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Kathryn Wheeler

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Everything posted by Kathryn Wheeler

  1. Fabulous, the music really supports and reflects the dancing
  2. Today I learnt how very apt the term main squeeze is! Brilliant!
  3. How do you find playing in the left hand compared to the right? I'd be interested in your thoughts. Here's a new tune for the left hand only, for 20 button anglo - melody only then some harmonic accompaniment in the same hand. As I often play harmonic style, I'm much more used to playing accompaniment in the left hand and I find the harmony notes and "chord shapes" are more nicely arranged under the fingers on the left hand than on the right (although I rarely just play straight chords). I can pretty much bet I am faster on my right hand too as it is more used to just playing melodies in the style I play. I'm trying to redress the balance! All that said, my pinkie is much better than my right one because of all those Fsharps we get to play! The tune is inspired by folklore and history of a local hill to me, here in Worcestershire - Woodbury Hill - where there was a pivotal moment in the history of Welsh/English relations in the medieval period and Owain Glyn Dwr's forces came as far west as Worcester!
  4. You can also slow down the speed of YouTube and Facebook videos without changing the pitch, which is a wonderful tool.
  5. Leaning into discords can be wonderful. Also I love a good unconventional harmony. The placement of buttons on a concertina often suggest interesting things to try.
  6. Not on concertina but I think they sound very similar: I’ve used microvox mics on a piano accordion for years and yes the Velcro could be very annoying (I had a long strip of three mics on the r hand side that fell off at least once… which is a heavy thing to have swinging around mid air! The single bass mic fell off even more!) The other problem is that if I was too close to speakers (including foldback speakers) there could be interference/feedback. I got used to having to tell sound people and some didn’t seem to believe me until they realised it was true.. They’d pick up a lot of noise from other things as they were external mics. This meant you couldn’t turn the mic up on the mixer lots - a problem in large venues. And yes it felt like it hampered my ability to move around because of that.
  7. Hi folks! Hope this is interesting/of use! I've used the well-loved tune Brighton Camp (The Girl I Left Behind Me) to show how I approach playing both melody and accompaniments in various ways on the 20b C/G anglo. The video starts with me playing and then it goes on to a discussion/demo. Brighton Camp is used for a dance we do with my local side Bow Brook Border in Worcestershire, so when I’m not dancing I’ve been jamming along with melodeons/accordion/fiddle and a lot of their tunes are in G major. Some seem to lie easily on the anglo and immediately can be accompanied whilst playing melody. Others require a bit more thought and experimentation. Interesting though!
  8. Wonderful anecdotes! I'd love to have a go and I am sure my mum would get all sorts of flashbacks to playing one!
  9. Aha! Thank you for clarifying - I can see what you mean about the 16th century feel. I'd certainly like to hear it on a spinet or harpsichord.
  10. Thankyou Which piece are you referring to as I’ve linked to lots in this thread?
  11. My mum grew up with a harmonium in the front room in the 40s (she remembers he clunking sound of the pedals!) and also remembers evangelical folk (she thinks) pushing a harmonium through the streets, stopping and singing carols (she joined in - all under the street lamp), before moving on. This was in a valley in S Wales The reed organ I remember was in the 70s and was electric - I definitely remember the whirring sound! Thankyou for your recollections!
  12. DaveM - Thanks for introducing me to Emilia’s channel (the Juuri and Juuri fiddler - she has more tunes with the two instruments - reminds me of playing fiddle with my piano accordionist friend and also if the reed organ I played as a kid
  13. Only tangentially related, but I am just reminded of that amazing Hebridean church singing whereby everyone sings their own version of the tune at the same time as everyone else and produces the most amazing heterophony!! (Incidentally that is one tool available to players of medieval music too)
  14. I have to listen to those pieces again! Thankyou for those thoughts- I know what you mean! Much appreciated
  15. I adore this! I love that it very much comes from the instrument and feels like an improvised, in the moment piece. Way more than mine in that mine came from some improvisation but then has really a very simple structure. Love the bellows “breaths” section particularly. And the bellows shaking (which as an accordionist I’m well familiar with and have experimented with on anglo). I am encouraged to play further and be looser. Thankyou for this!
  16. By the way, if anyone is interested, this is a Worcestershire scene in the video - looking across to the Malvern Hills, just across the Common from the Elgar birthplace museum. This is from one of several green tracks crossing a farm, heading down towards the River Teme. The barbed wire was an interesting shape - the farmer had been inventive in using several pieces to make it stockproof! It was a bleak old midwinter’s day
  17. Thankyou for that- very interesting in that ornamentation including vibrato seems to be the main approach used to add to the mood, though there is bellows work in there (some nice use of silence and tailing off too) and sparse but telling additional notes. The contrast of tune mood is grand too
  18. Thankyou Wunks! It is quite a temptation isn’t it, but easier to resist with the mood of this piece
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