62 replies to this topic

[ritonmousquetaire]

Tona > Thanks a lot! It sounds great! There aren't many players who try to tackle the musette genre on the concertina.

 

ceemonster > Yes of course, there's the technical aspect as well. That's also what makes Jody's arrangement interesting.

 

 

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.

I agree.

[Jody Kruskal]

[[[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.

 

ceemonster >  As you notice, I've been asking for advice from anyone who wants to give it and your plan for minimal accompaniment sounds great. Would you demonstrate so we can hear it?

Edited by Jody Kruskal, 13 January 2018 - 08:50 PM.

[Jody Kruskal]

Oops, ceemonster I just re-read your post and I see your point that EC is better suited to playing with accompaniment coming from other instruments. Perhaps so, but that's not what this project is all about. Rather, it's trying to stretch the possible with regards to self-accompaniment on the EC... a particular interest of mine with regards to the Anglo and really all concertinas including EC.

 

There are folks who can play solo this way and I think it sounds great on EC though it does take great skill and creative arrangements, UmPa is not required as there are other strategies available. Certainly Danny Chapman can do it on EC  it as can Dick LeVine and Randy Stein, Jan Elliott, Mark Gilston, Rachel Hall and many others I'm sure. You can hear many of them here... http://jodykruskal.c...r_profiles.html

Edited by Jody Kruskal, 14 January 2018 - 01:30 AM.

[ceemonster]

Tona, what wonderful examples.  Aside from your lovely playing, the tone of your duet (ish), has to be the biggest, richest accordion-reeded concertina tone I've heard, but for baritones.  [[Ruminating on that, one wonders it if the bigger dimensions of your instrument enable dimensions for reeds/pans/chambers to be cut or sized such as to afford a fuller sound.  I've always loved the mids/lows on accordion-reeded concertinas, but hated the highs.  On yours, the highs sound great.]]]

 

Yes, the duet is a natural for the musette genre.  It also sounds great on both Anglo and EC, but the rhythmic dance bass won't be there to the degree of a duet or an accordion. Not saying much can't be done with the bass on Anglo or EC, but it's not the same.

 

If I remember correctly, the wonderful EC CD by Sarah Graves titled "Black Boxes," has some nifty examples of the kind of creative EC arranging you are undertaking in this thread, btw.

Edited by ceemonster, 14 January 2018 - 04:55 AM.

[tona]

Thanks ceemonster. But I am not sure to understand what you mean by accordion reeded... My concertina has handmade Dipper concertina reeds as all concertinas (regardless the type of concertina) built by Dipper...

[Wolf Molkentin]

Thomas, I also much enjoyed these musette waltzes recording!

Best wishes - Wolf

Edited by Wolf Molkentin, 14 January 2018 - 07:36 AM.

[ceemonster]

Ha, sorry, Tona, I thought I read somewhere about your legendary instrument that it had accordion reeds.  Well, that answers my question, I guess.    It, and your musette and other renditions, sound great.

[Paul_Hardy]

We were discussing this arrangement at Chiltinas yesterday.

Jody, could you post an ABC or MusicXML version? I'd like to get the computer to play it to me while I try, and I'd also like to try it in Em rather than Dm.

[David Barnert]

Jody, could you post an ABC or MusicXML version? I'd like to get the computer to play it to me while I try, and I'd also like to try it in Em rather than Dm.

 

Here’s my abc of it from a few weeks ago. The only difference I can see between it and Jody’s final version is the length of the bass notes in the 1st ending. To make them half notes, I would have to add another voice, which I’m too lazy to do right now.

X:1
T:Waltz #2 (in Dm.3)
T:arr Jody Kruskal + crowdsourcing via concertina.net
C:Dmitry Shostakovich
M:3/4
L:1/4
%%score (1 2)
V:1 stem=up
V:2 stem=down
K:Dm
V:1
x.[FA][FA]|x.[FA][FA]|x.[FA][FA]|x.[FA][FA]|:a3|f2e|d3-|dde|
V:2
Dxx|A,xx|Dxx|A,xx|:D.[FA][FA]|A,.[FA][FA]|D.[FA][FA]|A,.[FA][FA]|
V:1
fdf|a2b|a3|g3|g3|e2d|^c3-|cA^c|
V:2
D.[FA][FA]|A,.[FA][FA]|E.[Bd][Bd]|A,.[A^c][A^c]|E.[Bd][Bd]|A,.[GB][GB]|E[GA][GA]|A,[EG][EG]|
V:1
e^ce|gab|_a3|=a3|[a3f'3]|[g2e'2]d'|[e2c'2]b|
V:2
^C.[EG][EG]|A,.[EG][EG]|D.[Fd][Fd]|A,.[Fd][Fd]|D.[Af][Af]|A,.[Af][Af]|G,.[Gd][Gd]|
V:1
[d3g3]|[g3e'3]|[f2d'2]c'|[f3c'3]-|[f/c'/]z/F[EG]|.[FA]A/G/ A/B/|.[EG]G/F/ G/A/|.[DF]z[FA]|
V:2
G,A,B,|C.[GB][GB]|C.[GB][Ge]|F.[Ac][Ac]|F/x/x2|.A,x2|.B,x2|.A,x2|
V:1
x[DF][EG]|.[FA]A/G/ A/B/|.[EG]G/F/ G/A/|.[DF]z.[FA]|x[Fd][Ge]|.[Af]f/e/ f/g/|.[e^c]e/d/ e/f/|
V:2
B,2x|.A,x2|.B,x2|.A,x2|B,2x|.A,x2|.A,x2|
V:1
[1d3-|d3-|d3-|d3:|[2.dz.a|.d'z2|]
V:2
[1D.[FA][FA]|A,.[FA][FA]|D.[FA][FA]|A,.[FA][FA]:|2.Dx.[A^ceg]|.[DAdf]x2|]
W:
W:         Copyright © 2017 Jody Kruskal