Cimbole-makec-ENG-8.11.2018 Taisyta PDF

AUŠRINE GARSONAITE
TRADITIONAL PLAY OF
HAMMERED DULCIMER
A SELF-STUDY BOOK
TRADITIONAL PLAY OF HAMMERED DULCIMER
Contents
About the book ................................................................................................................................................................. 2
Musical Instruments and Traditional Music ........................................................................................................ 3
Mandolins in Latvia ........................................................................................................................................................ 9
Half-step. Introduction. Which instrument you have to choose and how to prepare it for
playing. How to hold the instrument and how to acquire good sound.
Explanations of the notation and tabulatures used in the book......................................................... 12
First Step. Playing in Re (D) major. A scale in one octave, exercises to learn downstroke
and upstroke. Melodies that do not exceed octave in their range to firm the positions
of left fingers and to practice down- and upstroke ................................................................................ 16
Second step. Playing in Sol (G) major. A scale in one octave, melodies without large leaps
to practice the positions of the left fingers and movement of the plectrum ............................... 22
Third step. Changes of tonalities and rhythm. Different rhythmical patterns to fill
the long notes. Upbeats – the beginning of the phrase played with upstroke ........................... 25
Fourth step. More than one octave. Sol (G) major. Playing outside the basic fingering
of Sol (G) major – a scale and melodies in two octaves; staccato ..................................................... 30
Fifth step. More than one octave. Re (D) major. Playing outside the basic fingering
of Re (D) major. Playing on the 1st string; legato .................................................................................... 34
Sixth step. Using side strings. Using free strings to create accompaniment – bourdon
on downbeats and upbeats (on-beats and off-beats); creating double stops ............................ 38
Seventh step. Other tonalities and positions. Playing in La (A) major and Do (C) major, pieces
with tonality changes ........................................................................................................................................ 41
Eighth step. Chromatic sounds. Minor and chromatic sounds. Tremolo ................................................ 45
Addendums ..................................................................................................................................................................... 51
The fretboard scheme with positions for playing all sounds............................................................... 51
Tuning and adjustment of the instrument ................................................................................................ 52
Estonian and Lithuanian music materials.................................................................................................... 53
1
About the book

This book is meant for anyone who would like to learn to play the mandolin. It is designed to give
you what you need to know to get started as quickly as possible. You will learn to play real song
and dance tunes and begin to experience the ineffable joy of music with your instrument. The
book will be useful for anyone interested in folk and traditional music—the techniques discussed
here represent traditional styles and can be utilized in traditional music ensembles. It will also be
helpful for students and professionals who would like to join the rapidly growing ranks of man-
dolin players in our region. Most of the techniques described here are universal and these training
methods for the acquisition of good skills will be of use to both amateur and professional musi-
cians.
The instructions have been written simply, so that those who do not read music can get right
down to learning practical techniques. Each assignment has been formulated as simply as possi-
ble and the music is given in easy to understand tablature format where note lengths and finger
positions are illustrated graphically. Each exercise and piece of music is accompanied by a video
which can be accessed on a computer or mobile device via the links provided.
The material is organized step-by-step. Because you will not need to absorb a lot of complex infor-
mation upfront, you will be able to start making music for real from the very beginning. The book
contains traditional Latvian songs, singing games (or carols), and dance tunes that have been
selected to teach and consolidate specific techniques. Mastery of each step will successfully pre-
pare you for the next step, incrementally increasing the range, rhythmic complexity, skills, and the
modes of expression available to you for music making. You will be able to proceed at your own
speed through the steps. To reinforce the techniques taught in each step, we are also including an
appendix containing music from Lithuania and Estonia. By learning to play the mandolin, you will
also become familiar with the traditional music of all three Baltic countries!
This is a book from the series of self-study books of traditional play of instruments. The book was
created with the financial support of the EU educational program Erasmus+. The series was cre-
ated in collaboration of three non-governmental organizations – “Skaņumāja” (Latvia), “Virbel”
(Estonia) and “Utenos etninės kultūros centras” (Lithuania).
2
A Brief Overview
of the History of Traditional Music:
What Has Changed Over Time?
Lithuanian folk music directly reflects the lifestyle of our ancestors. Back in the day, there would be no
audience – people would play for their own enjoyment. This is why in terms of its origins, traditional
music was not really an independent art that exists only to provide aesthetic enjoyment 1. “It grew
together with the person, accompanying them through key life events: birth, christening, wedding,
death. Music helped people rise above their everyday lives and get in touch with a certain sanctity2
.” The heritage of Lithuanian instrumental music is particularly broad and rich. Based on their origin,
Lithuanian instruments are classified into authentic ones and those that were brought over later or
were prevalent throughout Europe.
Back in the middle ages, the art of troubadours, so present in European merchant towns, had its own
parallel in Lithuania in the form of meditative tunes played by simple peasants on primitive five-
string casket (or boat) shaped instruments – the kanklės. This instrument is considered one of the
most authentic and significant Lithuanian, noted in numerous ancient literary sources and common
in one form or another throughout the country (excluding Dzūkija). Besedlė is another Lithuanian
stringed instrument, comprising a body (a hazelnut stick), a resonator (a pig bladder) and strings
(made from pig intestine).
But besides that, another important part of traditional creativity are the inventive improvisations per-
formed by shepherds on lumzdelis, švilpa, wooden, straw or feather birbynė, or goat horns. Having
such simple wind instruments that either produced a handful of different tones in the case of horns,
or just a single tone in the case of skudučiai encouraged shepherds to play in ensembles, which was
how various sutartinės were created.
For rhythm, often drums and tambourines where used with beaters and jingles, while other instru-
ments, such as terkšlė, kleketas, skrabalas, the so-called idiophones, were not played at all.
Pan-European instruments came to the area back in the Middle Ages together with nomad Gypsy
musicians. In terms of stringed instruments, Lithuanians used to particularly favour the fiddle, which
was able to get people dancing the polka at weddings or make them weep at funerals. At the height
of the fiddle’s popularity, the prevalence of the dulcimer had already begun to decline. However,
thanks to researchers and promoters of folk music, the tradition was kept alive throughout the cen-
turies, same as with another very rare folk instrument – the bagpipe.
Bellows-driven instruments came to Lithuania much later, in the mid-19th century; it is known that
Antanas Baranauskas played the accordion in 1850. Petersburg accordions appeared in the early 20th
century, regular accordions – in 1933, while Russian standardised garmons came after the second
world war. The newly spread bellows-driven instruments continued to push out the old instruments
and became popular in every Lithuanian village. At the peak of popularity in the early 20th century,
there were numerous villages that had more than one accordionist, especially in Eastern Aukštaitija.
1 Baltutytė A., Lietuvių liaudies muzikos tendencijos muzikiniame ugdyme, Šiauliai, 2006, p. 10
2 Barniškienė S., 2003, p. 4
3
Accordions or, in other places, bandoneons, would be played at every party, often accompanied by
the tambourine, played with a beater.
All the instruments that were brought in later are still considered traditional Lithuanian instruments
because Lithuanian makers soon began to craft them and made them their own. Even today you can
still purchase and play folk music on hand-made fiddles, accordions or tambourines. However, there
are only a few folk instrument makers left, so traditional music is also often played on instruments
made in other countries, with Russian and German accordions being rather popular.
Judging from the data gathered through numerous ethnomusicological expeditions, musicians were
usually men, who would blow horns or skudučiai and play the dulcimer, fiddle or accordion, while
women usually sang. Often an accordion or a fiddle would be passed down from generation to gen-
eration, so the father, uncle or older brother was usually the main teacher, but it was rare for the
whole family to be able to play together, because purchasing one’s own instrument was, and still is,
expensive. During various surveys, musicians have told stories of an accordion being exchanged for
five cows or half a cottage. Very often a young musician would be inspired by an older musician in
the same village, and in such cases, musicians tend to say that they’ve “taught themselves” to play –
by copying someone else. As soon as they learned to play, the musician would become very much in
demand, having to play several hours at a time, sometimes even stretching into several days at large
traditional weddings.
Researching melodies and texts only began in the 19th century, when folklore had already begun to
fade away from every-day life. The collection of Lithuanian folk songs began first. People who took
on the job of collecting and protecting the folklore understood the importance their work carried
for future generations. Songs were collected by the priest Antanas Juška, the poet Vincas Kudirka,
Jonas Basanavičius and researched by Jadvyga Čiurlionytė as well as some others3. Researchers of
instrumental music include J. Žilevičius, J. Čiurlionytė, Z. Slaviūnas, S. Paliulis, J. Sabaliauskas, J. Šve-
das, P. Samuitis, P. Stepulis, J. Strimaitis, V. Bartusevičius, M. Baltrėnienė, A. Vyžintas, R. Apanavičius,
V. Palubinskienė etc. Currently, folk music is being collected by students of the Ethnomusicology
Department at the Lithuanian Academy of Music and Theatre, as well as folklore groups and museum
workers in their own regions. The Folk Culture Centre organises ethno-instrumentology expeditions
in the areas around various Lithuanian cities each year. Also taking part in them is a group of folklore
specialists and enthusiasts led by Arūnas Lunys.
In the late 19th century, the first professional composers, such as M. K. Čiurlionis and Vincas Kudirka
began to not only write down the folk melodies but also move them closer to stage music. The collec-
tion of folk songs for a male choir released by Vincas Kudirka in Tilžė (part I in 1895, part II in 1899) is
considered the first published collection of harmonised folk songs in the history of Lithuanian music
and constituted the beginning of a new era: the publication was met with enthusiasm by the reawak-
ened intellectuals and other brighter members of the Lithuanian society. Later on, many composers
harmonised various folk melodies and used them freely in their creative work.
The 1950s saw the beginning of the Lithuanian folklore group movement, which became particularly
popular after the restoration of independence and remains to this day “one of the main living forms
of expression of folklore” 4. Various folklore group activities – concerts, expeditions, festivals, parties –
represent the region’s unique culture, contribute to saving the traditional culture and ethnic self-con-
sciousness. Each year in Lithuania, numerous folklore festivals take place: “Griežynė”, “Saulės žiedas”,
“Sėlos muzikantai”, “Skamba skamba kankliai”, “O kieno žali sodai” etc. Also, regional culture centres
constantly hold festivals and concerts featuring a lot of folk music.
3 Online source: http://projektas-muzika.lmta.lt/media/vadoveliai_2/Vadovelis_1/I_dalis/2.Kas_yra_liaudies_muzika/index2.htm
viewed [12/072017]
4 Online source: http://www3.lrs.lt/pls/inter/w5_show?p_ r=2231&p_d=21374&p_k=1 viewed [17/072017]
4
The repertoire of the folklore groups is becoming more and more varied. Based on that, five contem-
porary categories can be distinguished:
1. Ethnic music groups performing traditional music on the old musical instruments;
Figure 1. A male collective blowing horns.
2. Traditional bands centred around accordions, mostly playing marches, popular dance melo-
dies and tender romances;
Figure 2. The traditional band Muzikontai iš pa Utenas (Musicians from Utena).
3. Traditional ensembles playing traditional folk songs and dances on traditional instruments;
Figure 3. Folklore collective Salduvė.
4. Stylised ensembles with repertoires featuring harmonised folk songs and dances (usually, re-
cordings are played during shows rather than live music) performed on professional folk and modern
instruments. This category could also be considered to include folk instrument orchestras.
Figure 4. An orchestra made up of folk music collectives performs a joint piece during the festival
Grok Jurgeli in Kaunas.
5. Folk-rock bands and folk bards are usually youth collectives. Folk-rock musicians turn tradi-
tional songs into thumping contemporary music. Folk bards create their own music that is saturated
with certain folk music motifs and contemporary rhythms.
Figure 4. The band Kitava.
Instrumental folk dance music, according to the ethnomusicologist Gaila Kirdienė, was significantly
influenced by foreign music: “A very strong Slavic influence is noticeable, as well as a slightly lesser
influence of the music of Latvian, German and other nations. Therefore, it is no surprise that the most
popular and wide-spread dances in Lithuania are those of international melodic types.“5 Currently in
Lithuania, folklore ensembles striving to revive the unique heritage of the region (oral history in the
5 Kirdienė G., Aukštaičių instrumentinis šokių repertuaras. Aukštaičių tapatumo paieškos, 2006, p. 154.
5
form of song or spoken-word, dances, games, circle games), rarely consider the uniqueness of chore-
ography in different regions, the local styles or even overall different ways of dancing6.
Therefore, over a number of years, the meaning and function of traditional music have truly changed.
It has moved out of every-day life and onto the stage. Everyone sees and understands it differently,
and although some say the tradition is disappearing, there’s still a steady number of specialists and
enthusiasts who put in a lot of effort into maintaining it. That is why it is particularly important to
educate the younger generation so that folk music is close to their hearts rather than something that
belongs in a museum.
Instrument Makers
Currently, there aren’t many folk instrument makers in Lithuania. The most famous among them is
Egidijus Virbašius (fig. 5), who has been making lamzdeliai in various tunings, diatonic and chromatic
birbynės, horns, trumpets, švilpos, goat horns, skudučiai, bagpipes, various types of kanklės, psalte-
riums, pūslinės, drums, skrabalai, terkšlės, kleketai etc. for around 30 years. Some also say that they
“research and promote Lithuanian folk instruments with great pleasure.”7.
Figure 5. Egidijus Virbašius.
Albertas Martinaitis (fig. 5), a well-known folk artist from Šiauliai, makes the usual folk musical instru-
ments: kanklės and horns, and also experiments in producing instruments from unusual materials.
Figure 5. Albertas Martinaitis.
A lot of musical instruments, such as accordions or fiddles can be bought in stores. During expedi-
tions, most musicians had stated they acquired their instruments precisely this way. However, this
is because the tradition is not passed on to the younger generation. Back in the day, there were
quite a lot of fiddle makers, Petersburg accordion makers from Dusetos were famous, and others
were well known throughout Lithuania. Nowadays, only a handful are left. Apart from the previously
mentioned makers, instruments are currently made by Jonas Bugailiškis, Mindaugas Bubelis, Dobilas
Juška, Artūras Karkuška. Antanas Butkus used to specialise in the making of the historic instruments
of Lithuania Minor8. Nerijus Ruseckas has produced a number of accordions. Quite a few instruments
have been made by Albertas Bertašius (Pasvalys), ethnomusicologist Evaldas Vyčinas (Vilnius) and
Laimis Kirilauskas (Utena). Accordion repairs are carried out by Kazimieras Mackonis (Utena), Vytas
Rimkus (Vilnius), Alvydas Maslauskas (Panevėžys), Dainius Maslauskas (Raseiniai).
The ethnomusicologist Arvydas Kirda has noted that “as the tradition was fading away disappearing
over the past few decades, various courses, seminars and workshops popped up teaching people to
create both simpler instruments (e.g. skudučiai from wood bark or straw, reed bribynės, idiophones
etc.) as well as more complex Lithuanian folk instruments (e.g. kanklės, pūslinė, lamzdelis)”. Dobilas
Juška, a physics teacher at the Kaunas Ąžuolynas middle school, has also decided to teach Lithuanian
6 Stankutė A., Šiaurės aukštaitijos muzikinio folkloro gaivinimas, Žiemgala, 2011, p. 14 – 20.
7 Online source: http://www.folkinstruments.lt/apie.htm viewed [16/07/2017]
8 Ibid.
6
folk instrument craftsmanship. In 1993, he founded the Gilė club, where members can learn to make,
for example, their own kanklės, skudučiai or lamzdeliai9. Ethnomusicologist Raimondas Garsonas also
hosts educational programmes for children at the Utena Museum of Local Lore, where they can make
simple shepherds’ instruments themselves.
9 Kutkaitytė M., Instrumentų meistrystės bijojo kaip velnias kryžiaus, Vilnius, 2009
7
The Dulcimer: Then and Now
The dulcimer is a percussive string instrument (a percussive chordophone). In European areas, the
dulcimer has been known since the 14th c. It comes from Asia10, where very similar instruments are
still being played - the Near-Eastern santoor and the Chinese yangqin. The dulcimer is most popular
in the Middle and Eastern Europe: Hungary, Romania, Moldova, Ukraine, Czech Republic, Slovakia,
Greece. It came to Lithuania back in the middle ages from the Slavic areas of the Grand Duchy of Lith-
uania. The dulcimer was played in South-Eastern and Eastern Lithuania, south off Nemunas, Lithuania
Minor, and it was also known in Southern Žemaitija11. In Latvia, the dulcimer used to be played in the
southern and eastern parts of the country. Such distribution was due to nomad nations - the Roma
and Jews, who used to play hand-built dulcimers. In manor estates, factory instruments were being
played as early as the 18th c.
The dulcimer is considered a traditional Lithuanian folk instrument. In the folk instrument classifica-
tion by Bartusevičius, the dulcimer is classed within the group of authentic instruments. According to
the author, “these are instruments that the folk builders and musicians used to make themselves from
materials available in Lithuania. They are mostly unique and original, in other words, the builders
have created a national type of the instrument”12. Most Lithuanian dulcimer players would have more
than one dulcimer. Since it was usually home-made, everyone would make the instrument based on
their own understanding of it. Instruments of various sizes and tunings would be played. Nowadays,
they are made by instrument builders such as Egidijus Virbašius and Alvydas Šeduikis.
In Lithuanian sources, the first mention of the dulcimer dates back to the latter part of the 16th c.
In the Psalter translated by the Eastern Prussian writer, compiler of hymn books and first Lithuanian
translator of the Bible, Jonas Bretkūnas, Psalm 150 reads: “...praise him with the sound of dulcimer,
praise him with resounding dulcimer” (Ps 150, 1–6)13. The dulcimer was also depicted in the low-
er-right corner of the watercolour “The Square in Front of the Church of St. Paul and St. Peter” by the
painter Juozapas Peška; three Jewish musicians can be seen, two of them playing fiddles, and one
playing the dulcimer14.
“The Square in Front of the Church of St. Paul and St. Peter” Artist J. Peška, 1808 m., watercolour frag-
ment. Vilniaus paveikslų galerija
10 Lietuvių enciklopedija, t. IV, p. 30–31

11 Cimbolai. Visuotinė lietuvių enciklopedija, T. IV (Chakasija-Diržių kapinynas). – Vilnius: Mokslo ir enciklopedijų leidybos institutas,
2003
12 V. Bartusevičius. Op. cit., p. 74.
13 Jonas Bretkūnas. Biblia, tatai esti wissas Schwentas Raschtas Lietúwischkai pergŭlditas, t. 6. Karaliaučius, written in 1580; quoted
from: Biblia Slavica, VI: Supplementum: Biblia Lithuanica, Band 1.6, München, Wien, Zürich, 1991, p. 131.
14 Stasys Samalavičius, Almantas Samalavičius. Vilniaus šv. Petro ir Povilo bažnyčia. Vilnius, 1998, p. 14
8
The initiator of the first Lithuanian song festival, Juozas Žilevičius, briefly described the dulcimer
in his 1827 article on Lithuanian national instruments: „...they are wooden rectangular frames with
strings stretched over them. They are hit with small hammers. There are usually 13 strings, but there
can be 48, 72, 100, 102 and more strings“15. Helene and Franz Tetzner were the first to provide a draw-
ing of the Lithuanian dulcimer in their paper “Songs” (1897). A detailed description of the instrument
was included next to it. The authors also describe the playing technique and dynamic capabilities.
They note that the dulcimer is an instrument that “can still be found in Lithuania these days”. This
statement seems to indicate that in the 19th c., the dulcimer was already beginning to disappear or
was at least a rather rare instrument.
The first recordings of dulcimer music in Lithuania were made in 1936, 1937 and 1939. Under the
initiative of Zenonas Slaviūnas, at the time, an employee of the Archive of Lithuanian Folklore, music
performed by three dulcimer players was recorded onto a phonograph record: in 1936, Jonas Špokas
from Panevėžys county, in 1937 - Gasparas Baltrūnas from Rokiškis county, and in 1939 - Balys Valenta
from Seinai county. Records, transcribed melodies, metrics and other archive data were published in
“Aukštaitija Songs, Sutartinės and Instrumental Music” and “Dzūkija Songs and Music” as part of the
recent series of publications “1935-1941 Phonograph Records”.
The traditional Lithuanian and Latvian dulcimer is of the same type. In Lithuania, it was more of
an accompanying instrument in traditional village bands, which consisted of: fiddle, dulcimer and
tambourine; two fiddles, dulcimer and bass drum; or diatonic accordion and dulcimer16. Along with
fiddle and accordion, the dulcimer would entertain at weddings and rural youth gatherings. These
days, the dulcimer is featured in the folklore ensembles from various regions of Lithuania, i.e. Virvytė
and Ratilio in Vilnius, Ratilėlis in Kaunas, Sietynas in Utena. The dulcimer is played in various concerts
and events, either solo, or often along with fiddle and the accompaniment of various drums. The dul-
cimer is played held in one’s lap, on the table or hung on one’s neck with a rope, with the bass strings
closer to the player. Wooden or metal cross-legged stands are also used. The timbre of the dulcimer
is reminiscent of an ancient grand piano. It is no surprise then, that concert dulcimers, popular in
Hungary and America, often have pedals. The strings are attached to the instrument using metal or
wooden tuning screws, and the sound is produced by hitting the strings with two wooden hammers,
sometimes wrapped in leather or felt, that are held in hand between the index and middle fingers.
Covered hammers produce a significantly softer sound, and these days, when loud music is preva-
lent, hard, uncovered hammers are used more often.
Nowadays, the dulcimer remains a relatively popular Lithuanian folk instrument. In Southern and
Eastern Lithuania, there still are musicians who continue its living tradition. At the moment, the dul-
cimer is mostly played in Easter Lithuania and Dzūkija. Although they are played in a relatively small
territory, each musician has kept their own unique style of playing. Often times musicians would
make their dulcimers themselves, which is why they come in such a variety of shapes. They differ in
size and proportions, materials and sound hole designs, as well as the build technique. Up until 2006,
during expeditions in Švenčionys, Ignalina, Lazdijai and Vilnius regions, Mindaugas Kačemarskas and
the ethnomusicologist Evaldas Vyčinas have interviewed seven known dulcimer players: Ignas Gum-
brys, residing in Vaikūčiai village, Stasys Paukštė from Jakeliai village and Stasys Rumbutis from Adu-
tiškis (all three from Švenčionys region), Stasys Augulis from Vilnius, Piotras Kačianovskis residing in
Rudamina (Vilnius region), Petras Kričena from Kalesnykai village (Lazdijai region) and Jonas Lecho-
15 Juozas Žilevičius. Lietuvių liaudies muzikos instrumentai. – Iliustruotoji Lietuva. Kaunas, 1927. No. 22 (75), p. 178.
16 Gifford, P.M. - The Hammered Dulcimer. A History, Scarecrow Press, 2001, p. 123
9
vickas, residing in Gilūtai village (Ignalina region). The ethnomusicologist E. Vyčinas has written down
and published many of the tunes played by these musicians in the book “100 Compositions for the
Dulcimer”. Also, during the annual folk music training courses held in Visaginas, he teaches beginner
and advanced dulcimer players.
On the dulcimer, one can either play the main melody, or echo the singers and other musicians, or
simply accompany them. After comparing how the same pieces are played by other musicians on the
fiddle or the accordion, it was found that J. Lechovickas plays the contour of the melody, and rather
than playing the full melodic pattern, tends to maintain its main foundation points17. Some musi-
cians try to play more of the details in the melody, while others accompany. There are many tech-
niques for playing the dulcimer. Some musicians play without repeating notes, but most often the
playing features rhythmic repetitions on single notes or two courses of strings hit at once. Jumps are
particularly difficult. For a beginner player, the strings blur together, because every note, depending
on the specific dulcimer, corresponds to two, three or even four strings. That is why various jumps can
only be performed after recognising and memorising which course of strings produces what sound.
An interesting playing technique is string damping.
Most dulcimer players strike firmly, without letting the hammers bounce. Sometimes, as a special
playing technique, instead of hitting, they rest the hammer on the strings, thus producing a damp-
ened sound. This technique is very useful when learning a new piece or exercise.
About the e-Book

Considering the variety of playing techniques, methodical materials were prepared and are present-
ed in the 6 chapters of this e-book, containing 15 lessons. Each lesson provides new methodical
information, introducing new technical possibilities, revising items already learnt and solidifying
new ones. After completing the full course, you will be able to play sequential, chordal, repeated,
double notes, melodic and rhythmic combinations of small rhythmic value notes, accompaniment
parts, wide jumps and multiple jumps. The string damping technique is too complicated and was
not included in this programme. You will also be briefly introduced to the music theory required to
perform these compositions. In order to properly internalise each new technique, you will learn quite
a few exercises, and once you are able to perform them fluidly, you can expand your repertoire by
learning new pieces - traditional dances, polkas, waltzes and marches.
In this book, you will be using notation and dulcimer charts. Different dulcimers may vary slightly
depending on the builder. However, the ones depicted in the graphical examples have 13 strings
and two bridges (fig. 1). With the dulcimer tuned this way, depending on the piece, you can play in
various scales: playing in G major, E minor, D major, and even C major and A major is possible. But
the main scale for this instrument is G major, because its highest course of strings is G of the second
octave, and the lowest one is G in the small octave.
Figure 1. A chart of dulcimer string courses.
17 Vyčinas, E. – Pratarmė. 100 kūrinių cimbolams, LLKC, Vilnius, 2014, p.4

10
Chapter One:
General Knowledge and Striking Strings in a Row
1.1. Correctly Positioning the Dulcimer and Holding the Hammers; First Sounds
In this lesson you will learn:

1. to correctly set up the hammered dulcimer;
2. to correctly hold and play with hammers;
3. which notes/sounds are made by which string/course of strings;
4. to read and understand charts;
5. to play the G major scale and several related exercises.
Setting Up Your Instrument
The hammered dulcimer is usually set up on a solid surface,

e.g. a table (fig. 1.1–1) or a windowsill (fig. 1.1–2), or can be
put on a cross-legged stand (fig. 1.1–3) like the ones used
for keyboards. The instrument is played strings-up, with its
long edge facing the player. It can be played in both seated
(fig. 1.1–1) and standing (fig. 1.1-3) positions, depending on
the height of the stand. It is also recommended to raise the
treble side of the instrument by putting something soft un-
der it (e.g. an item of clothing) (fig. 1.1–1, 1.1–2). This makes
the strings more clearly visible and prevents the numerous
string courses from blurring in your eyes even after hours
of playing.
Figure 1.1–1. The dulcimer set up
on a table.
Figure 1.1–2. The dulcimer on a

level surface (windowsill), short edge
propped up with a scarf.
Figure 1.1–3. Playing in a standing position

with the dulcimer set up on a cross-legged stand.
11
Striking Courses of Strings; Bridges
Dulcimer strings are grouped into courses of five strings

each. All the strings in a single course are meant to be hit at
once and are tuned to the same note. The strings are usually
anchored at one end on a hitch pin and wound around a
threaded zither tuning pin at the other.
There are also two bridges: the treble bridge on the left and
the bass bridge on the right. The treble bridge holds the
courses of strings that produce higher notes. However, the
same strings can produce a different sound depending on
which side of the treble bridge you play them. On the right
side each course of strings sound five tones lower than on
the left. The strings resting on the left bass bridge sound the
lowest. It is not played on the right side of this bridge. The
string courses going under the bridges are also not played. Figure 1.1–4. Holding the hammers,
Therefore, strings that go under the treble bridge are only view from above.
played at the bass bridge and vice versa.
Note: in this book, we will refer to musical notes as follows:

A – la, B – si, C – do, D - re, E – mi, F – fa, G – sol, Cis – do sharp,
Fis – fa sharp).
Learning to correctly hold the hammers is very important

for playing the dulcimer. It is played by striking the strings
with a pair of wooden hammers, which may have a vari-
ety of striking techniques for producing different types of
sounds. Hold the hammer lightly between your thumb and
index finger and let it bounce on a course of strings, prefer-
ably near one of the bridges (fig. 1.1.–4, 5) .
Sounds are produced by striking courses of strings with

hammers by short and accelerated hand gestures. That way
Figure 1.1–5. Holding the hammers,
you will be playing a dulcimer like a percussion instrument. finger positioning.
This technique is called staccato1. Another important thing
that you must learn is how to hold hammers loose enough Watch video no. 1.1: how to correctly take,
to be really free of any tension, but at the same time very hold and strike with hammers (QR - code
controlling. 1) .
Putting is a playing technique when the hammers are

pressed down on the string courses, preventing them from
ringing out. It is highly recommended to use this technique
while learning. All of the video material is provided in both
techniques. TAS IR TAS GABALS
httpd://www.youtube.com/
lkjljlkjlkjljlkjlkjlkj
1 Staccato - with each sound or note sharply detached or separated from the others.
12
Charts
In the following lessons, you will find two types of charts:

dulcimer charts and notation charts. Let’s get to know dul-
cimer charts first:
the vertical black lines represent the bridges (fig. 1.1–6,
1.1 – 7);
the courses of strings marked in orange are always
played on the left side of the treble bridge;
yellow courses are played on the right side of the treble
bridge;
and blue courses – on the left side of the bass bridge.
at the point where courses of strings go under the bridg-
es, they are not marked (remember, they are not played,
same as on the right side of the bass bridge);
the string courses are numbered top-to-bottom on ei-
ther side of the bridges;
when the strings that are not played in the exercise or
piece they are only shown in short black horizontal lines, 1 G C 1 1 E
which are unnumbered but serve as a visual aid in see- 2 Fis H 2 2 D
ing and understanding which course of strings needs to 3 E A 3 3 C
be played. Only the strings located above the ones be- 4 D G 4 4 H
ing played are depicted. 5 Cis Fis 5 5 A
6 H E 6 6 G
Very often, only a partial dulcimer chart is given (fig. 1.1 - 7 A D 7
11). Rather than displaying all of the string courses, such
Figure 1.1–6. A full dulcimer chart
charts only show several, e.g. one side of the bridge.
with note names.
Figure 1.1–7. A dulcimer with overlaid chart drawings.
13
Notation charts are made up of four layers (fig. 1.1–8):

1. The top layer indicates the names of the notes in letters.
2. The numbers below them indicate which string it is,
counting from the top. The numbering is the same as in
dulcimer charts.
3. The third layer is useful to those who can read notation.
4. The bottom part shows how long each note should be -
the longer the dash, the longer the note.
The colours are indicating the rhythm and show which

hand should be used to play the string: green means left,
red means right.
Your main goal during this lesson is to learn to play a row

of subsequent notes, and for this purpose, it will be very
fitting to learn to play a scale2. The dulcimer can be played
in various keys but the main and most common scale is G
major, which is what we will begin with (fig. 1.1–8).
G Fis E D C B A G Fis E D C B A G
# 4 1 2 3 4 1 2 3 4 5 6 2 3 4 5 6
& 4
G A B C D E Fis G A B C D E Fis G
# 6 5 4 3 2 6 5 4 3 2 1 4 3 2 1
&
Figure 1.1–8. G major scale notation chart.
Exercise No. 1: play the scale (fig. 1.1–8) using only the
right* hammer, going down from the top course of strings, 1 1
then vice versa (fig. 1.1–9).
2 2 2
3 3 3
Watch video no. 1.2: exercise No. 1: putting in slow tempo
4 4 4
(QR - code 2).
5 5 5
6 6
Watch video no. 1.3: exercise No. 1 (QR - code 3). 6
7 7 6
2 In music theory, a scale is any set of musical notes ordered by fundamental
frequency or pitch. To read more: https://en.wikipedia.org/wiki/Scale_(music) Figure 1.1–9. G major scale dulcimer
chart.
QR - code 2 QR - code 3
httpd://www.youtube.com/ httpd://www.youtube.com/
lkjljlkjlkjljlkjlkjlkj lkjljlkjlkjljlkjlkjlkj
14
Exercise No. 2: play the scale (fig. 1.1–8) using only the
left* hammer, going down from the top course of strings,
then vice versa (fig. 1.1–9).
QR - code 4httpd://www.youtube.com/
(QR - code 4).
Watch video no. 1.5: exercise No. 2 (QR - code 5).
*Hand changes are only for exercise No. 4

QR - code 5
Exercise No. 3: practice alternating between the hammers httpd://www.youtube.com/

on a solid surface, e.g. a table. First, strike slowly and begin
increasing the speed, then vice versa.
QR - code 6
Exercise No. 4: play the G major scale on the dulcimer alter- lkjljlkjlkjljlkjlkjlkj
nating between both hands with each course, going from
the top course of strings down and vice versa (fig. 1.1–8,
1.1–9).
Watch video no. 1.7: exercise No. 4: putting in slow tempo QR - code 7
(QR - code 7). httpd://www.youtube.com/
QR - code 8
15
G Fis E FIs E D E D C D C B
#
& 43
1 2 3 2 3 4 3 4 1 4 1 2
C B A B A G G A B A B C
#
1 2 3 2 3 4 4 3 2 3 2 1
&
B C D C D E D E Fis E Fis G
#
1 2 3 2 3 4 4 3 2 3 2 1
&
Figure 1.1–10. Notation chart for exercise No. 4.
1 1 1 1
2 2 2 2 2
3 3 3 3 3
4 4 44 4
Figure 1.1–11. Chart for exercise No. 4.
Note: When playing the dulcimer, the right hand is always

considered the main or leading hand – it is used to play
the first note of the piece or a rhythmic group, as well as to
make accents highlighting the more significant notes.
1.2. Playing on the Left Side of the Treble Bridge

1.2.1. First Compositions in A Major

1. a couple of pieces that mostly use adjacent notes;
2. to play these two pieces only using the left side of the treble bridge in A major.
Some narrow-interval compositions for dulcimer can all be

played on the same side of the bridge. When playing on the
left side of the treble bridge, note that the fifth course of
16
strings is the only one producing the note Cis on the whole
dulcimer. This sharp note on the left side of the treble
bridge allows playing some compositions in A major, which
is where we will begin.
The first and simplest melody is that of the Lithuanian folk

song O Kai Aš3 (Oh, When I…) (fig. 1.2.1–1). If you find it
difficult to perform this piece with both hands, you can start
by learning to play it with just your right hand.
Cis D E Cis D E Cis D E Fis E DCis CisCis B B Cis D E Fis E D Cis
### 2
5 3 2 5 4 2 5 4 3 2 3 45 5 5 6 6 5 4 3 2 3 4 5
& 4 .. .. ..
Figure 1.2.1–1. The melody of the Lithuanian folk song O Kai Aš in A major.
Begin with your right hand on the fifth course of strings –

Cis (fig. 1.2.1–2). Alternating between both hands, move
upwards: twice up to E over three subsequent courses of 2
strings (5, 4, 3, 5, 4, 3), on the third time going up to Fis over 3
four subsequent courses of strings (5, 4, 3, 2). 4
5
Alternating hands, the same way over three courses of 6
strings, start with the third course – E, and play downward
(3, 4, 5). Bars 5 to 7 are the second part of the piece, which
is repeated. Since the notes Cis (6) and B (7) are repeated, Figure 1.2.1–2. Chart for the melody of
the Lithuanian folk song O Kai Aš in A
strike hem initially with your right hand, then again with major.
your left. Bars 6 and 7 are identical to 3 and 4 and are there-
fore played the same way.
Watch video no. 1.9: melody of the song O Kai Aš in A major:

putting in slow tempo (QR - code 9). QR - code 9
Watch video no. 1.10: melody of the song O Kai Aš in A ma- lkjljlkjlkjljlkjlkjlkj
jor (QR - code 10).
The second piece is a popular traditional Aukštaitija (High-

lands) region dance Pjoviau Šieną (I Was Cutting Hay) (fig.
1.2.1–3). It is slightly more complicated but most notes fol- QR - code 10
low each other. httpd://www.youtube.com/
E Fis E Cis D Cis B A As Fis Fis Fis E E E D Cis B A A
### 3 j. . j.
3 2 3 5 4 5 6 7 7 2 2 2 3 3 3 4 5 6 7 7
& 8 J J J J J . .J J J J J J J J .
J
Figure 1.2.1–3. The melody of the Lithuanian folk dance Pjoviau Šieną.
3 I made up this version for cymbal myself.

17
The piece has two parts and both of them are repeated.
Looking at the chart (fig. 1.2.1–3), you will notice that in
2
bars 1 and 2, the right-handed hammer only strikes the E (3)
course, and only the left hand jumps. The right-hand part 3
is very simple but it is important that this hand does not

restrict your left hand, so just keep it above the E course of 5
strings, striking it at the beginning of the piece and then Figure 1.2.1–4. A chart for bars 1 and
hitting Fis with your left hand. However, when striking this 2 of the Lithuanian folk dance Pjoviau
course of strings for the second time, you should prepare Šieną melody.
your left hand in advance, hovering the hammer above the
Cis course of strings.
Prepare for the jump in advance in such way, and it will be

much easier to perform. Note that the fourth string course
is skipped. Play these two bars (fig. 1.2.1–4) a few times to 4
memorise them better. 5
6
In bar 3 (fig. 1.2.1–5), the first three notes are played down- 7
ward one by one, alternating the striking hand (fig. 1.2.1–3),
Figure 1.2.1–5. A chart for bars 3 and
starting on the D course of strings with your right hand (4, 4 of the Lithuanian folk dance Pjoviau
5, 6). In bar 4 (fig. 1.2.1–5), first strike the A (7) course of Šieną melody.
strings with your right hand slightly harder, as it should ring
out longer, then again more softly with the left hand.
Don’t forget to repeat the first four bars! 2

3
In the second part, bars 5 and 6, (fig. 1.2.1–6), strike the 4
course of strings Fis (2) and E (3) three times each, starting 5
with the right hammer (fig. 1.2.1–3). The first strike is should 6
be slightly stronger. Make the second strike with your left 7
hand, then right again. The last two bars (fig. 1.2.1–6) are
identical to bars 3 and 4, so play them the same way. The Figure 1.2.1–6. A chart for the second
second part is also repeated. part (bars 5 – 8) of the melody of the
Lithuanian folk dance Pjoviau Šieną
melody.
Watch video no. 1.11: Melody of the dance Pjoviau šieną in

A major: putting in slow tempo (QR - code 11).
QR - code 11
Watch video no. 1.12: Melody of the dance Pjoviau šieną in
A major (QR - code 12). lkjljlkjlkjljlkjlkjlkj
QR - code 12
18
1.2.2. Playing Polka in D

to perform one composition on the left side of the treble bridge in D major.
Thanks to the sharp Cis course of strings on the left side of

the treble bridge, the D major can be played on the dulci-
mer as well as A major. So let us learn another composition,
a polka4, which can be played on the left side of the treble
bridge in D major.
Fis E D Cis B B B Cis A A A Cis D D D E
2 3 4 5 6 6 6 5 7 7 7 5 4 4 4 3
Fis E D Cis B B B C A A A Cis D D D A

2 3 4 5 6 6 6 5 7 7 7 5 4 4 4 7
A A A A A B B Cis A Cis A Cis E E D D

7 7 7 7 7 6 6 5 7 5 7 5 3 3 4 4
A A A A B B B B A Cis A Cis E D D
7 7 7 7 6 6 6 6 7 5 7 5 3 4 4
Figure 1.2.2–1. The chart for polka in D major.
Compared to the first two compositions, the melody of the

polka may seem complicated at first. Looking at the nota- 2
tion (fig. 1.2.2–1), the piece may seem pretty long but the 3
chart also includes the repeats of the first and second parts 4
with variations. Once you start learning it, you will find that 5
this polka is very simple. Its whole rhythm is made up most- 6
ly of short notes except the very last one – longer. Also, the 7
4 Played by Jonas Špokas, born in 1911, Vaidlionių vnk., Troškūnų sen.,
Anykščių r. – 64-77/LTRF pl. 437. Vyčinas E., Lietuvių liaudies instrumentinė Figure 1.2.2–2. The dulcimer chart for
muzika. Muzika cimbolams - Polka no. 68, LLKC, 2012, Vilnius, p. 30 polka in D major: bars 1 - 8.
19
whole piece is played continuously alternating between

the hammers (left-right-left etc.). In this piece, notes mostly
follow each other and all fit inside an interval of 6 sounds,
therefore you only need 6 courses of strings. 3
4
The first bar is performed very simply, by playing the four 5
adjacent courses of strings: Fis (2), E (3), D (4) and Cis (5) (fig. 6
1.2.2–2). Start with your right hand, then alternate as shown 7
in the chart (fig. 1.2.2–1).
Figure 1.2.2–3. The dulcimer chart for
polka in D major: bars 7 – 16.
In bars 2 and 6 (fig. 1.2.2–2), hit the B (6) course of strings
three times: right, left, right; then the Cis (5) course of strings
with your left (fig. 1.2.2–1). Exactly the same way, in bars 3
and 7, hit A (7) 3 times, and then Cis with your left. Bars 4
and 8 only differ in their last note (fig. 1.2.2–2). In the fourth
bar, hit the D (4) course of strings three times (alternating
hands), then play E (3) with the left hammer, and the A (7)
course of strings in the eighth bar (fig. 1.2.2–2).
Starting with the left hammer, strike the last note of the
eighth bar, play the A (7) course of strings 6 times alternat-
ing the striking hand, then play B (6) twice, first with your
left, then your right hand (fig. 1.2.2–2). Strike Cis (5) on the
left side of the bridge once with the left hammer. After play-
ing the note, hold the hammer above that course of strings
(fig. 1.2.2–3).
In bar 11, play A (7) with your right and Cis (5) with your left
hand, and repeat (fig. 1.2.2–1, 1.2.2–3). Also, strike the E (3)
and D (4) courses of strings – first with your left, then your
right hand.
Strike the A (7) course of strings four times in bar 13, then
B (6) in bar 14, also four times (fig. 1.2.2–3). Alternate the
QR - code 13
striking hand, starting with your right (fig. 1.2.2–1). Bar 15 is
identical to bar 11 and played the same way (fig. 1.2.2–1). In
the sixteenth bar, strike the E (3) course of strings with your
right hammer, then D (4) with your left, and again with your
right (fig. 1.2.2–1).
Watch video no. 1.13: polka in D major: putting in slow tem-

po (QR - code 13). QR - code 14
Watch video no. 1.14: polka in D major (QR - code 14). lkjljlkjlkjljlkjlkjlkj
20
1.3. Playing on the Right Side of the Treble Bridge

1.3.1. Performing Compositions You Already Know in D Major

to performe the compositions you have learned in lesson 1.2.1. on the right side of the treble bridge, in
D major.
to notice the differences when playing on each side of the same bridge.
So let’s begin with the easier melody the song O Kai Aš (fig.
1.3.1–1).
Fis G A Fis G A Fis G A H A G Fis Fis Fis E E Fis G A H A G Fis

5 4 3 5 4 3 5 4 3 2 3 4 5 5 5 6 6 5 4 3 2 3 4 5
.
Figure 1.3.1–1. The notation chart for the melody of O Kai Aš. in D major.
Comparing fig. 1.2.1–2 and fig. 1.3.1– 2, you will notice that
both dulcimer charts look like a mirror image of each other.
This is because as the strings “break” over the bridge, they 2
enable you to 3
4
play the same melody on the other side of the bridge trans- 5
posed down by five tones. This means that the song O Kai 6
Aš, which you have already learnt to play on the left side
of the bridge during lesson two, can now be played on the
right side. Start with the Fis (5) course of strings.
the melody of O Kai Aš in D major.
To make it easier, first rehearse playing the piece in A major.

Repeat it a few more times to strengthen your skills. If you
remember it perfectly already, try performing this melody
on the exact same courses of strings and in the same order,
QR - code 15
but on the right side of the treble bridge. However, if you
are finding this way of learning too difficult, use the charts httpd://www.youtube.com/
(fig. 1.3.1–1, 2).
Watch video no. 1.15: melody of the song O kai aš in D ma-

jor: putting in slow tempo (QR - code 15).
Watch video no. 1.16: melody of the song O kai aš in D ma- QR - code 16
jor (QR - code 16). httpd://www.youtube.com/
21
Also, remember the second piece from lesson 1.2.1 –

Pjoviau šieną (fig. 1.3.1–3).
A B A Fis G Fis E D D B B B A A A G Fis E D D

3 2 3 5 4 5 6 5 7 2 2 2 3 3 3 4 5 6 7 7
Figure 1.3.1–3. The notation chart for the melody of Pjoviau šieną in D major.
Compare these charts (fig. 1.3.1–4, 1.3.1–5, 1.3.1–6) with

the charts for the Pjoviau šieną melody in A major (fig.
2
1.3.1–4, 1.3.1–5, 1.3.1–6). What do you notice? You have al-
3
ready seen this when you were learning to play the song O
Kai Aš on the dulcimer. Again, it is the same mirror image
5
principle, which means that the D major charts are mirror
images of the A major charts. Figure 1.3.1–4. The dulcimer chart for
bars 1 – 2 of the melody Pjoviau šieną
However, this principle only applies to compositions that in D major.
do not have jumps to the other side of the bridge. So first
of all, practice the melody in A major to strengthen skills,
and then try to do the same on the other side of the bridge
in D major. If you are finding it difficult, use the charts (fig.
1.3.1 – 3, 4, 5 and 6). 4
5
Watch video no. 1.17: melody of the dance Pjoviau šieną in 6
D major: putting in slow tempo (QR - code 17). 7

Watch video no. 1.18: melody of the dance Pjoviau šieną in
bars 3 and 4 of the melody Pjoviau
D major (QR - code 18). šieną in D major.
QR - code 17

bars 5 – 7 of the melody Pjoviau šieną
in D major.
QR - code 18
22
1.3.2. Performing a Composition You Already Know in G Major

to perform polka you have learned in lesson 1.2.2 on the right side of the treble bridge in G major.
to notice the differences when playing on each side of the same bridge.
B A G Fis E E E Fis D D D Fis G G G A

2 3 4 5 6 6 6 5 7 7 7 5 4 4 4 3
B A G Fis E E E Fis D D D Fis G G G D

2 3 4 5 6 6 6 5 7 7 7 5 4 4 4 7
D D D D D E E Fis D Fis D Fis A A G G

7 7 7 7 7 6 6 5 7 5 7 5 3 3 4 4
D D D D E E E Fis D Fis D Fis A G G

7 7 7 7 6 6 6 6 7 5 7 5 3 4 4
Figure 1.3.2–1. The notation chart for polka in G major.
In the previous lesson (3.1.1.) you have learned that the

pieces learned on the left side of the treble bridge in A ma-
jor can also be played on the right side of the same bridge
in D major, striking the same courses of strings. However,
some narrow-interval pieces that are normally performed
on the left side of the bridge in D major can also be per- 2
formed on the other side of the bridge in G major. 3
4
Compare the dulcimer charts from lessons 1.2.2. and 1.3.3. 5
You will notice the same mirror-image principle as in lesson 6
3.1. First, rehearse the polka in D major until you learn it by
heart. Then try to play the piece on the same courses of
strings, in the same order, without changing anything else, Figure 1.3.2–2. The dulcimer chart for
on the right side of the bridge. bars 1 - 8 of polka in G major.
23
Admittedly, this is a slightly more complex composition, so

if you are finding it difficult, take a look at the notation (fig.
1.3.2–1) and dulcimer charts (fig. 1.3.2 – 2, 3) and the de-
3
tailed description.
4
5
In the first bar, play the four subsequent courses of strings: B
(2), A (3), G (4) and Cis (5) (fig. 2.2.2–2). Start with your right 6
hand, then alternate as shown in the chart (fig. 2.2.2–1). Al- 7
ternate between the hammers, starting with the right one. Figure 1.3.2–3. The dulcimer chart for
bars 9 - 16 of polka in G major.
In bars 2 and 6 (fig. 1.3.2–2), strike the E (6) course of strings
three times: right, left, right; then strike the Fis (5) course of
strings with your left (fig. 1.3.2–1). Exactly the same way, in
bars 3 and 7, strike D (7) 3 times, and then Fis with your left.
Bars 4 and 8 differ only in their last note (fig. 1.3.2–2). In the
fourth bar, strike the G (4) course of strings three times (al-
ternating hands), then play A (3) with the left hammer, and
the D (7) course of strings in bar 8 (fig. 1.3.2–2).
Starting with the left hammer, strike the last note of the
eighth bar, play the D (7) course of strings 6 times alternat-
ing the striking hand, then play E (6) twice, first with your
left, then with your right (fig. 1.3.2–2). Strike Cis (5) on the
left side of the bridge once with the left hammer. After play-
ing the note, hold the hammer above that course of strings
(fig. 1.3.2–3).
In bar 11, play D (7) with your right and Cis (5) with your left,
and repeat (fig. 1.3.2–1, 1.3.2–3). Also, strike the A (3) and
G (4) courses of strings, first with your left, then with your
right hand.
Strike the D (7) course of strings four times in bar 13, then
E (6) in bar 14, also four times (fig. 1.2.2–3). Alternate the
QR - code 19
striking hand, starting with your right (fig. 1.3.2–1). Bar 15 is
identical to bar eleven, and played the same way (fig. 1.3.2–
1). In the sixteenth bar, strike the A (3) course of strings with
your right hammer, then G (4) with your left and again with
your right (fig. 1.3.2–1).
Watch video no. 1.19: polka in G major: putting in slow tem-

po (QR - code 19). QR - code 20
Watch video no. 1.20: polka in G major (QR - code 20). lkjljlkjlkjljlkjlkjlkj
24
1.4. Playing on the Left Side of the Bass Bridge

1.4.1. Performing Compositions, You Already Know in G Major

to perform the compositions, you have learned in lesson 1.2.1. (and 1.3.1.) on the left side of the bass
bridge, in G major.
to notice the differences when performing the same piece in three different tonalities.
First, rehearse the easier melody of the song O kai aš, which
you already know how to play in A major on the left side of
the treble bridge and in D major on the right side of the
same bridge. In lesson 1.3.1., we have found out how easy
it is to play the same melody on the same courses of strings
on different sides of the bridge.
H C D H C D H C D E D E H H H A A H C D E D C H
4 3 2 4 3 2 4 3 2 1 2 3 4 4 4 5 5 4 3 2 1 2 3 4
Figure 1.4.1–1. The notation chart for the melody of the Lithuanian folk song O Kai Aš in G major.
As you will notice looking at your instrument, the bass string
courses are made up of completely different strings, which
1
run under the treble bridge. However, if the melody is the
same, then, when trying to play a song you already know, 2
you can apply most of the same principles, such as rhythm, 3
hand changes and melodic turns. In this case, only the string
4
numbering is different. The dulcimer has only 6 courses of
bass string compared to the 7 treble courses. To play the 5
melody of O Kai Aš you will need 5 courses of strings.
Looking at the dulcimer charts you will notice that all of the Figure 1.4.1–2. The dulcimer chart for
strings are used except the bottom course. Also, take a look the melody of O Kai Aš in G major.
at the dulcimer charts in fig. 1.2.1 – 2 and 1.3.1 – 2. Notice
that when playing in A major and D major, string courses 1
and 7 are not used. This means that at the bass bridge, the
same melody will be performed one course of strings lower.
Before learning to play the O Kai Aš melody at the bass QR - code 21

bridge, rehearse it in A major and D major. When learning httpd://www.youtube.com/
to play in G major and following the string numbering (fig. lkjljlkjlkjljlkjlkjlkj
1.4.1 – 1, 1.4.1 –2), remember, that you are simply playing
one course of strings higher than before.
Watch video no. 1.21: melody of the song O kai aš in G ma-

jor: putting in slow tempo (QR - code 21). QR - code 22
Watch video no. 1.22: melody of the song O kai aš in G ma- lkjljlkjlkjljlkjlkjlkj
jor (QR - code 22). 25
Also remember the second piece, Pjoviau šieną, which you

have learned to play in A major during lesson 1.2.1. and D
major in lesson 1.3.1. The same principles will apply when
learning this composition.
D E D B C B A G G E E E D D D C B A G G
2 1 2 4 3 4 5 6 6 1 1 1 2 2 2 3 4 5 6 6
Figure 1.4.1–3. The notation chart for the melody of Pjoviau šieną in G major.
Same as with O Kai Aš, the first course of strings is not used
when playing Pjoviau šieną in A major and D major. There- 1
fore, when learning this melody at the bass bridge, just re-
2
member that everything is played the same, only one string
course lower. Still, should you have any difficulties, both
4
notation (fig. 1.4.1–3) and dulcimer charts (fig. 1.4.1–4, 5, 6)
are provided.
Watch video no. 1.23: melody of the dance Pjoviau Šieną in

G major: putting in slow tempo (QR - code 23). bars 1 and 2 of the melody of Pjoviau
šieną in G major.
Watch video no. 1.24: melody of the dance Pjoviau Šieną in
G major (QR - code 24).
3
4
QR - code 23
5
6

bars 3 and 4 the melody of Pjoviau
šieną in G major.
QR - code 24 1
httpd://www.youtube.com/ 2
lkjljlkjlkjljlkjlkjlkj 3
4
5
6

bars 5 – 7 of the melody of Pjoviau
šieną in G major.
26
1.4.2. Performing a Composition You Already Know in C Major

to perform the polka you learned in lesson 1.2.2 (and 1.3.2) on the left side of the bass bridge in C major.
to notice the differences when performing the same piece in three different tonalities.
E D C B A A A B G G G B C C C D
1 2 3 4 5 5 5 4 6 6 6 4 3 3 3 2
E D C B A A A B G G G B C C C G
1 2 3 4 5 5 5 4 6 6 6 4 3 3 3 6
G G G G G A A B G B G B D D C C
6 6 6 6 6 5 5 4 6 4 6 4 2 2 3 3
G G G G A A A A G B G B D C C
6 6 6 6 5 5 5 5 6 4 6 4 2 3 3
Figure 1.4.2–1. The notation chart for polka in C major.
1
2 2
3 3
4 4
5 5
6 6
Figure 1.4.2–2. The dulcimer chart for Figure 1.4.2–3. The dulcimer chart for
bars 1 - 8 of polka in C major. bars 9 - 16 of polka in C major.
27
When performing this polka at the bass bridge, the same

principles apply as when playing O Kai Aš and Pjoviau
Šieną. The polka is also played one course of strings higher
than at the treble bridge. Rehearse it in D major and G ma-
QR - code 25
jor, and then move on to the C major. Use the notation (fig.
1.4.2–1) and dulcimer (fig. 1.4.2–2, 1.4.2–3) charts.
Watch video no. 1.25: polka in C major: putting in slow tem-

po (QR - code 25).
Watch video no. 1.26: polka in C major (QR - code 26).

QR - code 26
Summary of Chapter One

Revision Questions:
Which hand is more important when playing the dulci-
mer?
In which tonalities can you play pieces on the dulcimer?
Do you know, why are the lower courses of strings rarely
used?
Exercises:
Without looking at the strings, tell which course of
strings is the note B on the left and the right side of the
treble bridge, and on the left side of the bass bridge.
Without looking at the instrument, tell how many string
courses tuned to the note A it has.
Advanced: fully cover the dulcimer strings with a thin
but opaque cloth and try to play the G major scale.
28
2. Chapter Two. Chord-Based Compositions

2.2. Learning to play chords
In this lesson you will learn to play:

1. several small-interval jumps in a row;
2. chord arpeggio.
In this lesson, we will learn to play several jumps in a row

over moderate (3 - 4 tone) intervals. First, let us become fa-
miliar with the most convenient chords on the dulcimer. It is
not possible to play a whole chord at once on the dulcimer
because a chord is made up of at least three notes, so we
will play them arpeggio5.
Most sounds on the dulcimer can be played while perform-

ing G and C major chords. So let us learn a couple of ex-
ercises based on them. First, play them very slowly using
the damping technique. Looking at the dulcimer charts,
carefully count which course of strings you need to hit.
Play from the top down, then vice versa. Once you learn to
dampen the strings with your hammers, you can try playing
the passages slowly. Finally, try to play at a lively tempo.
Complex dulcimer charts are ones intended for longer ex- 1

ercises, where multiple smaller charts are combined into
2 2
one. Grey lines separate bars, while the small numbers in
the left corner of each rectangle mark the number of the
4 4 4
corresponding bar in the notation chart.
Exercise No. 1. Using the chart (fig. 2.1–1 and 2.1–2), play 6
the G major chord using only your right hammer. Play from
the top down, then vice versa. Once you are able to easi- Figure 2.1-1. G major chord dulcimer
ly remember which courses of strings to strike, try playing chart.
while alternating hands as shown (fig. 2.1–2).
G D B G D B G G B D G B D G
1 4 2 4 2 4 6 6 4 2 4 2 4 1
Figure 2.1–2. G major chord notation chart.
5 Arpeggio - is a type of broken chord, in which the notes that compose a chord are played or sung in a rising or descending order. An
arpeggio may also span more than one octave. Read more: https://en.wikipedia.org/wiki/Arpeggio
29

(QR - code 27).

QR - code 27
QR - code 28
Exercise No. 2: Play three courses of strings (fig. 2.1–3 and

2.1–4). Alternate hands as shown (fig. 2.1–4).
G D B D B G B G D G D B D B G
1 4 2 4 2 4 2 4 2 4 2 4 2 4 6
G B D B D G D G B G B D B D G
6 4 2 4 2 4 2 4 2 4 2 4 2 4 1
Figure 2.1-3. Notation chart for exercise No. 2.
1. 2. 3.
2 2 2
4 4 4
4. 5. 2
2
4 4 4
Figure 2.1-4. Dulcimer chart for exercise No. 2 based on the G chord.
30

(QR - code 29).

QR - code 29httpd://www.youtube.com/
QR - code 30
Exercise No. 3. Using the chart (fig. 2.1-5 and 6), play the C
chord with only your right hammer. Play from the top down,
then vice versa.
G E C G E C G G C E G C E G
1 3 1 4 1 3 6 6 3 1 4 1 3 1
Figure 2.1–5. C major chord notation chart.

(QR - code 31).
1 1
3 3
4
6 6
Figure 2.1–6. C major chord dulcimer

chart.
31
Exercise No. 4: Strike three courses of strings (fig. 2.1–7 and

2.1–8). Alternate hands as shown (fig. 2.1–7).
G E C E C G C G E G E C E C G
1 3 1 3 1 4 1 4 1 4 1 3 1 3 6
G C E C E G E G C G C E C E G
6 3 1 3 1 4 1 4 1 4 1 3 1 3 1
Figure 2.1–7. Notation chart for exercise No. 2. based on the C chord.
1. 2. 3.
1 1 1 1 1
4 4 4 4
1 1
4. 5.
3 3
4
Figure 2.1–8. Dulcimer chart for exercise No. 2. based on the C chord.

(QR - code 33). QR - code 29httpd://www.youtube.com/
QR - code 30
32
2.2. The G Major Scale: four upper string courses

to play on only the top four courses of dulcimer strings;
3 compositions based on G major scale chords: G, C and D;
when and why the bass D course of strings is used;
how to play accented notes.
The G major scale is the most popular one on the dulci-

mer. That is because it is the most convenient one to play.
When playing in this scale, usually only the first four cours-
es of strings are used (at the treble bridge) and the second
bass course – D(2) (at the bass bridge). During this lesson,
you will learn three pieces that can be played by only using
these courses of strings. Let us begin with the folk dance
Križačioks (Criss-Cross).
G B G B D D B G C E G E D D B G
4 2 4 2 4 4 2 4 1 3 1 3 4 4 2 4
C E G E D D B G C C A A G B D
1 3 1 3 4 4 2 4 1 1 3 3 4 2 4
C C A A B B G G A A D D G B G
1 1 3 3 2 2 4 4 3 3 2 2 4 2 4
Figure 2.2–1. Notation chart for the Lithuanian folk dance Križačioks in G major
Looking at the chart (fig. 2.2–1), you will notice that the
whole piece is made up of triads. Bars 1 and 2 make up a G
chord, bar 3 is a C chord, bar 4 – a G chord, bar 5 is the same
as bar 3, bar 6 is the same as bar 4, bars 7 and 9 are both the
same, bar 8 is a G chord, bar 10 is the lower two tones of the 2
G chord, bar 11 is the two outer tones of the D chord, and
the last bar again is the two lower tones of the G chord, only 4 4
arranged differently. A more detailed description is given
below. Figure 2.2–2. G chord chart.
33
The first bar is quite simple. Before playing, count and no-
1 1
tice that the right hammer will start by striking the G course
of strings, which is the fourth one on the right side of the
bridge, and the left hammer will start on the B course of 3
strings, which is second from the top (fig. 2.2–1 and 2.2–2).
Figure 2.2–3. C chord dulcimer chart.
Once you are sufficiently ready, play these sounds twice
one after the other, starting with G.
1
In bar 2, you will find the already familiar triad of the G ma-
2
jor tonic (fig. 2.2–3). After striking the D (4) course of strings
3
with the right hammer, strike it once again with your left.
4 4
The B (2) course of strings is once again hit with the right
hammer, then G (4) with the left. Learn to perform these
motions fluidly because they will be repeated three times Figure 2.2–4. Dulcimer chart for bars
7–8 of the dance Kryžačioks in G major.
in this piece – in the second, third, fourth and sixth bar (fig.
2.2–1).
In bars 3 and 5, play the C chord (fig. 2.2–3) up and down. 1

This is why the top course of strings at the treble bridge is 2 2
at first hit on the right side, resulting in the note C, then on
3
the left, playing G (fig. 2–9). Follow each right-hammer hit
4
with an E (3) with your left. In bar 7, hit the C (1) and A (3)
courses of strings twice (fig. 2.2–1). First, strike with your Figure 2.2–5. The dulcimer chart for
right hammer, then repeat with your left. Bar 9 is performed bars 9–12 of the dance Križačioks in G
major.
the same way
First, strike with your right hammer, then repeat with your
left. Bar 9 is performed the same way. In bar 8, play the G
major triad upwards, starting on the G (4) course of strings
(fig. 2.2–2). In bar 10, same as bar 9, strike the B (2) and G (4)
courses of strings twice (with the left hammer on the sec-
ond time) (fig. 2.2–1). Exactly the same way, strike the A (3)
and D (2) courses of strings twice each in bar 11 (fig. 2.2–5).
End the piece by striking the G (4) course of strings with the QR - code 36
right hammer, then B (2) with the left, and G again with the
right. 2.2–1). lkjljlkjlkjljlkjlkjlkj
Watch video no. 2.9: melody of the dance Križačioks in G

major: putting in slow tempo (QR - code 35).
QR - code 37
Watch video no. 2.10: melody of the dance Križačioks in G httpd://www.youtube.com/

major (QR - code 36).
34
The second piece of this lesson is the Mazurka6 (fig. 2.2–6).

This composition is completely different. The Mazurka not
made up of chords. Instead, it mostly has notes follow-
ing each other. However, there are numerous jumps that
span an interval of up to 6 string courses (a whole fifth).
Also, while learning this piece, you will run into something
new – accents.
As you remember, the right hand is used to perform all the

main notes: the first note in each bar, as well as the last one
if a bar ends with a longer note; any relatively stronger or
rhythmically longer note (with some exceptions depend-
ing on what is convenient). Therefore, notes marked with
accents – horizontal tick marks, like the second note in ev-
ery bar of the Mazurka (fig. 2.2–6). As you can see in the
chart, such notes are always marked red, same as the first
note in each bar. This is why the first two notes of each bar
are played with the right hand. And sometimes, when a bar
only has two notes, the right hammer strikes four courses
of strings in a row, e.g. in bars 8 and 9 (fig. 2.2–6).
Accented notes are performed by hitting the course of

strings with a loosely-held hammer in a more sudden mo-
tion, however you should not press the hammer onto the
strings forcefully or try to strike from higher-up. You can
first practice on a solid surface, e.g. a table or a windowsill.
Challenge! Take a closer look at the notes and find all the
repeating bars (fig. 2.2–6). The correct answer is given on
page 9.
6 Played by Jonas Lechovickas, born in 1920m., Gilūtų k., Mielagėnų sen., Ignalinos r. – 1-27/LLKC archyvas. Vyčinas E., Lietuvių liaudies
instrumentinė muzika. Muzika cimbolams – Mazurka no. 10, LLKC, 2012, Vilnius, p.10
35
G Fis E D B B D A A D G G
1 2 3 4 2 2 4 3 3 4 4 4
G Fis E D B B D A A D G
1 2 3 4 2 2 4 3 3 4 4
D G G B D D D A A D G G
2 4 4 2 4 4 4 3 3 4 4 4
D G G B D D D A A D G
2 4 4 2 4 4 4 3 3 4 4
Figure 2.2–6. Notation chart for the Mazurka in G major scale.
In bar 1 (fig. 2.2–6), two courses of strings - G (1) and Fis

(2) - are hit with the right hammer and E (3) – with the left
1
(2.2–7). The other three bars begin with the D (4) course of
2 2
strings, then there is a jump to the other side of the bridge,
3 3
again with the right hammer, repeated with the left: onto B
4 4
(2) in bar 2, A (3) in bar 3, G (4) in bar 4 (fig. 2.2–7).
In bars 9–15, the right hammer is constantly jumping from Figure 2.2–7. Dulcimer chart for bars
1–8 of the Mazurka in G major.
D (2) at the bass bridge to G (4) on the right side of the tre-
ble bridge, from B (2) to D (4) on the other side of the same
bridge, and from D to A back on the right side of the bridge,
then again from D on the left to G (4) on the right (fig. 2–21). 2 2
The second course of strings is constantly hit again with the 3
left hammer. In bars 8 and 16, the left hand is not used at all. 4 4
Repeated bars in the Mazurka: 1–2 = 5–6, 3 = 7 = 11 = 15, Figure 2.2– 8. Dulcimer chart for bars
9–10 = 13–14, 4 = 12, 8 = 16.
36
Watch video no. 2.11: melody of the dance Mazurka in G

Watch video no. 2.12: melody of the dance Mazurka in G

QR - code 36
QR - code 37
The third piece you will learn in this lesson is called “Senis Pjovė Rugelius“7 (The Old Man Sowed
Rye) (fig. 2.2–9).
G G D D G B A B D C A G G G
4 4 2 2 4 2 3 2 4 1 3 4 4 4
G G D D G B A B D C A G G G B
4 4 2 2 4 2 3 2 4 1 3 4 4 4 2
C E C B D B A C A A G B D
1 3 1 2 4 2 3 1 3 3 4 2 4
C E C B D B A C A A G G G
1 3 1 2 4 2 3 1 3 3 4 4 4
Figure 2.2–9. Notation chart for Senis Pjovė Rugelius in G

major.
7 Played by Jonas Špokas, born in 1911m., Vaidlionių vnk., Troškūnų sen., Anykščių r. – 64-77/LTRF pl. 437. Vyčinas E., Lietuvių liaudies
instrumentinė muzika. Muzika cimbolams – Senis pjovė rugelius no. 73, LLKC, 2012, Vilnius, p. 31
37
In bar 1, string courses G (4) and D (2 at the bass bridge) are

hit twice – with the right, then the left hand (fig. 2.2–10). In
2 2
bar 2, G (4) is hit once with the right hammer and B (2) with
3
the left, then A (3) with the right again. Bars 5 and 6 are
4
played the same way.
Figure 2.2–10. Dulcimer chart for bars
In bars 3 and 7, the strings are hit once, as shown in the 1–2 and 5–6 of Senis Pjovė Rugelius in
notation (fig. 2.2–9). G major.
In bar 4, the G (4) course of strings is hit three times on the 1

right side of the bridge (right-left-right). The only difference 2
in bar 8 is that afterwards the B (2) course of strings is hit
3
with the left hand (fig. 2.2–9).
4 4
In bars 9 and 10, the right hand plays on the right side of
the bridge, and the left hand plays on the left (fig. 2.2–9, Figure 2.2–11. Dulcimer chart for bars
3–4, 7–8, 11–12 and 15–16 of Senis
2.2–12). In bar 9, begin by striking C (1) with your right Pjovė Rugelius in G major.
hand, then strike E (3) with your left and C again with your
right. Bar 10 is performed the same way, only one course of
strings lower: B (2) – D (4) – B. Bars 13 and 14 are the same 1
(fig. 2.2–9).
2
In bars 11 and 15, play A (3) on the right side of the bridge 3
with your right hand, then C (1) with your left and again 4
with your right, and then A again with your left (fig. 2.2–9,
2.2–11). Figure 2.2–12. Dulcimer chart for bars
9–10 and 13–14 of Senis Pjovė Rugelius
in G major.
In bar 12, play the G major triad upward, beginning with
your right hammer on the right side of the bridge on G (4),
then striking B (2) with your left, and D (4) on the left side
with your right hammer (fig. 2.2–11). Bar 16 is identical to
bar 14 (fig. 2.2–11).
QR - code 36
Watch video no. 2.13: melody of Senis Pjovė Rugelius in G
major: putting in slow tempo (QR - code 39). httpd://www.youtube.com/
Watch video no. 2.14: melody of Senis Pjovė Rugelius in G

QR - code 37
38
2.3. The D Major Scale: four lower string courses

to play on only the bottom four courses of dulcimer strings;
to play the 3 compositions you have learned in lesson 2.3 in D major scale;
when and why the bass A course of strings is used;
In the last lesson, you have learned that some pieces can be
played in G major scale by only using the first four courses
of strings (at the treble bridge) and the second bass course
(at the bass bridge). The D major scale is played on string
courses 4–7 and the second (A) course of bass strings (at
the bass bridge). Let us learn to play the G major pieces you
already know three courses of strings lower. We can start
with the folk dance Križačioks (fig. 2.3–1).
D Fis D Fis A A Fis D G H D H A A Fis D
#
& # 24
7 5 7 5 7 7 5 7 4 6 4 6 7 7 5 7
G H D H A A Fis D G G E E D Fis A
#
& #
4 6 4 6 7 7 5 7 4 4 6 6 7 5 7
G G E E Fis Fis D D E E A A D Fis D

## 4 4 6 6 5 5 7 7 6 6 5 5 7 5 7
&
Figure 2.3–1. Notation chart for the Lithuanian folk dance Križačioks in D major
When learning to play compositions for the bottom strings,

try to not count the courses from the top. Remember that
the treble bridge only has 7 courses of strings and the bass
bridge has 6. These two numbers will be very useful for find-
ing your way around dulcimer charts because these are the
5
courses of strings closest to you.
In the last lesson, you have learned that this piece is made 7 7
up solely of chords. Therefore, in D major scale, the first and
Figure 2.3–2. D chord chart.
second bars make up a D chord (fig. 2.3–1, 2.3–2). Before
39
you start playing, it is important to count your courses of

strings and to get ready with your hammers above string
courses 7 (right) and 5 (left). Once you are ready, play these
sounds a couple of times one after the other, starting with
D (7). In bar 2, strike A (7) for the second time with your left 4 4
(fig. 2.3–1). After that, hit Fis (5) and D (7) once with your
right and your left (fig. 2.3–1). Bars 4 and 6 are performed 6
the same way.
Figure 2.3–3. G chord chart.
In bar 3, play the G chord. G (4) on the left side of the bridge,
then B(6) with your left on the right side, D with your right 1
and B again with the left hammer (fig. 2.3–1, 2.3–3). Then
2
play D (4) on the other side of the bridge. Bar 5 is performed
3
exactly the same way.
4 4
In bars 7 and 9, hit the G (4) and A (6) courses of strings Figure 2.3–4. Chart for bars 7–8 of the
twice (fig. 2.3–4). First, strike with your right hammer, then folk dance Križačioks in D major.
repeat with your left.
In bar 8, play the D major triad upward (fig. 2.3–4), starting

with D (7), then Fis (5) with your left and finally A (7) with
your right. Be careful so that your arms do not hit each oth-
er. To avoid that, you can raise your left wrist to allow your
right hand to slide under it.
In bars 9, 10 and 11, all courses of strings are hit twice. On

the right side of the treble bridge: G (4), E (6), Fis (5), D (2), E
(6) and A (5) at the bass bridge (fig. 2.3–5). Figure 2.3–5. Chart for bars 9–12 of
the folk dance Križačioks melody in D
In bar 12 (fig. 2.3–1), hit the D (7) course of strings with your major.
right hand, then Fis (5) with your left and D again with your
right (fig. 2.3–5).
Watch video no. 2.15: melody of the dance Križačioks in D

QR - code 41
Watch video no. 2.16: melody of the dance Križačioks in D httpd://www.youtube.com/
QR - code 42
40
Now, let us remember the second composition, the Mazur-

ka (fig. 2.3–6).
D Cis B A Fis Fis A E E A D D

4 5 6 7 5 5 7 6 6 7 7 7
D Cis B A Fis Fis A E E A D

4 5 6 7 5 5 7 6 6 7 7
A D D Fis A A A E E A D D
5 7 7 5 7 7 7 6 6 7 7 7
A D D Fis A A A E E A D
6 7 7 5 7 7 7 6 6 7 7
Figure 2.3–6. Notation chart for the Mazurka in the D major scale.
In bar 1 (fig. 2.3–6), two subsequent courses of strings - D

(4) and Cis (5) - are hit with the right hammer and B (6) –
with the left. The next three bars begin with the A (7) course
of strings on the left side of the bridge. Striking with the 4
right hammer first and repeating with the left, play the fol- 5 5
lowing courses of strings: Fis (5) in bar 2, E (6) in bar 3, D (7) 6 6
in bar 4 (fig. 2.3–7). 7 7
In bars 9–15, the right hammer is constantly jumping from Figure 2.3–7. Dulcimer chart for bars
A (5) to D (7) at the bass bridge, from Fis (5) on the right 1–8 of the Mazurka in D major.
side of the treble bridge to A (7) on the left, and from A to
E (6) on the other side of the bridge, then again from A (7)
to D (2) (bass bridge) (fig. 2.3–8). When the same course of
strings is hit twice, the second hit is done with the left ham-
mer (fig. 2.3–6). In bars 8 and 16, the left hand is not used
at all (fig. 2.3–6). 5 5
6
7 7

41
Watch video no. 2.17: melody of the dance Mazurka in D

Watch video no. 2.18: melody of the dance Mazurka in D

QR - code 41
QR - code 42
The last piece, Senis Pjovė Rugelius (fig. 2.3–9).
D D A A D Fis E Fis A G E D D D
#
& # 24
7 7 5 5 7 5 6 5 7 4 6 7 7 7
D D A A D Fis E Fis A G E D D D Fis
#
7 7 5 5 7 5 6 5 7 4 6 7 7 7 5
& #
G B G Fis A Fis E G E E D Fis A
#
4 6 4 5 7 5 6 4 6 6 7 5 7
& #
G B G Fis A Fis E G E E D D D
#
4 6 4 5 7 5 6 4 6 6 7 7 7
& #
Figure 2.2–9. Notation chart for Senis Pjovė Rugelius in D major.
In bar 1, string courses D (7) and A (6) are hit twice - with
the right, then the left hand (fig. 2.3–10). In bar 2, D (7) is
hit once with the right hammer, then Fis (5) with the left,
followed by E (6) with the right (fig. 2.3–10). Bars 5 and 6 are
played the same way (fig. 2.3–9).
42
In bars 3 and 7, the strings are hit once, as shown in the

notation (fig. 2.3–9).
To make it easier to play, first carefully count which courses

of strings need to be hit (fig. 2.3–11).
5 5
In bar 4, strike the D (7) string course on the right side of 6
the bridge (fig. 2.3–11) three times (right–left–right). Bar 16 7
is exactly the same. Bar 8 differs from these two in that af-
terwards, the Fis (2) course of strings is played with the left 1–2 and 5–6 of Senis Pjovė Rugelius in
hand (fig. 2.3–9). D major.
In bar 9, begin by striking G (4) with your right hand, then

strike B (6) with your left and G again with your right. Bar 10
is performed the same way, only one course of strings low-
er: Fis (5) – A (7) – Fis. Bars 13 and 14 are exactly the same.
4
5
In bars 11 and 15, play E (6) on the right side of the bridge
with your right hand, then G (4) with your left and E again 6
with your right, repeating it with the left (fig. 2.3–9). 7 7

In bar 12, play the D major triad upward, beginning with 3–4, 7–8, 11– 12 and 15–16 of Senis
your right hammer on D (7) on the right side of the bridge, Pjovė Rugelius in D major.
then striking Fis (5) with your left, and A (7) on the left side
with your right hammer .
Watch video no. 2.19: melody of Senis Pjovė Rugelius in D

4
Watch video no. 2.20: melody of Senis Pjovė Rugelius in D 5
major (QR - code 46). 6
7
Summary of Chapter Two
Questions: 13 and 14 of Senis Pjovė Rugelius in D
What does the term arpeggio mean and how is it played? major.
How are accented notes played?
How are repeated notes played?
Exercises:
List the notes in the G major tonic chord and describe QR - code 45
how it is played on the dulcimer. httpd://www.youtube.com/
Try to play the D major chord made up of four notes (D, lkjljlkjlkjljlkjlkjlkj
Fis, A, D).
Pick one of the exercises or chords you have learned to
play at the beginning of the lesson, and try playing it
with the strings covered under a thin opaque cloth.
QR - code 46
43
3. Chapter Three. Repetitions

3.1. Repetitions in Duple Metre
3.1.1. Learning to Play Repetitions in Duple Metre

In this lesson, you will learn to play the following on the dulcimer:
1. repetitions of notes on one course of strings;
2. duple rhythmic patterns;
3. notes of small rhythmic values;
Traditional Lithuanian folk polkas and some dances are usu-

ally played with repetitions, i.e. certain rhythmical repeats
of the same note. In duple metre8 they can be performed
in one of two ways. Rhythmic pattern No. 1 consists of one
long note and two notes of smaller rhythmic value: ta–ti–ti
(fig. 3.1.1–1). This rhythm is most characteristically played
with a beater on the tambourine, often stays on the same
note, but can also be performed on other traditional instru-
ments, such as the violin, the dulcimer, the accordion or the
lumzdelis woodwind.
Figure 3.1.1–1. Duple rhythmic pattern No. 1
There is also an opposite rhythmic pattern, ti–ti–ta, com-

prised of two notes of smaller rhythmic value and one that
is twice as long (fig. 3.1.1–2). This rhythm is very typical to
the accordion, the violin and the dulcimer, can often be
heard played on the tambourine, and can be performed ei-
ther on a single note or as an arpeggio of adjacent notes.
2
/4œ œ œ œ œ œ
Figure 3.1.1–2. Duple rhythmic pattern No. 2.
First, learn only these rhythmic patterns – you will not re-
quire a dulcimer for that. It is best to learn to play the rhythm
first by hitting a solid surface with the hammers. A table or
a windowsill will be perfect for this. This is very convenient,
8 Duple metre is a musical metre characterized by a primary division of 2 beats to the bar, usually indicated by 2 and multiples in the
upper figure of the time signature, with 22 (cut time), 24 being the most common examples. Read more: https://en.wikipedia.org/
wiki/Duple_and_quadruple_metre
44
as you can even practice without the instrument. First, take

the hammers in the correct manner, just like if you were
getting ready to play. Remember that notes of larger rhyth-
mic value in these rhythmic groups - ta - are always played
with the right hand, as well as the first one of the shorter QR - code 31
two ti notes, while the second – ti - is always hit with the left httpd://www.youtube.com/
hand. Therefore, the first rhythmic pattern is played right–
right–left; and the second is played right–left–right. On a
solid surface, practice each of these rhythmic groups until
you can play them fluidly without mistakes, stops or rhyth-
mic irregularity.
QR - code 32
When you are able to play the rhythm well on a solid sur- httpd://www.youtube.com/
face, you can begin practising on the instrument. Let’s learn lkjljlkjlkjljlkjlkjlkj
to play some exercises.
Exercise No. 1: Play the G major scale, performing the first

rhythmic pattern twice on every course of strings (fig. 3.1.1–
1). Use the notation (fig. 3.1.1–3) and the chart (fig. 3.1.1–4).
Play this exercise top-to-bottom and vice versa.
G Fis E D C
1 2 3 4 1
B A G Fis E
2 3 4 5 6
D C B A G
2 3 4 5 6
Figure 3.1.1-3. The G major scale with doubled duple rhythmic pattern No. 1.

1 1
(QR - code 47).
2 2 2
3 3 3
4 4 4
5 5
6 6
Figure 3.1.1–4. G major scale chart.
45
Exercise No. 2: Play the G major scale, repeating the rhyth-

mic pattern No. 2 twice on every string (fig. 3.1.1–2). Use the
notation (fig. 3.1.1-5) and the chart (fig. 3.1.1–4). Play this
exercise top-to-bottom and vice versa.
Note! If the notation of the piece indicates a rhythmic rep-

etition of a note, the alphanumeric designation of that note
is only given on the first note of the rhythmic formation (fig.
3.1.1-5).
G Fis E D C
# 1 2 3 4 1
&
B A G Fis E
# 2 3 4 5 6
&
#
D C B A G
2 3 4 5 6
&
Figure 3.1.1–5. The G major scale with doubled duple rhythmic pattern No. 2.
Watch video no. 3.3: Exercise nr. 2: putting in slow tempo

(QR - code 49).
Watch video no. 3.4: Exercise nr. 2 (QR - code 50).
46
Exercise No. 3: As mentioned before, the second rhythmic

pattern is also typically used when playing adjacent note ar-
peggios. You can practice it by playing three adjacent notes
at a time in this rhythm, going down from each course of
strings in the G major scale.
G Fis E Fis E D E D C D C B C BA B A G G AB A BC B CD C D E D E Fis E FisG

1 23 2 3 4 3 4 1 4 1 2 1 23 2 3 4 4 3 2 3 21 2 1 4 1 4 3 4 3 2 3 21
Figure 3.1.1–6. Notation chart for exercise No. 3.
1 1 1 1 1
2 2 2 2 2
3 3 3 3 3
4 4 4 4
Figure 3.1.1–7. Dulcimer chart for exercise No. 3 and 4.

(QR - code 51).
Watch video no. 3.6: exercise No. 3 (QR - code 52). QR - code 45
QR - code 46
Exercise No. 4: Play the same way as you did in exercise No.
3, but this time use the second duple rhythm (fig. 3.1.1–2).
Use the notation (fig. 3.1.1–8) and dulcimer (fig. 3.1.1–9)
charts.
G Fis E Fis E D E D C D C B CB A B AG GA B AB C B C D C D E D EFis EFisG

1 2 3 2 34 3 4 1 4 1 2 12 3 2 3 4 4 3 2 32 1 2 1 4 1 4 3 4 3 2 3 21
47
Once you learn to play these exercises without mistakes,

you can begin learning the first composition with these
rhythmic elements. Later, if you want to remember the
skills, you can always come back to the exercises.
QR - code 53
Watch video no. 3.7: exercise No. 4: putting in slow tempo httpd://www.youtube.com/
(QR - code 53).
QR - code 54
3.1.2. Rhythmic Repetitions in Duple Metre: Polkas

1. to use duple rhythmic patterns when playing polkas;
2. two polkas with rhythmically repeating and adjacent notes.
Once you learn to play these exercises without mistakes,

you can begin learning the first polka9 (fig. 3.1.2–1). The
melody of this composition is made up of mostly adjacent
notes but the second duple rhythmic pattern is also used a
number of times. Remember that in the notation charts, if a
note is repeated, only the initial note is marked.
9 Played by Kazimieras Vincentas Svitojus, born in. 1934m., Žaliosios k., Kalvarijos sen., Marijampolės r. – 91–92/MFA KLF 1502. Vyčinas
E., Lietuvių liaudies instrumentinė muzika. Muzika cimbolams - Polka no. 92, LLKC, 2012, Vilnius, p. 38
48
B A G Fis E D D D D E Fis G
2 3 4 5 6 7 7 7 7 6 5 4
B A G Fis E D D D D E D D G
2 3 4 5 6 7 7 7 7 6 7 7 4
D D E D D B B B A A D G G
4 4 3 4 4 2 2 2 3 3 2 4 4
D E D D B B D D A A D D G
4 3 4 4 2 2 4 4 3 3 4 4 4
D E D B B D D C B A G B G
4 3 4 2 2 4 4 1 2 3 4 2 4
Figure 3.1.2–1. Notation chart for the polka.
This polka contains everything you have so far. In Chapter

One lessons, you have learned to strike the adjacent cours- 2
es of strings on one side of the bridge. The first half of this 3
polka is exactly that (fig. 3.1.2–1, 3.1.2–2). 4
5
Starting with your right hand on the second course of
6
strings on the right side of the treble bridge, go down alter-
7
nating your hammers to the very bottom course of strings.
Then play the second duple rhythmic pattern on it, and, Figure 3.1.2–2. Dulcimer chart for bars
starting on that course, begin to climb back up to the fourth 1–8 of the polka.
course of strings, ending on it with a rhythmically repeated
note (fig. 3.1.2–1).
2 2
In Chapter Two you have learned that some compositions 3 3
in G major scale are played only on the first four courses of 4 4
strings along with the bass D (2). The whole second part of
this polka is like that (bars 9–20). Figure 3.1.2–3. Dulcimer chart for bars
9–12 of the polka.
49
In bars 10, 11 and 12, play the repeating notes in the second
1
duple rhythm. In bar 11, you will have to cross your hands.
2
Let your left hand go on top and keep your right wrist low.
3 3
Watch video 3.9: first polka - putting in slow tempo (QR - 4 4
code 55).
Figure 3.1.2–4. Dulcimer chart for bars
Watch video 3.10: first polka - (QR - code 56). 13–20 of the polka.
The second polka10 may seem a lot more complicated (fig.

3.1.2–5). It has multiple jumps, but as long as you play pre-
cisely according to the given description, you will find it
quite convenient to play, as everything is right nearby.
G D E D B G D E D C B
#
& 24
4 4 3 4 2 4 4 3 4 1 2
A D D D Fis E D C B A G G
#
3 4 3 3 2 3 4 1 2 3 4 4
& ..
G G B C C B B G G B A D D A G G B G B
4 4 2 1 1 2 3 4 4 2 3 2 2 3 4 4 2 4 2
&
G G B C C B B G G B A D D A G G B G
#
4 4 2 1 1 2 2 4 4 2 3 2 2 3 4 4 2 4
&
Figure 3.1.2–5. Notation chart for the polka.
10 I have learned to play this piece from Evaldas Vyčinas in traditional music courses in Visaginas.
50
In the first part of the (1 – 8) (fig. 3.1.2 – 5) there are many

1
jumps from one side of treble bridge to the other (fig. 3.1.2
2
– 6, 7). D(4) note is rhythmically repeating. In bars 6 and 7 all
rhythmical values of notes are equal (fig. 3.1.2–5). Bars 1 – 8 3
should be repeated. 4 4

Bars 9, 10 and 13, 14 (that are the same like 9 and 10) (fig. 1–4 of the polka.
3.1.2 – 5 and 8) are actually very simple to play. Important
thing is that only right hammer is jumping while the left
hammer is constantly striking B (2) course of strings.
In the same manner should be played bars 11 and 15 (fig.

3.1.2–9).
Watch video 3.11: second polka - putting in slow tempo (QR Figure 3.1.2–7. Dulcimer chart for bars
5–8 of the polka.
- code 57).
Watch video 3.12: second polka - (QR - code 58). 1

2

9–10 and 13–14 of the polka.
2 2
3
4

11–12 and 15–16 of the polka.
QR - code 57
QR - code 58
51
3.1.3. Duple Rhythms in Quadruple Metre: Dances and Marches

1. to use the duple rhythmic patterns from lesson 3.1.1. in quadruple metre compositions;
2. a dance and a march.
Traditional compositions in a quadruple metre are usually

marches and dances. Duple rhythmic patterns fit composi-
tions of this metre very well and are often used in them. The
melody of the popular traditional dance Malūnėlis11 (Little
Windmill) features plenty of repeated notes (fig. 3.1.3–1).
In the first piece, the differences between parts one and two
(separate lines) are very clear. The first part uses the previ-
ously mentioned polka rhythm: ti ti ta – two short notes and
one twice as long. The first three bars are played in an iden-
tical manner but each next one is lower by the interval of a
third (two tones) – this is called a sequence. However, since
we are learning this piece on the dulcimer, we will not be
able to play every bar identically.
G G Fis E D E E D C B C CB AG D
1 1 2 34 3 3 4 5 6 1 12 3 4 4
G G B D B DC B A A B C A C BA G G B D E B D C B A G
4 4 2 4 2 41 2 3 3 2 1 3 1 23 4 4 2 4 3 2 4 1 2 3 4
Figure 3.1.3–1. Notation chart for the Lithuanian traditional dance Malūnėlis
The first bar begins with a double rhythmic repeat of the G

note – ti ti ta. After that, starting with your right hand on
the G (1) course of strings, alternating the striking hand, hit
four adjacent courses of strings one after the other going
downward.
The second bar differs from the first in that it is played lower 1
two tones lower. However, it is not possible to play it the 2
exact same way. The course of strings below D on the left 3
side of the treble bridge is tuned to Cis or Do sharp, while 4
the G major scale requires a regular C or Do - therefore in
the second half of the bar you will have to jump to the right
Figure 3.1.3–2. Dulcimer chart for the
side of the bridge. first bar of Malūnėlis.
52
Bar 3 only differs from bar 1 in that what we played on the

1
left side of the bridge in bar 1, will now be played on the
2
right side.
3
Bar 4 is a rhythmic repetition of the D note. Afterwards, re- 4
peat part one.
second bar of Malūnėlis.
Bar 5 begins part two of the piece, which is completely dif-
ferent from part one. First of all, while the first four bars fea-
tured adjacent notes played one after another, the second 1
part has more jumps like the ones we have learned about 2
in lesson two. Second, bar 5 is where we use our second 3
rhythmic element. 4 4
The bar begins with two right-hammer strikes on the G(4) Figure 3.1.3–4. Dulcimer chart for bars
course of strings. Even though the B(2) course of strings is 3–6 and of Malūnėlis.
marked red, hit it with your left hand for the first two times
and then finish the bar with your right. This part of the piece
is complicated to play, the hands cross, so be careful and try
2
not to get confused or smash the hammers into each other.
3
Bar 6 is very simple. As the right hand jumps, keep the left 4 4
hand as close to the strings as possible. Bar 7 starts off sim-
ilar to bar 5 but the D note is rhythmically repeated. Bar 8 seventh bar of Malūnėlis.
is a row of adjacent notes going down from D, played with
alternating hands. Let the last G course of strings ring out,
then repeat part two
Watch video 3.13: Malūnėlis - putting in slow tempo (QR -

code 59).
QR - code 59
Watch video 3.14: Malūnėlis (QR - code 60).
QR - code 60
53
The second piece of this lesson is the Aukštaitiškas

Maršas12 (Aukštaitija March) (fig. 3.1.3–6).
D C CB D G GFisFisFisEEDE Fis FisA A A B B C D E D DAB B

4 1 12 4 1 1 2 2 2 33 4 3 2 2 33 3 221 4 3 4 4 1 2 2
D DD C D E E E D E Fis Fis FisE Fis G GF E D

4 44 1 4 3 3 3 4 3 2 2 23 2 1 12 3 4
D DD C D E E E D E Fis FisFisE Fis G

4 44 1 4 3 3 3 4 3 2 2 2 3 2 1
Figure 3.1.3–6. Notation chart for the Aukštaitija March
In marches the second duple rhythm is more common. This 1 1

piece is very simple to play as it only takes four upper cours- 2 2
es of strings (pav. 3.1.3 – 6, 7). 3 3
4
Bars 5 – 7 are identical to 9 – 11.
Watch video 3.15: Aukštaitija march - putting in slow tempo 1–4 of Aukštaitija March.
(QR - code 61).
1 1
Watch video 3.16: Aukštaitija marchl (QR - code 62).
2
3
4

5–12 of Aukštaitija March.
QR -myself.
12 Originally played with accordions, I made this version for dulcimer code 32 QR - code 31
54
3.2. Lesson Two. Triple Rhythms

3.2.1. Learning to Play Triple Rhythmic Patterns

1. rhythmic formulas and their variations in traditional triple-meter compositions, such as waltzes;
2. various exercises that will teach you to fluently perform triple rhythmic patterns.
Same as in polkas, marches and other dances, waltzes also

use various rhythmic formulas. These formulas are also rath-
er typical in other instruments, such as the violin or the ac-
cordion, and especially the tambourine, which usually plays
faster rhythms. Pieces in duple and quadruple meters use
duple rhythmic patterns, so there are only two ways to play
the shorter notes. But because waltzes and similar compo-
sitions are in triple meter (sometimes sextuple, which is still
divisible by three), they use triple rhythmic patterns that can
have slightly more variations. In this lesson, you will learn a
couple of the more popular ones. The most often-used one
is the ta-ti-ti-ta (long note, two short ones, another long
note) (fig. 3.2.1–1).
Figure 3.2.1–1. Triple rhythmic pattern No. 1
Or ta-ti-ti-ti-ti (1 long, 4 short) (fig. 3.2.1–2).
Figure 3.2.1–2. Triple rhythmic pattern No. 2
In some variations, other rhythmic formulas may be used,

where all six notes are short or only the third beat of the
meter is subdivided into shorter notes, i.e. ta-ta-ti-ti (two
long, two short). Usually, the first part of the bar is longer
and more accentuated. Also, same as in duple and quadru-
ple meter compositions, the triple rhythmic formulas may
be played on a single course of strings as well as on multiple
courses.
In order to learn these rhythmic models well, we will be

practising various exercises in this lesson. At first, just as
when we were learning polka rhythms, it is very convenient
to practice your hammer strikes on a solid surface. So first
of all, learn to fluently play the first (fig. 3.2.1–1) and second
(3.2.1–2) triple rhythmic patterns with both hammers on a
table or a windowsill. When you become good at it, you can
begin practising on the strings.
55
Exercise No. 1. Perform the G major scale (fig. 3.2.1–3, 3.2.1–

4), playing the triple rhythmic pattern No. 1. once on each
course of strings (fig. 3.2.1–1). First go down, then back up
again from the bottom (bass) G course of strings.
G Fis E D C
1 2 3 4 1
B A G Fis E
2 3 4 5 6
D C B A G
2 3 4 5 6
Figure 3.2.1–3. The G major scale with doubled triple rhythmic pattern No. 1.

(QR - code 63).

QR - code 63
QR - code 64
Exercise No. 2. Perform the G major scale (fig. 3.1.1-4, 3.2.1-

4) playing the triple rhythmic pattern No. 2 once on each
course of strings (fig. 3.2.1–2). First go down, then back up
again from the bottom (bass) G course of strings.
56
G Fis E D C
1 2 3 4 1
B A G Fis E
2 3 4 5 6
D C B A G
2 3 4 5 6
Figure 3.2.1–4. The G major scale with doubled triple rhythmic pattern No. 2.
Watch video no. 3.19: exercise No. 2 - putting in slow tempo

(QR - code 65).

QR - code 63
QR - code 64
Exercise No. 3*: maintaining the 1st rhythmic pattern (fig.
3.2.1–1), alternating the striking hand as shown in the chart,
play the longer G note, the two shorter notes G and Fis, and
finish with the longer E (fig. 3.2.1–6).
G G Fis E Fis FisE D E E D C D D CB C C B A B B AG A A G Fis G G Fis E

1 1 2 3 2 23 4 3 3 4 1 4 4 12 1 1 2 3 2 2 34 3 3 4 5 4 4 56
FisFisE D E ED C D D CB C C B A B B A G G G A B A A B A B B C D CC D E
5 5 6 7 1 12 3 2 2 34 3 3 4 5 4 4 5 6 6 6 5 4 5 5 4 3 4 4 3 2 33 2 1
D D E Fis E E Fis G Fis FisG A G GAB A AB C B B CD C CD E D DE F E E F G

7 7 6 5 6 6 5 4 5 54 3 4 4 32 3 32 1 2 2 1 4 1 14 3 4 43 2 3 32 1
Figure 3.2.1–6. Notation chart for exercise No. 3
57

(QR - code 67).

QR - code 59
QR - code 60
Exercise No. 4*: maintaining the 2nd rhythmic pattern (fig.

3.2.1–2) play 3 adjacent notes as shown in chart (fig. 3.2.1
– 7).
G FisFisE E Fis E E D D E D DC C D C CBB C B B AA B A AGG A G G FisFis G FisFisE E
1 22 3 3 2 3 3 4 4 3 4 41 1 4 1 122 1 2 2 33 2 3 34 4 3 4 4 55 4 55 6 6
Fis E E D D E D D C C D C C B B C B B A A B A A GG G A A BB A B B C C B C C DD C DDEE
5 6 6 77 1 2 2 3 3 2 3 3 4 4 3 4 4 5 5 4 5 5 6 6 6 5 5 44 5 4 4 3 3 4 3 3 22 3 2 211
D E EFisFis E FisFisGG Fis G G A A G A A B B A B B C C B C C D D C D D E E D E EFisFis E FisFisGG

7 6 6 55 6 5 5 4 4 5 4 43 3 4 3 3 22 3 2 2 1 1 2 1 1 4 4 1 4 433 4 3 3 2 2 3 2 2 11
Figure 3.2.1–7. Notation chart for exercise No. 4

(QR - code 69).

QR - code 59
* Use dulcimer chart from the previous chapter (fig. 3.1.1–7). httpd://www.youtube.com/
Other variations of the exercise are also possible but they
are more complex so we will leave them for future lessons.
QR - code 60
58
3.2.2 Triple Rhythmic Patterns in Waltzes

1. to use triple rhythmic patterns in waltzes;
2. couple of waltzes.
The first piece you will learn in this lesson is the popular Aukštatija waltz called Gimnazistų Valsas13
(The High-Schoolers’ Waltz). This piece uses the rhythmic models from both the 1st and the 2nd ex-
ample, which, after the exercises, you should now be able to fluently play with your hammers. The
piece comprises two parts, 8 bars each, both repeated for one more time, adding rhythmic variations.
That way, this piece will be useful for learning new rhythmic patterns. Use charts (fig. 3.2.2–1, 2, and 3)
B A G D G Fis Fis E Fis
# 3 j
2 3 4 2 4 5 5 6 5
& 8
G G A B A G
# j
4 4 3 2 3 4
&
D D G Fis Fis E Fis G G Fis
# j
2 2 4 5 5 6 5 4 4 5
&
E Fis G Fis E D B A B
#
6 5 4 5 6 7 2 3 2
&
C B A G G Fis E Fis G Fis E
# j
1 2 3 4 4 5 6 5 4 5 6
&
D B A B C B A G G
#
2 2 3 2 1 2 3 4 4
& .
Figure 3.2.2–1. Notation chart for Gimnazistų waltz.
13 Originally played with accordions, I made this version for dulcimer myself.
59
Watch video 3.25: Gimnazistų waltz - putting in slow tempo

(QR - code 71).
2 2
Watch video 3.26: Gimnazistų waltz (QR - code 72). 3
4
5
6
Figure 3.2.2 – 2. Dulcimer chart for the

first part of Gimnazistų waltz
1
2 2
3
4
5
6
Figure 3.2.2 – 3. Dulcimer chart for the
second part of Gimnazistų waltz.
60
Second waltz is called Dobilas14 (Clover) (pav. 3.2.2 – 4, 5).

Try to learn it without any further explanations.
D G G B D D B D E D
2 4 4 2 4 4 2 4 3 4
B G A A D A A B
2 4 3 3 2 3 3 2
C C C D E Fis E D C B
1 1 1 4 3 2 3 4 1 2
B D D D E D
2 2 4 4 3 4
B B A A G A A D C C
2 2 3 3 4 3 3 2 1 1
C B A Fis E D D E D C B B D
1 2 3 2 3 4 4 3 4 1 2 2 2
Figure 3.2.2 – 4. Notation chart for waltz Dobilas.
1
2 2 2
3 3
4 4
Figure 3.2.2 – 5. Dulcimer chart fort

waltz Dobilas.
14 The same.
61
Watch video 3.27: waltz Dobilas - putting in slow tempo (QR

- code 73).
Watch video 3.28: waltz Dobilas (QR - code 74).

QR - code 59
QR - code 60
Summary of Chapter Three

Questions:
What is the best way to learn more advanced rhythmical

technique?
What does second triple rhythmic pattern look like?
In which piece you can use duple rhythmic patterns?
Exercises:
Let’s get creative! I want you to make your own rythmical
combinations.
Try to remember those simple pieces that you have
learned in previous lessons and add some rythmical
variations learned in this chapter.
Do the same in Mazurka (previous chapter). This exercise
is more advanced but don’t give up!
62
Chapter 4. Dyads
Dyads and Split Dyads
4.1.1. Learning to Play Dyads

1. To strike with both hammers at the same time, producing dyads that span various intervals;
2. To play dyads split into short notes;
3. To understand how double notes are marked in the charts;
4. Exercises for practising dyads that have an interval of a third.
Up until now, you were learning to play the dulcimer one

course of strings at a time. However, in some compositions,
dyads are played by hitting two courses of strings at once
with both hammers. The dyads may span various intervals
depending on the composition, but most often they are
thirds, fifths and octaves. In this chapter, you will learn to
play smaller interval dyads, as well as ones that are split into
short notes.
Marking. Dyads are marked differently in notation charts

than note sequences. Take a look at the first chart (fig. 4.1.1–
1). Each bar only has two notes. Sometimes they are played
together as a dyad, sometimes one after the other - a split
dyad. On the staff, the dyads are written down as notes di-
rectly above each other, while split dyads are shown as the
same notes following one after the other. Therefore, the
top line is where the letter of the note that has to be played
with your right hand is given, and the second line after that
is where the letter of the note that has to be played with
your left hand is given. The third line has the number of the
course of string played with right hammer, and the fourth
line - the number of the course of strings played with left
hammer. To make things clearer, the letters and the num-
bers are also separated by longer bar lines. Similar mark-
ing is used for full compositions as well but they feature
much more varied notes. This description may seem very
complicated and difficult to remember at first, but as you
begin learning specific pieces, everything will quickly come
together - same as before, you will find additional explana-
tions with each specific exercise.
Let us try a couple of exercises that will help us learn to play

dyads and split dyads. The exercise series No. 1 a, b and c is
63
meant to teach you to play dyads and split dyads in triple

meter (waltz-like) compositions.
Exercise No. 1a: on the left side of the treble bridge. Pre-
pare your right hand above the G and your left above the
E course of strings. Strike with both hammers at once,
then one after the other in turns, starting with your right
hand. When playing short notes, the hammers should be
held very loosely, without gripping them in your fist, but
firmly enough between your fingers so that you are able to
control them. Play the exact same way sequentially on the
other courses of strings on this side of the bridge according
to the charts (fig. 4.1.1–1 and 2) all the way down to the
bottom strings.
G G G Fis Fis Fis E E E

D D D Cis Cis Cis
E E E D D D Cis Cis
Cis B B B A A A
1 1 1 2 2 2 3 3 3 4 4 4 5 5 5
#
& 38
3 3 3 4 4 4 5 5 5 6 6 6 7 7 7
# #
Figure 4.1.1–1. Notation chart for exercise No. 1a.
1
2
3 3
4 4
5 5
6
7
Figure 4.1.1–2. Dulcimer chart for exercises No. 1a and No. 2a.
64
Watch video no. 4.1: exercise No. 1a - putting in slow tempo

(QR - code 75).
Watch video no. 4.2: exercise no. 1a (QR - code 76).
Exercise No. 1b: on the right side of the treble bridge. Play it
the same way as you did on the left side of the bridge, use
the charts (fig. 4.1.1–3 and 4).
C C C B B B A A A G G G Fis Fis Fis

A A A G G G Fis Fis Fis E E E D D D
1 1 1 2 2 2 3 3 3 4 4 4 5 5 5
3 3 3 4 4 4 5 5 5 6 6 6 7 7 7
& # #
Figure 4.1.1–3. Notation chart for exercise No. 1b.
1
2
3 3
4 4
5 5
6
7
Figure 4.1.1–4. Dulcimer chart for exercises No. 1b and No. 2b.
Watch video no. 4.3: exercise No. 1b - putting in slow tempo

(QR - code 77).
Watch video no. 4.4: exercise No. 1b (QR - code 78).
65
Exercise No. 1c: on the left side of the bass bridge. Play it the
same way as you did at the treble bridge, use the charts (fig.
4.1.1–5 and 6).
E E E D D D C C C B B B
C C C B B B A A A G G G
1 1 1 2 2 2 3 3 3 4 4 4
3 3 3 4 4 4 5 5 5 6 6 6
&
Figure 4.1.1–5. Notation chart for exercise No. 1c.
1 1 1 1
2 2 2 2
3 3 3 3
4 4 4 4
5 5 5 5
6 6 6 6
Figure 4.1.1–6. Dulcimer chart for exercises No. 1c and No. 2c.
Watch video no. 4.5: exercise No. 1c - putting in slow tempo

(QR - code 79).
Watch video no. 4.6: exercise No. 1c (QR - code 80).
The exercise series No. 2 a, b and c is meant to teach you to

play combinations of dyads and split dyads in duple meter
(polka-like) compositions.
Exercise No. 2a: on the left side of the treble bridge. Using
the same chart, play the dyad: G with your right hand and
E with your left. Then hit the G-E-G courses of strings one
by one, starting with your left hand and ending with the
dyad of these two notes. Repeat the same exercise the ex-
act same way on other pairs of string courses, moving down
sequentially as shown in the charts (fig. 4.1.1–2 and 7)
66
G G G G Fis Fis Fis Fis E E E E D D D D Cis Cis Cis Cis

E E E D D D Cis Cis Cis B B B A A A
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4 5 5 5 5
#
& 24 # #
3 3 3 4 4 4 5 5 5 6 6 6 7 7 7
Watch video no. 4.7: exercise No. 2a - putting in slow tempo

(QR - code 81).
Watch video no. 4.8: exercise No. 2a (QR - code 82).
Exercise No. 2b: on the right side of the treble bridge. Play it
the same way as you did on the left side of the bridge. Use
the charts (fig. 4.1.1–4 and 8).
C C C C B B B B A A A A G G G G Fis Fis Fis Fis

A A A G G G Fis Fis Fis E E E D D D
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4 5 5 5 5
3 3 3 4 4 4 5 5 5 6 6 6 7 7 7
Watch video no. 4.9: exercise No. 2b - putting in slow tempo

(QR - code 83).
67
Exercise No. 2c: on the left side of the bass bridge. Play it the
same way as you did at the top bridge. Use the charts (fig.
4.1.1–6 and 9).
E E E E D D D D C C C C B B B B
C C C B B B A A A G G G
1 1 1 1 2 2 2 2 3 3 3 3 4 4 4 4
3 3 3 4 4 4 5 5 5 6 6 6
&
Figure 4.1.1–9. Notation chart for exercise No. 2c.
Watch video no. 4.11: exercise No. 2c - putting in slow tem-

po (QR - code 85).
Watch video no. 4.12: exercise No. 2c (QR - code 86).
Note that in exercises No. 1 a, b, c and No. 2 a, b, c, you were

hitting the higher note with your right hand and the bot-
tom note with your left. After a dyad, you would start with
the higher note, and move down sequentially after playing
the whole shape. However, the higher note in a dyad or a
split dyad is not always played with the right hand. To illus-
trate that, try out exercise No. 3, where the higher note will
be played with the left hand.
Exercise No. 3a: prepare your right hand above the G course
of strings on the right side of the treble bridge, and your left
hand above the B. In this exercise, the strings are hit one af-
ter the other, i.e. split dyads are played. So, as shown in the
chart (fig. 4.1.1–10 and 12) first hit the G course of strings
with your right hand, then, with alternating hammers, play
G-B-G-B. Play the remaining bars according to the same
principle.
68
G GBG B A A CA C B BD B D C CE C E D D Fis D Fis E E GE G
#
& 24
4 424 2 3 3 13 1 2 2 4 2 4 1 13 1 3 4 4 2 4 2 3 3 13 1
Watch video no. 4.13: exercise No. 3a - putting in slow tem-

po (QR - code 87).
Watch video no. 4.14: exercise No. 3a (QR - code 88).
Exercise No. 3b: this exercise differs from 3a only in that the
dyad of both notes is played instead of the last note in each
bar. E.g. if the first bar ends on the note B, instead of it, play
B with your left hammer and G with your right at the same
time as shown in the chart (4.1.1–11). Also, use the dulcimer
chart (e.g. 4.1.1–12).
G G G G A A A C B B B D C C C C D D D D E E E E
BB C A D
B E
E Fis
Fis G G
4 4 4 4 3 3 3 1 2 2 2 4 1 1 1 1 4 4 4 4 3 3 3 1
#
2 2 1 3 4 2 3 3 2 2 1 3
2
&4
1 1 1
2 2 2
3 3 3
4 4 4
Figure 4.1.1–12. Dulcimer chart for exercises No. 3a and b.
69
Watch video no. 4.15: exercise No. 3b - putting in slow tem-

po (QR - code 89).
Once you are able to fluently play all of these exercises and
become familiar with the dyad technique, you can begin
learning pieces that use dyads.
4.1.2. Learning to Play Compositions with Dyads

to play dyads in dances;
three dances.
The first piece in this lesson is the dance Kazokėlis15 (Little

Cossack). Like most compositions, it has two parts. Part one
has four bars with a repeat sign, which means that these
four bars are repeated twice. Double notes are only played
in the first part of the piece, while the second part is much
simpler.
70
D B B B D B B B D E B G
G G G G B D A
2 2 2 2 2 2 2 2 4 3 2 4
#
4 4 4 4 2 4 3
& 24 .. ..
D A G Fis E D Fis D Fis G A G Fis E D
#
4 3 4 5 6 2(7) 5 2(7) 5 6 3 4 5 6 2(7)
& . .
D Fis G A G Fis E D Fis D Fis G A G Fis E D
#
2(7) 5 6 3 4 5 6 2(7) 5 2(7) 5 6 3 4 5 6 2(7)
& . ..
Figure 4.1.2–1. Notation chart for the Lithuanian traditional dance Kazokėlis
The composition begins by striking the bass D (2) course of

strings with the right hammer (fig. 4.1.2–2). Before starting
the piece, you can prepare your hammer above the G (4)
2 2
course of strings. After playing the first note, you will notice
a split dyad B (2) - G (4) - B (2) - play it as shown in the chart
(fig. 4.1.2–2). Bar 1 ends with hitting both courses of strings 4
at the same time, and bar 2 is identical.
In bar 3, an unusual thing happens – we begin with the left 1 and 2 of Kazokėlis
hand (fig. 4.1.2–1). Once again, in bars 3 and 4, you should
keep the left hammer as close as possible to the D (4) course
of strings, on which you begin, as well as preparing in ad- 2
vance above the A (3) course of strings on the other side of
3 3
the bridge (fig. 4.1.2–3). Preparing like this will help you per-
4 4
form jumps from one side of the bridge to the other with
your left hand without hindering its motions with your right Figure 4.1.2–3. Dulcimer chart for bars
hand. Do not forget to repeat bars 1–4. 3 and 4 of Kazokėlis
When both hands anticipate their next move, they do not

hinder each other and it is easier to avoid confusion. 2
3
In bar 5, strike with the right hammer twice (fig. 4.1.2–1). Both 4 4
initial notes are important and sufficiently long rhythmical- 5
ly to be played with one hand. Moving on, other notes are 6
played in sequence, alternating the striking hand (fig. 4.1.2–
4), but the first note in the bar is always hit with the right
5–12 of Kazokėlis part II.
hammer. Bars 5, 7 and 9 are the same, as well as 6 and 10.
71
Watch video no. 4.17: Kazokėlis- putting in slow tempo (QR

- code 91).
Watch video no. 4.18: Kazokėlis (QR - code 92).
The second piece in this lesson is a popular traditional Lith-

uanian dance Ant Kalno Karklai Siūbavo16 (Willows Were
Swinging on a Hill) (fig. 4.1.2–5).
B B B B B G G
G G A C G A G B A
2 2 2 2 2 4 4
# 4
4 4 3 1 4 3 4 2 3
& 4
B B B D D E E D B B B B D D C
G B C D E C G G G G B D B
2 2 2 4 4 3 3 4 2 2 2 2 4 4 1
# j .
4 2 1 4 3 1 4 4 4 4 2 4 2
& .. .
3 3
A A A C B B D B C B
A B C A G G A A G
3 3 3 1 2 2 2 2 1 2
# j
3 2 1 3 4 4 3 3 4
& .. ..
Fig. 4.1.2–5. Notation chart for Ant Kalno Karklai Siūbavo.
16 Played by Jonas Lechovickas, born in 1920, Gilūtų k., Mielagėnų sen., Ignalinos r. – 1-27/LLKC archyvas. Vyčinas E., Lietuvių liaudies
instrumentinė muzika. Muzika cimbolams – No.23 Ant Kalno Karklai Siūbavo, LLKC, 2012, Vilnius, p.14
72
Only one dyad is played in this piece, B–G, which you also
1
have already played in Kazokėlis. However, in this piece, it is
2
used a lot more often and in both parts (fig. 4.1.2–5). Also,
sometimes the B (2) course of strings is hit with the right 3
hammer and G (4) with the left, and sometimes – vice ver- 4
sa. It depends on which note in the dyad belongs to the Figure 4.1.2–6. Dulcimer chart for bars
melody and is therefore more important – all the important 1 and 2 of Ant Kalno Karklai Siūbavo
notes are played with the right hand.
1
In bar 1, the melody begins on the note G, so hit the 4th 2
course of strings with the right hammer, and the 2 (B) with 3
the left (fig. 4.1.2–5 and 6). Then the melody proceeds up- 4 4
ward and when the same dyad is repeated, the higher B
Fig. 4.1.2–7. Dulcimer chart for bars 3
note is part of the melody, so this time, hit it with the right and 4 of Ant Kalno Karklai Siūbavo
hand, and G with the left.
1
In bar 3, something new happens with the rhythm – triplets 2
(fig. 4.1.2–5). Usually, notes are grouped into threes in tri- 3
ple meter compositions. But in this case, it means that three 4 4
notes of equal rhythmic value must fit in the duration of
two notes. They are performed by starting and ending each 5 and 6 of Ant Kalno Karklai Siūbavo
group with the right hammer. If you find it too difficult, just
play two equal eighth notes instead of the three. Bar 4 ends 1
with two dyads, where the note B (2) is more important and 2 2
therefore played with the right hammer (fig. 4.1.2 – 7). 3
4
The first part of the piece (bars 1–4) is not repeated but bar
5 begins with a repeat sign, which means that the next 4 Figure 4.1.2–9. Dulcimer chart for bars
bars will be repeated twice. 5 and 6 of Ant Kalno Karklai Siūbavo
In bars 5 and 6 (fig. 4.1.2–5 and 8), notes are rhythmically re-
peated (Chapter 3). Try to remember how these formations
are played.
QR - code 93
In bar 7, there is a similar fragment as in Kazokėlis – the
dyad G–B and D at the bass bridge (fig. 4.1.2–9). In such httpd://www.youtube.com/
note formations, the D course of strings is always hit with
the right hammer, as otherwise it would simply be very un-
comfortable.
Watch video no. 4.19: Willows Were Swinging on a Hill - put-

ting in slow tempo (QR - code 93). QR - code 94
Watch video no. 4.20: Willows Were Swinging on a Hill (QR lkjljlkjlkjljlkjlkjlkj
- code 94).
73
The third piece for this lesson is the traditional Lithuanian

dance Čia Yr, Čia Nėr, Čia Bus17 (Some Here, None There,
Some Yet to Come). It is made up of three parts and has a lot
more dyads, which are also more varied.
When playing this piece, remember one rule: when the

higher note of a dyad is played on the left side of the bridge
and the lower note on the right side, play the higher note
with the left hand and the lower note with the right. This
rule applies regardless of which note of the dyad is part of
the melody – most importantly, when playing a dyad, your
arms must not cross.
B B B C B C B B B B B B
C D D A D A G G G C
2 2 2 1 2 1 2 2 2 2 2 2
# j
1 4 4 3 4 3 4 4 4 1
& 38 ..
1. 2.
J J J J
B C B B B A A B E B B
D A G G A C A G G G
2 1 2 2 2 3 3 2 2 2 2
#
4 3 4 4 3 1 3 4 4 4
& 24 .. ..
C C C C B B B B A B G G G G B B
E E E D D D C A B B B G G
1 1 1 1 2 2 2 2 3 2 4 4 4 4 2 2
3 3 3 4 4 4 1 3 2 2 2 4 4
#
& .. ..
1. 2.
Fig. 4.1.2–10. Notation chart for Čia Yr, Čia Nėr, Čia Bus.
The second bar has something you have not learned be-
1
fore – a sequence of several dyads. It is recommended to
2
learn such musical formations by learning the right-hand
3
part first, and then the left. Carefully analyse bars 2, 3 and 4,
4 4
notice which hammer hits which notes (fig. 4.1.2–9 and 10).
Once you learn to play it with each hand separately, begin Fig. 4.1.2–10. Dulcimer chart for Čia Yr,
playing with both at very slow tempo. Practice these three Čia Nėr, Čia Bus.
bars for a few times.
17 Originally played with accordions, I made this version for dulcimer myself.
74
Voltas. Bar 5 has a repeat sign and a number 1 written

above it. This means that for the first time, you should play 1
the part up to this repeat sign. Then, as you repeat the part 2
from bar 2 (since bar 2 has a repeat sign), skip bar 5 and
3 3
play bar 6 instead, which has the number 2 written above
it. Based on the same principle, skip bar 14 when repeating 4 4
the three bars following bar 11.
11–15 of Čia Yr, Čia Nėr, Čia Bus.
The second sequence of dyads is at the beginning of part 2
of the piece in bars 7 and 8 (fig. 4.1.2 – 9, 10). Practice them
the same way you did in part one. In bar 10, try to play with
a looser grip on the hammers - there is no need to try to
control them too tightly.
In part 3 of the piece, in bars 11, 12 and 14, the same motif
is repeated, identical both in terms of rhythm and intervals
(fig. 4.1.2–9). Thus, it is played according to the same prin- QR - code 93
ciple in all three bars: the higher note is played with the left httpd://www.youtube.com/
hand, the lower – with the right. However, when ending the lkjljlkjlkjljlkjlkjlkj
piece (in bar 15), the higher note is played with the right
hammer.
Watch video no. 4.21: Some Here, None There, Some Yet to
Come - putting in slow tempo (QR - code 95).
QR - code 94
Watch video no. 4.22: Some Here, None There, Some Yet to httpd://www.youtube.com/
Come (QR - code 96). lkjljlkjlkjljlkjlkjlkj
4.2. Accompaniment
4.2.1. Chords and Intervals Used for Accompaniment

what intervals and chords can be used for accompaniment;
how to play intervals and chords used for accompaniment.
As mentioned in previous chapters, the dulcimer can be

used not only to play melody but also to accompany other
melodic instruments, such as the violin or various wind in-
struments. On the dulcimer, accompaniment can be played
several ways:
Melodic accompaniment: rhythmically repeating the
main harmonic notes and fragments of the melody;
Harmonic accompaniment: playing dyads or chords
and dividing them into notes of smaller rhythmic value.
75
You have already learnt to rhythmically repeat notes in

earlier lessons. Use exercise No. 1 to practice playing split
third-interval dyads.
Exercise No. 1: begin on the left side of the bridge, leading

with the right hand, but play the higher notes with the left
hammer in every bar. Use the charts (fig. 4.2.1-1 and 2).
E E G E G D D Fis D Fis C C E C E
E D C
3 3 1 3 1 4 4 2 4 2 4 4 3 4 3
#
3 4 1
& 24
B B D B D A A C A C G G B G B
B A G
2 2 4 2 4 3 3 1 3 1 4 4 2 4 2
#
2 3 4
&
Fig. 4.2.1-1. Notation chart for exercise No. 1.
1 1 1 1
2 2 2
3 3 3
4 4 4
Fig. 4.2.1-2. Dulcimer chart for exercise No. 1.

(QR - code 97).
Accompaniment using function chords Every scale has

QR - code 93
three main functions (chords): T-S-D (tonic - subdominant
- dominant). In G major scale, the tonic chord comprises httpd://www.youtube.com/
G–B–D (the order of the notes is not important at the mo-
ment), the subdominant is C–E–G, and the dominant is D–
Fis–A.
Since a person only has two arms, playing a chord (three

notes at once) is not possible on the dulcimer, however, QR - code 94
this instrument has the brilliant ability to ring out for a long httpd://www.youtube.com/
time, which allows creating a full harmony by playing a lkjljlkjlkjljlkjlkjlkj
76
number of smaller notes. Exercise No. 2 is based on the ton-

ic and dominant functions – the way these chords are usu-
ally divided into smaller notes and played on the dulcimer.
You have already run into the tonic chord when learning to
play compositions with dyads, e.g. in the first two bars of
Kazokėlis. Usually in a harmony, the note D is not the most
important one, but on the dulcimer it is slightly different.
You have probably already noticed that the second course
of bass strings is very important on this instrument. Both
T and D chords include the D (2) course of strings, which
is hit first, followed by the G–B (tonic) or Fis–A (dominant)
dyad. On the dulcimer, the subdominant chord is usually
not played in full, instead hitting the dyad C–E and splitting
as in bar 3 of Exercise No. 1 (fig. 4.2.1–1).
Exercise No. 2: tonic dyad in bars 1, 2 and 6, 7, dominant

dyad in bars 3–5. Use the charts (fig. 4.2.1–3, 4 and 5).
D B G B B D B G B B D A Fis A A
G G Fis
2 2 4 2 2 2 2 4 2 2 2 3 5 3 3
4 4 5
#
& 24
D A Fis A A D A Fis A A D B G B B D B G B B
Fis Fis G G
2 3 5 3 3 2 3 5 3 3 2 2 4 2 2 2 2 4 2 2
5 5 4 4
#
&
Fig. 4.2.1–3. Notation chart for exercise No. 2.
*These charts will often come in handy while learning to

play accompaniment for compositions. 2 2
Watch video no. 4.25: exercise No. 2 - putting in slow tempo 4

(QR - code 99).
Fig. 4.2.1–4. The G major chord*.
2
3
QR - code 93 QR - code 93 5
lkjljlkjlkjljlkjlkjlkj lkjljlkjlkjljlkjlkjlkj Fig. 4.2.1–5. The D major chord*.
77
4.2.2. Learning to Play Accompaniment

a couple of ways to play accompaniment;
to accompany for three compositions.
This lesson will introduce you to three new pieces: a waltz, a

polka and a march. In the last lesson you have learned that
there are two ways to play accompaniment with the dul-
cimer: melodic and harmonic (chord- and interval-based).
These three compositions were played by traditional folk
musicians and originally the dulcimer was used for melodic
accompaniment. This type of accompaniment is more usual
when playing along with other chordal instruments (e.g. all
bellows-driven instruments). However, if the same piece is
played together with an instrument that only performs the
melody, the dulcimer plays chordal accompaniment.
The first piece in this lesson is Jaunujų Valsas (Newly-weds’

Waltz) (fig. 4.2.2–1).
#
& 68 j ..
1. 2.
> > > > >

Dulcimer
# > >
& 68 ..
> J J > > > > > >
.. .. . . . . . . .. . . ..
>
Accordion
? # 68 ..
# > >
& .. ..
7 1. 2.
- .
> >
Dul.
# .> > - - - ->

> > .. - - ....
7
& . J >
. . . . . . . . . . . . . . . . . . >.
..
Acc.
? # .. ..
.
Fig. 4.2.2-1. Notation for the accordion and the original dulcimer accompaniment for Jaunųjų Valsas.
78
D G G A Fis E Fis G D G G A B
2 4 4 3 5 6 5 4 2 4 3 2 1
#
& 68 j ..
1. 2.
> > > > >
C B A A B A G G
1 2 3 3 2 3 4 4
# > >
& .. ..
1. 2.
- .
> >
Fig. 4.2.2–2. Notation chart for the original dulcimer accompaniment of Jaunųjų Valsas.
When playing melodic accompaniment, usually only a few

notes are rhythmically repeated. Since this piece is played 2
3
in G major, the G note is very important and is therefore re-
peated in bars 2 and 3 (fig. 4.2.2–2 and 3). 4
5
Both parts of the piece are repeated with voltas. You have 6
learnt to play voltas in the previous chapter (4.1.2).
Fig. 4.2.2–3. Dulcimer chart for bars
1–6 of the original dulcimer accompa-
Take a closer look at bars 3, 4 and 9 (fig. 4.2.2–2). Some small- niment for Jaunųjų Valsas.
er notes are wedged between the regular ones on the staff.
This is the rhythmic variation played by the musician, and in
your case, it means that if you are repeating the whole piece 2
for several times, you can choose to play the other variation. 3
The rhythm line has both variations marked in dashes – the 4
smaller notes are the short dashes under the longer line. 5
6
The second part is very simple, with one note successively
repeated in every bar: C (1), B (2), A (3) and G (4) (fig. 4.2.2–2 Fig. 4.2.2–4. Dulcimer chart for bars
and 4). 7–11 of the original dulcimer accompa-
niment for Jaunųjų Valsas.
Sound recording 1: original recording of Jaunųjų Valsas.
Watch video no. 4.27: Jaunujų Valsas (original accompani-

ment) - putting in slow tempo (QR - code 101). QR - code 93
Watch video no. 4.28: Jaunujų Valsas (original accompani- lkjljlkjlkjljlkjlkjlkj
ment) (QR - code 102).
The musician did not record chordal dulcimer accompani-

ment, because they were playing along with an accordion,
but you should to learn this type of accompaniment for QR - code 93
Jaunųjų Valsas too (fig. 4.2.2 – 5). httpd://www.youtube.com/
79
# j.
& 68
1. 2.
Dulcimer .
> > > > >
# > >
& 68 ..
> J J > > > > > >
.. . . . . . . . . .. . . . .
>
Accordion
?# 6 ..
8
# .> j
.. ..
7 1. 2.
& .
> >
Dul.
> >
# > > > - > - - - >.
& .. .. - - ...
7
J >
. . . . . . . . . . . . . . . . . . >.
..
Acc.
? # .. ..
.
Fig. 4.2.2–5. Notation of the accordion and chordal dulcimer accompaniment for Jaunųjų Valsas.
In the last page of the previous chapter (4.2.1), there are

dulcimer charts for the G (tonic) and D (dominant) chord
(fig. 4.2.1–4 and 5), which will be very useful to you while
learning chordal accompaniment (unless you already know
how to play them by heart).
In part 1 of the composition (bars 1–5, fig. 4.2.2–6), bars 1,

2 and 5 feature a G chord and a split G chord (fig. 4.2.1–4).
Bar 4 has the same chord but ends with a dyad from the D
chord: Fis (5) – A (3). In bar 3, there is a D chord (fig. 4.2.1–5).
Part 2 of the piece (bars 6–10, fig. 4.2.2–6) begins on a dyad

which substitutes for the subdominant function: C (1) – E (3)
(fig. 4.2.2–7). In bar 7, the G chord begins on the note G (4)
at first, and on the usual D (2) bass course of strings the next
time. A G chord (fig. 4.2.1–4) is also played in bars 9 and 10
and a D chord in bar 8 (fig. 4.2.1–5).
80
D B BD B B D B B D B B DA A D A A D B B B A D B B D B B
G G G GG G Fis FisFis G G G Fis G G G
2 2 2 2 2 2 2 2 2 2 2 2 2 3 3 2 3 3 2 2 2 2 3 2 2 2 2 2 2
4 4 4 4 4 4 5 5 5 4 4 4 5 4 4 4
# j.
& 68
1. 2.
.
> > > > >
C C C C C C G B B D B B D A A D A A D B B B B D B B B
E E E E G G GG Fis Fis FisFis G G G G G G G
1 1 1 1 1 1 4 2 2 2 2 2 2 3 3 2 3 3 2 2 2 2 2 2 2 2 2
3 3 3 3 4 4 4 4 5 5 5 5 4 4 4 4 4 4 4
# .> j
.. ..
1. 2.
& .
> > > >
Fig. 4.2.2–6. Notation chart of the chordal dulcimer accompaniment for Jaunųjų Valsas.
Watch video no. 4.29: Jaunujų Valsas (dulcimer accompani- 1

ment) - putting in slow tempo (QR - code 103). 2 2
3
Watch video no. 4.30: Jaunujų Valsas (dulcimer accompani- 4
7 and 8 of the chordal dulcimer accom-
paniment for Jaunųjų Valsas.
The melodic accompaniment for the next piece, polka18

(fig. 4.2.2 – 8) is a lot more complex and interesting. The
musician played its melody very precisely and masterfully,
and some of its technically challenging parts you will not
be able to replicate yet. We will leave this variation of the
accompaniment for a later chapter.
18 Played by Jonas Lechovickas. Transcribed by phD Gaila Kirdienė, Tradicinė Rytų Aukštaičių Vestuvių Muzika, 2009, Vilnius, p. 109
81
- - -
#2 - - -
..
1. 2.
Violin & 4
# - j j
& 24 ..
-
> > >
Dulcimer
>
> > > > >
#
& 24 .. > -
J
Accordion > . . . . . . . >
?# 2 . . . . . . . .. j
4
J
# .- - -
.. j j
7 1. 2.
& .
> >
Vln.
# j
& .. ..
7
> > >

Dul.
7
# . .. j j
& .
> > >
Acc. . . . . . . . . . . >> >>
? # .. # ..
J J
Figure 4.2.2–8. Notation for the violin, accordion and the original dulcimer accompaniment for polka.
Sound recording 2: original recording of polka.
Polka’s chordal accompaniment (fig. 4.2.2–9) is made up of

the same chords as the waltz accompaniment because it
is in the same key. The biggest difference is that the waltz
was played in a triple rhythm, while the Polka is in a duple
rhythm.
82
# - - 1. -
& 24 ..
2.
Violin
- - -
#
& 24 ..
>
Dulcimer
# j
& 24 ..
> > > >
> - >
j
Accordion
?# 2 ..
4 j
. . . .. . . . .
. .
> . . . >
# .- -1. -
.. j j
7 2.
& .
> >
Vln.
# j j
& .. ..
7
> >
Dul.
# j j
& .. ..
7
> > >

Acc. . . . . . . . . . . >> >>
? # .. # ..
J J
Figure 4.2.2–9. Notation for the violin, accordion and chordal dulcimer accompaniment of the Polka.
Only the first bar 1 (fig. 4.2.2 – 10) has a full G major tonic
chord (G – B – D). In the previous chapter (4.2.1), you have
learned that most often this chord is played with the D (2)
course of bass strings. Sometimes, an inversion of the same
chord may be played. The chord is inverted by moving the
bottom note to the top. When accompanying for this polka,
the G chord is played using the D (4) course of strings on the
left side of the treble bridge (fig. 4.2.2–11). In the remainder
of the piece (bars 4, 6 and 10), instead of a full tonic chord,
only the dyad G–B is played.
83
G B B B C C C C D A A A G B B B D A A A G B B
D D E E Fis Fis G G Fis Fis G G
4 2 2 2 1 1 1 1 2 3 3 3 4 2 2 2 2 3 3 3 4 2 2
4 4 3 3 5 5 4 4 5 5 4 4
#
& 24 ..
1. 2.
>
G G G C C C D A A A G B B B D A A A B B
B B E E Fis Fis G G Fis Fis G G
4 4 4 1 1 1 2 3 3 3 4 2 2 2 2 3 3 3 2 2
2 2 3 3 5 5 4 4 5 5 4 4
# j j
..
1. 2.
&
> >
Figure 4.2.2–10. Notation chart of the chordal dulcimer accompaniment for the Polka
In bars 2 and 8 (fig. 4.2.2–10) play the split C (1) – E (3) dyad
(fig. 4.2.2–11). 1
2
In bars 3, 5, 9 and 11, play a full split D chord (fig. 4.2.2–12). 3
4 4
The composition ends on two equal B (2) – G (4) dyads. Al-
Figure 4.2.2–11. Dulcimer chart for
though there are rests between them, there is no need to bars 1–2 and 7–8 of the chordal dulci-
mute the strings, just try to hit them harder because the mer accompaniment for the Polka.
notes are accented.
Watch video no. 4.31: polka (dulcimer accompaniment) - 2 2

putting in slow tempo (QR - code 105). 3
4
Watch video no. 4.32: polka (dulcimer accompaniment) (QR
5
- code 106).
3–6 and 9–12 of the chordal dulcimer
accompaniment of the polka.
84
In Vestuvių Maršas19 (fig. 4.2.2–13), the original accompa-

niment is also more complex, more intricately played than
in Jaunųjų Valsas (fig. 4.2.2–1). Compared to the melodic
line played on the accordion, every long note in the dulci-
mer part is rhythmically divided into smaller ones.
#4 -
Dulcimer & 4 - - - - -
# -.
& 44 .. - - -.
j
-. -. . .
. . . . . . . . . . . . .
? # 44 ..
Accordion
# - - -
.. - ..
5 1. 2.
Dul. & - -
# - . . -.
.. .. .. .
5
& . - J
Acc. . . . . . . . . . . .
?# .. ..
# - - - - - - -
..
8 1. 2.
Dul. & - -
# - . .- - .. - .. - -
..
8
& J < < < <

Acc. . . . . . . . . . . . . . . .-
?# ..
Figure 4.2.2–13. Notation for the accordion and the original dulcimer accompaniment for Vestuvių
Maršas.
19 Originally in F major. Played by Stanislovas Rumbutis. Transcribed by phD Gaila Kirdienė. Tradicinė Rytų Aukštaičių Vestuvių Muzika,
2009, Vilnius, p 174
85
GG B AG A B B A G Fis G A A
4 4 2 3 4 3 2 2 3 4 5 4 3 3
A A B G G G A A B
G G G E
A A G A A A D D D
3 3 2 4 4 4 4 3 2 4 4 4 3
3 4 4 3 3 3 4 4 4
DD B
D D E Fis D B G C D B
G G
C D D C C A D C D A
44 2 4 4 3 2 2 4 1 4 2 4 4
1 1 4 4 1 3 4 1 3 4
Figure 4.2.2–14. Notation chart for the original dulcimer accompaniment of Vestuvių Maršas.
In the first part of bar 2, play the main melody of the march,
then rhythmically split the B (2) into smaller notes (fig.
2
4.2.2–14 and 15), same as with G (4) and A (3) in bar 3, and
3
A (3) and G (4) in bar 5. The rhythmic pattern for dividing
4 4
notes into smaller ones is the same throughout the piece.
5
In bar 4, only the A (3) course of strings is played, in bar 7 – E
(3), and in bar 9 – Fis (2). In other bars, take care to play all 1–6 of the chordal dulcimer accompani-
the notes that are written down (fig. 4.2.2–14). ment for Vestuvių Maršas.
In bar 6 and the end of bar 11, there is a dyad spanning the
1
interval of a fifth – the same course of strings (4) is hit with
2
both hammers on different sides of the bridge (fig. 4.2.2–15).
3 3
In bars 10 and 11, there are no rhythmically split notes. 4 4

Sound recording 3: original recording of Vestuvių Maršas. 7–11 of the chordal dulcimer accompa-
niment of Vestuvių Maršas.
Watch video no. 4.33: Vestuvių Maršas (original accompani-
ment) - putting in slow tempo (QR - code 107).
Watch video no. 4.34: Vestuvių Maršas (original accompani-

ment) (QR - code 108). QR - code 93 QR - code 93
86
Using the G (4.2.1–4) and D (4.2.1–5) chord charts, as well as

the notation (4.2.2–19) and dulcimer (fig. 4.2.2–20 and 21)
charts for Vestuvių Maršas (fig. 4.2.2–18), try to distinguish
which chord or dyad should be played at which point.
#
Dulcimer & 44
# -.
& 44 .. - - -.
j
-. -. . .
. . . . . . . . . . . . .
? # 44 ..
Accordion
# .. ..
5 1. 2.
Dul. &
# - . . -. - . . -
.. .. .. .
5
& . - J
Acc. . . . . . . . . . . . . . . .
?# .. ..
9
# 1.
..
2.
Dul. &
9
# - .. - .. -
..
-
& J < < < <
Acc. . . . . . . . . . . . -
?# ..
Figure 4.2.2–17. Notation for the accordion and the original dulcimer accompaniment for Vestuvių
Maršas.
87
D B B B D B B B D B B B D A A A D A A A D A A A
G G G G G G Fis Fis Fis Fis Fis Fis
2 2 2 2 2 2 2 2 2 2 2 2 2 3 3 3 2 3 3 3 2 3 3 3
# c
4 4 4 4 4 4 5 5 5 5 5 5
&
D B B B D B B D B B B D B C B C C C C C C C C
G G G G G G G A D E E E E E
2 2 2 2 2 2 2 2 2 2 2 2 1 2 1 1 1 1 1 1 1 1
4 4 4 4 4 4 4 3 4 3 3 3 3
# ..
1. 2.
&
B B B B B B B B D A A A D A A A D A A A D B B D AA A B B
D D D D Fis Fis Fis Fis Fis Fis G G Fis Fis G G
2 2 2 2 2 2 2 2 2 3 3 3 2 3 3 3 2 3 3 3 2 2 2 2 3 3 3 2 2
4 4 4 4 5 5 5 5 5 5 4 4 5 5 4 4
# ..
1. 2.
&
Figure 4.2.2–18. Notation chart for the chordal dulcimer accompaniment of Vestuvių Maršas.
Watch video no. 4.35: Vestuvių Maršas (original accompani- 1

ment) - putting in slow tempo (QR - code 109). 2 2
3
Watch video no. 4.36: Vestuvių Maršas (original accompani- 4 4
Figure 4.2.2–19. Dulcimer chart for bar
5 of the chordal dulcimer accompani-
ment of Vestuvių Maršas.
1
2
3
4

6 and 7 of the chordal dulcimer accom-
paniment for Vestuvių Maršas.
88
Summary of Chapter Four

Questions:
What different ways are there to play accompaniment
on the dulcimer?
How can you figure out from the notation chart which
hammer you should use on which note when playing a
dyad?
What is a split dyad?
Exercises:
Play the G major tonic chord and its inversion.
Play the dominant chord the way you have learnt it in
lesson 4.2.1 and try to invert it.
Play several dyads one after another.
89
Chapter 5. Notes of Small Rhythmic Value

5.1. Notes of Small Rhythmic Value in Duple Metre
5.1.1 Learning to Play Notes of Small Rhythmic Value in Duple Metre

1. to play a series of adjacent notes of small rhythmic value
2. small-value note melodic rolls in duple meter;
3. a few exercises to improve your performance.
In chapter 3, you have learned to play notes of small rhyth-

mic value on one course of strings at a time, as well as dy-
ads split into notes of small rhythmic value in chapter 4. In
this chapter, you will learn another way to play small-value
notes, which we will call the roll. It is a group of small-value
notes played in a quick melodic roll within the interval of a
third (a group of three adjacent notes) going top to bottom
and back or vice versa. The left hand always strikes the mid-
dle one of the three string courses, and the right hits the
outer ones. Once you become familiar with the dulcimer,
such note groups are really fun to play, and they are very
characteristic to this instrument.
In order to better understand what the melodic roll is and

how to perform it better, learn the following few exercises.
Exercise No. 1: starting with an additional longer, higher

note struck with the right hammer, perform a melodic roll
around the middle course of strings, hitting it with the left
hammer (fig. 5.1.1–1). Repeat this motif on each course of
strings, at first staying on one side of the bridge:
a. On the left side of the treble bridge (fig. 5.1.1–1: bars 1 –
5, fig. 5.1.1–2: bars 10 – 14, fig. 5.1.1–3);
b. On the right side of the treble bridge (fig. 5.1.1–1: bars
6 – 10, fig. 5.1.1–2: bars 5–9 and 5.1.1–4);
c. At the bass bridge (fig. 5.1.1–1: bars 11 – 14, fig. 5.1.1–2:
bars 1–4 and 5.1.1–5).
90
G G Fis EFisG Fis Fis E D E Fis E E D CisD E D D Cis BCisD Cis CisB A BCis
2 # #
1 1 2 321 2 2 34 3 2 3 34 54 3 4 4 5 65 4 5 5 6 7 67
&4 # # #
C C BA B C B B AGA B A A G Fis G A G G Fis E Fis G Fis Fis E D E Fis

1 1 23 2 1 2 2 343 2 3 3 4 5 4 3 4 4 5 6 5 4 5 5 6 7 65
& # # #
E E D C ED E D D C B C D C C B A B C B B A G A B
1 1 2 3 2 1 2 2 3 4 3 2 3 3 4 5 4 3 4 4 5 6 5 4
&
Figure 5.1.1–1. Notation chart for exercise No.1 top to bottom.
G G A B A G A A B C B A B B A D A B C C D E D C
& 24
6 6 5 4 5 6 5 5 4 3 5 6 4 4 3 2 3 4 3 3 2 1 2 3
D D E Fis E D E E Fis G Fis E Fis FisG A G Fis G GA BAG A A BCis B A

7 7 6 5 6 7 6 6 5 4 5 6 5 54 3 4 5 4 4 3 23 4 3 321 23
& # # #
A A B Cis B A B B Cis D Cis B Cis CisD E DCis D D E Fis E D E E Fis G Fis E
# #
7 7 6 5 6 7 6 6 5 4 5 6 5 5 4 343 4 4 3 2 3 4 3 3 2 1 23
& # # #
Figure 5.1.1–2. Notation chart for exercise No. 1 bottom to top.
91
1
2 2
3 3 3
4 4 4
5 5 5
6 6
7
Figure 5.1.1–3. Dulcimer chart for exercises No. 1 and No. 2: bars 1–5 on the left side of the treble bridge.
1
2 2
3 3 3
4 4 4
5 5 5
6 6
7
Figure 5.1.1–4. Dulcimer chart for exercises No. 1 and No. 2: bars 6–10 on the right side of the treble
bridge.
1
2 2
3 3 3
4 4 4
5 5
6
Figure 5.1.1–5. Dulcimer chart for exercises No. 1 and No. 2: Bars 11-14 at the bass bridge.
These charts will also be useful when learning to play ex-

ercises with small-value note rolls in triple metre (lesson
5.2.1).
QR - code 93
Watch video no. 5.1: exercise No. 1 top to bottom - putting httpd://www.youtube.com/
in slow tempo (QR - code 111). lkjljlkjlkjljlkjlkjlkj
Watch video no. 5.2: exercise No. 1 top to bottom (QR - code
112).
QR - code 93
92
Watch video no. 5.3: exercise No. 1 bottom to top - putting

in slow tempo (QR - code 113).
Watch video no. 5.4: exercise No. 1 bottom to top (QR - code
QR - code 93
114).
QR - code 93
Exercise No. 1 in G major scale: most pieces for the dulcimer

are in G major, so it is important to learn to play melodic
rolls not just on one side of the bridge but also with transi-
tions from one side to the other. First, play top to bottom,
starting each combination on a higher course of strings (fig.
5.1.1–6 and 8), then vice versa (fig. 5.1.1–7 and 8).
G G Fis EFisG Fis FisE D E Fis E EDCD E D DC B C D C CB AB C
# #
& 24
1 1 2 321 2 23 4 3 2 3 34 14 3 4 43 2 1 4 1 1 2 32 1
B B A GA B A A G Fis G A G G Fis E Fis G Fis Fis E D E Fis

2 2 3 43 2 3 3 4 5 4 3 4 4 5 6 5 4 5 5 6 7 6 5
& # # #
E E D C E D D D C B C D C C B A B C B B A G A B
1 1 2 3 2 1 2 2 3 4 3 2 3 3 4 5 4 3 4 4 5 6 5 4
&
Figure 5.1.1–6. Notation chart for exercise No. 1 in G major top to bottom.
93
Watch video no. 5.5: exercise No. 1 in G major top to bottom

- putting in slow tempo (QR - code 115).
Watch video no. 5.6: exercise No. 1 in G major top to bottom

(QR - code 116).
G G A B A G A A B C B A B B A D C B C C D E D C
& 24
6 6 5 4 5 6 5 5 4 3 5 6 4 4 3 2 3 4 3 3 2 1 2 3
D D E Fis E D E E Fis G Fis E Fis FisG A G Fis G GA BAG A A BCis B A

7 7 6 5 6 7 6 6 5 4 5 6 5 54 3 4 5 4 4 3 23 4 3 321 23
& # # #
B B C D C B C C D E D C D D E Fis E D E E Fis D Fis E
# #
2 2 1 4 1 2 1 1 4 3 4 1 4 4 3 2 3 4 3 3 2 1 2 3
&
Figure 5.1.1-7. Notation chart for exercise No. 1 in G major bottom to top.
1 1 1 1
2 2 2 2 2
3 3 3 3 3
4 4 4 4
3
4 4
5 5 5
6 6
7
Figure 5.1.1-8. Dulcimer chart for bars 1– 9 of exercise No. 1 in G major.
94
Watch video no. 5.7: exercise No. 1 in G major bottom to top

- putting in slow tempo (QR - code 117).
Watch video no. 5.8: exercise No. 1 in G major bottom to top

(QR - code 118).
Exercise No. 2 comprises a melodic roll and additional eighth

notes at the end of each combination. Practice it the same
way as you did exercise No. 1 – on one side of the bridge:
1. On the left side of the treble bridge (fig. 5.1.1–9: bars
1–5, fig. 5.1.1–10: bars 10 – 14, fig. 5.1.1–3);
2. On the right side of the treble bridge (fig. 5.1.1-9: bars
6 – 10, fig. 5.1.1-10: bars 5–9 and 5.1.1–4);
3. At the bass bridge (fig. 5.1.1-9: bars 11 – 14, fig. 5.1.1-10:
bars 1–4 and 5.1.1–5).
G Fis E Fis G E FisE D EFis D E D CisD E Cis D Cis B Cis D B CisB A BCis A
# #
& 24
1 2 3 2 1 3 23 432 4 3 4 54 3 5 4 5 6 5 4 6 5 6 7 6 5 7
# # #
C B A BC A B A GAB G A G FisG A Fis G Fis E Fis G E Fis E D E Fis D

1 2 3 21 3 2 3 432 4 3 4 54 3 5 4 5 6 5 4 6 5 67 6 5 7
& # # #
E D C D E C D C B C D B C B A B C A B A G A B G
1 2 3 2 1 3 2 3 4 3 2 4 3 4 5 4 3 5 4 5 6 5 4 6
&
Figure 5.1.1-9. Notation chart for exercise No. 2 top to bottom.
95
Watch video no. 5.9: exercise No. 2 top to bottom - putting

Watch video no. 5.10: exercise No. 2 top to bottom (QR -

code 120).
G A B A G B A B C B A C B C D CB D C D E D C E
& 24
6 5 4 5 6 4 5 4 3 4 5 3 4 3 2 34 2 3 2 1 2 1 3
D E Fis E D Fis E FisG Fis E G Fis G A G Fis A GAB AG B ABCBA C

7 6 5 6 7 5 6 54 5 6 4 5 4 34 5 3 432 3 4 2 3 212 3 1
& # # #
A B Cis B A Cis B Cis DCis B D CisD E D Cis E D E Fis E D Fis E Fis G Fis E G
# #
7 6 5 6 5 7 6 5 4 5 6 4 5 4 34 3 5 4 3 2 3 4 2 3 2 1 23 1
& # # #
Figure 5.1.1-10. Notation chart for exercise No. 2 bottom to top.

Watch video no. 5.12: exercise No. 2 bottom to top (QR -

QR - code 93
code 122).
Melodic rolls are not the only combinations of small-value
notes found in compositions for the dulcimer. Also charac-
teristic are certain runs. Longer and more complex runs are
made up of adjacent notes: four short and one longer note.
Shorter runs have two short and one longer note or vice
versa. QR - code 93
Exercise No. 3 is made up of a series of sequential longer lkjljlkjlkjljlkjlkjlkj
runs and one additional connecting note (fig. 5.1.1–11).
First, play on one side of the bridge only:
1. On the left side of the treble bridge (fig. 5.1.1-11: bars
1 – 3, fig. 5.1.1–12: bars 6 – 8, fig. 5.1.1-13);
96
2. On the right side of the treble bridge (fig. 5.1.1–11: bars

4 – 6, fig. 5.1.1–12: bars 3–5 and 5.1.1-14);
3. At the bass bridge (fig. 5.1.1–11: bars 7 and 8, fig. 5.1.1-
12: bars 1 and 2 and 5.1.1-15).
G Fis E D Cis E Fis E D Cis B D E D Cis B A Cis C B A G Fis A
# #
1 2 3 4 5 3 2 3 4 5 6 4 3 4 5 6 7 5 1 2 3 4 5 3
& 24 # # #
#
B A G Fis E G A G Fis E D Fis E D C B A C DC B A G B

2 3 4 5 6 4 3 4 5 6 7 5 1 2 3 4 5 3 23 4 5 6 4
& # #
Figure 5.1.1–11. Notation chart for exercise No. 3 top to bottom.

Watch video no. 5.14: exercise No. 3 top to bottom (QR -

code 124).
G A B C D B A B C D E C D E Fis G A Fis E Fis G A B G
& 24
6 5 4 3 2 4 5 4 3 2 1 3 7 6 5 4 3 5 6 5 4 3 2 4
# #
Fis G A B C A A B Cis D E Cis B Cis D E Fis D Cis D E Fis G E

2 3 4 5 6 4 3 4 5 6 7 5
#
1 2 3 4 5
# # 3
# #
2 3 4 5 6 4
&#
97

1
2 2
3 3 3
Watch video no. 5.16: exercise No. 3 bottom to top (QR - 4 4 4
code 126). 5 5 5
6 6
7

bars 1–3 of exercise 3.
1
2 2
3 3 3
4 4 4
5 5 5
6 6
7
Exercise No. 3 in G major scale. Small-value note rolls are
not always played conveniently on one side of the bridge
bars 4–6 of exercise 3.
– this is why it is important to learn the exercise No. 2 in G
major, which has a number of jumps to the other side of the 1
bridge in certain bars. They are not particularly complicated 2 2
but make sure to pay attention to the height of your wrists 3 3
to prevent your arms or the hammers from hitting each oth- 4 4
er as they move quickly from one side to the other. Same as 5 5
in previous exercises, first play the sequences around each 6
course of strings, going top to bottom (fig. 5.1.1 – 14, 15,
16, 17, 18, 19), then vice versa (fig. 5.1.1 – 20, 15, 21, 19, 18 Figure 5.1.1–15. Dulcimer chart for
and 17). bars 7–8 of exercise 3.
G Fis E D C E Fis E D C B D E D C B A C D C B A G B
2 # #
1 2 3 4 1 3 2 3 4 1 2 4 3 4 1 2 3 1 4 1 2 3 4 2
&4
C B A G Fis A B A G Fis E G A G Fis E D Fis G Fis E D C E

1 2 3 4 5 3 2 3 4 5 6 4 3 4 5 6 7 5 4 5 6 7 3 6
& # # # #
Fis E D C B D E D C B A C D C B A G B
5 6 2 3 4 2 1 2 3 4 5 3 2 3 4 5 6 4
&#
Figure 5.1.1–16. Notation chart for exercise No. 3 in G major scale top to bottom.
98
1 1 1
2 2 2
3 3
4 4
Figure 5.1.1–17. Charts for bars 1 and 2 of exercise No. 3 in G major.

1 1
2 2
3 3 3
4 4 4
2
3 3
4 4
5 5
6 6
7
Watch video no. 5.17: exercise No. 3 in G major top to bot-

tom - putting in slow tempo (QR - code 127).

tom (QR - code 128).
99
G A B C D B A B C D E C B C D E Fis D C D E FIs G E
& 24
6 5 4 3 2 4 5 4 3 2 1 3 4 3 2 6 5 7 3 2 6 5 4 6
# #
D E Fis G A Fis E Fis G A B G Fis G A B C A G A B C D B

7 6 5 4 3 5 6 5 4 3 2 4 5 4 3 2 1 3 4 3 2 1 4 2
& # # #
A B C D E C B C D E Fis D C D E Fis G E
# #
3 2 1 4 3 1 2 1 4 3 2 4 1 4 3 2 1 3
&
Figure 5.1.1–20. Notation chart for exercise No. 3 in G major scale bottom to top.
2
3 3
4 4
5 5
6 6
7
Figure 5.1.1–21. Chart for bars 3 and 4 of exercise No. 3 in G major scale bottom to top.
Watch video no. 5.19: exercise No. 3 in G major bottom to

top - putting in slow tempo (QR - code 129).

top (QR - code 130).
100
5.1.2 Polkas with Notes of Small Rhythmic Value

1. three polkas
2. to use complex combinations of small-value notes, which you have learned in lesson 5.1.1., in these
polkas.
The first piece in this lesson is the polka Žuvelė20 (Little Fish)
(fig. 5.1.2–1). This composition has a lot of melodic twists
and turns because of the plentiful small-value notes.
C D EDC C CD E D C C CG E DC C CD E DC C
3 2 1 2 3 3 32 1 2 3 3 34 1 23 3 3 2 1 23 3
#
& 24 .. ..
1. 2.
G B D E D B B E D D C A C B G G B
#
4 2 4 3 4 2 2 3 4 4 1 3 1 2 4 4 2
&
G B D D E D B B D B A G G
A C D E D B C B B
1 2 4 4 3 4 2 2 4 2 3 4
#
3 1 4 3 4 2 1 2 4
j .
& .
Figure 5.1.2–1. Notation chart for polka Žuvelė.
In part one of the polka (fig. 5.1.2–1: bars 1 – 6), the first 1
three bars feature two melodic rolls on the first three cours- 2
es of bass strings (fig. 5.1.2–2). On the last note in bar 3, a 3
jump takes place on the fourth (G) course of strings, to the 4
left side of the treble bridge. In bar four, the note is rhyth-
mically repeated. Bar 5 has a short roll of small-value notes. Figure 5.1.2-2. Dulcimer chart for bars
1–6 of the polka Žuvelė.
Everything repeats from bar 2, skipping bar 5.
instrumentinė muzika. Muzika cimbolams – Žuvelė no. 12, LLKC, 2012, Vilnius, p.10
101
Part two of the piece (fig. 5.1.2–1: bars 7 – 14 and fig. 5.1.2–3)
mostly has rhythmic repetitions of certain notes, but there 1
are also a few complicated moments that you should pay 2
attention to: 3
4
bar 7 starts with a G major triad played upward;
the end of bar 8 has jumps from one side of the bridge to Figure 5.1.2-3. Dulcimer chart for bars
the other and back; 7–14 of the polka Žuvelė.
in bar 11, there is a long run of notes going upward,
starting on the fourth course of strings on the right side
of the bridge and ending on the same course of strings
on the left.
QR - code 93
The piece ends on a G–B dyad.
Watch video no. 5.21: polka Žuvelė - putting in slow tempo
(QR - code 131).
Watch video no. 5.22: polka Žuvelė (QR - code 132).
QR - code 93
102
The second composition in this lesson is a polka by V. Vasa-

lauskas (fig. 5.1.2–4).
B C D D B CD D CB A D E D C B AG B
#
& 24 ..
2 1 4 4 2 14 4 1 2 3 4 3 4 1 2 3 4 2
B D B D G A A D D B G B
D C B A B E C A G
2 4 2 4 4 3 3 4 4 2 4 2
#
4 1 2 3 2 3 1 3 4
& ..
G E C B B B D B B G B B B
Fis C D B C C C A G G
1 3 1 2 2 2 4 2 2 4 2 2 2
# 2 1 4 2 1 1 1 3 4 4
& ..
E E B D B B D B B C B B
G C B C C C A G G
3 3 2 4 2 2 4 2 2 4 2 2
#
1 1 2 1 1 1 3 4 4
& ..
Figure 5.1.2–4. Notation chart for the Vasalauskas polka.
As you can see from the dulcimer chart (fig. 5.1.2–5), the
whole piece is played only using the first four courses of 1 1
strings on the treble bridge. 2 2
3 3
This polka has plenty of short runs and rhythmically repeat- 4 4
ed notes. Some of the more interesting bars are 3 and 4, and
the rather similar 6 and 7, where a roll of small-value notes Figure 5.1.2–5. Dulcimer chart for the
Vasalauskas polka.
103
ends with a short run, and together they combine into a

longer run. These bars demand a lot of attention from the
learner.
Watch video no. 5.23: Vasalauskas polka - putting in slow

tempo (QR - code 133).
Watch video no. 5.24: Vasalauskas polka (QR - code 134).

The third piece is a traditional Aukštaitija dance Mėnesė-
lis21 (Little Moon) (fig. 5.1.2–7).
D D E D C B A B C D D E Fis Fis E D C B C D D GB
D B B
4 4 3 4 1 2 3 2 1 4 4 3 2 2 3 4 1 2 1 4 4 4 2
#
& 24
4 2 2
D E D C B A B C D D E Fis Fis E D C B A B B
G G
4 3 4 1 2 3 2 1 4 4 3 2 2 3 4 1 2 3 2 2
#
4 4
&
D E D C B A D C D C B A G B
G
4 3 4 1 2 3 4 1 4 1 2 3 4 2
# .
4
& . ..
Figure 5.1.2-7. Notation chart for Mėnesėlis.
The melody in part one is constantly moving up and down

(fig. 5.1.2–7: bars 1 – 8). This creates a few challenges, even 1
though the whole piece is played only using the first four 2 2
courses of strings on the treble bridge (fig. 5.1.2–8). 3 3
4 4
Figure 5.1.2-8. Dulcimer chart for

21 Originally played with accordion. I made this version for dulcimer myself.
Mėnesėlis.
104
Also, there are a few dyads here and there. Bar 10 should
also be noted, where the 3 (A) and 4 (D) courses of strings
are hit on different sides of the bridge.
Watch video no. 5.25: Mėnesėlis - putting in slow tempo (QR

- code 135).
Watch video no. 5.26: Mėnesėlis (QR - code 136).
5.2 Notes of Small Rhythmic Value in Triple Metre

5.2.1 Learning to Play Notes of Small Rhythmic Value in Duple Metre

1. to perform small-value note melodic rolls in triple meter;
2. to perform runs of small-value notes in triple metre;
3. a few exercises to improve your performance.
The same combinations of small-value notes can be played

in triple metre as in duple metre. In order to better under-
stand and play them, first learn the exercises.
Exercise No. 1: starting on the higher course of strings with

the right hammer, perform a melodic roll around the mid-
dle course of strings, hitting it with the left hammer (fig.
5.2.1-1). Repeat this motif on each course of strings, at first
staying on one side of the bridge:
1. On the left side of the treble bridge (fig. 5.2.1–1: bars
1–5, fig. 5.2.1–2: bars 10 – 14, fig. 5.1.1–3);
2. On the right side of the treble bridge (fig. 5.2.1–1: bars
6 – 10, fig. 5.2.1–2: bars 5–9 and 5.1.1–4);
3. At the bass bridge (fig. 5.2.1–1: bars 11 – 14, fig. 5.2.1–2: QR - code 93
bars 1 – 4 and 5.1.1–5). httpd://www.youtube.com/
Take note that dulcimer charts for the exercises of this chap-
ter are provided in lesson 5.1.1.

in slow tempo (QR - code 127). QR - code 93
Watch video no. 5.28: exercise No. 1 top to bottom (QR - lkjljlkjlkjljlkjlkjlkj
code 128).
105
G Fis E Fis G Fis E D E Fis E D Cis D E D Cis B Cis D Cis B A B Cis
# #
& 38
1 2 3 2 1 2 3 4 3 2 3 4 5 4 3 4 5 6 5 4 5 6 7 6 5
# # #
C B A B C B A G A B A G Fis G A G Fis E Fis G Fis E D E Fis

1 2 3 2 1 2 3 4 3 2 3 4 5 4 3 4 5 6 5 4 5 6 7 6 5
& # # #
E D C D E D C B C D C B A B C B A G A B
1 2 3 2 1 2 3 4 3 2 3 4 5 4 3 4 5 6 5 4
&
Figure 5.2.1-1. Notation chart for exercise No. 1 top to bottom.
G A B A G A B C B A B C D C B C D E D C
& 38
7 6 5 6 7 6 5 4 5 6 5 4 3 4 5 4 3 2 3 4
D E Fis E D E Fis G Fis E Fis G A G Fis G A B A G A B C B A

7 6 5 6 7 6 5 4 5 6 5 4 3 4 5 4 3 2 3 4 3 2 1 2 3
& # # #
A B Cis B A B Cis D Cis B Cis D E D Cis D E Fis E D E Fis G Fis E
# #
7 6 5 6 7 6 5 4 5 6 5 4 3 4 5 4 3 2 3 4 3 2 1 2 3
& # # #
Figure 5.2.1-2. Notation chart for exercise No. 1 bottom to top.

QR - code 93
code 130). lkjljlkjlkjljlkjlkjlkj
106
Exercise No. 1 in G major scale: first, play top to bottom,

starting each shape on a higher course of strings (fig. 5.2.1–
3 and 5.1.1–8), then vice versa (fig. 5.1.1–4 and 5.1.1–8).
QR - code 93
G Fis E Fis G Fis E D E Fis E D C D E D C B C D
# #
& 38
1 2 3 2 1 2 3 4 3 2 3 4 1 4 3 4 1 2 1 4
C B A B C B A G A B A G Fis G A G Fis E Fis G Fis E D E Fis

1 2 3 2 1 2 3 4 3 2 3 4 5 4 3 4 5 6 5 4 5 6 7 6 5
& # # #
E D C D E D C B C D C B A B C B A G A B
1 2 3 2 1 2 3 4 3 2 3 4 5 4 3 4 5 6 5 4
&
Figure 5.2.1-3. Notation chart for exercise No. 1 in G major scale top to bottom.


QR - code 93
tom (QR - code 142).
QR - code 93
107
G A B A G A B C B A B C D C B C D E D C D E Cis E D
& 38
7 6 5 6 7 6 5 4 5 6 5 4 3 4 5 4 3 2 3 4 3 2 1 2 3
E Fis G Fis E Fis G A G Fis G A B A G A B C B A

7 6 5 6 7 6 5 4 5 6 5 4 3 4 5 4 3 2 3 4
& # #
B C D C B C D E D C D E Fis E D E Fis G Fis E
# #
2 1 4 2 1 1 4 3 4 1 4 3 2 3 4 3 2 1 2 3
&
Figure 5.2.1-4. Notation chart for exercise No. 1 in G major scale bottom to top.


QR - code 93
Exercise No. 2: play longer runs in succession (fig. 5.2.1–5).
First, play on one side of the bridge only:
1. On the left side of the treble bridge (fig. 5.2.1-5: bars 1 –
3, fig. 5.2.1–12: bars 6 – 8, fig. 5.1.1-13);
2. On the right side of the treble bridge (fig. 5.2.1–5: bars QR - code 93
4 – 6, fig. 5.2.1–6: bars 3–5 and 5.1.1-14); httpd://www.youtube.com/
3. At the bass bridge (fig. 5.2.1–5: bars 7 and 8, fig. 5.2.1–6: lkjljlkjlkjljlkjlkjlkj
bars 1 and 2 and 5.1.1-15).

QR - code 93
Watch video no. 5.36: exercise No. 2 top to bottom (QR - httpd://www.youtube.com/
code 146). lkjljlkjlkjljlkjlkjlkj
QR - code 93
108
G Fis E D Cis Fis E D Cis B E D Cis B A C B A G Fis
# #
1 2 3 4 5 2 3 4 5 6 3 4 5 6 7 1 2 3 4 5
& 38 # # #
#
B A G Fis E A G Fis E D E D C B A D C B A G
1 2 3 4 5 2 3 4 5 6 1 2 3 4 5 2 3 4 5 6
& # #
Figure 5.2.1–5. Notation chart for exercise No. 2 top to bottom.
G A B C D A B C D E D E Fis G A E Fis G A B
6 5 4 3 2 5 4 3 2 1 7 6 5 4 3 6 5 4 3 2
3
&8 # #
Fis G A B C A B Cis D E B Cis D E Fis Cis D E Fis G
# #
5 4 3 2 1 7 6 5 4 3 6 5 4 3 2 5 4 3 2 1
&# # # #


code 148). QR - code 93
Exercise No. 2 in G major scale. Pay close attention to the

height of your wrists to prevent the hammers or your arms
from hitting each other as they move quickly from one side
QR - code 93
of the bridge to the other. Same as in previous exercises,
first play the sequences around each string course, going httpd://www.youtube.com/
top to bottom (fig. 5.2.1 – 7 and 5.1.1–17, 18, 19 and 15),
then vice versa (fig. 5.2.1 – 8 and 5.1.1–15, 21, 19, 18 and 17).
109
G Fis E D C Fis E D C B E D C B A D C B A G C B A G Fis
# #
1 2 3 4 5 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 5
& 38 #
B A G Fis E A G Fis E D G Fis E D C Fis E D C B E DC B A D C B A G

2 3 4 5 6 3 4 5 6 7 4 5 1 2 3 56 2 3 4 1 2 3 4 5 2 3 4 5 6
& # # # #
Figure 5.2.1-7. Notation chart for exercise No. 2 in G major top to bottom.

Watch video no. 40: exercise No. 2 in G major top to bottom

(QR - code 150).
G A B C D A B C D E B C D E Fis C D E Fis G D E Fis G A

6 5 4 3 2 5 4 3 2 1 4 3 7 6 5 3 2 6 5 4 2 1 5 4 3
& 38 # # #
E Fis G A B Fis G A B C G A BCD AB CDE B C D E Fis C D E Fis G
# #
6 5 4 3 2 5 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1
& # #
Figure 5.2.1-8. Notation chart for exercise No. 2 in G major scale bottom to top.


110
5.2.2 Waltzes with Notes of Small Rhythmic Value

1. three pieces in triple metre
2. to use complex combinations of small-value notes, which you have learned in lesson 5.2.1., in these
compositions.
The first piece in this lesson, mazurka, is very simple (fig.

5.2.2–1). Part one mostly has rhythmically repeated notes G
and D (fig. 5.2.2–2). Part two - bars 5, 6 and 8 - feature split
dyads (fig. 5.2.2 – 3). Only bar 7 is slightly more complicated.
Both parts of the piece are repeated.
C B A G D G
# 3 . j j j j j
1 2 3 4 2 4
& 8 .J j j ..
J
C C E C B B D B A A C B A G G B G
# . j j j
1 1 3 1 2 2 4 2 3 3 1 2 3 4 4 2 4
& .J ..
J J J
Figure 5.2.2-1. Notation chart for the mazurka.
1
Watch video no. 5.43: mazurka - putting in slow tempo (QR
2 2
- code 153).
3
Watch video no. 5.44: mazurka (QR - code 154). 4
Figure 5.2.2-2. Dulcimer chart for bars

Try also learning another, much more complicated mazur- 1–4 of the mazurka.
ka (fig. 5.2.2–4 and 5). It is much longer and the melody is
repeated with different variations, so some bars are similar 1
but have a couple of different notes. 2
3 3
4 4

5–8 of the mazurka.
111
D B B A C A C C E D B B G
# j
& 38 j
2 2 2 3 1 3 1 1 3 4 2 2 4
..
J J J J J
B B A C A A D D B A G G A G
# j j j j j
2 2 3 1 3 3 4 4 2 3 4 4 3 4
& J J J J J
B C E A C C E D B B G
# j
2 1 3 3 1 1 3 4 2 2 4
& J J J J
B B G C E A A E D D B A G G
# j j j
2 2 4 1 3 3 3 3 4 4 2 3 4 4
& J J
Figure 5.2.2-4. Notation chart for part one of the mazurka.
From bar 10 to 17, the bars 2-9 are repeated. So first of

all, analyse what variations are added to the melody as it
1
is repeated and which bars remain unchanged. The more
2 2
complicated bars requiring more attention are those that
3 3
include jumps, especially bar 14.
4 4
Watch video no. 5.45: first part of mazurka - putting in slow

Figure 5.2.2-5. Dulcimer chart for part
tempo (QR - code 157). one of the mazurka.
Watch video no. 5.46:first part of mazurka (QR - code 156).
112
C C E C E B B A B A B A G B G B G B
# j
1 1 3 1 3 2 2 3 2 3 2 3 4 2 4 2 4 2
& J J
C C E C E B B G B G A C A G G
# j j
1 1 3 1 3 2 2 4 2 4 3 1 3 4 4
& J J
C C E C E B B G B G A B A A G B G B
# j j
1 1 3 1 3 2 2 4 2 4 3 2 3 3 4 2 4 2
& J J
C C E C E B G B A C A G G
# j
1 1 3 1 3 2 4 2 3 1 3 4 4
j j
& J J J
Figure 5.2.2-5. Notation chart for part two of the mazurka.
Part two in particular has a lot of split dyads (fig. 5.2.2 – 5

and 6). bars 41 – 48 are a repetition of 33-40). Same as in
learning part one, you should once again notice the melod- 1
ic similarities and differences. 2
3 3
Watch video no. 5.47: second part of mazurka - putting in 4
slow tempo (QR - code 157).
Watch video no. 5.48: second part of mazurka (QR - code one of the mazurka.
158).
Learning triple metre compositions would not be complete

without a waltz, so the final piece in this chapter is a waltz
by A. Mieliauskas22. (fig. 5.2.2 – 7, 8 and 9). Originally, this
waltz was played on the Petersburg accordion but it is quite
convenient to play on the dulcimer because its melodic
shapes are characteristic to dulcimer music.
22 A. Mieliauskas was distuiguished Petersbug accordion player. I transcribed some of his melodies.
113
G Fis E Fis G Fis G Fis E D D C B D G B
#
& 38
1 2 3 2 1 2 1 2 3 4 4 1 2 4 1 2
..
A B A G Fis E D E Fis G G G Fis
#
3 2 3 4 5 6 7 6 5 4 4 4 5
&
E Fis G A G Fis E D B
#
3 5 4 3 4 5 6 2 2
&
A B A G Fis E D E Fis G G G Fis G

3 2 3 4 5 6 7 6 5 4 4 1 2 4
# .. .
1. 2.
&
Figure 5.2.2-7. Notation chart for part one of Mieliauskas waltz.
1 1
2 2
Same as the second mazurka, Mieliauskas waltz is quite
3
long, but mostly because it has a lot of repetitions. Bars
10-13 are a repetition of bars 2-5, but an octave lower. Bars 4
14–16 are an identical repetition of bars 6- 6-9. The whole

first part (bars 2-16) is also repeated, skipping bar 17. 1–5 and 10-13 of Mieliauskas waltz.
Notice when the second D course of strings is used at the

bass bridge and when - the 7th one at the treble bridge. 2
3
The piece is rather complicated because of the high num-
4
ber of runs and rolls with small-value notes. These elements
5
are often combined, e.g. in bars 3 and 4. Dedicate more at-
6
tention to these more complex parts of the composition
7

6–9 and 14-17 of Mieliauskas waltz.
114
Watch video no. 5.49: first part of Mieliauskas waltz - put-

ting in slow tempo (QR - code 159).
Watch video no. 5.50: first part of Mieliauskas waltz (QR -

code 160).
Part two of the piece is not as complicated (fig. 5.2.2 – 10

and 11). All the notes of small rhythmic value are simply
split dyads and rhythmic repetitions of certain notes. Bars
19 – 34 are repeated.
G G A B C C E C E C C E C E
# .
4 4 3 2 1 1 3 1 3 1 3 1 3 1
& .
E G E Fis G D D B D B D
# .
3 1 3 2 1 4 4 2 4 2 4
&
G A B D C B D D D E
#
4 3 2 4 1 2 4 4 4 3
&
Fis E D C B A B G G
2 3 4 1 2 3 2 4 4
# ..
& .
Figure 5.2.2-10. Notation chart for part one of Mieliauskas waltz.
115
Watch video no. 5.51: second part of Mieliauskas waltz -

putting in slow tempo (QR - code 161).
1 1
2 2
Watch video no. 5.52: second part of Mieliauskas waltz (QR
- code 162) 3 3
4 4

two of Mieliauskas waltz.
Summary of Chapter Five

Revision Questions and Tasks:
What combinations of small rhythmic value notes are
there (that you have learned in this chapter and the pre-
vious ones)? List and describe each one.
How are they performed and how are the hammers al-
ternated?
Why is it important to learn exercises in G major scale?
116
Step Six. Wide Jumps

6.1. Octaves
6.1.1 Learning to Play Octaves

to perform wide octave intervals;
some exercises with octave intervals.
An octave is an interval between two notes of the same

name, e.g. E to E, separated by 6 other notes. You can, for
example, play the following octaves on the dulcimer: G (1)
and G (4) on different sides of the treble bridge, B (2) on the
right side of the treble bridge and B (4) at the bass bridge
etc. The octave, just like any other interval, is a dyad, and
you can play it all at once or split it into smaller notes. Learn
a few exercises to better understand how to perform it.
Exercise No. 1 is made up of split octaves sequentially go-

ing down following the G major scale (fig. 6.1.1–1, 2 and
3). When playing octaves, the lower note is struck with the
right hammer. By the way, when playing the octave D (4) -
D, it is better to use the second course of strings at the bass
bridge, since, as mentioned before, it simply sounds nicer.
However, in cases when it is not convenient to jump to the
bass bridge, the low course of treble strings can also be
used.
G G G G G Fis Fis Fis Fis Fis E E E E E D D D D D

4 1 4 4 1 5 2 5 5 2 6 3 6 6 3 2 4 2 2 4
2 #
&4 #
C C C C C B B B B B A A A A A G G G G G
3 1 3 3 1 4 2 4 4 2 5 3 5 5 3 6 4 6 6 4
&
117

1
(QR - code 163).
2 2
Watch video no. 6.2: exercise No. 1 (QR - code 164). 3
4 4
5
6

QR - code 93 QR - code 93 1–4 of exercises No. 1, 2 and 3.
1
2
3 3
4 4
5
6
5–8 of exercises No. 1, 2 and 3.
Exercise No.2: performed the same way as exercise No. 1,

only in a different rhythm (fig. 6.1.1 – 4, 2 and 3).

4 4 1 4 1 5 5 2 5 2 6 6 2 6 2 2 2 4 2 4
#
& 24 #
3 3 1 3 1 4 4 2 4 2 5 5 3 5 3 6 6 4 6 4
&
Figure 6.1.1-4. Notation chart for exercise No. 2.

(QR - code 165).
118
Exercise No. 3. Exercises No. 1 and 2 are based on the pol-

ka rhythm, so you played them in duple metre. However,
octaves are performed in various different compositions on
the dulcimer. Exercise No. 3 is in the waltz rhythm, triple me-
tre (fig. 6.1.1-5, 2 and 3).
#
4 4 1 4 1 5 5 2 5 2 6 6 3 6 3 2 2 4 2 4
j
& 38 #
j j j
3 3 1 3 1 4 4 2 4 2 5 5 3 5 3 6 6 4 6 4
& j j j j
Figure 6.1.1-5. Notation chart for exercise No. 3.

(QR - code 167).
6.1.2. Octaves in Compositions

three compositions;
to play octave intervals in these compositions;
to play in a minor scale.
The first piece in this lesson is the traditional folk dance

Kačerga23 (Fire Iron) (fig. 6.1.2–1).
instrumentinė muzika. Muzika cimbolams – Križačioks no. 11, LLKC, 2012, Vilnius, p.13
119
E D C B B Fis Fis Fis Fis G F E
#
6 2 3 4 4 5 5 5 2 4 5 6
& c ..
E B B G C B A A A C C B A G
G
6 2 2 4 1 2 3 3 3 1 1 2 3 4
# . j 4
& . J
E B B G A G Fis Fis B A G Fis Fis E E E E

G
6 2 2 4 3 4 5 5 2 3 4 5 2 6 3 6 3
# j 4
..
&
Figure 6.1.2–1. Notation chart for the traditional folk dance Kačerga.
This piece is different from the previous ones. As mentioned

previously, the dulcimer can be played in various scales, but
most often it is the G major. Everything you have learned up 2 2
to now was written in major scales that sound happy. But 3
every major scale has a minor one just a third lower. Two 4
such different scales, one sad-sounding and the other hap- 5
py, with the same key signature (e.g. one sharp note - Fis), 6
are called parallel. The scale parallel to our ever-popular G
major is E minor, which is the scale in which you will learn Figure 6.1.2–2. Traditional folk dance
to play Kačerga. Kačerga part one: dulcimer chart.
All the rules for playing various technical figures, rhythmic

1
and melodic shapes of short notes, which you have learned
2
in previous chapters, also apply to the minor scale.
3
Part one of the composition is made up of only a couple of 4
bars and they are quite simple. In bar one, rhythmic repeti- 5
tions are played on string courses E (6) and B (4). In bar two, 6
there is an octave jump Fis (5) - (Fis (2) (fig. 6.1.2-2).
Figure 6.1.2-3. Traditional folk dance
Kačerga: dulcimer chart for bars 3–5.
In the first three bars of part two (3 – 5), the melody hap-
pens to fall only on the right side of the treble bridge, string
courses 1 to 6 (fig. 6.1.2-3).
120
In bar 6, the melody gradually moves down from 2 (B) to 6

(E) course of strings. Also, octaves Fis (5) - Fis (2) and E (6) - E
2 2
(3) are inserted (fig. 6.1.2–4).
3 3
Watch video no. 6.7: Kačerga - putting in slow tempo (QR - 4
code 169). 5
6
Watch video no. 6.8: Kačerga (QR - code 170).
Figure 6.1.2-4. Traditional folk dance
Kačerga: dulcimer chart for bar 6.
The second piece is the Petersburg Waltz24, usually per-

formed on the Petersburg accordion. You will learn to play it
the way musicians traditionally play it on the dulcimer (fig.
6.1.2 – 5).
#
6 2 3 4 4 5 5 5 2 4 5 6
& c ..
G
6 2 2 4 1 2 3 3 3 1 1 2 3 4
# . j 4
& . J

G
6 2 2 4 3 4 5 5 2 3 4 5 2 6 3 6 3
# j 4
..
&
Figure 6.1.2 – 5. Notation chart for the Petersburg Waltz
24 I learned this dulcimer version of a piece from from significant dulcimer researcher end teacher E. Vyčinas.
121
Bars 6-9 are a repetition of bars 2-6 but the melodic line 1 1
is slightly altered (fig. 6.1.2-5 and 6). The initial bars have 2 2
more jumps, including the somewhat inconvenient ones 2
3 3
from one side of the bridge to the other, so take note which
4 4
hammer should hit which course of strings. Starting with
5
6-9, there are melodic rolls.
In part two, bars 14 – 17 are a repetition of 10 - 13. Only a one of the Petersburg Waltz.
couple of notes are changed in the repeated melody - in
bars 15 and 17.
1
Part two of the waltz does not pose many technical chal-
2 2
lenges, just notice that there are repetitions of split octaves:
3 3
E (6) – E (3) and D (2) – D (4).
4 4
5
Watch video no. 6.9: Peterburg waltz - putting in slow tem-
6
po (QR - code 171).
Watch video no. 6.10: Peterburg waltz (QR - code 172). two of the Petersburg Waltz.
122
Since you have learned a waltz and a dance in this lesson,

you should also learn a polka - this one is called Senelių25
(The Grandparents’ Polka) (fig. 6.1.2 – 8).
# c
6 2 3 4 4 5 5 5 2 4 5 6
& ..
G
6 2 2 4 1 2 3 3 3 1 1 2 3 4
# . j 4
& . J

G
6 2 2 4 3 4 5 5 2 3 4 5 2 6 3 6 3
# j 4
..
&
Figure 6.1.2 – 8. Notation chart for Senelių polka
In this piece, repetitions are notated in full - the bars in rows

1 to 3 are repeated in 2 and 4. Only a few notes are changed
2 2
in the repetition.
3
The polka is rather uncomplicated. Part one of the piece 4 4
(bars 1 - 8) sounds more like an accompaniment using the
series of functions T - D - T. There is a large number of split one of Senelių polka.
octave intervals throughout the polka (fig. 6.1.2-8, 9 and
10).
5
6

two of Senelių polka.
instrumentinė muzika. Muzika cimbolams – Senelių Polka no. 5, LLKC, 2012, Vilnius, p.8
123
Watch video no. 6.11: Senelių polka - putting in slow tempo

(QR - code 173).
Watch video no. 6.12: Senelių polka (QR - code 174).

In chapter 4, you have learned to accompany with the dul-

cimer. One accompaniment part happened to be too com-
plicated for you at the time because it had a lot of melodic
rolls and octave interval jumps. In this chapter, you are fi-
nally able to learn the Vestuvių (Wedding) polka with the
original accompaniment (fig. 6.1.2-11).
Part one of the polka (fig. 6.1.2–11: bars 1 – 6; 6.1.2–12 and

13) is very simple, mostly featuring series of adjacent notes.
Repetitions are not notated in full in this piece, so remem-

ber that bars 3, 4 and 9, 10 are skipped when repeating.
Part two of the piece (fig. 2.1.6–13 and 14) is essentially very
similar to part one but features a couple more complex me-
lodic lines in bars 8 and 9.
# c
6 2 3 4 4 5 5 5 2 4 5 6
& ..
G
6 2 2 4 1 2 3 3 3 1 1 2 3 4
# . j 4
& . J

G
6 2 2 4 3 4 5 5 2 3 4 5 2 6 3 6 3
# j 4
..
&
Figure 6.1.2 – 11. Notation chart for the Vestuvių polka with original dulcimer accompaniment.
124
Watch video no. 6.13: original accompaniment of polka -

putting in slow tempo (QR - code 175).
Watch video no. 6.14: original accompaniment of polka (QR 2

- code 176). 3
4
5
6

1–4 of polka.
lkjljlkjlkjljlkjlkjlkj lkjljlkjlkjljlkjlkjlkj 1
2
3
4 4

5–6 of polka.
1
2
3
4
5
6

7–8 of polka.
4 4
5
6
7

9–12 of polka.
125
6.2.1 Learning to Play Multiple Jumps

to perform a series small rhythmic value jumps;
an exercise with lots of jumps.
In dulcimer music, the multiple jumps technique comes in

two varieties: as a certain style of playing, where the whole
piece is made up of jumps, or as a combination of several
jumps in the composition. However, most often they are
performed with one repeating note and are not as difficult
as they might seem. In this lesson, you will learn what they
look like and how to perform the jumps through the help
of an exercise. In previous chapters, multiple exercises were
needed to learn a new technique but in this lesson, just the
one will suffice (fig. 6.2.1 – 1).
G G Fis G E G D G C G B G A G G G FisFis E Fis D Fis E Fis B Fis A Fis GFisFisFis
#
1 1 2 1 3 1 4 1 1 1 21 3 1 41 2 2 3 2 4 2 1 2 2 2 3 2 4 2 5 2
& c
E E D E C E B E A E G E Fis E E E D D C D B D A D G D Fis D E D D D
3 3 4 3 1 3 2 3 3 3 4 3 5 3 6 3 4 4 1 4 2 4 3 4 4 4 5 4 6 4 7 4
#
&
C C B C A C G C Fis C E C D C C C B B A B G B Fis B E B D B C B B B
#
1 1 2 1 3 1 4 1 5 1 6 1 2 1 3 1 2 2 3 2 4 2 5 2 6 2 2 2 3 2 4 2
&
A A G A Fis A E A D A C A B A A A G G Fis G E G D G C G B G A G G G
#
3 3 4 3 5 3 6 3 2 3 3 3 4 4 5 4 6 4 2 4 3 4 4 4 3 4 4 4 5 4 6 4
&
Figure 6.2.1 – 1. Notation chart for the multiple jumps exercise.
126
1
1. 2. 1 3.
1 1 2
2 2
2 2 3 3
3 3
3 3 4 4
4 4
4 4 5
5
6
4. 1 5. 1 6.
2 2 2
1 2
3 3 3
2 3
4 4 4 4 4
5 5 5
6 6 6
7
7. 8.
2 2
3 3 3
4 4 4 4
5 5 5 5
6 6 6
Figure 6.2.1 – 2. Dulcimer charts for the multiple jumps exercise.

(QR - code 177).
The notation chart for this exercise is slightly different than

usual - there is no rhythm line to show the length of each
note and which hammer hits which course of strings. This is
because all the notes in this exercise and in compositions of
this style are of the same rhythmic value. In such case, the
hammers are alternated one after the other, starting with
the right one, of course.
Every bar (fig. 6.2.1–1) has a new series of jumps starting on

a lower course of strings than before. In the split chart (fig.
6.2.1–2), the number in the left corner of each chart indi-
cates the bar number.
127
6.2.2 Multiple Jumps in Compositions

three new compositions;
to perform multiple jumps in compositions;
to perform a composition made up entirely of jumps.
The first composition is the simplest one - a series of multi-

ple jumps is only featured in one bar of the Petersburg Pol-
ka26 (fig. 6.2.2–1). Its melody is very similar to the Peters-
burg Waltz, only instead of triple metre, this piece is played
in duple metre.
G Fis E C E D B G B C Fis A Fis D Fis A Fis G G B G B G G B G Fis

1 23 1 3 4 2 4 2 1 2 3 2 2 2 3 2 4 4 2 4 2 4 4 2 4 5
#
& 24 ..
1. 2.
E E EE E C B A A Fis E D D D D D B A G A B A G Fis G A BAG

6 3 63 6 1 2 3 3 5 6 24 2 4 2 2 3 4 32 3 4 5 4 3 234
# ..
1. 2.
&
Figure 6.2.2-1. Notation chart for the Petersburg polka
The first two bars (fig. 6.2.2–2) are quite simple to play.
1 1
Somewhat uncomfortable is the arpeggiated G major chord
2 2
in bar two - try to keep the hammers from hitting into each
3
other.
4 4
In bar 3, first learn the right hand part. Then, after each note
you play with the right hand, strike the second course of
1–2 of Petersburg polka.
strings on the left side of the treble bridge (Fis) with the left
hammer.
1
2 2
Remember that bar 5 should be skipped when repeating
3
part one (fig. 6.2.2–1 and 4), and bar 10 should be skipped
when repeating part two. Figure 6.2.2-3. Dulcimer chart for bar 3
of the Petersburg polka.
Part two also poses some technical challenges (fig. 6.2.2-1
and 5). Bars 6 and 8 have split octaves, and bar 10 features
a melodic roll. 2
4
5

4 and 5 of the Petersburg polka.
26 I learned this polka from E. Vyčinas.
128
Watch video no. 6.17: Petersburg polka - putting in slow

1
2 2
Watch video no. 6.18: Petersburg polka (QR - code 180). 3 3
4 4
5
6

QR - code 93 QR - code 93 two of the Petersburg polka.
The second composition in this lesson is the Aukštaičių

polka27 (fig. 6.2.2-6). It has a series of multiple jumps made
up of the same notes as in the Petersburg polka.
B C E D D B G B C Fis A D D D G B G B
G
2 1 3 4 4 3 4 3 1 2 3 2 2 4 4 2 4 2
#
& 24
4
A G B C E D C B A G G A C Fis A Fis D D D G B G
#
3 4 2 1 3 4 1 2 3 4 4 3 1 2 3 2 2 2 4 4 2 4
&
D D D D D G B G G B C C A D D D G B G A B
#
2 4 2 2 4 4 2 4 4 2 1 1 3 2 2 4 4 2 4 3 2
&
D D D D D G B G G B C C A D D D G B G
#
2 4 2 2 4 4 2 4 4 2 1 1 3 2 2 4 4 2 4
&
Figure 6.2.2-6. Notation chart for Aukštaičių Polka.

instrumentinė muzika. Muzika cimbolams – Aukštaičių polka no. 5, LLKC, 2012, Vilnius, p.7
129
The repetitions in this piece are all notated: between 5 and

1
8, the bars 1-4 are repeated, and between 13 and 16 - 3-12.
2 2
In part one, the melodic line of the second row is highly var- 2
ied, a lot different from the first, and multiple octaves are 3 3
only featured in bar 7 (fig. 6.2.2-6 and 7). 4 4
Only the last notes are different between rows 3 and 4 in Figure 6.2.2-7. Dulcimer chart for part
one of Aukštaičių polka.
part two of the piece (fig. 6.2.2 – 6 and 8). There are numer-
ous jumps here, especially with third and octave intervals.
1
2 2
Watch video no. 6.19: Aukštaičių polka - putting in slow
3
4 4
Watch video no. 6.20: Aukštaičių polka (QR - code 182).
two of Aukštaičių polka.
The last piece, a polka called Ištekės Marceliutė28 (Marce-

liutė is Getting Married) (fig. 6.2.2-9).
28 Played by Klemensas Pundys, born in 1912, Kalvėliškių k., Tverečiaus sen., Ignalinos r., MFA KLF 6007. Vyčinas E., Lietuvių liaudies
instrumentinė muzika. Muzika cimbolams – Ištekės Marceliutė No. 54, LLKC, 2012, Vilnius, p.25
130
E Fis G G Fis G E G E G E G E G E Fis Fis G Fis G E G D G DG D C

G B
3 2 1 1 2 1 3 1 3 1 3 1 3 1 2 1 2 1 2 1 3 1 4 1 4 1 4 1
#
& 24 ..
4 2
B E B E D E C E C E B E A Fis A Fis D FisFisFis A FisG G G G G G
#
2 3 2 3 3 4 3 1 3 1 3 2 3 3 2 3 2 4 2 3 2 3 24 1 4 1 4 1
& ..
D C B B G B G B Fis A Fis A Fis A Fis A E C E C E C E D Fis D Fis D Fis D C
# .
4 1 2 2 1 2 1 2 2 3 2 3 2 3 2 4 4 1 4 1 4 1 4 4 2 42 4 2 4 1
& .
B G G G G G B G C E A E D E A E D Fis D Fis D Fis FisFis A G G G G

G
2 1 4 1 4 1 4 1 1 3 3 3 2 3 3 3 4 2 4 2 4 2 5 2 3 1 4 1 4
# 4
..
&
Figure 6.2.2-9. Notation chart for the polka Ištekės Marceliutė.
In the beginning of the previous lesson (6.2.1.), we had

mentioned that multiple jumps can be either a series of
jumps in a composition or a specific style of playing. This
version of the polka Ištekės Marceliutė is based on that ex-
act principle, which is why the piece is particularly complex
and meant only for advanced musicians (fig. 6.2.2-10).
However, if you pay attention to a few things, you can still

learn this composition:
the polka is played mostly on the first four courses of
strings at the treble bridge (except for the Fis (5) course
of strings hit once in bar 7 and D (2) in bar 11);
almost all notes are hit with the left hammer on the left
side of the treble bridge except C (1) course of strings (in
bars 4 and 12);
131
generally, the left hammer mostly hovers above one of

1 1
the courses of strings, often for the whole bar or even
2 2
two: therefore, it is recommended to learn the right- 2
hand part well, because its melodic line is always mov- 3 3
ing and jumping. 4 4

5
Watch video no. 6.25: polka Ištekės Marceliutė - putting in Figure 6.2.2-10. Dulcimer chart for the
slow tempo (QR - code 183). polka Ištekės Marceliutė.
Watch video no. 6.26: polka Ištekės Marceliutė (QR - code

184).
QR - code 93
Questions and Tasks for Revising Everything

You Have Learned
QR - code 93
What are multiple jumps and how are they different httpd://www.youtube.com/
from split intervals and arpeggio chords? lkjljlkjlkjljlkjlkjlkj
How are multiple jumps performed?
What other combinations of small rhythmic value notes
are there? Describe them and the rules for performing
them.
List all the cases when strings must be hit with the left
hammer.
How are accents performed?
What is the dominant?
How are compositions with voltas played?
How can you accompany other instruments with the
dulcimer?
132

Cimbole-makec-ENG-8.11.2018 Taisyta PDF

Caricato da

Informazioni sul documento

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

Cimbole-makec-ENG-8.11.2018 Taisyta PDF

Caricato da

Copyright:

Formati disponibili

AUŠRINE GARSONAITE

Musical Instruments and Traditional Music ........................................................................................................ 3

Mandolins in Latvia ........................................................................................................................................................ 9

About the book

Figure 1. A male collective blowing horns.

Figure 2. The traditional band Muzikontai iš pa Utenas (Musicians from Utena).

Figure 3. Folklore collective Salduvė.

Figure 4. The band Kitava.

Figure 5. Egidijus Virbašius.

Figure 5. Albertas Martinaitis.

The Dulcimer: Then and Now

10 Lietuvių enciklopedija, t. IV, p. 30–31

About the e-Book

Figure 1. A chart of dulcimer string courses.

17 Vyčinas, E. – Pratarmė. 100 kūrinių cimbolams, LLKC, Vilnius, 2014, p.4

In this lesson you will learn:

Setting Up Your Instrument

The hammered dulcimer is usually set up on a solid surface,

Figure 1.1–2. The dulcimer on a

Figure 1.1–3. Playing in a standing position

Striking Courses of Strings; Bridges

Dulcimer strings are grouped into courses of five strings

Note: in this book, we will refer to musical notes as follows:

Learning to correctly hold the hammers is very important

Sounds are produced by striking courses of strings with

Putting is a playing technique when the hammers are

In the following lessons, you will find two types of charts:

Figure 1.1–7. A dulcimer with overlaid chart drawings.

Notation charts are made up of four layers (fig. 1.1–8):

The colours are indicating the rhythm and show which

Your main goal during this lesson is to learn to play a row

Figure 1.1–8. G major scale notation chart.

Watch video no. 1.5: exercise No. 2 (QR - code 5).

*Hand changes are only for exercise No. 4

Exercise No. 3: practice alternating between the hammers httpd://www.youtube.com/

Watch video no. 1.6: exercise No. 3 (QR - code 6).

Figure 1.1–10. Notation chart for exercise No. 4.

Figure 1.1–11. Chart for exercise No. 4.

Note: When playing the dulcimer, the right hand is always

1.2. Playing on the Left Side of the Treble Bridge

In this lesson you will learn:

Some narrow-interval compositions for dulcimer can all be

The first and simplest melody is that of the Lithuanian folk

Begin with your right hand on the fifth course of strings –

Watch video no. 1.9: melody of the song O Kai Aš in A major:

The second piece is a popular traditional Aukštaitija (High-

3 I made up this version for cymbal myself.

is very simple but it is important that this hand does not

Prepare for the jump in advance in such way, and it will be

Don’t forget to repeat the first four bars! 2

Watch video no. 1.11: Melody of the dance Pjoviau šieną in

1.2.2. Playing Polka in D

In this lesson you will learn:

Thanks to the sharp Cis course of strings on the left side of

Fis E D Cis B B B C A A A Cis D D D A

A A A A A B B Cis A Cis A Cis E E D D

Figure 1.2.2–1. The chart for polka in D major.

Compared to the first two compositions, the melody of the

whole piece is played continuously alternating between

Watch video no. 1.13: polka in D major: putting in slow tem-

1.3. Playing on the Right Side of the Treble Bridge

In this lesson you will learn:

Fis G A Fis G A Fis G A H A G Fis Fis Fis E E Fis G A H A G Fis