Conclusion of LEARNING TO TUNE BY EAR

[Stephen Seifert]

PART III of LEARNING TO TUNE BY EAR (Final Post)

If you haven't, please be familiar with the concepts, practices, and exercises in PART I and PART II before moving on to this post, PART III.

Previous Posts:
PART I - http://everythingdulcimer.com/discuss/viewtopic.php?t=18459
PART II - http://everythingdulcimer.com/discuss/viewtopic.php?t=18956

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You've Come a Long Way

By now, you should be getting better at hearing the beat frequency, the wah-wah, when two strings are producing ALMOST the same pitch. What follows is a list of tunings with my method for getting into each one. Before I get to that, I want to be clear about what my hands are doing.

My left hand is all about turning the tuners. I don't fret or pluck with the left hand. The right hand takes care of all the fretting and plucking. This way, the strings continue to ring as my left hand turns the tuner in response to what my ear is getting. (the wah-wah)

Example:
My right hand index finger frets the bass string at 4. I'm careful not to push too hard. I'm also careful so the string goes straight down so not to subtly bend the string sharp either direction.

My right hand thumb plucks first the open middle string. (an A) After about a quarter second, it then plucks the bass string. (an A)

At this point, my ear is hearing the combination of an A on the middle string with an A on the bass string. The wah-wah guides me home.

The Tunings I Use:

The bass string is listed first. Set it either by feel (it shouldn't be too tight or too loose), to match the same note from another instrument, or with a tuner. If you have a double melody string, tune the second open to the first open after the first is set.

DAA
Fret bass at 4 to match open middle.
Open middle matches open melody.

DAD
Bass 4 matches open middle.
Middle 3 matches open melody.

DAC
Bass 4 matches open middle.
Melody 1 matches open bass. (but an octave apart - the wah-wah is still there, just harder to hear)

DAG
Bass 4 matches open middle.
Bass 3 matches open melody.

DGD
Bass 3 matches open middle.
Middle 4 matches open melody.

DGC
Bass 3 matches open middle.
Melody 1 matches open bass. (but an octave apart - the wah-wah is still there, just harder to hear)

EAD
Bass 5 matches open middle.
Middle 3 matches open melody.

DF#A
Bass 2 matches open middle.
Bass 4 matches open melody.

LowAAA
Start in DAA. Then lower the bass string until it is the A 1 octave below the A on the middle string. These notes are an octave apart. The wah-wah is there, just a little harder to hear.

Varients
All of these tunings can go up or down depending on your dulcimer and your string gauges. DAD could go down to C#G#C# which could go down to CGC, etc.

Yes, I actually use all these tunings and more. There's a lot I'm not listing here, especially when you consider all the 4-equidistant tunings. A pure diatonic, with no 1/2 frets, can do amazing things with all of these. If you'd like to help keep this part of our instrument strong, know that you are quite welcome!

Here's tip I got from Lynn McSpadden that really works. When putting on strings, wrap enough on the tuner post so that where the string leaves the post, it's not near the edges of the hole that goes through the post. If it is, your constant tuning will result in the edge of that hole creasing the string, eventually causing it to break. Since I started doing this, I can't remember a single string breaking while tuning. They almost never break now. When they do, it's to the right of the saddle due to my constant strumming. I've broke less than 5 strings in the last 10 years. Yahoo!

NOT The End

That's about it. Thanks to all who have followed these three topics on tuning by ear. Is there anything I could be more clear on? Anything I can help with? Please don't hesitate to post questions and responses to all three topics to this topic, PART III.

And remember, when you're in tune, the ears of the world will thank you!

[Stephen Seifert]

Anyone?

[Dave-M]

I check my tuning (strings to each other) like that every time I pick up any stringed instrument. Sometimes I tune the A string to a tuning fork and then tune the rest of the strings like that. If I pick up an electronic tuner to check one reference string, the temptation is too great to use it for the other strings.

I am starting to use track one on instructional CDs, that have the "Let's get in tune. Bong" instead of a tuner.

Peace and music,
Dave

[foggers]

Just wanted to say thanks for the whole series on building these skills. The links to sites to test our aural skills etc are brilliant and I have used them a lot and passed them to others too who have an interest in such things.

It has reminded me of the risks of relying on electronic tuners and I appreciate the opportunity to re-engage with my own hearing skills!

[Ringo]

Misunderstood thread. Sorry

[Dave-M]

I've started carrying an "A" tuning fork in my pocket (it's small enough). Good for my mountain dulcimer, guitar, and mandolin. I can tune the other strings to the one that I tuned with the fork. I'm trying to wean myself from the electronic tuner.

Peace and music,
Dave

[RW]

Stephen, thanks for this thread!! It has beed a tremendous help to me.

Ron

[Stephen Seifert]

Any last questions or comments?

[epiphany]

So what do you do in the middle of a performance when you can hear your string are off? do you just pick one string and tune to that?

[Stephen Seifert]

So what do you do in the middle of a performance when you can hear your string are off? do you just pick one string and tune to that?

Could you be more specific? Do you mean in the middle of a tune or after you've stopped playing, you're talking, and you're getting ready for the next tune? When you say "pick one string and tune to that," do you mean one of your strings or a partner's?