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Help Requested - 48 Ec Arrangement


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#37 David Barnert

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Posted 24 December 2017 - 08:21 PM

Nit-picking: Just noticed a missing a staccato mark, middle beat of measure 26. Intentional?



#38 David Barnert

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Posted 24 December 2017 - 08:53 PM

More nits:

 

Measure 20: the A should be marked natural (not required by the rules, but clearer).

 
Bass Bb’s in 32 and 36 are half notes (not quarters or dotted halfs)?
 
Bass A’s in 37 and 38 are missing staccato marks.
 
Bass notes in 1st ending: quarters like at the beginning?
 
No middle rest in penultimate measure.
 
Final measure: no bass note on 1st beat?
 
Final measure ends with whole (4-beat) rest instead of half (2-beat) rest.
 
Sorry...
 
[I’m actually trying to learn the thing on the Hayden, in G minor. When I’m done transcribing it, I’ll post it for Danny and anyone else who wants it.]

Edited by David Barnert, 24 December 2017 - 09:18 PM.


#39 David Barnert

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Posted 24 December 2017 - 09:43 PM

...And if you could transpose it down a fifth to give a version for us tenor-treblers, that would be great!!

 

Voila.

 

https://www.dropbox.... Gm.3).jpg?dl=0

 

It’s a jpg, and should display ok in the dropbox window as is, but to download it or print it, click “Download” or “...” in the upper right corner.

 

I made what I thought were the appropriate choices in the measures mentioned in the previous post.



#40 David Barnert

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Posted 25 December 2017 - 12:07 PM

[I’m actually trying to learn the thing on the Hayden, in G minor. When I’m done transcribing it, I’ll post it for Danny and anyone else who wants it.]

 

After all the effort to abc it and transpose it, it’s not going to work. The 46-key Hayden has no low Eb (it’s fully chromatic except for the lowest and highest few notes). I thought about doing it in A minor, but realized there’s no reason to have to be strapped into the constraints imposed by having it playable on an EC, and if I’m going to play the waltz on my Hayden, I should do an arrangement from scratch, using more of Shostakovich’s harmony lines.

 

I may very well do that. But not today.



#41 Jody Kruskal

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Posted 04 January 2018 - 11:28 PM

Seasonal festivities and gigs are over so I'm able to wrap this up. Thanks Dave for all your nit-picking. I really do appreciate it. I took most of your suggestions. So here is the latest version. Sorry, it's still called Dm.3 but the time-line here should distinguish it from the previous version also called .3.

 

Waltz #2.Dm.3.jpg



#42 Jody Kruskal

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Posted 04 January 2018 - 11:43 PM

For Danny and those who have low instruments... here it is down in Gm.

 

Waltz #2.Gm.3.jpg



#43 RatFace

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Posted 05 January 2018 - 04:55 AM

Thanks!



#44 tona

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Posted 07 January 2018 - 11:51 AM

Hi,
It has been a long time since I have come here. And I find this thread...
Out of curiosity, here is a version of this arrangement on my duet.

https://m.youtube.co...h?v=7DAS9ezF5ws

I think that I play the right notes but not always at the good « height » depending of the range of my system.
Thanks Jody for sharing your work and it is always a pleasure to hear you playing Danny.

PS : just for information, I recorded it with my phone (iPhone 5S) with an external mic (iTrack pocket for 17,90 € at thomann). I do not want to make publicity but even if it is not as good as a real recording, it works quite good for the price...)

#45 Jody Kruskal

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Posted 07 January 2018 - 12:30 PM

Bravo Tona. Lovely playing there!



#46 ritonmousquetaire

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Posted 09 January 2018 - 02:30 PM

What I do like with your arrangement is that you maintained that "oom-pah-pah" (ok it's a bit reductive but I don't know how to call it otherwise) bass pattern throughout. It's quite rare to hear it on an english concertina! Which I regret because it can really give an enjoyable feeling to a piece. Of course the EC is no anglo, but I wish we'd hear this kind of "full" arrangements more often. So thank you for posting it, and thank you RatFace and Tona for recording it!

 

By the way Tona, I was searching the other day for musette played on the duet and saw you had recorded some a while ago, but all the files seem to have disappeared. Do you still have them uploaded somewhere? I'd be really curious to hear them.



#47 David Barnert

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Posted 10 January 2018 - 05:11 PM

Hi,
It has been a long time since I have come here. And I find this thread...
Out of curiosity, here is a version of this arrangement on my duet.

https://m.youtube.co...h?v=7DAS9ezF5ws

I think that I play the right notes but not always at the good « height » depending of the range of my system.
Thanks Jody for sharing your work and it is always a pleasure to hear you playing Danny.

PS : just for information, I recorded it with my phone (iPhone 5S) with an external mic (iTrack pocket for 17,90 € at thomann). I do not want to make publicity but even if it is not as good as a real recording, it works quite good for the price...)

 

Great playing, Tona. One “nit-picking” point (sorry, see my post from a few weeks ago). You neglected to skip the 1st ending on the repeat.



#48 Wolf Molkentin

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Posted 11 January 2018 - 01:34 AM

What I do like with your arrangement is that you maintained that "oom-pah-pah" (ok it's a bit reductive but I don't know how to call it otherwise) bass pattern throughout. It's quite rare to hear it on an english concertina! Which I regret because it can really give an enjoyable feeling to a piece. Of course the EC is no anglo, but I wish we'd hear this kind of "full" arrangements more often. So thank you for posting it, and thank you RatFace and Tona for recording it.


I would tend to disagree. While I deem Jody's arrangement very nice and adequate, the "oom-pah-pah" comes directly from the original composition (and had in this regard to be maintained anyway).

 

Apart from that, I would not rule out a decent "oom-pah" for playing self-accompanied melodies on the EC (which however wouldnt need much of an arrangement, just chords), rather for variation however - but a full arrangement for the EC would be written in a way that should take more advantage of the system's strength, which IMO is to be found in the capacity of playing spread harmonies including bits of counterpoint (which of course can be done with other systems too).

Best wishes - Wolf


Edited by Wolf Molkentin, 11 January 2018 - 05:02 AM.


#49 tona

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Posted 11 January 2018 - 06:39 AM

Thanks all!

@Ritonmousquetaire : I have to find theses (old) files and I will put a dropbox link. I need time because II have no internet where I live (!) and I must do it from my workplace.

@David : you are right! I hate to read scores!..

@Wolf : I agree. Oum pah pah is not the final goal. It fits quite well with this tune but it can be « heavy » in other ways.


Edited by tona, 11 January 2018 - 08:32 AM.


#50 ritonmousquetaire

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Posted 12 January 2018 - 07:20 PM

Tona > thanks!

 

Wolf > Yeah, I don't mean to limit the EC to the oom-pah-pah stuff, I understand that there are many more elegant possibilities for arranging. It's just a matter of personal taste, I happen to love that kind of accompaniment (I didn't say that it's a matter of good taste by the way). But they seem to be really rare on the EC - I can only think of one other example, on RatFace's website : "valse d'Astrid". It seems that most players almost never consider using it in their arrangements.



#51 Jody Kruskal

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Posted 12 January 2018 - 11:44 PM

Yes, the Um-pa or Um-pa-Pa template is very powerful. Used with discretion, it can move the music on with a nice rhythm that also contains the harmonic foundation. In this arrangement I've tried to adhere as much as possible to the composer's intent, so Um-pa or Low-High phrases figure throughout in the accompaniment.

 

I got it... that this is an Anglo and duet technique, but there's no reason, aside from added complexity, that the EC can't do it too.



#52 ceemonster

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Posted 13 January 2018 - 01:47 AM

[[[It's quite rare to hear it on an english concertina!]]]  That is because it will turn your brain into Swiss cheese to do it continuously underneath the whole melody the entire time throughout from start to finish,  as opposed to what most EC players do, even the most adept, which is create the illusion of it by doing it as fillers/connecters in spaces between stretches of melody.   Continuous rhythmic bass is what accordions and duets are for.  It "can" be done on EC, but my own preference on EC aesthetically as well as technically, would be to express the melody on it like a violin or clarinet would, with double stops here and there (or chords for those who can't live without multiple voices), and bring in a second instrument to supply the bass rhythm, like a fiddler would do.


Edited by ceemonster, 13 January 2018 - 02:00 AM.


#53 Daniel Hersh

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Posted 13 January 2018 - 02:06 AM

Thanks all!

@Ritonmousquetaire : I have to find theses (old) files and I will put a dropbox link. I need time because II have no internet where I live (!) and I must do it from my workplace.

@David : you are right! I hate to read scores!..

@Wolf : I agree. Oum pah pah is not the final goal. It fits quite well with this tune but it can be « heavy » in other ways.

 

Tona/Thomas - welcome back!  Am I right that you have recordings on Soundcloud at https://soundcloud.com/thoon-1 ?



#54 tona

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Posted 13 January 2018 - 04:10 AM

@Daniel : yes!

@ritonmousquetaire : here is a dropbox link to two swing musette waltz : rêve bohémien/indifférence. I recorded them several years ago.. m4a files..

https://www.dropbox....

Cheers!



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