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Jim2010

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    Je Voyage Tout Partout

    in Tunes /Songs

    Posted

    6/8                      3/4

    I   like to  be in A | me ri   ca

    1  2     3   4   5   6   1    2    3

    O kay by me in A | me ri   ca

     

    Think of the 1/8 notes as grouped like this. In the example, there are no 1/8 notes in the 3/4, so I just wrote 1 2 3

    I could have written 1 3 5, meaning the notes start on the 1st, 3rd, and 5th 1/8 notes in the measure.

     

    6/8            3/4

                                   

    123 456 |  12 34 56

                      1    2   3

                      1    3   5

    • Thanks 1

    Je Voyage Tout Partout

    in Tunes /Songs

    Posted

    I'm not sure why I didn't think of this earlier. Another example of two time signatures being "equal" mathematically but very different musically is the case of 3/4 and 6/8. Each measure has a duration of six eights notes, but those eight-note-durations are grouped differently. In 3/4 there are 3 beats (each consisting of 2 eight notes), and in 6/8 there are two beats (each consisting of 3 eight notes). A good way to hear the very obvious difference is by listening to the song "America" from the musical West Side Story, where measures of 3/4 and 6/8 alternate. This alternating of 3/4 and 6/8 is sometimes called guajiras rhythm.

    Here is a youtube link. The guajiras rhythm starts at about one minute in.

     

     

    Je Voyage Tout Partout

    in Tunes /Songs

    Posted

    4 hours ago, resistor said:


    Probably due to being very mathematically minded, I didn’t find that explanation very helpful. Essentially all of the demonstrations I’ve seen seem to boil down to “they sound different if I say 1-2-3-4 over one of them, and 1-2-1-2 over the other”. 
     

    I’d dearly love someone to demonstrate a melody played in both time signatures without overlaying a count, so I could actually hear the difference.

    I just listened to the youtube video again and I think the first six minutes address your question directly.

     

    Mathematically, 4/4 and 2/2 both consist of the duration of a whole note or two half notes or four quarter notes or some other combinations. But there is a subtle difference between emphasizing four beats in a measure vs emphasizing two. If you march around the room counting/emphasizing 1-2-3-4, 1-2-3-4 over and over, you will get one feeling. If you keep marching but only count/emphasize 1---3--, 1---3-- over and over (leaving out the 2 and the 4) you will feel something different. Marching 1-2-3-4, bam, bam, bam, bam over and over gives a feeling of "straight ahead," "directed," "purposeful."  Marching 1---3--, 1---3-- over and over gives a lighter, "swaying side-to-side feeling."

     

     

    • Like 1

    Morse Albion baritone vs Morse Geordie baritone

    in General Concertina Discussion

    Posted

    1 hour ago, bellowbelle said:

    There's no air button on the Morse Albion Treble concertina.  The Geordie baritone DOES have one.  That doesn't make a difference to everyone, and the Albion is of course a little lighter in weight which can be nice.  So, with the Albion, to close the bellows again if you end a tune with them open, you'd have to play a sound/make noise. 

     

    I really like them both, though I favor the Geordie since I seem to have a little damage to my Albion -- needs a repair. 

     

    Thank you bellowbelle.

    Morse Albion baritone vs Morse Geordie baritone

    in General Concertina Discussion

    Posted

    I will have an opportunity to play both the 37-note Albion and 45-note Geordie Baritones this weekend. If any baritone players (any maker) are reading this discussion, would you give me your opinion on the relative importance of the 8 additional high notes on the Geordie. If the instruments both sound good to me, I likely will prefer the smaller, lighter one. But I wouldn't want to sacrifice too much musical potential by "losing" the eight additional notes. The highest note on the Albion is d'' and the highest note on the Geordie is a''. The lowest notes are the same. Thank you for any opinions.

    Morse Albion baritone vs Morse Geordie baritone

    in General Concertina Discussion

    Posted

    On 11/8/2021 at 8:46 AM, Tiposx said:

    My Geordie Baritone is a young one - I bought it new in Feb 2021. My only mild criticism is the slightly stiff bellows. I will eventually get around to making a more flexible set of 7 folds, which I understand was an option. It doesn’t “need” them, but it would be nice.

    I should mention though that one of my gifted concertina playing friends can make it work really well - chords, sustained bass notes etc and he thinks the standard bellows are fine.

    Thank you for that information.

    Morse Albion baritone vs Morse Geordie baritone

    in General Concertina Discussion

    Posted

    35 minutes ago, Geoff Wooff said:

    It  was  I  who  suggested  the  smaller of  these two  Morse  Baritones  did  not  have  enough lung  capacity.  I  had  the oportunity  of a test  run  at  a music  shop  in the  UK  but  they  only  had  the  one, the Albion  I  assume.  

     

    Perhaps  if  playing  single  note  melodies  it  might  be  ok  but  for  any  chord work  I'd  be    looking for  more  bellows folds....  

    Thank you, Geoff. I will be keeping that in mind.

    Morse Albion baritone vs Morse Geordie baritone

    in General Concertina Discussion

    Posted

    I have been reading as many concertina.net comments as I could find about these two instruments. Most comments are favorable and, with a couple of one exceptions, the only distinctions between the two seem to be physical dimensions (Geordie is 8oz heavier and 3/4 inch bigger than the Albion) and the number of notes (Geordie had 8 additional higher sounding notes). One person thought that the smaller sized of the Albion limited its capacity for playing the lowest sounding notes. Another said that their Geordie was a little slower to speak than their treble Albion. I think that was reference to playing in sessions, which would not be of particular interest to be at this point. I simply am considering a lower-voiced instrument. Are there other significant distinctions between these instruments that would lead you to prefer one over the other.  

    Getting better at playing obbligati?

    in General Concertina Discussion

    Posted

    "Improvised obbligato" is an intersting musical concept. Usually, obbligato means a part that needs to be played exactly as written rather than being improvised. In any event, one place to start is to start singing yourself. In the sections of the music that Alan has identified, what would you sing/hum to add a little something? What does your ear tell you to do? If you don't think your ear is good enough, start listening to other accompanists. What kinds of things do they do? Let your ear guide you.

    • Like 2

    Crazy overzealous concertina acquisition thread

    in General Concertina Discussion

    Posted · Edited by Jim2010
    typo

    You don't see neumes everyday. If you start playing concertina from neumes, you will be creating the newest of the ever expanding notation systems that players use. Neumes were the first notation I ever saw as a child, singing in a boys choir in a cathedral. That was before I reached the age of reason, and started playing trumpet in the school band. Trumpet was better because we got out of class a half hour early on Wednesdays.

    Bidirectional or unidirectional? Im so confused.

    in General Concertina Discussion

    Posted

    Regarding mirrored layout...

     

    CBA players who play freebass accordions (except for some Russian models) play on mirrored instruments. If I am not mistaken, Wim Wakker had them in mind when offering a mirrored option.

     

    When I think of playing a mirrored concertina, I think of the relationship of the hands as generally similar to playing a harp. The harp notes go in one direction in relation to the body (highest pitches closest to the body, lowest notes farthest from the body), and the hands are simply positioned on either side. Whatever right hand fingers a harpist uses to play a chord or series of notes, the left hand can do the same.

     

    You could build a bi-directional harp, but you would need two sets of strings. The right hand strings would have their lower pitches closest to the body, and left hand strings would have their higher pitches closest to the body. With that setup, a harpist could have the fun of using different fingerings for chords and melodies depending on which hand they were using, while keeping in mind which direction the pitches ran on either side of the harp. It might seem confusing and unnecessarily complicated to an experienced harpist. But they could get used to it. Concertina players play this way without any trouble. :)

     

     

    Bachelor of Music on free reeds?

    in General Concertina Discussion

    Posted

    I have a BA in music with classical guitar as my main instrument. At the time, my university did not have a professor of guitar. As a result, all the classical guitarists studied with professors from other nearby universities or teachers unaffiliated with universities. The unaffiliated teachers were acceptable if the university considered them to be of approximately the same level as the professors who taught the other instruments. Show Toronto or Victoria don't work out for some reason, other universities might be possibilities. Above, jduray mentioned Joan Cochran Sommers. She is professor emerita at the University of Missouri Kansas City. She may know of universities that would welcome a PA accordion student. Search for her name + accordion and you will find her email address. 

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