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mathhag

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Posts posted by mathhag

  1. So I also do something like this but when necessary I cheat a little.

    I use Transcribe+ which is the app for iPads and import the tune then  if I am having trouble figuring out a part by ear I send the tune to T TE tuner app which does all kinds of things. What I do with it is have the tune play and while the screen is telling me the note I run a screen video that I send back into Transcribe+. Now I can slow it down and figure out the pesky notes that were eluding me and can even transcribe the ABC if needed. 

  2. 4 hours ago, El Squeezer said:

    Alright this is the best I got. It is likely some of this will not make sense! The lowercase letters are middle octave, uppercase low, and * high. This one has a low Bb melody note that I sort of fake by playing the Bb chord on the left side and playing a d on the right side during the big "Ghost riders in the sky part". I hope this is something close to intelligible. 

     

    Key of Dm

     

    | d,b,d,e | f2,d,c | c,A,c2 |

    | d,b,d,e | f2,g,a | a,g,a2 |

    | d*,d*,c*,a | a,g,a,a | f,d,d,d | 

    |d,c,d,d | d, f8 | d,d,c,d4 |

     

    | a,a,a,c4 | d,d,d,a4 |               this is the yippi ti yo line.

     

    |Bb 4 | F 4 | D 4 |                    this is the Ghost Riders in the sky line.

     

     

     

     

     

     

     

     

     

  3. Here is the simplest form

    T: The Jingle Bells

    R: polka

    M: 2/4

    L: 1/8

    K: Gmaj

    |: BB B2 | BB B2 | Bd GA | B4 |cc c>c |

    cB B>B |[1 BA AB | A2 d2 😐

    9[2 dd cA | G2- G2 ||

    DB AG | D2- DD/D/ | DB AG | E2- EE/E/ |

    Ec BA | F2- FA/A/ | dd c/B/A | B2- BG |

    DB AG | D2- D2 | DB AG | E2- E2 |

    Ec BA | dd/d/ d^c/d/ | ed c/B/A | G2- G2 |]

     

    But actually if you can send me the dots I can translate it. I don’t read music well enough to play from it

    Please don’t spend too much energy on it unless it interest you.

    Many Thanks ,

    Susan

     

  4. So I don’t believe I ever posted my Dipper but now that the family has grown I will show you both. I have had The Dipper a little over 4 years. It was built in 1981. It is 5 1/2 inches across the flats and weighs 1025 grams. It is a glorious instrument in almost every way. But I had a few concerns. First I worried about traveling with it and I worried about the excessive dryness in my house in the winter even with a humidifier. 
    I have been fascinated by what Edward Jay has done with his 3D printed instruments. So I got my new instrument from him this week. It is 6 1/2 inches across the flats and weighs 1187 grams. I am very happy with it. It plays easily and sounds great. Since I am not great player you should visit has website to hear professionals playing it. Makes a great second instrument for me.

    C961441A-8940-41ED-ADD4-2E62F7AA4FBB.jpeg

    • Like 5
  5. This may be out there. Like many places it has been hot so I brought a fan into my practice area. Somehow that makes my concertina sound weird especially the high notes. I even checked that I was still in tune . It is almost like everything is a little tinny. When I turn the fan off it stops.

    I think this probably has an acoustical explanation. Just wondering about it

  6. So I started to play concertina when I was almost 67. I had never played an instrument. Could not read music and still can’t. Have no ear

    But I try to play everyday and it brings me joy

    Recently another woman who is taking Caitlin’s online classes posted that she started at 90

     

  7. So Noel Hill was clear that playing requires the whole upper body. At one of his workshops he rolled up his sleeve to demonstrate his arm development and to show how his muscles were working. I am pretty sure I remember this correctly. I would never want to misrepresent Noel.

    I know I have worked on NOT  using my wrists. Right now I am suffering because the muscles I use to play in my upper arms are the same muscles I use to work cleaning up my garden. 
    I would bet some light weight exercises might help 

     

    • Like 1
  8. So this is just the beginning of a idea.

    I have a glorious Dipper that is 5 3/4 across the flats. It was built in 1980 and I have all the receipts and such. 
    I have given someone first refusal and I am not at all sure that I am selling but I am curious about the market. It was appraised at $8000.

    is there interest out there

  9.  

    8 minutes ago, Mikefule said:

    The simplest possible transposition on an Anglo is when you can play a tune along the row.  Change to the other row and "Hey presto!" You've transposed it.

     

    However, that is only possible or desirable on a certain sort of tune.

     

    If you play across the rows, it follows that if you change the row for the starting note, you will inevitably have to change some of the fingering.  This sounds complicated at first — indeed, it sometimes is — but it opens up a world of possibilities on the instrument.

     

    Imagine a 30 b CG Anglo:

     

    Play a tune that starts on C and goes up the scale of C.  If you swap rows and start on G, that's the simplest transposition.  (Or vice versa, of course.)

     

    However, play a tune that not only goes up from C but also goes down below the tonic, and some of the melody has to be on the left hand.  This puts all sorts of constraints on any accompaniment you play.

     

    But if you take that same tune, swap rows, and start on the G, and when you go below the tonic, you can do so by borrowing right hand notes from the C row.  That leaves your left hand unconstrained for playing a full chordal accompaniment.

     

    Now take another tune that starts on C and goes up beyond high C into the very squeaky notes on the G row.

     

    Instead, start it on the G on the left hand of the C row (or the left hand of the accidental row) and you can play it in G, and when you get to the high part of the tune, you will still be in the comfortable part of the register.

     

     

    More than that, the differences in fingering open up and suggest different accompaniments.

     

    I find that playing in C on a CG encourages me to play a full and rich accompaniment.  However, the same tune transposed to D may have a more sparse accompaniment, with more bass notes, octave notes, pedal points and isolated "stabs" at individual notes or pairs.  As a result, although the arrangement is less "full and rich" it often feels more fresh and alive.

     

     

     

    My main instrument is GD, and when I started, I loved playing in G but was quite intimidated by playing in D.  Now, I prefer it.  It brings out more of an Anglo feel and sound.

     

    (As an aside, another way to achieve this sparse but fresh and alive accompaniment and "Anglo feel and sound" is to play on a 20 b.)

     

    The next step of transposing on a CG is to move into F or D.  If you play mainly a single line of melody with little or no accompaniment, this is just a matter of learning fingering patterns.  If you want to do more complex accompaniments, it may take a lot of work.

     

    An enjoyable half way house is to play tunes like Rakes of Kildare that are modal: the key of the second note of the major scale (so playing in D on the C row.  These tunes often need few or no accidentals.  They can be a real palate cleanser after playing a lot of tunes in the major key.

     

    Another approach to transposing is to take music written in, say, G, D or A, but sight read it as if it were in C (or whatever the primary key of your instrument is.)

    What food for thought and ideas for fingers. I play mostly melody without accompaniment so I might try something here.

     

    (as a side note hope you write another book)

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