>h lc - the no . h "at.lonal Geo~ra,?hlc 702, I t.hlnk . Haa dulc l .e r cut a . A PAR'I1AL LIm UW 0.. UPCOHU:O fOLK r'EST1VALS A:ID

EV~;'1'5

lo r e oomplete lUt.lns ot reatlva le wrlte to Natlonal roUt reatlval Asaoc .; 1}46 Conn . AYe . ; Wash lngton , D. C. 20036 . Phuadelphla r'olk reatlyal - Aug 22 , 23 , 24 , (.?hua , Pa.) lat. Annual Brattleboro F'olk ,f eatlval (Vemont.) Chelae. Houae Folk Center . (Jul, • • 5 . ) Ald.ummer l'A lr Jutl IS - 20 fox Hollo'" Camp , Peteraburg , ~ . Y . SIIIlthyllle Tenn. riddlera Jamboree July 4 &: 5 (Dulc l me r contest) Nat l onal tolk l'eat.1Yal Aug 1-3 a t 'fiolfe Trap far. Park , Vlrglnia l'ox HolloW teat.lval Aue 7-1 0 Pa~raburg , N. Y. tolk iesUval of t he Salokle. Gatherlng - Coaby , Te nn . Sept 12-14 Pub llcatlon a of

Interes~

"COME fOR TO 91.;G" All about 1-01k !'.ua i o In Chlcaeo 1. a Breet na'tlt pub. It 18 publ18had by tha Old To'oi71 School of f olk ~us lc; 909 Arm 1 tage Ave .; Ch lc aEo , III 60614 and i::lI lly rrledJDan 18 the Edit.o r .

"FOLKNII" 18 the popular ne"'alet.t.er of t. ha San francl.co ;olk Ku.lc Club; 385 Clayton ; S . (o ., CaUC 9 4117 . 'thay publ1ah dulclmer thinga on occ •• a l on . FI'!t.l . . a banjo igCo (.Ull scarea aa hen'a t.eet.h) I Jun flnl ahad a ba.nJo t.hat. 1. Crat.U . . rro. nut. thru 5t.h Cret. .l fret.ted 6 on up . Ha" not. playad It. enoUgh ,.t. t.o dac lda anlt.hing. Mi." Hola & Pet.ar Hoova r bot.h had seen them and t.he t.heory aound. good . Mlke Martln Sunhe.rth Folk lnatruaent.a Sunhe.rth bulld. Dulc1mara , Hammered Rout.a 867 RD 1 DulCllle ra, iret.la .. QAn Jo. and t.helr Roaring Sprlng . PA 16673 InSt.rumenta are ..,all t.hought or .

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SOME QUESTIONS

'1'h.~

wae

Bx X.... 1n Roth tlme wMn people would atop me at Folk F••tl ...la and con-

cert. and .ak me ~h.t I called that tunnr looking gultar I carried under ., arm . Well , 1t " •• not a tunny looking gultar at all , but • Mountaln Dulcbler . (hmny how the hWian mind works - tunny looking ~ltar . ) Ah , •• , Juat a rev , •• 1'. later out or God only knowe wbere there came • big

dulc1mer boo:ll that .wept , and 1. at111 IIwe.ping, thla oountry . The,.. are booke . recorda , .t ta~. out. on the dulcimer tor people to 1. am and at \14, the "tredltlonal. .. "contemporary" at.,le. or dulcimer maklng and

plaJlng . There are enough makerB and plaJera around to - well , put. out e Dulcimer na,er8 New.: So , \01. know that the dulcimer 1& becom1ng .. ve:ry popU.lar lnlltru.:t.ent. Just how ~pul.r 1t w111 beao.. , no one knowe tor aure, but we can be aure of one thine , and that 111 that the more people who hear and pIa,. the dulclmer , the JIIOre booka, Ncord a, bu11dara, ra.t.1val. , performer. , and CHANGES \;a w111 ha.,. . Now, whet.her tha .. change. are good or bad la up to t.ha indlvldual to daclde . '[here 1. in tbla country, and around tha world , a "naw Breed- at 4ulclDtr .akar and pla,.ar . I &.III not apeak1ng at naw pla,.ere 1n ganaral but rat.har t.ha naw and dltterent, lnno...atl.,. kind at .akar and pla,.ar . It ,.ou look 1nto mua1c ln genaral ,.ou wl11 .aa that tha Rock group -rha Rolling Stanaa" ha... u .. d the dulclmer in thalr albu2, and 80 baa Jonl M1tchell, Jud,. Collln., Staale,.a Span, and man,. othar •• The aa perforaara have recordad and partonaed with the dulc1ller ln man,. dlttarent .t,.la. and man,. NEW wa,.. . For 1natanca , in.,. collactlon ot dulc1m. re, I ha ... an elact.rlc dulc1mlr made by John Hedrl ck . I DlU.t admlt , the tlrat tl.. I heard that there ~. an elact.rlc dulclmer I aald "~b,. don ' t th.,. leava well enough alon.": But art.r he. ring lt plaJad and reall~1ng how be.uUtul It. BOunded , I 8&14 I would h.va to Slve credlt t.o 1ta makar, &nd I have u .. d i t in recording .... lon. !DAnJ tlme8 .1nce. I .uppo .. the publlc wl11 haft .... rl.d t ealinS. about t.ha alectrlc dulc1mer . I ~.as lt all dapenda on wb1ch .1de at t.ha lDOunta1n 10U co_ I ha.e plaJed Bach, Jazz, Blu.a, Rock , and folk on the 3, 4 • 5 atrlns dulclmer . Tha queat.1on 111 thia, what. ia golnS to happen to the dulclmer ln the nax\. taw Jaar., &nd w11l we be abla to accapt the changa a that do co_ alons' Aa tor .J own opinlon, I hope that. we w1l1 alwa,.. loft and reapect the trad1t10nal. maker &nil pla1er , end that w. don't anr torsat whaN t.he dUlcaer ca .. la there a atopping polnt wlth the dulclmer1 I ha.e .ean a 6-atr1ngad dulclmar wlth a chromaUo tretboard (tW'LllJ 100k1ng guttar ). een we aUll call th1ll a Mounta1n Dulc l me rl Opin10n., op1nlon., what do t.hey mean 1 Growth , Lita, what doe. that .. an11 Where , and what wll1 happen to t.he dulclmer in t.he Jear. to co.al '[he next t ell' J •• re .re ftry lmportant .a tar .a dulc1mer growth 1a concamad . Think about where 10U atand in retarda to the dulolaar'. popu_ larlt1 and It. !rowth 10 our country and around the world .

tro.:

iDITORS NOn: , COlUllant. can be dlrected to Ke.in at RD 11: Kennett Sq , PA 19348. Aleo don't torset ~ ... 1n'. radl0 ahow that. wa mentloned in th. la.t D. P.N. laaua . Thle wl11 be a great ahow and ~.in 1. looking tor all kinda ot dulclser lnto to help put lt togethar. Contact hla rlght awaJ on thle a. be wlll atart t.pinS reallJ aoon.

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""sIC C.. ft $AV,

~ Cj[) t HERE, I~c.

of; ~

,... DICK ~

HANDCRAFTED . DULCIMERS

'MANLEY

ROUTE 129 CROTON -ON-HUOSON, NY 10620 914-271-5097

WRiTE FOR iNFO

MOUNTAIN DULCIMERS & KITS

HANOCRAF'TEC MUSICAL INSTRUMENT

~S'IRUCTIO~

BOCKS , STRINGS , C.s.SE:S, m:CORJ J..LEUM.S I Ai:O an~R J..CCE;SSORI£S

FOR ?LAYERS AND BUILD:::RS .

FREZ CATALOG

JEAN'S DULCIMER SHOP P.O. Box 8 Cosby, Tennessee 37722

--...

...!h " _ A.A . • C'OM"'~'" 00tI<>

1"141 "~· u...

.)no

New IO-string "Gypsy" Dulcl~er . Gouble melody strine , extra chord strings beautiful t~unt1nE tone , maple - spruce . Complete only 169 . 95. New 41 key E.nE.lUh system Concert1nas .... it h case , ateel reeds. 8-fold leather covered 00110"'8 an~ book . 1257 . 50 P .P. Ne\-: ,0 key AnElo type Concertinaa - at.eel reeds, 3-f01d belloWS , nickle fret ends , t\L"'l.ed G-C-CI '... /ease &: book 1127 . 50. New 39 key J.nZlo - 5axon Concertl!l8.11 -

8teel reed s , 73 notea chromatic, 9-fold bello~6 . pehrl ends . ~ t one ~lays 1n E , AAD,G. ""'1t.h case &: boo;C U4 S. r .iI . ~ 10 key (4 baS6) cajun Queen key C Aecordl8ns . Deautiful tone - Complete only i60 . 00 P . P . Y.oney orders only -SOU'ItUll'i HIGiU..A:W VULCI,.ER,S - 1010 S . 14th St .; Slaton, 'lexaa 79!64 - Lim1ted stock 31;1 .:0\.;. Addlt10nE.l into 25¢ .

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Feedback tatter continued I iIQ'o!rt tore. and Albert. d 'Ouch' are hoatlng .. "Kindred Gathering" thia J.uguat for lov.ra or dulcimer . Al d 'O uche wrlt,. , "As our handbUI (.e. Ad ?e' 19) Indicate., Dob aM I are hoating a "Kindred Cath.ring" ~rlddler'a have "encam~a::enta" , blu.£ra.a. r. have "re.tivala" , 80 why not kindred BatherlnEa" for .ort-ed£ed du1ch:e r !llU81c and acouatlc conacrt.a) in .Io.uguat. If anyone ia In thU rerlon th., lho\lld COli' &."ld b. and brlng thelr Inat:r"\1m'!'lta , dulclm..ra or oth'r-'la. . Ite tRi:E, and rather S!.mple; an O? portur.ity to brlne folke toeether to play to£.ti".ar, l.am, ahare , .xplore . hear and pralae . " D. P .r: . r;eader. can look forward to the posslbl1lty of future contrltu.tlona or artlcles and informat.1on from Bob and Al, 6l1d '"~ wleh them continued auccesa wlt.h t.helr .xc.ll.nt book "In Search of t.h. Wlld Dulclmer" . p.ore artlcl. contrlbutors to th18 Inu. Includ. (6) Rodeer Harrls, who haa supplled sOlla thoufhll~8lo~n~=~'~~~ ro~~:~1'~ with t.he hope that auch Ideas !Dleht spark aom. i to alac send In th.ir Ideas on dulcll11er who hsa beer. klnd enoufh to allow ua 1.0@ brochure (ee. Paee 5 for :::lore etc • .• yne, ""00 .ant in .. great 80ng in d~;.~~~::~ ;:~la. ~:~ tonn , ':';:-.,.:;;.i;<~;; .... are real:y erateful for her m8."lY Bobti. ' a eong St .... " a?p8ara 0.'1 ?8.£' 14, and 1 th1."lk .very reader will thoroughly .nJoy it .

Som. la8t ::cinut. newa before pren t.1m. for th1e i88U' i8 that ..... .... 111 be nmnlnc: some (real. h8.ill:l:ered dulcber phOt08 suppUed by Donald Round ot ;':ic~iEan who atop,ed by t h e D. P .:: . ortic. on hia , .... . y through. on a vacation trip. Don 'a 80n Jay haa a reallJ good HaJllt8red DulciCl8 r dbu:n out with a new one due alonS 1m::ledlatel:r . Don a180 dro pped. u. off Ittl ad for t.hia i88U8 with :ro re partl culare on thee. album. , 1ttl4 if JOu .... ant a ,..ally nic, ha:a:D.:red dulcimer Don 18 the I!UJ ""ho can bulld Ja' on8 . He put8 a l ot of ....ork into hia inat~.nta ao it. wlll take a whlle froID ord.r to d'livery, but. that. th8 way it i8 when purchaa1ng a rin8 hlttldcrafted lnstrument anyway . 'fl. w111 alae be nInllln£ so•• nlc. photoe of Bill 4aai18 "Dolp~1n Special" , an .xc.l lent. looking pi.ca of i I n. craft8~anahip t.hat 1s aure to be of int.re.t. (a•• hi. ad tor more particulars on the dulcimera he bullds . ) Well , .... h.t I'm trying to gat. acroe. la that the n.xt laaue already is ahaplnl up a. a eood ona . 1 vent. to the Gottagatgon reatival (May 2}-26 ) and was pretty excited by all the evidence of dulcimera th.re of both the pluck.d 6: halllll:ered variety . A (.ature event fo r mounta1n dulcimer attend•• a wae the excellent, excell.nt. workahop put on by our frienchLorra1o. Lee and Holly 'lannen . Holly 18 no"" in England for an .xtended atay, but i f you ever Eel. a chlttlce to attend a workahop by 1.o'rr8108 o r Ho1l1 DO If - 1'1'3 ,.:ORZ 'rHA."\ irl'CR'I'H IT. 1 alao got a chance to hear aOID' mora of t he ereat :lua ic that :iiclt and Lorralne ccak. with their Plano-Dulciaer c02lblnat1on, w!"lich 18 Juat ao pleasing . If 10u hear anybodJ' aay that 10U C6n't play dulci~r with thia or that inatrument, don't believa a ....ord of it. You C8.~ play the dulclm.r compatab1y with anything . I'ID runninf out of apace and have more to .ay but How.ver , 1 di d want to aay that anyone .. en Jean Ritchie'a new Book "Dulclmer P.ople" ahould reallJ t.h. best I've aeen in a lone: tim• • Ph11 Kaacn -)1-

be too wIndy.

sue •• I won't

who has not yet eet it. - Edltor

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Ita

STRINGS l

THE BEST ARE THE BEST BY DR. JOHN F. I~OE

Don't settle for somebody's worn-out strings off their banjo. The sound you get out of your dulcimer is related in large part to the quality and appropriateness of its strin8s. Some malcer& set up their instruments f or certain strings, and while its all riGht to try others, don't forget that they have usually done a lot of testing to get strings that sound right on their particular Dulcimer . If using banjo strings, use two second and one wound f ourth (assuming a three string dulcimer). A four-strinGer can use two lsts, one third, and one f ourth . I f using guitar strings, two E and one G may work well. Don't fail to change strin~ at reasonable intervals. If your instrument won't stay in tune or if it isn't sounding riGht, change the strings. Don't foreet that as you tune the instrument you are stretch ing those steel strings, and they "ill only stand a certain amount of that before they lose their streachiness . Then they sound dead and they lose that rin{5 - and a new set of strine;s is in order. Keep a set on hand .

STILL NSED PHOTOS FOR PRIHTmG IN THE

~/E

D.P .~'t

KEEP IN TOUCH

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'''*'''''~,i,

SEE YA' NEXT ISSUE

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.. SUBSCRIPTION BLANK it " Please send me a one year (6 1ssues) Subscri~t10n to the Dulc1mer Players Ne.ls - ~4 .00 enclosed. NAME _ ._ _ _ _ _ _ _ _ _ _ _ _ __ ADDRESS _ _ _ _ __ _ _ _ _ _ ____ CITY & srATE Fore1gn Subscr1pt10ns ~600 (surface ¥!a11) A1r to Great Br1t1an - 3 Pounds Ster11ng Internat10nal M.O. - U.S. FUNDS

,, •

BACK ISSUES

•

,, ••

S1nce the demand 1s so h1gh for all the many art1cles, b1b110graph1es, d1scograph1es, playing t1ps, bu1lding info, sonc; s, etc., that >Ie have printed since our beginning in January of 1975, \·,e are going to try to keep back 1ssues ava1l!,ble for all of those new readers who come along and 'Iant to know 'Ihat ' Ie've been up to since starting th1s thing. Please send us a query for their ava11ab111ty and such . OUR BOOKS

DEAL::RS IN9,UIRIES

Vie also publ1sh and sell (.lh1ch helps w1th the "Ne>ls" costs) The Dulcimer Players Bible" ( ~4.9(,) and "Ho.1 to ~,ake and Play the .' retless Banjo' ( ~ 3.50). Vie also .Ielcome dealers inqu1r1es regarding all of our pub11cations - Free samples for all dealers inquiries first, of course ~ SEE YA' NEXT I SSUE HAPPY DAYS

& HAPPY PICKIN'

•

-30 -

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The Dulcimer Play~rs News c/o Phfl1fp Hason RFO 2 . Bolt 132 Banaor, Mifne 04401

- THltUJ

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.-- ....

CLASS f'(/5TAGf

RETU/l~ f05T~Gf GUARANTff:D

d1 ~~?'

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NAIL TO:

J'~

l ~

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