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Posts posted by Patrick Scannell
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And what's happening in measures 4 and 12 (or the latter halves of 2 and 6, depending on whether you hear it in 2 or in 4) of the B section?
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?
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I've set aside some time this weekend to do this, and now I've done it.
Very nice! Some inspirational stuff for me there.
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Thank you Jim Besser.
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You may not know which named notes your fingers are on at the moment, but I'll bet you know the pattern of intervals under your fingers. Whether that subset of the buttons is for the key of C, D, or G, you can feel where to go for the next button. No?
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?
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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.
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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.
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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.
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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.
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Here is a vanilla version played on an Elise.
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That was delightful. Thanks. Looking forward to your new projects.
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But OK for a first go.
Absolutely delightful. Thank you both.
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I guess it might be more fun when you wouldn't have to be all too anxious about not losing aural contact with what you're doing...
Fair enough.
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Am I alone?
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?
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Here's my contribution of The Wren.
Very nice.
Here's mine on a Beaumont, recorded with a Zoom H2n. Critiques always welcome.
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Patrick, pay close attention between index 10 and 13 seconds.
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To answer your question, what I'm talking about can be referred to by several names: tonicization of the V (five) chord, V of V (five of five), secondary dominant. They all mean the same thing (although some are more general than others).
Thanks for the clear and patient explaination. I think I've got it.
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What instrument are you playing?
A Beaumont. Sorry.
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Any suggestions ? Anybody?
Those having trouble could use something like Tor to fake a different location...
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And what happens, harmonically, in bars 7 and 8? Don't all answer at once...
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.
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Hope some of you find it useful.
I did. Printed it out, cut it, pinned it together. Works a treat. Thanks!
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Couldn't resist, one more waltz: Peter Jung's
LarryUnger'sFar Away.Thanks to Dave Barnert for pointing out my citation error.
Attribution aside, your Far Away was lovely. Thanks.
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Here it is on a Beaumont.
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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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Patrick, I changed my photo, look for me when you come. I like meeting members of CNET
I look forward to it. I'll see you there.
Solo Concertina Vs Member Of The Band
in Teaching and Learning
Posted
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.