A Mel Bay Publications, Inc. Webzine
August 2007 · Bimonthly
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In this issue: A Mexican Song for Mountain and Hammered Dulcimers: Cielito Lindo | A Classical Piece for Mountain Dulcimer: The Morning Song | A Duet for Hammered Dulcimer: La Luna Giubilante | Playing the Mountain Dulcimer Across the Strings in the First Position
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"La Luna Giubilante"A Duet for Hammered Dulcimerby Marya Katz Performance NotesThis lively tune evokes images of the moon, and of dancing two of my favorite things. The introduction allows us to bow to our partners; the A-section lets us flirt a bit as the music ebbs and flows, and the B-section invites us to swing and stomp and generally gives wings to our feet as we fly along with the infectious rhythm of the tune. "La Luna Giubilante" is a duet (dancing is so much more enjoyable with a partner, after all); however, the melody line (Dulcimer 1 part) can stand on its own if there are no dulcimerplaying partners available. However . Note: this piece is not really intended to be used as an actual dance tune it is in the meter of a waltz, but that tempo (quarter-note = 120) is too fast to really do any waltzing to it. Be careful not to let it get going too fast, and keep the 8th notes as even in time as possible for both parts; this should help the player not to "lose" the tempo and begin speeding up. This is a piece for the hammers to dance to, and for the listeners to imagine how it might be if the stars in the sky suddenly decided to let loose of their respected positions and "dance by the light of the moon!" Listen to "La Luna Giubilante"Melody, Dulcimer 1In the first measure at letter A, and again at the beginning of the next phrase the slash marks through the stem of the note indicate a rolled tone. I suggest starting the roll with the right hammer, catching it on the left, and then jumping the bridge for the octave leap (left hammer). Be careful not to rush the 16th notes, especially in the runs. I have found that the double notes (two 16th notes in a row, on the same pitch) are more easily played as a single hammer-bounce than as two distinct hammer hits. In spite of my preference for a "left-hand lead" I have found that this piece really demands the "right-hand lead" for the A-section in order to accommodate the bridge-crossing on the octave "E" tones. For the B-section a "left-hand lead" works well, switching to the right hand for those bounced (repeated) 16th notes, and then alternating hands with each subsequent tone. Let gravity assist the player for the accented notes in the A-section (measure 8) raise the right (melody) hammer about 4 inches above the courses for the 3 moving tones, but keep the left (harmony) hammer close to the "D" course for the droning tones. By doing this, the accented notes will shine out and the droned "D" will simply be heard as a rhythmic undertone (no pun intended) to the melody. The running 8th notes should be played with a strong accent on the beginning of the first beat, and a lesser (or lighter) accent on the beginning of the 3rd beat. The secondary accent serves to connect each measure to the next, and also to give the rhythm a bit more definition. If the player wants to repeat the entire piece back to the A-section (the introduction only needs to be heard once, at the very beginning), the last measure may be played as either a half-note and then a quarter-note on the final "E" tone, or as 3 "E" tones (but remembering to vary the dynamics so that the energy level is maintained in sending the listener back to A with a sense of great anticipation!) "Filler notes" may be added to the last measure of the A-section (for example, lightly tapping a quarter note on the low "B" and then the low "E" on the bass bridge) if simply letting the tone ring for the full count (3 beats) proves to be either too difficult to get back into the swing of the tune or the player wishes to keep the beat going more audibly. Be careful, though, not to emphasize the extra notes, but just to use them as an additional harmony part. In order to heighten the exuberance of the dance's ending, I would recommend simply finishing with the dotted half note as written and letting it ring out and with no ritardando on the way to the last note, either! Harmony, Dulcimer 2Do not be tempted to strike the chord again in the 6th or the 10th measure (A-section notice the tie connecting those two chords) the intent there was for the sound to fade away as if the moon were ducking in and out of the clouds. The 3-note block chords in measure 8 correspond to the accented tones in the melody part; they should be hit strongly to match the dynamic of those accents. Be cautious in the B-section not to let the incessant 8th-note rhythm become either too fast or too monotonous. As in the melody, there should be a stronger accent on the 1st beat, and a lesser accent on the 3rd beat of each measure, while the 2nd beat becomes simply "filler" tones in between. These running 8th notes are best played with the "right-hand lead" again, alternating between the bass and the right-treble bridges. The low "E" tone at the end (in parentheses) is given for those players who have that particular course on their instrument and want the depth of tone at that time. It might be musically wise to save it for the very last note of the piece, rather than doing it every time the B-section comes to a close. In that way, the sense of finality of the dance will be more apparent. (More harmony the chords are given, in case you should happen to want to invite another friend or two to join in on the fun with guitar, bass, banjo, or mountain dulcimer; if anyone is interested, I have also arranged this piece with a flute part you may contact me directly for a copy if you would like to see it maryakatz@gmail.com) The players on the recording given here are Marya Katz (dulcimer 1), Tammy Hodsden (dulcimer 2), and Davis Hodsden (guitar). 
About the Author Marya Katz, the composer of this piece, performs with the folk group "Simple Gifts of the Blue Ridge" (Marya and Charles Bostian on hammered dulcimer, Jack Webster on guitar/voice, and Carolyn Smith on flute). She teaches private lessons on hammered dulcimer, and has been a featured workshop leader for several dulcimer workshops, including the Swannanoa Gathering Dulcimer Week in Asheville, NC (mid-July) the Winston-Salem Dulcimer Festival (held on the first weekend of May each year), and the Cranberry Festival in Binghamton, NY (late July). She is a National Board Certified elementary music teacher, and also directs the adult choir for her church. Marya's compositions are quite eclectic in style ranging from old-time fiddle tunes to Celticsounding new-age melodies, and just about everything in between. One of her early compositions, "Ebony and Leather," was published in Dulcimer Players News (Spring 1997 issue). Her playing is featured on three CDs with Simple Gifts of the Blue Ridge: "Mountain Mists," "Blue Ridge Heritage," and "Christmas with Simple Gifts." All three of them include some tunes and songs that Marya wrote. A fourth CD, "Between Sunset and Stars," will feature only her compositions, and is expected to be released in the Fall of 2007. In addition to performing with Simple Gifts, Marya has worked with a group of several Blacksburg musicians who are trying to "build a house with music" all the proceeds from their recordings are donated to Habitat for Humanity. The "Divertimento Trio" (Marya on hammered dulcimer, Virginia Bethune on harp, and Carter Edmondson on flute) recorded "Christmas Fantasia" as their contribution to the project. Marya has two self-published books of her tunes, Dulcimations I and II. She can be contacted at maryakatz@gmail.com for more information about any of her recordings, tunebooks, lessons, or upcoming performances. Simple Gifts of the Blue Ridge is available for performing at weddings, receptions, festivals, outdoor concerts, and private functions. They can be contacted through Charles Bostian (bostian@vt.edu) for bookings. [ top ]
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