Preface
This construction book was written as the culmination of the project: «Passing on craftsmanship through a master-apprentice trajectory,» supported by the Department of Culture, Youth and Media of the Flemish Government. It is a compilation of discoveries, experiences, and developments that emerged during mutual building gatherings and conversations with renowned and established international builders.
This construction book describes the construction of our hammered dulcimer. It is a 16/15 model based on various historical and modern instruments; a refined instrument that can be built by both inexperienced and experienced builders.
While the process is straightforward, a certain level of skill and woodworking experience is required. However, additional assistance is available from the compilers of this book. Thus, this book serves as a manual for passing on craftsmanship.
The purpose of this book is to share knowledge and experiences. Therefore, the information should always remain freely accessible and must not be used for commercial purposes.
The image of the instrument maker working alone at the workbench does not apply here! This project was a fantastic and enlightening collaboration between teacher and students. But it could never have been achieved without the help of our various partners:
Department of Culture, Youth and Media of the Flemish Government, Cemper (Centrum voor Muziek en Podium erfgoed, Center for Music and Stage Heritage), Roger Frood; Muziekmozaïek, Folkclub 't Ey (corona-safe meeting place), the numerous conversations with Nicholas Blanton (hammered dulcimer builder USA), and Rick Thum (hammered dulcimer builder USA) ... and the corona crisis.
Many thanks, Pieter Blondelle, Willy Vermaelen, Mirte Maes, Toon Lauwers.
Building dulcimer
The hammered dulcimer, a string instrument played with small hammers, originally hails from Asia. It arrived in Europe in the early Middle Ages and gained popularity in many countries from the 14th to the 19th century. Depending on the region, instruments were constructed in various sizes, tunings, numbers of strings, and playing techniques. It typically has a trapezoid shape. Names also differ by region: dulcimer, hammered dulcimer (United States and Great Britain); dulcimer, tympanon (French-speaking regions); santoor, santur (Turkey and Asian countries); hackbrett (Central Europe); hammered dulcimer (Dutch-speaking regions); cymbalom (Eastern Europe); and yangqin (China). Additionally, there are even electric versions of the instrument. It is used in diverse music genres, from classical to blues.
The hammered dulcimer we build is a wooden, trapezoid-shaped string instrument played with hammers. The tones are produced by groups of two strings. Other types like hackbrett, cymbalom, santoor, and yangqin may have groups of three or four strings. Two bridges divide these groups into different playing zones, each spaced by a fifth (five notes) from one another. The accompanying photos provide a clear view of the entire instrument.
To create the instrument, basic skills in woodworking or musical instrument making are advantageous. With proper guidance, it is achievable for many.
Grants for passing on craftsmanship in a master-apprentice project from the Department of Culture, Youth & Media of the Flemish Government, offered new opportunities for building a hammered dulcimer. During the project, builder Pieter Blondelle passed on his craftsmanship to three apprentices. The construction process was documented with photos and images. This documentation was then compiled into a construction book, a helpful resource for anyone interested in building a hammered dulcimer.
This book includes a digital, detailed plan that can be printed at actual size. The plan labels all the parts of the hammered dulcimer and ensures correct measurements for each component. Various tools are needed to create these parts, and these tools are also described: a template for drilling the tuning pins and templates for drilling the bridges. A step-by-step guide demonstrates the assembly of internal support beams, pin blocks (sides for drilling tuning pins and hitch pins), the top soundboard with sound holes, the bottom soundboard, and the overall assembly of the instrument. Stringing the instrument is also thoroughly covered. Lastly, suggestions for finishing touches are provided, such as decorating the top soundboard, adding an attractive wood frame, shaping the sound holes and sound hole rosettes, etc. The book also contains a materials list that describes the types of wood, necessary tools, and materials for stringing. All steps are illustrated with photos and videos. The construction book is available from the project contributors.
Contributors:
Toon Lauwers: toonlauwers@hotmail.com
Willy Vermaelen: wvermaelen@hotmail.com
Mirte Maes: mirtemaes@hotmail.com
Pieter Blondelle: pieter@hakkebord.be
English (UK) 
Nederlands