Steve Shmania of Chapel Hill, NC and I have developed the Linear Chromatic dulcimer over the last few years. We are excited about the future of this new breed of hammered dulcimer and hope you will spend the time to become more familar with its possibilities. I am currently the only builder of Linear Chromatic hammered dulcimers.

I now offer a four octave plus 10/19/18/8 Custom Linear Chromatic (see tuning chart below). This instrument can be had with either 7/8" or 1" string spacing. If you are an aggressive player, you'll appreciate the wider string spacing. I am also offering a small three octave plus 10/14/13 LC. This instrument will get you started if you are on a tight budget or if you just want a smaller more compact instrument. The 10/14/13 has the approximate range of a violin and is only available in 1" string spacing making the playing patterns larger so your playing accuracy doesn't have to be as much of a concern.

I offer all LCs in either the Standard or Piano marking. The tuning/pitches of both LCs are the same. The two different marking schemes are just different ways of looking at the same tuning. For a comparison of the two different schemes go to LC Options.

See the main hammered dulcimer page for more information about wood choices and options if you are interested in ordering a Custom LC. There is no frontal soundhole on any of the LCs. This characteristic has little effect on the tone of the instrument as there is a tone slot in the front rail and hand hold in the back which act as soundholes. You will need to decide between the two marking systems, the string spacing and of course the size of the instrument. Dampers (bottom of page) are only available for the full sized LC. I often have instruments completed or nearly complete. Check out my Current stock page for the most up-to-date listing. Prices and ordering information is located on this page.

We feel that this instrument is ideal for the musician who has never played hammered dulcimer before, is looking for a fully chromatic instrument and wants to play other material besides folk and celtic. With this instrument classical, jazz, klezmer, and other styles of music become possible.

We hope the article (below) by Steve clarifies our intent and generates some feedback to assist us in the evolution of this instrument. Let us know if you have any thoughts. The following material is from an instructional book Steve has completed called Introducing the Linear Chromatic. Ordering information for the book is on the bottom of this page. There is also a FAQ section at the bottom of this page which will hopefully answer many of your questions but if you have more please write or call. I am also open to suggestions as to other ways of more clearly marking the LC.

If you'd like a Linear Chromatic Flyer to pass on to someone else who might be interested, I've created a downloadable/printable PDF file. Thanks for passing the information along.

Sound Samples

I now have sound samples of two cuts from the new CD Hammer On! They are both original tunes written and played by Dan Landrum along with band members Mark Wade, Randy Clepper and Bob McMurray. Click on the links below the photo. The photo is of Dan performing on the LC with the band at Ohio Wesleyan University.

Sandstone

Cat Tales

Great to finally have someone who can really demonstrate some of the capabilities of the LC. You'll need Quicktime. If you'd like to order a copy of this exciting new recording, contact me. Of the 11 cuts on this CD, 4 of them feature Dan playing the Linear Chromatic.

Comparison Chart - Woods - LC Tuning Schemes - Accessories - Prices and Ordering

8/19/17/8 Linear Chromatic _^tm by James Jones This particular instrument has a black redwood soundboard, cherry frame, curly maple pin panels with paduak bridges, trim and dampers. This instrument is quite compact at 48" X 18" with 7/8" string spacing; slightly larger with 1" string spacing.

Excepts from the Linear Chromatic Instructional Book
by Steve Shmania

The Linear Chromatic is a simple, elegant, and evolutionary concept in the layout, construction and playability of the modern hammer dulcimer. Not only does it solve key and scale playing limitations of existing hammer dulcimer layouts it opens new musical vistas for playing in any scale in any key. It preserves the playing patterns already learned on the Diatonic hammer dulcimers, yet provides a truly chromatic layout that could set a new standard for the future of the chromatic hammer dulcimer in the new millenium.

Diatonic Layout Limitations

The "Diatonic" hammered dulcimer is built with a series of major scales up the bridge, with half of each scale on either side of the bridge. Each key is diatonic, meaning it has only the eight notes of that scale. The missing five notes needed to make the major scale chromatic can often be found in other areas on the dulcimer, but only over a partial range on a diatonic dulcimer. It is common for players to retune rarely used strings on their diatonic hammered dulcimers to add one or two chromatic notes for those occasional requirements needing these notes.

When chromatic capability over the full range of the instrument is desired, the "Diatonic Chromatic" hammered dulcimer provides the chromatic capabilities missing on the diatonic hammered dulcimer. It simply adds the missing chromatic notes to the tops or bottoms of existing bridges, or on additional bridges of the diatonic hammered dulcimer to make the instrument fully (or mostly) chromatic.

The diatonic and diatonic chromatic dulcimer layouts are ideally suited for traditional, folk and Celtic/world music which are typically played in the major, minor and modal scales. However, playing music in other keys and scales or with chromatic laden chords and chromatic runs qualifies as hammered gymnastics on either diatonic, chasing notes all over the layout with hammers flying everywhere! Clearly, a better layout is needed for music requiring chromatic playing beyond an occasional "accidental" or key change.

Chromatic Layout Alternatives

The hammer dulcimer as a world instrument has an amazing number of chromatic or chromatic-capable tuning layouts. The Hackbrett, Yanquin, Cimbalon and Santur are excellent examples of traditional world instruments with interesting chromatic layouts. They often provide chromatic capabilities geared to playing the complex music of their regions and traditions.

The hammered dulcimer as a world instrument has an amazing number of chromatic or chromatic-capable tuning layouts. The Hackbrett, Yanquin, Cimbalon and Santur are excellent examples of traditional world instruments with interesting chromatic layouts. They often provide chromatic capabilities geared to playing the complex music of their regions and traditions.

Unfortunately, the transition between playing the diatonic dulcimer and any of these alternative chromatic dulcimers may be challenging. Playing patterns range from being very similar to very different from the diatonic dulcimer, and are often inconsistent over the full range of the instrument.

Ideally, a truly universal dulcimer would have the best of both worlds - diatonic and chromatic. It would build on the simple and straightforward layout of the diatonic dulcimer, but expand or enhance it for chromatic playing simplicity.

Linear Chromatic Layout (Standard Markings)

The Linear Chromatic hammered dulcimer solves the chromatic problems of the diatonic layout in a simple and elegant way. First, the missing 1/2 steps or "accidentals" between the whole steps on each bridge have been added, making each bridge "linear" with 1/2 step note spacing up the bridge. Second, an extended diatonic standard marking system adds different markers (bronze) to distinguish the additional notes from the traditional diatonic notes (typically black and white bridge markings). Diatonic bridge markings are preserved. Fifth tunings across bridges are preserved. In fact, the Linear Chromatic preserves diatonic play and layout when using only the black and white marked notes of the standard marking system. Note: Dan Landrum has some additional color coded marks that help him navigate the Standard Marking system, the marking system he is using.

10/19/18/8 Linear Chromatic ^tm -
4 Octave Range (Chromatic over 4 octaves A2-A6 plus additional notes down to G2) (Standard Linear Chromatic marking is shown above). If you'd like to see this instrument with the piano marking click here.This instrument is pure LC in its layout and playing patterns.
(see photo of instrument)

 The greatest advantage of the Linear Chromatic is that any scale, chord or chromatic run can be played in any key over the full range of the instrument using straightforward hammering patterns that are already familiar to players of the diatonic hammered dulcimer. The expanded playing capability of Linear Chromatic provides a truly universal solution to all equal temperament-based tunings, scales and music, including traditional, folk, Celtic, classical, blues, jazz, or other types and styles as well.

The Linear Chromatic is not without its challenges. Accuracy is more critical in both hammering patterns and tuning with the addition of the chromatic notes in all keys 12 notes per octave makes proper tuning a requirement, and wrong hammered notes have a greater probability of sounding 'wrong' without the excuse that they were 'passing' notes.Finally, diatonic playing patterns need to be 'stretched' vertically to accommodate the extra chromatic notes.

Alternate Marking System

An alternative to the standard marking system is the piano marking system, which provides note markings similar to the keys on a piano. Musicians who play the piano but are new to the hammered dulcimer may prefer this marking system, as it mimics the black and white markings of the piano keys.

Linear Chromatic Construction

The Linear Chromatic layout adapts well to 2, 3 and 4 bridge versions and different chromatic ranges, with a 4 bridge - 4 1/2 octave layout providing the best balance of chromatic range, playability and compact size. The 4 1/2 octave Linear Chromatic layout provided significant structural challenges that were compounded in its compact layout with the use of two bass and two treble bridges - both treble bridges are played on both sides. This created complex geometries and tensions beyond that of a Diatonic dulcimer. Proper string spacing is a critical on a Linear Chromatic in order to accommodate the extra notes up the bridge. Finally, it had to sound good, look good, be stable and play well.

10/14/13 Small Linear Chromatic (Standard Marking see above)

The design for both instruments went through many adjustments and iterations, with many improvements to the structural design specifically for this layout. The resulting instrument plays easily and well, has a balanced and full sound, and is remarkably small for its wide chromatic and dynamic range.

The above photo is a 8/14/13 version of the Linear Chromatic. The standard for this instrument is now a 10/14/13. The instrument shown has a solid mahogany soundboard, a laminated back with cherry frame and paduak bridges. The instrument is marked with the Standard Marking with black and white acetal rod with bronze rod for the added accidentals.

The Future

The hammered dulcimer is firmly established in the traditional and folk music world and the diatonic dulcimer versions are ideal for playing this music. However, as hammered dulcimer players have matured in their playing abilities, so has the demand for playing more complex music with greater choices in instruments. Expanded octave range, extra chromatics, dampers, customized layouts and tone woods are becoming less the exception and more the norm. Advanced players attending dulcimer festivals are increasingly requesting instructors who teach more complex musical arrangements and musical stylings that go beyond the traditional and folk roots. Where is this leading to? The hammered dulcimer is getting nearer to being accepted in the mainstream of music as a serious instrument, joining the ranks of its stringed relatives: the piano, the guitar, theviolin, the mandolin, and other fretted and non-fretted string instruments. Theseinstruments have in common that they are fully chromatic, have well-structured and standard chromatic tuning layouts, and rely heavily on pattern playing that easily transposes into any scale and key. For the hammered dulcimer to break through, it must do the same. This is made possible by the Linear Chromatic.

Acknowledgements

The Linear Chromatic is the result of my dream, passion and determination to develop a truly chromatic hammer dulcimer layout with universal appeal and compatibility with playing the Diatonic dulcimer. Steve Schneider, exceptional musician and hammered dulcimer recording artist, has provided his excellent feedback, support and enthusiasm to the development of the Linear Chromatic. Ultimately, credit goes to James Jones, master luthier and innovator - whom I have worked closely with over the last year, for believing in my concept and breathing life into the wood and strings to make the Linear Chromatic a reality.

Copyright © 1999 Steve Shmania, Chapel Hill, NC – All Rights Reserved.

Copies of Steve's new book Introducing the Linear Chromatic ^tm are now available through my shop. It provides a music theory primer helping you to learn to play in any key in the equal tempermant scale. The book defines scales, chords, inversions, enhancements, substitutions, progressions and their playing patterns on the Linear Chromatic. It also covers putting it all together to play traditional, jazz, blues and classical music. There are now two versions of the book; one using the Standard/Diatonic Marking and the other using the Piano Marking system. When ordering make sure you specify which version of the book you'd like.

Cost is $25 plus $4 shipping unless shipped with an instrument

 

From left to right: James Jones, Steve Schneider and Steve Shmania on a get together in Bedford, VA to work on the Linear Chromatic.

FAQ

---

Can a existing traditional hammered dulcimer be turned into a Linear Chromatic?

Most likely not. The physics of strings means that most existing hammered dulcimers would gain too much tension with the resulting structural failures. The instrument probably would not have sufficient range as well. I don't recommend trying it.

Can I play both a LC and a traditional hammered dulcimer?

It is possible but certainly more challenging. If you are considering moving back and forth between the two, it is suggested that you use the Standard/Diatonic Marking system for the LC.

When learning the LC, is it only more confusing to switch over and play on a diatonic layout? Is it better to stay with the LC until I'm more familiar?

The diatonic and LC layout are similar enough that moving from either one to another should be straightforward. However, a musician with a good theory, classical, jazz background or a good trained ear would find learning on the LC to be easier than the diatonic. For someone new to music, learning on the diatonic first might be the better choice. Certainly, learning on the LC first should make learning the diatonic a snap for most music, with some significant adjustment for highly chromatic stretches. Moving between the two again is facilitated by an LC with the Standard Marking System rather than the Piano Marking System.

The LC requires more accuracy for hammering the correct notes, because accidentally hitting a wrong note that is a chromatic can sound quite discordant - maybe this is why they call the additional chromatic notes in any scale the "accidental" notes! With a diatonic, wrong notes are often in the scale and can be more easily passed off as passing or grace notes. The LC develops hammering accuracy that makes diatonic play easier to transition to than the other way around.

How is the traditional diatonic hammered dulcimer marked in comparison to the LC? ( with "extended diatonic" or Standard/Diatonic marking)

The diatonic dulcimer is laid out according to the "circle of fifths" represented by the white notes up and down the side of a bridge. The black notes are the notes that fall between the white notes. Some builders only mark the white notes, and may use a color or marking other than white to mark these notes. Black and white are the most common ways to mark these notes, you could make them any color or marking like red and green (good for Christmas dulcimer music!).

On the Standard marking system for the LC, bronze is the color for the additional "in-between" chromatic notes while the black and white remain the same as the traditional diatonic markings. As a result hammer patterns are transferable between the diatonic and LC if you stick to playing the black and white notes exclusively. Where the LC shines is with those bronze notes. Patterns with chromatic notes are logical and easy to find and play with the LC and often difficult or highly impractical on the diatonic or chromatic diatonic. That is why classical, jazz or other highly complex music is usually compromised and simplified to make it playable on the diatonic and is why the hammered dulcimer is not taken seriously outside of folk and traditional music. The LC, however, is a truly universal instrument and is naturally suited to play all styles and complexity of music in logically and intuitively - in any key!

The Standard Marking system makes sense to those players already used to traditional diatonic marking. If you've played hammered dulcimer for years than this "extended diatonic" Standard marking will make the most sense and make the transition to the LC easier. Note: Dan Landrum has some additional color coded marks that help him navigate the Standard Marking system, the marking system he is using.

Are their alternative ways to mark the instrument? (Piano Marking)

Steve Schneider and a student of Steve's Daniel Hirsh have come up with another way to mark the instrument which more closely resembles the piano. It must be emphasized that this is just the marking. The instrument is still tuned exactly the same and can be re-marked at any point. For those individuals who have had piano background this piano marking scheme makes more sense. White keys/notes are marked with white, black notes/keys are marked with black. Where you have fifth interval bridges the saddle is white on one side and black on the other (a split saddle). There are no grey markers. The piano markings also take the instrument out of the realm of traditional dulcimer instructional materials (at least those materials that rely on tablature). If you are used to learning music through standard notation than much of the tradtional dulcimer material is usually offered in standard notation as well as tablature making it accessible to those who can read music. The existence of tablature should not be a reason to dismiss the piano marking system. I have a tuning chart available which better illustrates the piano style of marking. Traditional hammered dulcimer players would feel more comfortable with the Original or Standard/Diatonic marking system described in the previous question. There are two versons of Steve Shmania's book; one using the Standard/Diatonic marking and the other using the Piano marking system. Neil Simmons has shared his experience with both marking systems on this page.

Do I have to be a skilled musician to tackle the LC?

Skill is a relative thing. A master musician and hammered dulcimer player such as Dan Landrum can more easily take advantage of the extreme versatility of the LC for playing patterns, keys, chromatic possibilities and music ranging from traditional to complex classical pieces written in odd keys and lots of accidentals. On the other hand, a beginner can learn and master play in all the scales and simple to complex chords more easily on the LC, that take greater skill to play - if practical at all - on the diatonic dulcimer. Being a beginner you will not be encumbered by previous learning. Having some musical background will make things easier as will a serious committment to learn.

How difficult is it to tune?

The 8/19/18/8 LC has a total of 103 strings. This instrument is not meant for someone who struggles with tuning. It takes an effort to keep everything in tune and the relationships working. Since the instrument is fully chromatic, tuning is even more important. It is not like sitting down at the piano (which stays in tune for much longer periods of time). Obviously if you are committed to learning the instrument and playing it on a regular basis tuning becomes less of hassle as you'll stay on top of it. If you only play once a week than tuning becomes much more of a chore.

Does each builder have his own "version" of chromatic layouts? Is there no standard?

The fact is that most diatonic layouts are somewhat chromatic over most of their range, and the diatonic layout is reasonably standard up to a 16/15. Additional chromatic notes are added by each builder with not much attention to any standard making larger more chromatic diatonic layouts somewhat illogical. Learning to play those instruments often is instrument specific. There are other versions of completely chromatic hammmered dulcimers out there such as Sam Rizzeta's Piano Dulcimer, Tsimbls, Cymbalom's and Yang Chins each of which have a different take on how chromaticism is accomplished.

Why doesn't the LC have a soundhole?

Given the placement of bridges, there wasn't a good place to put a soundhole. Having a soundhole lower on the instrument seems to throw off the visual balance. We have discovered that the sound quality of the instrument has not suffered in the least. There are sound "slots" on the front and back rail as well as a hand hole in the back which together become the soundhole.Other added benefits are there is no additional visual distraction under the strings, and the structural integrity of the board has not been compromised. What is lost, though, is my and my customer's characteristic personalization of their instrument through some type of unique soundhole design. I am open to suggestions as to ways we might add personalizing elements to the instrument.

Am I going to have a tough time finding teachers and instructional materials?

By purchasing this instrument you will be somewhat of a revolutionary. As of this writing there are only a handful of these instruments being played. This is a groundbreaking instrument . Right now the only dedicated book is Steve Shmania's book and there are few players and almost no teachers who have had any experience with the instrument. All of the other dulcimer books, material, and methods are geared towards the traditional diatonic/chromatic dulcimer. You and your teacher can certainly continue to use that kind of material, but what the LC facilitates is all those other pieces that previously would have been difficult to play on a traditional hammered dulcimer. Most of this material is going to be in standard notation and may need to be arranged for the hammered dulcimer but now the whole world of music will be available.

Traditional teachers are initially going to be taken aback by the extra chromatics and reluctant to help you make the leap. Once they understand the relationship of the LC to the traditional dulcimer though they will be able to help you take those first steps by locating traditional dulcimer tunes on the the LC and helping you work on hammering technique.

performer/artist Dan Landrum giving the LC a workout

Dan Landrum has made great strides on the LC and has contributed much to its continuing development. I thought it might be helpful to share some of his thoughts on the LC sent in a recent email to a potential new player. Dan plays both a traditional diatonic instrument and the LC.

Dan Playing the Linear Chromatic on the new CD Hammer On!

"The linear chromatic has opened up a whole new world of music for me. There's not any song, in any key, that I wouldn't at least attempt now. I'm getting to the point where the instrument is familiar to me but it is taking longer than I expected.

Even though I can still see the regular diatonic markings I find that much of what I try to transfer from the diatonic to the linear is coming from muscle memory and it takes awhile (months of practice) to 'open up' to the greater distances. Some of the old vertical reaches become impractical and have to be relearned on the linear. What I find though is that just about anything that I learned vertically on the diatonic can be played horizontally on the linear. It just takes some getting used to, and sometimes forces me to use a left hand, rather than a right hand lead system, which any good player should be able to do any way. Sometimes I get lazy though and rely too much on my dominant right hand.

Another issue is that when you miss a note, you miss it by a half step rather than by an interval that would have most likely fallen in the pentatonic scale on the diatonic instrument. In other words, mistakes (not that I make any ;-)), sound worse.

Improvisational playing on the linear is sooo much fun. All the standard jazz theory that other musicians learn now applies because of the consistency of the half steps. It is wonderful to be able to play any scale in any key. I'm now playing cool jazz pieces that I would have never done on the diatonic".

Note: Dan Landrum has some additional color coded marks that help him navigate the Standard Marking system, the marking system he is using.

Comparison Chart - Woods - LC Tuning Schemes - Accessories - Prices and Ordering

More Photos of LCs

• 10/19/18/8 Linear Chromatic
• 10/14/13 Linear Chromatics
• Dampers and Piano Tuning