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The technique of playing back-up on the hammered dulcimer is such an important part of becoming an accomplished musician. The mastery of playing back-up chords and accompaniments on hammered dulcimer not only opens doors for extensive ensemble opportunities but also leads to a better understanding for developing melodic embellishments as a soloist. The role of the back-up player in an ensemble is just that - the person who "backs up" the melody/solo instrument; therefore, the back-up player keeps a steady tempo/rhythm and should always play softer than the lead instrument. This same set of principles also applies when accompanying a vocalist. Always be aware that the back-up player need not play loudly; the role of the lead instrument or voice is to carry the melody and role of the back-up player is to provide an accompaniment. There are two (2) basic meter signatures used in most Western Culture music - 3/4(beats in sets of three) and 4/4(beats in sets of four). This simply means back-up/accompaniment patterns must fit a formula to total three(3) or four(4) beats in each measure, depending upon the meter/time signature designated at the beginning of the song. Any rhythmic combination may be used for back-up accompaniments (half, quarter, eighth notes, etc.) to total the number of beats in each measure or set. Notation choices for the back-up player would, most obviously, be derived from the chord structure of the song; these chord structures are usually printed in letters directly above the melody notation on the staff. Perhaps the most complimentary accompaniments are played directly from the outline of a chord (ex. G Chord: G, B, D, G). By changingrhythm patterns, playing broken chords, changing registers, etc., one can provide very interesting and unobtrusive back-up arrangements within the chords. Consideration should be given to style of the individual selection when playing back-up on the hammered dulcimer; a great arrangement should reflect the over-all flavor and time of the piece. Obviously, attention should be given to register, phrasing and dynamics when playing an accompaniment. Remember, the back-up player has the ability to "bring the dancer to his feet" with a lilting rhythm or create a "soothing calm" for an eloquent ballad. Interpretation of style can be greatly enhanced by delivery of the back-up player. Finally, whether providing accompaniment for an old-time fiddle tune or a classic vocal arrangement, the role of the back-up player is to enhance the beauty of the melody. The back-up player/accompanist should always strive to "show off" the soloist or lead instrumentalist; hence, the hammered dulcimer player who is comfortable with a variety of back-up techniques can add a beautiful element to almost any arrangement and will always be welcomed in musical gatherings.
Linda Thomas, a career music educator, has performed on keyboard, guitar and hammered dulcimer for virtually her entire life; her degrees include BS in Education and Master of Arts in Teaching. Linda won the Texas State Hammered Dulcimer Championship in 1999 and the Scottish Highlands Hammered Dulcimer Championship in Denver, CO in 2001. She, along with guitarist Dan DeLancey, has shared billing with the Alisa Jones Band, Steve Kaufman and Doc Watson and has played both the IBMA in Louisville and the EWOB in The Netherlands. Thomas is receiving outstanding recognition for her instructional materials for Mel Bay Publications as well as excellent reviews for her recording projects. She keeps an extensive performance and workshop touring agenda, maintains a private studio and teaches public school music in Kansas City, Missouri. "Linda performs with an ease which belies the difficulty of mastering such intricate and wide-ranging music." ....Walt MichaelMel Bay books by Linda G. Thomas: MB98375BCD 2000 Hammered Dulcimer MB99167BCD An Old English Christmas/Hammered Dulcimer MB20066BCD First Lessons Hammered Dulcimer MB20452BCD Getting into Hammered Dulcimer - '04 release |
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