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Hammers - to Hammer or Not Hammer?
Hammers - to Hammer or Not Hammer?
In the USA the trapezium-shaped or trapezoid instrument that I play is nearly always referred to as the "hammered dulcimer". This title serves to distinguish it from the hour-glass shaped mountain or Appalachian dulcimer. In the UK there is some reluctance to call the instrument "hammered" and many people prefer to call it simply the "dulcimer". Until fairly recently, there had only been one kind of dulcimer in the UK. It was not until the 1950s, when the mountain dulcimer first arrived in the UK with Jean Ritchie, that it became necessary to distinguish the two kinds of instrument as "hammered" and "mountain".
In the USA the trapezium-shaped or trapezoid instrument that I play is nearly always referred to as the "hammered dulcimer". This title serves to distinguish it from the hour-glass shaped mountain or Appalachian dulcimer. In the UK there is some reluctance to call the instrument "hammered" and many people prefer to call it simply the "dulcimer". Until fairly recently, there had only been one kind of dulcimer in the UK. It was not until the 1950s, when the mountain dulcimer first arrived in the UK with Jean Ritchie, that it became necessary to distinguish the two kinds of instrument as "hammered" and "mountain".
Beyond that there remains some ambivalence as to whether the American terminology should be adopted in the UK because the instrument is not always played using hammers, beaters or sticks (as they are variously called).
Beyond that there remains some ambivalence as to whether the American terminology should be adopted in the UK because the instrument is not always played using hammers, beaters or sticks (as they are variously called).
David Kettlewell's wonderful book, All the Tunes that Ever there Were . . . :An Introduction to the Dulcimer in the British Isles (1975) impressed upon me the strong historical tradition of playing the dulcimer by plucking the strings with the fingernails or using plectrums. Particularly, in the East Anglian and Birmingham traditions, the plucking of strings was a recognised technique. Hence, calling the instrument a hammered dulcimer may be an inaccurate and dismissive failure to recognise that plucking the strings is an important part of the UK tradition as regards dulcimer playing.
David Kettlewell's wonderful book, All the Tunes that Ever there Were . . . :An Introduction to the Dulcimer in the British Isles (1975) impressed upon me the strong historical tradition of playing the dulcimer by plucking the strings with the fingernails or using plectrums. Particularly, in the East Anglian and Birmingham traditions, the plucking of strings was a recognised technique. Hence, calling the instrument a hammered dulcimer may be an inaccurate and dismissive failure to recognise that plucking the strings is an important part of the UK tradition as regards dulcimer playing.
Another theme that comes out strongly from Kettlewell's book is that hitting the strings, when this was done, involved far more diverse tools than at present. The following pictures illustrate the point.
Another theme that comes out strongly from Kettlewell's book is that hitting the strings, when this was done, involved far more diverse tools than at present. The following pictures illustrate the point.
These are two fairly standard types of hammers used by many dulcimer players. These are relatively simple and cheap - it would be quite easy to find hammers made out of 'exotic woods' available at suitably inflated prices, but whether they would actually sound any better or play any better is another matter!
This page shows the amazing diversity of hammers that have been traditionally used for playing the dulcimer and similar instruments in different countries (from Kettlewell's book).
Also from Kettlewell's book, this shows some of the things that can be used to hit the dulcimer strings in 'emergency' situations!
This is a totally amazing Youtube video by Ben Catt, which shows him playing the Irish Washerwoman using an unbelievable range of household items as 'hammers': spoons, forks, kazoos, ladles, fish sticks, fingers, ping pong paddles, chopsticks, penny whistles, pop bottles, 36" dowels, psaltery bows, scrapers, mallets, cleaning brushes, bones, zip ties and conventional hammers.
The video deserves to be listened to twice: first to see the mind-blowing range of things that can be used as 'hammers' and second (with eyes closed) to discern the differences in sound. Draw your own conclusions, but my impression was that all the different kinds of 'hammers' sounded pretty good and, perhaps most tellingly, the final conventional hammers did not sound significantly better than other things that were used. Clearly, all this is being done by an extremely skilful player, but the point remains that (for him at least) the 'hammers' do not seem to make so much difference. Food for thought?
The video deserves to be listened to twice: first to see the mind-blowing range of things that can be used as 'hammers' and second (with eyes closed) to discern the differences in sound. Draw your own conclusions, but my impression was that all the different kinds of 'hammers' sounded pretty good and, perhaps most tellingly, the final conventional hammers did not sound significantly better than other things that were used. Clearly, all this is being done by an extremely skilful player, but the point remains that (for him at least) the 'hammers' do not seem to make so much difference. Food for thought?
Experimentation with Hammers
Experimentation with Hammers
From the above, it is apparent that there is a bewilderingly wide choice of things that can be used as hammers/beaters/sticks in dulcimer playing. It is ultimately a matter of individual choice, but my impression is that most players seem to opt for something like the conventional hammers shown in the first photo.
From the above, it is apparent that there is a bewilderingly wide choice of things that can be used as hammers/beaters/sticks in dulcimer playing. It is ultimately a matter of individual choice, but my impression is that most players seem to opt for something like the conventional hammers shown in the first photo.
Given my slightly contrary streak, I thought it important to at least try some of the alternatives to see what suited my best. The first dulcimer that I owned came with bent cane beaters with wool wrapped around the ends, I found these far too light and could not get on with them. I also acquired various 'standard' kinds of hammers which did not feel right for me or produce the sound that I was looking for. After a long period of not getting on with bought hammers I concluded that the 'right' hammers for me had to be home made!
Given my slightly contrary streak, I thought it important to at least try some of the alternatives to see what suited my best. The first dulcimer that I owned came with bent cane beaters with wool wrapped around the ends, I found these far too light and could not get on with them. I also acquired various 'standard' kinds of hammers which did not feel right for me or produce the sound that I was looking for. After a long period of not getting on with bought hammers I concluded that the 'right' hammers for me had to be home made!
One of the traditional players that I most admired was John Rea from Antrim, who is reported (according to different accounts) to have used beaters made from either bicycle spokes or a bent coat hanger (though I later learnt that he wound wool around the heads to soften the sound). Anyway, the idea of metal hitting upon metal was my starting point, but I came to feel that this produced a bright and attractive, but sometimes rather harsh sound. I counteracted this by covering the metal ends with plastic tubes to soften the sound slightly. At the beating end this seemed to work best.
One of the traditional players that I most admired was John Rea from Antrim, who is reported (according to different accounts) to have used beaters made from either bicycle spokes or a bent coat hanger (though I later learnt that he wound wool around the heads to soften the sound). Anyway, the idea of metal hitting upon metal was my starting point, but I came to feel that this produced a bright and attractive, but sometimes rather harsh sound. I counteracted this by covering the metal ends with plastic tubes to soften the sound slightly. At the beating end this seemed to work best.
For me, the big problem with beaters was about balance. Thinking generally, it would be quite difficult to use a knife or fork if it had to be held at the far end of the handle - and yet this is what 'standard' dulcimer hammers seem to require! I found that I needed hammers that could be grasped at the point of fulcrum or centre of gravity and experimented with various ways of achieving this. After trying many different possibilities, the hammers that I now use are shown below.
For me, the big problem with beaters was about balance. Thinking generally, it would be quite difficult to use a knife or fork if it had to be held at the far end of the handle - and yet this is what 'standard' dulcimer hammers seem to require! I found that I needed hammers that could be grasped at the point of fulcrum or centre of gravity and experimented with various ways of achieving this. After trying many different possibilities, the hammers that I now use are shown below.
These hammers are the culmination of my experimentation process. They are perfectly balanced in the sense that when held in the white area the weight in front perfectly matches the weight behind, due to the counterbalancing screws that are attached at the near end. For me at least, this mid point grip gives greater control over the hammers. After several years of playing, I now find it quite difficult to use conventional hammers. Each to his own, as they say!
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Please feel free to email me at bill.howarth54@gmail.com with any comments on the website.
Please feel free to email me at bill.howarth54@gmail.com with any comments on the website.
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