Hi! Gilbert, from France ( http://pagesperso-orange.fr/gilbertcarr/topic/index.html ) searching a 67 button Lachenal Edeophone McCann Duet, concert pitch[size="3"][/size], metal or wooden ended... [font="Arial"][/font][color="#8B0000"]

Thank you very much for the link to arrangements.

Here is a nice one I have available

http://hmi.homewood.net/customduet

That side fretwork is just beautiful.

Nice tunes and arrangements - thanks! I'm working through your "Domino" having to adjust for my 46-key duet range. Nice stuff. It would be great if there were a site depository of scores for duet concertinas (or links to such?). They're hard to find. I only have David Cornell's books and exercises.

-- Rich --

Thanks for your message! I agree with you as concerns pages where we could find arrangements fot duet concertina. I could add a page on my site, or create a new site espacially for duet scores. I keep in touch. I have David's arrangements too. Scores could all be in different versions: 46-58-67 buttons aud more... so keep your 46b version of "Domino"!

Thanks! but I already own an Aeola McCann Duet, and that's why I would like to have a 12 sided Edeophone instrument.

Rich, have you tried bandoneon forums?
Also, if you sign up for some storage site, like Box.net or like, you can keep the scores there, without having to maintain your own or somebody else's website.
Then you can just post links to scores right here, on separate thread.

No - as I thought they're mainly into tangos. While I like them there's a lot of other stuff I'd rather be working on. I just Googled around a bit and can't seem to find anything beyond tangos for bandoneons.


I've got server space so don't have any problem storing stuff (mine or anyone else's), and I usually link to it (like when I post photos here). I'm very remiss about writing out stuff I create - wanting to learn *more* rather than to get mine "down". Getting ideas of how others play duet can be quite insightful. A lot more so that scores for piano. I have had some good finds with some classical works (organ pieces and recorder ensembles) which need some adjusting for duet concertina but basically have good "voices".

-- Rich --

Rich.
I'm a member of one of the Bandoneon forum and usually you ask people about some scores, then you'll recieve them.
There have been lots of enquires about classical works, modern compositions besides Tango. Usually if you ask, there is someone who either has it or knows where to get.
Tango is the mainstream, granted, but there's lots of other music, that is played on Bandoneons, esp. in established music schools in Germany.
I'd try. The benefits are in quallity of arrangements, sinse they are done by professional composers specifically for Bandoneon. There might be slight problems due to difference in voicing between Bandoneon and your Hayden, but I have a feeling you'll have much less trouble playing those scores I saw, than Bandoneoninstas.

So go on then, where?

gcarr,

One of this forum's members had an Edeo duet for sale last month.

Did Robin sell his 68b Edeo MacCaan duet?

Listed here: http://www.concertina.net/forums/index.php?showtopic=7629

(3rd page of Buy and Sell)

Good luck!

Greg

bandoneon@yahoogroups.com

I gave the tunes a quick try and found that they are not really "arranged" for English, it seems to me like single line melody and accompaniment only put together on one stave.
Some of the arrangements are hardly playable on the EC, if at all, without dropping some notes, and there are some harmonies, that don't particularly work on concertina. May be it's that equal termper at work. I think the tunes will work best on the accordion or Duet.

I think you're right, as soon as my instrument is the DUET. I used to play english but it's a long time ago, and I perhaps forgot the right way to arrange tunes for it!

Here's one for start

http://www.box.net/shared/pji8cp49w4

Trust you to pick something in 3 parts. Is there an index you found that in, or did you have to work to dig it up? I couldn't come up with anything at all when I had a scrabble arround.

Well.
I asked if somebody has classical pieces for Bandoneon, for vaguely "beginner to Intermediate" and someone responded with a bunch of PDFs.
I'm doing it one at a time.
If you like it - learn it.
Then we can dig out another.
Ask around.
Now, why did you mention "three parts"? I think in Classical music it doesn't matter, how many parts.
Folk is another story, three parts are usually nicer, longer, have more diversity, more fun to play.
But I'm not interested in Folk music on EC, my Hohner Pokerwork can play cicrles around it.

Actually, I think the arrangements are quite nice! Michael might be being a little melodramatic to say that some are unplayable without leaving out notes - in my cursory reading of them I didn't notice anything too terrible, if you use some creative fingerings. It's true that they maybe aren't completely idiomatic for the English, but they work quite nicely none-the-less, and it's so nice to get new arrangements for the English!

Merci beaucoup!

Well, good to know somebody can take on them on the English.
I'd by very interested to hear the rendition and get advice on the fingerings.
I tried a few, and noticed they use oom-pa, woven into the one stave. Not the end of the world, but making it a bit more difficult to play on the EC without giving that extra touch. Duet, on the other hand, is well suitable for such technique. Playing Oompa with melody on the English is entirely possible, but not very expressive, it's not English' forte, so to speak. Funny that I say it, because I'm working on guitar score for "Mar Janja", and that's what it is: Oom-pa, ba-ram-pa, Oom-pa, bar-ram-pa, Hop-la-h, La-la-ah.

Well, like I said, they aren't totally idiomatic for the instrument, and I agree, one of the interesting things about English is the way you have to get creative with harmony. That being said, "oompa" is another tool to have as a player, so I like to practice it. I have found that it's pretty much impossible to do a good job oompa-ing unless you make extensive use of the fourth finger, or are using rather sparse chords. Do you use your pinky when you play? If you don't, I can see how some of the voicings would be tough.

When I first tried English, I immediately recognized the anachronism of finger rests.
Now I think they are not such an anachronism after all, but I am used to using 4 fingers now.
Still, some of he voicings are tough. Mainly because I don't see the point of struggling for so little gain.
The tunes are easily playable with a two/half row melodeon, with a nice French touch to them (or so I think).

For me music written in parts has to be played as parts so you need to be very careful to hold 'held notes' for their full value so that that particular line is not compromised; also contrapuntal music usually resolutely refuses to settle into block chords so there is always lots of movement-against-long-note action going on. Then add a third part and I am guaranteed (because I only have two hands) that I will be playing a lot of the time with one finger banged resolutely down on one place while the other three try manfully to assemble a second theme around it; it's hard work and needs a lot of pre-planning so that it can be done halfway convincingly. Well that's the duet take; maybe it's so higgledy-piggledy on an English anyway that it doesn't make much odds!

Oh, I see what you mean. I thought "parts" meaning "part A", then "part B", then "part A twice" etc. type of parts.
You mean "lines", or may be it's properly called "parts". A violin part, a bass part, a guitar part.
On the English I don't feel that it's higgly-piggly. I see parts clearly. Not that I can play them clearly, but there is no confusion. Contrary, parts fuse and visually are represented more correctly as clumps of music. So you kind of "sculpt" your playing.
On duet or Bandoneon they are separated and are easier to see and to play, so some tough passage on EC is rather simple on Duet (simple to see and understand, but not necessarily to play). I don't think that adapted music must be adhered to very strictly. Bandoneons have good solid bass, and concertinas tend to "moo", so that "mooing" should be kept short, though transcribed long.
You may look at the music I posted as written in two parts. Each may look like single line, or as harmony. Accepting your logic, four part harmony in each hand is music written in 8 parts? I doubt you can find music written specifially for your level in the manner that suits you personally. You have to adjust.
At least you have those low notes and I don't.
Boy, you're picky.
I say, start playing and stop complaining (if you complaining that is).

There you go, the whole page of duet music, i two parts.
http://www.abdn.ac.uk/scottskinner/audio.php

Do you mind if I ask in which pieces you find the spots that are especially difficult to finger? I may have glossed over them in my cursory reading.