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Volume 29, Number 3 March 2019 Dulcimer Daze

Official Newsletter of the Knoxville Area Dulcimer Club Editors: Leah Reasor and Claire Hammond

March 24th Adding More Color To Your by Les Williams, KADC President MEETING AGENDA

This month we will be getting into the large box of crayons- be- Note Special Meeting Time yond the basic colors. Part 1 covered the primary chords which were all major triads based on first, fourth, and fifth steps of the 1:30 scales. Part 2 covered the four types of basic triads including those Check-in and Fellowship built on all steps of the major scales plus the augmented. Part 3 will deal with seventh chords. Seventh chords have four pitches 1:45 - 2:00 General Business Meeting and the closed position seventh chords are built by stacking notes up on four con-

secutive lines or four consecutive spaces on the staff and making the proper inter- vals between these notes with accidentals or key signatures to give us the proper 2:00-4:30 intervals for the various types of seventh chords. We know that most of our lap Rick Thum will be presenting dulcimer players have only three strings on their instruments, so seventh chords his workshop on “Jamming Tips and Tricks” for ALL levels must be incomplete with one of the four pitches not being played. When you play on ALL instruments! a pitch, you are not only playing and hearing that one note that is on the staff or

tab, but a series of pitches called the overtone series is actually sounding. Those of Rick describes you who have played harmonics may have some understanding of the pitches that it as: you can produce by touching the vibrating strings in certain places to sound anoth- “I will teach you er pitch. If you look at Figure 1, this shows the overtone series for the fundamental how to know pitch for low C. If you look at the pitches for the first 8 overtones all are in the C7 the chords you chord. (CEGBb). The fact that these notes are sounding when you play any C is one need to use, reason it works to play incomplete 7th chords on your dulcimer with a desirable out- and how to come. Your ear and mind fill in the missing note. That is a relatively simple expla- hear the tunes in a way that helps you know how to use nation of the more complicated physics of music specifics on why we can get by those chords. Playing the with playing only three of the four notes for 7th chords in our music with acceptable chords is only half of the goal. results. Often when we are doing arrangements one of the pitches in the chord is We also want to try to learn not on the dulcimer, and that is the pitch we must omit in the incomplete chords. the tune. I will teach you the tricks to being able to start to play the tune right there in the jam the first time you’ve ever hear the tune. Jamming Figure 1 is a craft and learning the tricks of the trade will help you be a better jammer. It is a learned skill! I’ll teach the tools needed for you to be a better jammer. Continued on Page 2

Club Website address: www.knoxvilledulcimers.org

Dulcimer Daze Volume 29, Number 3

Adding More Color To Your Music (Continued)

Figure 2 shows the theoretical names of the scale steps for the major scale (same for all major keys). You do not need to worry about memorizing these, but I am providing this information to show you where the Dominant 7th chord gets the Dominant part of its name. The V7 or Dominant seventh chord is the most common and frequently used seventh chord. You will find it most often in our arrangements when a 7th chord appears. The V7 to I at the end of a song is very common. A7 is Fig. 2 the dominant seventh in our favorite key of D major. If a player wants to modulate (go smoothly from one key to another) between songs or sections of an arrangement, the domi- nant seventh chord of the new key or the key you are moving into is the easiest way to get there with a nice sounding transition. (Used in our Angel Medley going from D major to G major tunes).

Figure 3 has the five common types of seventh chords if you want to get some more colors out of the box. The first column has the name of the chord type. The second column has the symbols that are placed next to the letter name of the chord root to indicate what kind of seventh it is. The last column indicates what kind of triad the three bottom notes make, and the specific interval from the root to the seventh (top note) of the chord type. You can find the major seventh up from the root note by using the first and seventh notes of the major scale for any key (root note= tonic or bottom note of the seventh chord). Example: D major scale- major Fig. 3 seventh from D to C# because C# is the seventh note of the D scale. A minor seventh is one half step lower than the major seventh (D to C natural). A diminished seventh is one whole step lower than the major seventh (D to Cb). Re- member you must spell the chord using every other letter of the alphabet up from the root note. The D diminished 7th chord is spelled D, F, Ab, Cb. All types of D7th chords use the letters DFAC with the accidentals changing the intervals- not by using a different letter name for any of the notes. As the triads are used in three different inversions or posi- tions, seventh chords may be used in four different positions- root position (root of the chord on the bottom), first in- version (third of the chord on the bottom), second inversion (fifth of the chord on the bottom), and third inversion (seventh of the chord on the bottom). Also, just as the triads can be used in either closed or open position, the seventh chords may be also. Figure 4 shows the four positions of the C7 chord in closed position. Fig. 4 There are additional types of seventh chords and many more chords including 9th chords, 11th chords, and more. Many of these other chords are primarily used in jazz style, and because of the number of pitches in those that go beyond 7ths, dulcimers are not likely to encounter them. If any of this makes what you play and why we use various chords better understood, it might make more sense to you why we need more than three chords for lots of tunes. Hopefully you will better understand what all of those chords above the music mean also. I hope that I have not thorough- ly confused you, but if so feel free to ask questions if you see me at a meeting or club activity.

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Dulcimer Daze Volume 29 Number 3

ALL IN THE FAMILY— PART 2

By Leah Reasor

If you recall, last month we started delving into the dulcimer family tree. And we learned that the is a member of the family, and that the name zither is just the Anglicized word for the Greek . OK then – what is a cithara? And why are we talking about a cithara, instead of a , since the guqin dates back to the 4th century BCE? And how are these things even decided? So to continue our history lesson, let’s start with the last question first – “who gets to decide these things, any- way?” Well, that would be Erich Moritz von Hornbostel and Curt Sachs, back in 1914 Germany. But they only ex- panded the work of Victor Charles Mahillon at Brussels Conservatory in 1890. VCM (and later EMH and CS) classified instruments according to how they produced their sound. By looking at musical instruments mechanically, he was able to organize any instrument from any culture and any historical point in time. If the instrument made its sound with a column of air, it was an . Strings were deemed chordophones. If it used a membrane – yep, it was a membranophone. If the body itself was the sound-maker, it was called an idiophone. And lately, a 5th category was added: an electrophone. The Sachs-Hornbostel System was set up Dewey-decimal style, and is still in use today. So the lap dulcimer classification is chordophone – 3. It has a lot of company in there, including most of the instruments mentioned in last month’s snoozer lesson. So why don’t we call the dulcimer a descendent of the guqin? Because the family tree goes back even further – we’re not done yet. A more interesting question would be: what was the inspiration for the development of the guqin? Hmmmm . . . perhaps that is another rabbit trail to be explored . . . But back to the cithara. What is a cithara?

According to Wikipedia (oh Wiki – how I love thee), a cithara is an upgraded form of the simple double-stringed . And the lyre also has a long and storied history going back into the mists of time. Professor Richard Dum- brill of London has traced the evolution of the lyre back to the Mesolithic Era in his book, The Archaeomusicolo- gy of the Ancient Near East (Trafford, Victoria, Canada, 2005). It’s known as the Mesolithic Music Bow, and evidence dates it back 60,000 years. Mesolithic Music Bow The developed next, with multiple strings of different pitches. The first identifiable were found at Ur, and dated to be around 2600 BCE.

Royal Lyre of Ur

By 2000 BCE, lyres were Negev Rock smaller but still upright, as seen Etchings in the Negev Rock Etchings.

Continued on Page 4

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Dulcimer Daze Volume 29, Number 3

Greetings all! I’m a relatively new member of the KADC and have been playing with the Appalachian Museum group for a few weeks. I also am the director of the Postmark Jamboree, a live audience old time radio show that is recorded, once a month in LaFollette. Rick Long, Terri Jolly, and Rudy Ryan  For March’s meeting, please arrive on time or have all played at our show. I’m offering you all anoppor- early (1:45 for announcements). Everyone (all tunity to come back by LaFollette after the Cumberland Gap instruments and all levels) will be in fellowship festival and catch our live show or even perform at our show hall. Meeting ends at 4:30. Eight pages of ma- that evening. Our show is from 7-9 pm, April 20. That’s the terials from Rick are on the website and should Saturday evening before Easter and we’re having an all gos- be brought with you and your instrument to pel show that night. If any of you would be interested in the meeting. The chairs will be set up in the playing a few gospel tunes on our show that evening, email middle facing the stage. Please help put these me and we’ll see what we can put together. If you want addi- back after the meeting. tional info on our show look us up on YouTube and Face-  A volunteer is needed to coordinate the food book. Thanks! portion of the KADC Christmas party. There are always lots of helping hands for set-up Tony Branam and clean-up but a lead person is needed. [email protected] Mark Reda has done it for several years and 865-209-4026 can provide any info you may need.

 If you enjoy participating in club playouts and would like to assist in their coordination, please contact Susan Gulley at Walter Ferguson, son of Toni and Jim Fergu- [email protected]. son passed away on Feb. 26. Toni is one of the founding members of the KADC.

ALL IN THE FAMILY (continued)

From the Tomb of Knumhotep But within one short century, the lyre became portable and horizontal. And by 1200 BCE, we have the asymmetrical Canaanite Lyre of Har- Megiddo.

Lyre of Megiddo

So we’ve gone from Appalachian dulcimer to zither to cithara to lyre to harp to music bow. But there’s still so much to explore . . . next month!!!! (Credits: Wikipedia and Michael Levy, A Brief History of the Lyre)

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Dulcimer Daze Volume 29, Number 3

Getting to know KADC member ….. Claire Hammond

Do you come from a musical family, or grow up playing other instruments?

In 4th grade, I surprised my non-musical parents by coming home with a on the day we could select instruments for music class. I don’t remember if I told them selection day was coming but my parents were actually lucky as my cousin brought home a ! I continued with clarinet all through elementary and high school, playing in city-wide school concerts and in my high school band. While in high school I also began playing the guitar and, after graduation, the clarinet was relegated to the back of my closet.

How did you discover the dulcimer?

While I loved playing folk guitar, I was drawn to bluegrass and old-time music and then to the sound of the hammered dulci- mer. Decided to build a from a kit which, while it looked and sounded good when initially finished, proved to have some builder ‘construction issues’ which prevented the tuning pins from maintaining the proper tension. Made for some interesting notes! I first heard a lap dulcimer years ago on an album by Mimi & Richard Farina and absolutely loved the sound. After moving to Tennessee 20+ years ago, I somehow learned of the KADC and went to a meeting “just to listen”. Kind of like going to “just look” at a cute puppy and I ended up buying my dulcimer from one of the members. She then talked me into also joining the Heartstrings group which played out at various area nursing homes and Ft. Sanders Hospital. Those playouts and the lessons and jams at the KADC were the best ways to learn how to play.

What keeps you coming back to KADC?

My membership in KADC first began back in the late 90’s and after a break of a few years has continued on. While playing music on my own is always enjoyable, there is a special joy in being together with a group of people who also love music. Through the years, an , another hammered dulcimer and a dujo (dulcimer/banjo) also made their way into our home to join my guitar and lap dulcimer. Life happens, and arthritis in my hands made it very difficult to play the dulcimer and oth- er fretted instruments. The sound of a bowed drew me in and I decided to buy one and learn how to play. It is defi- nitely still a work in progress and if I practiced and played more often I could be much better at it. My lap dulcimer and psal- tery remain with me while the other instruments have found new homes where they can be played and enjoyed.

LAP DULCIMER FOR SALE !!

T.K. O’Brien walnut and cherry Jane Dill—Loudon—Lap Dulcimer, Psaltery and Pennywhistle dulcimer with case. $200. For more Randy Dill—Loudon—Guitar info, call Terry Jolly at 865-482- Carolynn Curtis-Vonore-Lap Dulcimer 8680 or email her at Norman Curtis-Vonore-Hammered Dulcimer [email protected] Rachel Ammons-Louisville-Lap Dulcimer

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Dulcimer Daze Volume 29, Number 3

is coming …. And so are lots of KADC playouts!!

For information on any of the listed events you can contact Susan Gulley at [email protected] or 423-920- 0306 or the person listed with the event details. You can sign up for any of these events at SignUp Genius.

Wednesday, March 27th-Appalachian Sounds at Autumn Care, 400 Herron Rd., Farragut from 2-3. Please arrive by 1:30. This is a new facility across from the Farragut Library on Campbell Station Rd. For more info, contact Claire Meggs at [email protected] or 865-719-7949.

Tuesday, April 2nd- Appalachian Sounds at Central Baptist Church, 130 Providence Rd., Oak Ridge from 5:45-7:15. Dinner will be served from approximately 5:45-6:15 and then we’ll play from 6:45-7:15. For more info, contact Claire Meggs at [email protected] or 865-719-7949.

Saturday, April 20th – Mexican Fiesta on Main St, Cumberland Gap. New event by the LMU Spanish classes run- ning from 11-6. We will be playing in a tent from 11:30 am to 1:30 pm and 3:00 pm to 5:00 for walk-by audiences and we do a by-the-stage performance from 2:00 - 2:30 pm. It will be under a tent with microphones so it will be like a stage performance. Please bring your chairs. Rain or Shine. We will be getting vouchers for all players to use at any of the food vendors.

Saturday, April 27th – Spring Planting Day at Big South Fork National Park, Bandy Creek from 9-3. Bring your chairs and club music as we will not use a set list per . We usually play down by the farm under a tent which is in the grass. It can be windy, so come prepared with bug spray, jacket and whatever else you might need. We take a break for lunch and there are food vendors or you can bring your own lunch. Camping on site. There is room for at least 30 people to play. For more info contact Rudy Ryan at [email protected] or 865.206.6261.

Thursday, May 9th – Wilderness Wildlife Week - LeConte Convention Center, 2986 Teaster Lane, Pigeon Forge. We will play two one-hour programs - at 1PM and 3PM. The performances will be by the fireplace in the large foyer with seating for over 100 audience members. Chairs will be provided. Set lists and details will be sent to those who sign up prior to the event. There is space for 25 players and we strongly encourage you to play both times if you can. There will also be a waiting list if we reach the 25 players. For more info, contact Les Williams at [email protected] or 865-679-7709.

Saturday, May 18th – Mountain Laurel Fest – Courthouse Square in Wartburg from 10-3. We will play on stage from 10-11 (limit 10 players - now full) and from 11-3 we will play under a tent (unlimited players here). Food and drinks are available at the Festival or bring your own. Be there by 9:30 or by 11 if playing in tent only. This is a fun festival with lots of vendors and food so come to enjoy.

Sunday, May 19th-Oakland United Methodist Church, 1234 Trigonia Rd, Greenback from 6-7PM. They would like us to play for one hour after joining them for a 5pm supper. No limit on the number of players and they will provide chairs. If the weather is good, we may play on the pavilion, or, if not good, inside the sanctuary. Please arrive by 4:30 pm if coming for supper or 5:30 if coming only to play.

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Dulcimer Daze Volume 29, Number 2

KADC CLUB 2019 CLUB CALENDAR UPCOMING DULCIMER EVENTS... April 28th— KADC Meeting Tull Glazener Workshop Loudon, TN—April 6th May 26th—KADC Meeting Christ Our Savior Lutheran Church, 260 Wade Rd. W. For more info: [email protected] or 865-657-9801 June 23rd—KADC Meeting

July 28th—KADC Meeting Waterbound Dulcimers Workshop-multiple instructors Kinston, NC—April 6th August 25th—KADC Meeting Queen St. United Methodist Church, 500 Queen St. For more info: [email protected] September 14th—KADC Picnic in Gatlinburg

Winston-Salem Dulcimer Festival October 27th—KADC Meeting Winston-Salem, NC—May 4th November 10th—KADC Meeting Hope Presbyterian Church, 2050 N. Peace Haven Rd. For more info: www.winstonsalemdulcimerfestival.com December 8th—KADC Christmas Party

Crooked Road Dulcimer Festival Ferrum, VA—May 23rd-26th Ferrum College, 215 Ferrum Mountain Rd. For more info: www.ferrum.edu/crooked-road-dulcimer- festival KADC CLUB CONTACT INFO BOARD OF DIRECTORS CLUB COMMUNICATIONS CLUB ACTIVITIES Executive Board Newsletter Editors Playout Liaisons Les Williams, President (for weekend and evening activities) [email protected] Leah Reasor Claire Hammond Susan Gulley Evelyn (Dumpie) Coomer, Vice President [email protected] [email protected] [email protected] (423)920-0306 Email Distribution

Claire Meggs, Secretary Teresa Gross Appalachian Sounds [email protected] [email protected] (for weekday and senior activities)

Dave Hammond, Treasurer Club Website Claire Meggs [email protected] [email protected] Linda Smith Vicki Braden, Membership Secretary [email protected] Les Williams [email protected] [email protected] Member Website Access Mark Reda, Past President/AV Chairman Music Committee Co-Chairs [email protected] Terri Jolly [email protected] Evelyn (Dumpie) Coomer Members-at-Large [email protected] Sue Bartlett Laura Van Eps [email protected] Les Williams [email protected] [email protected]

Buford Braden [email protected]

Sonny Hamrick All Monthly Club meetings are at Second United Methodist Church, 1524 Western [email protected] Avenue, Knoxville unless otherwise noted. Second UMC is located off the 17th Street exit of I-40 in downtown Knoxville. Club mailing address is: KADC, P.O. Box 24391, Farragut, TN 37933

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