I said I'd say some things about Larkin's workshop in Guelph. Life is a tad mad here, even moreso now that both of my children have started summer holidays, but I'll just try to sit for a minute and share a few of my memories about the workshop.

Two things come immediately to mind. The first is that Larkin's playing is so quiet compared to any other dulcimer playing I've heard. Quiet, gentle, intricate, delicate, lace-like. Yes, lace-like. Complex, thoughtful, perfectly executed playing, reminding me of one of my grandmother's beautiful hand-crotcheted tablecloths.

The second thing that comes quickly to mind is how Larkin's playing style is such a true image of her personality. She exudes both warmth and clarity, and she responds to all queries, be they about the dulcimer, or about aspects of her life, with thoughtfulness, intelligence, politeness and nary a hint of judgementalism. Whether she is playing, singing or conversing, her eyes make music. She's one of those people that you feel honoured to have been able to spend time with.

Larkin is a fabulous teacher. She avoided 'handouts' until the end of the workshop, preferring that we listen and watch carefully instead. She knew that we were a mixed group of players, from beginner to advanced, but she kept us together as a whole group through the whole workshop, and each one of us was kept actively participating throughout our 3 hours session....no small feat! The first thing she asked us to do was to play a song together, and she watched each of us carefully, as we played verse after verse, so she could ascertain our individual styles. Having heard and seen our playing, without putting us on the spot, she then compared our various styles to our own.

Most of the workshop was a lesson on fingerpicking. I was thrilled to watch a master dulcimer player use a fingerpicking style, and hear her explain her techniques. She discussed the difference between 'folk' and 'classical' fingerpicking, and led us through some 'folk' patterns on some familiar tunes.

Larkin's left hand uses a slide technique on the first string which splits between the thumb and the pointer finger. All of her chord patterns are derived from this position. She almost always plays a 3 string dulcimer. She does not double the 'melody' string, because doing so diminishes the clarity of some of the special ornaments she plays with such grace and glorious musicality.

The whole workshop was a treat, but the highlight for me was the 1/2 hour concert she gave us at the end. When Larkin plays live, there is in intense rhythmic drive and play which for some reason just doesn't come through well on her CD 'Lark in the Twilight'. She has an incredible way of arranging familiar tunes, such as 'Wondrous Love' by bending and twisting them rhythmically and harmonically to make them feel like brand new friends. I can hardly describe what I am thinking about here....I just can tell you that I was totally rivetted by her creativity. She has a bluesy jazzy soul, I'll tell you!

Larkin told me that she likes her workshops to include three things...a. things that you can learn and do right away, b. things that you can learn and figure out how to do when you get home, and c. things that are way too difficult for you to do in the foreseeable future, but will inspire you to see the dulcimer as a limitless instrument, and be inspired to continue to learn and to grow with the instrument.

Larkin was first attracted to dulcimer when she heard it's magnicent bagpipe-like drone. She has taken the dulcimer to new heights, but continues to love and respect the ever available drone of the dulcimer. Her approach to both teaching and playing the dulcimer is as complex and as simple as a woodland garden.

My thoughts.... ~black walnut