felix castro Posted October 1, 2013 Share Posted October 1, 2013 Thank you Felix, and I hope you will record something later ! I have to find time for playing, and second for recording, perhaps this week... Link to comment Share on other sites More sharing options...
felix castro Posted October 2, 2013 Share Posted October 2, 2013 (edited) Finally I recorded it. I did the same than Diatosoldo, recorded the first and the second part separately, as I have a lot of mistakes in my maccannic playing. You can see and hear here my 46 buttons Wheatstone maccann from the 20s, with rosewood and green bellows, that I think that match very nicely (I remember a post where a member asked about green coloured bellows...). Serial number 29476, produced from 30th november to 8th december 1922. The tune isn't exactly as Mr. Jody Kruskal plays it, but I learned it by ear. I hope you like it. First part. http://www.youtube.com/watch?v=MW5eQ6j7GBk Second part. http://www.youtube.com/watch?v=U832JywxYlw Edited October 3, 2013 by felix castro Link to comment Share on other sites More sharing options...
Jody Kruskal Posted October 3, 2013 Share Posted October 3, 2013 Oh Felix... I smiled while listening to your eccentric harmonies. Bravo! Link to comment Share on other sites More sharing options...
felix castro Posted October 3, 2013 Share Posted October 3, 2013 (edited) Oh Felix... I smiled while listening to your eccentric harmonies. Bravo! Thankyou very much, as I liked so much your version, I decided not to play now an arrangement with the anglo and try to play it firstly with the duet. This is the first tune in which I truly practised and arranged harmonies and acompaniment for the duet. The duet allows more "eccentric" harmonies and it is relative easy to find them by ear, a different thing is that the fingers can do it. Edited October 3, 2013 by felix castro Link to comment Share on other sites More sharing options...
bellowbelle Posted October 9, 2013 Share Posted October 9, 2013 (edited) Okay, I've made it to September. Wha--- WHAT???? It's OCTOBER ALREADY????? Sigh.... Anyway, I've decided to give up trying to add recordings, but I do like to work on the TOTMs and I like to notate whatever my own arrangement turns out to be. I don't always stick to my own notation, but I like to have it because I have this amazing ability to totally forget how to play stuff. So, here's how I play Hop And Skip, more or less. (Actually, when I play it, this is not exactly what I do; I play some of the major chords as minors, technically. But, I wanted to stick to the chords as given so I adjusted one or two of my notes.) (Edit: CONTENT REMOVED) Extra note added: I am not saying my arrangement of counterpoint is 'correct' or not. It's simply what my fingers choose to do! Edited October 27, 2013 by bellowbelle Link to comment Share on other sites More sharing options...
Wolf Molkentin Posted October 10, 2013 Share Posted October 10, 2013 Hallo Wendy, I'm not sure what you want to do exactly. I can't see any significant note change in your files, and some chords seem not to fit the key of your transposition (look at bar 8 for instance). Might be you are shifting the tune towards the Mixolydian key. If so, I did a similar thing with my recording. Then you would either have to erase the accicental resp. change the key signature in the abc file from Gmaj to Gmix or to insert natural signs where needed (which solution to prefer would depend on how radical you would like to follow your approach). I had several attempts, stepwise mellowing it down to that certain ambiguity between the Major and the Mixolydian key as we know it from certain Irish tunes. Another advice would be not to change the notes schematically but sometimes simply to avoid the "problematic" notes by playing around them (I had tried that in bar 12 but finally had chosen another solution for this part of the tune). My apologies in advance if I have got you wrong entirely. Best wishes - Wolf (from England presently) Link to comment Share on other sites More sharing options...
bellowbelle Posted October 26, 2013 Share Posted October 26, 2013 Just a quick (and late!) reply -- computer slow, lots of interruptions, etc... Just time for one thought. The chord tones... nope, don't see that they are not correct. That puzzles me a bit. But, no need to reply, really, since I will be joining the 'spectators' group for this forum -- I don't wish to keep up recording the TOTM each month. Though, I do enjoy working out the tunes and shall continue to do so. Without too much elaboration, I'll just say that, besides the recording issues, I don't really seek critiques/discussions re whatever I'm playing (never have really liked workshops much, either). It's not that I can't take criticism; you could scream epithets at me and tell me I'm horrible and I wouldn't bat an eyelash (--though, I'm NOT asking for that! ). It's simply that I don't like a lot of dialogue around what I'm working on. Running on a bit here, since I'm in a hurry to get off the computer (now that I FINALLY) got ON it!!!! Link to comment Share on other sites More sharing options...
David Barnert Posted October 27, 2013 Share Posted October 27, 2013 The chord tones... nope, don't see that they are not correct. That puzzles me a bit. Hi, Wendy. In the last measure of A section you transposed Jody's chords wrong. Should be D and G instead of Amin and D. So the E in your harmony where you're trying to make an Amin chord doesn't quite work because you really want to hear a D chord there, resolving on the next beat to G. In the 2nd half of the first measure (and 5th measure) of the B section, you missed what should be a C chord in your transposition (Jody writes "G"), although your harmony has the C. Unlike Wolf, I don't see anything in your notation that suggests the Mixolydian mode. Link to comment Share on other sites More sharing options...
bellowbelle Posted October 27, 2013 Share Posted October 27, 2013 The chord tones... nope, don't see that they are not correct. That puzzles me a bit. Hi, Wendy. In the last measure of A section you transposed Jody's chords wrong. Should be D and G instead of Amin and D. So the E in your harmony where you're trying to make an Amin chord doesn't quite work because you really want to hear a D chord there, resolving on the next beat to G. In the 2nd half of the first measure (and 5th measure) of the B section, you missed what should be a C chord in your transposition (Jody writes "G"), although your harmony has the C. Unlike Wolf, I don't see anything in your notation that suggests the Mixolydian mode. Thanks, Dave (and Wolf)... and, sorry about all that!!!! I'm not sure why my venture with 'Hop And Skip' became more of a 'Crash And Burn.' I think it was mostly a problem with my copy/paste while editing ABC. I can tell you that I didn't actually play it 'wrong,' although my notation was wrong. (However, that said, I'll add that I don't completely like the way I play it, anyway.) I removed the content, and it'll be a little while before I can replace it with a correction. Link to comment Share on other sites More sharing options...
bellowbelle Posted November 2, 2013 Share Posted November 2, 2013 Hop And Skip.pdf Okay, this is better. Link to comment Share on other sites More sharing options...
felix castro Posted November 30, 2013 Share Posted November 30, 2013 Hop and Skip revisited. Hello, finally I have recorded a version of the tune with anglo concertina, my Suttner A4 model in C/G. I think that I added something new with this verion ;-) It is played with a accompanyment more similar to a rumba rythm, although rumbas aren't so popular in northern Spain, we have also rumbas, and we played rumbas also with bagpipes. Although in tradicional galician style the rythm played with the drum is the same that played usually in a galician polka or 2/4, nowadays people play them also with this kind of accompanyment. https://www.youtube.com/watch?v=hX2q8lzbfhM A famous rumba tune is the Macarena, by Los del Río, the rumba rythm can be used for mainly all types of 2/4 tunes without changing the melody line. I promise to record a version changing the melody line next time.... Link to comment Share on other sites More sharing options...
Jim Besser Posted November 30, 2013 Author Share Posted November 30, 2013 Hop and Skip revisited. Hello, finally I have recorded a version of the tune with anglo concertina, my Suttner A4 model in C/G. I think that I added something new with this verion ;-) It is played with a accompanyment more similar to a rumba rythm, although rumbas aren't so popular in northern Spain, we have also rumbas, and we played rumbas also with bagpipes. Although in tradicional galician style the rythm played with the drum is the same that played usually in a galician polka or 2/4, nowadays people play them also with this kind of accompanyment. https://www.youtube.com/watch?v=hX2q8lzbfhM A famous rumba tune is the Macarena, by Los del Río, the rumba rythm can be used for mainly all types of 2/4 tunes without changing the melody line. I promise to record a version changing the melody line next time.... Very cool, I like it. Link to comment Share on other sites More sharing options...
cboody Posted December 1, 2013 Share Posted December 1, 2013 Hop and Skip revisited. Hello, finally I have recorded a version of the tune with anglo concertina, my Suttner A4 model in C/G. I think that I added something new with this verion ;-) It is played with a accompanyment more similar to a rumba rythm, although rumbas aren't so popular in northern Spain, we have also rumbas, and we played rumbas also with bagpipes. Although in tradicional galician style the rythm played with the drum is the same that played usually in a galician polka or 2/4, nowadays people play them also with this kind of accompanyment. https://www.youtube.com/watch?v=hX2q8lzbfhM A famous rumba tune is the Macarena, by Los del Río, the rumba rythm can be used for mainly all types of 2/4 tunes without changing the melody line. I promise to record a version changing the melody line next time.... Both this and Haste are nicely done. This is perhaps the only way I might learn to like Hop and Skip. Guess I've a problem there I particularly like the harmonic stuff which isn't over done and doesn't get in the way. I personally hear the concertina as a melody line instrument or a chord backup instrument, and generally don't care for harmonic playing, even when well done. But yours is nice. I also appreciate leaving Haste out there with the "warts" still in place. That encourage me to be more active in contributing here. Link to comment Share on other sites More sharing options...
Robert Fisher Posted December 2, 2013 Share Posted December 2, 2013 Both this and Haste are nicely done. This is perhaps the only way I might learn to like Hop and Skip. Guess I've a problem there I particularly like the harmonic stuff which isn't over done and doesn't get in the way. I personally hear the concertina as a melody line instrument or a chord backup instrument, and generally don't care for harmonic playing, even when well done. But yours is nice. I also appreciate leaving Haste out there with the "warts" still in place. That encourage me to be more active in contributing here. Warts are cool. As is this recording.... and bow ties and fezzes :-) Link to comment Share on other sites More sharing options...
JimLucas Posted December 6, 2013 Share Posted December 6, 2013 Two months late, but we haven't been disallowing "Tune of the Month" entries once the particular month is over. (Good thing, too, considering how few "on time" contributions we've been getting in most months. ) Continuing my "fun" experiments with my low instruments -- though some might consider them bass canards, -- I've recorded the melody of Jody's Hop and Skip on my "G-bass" Lachenal. This isn't the same instrument I used for William and Nancy. That one goes down to the low C of a cello and has a 4-octave range. This one goes even lower -- to the G below, or 2 octaves below the low G of a fiddle or treble English, -- and has a 2½ -octave range (highest note is middle C). I'm playing this 3 octaves below where the tune is "written", and I hope Jody will forgive me for nicknaming this particular rendition "Hippo Skip". Link to comment Share on other sites More sharing options...
felix castro Posted December 7, 2013 Share Posted December 7, 2013 I was surprised with the sound of your concertina, it sounds more like a cello or a bass wind instrument than to a concertina. I consider that the TOTM could be an archive of tunes not only for being recorded that particular month and more for being revisited from time to time and that people can add more recordings in the future, not only in the last ones, I hope to do it when I have enough time to play and record them. I have to record the chotis romanés also with accompanyment, that I finally didn't, but I haven't time for it. Link to comment Share on other sites More sharing options...
Marcus Posted December 7, 2013 Share Posted December 7, 2013 Very late but here's mine http://youtu.be/p5eijze-Y6U Link to comment Share on other sites More sharing options...
JimLucas Posted December 7, 2013 Share Posted December 7, 2013 I was surprised with the sound of your concertina, it sounds more like a cello or a bass wind instrument than to a concertina. Strictly speaking, I suppose a concertina is a "wind instrument", and that one is definitely a "bass". But there were concertinas specially made to sound more like a clarinet or bassoon. They were called "clarionet" and have specially shaped reeds, and (at least sometimes) metal tubes above the lower reeds. Also at least one with similar reeds (made by Wheatstone for Alf Edwards, I believe) to mimic a saxophone. Link to comment Share on other sites More sharing options...
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