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lachenal74693

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Everything posted by lachenal74693

  1. Nice! Later: Daft question about using the index page as a ToC deleted. It only works if the tunes are in the file in alphabetical order...
  2. [1] You picked up my point correctly! I wasn't sure if I was being clear... [2] Heh! One of my 'goto' resources - plenty of two-voice (and two-part) tunes there...
  3. Putting on my pedant's hat I have to ask: do you mean 2-part or 2-voice tunes? I ask because the strategy you outline is exactly what I do with 2-voice tunes, even to the point of converting the bass clef, so I am wondering... As you imply, it's very easy to transpose in EasyABC (and ABCExplorer and ABCMus if I remember correctly).
  4. I think that's right. I think of this sort of thing in terms of a 3-dimensional Cartesian co-ordinate system, but it depends which axes you label X, Y, or Z. One way, rotating about the X and Y axes turns the thing 'upside down' in two ways which are both unplayable. Another way turns the thing 'upside down', also in two different ways - but one of which is (arguably) playable. Personally, I'm a little uneasy about a situation in which 'upside down' and 'back to front' mean the same thing - but I guess that's just me... Thank you for clarifying that point - I thought I had finally lost the plot - it really didn't occur to me that folks might be using different terms to mean the same thing...
  5. I stopped a bloke on the Reddit concertina forum doing exactly this about 12 months ago. He was wondering why all the books were wrong in describing the high notes as being on the right hand end of the instrument, and all the low notes on the left-hand end! He had worked out some way of using his left pinkie for the air button - he must have had double-jointed fingers! Fortunately, I got him when he was only a week into the journey, not two years...
  6. I hold the concertina in the 'conventional' way, and am not planning to change, but I've been here before. If I hold my concertina upside-down, when I pass my hands through the straps, the buttons are covered by the heel/palm of my hands, and my fingers are waving about in inter-galactic space, with no accessible buttons to press. Could some-one please explain what is meant by 'upside-down' in this context. Thank you. __________________________ Note - there are of course, two ways of turning a concertina upside down...
  7. Any chance of seeing a sample input file and the output it generates? There may be one in the github repository, but I'm afraid I missed it. Thanks.
  8. That was one of the two programs which inspired me to develop my own fingering generator(s) starting ~5 years ago. Currently I can add basic fingering tabs (melody only), and ABC note-names to large ABC files. I use hard-wired 'along-the-row' or 'cross-row' mapping of notes to buttons. The program(s) generate tabs for G/D, Bb/F and C/G concertinas and D/G Hohner Pokerwork melodeon. The next step is to optimise the mappings so that the note-button choices are a little more 'player-friendly'. It's very un-cool and old-fashioned because it runs locally rather than remotely, and runs in a simple command-window without an ASAD window-based user-interface, but that's the way I prefer to work.
  9. I have that one too (or one which is very similar). There's also a rendering of that H. S. J. Jackson version in Andy Hornby's Winders of Wyresdale, for those who have a copy of the book. I found two renderings on the Traditional Tune Archive. This one is my preferred option (after a little mucking about by your 'umble servant): X:2 T:Lord Moira %a lightly edited tune from the Traditioal Tune Archive: https://tunearch.org/wiki/TTA %%MIDI program 23 O:Scotland B:Stewart-Robertson - The Athole Collection (1884) Z:AK/Fiddler's Companion M:4/4 L:1/8 Q:1/4=120 R:Slow Strathspey K:Fmaj C |: F<F ~F2 (A<c) ~c2 | ~B>GA>F G>F E<C | F<F ~F2 (A<c) ~c2 |1 d>f (e/f/).g/.e/ ~f2 f>a :|2 d>f e/f/g/e/ (f/g/).a/.g/ (f<a) |] f<fa>f (g>f)e<c | d<d~f>d c>B A<F | f<f a>f g>f e<c | d>f (e/f/).g/.e/ ~f2 (f<a) | b>ga>f g>fd>f | (d/c/).B/.A/ fA B/A/G/F/ G>A | F<F ~F2 B<d ~d2 | c>f (e/f/).g/.e/ ~f2 (f>a) || |: A>Fc>F (d/c/).B/.A/ c>f | A<F c>F G>AB>d | (A>F)c>F (d/c/).B/.A/ c>f | d>f (e/f/).g/.e/ ~f2 (f>a) :| (f<a)(f<a) (e<g) ~c2 | (d>e)f>d c>BA>F | (3.f.g.a (3.f.g.a (3.e.f.g ~c2 | d>f (e/f/).g/.e/ ~f2 f>c | (d<b)(c<a) (B<g)(A<f) | c>BA>F G>FE>C | (3.F.G.A (3.G.A.B (3.A.B.c (3.B.c.d | c>f (a/g/).f/.e/ (g/f/).e/.d/ (c/B/).A/.G/ || The other TTA version is pretty similar except that those triplets in the D music are not staccato... There's a somewhat similar sounding tune called Earl Morris's Farewell to Scotland'in the VMP transcription of Rev. R. Harrison's MS, Temple Sowerby, Cumbria, c.1815. (RH.368).
  10. Basic ABC: X:1 T:MacCrimmon's Lament %a lightly edited tune from the Traditional Tune Archive: T:Cha tìl Mac Crimmnan M:6/8 L:1/8 Q:3/8=40 R:Slow Air or March Q:"Slowly" S:Morison - Highland Airs and Quicksteps, vol. 1 (c. 1882) Z:AK/Fiddler's Companion K:Amin A |: e2 d e2 A | e2 d e<AB | d2 G d2 G | B2 d BAA :| %bar 5 was overfull: I believe that 'A{A}a2' -> '{A}a2' corrects this - RJH |: {A}a2 g a2 A | a2 g aAB | d2 G d2 G | B2 d BAA :| |: {A}eA (3f/e/d/ eA (3f/e/d/ | eA (3f/e/d/ eAB | dG (3e/d/B/ dG (3e/d/B/ | dGB BAz :| |: e2 d/B/ A2 ^f/d/ | e2 d/B/ eAB | B2 e/A/ G2 e/d/ | B2 e/d/ BAz :|] Question for the pipers: Changing the key to Hp only affects the fs in the triplets in bars 9 and 10.* In this case, is it 'OK' to replace Amin with Hp? ________________ *There are no cs, and the f in bar 13 is explicitly sharp
  11. I bought a similarly priced 26-button from Barleycorn about 5 years ago. Excellent!
  12. Yet another new tune for my tune book. Ta! Basic ABC: X:1 T:Strathearn %A lightly edited tune from the Traditional Tune Archive: https://tunearch.org/wiki/TTA O:Scotland B:Stewart-Robertson - The Athole Collection (1884) Z:AK/Fiddler's Companion M:4/4 %was C L:1/8 Q:1/4=120 R:Strathspey K:Gmin |: g | G<G d>c d<f ~g2 | f>c d<f c>B A<F | G<G d>c A>cd>g | f>g a>A G2 G :| A | G<g g>f g<a ~a2 | f>ga>g f>d f<c | d<g ~g>f d>fg>a | f>ga>A G2 G>A | G<g g>f g<a ~g2 | f>ga>g f>d f<c | d<cd<f ~g>f g<a | f>ga>A G2 G || One of three settings in the TTA. I think I got the key right? One of these settings gives the composer as Nathaniel Gow, so I'm a little puzzled. I thought Nathaniel was Neil (Niel) Gow's son?
  13. As dit 'n Anglo is, seker omtrent 1922? Daar is ander hier wat meer ingelig is as ek - hulle sal waarskynlik binnekort saam met 'n beter skatting wees ... If it's an Anglo,probably about 1922. There are others here who are more knowledgeable than me - they will probably be along in a minute with a better estimate...
  14. Another new tune for my personal Tune Book! Thanks! Basic ABC: X:1 T:Brig of Balater, The %A lightly edited tune from the Traditional Tune archive: https://tunearch.org/wiki/TTA O:Scotland B:Stewart-Robertson - The Athole Collection (1884) Z:AK/Fiddler's Companion M:4/4 %was C L:1/8 Q:1/4=120 R:Strathspey K:Cmaj |: E | C>EG>A c>G A<a | g<c g>e d2 d>e | C>EG>A c>G A<a | g<c g>e c2 c :| e/f/ | g<c e>c g<c f>a | g<c g>e d2 de/f/ | g<c e>c g<c f>a | g>ce>d c2 ce/f/ | g<c e>c g<c f>a | g<c g>e d2 d>e | C>EG>A c>G A<a | g<c g>e c2 c ||
  15. I don't use FaceBook myself, so I can't really investigate it properly, but this link popped up in another thread. It might be a way into finding Boermusiek resources? It seems to be in a mixture of Afrikaans and English...
  16. I came up with the impressive total of only two 'South African' tunes (☹️), so if anyone can come up with more, you can point 'em in my direction too! PDF attached - the first one is from Paul Hardy's session tune book. I can't remember where I found the second one (which is, I suspect, African rather than Afrikaans?)... A few minutes later. I knew I'd seen a few tunes somewhere. Volume 2 of Dan Worral's book has a few South African tunes at the very end. PDF download here. There's only 4/5 scores though, and at first sight, they don't look desperately concertina-friendly... SouthAfrica.pdf
  17. Rats! I posted the wrong tune - mea culpa - too early in the morning!! Thanks for pointing out my mistake, and for posting the correct tune - means I get two new tunes for the price of one...😊
  18. Parp! Thread drift... I don't really play it - for me it was a look at a tune for testing some of my home-brew software. I play most tunes 'as written', and as most tunes I play are in 1- or 2-sharps, I have no problems on my main G/D instrument. If I have a tune in (say) 2-flats, I will play it on my Bb/F, or use the Bb/F fingering on the G/D instrument (thus playing it in 1-sharp). Occasionally, if I'm feeling particularly adventurous, I will work out the fingering for (say) a Bb tune on a G/D instrument. I have no preferred approach, and as I say, as most of the tunes I play are in 1- or 2-sharps, it only arises once every Preston Guild...😊
  19. I wouldn't ordinarily direct someone away from c.net to another forum, but there's a quite useful article on acquiring your first concertina on the Reddit forum, here. The OP may find it helpful...
  20. Something wrong with my lugs this morning! Please, what key is that being played in? Ta!
  21. > ...I am using an Anglo C/G Lachenal... In which case, I guess you are playing the c-sharps on the accidental row as well? I only mentioned a G/D because that's my 'main squeeze'...😊. I tried the first few bars the other day, not much progress so far...☹️ It's my very first concertina that's called Lachenal, not me. I am usually referred to as 'that bloody Roger....😊
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