This one started life as “Skip’s Round” in 2015, and the ambient and ethereal takes became “Skip’s Heavenly Round” and now we have the new “Lullaby for a Starry Night” – which is quite similar to those more ambient versions.
Here is some instruction on how to play along with my tunes Salisbury Frost, Canterbury Dreams, and Somerset Dreams (the last two are newer tunes which evolved from the original). At Patreon, we’re doing a lot of stuff like this month after month.
My last album, The Singing Messenger, was released November 15th, 2016. Since then I’ve been busy with a Winter-themed album (which is still in process), and this brand-new EP entitled Starlight Variations.
This new EP will be available in all the major streaming platforms and at Bandcamp on September 15, 2018. Until then, you can hear some of the tracks right here:
What is the sound of paradise? It is of course impossible to get a precise answer to that question. But I think that Jerry Rockwell on his new album Tapping at the Edge of Paradise has found a unique, almost heavenly sound. It is beautiful beyond words, and a worthy follow-up to 2013’s Nine Meditations for Dulcimer – (BT Fasmer from his review)
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)
This time we’ll have a go at some variations on Twinkle, Twinkle, Little Star. I’ve been improvising over this one for decades, and it’s always fun. When you’re doing variations on a well-known folk melody like this, the process is a little “tighter” than improvisation: you are working with some of the main pitches that the original melody has, but you are connecting them with passing tones, sometimes moving them around a bit in the measure, and sometimes going up or down a 3rd (two frets on the dulcimer) for a bit of harmonic color.
Before we get to the two full variations on the pdf, I’d like to show you a little bit of the process I use — with just the first two measures in TAB on the melody string (tuning DAD):
one possible variation:
So it’s not really that hard: you just keep some of the main notes in place where they should be and throw in a few different ones of your own choosing—connect a few notes of the original with eighth-note connectors. Try it!! The sky’s the limit, really…..see what you can come up with!
Here are my two 12-bar variations in music and TAB, with a blank second page so you can continue on your own. Try playing this as slow and dreamy as you can:
Mary and I are about to sample the splendor of at least two of the Finger Lakes near Penn Yan in upstate New York. Tomorrow we will arrive in Latham, NY for the 39th Cranberry Dulcimer and Autoharp Gathering. I will be teaching three workshops and also doing a featured concert set on Saturday night. If you are in the area, please check it out: it is a great festival with a long and wonderful history, and this year there are so many great workshop leaders:
Dulcimer capos are interesting devices, because they work very closely with the modal nature of the mountain dulcimer’s mostly diatonic fretboard. I had an GREAT question from one of my email newsletter subscribers recently:
“I am intrigued by the notion of using a capo on my dulcimer as you mention in your recent post. As far as I can make out, this enables you to achieve the melody scale for Dorian mode without retuning? Isn’t that the tuning for Shady Grove and Pretty Polly? Is there any other advantage to using a capo? Since by using it you are raising the entire instrument by one whole step, that gives Eminor. I’ll have to try it.”
Here is my response:
One Life 4/4 Study
Here is a great chord progression I’ve been working with for almost a decade:
Bm / / / | / / / / |D / / / | / / / / |G / / / |D / / / |A / / / | / / / / :||
I call it the “One Life” progression, but you can call it Fred or Marjorie if you want!! It is one of those extremely hypnotic, mesmerizing progressions that I can play all day and never get bored.
Over the course of time, I have written many different sorts of melodies to go with the One Life progression: waltzes, hornpipes, shuffles, bluesy jams, jigs, and more. This one, though, is a short quasi-classical study which has an upper melody part (which we’ll have this time), and a lower bass part (which we’ll probably get to soon).
Here is the music and TAB for the upper melody:
If you play a little keyboard, try the melody part and see what happens (even I can play this one, and my keyboard chops are very minimal). On your dulcimer, you might try filling in the bare-bones single-string melody with a chord tone here and there–that’s why I put the chord symbols on top! Have fun with it and let me know how it works for you, OK?
The Challenge From 2 Weeks Ago
Here’s the challenge from the last newsletter: take this same progression (the Cabbage Chords) (you can put it in 4/4 time if you want), and try ascending bass lines. Did you have a chance to try this?
Happy Pickin’ – Spring is J U S T a b o u t H E R E !
Here are a few 32-bar arrangements of a little country waltz I wrote in the last week. The first one is in D out of DAD tuning, and the second one is in G, while still in DAD (with no capo). These are both bare-bones arrangements, though the one in D has more fills added on the TAB, but not in the music itself. The one in G is really bare-bones, allowing you to use your imagination with what you might add.
I’m curious about what other dulcimer players and builders think about the whole range of dulcimer-like diatonic instruments that you basically strap on and play underneath like a guitar. There are some interesting new instruments that have gotten on my radar recently:
…and of course the well-known McNally Strumsticks, which have been around for a LONG time:
…and then the Olympia Dulcimer Company with their “walkabout” dulcimers (I have a bit of a problem with these very mandolin-like instruments being called dulcimers, but then, I’ve heard they sound great, so what the hey?):
Speaking for myself, since I still play the guitar, mandolin, and uke, I generally go to them for a play-underneath experience, though I ‘m not so sure I like the idea of having missing frets! I think I’m so used to the full chromatic range of fretting on these instruments. Everyone is different though, and these kinds of preferences are what makes life interesting.
What do you think about these “play-under” diatonic instruments? Do you think guitar players would be more likely to play one of these than learn the dulcimer in the traditional over-the-top lap style….if they were looking for something unique and folky?