Volume 29, Number 2 February 2019 Dulcimer Daze

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

The Theory of Chords by Les Williams, KADC President February 24th MEETING AGENDA This month we will continue the theory of chords by using the 8 color box of crayons in relation to the eight triads built above the 8 scales 1:30 steps in major scales. Last month we focused on the three primary Check-in and Fellowship chords of I, IV, V which are all major triads (3 note chords). This month 1:45 - 2:00 we will use all four types of triads- Major, Minor, Diminished, and Aug- General Business Meeting mented. Remember triads in root position are on three consecutive lines or three consecutive spaces of the staff. To change a triad from 2:00-3:00 Class Hour major to minor, lower or flat the third or middle note one half step (down one key on Beginner Lap Dulcimer— the keyboard). To change triad from major to a diminished triad, lower or flat the third Mark Reda

(middle note) and the fifth (top note) by one half step each. To change a triad from ma- Beginner - jor to augmented, raise or sharp the fifth (top note) by one half step. Shown in Figure 1 Nancy Basford are the triad types in the key of C. Figure 2 shows the intervals between notes of the four triad types in root position which applies to all keys. Remember a major third is Novice Lap Dulcimer - Christy Bock two whole steps (large third) and a minor third (small third) is one and one half steps. Angelina Baker/June Apple Diminished means made smaller and the diminished triad is two small or minor thirds Angel Band stacked up. Augmented means made larger, and the augmented triad is two large or Work on rhythm reading skills major thirds stacked up. The major triad has the major third on the bottom and minor third on top. The minor triad has the minor third on the bottom and the major third on Intermediate Lap Dulcimer- top. Some say major sounds happy and minor sounds sad. Evelyn Coomer/Les Williams All I Have To Do Is Dream In The Sweet By and By Blest Be The Tie That Binds Triad types in the key of C Armed Forces Medley (Figure 1) Advanced Lap Dulcimer- Rudy Ryan Emma’s Song Cowboy

3:00 – 4:00 Triad Intervals in root position Jam—Led by Mark Reda This Land Is Your Land (Figure 2) Simple Gifts Aura Lee You Are My Sunshine Mississippi Sawyer Member Choices-Call Yours!

Continued on Page 3 Slow Jam—Led by Rudy Ryan

Club Website address: www.knoxvilledulcimers.org

Dulcimer Daze Volume 29, Number 2

Our club will have a very special opportunity at our March 24th meeting for all 2019 members of KADC. Rick Thum will be presenting a 2 hour workshop on “Jamming Tips and Tricks” for all levels on all instruments. By way of quick intro, Rick has been ranked as the most influential dulcimer player of the last decade by readers of Dulcimer Player News and is perhaps best known for his festival performances. His workshops and master classes are favorites and he also produces a best-selling instructional CD series for the hammered dulcimer.

Rick describes his “Jamming Tips and Tricks” workshop as follows: I will teach you how to know the chords you need to use, and how to hear the tunes in a way that helps you know how to use those chords. Playing the chords is only half of the goal. We also want to try to learn 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 heard the tune. Jamming is a craft and learning the tricks of the trade will help you be a better jam. It is a learned skill. I will teach the tools needed for you to be a better jammer.

REMINDER!!! Please make sure you have renewed your membership by the February 28th deadline as attendance will be strictly limited to current KADC members. The membership form is available on the KADC website. New members may join the day of the meeting.

Your fellow KADC mem- bers would love to get to know you better and • NAMETAGS!! If you ordered a KADC nametag it will be at the sign-in desk at the February meet- maybe discover some com- ing. Please pick it up there. mon interests. Simply answer the questions be- • JAM SESSION!! We will be hosting a Dulcimer Jam in the recital hall at Lane Music on Satur- low or just jot down some day, March 2nd at 2 pm. Lane Music is located in of your own thoughts to West Knoxville at 9648 Kingston Pike. There’s plenty of room for all but please register on Sign send in. You can email your answers to knoxvilledulci- -Up Genius just to insure that we have enough [email protected]. Looking forward to meeting you! to have a good showing. Hope you can join us for this fun opportunity! Contact Christy Bock at Do you come from a musical family, or play additional [email protected] or 865-384-8806 for info. instruments? • PLAYOUT COORDINATOR NEEDED– If you enjoy How did you discover the dulcimer (or your instru- participating in club playouts and would like to ment)? assist in their coordination, please contact Susan How did you find KADC? Gulley at [email protected] What keeps you coming back to KADC? • 2019 MEMBERSHIP RENEWALS-Remember to What direction would you like to see the group go, or renew your membership now as memberships in what initiatives would you like to see explored? good standing will be required and verified at the door for the March 24th meeting with Rick Thum’s workshop.

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Dulcimer Daze Volume 29, Number 2

The Theory of Chords (Continued)

In every major key or scale, if you build a triad on each step of the scale you get a particular triad type which is common to that scale step in any key. Remember the primary chords ( I, IV, & V) are all major. If you will look at figure 3 this shows the triad type on each scale step in both C major and D major. Notice that chords built on the 2nd, 3rd, & 6th scale steps are minor triads. The triad built on the 7th scale step is a diminished triad. The key of C has no sharps or flats, so only the white keys are used in building all of the triads above the C scale. Notice that all F’s and C’s are sharped in the triads built on the D ma- jor scale. Remember the key of D major has two sharps- F# and C#. Those sharps are applied to all of the notes in the triads in the key of D including the root notes. Notice the major (large) and minor (small) thirds on the keyboard between the three notes of the triad types.

Figure 3 Figure 4

It is important to notice that in naming the notes in a triad, it is every other letter as you come to them in the alphabet. To properly spell or notate a chord, you must use the proper note names. Example- a C augmented chord always includes C, E & G#. This is never called or notated as C, E, & Ab (you are skipping more than one letter of the alphabet going from E to A) even though it is the same note on the keyboard and sounds the same pitch. It is because of staying in a particular key or tonality and proper spelling of scales and chords in that key that we have more than one name for the same pitch. Enhar- monic equivalents is the musical term for same sound, same key, different names. F natural, E#, and Gbb (double flat=lowered a whole step) are all the same key on the keyboard and the same sound in the tempered scale. The name that you use for that pitch is determined by the key in which you are working. When we notate a chord for your dulcimer we never notate an E major chord with an Ab in the middle, but always G# because CGB are the notes in the chord using every other note of the alphabet. (A little extra info for no extra charge.) Most all of our club music has chords above the notation for guitars or any instrument that wishes to play chords with the tune. Notice that when Roman Numerals are used under the chords, the minor and diminished Roman Numerals are lower case. The chords symbols have either Dim or a minus (-) sign beside the letter when indicating a diminished chord (Cdim, CDim, or C-). The chord symbol have either Aug or a plus sign (+) beside them when indicating an augmented chord (Caug, CAug, or C+). Minor chords are indicated with an M or m beside the chord letter name.

You will find all of these chords used in all three positions. Remember root position has the root note on the bottom, first inversion with the third of the chord on the bottom, and second inversion has the fifth of the chord on the bottom. Some- times in chord symbols above music you will find D/F#. This means a D major chord in first inversion with the F# on the bottom or in the line. D/A would mean it is a D major chord in second inversion with the A on the bottom or in the bass. We have what is referred to as closed position chords which are the three consecutive notes on three consecutive

(Continued on Page 4)

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Dulcimer Daze Volume 29, Number 2

The Theory of Chords (Continued) adjoining lines of the staff or three consecutive adjoining spaces on the staff. All of the examples shown on this page are in closed position. Chords may also be played in open position where the notes are in different octaves, but still have the same three notes used with the same note on the bottom for the three different positions, but there are intervals more than the thirds between them. See Figure 5 for examples of open and closed position chords. This means that you have options as to which octave you use for the notes in the chord as long as you have the correct 3 notes in the chord. Your dulcimer has two different open D’s. You may use either one along with any F# and any A for a correct sounding D major chord. The in- version you use and the octave you choose is usually determined by the pitch and octave of the melody note. The triads above the scale steps discussed in this month’s article show you why you see some minor chords and occasionally the dimin- ished chord being used along with your favorite I, IV and V chords. Remember, the more colors you can use the more inter- esting the music becomes both for the musician who wants to grow in skills and musical knowledge and for those listening to the music. I hope you have stayed with me, and will be ready to get into the bigger box of colors next month!! Play on!!

Figure 5

Hammer Dulcimer For Sale….. Tired of carrying Tony Branam-Jacksboro-Banjo, , that heavy hammer Mandolin, Guitar & Bass dulcimer to playouts Linda Colvin-Maryville-Lap Dulcimer or do you just want Shirleen Haas-Knoxville-Lap Dulcimer to learn to play? Diane Karschnik-Greenback-Lap Dulcimer Here is your chance Betty Maden-Wartburg-Lap Dulcimer & to get a Rick Thum

Psaltery 14/13 Traveler. I Teresa McNeely-Kingston-Lap Dulcimer am selling the dulcimer, case and shoulder strap Lori Pahls-Loudon-Lap Dulcimer & for $300 (no stand). If interested I can bring Gayle Paxton-Greenback-Lap Dulcimer it to the February meeting. Contact Sandi Scrugham at 865-980-1678 Jana Reidy-Maryville-Lap Dulcimer Jill Rickman-Maryville-Lap Dulcimer SAVE THE DATE !!! Suzanne & Denny Sauerwein-Oak Ridge-Lap Dulcimer & Hammered Dulcimer Saturday, September 14th will be the annual KADC Club Picnic at Mynatt Park in Gatlinburg. Great Dorothy Spang-Maryville-Lap Dulcimer food, music and a special workshop! Details to fol- low.

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Dulcimer Daze Volume 29, Number 2

ADVANCED DULCIMER CLASS NOTE By Rudy Ryan KADC when he was an active member, they went like hot cakes. I actually love mine since there It was really great to have such a large num- are so many great songs with different genres, ber of folks in the first Advanced Lap Dulci- and of course Bill’s playing along with his daugh- mer Class of 2019. I look forward to that ter and son showing their musicianship makes it many or more in the February class. very special for me.

Our objective over the two classes is to learn a song My goal for the February class is for the group to written by Bill Taylor, “Emma’s Song” and another play “Cowboy Waltz” pretty much up to speed, song arranged by Susan Trump, “Cowboy Waltz”. and to play “Emma’s Song” at some speed, prob- ably not at 141 bpm like Bill played it on his CD. In our January class we worked through individual Remember that “Emma’s Song” was recorded in measures/phrases of each song and concentrated on the tuning of D# A# D#. timing. Steady timing can be achieved on the lap dul- cimer by continually strumming through all the beats in I use an app on my iPhone and iPad named each measure and only striking the strings where “Anytune”. With “Anytune” I can change both the needed. We discussed some fingering of chords also. song’s tempo and pitch. So I can slow “Emma’s If students can get everything on the worksheets pol- Song” down to a crawl and change the pitch ished up by the February class we should have no down one semi-tone which puts it back into DAD, trouble putting it all together and playing each song. all without distorting the tone or vocals. I plan to Sometimes that’s easier said than done, at least it is demonstrate that in the February meeting. We for me. Going from measure to measure is usually the can also speed “Emma’s Song” up and put the hard part. horse in “Cowboy Waltz” into a gallop.

By the way, I hope the folks who purchased the Bill If you didn’t attend the January class you are still Taylor CDs are enjoying them. I have heard rave re- more than welcome to come to the February views from a few who did purchase it. I plan to bring class. You can get copies of both songs from the more of his CDs to the February class in case you KADC web site. See you in the February class. missed getting one. When Bill brought his CDs to the BTW, Bill’s CDs are $12 each (cash).

The Maryville Area Dulcimer Club celebrated its 10th anniversary in January. Seated in the front row are charter members Jan Wagner, Margaret McCaulley, Sandi Scrugham, Andrea McHugh, and Dorothy Spang. These five mem- bers originally participated in the Mountain Echoes Club in Tellico Village and decided to organize a local club. There are 45 members and the majority are also KADC members. They are known for their annual November concert at the Blount County Library. They meet every 1st and 3rd Wednesday from 1-3pm in the Remedy Building, across from Fairview United Methodist Church in Maryville. For more info, contact Sandi Scrugham at 980-1678

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Dulcimer Daze Volume 29, Number 2

ABOUT THE MUSIC –In The Sweet By and By Webster was an American composer who wrote over 1,000 By Les Williams songs. He wrote many styles of music including many relat- ed to the Civil War such as “Lorena.” This well known hymn text was written by Sanford Fillmore Bennett (1836-1898) in 1868. The tune was Ballads and hymns were also favorite styles for Webster. The written by Joseph Philbrick Webster (1819-1875) also tune for “Wildwood Flower” was his. He studied with Low- in 1868. ell Mason, James Webb and several distinguished compos- ers. “Sweet By and By is in over 570 hymnals, and was rec- The story is best told by Bennett himself as it appears in orded by many well known musicians including Elvis, Louis his autobiography: Armstrong, , Dolly Parton, Willie Nelson, , and Kenny Rogers. “Mr. Webster, like many musicians, was of an exceed- ingly nervous and sensitive nature, and subject to peri- ods of depression, in which he looked upon the dark is coming …. And so are side of all things in life. I had learned his peculiarities so KADC playouts!! well that on meeting him I could tell at a glance if he was melancholy, and had found that I could rouse him up by giving him a new song to work on. Saturday, April 27th from approximately 9AM till 3PM. Spring Planting Day, Big South Fork, Bandy Creek Campground. He came into my place of business [in Elkhorn, Wis- Bring your chair & your music. We play under a tent. Bring consin], walked down to the stove, and turned his back your own food or drink or vendors are available. Camping is on me without speaking. I was at my desk. Turning to available for this one. You pay for 1 night & they pay for the him, I said, “Webster, what is the matter now?” “It’s no other. Contact Rudy Ryan for more info at [email protected] or matter,” he replied, “it will be all right by and by.” The 865-966-1995 or Susan Gulley at [email protected] or idea of the hymn came me like a flash of sunlight, and I 423-920-0306. Sign up at Sign Up Genius. replied, “The Sweet By and By! Why would not that make a good hymn?” “Maybe it would,” he said indif- Thursday, May 9. Wilderness Week at LeConte Convention ferently. Turning to my desk I penned the words of the Center, 2986 Teaster Lane in Pigeon Forge. We will play two hymn as fast as I could write. I handed the words to 1 hour programs at 1 PM and 3PM. Limit of 25 per slot. Lots Webster. As he read his eyes kindled, and stepping to to do while waiting to play. Sign up for one or both sessions. the desk he began writing the notes. Taking his violin, Contact Les Williams at [email protected] or 865-679- he played the melody and then jotted down the notes 7709 or Susan Gulley at [email protected] or 423-920- of the chorus. It was not over thirty minutes from the 0306. Sign up at Sign Up Genius. time I took my pen to write the words before two friends with Webster and myself were singing the Saturday, May 18. Mountain Laurel Fest at Courthouse hymn.”—Sanford Fillmore Bennett (1836-1898) Square in Wartburg. On stage from 10-11AM (limited to 10 players) and then playing under a tent until 3PM (unlimited Bennett was an educator and later a newspaper editor. players). Food and drink available around festival or bring He served as a Second Lieutenant in the Civil War for your own. Be there by 9:30 or by 11 if playing in tent only. the Wisconsin Volunteers. Upon return home he Contact Susan Gulley at [email protected] or 423-920- opened a drug store and graduated from Rush Medical 0306. Sign up at Sign Up Genius. College. It was in his drug store where the hymn was written.

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Dulcimer Daze Volume 29 Number 2

By Leah Reasor

Organology (from Greek: ὄργανον – organon, "instrument" and λόγος – logos, "study") is the science of musical instru- ments and their classification.[1] It embraces study of instruments' history, instruments used in different cultures, tech- nical aspects of how instruments produce sound, and classification. There is a degree of overlap be- tween organology, ethnomusicology (being subsets of musicology) and the branch of the science of acoustics devoted to musical instruments. (Wikipedia, 2019)

While most of us here have some understanding of the history of the lap dulcimer, it’s probably recent history. The as we know it didn’t really exist in Europe, and it was a unique development in situ here during the colonial era. The few remaining original dulcimers still around date back to 1880, when a Kentucky luthier, J. Edward Thomas, started making them. Anything earlier than that is educated speculation - that the orig- inal settlers to the Appalachian mountains did not have the tools or the expertise to build their native instruments here, and thus had to adapt the designs as they best remembered them. The result was the amalgamation of sev- eral different instruments of different European ancestry: the German , the Swedish , the Norwe- gian , and the French .

Langeleik

Epinette des Vosges Scheitholt Hummel

So what exactly is a German scheitholt? A Swedish hummel? A Norwegian langeleik? A French epinette des Vosges? And how did these instruments develop? What other instruments are they related to?

Just how connected IS the mountain dulcimer? Does it really have “cousins” all over the world?

The answer is – yes. Yes, it does. Our uniquely American lap dulcimer really does have relatives all over the world. The dulcimer “family tree” is a large one, with roots that go deep into the soil of history. As already stated, the lap dulcimer’s “parents” come from France, Germany, Norway, and Sweden. The epinette des Vosges is named after the mountain range in eastern France. The earliest known langeleik is dated to 1524, and was found at a Norwegian farmhouse in the 1980’s. The German scheitholt dates back to the early 14th century, and its name literally translates as “chip wood”, after the split-log firewood it resembled. The Swedish hummel means “bumblebee”, named for the drone string. As you can see, the resemblance to our beloved lap dulcimer is unde- niable. (Continued on Page 8)

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Dulcimer Daze Volume 29 Number 2

All of these instruments belong to the “fretted ” family. But what is a fret, and what is a zither?

For those of us who aren’t music-gurus, a fret is that flat, raised bar under the strings. The bar serves two purposes – to make it easier for the player to find the right note or chord, and to stay on pitch. But defining a zither isn’t so easy. As it turns out, a zither is not only an instrument, it’s also an entire family of instruments. The name “zither” is the Germanic version of the Greek cithara (from which we get our English guitar). Succinctly explained, the zither family is comprised of instruments that have multiple strings stretched across a thin flat body. The strings are acti- vated by hammers, strumming, or plucking (fingers or ), but the identifying characteristic of a zither is its lack of a neck. The instruments have only a sound box, but can have up to 79 strings.

The oldest surviving example to date is the Chinese , dated to 433 BCE. So perhaps it is the “prototype”, on which so many others are based. There is the Japanese , strung with silk, the Indonesian , the Middle East- ern , and even the valiha from Madagascar. But the instrument zither (as opposed to the Family Zither) looks a lot more like a . The concert and Alpine both have fretted fingerboards, while the chord zither does not

OK, so that explains zither. But what exactly is a cithara? Are they the same thing? And why are we using a deriva- tive of cithara, instead of some Anglicized version of guqin? Who gets to decide these things, anyway? All this and more, in our next issue . . . Stay tuned!!!!

Koto Siter

Guqin Valiha Qanum

Now for a word from our sponsors. Most information here was gathered from Wikipedia, unless otherwise noted. This humble writer won’t even try to pretend she has any prior knowledge or education on this matter - she just likes to surf the Internet.

ABOUT THE MUSIC –Blest Be The Tie That Binds By Les Williams

This hymn text was written by John Fawcett (1740-1817) in 1782. Fawcett was an ordained Baptist minister who was an author of both poetry and prose. He wrote over 166 poems which became hymns to follow his sermons. “Blest Be the Tie That Binds” is one of his most familiar hymns, and it is published in 2023 hymnals. The music is attributed to Hans Jo- hann Nageli (1773-1836) written in 1828. The tune is named DENNIS, and the version used in most hymnals was ar- ranged by Lowell Mason. The hymn is known as one of the most beloved farewell hymns.

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ABOUT THE MUSIC –All I Have To Do Is Dream By Les Williams

This is one of several tunes that we plan to do as a result of getting permis- sion from House of Bryant for KADC to play the Bryant’s compositions. A few of their over 6000 compositions are credited to only one of the Bryants. “Dream” was by only Boudleaux.

The best known recording of “All I Have to Do Is Dream” was by the Everly (L-R) Phil Everly, Wesley Rose, Boudleaux Bryant and Don Everly in early 1950’s Brothers in 1958 at Nashville’s RCA studios with Chet Atkins on guitar. I will focus on this month, and feature information about the Bryants in April when we do another one of their tunes. The Everly brothers (Isaac Donald “Don” Everly- B. 1937 & Phillip “Phil” Jason Everly 1939-2014) spent most of their childhood in Iowa where their parents sang on radio shows and the boys known as “Little Donnie and Baby Boy Phil” joined them and they performed as the Everly family. In 1953 the family moved to Knoxville and the boys attended West High School. Don graduated from West, but the family moved to Nashville after Don graduated. There is an Everly Brothers Park on Kingston Pike.

During their time in Knoxville, the Everly brothers got the attention of Chet Atkins. Atkins introduced the Everlys to Wesley Rose of Acuff-Rose publishers. (The publishing firm started by ) In addition to the huge hits with mu- sic written by the Bryants, the Everlys also wrote many of their own songs. Rose promised them a recording contract if they would sign with Acuff-Rose as songwriters. In 1957 they signed with Cadence Records and their recording of “Bye Bye Love” (Coming in April class) hit No. 2 on the pop charts behind Elvis, No. 1 on the country charts, and No. 5 on the R & B charts. This was their first million seller recording.

“All I Have to Do Is Dream” ranked 141 in Rolling Strone magazine’s 500 Greatest Songs of All Time list. The tune hit No. 1 on the Most Played, the Hot 100, and the R & B charts. It was even No. 1 on the U.K. charts for seven weeks. The song also received the Grammy Hall of Fame Award.

After three years with Cadence Records, the Everlys signed with Warner Bros. where they recorded for 10 years. Their records sold as many as 8 million copies of some tunes, and by 1962 they had earned $35million from record sales. Their sales and popularity in the United Kingdom continued to flourish also.

The Everlys had ups and downs including a dispute with Wesley Rose that complicated their work, personal disagreements between the brothers, a period of separate solo work, and drug addiction. Despite all of the problems, their success and influence on the music scene was tremendous. The Beatles referred to themselves as “the English Everly Brothers” and give them credit for much of their influence and success. The brothers had 35 Billboard Top 100 singles and hold the record for most top 100 singles by any duo. They were among the first 10 inducted into the Rock and Roll Hall of Fame, and were awarded the Grammy Lifetime Achievement Award as well as Country Music Hall of Fame induction. Their writing, recording, and performing was well known and well respected by many professional musicians and in many styles of music.

As a courtesy for our KADC members, we are including the registration form for Rick Thum’s 4th Annual Townsend A to Z’s of Hammered Dulcimer session which will be held in March. This is not a club-sponsored event.

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Dulcimer Daze Volume 29, Number 2

UPCOMING DULCIMER EVENTS... KADC 2019 DATES

Hammered Dulcimer Workshop Cookeville, TN—February 28th-March 2nd February 24th—KADC Meeting For more info: [email protected] March 24th—KADC Meeting

20th Annual MidWinter Dulcimer Festival April 28th—KADC Meeting Shelby, NC-March 2nd LeGrand Center May 26th-KADC Meeting For more info: www.jcdulcimer.com June 23rd-KADC Meeting Lagniappe Dulcimer Fete July 28th-KADC Meeting Port Allen, LA—March 7th-10th West Baton Rouge Community Center August 25th-KADC Meeting For more info: www.lagniappedulcimerbr.org September 14th-KADC Picnic Mountain Dulcimer Workshop with Brett Ridge- way September 22nd-KADC Meeting Midland, NC-March 23rd October 27th-KADC Meeting For more info: www.brettridgewaymusic.com

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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