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Dulcimer a La Mode takes the mystery of out modal tuning and playing for the mountain dulcimer player by presenting four common tunings (DAA, DAG, DAD, and DAC) with instructions for tuning, finding the scales and chords, and learning traditional tunes in each of the four modes. This book will encourage players to retune their instrument and learn more of its versatility. Each tune is presented as a melody with a drone in the mode indicated with strumming and rhythm guides. for most tunes, an optional arrangement or accompaniment is also provided using more complex chords and reflecting more traditional Western harmony. As a further learning tool, the accompanying CD allows the listener to play along with the song as presented in the book.
This compilation of tunes is designed to soothe the savage beast. the contents of the book are divided, almost equally, under the headings of Lullabies, Classical Selections, and Folk Melodies. All are arranged for the mountain dulcimer in 1-5-8 (Mixolydian tuning), except for one in 1-4-8 (Reversed Ionian tuning). Along with the tablature notation, traditional music notation indicates the melody, suggested chords, and lyrics for many of the songs. an intermediate player should feel comfortable with the music, as the songs are written for both strumming and some finger picking patterns, and do utilize chords on all 3 strings.
Over 500 mountain dulcimer chords for the five widely used modes- Mixolydian, Ionian, Lydian, Dorian, and Aeolian-plus jazz and four-string chromatic tunings. Includes an explanation and history of modes, transpositions, using a capo, playing dulcimer in jam sessions, and more. Special case size.
This instruction manual and song collection is a well-crafted collection of basic dulcimer technique and traditional songs that might have been popular in CrippleCreek, Colorado in the 19th Century-- plus a few modern day tunes by its currentinhabitants. The techniques and songs have been transcribed from the performances of Bud and Donna Ford who have been collecting songs for theirfavorite instrument for some time. Bud and Donna explain the basics of playing the dulcimer, including instructions on strumming, tunings, and picking. Solos are offered in all of the various modes (Ionian, Dorian, Locrian, etc.) in standard notation only with lyrics and chord symbols. The end result is an attractive yetpragmatic book that offers a solid grounding in the art of dulcimer playing. Therecording features verbal instruction and performances of most of the tunes in the book on solo dulcimer, making learning easy and fun. The recording used tunings which are lower than those in the book, but this will not affect players reading the tablature. Includes access to online audio
The title says it all: "Dirt Simple." This book and accompanying online audio are designed for a rank beginner who knows nothing about the hammered dulcimer, providing them the tools to make music right away. Starting with the fundamentals of how to hold hammers and tune the instrument, it delves deeper into mastery with posture, stand height/angle, and replacing strings to set up the beginner for a lifetime of good habits. Every concept introduced is simultaneously presented with illustrations and songs that demonstrate and reinforce. Whether the student reads music or plays by ear, the result is the same - music making right from the beginning! Dr. Mark Alan Wade is an experienced teacher with an undergraduate degree in music education and years of public school teaching experience. Now teaching music theory and dulcimer at Denison University, Dr. Wade offers a unique perspective on teaching hammered dulcimer and has three students who have also won the National Hammered Dulcimer Contest as evidence of his master teaching. It's all about the music! Dirt Simple Hammered Dulcimer is written so that the carefully selected tunes are the true teacher. Hands-on learning is made easy with the accompanying audio. Each song is played slowly for students to learn by ear in addition to reading notation. This also allows for the students to hear style traits such as swing, that aren't easily conveyed in written notation. With 29 songs, this book and online audio available for download are a year's worth of private lessons in one concise package!
An important anthology of Irish and Celtic solos for the 5-string banjo featuring a comprehensive, scholarly treatise on the history, techniques, and etiquette of playing the banjo in the Celtic tradition. Includes segments on tuning, pick preferences, and tablature reading followed by 101 jigs, slides, polkas, slip jigs, reels, hornpipes, strathspeys, O'Carolan tunes, plus a special section of North American Celtic tunes. A generous collection of photos of Irish folk musicians, street scenes, and archaeological sites further enhances this fabulous book. All of the solos included here are written in 5-string banjo tablature only with a few tunes set in unusual banjo tunings. the appendices provide a sizable glossary and a wealth of information regarding soloists and groups playing Celtic music, Irish festivals, music publications, on-line computer resources, cultural organizations, and more. If you are serious about playing Celtic music on the 5-string banjo, or if you don't play the banjo but simply want to expand your knowledge of the Celtic music tradition-you owe yourself this book. the first-ever CD collection of Irish and Celtic music for 5-string banjo provides 68 lovely melodies and demonstrates revolutionary techniques for playing highly ornamented tunes and rolling back-up. Recorded in stereo with virtuosos Gabriel Donohue (steel- and nylon-string guitar and piano) and Robbie Walsh (bodhran- frame drum played with a stick), the five-string banjo is out front and plays through each melody in real-life tempo with authentic Celtic chordal and rhythmic backing. the recording features the music of all Six Celtic Nations and includes jigs, reels, hornpipes, slides, polkas, marches, country dances, larides, andros, slipjigs, strathspeys, airs and O'Carolan tunes. 35 songs in the book are not on the CD.
Though left uncompleted, “Kubla Khan” is one of the most famous examples of Romantic era poetry. In it, Samuel Coleridge provides a stunning and detailed example of the power of the poet’s imagination through his whimsical description of Xanadu, the capital city of Kublai Khan’s empire. Samuel Coleridge penned “Kubla Khan” after waking up from an opium-induced dream in which he experienced and imagined the realities of the great Mongol ruler’s capital city. Coleridge began writing what he remembered of his dream immediately upon waking from it, and intended to write two to three hundred lines. However, Coleridge was interrupted soon after and, his memory of the dream dimming, was ultimately unable to complete the poem. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.
The last quarter of the twentieth-century saw a renewed interest in the hammered dulcimer in the United States at the grassroots level as well as from elements of the Folk Revival. This book offers the reader a discussion of the medieval origins of the dulcimer and its subsequent spread under many different names to other parts of the world. Drawing on articles the author has written in English as well as articles by specialists in their own languages, Gifford explains the history and evolution of the instrument. Special attention is paid to the North American tradition from the early 18th-century to the 1970s revival. Drawing from local histories, news clippings, photographs, and interviews, the book examines the playing of the dulcimer and its associated social meanings.
Grounded in Charles Joyner's unique blend of rigorous scholarship and genuine curiosity, these thoughtful and incisive essays by the eminent southern historian and folklorist explore the South's extraordinary amalgam of cultural traditions. By examining the mutual influence of history and folk culture, Shared Traditions reveals the essence of southern culture in the complex and dynamic interactions of descendants of Europeans, Africans, and Native Americans. The book covers a broad spectrum of southern folk groups, folklore expressions, and major themes of southern history, including antebellum society, slavery, the coming of the Civil War, economic modernization in the Appalachians and the Sea Islands, immigration, the civil rights movement, and the effects of cultural tourism. Joyner addresses the convergence of African and European elements in the Old South and explores how specific environmental and demographic features shaped the acculturation process. He discusses divergent practices in worship services, funeral and burial services, and other religious ceremonies. He examines links between speech patterns and cultural patterns, the influence of Irish folk culture in the American South, and the southern Jewish experience. He also investigates points of intersection between history and legend and relations between the new social history and folklore. Ranging from rites of power and resistance on the slave plantation to the creolization of language to the musical brew of blues, country, jazz, and rock, Shared Traditions reveals the distinctive culture born of a sharing by black and white southerners of their deep-rooted and diverse traditions.
The eighteenth century saw the creation of a number of remarkable mechanical androids: at least ten prominent automata were built between 1735 and 1810 by clockmakers, court mechanics, and other artisans from France, Switzerland, Austria, and the German lands. Designed to perform sophisticated activities such as writing, drawing, or music making, these “Enlightenment automata” have attracted continuous critical attention from the time they were made to the present, often as harbingers of the modern industrial age, an era during which human bodies and souls supposedly became mechanized. In Androids in the Enlightenment, Adelheid Voskuhl investigates two such automata—both depicting piano-playing women. These automata not only play music, but also move their heads, eyes, and torsos to mimic a sentimental body technique of the eighteenth century: musicians were expected to generate sentiments in themselves while playing, then communicate them to the audience through bodily motions. Voskuhl argues, contrary to much of the subsequent scholarly conversation, that these automata were unique masterpieces that illustrated the sentimental culture of a civil society rather than expressions of anxiety about the mechanization of humans by industrial technology. She demonstrates that only in a later age of industrial factory production did mechanical androids instill the fear that modern selves and societies had become indistinguishable from machines.