My questions are these: Just how much 'folk-processing' can I get away with when learning new
tunes on the concertina (and soon, on the melodeon)? Can I transpose 'on the fly' like this and get
away with it? Will my name be mud amongst real concertina and melodeon players when they
discover my awful secret?
Hi Lach - I can speak only for myself, but my view is that it's fine to do what works for you. Especially on an Anglo, with its inherent limitations (and 2 row melodeon, as well), there's no 'right' way to play most of these tunes. Vedder Michel is a great example - there are so many ways to play it. Do what sounds right for you.
This has to be qualified, of course, if you're playing for dancers, in which case your job is to make the tune work for them. And I have more qualms about playing around with modern written tunes, although in cases when I've talked to the composers they've been OK with people doing different versions (see the discussion in the Halsway Schottisch TOTM thread).
On a C/G Anglo, my preference is to play Veder Michel in C, but I tried it in D, G and F, and each had its merits (well, to be honest, the merits were hard to detect in F - very awkward fingering). I tried it at a fast contra dance pace, as a march and the way I'd play it for Morris dancers - slow and chunky. Ultimately, I decided I liked the English Turk's March version better.
In other words: there is no right way. Do what's pleasing to you.
One more thing: crossposting to mel.net is great. I'd love to see more interaction between the two TOTM forums, since we have a lot in common. And Melnet's TOTM is the model for the forum on c.net.
Edited by Jim Besser, 25 June 2015 - 01:04 PM.