I'm a mountain dulcimer player and teacher living in Athens County, Ohio and sometimes in Wooster, Ohio, which is in Wayne County. I also build custom mountain dulcimers and develop instruction books and audio for learning how to improve your playing.
These charts go along with a little composition project we’re doing currently. I asked my newsletter subscribers if anyone wanted to do their own version of my Light Into Darkness and Tapping at the Edge of Paradise compositions, and there was a very healthy response. So here are the reference charts in the order that you play the chords.
This Aussie comedy act is really amazing. Butch Ross told me about them in 2007 or 2008, when I was obsessed with my little four chord circular progression D – A – Bm – G… that I used for Light Into Darkness, Tapping at the Edge of Paradise, and Tapping Into The Light on electric dulcimer. I just found more and more melodies that went with these chords – and bass lines with chord inversions to make it WAY more interesting.
Now in 2017 it seems like new ideas are again coming forward when I mess with these chords. I even have a more detailed version now, with sub-cycles of chords on each of the four main chords.
Most of the work I’ve done directly on the mountain dulcimer, but its fun with guitar, keyboard (which I can barely play!), or whatever chording instrument is nearby.
So even if the mountain dulcimer is your main instrument, why not play around on a piano or little electronic keyboard and see what happens? I usually resort to the white keys when I work with keyboard, so in C you have: C – G – Am – F. Good luck and let me know how it goes for you!!
Ever since I first got acquainted with the mountain dulcimer in 1970, I have been fascinated by the variety of textures available when strumming across all the strings at once, or picking individual notes. The type of material that is used in a pick has a lot to do with the texture of the sound you get, and the flexibility is also an important factor.
In a general sense, I tend to use very flexible picks when strumming across all the strings (like the thin triangles above), and medium-to-thin picks when I want some individual notes and some strums here and there (like the nylon .60mm or .73mm gray picks above). If I’m playing arpeggios I tend to favor really chunky, massive picks like the black nylon or the 1.14 Ultex.
There are some radically different new materials now in picks: some of the black picks above with “COOL” written on them have a very rubbery feel and there is no click whatsoever. Sometimes this is exactly what I’m looking for. Other times I need more high end and more of the traditional dulcimer sound, and I go for the red Herdim picks or the round “pointless” picks (the red ones are the thinnest). I LOVE these round picks! Here is the link where you can order a trial pack:
Most picks aren’t expensive, and the smaller music stores do MUCH better than the big chain stores as far as selection and ability to get your hands on the picks. Go wild and buy a whole bunch of picks made out of completely different materials. Get some real soft super-thin strumming picks, get some medium nylon or tortex, and try a variety of materials in the thick chunky style.
Due to some extreme family pressures, it has been next to impossible to get any of my handmade dulcimers built. Now that seems so be changing some, in that I have a few instruments on hand, and I’m hoping I can continue in this rhythm for at least the next two or three months. Let me know if there is something you are interested in or if you’d like some pricing info — email is jcrockwell – the “at sign” – gmail.com (you know the deal- no spaces: everything run together)
North Carolina Hourglass (NCH model) with cherry back, sides, and fingerboard with spruce top. 26″ nut-to-bridge string length