The 3rd Sunday Gathering

3SG meeting schedule | 3rd Sunday Songbook |  Dulcimer Christmas Book | What Is 3SG | Memories | History


CURRENT INFORMATION

The next meeting of the Third Sunday Gathering will be May 20th.
3SG tuning and setup 1:30 to 2 pm; 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.
Handicap accessible space -- no stairs necessary


picture of Essex House building
That's downtown on the southeast corner of Main & Center Streets
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.


INSTRUMENTS THAT PLAY WELL WITH MOUNTAIN DULCIMERS

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, C, E, or.......
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 for the Gatherings.
The 3SG notebook is not for sale or for loan outside of our meetings.
Most of the notebook's content is listed below and can be downloaded free from various sites on line.
CAUTION
 Shared sheet music at meetings 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

The Third Sunday Gathering Songbook

These are DAA arrangements; a limited number of DAD sets are available for use at meetings
Public domain statuses for this music researched by Marji Hazen, Khrysso Heart LeFey and Sandi Vitek
Links to copyrighted items despite our having permission to use have been permanently removed.
E-mail grannyemm@zoominternet.net 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. Anchors Aweigh  1906 by Charles A. Zimmermann with lyrics by Alfred Hart Miles
  11. Angel Band   J. Hascall 1860
  12. Angeline the Baker   S. Foster  1850 tune trad
  13. Annie Laurie   Alicia Scott 1835 from a poem by Wm. Douglas d. 1746
  14. Aragon Mill  (c) Si Kahn   1971
  15. Are You Sleeping?  pub. C. LeBouc 1860 France
  16. Arirang    Korean traditional
  17. Ash Grove, The   Ancient Welsh, Eng. words modified by Hazen
  18. Ashokan Farewell   - ©1982, Jay Ungar
  19. Au Clair de la Lune   French before 1860
  20. Aunt Rhody   American trad
  21. Aura Lee   Poulton & Fosdick 1861
  22. Away with Rum   folk process variant of Welch/Moore publ. 1921
  23. Baby Jesus (Tell me the story of sweet)  (c) Hazen
  24. Banks of the Ohio   trad
  25. Battle Cry of Freedom   J. F. Root  1862
  26. Battle Hymn of the Republic   J. W. Howe 1862
  27. Bendemeer's Stream DAA tuning words - Thomas Moore; tune arr. A. S. Gatty 1893 
  28. Bendemeer's Stream DAD tuning words - Thomas Moore; tune arr. A. S. Gatty 1893
  29. Bicycle Built for Two   - ©1892, Harry Dacre
  30. Billy Boy  US trad variant of  R.V.Williams's 1912 pub.
  31. Black Mountain Rag
  32. Black Velvet Band    Irish & Australian trad
  33. Blaw Ye Wind Southerly   trad. English (Northumberland)
  34. Blessed Assurance   - Words: Fanny Crosby, 1873, Music: Assurance, Phoebe P. Knapp
  35. Boil them Cabbage Down    Am. trad  
  36. Bonnie Blue Flag   McCarthy 1861  
  37. Bonnie Doon   Lyrics Rbt. Burns 1791 version 3,    tune in 1788  Strathspey Reels by Neil Gow
  38. Bright Morning Stars  arr: from LOC Archive of Folk Music material by Ruth Crawford Seeger & pub. in her "American Folk Songs for Christmas" (Doubleday, 1953)
  39. Caissons Go Rolling Along, The  1908 by Brigadier General Edmund Louis "Snitz" Gruber, a graduate of  West Point
  40. Camp Chase Fiddle Tune   1864? Civil War historical item
  41. Carolan's Concerto   Turlough O'Carolan, (1670 – 25 March 1738)
  42. Clementine   P. Montrose 1884
  43. Cold Winter  Src: Kidson's Traditional Tunes 1891 & broadside by Thomas Batchelar <1800
  44. Coleman's March   Irish Joe Coleman's 1847 reworking of The Irish Jaunting Car
  45. Columbus Stockade DAA   folk generated var. of trad. Dear Companion
  46. Columbus Stockade DAD   folk generated var. of trad. Dear Companion
  47. Country Gardens   English folk tune collected by Cecil Sharp arr. for piano in 1918 by Percy Grainger
  48. Cripple Creek   collected 1909, 1915 pub
  49. Darling Nellie Gray   B. Hanby 1856
  50. Die Lorelei  Heinrich Heine (words, 1827), Friedrich Silcher (music, 1837)
  51. Do Lord   African/American trad
  52. Down in the Valley   Am. trad   1909 pub.
  53. Down in the Valley w/fill notes   arr. Marji Hazen
  54. Du Du Liegst Mir Im Hertzen   German trad.
  55. Dumbarton's Drums   Scots trad. AND Beethoven also used this as a theme.
  56. The Er-i-ee Canal    Am. trad. 1800s
  57. Evenings at L'Auberge    composed by Khrysso Heart LeFey
  58. Farther Along      W. A. Fletcher  1911
  59. Father's Whiskers  trad. children's song
  60. Fiddler's Last Tune  DAD, The  A romantic country waltz, probably from the 40's, written and played by Charlie Moore.
  61. Fiddler's Last Tune DGD
  62. Fire at Wild Willie's   (c) Hazen
  63. Fly Around, My Pretty Little Miss   trad (Va.) variant of Blue Eyed Girl, collected 1924 & after
  64. Frere Jacques       trad
  65. Froggie Went A'Courtin'   Traditional. Can be traced back to 1584
  66. Frozen Logger, The    written 1929, published 1949 by James Stevens  1892 - 1971  
  67. Gaily the Troubador   pub. in Heart Songs 1885
  68. Give Me the Roses     Rowe (see Sacred Harp Hymnal 1915)   
  69. Glendy Burke, The   S. Foster  1860
  70. Good News   African Am. spiritual
  71. Good Night, Irene      blues, first collected by Lomax in 1933, modified by Huddy Ledbetter
  72. Good Old Way, The  edited from Slave Songs of the United States.NY: A. Simpson & Co., 1867
  73. Grandfather's Clock    H. C. Work 1876
  74. Gray Cat on a Tennessee Farm  trad
  75. Great is Thy Faithfulness  Thomas Obediah Chisholm (1866-1960) (words); William Marion Runyan (1870-1957) (music)
  76. Great Speckled Bird     wds ed.by Hazen
  77. Gypsy Rover, The  1950s pop song
  78. Happy Endings on the Banks of the Ohio  (c)  Hazen
  79. Hard Times    S. Foster 1854 
  80. He Sat Down Beside Her   anonymous probably pre-1920s
  81. Holy Holy Holy   Reginald Heber (words); Tune: Nicaea (John Bacchus Dykes), 1861
  82. Home on the Range   Lomax collected 1910
  83. Home's Never Too Far    (c) Hazen
  84. Home to Ohio   (c) Hazen
  85. Home to the Circle     words (c)  Hazen  tune CH Gabriel 1907
  86. How Can I Keep from Singing? DAA  tune Lowry 1868
  87. How Can I Keep from Singing? DAD  tune Lowry 1868
  88. How Great Thou Art (tune only)  words copyrighted
  89. I Am a Pilgrim  (lyrics: Hazen) Tune trad.
  90. I Saw the Light (c)  Hank Williams, 1947
  91. I Shall Not Be Moved    trad.
  92. I'll Fly Away  arr. A. E. Brumley 1929 from 1860s spiritual    
  93. In Good Old Colony Times   English trad.
  94. Jamaica Farewell  Melody traditional Jamaican ('Iron Bar'); words Irving Burgie
  95. Jiggin' the Baby   tune from Jean Ritchie collection, lyrics: (c) Hazen
  96. Joys of Love, The   Fr. 1784 (martin), tune, 1880?
  97. June Apple   trad.
  98. Just a Closer Walk with Thee  Probably of African-American slave origin
  99. Just As I Am  Words: Char­lotte El­li­ott, 1835; Tune: Woodworth from 1849 pub.
  100. Just Because  (c) Bob Shelton, Joe Shelton and Sidney Robin, 1929
  101. Keep on the Sunny Side   Blenkhorne & Entwisle 1903
  102. Keep the Home Fires Burning    Novello & Ford, 1914
  103. La PiqueDAA   pub 1838
  104. Leaning on the Everlasting Arms   Showalter & Hoffman 1887
  105. Life is Like a Montain Railroad  Abbey & Tillman 1890   
  106. Liliburlero   Traditional English march that was known at the time of the English Civil War.
  107. Lily of the Valley  Words: Wm. Cas. Fry 1837-1882; Tune: Wm. Hays 1871;
  108. Little Brown Church Pitts 1857, new words Hazen 1997
  109. Little Liza Jane    pub. 1916     
  110. Little Moses  pub. 1905 from oral trad. (this is Baez v.)
  111. Little Old Log Cabin in the Lane    Hays 1871
  112. Long Long Ago    Bayley 1833
  113. Lorena   H.D.L.Webster 1856
  114. Love at Home 1st pub. 1860, by John Hugh McNaughten 1829-1891
  115. Lovely Ohio, The   collected by Mary O. Eddy 1921
  116. Lucy Neal Polka    pub. various beginning c. 1830    lyrics (c) Hazen
  117. Marine Hymn  words Rhymes of the Rookies published in 1917, tune possibly by Offenbach
  118. Mazurka  collected by Hazen fr. the late Ed Mazur who learned it as a child in Poland
  119. Memories of Ohio  composer unknown, likely copyrighted
  120. Midnight on the Ocean   from Twice 55 Community Songs 1915
  121. Mountain Dew  1928 Bascom Lamar Lunsford and Scotty Wiseman
  122. Mule  from 1915 community song book
  123. Ned of the Hill  Traditional Irish. Titled Éamonn an Chnole in Gaelic.
  124. Nelly Bly     S. Foster  1850
  125. Ode to Joy    Beethoven
  126. O Flower of Scotland (c)  Roy Williamson of The Corries, 1967
  127. O Mary Don't You Weep    AfroAmerican trad
  128. Oh Susannah    S. Foster 1848
  129. Oh You Can't Get to Heaven    anonymous 20th Century
  130. Old Joe Clark   publ. 1918
  131. On the Wings of a Dove (c) Bob Ferguson, 1958
  132. Peace Like a River   AfroAmerican trad.
  133. Planxty Fanny Power  Turlough O'Carolan  1670 - 1738
  134. Planxty Irwin  Turlough O'Carolan  1670 - 1738
  135. Porch Swing Song  (c) Hazen
  136. Quaker's Courtship  from Mary O. Eddy's Ballads and Songs from Ohio, collected 1921
  137. Quilting Party   Fletcher & Kyle c. 1855
  138. Red River Valley   Wellman Collection 1889
  139. Renfro Valley  c. 1939
  140. River  (c)  Bill Staines, 1978
  141.  Roll, Olentangy, Roll On  collected by Bebe Springer from singing of Danny O'Day, Columbus, Ohio 1950s
  142. Rose, The  (c)  Amanda McBroom  c. 1977  arrangement uses the even timing of Judy Collins
  143. Rosin the Bow   before 1838
  144. Sandi's Waltz  composed by Khrysso Heart LeFey
  145. Shall We Gather at the River    Lowrey 1864      
  146. Shenendoah   pub. 1876
  147. Simple Gifts   Joseph Brackett 1848  
  148. Skye Boat Song   Boulton & McCleod 1884
  149. Sloop John B.transcribed by Gallienne 1916, pub. 1920
  150. Snow Deer, Percy Wenrich 1913
  151. Somebody's Kickin' My Dog Around   W.K.Allen 1913
  152. Somebody Touched Me  (c)  John Reedy, 1949
  153. South Wind     Macnamara 1700s Irish
  154. Standing in the Need of Prayer   Traditional African American Spiritual.
  155. Star of the County Down   trad. Irish
  156. Streets of Laredo    collected by Lomax  pub. 1910
  157. Suo Gan    Welsh Trad., dulcimer arr. Khrysso Heart LeFey
  158. Tavern in the Town    pub. Hill 1883  
  159. Tell Old Bill  trad? first pub. 1935 in Carl Sandburg's "Songbag".
  160. Tenting Tonight     Kittredge 1863
  161. This is My Father's World  Text: Babcock 1901; Trad. English adapt. by Franklin L. Sheppard 1915
  162. This Train   trad, 1st recorded 1922
  163. Tramp Tramp Tramp    G. F. Root 1864
  164. The Wagoner's Lad   (from Lomax)  Published in “Lonesome Tunes”, 1916.
  165. Wal, I Swan!  Benjamin Hapgood Burt, sheet music issued in 1907
  166. Waltzing Matilda    Banjo Patterson   1895
  167. Waltzing with Bears   Words folk process from Dr. Seuss, tune learned via dulcimer clubs
  168. Waterbound      Appalachian trad.
  169. Water is Wide, The    Cecil Sharp pub. 1906   Scots trad.
  170. Westphalia Waltz    C. Collins  (c) 1947  words by Hazen
  171. What a Friend We Have in Jesus   w. J.M.Scriven 1855, m. C.C.Converse 1868
  172. When Irish Eyes are Smiling  words: Chauncey Olcott & George Graff, Jr., music:  Ernest Ball, pub. 1912
  173. When the Roll is Called Up Yonder    J.M.Black 1883   
  174. Whiskey Before Breakfast    Canadian metis Andy DeJarlis 1940s 
  175. Whispering Hope    Septimus Winner 1868
  176. Wildwood Flower     Philbrick 1860
  177. Wind that Shakes the Barley, The   Irish trad. 1861
  178. Worried Man Blues   Carter Family rec. 1930, Roud #4753
  179. Yellow Bird *A 19th Century Haitian song (Choukoun) composed by Michel Mauléart Monton with lyrics from a poem by Oswald Durand.
  180. You Are My Sunshine  Oliver Hood 1932 


TRADITIONAL MUSIC LIBRARY
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

http://www.traditionalmusic.co.uk/

 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 ED's postings.
These are freely downloadable and shareable. A great gift to the dulcimer community and the list continues to grow.
http://www.everythingdulcimer.com/tab/index.php

CHRISTMAS

CHRISTMAS CAROLS FOR TRAD DULCIMER
  1. Angels We Have Heard on High (DAA) (DAD) (MIDI) (LYRIC)
  2. Away in a Manger (DAA) (DAD) (MIDI) (LYRIC)
  3. Bitter Withy, The (Childe Jesus Played at Ball) (DAA) (DAD) (MIDI) (LYRIC)
  4. Born Is He, The Holy Child (DAA) (DAD) (MIDI) (LYRIC)
  5. Bring a Torch, Jeannette, Isabella (DAA) (DAD) (MIDI) (LYRIC)
  6. Cherry Tree Carol, The (DAA) (DAD) (MIDI) (LYRIC)
  7. Christ Was Born on Christmas Day (DAA) (DAD) (MIDI) (LYRIC)
  8. Christmas is Coming, The Goose is getting fat (DAA) (DAD) (MIDI) (LYRIC)
  9. Deck the Halls (DAA) (DAD) (MIDI) (LYRIC)
  10. Do You Hear What I Hear? (DAA) (DAD) (MIDI) (LYRIC)
  11. First Noel, The (DAA) (DAD) (MIDI) (LYRIC)
  12. Friendly Beasts, The (DAA) (DAD) (MIDI) (LYRIC)
  13. Go Tell It on the Mountain (DAA) (DAD) (MIDI) (LYRIC)
  14. God Rest Ye Merry Gentlemen (DAC) (MIDI) (LYRIC)
  15. Good King Wenceslaus (DAA) (DAD) (MIDI) (LYRIC)
  16. Hark the Herald Angels Sing (DAA) (DAD) (MIDI) (LYRIC)
  17. Here Comes Santa Claus (DAA) (DAD) (MIDI) (LYRIC)
  18. Holly and the Ivy, The (DAA) (DAD) (MIDI) (LYRIC)
  19. I Heard the Bells on Christmas Day (DAC) (MIDI) (LYRIC)
  20. I Wonder as I Wander (DAC) (MIDI) (LYRIC)
  21. Jesu, Joy of Man's Desiring (DAA) (DAD) (MIDI) (LYRIC)
  22. Jingle Bells (DAA) (DAD) (MIDI) (LYRIC)
  23. Jolly Old St. Nicholas (DAA) (DAD) (MIDI) (LYRIC)
  24. Joy to the World (DAA) (DAD) (MIDI) (LYRIC)
  25. O Christmas Tree (DAA) (DAD) (MIDI) (LYRIC)
  26. O Come All Ye Faithful (DAA) (DAD) (MIDI) (LYRIC)
  27. O Come Little Chldren (DAA) (DAD) (MIDI) (LYRIC)
  28. O Come O Come Emanuel (DAC) (MIDI) (LYRIC)
  29. O Holy Night (DAA) (DAD) (MIDI) (LYRIC)
  30. Ode to Joy (DAA) (DAD) (MIDI) (LYRIC)
  31. Once in Royal David's City (DAC) (MIDI) (LYRIC)
  32. Over the River and Through the Woods (DAA) (DAD) (MIDI) (LYRIC)
  33. Rudolph, the Rednosed Reindeer (DAA) (DAD) (MIDI) (LYRIC)
  34. Santa Claus is Coming to Town (DAA) (DAD) (MIDI) (LYRIC)
  35. Silent Night (DAA) (DAD) (MIDI) (LYRIC)
  36. Up on the Housetop (DAA) (DAD) (MIDI) (LYRIC)
  37. Wassail (Somerset-Gloucester carol) (DAA) (DAD) (MIDI) (LYRIC)
  38. We Three Kings (DAC) (MIDI) (LYRIC)
  39. We Wish You a Merry Christmas (DAA) (DAD) (MIDI) (LYRIC)
  40. What Child is This? (DAC) (MIDI) (LYRIC)



Fond Musical Memories

picture of FID meeting at COA


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

HOMEMADE MUSIC VS. STAGE 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.

THE MOUNTAIN DULCIMER - A DIATONIC INSTRUMENT (MOST OF THE TIME)
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.

FOLK PROCESS CHANGES FROM MEMORIZATION TO TRANSMISSION VIA WRITTEN MUSIC
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.

3RD SUNDAY IS JUST FOR FUN -- NO GIGS PLEASE
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.

3SG IS NOT JUST FOR MOUNTAIN DULCIMERS
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.




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

We had the pleasure of playing for the staff Christmas Party at COA in December, 2001 and a Community Arts Center coffeehouse in March, 2002. May 2002 and 2003 we thoroughly enjoyed sharing our version of the ancient and honorable art of Parlor Music with the seventh grade students at Ashland High School during their special learning day at the fairgrounds. Several years in a row various members entertained from 12 to 1 as a prelude to the Mifflin Village School Reunion Carry-In Dinner. Mifflin School closed in 1936 but a surprising number of former students including Marji's dad are still active in the organization and enjoying life to the full.

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

In springtime, when St. Mary's of the Snows Elementary is looking for assemblies, they call on us and we always say yes because we very much enjoy sharing our parlor music with the happy friendly children of that school.

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

We were booked to play July 7th, 2006 starting at 2:00 for the Antique Machinery Show of the Yesteryear Machinery Club at Ashland / West Holmes Career Center on Route 60 between Ashland and Hayesville. Rumors have been going the rounds since at least 1996 of a low-cost performance license available for appearances such as this, but we have not been able to confirm the existence of any such arrangement. So, since we couldn't afford a license, we played our usual public domain repertoire which certainly fit in with the antique theme. 

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, April 4, 2017
.