1. Play through this exercise everywhere you can on the dulcimer, always starting the first triad with a marked course -- either on the right side of the treble bridge or on the bass bridge. You'll run out of room at the top of the instrument, but go as far as you can.
2. The chords belonging to any major scale will be of three types, each with a distinct flavor. The first, fourth, and fifth chords are always major. We use either capital letters like G, C, and D or capital Roman numerals like I, IV, and V to denote major chords. The second, third, and sixth chords are always minor. We denote minor chords by adding a lowercase "m" as in Am, Bm, and Em or by using lowercase Roman numerals as in ii, iii, and vi. The seventh chord is diminished, denoted by "dim" or ° as in F#dim, F#°, or vii°.
3. The differences in flavor among major, minor, and diminished chords has to do with the intervals between the notes. A half step is the distance from any piano key to the adjacent piano key, whether white or black. F to E and F to F# are both half steps. On the dulcimer, half steps are always and only between marked courses and the courses just beneath them. All other adjacent notes are separated by whole steps. Count for yourself to see how many half steps are in each interval in major, minor, and diminished triads. (Answers are at the bottom of this page.)
4. Here's a handy way to spell the eight chords of a scale.
I learned this from Rick Thum at the Upper Potomac Dulcimer Fest. Start by writing the notes of the scale. On the next line, back up two spaces and write it out again, continuing until you reach the end of the line. On the third line, back up two more spaces. Reading the columns gives you the notes in each triad. On a single piece of paper, why not write out the charts for all the major scales available on your dulcimer? (If you're not sure about the sharps and flats, use your tuning chart, or remember that every major scale has the same pattern of half and whole steps: W W H W W W H.)
Home |
Ex. 1: Triads |
Ex. 2: Chord Shapes |
Notes on Ex. 2 |
Ex. 3: I-IV-V Patterns
