The place in which you play your instrument is part of the sound of your instrument --- always.
I could go so far as to say that the location where you’re playing is actually part of your instrument, in the sense that the sounds coming out of your instrument are dispersed to, and return from, surfaces that are sonically connected to the instrument.
...When in 1995 I composed ‘Sky Through the Pines’ (originally ‘Such a Gift’) I envisioned it as a sung song with guitar or as an instrumental ensemble piece with guitar, hammered dulcimer, flute, and other instruments; both versions were recorded, in 1996 and then 2002, and the latter was released on the album Sycamore Rapids. But I never imagined playing it as a solo --- and was frustrated that I couldn’t play it again except on a CD player!
In 2000 I began developing my new stylized method of separated-hand solo hammered dulcimer playing, and at first limited it to quite simple tunes to keep it manageable. Then the occasion came, for a couple of weddings, to arrange Beatles pop ballads in such a manner. Many of us agree, I think, that some of the finest of the pop ballads are by those guys, and they have a sort of pure simplicity that ought to go well with my separated-hand technique!
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So what gives something value? Is it worth what it’s worth even if that’s not recognized or appreciated or acknowledged?
As a musician I frequently experience a vast range of responses from listeners, particularly noticeably in an informal setting such as a signing event in front of a bookstore that carries my CDs: some people are in rapt joy, and some are mildly interested, while others seem to intently ignore my presence or even smirk in pitying amusement!
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