AUŠRINE GARSONAITE TRADITIONAL PLAY OF HAMMERED DULCIMER · 2018. 12. 27. · In the late 19th century, the first professional composers, such as M. K. Čiurlionis and Vincas Kudirka

A SELF-STUDY BOOK

TRADITIONAL PLAY OF HAMMERED DULCIMER

AUŠRINE GARSONAITE


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About the book ................................................................................................................................................................ 2

A Brief Overview of the History of Traditional Music: What Has Changed Over Time? .................................................................................................................... 3

The Dulcimer: Then and Now .................................................................................................................................... 7

Chapter One: General Knowledge and Striking Strings in a Row 1.1. Correctly Positioning the Dulcimer and Holding the Hammers; First Sounds ....................................... 101.2. Playing on the Left Side of the Treble Bridge

1.2.1. First Compositions in A Major ................................................................................................................. 151.2.2. Playing Polka in D ........................................................................................................................................ 17

1.3. Playing on the Right Side of the Treble Bridge1.3.1. Performing Compositions You Already Know in D Major ............................................................. 201.3.2. Performing a Composition You Already Know in G Major ............................................................ 22

1.4. Playing on the Left Side of the Bass Bridge1.4.1. Performing Compositions, You Already Know in G Major ............................................................ 241.4.2. Performing a Composition You Already Know in C Major ............................................................ 26

Chapter Two. Chord-Based Compositions 2.1. Learning to play chords .............................................................................................................................................. 282.2. The G Major Scale: four upper string courses ..................................................................................................... 322.3. The D Major Scale: four lower string courses ...................................................................................................... 38

Chapter Three. Repetitions 3.1. Repetitions in Duple Metre

3.1.1. Learning to Play Repetitions in Duple Metre .................................................................................... 433.1.2. Rhythmic Repetitions in Duple Metre: Polkas ................................................................................... 473.1.3. Duple Rhythms in Quadruple Metre: Dances and Marches ........................................................ 51

3.2. Lesson Two. Triple Rhythms3.2.1. Learning to Play Triple Rhythmic Patterns .......................................................................................... 543.2.2 Triple Rhythmic Patterns in Waltzes ....................................................................................................... 58

Chapter 4. Dyads4.1. Dyads and Split Dyads

4.1.1. Learning to Play Dyads .............................................................................................................................. 624.1.2. Learning to Play Compositions with Dyads ....................................................................................... 68

4.2. Accompaniment 4.2.1. Chords and Intervals Used for Accompaniment .............................................................................. 724.2.2. Learning to Play Accompaniment ......................................................................................................... 75

Chapter 5. Notes of Small Rhythmic Value 5.1. Notes of Small Rhythmic Value in Duple Metre

5.1.1 Learning to Play Notes of Small Rhythmic Value in Duple Metre ............................................... 875.1.2 Polkas with Notes of Small Rhythmic Value ........................................................................................ 98

5.2 Notes of Small Rhythmic Value in Triple Metre 5.2.1 Learning to Play Notes of Small Rhythmic Value in Duple Metre ............................................ 1015.2.2 Waltzes with Notes of Small Rhythmic Value ................................................................................... 106

Step Six. Wide Jumps 6.1. Octaves

6.1.1 Learning to Play Octaves ........................................................................................................................ 1126.1.2. Octaves in Compositions ....................................................................................................................... 114

6.2. Multiple jumps6.2.1 Learning to Play Multiple Jumps ......................................................................................................... 1216.2.2 Multiple Jumps in Compositions ......................................................................................................... 123

Turinys


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About the book

This book is meant for anyone who would like to learn to play the dulcimer. It is designed to give you what you need to know to get started as quickly as possible. You will learn to play real song

and dance tunes and begin to experience the ineffable joy of music with your instrument. The book will be useful for anyone interested in folk and traditional music—the techniques discussed here represent traditional styles and can be utilized in traditional music ensembles. It will also be

helpful for students and professionals who would like to join the rapidly growing ranks of dulcimer players in our region. Most of the techniques described here are universal and these training

methods for the acquisition of good skills will be of use to both amateur and professional musicians.

The instructions have been written simply, so that those who do not read music can get right down to learning practical techniques. Each assignment has been formulated as simply as possible

and the music is given in easy to understand figures there strings are illustrated graphically. Each exercise and piece of music is accompanied by a video which can be accessed on a computer or

mobile device via the links provided.

The material is organized in 6 chapters. Because you will not need to absorb a lot of complex information upfront, you will be able to start making music for real from the very beginning. The book contains traditional Lithuanian marches and dance tunes that have been selected to teach

and consolidate specific techniques. Mastery of each step will successfully prepare you for the next step, incrementally increasing the range, rhythmic complexity, skills, and the modes of expression

available to you for music making. You will be able to proceed at your own speed through the chapters.

This is a book from the series of self-study books of traditional play of instruments. The book was created with the financial support of the EU educational program Erasmus+. The series

was created in collaboration of three non-governmental organizations – “Skaņumāja” (Latvia), “Virbel” (Estonia) and “Utenos etninės kultūros centras” (Lithuania).


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A Brief Overview of the History of Traditional Music:

What Has Changed Over Time?

Lithuanian folk music directly reflects the lifestyle of our ancestors. Back in the day, there would be no audience – people would play for their own enjoyment. This is why in terms of its origins, traditional music was not really an independent art that exists only to provide aesthetic enjoyment 1. “It grew together with the person, accompanying them through key life events: birth, christening, wedding, death. Music helped people rise above their everyday lives and get in touch with a certain sanctity2 .” The heritage of Lithuanian instrumental music is particularly broad and rich. Based on their origin, Lithuanian instruments are classified into authentic ones and those that were brought over later or were prevalent throughout Europe.

Back in the middle ages, the art of troubadours, so present in European merchant towns, had its own parallel in Lithuania in the form of meditative tunes played by simple peasants on primitive five-string casket (or boat) shaped instruments – the kanklės. This instrument is considered one of the most authentic and significant Lithuanian, noted in numerous ancient literary sources and common in one form or another throughout the country (excluding Dzūkija). Besedlė is another Lithuanian stringed instrument, comprising a body (a hazelnut stick), a resonator (a pig bladder) and strings (made from pig intestine).

But besides that, another important part of traditional creativity are the inventive improvisations per-formed by shepherds on lumzdelis, švilpa, wooden, straw or feather birbynė, or goat horns. Having such simple wind instruments that either produced a handful of different tones in the case of horns, or just a single tone in the case of skudučiai encouraged shepherds to play in ensembles, which was how various sutartinės were created.

For rhythm, often drums and tambourines where used with beaters and jingles, while other instru-ments, such as terkšlė, kleketas, skrabalas, the so-called idiophones, were not played at all.

Pan-European instruments came to the area back in the Middle Ages together with nomad Gypsy musicians. In terms of stringed instruments, Lithuanians used to particularly favour the fiddle, which was able to get people dancing the polka at weddings or make them weep at funerals. At the height of the fiddle’s popularity, the prevalence of the dulcimer had already begun to decline. However, thanks to researchers and promoters of folk music, the tradition was kept alive throughout the cen-turies, same as with another very rare folk instrument – the bagpipe.

Bellows-driven instruments came to Lithuania much later, in the mid-19th century; it is known that Antanas Baranauskas played the accordion in 1850. Petersburg accordions appeared in the early 20th century, regular accordions – in 1933, while Russian standardised garmons came after the second world war. The newly spread bellows-driven instruments continued to push out the old instruments and became popular in every Lithuanian village. At the peak of popularity in the early 20th century, there were numerous villages that had more than one accordionist, especially in Eastern Aukštaitija. 1 Baltutytė A., Lietuvių liaudies muzikos tendencijos muzikiniame ugdyme, Šiauliai, 2006, p. 102 Barniškienė S., 2003, p. 4


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Accordions or, in other places, bandoneons, would be played at every party, often accompanied by the tambourine, played with a beater.

All the instruments that were brought in later are still considered traditional Lithuanian instruments because Lithuanian makers soon began to craft them and made them their own. Even today you can still purchase and play folk music on hand-made fiddles, accordions or tambourines. However, there are only a few folk instrument makers left, so traditional music is also often played on instruments made in other countries, with Russian and German accordions being rather popular.

Judging from the data gathered through numerous ethnomusicological expeditions, musicians were usually men, who would blow horns or skudučiai and play the dulcimer, fiddle or accordion, while women usually sang. Often an accordion or a fiddle would be passed down from generation to gen-eration, so the father, uncle or older brother was usually the main teacher, but it was rare for the whole family to be able to play together, because purchasing one’s own instrument was, and still is, expensive. During various surveys, musicians have told stories of an accordion being exchanged for five cows or half a cottage. Very often a young musician would be inspired by an older musician in the same village, and in such cases, musicians tend to say that they’ve “taught themselves” to play – by copying someone else. As soon as they learned to play, the musician would become very much in demand, having to play several hours at a time, sometimes even stretching into several days at large traditional weddings.

Researching melodies and texts only began in the 19th century, when folklore had already begun to fade away from every-day life. The collection of Lithuanian folk songs began first. People who took on the job of collecting and protecting the folklore understood the importance their work carried for future generations. Songs were collected by the priest Antanas Juška, the poet Vincas Kudirka, Jonas Basanavičius and researched by Jadvyga Čiurlionytė as well as some others3. Researchers of instrumental music include J. Žilevičius, J. Čiurlionytė, Z. Slaviūnas, S. Paliulis, J. Sabaliauskas, J. Šve-das, P. Samuitis, P. Stepulis, J. Strimaitis, V. Bartusevičius, M. Baltrėnienė, A. Vyžintas, R. Apanavičius, V. Palubinskienė etc. Currently, folk music is being collected by students of the Ethnomusicology Department at the Lithuanian Academy of Music and Theatre, as well as folklore groups and museum workers in their own regions. The Folk Culture Centre organises ethno-instrumentology expeditions in the areas around various Lithuanian cities each year. Also taking part in them is a group of folklore specialists and enthusiasts led by Arūnas Lunys.

In the late 19th century, the first professional composers, such as M. K. Čiurlionis and Vincas Kudirka began to not only write down the folk melodies but also move them closer to stage music. The collec-tion of folk songs for a male choir released by Vincas Kudirka in Tilžė (part I in 1895, part II in 1899) is considered the first published collection of harmonised folk songs in the history of Lithuanian music and constituted the beginning of a new era: the publication was met with enthusiasm by the reawak-ened intellectuals and other brighter members of the Lithuanian society. Later on, many composers harmonised various folk melodies and used them freely in their creative work.

The 1950s saw the beginning of the Lithuanian folklore group movement, which became particularly popular after the restoration of independence and remains to this day “one of the main living forms of expression of folklore” 4. Various folklore group activities – concerts, expeditions, festivals, parties – represent the region’s unique culture, contribute to saving the traditional culture and ethnic self-con-sciousness. Each year in Lithuania, numerous folklore festivals take place: “Griežynė”, “Saulės žiedas”, “Sėlos muzikantai”, “Skamba skamba kankliai”, “O kieno žali sodai” etc. Also, regional culture centres constantly hold festivals and concerts featuring a lot of folk music. 3 Online source: http://projektas-muzika.lmta.lt/media/vadoveliai_2/Vadovelis_1/I_dalis/2.Kas_yra_liaudies_muzika/index2.htm

viewed [12/072017]4 Online source: http://www3.lrs.lt/pls/inter/w5_show?p_ r=2231&p_d=21374&p_k=1 viewed [17/072017]


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The repertoire of the folklore groups is becoming more and more varied. Based on that, five contem-porary categories can be distinguished:1. Ethnic music groups performing traditional music on the old musical instruments;2. Traditional bands centred around accordions, mostly playing marches, popular dance melodies

and tender romances; 3. Traditional ensembles playing traditional folk songs and dances on traditional instruments;4. Stylised ensembles with repertoires featuring harmonised folk songs and dances (usually, record-

ings are played during shows rather than live music) performed on professional folk and modern instruments. This category could also be considered to include folk instrument orchestras.

5. Folk-rock bands and folk bards are usually youth collectives. Folk-rock musicians turn traditional songs into thumping contemporary music. Folk bards create their own music that is saturated with certain folk music motifs and contemporary rhythms.

Instrumental folk dance music, according to the ethnomusicologist Gaila Kirdienė, was significantly influenced by foreign music: “A very strong Slavic influence is noticeable, as well as a slightly lesser influence of the music of Latvian, German and other nations. Therefore, it is no surprise that the most popular and wide-spread dances in Lithuania are those of international melodic types.“5 Currently in Lithuania, folklore ensembles striving to revive the unique heritage of the region (oral history in the form of song or spoken-word, dances, games, circle games), rarely consider the uniqueness of chore-ography in different regions, the local styles or even overall different ways of dancing6.

Therefore, over a number of years, the meaning and function of traditional music have truly changed. It has moved out of every-day life and onto the stage. Everyone sees and understands it differently, and although some say the tradition is disappearing, there’s still a steady number of specialists and enthusiasts who put in a lot of effort into maintaining it. That is why it is particularly important to educate the younger generation so that folk music is close to their hearts rather than something that belongs in a museum.

Instrument Makers

Currently, there aren’t many folk instrument makers in Lithuania. The most famous among them is Egidijus Virbašius, who has been making lamzdeliai in various tunings, diatonic and chromatic bir-bynės, horns, trumpets, švilpos, goat horns, skudučiai, bagpipes, various types of kanklės, psalteri-ums, pūslinės, drums, skrabalai, terkšlės, kleketai etc. for around 30 years. Some also say that they “research and promote Lithuanian folk instruments with great pleasure.”7.

Albertas Martinaitis, a well-known folk artist from Šiauliai, makes the usual folk musical instruments: kanklės and horns, and also experiments in producing instruments from unusual materials.

A lot of musical instruments, such as accordions or fiddles can be bought in stores. During expedi-tions, most musicians had stated they acquired their instruments precisely this way. However, this is because the tradition is not passed on to the younger generation. Back in the day, there were quite a lot of fiddle makers, Petersburg accordion makers from Dusetos were famous, and others were well known throughout Lithuania. Nowadays, only a handful are left. Apart from the previously mentioned makers, instruments are currently made by Jonas Bugailiškis, Mindaugas Bubelis, Dobilas Juška, Artūras Karkuška. Antanas Butkus used to specialise in the making of the historic instruments

5 Kirdienė G., Aukštaičių instrumentinis šokių repertuaras. Aukštaičių tapatumo paieškos, 2006, p. 154.6 Stankutė A., Šiaurės aukštaitijos muzikinio folkloro gaivinimas, Žiemgala, 2011, p. 14 – 20.7 Online source: http://www.folkinstruments.lt/apie.htm viewed [16/07/2017]


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of Lithuania Minor8. Nerijus Ruseckas has produced a number of accordions. Quite a few instruments have been made by Albertas Bertašius (Pasvalys), ethnomusicologist Evaldas Vyčinas (Vilnius) and Laimis Kirilauskas (Utena). Accordion repairs are carried out by Kazimieras Mackonis (Utena), Vytas Rimkus (Vilnius), Alvydas Maslauskas (Panevėžys), Dainius Maslauskas (Raseiniai).

The ethnomusicologist Arvydas Kirda has noted that “as the tradition was fading away disappearing over the past few decades, various courses, seminars and workshops popped up teaching people to create both simpler instruments (e.g. skudučiai from wood bark or straw, reed bribynės, idiophones etc.) as well as more complex Lithuanian folk instruments (e.g. kanklės, pūslinė, lamzdelis)”. Dobilas Juška, a physics teacher at the Kaunas Ąžuolynas middle school, has also decided to teach Lithuanian folk instrument craftsmanship. In 1993, he founded the Gilė club, where members can learn to make, for example, their own kanklės, skudučiai or lamzdeliai9. Ethnomusicologist Raimondas Garsonas also hosts educational programmes for children at the Utena Museum of Local Lore, where they can make simple shepherds’ instruments themselves.

8 Ibid.9 Kutkaitytė M., Instrumentų meistrystės bijojo kaip velnias kryžiaus, Vilnius, 2009


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The Dulcimer: Then and NowThe dulcimer is a percussive string instrument (a percussive chordophone). In European areas, the dulcimer has been known since the 14th c. It comes from Asia10, where very similar instruments are still being played - the Near-Eastern santoor and the Chinese yangqin. The dulcimer is most popular in the Middle and Eastern Europe: Hungary, Romania, Moldova, Ukraine, Czech Republic, Slovakia, Greece. It came to Lithuania back in the middle ages from the Slavic areas of the Grand Duchy of Lith-uania. The dulcimer was played in South-Eastern and Eastern Lithuania, south off Nemunas, Lithuania Minor, and it was also known in Southern Žemaitija11. In Latvia, the dulcimer used to be played in the southern and eastern parts of the country. Such distribution was due to nomad nations - the Roma and Jews, who used to play hand-built dulcimers. In manor estates, factory instruments were being played as early as the 18th c.

The dulcimer is considered a traditional Lithuanian folk instrument. In the folk instrument classifica-tion by Bartusevičius, the dulcimer is classed within the group of authentic instruments. According to the author, “these are instruments that the folk builders and musicians used to make themselves from materials available in Lithuania. They are mostly unique and original, in other words, the builders have created a national type of the instrument”12. Most Lithuanian dulcimer players would have more than one dulcimer. Since it was usually home-made, everyone would make the instrument based on their own understanding of it. Instruments of various sizes and tunings would be played. Nowadays, they are made by instrument builders such as Egidijus Virbašius and Alvydas Šeduikis.

In Lithuanian sources, the first mention of the dulcimer dates back to the latter part of the 16th c. In the Psalter translated by the Eastern Prussian writer, compiler of hymn books and first Lithuanian translator of the Bible, Jonas Bretkūnas, Psalm 150 reads: “...praise him with the sound of dulcimer, praise him with resounding dulcimer” (Ps 150, 1–6)13. The dulcimer was also depicted in the low-er-right corner of the watercolour “The Square in Front of the Church of St. Paul and St. Peter” by the painter Juozapas Peška; three Jewish musicians can be seen, two of them playing fiddles, and one playing the dulcimer14.

The initiator of the first Lithuanian song festival, Juozas Žilevičius, briefly described the dulcimer in his 1827 article on Lithuanian national instruments: “...they are wooden rectangular frames with strings stretched over them. They are hit with small hammers. There are usually 13 strings, but there can be 48, 72, 100, 102 and more strings“15. Helene and Franz Tetzner were the first to provide a drawing of the Lithuanian dulcimer in their paper “Songs” (1897). A detailed description of the instrument was included next to it. The authors also describe the playing technique and dynamic capabilities. They note that the dulcimer is an instrument that “can still be found in Lithuania these days”. This statement seems to indicate that in the 19th c., the dulcimer was already beginning to disappear or was at least a rather rare instrument.

10 Lietuvių enciklopedija, t. IV, p. 30–3111 Cimbolai. Visuotinė lietuvių enciklopedija, T. IV (Chakasija-Diržių kapinynas). – Vilnius: Mokslo ir enciklopedijų leidybos institutas,

200312 V. Bartusevičius. Op. cit., p. 74.13 Jonas Bretkūnas. Biblia, tatai esti wissas Schwentas Raschtas Lietúwischkai pergŭlditas, t. 6. Karaliaučius, written in 1580; quoted

from: Biblia Slavica, VI: Supplementum: Biblia Lithuanica, Band 1.6, München, Wien, Zürich, 1991, p. 131.14 Stasys Samalavičius, Almantas Samalavičius. Vilniaus šv. Petro ir Povilo bažnyčia. Vilnius, 1998, p. 1415 Juozas Žilevičius. Lietuvių liaudies muzikos instrumentai. – Iliustruotoji Lietuva. Kaunas, 1927. No. 22 (75), p. 178.


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The first recordings of dulcimer music in Lithuania were made in 1936, 1937 and 1939. Under the initiative of Zenonas Slaviūnas, at the time, an employee of the Archive of Lithuanian Folklore, music performed by three dulcimer players was recorded onto a phonograph record: in 1936, Jonas Špokas from Panevėžys county, in 1937 - Gasparas Baltrūnas from Rokiškis county, and in 1939 - Balys Valenta from Seinai county. Records, transcribed melodies, metrics and other archive data were published in “Aukštaitija Songs, Sutartinės and Instrumental Music” and “Dzūkija Songs and Music” as part of the recent series of publications “1935-1941 Phonograph Records”.

The traditional Lithuanian and Latvian dulcimer is of the same type. In Lithuania, it was more of an accompanying instrument in traditional village bands, which consisted of: fiddle, dulcimer and tam-bourine; two fiddles, dulcimer and bass drum; or diatonic accordion and dulcimer16. Along with fiddle and accordion, the dulcimer would entertain at weddings and rural youth gatherings. These days, the dulcimer is featured in the folklore ensembles from various regions of Lithuania, i.e. Virvytė and Ratilio in Vilnius, Ratilėlis in Kaunas, Sietynas in Utena. The dulcimer is played in various concerts and events, either solo, or often along with fiddle and the accompaniment of various drums. The dulcimer is played held in one’s lap, on the table or hung on one’s neck with a rope, with the bass strings closer to the player. Wooden or metal cross-legged stands are also used. The timbre of the dulcimer is rem-iniscent of an ancient grand piano. It is no surprise then, that concert dulcimers, popular in Hungary and America, often have pedals. The strings are attached to the instrument using metal or wooden tuning screws, and the sound is produced by hitting the strings with two wooden hammers, some-times wrapped in leather or felt, that are held in hand between the index and middle fingers. Covered hammers produce a significantly softer sound, and these days, when loud music is prevalent, hard, uncovered hammers are used more often.

Nowadays, the dulcimer remains a relatively popular Lithuanian folk instrument. In Southern and Eastern Lithuania, there still are musicians who continue its living tradition. At the moment, the dul-cimer is mostly played in Easter Lithuania and Dzūkija. Although they are played in a relatively small territory, each musician has kept their own unique style of playing. Often times musicians would make their dulcimers themselves, which is why they come in such a variety of shapes. They differ in size and proportions, materials and sound hole designs, as well as the build technique. Up until 2006, during expeditions in Švenčionys, Ignalina, Lazdijai and Vilnius regions, Mindaugas Kačemarskas and the ethnomusicologist Evaldas Vyčinas have interviewed seven known dulcimer players: Ignas Gum-brys, residing in Vaikūčiai village, Stasys Paukštė from Jakeliai village and Stasys Rumbutis from Adu-tiškis (all three from Švenčionys region), Stasys Augulis from Vilnius, Piotras Kačianovskis residing in Rudamina (Vilnius region), Petras Kričena from Kalesnykai village (Lazdijai region) and Jonas Lecho-vickas, residing in Gilūtai village (Ignalina region). The ethnomusicologist E. Vyčinas has written down and published many of the tunes played by these musicians in the book “100 Compositions for the Dulcimer”. Also, during the annual folk music training courses held in Visaginas, he teaches beginner and advanced dulcimer players.

On the dulcimer, one can either play the main melody, or echo the singers and other musicians, or simply accompany them. After comparing how the same pieces are played by other musicians on the fiddle or the accordion, it was found that J. Lechovickas plays the contour of the melody, and rather than playing the full melodic pattern, tends to maintain its main foundation points17. Some musicians try to play more of the details in the melody, while others accompany. There are many techniques for playing the dulcimer. Some musicians play without repeating notes, but most often the playing features rhythmic repetitions on single notes or two courses of strings hit at once. Jumps are particu-

16 Gifford, P.M. - The Hammered Dulcimer. A History, Scarecrow Press, 2001, p. 12317 Vyčinas, E. – Pratarmė. 100 kūrinių cimbolams, LLKC, Vilnius, 2014, p.4


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larly difficult. For a beginner player, the strings blur together, because every note, depending on the specific dulcimer, corresponds to two, three or even four strings. That is why various jumps can only be performed after recognising and memorising which course of strings produces what sound. An interesting playing technique is string damping.

Most dulcimer players strike firmly, without letting the hammers bounce. Sometimes, as a special playing technique, instead of hitting, they rest the hammer on the strings, thus producing a damp-ened sound. This technique is very useful when learning a new piece or exercise.

About the e-Book

Considering the variety of playing techniques, methodical materials were prepared and are present-ed in the 6 chapters of this e-book, containing 15 lessons. Each lesson provides new methodical information, introducing new technical possibilities, revising items already learnt and solidifying new ones. After completing the full course, you will be able to play sequential, chordal, repeated, double notes, melodic and rhythmic combinations of small rhythmic value notes, accompaniment parts, wide jumps and multiple jumps. The string damping technique is too complicated and was not included in this programme. You will also be briefly introduced to the music theory required to perform these compositions. In order to properly internalise each new technique, you will learn quite a few exercises, and once you are able to perform them fluidly, you can expand your repertoire by learning new pieces - traditional dances, polkas, waltzes and marches.

In this book, you will be using notation and dulcimer charts. Different dulcimers may vary slightly depending on the builder. However, the ones depicted in the graphical examples have 13 strings and two bridges (fig. 1). With the dulcimer tuned this way, depending on the piece, you can play in various scales: playing in G major, E minor, D major, and even C major and A major is possible. But the main scale for this instrument is G major, because its highest course of strings is G of the second octave, and the lowest one is G in the small octave.


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Chapter One: General Knowledge and Striking Strings in a Row

1.1. Correctly Positioning the Dulcimer and Holding the Hammers; First Sounds

In this lesson you will learn:1. to correctly set up the hammered dulcimer;2. to correctly hold and play with hammers;3. which notes/sounds are made by which string/course of strings;4. to read and understand charts;5. to play the G major scale and several related exercises.

Setting Up Your Instrument

The hammered dulcimer is usually set up on a solid surface, e.g. a table (fig. 1.1–1) or a windowsill (fig. 1.1–2), or can be put on a cross-legged stand (fig. 1.1–3) like the ones used for keyboards. The instrument is played strings-up, with its long edge facing the player. It can be played in both seated (fig. 1.1–1) and standing (fig. 1.1-3) positions, depending on the height of the stand. It is also recommended to raise the treble side of the instrument by putting something soft un-der it (e.g. an item of clothing) (fig. 1.1–1, 1.1–2). This makes the strings more clearly visible and prevents the numerous string courses from blurring in your eyes even after hours of playing.

Figure 1.1–1. The dulcimer set up on a table.

Figure 1.1–2. The dulcimer on a level surface (windowsill), short edge

propped up with a scarf.

Figure 1.1–3. Playing in a standing position with the dulcimer set up on a cross-legged stand.


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Striking Courses of Strings; Bridges

Dulcimer strings are grouped into courses of five strings each. All the strings in a single course are meant to be hit at once and are tuned to the same note. The strings are usually anchored at one end on a hitch pin and wound around a threaded zither tuning pin at the other.

There are also two bridges: the treble bridge on the left and the bass bridge on the right. The treble bridge holds the courses of strings that produce higher notes. However, the same strings can produce a different sound depending on which side of the treble bridge you play them. On the right side each course of strings sound five tones lower than on the left. The strings resting on the left bass bridge sound the lowest. It is not played on the right side of this bridge. The string courses going under the bridges are also not played. Therefore, strings that go under the treble bridge are only played at the bass bridge and vice versa.

Note: in this book, we will refer to musical notes as follows: A – la, B – si, C – do, D - re, E – mi, F – fa, G – sol, Cis – do sharp, Fis – fa sharp).

Learning to correctly hold the hammers is very important for playing the dulcimer. It is played by striking the strings with a pair of wooden hammers, which may have a vari-ety of striking techniques for producing different types of sounds. Hold the hammer lightly between your thumb and index finger and let it bounce on a course of strings, prefer-ably near one of the bridges (fig. 1.1.–4, 5) .

Sounds are produced by striking courses of strings with hammers by short and accelerated hand gestures. That way you will be playing a dulcimer like a percussion instrument. This technique is called staccato1. Another important thing that you must learn is how to hold hammers loose enough to be really free of any tension, but at the same time very controlling.

Watch video no. 1.1: how to correctly take, hold and strike with ham-mers (QR - code 1) .

Putting is a playing technique when the hammers are pressed down on the string courses, preventing them from ringing out. It is highly recommended to use this technique while learning. All of the video material is provided in both techniques.

1 Staccato - with each sound or note sharply detached or separated from the others.

Figure 1.1–4. Holding the hammers, view from above.

Figure 1.1–5. Holding the hammers, finger positioning.

QR - code 1https://youtu.be/BCwAY8paxtI


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Charts

In the following lessons, you will find two types of charts: dulcimer charts and notation charts. Let’s get to know dul-cimer charts first:

the vertical black lines represent the bridges (fig. 1.1–6, 1.1 – 7);

the courses of strings marked in orange are always played on the left side of the treble bridge;

yellow courses are played on the right side of the treble bridge;

and blue courses – on the left side of the bass bridge.

at the point where courses of strings go under the bridg-es, they are not marked (remember, they are not played, same as on the right side of the bass bridge);

the string courses are numbered top-to-bottom on ei-ther side of the bridges;

when the strings that are not played in the exercise or piece they are only shown in short black horizontal lines, which are unnumbered but serve as a visual aid in see-ing and understanding which course of strings needs to be played. Only the strings located above the ones be-ing played are depicted.

Very often, only a partial dulcimer chart is given (fig. 1.1 - 11). Rather than displaying all of the string courses, such charts only show several, e.g. one side of the bridge.

Figure 1.1–7. A dulcimer with overlaid chart drawings.

1 G

2 Fis

3 E

4 D

5 Cis

6 H

7 A

1 E

2 D

3 C

4 H

5 A

6 G

C 1

H 2

A 3

G 4

Fis 5

E 6

D 7

Figure 1.1–6. A full dulcimer chart with note names.


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Notation charts are made up of four layers (fig. 1.1–8):

1. The top layer indicates the names of the notes in letters.

2. The numbers below them indicate which string it is, counting from the top. The numbering is the same as in dulcimer charts.

3. The third layer is useful to those who can read notation.

4. The bottom part shows how long each note should be - the longer the dash, the longer the note.

The colours are indicating the rhythm and show which hand should be used to play the string: green means left, red means right.

Your main goal during this lesson is to learn to play a row of subsequent notes, and for this purpose, it will be very fit-ting to learn to play a scale2. The dulcimer can be played in various keys but the main and most common scale is G major, which is what we will begin with (fig. 1.1–8).

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

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

Figure 1.1–8. G major scale notation chart.

Exercise No. 1: play the scale (fig. 1.1–8) using only the right* hammer, going down from the top course of strings, then vice versa (fig. 1.1–9).

Watch video no. 1.2: exercise No. 1: putting in slow tempo (QR - code 2).

Watch video no. 1.3: exercise No. 1 (QR - code 3).

2 In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. To read more: https://en.wikipedia.org/wiki/Scale_(music)

Figure 1.1–9. G major scale dulcimer chart.

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QR - code 2https://youtu.be/7sUXxV1cptU

QR - code 3https://youtu.be/ZmUR41NbPFE


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Exercise No. 2: play the scale (fig. 1.1–8) using only the left* hammer, going down from the top course of strings, then vice versa (fig. 1.1–9).



*Hand changes are only for exercise No. 3

Exercise No. 3: play the G major scale on the dulcimer alter-nating between both hands with each course, going from the top course of strings down and vice versa (fig. 1.1 -8, 1.1 -9).



Exercise 4. Play three subsequent notes as shown in fig. 1.1-10. Use dulcimer chart - fig.1.1-11.



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G Fis E FIs E D E D C D C B 1 2 3 2 3 4 3 4 1 4 1 2

C B A B A G G A B A B C 1 2 3 2 3 4 4 3 2 3 2 1

B C D C D E D E Fis E Fis G 2 1 4 1 4 3 4 3 2 3 2 1

Figure 1.1–10. Notation chart for exercise No. 4.

QR - code 4https://youtu.be/wZ763JByz8s

QR - code 5https://youtu.be/H2e1dFa_mx0

QR - code 6https://youtu.be/WxEwjHENSQs

QR - code 7https://youtu.be/e8bpIoWeLZw

QR - code 8https://youtu.be/SlNDKp3RzbU

QR - code 9https://youtu.be/Dc00ztBwqCA


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Figure 1.1–11. Chart for exercise No. 4.

Note: When playing the dulcimer, the right hand is always considered the main or leading hand – it is used to play the first note of the piece or a rhythmic group, as well as to make accents highlighting the more significant notes.

1.2. Playing on the Left Side of the Treble Bridge

1.2.1. First Compositions in A Major

In this lesson you will learn:1. a couple of pieces that mostly use adjacent notes;2. to play these two pieces only using the left side of the treble bridge in A major.

Some narrow-interval compositions for dulcimer can all be played on the same side of the bridge. When playing on the left side of the treble bridge, note that the fifth course of strings is the only one producing the note Cis on the whole dulcimer. This sharp note on the left side of the treble bridge allows playing some compositions in A major, which is where we will begin.

The first and simplest melody is that of the Lithuanian folk song O Kai Aš3 (Oh, When I…) (fig. 1.2.1–1). If you find it difficult to perform this piece with both hands, you can start by learning to play it with just your right hand.

&### 42 .. .. ..

Cis D E Cis D E Cis D E Fis E D Cis Cis Cis B B Cis D E Fis E D Cis 5 3 2 5 4 2 5 4 3 2 3 4 5 5 5 6 6 5 4 3 2 3 4 5

Figure 1.2.1–1. The melody of the Lithuanian folk song O Kai Aš in A major.

3 I made up this version for cymbal myself.


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Begin with your right hand on the fifth course of strings – Cis (fig. 1.2.1–2). Alternating between both hands, move upwards: twice up to E over three subsequent courses of strings (5, 4, 3, 5, 4, 3), on the third time going up to Fis over four subsequent courses of strings (5, 4, 3, 2).

Alternating hands, the same way over three courses of strings, start with the third course – E, and play downward (3, 4, 5). Bars 5 to 7 are the second part of the piece, which is repeated. Since the notes Cis (6) and B (7) are repeated, strike hem initially with your right hand, then again with your left. Bars 6 and 7 are identical to 3 and 4 and are there-fore played the same way.

Watch video no. 1.10: melody of the song O Kai Aš in A major: putting in slow tempo (QR - code 10).

Watch video no. 1.11: melody of the song O Kai Aš in A major (QR - code 11).

The second piece is a popular traditional Aukštaitija (High-lands) region dance Pjoviau Šieną (I Was Cutting Hay) (fig. 1.2.1–3). It is slightly more complicated but most notes fol-low each other.

&### 83 .. .. ..J J J J J

j J J J J J J J J Jj .

E Fis E Cis D Cis B A As Fis Fis Fis E E E D Cis B A A 3 2 3 5 4 5 6 7 7 2 2 2 3 3 3 4 5 6 7 7

Figure 1.2.1–3. The melody of the Lithuanian folk dance Pjoviau Šieną.

The piece has two parts and both of them are repeated. Looking at the chart (fig. 1.2.1–3), you will notice that in bars 1 and 2, the right-handed hammer only strikes the E (3) course, and only the left hand jumps. The right-hand part is very simple but it is important that this hand does not restrict your left hand, so just keep it above the E course of strings, striking it at the beginning of the piece and then hitting Fis with your left hand. However, when striking this course of strings for the second time, you should prepare your left hand in advance, hovering the hammer above the Cis course of strings.

Prepare for the jump in advance in such way, and it will be much easier to perform. Note that the fourth string course is skipped. Play these two bars (fig. 1.2.1–4) a few times to memorise them better.

In bar 3 (fig. 1.2.1–5), the first three notes are played down-ward one by one, alternating the striking hand (fig. 1.2.1–3),

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Figure 1.2.1–2. Chart for the melody of the Lithuanian folk song O Kai Aš

in A major.

QR - code 10https://youtu.be/_t0qa42ErVY

QR - code 11https://youtu.be/4Mo4amK3XXQ

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Figure 1.2.1–4. A chart for bars 1 and 2 of the Lithuanian folk dance

Pjoviau Šieną melody.


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starting on the D course of strings with your right hand (4, 5, 6). In bar 4 (fig. 1.2.1–5), first strike the A (7) course of strings with your right hand slightly harder, as it should ring out longer, then again more softly with the left hand.

Don’t forget to repeat the first four bars!

In the second part, bars 5 and 6, (fig. 1.2.1–6), strike the course of strings Fis (2) and E (3) three times each, starting with the right hammer (fig. 1.2.1–3). The first strike is should be slightly stronger. Make the second strike with your left hand, then right again. The last two bars (fig. 1.2.1–6) are identical to bars 3 and 4, so play them the same way. The second part is also repeated.

Watch video no. 1.12: Melody of the dance Pjoviau šieną in A major: putting in slow tempo (QR - code 12).

Watch video no. 1.13: Melody of the dance Pjoviau šieną in A major (QR - code 13).

1.2.2. Playing Polka in D

In this lesson you will learn: to perform one composition on the left side of the treble bridge in D major.

Thanks to the sharp Cis course of strings on the left side of the treble bridge, the D major can be played on the dulci-mer as well as A major. So let us learn another composition, a polka4, which can be played on the left side of the treble bridge in D major.

4 Played by Jonas Špokas, born in 1911, Vaidlionių vnk., Troškūnų sen., Anykščių r. – 64-77/LTRF pl. 437. Vyčinas E., Lietuvių liaudies instrumentinė muzika. Muzika cimbolams - Polka no. 68, LLKC, 2012, Vilnius, p. 30

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Figure 1.2.1–6. A chart for the second part (bars 5 – 8) of the melody of the Lithuanian folk dance Pjoviau Šieną

melody.

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Figure 1.2.1–5. A chart for bars 3 and 4 of the Lithuanian folk dance Pjoviau

Šieną melody.

QR - code 12https://youtu.be/KZ00-wXal-I

QR - code 13https://youtu.be/b3EnfSdIDzU


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Fis E D Cis B B B Cis A A A Cis D D D E 2 3 4 5 6 6 6 5 7 7 7 5 4 4 4 3

Fis E D Cis B B B C A A A Cis D D D A 2 3 4 5 6 6 6 5 7 7 7 5 4 4 4 7

A A A A A B B Cis A Cis A Cis E E D D 7 7 7 7 7 6 6 5 7 5 7 5 3 3 4 4

A A A A B B B B A Cis A Cis E D D 7 7 7 7 6 6 6 6 7 5 7 5 3 4 4

Figure 1.2.2–1. The chart for polka in D major.

Compared to the first two compositions, the melody of the polka may seem complicated at first. Looking at the nota-tion (fig. 1.2.2–1), the piece may seem pretty long but the chart also includes the repeats of the first and second parts with variations. Once you start learning it, you will find that this polka is very simple. Its whole rhythm is made up most-ly of short notes except the very last one – longer. Also, the whole piece is played continuously alternating between the hammers (left-right-left etc.). In this piece, notes mostly follow each other and all fit inside an interval of 6 sounds, therefore you only need 6 courses of strings.

The first bar is performed very simply, by playing the four adjacent courses of strings: Fis (2), E (3), D (4) and Cis (5) (fig. 1.2.2–2). Start with your right hand, then alternate as shown in the chart (fig. 1.2.2–1).

In bars 2 and 6 (fig. 1.2.2–2), hit the B (6) course of strings three times: right, left, right; then the Cis (5) course of strings

TAS IR TAS GABALS

httpd://www.youtube.com/lkjljlkjlkjljlkjlkjlkj

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Figure 1.2.2–2. The dulcimer chart for polka in D major: bars 1 - 8.


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with your left (fig. 1.2.2–1). Exactly the same way, in bars 3 and 7, hit A (7) 3 times, and then Cis with your left. Bars 4 and 8 only differ in their last note (fig. 1.2.2–2). In the fourth bar, hit the D (4) course of strings three times (alternating hands), then play E (3) with the left hammer, and the A (7) course of strings in the eighth bar (fig. 1.2.2–2).

Starting with the left hammer, strike the last note of the eighth bar, play the A (7) course of strings 6 times alternat-ing the striking hand, then play B (6) twice, first with your left, then your right hand (fig. 1.2.2–2). Strike Cis (5) on the left side of the bridge once with the left hammer. After play-ing the note, hold the hammer above that course of strings (fig. 1.2.2–3).

In bar 11, play A (7) with your right and Cis (5) with your left hand, and repeat (fig. 1.2.2–1, 1.2.2–3). Also, strike the E (3) and D (4) courses of strings – first with your left, then your right hand.

Strike the A (7) course of strings four times in bar 13, then B (6) in bar 14, also four times (fig. 1.2.2–3). Alternate the striking hand, starting with your right (fig. 1.2.2–1). Bar 15 is identical to bar 11 and played the same way (fig. 1.2.2–1). In the sixteenth bar, strike the E (3) course of strings with your right hammer, then D (4) with your left, and again with your right (fig. 1.2.2–1).

Watch video no. 1.14: polka in D major: putting in slow tempo (QR - code 14).

Watch video no. 1.15: polka in D major (QR - code 15).

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Figure 1.2.2–3. The dulcimer chart for polka in D major: bars 7 – 16.

QR - code 14https://youtu.be/e_qMtefLZM8

QR - code 15https://youtu.be/OtXX7AZxb58


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1.3. Playing on the Right Side of the Treble Bridge

1.3.1. Performing Compositions You Already Know in D Major

In this lesson you will learn: to performe the compositions you have learned in lesson 1.2.1. on the right side of the treble bridge, in

D major. to notice the differences when playing on each side of the same bridge.

So let’s begin with the easier melody the song O Kai Aš (fig. 1.3.1–1).

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Fis G A Fis G A Fis G A H A G Fis Fis Fis E E Fis G A H A G Fis 5 4 3 5 4 3 5 4 3 2 3 4 5 5 5 6 6 5 4 3 2 3 4 5

Figure 1.3.1–1. The notation chart for the melody of O Kai Aš. in D major.

Comparing fig. 1.2.1–2 and fig. 1.3.1– 2, you will notice that both dulcimer charts look like a mirror image of each other. This is because as the strings “break” over the bridge, they enable you to

play the same melody on the other side of the bridge trans-posed down by five tones. This means that the song O Kai Aš, which you have already learnt to play on the left side of the bridge during lesson two, can now be played on the right side. Start with the Fis (5) course of strings.

To make it easier, first rehearse playing the piece in A major. Repeat it a few more times to strengthen your skills. If you remember it perfectly already, try performing this melody on the exact same courses of strings and in the same order, but on the right side of the treble bridge. However, if you are finding this way of learning too difficult, use the charts (fig. 1.3.1–1, 2).

Watch video no. 1.16: melody of the song O kai aš in D major: putting in slow tempo (QR - code 17).

Watch video no. 1.17: melody of the song O kai aš in D major (QR - code 17).

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Figure 1.3.1–2. The dulcimer chart for the melody of O Kai Aš in D major.

QR - code 16https://youtu.be/m36bg_PmXxU

QR - code 17https://youtu.be/9NTpRqXV2-o


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Also, remember the second piece from lesson 1.2.1 – Pjoviau šieną (fig. 1.3.1–3).

A B A Fis G Fis E D D B B B A A A G Fis E D D 3 2 3 5 4 5 6 7 7 2 2 2 3 3 3 4 5 6 7 7

Figure 1.3.1–3. The notation chart for the melody of Pjoviau šieną in D major.

Compare these charts (fig. 1.3.1–4, 1.3.1–5, 1.3.1–6) with the charts for the Pjoviau šieną melody in A major (fig. 1.3.1–4, 1.3.1–5, 1.3.1–6). What do you notice? You have already seen this when you were learning to play the song O Kai Aš on the dulcimer. Again, it is the same mirror image princi-ple, which means that the D major charts are mirror images of the A major charts.

However, this principle only applies to compositions that do not have jumps to the other side of the bridge. So first of all, practice the melody in A major to strengthen skills, and then try to do the same on the other side of the bridge in D major. If you are finding it difficult, use the charts (fig. 1.3.1 – 3, 4, 5 and 6).

Watch video no. 1.18: melody of the dance Pjoviau šieną in D major: putting in slow tempo (QR - code 18).

Watch video no. 1.19: melody of the dance Pjoviau šieną in D major (QR - code 19).

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Figure 1.3.1–4. The dulcimer chart for bars 1 – 2 of the melody Pjoviau šieną

in D major.

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Figure 1.3.1–5. The dulcimer chart for bars 3 and 4 of the melody Pjoviau

šieną in D major.

Figure 1.3.1–6. The dulcimer chart for bars 5 – 7 of the melody Pjoviau šieną

in D major.

QR - code 18https://youtu.be/6OVSnVaNfaE

QR - code 19https://youtu.be/Du-bUooilEU


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1.3.2. Performing a Composition You Already Know in G Major

In this lesson you will learn: to perform polka you have learned in lesson 1.2.2 on the right side of the treble bridge in G major. to notice the differences when playing on each side of the same bridge.

B A G Fis E E E Fis D D D Fis G G G A 2 3 4 5 6 6 6 5 7 7 7 5 4 4 4 3

B A G Fis E E E Fis D D D Fis G G G D 2 3 4 5 6 6 6 5 7 7 7 5 4 4 4 7

D D D D D E E Fis D Fis D Fis A A G G 7 7 7 7 7 6 6 5 7 5 7 5 3 3 4 4

D D D D E E E Fis D Fis D Fis A G G 7 7 7 7 6 6 6 6 7 5 7 5 3 4 4

Figure 1.3.2–1. The notation chart for polka in G major.

In the previous lesson (3.1.1.) you have learned that the pieces learned on the left side of the treble bridge in A ma-jor can also be played on the right side of the same bridge in D major, striking the same courses of strings. However, some narrow-interval pieces that are normally performed on the left side of the bridge in D major can also be per-formed on the other side of the bridge in G major.

Compare the dulcimer charts from lessons 1.2.2. and 1.3.3. You will notice the same mirror-image principle as in les-son 3.1. First, rehearse the polka in D major until you learn it by heart. Then try to play the piece on the same courses of strings, in the same order, without changing anything else, on the right side of the bridge.

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Figure 1.3.2–2. The dulcimer chart for bars 1 - 8 of polka in G major.


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Admittedly, this is a slightly more complex composition, so if you are finding it difficult, take a look at the notation (fig. 1.3.2–1) and dulcimer charts (fig. 1.3.2 – 2, 3) and the de-tailed description.

In the first bar, play the four subsequent courses of strings: B (2), A (3), G (4) and Cis (5) (fig. 2.2.2–2). Start with your right hand, then alternate as shown in the chart (fig. 2.2.2–1). Al-ternate between the hammers, starting with the right one.

In bars 2 and 6 (fig. 1.3.2–2), strike the E (6) course of strings three times: right, left, right; then strike the Fis (5) course of strings with your left (fig. 1.3.2–1). Exactly the same way, in bars 3 and 7, strike D (7) 3 times, and then Fis with your left. Bars 4 and 8 differ only in their last note (fig. 1.3.2–2). In the fourth bar, strike the G (4) course of strings three times (al-ternating hands), then play A (3) with the left hammer, and the D (7) course of strings in bar 8 (fig. 1.3.2–2).

Starting with the left hammer, strike the last note of the eighth bar, play the D (7) course of strings 6 times alternat-ing the striking hand, then play E (6) twice, first with your left, then with your right (fig. 1.3.2–2). Strike Cis (5) on the left side of the bridge once with the left hammer. After play-ing the note, hold the hammer above that course of strings (fig. 1.3.2–3).

In bar 11, play D (7) with your right and Cis (5) with your left, and repeat (fig. 1.3.2–1, 1.3.2–3). Also, strike the A (3) and G (4) courses of strings, first with your left, then with your right hand.

Strike the D (7) course of strings four times in bar 13, then E (6) in bar 14, also four times (fig. 1.2.2–3). Alternate the striking hand, starting with your right (fig. 1.3.2–1). Bar 15 is identical to bar eleven, and played the same way (fig. 1.3.2–1). In the sixteenth bar, strike the A (3) course of strings with your right hammer, then G (4) with your left and again with your right (fig. 1.3.2–1).

Watch video no. 1.20: polka in G major: putting in slow tempo (QR - code 20).

Watch video no. 1.21: polka in G major (QR - code 21).

Figure 1.3.2–3. The dulcimer chart for bars 9 - 16 of polka in G major.

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QR - code 20https://youtu.be/4q7Rc0GCzbg

QR - code 21https://youtu.be/ldqAhoUroJE


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1.4. Playing on the Left Side of the Bass Bridge

1.4.1. Performing Compositions, You Already Know in G Major

In this lesson you will learn: to perform the compositions, you have learned in lesson 1.2.1. (and 1.3.1.) on the left side of the bass

bridge, in G major. to notice the differences when performing the same piece in three different tonalities.

First, rehearse the easier melody of the song O kai aš, which you already know how to play in A major on the left side of the treble bridge and in D major on the right side of the same bridge. In lesson 1.3.1., we have found out how easy it is to play the same melody on the same courses of strings on different sides of the bridge.

H C D H C D H C D E D E H H H A A H C D E D C H 4 3 2 4 3 2 4 3 2 1 2 3 4 4 4 5 5 4 3 2 1 2 3 4

Figure 1.4.1–1. The notation chart for the melody of the Lithuanian folk song O Kai Aš in G major.

As you will notice looking at your instrument, the bass string courses are made up of completely different strings, which run under the treble bridge. However, if the melody is the same, then, when trying to play a song you already know, you can apply most of the same principles, such as rhythm, hand changes and melodic turns. In this case, only the string numbering is different. The dulcimer has only 6 courses of bass string compared to the 7 treble courses. To play the melody of O Kai Aš you will need 5 courses of strings.

Looking at the dulcimer charts you will notice that all of the strings are used except the bottom course. Also, take a look at the dulcimer charts in fig. 1.2.1 – 2 and 1.3.1 – 2. Notice that when playing in A major and D major, string courses 1 and 7 are not used. This means that at the bass bridge, the same melody will be performed one course of strings lower.

Before learning to play the O Kai Aš melody at the bass bridge, rehearse it in A major and D major. When learning to play in G major and following the string numbering (fig. 1.4.1 – 1, 1.4.1 – 2), remember, that you are simply playing one course of strings higher than before.

Watch video no. 1.22: melody of the song O kai aš in G major: putting in slow tempo (QR - code 22).

Watch video no. 1.23: melody of the song O kai aš in G major (QR - code 23).

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Figure 1.4.1–2. The dulcimer chart for the melody of O Kai Aš in G major.

QR - code 22https://youtu.be/hbAlQPbEJ0g

QR - code 23https://youtu.be/tqf0I3_GIKc


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Also remember the second piece, Pjoviau šieną, which you have learned to play in A major during lesson 1.2.1. and D major in lesson 1.3.1. The same principles will apply when learning this composition.

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

Figure 1.4.1–3. The notation chart for the melody of Pjoviau šieną in G major.

Same as with O Kai Aš, the first course of strings is not used when playing Pjoviau šieną in A major and D major. There-fore, when learning this melody at the bass bridge, just re-member that everything is played the same, only one string course lower. Still, should you have any difficulties, both notation (fig. 1.4.1–3) and dulcimer charts (fig. 1.4.1–4, 5, 6) are provided.

Watch video no. 1.24: melody of the dance Pjoviau Šieną in G major: putting in slow tempo (QR - code 24).

Watch video no. 1.25: melody of the dance Pjoviau Šieną in G major (QR - code 25).

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Figure 1.4.1–4. The dulcimer chart for bars 1 and 2 of the melody of Pjoviau

šieną in G major.

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Figure 1.4.1–5. The dulcimer chart for bars 3 and 4 the melody of Pjoviau

šieną in G major.

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Figure 1.4.1–6. The dulcimer chart for bars 5 – 7 of the melody of Pjoviau

šieną in G major.

QR - code 24https://youtu.be/fnht8jQaHvs

QR - code 25https://youtu.be/uF19F8Ir1WU


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1.4.2. Performing a Composition You Already Know in C MajorIn this lesson you will learn:

to perform the polka you learned in lesson 1.2.2 (and 1.3.2) on the left side of the bass bridge in C major. to notice the differences when performing the same piece in three different tonalities.

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

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

G G G G G A A B G B G B D D C C 6 6 6 6 6 5 5 4 6 4 6 4 2 2 3 3

G G G G A A A A G B G B D C C 6 6 6 6 5 5 5 5 6 4 6 4 2 3 3

Figure 1.4.2–1. The notation chart for polka in C major.

1

2

3

4

5

6

Figure 1.4.2–2. The dulcimer chart for bars 1 - 8 of polka in C major.

2

3

4

5

6

Figure 1.4.2–3. The dulcimer chart for bars 9 - 16 of polka in C major.


27

When performing this polka at the bass bridge, the same principles apply as when playing O Kai Aš and Pjoviau Šieną. The polka is also played one course of strings higher than at the treble bridge. Rehearse it in D major and G major, and then move on to the C major. Use the notation (fig. 1.4.2–1) and dulcimer (fig. 1.4.2–2, 1.4.2–3) charts.

Watch video no. 1.26: polka in C major: putting in slow tempo (QR - code 25).

Watch video no. 1.27: polka in C major (QR - code 26).

Summary of Chapter One Revision Questions:

Which hand is more important when playing the dulci-mer?

In which tonalities can you play pieces on the dulcimer?

Do you know, why are the lower courses of strings rarely used?

Exercises:

Without looking at the strings, tell which course of strings is the note B on the left and the right side of the treble bridge, and on the left side of the bass bridge.

Without looking at the instrument, tell how many string courses tuned to the note A it has.

Advanced: fully cover the dulcimer strings with a thin but opaque cloth and try to play the G major scale.

QR - code 26https://youtu.be/Gcc5TUygA0o

QR - code 27https://youtu.be/pabYI3F72PM


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Chapter Two. Chord-Based Compositions2.1. Learning to play chords

In this lesson you will learn to play:1. several small-interval jumps in a row;2. chord arpeggio.

In this lesson, we will learn to play several jumps in a row over moderate (3 - 4 tone) intervals. First, let us become fa-miliar with the most convenient chords on the dulcimer. It is not possible to play a whole chord at once on the dulcimer because a chord is made up of at least three notes, so we will play them arpeggio5.

Most sounds on the dulcimer can be played while perform-ing G and C major chords. So let us learn a couple of ex-ercises based on them. First, play them very slowly using the damping technique. Looking at the dulcimer charts, carefully count which course of strings you need to hit. Play from the top down, then vice versa. Once you learn to dampen the strings with your hammers, you can try playing the passages slowly. Finally, try to play at a lively tempo.

Complex dulcimer charts are ones intended for longer ex-ercises, where multiple smaller charts are combined into one. Grey lines separate bars, while the small numbers in the left corner of each rectangle mark the number of the corresponding bar in the notation chart.

Exercise No. 1. Using the chart (fig. 2.1–1 and 2.1–2), play the G major chord using only your right hammer. Play from the top down, then vice versa. Once you are able to easi-ly remember which courses of strings to strike, try playing while alternating hands as shown (fig. 2.1–2).

G D B G D B G G B D G B D G 1 4 2 4 2 4 6 6 4 2 4 2 4 1

Figure 2.1–2. G major chord notation chart.

5 Arpeggio - is a type of broken chord, in which the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also span more than one octave. Read more: https://en.wikipedia.org/wiki/Arpeggio

1

4

2

4

2

4

6

Figure 2.1-1. G major chord dulcimer chart.


29



Exercise No. 2: Play three courses of strings (fig. 2.1–3 and 2.1–4). Alternate hands as shown (fig. 2.1–4).

G D B D B G B G D G D B D B G 1 4 2 4 2 4 2 4 2 4 2 4 2 4 6

G B D B D G D G B G B D B D G 6 4 2 4 2 4 2 4 2 4 2 4 2 4 1

Figure 2.1-3. Notation chart for exercise No. 2.

Figure 2.1-4. Dulcimer chart for exercise No. 2 based on the G chord.

4

2

4

2

4

6

4. 5.

2.

4

2

4

2

4

2

1. 3.

QR - code 28https://youtu.be/VyKyVqOzhRw

QR - code 29https://youtu.be/jZHIneqxLtE


30



Exercise No. 3. Using the chart (fig. 2.1-5 and 6), play the C chord with only your right hammer. Play from the top down, then vice versa.

G E C G E C G G C E G C E G 1 3 1 4 1 3 6 6 3 1 4 1 3 1

Figure 2.1–5. C major chord notation chart.


Watch video no. 2.6: exercise No. 3 (QR - code 33). 1

3

1

4

6

3

6

Figure 2.1–6. C major chord dulcimer chart.

QR - code 30https://youtu.be/AkxKcDlA108

QR - code 32https://youtu.be/TCIq1q9Y5uw

QR - code 31https://youtu.be/kGSVV18mAr4

QR - code 33https://youtu.be/HOJ8GfTL8SI


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Exercise No. 4: Strike three courses of strings (fig. 2.1–7 and 2.1–8). Alternate hands as shown (fig. 2.1–7).

G E C E C G C G E G E C E C G 1 3 1 3 1 4 1 4 1 4 1 3 1 3 6

G C E C E G E G C G C E C E G 6 3 1 3 1 4 1 4 1 4 1 3 1 3 1

Figure 2.1–7. Notation chart for exercise No. 2. based on the C chord.

4. 5.

2.1. 3. 1

4

1

4

1

4

1

4

1

4

1

3

1

3

6

Figure 2.1–8. Dulcimer chart for exercise No. 2. based on the C chord.



QR - code 34https://youtu.be/xsnbwUmQTgM

QR - code 35https://youtu.be/4pXzxCt97yc


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2.2. The G Major Scale: four upper string courses

In this lesson you will learn: to play on only the top four courses of dulcimer strings; 3 compositions based on G major scale chords: G, C and D; when and why the bass D course of strings is used; how to play accented notes.

The G major scale is the most popular one on the dulci-mer. That is because it is the most convenient one to play. When playing in this scale, usually only the first four cours-es of strings are used (at the treble bridge) and the second bass course – D(2) (at the bass bridge). During this lesson, you will learn three pieces that can be played by only using these courses of strings. Let us begin with the folk dance Križačioks6 (Criss-Cross).

G B G B D D B G C E G E D D B G 4 2 4 2 4 4 2 4 1 3 1 3 4 4 2 4

C E G E D D B G C C A A G B D 1 3 1 3 4 4 2 4 1 1 3 3 4 2 4

C C A A B B G G A A D D G B G 1 1 3 3 2 2 4 4 3 3 2 2 4 2 4

Figure 2.2–1. Notation chart for the Lithuanian folk dance Križačioks in G major

Looking at the chart (fig. 2.2–1), you will notice that the whole piece is made up of triads. Bars 1 and 2 make up a G chord, bar 3 is a C chord, bar 4 – a G chord, bar 5 is the same as bar 3, bar 6 is the same as bar 4, bars 7 and 9 are both the same, bar 8 is a G chord, bar 10 is the lower two tones of the G chord, bar 11 is the two outer tones of the D chord, and the last bar again is the two lower tones of the G chord, only arranged differently. A more detailed description is given below.6 Played by Jonas Lechovickas, born in 1920m., Gilūtų k., Mielagėnų sen., Ignalinos r. - 1-27/LLKC archyvas. Vyčinas E., Lietuvių liaudies

instrumentinė muzika. Muzika cimbolams - “Križačioks” no. 11, LLKC, 2012, Vilnius, p.10

4

2

4

Figure 2.2–2. G chord chart.


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The first bar is quite simple. Before playing, count and no-tice that the right hammer will start by striking the G course of strings, which is the fourth one on the right side of the bridge, and the left hammer will start on the B course of strings, which is second from the top (fig. 2.2–1 and 2.2–2). Once you are sufficiently ready, play these sounds twice one after the other, starting with G.

In bar 2, you will find the already familiar triad of the G ma-jor tonic (fig. 2.2–3). After striking the D (4) course of strings with the right hammer, strike it once again with your left. The B (2) course of strings is once again hit with the right hammer, then G (4) with the left. Learn to perform these motions fluidly because they will be repeated three times in this piece – in the second, third, fourth and sixth bar (fig. 2.2–1).

In bars 3 and 5, play the C chord (fig. 2.2–3) up and down. This is why the top course of strings at the treble bridge is at first hit on the right side, resulting in the note C, then on the left, playing G (fig. 2–9). Follow each right-hammer hit with an E (3) with your left. In bar 7, hit the C (1) and A (3) courses of strings twice (fig. 2.2–1). First, strike with your right hammer, then repeat with your left. Bar 9 is performed the same way

First, strike with your right hammer, then repeat with your left. Bar 9 is performed the same way. In bar 8, play the G major triad upwards, starting on the G (4) course of strings (fig. 2.2–2). In bar 10, same as bar 9, strike the B (2) and G (4) courses of strings twice (with the left hammer on the sec-ond time) (fig. 2.2–1). Exactly the same way, strike the A (3) and D (2) courses of strings twice each in bar 11 (fig. 2.2–5). End the piece by striking the G (4) course of strings with the right hammer, then B (2) with the left, and G again with the right. 2.2–1).

Watch video no. 2.9: melody of the dance Križačioks in G major: put-ting in slow tempo (QR - code 36).

Watch video no. 2.10: melody of the dance Križačioks in G major (QR - code 37).

1

3

1

Figure 2.2–3. C chord dulcimer chart.

4

1

2

3

4

Figure 2.2–4. Dulcimer chart for bars 7–8 of the dance Kryžačioks in G major.

1

2

3

4

2

Figure 2.2–5. The dulcimer chart for

bars 9–12 of the dance Križačioks in G major.

QR - code 36https://youtu.be/0vM7kfoZRt0

QR - code 37https://youtu.be/IoZtQRuIods


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The second piece of this lesson is the Mazurka7 (fig. 2.2–6). This composition is completely different. The Mazurka not made up of chords. Instead, it mostly has notes follow-ing each other. However, there are numerous jumps that span an interval of up to 6 string courses (a whole fifth). Also, while learning this piece, you will run into something new – accents.

As you remember, the right hand is used to perform all the main notes: the first note in each bar, as well as the last one if a bar ends with a longer note; any relatively stronger or rhythmically longer note (with some exceptions depend-ing on what is convenient). Therefore, notes marked with accents – horizontal tick marks, like the second note in ev-ery bar of the Mazurka (fig. 2.2–6). As you can see in the chart, such notes are always marked red, same as the first note in each bar. This is why the first two notes of each bar are played with the right hand. And sometimes, when a bar only has two notes, the right hammer strikes four courses of strings in a row, e.g. in bars 8 and 9 (fig. 2.2–6).

Accented notes are performed by hitting the course of strings with a loosely-held hammer in a more sudden mo-tion, however you should not press the hammer onto the strings forcefully or try to strike from higher-up. You can first practice on a solid surface, e.g. a table or a windowsill.

Challenge! Take a closer look at the notes and find all the repeating bars (fig. 2.2–6). The correct answer is given on page 9. 7 Played by Jonas Lechovickas, born in 1920m., Gilūtų k., Mielagėnų sen., Ignalinos r. – 1-27/LLKC archyvas. Vyčinas E., Lietuvių liaudies

instrumentinė muzika. Muzika cimbolams – Mazurka no. 10, LLKC, 2012, Vilnius, p.10


35

G Fis E D B B D A A D G G 1 2 3 4 2 2 4 3 3 4 4 4

G Fis E D B B D A A D G 1 2 3 4 2 2 4 3 3 4 4

D G G B D D D A A D G G 2 4 4 2 4 4 4 3 3 4 4 4

D G G B D D D A A D G 2 4 4 2 4 4 4 3 3 4 4

Figure 2.2–6. Notation chart for the Mazurka in G major scale.

In bar 1 (fig. 2.2–6), two courses of strings - G (1) and Fis (2) - are hit with the right hammer and E (3) – with the left (2.2–7). The other three bars begin with the D (4) course of strings, then there is a jump to the other side of the bridge, again with the right hammer, repeated with the left: onto B (2) in bar 2, A (3) in bar 3, G (4) in bar 4 (fig. 2.2–7).

In bars 9–15, the right hammer is constantly jumping from D (2) at the bass bridge to G (4) on the right side of the tre-ble bridge, from B (2) to D (4) on the other side of the same bridge, and from D to A back on the right side of the bridge, then again from D on the left to G (4) on the right (fig. 2–21). The second course of strings is constantly hit again with the left hammer. In bars 8 and 16, the left hand is not used at all.

Repeated bars in the Mazurka: 1–2 = 5–6, 3 = 7 = 11 = 15, 9–10 = 13–14, 4 = 12, 8 = 16.

1

2

3

4

2

3

4

Figure 2.2–7. Dulcimer chart for bars 1–8 of the Mazurka in G major.

Figure 2.2– 8. Dulcimer chart for bars 9–16 of the Mazurka in G major.

4

2

3

4

2


36

Watch video no. 2.11: melody of the dance Mazurka in G major: putting in slow tempo (QR - code 38).

Watch video no. 2.12: melody of the dance Mazurka in G major (QR - code 39).

The third piece you will learn in this lesson is called “Senis Pjovė Rugelius“8 (The Old Man Sowed Rye) (fig. 2.2–9).

G G D D G B A B D C A G G G 4 4 2 2 4 2 3 2 4 1 3 4 4 4

G G D D G B A B D C A G G G B 4 4 2 2 4 2 3 2 4 1 3 4 4 4 2

C E C B D B A C A A G B D 1 3 1 2 4 2 3 1 3 3 4 2 4

C E C B D B A C A A G G G 1 3 1 2 4 2 3 1 3 3 4 4 4

Figure 2.2–9. Notation chart for Senis Pjovė Rugelius in G major.

In bar 1, string courses G (4) and D (2 at the bass bridge) are hit twice – with the right, then the left hand (fig. 2.2–10). In bar 2, G (4) is hit once with the right hammer and B (2) with the left, then A (3) with the right again. Bars 5 and 6 are played the same way.

8 Played by Jonas Špokas, born in 1911m., Vaidlionių vnk., Troškūnų sen., Anykščių r. – 64-77/LTRF pl. 437. Vyčinas E., Lietuvių liaudies instrumentinė muzika. Muzika cimbolams – Senis pjovė rugelius no. 73, LLKC, 2012, Vilnius, p. 31

QR - code 38https://youtu.be/eF6XpkCnRJs

QR - code 39https://youtu.be/aj5l7rS4F0w


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In bars 3 and 7, the strings are hit once, as shown in the notation (fig. 2.2–9).

In bar 4, the G (4) course of strings is hit three times on the right side of the bridge (right-left-right). The only difference in bar 8 is that afterwards the B (2) course of strings is hit with the left hand (fig. 2.2–9).

In bars 9 and 10, the right hand plays on the right side of the bridge, and the left hand plays on the left (fig. 2.2–9, 2.2–12). In bar 9, begin by striking C (1) with your right hand, then strike E (3) with your left and C again with your right. Bar 10 is performed the same way, only one course of strings low-er: B (2) – D (4) – B. Bars 13 and 14 are the same (fig. 2.2–9).

In bars 11 and 15, play A (3) on the right side of the bridge with your right hand, then C (1) with your left and again with your right, and then A again with your left (fig. 2.2–9, 2.2–11).

In bar 12, play the G major triad upward, beginning with your right hammer on the right side of the bridge on G (4), then striking B (2) with your left, and D (4) on the left side with your right hammer (fig. 2.2–11). Bar 16 is identical to bar 14 (fig. 2.2–11).

Watch video no. 2.13: melody of Senis Pjovė Rugelius in G major: putting in slow tempo (QR - code 40).

Watch video no. 2.14: melody of Senis Pjovė Rugelius in G major (QR - code 41).

2

3

4

2

Figure 2.2–10. Dulcimer chart for bars 1–2 and 5–6 of Senis Pjovė Rugelius in

G major.

4

1

2

3

4

Figure 2.2–11. Dulcimer chart for bars 3–4, 7–8, 11–12 and 15–16 of Senis

Pjovė Rugelius in G major.

3

4

1

2

Figure 2.2–12. Dulcimer chart for bars 9–10 and 13–14 of Senis Pjovė Rugelius

in G major.

QR - code 40https://youtu.be/rF2c3pTYE8A

QR - code 41https://youtu.be/SNneqeI9CQs


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2.3. The D Major Scale: four lower string courses

In this lesson you will learn: to play on only the bottom four courses of dulcimer strings; to play the 3 compositions you have learned in lesson 2.3 in D major scale; when and why the bass A course of strings is used;

In the last lesson, you have learned that some pieces can be played in G major scale by only using the first four courses of strings (at the treble bridge) and the second bass course (at the bass bridge). The D major scale is played on string courses 4–7 and the second (A) course of bass strings (at the bass bridge). Let us learn to play the G major pieces you already know three courses of strings lower. We can start with the folk dance Križačioks (fig. 2.3–1).

&## 42

&##

&##

D Fis D Fis A A Fis D G H D H A A Fis D 7 5 7 5 7 7 5 7 4 6 4 6 7 7 5 7

G H D H A A Fis D G G E E D Fis A 4 6 4 6 7 7 5 7 4 4 6 6 7 5 7

G G E E Fis Fis D D E E A A D Fis D 4 4 6 6 5 5 7 7 6 6 5 5 7 5 7

Figure 2.3–1. Notation chart for the Lithuanian folk dance Križačioks in D major

When learning to play compositions for the bottom strings, try to not count the courses from the top. Remember that the treble bridge only has 7 courses of strings and the bass bridge has 6. These two numbers will be very useful for find-ing your way around dulcimer charts because these are the courses of strings closest to you.

In the last lesson, you have learned that this piece is made up solely of chords. Therefore, in D major scale, the first and second bars make up a D chord (fig. 2.3–1, 2.3–2). Before

7

5

7

Figure 2.3–2. D chord chart.


39

you start playing, it is important to count your courses of strings and to get ready with your hammers above string courses 7 (right) and 5 (left). Once you are ready, play these sounds a couple of times one after the other, starting with D (7). In bar 2, strike A (7) for the second time with your left (fig. 2.3–1). After that, hit Fis (5) and D (7) once with your right and your left (fig. 2.3–1). Bars 4 and 6 are performed the same way.

In bar 3, play the G chord. G (4) on the left side of the bridge, then B(6) with your left on the right side, D with your right and B again with the left hammer (fig. 2.3–1, 2.3–3). Then play D (4) on the other side of the bridge. Bar 5 is performed exactly the same way.

In bars 7 and 9, hit the G (4) and A (6) courses of strings twice (fig. 2.3–4). First, strike with your right hammer, then repeat with your left.

In bar 8, play the D major triad upward (fig. 2.3–4), starting with D (7), then Fis (5) with your left and finally A (7) with your right. Be careful so that your arms do not hit each oth-er. To avoid that, you can raise your left wrist to allow your right hand to slide under it.

In bars 9, 10 and 11, all courses of strings are hit twice. On the right side of the treble bridge: G (4), E (6), Fis (5), D (2), E (6) and A (5) at the bass bridge (fig. 2.3–5).

In bar 12 (fig. 2.3–1), hit the D (7) course of strings with your right hand, then Fis (5) with your left and D again with your right (fig. 2.3–5).

Watch video no. 2.15: melody of the dance Križačioks in D major: put-ting in slow tempo (QR - code 42).

Watch video no. 2.16: melody of the dance Križačioks in D major (QR - code 43).

4

6

4

Figure 2.3–3. G chord chart.

4

1

2

3

4

Figure 2.3–4. Chart for bars 7–8 of the folk dance Križačioks in D major.

Figure 2.3–5. Chart for bars 9–12 of the folk dance Križačioks melody in D

major.

QR - code 42https://youtu.be/djj7frUMkVc

QR - code 43https://youtu.be/C2bS6GWqAeA


40

Now, let us remember the second composition, the Mazur-ka (fig. 2.3–6).

D Cis B A Fis Fis A E E A D D 4 5 6 7 5 5 7 6 6 7 7 7

D Cis B A Fis Fis A E E A D 4 5 6 7 5 5 7 6 6 7 7

A D D Fis A A A E E A D D 5 7 7 5 7 7 7 6 6 7 7 7

A D D Fis A A A E E A D 5 7 7 5 7 7 7 6 6 7 7

Figure 2.3–6. Notation chart for the Mazurka in the D major scale.

In bar 1 (fig. 2.3–6), two subsequent courses of strings - D (4) and Cis (5) - are hit with the right hammer and B (6) – with the left. The next three bars begin with the A (7) course of strings on the left side of the bridge. Striking with the right hammer first and repeating with the left, play the fol-lowing courses of strings: Fis (5) in bar 2, E (6) in bar 3, D (7) in bar 4 (fig. 2.3–7).

In bars 9–15, the right hammer is constantly jumping from A (5) to D (7) at the bass bridge, from Fis (5) on the right side of the treble bridge to A (7) on the left, and from A to E (6) on the other side of the bridge, then again from A (7) to D (2) (bass bridge) (fig. 2.3–8). When the same course of strings is hit twice, the second hit is done with the left ham-mer (fig. 2.3–6). In bars 8 and 16, the left hand is not used at all (fig. 2.3–6).

4

5

6

7

5

6

7

Figure 2.3–7. Dulcimer chart for bars 1–8 of the Mazurka in D major.

7

5

6

7

5

Figure 2.3–8. Dulcimer chart for bars 9–16 of the Mazurka in G major.


41

Watch video no. 2.17: melody of the dance Mazurka in D major: put-ting in slow tempo (QR - code 44).

Watch video no. 2.18: melody of the dance Mazurka in D major (QR - code 45).

The last piece, Senis Pjovė Rugelius (fig. 2.3–9).

&## 42

&##

&##

&##

D D A A D Fis E Fis A G E D D D 7 7 5 5 7 5 6 5 7 4 6 7 7 7

D D A A D Fis E Fis A G E D D D Fis 7 7 5 5 7 5 6 5 7 4 6 7 7 7 5

G B G Fis A Fis E G E E D Fis A 4 6 4 5 7 5 6 4 6 6 7 5 7

G B G Fis A Fis E G E E D D D 4 6 4 5 7 5 6 4 6 6 7 7 7

Figure 2.2–9. Notation chart for Senis Pjovė Rugelius in D major.

In bar 1, string courses D (7) and A (6) are hit twice - with the right, then the left hand (fig. 2.3–10). In bar 2, D (7) is hit once with the right hammer, then Fis (5) with the left, followed by E (6) with the right (fig. 2.3–10). Bars 5 and 6 are played the same way (fig. 2.3–9).

In bars 3 and 7, the strings are hit once, as shown in the notation (fig. 2.3–9).

To make it easier to play, first carefully count which courses of strings need to be hit (fig. 2.3–11).

QR - code 44https://youtu.be/za_KeFol3rw

QR - code 45https://youtu.be/5ggpUhP456Y

5

6

7

5

Figure 2.3–10. Dulcimer chart for bars 1–2 and 5–6 of Senis Pjovė Rugelius in

D major.


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In bar 4, strike the D (7) string course on the right side of the bridge (fig. 2.3–11) three times (right–left–right). Bar 16 is exactly the same. Bar 8 differs from these two in that af-terwards, the Fis (2) course of strings is played with the left hand (fig. 2.3–9).

In bar 9, begin by striking G (4) with your right hand, then strike B (6) with your left and G again with your right. Bar 10 is performed the same way, only one course of strings low-er: Fis (5) – A (7) – Fis. Bars 13 and 14 are exactly the same.

In bars 11 and 15, play E (6) on the right side of the bridge with your right hand, then G (4) with your left and E again with your right, repeating it with the left (fig. 2.3–9).

In bar 12, play the D major triad upward, beginning with your right hammer on D (7) on the right side of the bridge, then striking Fis (5) with your left, and A (7) on the left side with your right hammer .

Watch video no. 2.19: melody of Senis Pjovė Rugelius in D major: put-ting in slow tempo (QR - code 46).

Watch video no. 2.20: melody of Senis Pjovė Rugelius in D major (QR - code 47).

Summary of Chapter TwoQuestions:

What does the term arpeggio mean and how is it played?

How are accented notes played?

How are repeated notes played?

Exercises:

List the notes in the G major tonic chord and describe how it is played on the dulcimer.

Try to play the D major chord made up of four notes (D, Fis, A, D).

Pick one of the exercises or chords you have learned to play at the beginning of the lesson, and try playing it with the strings covered under a thin opaque cloth.

7

4

5

6

7

Figure 2.3–11. Dulcimer chart for bars 3–4, 7–8, 11– 12 and 15–16 of Senis

Pjovė Rugelius in D major.

6

7

4

5

Figure 2.2–12. Dulcimer chart for bars 13 and 14 of Senis Pjovė Rugelius in D

major.

QR - code 46https://youtu.be/z5Ohdla5RDc

QR - code 47https://youtu.be/w6w5KanUkcM


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3. Chapter Three. Repetitions 3.1. Repetitions in Duple Metre

3.1.1. Learning to Play Repetitions in Duple Metre

In this lesson, you will learn to play the following on the dulcimer:1. repetitions of notes on one course of strings;2. duple rhythmic patterns;3. notes of small rhythmic values;

Traditional Lithuanian folk polkas and some dances are usu-ally played with repetitions, i.e. certain rhythmical repeats of the same note. In duple metre9 they can be performed in one of two ways. Rhythmic pattern No. 1 consists of one long note and two notes of smaller rhythmic value: ta–ti–ti (fig. 3.1.1–1). This rhythm is most characteristically played with a beater on the tambourine, often stays on the same note, but can also be performed on other traditional instru-ments, such as the violin, the dulcimer, the accordion or the lumzdelis woodwind.

Figure 3.1.1–1. Duple rhythmic pattern No. 1

There is also an opposite rhythmic pattern, ti–ti–ta, com-prised of two notes of smaller rhythmic value and one that is twice as long (fig. 3.1.1–2). This rhythm is very typical to the accordion, the violin and the dulcimer, can often be heard played on the tambourine, and can be performed ei-ther on a single note or as an arpeggio of adjacent notes.

24/ œ œ œ œ œ œ

Figure 3.1.1–2. Duple rhythmic pattern No. 2.

First, learn only these rhythmic patterns – you will not re-quire a dulcimer for that. It is best to learn to play the rhythm first by hitting a solid surface with the hammers. A table or a windowsill will be perfect for this. This is very convenient, as you can even practice without the instrument. First, take the hammers in the correct manner, just like if you were

9 Duple metre is a musical metre characterized by a primary division of 2 beats to the bar, usually indicated by 2 and multiples in the upper figure of the time signature, with 22 (cut time), 24 being the most common examples. Read more: https://en.wikipedia.org/wiki/Duple_and_quadruple_metre


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getting ready to play. Remember that notes of larger rhyth-mic value in these rhythmic groups - ta - are always played with the right hand, as well as the first one of the shorter two ti notes, while the second – ti - is always hit with the left hand. Therefore, the first rhythmic pattern is played right–right–left; and the second is played right–left–right. On a solid surface, practice each of these rhythmic groups until you can play them fluidly without mistakes, stops or rhyth-mic irregularity.

When you are able to play the rhythm well on a solid sur-face, you can begin practising on the instrument. Let’s learn to play some exercises.

Exercise No. 1: Play the G major scale, performing the first rhythmic pattern twice on every course of strings (fig. 3.1.1–1). Use the notation (fig. 3.1.1–3) and the chart (fig. 3.1.1–4). Play this exercise top-to-bottom and vice versa.

G Fis E D C 1 2 3 4 1

B A G Fis E 2 3 4 5 6

D C B A G 2 3 4 5 6

Figure 3.1.1-3. The G major scale with doubled duple rhythmic pattern No. 1.



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Figure 3.1.1–4. G major scale chart.

QR - code 48https://youtu.be/UYQwIjZkOcU

QR - code 49https://youtu.be/gqTZRPaZ8uY


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Exercise No. 2: Play the G major scale, repeating the rhyth-mic pattern No. 2 twice on every string (fig. 3.1.1–2). Use the notation (fig. 3.1.1-5) and the chart (fig. 3.1.1–4). Play this exercise top-to-bottom and vice versa.

Note! If the notation of the piece indicates a rhythmic rep-etition of a note, the alphanumeric designation of that note is only given on the first note of the rhythmic formation (fig. 3.1.1-5).

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G Fis E D C 1 2 3 4 1

B A G Fis E 2 3 4 5 6

D C B A G 2 3 4 5 6

Figure 3.1.1–5. The G major scale with doubled duple rhythmic pattern No. 2.

Watch video no. 3.3: Exercise nr. 2: putting in slow tempo (QR - code 50).

Watch video no. 3.4: Exercise nr. 2 (QR - code 51). QR - code 50https://youtu.be/pIf6tUC4TJI

QR - code 51https://youtu.be/_5BWIke2QTY


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Exercise No. 3: As mentioned before, the second rhythmic pattern is also typically used when playing adjacent note ar-peggios. You can practice it by playing three adjacent notes at a time in this rhythm, going down from each course of strings in the G major scale.

G Fis E Fis E D E D C D C B C B A B A G G A B A B C B C D C D E D E Fis E Fis G 1 2 3 2 3 4 3 4 1 4 1 2 1 2 3 2 3 4 4 3 2 3 2 1 2 1 4 1 4 3 4 3 2 3 2 1

Figure 3.1.1–6. Notation chart for exercise No. 3.

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Figure 3.1.1–7. Dulcimer chart for exercise No. 3 and 4.



Exercise No. 4: Play the same way as you did in exercise No. 3, but this time use the second duple rhythm (fig. 3.1.1–2). Use the notation (fig. 3.1.1–8) and dulcimer (fig. 3.1.1–9) charts.

G Fis E Fis E D E D C D C B C B A B A G G A B A B C B C D C D E D E Fis E Fis G 1 2 3 2 3 4 3 4 1 4 1 2 1 2 3 2 3 4 4 3 2 3 2 1 2 1 4 1 4 3 4 3 2 3 2 1


Once you learn to play these exercises without mistakes, you can begin learning the first composition with these rhythmic elements. Later, if you want to remember the skills, you can always come back to the exercises.

QR - code 52https://youtu.be/_V_LbVw5xYY

QR - code 53https://youtu.be/ESrtONVxR6E


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3.1.2. Rhythmic Repetitions in Duple Metre: Polkas

In this lesson you will learn:1. to use duple rhythmic patterns when playing polkas;2. two polkas with rhythmically repeating and adjacent notes.

Once you learn to play these exercises without mistakes, you can begin learning the first polka10 (fig. 3.1.2–1). The melody of this composition is made up of mostly adja-cent notes but the second duple rhythmic pattern is also used a number of times. Remember that in the notation charts, if a note is repeated, only the initial note is marked.

10 Played by Kazimieras Vincentas Svitojus, born in. 1934m., Žaliosios k., Kalvarijos sen., Marijampolės r. – 91–92/MFA KLF 1502. Vyčinas E., Lietuvių liaudies instrumentinė muzika. Muzika cimbolams - Polka no. 92, LLKC, 2012, Vilnius, p. 38

QR - code 54https://youtu.be/eSxA4cduSLA

QR - code 55https://youtu.be/YUO02K55xMo


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B A G Fis E D D D D E Fis G 2 3 4 5 6 7 7 7 7 6 5 4

B A G Fis E D D D D E D D G 2 3 4 5 6 7 7 7 7 6 7 7 4

D D E D D B B B A A D G G 4 4 3 4 4 2 2 2 3 3 2 4 4

D E D D B B D D A A D D G 4 3 4 4 2 2 4 4 3 3 4 4 4

D E D B B D D C B A G B G 4 3 4 2 2 4 4 1 2 3 4 2 4

Figure 3.1.2–1. Notation chart for the polka.

This polka contains everything you have so far. In Chapter One lessons, you have learned to strike the adjacent cours-es of strings on one side of the bridge. The first half of this polka is exactly that (fig. 3.1.2–1, 3.1.2–2).

Starting with your right hand on the second course of strings on the right side of the treble bridge, go down alter-nating your hammers to the very bottom course of strings. Then play the second duple rhythmic pattern on it, and, starting on that course, begin to climb back up to the fourth course of strings, ending on it with a rhythmically repeated note (fig. 3.1.2–1).

In Chapter Two you have learned that some compositions in G major scale are played only on the first four courses of strings along with the bass D (2). The whole second part of this polka is like that (bars 9–20).

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Figure 3.1.2–2. Dulcimer chart for bars 1–8 of the polka.

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In bars 10, 11 and 12, play the repeating notes in the second duple rhythm. In bar 11, you will have to cross your hands. Let your left hand go on top and keep your right wrist low.

Watch video 3.9: first polka - putting in slow tempo (QR - code 56).

Watch video 3.10: first polka - (QR - code 57).

The second polka11 may seem a lot more complicated (fig. 3.1.2–5). It has multiple jumps, but as long as you play pre-cisely according to the given description, you will find it quite convenient to play, as everything is right nearby.

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G D E D B G D E D C B 4 4 3 4 2 4 4 3 4 1 2

A D D D Fis E D C B A G G 3 4 3 3 2 3 4 1 2 3 4 4

G G B C C B B G G B A D D A G G B G B 4 4 2 1 1 2 3 4 4 2 3 2 2 3 4 4 2 4 2

G G B C C B B G G B A D D A G G B G 4 4 2 1 1 2 2 4 4 2 3 2 2 3 4 4 2 4

Figure 3.1.2–5. Notation chart for the polka.

11 I have learned to play this piece from Evaldas Vyčinas in traditional music courses in Visaginas.

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QR - code 56https://youtu.be/mLm6iMBLqvw

QR - code 57https://youtu.be/2PTosaX9HTY


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In the first part of the (1 – 8) (fig. 3.1.2 – 5) there are many jumps from one side of treble bridge to the other (fig. 3.1.2 – 6, 7). D(4) note is rhythmically repeating. In bars 6 and 7 all rhythmical values of notes are equal (fig. 3.1.2–5). Bars 1 – 8 should be repeated.

Bars 9, 10 and 13, 14 (that are the same like 9 and 10) (fig. 3.1.2 – 5 and 8) are actually very simple to play. Important thing is that only right hammer is jumping while the left hammer is constantly striking B (2) course of strings.

In the same manner should be played bars 11 and 15 (fig. 3.1.2–9).

Watch video 3.11: second polka - putting in slow tempo (QR - code 58).

Watch video 3.12: second polka - (QR - code 59).

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Figure 3.1.2–8. Dulcimer chart for bars 9–10 and 13–14 of the polka.

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Figure 3.1.2–9. Dulcimer chart for bars 11–12 and 15–16 of the polka.

QR - code 58https://youtu.be/ghdJGAnwukQ

QR - code 59https://youtu.be/scH-8eMv2ZQ


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3.1.3. Duple Rhythms in Quadruple Metre: Dances and Marches

In this lesson you will learn:1. to use the duple rhythmic patterns from lesson 3.1.1. in quadruple metre compositions;2. a dance and a march.

Traditional compositions in a quadruple metre are usually marches and dances. Duple rhythmic patterns fit composi-tions of this metre very well and are often used in them. The melody of the popular traditional dance Malūnėlis12 (Little Windmill) features plenty of repeated notes (fig. 3.1.3–1).

In the first piece, the differences between parts one and two (separate lines) are very clear. The first part uses the previ-ously mentioned polka rhythm: ti ti ta – two short notes and one twice as long. The first three bars are played in an iden-tical manner but each next one is lower by the interval of a third (two tones) – this is called a sequence. However, since we are learning this piece on the dulcimer, we will not be able to play every bar identically.

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

G G B D B D C B A A B C A C B A G G B D E B D C B A G 4 4 2 4 2 4 1 2 3 3 2 1 3 1 2 3 4 4 2 4 3 2 4 1 2 3 4

Figure 3.1.3–1. Notation chart for the Lithuanian traditional dance Malūnėlis

The first bar begins with a double rhythmic repeat of the G note – ti ti ta. After that, starting with your right hand on the G (1) course of strings, alternating the striking hand, hit four adjacent courses of strings one after the other going downward.

The second bar differs from the first in that it is played lower two tones lower. However, it is not possible to play it the exact same way. The course of strings below D on the left side of the treble bridge is tuned to Cis or Do sharp, while the G major scale requires a regular C or Do - therefore in the second half of the bar you will have to jump to the right side of the bridge.


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Figure 3.1.3–2. Dulcimer chart for the first bar of Malūnėlis.


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Bar 3 only differs from bar 1 in that what we played on the left side of the bridge in bar 1, will now be played on the right side.

Bar 4 is a rhythmic repetition of the D note. Afterwards, re-peat part one.

Bar 5 begins part two of the piece, which is completely dif-ferent from part one. First of all, while the first four bars fea-tured adjacent notes played one after another, the second part has more jumps like the ones we have learned about in lesson two. Second, bar 5 is where we use our second rhythmic element.

The bar begins with two right-hammer strikes on the G(4) course of strings. Even though the B(2) course of strings is marked red, hit it with your left hand for the first two times and then finish the bar with your right. This part of the piece is complicated to play, the hands cross, so be careful and try not to get confused or smash the hammers into each other.

Bar 6 is very simple. As the right hand jumps, keep the left hand as close to the strings as possible. Bar 7 starts off sim-ilar to bar 5 but the D note is rhythmically repeated. Bar 8 is a row of adjacent notes going down from D, played with alternating hands. Let the last G course of strings ring out, then repeat part two

Watch video 3.13: Malūnėlis - putting in slow tempo (QR - code 60).

Watch video 3.14: Malūnėlis (QR - code 61).

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Figure 3.1.3–3. Dulcimer chart for the second bar of Malūnėlis.

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Figure 3.1.3–4. Dulcimer chart for bars 3–6 and 8 of Malūnėlis.

Figure 3.1.3–5. Dulcimer chart for the seventh bar of Malūnėlis.

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QR - code 60https://youtu.be/3Jt86FqIvHI

QR - code 61https://youtu.be/17rR98fsWgw


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The second piece of this lesson is the Aukštaitiškas Maršas13 (Aukštaitija March) (fig. 3.1.3–6).

D C C B D G G FisFisFisE E DE Fis Fis A A A B B C D E D D A B B 4 1 1 2 4 1 1 2 2 2 3 3 4 3 2 2 3 3 3 2 2 1 4 3 4 4 1 2 2

D D D C D E E E D E Fis Fis Fis E Fis G G F E D 4 4 4 1 4 3 3 3 4 3 2 2 2 3 2 1 1 2 3 4

D D D C D E E E D E Fis Fis Fis E Fis G 4 4 4 1 4 3 3 3 4 3 2 2 2 3 2 1

Figure 3.1.3–6. Notation chart for the Aukštaitija March

In marches the second duple rhythm is more common. This piece is very simple to play as it only takes four upper cours-es of strings (pav. 3.1.3 – 6, 7).

Bars 5 – 7 are identical to 9 – 11.

Watch video 3.15: Aukštaitija march - putting in slow tempo (QR - code 62).

Watch video 3.16: Aukštaitija marchl (QR - code 63).

13 Originally played with accordions, I made this version for dulcimer myself.

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Figure 3.1.3–7. Dulcimer chart for bars 1–4 of Aukštaitija March.

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Figure 3.1.3–8. Dulcimer chart for bars 5–12 of Aukštaitija March.

QR - code 62https://youtu.be/Yy9hp9wSH48

QR - code 63https://youtu.be/IVYC_mRp3lw


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3.2. Lesson Two. Triple Rhythms

3.2.1. Learning to Play Triple Rhythmic Patterns

In this lesson you will learn:1. rhythmic formulas and their variations in traditional triple-meter compositions, such as waltzes;2. various exercises that will teach you to fluently perform triple rhythmic patterns.

Same as in polkas, marches and other dances, waltzes also use various rhythmic formulas. These formulas are also rath-er typical in other instruments, such as the violin or the ac-cordion, and especially the tambourine, which usually plays faster rhythms. Pieces in duple and quadruple meters use duple rhythmic patterns, so there are only two ways to play the shorter notes. But because waltzes and similar compo-sitions are in triple meter (sometimes sextuple, which is still divisible by three), they use triple rhythmic patterns that can have slightly more variations. In this lesson, you will learn a couple of the more popular ones. The most often-used one is the ta-ti-ti-ta (long note, two short ones, another long note) (fig. 3.2.1–1).

Figure 3.2.1–1. Triple rhythmic pattern No. 1

Or ta-ti-ti-ti-ti (1 long, 4 short) (fig. 3.2.1–2).

Figure 3.2.1–2. Triple rhythmic pattern No. 2

In some variations, other rhythmic formulas may be used, where all six notes are short or only the third beat of the meter is subdivided into shorter notes, i.e. ta-ta-ti-ti (two long, two short). Usually, the first part of the bar is longer and more accentuated. Also, same as in duple and quadru-ple meter compositions, the triple rhythmic formulas may be played on a single course of strings as well as on multiple courses.

In order to learn these rhythmic models well, we will be practising various exercises in this lesson. At first, just as when we were learning polka rhythms, it is very convenient to practice your hammer strikes on a solid surface. So first of all, learn to fluently play the first (fig. 3.2.1–1) and second (3.2.1–2) triple rhythmic patterns with both hammers on a table or a windowsill. When you become good at it, you can begin practising on the strings.


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Exercise No. 1. Perform the G major scale (fig. 3.2.1–3, 3.2.1–4), playing the triple rhythmic pattern No. 1. once on each course of strings (fig. 3.2.1–1). First go down, then back up again from the bottom (bass) G course of strings.

G Fis E D C 1 2 3 4 1

B A G Fis E 2 3 4 5 6

D C B A G 2 3 4 5 6

Figure 3.2.1–3. The G major scale with doubled triple rhythmic pattern No. 1.



Exercise No. 2. Perform the G major scale (fig. 3.1.1-4, 3.2.1-4) playing the triple rhythmic pattern No. 2 once on each course of strings (fig. 3.2.1–2). First go down, then back up again from the bottom (bass) G course of strings.

QR - code 64https://youtu.be/zrmTkIlIUYA

QR - code 65https://youtu.be/rL1b-qTaTSg


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G Fis E D C 1 2 3 4 1

B A G Fis E 2 3 4 5 6

D C B A G 2 3 4 5 6

Figure 3.2.1–4. The G major scale with doubled triple rhythmic pattern No. 2.

Watch video no. 3.19: exercise No. 2 - putting in slow tempo (QR - code 66).


Exercise No. 3*: maintaining the 1st rhythmic pattern (fig. 3.2.1–1), alternating the striking hand as shown in the chart, play the longer G note, the two shorter notes G and Fis, and finish with the longer E (fig. 3.2.1–6).

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

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

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

Figure 3.2.1–6. Notation chart for exercise No. 3

QR - code 66https://youtu.be/iqGfhm4aPz8

QR - code 67https://youtu.be/6Lb1LTnBWJQ


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Exercise No. 4*: maintaining the 2nd rhythmic pattern (fig. 3.2.1–2) play 3 adjacent notes as shown in chart (fig. 3.2.1 – 7).

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

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

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

Figure 3.2.1–7. Notation chart for exercise No. 4



* Use dulcimer chart from the previous chapter (fig. 3.1.1–7).

Other variations of the exercise are also possible but they are more complex so we will leave them for future lessons.

QR - code 68https://youtu.be/YJzEDbOY-6A

QR - code 69https://youtu.be/WYZSWmHwwmg

QR - code 70https://youtu.be/MKmnyzJMotI

QR - code 71https://youtu.be/o4d-tP_70iI


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3.2.2 Triple Rhythmic Patterns in WaltzesIn this lesson you will learn:1. to use triple rhythmic patterns in waltzes;2. couple of waltzes.

The first piece you will learn in this lesson is the popular Aukštatija waltz called Gimnazistų Valsas14 (The High-Schoolers’ Waltz). This piece uses the rhythmic models from both the 1st and the 2nd ex-ample, which, after the exercises, you should now be able to fluently play with your hammers. The piece comprises two parts, 8 bars each, both repeated for one more time, adding rhythmic variations. That way, this piece will be useful for learning new rhythmic patterns. Use charts (fig. 3.2.2–1, 2, and 3)

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B A G D G Fis Fis E Fis 2 3 4 2 4 5 5 6 5

G G A B A G 4 4 3 2 3 4

E Fis G Fis E D B A B 6 5 4 5 6 7 2 3 2

C B A G G Fis E Fis G Fis E 1 2 3 4 4 5 6 5 4 5 6

D B A B C B A G G 2 2 3 2 1 2 3 4 4

D D G Fis Fis E Fis G G Fis 2 2 4 5 5 6 5 4 4 5

Figure 3.2.2–1. Notation chart for Gimnazistų waltz.



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Watch video 3.25: Gimnazistų waltz - putting in slow tempo (QR - code 72).

Watch video 3.26: Gimnazistų waltz (QR - code 73).

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Figure 3.2.2 – 2. Dulcimer chart for the first part of Gimnazistų waltz

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Figure 3.2.2 – 3. Dulcimer chart for the second part of Gimnazistų waltz.

QR - code 72https://youtu.be/MKmnyzJMotI

QR - code 73https://youtu.be/o4d-tP_70iI


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Second waltz is called Dobilas15 (Clover) (pav. 3.2.2 – 4, 5). Try to learn it without any further explanations.

D G G B D D B D E D 2 4 4 2 4 4 2 4 3 4

B G A A D A A B 2 4 3 3 2 3 3 2

C C C D E Fis E D C B 1 1 1 4 3 2 3 4 1 2

B D D D E D 2 2 4 4 3 4

B B A A G A A D C C 2 2 3 3 4 3 3 2 1 1

C B A Fis E D D E D C B B D 1 2 3 2 3 4 4 3 4 1 2 2 2

Figure 3.2.2 – 4. Notation chart for waltz Dobilas.

15 Played by Jonas Lechovickas, born in 1920m., Gilūtų k., Mielagėnų sen., Ignalinos r. - 1-27/LLKC archyvas. Vyčinas E., Lietuvių liaudies instrumentinė muzika. Muzika cimbolams - Valsas “Dobilas” no. 14, LLKC, 2012, Vilnius, p.11

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Figure 3.2.2 – 5. Dulcimer chart fort

waltz Dobilas.


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Watch video 3.27: waltz Dobilas - putting in slow tempo (QR - code 74).

Watch video 3.28: waltz Dobilas (QR - code 75).

Summary of Chapter ThreeQuestions:

What is the best way to learn more advanced rhythmical technique?

What does second triple rhythmic pattern look like?

In which piece you can use duple rhythmic patterns?

Exercises:

Let’s get creative! I want you to make your own rythmical combinations.

Try to remember those simple pieces that you have learned in previous lessons and add some rythmical variations learned in this chapter.

Do the same in Mazurka (previous chapter). This exercise is more advanced but don’t give up!

QR - code 74https://youtu.be/1KXlY5L9r-U

QR - code 75https://youtu.be/rfUre_nXdnA


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Chapter 4. Dyads4.1. Dyads and Split Dyads

4.1.1. Learning to Play Dyads

In this lesson you will learn:1. To strike with both hammers at the same time, producing dyads that span various intervals;2. To play dyads split into short notes;3. To understand how double notes are marked in the charts;4. Exercises for practising dyads that have an interval of a third.

Up until now, you were learning to play the dulcimer one course of strings at a time. However, in some compositions, dyads are played by hitting two courses of strings at once with both hammers. The dyads may span various intervals depending on the composition, but most often they are thirds, fifths and octaves. In this chapter, you will learn to play smaller interval dyads, as well as ones that are split into short notes.

Marking. Dyads are marked differently in notation charts than note sequences. Take a look at the first chart (fig. 4.1.1–1). Each bar only has two notes. Sometimes they are played together as a dyad, sometimes one after the other - a split dyad. On the staff, the dyads are written down as notes di-rectly above each other, while split dyads are shown as the same notes following one after the other. Therefore, the top line is where the letter of the note that has to be played with your right hand is given, and the second line after that is where the letter of the note that has to be played with your left hand is given. The third line has the number of the course of string played with right hammer, and the fourth line - the number of the course of strings played with left hammer. To make things clearer, the letters and the num-bers are also separated by longer bar lines. Similar mark-ing is used for full compositions as well but they feature much more varied notes. This description may seem very complicated and difficult to remember at first, but as you begin learning specific pieces, everything will quickly come together - same as before, you will find additional explana-tions with each specific exercise.

Let us try a couple of exercises that will help us learn to play dyads and split dyads. The exercise series No. 1 a, b and c is


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meant to teach you to play dyads and split dyads in triple meter (waltz-like) compositions.

Exercise No. 1a: on the left side of the treble bridge. Pre-pare your right hand above the G and your left above the E course of strings. Strike with both hammers at once, then one after the other in turns, starting with your right hand. When playing short notes, the hammers should be held very loosely, without gripping them in your fist, but firmly enough between your fingers so that you are able to control them. Play the exact same way sequentially on the other courses of strings on this side of the bridge according to the charts (fig. 4.1.1–1 and 2) all the way down to the bottom strings.

& 83# # #

G G G Fis Fis Fis E E E D D D Cis Cis Cis E E E D D D Cis Cis Cis B B B A A A 1 1 1 2 2 2 3 3 3 4 4 4 5 5 5 3 3 3 4 4 4 5 5 5 6 6 6 7 7 7

Figure 4.1.1–1. Notation chart for exercise No. 1a.

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Figure 4.1.1–2. Dulcimer chart for exercises No. 1a and No. 2a.


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Exercise No. 1b: on the right side of the treble bridge. Play it the same way as you did on the left side of the bridge, use the charts (fig. 4.1.1–3 and 4).

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

Figure 4.1.1–3. Notation chart for exercise No. 1b.

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Figure 4.1.1–4. Dulcimer chart for exercises No. 1b and No. 2b.

Exercise No. 1c: on the left side of the bass bridge. Play it the same way as you did at the treble bridge, use the charts (fig. 4.1.1–5 and 6).

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

Figure 4.1.1–5. Notation chart for exercise No. 1c.

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Figure 4.1.1–6. Dulcimer chart for exercises No. 1c and No. 2c.


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Watch video no. 4.1: exercise No. 1 (a, b, c) - putting in slow tempo (QR - code 76).

Watch video no. 4.2: exercise No. 1 (a, b, c) (QR - code 77).

The exercise series No. 2 a, b and c is meant to teach you to play combinations of dyads and split dyads in duple meter (polka-like) compositions.

Exercise No. 2a: on the left side of the treble bridge. Using the same chart, play the dyad: G with your right hand and E with your left. Then hit the G-E-G courses of strings one by one, starting with your left hand and ending with the dyad of these two notes. Repeat the same exercise the ex-act same way on other pairs of string courses, moving down sequentially as shown in the charts (fig. 4.1.1–2 and 7)

& 42# # #

G G G G Fis Fis Fis Fis E E E E D D D D Cis Cis Cis Cis E E E D D D Cis Cis Cis B B B A A A 1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4 5 5 5 5 3 3 3 4 4 4 5 5 5 6 6 6 7 7 7


Exercise No. 2b: on the right side of the treble bridge. Play it the same way as you did on the left side of the bridge. Use the charts (fig. 4.1.1–4 and 8).

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


QR - code 76https://youtu.be/KvtjPP6Y3u4

QR - code 77https://youtu.be/nVYaYwaFdPU


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Exercise No. 2c: on the left side of the bass bridge. Play it the same way as you did at the top bridge. Use the charts (fig. 4.1.1–6 and 9).

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

Figure 4.1.1–9. Notation chart for exercise No. 2c.

Watch video no. 4.3: exercise No. 2 (a, b, c) - putting in slow tempo (QR - code 78).

Watch video no. 4.4: exercise No. 2 (a, b, c) (QR - code 79).

Note that in exercises No. 1 a, b, c and No. 2 a, b, c, you were hitting the higher note with your right hand and the bot-tom note with your left. After a dyad, you would start with the higher note, and move down sequentially after playing the whole shape. However, the higher note in a dyad or a split dyad is not always played with the right hand. To illus-trate that, try out exercise No. 3, where the higher note will be played with the left hand.

Exercise No. 3a: prepare your right hand above the G course of strings on the right side of the treble bridge, and your left hand above the B. In this exercise, the strings are hit one af-ter the other, i.e. split dyads are played. So, as shown in the chart (fig. 4.1.1–10 and 12) first hit the G course of strings with your right hand, then, with alternating hammers, play G-B-G-B. Play the remaining bars according to the same principle.

QR - code 78https://youtu.be/N7TQvzzz7XQ

QR - code 79https://youtu.be/Q9d3Tb0occw


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& 42#

G G B G B A A C A C B B D B D C C E C E D D Fis D Fis E E G E G 4 4 2 4 2 3 3 1 3 1 2 2 4 2 4 1 1 3 1 3 4 4 2 4 2 3 3 1 3 1


Watch video no. 4.5: exercise No. 3a - putting in slow tempo (QR - code 80).

Watch video no. 4.6: exercise No. 3a (QR - code 81).

Exercise No. 3b: this exercise differs from 3a only in that the dyad of both notes is played instead of the last note in each bar. E.g. if the first bar ends on the note B, instead of it, play B with your left hammer and G with your right at the same time as shown in the chart (4.1.1–11). Also, use the dulcimer chart (e.g. 4.1.1–12).

& 42#

G G G G A A A C B B B D C C C C D D D D E E E E B B C A D B E E Fis Fis G G 4 4 4 4 3 3 3 1 2 2 2 4 1 1 1 1 4 4 4 4 3 3 3 1 2 2 1 3 4 2 3 3 2 2 1 3


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Figure 4.1.1–12. Dulcimer chart for exercises No. 3a and b.

Watch video no. 4.7: exercise No. 3b - putting in slow tempo (QR - code 82).

Watch video no. 4.8: exercise No. 3b (QR - code 83).

Once you are able to fluently play all of these exercises and become familiar with the dyad technique, you can begin learning pieces that use dyads.

QR - code 80https://youtu.be/TYR36PUr2do

QR - code 81https://youtu.be/ZDq2z2hFoZQ

QR - code 82https://youtu.be/1QZ751SFgss

QR - code 83https://youtu.be/B3p7UY1jtDE


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4.1.2. Learning to Play Compositions with Dyads

In this lesson you will learn: to play dyads in dances; three dances.

The first piece in this lesson is the dance Kazokėlis16 (Little Cossack). Like most compositions, it has two parts. Part one has four bars with a repeat sign, which means that these four bars are repeated twice. Double notes are only played in the first part of the piece, while the second part is much simpler.

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D B B B D B B B D E B G G G G G B D A 2 2 2 2 2 2 2 2 4 3 2 4 4 4 4 4 2 4 3

D A G Fis E D Fis D Fis G A G Fis E D 4 3 4 5 6 2(7) 5 2(7) 5 6 3 4 5 6 2(7)

.

D Fis G A G Fis E D Fis D Fis G A G Fis E D 2(7) 5 6 3 4 5 6 2(7) 5 2(7) 5 6 3 4 5 6 2(7)

Figure 4.1.2–1. Notation chart for the Lithuanian traditional dance Kazokėlis

The composition begins by striking the bass D (2) course of strings with the right hammer (fig. 4.1.2–2). Before starting the piece, you can prepare your hammer above the G (4) course of strings. After playing the first note, you will notice a split dyad B (2) - G (4) - B (2) - play it as shown in the chart (fig. 4.1.2–2). Bar 1 ends with hitting both courses of strings at the same time, and bar 2 is identical.

In bar 3, an unusual thing happens – we begin with the left hand (fig. 4.1.2–1). Once again, in bars 3 and 4, you should keep the left hammer as close as possible to the D (4) course of strings, on which you begin, as well as preparing in ad-vance above the A (3) course of strings on the other side of


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Figure 4.1.2–3. Dulcimer chart for bars 3 and 4 of Kazokėlis

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Figure 4.1.2–2. Dulcimer chart for bars 1 and 2 of Kazokėlis


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the bridge (fig. 4.1.2–3). Preparing like this will help you per-form jumps from one side of the bridge to the other with your left hand without hindering its motions with your right hand. Do not forget to repeat bars 1–4.

When both hands anticipate their next move, they do not hinder each other and it is easier to avoid confusion.

In bar 5, strike with the right hammer twice (fig. 4.1.2–1). Both initial notes are important and sufficiently long rhythmical-ly to be played with one hand. Moving on, other notes are played in sequence, alternating the striking hand (fig. 4.1.2–4), but the first note in the bar is always hit with the right hammer. Bars 5, 7 and 9 are the same, as well as 6 and 10.

Watch video no. 4.9: Kazokėlis- putting in slow tempo (QR - code 84).

Watch video no. 4.10: Kazokėlis (QR - code 85).

The second piece in this lesson is a popular traditional Lith-uanian dance Ant Kalno Karklai Siūbavo17 (Willows Were Swinging on a Hill) (fig. 4.1.2–5).

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B B B B B G G G G A C G A G B A 2 2 2 2 2 4 4 4 4 3 1 4 3 4 2 3

B B B D D E E D B B B B D D C G B C D E C G G G G B D B 2 2 2 4 4 3 3 4 2 2 2 2 4 4 1 4 2 1 4 3 1 4 4 4 4 2 4 2

A A A C B B D B C B A B C A G G A A G 3 3 3 1 2 2 2 2 1 2 3 2 1 3 4 4 3 3 4

Fig. 4.1.2–5. Notation chart for Ant Kalno Karklai Siūbavo.

17 Played by Jonas Lechovickas, born in 1920, Gilūtų k., Mielagėnų sen., Ignalinos r. – 1-27/LLKC archyvas. Vyčinas E., Lietuvių liaudies instrumentinė muzika. Muzika cimbolams – No.23 Ant Kalno Karklai Siūbavo, LLKC, 2012, Vilnius, p.14

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Figure 4.1.2–4. Dulcimer chart for bars 5–12 of Kazokėlis part II.

QR - code 84https://youtu.be/g-h_hKeQm38

QR - code 85https://youtu.be/v-GtqivcLc8


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Only one dyad is played in this piece, B–G, which you also have already played in Kazokėlis. However, in this piece, it is used a lot more often and in both parts (fig. 4.1.2–5). Also, sometimes the B (2) course of strings is hit with the right hammer and G (4) with the left, and sometimes – vice ver-sa. It depends on which note in the dyad belongs to the melody and is therefore more important – all the important notes are played with the right hand.

In bar 1, the melody begins on the note G, so hit the 4th course of strings with the right hammer, and the 2 (B) with the left (fig. 4.1.2–5 and 6). Then the melody proceeds up-ward and when the same dyad is repeated, the higher B note is part of the melody, so this time, hit it with the right hand, and G with the left.

In bar 3, something new happens with the rhythm – triplets (fig. 4.1.2–5). Usually, notes are grouped into threes in tri-ple meter compositions. But in this case, it means that three notes of equal rhythmic value must fit in the duration of two notes. They are performed by starting and ending each group with the right hammer. If you find it too difficult, just play two equal eighth notes instead of the three. Bar 4 ends with two dyads, where the note B (2) is more important and therefore played with the right hammer (fig. 4.1.2 – 7).

The first part of the piece (bars 1–4) is not repeated but bar 5 begins with a repeat sign, which means that the next 4 bars will be repeated twice.

In bars 5 and 6 (fig. 4.1.2–5 and 8), notes are rhythmically re-peated (Chapter 3). Try to remember how these formations are played.

In bar 7, there is a similar fragment as in Kazokėlis – the dyad G–B and D at the bass bridge (fig. 4.1.2–9). In such note formations, the D course of strings is always hit with the right hammer, as otherwise it would simply be very un-comfortable.

Watch video no. 4.11: Willows Were Swinging on a Hill - putting in slow tempo (QR - code 86).

Watch video no. 4.12: Willows Were Swinging on a Hill (QR - code 87).

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Figure 4.1.2–6. Dulcimer chart for bars 1 and 2 of Ant Kalno Karklai Siūbavo

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Fig. 4.1.2–7. Dulcimer chart for bars 3 and 4 of Ant Kalno Karklai Siūbavo

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QR - code 86https://youtu.be/7PXKurM8H_o

QR - code 87https://youtu.be/vu_KJGSYw6I


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The third piece for this lesson is the traditional Lithuanian dance Čia Yr, Čia Nėr, Čia Bus18 (Some Here, None There, Some Yet to Come). It is made up of three parts and has a lot more dyads, which are also more varied.

When playing this piece, remember one rule: when the higher note of a dyad is played on the left side of the bridge and the lower note on the right side, play the higher note with the left hand and the lower note with the right. This rule applies regardless of which note of the dyad is part of the melody – most importantly, when playing a dyad, your arms must not cross.

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B B B C B C B B B B B B C D D A D A G G G C 2 2 2 1 2 1 2 2 2 2 2 2 1 4 4 3 4 3 4 4 4 1

B C B B B A A B E B B D A G G A C A G G G 2 1 2 2 2 3 3 2 2 2 2 4 3 4 4 3 1 3 4 4 4

C C C C B B B B A B G G G G B B E E E D D D C A B B B G G 1 1 1 1 2 2 2 2 3 2 4 4 4 4 2 2 3 3 3 4 4 4 1 3 2 2 2 4 4

Fig. 4.1.2–10. Notation chart for Čia Yr, Čia Nėr, Čia Bus.

The second bar has something you have not learned be-fore – a sequence of several dyads. It is recommended to learn such musical formations by learning the right-hand part first, and then the left. Carefully analyse bars 2, 3 and 4, notice which hammer hits which notes (fig. 4.1.2–9 and 10). Once you learn to play it with each hand separately, begin playing with both at very slow tempo. Practice these three bars for a few times.


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Fig. 4.1.2–10. Dulcimer chart for Čia Yr, Čia Nėr, Čia Bus.


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Voltas. Bar 5 has a repeat sign and a number 1 written above it. This means that for the first time, you should play the part up to this repeat sign. Then, as you repeat the part from bar 2 (since bar 2 has a repeat sign), skip bar 5 and play bar 6 instead, which has the number 2 written above it. Based on the same principle, skip bar 14 when repeating the three bars following bar 11.

The second sequence of dyads is at the beginning of part 2 of the piece in bars 7 and 8 (fig. 4.1.2 – 9, 10). Practice them the same way you did in part one. In bar 10, try to play with a looser grip on the hammers - there is no need to try to control them too tightly.

In part 3 of the piece, in bars 11, 12 and 14, the same motif is repeated, identical both in terms of rhythm and intervals (fig. 4.1.2–9). Thus, it is played according to the same prin-ciple in all three bars: the higher note is played with the left hand, the lower – with the right. However, when ending the piece (in bar 15), the higher note is played with the right hammer.

Watch video no. 4.13: Čia yr, čia nėr, čia bus - putting in slow tempo (QR - code 88).

Watch video no. 4.14: Čia yr, čia nėr, čia bus (QR - code 89).

4.2. Accompaniment

4.2.1. Chords and Intervals Used for Accompaniment

In this lesson you will learn: what intervals and chords can be used for accompaniment; how to play intervals and chords used for accompaniment.

As mentioned in previous chapters, the dulcimer can be used not only to play melody but also to accompany other melodic instruments, such as the violin or various wind in-struments. On the dulcimer, accompaniment can be played several ways:

Melodic accompaniment: rhythmically repeating the main harmonic notes and fragments of the melody;

Harmonic accompaniment: playing dyads or chords and dividing them into notes of smaller rhythmic value.

QR - code 88https://youtu.be/V0xR_8SoPto

QR - code 89https://youtu.be/Zrp8_ruFpE0

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Figure 4.1.2–11. Dulcimer chart for bars 11–15 of Čia Yr, Čia Nėr, Čia Bus.


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You have already learnt to rhythmically repeat notes in earlier lessons. Use exercise No. 1 to practice playing split third-interval dyads.

Exercise No. 1: begin on the left side of the bridge, leading with the right hand, but play the higher notes with the left hammer in every bar. Use the charts (fig. 4.2.1-1 and 2).

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E E G E G D D Fis D Fis C C E C E E D C 3 3 1 3 1 4 4 2 4 2 4 4 3 4 3 3 4 1

B B D B D A A C A C G G B G B B A G 2 2 4 2 4 3 3 1 3 1 4 4 2 4 2 2 3 4

Fig. 4.2.1-1. Notation chart for exercise No. 1.

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Fig. 4.2.1-2. Dulcimer chart for exercise No. 1.



Accompaniment using function chords Every scale has three main functions (chords): T-S-D (tonic - subdominant - dominant). In G major scale, the tonic chord comprises G–B–D (the order of the notes is not important at the mo-ment), the subdominant is C–E–G, and the dominant is D–Fis–A.

Since a person only has two arms, playing a chord (three notes at once) is not possible on the dulcimer, however, this instrument has the brilliant ability to ring out for a long time, which allows creating a full harmony by playing a number of smaller notes. Exercise No. 2 is based on the ton-ic and dominant functions – the way these chords are usu-

QR - code 90https://youtu.be/nWEZO8-nbHI

QR - code 91https://youtu.be/LR1AY0E7m2s


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ally divided into smaller notes and played on the dulcimer. You have already run into the tonic chord when learning to play compositions with dyads, e.g. in the first two bars of Kazokėlis. Usually in a harmony, the note D is not the most important one, but on the dulcimer it is slightly different. You have probably already noticed that the second course of bass strings is very important on this instrument. Both T and D chords include the D (2) course of strings, which is hit first, followed by the G–B (tonic) or Fis–A (dominant) dyad. On the dulcimer, the subdominant chord is usually not played in full, instead hitting the dyad C–E and splitting as in bar 3 of Exercise No. 1 (fig. 4.2.1–1).

Exercise No. 2: tonic dyad in bars 1, 2 and 6, 7, dominant dyad in bars 3–5. Use the charts (fig. 4.2.1–3, 4 and 5).

D B G B B D B G B B D A Fis A A G G Fis 2 2 4 2 2 2 2 4 2 2 2 3 5 3 3 4 4 5

D A Fis A A D A Fis A A D B G B B D B G B B Fis Fis G G 2 3 5 3 3 2 3 5 3 3 2 2 4 2 2 2 2 4 2 2 5 5 4 4

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Fig. 4.2.1–3. Notation chart for exercise No. 2.

*These charts will often come in handy while learning to play accompaniment for compositions.



QR - code 92https://youtu.be/6k9e1CkVLq4

QR - code 93https://youtu.be/29zbRG0EZ0E

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Fig. 4.2.1–4. The G major chord*.

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Fig. 4.2.1–5. The D major chord*.


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4.2.2. Learning to Play Accompaniment

In this lesson you will learn: a couple of ways to play accompaniment; to accompany for three compositions.

This lesson will introduce you to three new pieces: a waltz, a polka and a march. In the last lesson you have learned that there are two ways to play accompaniment with the dul-cimer: melodic and harmonic (chord- and interval-based). These three compositions were played by traditional folk musicians and originally the dulcimer was used for melodic accompaniment. This type of accompaniment is more usual when playing along with other chordal instruments (e.g. all bellows-driven instruments). However, if the same piece is played together with an instrument that only performs the melody, the dulcimer plays chordal accompaniment.

The first piece in this lesson is Jaunujų Valsas (Newly-weds’ Waltz) (fig. 4.2.2–1).

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Fig. 4.2.2-1. Notation for the accordion and the original dulcimer accompaniment for Jaunųjų Valsas.


76

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D G G A Fis E Fis G D G G A B 2 4 4 3 5 6 5 4 2 4 3 2 1

C B A A B A G G 1 2 3 3 2 3 4 4

Fig. 4.2.2–2. Notation chart for the original dulcimer accompaniment of Jaunųjų Valsas.

When playing melodic accompaniment, usually only a few notes are rhythmically repeated. Since this piece is played in G major, the G note is very important and is therefore re-peated in bars 2 and 3 (fig. 4.2.2–2 and 3).

Both parts of the piece are repeated with voltas. You have learnt to play voltas in the previous chapter (4.1.2).

Take a closer look at bars 3, 4 and 9 (fig. 4.2.2–2). Some small-er notes are wedged between the regular ones on the staff. This is the rhythmic variation played by the musician, and in your case, it means that if you are repeating the whole piece for several times, you can choose to play the other variation. The rhythm line has both variations marked in dashes – the smaller notes are the short dashes under the longer line.

The second part is very simple, with one note successively repeated in every bar: C (1), B (2), A (3) and G (4) (fig. 4.2.2–2 and 4).

Watch video no. 4.19: Jaunujų Valsas (original accompaniment) - putting in slow tempo (QR - code 94).

Watch video no. 4.20: Jaunujų Valsas (original accompaniment) (QR - code 95).

The musician did not record chordal dulcimer accompani-ment, because they were playing along with an accordion, but you should to learn this type of accompaniment for Jaunųjų Valsas too (fig. 4.2.2 – 5).

3

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Fig. 4.2.2–3. Dulcimer chart for bars 1–6 of the original dulcimer accompa-

niment for Jaunųjų Valsas.

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2

Fig. 4.2.2–4. Dulcimer chart for bars 7–11 of the original dulcimer accompa-

niment for Jaunųjų Valsas.

QR - code 94https://youtu.be/mBXLIN3PBSk

QR - code 95https://youtu.be/ZDMO6XostxM


77

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Fig. 4.2.2–5. Notation of the accordion and chordal dulcimer accompaniment for Jaunųjų Valsas.

In the last page of the previous chapter (4.2.1), there are dulcimer charts for the G (tonic) and D (dominant) chord (fig. 4.2.1–4 and 5), which will be very useful to you while learning chordal accompaniment (unless you already know how to play them by heart).

In part 1 of the composition (bars 1–5, fig. 4.2.2–6), bars 1, 2 and 5 feature a G chord and a split G chord (fig. 4.2.1–4). Bar 4 has the same chord but ends with a dyad from the D chord: Fis (5) – A (3). In bar 3, there is a D chord (fig. 4.2.1–5).

Part 2 of the piece (bars 6–10, fig. 4.2.2–6) begins on a dyad which substitutes for the subdominant function: C (1) – E (3) (fig. 4.2.2–7). In bar 7, the G chord begins on the note G (4) at first, and on the usual D (2) bass course of strings the next time. A G chord (fig. 4.2.1–4) is also played in bars 9 and 10 and a D chord in bar 8 (fig. 4.2.1–5).


78

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D B B D B B D B B D B B D A A D A A D B B B A D B B D B B G G G G G G Fis Fis Fis G G G Fis G G G 2 2 2 2 2 2 2 2 2 2 2 2 2 3 3 2 3 3 2 2 2 2 3 2 2 2 2 2 2 4 4 4 4 4 4 5 5 5 4 4 4 5 4 4 4

C C C C C C G B B D B B D A A D A A D B B B B D B B B E E E E G G G G Fis Fis Fis Fis G G G G G G G 1 1 1 1 1 1 4 2 2 2 2 2 2 3 3 2 3 3 2 2 2 2 2 2 2 2 2 3 3 3 3 4 4 4 4 5 5 5 5 4 4 4 4 4 4 4

Fig. 4.2.2–6. Notation chart of the chordal dulcimer accompaniment for Jaunųjų Valsas.

Watch video no. 4.21: Jaunujų Valsas (dulcimer accompaniment) - putting in slow tempo (QR - code 96).

Watch video no. 4.22: Jaunujų Valsas (dulcimer accompaniment) (QR - code 97).

The melodic accompaniment for the next piece, polka19 (fig. 4.2.2 – 8) is a lot more complex and interesting. The musician played its melody very precisely and masterfully, and some of its technically challenging parts you will not be able to replicate yet. We will leave this variation of the accompaniment for a later chapter.

19 Played by Jonas Lechovickas. Transcribed by phD Gaila Kirdienė, Tradicinė Rytų Aukštaičių Vestuvių Muzika, 2009, Vilnius, p. 109

QR - code 96https://youtu.be/lQBuCGDt5Dc

QR - code 97https://youtu.be/o647wgFm6RM

3

1

2

4

2

Figure 4.2.2–7. Dulcimer chart for bars 7 and 8 of the chordal dulcimer accom-

paniment for Jaunųjų Valsas.


79

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42

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j>

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Figure 4.2.2–8. Notation for the violin, accordion and the original dulcimer accompaniment for polka.

Polka’s chordal accompaniment (fig. 4.2.2–9) is made up of the same chords as the waltz accompaniment because it is in the same key. The biggest difference is that the waltz was played in a triple rhythm, while the Polka is in a duple rhythm.


80

&

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Figure 4.2.2–9. Notation for the violin, accordion and chordal dulcimer accompaniment of the Polka.

Only the first bar 1 (fig. 4.2.2 – 10) has a full G major tonic chord (G – B – D). In the previous chapter (4.2.1), you have learned that most often this chord is played with the D (2) course of bass strings. Sometimes, an inversion of the same chord may be played. The chord is inverted by moving the bottom note to the top. When accompanying for this polka, the G chord is played using the D (4) course of strings on the left side of the treble bridge (fig. 4.2.2–11). In the remainder of the piece (bars 4, 6 and 10), instead of a full tonic chord, only the dyad G–B is played.


81

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1. 2.

>

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1. 2. j>

j>

G B B B C C C C D A A A G B B B D A A A G B B D D E E Fis Fis G G Fis Fis G G 4 2 2 2 1 1 1 1 2 3 3 3 4 2 2 2 2 3 3 3 4 2 2 4 4 3 3 5 5 4 4 5 5 4 4

G G G C C C D A A A G B B B D A A A B B B B E E Fis Fis G G Fis Fis G G 4 4 4 1 1 1 2 3 3 3 4 2 2 2 2 3 3 3 2 2 2 2 3 3 5 5 4 4 5 5 4 4

Figure 4.2.2–10. Notation chart of the chordal dulcimer accompaniment for the Polka

In bars 2 and 8 (fig. 4.2.2–10) play the split C (1) – E (3) dyad (fig. 4.2.2–11).

In bars 3, 5, 9 and 11, play a full split D chord (fig. 4.2.2–12).

The composition ends on two equal B (2) – G (4) dyads. Al-though there are rests between them, there is no need to mute the strings, just try to hit them harder because the notes are accented.

Watch video no. 4.23: polka (dulcimer accompaniment) - putting in slow tempo (QR - code 98).

Watch video no. 4.24: polka (dulcimer accompaniment) (QR - code 99).

Figure 4.2.2–11. Dulcimer chart for bars 1–2 and 7–8 of the chordal dulci-

mer accompaniment for the Polka.

3

4

1

2

4

2

3

4

5

2

Figure 4.2.2–12. Dulcimer chart for bars 3–6 and 9–12 of the chordal dulcimer

accompaniment of the polka.

QR - code 98https://youtu.be/o01V4jCEzaU

QR - code 99https://youtu.be/mCqAU6iLvpQ


82

In Vestuvių Maršas20 (fig. 4.2.2–13), the original accompa-niment is also more complex, more intricately played than in Jaunųjų Valsas (fig. 4.2.2–1). Compared to the melodic line played on the accordion, every long note in the dulci-mer part is rhythmically divided into smaller ones.

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Figure 4.2.2–13. Notation for the accordion and the original dulcimer accompaniment for Vestuvių Maršas.

20 Originally in F major. Played by Stanislovas Rumbutis. Transcribed by phD Gaila Kirdienė. Tradicinė Rytų Aukštaičių Vestuvių Muzika, 2009, Vilnius, p 174


83

D D B D D E Fis D B G C D B G G C C D D C A D C A D 4 4 2 4 4 3 2 4 2 4 1 4 2 4 4 1 1 4 4 1 3 4 1 3 4

A A B G G G A A B G G G E A A G A A A D D D 3 3 2 4 4 4 4 3 2 4 4 4 3 3 4 4 3 3 3 4 4 4

G G B A G A B B A G Fis G A A 4 4 2 3 4 3 2 2 3 4 5 4 3 3

Figure 4.2.2–14. Notation chart for the original dulcimer accompaniment of Vestuvių Maršas.

In the first part of bar 2, play the main melody of the march, then rhythmically split the B (2) into smaller notes (fig. 4.2.2–14 and 15), same as with G (4) and A (3) in bar 3, and A (3) and G (4) in bar 5. The rhythmic pattern for dividing notes into smaller ones is the same throughout the piece.

In bar 4, only the A (3) course of strings is played, in bar 7 – E (3), and in bar 9 – Fis (2). In other bars, take care to play all the notes that are written down (fig. 4.2.2–14).

In bar 6 and the end of bar 11, there is a dyad spanning the interval of a fifth – the same course of strings (4) is hit with both hammers on different sides of the bridge (fig. 4.2.2–15).

In bars 10 and 11, there are no rhythmically split notes.

Watch video no. 4.25: Vestuvių Maršas (original accompaniment) - putting in slow tempo (QR - code 100).

Watch video no. 4.26: Vestuvių Maršas (original accompaniment) (QR - code 101).

4

2

3

4

5

Figure 4.2.2–15. Dulcimer chart for bars 1–6 of the chordal dulcimer accompani-

ment for Vestuvių Maršas.

3

4

1

2

3

4

Figure 4.2.2–16. Dulcimer chart for bars 7–11 of the chordal dulcimer accompa-

niment of Vestuvių Maršas.

QR - code 100https://youtu.be/GzIEZk3LSWc

QR - code 101https://youtu.be/7TjxKDjEHco


84

Using the G (4.2.1–4) and D (4.2.1–5) chord charts, as well as the notation (4.2.2–19) and dulcimer (fig. 4.2.2–20 and 21) charts for Vestuvių Maršas (fig. 4.2.2–18), try to distinguish which chord or dyad should be played at which point.

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Accordion

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.

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5

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9

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1.

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2.

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Figure 4.2.2–17. Notation for the accordion and the original dulcimer accompaniment for Vestuvių Maršas.


85

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1. 2.

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1. 2.

D B B B D B B B D B B B D A A A D A A A D A A A G G G G G G Fis Fis Fis Fis Fis Fis 2 2 2 2 2 2 2 2 2 2 2 2 2 3 3 3 2 3 3 3 2 3 3 3 4 4 4 4 4 4 5 5 5 5 5 5

D B B B D B B D B B B D B C B C C C C C C C C G G G G G G G A D E E E E E 2 2 2 2 2 2 2 2 2 2 2 2 1 2 1 1 1 1 1 1 1 1 4 4 4 4 4 4 4 3 4 3 3 3 3

B B B B B B B B D A A A D A A A D A A A D B B D A A A B B D D D D Fis Fis Fis Fis Fis Fis G G Fis Fis G G 2 2 2 2 2 2 2 2 2 3 3 3 2 3 3 3 2 3 3 3 2 2 2 2 3 3 3 2 2 4 4 4 4 5 5 5 5 5 5 4 4 5 5 4 4

Figure 4.2.2–18. Notation chart for the chordal dulcimer accompaniment of Vestuvių Maršas.

Watch video no. 4.27: Vestuvių Maršas (original accompaniment) - putting in slow tempo (QR - code 102).

Watch video no. 4.28: Vestuvių Maršas (original accompaniment) (QR - code 103).

4

1

2

3

4

2

Figure 4.2.2–19. Dulcimer chart for bar 5 of the chordal dulcimer accompani-

ment of Vestuvių Maršas.

3

4

1

2

Figure 4.2.2–20. Dulcimer chart for bars 6 and 7 of the chordal dulcimer accom-

paniment for Vestuvių Maršas.

QR - code 102https://youtu.be/NGS9Oh9bF4g

QR - code 103https://youtu.be/cqhEuspR-hU


86

Summary of Chapter FourQuestions:

What different ways are there to play accompaniment on the dulcimer?

How can you figure out from the notation chart which hammer you should use on which note when playing a dyad?

What is a split dyad?

Exercises:

Play the G major tonic chord and its inversion.

Play the dominant chord the way you have learnt it in lesson 4.2.1 and try to invert it.

Play several dyads one after another.


87

Chapter 5. Notes of Small Rhythmic Value5.1. Notes of Small Rhythmic Value in Duple Metre

5.1.1 Learning to Play Notes of Small Rhythmic Value in Duple Metre

In this lesson you will learn:1. to play a series of adjacent notes of small rhythmic value2. small-value note melodic rolls in duple meter;3. a few exercises to improve your performance.

In chapter 3, you have learned to play notes of small rhyth-mic value on one course of strings at a time, as well as dy-ads split into notes of small rhythmic value in chapter 4. In this chapter, you will learn another way to play small-value notes, which we will call the roll. It is a group of small-value notes played in a quick melodic roll within the interval of a third (a group of three adjacent notes) going top to bottom and back or vice versa. The left hand always strikes the mid-dle one of the three string courses, and the right hits the outer ones. Once you become familiar with the dulcimer, such note groups are really fun to play, and they are very characteristic to this instrument.

In order to better understand what the melodic roll is and how to perform it better, learn the following few exercises.

Exercise No. 1: starting with an additional longer, higher note struck with the right hammer, perform a melodic roll around the middle course of strings, hitting it with the left hammer (fig. 5.1.1–1). Repeat this motif on each course of strings, at first staying on one side of the bridge:

a. On the left side of the treble bridge (fig. 5.1.1–1: bars 1 – 5, fig. 5.1.1–2: bars 10 – 14, fig. 5.1.1–3);

b. On the right side of the treble bridge (fig. 5.1.1–1: bars 6 – 10, fig. 5.1.1–2: bars 5–9 and 5.1.1–4);

c. At the bass bridge (fig. 5.1.1–1: bars 11 – 14, fig. 5.1.1–2: bars 1–4 and 5.1.1–5).


88

& 42# # # # #

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&

G G Fis E Fis G Fis Fis E D E Fis E E D Cis D E D D Cis B Cis D Cis Cis B A B Cis 1 1 2 3 2 1 2 2 3 4 3 2 3 3 4 5 4 3 4 4 5 6 5 4 5 5 6 7 6 7

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

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

Figure 5.1.1–1. Notation chart for exercise No.1 top to bottom.

& 42

& # # #

& # # # # #

D D E Fis E D E E Fis G Fis E Fis Fis G A G Fis G G A B A G A A B Cis B A 7 7 6 5 6 7 6 6 5 4 5 6 5 5 4 3 4 5 4 4 3 2 3 4 3 3 2 1 2 3

A A B Cis B A B B Cis D Cis B Cis Cis D E D Cis D D E Fis E D E E Fis G Fis E 7 7 6 5 6 7 6 6 5 4 5 6 5 5 4 3 4 3 4 4 3 2 3 4 3 3 2 1 2 3

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

Figure 5.1.1–2. Notation chart for exercise No. 1 bottom to top.


89

1

2

3

2

3

4

3

4

5

4

5

6

5

6

7

Figure 5.1.1–3. Dulcimer chart for exercises No. 1 and No. 2: bars 1–5 on the left side of the treble bridge.

1

2

3

2

3

4

3

4

5

4

5

6

5

6

7

Figure 5.1.1–4. Dulcimer chart for exercises No. 1 and No. 2: bars 6–10 on the right side of the treble bridge.

2

3

4

1

2

3

4

5

6

3

4

5

Figure 5.1.1–5. Dulcimer chart for exercises No. 1 and No. 2: Bars 11-14 at the bass bridge.

These charts will also be useful when learning to play ex-ercises with small-value note rolls in triple metre (lesson 5.2.1).

Watch video no. 5.1: exercise No. 1 top to bottom - putting in slow tempo (QR - code 104).

Watch video no. 5.2: exercise No. 1 top to bottom (QR - code 105).

Watch video no. 5.3: exercise No. 1 bottom to top - putting in slow tempo (QR - code 106).

Watch video no. 5.4: exercise No. 1 bottom to top (QR - code 107).

QR - code 104https://youtu.be/ZCcp--x8Flc

QR - code 106https://youtu.be/Fhs3PNZ5Tmk

QR - code 105https://youtu.be/MulQD_rSraU

QR - code 107https://youtu.be/klKM90ht21g


90

Exercise No. 1 in G major scale: most pieces for the dulci-mer are in G major, so it is important to learn to play melod-ic rolls not just on one side of the bridge but also with tran-sitions from one side to the other. First, play top to bottom, starting each combination on a higher course of strings (fig. 5.1.1–6 and 8), then vice versa (fig. 5.1.1–7 and 8).

& 42# #

& # # #

&

G G Fis E Fis G Fis Fis E D E Fis E E D C D E D D C B C D C C B A B C 1 1 2 3 2 1 2 2 3 4 3 2 3 3 4 1 4 3 4 4 3 2 1 4 1 1 2 3 2 1

B B A G A B A A G Fis G A G G Fis E Fis G Fis Fis E D E Fis 2 2 3 4 3 2 3 3 4 5 4 3 4 4 5 6 5 4 5 5 6 7 6 5

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

Figure 5.1.1–6. Notation chart for exercise No. 1 in G major top to bottom.

Watch video no. 5.5: exercise No. 1 in G major top to bottom - putting in slow tempo (QR - code 108).

Watch video no. 5.6: exercise No. 1 in G major top to bottom (QR - code 109).

QR - code 108https://youtu.be/sAsQemMhm6o

QR - code 109https://youtu.be/WFuPjcBY8oI


91

& 42

& # # #

&# #

D D E Fis E D E E Fis G Fis E Fis Fis G A G Fis G G A B A G A A B Cis B A 7 7 6 5 6 7 6 6 5 4 5 6 5 5 4 3 4 5 4 4 3 2 3 4 3 3 2 1 2 3

B B C D C B C C D E D C D D E Fis E D E E Fis D Fis E 2 2 1 4 1 2 1 1 4 3 4 1 4 4 3 2 3 4 3 3 2 1 2 3

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

Figure 5.1.1-7. Notation chart for exercise No. 1 in G major bottom to top.

1

2

3

2

3

4

3

4

1

4

1

2

2

3

4

1

2

3

3

4

5

4

5

6

5

6

7

Figure 5.1.1-8. Dulcimer chart for bars 1– 9 of exercise No. 1 in G major.

Watch video no. 5.7: exercise No. 1 in G major bottom to top - putting in slow tempo (QR - code 110).

Watch video no. 5.8: exercise No. 1 in G major bottom to top (QR - code 111).

QR - code 110https://youtu.be/DgVMLEKPnRQ

QR - code 111https://youtu.be/dtiYdcRvbU8


92

Exercise No. 2 comprises a melodic roll and additional eighth notes at the end of each combination. Practice it the same way as you did exercise No. 1 – on one side of the bridge:

1. On the left side of the treble bridge (fig. 5.1.1–9: bars 1–5, fig. 5.1.1–10: bars 10 – 14, fig. 5.1.1–3);

2. On the right side of the treble bridge (fig. 5.1.1-9: bars 6 – 10, fig. 5.1.1-10: bars 5–9 and 5.1.1–4);

3. At the bass bridge (fig. 5.1.1-9: bars 11 – 14, fig. 5.1.1-10: bars 1–4 and 5.1.1–5).

& 42# # # # #

& # # #

&

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

G Fis E Fis G E Fis E D E Fis D E D Cis D E Cis D Cis B Cis D B Cis B A B Cis A 1 2 3 2 1 3 2 3 4 3 2 4 3 4 5 4 3 5 4 5 6 5 4 6 5 6 7 6 5 7

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

Figure 5.1.1-9. Notation chart for exercise No. 2 top to bottom.


Watch video no. 5.10: exercise No. 2 top to bottom (QR - code 113). QR - code 112https://youtu.be/P5U3t3Efx0o

QR - code 113https://youtu.be/200an2PJCT4


93

& 42

& # # #

& # # # # #

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

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

A B Cis B A Cis B Cis D Cis B D Cis D E D Cis E D E Fis E D Fis E Fis G Fis E G 7 6 5 6 5 7 6 5 4 5 6 4 5 4 3 4 3 5 4 3 2 3 4 2 3 2 1 2 3 1

Figure 5.1.1-10. Notation chart for exercise No. 2 bottom to top.



Melodic rolls are not the only combinations of small-value notes found in compositions for the dulcimer. Also charac-teristic are certain runs. Longer and more complex runs are made up of adjacent notes: four short and one longer note. Shorter runs have two short and one longer note or vice versa.

Exercise No. 3 is made up of a series of sequential longer runs and one additional connecting note (fig. 5.1.1–11). First, play on one side of the bridge only:

1. On the left side of the treble bridge (fig. 5.1.1-11: bars 1 – 3, fig. 5.1.1–12: bars 6 – 8, fig. 5.1.1-13);

2. On the right side of the treble bridge (fig. 5.1.1–11: bars 4 – 6, fig. 5.1.1–12: bars 3–5 and 5.1.1-14);

3. At the bass bridge (fig. 5.1.1–11: bars 7 and 8, fig. 5.1.1-12: bars 1 and 2 and 5.1.1-15).

QR - code 114https://youtu.be/5_Uy8KgdepQ

QR - code 115https://youtu.be/mtE7KDUch9c


94

& 42# # # # # #

& # #

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

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

Figure 5.1.1–11. Notation chart for exercise No. 3 top to bottom.



& 42 # #

& # # # # # #

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

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


QR - code 116https://youtu.be/4zZkj5kosMA

QR - code 117https://youtu.be/QeidknBGWyU

1

2

3

4

5

2

3

4

5

6

3

4

5

6

7

Figure 5.1.1–13. Dulcimer chart for bars 1–3 of exercise 3.


95



Exercise No. 3 in G major scale. Small-value note rolls are not always played conveniently on one side of the bridge – this is why it is important to learn the exercise No. 2 in G major, which has a number of jumps to the other side of the bridge in certain bars. They are not particularly complicated but make sure to pay attention to the height of your wrists to prevent your arms or the hammers from hitting each oth-er as they move quickly from one side to the other. Same as in previous exercises, first play the sequences around each course of strings, going top to bottom (fig. 5.1.1 – 14, 15, 16, 17, 18, 19), then vice versa (fig. 5.1.1 – 20, 15, 21, 19, 18 and 17).

& 42# #

& # # # #

& #

G Fis E D C E Fis E D C B D E D C B A C D C B A G B 1 2 3 4 1 3 2 3 4 1 2 4 3 4 1 2 3 1 4 1 2 3 4 2

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

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

Figure 5.1.1–16. Notation chart for exercise No. 3 in G major scale top to bottom.

1

2

3

4

5

2

3

4

5

6

3

4

5

6

7


2

3

4

5

6

1

2

3

4

5


QR - code 118https://youtu.be/OEVKFM-b4oo

QR - code 119https://youtu.be/UR4_Vyl4ggg


96

1

2

3

4

1

2

3

4

1

2

Figure 5.1.1–17. Charts for bars 1 and 2 of exercise No. 3 in G major.

3

4

1

2

3

4

1

2

3

4


4

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Watch video no. 5.17: exercise No. 3 in G major top to bottom - put-ting in slow tempo (QR - code 120).


QR - code 120https://youtu.be/5wrr_HpewsE

QR - code 121https://youtu.be/WBxn3oyKwYs


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&# #

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

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

A B C D E C B C D E Fis D C D E Fis G E 3 2 1 4 3 1 2 1 4 3 2 4 1 4 3 2 1 3

Figure 5.1.1–20. Notation chart for exercise No. 3 in G major scale bottom to top.

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Figure 5.1.1–21. Chart for bars 3 and 4 of exercise No. 3 in G major scale bottom to top.

Watch video no. 5.19: exercise No. 3 in G major bottom to top - put-ting in slow tempo (QR - code 122).


QR - code 122https://youtu.be/C20t4qrFRuA

QR - code 123https://youtu.be/r8Az20OU_lI


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5.1.2 Polkas with Notes of Small Rhythmic Value

In this lesson you will learn:1. three polkas2. to use complex combinations of small-value notes, which you have learned in lesson 5.1.1., in these

polkas.

The first piece in this lesson is the polka Žuvelė21 (Little Fish) (fig. 5.1.2–1). This composition has a lot of melodic twists and turns because of the plentiful small-value notes.

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C D E D C C C D E D C C C G E D C C C D E D C C 3 2 1 2 3 3 3 2 1 2 3 3 3 4 1 2 3 3 3 2 1 2 3 3

G B D E D B B E D D C A C B G G B 4 2 4 3 4 2 2 3 4 4 1 3 1 2 4 4 2

G B D D E D B B D B A G G A C D E D B C B B 1 2 4 4 3 4 2 2 4 2 3 4 3 1 4 3 4 2 1 2 4

Figure 5.1.2–1. Notation chart for polka Žuvelė.

In part one of the polka (fig. 5.1.2–1: bars 1 – 6), the first three bars feature two melodic rolls on the first three cours-es of bass strings (fig. 5.1.2–2). On the last note in bar 3, a jump takes place on the fourth (G) course of strings, to the left side of the treble bridge. In bar four, the note is rhyth-mically repeated. Bar 5 has a short roll of small-value notes. Everything repeats from bar 2, skipping bar 5.

Part two of the piece (fig. 5.1.2–1: bars 7 – 14 and fig. 5.1.2–3) mostly has rhythmic repetitions of certain notes, but there 21 Played by Jonas Lechovickas, born in 1920, Gilūtų k., Mielagėnų sen., Ignalinos r. – 1-27/LLKC archyvas. Vyčinas E., Lietuvių liaudies

instrumentinė muzika. Muzika cimbolams – Žuvelė no. 12, LLKC, 2012, Vilnius, p.10

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Figure 5.1.2-2. Dulcimer chart for bars 1–6 of the polka Žuvelė.


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are also a few complicated moments that you should pay attention to:

bar 7 starts with a G major triad played upward;

the end of bar 8 has jumps from one side of the bridge to the other and back;

in bar 11, there is a long run of notes going upward, starting on the fourth course of strings on the right side of the bridge and ending on the same course of strings on the left.

The piece ends on a G–B dyad.

Watch video no. 5.21: polka Žuvelė - putting in slow tempo (QR - code 124).

Watch video no. 5.22: polka Žuvelė (QR - code 125).

The second composition in this lesson is a polka by V. Vasa-lauskas (fig. 5.1.2–4).

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B D B D G A A D D B G B D C B A B E C A G 2 4 2 4 4 3 3 4 4 2 4 2 4 1 2 3 2 3 1 3 4

G E C B B B D B B G B B B Fis C D B C C C A G G 1 3 1 2 2 2 4 2 2 4 2 2 2 2 1 4 2 1 1 1 3 4 4

E E B D B B D B B C B B G C B C C C A G G 3 3 2 4 2 2 4 2 2 4 2 2 1 1 2 1 1 1 3 4 4

B C D D B C D D C B A D E D C B A G B 2 1 4 4 2 1 4 4 1 2 3 4 3 4 1 2 3 4 2

Figure 5.1.2–4. Notation chart for the Vasalauskas polka.

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Figure 5.1.2-3. Dulcimer chart for bars 7–14 of the polka Žuvelė.

QR - code 124https://youtu.be/6HM2tFZck5A

QR - code 125https://youtu.be/GZSnAYtsAn8


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As you can see from the dulcimer chart (fig. 5.1.2–5), the whole piece is played only using the first four courses of strings on the treble bridge.

This polka has plenty of short runs and rhythmically repeat-ed notes. Some of the more interesting bars are 3 and 4, and the rather similar 6 and 7, where a roll of small-value notes ends with a short run, and together they combine into a longer run. These bars demand a lot of attention from the learner.

Watch video no. 5.23: Vasalauskas polka - putting in slow tempo (QR - code 126).

Watch video no. 5.24: Vasalauskas polka (QR - code 127).

The third piece is a traditional Aukštaitija dance Mėnesė-lis22 (Little Moon) (fig. 5.1.2–7).

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D D E D C B A B C D D E Fis Fis E D C B C D D G B D B B 4 4 3 4 1 2 3 2 1 4 4 3 2 2 3 4 1 2 1 4 4 4 2 4 2 2

D E D C B A B C D D E Fis Fis E D C B A B B G G 4 3 4 1 2 3 2 1 4 4 3 2 2 3 4 1 2 3 2 2 4 4

D E D C B A D C D C B A G B G 4 3 4 1 2 3 4 1 4 1 2 3 4 2 4

Figure 5.1.2-7. Notation chart for Mėnesėlis.

The melody in part one is constantly moving up and down (fig. 5.1.2–7: bars 1 – 8). This creates a few challenges, even though the whole piece is played only using the first four courses of strings on the treble bridge (fig. 5.1.2–8).

22 Originally played with accordion. I made this version for dulcimer myself.

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Figure 5.1.2–5. Dulcimer chart for the Vasalauskas polka.

QR - code 126https://youtu.be/oDrspXCPydo

QR - code 127https://youtu.be/SX9vfcvV4ec

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Figure 5.1.2-8. Dulcimer chart for Mėnesėlis.


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Also, there are a few dyads here and there. Bar 10 should also be noted, where the 3 (A) and 4 (D) courses of strings are hit on different sides of the bridge.

Watch video no. 5.25: Mėnesėlis - putting in slow tempo (QR - code 128).

Watch video no. 5.26: Mėnesėlis (QR - code 129).

5.2 Notes of Small Rhythmic Value in Triple Metre

5.2.1 Learning to Play Notes of Small Rhythmic Value in Duple Metre

In this lesson you will learn:1. to perform small-value note melodic rolls in triple meter;2. to perform runs of small-value notes in triple metre;3. a few exercises to improve your performance.

The same combinations of small-value notes can be played in triple metre as in duple metre. In order to better under-stand and play them, first learn the exercises.

Exercise No. 1: starting on the higher course of strings with the right hammer, perform a melodic roll around the mid-dle course of strings, hitting it with the left hammer (fig. 5.2.1-1). Repeat this motif on each course of strings, at first staying on one side of the bridge:

1. On the left side of the treble bridge (fig. 5.2.1–1: bars 1–5, fig. 5.2.1–2: bars 10 – 14, fig. 5.1.1–3);

2. On the right side of the treble bridge (fig. 5.2.1–1: bars 6 – 10, fig. 5.2.1–2: bars 5–9 and 5.1.1–4);

3. At the bass bridge (fig. 5.2.1–1: bars 11 – 14, fig. 5.2.1–2: bars 1 – 4 and 5.1.1–5).

Take note that dulcimer charts for the exercises of this chap-ter are provided in lesson 5.1.1.



QR - code 128https://youtu.be/hTXR_S50q8M

QR - code 130https://youtu.be/0uDuGJKxplE

QR - code 129https://youtu.be/vW84SYQs7jU

QR - code 131https://youtu.be/de4nWRbBJvA


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G Fis E Fis G Fis E D E Fis E D Cis D E D Cis B Cis D Cis B A B Cis 1 2 3 2 1 2 3 4 3 2 3 4 5 4 3 4 5 6 5 4 5 6 7 6 5

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

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

Figure 5.2.1-1. Notation chart for exercise No. 1 top to bottom.

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& # # # # # A B Cis B A B Cis D Cis B Cis D E D Cis D E Fis E D E Fis G Fis E 7 6 5 6 7 6 5 4 5 6 5 4 3 4 5 4 3 2 3 4 3 2 1 2 3

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

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

Figure 5.2.1-2. Notation chart for exercise No. 1 bottom to top.



QR - code 132https://youtu.be/itNSY_VQ3dE

QR - code 133https://youtu.be/-iqkTqbHIMY


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Exercise No. 1 in G major scale: first, play top to bottom, starting each shape on a higher course of strings (fig. 5.2.1–3 and 5.1.1–8), then vice versa (fig. 5.1.1–4 and 5.1.1–8).

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G Fis E Fis G Fis E D E Fis E D C D E D C B C D 1 2 3 2 1 2 3 4 3 2 3 4 1 4 3 4 1 2 1 4

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

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

Figure 5.2.1-3. Notation chart for exercise No. 1 in G major scale top to bottom.



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

B C D C B C D E D C D E Fis E D E Fis G Fis E 2 1 4 1 2 1 4 3 4 1 4 3 2 3 4 3 2 1 2 3

E Fis G Fis E Fis G A G Fis G A B A G A B C B A 6 5 4 5 6 5 4 3 4 5 4 3 2 3 4 3 2 1 2 3

Figure 5.2.1-4. Notation chart for exercise No. 1 in G major scale bottom to top.

QR - code 134https://youtu.be/7x_Yez19nwE

QR - code 135https://youtu.be/DPSIXgHj_Lg


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Exercise No. 2: play longer runs in succession (fig. 5.2.1–5). First, play on one side of the bridge only:

1. On the left side of the treble bridge (fig. 5.2.1-5: bars 1 – 3, fig. 5.2.1–12: bars 6 – 8, fig. 5.1.1-13);

2. On the right side of the treble bridge (fig. 5.2.1–5: bars 4 – 6, fig. 5.2.1–6: bars 3–5 and 5.1.1-14);

3. At the bass bridge (fig. 5.2.1–5: bars 7 and 8, fig. 5.2.1–6: bars 1 and 2 and 5.1.1-15).



& 83# # # # # #

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

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

Figure 5.2.1–5. Notation chart for exercise No. 2 top to bottom.

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

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


QR - code 136https://youtu.be/k5PQSINBRKc

QR - code 138https://youtu.be/_Uc7d-knAHo

QR - code 137https://youtu.be/E-yMTC9kZFs

QR - code 139https://youtu.be/-sH-BDaa6nI


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Exercise No. 2 in G major scale. Pay close attention to the height of your wrists to prevent the hammers or your arms from hitting each other as they move quickly from one side of the bridge to the other. Same as in previous exercises, first play the sequences around each string course, going top to bottom (fig. 5.2.1 – 7 and 5.1.1–17, 18, 19 and 15), then vice versa (fig. 5.2.1 – 8 and 5.1.1–15, 21, 19, 18 and 17).

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G Fis E D C Fis E D C B E D C B A D C B A G C B A G Fis 1 2 3 4 5 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 5

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

Figure 5.2.1-7. Notation chart for exercise No. 2 in G major top to bottom.


Watch video no. 40: exercise No. 2 in G major top to bottom (QR - code 143).

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& # ## #

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

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

Figure 5.2.1-8. Notation chart for exercise No. 2 in G major scale bottom to top.

QR - code 140https://youtu.be/ycf--jQ5Yn8

QR - code 142https://youtu.be/C87SI3OFjsg

QR - code 141https://youtu.be/yRdfRWCu_7U

QR - code 143https://youtu.be/uyLF35Izqyg


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5.2.2 Waltzes with Notes of Small Rhythmic Value

In this lesson you will learn:1. three pieces in triple metre2. to use complex combinations of small-value notes, which you have learned in lesson 5.2.1., in these

compositions.

The first piece in this lesson, mazurka23, is very simple (fig. 5.2.2–1). Part one mostly has rhythmically repeated notes G and D (fig. 5.2.2–2). Part two - bars 5, 6 and 8 - feature split dyads (fig. 5.2.2 – 3). Only bar 7 is slightly more complicated. Both parts of the piece are repeated.

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C B A G D G 1 2 3 4 2 4

C C E C B B D B A A C B A G G B G 1 1 3 1 2 2 4 2 3 3 1 2 3 4 4 2 4

Figure 5.2.2-1. Notation chart for the mazurka.

23 Played by P. Kačianovskis, born in 1924, Antupių km., Rudaminos sen., Vilniaus raj. - LLKC archive, transcribed by E. Vyčinas. Muzika cimbolams - Mazurka nr. 85, p. 36

QR - code 144https://youtu.be/dwKLHwlqVs4

QR - code 145https://youtu.be/EdpjLHUFVi4

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Figure 5.2.2-2. Dulcimer chart for bars 1–4 of the mazurka.

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Figure 5.2.2-3. Dulcimer chart for bars 5–8 of the mazurka.


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Watch video no. 5.43: mazurka - putting in slow tempo (QR - code 146).

Watch video no. 5.44: mazurka (QR - code 147).

Try also learning another, much more complicated mazur-ka24 (fig. 5.2.2–4 and 5). It is much longer and the melody is repeated with different variations, so some bars are similar but have a couple of different notes.

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jJ J J

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D B B A C A C C E D B B G 2 2 2 3 1 3 1 1 3 4 2 2 4

B B A C A A D D B A G G A G 2 2 3 1 3 3 4 4 2 3 4 4 3 4

B C E A C C E D B B G 2 1 3 3 1 1 3 4 2 2 4

B B G C E A A E D D B A G G 2 2 4 1 3 3 3 3 4 4 2 3 4 4

Figure 5.2.2-4. Notation chart for part one of the mazurka.

From bar 10 to 17, the bars 2-9 are repeated. So first of all, analyse what variations are added to the melody as it is repeated and which bars remain unchanged. The more complicated bars requiring more attention are those that include jumps, especially bar 14.

Watch video no. 5.45: first part of mazurka - putting in slow tempo (QR - code 148).

Watch video no. 5.46: first part of mazurka (QR - code 149).

24 Played by P. Kačianovskis, born in 1924, Antupių km., Rudaminos sen., Vilniaus raj. - LLKC archive, transcribed by E. Vyčinas. Muzika cimbolams - Mazurka nr. 89, p. 37

QR - code 146https://youtu.be/tXk3o8QhQ-s

QR - code 147https://youtu.be/VkziK0_AmbU

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Figure 5.2.2-5. Dulcimer chart for part one of the mazurka.

QR - code 148https://youtu.be/XYC7_j_n878

QR - code 149https://youtu.be/LqGOn9ic0O0


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j

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j j

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j j

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j j

C C E C E B B A B A B A G B G B G B 1 1 3 1 3 2 2 3 2 3 2 3 4 2 4 2 4 2

C C E C E B B G B G A C A G G 1 1 3 1 3 2 2 4 2 4 3 1 3 4 4

C C E C E B B G B G A B A A G B G B 1 1 3 1 3 2 2 4 2 4 3 2 3 3 4 2 4 2

C C E C E B G B A C A G G 1 1 3 1 3 2 4 2 3 1 3 4 4

Figure 5.2.2-5. Notation chart for part two of the mazurka.

Part two in particular has a lot of split dyads (fig. 5.2.2 – 5 and 6). bars 41 – 48 are a repetition of 33-40). Same as in learning part one, you should once again notice the melod-ic similarities and differences.

Watch video no. 5.47: second part of mazurka - putting in slow tem-po (QR - code 150).

Watch video no. 5.48: second part of mazurka (QR - code 151).

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Figure 5.2.2-6. Dulcimer chart for part one of the mazurka.

QR - code 150https://youtu.be/I3oaoCfw_U8

QR - code 151https://youtu.be/0dLbDt8uj8Y


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Learning triple metre compositions would not be complete without a waltz, so the final piece in this chapter is a waltz by A. Mieliauskas25. (fig. 5.2.2 – 7, 8 and 9). Originally, this waltz was played on the Petersburg accordion but it is quite convenient to play on the dulcimer because its melodic shapes are characteristic to dulcimer music.

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G Fis E Fis G Fis G Fis E D D C B D G B 1 2 3 2 1 2 1 2 3 4 4 1 2 4 1 2

A B A G Fis E D E Fis G G G Fis 3 2 3 4 5 6 7 6 5 4 4 4 5

E Fis G A G Fis E D B 3 5 4 3 4 5 6 2 2

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

Figure 5.2.2-7. Notation chart for part one of Mieliauskas waltz.

Same as the second mazurka, Mieliauskas waltz is quite long, but mostly because it has a lot of repetitions. Bars 10-13 are a repetition of bars 2-5, but an octave lower. Bars 14–16 are an identical repetition of bars 6- 6-9. The whole first part (bars 2-16) is also repeated, skipping bar 17.

Notice when the second D course of strings is used at the bass bridge and when - the 7th one at the treble bridge.

The piece is rather complicated because of the high num-ber of runs and rolls with small-value notes. These elements are often combined, e.g. in bars 3 and 4. Dedicate more at-tention to these more complex parts of the composition

25 A. Mieliauskas was distuiguished Petersbug accordion player. I transcribed some of his melodies.

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Figure 5.2.2-8. Dulcimer chart for bars 1–5 and 10-13 of Mieliauskas waltz.

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Figure 5.2.2-9. Dulcimer chart for bars 6–9 and 14-17 of Mieliauskas waltz.


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Watch video no. 5.49: first part of Mieliauskas waltz - putting in slow tempo (QR - code 152).

Watch video no. 5.50: first part of Mieliauskas waltz (QR - code 153).

Part two of the piece is not as complicated (fig. 5.2.2 – 10 and 11). All the notes of small rhythmic value are simply split dyads and rhythmic repetitions of certain notes. Bars 19 – 34 are repeated.

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G G A B C C E C E C C E C E 4 4 3 2 1 1 3 1 3 1 3 1 3 1

E G E Fis G D D B D B D 3 1 3 2 1 4 4 2 4 2 4

G A B D C B D D D E 4 3 2 4 1 2 4 4 4 3

Fis E D C B A B G G 2 3 4 1 2 3 2 4 4

Figure 5.2.2-10. Notation chart for part one of Mieliauskas waltz.

QR - code 152https://youtu.be/1WxV79RsmXA

QR - code 153https://youtu.be/7gPo7bRZPFs

Figure 5.2.2-9. Dulcimer chart for part two of Mieliauskas waltz.

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Watch video no. 5.51: second part of Mieliauskas waltz - putting in slow tempo (QR - code 154).

Watch video no. 5.52: second part of Mieliauskas waltz (QR - code 155)

Summary of Chapter Five Revision Questions and Tasks:

What combinations of small rhythmic value notes are there (that you have learned in this chapter and the pre-vious ones)? List and describe each one.

How are they performed and how are the hammers al-ternated?

Why is it important to learn exercises in G major scale?

QR - code 154https://youtu.be/Hgpuml5EN4I

QR - code 155https://youtu.be/FpH-prCo49M


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Step Six. Wide Jumps6.1. Octaves

6.1.1 Learning to Play Octaves

In this lesson you will learn: to perform wide octave intervals; some exercises with octave intervals.

An octave is an interval between two notes of the same name, e.g. E to E, separated by 6 other notes. You can, for example, play the following octaves on the dulcimer: G (1) and G (4) on different sides of the treble bridge, B (2) on the right side of the treble bridge and B (4) at the bass bridge etc. The octave, just like any other interval, is a dyad, and you can play it all at once or split it into smaller notes. Learn a few exercises to better understand how to perform it.

Exercise No. 1 is made up of split octaves sequentially go-ing down following the G major scale (fig. 6.1.1–1, 2 and 3). When playing octaves, the lower note is struck with the right hammer. By the way, when playing the octave D (4) - D, it is better to use the second course of strings at the bass bridge, since, as mentioned before, it simply sounds nicer. However, in cases when it is not convenient to jump to the bass bridge, the low course of treble strings can also be used.

& 42 ##

&

G G G G G Fis Fis Fis Fis Fis E E E E E D D D D D 4 1 4 4 1 5 2 5 5 2 6 3 6 6 3 2 4 2 2 4

C C C C C B B B B B A A A A A G G G G G 3 1 3 3 1 4 2 4 4 2 5 3 5 5 3 6 4 6 6 4



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Exercise No.2: performed the same way as exercise No. 1, only in a different rhythm (fig. 6.1.1 – 4, 2 and 3).

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Figure 6.1.1-4. Notation chart for exercise No. 2.

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Figure 6.1.1-2. Dulcimer chart for bars 1–4 of exercises No. 1, 2 and 3.

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Figure 6.1.1-3. Dulcimer chart for bars 5–8 of exercises No. 1, 2 and 3.

QR - code 156https://youtu.be/bjbPg3iMQaw

QR - code 157https://youtu.be/ulkN-R6xG5U


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Exercise No. 3. Exercises No. 1 and 2 are based on the pol-ka rhythm, so you played them in duple metre. However, octaves are performed in various different compositions on the dulcimer. Exercise No. 3 is in the waltz rhythm, triple me-tre (fig. 6.1.1-5, 2 and 3).

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Figure 6.1.1-5. Notation chart for exercise No. 3.



6.1.2. Octaves in CompositionsIn this lesson you will learn:

three compositions; to play octave intervals in these compositions; to play in a minor scale.

The first piece in this lesson is the traditional folk dance Kačerga26 (Fire Iron) (fig. 6.1.2–1).

26 Played by Jonas Lechovickas, born in 1920, Gilūtų k., Mielagėnų sen., Ignalinos r. – 1-27/LLKC archyvas. Vyčinas E., Lietuvių liaudies instrumentinė muzika. Muzika cimbolams – Križačioks no. 11, LLKC, 2012, Vilnius, p.13

QR - code 158https://youtu.be/8UrVhvy_-pU

QR - code 160https://youtu.be/xpyt-xps_iY

QR - code 159https://youtu.be/D7sD2XMweZ4

QR - code 161https://youtu.be/NOuGpWiBtQQ


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E D C B B Fis Fis Fis Fis G F E 6 2 3 4 4 5 5 5 2 4 5 6

E B B G C B A A A C C B A G G 6 2 2 4 1 2 3 3 3 1 1 2 3 4 4

E B B G A G Fis Fis B A G Fis Fis E E E E G 6 2 2 4 3 4 5 5 2 3 4 5 2 6 3 6 3 4

Figure 6.1.2–1. Notation chart for the traditional folk dance Kačerga.

This piece is different from the previous ones. As mentioned previously, the dulcimer can be played in various scales, but most often it is the G major. Everything you have learned up to now was written in major scales that sound happy. But every major scale has a minor one just a third lower. Two such different scales, one sad-sounding and the other hap-py, with the same key signature (e.g. one sharp note - Fis), are called parallel. The scale parallel to our ever-popular G major is E minor, which is the scale in which you will learn to play Kačerga.

All the rules for playing various technical figures, rhythmic and melodic shapes of short notes, which you have learned in previous chapters, also apply to the minor scale.

Part one of the composition is made up of only a couple of bars and they are quite simple. In bar one, rhythmic repeti-tions are played on string courses E (6) and B (4). In bar two, there is an octave jump Fis (5) - (Fis (2) (fig. 6.1.2-2).

In the first three bars of part two (3 – 5), the melody hap-pens to fall only on the right side of the treble bridge, string courses 1 to 6 (fig. 6.1.2-3).

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Figure 6.1.2–2. Traditional folk dance Kačerga part one: dulcimer chart.

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Figure 6.1.2-3. Traditional folk dance Kačerga: dulcimer chart for bars 3–5.


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In bar 6, the melody gradually moves down from 2 (B) to 6 (E) course of strings. Also, octaves Fis (5) - Fis (2) and E (6) - E (3) are inserted (fig. 6.1.2–4).

Watch video no. 6.7: Kačerga - putting in slow tempo (QR - code 162).

Watch video no. 6.8: Kačerga (QR - code 163).

The second piece is the Petersburg Waltz27, usually per-formed on the Petersburg accordion. You will learn to play it the way musicians traditionally play it on the dulcimer (fig. 6.1.2 – 5).

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G Fis E C E Fis G Fis E D G B D C B A D A B C B A G B D G G Fis 1 2 3 1 3 2 1 2 3 4 4 2 4 1 2 3 2 3 2 1 2 3 4 2 4 1 1 2

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

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

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

Figure 6.1.2 – 5. Notation chart for the Petersburg Waltz

Bars 6-9 are a repetition of bars 2-6 but the melodic line is slightly altered (fig. 6.1.2-5 and 6). The initial bars have more jumps, including the somewhat inconvenient ones 27 I learned this dulcimer version of a piece from from significant dulcimer researcher end teacher E. Vyčinas.

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Figure 6.1.2-4. Traditional folk dance Kačerga: dulcimer chart for bar 6.

QR - code 162https://youtu.be/EXBZPhrE5E8

QR - code 163https://youtu.be/Mj5-6kuA67M


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from one side of the bridge to the other, so take note which hammer should hit which course of strings. Starting with 6-9, there are melodic rolls.

Watch video no. 6.9: first part of Peterburg waltz - putting in slow tempo (QR - code 164).

Watch video no. 6.10: first part of Peterburg waltz (QR - code 165).

In part two, bars 14 – 17 are a repetition of 10 - 13. Only a couple of notes are changed in the repeated melody - in bars 15 and 17.

Part two of the waltz does not pose many technical chal-lenges, just notice that there are repetitions of split octaves: E (6) – E (3) and D (2) – D (4).

Watch video no. 6.11: second part of Peterburg waltz - putting in slow tempo (QR - code 166).

Watch video no. 6.12: second part of Peterburg waltz (QR - code 167).

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Figure 6.1.2-6. Dulcimer chart for part one of the Petersburg Waltz.

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Figure 6.1.2-7. Dulcimer chart for part two of the Petersburg Waltz.

QR - code 164https://youtu.be/05_xuA2mrRk

QR - code 166https://youtu.be/BUBIUio7fj4

QR - code 165https://youtu.be/CcasClFTkJ0

QR - code 167https://youtu.be/Wthppf6cLkI


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Since you have learned a waltz and a dance in this lesson, you should also learn a polka - this one is called Senelių28 (The Grandparents’ Polka) (fig. 6.1.2 – 8).

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G B G B A B G G B D D D D D G B G B 4 2 4 2 3 2 4 4 2 2 4 2 2 4 4 2 4 2

G B G G B G B G G B D D D D D G B G 4 2 4 4 2 4 2 4 4 2 2 4 2 2 4 4 2 4

A Fis Fis Fis D D D E E E E E E D D D D D 3 5 5 2 2 2 4 6 6 3 6 6 3 2 4 2 2 4

A Fis Fis Fis D D D E E E E E D D D 3 5 5 2 2 2 4 6 3 6 6 3 2 4 2

Figure 6.1.2 – 8. Notation chart for Senelių polka

In this piece, repetitions are notated in full - the bars in rows 1 to 3 are repeated in 2 and 4. Only a few notes are changed in the repetition.

The polka is rather uncomplicated. Part one of the piece (bars 1 - 8) sounds more like an accompaniment using the series of functions T - D - T. There is a large number of split octave intervals throughout the polka (fig. 6.1.2-8, 9 and 10).

28 Played by Jonas Lechovickas, born in 1920, Gilūtų k., Mielagėnų sen., Ignalinos r. – 1-27/LLKC archyvas. Vyčinas E., Lietuvių liaudies instrumentinė muzika. Muzika cimbolams – Senelių Polka no. 5, LLKC, 2012, Vilnius, p.8

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Figure 6.1.2-9. Dulcimer chart for part one of Senelių polka.

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Figure 6.1.2-10. Dulcimer chart for part two of Senelių polka.


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Watch video no. 6.13: Senelių polka - putting in slow tempo (QR - code 168).

Watch video no. 6.14: Senelių polka (QR - code 169).

In chapter 4, you have learned to accompany with the dul-cimer. One accompaniment part happened to be too com-plicated for you at the time because it had a lot of melodic rolls and octave interval jumps. In this chapter, you are fi-nally able to learn the Vestuvių (Wedding) polka with the original accompaniment (fig. 6.1.2-11).

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

Figure 6.1.2 – 11. Notation chart for polka with original dulcimer accompaniment.

Part one of the polka (fig. 6.1.2–11: bars 1 – 6; 6.1.2–12 and 13) is very simple, mostly featuring series of adjacent notes.

Repetitions are not notated in full in this piece, so remem-ber that bars 3, 4 and 9, 10 are skipped when repeating.

Part two of the piece (fig. 2.1.6–13 and 14) is essentially very similar to part one but features a couple more complex me-lodic lines in bars 8 and 9.

QR - code 168https://youtu.be/KzUHhENcKN8

QR - code 169https://youtu.be/qzID514RImY

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Figure 6.1.2-12. Dulcimer chart for bars 1–4 of polka.

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Watch video no. 6.15: first part of original accompaniment of pol-ka - putting in slow tempo (QR - code 170).

Watch video no. 6.16: first part of original accompaniment of polka (QR - code 171).

Watch video no. 6.17: second part of original accompaniment of pol-ka - putting in slow tempo (QR - code 172).

Watch video no. 6.18: second part of original accompaniment of pol-ka (QR - code 173).

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QR - code 170https://youtu.be/lZNM-cZPNCk

QR - code 172https://youtu.be/nXtGXXLXM0Y

QR - code 171https://youtu.be/CMe1zLx2tSc

QR - code 173https://youtu.be/8-rYnkTJ56s


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6.2. Multiple Jumps

6.2.1 Learning to Play Multiple Jumps

In this lesson you will learn: to perform a series small rhythmic value jumps; an exercise with lots of jumps.

In dulcimer music, the multiple jumps technique comes in two varieties: as a certain style of playing, where the whole piece is made up of jumps, or as a combination of several jumps in the composition. However, most often they are performed with one repeating note and are not as difficult as they might seem. In this lesson, you will learn what they look like and how to perform the jumps through the help of an exercise. In previous chapters, multiple exercises were needed to learn a new technique but in this lesson, just the one will suffice (fig. 6.2.1 – 1).

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

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

A A G A Fis A E A D A C A B A A A G G Fis G E G D G C G B G A G G G 3 3 4 3 5 3 6 3 2 3 3 3 4 4 5 4 4 4 5 4 6 4 2 4 3 4 4 4 5 4 6 4

Figure 6.2.1 – 1. Notation chart for the multiple jumps exercise.


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Figure 6.2.1 – 2. Dulcimer charts for the multiple jumps exercise.



The notation chart for this exercise is slightly different than usual - there is no rhythm line to show the length of each note and which hammer hits which course of strings. This is because all the notes in this exercise and in compositions of this style are of the same rhythmic value. In such case, the hammers are alternated one after the other, starting with the right one, of course.

Every bar (fig. 6.2.1–1) has a new series of jumps starting on a lower course of strings than before. In the split chart (fig. 6.2.1–2), the number in the left corner of each chart indi-cates the bar number.

QR - code 174https://youtu.be/IRTo501VTGk

QR - code 175https://youtu.be/qgiK4c8-Q_s


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6.2.2 Multiple Jumps in CompositionsIn this lesson you will learn:

three new compositions; to perform multiple jumps in compositions; to perform a composition made up entirely of jumps.

The first composition is the simplest one - a series of multi-ple jumps is only featured in one bar of the Petersburg Pol-ka29 (fig. 6.2.2–1). Its melody is very similar to the Peters-burg Waltz, only instead of triple metre, this piece is played in duple metre.

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G Fis E C E D B G B C Fis A Fis D Fis A Fis G G B G B G G B G Fis 1 2 3 1 3 4 2 4 2 1 2 3 2 2 2 3 2 4 4 2 4 2 4 4 2 4 5

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

Figure 6.2.2-1. Notation chart for the Petersburg polka

The first two bars (fig. 6.2.2–2) are quite simple to play. Somewhat uncomfortable is the arpeggiated G major chord in bar two - try to keep the hammers from hitting into each other.

In bar 3, first learn the right hand part. Then, after each note you play with the right hand, strike the second course of strings on the left side of the treble bridge (Fis) with the left hammer.

Remember that bar 5 should be skipped when repeating part one (fig. 6.2.2–1 and 4), and bar 10 should be skipped when repeating part two.

Part two also poses some technical challenges (fig. 6.2.2-1 and 5). Bars 6 and 8 have split octaves, and bar 10 features a melodic roll.

29 I learned this polka from E. Vyčinas.

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Figure 6.2.2-2. Dulcimer chart for bars 1–2 of Petersburg polka.

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Figure 6.2.2-3. Dulcimer chart for bar 3 of the Petersburg polka.

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Figure 6.2.2-4. Dulcimer chart for bars 4 and 5 of the Petersburg polka.


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Watch video no. 6.21: first part of Petersburg polka - putting in slow tempo (QR - code 176).

Watch video no. 6.22: first part of Petersburg polka (QR - code 177).

Watch video no. 6.23: second part of Petersburg polka - putting in slow tempo (QR - code 179).

Watch video no. 6.24: second part of Petersburg polka (QR - code 180).

The second composition in this lesson is the Aukštaičių polka30 (fig. 6.2.2-6). It has a series of multiple jumps made up of the same notes as in the Petersburg polka.

30 Played by Jonas Lechovickas, born in 1920, Gilūtų k., Mielagėnų sen., Ignalinos r. – 1-27/LLKC archyvas. Vyčinas E., Lietuvių liaudies instrumentinė muzika. Muzika cimbolams – Aukštaičių polka no. 5, LLKC, 2012, Vilnius, p.7

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Figure 6.2.2-5. Dulcimer chart for part two of the Petersburg polka.

QR - code 176https://youtu.be/TYOR73qzmPw

QR - code 178https://youtu.be/8SPYSvxj2RU

QR - code 177https://youtu.be/6fZpFd9hFsA

QR - code 179https://youtu.be/-gW3m2QhWrg


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B C E D D B G B C Fis A D D D G B G B G 2 1 3 4 4 3 4 3 1 2 3 2 2 4 4 2 4 2 4

A G B C E D C B A G G A C Fis A Fis D D D G B G 3 4 2 1 3 4 1 2 3 4 4 3 1 2 3 2 2 2 4 4 2 4

D D D D D G B G G B C C A D D D G B G A B 2 4 2 2 4 4 2 4 4 2 1 1 3 2 2 4 4 2 4 3 2

D D D D D G B G G B C C A D D D G B G 2 4 2 2 4 4 2 4 4 2 1 1 3 2 2 4 4 2 4

Figure 6.2.2-6. Notation chart for Aukštaičių Polka.

The repetitions in this piece are all notated: between 5 and 8, the bars 1-4 are repeated, and between 13 and 16 - 3-12. In part one, the melodic line of the second row is highly var-ied, a lot different from the first, and multiple octaves are only featured in bar 7 (fig. 6.2.2-6 and 7).

Only the last notes are different between rows 3 and 4 in part two of the piece (fig. 6.2.2 – 6 and 8). There are numer-ous jumps here, especially with third and octave intervals.

Watch video no. 6.25: Aukštaičių polka - putting in slow tempo (QR - code 180).

Watch video no. 6.26: Aukštaičių polka (QR - code 181).

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Figure 6.2.2-7. Dulcimer chart for part one of Aukštaičių polka.

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Figure 6.2.2-8. Dulcimer chart for part two of Aukštaičių polka.

QR - code 181https://youtu.be/334SSqhKhEs

QR - code 180https://youtu.be/RRsoLVNjnMo


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The last piece, a polka called Ištekės Marceliutė31 (Marce-liutė is Getting Married) (fig. 6.2.2-9).

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B G G G G G B G C E A E D E A E D Fis D Fis D Fis Fis Fis A G G G G G2 1 4 1 4 1 4 1 1 3 3 3 2 3 3 3 4 2 4 2 4 2 5 2 3 1 4 1 4 1

B E B E E D E C E C E B E A Fis A Fis D Fis Fis Fis A Fis G G G G G G 2 3 2 3 3 4 3 1 3 1 3 2 3 3 2 3 2 4 2 5 2 3 2 4 1 4 1 4 1

D C B B G B G B Fis A Fis A Fis A Fis A E C E C E C E D Fis D Fis D Fis D C 4 1 2 2 1 2 1 2 2 3 2 3 2 3 2 4 3 1 3 1 3 1 3 4 2 4 2 4 2 4 1

Figure 6.2.2-9. Notation chart for the polka Ištekės Marceliutė.

In the beginning of the previous lesson (6.2.1.), we had mentioned that multiple jumps can be either a series of jumps in a composition or a specific style of playing. This version of the polka Ištekės Marceliutė is based on that ex-act principle, which is why the piece is particularly complex and meant only for advanced musicians (fig. 6.2.2-10).

However, if you pay attention to a few things, you can still learn this composition:

the polka is played mostly on the first four courses of strings at the treble bridge (except for the Fis (5) course of strings hit once in bar 7 and D (2) in bar 11);

almost all notes are hit with the left hammer on the left side of the treble bridge except C (1) course of strings (in bars 4 and 12);

31 Played by Klemensas Pundys, born in 1912, Kalvėliškių k., Tverečiaus sen., Ignalinos r., MFA KLF 6007. Vyčinas E., Lietuvių liaudies instrumentinė muzika. Muzika cimbolams – Ištekės Marceliutė No. 54, LLKC, 2012, Vilnius, p.25


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generally, the left hammer mostly hovers above one of the courses of strings, often for the whole bar or even two: therefore, it is recommended to learn the right-hand part well, because its melodic line is always mov-ing and jumping.

Watch video no. 6.27: first part of polka Ištekės Marceliutė - putting in slow tempo (QR - code 182).

Watch video no. 6.28: first part of polka Ištekės Marceliutė (QR - code 183).

Watch video no. 6.29: second part of polka Ištekės Marceliutė - put-ting in slow tempo (QR - code 184).

Watch video no. 6.30: second part of polka Ištekės Marceliutė (QR - code 185).

Questions and Tasks for Revising Everything You Have Learned

What are multiple jumps and how are they different from split intervals and arpeggio chords?

How are multiple jumps performed?

What other combinations of small rhythmic value notes are there? Describe them and the rules for performing them.

List all the cases when strings must be hit with the left hammer.

How are accents performed?

What is the dominant?

How are compositions with voltas played?

How can you accompany other instruments with the dulcimer?

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Figure 6.2.2-10. Dulcimer chart for the polka Ištekės Marceliutė.

QR - code 182https://youtu.be/UV3vvU0WFDQ

QR - code 184https://youtu.be/1NBvSRDCPJM

QR - code 183https://youtu.be/Q-i7hJSO3uE

QR - code 185https://youtu.be/vzytBA07JAs

Aušrine Garsonaite


Editor: Paulius Balčytis

Layout designer: Sandra Lipska

Translator: Paulius Balčytis

All learning materials are available for free on website: www.muzikanti.lv

Reprinting or any other use of the material or its fragments is allowed only with permission of the author.

© Aušrine Garsonaite, 2018

This project was cherished by the NGO “Skaņumāja” and supported by the program Erasmus+.*

We are glad to share our self-study book series Play of Traditional Instruments of Baltic Region

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play and to promote effective learning methods that are specifically adapted to the play of traditional instruments. The materials can be used by persons without prior knowledge in music, and the e-books

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AUŠRINE GARSONAITE TRADITIONAL PLAY OF HAMMERED DULCIMER · 2018. 12. 27. · In the late 19th century, the first professional composers, such as M. K. Čiurlionis and Vincas Kudirka