Playing Chromatic Music on Mountain Dulcimer in Tuning

Transcription

1 Playing Chromatic Music on Mountain Dulcimer in Tuning By Rob Brereton The sentence I dread hearing when I talk to mountain dulcimer players is, There ain t no notes on a dulcimer, you just play it. One of the things I love about the mountain dulcimer is the challenge of finding ways to arrange three notes on three diatonic strings to form the richest sound possible. With notes, a little musical know-how, and a bit of heart, your arrangements can have a more three-dimensional sound. One way to maximize the use of these three strings is to use tunings that supply more notes. There are many chromatic tunings, yet the one I use most is the D-F#-A or triad (1-3-5) tuning. I tune my bass string to D below middle c, my middle string to F# above that D, and my first string to A above the F#. I started arranging in the tuning in I d only been playing a short while, and was working for Folkcraft Instruments in Connecticut. Around the same time, I met David Schnaufer. In the course of our conversation, David mentioned the tuning. He told me it was a chromatic tuning and, knowing that I had a background in arranging and composing music, he thought I might find it interesting. Also during this time, I started teaching a few students. One of my students wanted to learn some of the songs on Willie Nelson s Stardust recording. I listened to the recording and realized the songs my student wanted to learn were filled with accidentals/chromatic notes). So, I set to work figuring out how to play chromatic music on a diatonic instrument. I ve used many chromatic tunings, but the seems to suit my arrangements best. This remarkable tuning is very similar to the D-A-A (Ionian or 1-5-5) tuning with one important change: the middle string is tuned to F#. You may notice that D-F#-A are the notes in a D Major chord. With this tuning, the dulcimer becomes fully chromatic; that is, we have at our disposal all the white keys and black keys on a piano for several octaves. Let s take a look at the fretboard when tune to D-F#-A. Fret: D E F# G A B C C# D E F# G F# G# A# B C# D# E E#/F F# G# A# B A B C# D E F# G G# A B C# D The bass string looks pretty normal tuned to D. The melody A string looks pretty familiar too. Now comes the good part: look at the middle string tuned to F#. This is where we find all the notes that usually aren t included in the regular (modal) tunings. Also, remember that all the sharp notes can be renamed as a flat note. For example A# can be renamed Bb. Same tone, different name. Chords and melodies impossible in the modal tunings are now possible in any key.

2 To start with, any time you barre (often misspelled bar and meaning you play the 3 strings at the same fret) across a fret, you play a major chord named by whatever is being fretted on the bass string. As an example, the strummed open strings form a D major chord (or the I chord in the key of D). Barre across the third fret and you have a G major chord (or IV chord in the key of D). Barre across the fourth fret and you have an A major chord (or V chord in the key of D). Big deal, you say, I can get that in D-A-d. True, but how about a barre across 5 for a B major chord. This isn t one of those namby-pamby B chords from the D-A-d tuning; this is the real thing with the note D# included. But let s not stop there. How about minor chords? You can quickly find a minor chord any time there is a small, half-step fret (i.e. frets 3, 6, 6+, 7, 10, etc). Simply start with the Major chord barre and go down one fret on the middle string. As an example, to find a G minor chord, find your G major barre (3-3-3) and drop the middle string down one fret (3-2-3). Voila! A G minor chord. Try getting that in D-A-d! This tuning is very versatile, but there are a few flaws. Check out the following chord chart. A few chords are impossible to get, and some (the ones with the asterisks) are not complete chords. Major Minor Diminished Augmented Seven C C# D 0-0-0, Eb 3-5-6* 2-5-5* E 1-1-1, F Substitute the F Major chord F# G 3-3-3, Ab A 4-4-4, Bb 0-2-3* * B So, maybe it s not perfect, but it sure is impressive. Try playing through Hello! My Baby Listen to the interesting colors and shades of the chords. Try some arrangements on your own! Listen to Rob Brereton play Hello! My Baby.

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4 If you re hooked, you can hear clips from my recording, Someone To Watch Over Me, by going to my website, click on buy and go to the itunes link. While you re at my site, poke around a bit. Join my ing list too to get updates on appearances, books, recordings, etc. Thanks to Lois Hornbostel and Mel Bay Publications for letting me share my passion with you. Happy Strumming! About the Author Rob Brereton is considered one of the pioneers in contemporary mountain dulcimer playing. His years of studying classical guitar have polished his playing style, while his degree in music theory and composition has given him a fresh approach to arranging. Rob was one of the first dulcimer players to arrange extensively in the chromatic 1-3-5, and other alternate tunings. Although he specializes in the standards and early jazz tunes of Duke Ellington, George Gershwin, and the like, Rob is equally adept at playing the more traditional styles and dulcimer repertoire. David Schnaufer called Rob s playing masterful...strong and innovative. Rob's music is featured on his CD, Someone to Watch Over Me. Rob has taught all levels of mountain dulcimer playing at most of the major dulcimer festivals across the country. He was one of the organizers of the Housatonic Dulcimer Celebration and continues to organize the occasional Dulcimer Cruise.

5 In his everyday life, Rob teaches K-6 music in several schools and has many private students. He also composes and directs several choirs near his home in Sherman, CT. If you're interested in Rob teaching privately or at a venue, feel free to contact him. Much to his friends dismay, he also yodels. Please don t hold this against him. Rob can be contacted a his website,