Parker wrote:A couple of off-the-wall options......I've used a short piece of wire (or paper clip) super-glued to a piece of 3M post-it note (just a small portion with the adhesive). Probably only need it for one string, and it's good for several times through the song (I made up several and pitched them as they lost the ability to stick to the fretboard).
rendesvous1840 wrote:Old Joe Clark is the song I had in mind when I wrote that, but similar situations turn up in other songs as well.
folkfan, the situation in Milk & Honey is also common, usually the IV chord drops from major to minor as you saw with the F.The melody note may or may not be on the A/AB, but the chord changes to a minor and needs the Ab. It's sometimes possible to stay on the major chord, if the melody note is a C or F, but it loses a pleasant chord change if you do. If the melody is on the A/Ab, you pretty much need the extra note. I have an early version of Sloop John B with that same change, and South Of The Border has a shifting IV as well. I used the major, then dropped to the ambiguous chord without the 3rd for the minor, and that functions pretty well. But I do like having the minor sound in there for those 2 beats.
folkfan wrote:Paul, I have to admit that much of what you said about the chords, really went over my head. I tend to think only of a melody note when I tab out a piece, since I'll be working with the same open drones all the way through. And this melody line has an A flat in it. Probably will use a paper clip.
Robin the Busker wrote:folkfan wrote:Paul, I have to admit that much of what you said about the chords, really went over my head. I tend to think only of a melody note when I tab out a piece, since I'll be working with the same open drones all the way through. And this melody line has an A flat in it. Probably will use a paper clip.
Me too Folkfan
I'm eargerly awaiting the arrival of a 'real' mountain dulcimer by courier today - ie one with a diatonic layout of staple frets under the melody string only . I wont be using a paper clip for any missing notes though - I'll just play the tunes you way you hear them in those library of congress and other old recordings of trad dulcimer where the players use the flattened 7th quite liberally in places that would cause a contemporary chord player to have apoplexy
Ken Bloom wrote:What we have here is the same situation that you have in Sweden with nyckelharpa players. The keyed fiddle (nyckelharpa) has several different versions. The older ones are more like our diatonic dulcimers with "missing" notes but perfectly fine for the old repertoire. The more modern chromatic nycekelharpa was introduced in 1924 and has become the standard instrument to play. In the last ten or fifteen years, the older forms are making a comeback. You have the oldest and the newest versions existing side by side in perfect harmony.
The same thing seems to be happening here with the dulcimer. The diatonic instrument is the traditional instrument and I think will always exist quite happily in the hands of people who want that connection with the past and enjoy the limitations that the instrument presents. The more recent chromatically fretted dulicmer satisfies a need or it wouldn't exist. It's for those who want to play " Milk and Honey" on their dulcimer and enjoy the instrument that way. Neither is better than the other. They both offer challenges and alternatives that favor one style or another. Some of the finest players I know (Steve Seifert, Aaron O'Rourke, Sarah Elisabeth) make excellent use of both versions. It all depends on what you want to play and how you want to play it. My personal orientation is to have all the frets all the time, but that's me. In the end, I think it's all about what you sound like, not what your fretboard looks like.
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