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or
Dulcimers Should be Heard and
Not Seen
By Cliff Moses
St. James's Gate
San Antonio, TX
Cliff's Web Site: www.geocities.com/~cliff_moses/
There is much to be gained in playing style by listening
to what you play rather than watching what you play. As patterns of growth in dulcimer playing, almost all of us
started out by staring intently at the dulcimer, watching every string we
struck. I remember many times having my
contacts dry out because I was so intent on watching what I was playing, that I
wasn't blinking. Then comes the day
when you rise to the plateau of looking in areas rather than at each string;
remember how that tended to smooth out the melody lines? Even catching the occasional base string
without looking over there.
There is another significant plateau in playing when the
hearing becomes the primary sense rather than the eye. Then the intonation and phrasing become more
apparent. You can even hear the other
people with whom you are playing better and develop a better sense of balance
of volume and style. You can answer
questions while playing. And if the
lights go out, you can still finish the tune.
But, how can one develop the sense of hearing? The trick is to get rid of the visual
crutch, i.e., learn to play without looking.
Like most learning processes, the secret is to gain
confidence at a comfortable pace. Start
by alternating hammers on one string while you look away. Remember to listen! Then move up one string without
looking. If you make a mistake, listen
and determine how to correct it without looking. Move up another string, then back down, and back down again to
the original string. Do this again only
go up further to increase your zone of confidence.
Next try short runs of notes, e.g., 3 notes:
G-A-B-A-G-A-B...; then 4 notes: G-A-B-C-B-A-G...; then 5 and 6 notes. Now work on a scale which forces you to
cross over the bridge.
Now try thirds, i.e., notes which are two strings
apart. Try G-G-B-B-G-G-B-B... Then G-B-D-B-G-B-D-... Then G-B-D-G'-D-B-G... (where G' is the
octave).
The object is to gradually build up your zone of
confidence at a pace you're comfortable with.
Next try short patterns that you find in favorite
tunes. For example in jig time,
CAAEAA-CAAEAA-BGGDGG-BGGDGG... and repeat ad nauseam, where the E and the D are
played on the left side of the treble bridge.
This is the starting pattern for the Dancing Master or Swallowtail
Jig.
The Humors of Tullah is a short reel with good practice
patterns that repeat on themselves. The
"A part" has only four measures and involves only six notes;
moreover, the left hand stays on the same note, D, except twice, providing a
convenient reference point. Start with
just the first measure, over and over.
Then learn just the second measure and repeat. Now put them together and repeat. The third measure is the same as the first so all you have to do
is learn the fourth to extend the pattern to four measures and that's the whole
"A part". Follow the same
method to learn the "B part" and you'll have a whole tune you can
easily play without looking and begin listening to. How's the musicality and rhythm?
You're on your own.
Try familiar tunes, starting with small phrases and working up. Remember, take it slow and don't worry about
mistakes; instead, try to listen to them and make corrections without
looking. I think that as you work with
this, over a period of time you will find yourself listening to the music more
even if you are looking at the dulcimer.
Now if I could onluy learrn too tipe withouout lokking....