Minor Chord Leading

We're leaping right into it with a look at the minor side of A Major.

A    B    C#    D    E    F#    G#
I   ii    iii   IV   V    vii   vii°

Each one of the seven notes is given a scale degree. Uppercase Roman numerals denote Major and lowercase represents minor (lowercase with ° is diminished.)

When songwriting, certain intervals of chord changes have deeply resonant effects of conflict and resolution. Certain chords just "feel" like they need to go somewhere in particular.

I chord leads to any chord
ii leads to IV, V, vii° chords
iii leads to ii, IV, vi chords
IV leads to I, iii, V, vii° chords
V leads to I chords
vi leads to ii, IV, V, I chords
vii° leads to I, ii chords

Beginning the A Major scale on the sixth note gives us the F# minor scale and through our scale degrees remain one through seven, those numbers change from Major to minor and vice versa. The notes maintain their intervals within chord structures:

F#   G#   A   B   C#   D   E
i   ii°  III  iv  v    VI  VII

i leads to iv, VI, VII, III chords
ii° leads to III, iv chords
III chord leads to any chord
iv leads to VI, VII, and ii° chords
v leads to iv, VI, i chords
VI leads to III, v, VII, ii° chords
VII leads to III chords

Each scale degree has a name that describes its distance from the root chord or tonic. You don't need to memorize them, though it always helps. What's more important is hearing the cadences, distinct movement in the music, that result from different chord progressions.

The TONIC is the first note of the scale, whichever key you're in. We're in A Major, so let's call it A. Think of the TONIC as 'home.' No matter where you take a song, always bring it back home.

The SUPERTONIC (literally "above" TONIC) is from the second note of the scale. B minor.
Goes well to the fifth note of the scale.

The MEDIANT is the third note of the scale and shares two notes with the TONIC. It can resolve anywhere. C# minor.

The SUB-DOMINANT is the fourth note of the scale. To the TONIC or to the LEADING TONE. D Major.

The DOMINANT is the fifth note of the scale. It wants to pull the most towards the TONIC. E Major.

The SUB-MEDIANT is the sixth note of the scale. Most naturally flows towards the second or SUPERTONIC, but also goes to the DOMINANT. F# minor.

The LEADING TONE is the very pivotal seventh note of the scale. It pulls towards the TONIC. Remember, this is a diminished scale and a G# diminished chord, so strange things are afoot anyway.

There are a few different schools of thought on building chords off of the natural minor scale versus the harmonic or melodic minor scales. I promised I was going to bring that up at some point and I see no better time and place than right now and right here.

I swear, I'm not trying to murder you. Really. This stuff makes sense in context. I have to rub my brain all over it every day to make it stick - so you're going to suffer with me, yeah? Okay. We move on.

Minor scales and other harmonizations

Since this has already been hinted at in the worksheet material for this study, I'll get it out of the way first. It's been hanging over my head now for about a week and it just needs to get out there.

We talked about building chords (triads) by stacking them three notes apart.

A    B    C#    D     E     F#      G#


Just skip every other letter, starting with the TONIC of A:

I = A - C# - E = A Major
ii = B - D - F# = B minor
iii = C# - E - G# = C# minor
IV = D - F# - A = D Major
V = E - G# - B = E Major
vi = F# - A - C# = F# minor
vii° = G# - B - D = G# diminished

There you have your chords - now, remember that each of these scale degrees have a personality, from TONIC to LEADING CHORD. While keeping their personalities in tact, we re-arrange the order of the notes to create the relative minor scale, also known as the natural minor. Same chords, different order. Some would suggest rather using the harmonic and melodic minor to generate chord progressions, but as a modal instrument, the diatonic dulcimer was made for this approach (and it's easier.) Fundamental. There's a better word.

Here, the 'b' represents flat, down a half-step.

Major Scale


1 2 3 4 5 6 7 0ctave


minor scale (also called descending melodic minor scale)

1 2 b3 4 5 b6 b7 Octave

harmonic minor scale

1 2 b3 4 5 b6 7 Octave

melodic minor scale (also called ascending melodic minor scale)

1 2 b3 4 5 6 7 Octave

Chords and other scales can be built from each of these notes and, combined, the incredible treasure of combinations begins to evolve. Let's talk about seventh chords and how to build them from a Major scale.

A    B    C#    D     E     F#      G#


Once again, skip every other letter but do it four times. 

I = A - C# - E - G# = AMaj7 
ii = B - D - F# - A = Bm7
iii = C# - E - G# - B = C#m7
IV = D - F# - A - C# = DMaj7
V = E - G# - B - D = E7
vi = F# - A - C# - E = F#m7
vii° = G# - B - D - F# = G#m7/b5

Whammo! Instant jazz chords! To review the building of each kind of chord:

Major

Root - Major 3rd - Perfect 5th

minor

Root - minor 3rd - Perfect 5th

diminished

Root - minor 3rd - diminished 5th or flat fifth or b5
(in other words, the 3rd and 5th are both flat.)

augmented

Root - Major 3rd - augmented or raised 5th.

Dominant 7th or Seventh

Root - Major 3rd - Perfect 5th - Minor Seventh or Flat Seventh (or LEADING TONE)

Major Seventh

Root - Major 3rd - Perfect 5th - Major Seventh

Majorminor Seventh

Root - minor third - Perfect 5th - Minor 7th

To play some of these chords, it's helpful to know your scales, arpeggios, across the fretboard so you can see (and hear) where the various parts of the chord are lurking.

Then, we drop out the root, in most cases, and leave the other three parts of the chord, which register in most cases as an honest-to-goodness seventh chord of some complexity.

I know, we're losing some of the diatonics here. This stuff is all covered in the chromatic hand=outs.

Going To Tra-La-La in F#m



Great - now all I can hear is that guy.

Here's some movement for F#m:

F#m - Bm - G#° - A - D -- F#m -- Bm

Bm - C#m - D - F#m





http://darkstudios.com/KeyStudies/Majesty%20In%20F%23minor.tef.pdf

http://darkstudios.com/KeyStudies/Majesty%20In%20F%23m.mp3

What I've done is just plotted the path of least resistance in seeking out "home" and passing through sequences of changes. You can clearly hear just how extraordinary a diminished chord can be when used in a certain progression and this is a diatonic transcription - all of this is possible on neo-standard mountain dulcimer (and I mean 6+ fret.) Any chromatic players out there who can't figure out the transcription, e-mail me and I'll send it to you.

I'm toying with the idea of writing out a solo. Maybe. After I live with it for awhile, yeah? There's nothing like throwing some chord changes into Band In A Box and just improvising over them in loops. It's the best way to find out what things work and what don't, without having to do all of the math. Ultimately, music theory is just putting to words what you are already putting into practice. Hearing and feeling the music is the key.

Have fun with the chord studies and mp3 file! We're going to do some different things for the next few key studies, so hang in there diatonic players - we'll have stuff that you can work on as well!

Mucking about in the key of C: More diatonic study

If you're familiar with the concept of music therapy, then you're probably aware of the connection between the various keys and their respective characteristics. Out of all the colors of the rainbow, it is the total absence of color, white, that is most often associated with the key of C. From this page comes the quote "Pure, certain, decisive; expressive of innocence, powerful resolve, manly earnestness and deep religious feeling." No flats. No sharps. Not complicated. It's a basic "home key."

C D E F G A B
1 2 3 4 5 6 7

Seven notes. In a scale, we typically play a total of eight notes. The seven notes of the scale beginning with the root or tonic note (in this case, C) and ending with the same note an octave higher (from the Latin octavus - meaning "eight".)

You can build chords from each note by skipping every other letter. Remember that 1, 4 and 5 are Major chords, 2,3 and 6 are minor chords and the seventh is a diminished chord.

C E G = C Major
D F A = D minor
E G B = E minor
F A C = F Major
G B D = G Major
A C E = A minor
B D F = B diminished

Major = root, Major third, perfect fifth
minor = root, minor third, perfect fifth
diminished = root, minor third, diminished fifth (or "flat fifth" or b5 or 5b)

and while we're at it

augmented = root, Major third, raised or "augmented" fifth

All of these chords are possible on a standard mountain dulcimer. So far, we're sticking with triads; these chords with three notes. Later, we'll get more into so-called "chroma" or extended chords like 6ths, 7ths and suspended chords.

Working out of the possible chord progressions for basic fundamental key of C, I came up with this piece called "C Musing Myself." No strum instructions have been included, so you'll need to fill out and propel this piece once you've mastered playing it through as written.

Now, one thing about playing in CGC tuning is that it requires a light touch if you're using moderately light gauge strings such as .011 - .014 on your melody and middle string. Heavier strings (I sometimes use .016 - .017) will hold up better on most instruments that can tolerate being tuned down a whole step from what they're used to. After talking with several builders, it can be said that some dulcimers are built to sound best when tuned to variables of D (DAA, DAD, DGD, etc.) so you may need to play around with the tuning a bit.

For each movement to a different chord, the bits of melody are taken from that chord and its corresponding scale. Using chords and notes that are not in the scale is standard practice - I just kept it simple for this first composition. It's a tremendously fun exercise. Just choose your key (know the territory), lay out your chord progressions, build a melody and explore the many different personalities of the various keys.

At least a couple of music theory websites made note (pun intended) of a dual-personality for the key of C, which also swung towards the "war like" side. Perhaps that's best reflected in the relative minor key of C which can be found by going to the sixth note of the Major scale, whatever it might be. In this case, the note is A - so the key is A minor. Same notes as the C scale - just started in a different spot:

C D E F G A B C

A B C D E F G A

(a good mental mind-map = six up or two back from the root is the relative minor. C minus two = A)

A look at the minor side of the C coming up next!

Chord Voicings - "Figure Eight"

One of the best ways to get acquainted with your mountain dulcimer, diatonic or chromatic, is to figure out songs on them, trying as hard as you can to perfectly match the chords. As many dulcimer players well know, this can be pretty difficult with a diatonic dulcimer, as there are notes missing.

That's one of the reasons that I got into chromatic dulcimer - wanting to maintain a relative ease of play (the chord shapes for dd-A-D tuning are the same, you just have to adjust for an additional fret space here and there) but eager to perform and write songs without having to do a whole bunch of "leaving out" or "fudging" of chords. I'm currently working on a method book for the chromatic dulcimer which will include examples of how to discern not only standard chords (Majors, minors and sevenths) but also so-called "extension" or "color" chords (the term "chromatic" comes from the latin root "chroma" which means "color") like 6ths, 9ths, Major and minor sevenths, minor sixths, augmented, diminished, etc.

This is yet another very simple look at figuring out chords on chromatic dulcimer, in the same vein as our looks at "Wichita Lineman" and "Her Diamonds." Chords for both of those songs are readily available online as guitar tablature. Trouble with that is sometimes the author of the tab gets it wrong. Another problem with that is if it's anything more than chord symbols, you're going to have a time transposing guitar tablature to dulcimer tablature due to the different tuning. One of the best reasons for coming up with your own chord charts, lead sheets and tab is that if you trust your ear, you're bound to come up with the truest version of a tune that anyone could find.

That certainly goes for this tune, beloved by many, which has haunted me ever since early childhood. "Figure Eight" is the somewhat dark and classical ditty that has helped millions of kids learn their 8 timetables through that bastion of whimsical and entertaining education "Schoolhouse Rock!" "Figure Eight" and "Little Twelvetoes" were two of my favorite songs due to their complex chords, beguiling melodies and nifty arrangements. As I learned while sussing out the chords for "Figure Eight", this tune's a real workout when it comes to the changes.

Figure Eight
Music and Lyrics by Bob Dorough


Cm                        C#
Figure eight as double four,
          G                Cm

Figure four as half of eight.
                               C#

If you skate, you would be great
              G               Cm 

If you could make a figure eight

           Fm               G             Cm 

That's a circle that turns 'round upon itself.

Cm                            C#
One times eight is two times four.

           G                 Cm

Four times four is two times eight.

                       C#
If you skate upon thin ice,
 
         G                   Cm  
You'd be wise if you thought twice

Fm              G              Cm
Before you made another single move.


C                  G/B   Gm/Bb               F/A
One times eight is eight, two times eight is 16,
Fm/Ab               C/G  Am6/F#              Fm6

Three times eight is 24, four times eight is 32,
    C/E        Cdim    Dm7  G    C

And five times eight is 40, you know.

C                  G/B Gm/Bb                F/A
Six times eight is 48, seven times eight is 56,
Fm/Ab               C/G  Am6/F#              Fm6

Eight times eight is 64, nine times eight is 72,

    C/E        Cdim    Dm7  G    C

And ten times eight is 80, that's true.

Em                     F      D7/F#                 G
Eleven times eight is 88, and twelve times eight is 96.
               D   

Now, here's a chance to get off
         G    
On your new math tricks.
           D          

'Cause twelve times eight is the same as
 
           G
Ten times eight plus two times eight

                  G7

80 plus 16 ... ninety-six!

C                  G/B   Gm/Bb               F/A
One times eight is eight, two times eight is 16,
Fm/Ab               C/G  Am6/F#              Fm6

Three times eight is 24, four times eight is 32,
    C/E        Cdim    Dm7  G    C

And five times eight is 40, you know.

Cm                        C#
Figure eight as double four,
          G                Cm

Figure four as half of eight.
                               C#

If you skate, you would be great
              G               Cm 

If you could make a figure eight
           Fm               G             Cm 

That's a circle that turns 'round upon itself.
  
Ab                                        Fm           C
Place it on its side and it's a symbol meaning         Infinity...

As with the other two songs (and many other arrangements you'll want to explore), one of the most memorable aspects of this tune is its descending bass line that runs through all of the chords in the chorus. Starting with the root note "C" at the bass of a C Major chord, the descending notes are:

C - B - Bb - A - Ab - G - Gb - F - E - Eb - D and then a resolution with the chords entering G and then C.

The trick in listening to the tune (no tablature for this tune on the web, at least not where I looked) and figuring out the chords is to maintain that bass line structure or the song just doesn't sound the same. I've done the hard work - now can you figure out how to play these chords? Can you see the pattern? Can you discover which inversion you would need in order to play these chords so that they sound correct?

Let's revisit the concept behind inversions or "slash chords":

A basic 1-3-5 or 1-b3-5 chord is going to have the root note on the bottom, the middle note in the middle and the fifth at the end or top. Using different chord voicings can change the fundamental sound of a chord, even though it uses the same notes, by rearranging the order of the notes. For example, changing the order of notes so that the third is on the bottom, acting as the bass or root - it becomes a first inversion.

So, a C major chord: C - E - G would become E - C - G.

Now, make the fifth the bottom or root note, and you have a second inversion.

G - C - E

When you write out a chord symbol for an inversion, it's often called a "slash chord." You'll see the chord symbol and then a slash and then another note. The note after the slash indicates that this is what the root or bass note should be. So, a first inversion C chord would look like this: C/E

A second inversion C chord would read: C/G


Here below are some chromatic chord shape charts. What I've done here is simply laid out the shapes for chords coming out of the key of D. By moving these shapes up and down the fretboard, paying close attention to the location of the root, you can play in any key. I keep the chromatic tuned to dd-A-D for the time being.

If you haven't already, it's a good idea to learn where all of your notes are on the fretboard. Once you've got that and the fundamental chord shapes, you can play anything!

A key to reading these charts, if you're not familiar with them. First, the number on the left side represents the fret number that it's sitting next to. For this purpose, I'm counting frets like a guitar, numbering 1-12 for an octave, no half-frets here. The numbers on the notes themselves reflect the scale degree of the note (R = root, b3 = flat or minor third, etc.) Sometimes you'll see a chord shape that doesn't include the root, in which case there's normally a trick to suss out what the root is (in the case of the minor 6th, it's three frets up from the "6th" note.)

Have fun!

Dulcimerica 158 - "Dulcimer Blues Pt. 2"

Out with the bad, in with the good --

M-AUDIO - ProFire 610 - High-Definition 6-in/10-out FireWire Audio Interface with Octane Preamp Technology

Designed by the company that revolutionized mobile music production, the ProFire™ 610 FireWire audio interface transforms your Mac or PC into a powerful 6-in/10-out recording studio. Premium digital converters deliver high-definition, 24-bit/192kHz audio throughout the signal path.

While attempting to record two tracks simultaneously in studio today, I was once again dismayed by the apparently malfunctioning second channel on my two channel Firebox. The 48v phantom power switch has also lost its ability to be activated and the unit has a dicey relationship with Garageband in that it sometimes shuts off or introduces audio crackle when I switch between tracks and/or features in the DAW. In other words, it's a poor excuse for an audio interface and I'm ready for something reliable.

After a bit of research, I've decided upon the M-Audio ProFire 610. It apparently has pretty nifty pre-amps, though they aren't tube so I stand behind my recent purchase of the ART Tube Pac. After checking out comparably priced interfaces, it seemed that what the Firebox had that many units do not is a 1 X 1 MIDI port - something that I need in order to utilize my Roland Fantom and virtual instruments in Garageband. Narrowed the choices quite a bit. On top of that, the ProFire 610 has two separate headphone jacks, each with their own volume control. It amazes me that many higher-priced interfaces don't even go this route. It comes in handy when recording tracks simultaneously with another warm body in the room.



Interestingly enough, another unit that I'd balk at if paying retail, is cheaper than what I'd be willing to pay for the M-Audio unit. The Saffire Pro 40 seems to be chock full of goodness with many of the same features as the ProFire 610. Ah - decisions, decisions.

I won't really be able to sell a somewhat defective Firebox - so I'll probably pass it on to my daughter, Casey, when I get her started with a DAW set-up of her own. It won't be perfect, but it will be enough for her to build upon.

Regarding the Rode NT1a (has anyone else noticed that the model name actually spells "rodent"??), I may hold off on that for a spell, as the combination pre-amp and new interface should be enough to give all the mics a boost (apparently, the Firebox has a notoriously low db gain.)

Besides, there are other gear fish to fry. (to be continued.)

Tools, Baby, Tools!

It goes without saying that home studio recording and project recording are not the same as going to a full-fledged professional studio. It's worth the money to have an experienced hand at the faders and a facility with the equipment necessary to make you sound your best.

That said, there's something attractive about the D.I.Y. ethic, which can fan out over many levels - from novice buying their first multi-track recorder to careerist, making decisions on the best DAW (Digital Audio Workstation) for the buck. Recording yourself and others at home offers plenty of benefits including the ability to track whenever you desire and without keeping a wary eye on the wallet clock. Another benefit is the gradual education you receive by slowly immersing yourself into the infinite world of gear, gear and more gear.

Over the years, having a home studio rig has become more affordable with plenty of resources out there to lend you a helping hand. Believe it or not, what's also made home recording so attractive is the fact that millions of people tend to listen to their music via mp3 files. This compressed audio format tends to level the playing field just a little bit in terms of fidelity. A very little bit.

During my own engineering journey, I find there are purchases made that greatly plus my ability to create and record good-sounding music tracks. Cruising on that for awhile, I continue to add onto the knowledge of recorders and mics, processors and amps, hardware and software. In recent months, I've purchased a couple of microphones (Shure SM57 and SM58 Beta) which have already improved the quality of what I record here at home. The next logical step was to get into an inexpensive microphone pre-amp to help warm up the tone that those microphones (and others in my collection) pick-up.

After getting a lead from David Lee King (@DavidLeeKing on Twitter), I ended up setting my sights on the ART Tube Pac. (A play on Tupac, perhaps - who knows?) I've long preferred the sound of tubes over solid state for amplifiers, so it made a lot of sense to employ their warmth to vocals and instruments during the recording process. As you get deeply into the whole production process, a rather largish world of details begins to unfold. Like the difference between dynamic and condenser mics or the wonderful world of manipulating frequencies during the E.Q. and mastering process, the deeper you go, the more there is to absorb. Compression plays a big part in all three phases of production (which, for you non-tech heads out there is pre-production, production and post-production) and it seemed handy to have a mic pre that would also allow for some signal compression.

So, I'm waiting on delivery of this unit sometime this week. Next on the list will be to upgrade from the PreSonus Firebox recording interface to something a little less glitchy with more inputs and sonic controls. Then: I'll be stepping up and looking for a good deal on a Rode NT1a.

As David put it, "amazing how there's ALWAYS more gear out there, huh?" It's true. Especially if you continue to develop, nourish and perfect your craft, whether it be playing an instrument or recording one. You need the proper tools to do the proper job.

Eternal Cabbage

Jerry Rockwell is the mad scientist/genius of the mountain dulcimer, applying music theory to this simple instrument and exploding/exploring the possibilities within/without its structure. His "Eternal Cabbage" chordal exploration is a great exercise for playing and recognizing partial chords up and down the fretboard.

While you're over at his site, poke around and investigate some of the other pages too. Do it till your head hurts - then bookmark where you left off and come back for more. It's guaranteed to get you playing better/smarter in a heartbeat/New York Minute.

I have no idea what this/that is all about. Some kind of hidden theme - need more coffee to suss that out.

Hands-On Training

You may not be familiar with Mike Casey, the performer - he's a wizard on mountain dulcimer, limber like a gymnast on the fretboard. His book "Hands-On Dulcimer" is like spring-training for serious players.

Chock full of exercises for the left and right hands, this book is something I use to warm up before launching into playing or working out tablature or studying music theory. It consists of a number of targeted modules that help to develop and firm up strumming, flat and finger-picking, melody and chordal development as well as strengthening finger and hand muscles to do the work.

Great for all skill levels, it's either a great introduction to techniques such as hammer-ons, pull-offs and slides or it's a rigorous work-out for those familiar with those ornaments. It's probably a good thing to face; you don't just learn all of this stuff and then automatically "have it" for the rest of your life. Nay - even seasoned professionals need to crack away at scales, chords, various rhythms, picking patterns and studies in order to, as I call it, "stay on the horse." The moment you stop learning is the moment that your music starts to go south (and I don't mean Key West, either.)

I highly recommend this book to not only my students, but also anyone who is serious about stepping up their game on mountain dulcimer!

Amazon coupons are available for this book.

A little drone with your coffee?

I really am a late bloomer.

Throughout my musical career, I've flirted with the idea of gratuitous merchandise like t-shirts, hats, printed thongs, the stuff you buy, but have been mainly focused on producing the music and getting it out there.

Until now.

No, now I've gone all Bing*Mart and have officially cracked open a schwag store on Reverbnation. For starters, because there's more stuff to come, the "Got Drone?" line has finally hit shelves. Dulcimer-land has some pretty famous shirts, clever ones that people like. I know that "Got Milk?" parodies are so very 1980, but as a child of the 70's, that seems jolly progressive to me. The great thing about "Got Drone?" is that it's not just about mountain dulcimers for it could also be about bagpipes, hurdy-gurdy, vacuum cleaners, etc.


Not only t-shirts and tote bags but also stainless steel travel mugs for your morning coffee. The jury is still out regarding "Got Drone?" thongs, mainly due to available printing space and not so much about the social implications.

And then, there's the logo marketing. As many of you have no doubt noticed, I've taken particular care about establishing a cross-platform "look" for my websites and social media networks. In somewhat disgusting marketing-speak, this is called "branding" and though it doesn't involve vaqueros, iron rods or painful heat, it's still a slightly disturbing yet necessary part of raising your visibility in an ever-crowded marketplace.


Back when the internet first became commercialized and open to the public, people were hip to set up web pages, even though they had no idea what on earth to do with them. They'd labor intensively over the thing for a week, proudly set it up and then sit, blankly looking at their static web counters, wondering why no-one knew they were there. With the sheer amount of people rubbing virtual elbows with you on the 'net, you've got to somehow get their attention. Just long enough for you to show them what's inside the box, kind of like walking down a supermarket aisle when blammo! something leaps out at you visually and you have to go over and inspect it. Branding is part of the first line of attraction. Somewhere along the line, I managed to acquire some maddish design skillz, so I eventually came up with my own logos, colors, layouts, etc. If you're not a designer; find a starving art student/webmaster and pay them with Netflix gift cards.


Once you've settled upon a visual identity, allow that to be a common thread in your online presence. Much like the familiar red and white Coca-Cola logo, people will come to recognize you on a crowded shelf. This wasn't such a big deal when mom and pop ran the places, but with more and more of a big-box approach to commerce (aided mostly by the internet and not so much the big box stores), you have to shout awfully loud to be heard even half of once.

You'd think I'd have long been into the merchandising side of this, having really dug into the whole branding concept, but two things have kept me from stocking up on logo jewelry, embroidered toilet paper caddies and signature pool covers.

One. Space.

Two. Cash.

I know. It may seem like I'm on a $&#%@! boat a lot of the time, but remember, the boat was rented. Just like the tux. Great ideas cost great amounts of money and, without investors or that flash-in-the-pan success and advertising, you can end up a million-seller ("got a million of these in the cellar.") But when Reverbnation suddenly opened up a way for artists to sell 0n-demand merchandise, well - that changed everything. You can design your merch, have them pay for production and ship it as well. That is treat-filled. Wish I could work my books and CDs like that (and I know that I can - just have to put that in motion.)

Granted, the retail price of the items is pretty much eaten up by production costs - so what's the profit? The profit is in extending your visual reach beyond the internet. Just the fact that anyone would want to wear a t-shirt with your name on it should be enough to make you pretty happy. What then exceeds happy and clutch-shifts into overdrive glee is knowing that X number of people may see the shirt (or mug or thong), have your name or band float across their frontal lobe, file it away under "Google This" and before you know it, you've got another click on your page views.

Strict marketing talk can be a soul-numbing experience, so be sure to remember that both you and the people who embrace your mission are just that: people. And more important than any flashy bling or schwag is what you have to say, how you say it and what effect it has on others. Sure, there are those out there who are all icing and no cake. But take one bite of that and you may be prone to pass on that particular brand (unless you're an all-icing kind of person in which case there's a special level of misery reserved just for you.)

Now, having said all that, can I interest you in a "Got Drone?" chamois?

Festival Action - Low Action - High Action

It's been awhile since I've posted here, mainly due to keeping up information on the Key West Dulcimer Fest website.

What a blast and what a joy! The festival ran smoothly, the weather was amazing and we're looking at 2011 for our next time around.

There are lots of little details that have been floating in and out of focus since the final day; moments of music, leaps forward in ability, all of the minute things that combine to create a wonderfully eye-opening experience.

Huge thanks to Folkcraft Instruments for their sponsorship of the festival and the hard work of Richard Ash on-site, connecting with instructors and working on dulcimers. Stephen Seifert and I have been talking about low action vs. high action (we've both been huge fans of low action) and finally decided that a higher action was necessary for the styles of playing that we both employ. Richard raised the action on three of our instruments and the difference is incredible. Sure, you have to work a little harder, not much, but enough to win great results. The dynamic range of the instruments have opened up and, dare I say it, has made them just a touch louder. We went with low action to make fretting easier - but I offer that anything totally easy won't yield the best results. It's like working out - the harder it is, the greater the reward (or something like that.)

There will be video coming along in a little while, some more recollections and announcements of dates and instructors for the next festival - soon!

What what this year about, anyway?

Never mind the subject line - progress can't be measured in years, at least where music is concerned. You can't cleanly divide the lines between December and January and call it anything of worth. It's an ongoing process that has to stand up to the larger curve of our existence. In other words - Happy New Year, yeah-yeah-yeah, get on with it.

Many folks approach me and say that I must be blessed or gifted or something. That's very nice of them. In my head and heart, I know it's a constant struggle to stay on the @#$%^ horse. And even then, we didn't learn to ride until late in life. That's the "royal we" there.

'Splain.

Sure, I was playing clarinet in elementary school, for what it's worth (nearly nothing, except the death of my cello-playing dreams. What I get for being born to a woodwind-playing father. But I kid. Ha-hah.)

And sure, I continued to play clarinet all through junior high school and then, finally, high school, where the dreaded stake finally was driven through the impetus and skidded to a bloody stop before I could claim my diploma. The week after graduation, I was suddenly a bassist.

How do you like me now, papa? I liked strings from the get-go. You can't fight city hall or some shit.

In any case - it took some evolution. First bass guitar, then dalliance with guitar. Much keyboard mushing before the mountain dulcimer came along and said 'howdy' two years after I narrowly escaped the five-year plan. Though I would come to relish my wind-blowing tendencies later in life - it was such a relief to pluck, pick, strum and bend my way into a whole other existence after formal music education.

But seriously, it wasn't until much later in life that the strings made any sense to me. It was never taught, there were no tutors or coaches, and I was in my 30's before I could find my way around a stringed instrument knowing the notes, chords, scales and whatnot.

So, what seems like natural ability is actually something fought for, scraped for and seemingly out of reach if it wasn't for the stubborn and perpetual motion that made me cry "don't care! will do! won't quit!"

That, in itself, is part of what anyone who seeks to succeed in music needs - a determination to make it work. Like hypnotism, it only works if the hypnotized is willing. And if you're a musician who wants to be a better musician, you'll only get there if you believe that it is possible.

There is no easy road, unless you're a genius of some sort. You must fight for every gain and struggle for every bit. Like anything else in life, what you want takes effort. But if what you want is what you love, then the effort is not a big deal whatsoever.

What was this year about, anyway?

For me, it was the continuing effort to "stay on the horse." Despite what some of you might think, if I don't keep practicing what I know, it will soon dissipate and become yesterday's memories. It's not instilled in my fingers or the core of my being like some folks who have performed and played all their lives. Though I had an early start - I didn't connect with the music until very late in life, which means a) I'm a late-bloomer and b) it gets harder all the time to maintain even what I've fought so long to obtain. Keep that in mind as you traipse down the path.

So, what might the new year hold? The same old concoction, my dear friends. Keep practicing the basics; your scales, your chords, your inversions, your techniques. Listen to music that you're not familiar with, experiment with time signatures that are strange and foreign. Get out of your comfort zone and try something that you've never tried before. I guarantee that it will all amount to something wonderful as long as you keep it up, revisit it often and take it all as seriously as you possibly can - with the right amount of levity, of course. If it's not fun, it's not really music, is it?

A lesson in chord voicings

This will be brief, yet complicated. Don't be frightened.

I've been learning "Wichita Lineman", a song I've loved for years, and found that if you were to simply look up the chords online, you wouldn't come anywhere close to playing it as it was recorded by Glen Campbell. For example, one of the many sites I found offering tablature for the tune laid this out for my consumption:

Wichita Lineman:  Jimmy Webb (as performed by Glen Campbell)

 
Intro:  F  Gm7  F  Gm7
 
                       Bbmaj7  Am7                     Gm7
I am a lineman for the county,    and I drive the main road
 
Dm7              Am7     G           D
searchin' in the sun for another overload.
 
                          Am7                               
I hear you singing in the wires, I can hear you through the 

G
whine
 
Gm                 D        Asus4                Bb
   And the Wichita Lineman       is still on the line.
 
 
Am7   Bb   Gm7
 
                       Bbmaj7    Am7                    Gm7
I know I need a small vacation, but it don't look like rain.
 
    Dm7              Am7                      G              
And if it snows that stretch down south won't ever stand the 

D
strain.
 
                         Am7                              G
And I need you more than want you, and I want you for all time.
 
Gm                  D         Asus4                  Bb
    And the Wichita Lineman          is still on the line.
 
 
Am7     Bb     Gm7    

Solo over: 

Bbmaj7   Am7    Gm7

Dm7   Am7    G    D

                         Am7                              G
And I need you more than want you, and I want you for all time.
 
Gm                  D         Asus4                  Bb
    And the Wichita Lineman          is still on the line.


Am7     Bb     Gm7    


Bb   C   Bb   C   Gm7 (or C9 is a nice touch)   C   Bb   C  

(fade)

Okay, first of all - you diatonic dulcimer players are not going to have fun with this, sorry about that. But you chromatic dulcimer players and other instrumentalists will find this interesting. If you know this tune, go ahead and sing the words with those chords and ask yourself "just what is missing here?"

The problem is the lack of definitive chord voicing. All of these chords are laid out pretty straightforward starting from the root and then progressing through the thirds, fifths and sevenths. What makes this tune so dreamy is how passing tones step through the chords and create a sense of ascending or descending continuity. In this song's case, it's mainly a descending line that creates the drama. What we need, to make it sound as it was recorded, are chord inversions.

A basic 1-3-5 or 1-b3-5 chord is going to have the root note on the bottom, the middle note in the middle and the fifth at the end or top. Using different chord voicings can change the fundamental sound of a chord, even though it uses the same notes, by rearranging the order of the notes. For example, changing the order of notes so that the third is on the bottom, acting as the bass or root - it becomes a first inversion.

So, a C major chord: C - E - G would become E - C - G.

Now, make the fifth the bottom or root note, and you have a second inversion.

G - C - E

This is the most basic stuff. If you're using extended or "color" chords, there are more than the two possible inversions. But I'm not going into that right now.

When you write out a chord symbol for an inversion, it's often called a "slash chord." You'll see the chord symbol and then a slash and then another note. The note after the slash indicates that this is what the root or bass note should be. So, a first inversion C chord would look like this: C/E

A second inversion C chord would read: C/G

With that in mind, let's re-voice the above chords for "Wichita Lineman" and see if it doesn't sound more like the recorded version. I've also changed a few chords for us three-stringers, to get to the heart of the changes. Chord adaptations are in bold.

Intro:  F  Gm7  F  Gm7
 
                       Bbmaj7  Am7                     Gm7
I am a lineman for the county,    and I drive the main road
 
Dm7              Am      G           D
searchin' in the sun for another overload.
 
                          C                              
I hear you singing in the wires, I can hear you through the 

G/B
whine
 
Gm/Bb              D/A        Asus4                Bb
   And the Wichita Lineman       is still on the line.
 
 
Am7   Bb   Gm7
 
                       Bbmaj7    Am7                    Gm7
I know I need a small vacation, but it don't look like rain.
 
    Dm7              Am                       G              
And if it snows that stretch down south won't ever stand the 

D
strain.
 
                         C                                G/B
And I need you more than want you, and I want you for all time.
 
Gm/Bb               D/A         Asus4                  Bb
    And the Wichita Lineman          is still on the line.
 
 
Am7     Bb     Gm7    

Solo over: 

Bbmaj7   Am7    Gm7

Dm7   Am7    G    D


                         C                                G/B
And I need you more than want you, and I want you for all time.
 
Gm/Bb               D/A         Asus4                  Bb
    And the Wichita Lineman          is still on the line.
 


Am7     Bb     Gm7    


Bb   C   Bb   C   Gm7 (or C9 is a nice touch)   C   Bb   C  (fade)

Can you hear how the descending notes in the chorus create the melancholy effect in the song? Not the same at all if you played all of the chords as straight 1-3-5 voicings. Sometimes, a chord inversion is a strong element of movement in a tune, so be sure to learn as many different voicings of chords on your instrument, whatever it might be!

The Art of Moving Sound

Despite one of the band vehicles getting a flat tire on the way up to Eustis last Friday, it was a great night. It'd been a while since we played with Gil Oliver on drums and he's been performing this material almost as long as I have, so he was very much "in the pocket" and gave us a solid foundation upon which to dance (though not too hard, because the stage wobbled like a bowl of jello shots.) Mohave has been really grooving in the jam arena and we had a couple that were pretty wild, including one that connected "Big Alligator" with a massive space-jam with Native American flute, djembe and solos from everybody. Afterwards, people began asking where they could get that on CD. Very interesting.

When I got back home, I checked out some mastering techniques on "Dive!" by one of the MacJams.com members, Andrew Mackle. Over the past couple of years, I've studied the art of E.Q.; equalization of tracks that you've recorded. From there, I've basically slapped it onto a disc and have had pretty good results. Andrew pointed out to me that I was missing a key element in the process, which is the mastering of those very same tracks. He explained it like this:

"Mastering is a necessary step in the production process, and a lot of things that you are trying to fix during mixing should be left for the mastering."

This was literally music to my ears. It took a while to understand the science of mixing and it's still alien landscape, but I've got a pretty decent map (The E.Q. Bible.) However, knowing that there was an entire other step in mastering, I shuddered to think about what that all entailed, other than the obligatory matching of volume across an entire CD release. No sir, there's much more than that!

"When mastering on a stereo 2-track recording the only way to get separation is through time delay between the left and right speakers. This has to be applied to specific frequency bands so all the freqs don't get stereo separated, just the ones that you want. You use a multi-band stereo widener for that. That is what is giving it a "bigger" stereo effect.

I also used mastering reverb over the entire mix to place everything into the same sonic "room", instead of a bunch of tracks playing at once.

I used compression (again multi-band) to focus in on the drums and bottom end (bass) to bring it up in relation to everything else.

I used Harmonic Excitation (again multi-band) to give the entire song more sparkle. This works by dividing the song into four distinct frequency ranges and adding varying degrees of even harmonics up the audio band in different amounts depending on what is contained in each band.

Finally, I used a multi-band dynamic effect, which works close to a multi-band compressor to focus in and get the levels right, including the added harmonics.

These are all commonly available effects, and most are available and sold as 'mastering effects' by companies like Izotope (Ozone 4)."

I thanked him profusely for explaining in simple terms what it was that my efforts were missing and downloaded a trial version of Ozone 4 this morning; ten days to experiment. That should be enough time to re-visit "Dive!" as well as play around with the next track that comes out of this journey, something I'll start today and will post about shortly. Though I'd like to go ahead and purchase Ozone 4, I've already layed down money on another very important utility for moving sound this week, one that I had been sorely lacking for quite some time: a P.A. system.

Sound moves naturally through the air when you're playing an acoustic instrument like a mountain dulcimer - but that's only for those in the immediate vicinity when the music is sent without processing. That's why when you start plugging the instrument in to record it, specific tools are necessary to get the right sound, as contrary as that seems. Likewise, when playing your instrument for 50 to 100 people at a time, amplification of the sound is required - but improper signal processing can make your nice, authentic, acoustic tone turn into an electronic garble that no-one wants to listen to. Anyone who has played through a bad P.A. or listened to an artist through one can attest to this. You just want to run and cover your ears.

I've been fortunate enough to know people who own quality P.A. systems, but it finally became obvious that my own little system was needed for the upcoming spring and summer tour. P.A.s for small use are quite affordable, and I was fixated on getting something that the whole band could use. Heavy lifting comes with a heavy price (and the gear is usually, well, heavy.)

So, off to eBay I went and after talking with Full Sail instructor and friend Jerry Waller, came to the conclusion that the Fender PD-150 would be the right system for the job. It's light (44 pounds), has 150 watts of power and a four-input mixer that includes a CD player, so you can pipe in music in between sets. On-board effects like reverb and delay are independent of each channel and there are two other nifty technologies that will certainly come in handy. One is the VIP (Vocal Input Priority) system which automatically lowers the background music when you speak into the mic. The other is feedback rejection circuitry, so that the speakers can be placed behind you (usually a no-no, as the microphone is pointing at the speakers, which can cause ear-drum shattering feedback) without any squealing or the need for monitors. This is key to hearing what the audience is hearing and allowing you to adjust the sound accordingly.

Suffice it to say that I'm pretty stoked and really looking forward to how this will "plus" the quality of my solo shows. I just booked the first of a series of house concerts for the spring/summer tour (in beautiful South Carolina) and will be posting details soon. In the meantime, recording continues on "Dive!" and a new world of exploration accordingly opens up.

Getting started with recording

7 Free Digital Recording Apps for Windows - In the Jungle

Being a musician can be expensive. With musical instruments, equipment and software you normally get what you pay for, and we want to sound good! So we pay, and pay big. But it’s good to know you can get some things for free.

Ain't that the truth?

For those of you on PCs who are looking to begin recording yourselves, this is the place to start. Next, invest in a decent microphone and/or audio interface for your computer. These range from USB interfaces like the M-Audio Transit or FireWire interfaces like the PreSonus Firebox (which is what I use together with Garageband for Mac.) They don't have to be expensive; you just have to get the sound into your computer in order to work with it.

Good mics for not a bunch of money include the old standby Shure SM-57 for instruments and Shure SM-58 for vocals.

Search this blog for the E.Q. Bible and post your questions here. If you've ever wanted to record something, now's the time to do it!

Mia Cafe: Another New Demo!

This track is a commissioned work to accompany visuals from an art gallery showing in Perth, Australia. Entitled "Mia Cafe", it's a blend of Egyptian pop-rock rhythms, mountain dulcimer, Native American flute, synthesizer washes and a sort of Flamenco approach to the solos. There are some didgeridoos in the mix as well.

I was asked to create something sort of 'aboriginal' and could've gone what I suppose would be straight tribal, but was sort of at a loss as to how that might be brought about with an uptempo and modern sort of feel. My aborigine playbook isn't exactly spilling over with tunes. However, I love great Australian pop-rock, and one thing that stands out in this music are dry, dusty solos that aren't fancy - yet carry the weight of red rocks and sand with burning heat.

To create the haunting foundation for the track, I chose a minor key, in this case B minor. The progression is very sympathetic with open D tuning on a dulcimer:

Bm - E - G - A

You can play E on the dulcimer in dd-A-D tuning (5-6+-8) but to keep things in the same range as the rest of the chords (played within the first four frets), I barred at the first fret, effectively an E5 chord - so named because it has no defining third (and with no major or minor third, it can substitute for either.)

The chorus goes:

A - G - D - G

A - G - Bm

Which brings us back into the verses.

This is a rough mix with plenty of E.Q. left to do - but I like to post these tracks as they are, to show the progress of "opening up the soundstage."

The Circle Of Fifths

Interactive Circle of Fifths User's Guide

The Interactive Circle of Fifths ("the Circle" for short) is a tool designed to help musicians to:

* figure out the key of a piece of music
* easily transpose music to a different key
* compose new music
* understand key signatures, scales, and modes

In many of my workshops, I teach an intro to the circle of fifths as a way of beginning to understand basic music theory. This is an excellent expose' on the circle and some of the ways in which it can be utilized.

This may hurt a little - but it's COOL!

Rock's Holy Grail

"The most famous chord in all of rock & roll" -- Rolling Stone Magazine, March 2001

"quirky, arresting, unmistakably original - the musical equivalent of the song's title" -- Mark Hertsgaard, A Day In The Life: The Music And Artistry Of The Beatles

"A hijacked church bell announcing the party of the year" -- Guitarist Magazine, December 2000

"[the opening chord] pretty much defined the sound of an era" -- Guitarist, Dec 2000

"The opening chord of the song was like an amazing wake-up call" -- Joey Ramone, Guitar World, August 2000

And so starts The Beatles' classic song (and film) "A Hard Day's Night". The song needs no introduction - that chord tells you all you need to know. Within a second of its jarring onset, you can identify the song. Not only that, but that chord IS rock 'n' roll. Like Michael Lewis in "The 100 Best Beatles Songs", I'm glad they removed John Lennon's count-in to the song - it wouldn't have been nearly so effective! I don't think there is any other chord in history that has received so much praise, and has courted so much controversy.

It's undoubtedly fantastic... but what the heck is it?

Tick, tick, tick, tick, tick....

METRONOME ONLINE - free!

How to use a metronome?

A metronome is a practice tool that produces a steady pulse (or beat) to help musicians play rhythms accurately. The pulses are measured in beats-per-minute (BPM). Most metronomes are capable of playing beats from 35 to 250 BPM. Common uses of the metronome are helping you to maintain an established tempo while practicing, and learning difficult passages.

There are different schools of thought on the use of a metronome for practice. Some say that the unerring pace of the beat is an unrealistic substitute for the ever-subtly fluctuating tempos of live performances. Others counter that the rigidity forces you to play smoother, cleaner and with more consistency. Personally, I find that a metronome trains me to be more accurate with my rhythms and also encourages me to keep a steadier tempo rather than speeding up, especially during slow passages. It's good to have a metronome in the house, and they don't have to be fancy (or antiquated like the one pictured here.) There are even a number of metronomes online and this is one of the coolest I've ever seen.

Try practicing a piece of music that you know at a slow, steady pace. Force yourself to stay in time with the beat. It's more difficult to play accurately at a lesser tempo than when the b.p.m. (beats per minute) accelerate. Want to learn a particularly difficult fiddle tune? Start off playing it slowly, not missing any notes, and when you've got it down, increase the tempo on the metronome slightly and then continue. Keep speeding up until you hit a snag and start messing up. Then, kick it back a notch and keep pressing forward. Before you know it, you'll be playing faster with better precision and can always adapt to a live environment when playing with others!