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Pete Dunk

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    Tune Of The Month For March, 2013: The Fiery Clockface

    in Tune of the Month

    Posted

    well here goes...

     

    http://www.ruediger-asche.de/tidbits/fcf_ap_1.mp3

     

    or

     

    http://www.ruediger-asche.de/tidbits/fcf_ap_1.wav (higher resolution)

     

    Like Spindizzy (whose version I really admire) I whimped out of accompanying myself (I know, Kurt... you tried hard...)

     

    There are a few rhythmic hiccups which I am aware of. Other than that - all input welcome.

     

    I couldn't resist to tug another tune onto the end - the Armagh polka whose melody to me was so prevelant that tidbits kept creeping into my mind. Apologies if this should be inappropriate - apparently I do not have any knowledge whatsoever about what types of tunes are proper to combine. Again, any input very welcome.

     

    This is boatloads of fun. Thanks for putting the TOTM up!!

    What you've done here is (to my mind) part of what TOTM is all about. You felt inspired to add another tune and make it into a set, as long as you appreciate that others may disagree with your choice that's fine. If I were you though I'd probably invest in a heavy duty tin helmet, mixing Irish trad with NE English trad is bad enough but did you have to mix up the time signatures as well? :o :rolleyes: :wacko: ;) :D

    Tune Of The Month For March, 2013: The Fiery Clockface

    in Tune of the Month

    Posted

    Sorry David, I did, as you suggest misinterpret your question, for which abject apologies.

     

    As a explanation about the ways melodeon players approach a tune, playing straight up and down a row gives a very obvious and lumpy bounce to a tune (different note push/pull) whilst crossing the rows to minimise bellows changes smooths a tune out noticeably. Melodeon players also need to consider available bass notes and chords which differ on push and pull.

     

    Pete.

    Tune Of The Month For March, 2013: The Fiery Clockface

    in Tune of the Month

    Posted

    For those of us non-melodeon players, could you elaborate?

    An odd question if you don't mind me saying so David. My comment wasn't intended to be critical. You play an anglo concertina, different note push/pull as is the case with the diatonic button accordion but the mechanics of the instruments make them sound very different and not all of that is to do with the fact that melodeons tend to have at least two voices per note and concertinas are single voiced. My point was that accordion players tend to approach tunes in an entirely different way to concertina players so the resultant output is noticeably different. Not at all wrong, just different, mostly in a nice way!

    Something For The Weekend?

    in Tunes /Songs

    Posted · Edited by tallship

    This is good fun without being too long or complex as a variation set, it takes you a short way up into the dusty end to sharpen up your ledger line reading too.

     

    X:1

    T:Buy a Broom

    S:Wade, dated 13/10/43
    M:3/4
    L:1/8
    Q:1/4=160
    K:D
    df |a3 bag| f2 d2 d2| e2 A2A2| f2 d2d2| a3 bag | f2 d2 d2 | e2 A2 A2 |d4||
    df |a3 bag|(fa)d'afd|(efg)ecA|(def)dA2|(a^gaba=g)|(fa).d'.a.f.d|(ef).g.e.c.A|d4||
    (cd)|e2A2A2| f4 dd| e2 A2A2| f4 df|(a^gaba=g)| f4 dd | e4 AA |d4||
    d2 |e2A2aa|d'2 f2 f2| e2 A2aa| d'2defg|(a^gaba=g)|(fa).d'.a.f.d|(ef).g.e.c.A|d4|]

    Something For The Weekend?

    in Tunes /Songs

    Posted

    A discussion started in a Tune of the Month thread reminded me of a transcription I did last year from Danny Chapman's hand written arrangement of the Playford tune Mr Beveridge's Maggot. I'm not sure if I've ever posted it on the forum so here it is. Well beyond my standard of playing but still fun to noodle around with and learn a thing or two from.

     

     

    X:100
    T:Mr Beveridge's Maggot
    C:arr. Danny Chapman
    Z:Peter Dunk 2012
    M:3/2
    L:1/4
    Q:1/2=105
    K:Gm
    g2 ^f =e/f/ g2 &z[bG]Dzz[bG]|\
    d c/B/ A/B/ cBG &Czz(D[D2G,2)]|\
    g2 a g/a/ b2 &z[bG]Fzz[dB]|\
    f e/d/ c/d/ edB &Ezz(F[F2)B,2]:|
    %
    | :D f2 f f2 &Bz[FD]zz[DB,]|\
    c e2 e e2 &[EC]z[GE]zz[CA,]|\
    B d2 d d/c/ B &G,z[DB,]zB/A/ G|\
    A/B/ cB A/G/ ^F D &F2E2Dx:|
    %
    d a2 aad &[AD]z[A^F]zzA|\
    bag^f g2 &dcBAz[bG]|\
    d/e/ f B/c/ d A/B/ c &zBzGzF|\
    BG G3/ ^F/ G2 &zC D2 G,2||
    %
    L:1/8
    |:bagb ag^fa gdbd|cdcB ABcA BGBd|\
    gabg abc'a bfdf|1efed cdec dBdg:|2efed cdecBFGA|
    ||Bcde fgfe defd|edcB ABcB ABAF|\
    GABc dedc BdBc| AB c2 B2 AG ^FAGc|
    d=e^fg afdf fdfa|bagb ag^fa gdBc|\
    defd BcdB ABcA| BcdB AG^FA G4|]

    Tune Of The Month

    in Tunes /Songs

    Posted

    ... further embellished by Danny Chapman The Keel Row.

    What fun! Thanks for sharing the recording. shelly

     

    I actually shared it a couple of years ago in the Something for the Weekend thread. I don't want to go on too much about Danny's playing in case I start sounding like a cracked record. Suffice it to say that concertina isn't his first instrument and if I could play one half as well I would be exceedingly happy.

     

    anyone?

    Tune Of The Month

    in Tunes /Songs

    Posted

    Very nice Pete! Got a source on the variations? Sounds like Northumbrian Pipers tunebook stuff...

     

    Variations by William Shields, somewhat further embellished by Danny Chapman on his recording and it is indeed published by The Northumbrian Piper's Society. I picked up a photocopy of a hand written version at a workshop some years ago and abc'd it:

     

    X:1

    T:Keel Row, The

    C:Trad. Shield's Variations

    Q:1/4=116

    M:2/4

    L:1/8

    K:G

    c | B2 G>B | c2 A>c | B2 G>B | A>F D>c | B2 G>B | c2 A>c | B<G A<F | G3 |

    d |B<d d<g | e2 d>c | B2 G>B | A>F D>c | B<d d<g | e2 d>c B<G A<F | G3 |

    "Variation 1"|d/c/ | Bd GA/B/ | ce E>G | FA DE/F/ | G/A/B/c/d/e/f/g/ | Bd GA/B/ | ce E>G | FA DE/F/ | G3 |

    "Variation 2"d | Bd g>f | ed cB | cB AG | FA A>d | Bd gf | ed cB | ce dF |G3 d |

    Bd g>f | ed cB | c/d/B/c/ A/B/G/A/ FA A>c | Bd ^ce | df eg | fb a>^c |"D.C." d3 :|

    "Variation 3" c | (3Bdg (3 GBd | (3cea (3ABc | (3Bdg (3GBd | (3FAd D>d | (3Bdg (3GBd | (3cea (3ABc | (3Bed (3cBA | G3 |

    "Variation 4"d | (3BGB (3 dBd | (3gdc (3BAG | (3FDF (3AFA | (3dAG (3FED | (3BGB (3dBd | (3gdc (3BAG | (3Fed (3cBA |G3 d |

    (3BGB (3 dBd | (3gdc (3BAG | (3FDF (3AFA | (3dAG (3FED | (3EFG (3FGA | (3GAB (3ABc | (3Bcd (3^cde | d3 ||

    L:1/16

    "Variation 5"|: c2 | BGBd g4 | cAce a4 | BGBd gdBd | cAFA DFAc |BGBd gdBd| cAce agfe | dgdB AedF | G6 ||

    L:1/8

    "Variation 6 " c | Bd de/f/ | g/f/g/a/ b>B | cA/B/ c/B/A/G/ | F/G/A/B/ A>c | B/G/A/B/ c/d/e/f/ |g/f/e/d/ c/B/A/G/ | Fe dF |

    G3 c | Bd d e/f/ | g/f/g/a/ b>B |cA/B/ c/B/A/G/ | F/G/A/B/ A>c | Bd ^ce | df eg | fb a^c | d3 ||

    ^c/=c/ | B2 G>B | c2 A>c | B2 G>B | A>F D>c | B2 G>B | c2 A>c | B<G A<F |"FINE"G3 ||

     

    Have fun! :D

    Tune Of The Month

    in Tunes /Songs

    Posted

    Dirge, this is described as a Melnet type Tune of the Month (possibly *my assumption* with a Theme of the Month to follow) so it will be an eclectic mixture of styles and genre. Easy tunes allow beginners to play to a good standard while the seasoned players get to go to town showing off their ability to develop ornamentation and change time and key signatures to make the most of the music on offer. More difficult tunes challenge beginners to strip the tune back to basics in order to be able to play the bare bones in decent style. Advanced players will be more concious of carrying this type piece off with precise and stylish playing that shows off the music as well as the individual style of the player.

     

    You get from Tune of the Month what you put in. No more, no less.

     

    Nice folkie piece posted in Something for the Weekend? Well, here's one tune I was quite keen on, although it's a slight exaggeration of the melody only piece I posted - The Keel Row. You have the floor . . . B) ;)

    Something For The Weekend?

    in Tunes /Songs

    Posted

    Here's a funny little tune I've just discovered as I was transcribing another collection for the Village Music Project. Some of the morris musicians may want to grab this and adapt it for an existing dance or better yet write a new dance!

     

     

    X:179
    T:Mother Quoth Hodge or The New Way THO1.179
    M:6/8
    L:1/8
    Z:vmp. Peter Dunk 201213 from a transcription by Fynn Titford-Mock 2006
    B:Thompson's Compleat Collection of 200 Favourite Country Dances Volume I.
    Q:3/8=100
    K:D
    A>BA d2 d|efg f3|gBB c2 d|edc d2::\
    M:3/8
    Q:3/8=60
    "_Largo"d/e/|f2 d|B2 c/d/|e2 c|A2 A|
    M:6/8
    Q:3/8=100
    "_Allegro"dcd BcA|BA^G A2 A|dcd Bcd|ece cde|fgf efd|edc d3:|

    Second Morse Ec. Which One?

    in General Concertina Discussion

    Posted

    I have played both although I own neither, they are splendid instruments and my choice without doubt would be the baritone to compliment the treble. One of these days you may have the opportunity to play with an ensemble and having the choice of which part to play is a good thing. I have a Jack baritone (my main instrument is a Wheatstone Tenor/Treble Æola) and it's pretty hard to get it going properly but I love the pitch. Baritone - you know it makes sense! ;)

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