WEBVTT

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Good morning, friends, and welcome to Dulcimer

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Crossing's Wednesday livestream.

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I am coming to you from my

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studio here in

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in Idaho,

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and I

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we talked about jamming last week.

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And one of the things I wanted to talk about today that relates to that, we were looking at how do we re re re re guitar chords.

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And it just put me in the mind of remembering

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that sometimes we don't know where our instruments are comparing to other instruments.

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And so we're gonna do comparing of several acoustic instruments, and these are the kind that are gonna show up when we are

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jamming with friends.

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And, there may be ones that we already learn,

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and let's see here. I just wanna make sure this is going

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so I can respond to your comments or questions.

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There we go. Okay.

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So now do this,

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turn off my sound, and we are, whoops, ready to go.

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So what I'm gonna do is

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start.

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Let's take you away and

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you are set for that.

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So let's start.

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I had the guitar here before,

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and so let's pick up from guitar. It's very familiar with with a lot of people.

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It may or may not be an instrument that you've played or have tried to play,

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but

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this low e

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is the e that's below the bass clef

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on a guitar.

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It shows up on music

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as the e that's below the treble clef, but that's a convention that was developed years ago that the music on a guitar would look an octave higher than it physically sounds.

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So this is the e below

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the bass clef. This is the a that's the lowest space on the bass clef.

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This is the d that's the middle line on the bass clef.

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The g is the top space

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on the bass clef.

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The b is the one that sits right above the bass clef and is one note below middle c,

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and the e

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is the one that's just above

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the middle c.

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So it would be the lowest

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line on the treble clef,

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or if you're looking at things from the bass clef, it's gonna be one that's 2

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it's the second line above where the c is.

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That's the physical pitches

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of what's on a guitar.

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Now an instrument that's very much like the guitar

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is the ukulele.

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And here is a baritone ukulele,

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and I have these here together because

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ukulele has 4 strings.

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The baritone

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does not have the my dog have fleas.

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It

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doesn't do that, but

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has the same pitch names

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as the highest four strings on the guitar.

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And and high has to do with pitch. It does not have to do with location compared to the floor.

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So the baritone ukulele is b,

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g,

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e,

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e.

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Its music, like the guitar, looks an octave higher than it sounds,

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but it is on

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the bass clef except for the highest string.

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Now

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maybe you don't play the baritone ukulele,

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but you know

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the soprano ukulele.

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This has 4 strings. This has 4 strings.

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That's a lot higher. Right? A lot shorter. That's the reason why.

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But there's a special relationship between these 2.

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So if I put my capo

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at the 5th fret

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of my baritone ukulele,

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this

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matches that.

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So

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the the soprano or the standard ukulele

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is the same pitches pitch names as

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the baritone at the 5th fret.

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The difference is this is called a reentrant tuning where you have a high note first,

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but the name of the note is still

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d.

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Actually, it's not a d because we've got the capo here. So this is,

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e,

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a, e, c,

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gcea.

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That's what it is. Gcea

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g c a.

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So those relate to each other in the same way,

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and that's how they compare with the guitar.

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This one,

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because we're up where we are, the c that's here is the middle c that you'd find on a piano.

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Now let me move

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the ukuleles

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out of our way.

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And let's compare with another instrument that's got a reentrant tuning, which

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means it's got a string that's high before you get to the low string.

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Now this is a banjo that's tuned to an open g tuning. It's got 5 strings, 4 here, 1 here.

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The short one is higher than the others.

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This is not the only tuning, just like a mountain dulcimer. It's not the only tuning that we use

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on on

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in playing,

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but this is a g,

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which is the same

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if I would fret my my guitar g

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at the my high e, I mean,

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at the high the high e string at the 3rd fret,

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that pitch

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is the same as the high g on a banjo.

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And then it goes down and gets a d, which is the same as the d string on a guitar

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and a g, which is the same as the g string on a guitar

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and a b, which is the same as the b string on a guitar, which is why we heard this song.

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And there was a dueling banjos. It was originally a tune called feuding banjos,

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but the dueling banjo is a banjo and a guitar duet. Ronnie Cox was playing the guitar,

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for the movie. And,

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it they they really work together.

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They have they're in the same sonic space in terms of pitch, but the timbre of a banjo is different than the timbre of a guitar.

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So they work well together even though they're in the same place.

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Some similar to people in a chorus or a choir that you have a flute voice and a reed voice next to each other, a round or a thin voice, and together, they they carve out some sonic space for each other.

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Now let's move to the dulcimer world. We've talked about these other instruments.

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How does the dulcimer

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compare?

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And so let me get my

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this is my standard.

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But where where oh, I've got this one in a weird tuning

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because I had a student who was talking to me about that.

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So this d

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d a d. We're used to seeing d a d on table edit music.

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This looks like it's the d that's at the bottom of the treble clef.

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That's not where it actually sounds.

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So let's do a side by side comparison

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with the guitar.

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The low d on the mountain dulcimer

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is the same as the the d string on the guitar.

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They're the same pitch.

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Now the other strings, when we're tuned, d, a, d, don't match any of the other strings on the guitar, but we have the same

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common string right there. So

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the d on the mountain dulcimer is in the middle range of the hammered dulcimer I mean, the,

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the guitar.

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And

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that note

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is

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oh, we didn't get to that instrument yet. We still have to do that. We'll come back and do that one.

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Okay? Hang on.

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This is mountain dulcimer d a d.

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This d is just a little bit is one step lower

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than the high

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e on the guitar. So when I put my finger here,

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we're coming to it. Jay and Jim, hang on there. This e here

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is the same as the high e string

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of a guitar.

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So that's where the range is. Now, of course, in the old days, people would whoo into the hole,

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and they would they would, tune their base string

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to wherever that string that pitch was. Now this one wants to be

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Really wants to be

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Wants to be around in the e flat kind of area,

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but it'll it'll work really fine here. So a standard

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158 tuning, I'm calling the steps of the scale 158.

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8 being the octave of the one

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puts us in that range on a standard

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mountain dulcimer.

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Now how does that we're gonna come to other mountain dulcimers in a minute, but how do all of these things compare to the hammered dulcimer?

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Mine has got a big

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extended range. This is a dusty strings d 650,

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which means

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I have low notes that I have on I haven't played on any instrument yet.

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But this c on the bass bridge, which needs a little retuning, it sounds like from yesterday,

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that is middle c. So when we are comparing to other instruments,

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that's the middle c that we were comparing to.

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But the d that's on the base,

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the bottom of the mountain dulcimer

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is right here.

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And that's where many hammered dulcimers

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that's their lowest string is this one right here.

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There are some smaller hammered dulcimers that stop at g, which would be the same as the g on the guitar,

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the, g string on the guitar. It would be the same as the g string that's tuned open on a banjo.

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It would be the same as the 3rd fret on a mountain dulcimer,

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the bass string.

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So the mountain and the hammered dulcimer really shared a lot of the same range.

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The middle c here would be like the 6th fret

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on the bass string of the mountain dulcimer.

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Now

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this d that I have down here, if I was to play the notes that the,

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guitar is actually playing.

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Down here. I've got an a

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a d g.

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Those are the physical pitches on the guitar.

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So if I have a smaller hammered dulcimer, which ends at a d right here, my guitar has a couple of lower notes.

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And when I'm putting things together between the guitar and the hammered, dulcimer, the guitar is gonna gonna be the one who can physically play the pitches that are lower than what I have.

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On this instrument, I can play the lower pitches.

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Now I also go up higher

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that e way up there

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is so I'd have this e, which is my e string. I've got an octave e.

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I've got another octave up there.

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I'd have to really keep on going high on my guitar strings to match that.

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Now because this instrument has lower pitches, I can walk down from my

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d c sharp b a,

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And then I can go further a. I've got a b flat, f, a g.

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So a g. And now I've retuned this one to f natural.

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A, d.

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And then a c natural.

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And a. So if this is the e that's below the bass clef on the guitar

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over here, and I'm going even lower.

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That's the line that's below bass clef. This is the next space below that one.

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This is the next line below that one.

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This is the next space below that one. And this is the a on a piano that would be called a

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2. Each one of the octaves,

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according to the piano, is how we determine

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where things are because

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the first note on the lowest part of a typical piano

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is an a one.

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The Bose and Dorfert pianos, which have a reverse set of keys, has another octave below that.

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But we're not gonna we're not gonna worry about that right now.

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We're going to just talk about a 2, which means the next day that shows up is an a one

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and

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a 3.

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Let's see. We got a

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a 2,

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a 1,

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a.

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A 2, a 3, a 4,

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which is why c middle c is called c 4 because a is wherever all the numbering starts

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on the piano. So c4, c5, c6,

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that's a way to compare.

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So this instrument has a very broad range, which is one of the reasons it works very well with a fiddle.

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And now we're gonna come to

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the instrument that is tuned exactly the same as a fiddle,

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a mandolin, open 5th tune.

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And my lowest g here,

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g d a e, is tuned exactly the same as the fiddle.

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The difference here is that I've got doubled strings in 2 string courses.

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So this g, how does it compare to the other instruments?

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It's the same pitch as the g string on the guitar.

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And then the a

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or the d that's above that is like playing the 3rd fret on the b string of a guitar.

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The a is the a above that,

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and this e

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is an octave higher than the e string on the guitar.

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So it gets stretched out. Let's let's do this.

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Where's my a there? It is.

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So the range compared to the guitar is what puts this one above that and gives it the the space above that much more sopranoy.

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And that's part of why the bluegrass ensembles work because everybody's carving out their own space.

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Oh, comparing to the double bass, the

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the the notes on the guitar, the double bass is playing notes an octave lower than that.

248
00:16:35.600 --> 00:16:39.060
Its notes are the same as the bottom four strings on a guitar,

249
00:16:39.395 --> 00:16:41.095
but an octave lower.

250
00:16:44.035 --> 00:16:46.215
So that puts those instruments together,

251
00:16:46.570 --> 00:16:49.390
but the question was raised, what about a baritone?

252
00:16:52.490 --> 00:16:52.990
And,

253
00:16:54.255 --> 00:16:56.915
Doug Doug, you're saying your hammered Alzheimer's at 1211.

254
00:16:57.375 --> 00:16:59.954
Is your your lowest note is a g. Correct?

255
00:17:05.970 --> 00:17:07.270
Oh, that's very interesting.

256
00:17:08.050 --> 00:17:11.829
I didn't know that about bells that they would use a different, terminology.

257
00:17:15.355 --> 00:17:18.414
Yeah. Same same sounding kind of thing. Right?

258
00:17:19.515 --> 00:17:21.375
Here's a question that was asked earlier.

259
00:17:22.269 --> 00:17:24.210
How does a standard

260
00:17:24.829 --> 00:17:26.369
mountain dulcimer compare

261
00:17:26.909 --> 00:17:29.090
to a baritone mountain dulcimer?

262
00:17:30.705 --> 00:17:34.164
And, this is where the ensemble question shows up.

263
00:17:34.544 --> 00:17:36.005
For a long time, standards

264
00:17:36.705 --> 00:17:38.485
standards are just what they are.

265
00:17:40.320 --> 00:17:43.060
And people would tune them to play as they wanted to.

266
00:17:43.200 --> 00:17:45.280
But now let me put these guys next to each other.

267
00:17:45.280 --> 00:17:49.125
We have a whole course on Dulcimer Crossing, which does this comparison.

268
00:17:49.265 --> 00:17:51.284
Aaron May Lewis and I talk about that.

269
00:17:51.745 --> 00:17:54.404
And there is a baritone lab here on Facebook that

270
00:17:55.024 --> 00:17:58.870
the DJ Humores hosts where there's a lot of talk about this too.

271
00:17:59.170 --> 00:18:02.390
The typical tuning, the way these are usually built,

272
00:18:04.210 --> 00:18:06.549
I've got mine tuned to g right now.

273
00:18:07.635 --> 00:18:10.375
That's not typically what they are. They're typically

274
00:18:10.835 --> 00:18:11.335
a,

275
00:18:11.875 --> 00:18:12.855
so let me

276
00:18:20.740 --> 00:18:23.160
I have a student who plays hers in g.

277
00:18:30.765 --> 00:18:31.265
So

278
00:18:32.020 --> 00:18:35.880
the the a string on the the aea,

279
00:18:36.260 --> 00:18:37.640
the 158 tuning,

280
00:18:38.420 --> 00:18:39.400
is the same

281
00:18:39.985 --> 00:18:41.925
same pitch as the middle string

282
00:18:42.785 --> 00:18:44.085
of a standard instrument.

283
00:18:44.865 --> 00:18:47.205
The e here is the same as

284
00:18:47.779 --> 00:18:50.200
e on the bass string at the 1st fret

285
00:18:51.299 --> 00:18:56.600
and then the a that's the lowest string on us. Baritone is an octave below this

286
00:18:58.965 --> 00:19:01.784
And this is gonna get to where Jim is asking about,

287
00:19:02.404 --> 00:19:02.904
viola

288
00:19:03.205 --> 00:19:03.705
and

289
00:19:04.085 --> 00:19:06.264
and those instruments. So hang on.

290
00:19:07.040 --> 00:19:08.340
Because if I put

291
00:19:09.200 --> 00:19:10.020
my bass

292
00:19:10.880 --> 00:19:12.100
next to my baritone,

293
00:19:16.085 --> 00:19:20.505
Now I've got 4 strings on my base, so I tune it in an unusual tuning.

294
00:19:20.805 --> 00:19:23.520
But my a that's on the

295
00:19:24.780 --> 00:19:26.560
on the lowest on my baritone

296
00:19:27.180 --> 00:19:30.160
is the what would be the equivalent of the middle

297
00:19:30.620 --> 00:19:31.120
a

298
00:19:33.485 --> 00:19:34.385
on my bass.

299
00:19:37.565 --> 00:19:39.405
And my bass d

300
00:19:40.010 --> 00:19:46.330
so this is a d a d. I've tuned it d ac natural d so I can get some extra notes on this one string.

301
00:19:46.330 --> 00:19:46.830
But

302
00:19:47.210 --> 00:19:48.190
d a d,

303
00:19:48.775 --> 00:19:50.555
this is an octave lower

304
00:19:50.855 --> 00:19:51.755
than my standard,

305
00:19:52.135 --> 00:19:57.275
but it it's like if I built a standard, a baritone, and a bass altogether,

306
00:19:57.820 --> 00:20:00.559
I could have all the strings on there. And that's what,

307
00:20:00.940 --> 00:20:05.120
Richard Ash at Fulcrath has done with the Max Dad.

308
00:20:06.705 --> 00:20:11.505
It's put it's like putting 2 of these together, and if you play the middle, it's you're similar.

309
00:20:11.505 --> 00:20:12.965
So let me do the octaves.

310
00:20:17.980 --> 00:20:21.360
So now this has a note that's lower than my guitar

311
00:20:21.820 --> 00:20:26.205
because if I wanna make my low e of the guitar match,

312
00:20:26.745 --> 00:20:29.965
I play my first fret on the mountain the bass mountain dulcimer.

313
00:20:30.905 --> 00:20:31.965
That's the e.

314
00:20:33.140 --> 00:20:39.480
But if I lower it to the open d, it's like retuning my guitar to drop d tune.

315
00:20:43.575 --> 00:20:46.875
So oops. We can put you over here. There's a stand for you.

316
00:20:50.899 --> 00:20:56.120
We also have some base lessons on on Dulcimer Crossing as well with Elaine Conger

317
00:20:56.659 --> 00:20:57.639
teaching that.

318
00:20:58.875 --> 00:21:00.975
Let's do let's answer this question.

319
00:21:02.155 --> 00:21:03.375
In the string orchestra,

320
00:21:03.835 --> 00:21:06.575
this is a the violin and fiddle, same instrument.

321
00:21:06.779 --> 00:21:09.279
Some people say the same hardware, different software.

322
00:21:09.659 --> 00:21:14.480
If you're playing a violin, you're playing the same pitches as this. If you play a viola,

323
00:21:14.895 --> 00:21:18.595
your highest string is the same a as a violin,

324
00:21:18.975 --> 00:21:23.315
and you've got a d and a g, and then you've got a c below that.

325
00:21:23.850 --> 00:21:25.950
And that's the 4 strings of viola.

326
00:21:26.650 --> 00:21:27.950
If you play a cello,

327
00:21:28.490 --> 00:21:32.110
you have the same strings as a viola, but an octave lower.

328
00:21:32.375 --> 00:21:35.034
And if you play the double bass, it's the same pitches

329
00:21:35.335 --> 00:21:39.355
as the electric bass, which is an octave lower than what's on the guitar.

330
00:21:39.770 --> 00:21:41.070
So you've got this whole,

331
00:21:43.770 --> 00:21:45.150
spectrum of sounds.

332
00:21:45.450 --> 00:21:45.950
Now

333
00:21:46.650 --> 00:21:49.715
if there are people who build what's called a mandola,

334
00:21:50.175 --> 00:21:54.515
which is like a mandolin for double string courses, but it's tuned like a viola.

335
00:21:54.990 --> 00:21:57.970
So you'd have the mandolin that's like the violin.

336
00:21:58.350 --> 00:22:00.450
You've got the viola and the mandola.

337
00:22:00.830 --> 00:22:02.850
And then there are people who build mandocellos,

338
00:22:03.745 --> 00:22:08.645
which also have doubled strings, but they're all the same pitches as what a cello would be.

339
00:22:09.985 --> 00:22:13.525
And there's bass mandolins as well. And in the twenties,

340
00:22:14.130 --> 00:22:14.870
there were,

341
00:22:18.770 --> 00:22:24.365
there were banjo and mandolin orchestras that were very popular. People like to play music together.

342
00:22:24.825 --> 00:22:28.045
We're in this period of time, and people like to play golf course together.

343
00:22:32.640 --> 00:22:33.919
A 5 string fiddle. Yes.

344
00:22:33.919 --> 00:22:38.980
There are a lot of there are there are people who build guitars with 7 strings so they can get a low b.

345
00:22:39.304 --> 00:22:44.265
Dan Creery is a marvelous flatpicker. And I remember being at Winfield listening to him play.

346
00:22:44.265 --> 00:22:46.930
He said, I just got this new guitar, and he starts going,

347
00:22:47.970 --> 00:22:52.610
and I popped up. I was laying back on my my back just enjoying the sounds, and I popped up.

348
00:22:52.610 --> 00:22:56.325
And he said, yeah. You're right, folks. This one's got a low b.

349
00:22:58.145 --> 00:23:02.940
And recorders are pitched. Yeah. I like the the joke in there about how they're pitched.

350
00:23:04.620 --> 00:23:05.120
Soprano,

351
00:23:05.899 --> 00:23:08.480
alto, tenor, bass, and then there's the sopranino,

352
00:23:09.019 --> 00:23:09.919
which is an

353
00:23:11.875 --> 00:23:13.015
or a 5th higher

354
00:23:13.554 --> 00:23:14.774
than soprano.

355
00:23:16.115 --> 00:23:19.015
Now I told you I won that, baritone

356
00:23:19.750 --> 00:23:21.130
at the Walnut Valley Festival.

357
00:23:21.270 --> 00:23:26.070
It was the first instrument I won, and I didn't quite know how to play it with other people.

358
00:23:26.070 --> 00:23:31.635
I knew how it played by itself. But then this is another one I won at that festival, the ginger.

359
00:23:32.095 --> 00:23:37.030
This is a smaller fret length compared to the other ones. This these both come from

360
00:23:37.830 --> 00:23:37.990
Xpadden.

361
00:23:37.990 --> 00:23:45.210
But this one is pitched because it's a smaller body, and it's voiced so it would play good in f or in g.

362
00:23:45.684 --> 00:23:52.985
And when it first came to me, it was in GDG tuning, and I struggled playing with other people the same way I struggle with the baritone.

363
00:23:53.600 --> 00:23:56.100
And what I that's what led me to

364
00:23:56.720 --> 00:23:57.220
creating

365
00:23:57.920 --> 00:24:01.780
instrumental arrangements where people could play different tunings together

366
00:24:02.085 --> 00:24:05.705
and play beautiful music, and that's what morphed into becoming

367
00:24:06.005 --> 00:24:06.585
the dulcimer

368
00:24:06.965 --> 00:24:07.465
orchestra

369
00:24:07.925 --> 00:24:08.425
library.

370
00:24:09.045 --> 00:24:11.900
And, let me go grab that for a minute.

371
00:24:14.940 --> 00:24:16.560
I can give you that link.

372
00:24:19.965 --> 00:24:23.345
There we have, over 30 titles in this

373
00:24:23.885 --> 00:24:24.205
at,

374
00:24:25.805 --> 00:24:28.065
Almaat Music, which is my website.

375
00:24:29.160 --> 00:24:31.020
But that's information about that.

376
00:24:31.720 --> 00:24:35.740
I've conducted the Colorado Dulcimer Orchestra and the Berkeley Dolcemar Orchestra,

377
00:24:36.085 --> 00:24:40.105
which is currently on hiatus. But the reason I wanna mention the Berkeley

378
00:24:40.565 --> 00:24:41.065
Dulcimer,

379
00:24:42.485 --> 00:24:45.940
gathering, which is coming up in just a couple of weeks,

380
00:24:47.360 --> 00:24:47.860
is

381
00:24:48.320 --> 00:24:48.820
registration

382
00:24:49.440 --> 00:24:52.340
closes tomorrow. There's still some seats available.

383
00:24:53.045 --> 00:24:58.105
In fact, all the classes are going. They all have students in them, but there is room for you.

384
00:24:58.565 --> 00:24:58.805
And,

385
00:24:59.525 --> 00:25:00.905
if you have some conflicts,

386
00:25:01.700 --> 00:25:03.080
talk to Deborah Hamoras

387
00:25:03.780 --> 00:25:07.299
if you are if if there's a particular thing you're interested in.

388
00:25:07.299 --> 00:25:09.320
But I wanna call attention to something,

389
00:25:09.795 --> 00:25:11.495
that's happening on Sunday,

390
00:25:13.395 --> 00:25:16.295
and that is the first ever. We haven't done this before.

391
00:25:17.210 --> 00:25:19.929
And let's share the Berkeley dulcimer

392
00:25:19.929 --> 00:25:21.070
gathering. Yep.

393
00:25:21.850 --> 00:25:24.750
So if I click here to the schedule,

394
00:25:26.545 --> 00:25:28.325
you can see here's the schedule.

395
00:25:28.865 --> 00:25:32.245
On Sunday, there's a special thing happening called an arranger

396
00:25:32.545 --> 00:25:33.045
roundtable.

397
00:25:33.780 --> 00:25:36.360
We are gathering some people who arrange

398
00:25:36.753 --> 00:25:37.800
dulci-bro instrument

399
00:25:39.300 --> 00:25:39.800
multipart

400
00:25:40.660 --> 00:25:41.160
arrangements

401
00:25:41.940 --> 00:25:42.440
for

402
00:25:43.735 --> 00:25:44.875
multiple instruments

403
00:25:45.415 --> 00:25:46.875
often played by dulcimers,

404
00:25:47.975 --> 00:25:49.515
both mountain and hammer dulcimers.

405
00:25:49.975 --> 00:25:55.610
And this is a conversation that gathers Ashley Ernst from Dulcimer Players News is gonna host that.

406
00:25:56.070 --> 00:26:01.690
But there hasn't been one of these before, and this is gonna be 12:45 to 2 PM Pacific time.

407
00:26:02.205 --> 00:26:05.025
If you are if you've registered for the festival

408
00:26:05.404 --> 00:26:05.904
or

409
00:26:06.205 --> 00:26:07.985
you purchase concert tickets,

410
00:26:08.845 --> 00:26:14.430
you have you you gain access to that arranger's roundtable. It takes place on Zoom.

411
00:26:14.810 --> 00:26:15.310
So,

412
00:26:16.650 --> 00:26:17.150
arranger's

413
00:26:18.330 --> 00:26:18.830
roundtable,

414
00:26:20.545 --> 00:26:21.845
Sunday, 12:45,

415
00:26:23.665 --> 00:26:25.765
2 PM Pacific Daylight Time.

416
00:26:26.625 --> 00:26:27.125
Sunday,

417
00:26:27.745 --> 00:26:28.245
55

418
00:26:28.865 --> 00:26:29.365
5:15.

419
00:26:32.530 --> 00:26:32.929
And,

420
00:26:34.610 --> 00:26:36.789
that's that's taking place there.

421
00:26:40.035 --> 00:26:42.055
You're afraid you're gonna get lost in the shuffle?

422
00:26:42.835 --> 00:26:46.435
Take the cards you get at the beginning and don't don't, turn any in.

423
00:26:46.435 --> 00:26:52.600
Maybe that's the the secret for that. What we're gonna do is let is people are gonna be sharing

424
00:26:53.700 --> 00:26:55.160
let's see. We're gonna

425
00:27:00.615 --> 00:27:04.554
I don't wanna do that. I want to here's what I gotta do. Yep.

426
00:27:06.850 --> 00:27:11.750
Is we're going to have different people talk about what they do as they're arranging.

427
00:27:12.904 --> 00:27:15.225
What is their approach? And Tull Glaser will be there.

428
00:27:15.225 --> 00:27:18.745
Kirk and Judy House from the First National Dulcimer Orchestra will be there.

429
00:27:18.745 --> 00:27:20.764
Patty Emelott from Southern California

430
00:27:21.169 --> 00:27:27.510
who arranges a lot of Celtic music, sometimes for 2 hammered dulcimers that are very rich and exciting because she and Brenda,

431
00:27:27.970 --> 00:27:32.755
Hunter both play marvelous arrangements together, and I'll be one of the people there.

432
00:27:33.935 --> 00:27:37.535
So we'll talk about what are our strategies for arranging and how we do that.

433
00:27:37.535 --> 00:27:42.710
It's exciting to me that there are so many more people arranging dulci-bro arrangements.

434
00:27:43.970 --> 00:27:45.910
The the First National Dulcimer Orchestra

435
00:27:46.210 --> 00:27:49.804
has been able to find arrangements to play from a bunch of people,

436
00:27:50.664 --> 00:27:55.485
and they do that every Tuesday night. So that's one of those things to pay attention to.

437
00:27:56.585 --> 00:27:58.774
They've been doing it for over a year,

438
00:27:59.450 --> 00:28:02.190
and I'm gonna put you can find on Facebook.

439
00:28:10.625 --> 00:28:16.005
And so that's an exciting thing that's happened in, that's one of the things that happened in the pandemic.

440
00:28:17.450 --> 00:28:24.110
Berkeley the Berkeley Dulcimer gathering in its concerts is gonna feature performance past performances, archive performances

441
00:28:24.855 --> 00:28:27.275
of the Berkeley Dulcimer Orchestra from

442
00:28:27.575 --> 00:28:29.035
when we could play in person.

443
00:28:35.080 --> 00:28:39.980
Okay, Doug. You're saying there's only one that has a part specifically written for baritone. Okay.

444
00:28:40.280 --> 00:28:40.780
Well,

445
00:28:41.195 --> 00:28:42.575
there's more coming.

446
00:28:42.635 --> 00:28:51.570
And I know that, that Deborah Hemoris is writing more, and I understand that, yes, you told me you're playing in the playing an ensemble with them, which is very exciting.

447
00:28:51.570 --> 00:28:54.710
So there's more coming. You get to be part of the development of that.

448
00:28:55.169 --> 00:28:58.390
But what I wanted to do, my goal in this

449
00:28:58.975 --> 00:28:59.475
this,

450
00:28:59.855 --> 00:29:05.875
focus today is to compare the instrumental ranges so we can have a better understanding of where our voice fits

451
00:29:06.255 --> 00:29:07.315
in ensembles,

452
00:29:07.960 --> 00:29:10.380
and maybe that can open up some possibilities.

453
00:29:10.920 --> 00:29:13.820
It can answer some questions. It can excite curiosity.

454
00:29:14.360 --> 00:29:18.745
And as always, if you have further questions, please contact me. And,

455
00:29:19.465 --> 00:29:23.405
here, you can do it by leaving a message here. You can write to me steve@allmountmusic.com,

456
00:29:25.110 --> 00:29:27.049
and I'll do my best to come up with

457
00:29:27.429 --> 00:29:28.809
responses for your questions.

458
00:29:31.830 --> 00:29:33.289
At Dulcimer Crossing,

459
00:29:33.825 --> 00:29:38.085
I just wanna show you let's see. Nope. Nope. Nope. Nope. Nope.

460
00:29:41.980 --> 00:29:45.440
The Quarantine Notes from our festival website or registrations

461
00:29:45.900 --> 00:29:46.400
open

462
00:29:46.940 --> 00:29:47.760
this weekend.

463
00:29:48.275 --> 00:29:48.775
I'm

464
00:29:51.475 --> 00:29:53.575
gonna log out so that you can see this.

465
00:29:54.115 --> 00:29:55.815
We've been I've been doing some

466
00:29:56.210 --> 00:29:58.790
some updating of the Dulcimer Crossing

467
00:29:59.170 --> 00:29:59.990
home page.

468
00:30:00.690 --> 00:30:01.190
So

469
00:30:01.730 --> 00:30:02.230
now

470
00:30:02.770 --> 00:30:05.335
we have a little bit different menu at the top.

471
00:30:06.054 --> 00:30:07.914
We have our history. We have our offerings.

472
00:30:08.375 --> 00:30:09.995
This all looks very familiar,

473
00:30:10.455 --> 00:30:11.735
the same as it's been.

474
00:30:11.735 --> 00:30:17.179
But if you look at our offerings, it's where you can find our membership, the a la carte courses,

475
00:30:17.640 --> 00:30:18.539
sample lessons.

476
00:30:19.559 --> 00:30:25.784
You can click we've got a whole course of sample lessons from all the different skill levels on all the instruments we teach.

477
00:30:26.005 --> 00:30:30.505
So if you're just trying to see if this is something you wanna do, you can take a look there.

478
00:30:30.720 --> 00:30:34.100
You have access to see who our teachers are, our blog,

479
00:30:35.440 --> 00:30:38.740
and with all of our posts. You can sign up for a newsletter.

480
00:30:39.520 --> 00:30:40.180
If you

481
00:30:40.625 --> 00:30:41.525
go to the member site

482
00:30:42.065 --> 00:30:45.205
and you're not logged in yet, it's gonna ask you to log in.

483
00:30:46.385 --> 00:30:50.245
If you aren't a member, then you become a member, and that's how you get your your

484
00:30:51.490 --> 00:30:52.710
access. And

485
00:30:53.250 --> 00:30:54.390
I gotta re

486
00:30:55.250 --> 00:30:57.030
that's got something old cached

487
00:30:58.295 --> 00:31:00.315
That's not displaying correctly.

488
00:31:02.855 --> 00:31:07.220
But the, form is showing up on this page, and our upcoming events are showing up here.

489
00:31:07.539 --> 00:31:09.960
Actually, one of the things we're doing is we're inviting

490
00:31:10.260 --> 00:31:15.080
people members to come and tell us a story about how you got started with your dulcimer.

491
00:31:15.995 --> 00:31:20.015
How did you get started? We're we're fascinated by that. And if we were at a festival,

492
00:31:20.795 --> 00:31:23.695
we would all be having that conversation around lunch.

493
00:31:24.370 --> 00:31:30.310
So that's what we're inviting you to do is use our festival tent forum as a way of talking with your neighbors.

494
00:31:32.105 --> 00:31:35.965
So it's time for me to head out, but thank you again for being here today.

495
00:31:36.265 --> 00:31:39.965
I believe let me go look at the calendar just to be sure.

496
00:31:41.610 --> 00:31:42.830
Is it next week?

497
00:31:45.210 --> 00:31:45.710
Uh-huh.

498
00:31:46.250 --> 00:31:51.495
In 2 weeks, Aaron May is gonna be joining me. We're gonna talk about some improvisational soloing,

499
00:31:51.955 --> 00:31:54.215
but next week, it'll be me again.

500
00:31:54.595 --> 00:31:56.195
So I'm gonna say goodbye now.

501
00:31:56.195 --> 00:32:02.730
This will be archived on our YouTube channel on our Facebook page, as well as in the live events section of dolsonercrossing.com.

502
00:32:05.030 --> 00:32:05.530
Bye.