bellowbelle

Thanks. I first have to work out whatever I'm playing on just the concertina -- no foot bass. When I've played it so much I could probably play it in my sleep, then I add the foot bass. I love the foot bass now, but for a while there I wasn't sure if I wanted to keep it. Now I wouldn't want to part with it! I will keep playing, of course -- it's just recording that's difficult. My recordings have never been the best anyway, and now I should update my recorder and software and so on...or just forget it. Leaning towards the just-forget-it. More time to read my books!

Raggedy Rompin' (at bandcamp) This may be the last one I bother to add...recording has gotten a bit difficult around here.

Ha, love that! Yeah, this cat refuses to come inside unless he absolutely must (like when it's really too cold). Then if I try to just ignore him when he wants to go out, he won't quit meowing. I have made numerous outdoor shelters...anyone interested, I'll tell you about my best results, with that -- but the problem with the shelters is that they attract other animals. One winter, I housed a 'possum for a while! Animal Control said that onions will keep away the possums but I don't think the cat likes onions, either!

Okay, here's the link to the audio at bandcamp: Paying No Mind This links to the ABC code (rtf file) Or better yet, here it is: X:2 T:Paying No Mind T:for English concertina & foot bass C:Wendy Stanford C:(Play chords above staves; chords below are extra info.) M:4/4 L:1/4 P:ABACADDBAE %%partsbox 1 K:G P:A "G"Gda'/>g'/=f'/>e'/|1d'G[d2b2d'2]:|2(d'G[db-d'-]"_Gadd9"[abd')]|] P:B "C""_C6"[c2-a2][c-g][c-a]|"_(M7)"[c-b][c-a][c2g2]|"F""_FM7"[=F2-e2-a2]"_(M9)"[F-e-g][Fea]|"_(b5)"[=Fb]ag"_F6add9"[de]| P:C |:"C"[G,2C2G2]cd|"_Cadd9"[D4G4C4d4]|[G,2C2G2]cd|1"_C6add9"[C4G4A4d4]:|2"_Cadd9"[C2-G2-d2-e2-][G,2C2G2d2e2]|] P:D "F""_F(b5)"[=f2-b2][f-a][f-b]|[f-d'][f-c'][f-b][fa]|[c2-=f2-b2][c-f-a][c-f-b]| [c-f-d'][c-f-c'][c-f-b][cfa]|:"C"[c2-a2][c-g][c-a]|[c2-e2-][G2c2e2]:| P:E "C""_C6"[c2-a2][c-g][c-a]|"_(M7)"[c-b][c-a][c2g2]|"F""_FM7"[=F2-e2-a2]"_(M9)"[F-e-g][Fea]| "_(b5)"[=F2b2]ag|"C"[C4-G4-e4-]|[C4G4e4]|] Hmm....I'm seeing red lines....don't know why.... I have this as a PDF too....same thing...so Here's the PDF So now I know more about using the P field in EasyABC....good! I'd say more about the tune right now but my eyes are slamming shut. Awake late because it's been so cold and the cat (kind of feral) keeps insisting on going outside and then I have to make sure he comes back in....so far, so good, but as soon as I close my eyes he'll meow....

You could try putting: %%partsbox 1 in your ABC file at the top, and you will get the parts labels surrounded by a little box. I have found this very useful for spotting the parts amongst the chords. You could also change the size and font: %%partsfont Helvetica-Bold 16 but maybe that's a bit extreme... Ahh, nice! Thanks, I'll try that.

Still not recorded...but, anyway, I'm going to make a few changes to it, and add the foot bass, etc., etc... (I see a spot I don't like and I'm not sure what I was thinking, then....paying no mind, I guess.. ) And I've come to the conclusion that what I (if not anyone else!) should do is, when first writing a tune, use the 'P' field and indicate parts in order to get a good midi. And I will probably add to my final copy a note, above or below the score, that indicates what parts there are. BUT -- I think that by the time I add chord symbols and whatever, when all is said and done, I'll be better off to use the 'other' type of scoring....excuse my terminology if it's vague or wrong....what I mean is that I'll use repeats, master repeats, Dal Segno, Coda, blah blah blah. For one thing, the little A, B, C, D part symbols get lost among any additional symbols for chords. So, for the convenience of memorizing, I prefer and will use the P field, but for making a sight-readable score I'll use the other.

Well....it SOUNDS right....the actual size of the leap is not incorrect. As far as I know I've chosen the most sensible way to notate the tune without having to use notation for bass clef (in addition to the treble clef). Since my instrument is a Geordie baritone, I technically can't even play the high notes that I've used -- I can (technically speaking) play from the lowest bass clef line to one line above the top line of the treble clef -- here's the note chart from the Button Box site (must click on 'note chart' and see baritone). (I have the Albion treble EC, too, but tend to pick up the baritone more often.) Hmm...maybe I can shift the notation all down by one octave.... though, one reason I'm creating these tunes is to improve my ability to sightread higher notes and to use the whole range of the concertina buttons (...and I play a piano-accordion too so that's part of the mix). Something tells me I don't want to shift it all down....anyway, the size of the leaps would be the same. I want to record the actual playing of the tune but I want to add the foot bass as well....I've yet to try that. So I'll be back...

Hi again all. Thanks for your input. The midi file generated by the EasyABC is what I wanted, and the visual notation looks okay to me, so unless I missed some other very clever trick that makes it even better (as in more concise, etc.), then I guess I've done it 'right.' I know it's such a short tune to be using all those indications for parts -- but I should mention that I prefer playing by ear and I don't like to try to really read much written music. I need it, to remember details at times, but I really just want to have the tune in my head. So, maybe it's odd to someone who is very experienced in using sheet music, and possibly even likes complicated written stuff...but I'm afraid that's not me!

Okay here's what I just put at my bandcamp site, for this tune: Link to Paying No Mind tune so far (note -- free to play -- you don't have to buy it) I think I can put the ABC here -- which I did in fact create with EasyABC, not ABC2Win as I said -- sorry about that error: X:2 T:Paying No Mind C:Wendy Stanford M:4/4 L:1/4 P:ABACD K:G P:A Gda'/>g'/=f'/>e'/|1d'G[d2b2d'2]:|2(d'G[db-d'-][abd')]|] P:B [c2-a2][c-g][c-a]|[c-b][c-a][c2g2]|[=F2-e2-a2][F-e-g][Fea]|[=Fb]ag[de]| P:C |:[G,2C2G2]cd|[D4G4C4d4]|[G,2C2G2]cd|1[C4G4A4d4]:|2[C2-G2-d2-e2-][G,2C2G2d2e2]|] P:D |:Gda'/>g'/=f'/>e'/|d'G[d2b2d'2]:|[c2-a2][c-g][c-a]|[c-b][c-a][c2g2]| [=F2-e2-a2][F-e-g][Fea]|[=F2b2]ag|[C4-G4-e4-]|[C4G4e4]|] I'll make a recording when I can, playing my concertina and foot bass. I'm in a bit of a hurry at the moment...will come back...but anyway I've gone with using a 'D' part for now. This is a short tune, only 1 minute long as it is, but I still find it easier to remember it if I give it sections. Back later...

Hi...thanks... I'll be back here soon I hope, to reply. I've just had a little trouble getting together the files I need for the example. Interruptions, etc..

Writing code in ABC2Win (not Barfly, this time), I've successfully used the P field to indicate parts. ABABCAB, etc. However, now I'm working on something where it's 'sort of' ABACA, but it ends with a 'tag' or whatever that is a mix and variation of A and B. It seems like it would be weird to call it 'D,' a new part. I can give the example later...not at the moment...but just in case anyone has run into the same problem, I'm asking what to try to do. Maybe just use repeats where necessary and write in the 'D.C. Al Segno' And 'Fine' and all that?

Love it!

I wrote this little tune called 'Dogs Allowed,' so here it is at bandcamp: http://bellowbelle.bandcamp.com/track/dogs-allowed The ABC code and the dots are available, too, at my website. And in fact I must get going now because my dog...the one in the photo with the soundfile...is demanding attention.

I have some magnetic dishes intended for pins while sewing -- they're great! And also for sewing pins, a 'picker upper' gadget, magnetic, in case pins fall on the floor. So maybe I'll use one for screws. (As it is, I no longer use pins very much -- use small sewing clips instead because there's less chance of getting jabbed with one.)

So far, so good...I've played the instrument a few times since making the repair and the glue seems to be holding alright. It's nice to have my treble concertina playable again! -- Your story reminds me of a similar experience: I once lived in a cabin with no electricity or plumbing, etc -- I could go to a barn nearby for those luxuries if I needed to, but anyway, about the only hobby I could pursue (even almost in the dark) while taking a rest was to crochet (yarn). (I hadn't even thought about playing the concertina, at that point!) So... I yelled out "NOOOOO!!!" and watched in horror one day when my one and only crochet hook fell out of my hand, rolled across the floor boards, and fell right into a crack. Gone forever. And nothing left to do...can't even wash dishes, with no water... Anyway, I don't crochet anymore, now that I have concertinas! (Actually, I'd love to crochet again but my hands can't take it well...repetitive motion syndrome.)

Just 2 days ago -- on the 24th -- I finally faced my fear of opening my treble concertina (the Morse Albion English, but not the baritone English)! Though, mine has a different layout than this one. I've let that concertina just sit around unplayed because one tone was stuck -- the lever came unglued from the pad (...if I've said that right). It's happened before. Previously, I've brought it to The Button Box, and paid them to have it fixed. Bob Snopes did tell me one time that I could probably fix it myself if I wanted to, but I was too nervous about it. So the first time I opened it, I did manage to send the buttons here and there. I spent some time looking around on the floor but I finally did find the missing button. Applied the glue, a favorite kind of mine but not sure it's the recommended glue -- Mighty Mend-it, it's called. (We'll see.) It held for a while and then not, but I may have disturbed it too soon. So I had to try a second time, and it seems to have worked but I'll check for sure a little later. Of course, if I haven't managed to fix it, I'll bring it to the Button Box out west in Sunderland, MA. I have more stuff for them to look at, anyway.... I just don't make very many treks here and there -- difficult to be gone from my house for a whole day, etc.. So, anyway, I am quite satisfied with the fact that I have finally dared to fix my concertina all by myself! That is, if I am not actually wrecking it

http://www.pbase.com/image/164717390 Happy Holidays!

Got my copy in the mail today. Love it!

It so happens that I am learning this one: http://www.8notes.com/scores/22923.asp --- Starkens Polska (Swedish Hambo) --- on my accordion, and I think I'll try it on my concertina too, and then add the foot bass. I also found this one in ABC form, too, at abcnotation.com. Years may go by before I actually understand what exactly is a hambo or a polska but....that doesn't matter I guess. As long as I can have some fun playing them.

Sounds great, Bob! I think I have a copy of the old sheet music for that one. Now I'm wondering....but I don't know which stack of sheet music it's in so I guess that will wait. I enjoyed your rendition.

A nice coincidence that I checked the forums and found this thread today, since I looked for this information re the 'P' field and couldn't find it, recently. Thanks!

Thanks, John.... Yes, that helps dig me out of the ditch I may have put myself in... I know what I meant to say, but I think it all ended there. I played the guitar for years (no longer), and I find that the very best 'chord dictionaries' or chord reference books are usually for guitar players. Any concertina players that wish to build up your chord recognition, perhaps try a guitar -- or a ukulele -- and strum out (and sing) some simple tunes for a while.

Well....let's see.... maybe for tunes that really have no clear chords, there's a better way of putting it. Way back when I was learning to play, mostly by ear, songs that we would regularly hear in church, the accordion teacher taught me to listen to the progressions -- 'home' or the 'landing' would be the tonic chord, the I ('the ONE'). Next, it was important to differentiate between the IV (the four) and the V (the five) -- what I call, for some reason, the 'under' and the 'over.' When the song got to a place where it had that lifted up, 'over it all' sound, that was usually the V chord.....when the sound was 'under,' more passive, that was the IV, usually....of course, we stuck with simple songs to start with. And, my teacher knew enough to tell me if my guesses were correct, of course. Now, a lot of trad tunes, old songs, etc., don't necessarily move along with the same cadences that old church songs would have....so if they don't call for chords, it could seem strange to give them some, I guess. But, if you happen to be familiar with the way certain chord progressions do sound, in general -- like, you just know how I-IV-V does sound -- it's usually possible to determine what the I chord is and so on. I took an ear-training course, though, too, several years ago in college (did not complete college), and so I guess I've had the benefit of that training. That was a class geared more for singing ('Sight-singing and Ear-training'). One good trick I learned for finding the I chord (assuming you don't know the key a song is being played in) is to sing Do-Mi-Sol-Mi-Do (1-3-5-3-1) starting at various different notes until one seems to be right. You know, the more I type, the more I feel like I might be making things worse.... And I see that there's been at least one new reply since I started, which I have yet to read. I will probably have to come back to this later....

I learned to play 'by ear' when I was a child -- had an accordion teacher -- but we usually used simple basic lead sheets that showed chord symbols and beats per measure. Later, I worked (with headaches!) to read music. I now do a combination of both. What surprised me was to learn how truly different the two activities really are. Playing by ear and playing by sight-reading do not naturally help each other or mesh into one 'improved' formula. Playing by ear, I listen first for the I-IV-V -- the chord structure. Even if there are no chords -- it's just a 'tune' -- I still find the chords.

This Stagi mini has ALMOST 2 diatonic (not chromatic) octaves in the key of C. It has C-D-E-F-G-A-B-c-d-e-f-g-a-b plus F#, Bb, c# and f#. So I have almost 2 diatonic octaves in C. The other possible keys to play in are F, G, and D, though each of those is much more limited (and also only of the diatonic scale). The key of F goes: F to the a above the higher f (octave plus 2 -- 10 notes) G is the same -- G to the b above the higher g (octave plus 2 -- 10 notes) D has a bit more -- D to the a above the higher d (octave plus 4 -- 12 notes) It's true that almost anything -- of traditional tunes, Morris, etc -- can be played on this, without missing a note...depending on the key, I guess. In a group, too, it's possible to modify the tune to a harmony. Some 2-part things, though, on a full-sized concertina, seem to fall into place -- but they lose the lower notes of the harmony especially, if tried on the mini EC. To get all the notes, harmony, that I want in Wildwood Flower (for example), I have to play it in the key of F. The lower notes disappear in the key of C, for that one. Anyway....I noticed at first how limited the 18-button is, but as I look further for good tunes to play on it, I'm noticing that there's a vast amount that will work out.