During one of my many web sessions I came across this article written by Barb Gregorich. I found the article very entertaining and also very relevent to my own experience with the bowed psaltery. I wanted to share it with all of you even though it is focused on the hammer dulcimer.

I contacted Barb to be sure I could post the article here and one thing led to another. I met Barb and her husband Phil, about whom Barb wrote the article. Phil was performing on his hammer dulcimer at a local library. He's a talented player and I enjoyed his performance immensely. I left with a smile that wouldn't quit! 

Phil is a "closet" bowed psaltery player (just kidding Phil) as well and was kind enough to bring along his Omega Strings bowed psaltery for me to test drive. Thanks again Phil!  It's a gorgeous instrument with a huge voice, beautiful sound, but I digress.... 

Barb and Phil are lovely people and Barb is an author. One of the books Barb has written is a mystery titled Sound Proof and one of the featured characters is a bowed psaltery player. I am almost through with the book and will hate to see it end.

The story takes place at a music festival and it's obvious that Barb has spent some time at them herself. I won't say too much but I recommend Sound Proof as an entertaining, very fun read and it will take you to a place that you will enjoy with the added bonus of it being the only novel I know of that even mentions a bowed psaltery.

Here is a link to Barb's book on Amazon. I was thrilled to find a kindle version as I was finally won over to digital books although I went kicking and screaming. 


Phil is now a member of Psaltery Strings and I'm hoping he finds some time to play a little bowed psaltery soon. There arem't too many of us in this area!


The following article was published in the summer, 1995

Dulcimer Players News. It

may not be reproduced (except for individual, one-time use) or reprinted without


Promises, Promises

by Barbara Gregorich

“I want you to know I’m not going to be compulsive about this,” Phil said as he

settled himself into a chair and propped the hammer dulcimer across his knees.

Phil Passen, my husband, has wanted to play a musical instrument ever since I’ve

known him. Except for a two-month stint with the coronet when he was in third grade,

he has never played an instrument or taken a class in musical history, training, or

theory. But we’ve always enjoyed music, particularly Appalachian and Celtic.

What prevented Phil from taking up a musical instrument was work. Like many

people, we both work long hours — Phil in the printing business, I as a freelance writer.

So although he always wanted to play, Phil worried he’d have no time to practice. In

June of 1994, though, he decided to take advantage of the Old Town School of Folk

Music here in Chicago. With each yearly membership renewal, we can choose to have a

free half-hour music lesson. After attending a John McCutcheon concert at the Old

Town School, Phil decided he would take his free half-hour lesson on the hammer


Dona Benkert, who teaches both at Old Town and at the Warrenville Folk

Center, gave Phil his free lesson. When he expressed concern about having so little

time, she assured him that if he could practice from 15-30 minutes a day, every day, he

would make progress and enjoy the music.

Excited, but still unsure whether things would work out, Phil went to Hog Eye

Music in Evanston and rented a Dusty Strings Apprentice Model hammer dulcimer for

$45 a month, with the first four months of rent applying to the $545 purchase price if he

should decide to buy the instrument. He also signed up to take classes from Dona at the

Old Town School, one hour a week, every Wednesday night.

After his first Wednesday class, Phil came home, unpacked the Dusty Strings,

screwed in the long leg, and balanced the dulcimer across his knees. He then proceeded

to play not individual notes, but an entire song, “Soldier’s Joy.” I was amazed; he was

ecstatic. That first night after class, he played “Soldier’s Joy” for an hour. Then, knowing

himself well, he made the promise that he wouldn’t become compulsive about playing.

For the next ten weeks or so, he learned a song a week — “Liberty,” “Black

Nag,” the “Bavarian Polka,” “Viola’s Favorite,” and others. Every night, he would

practice the current week’s song for 30 minutes or so, then he would play each of the

other songs he knew two or three times. I loved listening to him play, but I did foresee

a problem. “You know,” I suggested, “at some point you’re not going to be able to

play every song you know every night.”

“That time hasn’t come yet,” he replied.

By the end of ten weeks, Phil knew that playing the hammer dulcimer was

something he wanted to do for the rest of his life. Writing is something I feel compelled

to do and intend to do all my life, so I knew how he felt and was very happy for him.

At times he would come home from class with something besides a new song:

he’d come home with a new pair of hammers. He subscribed to

Dulcimer Player News,


Dirty Linen, and to Sing Out. He read the articles and the ads. He ordered tapes. He

ordered CDs. And he ordered more hammers.

“What are all these sticks?” I asked, pointing to a jar sprouting a bouquet of


“They aren’t

sticks. They’re hammers.”

“Whatever. Why do you need so many of them?”

“I’m searching for the perfect hammer.”

“Are you going to be compulsive about this?” I asked.

“Absolutely not.”

Once Phil recognized that he wanted to play the dulcimer for life, it followed, as


and mi follow do, that he needed a dulcimer for life. But dulcimers are harder to

choose than hammers, and he relegated the dulcimer decision to the background. For a


In September we were due to leave on a long vacation. We would fly to San

Francisco, then drive north through the wine country, along the Pacific Coast, through

Oregon, and to Seattle, where I would attend the Bouchercon, a conference of mystery

writers and fans. “I’m taking my dulcimer along,” Phil announced. “I can’t go 22 days

without playing. I can stow it in the front suit compartment on the airline.”

As it was, he had to stow it overhead, but getting the Dusty Strings to California

and back proved no problem. Early one Saturday we left Chicago, and late that evening

in San Francisco Phil was practicing “South Wind” and “Rakes of Mallow,” the two

songs Dona had given him to learn during the trip.

During that vacation, he played in hotel rooms, on the balconies of inns

overlooking vineyards, on benches along the Pacific, and on benches on public

sidewalks, always attracting an audience and comments. One couple out for a

moonlight stroll asked that he not stop playing. In Trinidad, California, a 14-year-old

bicycling home from school parked his bike alongside the bench and wanted to know

all about the instrument. A hippie couple stopped to listen. “Groovy,” they declared.

Seattle, besides being the site of the 1994 Bouchercon, is the home of the Dusty

Strings factory. While I attended mystery seminars and workshops, Phil visited Dusty

Strings. Later that day, I met him at the factory and we continued to look and ask

questions as he searched for the dulcimer-for-life.

The next day, he made an appointment to visit dulcimer player Rick Fogel, who

builds Whamdiddle dulcimers. We visited Rick in his basement workshop and listened

to his dulcimer and talked to him at length. Both Phil and I loved the sound of the

Whamdiddle, but Phil wasn’t sure if he knew enough about other dulcimers to commit

to having Rick build him a Whamdiddle.

“I hate to say this,” he said as we flew back to Chicago, “but I think we have to

go to St. Louis when we get home.”

“Why?” I asked.

“Because the Midwest’s largest dulcimer store is there. I can play on all the

different models I’m considering, and that will help me make up my mind.”

We arrived back home on a Sunday. Six days later, we woke at 5:00 , ate

breakfast, and drove to St. Louis, reaching Music Folk around 1:00. For the next five

hours, dulcimer player and store owner Rick Thum answered Phil’s questions, played

various dulcimers for us (giving us the “hidden dulcimer” treatment, in which we heard

but did not see the instrument he was playing), allowed Phil to take two dulcimers

down to a sound room and play them to his heart’s content, and was patient and

understanding when Phil couldn’t make up his mind.

As we drove north to Springfield, where we would visit friends and spend the

night, Phil agonized over which dulcimer, exactly, was the one he wanted. The most

important consideration was sound, but he was also a bit concerned with weight and

size. We had dinner with our friends, spent time talking about dulcimers and other

things, and got to our hotel after midnight.

At 7:00 the next morning, Phil woke me to say, “I’ve decided. I want the


“Whamdiddle,” I mumbled.

“Right. But I think I want to buy the Dusty Strings.”

That evening, Phil called Rick Fogel in Seattle and ordered the Whamdiddle

Model 4-0. Phil was cocky enough now to ask Rick to change his normal tuning pattern

and give Phil’s dulcimer a low A. Then he sent in a deposit on the dulcimer … and

ordered two pairs of hammers. Rick said the Whamdiddle would be ready in February.

That meant at least four months more of renting the Dusty Strings, and Phil

wondered if he should continue paying $45 a month without buying the dulcimer. “If I

bought it,” he explained, “I could take it along when we travel, rather than the

Whamdiddle, which weighs almost ten pounds more. Also,” he continued, “if it turns

out I don’t want the apprentice model, I can sell it easily.”

“Well … you’re not going to become compulsive about this, are you?”

“Absolutely not.”

So, after buying the Whamdiddle, Phil also bought the Dusty Strings and became

the happy owner of two dulcimers. In our 990-square foot apartment, two dulcimers

take up a lot of room, but I couldn’t really complain. Even though I own only one

computer on which I do all my writing, I also own a typewriter, so I guess Phil and I

were in harmony, more or less.

One week later, Phil came home from work with a third dulcimer.

I was speechless.

“It’s like this,” he explained. “George Barzyk built it.”

According to Phil, he was innocently standing in the printing plant watching

George, a pressman, use a T-wrench to make a press adjustment. “That’s something

like tuning a dulcimer,” he observed.

“What do you know about tuning dulcimers?” challenged George.


play a hammer dulcimer,” declared Phil. “What do you know about it?”


built a hammer dulcimer” George answered.

So it transpired that George brought the dulcimer he had built in to work and

Phil played it. George then

gave the dulcimer to Phil. Although Phil tried to pay him for

it, George would hear none of it: he wanted to give the dulcimer he had built to Phil.

The dulcimer that George built is a 15/14, made of maple and mahogany. It’s

quite beautiful. By this time, Phil owned two Whamdiddle dulcimer stands: one for

standing, one for sitting. He put the Dusty Strings on one stand, the George on the

other. He played one, then the other. Back and forth. He couldn’t decide which he liked


That week, Phil wanted to take George’s dulcimer to show Dona during class.

But he couldn’t carry two hammer dulcimers. So I went to class with him, my sole

responsibility being to carry the second dulcimer. Dona said George’s dulcimer was

beautiful and would make a great backup instrument in a band. Phil now owned three

dulcimers … but he wasn’t compulsive.

Dona used the advent of George’s dulcimer to encourage Phil to play backup in

her square dance band. But Phil, though an advanced beginner, is still new to this, and

he gets nervous playing in front of other people.

Thanksgiving and Christmas and New Years approached. When my parents

visited, Phil played for them. When guests came to dinner, he played for them.

Although he was nervous and didn’t play as loosely as when we’re alone, the guests

loved it. They had all kinds of questions about the instrument and about the songs.

In January, we began a project we’d been dreading for years: remodeling the

kitchen. Because we had no sink, no stove, no oven, no table, and no chairs, our friends

took pity on us and invited us to dinner. One Saturday we dined at Bill and Beth’s.

“Have Phil bring his dulcimer,” they said. After dinner Phil played for them, a little less

nervous than before. We all had a great time.

The next Saturday, Sharon and Steve had us over for dinner. Phil told me that he

was taking his dulcimer. “But they didn’t ask you to bring your dulcimer!” I objected.

He took it anyway.

“What’s that?” they asked as he lugged the dulcimer and stand up their front


“My dulcimer. I’m going to practice after dinner.”

It turned out to be fun. Luke, Sharon and Steve’s ten-year-old, brought out his

violin and played some tunes, also.

The kitchen remodeling is finished, and we have survived with our friends intact.

Phil is now reading about 1995 dulcimer weekend festivals in Louisiana, Wisconsin,

Michigan, Ohio, and Illinois. He’s also reading about week-long dulcimer schools in

West Virginia, North Carolina, Kansas, and Texas. “I have to limit myself,” he says.

“This year I’ll go to just three weekend festivals and one week-long school. I’m not

going to be compulsive about this.”

Wanna bet?

© Barbara Gregorich

Barbara Gregorich is the author of Waltur Buys a Pig

in a Poke and Other Stories, an early reader published by

Houghton Mifflin (2006).

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Members who build bowed psalteries for sale

Spring Creek Psalteries - Sharon & Terry Kirby



From the Wood - Wayne Gaydos



to see his work visit


Waynie Psaltery - Wayne Simms



Prairie Psaltery - Richard Celata



Loon Song Psalteries-Charlie Marshall



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Psalteries by Dave- Dave Lucas  



Jon Williams Psalteries
(386) 853-0944

Westman Instruments - Tish & Greg Westman

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Michael J King Instrumetns - Diatonic Psalteries

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James Jones Instruments

Omega Strings – Richard Spencer

Master Works Bowed Psalteries - Russell Cook

Members that teach Bowed Psaltery

Paul G.Sykes - MS  

Located in Hattiesburg
Contact Paul at

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Gregg Schneeman - California
Contact Gregg here on Psaltery Strings


Peter Tommerup - California
San Francisco Bay Area
Bowed Psaltery and other Instruments


Celeste Howard Ray
Bowed Psaltery lessons via Skype
Skype name celesteray88


Maureen Barnes - Illinois
Bowed Psaltery lessons in Bloomington, IL


Dona Benkert -

Lessons at Old Town School of Folk Music, Chicago, IL
Phone: 773.728.6000
& Folk-Lore Center, Warrenville, IL
Phone: 630.393.1247

Tish Westman - West Virginia
Lessons at Tamarack, Beckley, WV. Wednesday workshops also available for individual classes and to teach at festivals.
Sunday "Jam" 3:30 to 6:00. All instruments welcome, play mostly Old Time, Celtic & Gospel Music, not opposed to trying any tune called, once did a rap on Bowed Psalteries.

Rick Long - Tennessee
Lessons at Rick's home/workshop in Clinton, 30 mins N of Knoxville
(865) 660-4026

Karla Armstrong - Pennsylvania
Karla plays a variety of instruments and does workshops as well. Please visit her web site for additional information or contact her via the web site or the information below.
(717) 632-8099

Carol Esch - Kentucky
Lessons in Carol's home/workshop south of Lexington.

Honey Smith Walls - Florida
e-mail Honey for more info honey@offthewalls.us
Melbourne, FL

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If you are already on Tish's list, why don't you stop in and update your info? While your there take a look to see if there are new players in your area. Who knows, you might get together and make a recording.

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