The Hammered Dulcimer A-Chording to Lucille Reilly
(latest corrections received December 1, 1998)
page 10—Fig. 1-15 is correct. Move the bass-position
locations in b through f down one course to obtain the correct interval.
page 35—Fig. 2-32c & d: Change the iii chords in the
D-minor and D-Dorian chord sequences to III.
page 37—Fig. 2-36b: add a "II" over a chord and a
bracket ([) to the left of the highest note.
page 40—Fig. 2-40: change iii in all minor-chord sequences to
III in Fig. 2-40.
page 41—Fig. 2-42: change iii in all Dorian-chord sequences to
III in Fig. 2-41.
page 47—Fig. 3-5d: there are zero (0) patterns for the lowest
D-major chord on 12-11dulcimers and three (3) patterns for the same chord
on 15-14 dulcimers.
Fig. 3-5f: there are 2 low E-major
patterns on 15-14 dulcimers.
page 48—Fig. 3-6a: there is only one pattern for the G-minor
chord on 12-11 and 15-14 dulcimers.
Fig. 3-6d: on 15-14 dulcimers, change
the number of patterns to six (6--wow!) for the highest E-minor
chord and to three (3) for the lower chord.
Fig. 3-6e: on 12-11 dulcimers, the
number of patterns for the low B-minor chord is three (3); on 15-14 dulcimers, it is six (6).
page 78—The strike pattern for the right-handed bass I chord in
Fig. 4-20 should be:
page 134—Ex. 88a, b & c should conclude with: End on I.
page 141—The answer to question #1 is YES.
page 142—The third sentence in Patterns of major-scale chord
sequences should read:
"1 II" means that a Pattern #1 triad begins on a course in second
position; "3 B" is a
triad beginning in bass position.
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