Tag Archives: music theory

D – A7 – Bm – G chord charts

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I’ve been doing this kind of chord reference chart for the mountain dulcimer since about 1975, and I’m still trying to figure out the best way to render them on the web:

Light_Into_Darkness_Charts_3

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.

Axis of Awesome!

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Four Chords for a mess of pop songs!

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!!

The Dulcimer Capo and How It Works

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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:

It seems to me from the depth of your questions that you truly “get it” with the capo on a dulcimer: when you are tuned DAD, you are in D Major open in (also known as D Ionian, but I’m talking about the mode across the fingerboard and NOT the DAA tuning!). If you put the capo on 1, this shifts everything up a whole step to an EBE dronal environment, and the dulcimer frets — particularly across the fingerboard — give you E dorian.
On the piano keyboard, if you play a D Major scale in the right hand and put a DAD drone in the left, you have the Ionian or major…… if you then play up the D Major scale from E to E, and put an EBE drone in your left hand, you will have an E Dorian environment on the piano analogous to what happens with the capo on the dulcimer!
Now think about what a guitar capo does. If it doesn’t create a massive migraine headache for you, you’ll notice that the chromatic frets of the guitar do NOT suggest any modal environment when you put the capo two frets up (a whole step for the guitar). Sometimes I think of the diatonic fretting as a FILTER.
The other main advantage of the capo (in a tuning like DAD), for me, is the fact that chords indigenous to the mode are everywhere, and ALL notes fit the mode!!! When you go into one of the traditional modal tunings for the dulcimer — like DAC “Aeolian” or DAG “Dorian” — your pure mode notes are to be found mostly on the melody string. The other two strings contain MANY notes borrowed from other modes. This makes it hard to do pure modal chord progressions like the ones I feature all the time.
If you have any thoughts or questions on the topic of dulcimer capos, let me hear from you: