IMPROVING MUSICALITY BY PRACTICING WITHOUT LOOKING
or
DULCIMERS CAN BE HEARD AND NOT SEEN
Cliff Moses
There is much to be gained in playing style by listening to what
you play rather than watching what you play. As patterns of growth
in dulcimer playing, almost all of us started out by staring
intently at the dulcimer, watching every string we struck. I
remember many times having my contacts dry out because I was so
intent on watching what I was playing, that I wasn't blinking.
Then comes the day when you rise to the plateau of looking in areas
rather than at each string; remember how that tended to smooth out
the melody lines? Even catching the occasional base string without
looking over there.
There is another significant plateau in playing when the hearing
becomes the primary sense rather than the eye. Then the intonation
and phrasing become more apparent. You can even hear the other
people with whom you are playing better and develop a better sense
of balance of volume and style. You can answer questions while
playing. And if the lights go out, you can still finish the tune.
But, how can one develop the sense of hearing? The trick is to get
rid of the visual crutch, i.e., learn to play without looking.
Like most learning processes, the secret is to gain confidence at
a comfortable pace. Start by alternating hammers on one string
while you look away. Remember to listen! Then move up one string
without looking. If you make a mistake, listen and determine how
to correct it without looking. Move up another string, then back
down, and back down again to the original string. Do this again
only go up further to increase your zone of confidence.
Next try short runs of notes, e.g., 3 notes: G-A-B-A-G-A-B...; then
4 notes: G-A-B-C-B-A-G...; then 5 and 6 notes. Now work on a scale
which forces you to cross over the bridge.
Now try thirds, i.e., notes which are two strings apart. Try G-G-
B-B-G-G-B-B... Then G-B-D-B-G-B-D-... Then G-B-D-G'-D-B-G...
(where G' is the octave).
The object is to gradually build up your zone of confidence at a
pace you're comfortable with.
Next try short patterns that you find in favorite tunes. For
example in jig time, CAAEAA-CAAEAA-BGGDGG-BGGDGG... and repeat ad
nauseam, where the E and the D are played on the left side of the
treble bridge. This is the starting pattern for the Dancing Master
or Swallowtail Jig.
The Humors of Tullah is a short reel with good practice patterns
that repeat on themselves. The "A part" has only four measures and
involves only six notes; moreover, the left hand stays on the same
note, D, except twice, providing a convenient reference point.
Start with just the first measure, over and over. Then learn just
the second measure and repeat. Now put them together and repeat.
The third measure is the same as the first so all you have to do is
learn the fourth to extend the pattern to four measures and that's
the whole "A part". Follow the same method to learn the "B part"
and you'll have a whole tune you can easily play without looking
and begin listening to. How's the musicality and rhythm?
You're on your own. Try familiar tunes, starting with small
phrases and working up. Remember, take it slow and don't worry
about mistakes; instead, try to listen to them and make corrections
without looking. I think that as you work with this, over a period
of time you will find yourself listening to the music more even if
you are looking at the dulcimer.
Now if I could onluy learrn too tipe withouout lokking....
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