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Patrick Scannell

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Everything posted by Patrick Scannell

  1. Inspired by Jody's current thread but from a different angle, could experienced players give advice to a newbie on contributing to a band with a concertina. When practicing contradance tunes, I usually play an um-pa (1st-3rd&5th) chordal left hand to fill out the sound. But in a group that seems messy. A sharp block chord chop, perhaps on the up beat seems better. Does that seem right? Any other tips on how to make everyone happy that a concertina joined the group? I'm struggling, so I'd like to be practicing the same way I'm going to perform.
  2. Well, in 4 and 12 there is a run from the 2nd down to the preceding 5th followed by a jump up to the 4th. The latter half of 2 also starts on a 2nd and ends on a 4th, but that does not echo in 6... I seem to be missing whatever you are trying to help me see. Enlightenment please?
  3. Very nice! Some inspirational stuff for me there.
  4. Yes, exactly. So, is it better to control every detail of the imagined experience (pick a key and know exactly which buttons are pressed on a specific instrument), or is it ok to imagine an idealized Hayden layout, and just play the patterns?
  5. I know where the notes are, but I play Hayden by ear, so most of the time while playing, I don't know where my fingers are. I can slow down, pay attention, figure that out and then imagine it. It does take some effort.
  6. It's a bit odd, visualizing the button field of a concertina that can't be seen when actually playing, but I'll give it a try. Thanks for all the comments.
  7. In a recent thread, Tradewinds Ted linked to an interesting blog about the brain and learning. I'm particularly curious about "Episode 7. Visualization" http://clawhammerbanjo.net/laws-of-brainjo-visualization/ I don't do this, don't really get it, and wonder what I'm missing. If you practice using this technique, could you explain what you do and how it helps? Do you move your fingers, like air concertina, or is it all mental? Does this practice help you play when you can't hear yourself? Thanks.
  8. Size matters. I"m on limited data Internet connection (best available at my location). I always listen to the SoundCloud or DropBox mp3 files, but unless I take the trouble to go to the library, I never hear most of the YouTubes. They are too big.
  9. That was delightful. Thanks. Looking forward to your new projects.
  10. Nope. I've heard numerous musicians say that they can play without hearing themselves, and it is normal for some. But it is beyond me. Perhaps the skill could be developed with practice, but why? When playing for fun, is it still fun when you can't hear yourself in the mix?
  11. Very nice. Here's mine on a Beaumont, recorded with a Zoom H2n. Critiques always welcome.
  12. OK, I listened, and then cheated and peeked at the score. We have a /D A/ D/, which gives us a I - V - I cadence in the key of the dominant to end the first 8 bars. Then a 2 note pick-up to bring us back to G to carry on. Close?
  13. Thanks for the clear and patient explaination. I think I've got it.
  14. Those having trouble could use something like Tor to fake a different location...
  15. I'll bite. What happens? Here is my attempt. The month was too short. I look forward to the time when I can do more then desperately try not to mess up too much. My great grandfather played ivory clarinet in Sousa's band, and would have played this when it was a hot new number. Great tune.
  16. I did. Printed it out, cut it, pinned it together. Works a treat. Thanks!
  17. Attribution aside, your Far Away was lovely. Thanks.
  18. The missing button that I reach for most often is the rh low b on my Beaumont. I like to keep all the melody on the right hand while playing toward the low end of its range. I also moved from the Elise to the Beaumont without any feeling of having too many buttons. Bbs, and Ebs see plenty of use. After the low 'b', a low 'a' and a low 'g' would probably get lots of use.
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