J.C. Rockwell Music PublishingGuysville, Ohio

Jerry ROCKWELL

MUSIC THEORY& CHORD REFERENCE

for the

MOUNTAIN DULCIMER

The author:Jerry Rockwell began a career as a jazz and rock guitarist at fifteen; hearing the mountain dulcimeron a recording by Richard Fariña changed his life. He has been teaching, recording, writing about,composing for, performing with, and building mountain dulcimers since the early 70s.An Ohioan transplanted from New York by way of Vermont, Jerry graduated in music from The OhioState University. He believes that studies in music theory, composition, tunings, and temperaments arethe basis for growth as a musician; he encourages and challenges dulcimer and guitar students in classesat home and around the US.

RecordingsMountain Dulcimer and Psaltery Instrumentals, Traditional Records,1979Dulcimer Dreams, Traditional Records, 1983Little Maggie, J.C. Rockwell Music, 1987Into the Fever Rain (with Niles Hokkanen), Mandocrucian, 1990Favorite American Folktunes, J.C. Rockwell Music, 1991Improvisations for Dulcimer, Guitar, and Other Stringed Beings, J.C. Rockwell Music, 1991The Blackbird and The Beggarman, Wizmak Productions, 1994; J.C. Rockwell Music, 1999

PublicationsTwelve Traditional Tunes, Green Mountain Dulcimer Horizons 1977; Crying Creek 1977Chordal Explorations, Green Mountain Dulcimer Horizons 1978; Crying Creek 1979The American Dulcimer, Backyard Music, 1984The Blackbird and The Beggarman (Tunebook), Mel Bay Publications, 1998

Published by J.C. Rockwell Music:Dulcimer Solos, 1986, 1994, 1995Basic Fingerpicking for Mountain Dulcimer, 1990Music Theory & Chord Reference for Mountain Dulcimer, 1994, 1995The Mountain Dulcimer: A short history and buyer’s guide (pamphlet), 1994Beginner’s Tunebook: Familiar folktunes arranged for mountain dulcimer, 1996Dulcimer Solos Volume 2, 1997

Acknowledgements:Music notation and examples: Jerry RockwellTypesetting, page design, cover, and graphics: Mary LautzenheiserCataloging-in-Publication: Elizabeth Anne Salt

J.C. Rockwell Music6898 State Rt 329, PO Box 79Guysville, OH 45735-0079740-662-3011

JCR560. Manufactured in the USA.

© 1994, 1995 by Jerry Rockwell. All rights reserved.No part of this publication may be reproduced or transferred in any form or by any means,electronic or mechanical, including photocopy, recording, or any information and retrieval system,without permission in writing from the publisher.

Publisher’s Cataloging-in-Publication DataRockwell, Jerry.

Music theory & chord reference for the mountain dulcimer / Jerry Rockwell.p. cm.ISBN 0-9647222-1-61. Appalachian dulcimer—Instruction and study. 2. Appalachian dulcimer—Methods.

3. Music—Theory. I. TitleMT654.A7 R63787.7—dc20

SECTION ONE Music Theory: RudimentsRhythm notation ...............................................................................................................................1

Elements of a note ............................................................................................................................ 1

Dotted note values ............................................................................................................................ 1

Meters ............................................................................................................................................... 2

Time signatures and measures .......................................................................................................... 2

Pitch names: the musical alphabet .................................................................................................... 2

Staff .................................................................................................................................................. 2

Treble and Bass Clef ........................................................................................................................ 2

Grand staff and names of notes ........................................................................................................ 3

Locating notes on the staff ............................................................................................................... 3

Leger lines ........................................................................................................................................ 3

Octave ............................................................................................................................................... 4

Accidentals ....................................................................................................................................... 4

Enharmonics .....................................................................................................................................4

Whole Steps and Half-steps: Major scale pattern ............................................................................. 5

Whole Steps and Half-steps on a mountain dulcimer ...................................................................... 6

Building the Major scale .................................................................................................................. 7

Using the Circle of Fifths ................................................................................................................. 8

Fifths .................................................................................................................................................8

Key signature .................................................................................................................................... 8

Major keys—sharps .......................................................................................................................... 9

Major keys—flats ........................................................................................................................... 10

Scale building exercises .................................................................................................................11

Minor keys ...................................................................................................................................... 12

Relative keys .................................................................................................................................. 12

Parallel keys ....................................................................................................................................12

Enharmonic keys ............................................................................................................................ 12

CONTENTS

Scale categories ..............................................................................................................................13

Chromatic ....................................................................................................................................... 13

Diatonic ..........................................................................................................................................13

Major .............................................................................................................................................. 13

Minor .............................................................................................................................................. 13

Mode system................................................................................................................................... 14

Whole-tone scales ........................................................................................................................... 14

Pentatonic scales ............................................................................................................................. 14

Intervals ..........................................................................................................................................15

Interval quality ................................................................................................................................ 15

Chords: Triads, Sevenths, Dominant Seventh ................................................................................ 16

Scale-tone Triads ............................................................................................................................ 17

Chord Inversion ..............................................................................................................................18

Scale-Tone Triads in D Major: tablature ........................................................................................18

SECTION TWO Chord ReferenceChord Reference ............................................................................................................................. 19

Fingerboard Surveys: Pitch, Interval, and Constellation ................................................................ 20

D Major chord reference ................................................................................................................ 20

D Major chord tablature ................................................................................................................. 21

G Major and A Major ..................................................................................................................... 22

A Seventh ....................................................................................................................................... 24

B minor and E minor ...................................................................................................................... 26

F# minor ......................................................................................................................................... 28

Chord progressions .........................................................................................................................30

Bile Them Cabbage ........................................................................................................................30

Stretched Cabbage .......................................................................................................................... 30

Liberty ............................................................................................................................................ 31

Rickett’s Hornpipe.......................................................................................................................... 31

Soldier’s Joy ................................................................................................................................... 32

Fisher’s Hornpipe ........................................................................................................................... 32

12-Bar Blues in D ........................................................................................................................... 33

12-Bar Blues in A ........................................................................................................................... 33

APPENDIXUnderstanding the Modes ............................................................................................................... 34

Tuning into the Modes.................................................................................................................... 34

Marker tunes ................................................................................................................................... 35

Locations of the Modes on a traditional Mountain Dulcimer ........................................................36

1

Either flags or beams can be used for eighth notes and shorternotes, with each flag or beam cutting the value of the note in half.Three flags make a thirty-second note, four flags a sixty-fourthnote, etc. To make sight reading easier, beams are used insteadof flags to link the notes into a unit equaling a beat or a measure.

Rests are signs for silence, with each rest equal in duration to itscorresponding note.

A dot placed after a note increases its time value by half.

A measure or bar is the basic time unit or metric group.Measures are separated by bar lines. In common time (the meterwhich is the basis for the system) a whole note fills a measure offour beats, but any combination of notes which equals four beatscan be used in a measure.

j k kr ö

q q .QuarterNote1 beat

HalfNote

2 beats

h h .Dotted

Quarter Note11⁄2 beat

DottedHalf Note

3 beats

1 2 3 4

1 2 3 4

1 2 3 4

1 and 2 and 3 and 4 and

1 ee & a 2 ee & a 3 ee & a 4 ee & a

wh h

q q q qee q q q q q q

xxxx q q q q q q q q q q q qSixteenth Rest1⁄4 beat

Eighth Rest1⁄2 beat

ä≈

Dotted Note Values

FourQuarter Notes

One beat each

EightEighth Notes

1⁄2 beat each

SixteenSixteenth Notes

1⁄4 beat each

TwoHalf NotesTwo beats each

OneWhole Note

Four beats

Elements of a Note:

Beams

Flags

Stem and Note Head

Half Rest (above line)Two beats each

Whole Rest (below line)Four beats

Quarter RestOne beat each

Î

Rhythm Notation The entire system of music notation in use today is based on a whole note w, which normallyoccupies a whole measure of four beats. By adding various devices to that note, we can halve itsduration, resulting in smaller note values.

Note ValuesRests

MUSIC THEORY

ONEThe entire first section of this book is devoted to the rudiments of music as they relate to any instrument.The piano keyboard is constantly used as a reference. Using any keyboard instrument (even a smallelectronic keyboard) in conjunction with this section will allow you to hear the examples, greatlyaiding your overall comprehension. In fact, 99 percent of understanding musical concepts involvestraining your ear to identify correctly various intervals, chords, and scales. Once you can do this, youare beyond the theory stage and well into the application stage, which may take the form of arranging,composing, or improvising.

2

Time Signature and MeasuresMeters

Duple meter

or (Common time);

or (Cut time);

4 c42 C 22 43 3 34 8 2Triple meters

(Waltz time); ;

Compound meters include:6 6 9 128 4 8 8

ClefAt the beginning of each staff of music is a symbol called a clef.

The treble or G Clef circles the line corresponding to the note G:

=====The bass or F Clef indicates the line corresponding to the note F (the dots are just above and justbelow the line corresponding to F):

=====

44 w h . q q q h h hTime signature Tie Double bar

Measures

The meter of a piece can be indicated by a time signature. This appears on the staff at the beginningof a piece of music, and has two numbers, one above the other. The top number tells the numberof beats in a measure, and the bottom number tells what kind of note receives one beat.

A tie is used to connect two notes of the same pitch across a bar line. The notes are soundedcontinuously, as though they were one note.

A double bar indicates the end of a piece or section.

Repeat a piece or section ending with a repeat sign or enclosed by repeat signs.} }}

Pitch names…the musical alphabet.The seven letters of the musical alphabet are the notes A through G. You never get to H!

StaffNotes are written on the lines and spaces of a five-line staff.

=======Vertical barlines divide the staff into measures (groups of beats).

l===l===l==

w w w

Rudiments

&

?

3

The Grand Staff and Names of the NotesWhen the treble clef staff and bass clef staff are joined with a bracket,they are known as the grand staff.

||||l=============|ll=============

§ê

&?

§ê

C B A G F E D C B A G F

w w w w w w w w w w w w

wwwwwwwwwwwwC D E F G A B C D E F G

Treble clef staff with notes in place on lines and spaces, starting with Middle C and rising (getting higher) in pitch.

Bass clef staff with notes in place on lines and spaces, starting with Middle C and falling (getting lower) in pitch.

§ê

||||l===========|ll===========

§ê

&?

wwww

Every Good Being DeservesFavor

Good Boys Do Fine Always

F A C E

All Cows Eat Grass

||||l===========|ll===========wwww

& cl============www

Remembering the names and locations ofnotes on treble and bass clef staves is easyif you associate them with these phrases.

RIGHT:Notes that are located on the lines of thestaff, starting with the lowest line.

Notes that are located on the spaces of thestaff, starting with the lowest space.

Leger lines are used to extend the staffabove and below the basic five lines andfour spaces.

||||l====================|ll====================&?

&?

wwwww

wwwww

wwww

4

l====================& wwwwwwwwwwwwC D E F G A B C D E F G

C D E F G A B C D E Pitch name

C-to-C octave (c-c') on a keyboard

C-to-C octave (c-c') written on treble clef staff

C-to-C octave (c-c') on a keyboard

C D E F G A B C D E Pitch name

Accidentals (Symbols)

Flat lowers the pitchby one-half step:b

Sharp raises the pitchby one-half step:#

Natural cancels other instructions, leaves

pitch unaltered:nDouble-flat lowers the pitch

by two half-steps:b bDouble-sharp raises the pitch

by two half-steps:# # or Ü

b w# wl======l=====w# wD# / Eb B# / C&

OctaveAn octave—the interval between two tones that share the same letter name—is one of the basicstructures of our western music system.

Our western octave actually contains 12 available musical tones. They include thefamiliar seven basic notes of the seven white keys on a keyboard, plus an additionalfive tones (corresponding to the five black keys). Each of these five tones fall betweenwhite keys, and are pitched one-half step above the key to the left (sharp) or one-halfstep below the key to the right (flat ).

Accidentals are the symbols which indicate that one of the seven notes has been alteredby making it sharp or flat.

Enharmonics are two notes which sound identical, but which are (musically)spelled differently:

C# D# F# G# A# C # D#Db Eb Gb Ab Bb D b ␣ E b Sharps/Flats

5

Whole steps and Half stepsThe distance (interval) between two tones is measured in steps. The half-step (semitone) is thesmallest increment of interval measurement in traditional western music. Two half-steps give awhole step (whole tone).

Our octave contains 12 half-steps.

C-to-C octave (c-c') written on treble clef staff, showing all 12 available tones in consecutive,ascending order. Each pitch is one-half step from its next neighbor. This particular configura-tion is known as the chromatic scale (see Scale Categories). When written in descending order,the accidental tones would customarily be translated into flats, rather than sharps.

A scale is any consecutive arrangement of pitches. The major scale pattern, shown below, ofwhole steps and half steps is important to memorize and to use as a measuring stick of musicalrelationships or as a template for building major scales in any key. Whole steps are shown ascurved ties; half steps as a V-shape.

ll=====================& C C# D D# E F F# G G# A A# B C

Major Scale pattern of whole steps and half-steps:

c d e f g a b c'

W W H W W W H

C Major scale (c-c'), showing the pattern:

c d e f g a b c'

W W H W W W H

D Major scale (d-d') starts on a different note, but is built with the same pattern:

d e f# g a b c# d'

W W H W W W H

C D E F G A B C

W W H W W W H

W W H W W W H

D E G A B D

Major scale patterns found on a keyboard:

Left, C Major scale, c-c'

Below, D Major scale: d-d'

C#

www # ww # ww # www # ww # w

F#

6

Whole and Half-steps on a Mountain DulcimerWhole and half-step patterns are actually much easier to recognize on the fingerboard of amountain dulcimer than on a keyboard. The wide and narrow intervals between frets corre-

spond directly to whole and half-step pitch intervals. The intervals are readilyapparent even when the pattern gets proportionately tighter, toward the higherpitches around fret 14. Keep in mind, as shown below, that many modern(post-1940 revival era) dulcimers may have one or more “accidental” frets.The most common extra fret is 61⁄2 (6+), sometimes occurring with 131⁄2; andoccasionally, a 11⁄2 fret may be seen.

Mountain Dulcimer FingerboardsHere is a fingerboard chart for a traditional dulcimer (a pattern that does NOT includethe 6+ or “extra” fret), showing the pattern of whole steps and half steps. The nut at thebeginning of the fingerboard is marked 0; the open string sounds that tone.

W W H W W H W W W H W W

Fret 0 1 2 3 4 5 6 7 8 9 10 11 12

W W H W W H H H W W H W W

Fret 0 1 2 3 4 5 6 6+ 7 8 9 10 11 12

Below: A common fingerboard pattern of today includes a 6+ or 61⁄2 fret.

Bass

Middle

Melody

Bass

Middle

Melody

W W H W W W H

0 1 2 3 4 5 6 6+ 7 8 9 10

W W H W W W H

0 1 2 3 4 5 6 6+ 7

W W H W W W H

0 1 2 3 4 5 6 6+ 7 8 9 10

E F# G A B C# D

DAD

B C# D E F# G A B C# D

DAA

CGG A B C D E F G A B C

Major Scaleson the melody string

of a Mountaindulcimer

TOPC Major scale

Open tuning CGG

RIGHTD Major scale

Open tuning DAA

BELOWD Major scale

Open tuning DAD

Look again at theMajor scale

template above.

W W H W W W H

Major scale Template

*

7

Building the Major ScalesWhen you play from middle C to C one octave higher (c-c') on the white keys of the piano, youhear the familiar “do-re-mi-fa-sol-la-ti-do” which is a MAJOR SCALE.

In this example, C is “do” (the 1st degree of the scale),so we’ll call this scale a C Major scale.

Memorize the Major scale Whole and Half-step pattern, because it remains constant for anymajor scale.

C Major scale on the white keysof the piano keyboard, startingon middle C.

No sharp or flat notes occur inthe C Major scale.

SCALE DEGREESOLFEGE

STEPS

*

SCALE DEGREESOLFEGE

PITCH NAME

STEPS

^ ^ ^ ^ ^ ^ ^ ^1 2 3 4 5 6 7 1do re mi fa sol la ti do'

c d e f g a b c'

W W H W W W H

C D E F G A B C

W W H W W W H

W W H W W W H

Major scale, showing the pattern (carets designate scale degree numbers)^ ^ ^ ^ ^ ^ ^ ^1 2 3 4 5 6 7 1do re mi fa so la ti do'

W W H W W W H

======================= l& c C Major: All natural notes (no sharps or flats)

w_ w w w w w w w

8

5 flats D b B 5 sharps

3 flats E b A 3 sharps

D 2 sharps2 flats B b

4 flats A b E 4 sharps

TheCircle of

Fifths

No flats C No sharps

G 1 sharp1 flat F

6 flats G b/F# 6 sharps

Using the Circle of FifthsThe Circle of Fifths is a wheel-like diagram around which, with C at the top, thetwelve tones of the western octave are arranged so that the intervals and other relationships

between keys are easy to see.

FifthsAn interval is a specific distance between two pitches—between

one pitch and a second, higher, pitch. A fifth is an interval thatencompasses five letter names, including both the first and

last. The interval between each succeeding pitch on the righthalf of the circle, moving clockwise from C, is a fifth. Forexample, the interval from C to G is a fifth because of thefive letter names it encompasses: C, D, E, F, G. The fifthbetween G and D includes G, A, B, C, D.

KeyEach tone around the Circle of Fifths can be used as the1st degree of a Major scale (“do”). The first scale degree

always determines the key or tonality of a scale.

Sharp Keys and Flat Keyson the Circle of Fifths

The C Major scale is the only major scale that has no sharps or flats.The other major scales require sharps (the keys on the right half of the Circle

of Fifths) or flats (keys on the left half of the Circle of Fifths). The number of sharps or flatsneeded for the scale is listed next to its key on the Circle of Fifths. Moving clockwise around thecircle from C, the number of sharps needed for each key increases. Moving counterclockwise,the number of flats needed increases.

Key signatureA key signature is always indicated at the beginning of a piece of music, and displays all thesharps or flats for that particular key. For example, in the Key of G (1 sharp) all “F” notes in alloctaves throughout the piece will be played as F#—unless the sharp is cancelled temporarily by anatural sign n before the note head. Sharps or flats in a key signature are displayed on the lines ofthe staff where their notes are written. The keys of C Major and A minor display only a clef—theyare the only keys written without sharps or flats.

C to G:

G to D:

D to A:

A to E:

E to B:

B to F#

G b to Db:D b to A b:A b to Eb:Eb to Bb:B b to F:

F to C:

— — — — —

— — — — —

— — — — —

— — — — —

— — — — —

— — — — —

— — — — —

— — — — —

— — — — —

— — — — —

— — — — —

— — — — —

4ths 5thsÒ Ç

Travelling clockwise around theCircle of Fifths, and using themusical alphabet at the bottom ofthe page, show the letter namesincluded in the fifths, withaccidentals when appropriate: & b & bb & ##

& # & bbbbb & bbbb & bbb & #####

& #### & ###

F

B bEbA bD b

G

D

A

E

B

===& & ###### & bbbbbb

C

G b or F#

MajorKey

Signatures

C D E F G A B C D E F

9

On a copy of the C Major scale, count up 5 notes (a fifth) from C to find G, the 1st degree (do) ofthe G Major scale, and find the G an octave higher, the end note of the scale. The new G scale inprocess does not conform to the W-W-H-W-W-W-H pattern; it will be necessary to reverse thetwo final steps: changing H-W to W-H. This can be done by adjusting the F up one half-step to F#(raising the 7th degree of the scale).

The corrected draft of the scale goes from G to G', conforms to the whole and half-step pattern,uses all of the seven musical letter names consecutively, and has the one sharp it requires.

The correct key signature for G is at the beginning (1 sharp in the F position), so the sharp symbolis understood and is not needed throughout the piece. Rewrite the G Major scale in its final form.

The D Major scale is built on a copy of our new model, the working draft of the G Major scale.Start at D, a fifth (five notes) up from G. Again the result doesn’t match the Major scale template.

The last two steps again need to be reversed: changing H-W to W-H. Raising the 7th scale degreewill change the C to C#, and produce a correct D Major scale with 2 sharps (F# and C#).

The staff below, with its D Major key signature in place, is ready for the polished final rewrite.The working draft of the D Major scale (fig. 5) will become the new model for an A Major scale.You will need to raise the 7th scale degree and add a sharp again; and make exactly the sameadjustments for E, B, and F# Major scales, proceeding clockwise around the Circle of Fifths.

Modeling the Major ScalesWe will build all the major scales displayed around the Circle of Fifths, using the CMajor scale as a model. At the one o’clock position on the circle, the G Major scalestarts, a fifth (5 notes) up from C. Starting with a copy of the model C Major scale, wewill modify it as necessary. The G Major scale must start at G and end on G an octavehigher, and its whole and half-step pattern must be correct.

W W H W W W H

Major Scale Template

G Major l& w w w w w w w# w

Major Keys—Sharps & #

G Major starting with D (five notes up from G)

Must raise 7th degree

l& w w w# w w w w w

D Major l& w w w# w w w w# w & ##

===================l

C Major starting with G (five notes up from C)

must raise 7th degree of scale

l& w w w w w w w w▼

▼

1.

2.

3.

4.

5.

6. ====================l

======================= l& c w_ w w w w w w w

10

F Major l& w w w wb w w w w

More Major Scale-BuildingThe keys that use increasing numbers of flats in their key signatures are found movingcounterclockwise around the Circle of Fifths. Beginning again at the C Major position(twelve o’clock) point, moving counterclockwise, the distance between each tone andits next higher neighbor is a fourth .

C Major starting with F (four notes up from C)

must lower 4th degree of scale

l& w w w w w w w w & b

7.

8.

9.

10.

11.

12.

F Major starting with B-flat (four notes up from F)

must lower 4th degree

l& w_b w_ w w w w w wb

B-flat Major l& w_b w_ w wb w w w wb & bb

===================l

W W H W W W H

Major Scale Template

Major Keys—Flats

Counting the notes counterclockwise around the circle, each interval encompasses four letternames, including both first and last. The fourth from C to F includes C, D, E, F. The fourth fromF to Bb includes F, G, A, B.

Starting with a copy of the model C Major scale, we will modify it and make a new set of adjust-ments to build on a series of Major scales in key signatures that require flats. The F Major scalemust start at F and end on F an octave higher, and its whole and half-step pattern must be correct.Once the F Major scale has been finalized, we will use it to build a Bb Major scale, and so on.

On a copy of the C Major scale, count up 4 notes (a fourth) from C to find F, the 1st degree (do) ofthe F Major scale. Notice that the whole and half-step pattern does not match that of the Majorscale template. The W-W-W-H-W-W-H pattern that results must be corrected to puta half-step between scale degree 3 and 4, and a whole step between 4 and 5.The 4th scale degree must be lowered.

The corrected draft of the scale goes from F to F', conforms to the whole and half-step pattern,uses all of the seven musical letter names consecutively, and has the one flat it requires.

The F Major key signature (1 flat in the B position) means that the flat is understood and needs notbe indicated throughout the piece of music. Rewrite the F Major scale in its final form.

The corrected draft (fig. 8) of the F Major scale becomes the model for a Bb Major scale.The 1st scale degree (do) is B-flat (four notes up from F). Again, the pattern of steps isn’t correct..

As before, the 4th scale degree must be lowered, changing the E to Eb.

The staff below has a B-flat Major key signature in place (2 flats, at the B and E positions).Rewrite the scale, and use the corrected draft (fig. 11) as a model to build an Eb Major scale.

▲

▲

===================l

11

l& w l& w l& w_ l& w#B-flat Major l& w_b w_ w wb w w w wb l& wb

D Major l& w w w# w w w w# wA

E

B

F#

Eb

Ab

Db

Gb

l& wb l& wb l& wb

Given the beginningnote of each Major scaleat right, finish writingthe series of sharp keyscales, then completethe flat keys.

C to F:

F to Bb:B b to Eb:Eb to Ab:A b to Db:D b to Gb:F# to B:

B to E:

E to A:

A to D:

D to G:

G to C:

— — — —

— — — —

— — — —

— — — —

— — — —

— — — —

— — — —

— — — —

— — — —

— — — —

— — — —

— — — —

Write the letter namesincluded in each of thefourths.

Exercises—Finishing the Major Scales

C D E F G A B C D E F

Left: Start at C Major at top of the Circle of Fifths. Proceeding counterclockwise around thecircle, each succeeding tone ascends one fourth, encompassing four letter names in each interval.Review the Circle of Fifths by filling in the letter names.

12

Minor KeysEvery major key has a minor key which shares the same key signature. For example, A minorhas the same key signature as C Major—no sharps or flats. (Note: it is customary to designateMajor keys with upper case letters, minor keys with lower case). They are relative to each otherand are called Relative Keys. A minor is the relative minor of C Major, and C Major is therelative major of A minor.

The relative minor key is based on the 6th degree of its Relative Major scale. In the example, A isthe relative minor to C Major because A is the 6th scale degree of the C Major scale. Once again:

On the Circle of Fifths, we usually put this Relative Minor relationship inside the circle, in thesame pie-slice as the corresponding Major.

Parallel KeysWhen a major and a minor key have the same letter name they are

called Parallel Keys. D Major is the parallel keyof D minor.

Enharmonic KeysTwo keys which have different musical spellings but

which sound the same are called Enharmonic Keys.There are three pairs of enharmonic major keys:C#/Db, F#/Gb, B/Cb. The three pairs ofenharmonic minor keys are: Bb/A#, Eb/D#, Ab/G#. All the keys and their enharmonic relation-ships are displayed on the Circle of Fifths.

C Major: All natural notes (no sharps or flats) lw_ w w w w w w w▼

^ ^ ^ ^ ^ ^ ^ ^1 2 3 4 5 6 7 1

No flats C No sharps

E 4 sharps4 flats A b3 flats E b A 3 sharps

2 flats B b D 2 sharps

G 1 sharp1 flat F

4ths 5thsÒ ÇRelativeMinor

a e

f

c

gd

f #b

g#abd# /eb === a&c #

TheCircle of

Fifths

d

g

c

f

bb

& b & bb & bbbbb & bbbb & bbb

& ## & # & ##### & #### & ###

e

b

f #c#g# & ###### & bbbbbb eb or d#

Right: Minor Key signaturesWorking clockwise around the Circle ofFifths, determine the name of the 6th scaledegree in each Major scale: that tonebecomes the relative minor and can be usedas the 1st degree of a minor scale.The resulting relative minor keys arearranged on the inside of the circle;moving clockwise, there is afifth between the minor keys.

b ba#

6 flats G b/F# 6 sharps

B 5 sharps/C b 7 flats

5 flats D b7 flats C #

=&

13

Chromatic scale ascending

Chromatic scale descending l&

l&w_ w_# w w# w w w# w w# w w# w w

w w wb w wb w wb w w wb w wb w_

Scales: An Overview of CategoriesA scale is a consecutive arrangement of tones. One way to study a scale is to categorize it by thenumber of tones it uses: scales with 12, 7, 6, and 5 pitches are shown here. Each subgroup ofscales also has a specific pattern of whole and half-steps. The number of tones and the patternrequired by a particular type of scale remains consistent from octave to octave. The scales belowcan all be found on a piano keyboard. Some of them, for all practical purposes, are not acces-sible on a mountain dulcimer fingerboard.

Scales—12 tonesA Chromatic scale (c-c') has all 12 available tones in consecutive order. Each pitch is one-halfstep from its next neighbor.

Written in ascending order, accidental tones are given as sharps; descending order, as flats.

Scales—7 tonesA diatonic scale is an arrangement of whole and half-steps in alphabetical sequence. All sevenletter names are used; the eighth tone repeats the first, an octave higher.

The pattern determines the type of scale, major or minor.

The tones of the minor scale are arranged differently; a minor scale always has a half-stepbetween the 2nd and 3rd scale degree. There are three forms of the minor scale:

Natural minor scale (pure minor) l& w__ w_ w_ w w w w w

*

C Major scale l& w_ w w w w w w w*

W H W W H W W

Melodic minor scale descending l& w w 4 w 4 w w w_ w_ w__

Melodic minor scale ascending l& w__ w_ w_ w w w# w# w

Harmonic minor scale l& w__ w_ w_ w w w w# wThe 7th degree of the harmonicminor scale is raised, resultingin a 11⁄2 step from 6 to 7:W-H-W-W-H-WH-H

The Natural minor scale patternis W-H-W-W-H-W-W.

The Melodic minor scale hastwo forms. The ascending formhas raised 6th and 7th degrees.W-H-W-W-W-W-H.

The descending form is the sameas the natural minor scale.

14

* The Mode system—7 tonesThe seven modes originated in ancient Greece, a system that predated the major and minordiatonic scales. The modes are derived by beginning an octave scale on each degree of a C Majorscale. Modes are in use today in modern music and in folk music.

Ionian l& w_ w w w w w w wDorian Phrygian l& lw w w w w w w w w w w w w w w wLydian Mixolydian l& [w w w w w w w w w w w w w w w wAeolian Locrian l& lw w w w w w w w_ w w w w w w w_ w_

Whole-Tone Scale—6 TonesThere are six members of this scale, at whole-step intervals. There are only two possible scalesthat fit this description, C and C#.*

C Whole-Tone scale C# Whole-Tone scale l& lw_ w w w# w# w# w_# w# w w w w

C Major Semitonal Pentatonic scale C Minor Semitonal Pentatonic scale l& lw_ w w w w w w_ wb w w wb w

Pentatonic scales—5 TonesAny scale consisting of five members is called pentatonic.Tonal pentatonic scales contain only whole steps and larger intervals:

Semitonal pentatonic scales contain half steps:

*C Major Pentatonic A Minor Pentatonic l& lw_ w w w w w w w w w w w_

11⁄2

22 2

D

C

E

F G

A B

11⁄2 11⁄2

11⁄2

11⁄2

15

IntervalsAn interval measures the vertical or pitch distance between two notes. An interval is labeledaccording to the number of letter names it encompasses, counting the first as well as the last.

A melodic interval occurs when two notes are played successively, while a harmonic intervaloccurs when the two notes are played simultaneously.

Naming IntervalsAll intervals have a two-part name: the numerical name and a modifier that precedes it. Thenumerical name is a measure of how far apart the notes are vertically on the staff (how many letternames are encompassed). The modifier indicates Quality: perfect, major, minor, augmented, ordiminished. The term perfect (P) is used only in connection with unisons (primes), 4ths, 5ths,8ves, and their larger cousins, 11ths. The term major (M) is used only in connection with 2nds,3rds, 6ths, 7ths, and their compound relatives (9ths, 10ths, 13ths):

If a major interval is decreased by one half-step without changing its numerical name, it becomesa minor (m) interval:

If a perfect or a major interval is increased by one half-step without changing its numerical name,the interval becomes augmented (A). If a perfect or a minor interval is decreased by one half-stepwithout altering its numerical value, it becomes diminished (d).

Prime(unison)

2nd 3rd 4th 5th 6th 7th octave

Intervals on C: ! & c w_w_ ww__ ww_ ww_ ww_ ww_ ww_ ww_

Melodic interval Harmonic interval

! & Ï_ Ï ÏÏ_

P1 P4 P5 P8 M2 M3 M6 M7 ! & !Ï_Ï_ ÏÏ_ ÏÏ_ ÏÏ_ ÏÏ__ ÏÏ_ ÏÏ_ ÏÏ_

M2 m2 M3 m3 M6 m6 M7 m7

!

& ! ! !ÏÏ__ ÏÏ__b ÏÏ_ ÏÏ_b ÏÏ_ ÏÏ_b ÏÏ_ ÏÏ_b

M3 A3 P5 A5 P4 A4 m3 d3 P5 d5

!

& ! ! ! !ÏÏ_ ÏÏ_# ÏÏ_ ÏÏ_# ÏÏ_ ÏÏ_# ÏÏ_b ÏÏ_º ÏÏ_ ÏÏ_b➝

➝➝

➝➝

➝➝➝

➝

➝➝

➝

Larger

Diminished minor major augmented

diminished perfect augmented

Smaller

16

TriadsA Major triad consists of a Major third(M3) with a minor third (m3) on top:

Also, there is a Perfect Fifth (P5) fromtheRoot (C) up to the fifth (G).

& wwwC Major (C)

A minor triad consists of a minor third(m3) on the bottom, with a Major third(M3) on top:

Again, there is a Perfect Fifth (P5) fromthe Root (D) up to the fifth (A).

A Diminished triad consists of two minorthirds (m3), one sitting on top of the other:

In this case we have a diminished fifth(d5) from the root (B) up to the fifth (F).

& wwwD minor (Dm) & B Diminished (B° or Bdim.)www

] P5

] P5

& www_ w w w wwww www_ I (V7) È (I)C G7 È C

& wwww] m7

G Seventh (G7)

A Fully-Diminished 7th Chord consistsof three minor thirds stacked one on top ofanother:

The seventh in this case is a diminished7th, one half-step lower (narrower) thanthe minor 7th.

& ] d 7b wwwwB diminished 7th (B° or B°7)

ChordsA chord is a simultaneous sounding of three or more pitches. In traditional Western harmony,all chords are made up of stacked thirds, and it is the quality of these intervals that determine thetype of chord.

Triads are complete three note chords, consisting of the 1st, 3rd, and 5th degrees of a scale.

Seventh ChordsIf a triad is extended by stacking anotherthird on top, the result is a seventh chord:

Below, we have a minor triad as afoundation with a minor 7th (m7) intervalfor its seventh:

A Half-Diminished 7th Chord consistsof a Diminished triad foundation, with aminor 7th (m7) for its seventh:

wwww ] M7 & C Major 7th (CMaj7) & wwww] m7

D minor 7th (Dm7) & wwww] m7

Dominant SeventhA Dominant Seventh chord consists of a major triad as afoundation, with a minor 7th (m7) for its seventh:

This chord is absolutely essential to Western harmony in thatit sets up a polarity between the 1st and 5th degrees of a Majorscale. The Dominant 7th chord always occurs on the 5th degreeof the scale (V) and contains tension that wants to resolve backhome to I:

m3[m3[ ] d5

M3[m3[

m3[M3[

m3[M3[

M3[m3[

B Half-Diminished (B°7 or Bm7b5)

m3[m3[

m3[m3[m3[

m3[M3[

17

The Scale-Tone TriadsThe scale-tone triads are the series of chords produced by building chords in thirdsupon each degree of the major scale, using only those notes found in that particular scale.This illustration uses a D Major scale, since D is the primary key for the tuning D-A-D.

D E F# G A B C# D l& ## w w w w w w w w

F#

D E G A B D

C#

DO RE FA SOL LA DO

MI TI

^ ^ ^ ^ ^ ^ ^ ^1 2 3 4 5 6 7 1

Left:D Major Scaleon a keyboard

Below:A D Major Triad is formed by“stacking” an F#, then an A noteon top of the D note (the root).

D E F# G A B C# D

D Major l& ## www w w w w w w w

D MajorD E F# G A B C# D l& ## w www w w w w w w

Likewise, an E Minor Triad is formed by piling up a G and B note on the root of E:

Dmaj. Emin. F#min. Gmaj. Amaj. Bmin. C#dim. Dmaj. l& ## www www www www www www www www_

This same sequence of triads—One/Major, Two/Minor, Three/Minor, Four/Major, Five/Major, Six/Minor,Seven/Diminished—holds true in any key and represents the fundamental harmonies for that key.

To figure out the scale-tone triads for any key, first start with the major scale at DO, and stack the notes—skipping every other note—exactly as shown here. Each triad will take its name from the note it is built upon.

Learning this sequence of scale-tone triads is very important, and its format will help you organize much ofthe information in this volume.

Below: The complete array of Scale-Tone Triads for the Key of D is shown. Each of the chordsis formed in the same manner as the D Major and E minor above.

The roman numerals below the staff are a traditional way to show the numerical degree upon whicha triad is built. The upper case numerals denote a Major Triad, and lower case numerals indicate eitherMinor or Diminished Triads.

I ii iii IV V vi vii I

D Major Scale

*

18

The Scale-Tone Triads in D Major

D Em F#m G A Bm C#dim. DRoot position Close voicing l& ## www www www www www www www www_

I ii iii IV V vi vii ° I

Root Position 1st Inversion 2nd InversionRoot (C) is lowest 3rd (E) lowest 5th (G) lowest

C C/E C/G Symbols in sheet music & www_ www wwwChords that have their root on the bottom are said to be in Root Position. Chords that have any member other than the rooton the bottom, in the lowest position, are said to be inverted.

*

Slash chords.* The pitch afterthe slash is the bass note of thechord. For example, C/E means“C Major with an E bass.”

Open or Close VoicingClose Voicing refers to the most closely-packedversion of a chord:

C C/E C/G & www_ www wwwRoot Position 1st Inversion 2nd Inversion

Open or Spread Voicing refers to spacing the membersof a chord in wider intervals:

C C/E C/G & www_ www

www__Root Position 1st Inversion 2nd Inversion

D 2 3 4 5 6+ 7 8 9A 0 1 2 3 4 5 6 7A 3 4 5 6 7 8 9 10

D E F#m G A Bm C#° D1st Inversion Close voicing

l& ## www www www www www_ www_ www__ www__D/F# Em/G F#m/A G/B A/C# Bm/D C#•/E D/F#

DRoot position Open voicing E F#m G A Bm C#° D

l& ## www www www_ www_ www__ www__ www___ www___D 0 1 2 3 4 5 6+ 7A 0 1 2 3 4 5 6 7D 2 3 4 5 6+ 7 8 9

Chord Inversion

19

CHORD REFERENCE

TWOPart One dealt with music theory in a general way, and did not relate the material specifically tothe mountain dulcimer. In fact, it’s quite impossible to play most of the examples contained in thatsection on a standard diatonic dulcimer. Part Two and the Appendix, in contrast, are hands-on,dulcimer specific sections.

Chord Reference is a means of determining all possible ways to play a particular chord in allareas of the mountain dulcimer fingerboard. This section will describe in detail how this systemworks so that you can keep your own reference charts, according to individual needs. Let us try toapproximate a definition of Chord Reference so we can get an idea of how valuable it can be toarranging, composing, and improvising music on the dulcimer.

First of all, Chord Reference is a system of thoroughly learning how the fingerboard works,so you can quickly recognise important patterns and relationships of notes. It is amazinghow much you can learn from an accurate graphic representation of the dulcimer fingerboard.I have been using these charts for over 15 years as of this writing and I have found themto be invaluable.

Secondly, Chord Reference offers a means of establishing a body of reference charts accordingto specific individual needs. For instance, if you are interested in scoping out certain chords on thefourstring (equidistant) dulcimer in an unusual tuning, this Chord Reference system allows you towrite your own encyclopedia on this very topic. Compiling your own reference charts is a reward-ing experience which will enable you to gain a great deal of confidence in your musical abilities.

Finally, and to sum up our definition, Chord Reference serves as a profound, all-encompassingaerial view of the fingerboard. It is like a satellite photograph, in that it reveals familiar land-scape from a unique, refreshing perspective.

From all this you can probably see some real advantages to learning Chord Reference. From myown experience, the real benefits have shown up in the creative side of my playing—especiallywith improvising (really just a fancy word for making it up as you go).

20

D F# A D F# A

A D F# A D

D F# A D F# A

R 3 5 R 3 5

5 R 3 5 R

R 3 5 R 3 5

D F # AR 3 5

D Major Triadcompete chord formula:

Pitch name, top line;interval, below

*

▼ ▼ ▼ ▼▼

Fingerboard Surveys and Chord FormulasThe chord formula for a certain chord is like a recipe which contains thenecessary ingredients (pitches) for that chord.

The formula for a D Major Triad is D, F#, A [Root (R), 3rd, 5th].

We can make three different types of fingerboard surveys in each chord category. Each one ofthese surveys may be compared to a lens through which the entire fingerboard may be viewed, andeach has aspecial focus.

Type 1—PITCH SURVEY, D Major TriadsThe Pitch Survey plots all possible locations of the pitches in a chord formula, and labels eachlocation with the name of the note. All locations of D, F#, and A on the fingerboard are shown .

Type 2—INTERVAL SURVEY, D Major TriadsThe second survey type is an Interval Survey, and shows the relationship of each note to the rootor home tone (the first note in the chord, from which it takes its name).

Type 3—CONSTELLATION, D Major TriadsThe third fingerboard survey type is a Constellation. It locates the ingredients of a chord formulawith dots, which make it easy to see regular visual patterns like star formations. Complete chordshave three forms or patterns that repeat in sequence. Below, arrows mark the beginning ofeach of the three patterns, and a double arrow marks the beginning of the repeat cycle.

An interesting and useful aspect of this tuning is that every triad form can be inverted by tradingmelody-string and bass-string notes and can be pivoted on the unchanging middle string note. Thisis possible because the melody and bass string share the same note (D) an octave apart (d and d').The two constellation diagrams show this mirror pattern; each of the notes located in thePitch Survey has a place in one of the three movable forms.

21

Chord tablature: D Major

D Major Complete Triads. Shown here in tablature format are all the complete D Major triads, from low to high on the mountain dulcimer fingerboard. They are complete in that each form contains all three chord formula ingredients: the Root (D), the 3rd (F#), and the 5th (A).

DA D

002

234

457

779

200

432

754

977

DA D

D Major Complete Triads Using Open Strings. These are also chords which have all three essential ingredients, but they involve one or more open strings when the chord form is located higher on the dulcimer fingerboard. For this reason these chord forms are not movable; each form is a unique occurrence in a particular area of the fingerboard.

054

450

079

970

009

900

709

907

Arpeggios. Instead of sounding all the members of a chord simultaneously, they can be played in sequence, or arpeggiated.

DA D 2

00

04

32

37

54

5

D Major Partial or Incomplete Chords Using Open Strings. Most of these chord forms lack one of the essential ingredients for a complete triad. They are shown in the most logical sequence from the lowest forms in the first few frets to the highest possible forms.

DA D

000

002

004

007

009

000

030

050

070

0100

000

032

034

054

057

077

0109

01011

01211

000

200

400

700

900

000

230

430

450

750

770

9100

11100

11120

000

032

054

077

000

230

450

770

002

034

057

079

There is logic in each of these sequences of chords. You may see this logic more clearly if you study the Chord Reference charts, especially the Constellation charts.

Constellation a. Constellation b.

22

Chord Reference: G Major

Chord Reference: A Major

G B DR 3 5

Pitch survey

Interval survey

A C# ER 3 5

Pitch survey

Interval survey

Tuning D-A-D

Constellations a. and b.

Constellations a. and b.

D G B D G B

B D G B D

D G B D G B

5 R 3 5 R 3

3 5 R 3 5

5 R 3 5 R 3

E A C# E A

A C# E A C# E

E A C# E A

5 R 3 5 R

R 3 5 R 3 5

5 R 3 5 R

23

Chord tablature: G Major

G Major Complete Triads

DA D

013

335

567

7810

DA D

G Major Complete Triads Using Open Strings

065

560

08

10

1080

Arpeggios

DA D 3

10

15

33

37

65

6

G Major Partial or Incomplete Chords Using Open Strings.

DA D

010

030

060

010

013

033

035

065

067

087

0810

01010

310

533

765

1087

010

310

330

530

560

760

780

1080

10100

080

0100

0130

013

035

067

0810

310

530

760

1080

010

033

065

087

010

330

560

780

1080

10100

Chord tablature: A Major

A Major Complete Triads

DA D

124

446+

6+78

8911

DA D

A Major Complete Triads Using Open Strings

6+08

806+

Arpeggios.DA D 4

21

24

46+

4

A Major Partial or Incomplete Chords Using Open Strings.101

104

421

6+44

876+

1198

87

6+7

89

119

401

444

406+

6+04

Constellations a. and b.

Constellations a. and b.

24

Chord Reference: A Seventh (A7)

Pitch survey

Interval survey

Tuning D-A-D

A 7

A C# E G R 3 5 b 7

Constellations a. and b.

E G A C# E G A

A C# E G A C# E

E G A C# E G A

5 b7 R 3 5 b7 R

R 3 5 b7 R 3 5

5 b7 R 3 5 b7 R

25

Chord tablature: A Seventh (A7)

A Seventh Chords (Movable forms, consecutively higher)

DA D

123

324

466+

6+68

DA D

Partial or Incomplete A Seventh Chords

Moving through various Partial A Major and A Seventh Chords with open middle string:

DA D

101

303

404

101

103

304

404

406+

6+06+

6+08

808

80

10

8910

10911

6+06+

321

423

6+64

11910

1098

103

301

443

344

324

466+

6+64

6+68

6+08

80

10

1008

101

301

403

404

6+04

6+06+

806+

808

1008

808

100

10

Constellations a. and b.

A Seventh Chords. There are four notes in the formula for a Dominant Seventh Chord (R, 3, 5, flat 7).Obviously, on a three-string mountain dulcimer, it’s impossible to play a complete A Seventh chord—one of the ingredients has to go. Which one, then, do we leave out?

If we leave out the 5th (E) we’re left with a Root (A), 3rd (C#), and a flat 7 (G). This gives us a tense,anxious, A Seventh chord that really wants to resolve back into the I chord (D). For a less tense,more stable A Seventh, leave out the 3rd (C#), so the chord is left with the Root (A), the 5th (E),and the flat 7 (G).

26

Chord Reference: B minor (Bm)

Chord Reference: E minor

B D F#R b3 5

Pitch survey

Interval survey

Pitch survey

Interval survey

Tuning D-A-D

Constellations a. and b.

Constellations a. and b.

E G BR b3 5

D F# B D F# B

B D F# B D F#

D F# B D G B

E G B E G B

B E G B E

E G B E G B

R b3 5 R b3 5

5 R b3 5 R

R b3 5 R b3 5

b3 5 R b3 5 R

R b3 5 R b3 5

b3 5 R b3 5 R

27

Chord tablature: B minor (Bm)

B minor Complete Triads (Movable forms, consecutively higher voicings)

DA D

012

235

557

789

DA D

B minor Complete Triads Using Open Strings

550

055

12120

01212

Arpeggios

DA D 2

10

15

32

37

55

5

Incomplete B minor Chords (with no flat 3)

DA D

212

555

559

989

98

12

121212

Chord tablature: E minor (Em)

E minor Complete Triads (Movable forms, consecutively higher)

DA D

113

345

568

88

10

DA D

Incomplete E minor Chords (with no flat 3)

ArpeggiosDA D

111

545

548

888

88

12

210

532

755

987

089

980

311

543

865

1088

31

11

54

34

86

56

Constellations a. and b.

Constellations a. and b.

28

Chord Reference: F# minor F# A C#R b3 5

Pitch survey

Interval survey

Tuning D-A-D

F#minor

F# minor constellations

Constellations a. and b.

F# A C# F# A

A C# F# A C# F#

F# A C# F# A

R b3 5 R b3

b3 5 R b3 5 R

R b3 5 R b3

29

Chord tablature: F# minor (F#m)

F# minor Complete Triads (Movable forms, consecutively higher voicings)

DA D

224

456+

6+79

99

11

DA D

F# minor Complete Triads Using Open Strings

6+09

906+

Arpeggios.

DA D 4

22

26+

54

59

76+

7

Incomplete F# minor Chords (no flat 3)

DA D

222

6+56+

6+59

999

99

13+

422

6+54

076+

1199

Constellations a. and b.

30

Chord ProgressionsHere are several chord progressions from some simple fiddle tunes as well as 12-bar blues.They will serve as excellent applications for the Chord Reference work just completed.The chord tablature given is a suggestion, and it is only one of the ways to get through eachprogression. Experiment!

As shown in these examples, when a tune stays on the same chord for a number of consecu-tive measures, you can move through several different forms of that chord in different areasof the fingerboard. This gives your back-up playing a lot more interest and depth.

When you have to switch chords, try to change to a chord in the same area of the fingerboard.For example, if you’re on a high D chord, switch to a high G chord. This avoids an uncom-fortable jump from one place to another and sounds smooth and musical.

D G D 7A

D G D 7A D

D G

D 7A

D G lP

44 l l llP l l {Ó

lP l l llP l l llP l l l

QVU

0 0 0

QWV

0 0 0

QVU

0 0 0

UUT

0 0 0

QQS

0 0 0

TTT

0 0 0

QQS

0

TQR

0

SQQ

0 0 0

QVX

0

QVU

0

QTS

0

QVU

0

QWV

0

QWX

0

QWV

0

QTT

0

QQS

0

QQU

0

QQQ

0

QQS

0

RQR

0

RQT

0

UUU

0

UUT

0

QQS

0

QVU

0

QVX

0

QXZ

0

QY[

0

QYX

0

QWV

0

QWX

0

StretchedCabbage

Bile ThemCabbage Down

D A7 D l

P

l l{”

QVX

0

QVU

0

UUU

0

UUT

0

QTS

0

QQQ

0

QQQ

0 0 0

31

A

B

A

+

+

B

D 7A

D 7A D

D G D 7A

D G D 7A D

D G D G D G D 7A

D G D G D 7A D

7A D 7A 7E 7A

G D mE 7A D lP

44 l l llP l l {ÓlP l l llP l l {Ó

lP l l llP l l {ÓlP l l llP l l {Ó

QQS

0

QVU

0

QTS

0

QQQ

0

QTS

0

QVU

0

UUT

0

UUU

0

UVQ

0

STQ

0

UVQ

0

XXQ

0

XVQ

0

UUU

0

QVU

0 0 0

QQQ

0

SQQ

0

TRQ

0

TTQ

0

SQQ

0

UVQ

0

UUU

0

UUT

0

QQS

0 0 0

QRT

0 0 0

QQS

0

RQR

0

QQQ

0 0 0

SQQ

0

TTQ

0

UVQ

0

VWQ

0

UVQ

0

VWQ

0

UVQ

0

UUU

0

QQS

0

QRT

0

QVU

0

QWV

0

QVU

0

UUT

0

QTS

0 0 0

UWW

0

WQY

0

QVX

0

QVU

0

UUT

0 0 0

RRQ

0

TQR

0

TTQ

0 0 0

SQQ

0

QQQ

0

RRT

0

RQT

0

QQS

0

QQQ

0

Chord Progressions

Fisher’sHornpipe

Soldier’s Joy

32

Liberty

A

B

A

B

D G mE

D G 7A D

D 7A

D G 7A D

D G 7A D A mE 7A

D G 7A D 7A D

D mE D A mE 7A

D G 7A D 7A D lP

44 l l llP l l {ÓlP l l llP l l {Ó

lP l l llP l l {ÓlP l l llP l l {Ó

QQQ

0

SQQ

0

UQQ

0

SQQ

0

TTQ

0

TTT

0

RRT

0 0 0

QQS

0

QQU

0

QQX

0

QQU

0

TTT

0

UUU

0

QVU

0 0 0

QQQ

0

SQQ

0

UQQ

0

QQQ

0

QQQ

0

SQQ

0

TQR

0

RQR

0

QQQ

0

SQQ

0

UQQ

0

QQQ

0

TRQ

0

UUT

0

QTS

0

QQQ

0

QVU

0

QTS

0

TTT

0

UUU

0

QQS

0

RQR

0

RRT

0

TQR

0

SQQ

0

QQQ

0

TTT

0

UUU

0

QQS

0

RQR

0

QQQ

0 0 0

QQS

0

QQQ

0

RRR

0

RRT

0

QQS

0

RQR

0

RRR

0

TQR

0

SQQ

0

QQQ

0

TTT

0

UUU

0

QVU

0

UUT

0

QTS

0

QQQ

0

Chord Progressions

Rickett’sHornpipe

33

Chord Progressions

+ +

+

++* *

D 7D

G D

7A G D 7A

A 7D A 7A

7D 7A

7E 7D 7A 7E lP

44 l l llP l l llP l l {Ó

lP l l llP l l llP l l {Ó

QQQ

QRQ

QQQ

QRQ

0 0 0 0 0 0 0 0

WVQ

0 0 0

TTT

TUT

TTT

TUT

0 0 0 0

QQQ

QRQ

QQQ

QRQ

0 0 0 0

UUU

UVU

UUU

UVU

TTT

TUT

TTT

TUT

QQQ

QRQ

QQQ

QRQ

TQR

0 0 0

UUW

0 0 0

QVW

0 0 0

UUW

0 0 0

YQ[

0 0 0

QXW

0 0 0 0 0 0 0

UWW

0 0 0

UUU

0

UUT

0

VWQ

WXQ

XYQ

0

UVQ

VWQ

WXQ

0

UUT

0 0 0

RRQ

0 0 0

*These chords are “connectors,” linking the two forms on either side.

12-barBlues in D

12-barBlues in A

34

APPENDIX: Understanding the ModesA mode, in the widest sense, denotes the selection of tones, arranged in order of rising pitches, thatform the basic tonal substance of a composition. In any given key (i.e., for any given center tone ortonic) a large number of modes are possible. (A mode is NOT a key or a tuning).

In a narrower sense, the term “mode” refers only to the medieval church modes. It is with referenceto these that the terms “modal” and “modality” are commonly used.

In relation to the dulcimer specifically, and to American and Anglo/Celtic folk music traditionsin general, these old church modes form the basic fabric of the music.

SCALEA scale is the tonal material of music (in this case—all the pitches available in a mode) arranged inan order of rising pitches. Since the tonal material varies greatly across different historical periods aswell as different countries (e.g., China, Africa, or India) there are multitudes of different scalesworldwide. Another way to think of a mode, then, is as a subcategory of a scale.

The Traditional Dulcimer Fret Pattern and the Modal TuningsThe traditional dulcimer fret pattern does NOT include the 6+ or “extra fret,” and the modal tuningsfor the four most useful modes use this traditional fret pattern. When your dulcimer is in one of thesetraditional tunings, only the melody string plays the mode—the middle and bass strings are relegatedto dronal accompaniment. Many of the early 19th century dulcimers had short frets under the melodystring only—the other strings had to be played open.

In order to derive these traditional melody-with-drone tunings, we must be fully informed in twoimportant areas:

1. The locations of the modes on the traditional dulcimer fret pattern (if your dulcimer has the6+ fret, then you must IGNORE IT) as they occur on the MELODY STRING ONLY.2. The RELATIONSHIP between these modes on the melody string and the tonal center setup by the middle/bass string drone.

TUNING INTO THE MODESThe four most useful modes in Anglo-Celtic folk music areIonian, Dorian, Mixolydian, and Aeolian

D Ionian (D-A-A)Step 1. Tune the 3rd or bass string of the dulcimer to the D below Middle C (this is the same

note as the open 4th string of the guitar).Step 2. Hold the 3rd or bass string down behind (just to the left of) the 4th fret and pluck this

note (A). Tune your middle or 2nd string so it exactly matches this pitch.Step 3. Tune the melody or 1st string to the same note as the open middle string. Now play the

Ionian mode from frets 3 through 10 and back down. Skip 6+!

D Dorian (D-A-G)Steps 1 and 2 are the same as for D Ionian.Step 3. Hold the 3rd or bass string at the 3rd fret and pluck this note (G). Tune the melody or

1st string so that it exactly matches this G. (Note: you’ll have to tune this string down slightlyfrom D-A-A to reach D-A-G). Play the Dorian mode on the melody string from frets 4 to 11 andback down. Skip 6+.

D Mixolydian (D-A-D)Steps 1 and 2 are the same as for D Ionian.Step 3. Hold the 2nd or middle string down at the 3rd fret and pluck this note (high D, one

octave above the open bass string). Tune the melody or 1st string to this note. [Caution: FromIonian D-A-A, you must stretch the melody string considerably to get to D-A-D]. Play theMixolydian mode on the melody string from the open string to fret 7 and back down. Skip 6+.

D Aeolian (D-A-C)Steps 1 and 2 are the same as for D Ionian.Step 3. Hold the 3rd or bass string at the 6th fret and pluck this note (C). Tune the melody or

1st string to this note. (From Ionian D-A-A, you’ll have to tune the melody string up somewhat toget to D-A-C. If you’re coming from D-A-D, you’ll have to bring the melody string down slightlyin pitch to get to D-A-C.) Play the Aeolian mode on the melody string from frets 1 to 8 and backdown (skip over 6+).

MODE =MOOD =FLAVOR =FEELING..

The mode of a piece gives itits characteristic “flavor.”

35

PLAYING ACROSS THE FINGERBOARDPlaying across the fingerboard of the dulcimer, fretting all three or four strings fundamentallychanges the basic modal nature of the instrument. For instance, if you were to play an ascend-ing scale across the fingerboard using only the first three frets (in addition to the open strings), inthe D -A - D tuning, you’d wind up with a D MAJOR SCALE. If you continued up the melodystring, frets 4, 5, 6, and 7, then your second octave would be the D Mixolydian mode. If, however,you substituted your 6+ fret for 6, then your second octave would be another D Major scale.

MARKER TUNES display the characteristic flavor of each mode.*

Ionian:Skip to My LouJoy to the World

Dorian:Scarborough FairWhat Shall We Do with the Drunken Sailor?

Mixolydian :Old Joe ClarkJune Apple

Aeolian:God Rest Ye Merry

IonianJoy to the World

Fret numbers on melody string:

10 9 8 7 6 5 4 3

DorianScarborough Fair

Fret numbers on melody string:

4 4 8 8 5 6 5 4

MixolydianOld Joe Clark

Fret numbers on melody string:

4 5 6 5 4 3 2

AeolianGod Rest Ye Merry

Fret numbers on melody string:

1 1 5 5 4 3 2 1

0 1 2 3 4 5

Remember—a mode is NOT a tuning. You can play these marker tunes on a single (melody)string only in any tuning. But if you want an open string drone to support these melodies, shouldfollow the instructions given in Tuning into the Modes.*

36

Locations of the Modeson the traditional Mountain Dulcimer(Melody String Only)

Fret 0 1 2 3 4 5 6 7 8 9 10 11 12

Fret 0 1 2 3 4 5 6 7 8 9 10 11 12

Fret 0 1 2 3 4 5 6 7 8 9 10 11 12

W W H W W H W W W H W

W W H W W H W W W H W W

W W H W W H W W W H W W

Fret 4 5 6 b7 1 2 b3 4 5 6 b7 8

Fret 1 2 3 4 5 6 b7 8

Fret b7 1 2 b3 4 5 b6 b7 8

Scale degree

Scale degree

Scale degree

IONIAN

DORIAN

MIXOLYDIAN

AEOLIAN

Scale degreeFret 5 6 7 1 2 3 4 5 6 7 8

Fret 0 1 2 3 4 5 6 7 8 9 10 11 12

W W H W W H W W W H W W