Jump to content

Roger Hare

Members
  • Posts

    1,303
  • Joined

  • Last visited

Everything posted by Roger Hare

  1. It's me!!! I have a low 'panic threshold' I'm afraid, and just get jittery when I see peculiar stuff like this...🙂
  2. I dunno? I looked at the relevant part of the ABC specification at the time, and the description there didn't seem to 'fit' in the sense that in the examples in the documentation, the notes being 'tupled', and the tuplet specification were separated, whereas in the example I found, the notes were intermixed with 'individual' tuplet specifications? It just seemed weird - it still does...🙂 FWIW, I found another even more baroque incantation about an hour ago - I won't bore a long-suffering public with the details of that one. I shall file it away somewhere to ponder over during the long winter nights...🙂
  3. Thanks for that! [1] yes it is from The Session and I found it while 'randomly' sampling tunes using ME's program - I deliberately 'anonymised' the sample as it didn't seem particularly relevant, but I did find a few other examples of this syntax: https://thesession.org/tunes/4732 https://thesession.org/tunes/6885 https://thesession.org/tunes/11494 (2nd setting) Those 3 in The Session, plus one from Joe Offer's Tune Book - for a grand total of 5, so it ain't a major problem - I was just curious as I hadn't seen that particular incantation before... The transcriptions are all from different folks, and ar all very old - maybe there was some software around at the time which did something wonderful with this encoding... [2] Yes, there seem to be many ways of expressing triplets. I have a small collection which I've found here and there, and which I treasure. Me I'm a simple soul - I stick with the basic (3xyz...🙂 Michael, thanks for that test. It behaves as I would expect when I run it past EasyABC. What was puzzling me was the '1' in the 3:2:1 incantation, and (mostly) the application of that incantation to each individual note in the sequence...🙂 Thanks, both...
  4. I just came across a rather strange specification of a triplet. It can be seen in the following code: X:7961 T:Tom Kinsella's M:4/4 L:1/8 Q:1/4=130 R:March K:Gmaj dc|:B>A Bc dG Bd|eG ce d2 g>f|e>f ge dB GE|A2 AB A2 dc| B>A Bc dG Bd|eG ce d2 g>f|(3:2:1e(3:2:1f(3:2:1g d>B cA FD|1 G2 GF G2 dc:|2 G2 GF G2 ef|] |:gd Bd eG ce|d>e dB G3 B|Ad fa ge ^ce|d>^c de/d/ =cA FD| B>A Bc dG Bd|eG ce d2 g>f|(3:2:1e(3:2:1f(3:2:1g d>B cA FD|1 G2 GF G2 ef:|2 G2 GF G4|] The format is (3:2:1x(3:2:1y(3:2:1z and they appear in the score as a 'triplet' with a '3' below each note in the triplet. They seem to sound as a conventional triplet on playback, and I have replaced them with (3xyz with no apparent deleterious effect. I think the '3:2:1' is saying something like: 'play 3 notes in the time of 2 notes for the next 1 note' which doesn't make much sense? Question: Is there something about this 'odd' way of specifying a triplet which I have completely missed? Thanks.
  5. I got a little more 'interested' in this style, so I did a little cleaning up of the tunes in my Tune Book. Here are 5 more tunes (in 'friendly' keys) in ABC format and as a score (PDF). I can't speak for the 'authenticity' of the tunes, but apart from a little cosmetic editing, the ABC code is 'as found' (the original sources are cited in the code). They all sound quite jolly - I think I may give one or two of them a try... ____________________________ Edit a few minutes later: I just cut-and-pasted the ABC code for the whole batch into ME's program and they all worked fine - you can play around with this, even if you are not familiar with ABC. Try changing the tempi (which may be a little slow)... Zweifacher.abc Zweifacher.pdf
  6. [1] My pleasure! [2] Well worth a look... [3] Yup! That's why I accompanied my post with a heads-up about the possible difficulties of coping with changes in rhythm. I just did a quick-and-dirty extraction of Zwiefacher tunes from my tune book - I came up with 10 tunes - all of them had changes in rhythm, and I know that I would find it awkward coping with this...
  7. Another possibility may be the (Bavarian?) 'Zwiefacher' dance tradition? I can't comment on it's popularity or otherwise during WWI, but if you are ABC-savvy, you will find a few examples on Seymour Shlien's web site - look at the International Dance file. There are 5-6 examples of the Zweifacher form there. With an ABC reader/editor such as EasyABC you should be able to generate simple printable scores (PDF). Otherwise, you can find examples of this folk (dance) form on YouTube. I can't comment on the appropriateness of this style of music for the 'tina because I haven't tried it (yet...). One of it's 'features' apparently, is that the tunes tend to have changes in rhythm, so that may affect it's 'suitability'...
  8. I became the second custodian of this instrument in 2015, and use it regularly for Morris. It's a great instrument. It's been serviced once since I acquired it, and is still firing well on all 4 cylinders. I also have a Traveller and it too is first-rate... Marcus are well worth investigating if you are after a 2nd instrument...
  9. Slight thread drift here, but this is one of my perennial hobby horses. I have seen examples of (non-music related) 2nd hand books being offered for over £200 when the book was still available from the original publisher for the original cover price - approx. £20. As Mike Franch says, beware!
  10. Thank you very much! I have roughly a dozen of these 'slow when not danced' annotations in my collection of ABCs, and they've always left me a bit puzzled - wondering whether they are played at the gallop for a dance, and slowly otherwise, which, as an idea, somehow didn't 'feel' right. That clarifies it! (Later edit: I should perhaps say that those annotations are all in Strathspeys by William Marshall, and that I don't know whether they were in the original (printed?) score, or were additions by the original ABC transcriber - that's why I'm in such a quandary...) I'll have a look at that Paul Anderson video later. Thanks again!
  11. Yup! Apart from weeding out all dodgy rhythms and key sigs., I also ditched tunes from Ukraine, Macedonia, etc. from that small selection. 'Twould have been at least twice as large otherwise.
  12. Thanks for that! I'm a great admirer of William Marshall's music. This is played rather slowly, but I've seen instructions on ABC transcriptions 'Slowly unless danced'. Is it acceptable to play it a bit quicker then?
  13. My pleasure! It keeps me off the streets and out of the public houses, as they say. If you are ABC-savvy, you can always transpose some of the weirder key sigs. into concertina-friendly keys..... Further down the road, I'll be interested to hear how you get on when you actually try this stuff out on an audience of Serbs. I haven't actually tried any of them myself...🙂
  14. I have little or no expertise/knowledge of Eastern European music, but here's a selection of tunes from my 'master tune book' which appear to have some claim to being 'Serbian'. I'll make no comment other than that to me, the origin attributions of some of these tunes sometimes seems a little dubious? I've removed tunes in seriously weird keys and meters, and left in the source attributions so that you stand at least a chance of tracking down the originals if you are so inclined, because (warning!) I have edited all of these a little... I've attached all the tunes as an ABC file, plus one tune as a PDF so you can see what it looks like. If you are not familiar with ABC, I will post a PDF of the complete selection. If you want simple tablature, I will post a PDF with (ABT) tabs. MirkovoKolo.pdf serbia.abc
  15. Thanks one and all! Now I can see/hear the ABC for the two tunes, the difference is clear! I tend to listen to these video/audio clips first thing in the morning, before I've 'got my ear in' and sometimes find it difficult to spot the difference(s). Bad habit... Two great tunes though...
  16. That's very instructive - I think I had started to 'see through a glass darkly', and slowly begun to realise this. Thank you for 'confirming' (or at least re-inforcing) my dawning realisation. Is it also the case that doing it this way can make for clearer printed scores (which is probably a pretty subjective thing...)?
  17. Any ABC code for this one? I looked for both the full and abbreviated title, and neither the Traditional Tune Archive or the Session delivered the goods. Is it the same as 'The Duke Of Fife's Welcome To Deeside' (which sounds a bit similar to my tin ear?)... Ta...
  18. Brilliant! I've recently been wading through some old ABC transcriptions of music from Galicia and (mostly) Asturias, with a view to trying some of the (very!) simple tunes out on the concertina. This gives me a great feel for how it should sound. Thank you!
  19. As far as the 20- vs. 30- button Anglo discussion is concerned, it might be worthwhile considering an 'in-between' Anglo with 24/26 buttons? Almost as versatile as a 30-button? Possibly cheaper than a 30-button, if you are considering a 'vintage' instrument? Probably more difficult to track down a particular key configuration (G/D. C/G, etc.)?
  20. I think SG means something like this: The top example uses inline '^' to indicate pull, the bottom example uses an 'overbar' to indicate pull.(the button numbering is not the same as GC's, the illustration is just to provide an example of what I think SG means...). I'm sorry about the poor quality of the image (I think!). I'm currently transitioning between spectacles and am having severe problems seeing anything in focus...
  21. I operate at a much lower point down the food chain than either of the posters (so far), but I agree. My 'Master' ABC tune book contains many transcriptions by other people, and I always try and include an acknowledgement in my (usually slightly) edited version of their transcription(s). This can be as simple as a reference by name, or a reference to a web page, or even a recommendation to 'buy the book' (free advertising - it can't get better than that!). Sometimes the transcription is so old and beat-up that there is no recognisable/usable 'identification'. Anything I post publicly will also have any tune which includes the word 'copyright' or a copyright symbol filtered out. What I don't do is post other folks' email addresses - I edit them out of everything I do... I don't always include the acknowledgement in the score - scores are busy enough already, but I admit being a little uneasy about that particular point...
  22. Looks like an Anglo? Looks like he's holding it 'wrong'. Surely this will invalidate his policy in the event of a claim?...🙂
  23. Fine. I haven't seen that one, but I used Mick Bramich's other two books when I started. For me, they were the simplest and most accessible of the tutors I looked at before starting to learn the instrument. The reason for my asking the question in the first place was that you seem to be struggling a little with 'theory'? If that is the case, it might be worth your while considering getting a copy of In-Between Anglo. This includes a clear description of the Anglo, and a gentle introduction to music theory which I found very useful. (This may be included in 'The Irish Concertina' but remember, I haven't seen a copy of this one)... ___________ Later: Oh, I just saw that the other two books are no longer available as hard-copy - PDF download only. Shouldn't be a problem if you decide to invest in a copy of In-Between Anglo...
  24. May I ask for details of that book? I don't recall having seen that one before. Five minutes later: Oh! I think it may be Mick Bramich's book? Is that correct? Thanks.
  25. Personally, I think that (for some of us) that's a highly relevant observation. The text in 'Civil War Concertina' reads "Notes on the pull are shown by a button number with a line across the top". I presume the text is the same in other GC books? In the illustration in the OP this is true for notes on the right hand - look at buttons 2 and 3 - some have a line over the top of the note (pull), some don't (push). For the left-hand, pull notes are shown with a line on the far side of the staff. This is not 'across the top', it is 'the other side of the staff'. This is not as described in the text. This is confusing.
×
×
  • Create New...