Music I’d Like To Hear #25

The tuning is D-A-D and requires the 1 1/2 fret.

The time signature is 7/8; a common time signature in some parts of the world. In this tune the accent falls on the 1st, 3rd and 5th beat of the measure. An easy way to get the feel of this is to play the 7 beats per measure as “1-2, 1-2, 1-2-3″ with the accent on each “1″ This rhythmic pattern is very popular in Bulgarian dance music though this particular tune does not work the rhythm in a traditional Bulgarian manner.

When playing “Study In 7″ I vary the melody by adding or removing the paired sixteenth notes in the tablature.  Tablature presents a skeletal structure of a tune at best.

“Study In 7″ composed and played by Doug Berch (C) 2012

(click the  tablature for a larger image)

Rollicking Rufus is a limberjack operated a little differently than most of his limberjack pals. Most often the dancer is impaled on the end of a stick. How charming. Said impaled dancer is suspended over one end of a flexible paddle, the other end being held firmly in place by player’s posterior. By tapping the paddle the feet of the impaled dancer are struck causing wild and rhythmic gesticulation. A good time is had by all.

Rollicking Rufus is suspended from a flexible wire above a springboard. According to the article, “…this little manikin will cut amusing capers when the supporting wire is agitated.” Clearly agitating the supporting wire agitates Rollicking Rufus, but we all must suffer for our art.

Article found in “The young craftsman; descriptions of over 450 easy craft projects reprinted from past issues of Popular mechanics magazine, What-to-make,and other publications (1943)” courtesy of the always-wonderful Internet Archive.

Music I’d Like To Hear #24

I’ve started work on two baritone and two standard dulcimers. I also have two standard dulcimers to complete that I began late last year.

I’m designing some new instruments I hope to start making this year. I’ll post details as they develop.

Music I’d Like To Hear #23

I found this chart in “The Home Library Of Useful Knowledge” circa 1891.

The chart lists the average income of various trades in ascending order.

Musical instrument makers are listed at the very bottom of the chart.

In 1891 (according to the chart) 6,575 people were making musical instruments in the United States.

The average annual wage for making musical instruments in 1891 was $692.

In 1891 musical instrument makers were the highest paid artisans in the United States!

Musical instrument makers are no longer the highest paid artisans in the United States but at least the average annual wage has remained stable for 120 years.

Quartered or vertical grain boards are stronger and more stable than wood sawn off quarter. These are important concerns when making stringed instruments. The soundboards, backs and sides of stringed instruments are very thin. When making dulcimers I regularly work wood down to 2mm or so. Using quarter sawn for the fingerboard helps it stay stiff, straight and stable.

Like any luthier or woodworker I spend a lot of time (and money) finding the best wood I can. “Best” is a relative term here; the best wood for what I do may be very different from what would be best for what someone else is making.

I look through the stacks at the saw mill for wood that is quarter sawn, has little or no run-out, good structural integrity,  a mass, stiffness and resonance I find appealing and good color or figure. Usually there is a certain amount of balance and compromise among these various qualities when selecting wood. Trees do not produce wood to order and wood is rarely “perfect.”

I often use wood with “character flaws” as long as they will not interfere with strength, stability and sound. Some of this wood has produced very pretty dulcimers and I enjoy the challenge of figuring out how to make this kind of wood work well.

I save some of the wild and interesting pieces of wood to use as pegheads. I have made some beautiful pegheads using wood with burl, wild grain patterns, voids and knots.

After milling wood for dulcimers I end up with a lot of scrap. I have some friends who go through my scrap pile because they can use these pieces for marquetry, jewelery making and other projects.

Anything left gets slated for firewood.

On the other hand I regularly go through the firewood pile. I recently dug out a cedar soundboard and a cherry fretboard that were rejects. The cedar became lining strips and the cherry produced some fine brace wood after some selective cutting and trimming.

Wood is sacred. I never want to waste any.

Music I’d Like To Hear #22