The 3rd Sunday Gathering

3SG meeting schedule | Songs We Sing | What Is 3SG | Memories | History
Christmas Carols


The next meeting of the Third Sunday Gathering will be November 20th
3SG tuning and setup 1:30 to 2 pm Oct. 23rd; music 2 to 5 pm; pack-up 5-5:30,
in the basement community room of the Essex House,
1 East Main St., Ashland, Ohio.
That's downtown on the southeast corner of Main & Center Streets
Handicap accessible space -- no stairs necessary
picture of five story brick building
Mountain dulcimers and acoustic instruments that play well with mountain dulcimers are welcome.
Check Marji Hazen's Facebook page for up-to-the-minute information.


guitar, Autoharp, mandolin, folk harp, hammered dulcimer, pennywhistle, bozouki,
harmonica, musical saw, spoons, bones, recorder, psaltry, bowed psaltry, zither,
any other instrument that can play softly enough so dulcimers are not overwhelmed.

NOTE: We play mostly diatonic tunes from the 1800s in the Key of D,
though you can expect an occasional more adventurous piece in G
3SG uses a song circle format.
Please note that this is not a teaching group.

We do have an official group music notebook containing many public domain songs
and some for which composers have given specific permission to be used only in our meetings
but not for any other purpose.
The 3SG notebook is not for sale or loan outside of our meetings.
Most of the notebook's content is listed below and can be downloaded free here or from various sites on line.

 Shared music you bring to play at the Gatherings MUST be from the public domain or songs for which you own the copyright.

picture of group playing music together
A recent meeting of the 3rd Sunday Gathering

How to Tune the dulcimer to DAA tuning by ear

Click here to download the handy large-print PDF

Where are the notes on the dulcimer tuned DAA?

Click here to download the handy fretboard / notation chart.
Click here for fret numbers and notation for 2 1/2 octave D scale for DAA dulcimers

Click here for chord names and the notes in each chord for the Key of D

Some of the Songs We Sing

These are the DAA arrangements; limited number of DAA and DAD sets are available for use at meetings
Public domain statuses for this music researched by Marji Hazen, Khrysso Heart LeFey and Sandi Vitek
E-mail if you think you see a copyright problem. Thank you
  1. Acres of Clams F.D.Henry  pub 1877 Tune: Rosin the Bow
  2. Aiken Drum    Scots  c. 1715
  3. Ain't Gonna Rain No more  ©
  4. All God's Critters - ©1979, Bill Stains
  5. All the Good Times   Am. trad
  6. All Through the Night   ancient Welsh 
  7. Amazing Grace  John Newton 1779
  8. America    S. F. Smith 1831
  9. America, the Beautiful   K. L. Bates  1910
  10. Angel Band   J. Hascall 1860
  11. Angeline the Baker   S. Foster  1850 tune trad
  12. Annie Laurie   Alicia Scott 1835 from a poem by Wm. Douglas d. 1746
  13. Aragon Mill  (c) Si Kahn   1971
  14. Are You Sleeping?  pub. C. LeBouc 1860 France
  15.  Arirang    Korean traditional
  16. Ash Grove, The   Ancient Welsh, Eng. words modified by Hazen
  17. Ashokan Farewell - ©1982, Jay Ungar
  18. Au Clair de la Lune   French before 1860
  19. Aunt Rhody   American trad
  20. Aura Lee   Poulton & Fosdick 1861
  21. Away with Rum   folk process variant of Welch/Moore publ. 1921
  22. Baby Jesus (Tell me the story of sweet)  (c) Hazen
  23. Banks of the Ohio   trad
  24. Battle Cry of Freedom   J. F. Root  1862
  25. Battle Hymn of the Republic   J. W. Howe 1862
  26. NEW  Bendemeer's Stream DAA tuning words - Thomas Moore; tune arr. A. S. Gatty 1893 
  27. NEW  Bendemeer's Stream DAD tuning words - Thomas Moore; tune arr. A. S. Gatty 1893
  28.  Bicycle Built for Two   - ©1892, Harry Dacre
  29. Billy Boy  US trad variant of  R.V.Williams's 1912 pub.
  30. Black Velvet Band    Irish & Australian trad
  31. Blessed Assurance   - Words: Fanny Crosby, 1873, Music: Assurance, Phoebe P. Knapp
  32. Boil them Cabbage Down    Am. trad  
  33. Bonnie Blue Flag   McCarthy 1861  
  34. Bonnie Doon   Lyrics Rbt. Burns 1791 version 3 tune pub. in 1788 collection Strathspey Reels by Neil Gow
  35. NEW   Bright Morning Stars  traditional white spiritual, this version based on the Judy Collins arrangement
  36. Camp Chase Fiddle Tune   1864? Civil War historical item
  37. Clementine   P. Montrose 1884
  38. Cold Winter  Src: Kidson's Traditional Tunes 1891 & broadside by Thomas Batchelar <1800
  39. Columbus Stockade DAA   folk generated var. of trad. Dear Companion
  40. Columbus Stockade DAD   folk generated var. of trad. Dear Companion
  41. Country Gardens   English folk tune collected by Cecil Sharp and arranged for piano in 1918 by Percy Grainger
  42. Darling Nellie Gray   B. Hanby 1856
  43. Die Lorelei  Heinrich Heine (words, 1827), Friedrich Silcher (music, 1837)
  44. Do Lord   African/American trad
  45. Down in the Valley   Am. trad   1909 pub.
  46. NEW   Down in the Valley w/fill notes   arr. Marji Hazen
  47. Du Du Liegst Mir Im Hertzen   German trad.
  48. Dumbarton's Drums   Scots trad. AND Beethoven also used this as a theme.
  49. The Er-i-ee Canal    Am. trad
  50. Evenings at L'Auberge  composed by Khrysso Heart LeFey
  51. Farther Along      W. A. Fletcher  1911
  52. Father's Whiskers  trad. children's song
  53. Fiddler's Last Tune, The  -  A romantic country waltz, probably from the 40's, written and played by Charlie Moore.
  54. Fire at Wild Willie's   (c) Hazen
  55. Frere Jacques
  56. Froggie Went A'Courtin'    Traditional. Can be traced back to 1584
  57. Frozen Logger, The    James Stevens  1892 - 1971
  58. Gaily the Troubador   pub. in Heart Songs 1885
  59. Give Me the Roses     Rowe (see Sacred Harp Hymnal 1915)   
  60. Glendy Burke, The   S. Foster  1860
  61. Good News   African Am. spiritual
  62. Good Old Way, The  edited from Slave Songs of the United States.NY: A. Simpson & Co., 1867
  63. Grandfather's Clock    H. C. Work 1876
  64. Great is Thy Faithfulness   Thomas Obediah Chisholm (1866-1960) (words); William Marion Runyan (1870-1957) (music)
  65. Great Speckled Bird     wds Hazen
  66. Gypsy Rover, The  ©
  67. Happy Endings on the Banks of the Ohio  (c)  Hazen
  68. Hard Times    S. Foster 1854 
  69. He Sat Down Beside Her   anonymous
  70. Holy Holy Holy     Reginald Heber (words); Tune: Nicaea (John Bacchus Dykes), 1861
  71. Home on the Range   Lomax collected 1910
  72. Home's Never Too Far
  73. Home to the Circle     words (c)  Hazen  tune CH Gabriel 1907
  74. Home to Ohio  (c) Hazen
  75. How Can I Keep from Singing? DAA  tune Lowry 1868
  76. How Can I Keep from Singing? DAD  tune Lowry 1868
  77. How Great Thou Art  ©
  78. I Am  a Pilgrim  (words: Hazen)
  79. I Saw the Light  ©   Hank Williams, 1947
  80. I Shall Not Be Moved    trad.
  81. I'll Fly Away  arr. A. E. Brumley 1929 from 1860s spiritual    
  82. In Good Old Colony Times   English trad.
  83. Jamaica Farewell  Melody traditional Jamaican ('Iron Bar'); words Irving Burgie
  84. Jiggin' the Baby   tune from Jean Ritchie collection, lyrics: (c) Hazen
  85. Joys of Love, The   Fr. 1784 (martin), tune, 1880?
  86. Just a Closer Walk with Thee  ©   Probably of African-American slave origin
  87. Just As I Am  Words: Char­lotte El­li­ott, 1835; Tune: Woodworth from 1849 pub.
  88. Just Because  ©  Bob Shelton, Joe Shelton and Sidney Robin, 1929
  89. Keep on the Sunny Side   Blenkhorne & Entwisle 1903
  90. Keep the Home Fires Burning    Novello & Ford, 1914
  91. Leaning on the Everlasting Arms   Showalter & Hoffman 1887
  92. Life is Like a Montain Railroad  Abbey & Tillman 1890
  93. Liliburlero  Traditional English march that was known at the time of the English Civil War.
  94. NEW  Lily of the Valley  Words: Wm. Cas. Fry 1837-1882; Tune: Wm. Hays 1871; setting: Ira. D. Sankey 1840-1908       
  95. Little Brown Church Pitts 1857, new words Hazen 1997
  96. Little Liza Jane    pub. 1916     
  97. Little Moses  pub. 1905 from oral trad. (this is Baez v.)
  98. Little Old Log Cabin in the Lane    Hays 1871
  99. Long Long Ago    Bayley 1833
  100. Lorena   H.D.L.Webster 1856
  101. Love at Home 1st pub. 1860, by John Hugh McNaughten 1829-1891
  102. Lovely Ohio, The   collected by Mary O. Eddy 1921
  103. Lucy Neal Polka    pub. various beginning c. 1830    lyrics (c) Hazen
  104. Mazurka  collected by Hazen fr. the late Ed Mazur who learned it as a child in Poland
  105. NEW  Memories of Ohio
  106. Midnight on the Ocean   from Twice 55 Community Songs 1915
  107.  Mountain Dew  ©
  108. Mule  from 1915 community song book
  109. My Poor Heart Polka   (c) Hazen
  110. NEW   Ned of the Hill    Traditional Irish. Titled Éamonn an Chnole in Gaelic.
  111. Nelly Bly     S. Foster  1850
  112. O Flower of Scotland © Roy Williamson of The Corries, 1967
  113. O Mary Don't You Weep    AfroAmerican trad
  114. Oh Susannah    S. Foster 1848
  115. Oh You Can't Get to Heaven    anonymous 20th Century
  116. On the Wings of a Dove  © Bob Ferguson, 1958
  117. Peace Like a River   AfroAmerican trad.
  118. NEW   Planxty Fanny Power  Turlough O'Carolan  1670 - 1738
  119. Porch Swing Song  (c) Hazen
  120. Quaker's Courtship  from Mary O. Eddy's Ballads and Songs from Ohio 
  121. Quilting Party   Fletcher & Kyle c. 1855
  122. Red River Valley   Wellman Collection 1889
  123. River  © Bill Staines, 1978
  124. Roll, Olentangy, Roll On  ©  words by Danny O'Day, Tune © reserved to Guthrie Children's Trust Fund
  125. Rose, The  ©  this version with even timing from the Judy Collins arrangement
  126. Rosin the Bow   before 1838
  127. NEW  Sandi's Waltz  composed by Khrysso Heart LeFey
  128. Shall We Gather at the River    Lowrey 1864      
  129. Shenendoah   pub. 1876
  130. Simple Gifts   Joseph Brackett 1848    
  131. Skye Boat Song   Boulton & McCleod 1884
  132. Sloop John B.transcribed by Gallienne 1916, pub. 1920
  133. Somebody's Kickin' My Dog Around   W.K.Allen 1913
  134. Somebody Touched Me  © John Reedy, 1949
  135. South Wind     Macnamara 1700s Irish
  136. Standing in the Need of Prayer    Traditional African American Spiritual.
  137. NEW  Star of the County Down   trad. Irish
  138. Streets of Laredo    collected by Lomax  pub. 1910
  139. Suo Gan     Welsh trad.
  140. Tavern in the Town    pub. Hill 1883  
  141. NEW  Tell Old Bill  trad
  142. Tenting Tonight     Kittredge 1863
  143. This is My Father's World  Text: Babcock 1901; Trad. English adapt. by Franklin L. Sheppard 1915
  144. Tramp Tramp Tramp    G. F. Root 1864
  145. The Wagoner's Lad   (from the Lomax collection) Published in “Lonesome Tunes”, 1916.
  146. Waltzing Matilda    Banjo Patterson   1895
  147. Waltzing with Bears  ©
  148. Waterbound      Appalachian trad.
  149. Water is Wide, The    Cecil Sharp pub. 1906   Scots trad.
  150. Westphalia Waltz    C. Collins  (c) 1947  words by Hazen
  151. What a Friend We Have in Jesus   w. J.M.Scriven 1855, m. C.C.Converse 1868
  152. When the Roll is Called Up Yonder    J.M.Black 1883   
  153. Whiskey Before Breakfast    Canadian metis Andy DeJarlis 1940s? 
  154. Whispering Hope    Septimus Winner 1868
  155. Wildwood Flower     Philbrick 1860
  156. Worried Man Blues  ©
  157. Yellow Bird  ©  *Not included in “Print Full 9-20-15”.A 19th Century Haitian song (Choukoun) composed by Michel Mauléart Monton with lyrics from a poem by Oswald Durand.
  158. You Are My Sunshine  Oliver Hood 1932 

A HUGE treasure trove of free tunes in notation, many with midi files, most in public domain,
in various keys, just asking to be turned into dulcimer tab or arrangements for sharing

 Here's a link to Everything Dulcimer's catalog of over a thousand songs with notation and mountain dulcimer tab.
Players who prefer DAD tab will likely find what they need among these postings.
These are freely downloadable and shareable. A great gift to the dulcimer community and the list continues to grow.


Tuning for all is DAA (or DAD) Ionian or Myxolydian mode
except those marked DAC which are in Aeolean mode

Angels We Have Heard on High  (DAA)
Away in a Manger  (DAA)
The Bitter Withy (Childe Jesus Played at Ball)  (DAA)
Born Is He, The Holy Child  (DAA)
Bring a Torch, Jeannette, Isabella (DAA)
The Cherry Tree Carol (DAA)
Christmas is Coming, The Goose is getting fat (DAA)
Christ Was Born on Christmas Day (DAA)
Deck the Halls (DAA)
Do You Hear What I Hear? (DAA)
The First Noel (DAA)
The Friendly Beasts (DAA)
God Rest Ye Merry Gentlemen (DAC)
Good King Wenceslaus (DAA)
Go Tell It on the Mountain (DAA)
Hark the Herald Angels Sing (DAA)
Here Comes Santa Claus (DAA)
The Holly and the Ivy (DAA)
I Heard the Bells on Christmas Day (DAC)
I Wonder as I Wander (DAC)
Jesu, Joy of Man's Desiring DAA    MIDI
Jingle Bells (DAA)
Jolly Old St. Nicholas (DAA)
Joy to the World (DAA)
O Christmas Tree (DAA)
O Come O Come Emanuel (DAC)
O Come All Ye Faithful (DAA)
O Come Little Chldren (DAA)
Ode to Joy DAA    MIDI
O Holy Night (DAA)
Once in Royal David's City (DAC)
Over the River and Through the Woods (DAA)
Rudolph, the Rednosed Reindeer (DAA)
Santa Claus is Coming to Town (DAA)
Silent Night (DAA)
Up on the Housetop (DAA)
Wassail (Somerset-Gloucester carol) (DAA)
We Three Kings (DAC)
We Wish You a Merry Christmas (DAA)
What Child is This? (DAC)

Fond Musical Memories

picture of FID meeting at COA

What is a parlor band and how is it different from Parlour Music?

Back in the 1800s there was no such thing as radio, let alone TV or iTunes. People made their own music at home. Wealthier folk might have a piano, reed organ, or harp in the parlor and a cabinet full of sheet music which the daughters of the house had mastered and which might also be used by guest performers during formal house concerts which were a staple social event in larger homes able to offer comfortable seating for a good number of guests. According to Wikipedia, these formal house concerts, often quite posh and prestigious, featured mostly art songs and classical music and sometimes "dialect" songs or emotionally draining tearjerkers telling tales of poor souls who met very sad ends. According to Wikiipedia, these events were the epitome of "Parlour Music" with a "u". 

Another type of Parlor Music (without the "u" was practiced by those less economically blessed, such as my ancestors, who lived in one or two-room cabins. They often made their own music with homemade instruments like mountain dulcimers that they built themselves using pieces of scrap lumber that weren't big enough to be useful for anything else. Rather than accumulating libraries of sheet music, they learned songs from family members, friends, and at church or school and kept them in memory or wrote the words down by hand in their "ballad books" if they were able to afford writing paper. Whatever the economic level, there was almost always music in homes at that time.

As one of the most popular informal pastimes, families, neighbors, and friends would get together to play music once the work of the day was done. This "family" music was much different from the stage or dance music of that day or ours. In stage music and in dance bands, the entertainers stand or sit so all are facing the audience. Their purpose is to entertain others, usually for pay.

However, in the comfort of home, with no thought of any gain other than the pleasure of the moment, the musicians would sit comfortably in a circle so they could all see each other. Also unlike stage music which encouraged only highly skilled musicians, family music welcomed everyone who wanted to participate, no matter what their skills. The mountain dulcimer, with its drone strings, made it possible for the youngest child to feel a part of the activity by strumming along without fretting any notes at all as more skilled musicians played the melody and harmony notes. Some might sing while playing an instrument. Others might participate just by singing along.

A third difference between "stage" and "homemade" music was whether the music was "diatonic" or "chromatic". Chromatic music often contained unexpected or non-traditional notes and harmonies and was much easier to play if one had the sheet music. Diatonic music rarely included an accidental sharp or flat. The melody of a tune was confined to the eight notes of any given scale: for instance C D E F G A B C. These songs usually harmonized on only three chords such as C, F, and G7 or the relative minor and the chord changes were easily heard and followed "by ear". As time passed, chromatic music became more popular because of its potential for variety and inventiveness. The 3rd Sunday Gathering seeks through playing mostly diatonic music to recover the camaraderie and simplicity of an all-inclusive music that everyone can enjoy playing without a lot of preparation or practice.

Note: the traditional mountain dulcimer tuning during the 1800s was CGG. However during the dulcimer revival in the 1970s, the tuning was raised to DAA (and the later alternative DAD) as it seemed to produce a more robust sound and the chords of that key were easier to play on other fretted instruments such as guitar. Nowadays the most expected key for playing with mountain dulcimers is D with the basic chords being D G and A7. With a dulcimer capo and using the DAD tuning, the Key of G (with chords G, C, and D7) is also easily available. Nowadays some makers will build chromatic dulcimers, but there is a question of whether these are "real" dulcimers or just lap guitars. The advantages of the mountain dulcimer design over other fretted instruments (comfortable hand position, instrument lays in the lap, and sound holes directed toward the player) appeal especially to older musicians. I suspect the popularity of the chromatic dulcimer will grow as the population ages.

Another significant difference was that stage music was usually of shorter duration to keep the interest of a restless and critical audience. Homemade music preserved ancient narrative ballad traditions in which story songs might go on for many verses. Repeating the melody many times made it easier for the newer musicians to learn a tune by ear because there was opportunity for repeated practice each time the tune was played by the group. With the distractions of life in the 21st Century, many musicians have never developed the bardic tradition's amazing ability to keep long ballads and songs with many verses in memory. So today most parlor musicians have loose leaf "ballad books" in which they collect both notated music and the words to songs. Since the 1998 changes to the U.S. copyright law and subsequent strict enforcement, dulcimer notebooks tend to include only music in the public domain and the original compositions of the notebooks' creators.

Except for a few examples, today the printed or written music used while playing obviously differs between parlor and stage music. Most professional stage musicians are expected to memorize all their music. The few exceptions in stage music tradition include dance bands of the "big band" variety and classical orchestras that give extended complex performances for which legally printed music (or rarely these days, an under-the-counter fake book) is essential on stage.

Though some of our 3rd Sunday Gathering members are or have been professional stage performers, our parlor band is not a "performing group". We focus on the social and recreational aspects of playing music together. To say "we just wanna have fun" is an accurate statement of our motivation.

These days many of us play more than one instrument. Because of the characteristics of the mountain dulcimer, which we all enjoy, diatonic music comprises most of our collective repertoire even though chromatic instruments are now a part of our musical mix and we do include music in other keys than D. Instruments that combine well with mountain dulcimers include folk harp, guitar, mandolin, Autoharp, harmonica, tin whistle, wooden flutes and recorders, spoons, limberjack, standup bass or washtub bass, musical saw, concertina and other traditional Celtic instruments, kitchen band type rhythm instruments, etc. Due to the inventiveness of parlor band musicians, the list of instruments compatible with mountain dulcimers continues to expand.

Unlike bluegrass music which features various instruments showing off their fancy licks individually under the direction of a leader during a song, parlor music encourages all to blend, each musician careful not to overcome the collective sound throughout the song. Parlor music emphasizes cooperation, inclusiveness, and acceptance of all skill levels; though once in a while a particularly unusual instrument such as musical saw or an ability to get a specially lovely tone from some instrument will induce the group to back off and give that musician a chance to shine.

Are music lessons necessary? In today's world, yes! 3SG does not offer lessons, but free instruction and sheet music can be found on line. It is necessary to be able independently to keep one's instrument in tune with concert pitch by using an electronic tuner and to interpret simple notation and chord names when written or printed music is provided. Printed music is usually in the form of a "lead sheet" with the melody notated and with the correct chords above the notes, first verse below the notes, and subsequent verses as poetry under the score.

Some groups (but not 3SG) provide dulcimer tablature which usually requires much more sophisticated skills from dulcimer players. Members are expected to have the skills to read tablature and to play in several tunings. These groups are usually formed by a particular teacher and lessons are given at a separate time. 

Our group's "official" dulcimer tuning is the traditional tuning DAA in which "do" (as in "do re mi" is the third fret of the string nearest the player. This tuning provides the most available notes on the first string and lends itself to "one finger" single string melody playing. It's the easiest tuning, but not the best tuning for chording. That is DAD, but there is no reason why DAA and DAD players cannot play together, so a preference for the DAD tuning should not discourage anyone from playing with our group. DAD players will have to do their own translation of the music to their tuning because we do not provide DAD versions. However, we wil post a chart to help those who might not know how to modify DAA music to DAD tuning.

3SG has a collection of music. Copies are available for use during meetings only. A take-home copy is a flat $30.00 and contains all our music. No borrowing or trading is permitted. Rarely is more than the occasional single sheet of printed music shared for free any more due to the rising cost of printing. Some parlor music groups post their repertoires on line, especially if the music is in the public domain, so new users can print out their own copies. 3SG is in the process of following that practice.

A parlor band group is as much a social occasion as a music session. The day may also include a shared meal or pot luck, meeting at varying venues such as a park in the summer or somebody's back yard. Wherever we are, the musical instruments end up being a center of the day's activity and harmony ensues.

Memorable Moments with Treasured Friends

Friends in D played "stage music" at the Ashland Community Arts Center coffeehouse - March 2002
Dee,singing; Ed, harmonica;  Marji, dulcimer & harp; Kay, harmonica & spoons;
Marianne, Autoharp; Bill, guitar; Everybody singing -- in harmony

a picture of FID at the Mifflin School Reunion
Marianne w/Autoharp; Bill w/guitar; Mac w/mandolin; Kay w/spoons; Al w/snare drum; Marji w/harp
at the Mifflin Village School Reunion 2002

Friends in D at St. Mary's of the Snows
Left to Right: Marianne w/Autoharp; Bill w/guitar; Ed's chair; Joyce w/Autoharp; Bob w/dulcimer;
Mac w/dulcimer; Al w/snare drum & brushes; Kay w/harmonica & spoons; Marji w/folk harp
at St. Mary of the Snows Elementary School, Mansfield, Ohio 2004

History of 3SG, Friends In D, Leland Trace, and Marji Hazen's Parlour Band

Though you may never have heard of us, some of us have been playing music together for more than thirty years. Some of us began playing together as members of the Mansfield Dulcimer Club in the early 1980s.

When Marji moved to Columbus in 1985, she gathered some friends at her apartment once a week to play music. At first they called themselves Friends In D (a play on words since they played only tunes in the key of D), then Leland Trace when some members decided to try a few stage music gigs. After some shaking out, the performing  group, renamed Marji Hazen's Parlor Band played a couple or three years at the Ohio State Fair, also several years at Nickleby's Bookstore Cafe, and at other venues in the Capitol City, made a tape, and even were invited to Mansfield to play at the Richland County Fair and to Delphos for the Canal Festival. Pictures of those good times may come to the top of the pile one of these days and get posted on this web site. Right now, though, the only handy shots are from Ashland days.

Marji moved back to Ashland in the mid-90s and, with the permission of her partner in music, Gail Reed, immediately re-organized The Third Sunday Gathering which she and Gail had fostered all through their Columbus days together, first in Galena and then in Sunbury. For several years in the mid-90s, The Third Sunday Gathering met at Park St. Brethren Church in Ashland. People drove in from as far away as the Ohio River and Lake Erie to play with 3SG and we truly had some fine fine gatherings. Once all the local members were retired, the group decided to begin meeting on Tuesday afternoons at the Ashland County Council on Aging where comfort and convenience in the form of no stairs and doors that opened automatically were always available to us. The Tuesday afternoon group disbanded sometime in 2008 as members dropped out due to age and illness. We truly miss those who have passed as well as our faraway friends who are now too frail to drive all that distance to play music with us. They will always have a special place in our hearts. 

On Sunday, September 15th, 2013 five members of Marji Hazen's Parlor Band plus some friends met in Ashland for an approximately 20 year reunion as the last time we played together in Columbus was just after Christmas of 1993. After having such a good time playing music together once more, we agreed to try reviving the 3rd Sunday Gathering which is now scheduled to meet monthly (weather permitting long-distance travel) through 2014 in the community room at the Essex House in Ashland. For information, e-mail Marji Hazen or contact her via Facebook.

picture of 3rd Sunday Gathering playing the Hayesville Opera House

The 3rd Sunday Gathering plays stage music at the Hayesville Opera House 1998 

Who is Marji Hazen ?

This page last updated Monday, June 22, 2015.