Arranged for Hammered Dulcimer Players by Linda Thomas
Video 1
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About the Lessons
| 1. | Intro & Demonstration | Linda originally learned to play this as a processional at a wedding, and now she plays it at coffeeshops, galleries, and festivals. |
| 2. | Melody, Phrase 1 | The first two measures of Phrase 1 are played on the right side of the treble bridge, and the second two measures are played on the left side of the treble bridge. |
| 3. | Melody, Phrase 2 | The second phrase takes us from measure 5 through 8, and is played completely on the left side of the treble bridge. |
| 4. | Melody, Phrase 3 | The third phrase moves us from measure 9 through 12. Linda points out where her D# is located, but her dulcimer is tuned differently on the bass bridge. Take time to find the D# on your own instrument, or watch the animation for phrase 3. |
| 5. | Melody, Phrase 4 | With the fourth phrase, we finish the melody with measure 16. |
| 6. | Accompaniment, Introduction |
Linda believes hammered dulcimer players should be able to play back-up, as well as melody and variations. She introduces her book published by Mel Bay titled Getting Into Hammered Dulcimer, in which she teaches melody, variations, and back-up for the 14 tunes included. |
| 7. | Adding Accompaniment, Phrase 1 |
Here Linda outlined the chords with her hands playing in parallel motion. She starts with G octaves, which is a stately way to establish the root position for the key of G. |
| 8. | Adding Accompaniment, Phrase 2 |
In this phrase, Linda outlines the chords using broken chords instead of playing with her hammers together. |
| 9. | Adding Accompaniment, Phrase 3 |
For the 3rd phrase, Linda returns to playing chords by striking her hammers together. |
| 10. | Adding Accompaniment, Phrase 4 |
For the final phrase, Linda uses a combination of broken chords and hammers together. |
| 11. | All the Way Through | Linda invites you to play along with her as she plays through the entire tune. You could play either the melody or the accompaniment with her. |
| 12. | Embellished Melody, Phrase 1 |
Linda relies primarily on 3-note rolled chords as well as interval harmony to create her embellishments on the melody. |
| 13. | Embellished Melody, Phrase 2 |
Linda begins this phrase with a 3-note rolled G chord and ends with a 3-note rolled D chord. |
| 14. | Embellished Melody, Phrase 3 |
In this phrase, Linda begins with two 3-note rolled chords - playing the D chord in two different positions. |
| 15. | Embellished Melody, Phrase 4 |
In the last phrase, Linda starts with a rolled G chord, followed by a rolled A minor chord, returning to the G chord, then a rolled D chord, and finishing with a G chord. |
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