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Table of Contents
2
COPYRIGHT © 2011 DAVE HAAS
All rights reserved. No part of this publication may be reproduced in whole or in part, or
stored in any part of a retrieval system, or transmitted in any form or by any means, electronic
mechanical, photocopy, recording, or otherwise without written permission of the author.
Index of Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
About the Instructor / Welcome . . . . . . . . . . . . . . 4 . . . . . . . . . . . 1
Getting Ready to Play . . . . . . . . . . . . . . . . . . . . . . 5 . . . . . . . . . . . 2
Right-Hand Technique . . . . . . . . . . . . . . . . . . . . . . 6 -8 . . . . . . . . . 3-5
Exercise 1: Scale Strum . . . . . . . . . . . . . . . . . . . . . 9 . . . . . . . . . . . 6
Exercise 2: Two-Finger Slide . . . . . . . . . . . . . . . . . 9 . . . . . . . . . . . 7
Left-Hand Technique . . . . . . . . . . . . . . . . . . . . . . . 10-12 . . . . . . . 8-10
Exercise 3: Two-Finger Combination . . . . . . . . . . 11 . . . . . . . . . . 9
Exercise 4: Three-Finger Combination . . . . . . . . 12 . . . . . . . . . . 10
Exercise 5: Fingers and Slides . . . . . . . . . . . . . . . . 12 . . . . . . . . . . 10
Exercise 6: Three-Finger Strum . . . . . . . . . . . . . . . 13 . . . . . . . . . . 11
Exercise 7: Three-Finger Slide . . . . . . . . . . . . . . . 14 . . . . . . . . . . 12
Exercise 8: Chord Strum . . . . . . . . . . . . . . . . . . . . 14 . . . . . . . . . . 13
Exercise 9: Four-Note Slide . . . . . . . . . . . . . . . . . . 15 . . . . . . . . . . 14
Exercise 10: Three-Fingers – More Notes . . . . . . 15 . . . . . . . . . . 15
Backup Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 . . . . . . . . . . 16
Playing Backup – The “Chop” . . . . . . . . . . . . . . . . 17 . . . . . . . . . . 17
Exercise 11: The “Chop” Backup Strum . . . . . . . 17 . . . . . . . . . . 17
Thirty-Two Fiddle Tunes (next page) . . . . . . . . . 18-53 . . . . . . . 18-21 . . . . . 1-28
Dave Haas Books and CDs / Thank you! . . . . . . . 54 . . . . . . . . . . . . . . . . . . . . . 29
Topic Page
CD-1 CD-2
Angelina Baker . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 . . . . . . . . . . 18
Barlow Knife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 . . . . . . . . . . 19
Boatman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 . . . . . . . . . . 20
Boil Dem Cabbage . . . . . . . . . . . . . . . . . . . . . . . . . . 21 . . . . . . . . . . 21
Chinese Breakdown . . . . . . . . . . . . . . . . . . . . . . . . 22-23 . . . . . . . . . . . . . . . . . . 1
Cluck Old Hen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 . . . . . . . . . . . . . . . . . . . . . 2
Cripple Creek . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 . . . . . . . . . . . . . . . . . . . . . 3
Crooked Ridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 . . . . . . . . . . . . . . . . . . . . . 4
Dancing Cow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 . . . . . . . . . . . . . . . . . . . . . 5
Fly Around, My Pretty Little Miss . . . . . . . . . . . . 28 . . . . . . . . . . . . . . . . . . . . . 6
Gray Cat on a Tennessee Farm . . . . . . . . . . . . . . 29 . . . . . . . . . . . . . . . . . . . . . 7
Groundhog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 . . . . . . . . . . . . . . . . . . . . . 8
John Stinson’s #2 . . . . . . . . . . . . . . . . . . . . . . . . . . 31 . . . . . . . . . . . . . . . . . . . . . 9
Liza Jane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 . . . . . . . . . . . . . . . . . . . . . 10
Mississippi Sawyer . . . . . . . . . . . . . . . . . . . . . . . . . 33 . . . . . . . . . . . . . . . . . . . . . 11
Old Joe Clark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 . . . . . . . . . . . . . . . . . . . . . 12
Rock The Cradle, Joe . . . . . . . . . . . . . . . . . . . . . . . 35 . . . . . . . . . . . . . . . . . . . . . 13
Redwing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36-37 . . . . . . . . . . . . . . . . . . 14
Sail Away Ladies . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 . . . . . . . . . . . . . . . . . . . . . 15
Sandy River Belle . . . . . . . . . . . . . . . . . . . . . . . . . . 39 . . . . . . . . . . . . . . . . . . . . . 16
Scotland The Brave . . . . . . . . . . . . . . . . . . . . . . . . 40 . . . . . . . . . . . . . . . . . . . . . 17
Shady Grove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 . . . . . . . . . . . . . . . . . . . . . 18
Shove That Pig’s Foot (Further in the Fire) . . . . . 42 . . . . . . . . . . . . . . . . . . . . . 19
Soldier’s Joy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 . . . . . . . . . . . . . . . . . . . . . 20
Southwind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 . . . . . . . . . . . . . . . . . . . . . 21
Spotted Pony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 . . . . . . . . . . . . . . . . . . . . . 22
Turkey In The Straw . . . . . . . . . . . . . . . . . . . . . . . . 46 . . . . . . . . . . . . . . . . . . . . . 23
Waterbound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 . . . . . . . . . . . . . . . . . . . . . 24
Wayfaring Stranger . . . . . . . . . . . . . . . . . . . . . . . . . 48-49 . . . . . . . . . . . . . . . . . . 25
West Virginia Hills . . . . . . . . . . . . . . . . . . . . . . . . . . 50-51 . . . . . . . . . . . . . . . . . . 26
Whiskey Before Breakfast . . . . . . . . . . . . . . . . . . 52 . . . . . . . . . . . . . . . . . . . . . 27
Wildwood Flower . . . . . . . . . . . . . . . . . . . . . . . . . 53 . . . . . . . . . . . . . . . . . . . . . 28
Index of Songs
3
Song Title Page
CD-1 CD-2
Right-Hand Technique
7
The Strum
The key to good rhythm and smooth play is a good strumming motion (Figure 3).
Your elbow should be close to (but not touching) the side of your body. The upper arm
does not move very much during the strum. The strumming motion involves moving
two things at the same time - your forearm at the elbow (Pivot Point 1), while rotating
your wrist away from you (Pivot Point 2) at the same time. This motion of your right
hand feels like a) you are brushing crumbs off a table or b) shaking a wet hand to
remove moisture. The wrist rotates along the same axis as your forearm. The pick and
the palm of your right hand should be centered over the fretboard so it is as easy to
strum out away from yourself (rotating your wrist out) as it is to strum in (rotating your
wrist in) towards yourself. As your wrist rotates and arm moves forward, the angle of
the angle of the pick to the strings remains relatively constant.
Your right hand is the timekeeper and the boss!! Strum with a steady tempo and make
your left hand keep up with the noting. If your left hand cannot keep up, slow down
your strum until your left hand can keep up. Then slowly build speed.
Figure 3. The Strumming Motion
Pivot Point 1
Elbow
Movement of Forearm
Pivot Point 2
Wrist
Movement of Wrist
Pick Direction
The secret to playing REALLY FAST!
As the tempo becomes really fast, the overall movement must shorten. There is
more rotation of the wrist and less movement of the forearm. To play really fast, tilt
your dulcimer slightly so you can rest you forearm on the edge of the dulcimer. This
way your forearm is supported – allowing you wrist to rotate freely directly above the
fretboard. This technique will allow you to comfortably play very fast songs.
Upper Arm
Track
CD-1
Don’t fret!
Think spaces rather than frets. You do not have
to place your finger right next to the fret to make a
good note. It is often more comfortable to place your
finger in the middle of the space between two frets.
Play on your fingertips with your fingers curved
(Figure 7). Note that the index finger is playing in the
space between frets 3 and 4. It is fine to have more
than one finger on the same string. Other notes can
then be obtained by lifting fingers from the string.
Left-Hand Technique
Hand position
In order to produce the best sound with your dulcimer it
is important that notes are played cleanly and smoothly.
Cup your left hand. This provides a very good hand position
for playing both fast or slow songs. Cup your hand slightly.
Imagine that you are holding a small orange or tennis ball in
the palm of your hand. (Figure 6). This is a good hand position
with the fingers slightly curved. Now turn your hand and press
down on the strings with your fingertips. Fingers should be
curved on the fretboard (Figure 7). Do not flatten your fingers
to play the melody string. This will make it difficult to play
notes on the other strings and to play chords across all the
strings. Instead, cup your hand and play on your fingertips. Figure 6. Hand position
Slide, Slide, Slide!
Slide your fingers on the fretboard - don’t jump or hop. This will increase the
sustain of the notes and make your playing sound smoother and louder. I like to use
my ring finger as the “slider”; which gives me two extra fingers (middle and index) to
use to reach higher notes.
What do I do with my thumb?
In fast songs, I tend to play with fingers and minimize the use of the thumb.
Fingers all work in a similar manner – and a different manner - than the thumb. I do
use the thumb when to play melody notes while holding an A chord (1-0-1). I use my
thumb a lot when playing slow songs, picked one note at a time. I have found fiddle
tune playing to be more efficient using fingers. Some really like to use their thumb.
The bottom line: your music should sound wonderful and cleanly played.
Track
10
Figure 7. Fingers on Fretboard
CD-1
Exercise
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© 2011 All rights reservedStrum all strings
Arranged by Dave Haas
Exercise 6: Three Finger StrumTrack
13
0 0 0 0 0 r i r 0 r r r r r m i m r
r r r r r m i m r r r r r r m i m r
r r r r r m i m r r r r r r m i m r
r r r r r m i m r r r r r r m i m r
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Keep your fingers on the strings. Slide with your
ring finger. Use your ring finger as the anchor.
CD-1
Backup Chords
Backup chords are used to provide accompaniment to another instrument or
singer. This provides more depth to the song as the backup chords add the bass
complement to the melody being played on the treble strings. When playing backup, I
strum all the strings - but purposely do not finger any of the notes on the melody string.
This provides many nice suspended chords for backup while allowing the melody to
sounds more cleanly from the melody player(s). Some of my favorite backup chords are
listed below. I really like the second position chords.
Backup Chords
First Position Backup Chords
Second Position Backup Chords
2
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Track
16
m
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CD-1
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Playing Backup – The “Chop”
Backup Chords: “The Chop”
Your backup strum will be much more lively if you add a “chop” to your rhythm. The chop
is often heard on the mandolin in old-time and blue grass music. The chop involves striking
the backup chord quickly (flick your wrist) on the second and fourth beat of the measure (4/4
time). This is different from the “bum-ditty” strum where the chord is heard strongly on the
first and third beats of the measure. To perform the technique, strike only the melody string
(out) with your pick on beats 1 and 3. On beats 2 and 4, flick your wrist quickly to strike all the
string. Keep your wrist motion compact with your pick centered above the middle string.
There is little arm movement – the chop comes from a very quick rotation of the wrist to allow
the pick to strike all the strings. The pick direction is always out. Start with the practice
exercise below. Start slowly and say, “D chop D chop”, etc. as you play through the chord
progression. Don’t be discouraged. Practice makes perfect and will be worth the effort to put
some punch in your backup playing.
17
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D G D A
Boil dem cab - bage down boys ______, turn dem hoe - cakes round _________, the
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on - ly song that I can sing is boil dem cab - bage down _________________.
D G D A
D chop D chop G chop G chop D chop D chop A chop A chop
Track
Exercise 11: The “Chop” Backup Strum
CD-1
Angelina Baker
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DPart B Bm* G
Strum All Strings
Traditional
Angelina BakerArranged by Dave Haas© 2011 All rights reserved
Track
18
Sometimes a G chord is played instead
of Bm in measures 4 and 12.
CD-1
John Stinson #2
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APart A D
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Strum All Strings
Traditional
John Stinson’s #2Arranged by Dave Haas© 2011 All rights reserved
AC#m
DE
CAPO 4
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31
Track
CD-2
Mississippi Sawyer
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D GPart A
D Part B
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© 2011 All rights reservedStrum all strings
Traditional
Mississippi SawyerArranged by Dave Haas
33
Track
CD-2
Rock The Cradle, Joe
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Part A Bm
D
Part B
D
D G A D
A D G
DG A D
pick individual notes
pick individual notes
D
D A
pick individual notes
© 2011 All rights reservedStrum all strings
Arranged by Dave HaasTraditional
Rock The Cradle, JoeTrack
35
CD-2
Hint: To improve the accuracy and sound of picking individual
notes, move your right hand from its strumming position to a
position next to the saddle. Place your ring and pinkie fingers on
the side of the fretboard while you pick the individual notes.
Soldier's Joy
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D A D
Part A
Part B
AD
A
D G D A
D G D DA
Strum All Strings
Traditional
Soldier’s JoyArranged by Dave Haas© 2010 All rights reserved
D
D
Track
43
CD-2
Wayfaring Stranger
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EmPart A
A Em
Em
A
I am a poor ___________________ way - far - ing stran - ger __________________
________, wandering o’er ___________________ this world of woe ___________________________
___. And there’s no sick _________________ - ness, toil, or dan - ger ____________________
_______, In that bright ____ land _______________ to which I go ___________________
Strum All StringsTraditional
For Del Lawhon
Wayfaring StrangerArranged by Dave Haas
© 2010 All rights reserved
Em
Track
Capo 1
48
Bend – pull string
towards yourself
Bend – pull string
towards yourself
Bend – pull string
towards yourself
CD-2