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Music Improvisation for Mountain Dulcimer | Mountain Dulcimer - Patterned Chord Arpeggios for Melody
Chord Patterns on the Hammered Dulcimer

Dulcimer built by Gary Gallier

The Concept While the fretted dulcimer has a rich history of using a single string as melody and the remaining strings as drone, it does share many similarities with any fretted instrument, such as guitar or mandolin. Chords and cross string scales, limited only by the somewhat diatonic layout of the fret board, are just as available, and techniques for playing them are just as accessible. Have you ever listened to an accomplished guitarist play a very fast or very intricate passage and wonder how he could possibly move the fingers of his fretting hand fast enough or smooth enough to produce those sounds? I remember watching the great flat picked guitar playing of Doc Watson not long after I had begun to learn dulcimer. I knew immediately I wanted to play the dulcimer the way Doc played the guitar, so I paid close attention. Even with all those fast and precise notes, I noticed something very enlightening ... his fretting hand was really not moving all that much. It appeared to me that he was holding a fundamental chord position and, while occasionally moving his fingers for extra notes, was picking a good part of his melody out of the notes that made up the chord he was holding. The speed and smoothness seemed to be originating with the patterned cross picked arpeggios his picking hand was playing. Important to repeat: he was holding a chord and picking a pattern to get much of the melody.

This article will attempt to be an introduction to how this multi-string technique can apply to the fretted dulcimer. Its usefulness becomes much more evident when combined with other techniques such as strumming with drone, cross-string flat picked scales, and strummed chord-melody playing, but as the song, "Seeker's Waltz," which we will learn later shows, it is possible for the technique to stand on its own as well. The referenced tuning will be DAd, but can be applied in theory to any tuning rich with chords. In the text that follows, any time a chord is expressed with numbers, such as 2-3-4, the order will be bass string listed first, then middle string, then treble string. While I use a flat pick in my own playing, 100% of this technique is applicable to finger picking as well.

The first component, of course, is the chords. A new awareness should be adopted that, while each chord position can be strummed as a chord, each string of that 3- note chord contains a potential melody note when picked by itself. Chord study could be a separate lesson all its own and one that should be a prerequisite for this technique. It is important to learn the various chord patterns of barre, slant, stretch, and L-shaped chords so you can play any given chord in several positions on the fret board. The reason for this is that, for example, a D chord in the first few frets is not going to contain the particular melody notes you are needing if the melody is a high note in the second octave. The appropriate D chord would have to be in or near the second octave and contain or be near the note you are looking for.

The second component is the chord progression of the particular tune. Knowing the chord progression consists of determining what chords are played, the order they are played in, and their duration in terms of beats for each place they appear. When you hear a musician ask "What are the changes?" they are wanting the chord progression. Most times a published piece of sheet music will show the chords and where they will happen, or the player needs to figure them out by ear based on the key of the song. This also is more than the scope of this lesson except to point out that you do need to know the chord progression in order to properly position yourself to access the melody notes the chord contains. If the progression dictates that a Bm chord should be played, then you need to be holding a Bm chord somewhere on the fret board.

The third component is the melody itself, in which I include the timing of the tune. Understanding written musical notation is certainly a help in locating the notes necessary to express the melody, but with the straightforward layout of the dulcimer, not imperative. If you know the tune, have a thorough knowledge of chords in multiple positions, and follow the progression, you should be able to find the right notes by ear. Just be patient and remember the three notes that any given chord is made of are also part of a scale for that chord. And melody is made of notes in a scale. Hunt and peck the melody note you are looking for and then find the chord that is closest to it yet still matches up to the progression, or changes, of the song. Chances are that chord will also contain, or be close to, several other melody notes in that part of the song.

The final component is the pattern used to pick the strings with your picking hand. Patterns will be more easily explained when we get to playing instead of reading, so I'll save that for later.

Playing melody notes with the changes is a bit different from playing accompaniment with the changes. If accompaniment calls for, as example, 8 beats of playing a D chord before a change to another chord, chances are you can stay right in that same position for the entire 8 beats. That same D chord position could probably be used for every change to D in the entire song. But playing melody out of the D chord may require you to move within the timing of the change. It is possible, even likely, that the melody during that eight-beat change may move up or down the fret board enough that you may need to play two or three positions of a D chord during those 8 beats to follow the melody. For example, a person may play 4 beats while in the 2-0-0 D chord position, and then 4 beats in the 2-3-4 D chord position. Even though you make this move after only four beats, you are still being true to the progression of a total of 8 beats in D.

All that being said, there are a couple of important exceptions to add to show that the concept cannot be rigid if you expect it to work. You do have the freedom to use your own common sense, and you will need to make decisions that feel right for you.

First, if the melody note you want is not in the chord you are holding, sometimes it is just plain easier to reach for it with an extra finger than it is to change to a chord position that does contain that note. For example, if you are holding a 2-3-4 D chord and the melody line requires a momentary note at the 7 fret of the treble string, it may just be easier to slide up and grab that 7 with a finger than to make the change to the 4-5-7 D chord that does contain that 7 fret note.

The second disclaimer is that sometimes the note you need is not part of any D chord shape on the dulcimer at all, and you may need to reach for it as well. As example with our 2-3-4 chord, the melody may require a 4 fret note on the middle string. This is not part of a D chord pattern (although it is part of a D scale). While still holding the 2-3-4 chord, you may need to reach over to the middle string with a finger to grab that 4 fret note. For what it's worth…I use my thumb A LOT.

Now let's put the detailed explanations into practice by doing some playing utilizing this patterned approach to melodic chord arpeggios. Below is a line of dulcimer tab (tabulature) that is written to express one picking pattern while holding a D chord in one position. This tab has an extra bit of information from what you have seen before, so I'll go over its layout. Above the line is the D chord and it's position 2-3-4 stacked above the line, bass string on top. Then, of course, the musical notation underneath that, then the tab notation under that. Underneath the tab notation is the picking pattern. We'll call this the "pattern notation." For ease of writing it I have designated the bass string as #3, middle #2, and treble string #1. The first four numbers are 3212 which indicate the order that the strings are picked. So 3212 would mean bass, middle, treble, middle, picked and repeated down the line. The pattern notation illustrates the picking pattern in a straight line way making it easier to see. The combination of the chord position and the pattern notation makes the tab notation itself almost redundant. In other words, if you hold the 2-3-4 chord and pick the 3212 pattern, the tab notation plays itself. Play though this line to get the feel of it. One very important playing tip is in order. The direction of your pick is very logical by applying this general rule: If the next string you are going to pick is toward you, the player, then your pick direction is toward you. If the next string is away from you, then your pick direction is away. This is not a hard and fast rule, but for the most part it is true and will improve how smooth you can play the pattern dramatically. You are free to decide which direction that first note in the line is picked based on what feels most natural. As you execute this simple exercise, it probably won't take long before you are able to play it smoothly and at a decent tempo.

This technique will require practice to gain that automatic knowledge necessary to play patterns at will. You can write your own exercises to gain this skill almost randomly by first determining a chord progression, and then a string picking pattern all without playing a note. Picking patterns can be any number of beats long, and without thinking you can assign a somewhat random pattern based on the 1 string 2 string 3 string numbering system. To start just write down a 3, 4, 6, or 8 string pattern…ie: 12123212. Now just hold the chord and pick the pattern, then move to the next chord change and pick the pattern again.

The next step in practicing might be to change patterns before you move to the next chord, and so on. You will discover the melodic potential on your own, and also get surprised by some very pretty melodies that result. This is where I would like to encourage you to listen to that musical voice inside you, and recognize that wandering in this way is a great compositional tool. If you wish to read more about composition and creativity, please visit my web page www.DulcimerCentral.com where I have an article about the process. Nothing is more satisfying than giving birth to a piece of music that is uniquely yours!

It's time to make some music with this technique. The following waltz is as close to utilizing this technique in a stand-alone way as any other I have written. At the end of this article, I've included a photo gallery of the hand positions I use when making the chords in this song, and some playing tips for certain parts of the song that could help you. This represents the A and B parts of this waltz as it is played on The Gallier Brothers' "Craft of Kin" album. There is a C part to the song on the recording which is not included here since it is mainly an improvisation. This waltz works well with just two parts, but this is a good chance for you to figure out your own improvisation by ear if you want to add the C part. The order of chords for the C part, by 3 beat measure, is: Bm Bm Bm Bm G A Em F#m Bm Bm Bm Bm G A Bm.

Listen to "Seeker's Waltz" Listen to "Seeker's Waltz Accompaniment"

I play a given chord several ways depending on the song. This chord gallery shows how I personally make the chords in "Seeker's Waltz." It may not be what you feel most comfortable with so don't feel they are "must do" fingerings. I will say that my approach is very focused on efficiency.

1. When picking so specifically as this method requires, it helps to have a point of reference for your picking hand to give you a sense of where you are picking. This could be bracing your fingers against the top, against the side of the fret board, or using a wrist rest.

2. The chord fingerings at the top of each line are placed in the timing where you need to make the change to them. Even though there may be a change in the melody, the chord position remains the same until a move to the next chord is stated in the top line.

3. There are several places where I barre the two outside strings with the side of my thumb to make the chord. This puts my other fingers in a more efficient position for what comes next from my perspective. The barre does need to be made so that the first string is not touched. A callous will need to be built up at the first knuckle of the thumb before you can do this for long.

4. In measure 7 of the song I slide between the 3-3-0 chord and the 4-4-0 chord while barred with my thumb to get the notes on string 3 and 2. I play the next three "extra" notes on the first string with a trailing finger while continuing to hold the 4-4-0 chord. It stays true to the concept of holding chords while picking, but feel free to figure out your own way to play this passage if it is uncomfortable. The music in measures 7 and 8 repeat several times in the song, so whatever method you use be prepared to go to it frequently.

5. In measure 19 you will find a note (11 fret on string 2) that is not contained in the chord indicated on the top line. There are several other measures in the song in whch you will find similar extra notes. I reach for them with my thumb.

6. A strum across the strings while holding a chord is indicated in the "pattern notation" as 1+2+3.

"Seeker's Waltz" is an unusual song in that so much of it uses patterned chord arpeggios to play the melody. That does make it a perfect song to teach the concept, but do keep in mind that the versatility of this technique is dependent on using it where appropriate as an addition to other playing skills. If you have questions as you get into the methods and melody of playing chord arpeggios, please feel free to email me. Have fun, take time to wander in the process, and let me know how you're doing.

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For over 20 years Gary Gallier has been on the forefront of progressive evolution and innovation on the mountain dulcimer. This is well demonstrated in his exciting playing style of melodic flatpicking, the innovative instruments he builds, and in the original music he plays. His work has been recently reviewed as having "a powerful and highly original vision of where the dulcimer can go…breathtaking style. " A prolific composer of new music for the dulcimer, Gary's recordings feature 100% original works, and his most recent "Craft of Kin" has been reviewed as possessing "…seamless elegance….classics for the new century." He has taught and performed throughout the U.S. at festivals such as the National Flatpicking Championships in Winfield, KS, Western Carolina University Mountain Dulcimer Week, Kentucky Music Week, Appalachian State University Dulcimer Playing Workshop, and many others. The 1987 National Champion, who has been described as "a world class player who is also a world class teacher," guides students step by step with a very fun, organized, and personal approach. On stage Gary demonstrates the mountain dulcimer's ability to produce beautiful, flowing music, but he also shows his students that this power and energy is well within reach. Blending influences from Celtic and mountain styles with touches of jazz, rock, and swing, Gary possesses a true signature sound sure to delight the audience.

You can contact Gary via e-mail at Gallier@DulcimerCentral.com to purchase his Dancing Thumb Music recordings:
1. Crossed Roads (1986) - cassette
2. Race To The Gate (1989) -cassette
3. On The Wing (1993) - CD and cassette
4. Craft Of Kin (2001)- CD
To learn more about Gary, please visit his webpage at www.DulcimerCentral.com