So far, so good!
[occasional odours annoy, that all / Horrendous noise pollution (NP) during writing this (and during an assimilation experiment/exercise that I describe later – wow, crazy stuff!) was merely taxing my concentration on the assimilation exercise, i.e. even with my windows wide open, but fortunately couldn’t abate my concertina sound since whatever was causing the ‘exacerbated’ NP appears to have remained off for a 2nd day - cool. / Perhaps like moving from Alcatraz to a luxury prison, one might say! ]
okay, I wondered earlier how it might be to perhaps do "Memories of You" with a model 16 B-T, which goes down to F2 (1 extra tone lower than a standard), i.e. same layout as mines, but with tones shifted up by one row horizontally thereby introducing additional bass notes.
now, Judgement calls!
A model 16 B-T’s low F - as occurs at several points in the score - needn't be raised generally or in its sharpened instances at the 2nd bar in the chorus.
Raising an F (or F#) on this particular score is however going to be just as relevant for the 16B-T as explained later. This stumbles on the fact that, in the score, the 16B-T has to raise very prevalent E2s,D2s,C2s as per the T-T anyway.
I now argue why I will most certainly not be transferring this song onto B-T should I ever acquire one.
In fact I fear that a 16B-T will suit very few songs in my 1930s repertoire (excepting Roberton) when compared to my T-T. So looks like I’m going to be a happy man – instrument wise. I’m sure the 16B-T will however be necessitated on occasion. I’ll let the forum know when and with what.
To comprehend the transcriber (to “Moy”) being imaginably a Concertinist: you first have to imagine an ECist not an ACist; you then have to refine this to T-T ECist not a B-T ECist. Let me explain:-
If you had the 16B-T (i.e. with range down to F2), you’d have to raise the majority of F2s & F#2s anyway because:
1) the first 3 bars of the 3 chorus phrases ascend from the root bass key in the 1st bar, i.e. they do not drop at the 2nd... Otherwise e.g. "Wak-ing Skies, At sunrise, Ev’ry sunset,.." will become foreboding mid-way when going down rather than up: certainly not a Eubie intention. Had Razaf swapped Sunset for sunrise, then maybe Blake would have thought otherwise.
2) likewise, the last phrase of the verses at e.g. “All around me - you still remain, - Wonder why fate - should be so un –kind
:___” where a drop in tone would reinforce the pessimism at this point since the start of the phrase is outside the B-T’s range and would therefore have to start the phrasing on a high note. That said, perhaps that last line (lyrically) can do with a pessimist’s touch! Count me out!
This likewise applies to a large extent
with G2 as well.
As explained earlier in the discussion, it’s hardly any trouble on the T-T to raise the G, ergo at that only necessarily slight adjustment (practically unnoticeable) at the word ‘Spite’.
However, one advantage of the ‘B-T ECist’ over the ‘T-T ECist’ is in fact merely for a split nano second when a naturalised A2 must be struck staccato just before launching into the aforementioned last phrase of the verse as quoted at 2) above. I admit having [ps: previously
] felt an ever so slight injustice by raising this flash staccato A2.
In fact, with second thoughts, there’s absolutely nothing to confess about:
This flash A2 should actually be raised to acknowledge the drop down to launch the above key phrase (again at) “All around me you – you still remain,...” as repeated at “And your spell keeps – holding me fast,...”
On Piano it’s not an issue of course!
$64k Question: - Is therefore losing the 'Raise-F' (RAZ-AF, hee hee) such an advantage?
Before analysing the ‘Mem-o Ries-of’ bar, which can be played without a ‘raised F’ without detriment to the overall phrase; and ultimately before I get back into my usual practise, although I think I’ll begin that normally tomorrow i.e. due to the taxation on my mind caused by this explanation and the pointless noises [musical works] coming from certain idle site staff across the road, [nevermind, you’ve already heard of a previously horrendous and absurd example]:
Here's what I explored this morning,
I pretended that I had a model 16 B-T and therefore played key phrases by shifting up onto the next row of keys horizontally.
This meant playing an imaginary Bb2 in its proper [not modified] location and engaging an imaginary G2 occasionally when necessary.
It wasn’t a problem on the intro bar as varied in the chorus, notwithstanding that I’ve advised against dropping down to such notes here unless using Piano as this is definitely a T-T rather than B-T song!
As an aside, much greater simulation [to the T-T] would be achievable by retaining a Bb2 in the exact same location as explained later. Notwithstanding of course that this is n/a on this particular song.
Other songs might well invoke the need for lower notes than my T-T can offer – I cannot comment at this stage. I will however describe the technicality (as follows in square brackets) before concluding on my findings in respect of trialling the aforementioned imaginary layout i.e. of a model 16 B-T overlayed upon a T-T, upon the ‘Mem-o Ries-of’ bar.
[Having the Bb2 in the modified position (in a mod16 B-T) would mean replacing the G#2 rather than a D#3 as with my T-T meaning there’d then be a duplicate Bb2 on both of the lowest extreme corners of the LHS – now that wouldn’t be the end of the world, would it, albeit it might be impractical technically for makers ? It would mean losing a duplicate Ab2(G#2) in the same way that an Eb3 duplicate (D#2) is lost on the T-T, which is a slightly bigger worry given that in major keys a G# is much more prevalent than a G# - that said an Ab is not necessary anywhere on “MoY” (in the key of Eb) notwithstanding the aforementioned momentary naturalised A. If all you had to do was swap the reeds to suit the song, like a guitarist changing tunings, then you could have the best of both worlds, albeit that’d depend on being doable from makers or concertina craftsmen ]
Okay, so what about the ‘Mem-o Ries-of’ bar, then, which entails playing an actual imaginary F2 rather than where it would be as a Raised F?
No problem, it merely entails one finger swap during a note, unless (again as above) the G#2 button position was modified with a Bb2, which would naturally give me greater familiarity and choice. Again, An Ab (G#2) is not asked for in the score – so it wouldn’t be detrimental to have a duplicate Bb2. The benefit in having a duplicate Bb2 - exactly where I have one already on the T-T - would simply be to offer greater choice although not as crucial to do this as it is with the T-T.
Apologies if my editing [on what is a tough subject] has strayed into any incoherence!
I’ll cast an eye and edit over it if and where necessary over time, if I get any sorry!
Edited by kevin toner, 05 June 2012 - 07:59 AM.