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Wolf Molkentin

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About Wolf Molkentin

  • Rank
    Ineluctable Opinionmaker
  • Birthday 01/19/1960

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  • Gender
    Male
  • Interests
    music (with few exceptions)
    philosophy, politics + critique
    sailing close to the wind
  • Location
    Baltic coast, Schleswig-Holstein

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  1. Wolf Molkentin

    Need some help, Pairing a tune with Scarborough Fair

    Hi John, I can easily sympathise with that too in a way. It’s again the apodictic manner of communicating a point of view... Best wishes - 🐺
  2. Wolf Molkentin

    Need some help, Pairing a tune with Scarborough Fair

    one more thing: "bloody muzak" is generally and rightfully disrespected for being soulless, that's what I've been presuming that is
  3. Wolf Molkentin

    Need some help, Pairing a tune with Scarborough Fair

    I can only repeat myself, however deem that necessary here: Your argument, Nick, should exclude 90 % or more of active folkies, as they are not acting and playing strictly according to the respective traditions. Would you opt for controlling the quality or honesty of any folk musician? their knowledgeability? Apart from that, and again without any preference for "world" hotchpotches on my side, who are you, or we, or anyone, to rule over purity vs. cross-fertilisation or invention or simply personal taste? Not a path to take IMO...
  4. Wolf Molkentin

    Need some help, Pairing a tune with Scarborough Fair

    Hi Nick, I'm not sure if the kind of respect you're claiming here is realistic. Few of us play in a traditional style in any stricter sense. Ornamentation f.i. is rather personal and not according to particular (unwritten) rules. So couldn't merging an English with an Irish tune rather be regarded as a matter of personal candor...? N.B. I greatly respect and appreciate the keepers of traditions, whereever the "folk process" may lead them. OTOH the omnipresent "balfolk" genre (how ever attractive to the dancers) is not to my liking in terms of the music as the beauty of distinct tunes seems too much be getting in the rear this way. But pairing two tunes I (or any fellow player) truly love (and thus am able and inclined to let shine) should not be discounted as evil or worthless or offending IMO. Best wishes - Wolf
  5. Wolf Molkentin

    MacCann 46 button

    Hi Pete, congratulations (if deemed appropriate) to having acquired this new instrument. I can‘t make much of your photographs, however the four digits might very well point at a „batch“ (and not serial) number. What you’re describing re the metal ends seems to be just what is called „raised ends“ (allowing the ends to be smaller apart from the raised section). Good luck with the restauration project! Best wishes - 🐺
  6. Geoff, it‘s just that listening to some English or Duet recordings or videos is creating sort of an urge (here:) to reverse with the bellows - in me, as an audience. Like: Why is he or she (not) doing this (or that). It‘s as simple as that. I wouldn’t claim to teach or whatever myself here (albeit having been a teacher of related and non-related matters at some point). Just wanted to share a notion being quite obvious to me (re where a certain fellow concertinist „stands“ at that moment).
  7. Wolf Molkentin

    Scored A Miniature Lachenal

    for the basic version (called „tutor“ model by some today, with black and red stained keys) - yes; however, five fold or more may be preferable...
  8. Wolf Molkentin

    Two recent Dapper's Delight videos

    Adrian, I‘m greatly enjoying your version of Peter Bellamy‘s take on this beautiful ballad, the using of your very own singing voice while providing the essence of his approach to the anglo. Best - 🐺
  9. Hi Adrian, surely no one who has once been listening to your music would or even could be inclined to discount your findings. Having said that I wish to point to the origns of this discussion - a fellow concertinist (@RAc) who had his own playing videotaped and posted here. My initial take on that take was, in terms of supportive critique, that bellows reversals did occur at rather odd points whereas at then-following endings of phrases or even sections there was no such expression (it could be added now: neither reversal nor mimicking of any kind) So undoubtedly having discussed advanced techniques for variety etc. and be pointed to the musicality that only can provide meaning (as in the more recent posts) is of great interest and certainly helpful. However IMO this does not make hints to basic techniques which can provide a, can we say tangible, base for adding expression to a tune unnecessary. Refing may come later then (possibly even to the point where the basic tool appears as dispensable). Guess this is two (however related) discussions in one, don‘t you think? Best wishes - and my greetings to Rufus + Susanna - 🐺
  10. Geoff, I can easily agree - and still I would insist that a bellows reversal is a powerful and - what may be more - highly accessible tool for making a difference, Having said that I can only emphasise the notion of „working“ with the bellows in any way, move around one end, support what might be in your head, and get it to happen there through this expressiveness. Best wishes - 🐺
  11. Hi Dick, I seem to understand that your „fanning“ suggestion isn‘t referring to the notion of permantly closing the lower side of the bellows with velcro or similar but a free movement of the bellows which might give the impression of a serpent - in which case I would wholeheartedly agree... Best wishes - 🐺
  12. John: as to phrases, in the jig mentioned above (as well as others, f.i. The Irish Washerwoman) the phrases use to start on the „6“, where the emphasis is on the „1“ - I would always include the „6“ in the bellows or bow - wouldn’t you too? Best wishes - 🐺
  13. In fact I often apply lots of changes, as this adds expression to to tune. My personal background stems from a Lachenal Exelsior, my first EC, lovely mellow sound but very restricted air-supply. I couldn’t go with steady back and forth bellows movement, and I tend to keep this technique. However it is quite relaxing to be sure of more air supply being available. A Schottische seems in fact not very demanding or even promising re elaborate bellows reversals. My point here is rather to keep it regular, and then possibly add some extra reversals - but OTOH avoid skipping the regular changes and only have occasional extra ones, as this is making for a very uneven musical impression. And of course any extra reversal should sound deliberate and not forced by running out of air... 😊 As an example for a different notion we could discuss an English jig (such as The Fiery Clockface). It makes good sense to change after every second „five“ in order to emphasise the „jumping“ rhythmic pattern. Maybe enough for now. Best wishes - Wolf
  14. Wolf Molkentin

    Need some help, Pairing a tune with Scarborough Fair

    I might fancy a bit of a contrast here - start with a restful Scarborough Fair and then break into the frenzy of Drowsy Maggie. Works quite well for me, playing them (with my tenor treble English) both in the key of E Dorian (as usual for the latter, whereas the former seems to be commonly played on the root of D, and in my treble version on A). I guess A Dorian to E Dorian (or similar) might work too. What do you think?
  15. Wolf Molkentin

    2-button tunes on Anglo?

    The Watersons - yes, it's incredible what they've been able to do, espescially in the very early recordings. Guess I'll take this little song as a hint to go back to them and explore their approach a little further. Best wishes - Wolf
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