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Jody Kruskal

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Everything posted by Jody Kruskal

  1. ceemonster > As you notice, I've been asking for advice from anyone who wants to give it and your plan for minimal accompaniment sounds great. Would you demonstrate so we can hear it?
  2. Yes, the Um-pa or Um-pa-Pa template is very powerful. Used with discretion, it can move the music on with a nice rhythm that also contains the harmonic foundation. In this arrangement I've tried to adhere as much as possible to the composer's intent, so Um-pa or Low-High phrases figure throughout in the accompaniment. I got it... that this is an Anglo and duet technique, but there's no reason, aside from added complexity, that the EC can't do it too.
  3. For Danny and those who have low instruments... here it is down in Gm.
  4. Seasonal festivities and gigs are over so I'm able to wrap this up. Thanks Dave for all your nit-picking. I really do appreciate it. I took most of your suggestions. So here is the latest version. Sorry, it's still called Dm.3 but the time-line here should distinguish it from the previous version also called .3.
  5. Vintage instruments might require extra care and repair but if given a choice, I would rather play a refurbished old Lachenal clunker over a new Rochelle. Get a 30 button instrument if you can, but there is lots of great music to be played on a cheaper 20 or 20+ button squeeze box, then upgrade when you can. Of course, every instrument is it's own thing and my opinion is just a guess about what you might find for your box of choice.
  6. Hey John, we all breath a sigh of relief to hear that your Anglo has been recovered... What fine luck you have! Why not let the original post stand as a cautionary tale of the dangers braved from a night of fun at the Pound and Pence.
  7. Danny! You amaze me. Bravo. I hope the little changes I've made in Dm.3 are improvements. I've made the four measures of introduction less grand. Now they stay low which should fix the transition into mes. 5. Added staccato markings around 31. New voicings in the last two measures. Thanks Dave. I agree with your suggestion there. As for this comment of yours... "Beats 2 & 3 of measures 10 and 11 seem to have nothing to do with each other. All sense of a pair of coherent inner voices is lost there." Well, I see your point, but really my constraints are very narrow. It's an EC with the lowest note being a G so I must use the E above middle C as a bass note in mes 11 - 15. I'm forced to fit the inner lines in there the best that I can. All the other combinations I tried in that section just sounded wrong and though this is not how Dimitri wrote it, my descending harmony sounds nifty and better than anything else I could come up with. Wolf - I hear how the melody gets weak in 21- 27 but I don't know what to do about it. Perhaps Danny could finesse that by playing the other notes shorter, leaving space for the melody to shine through... or play it on piano! So here is Waltz #2 in Dm.3
  8. Yes! Merry Christmas to all and to all a good night!
  9. Dear Danny, Dave, Wolf, Jim, Don, Randy Stein and all... I do appreciate your help and love this sort of crowdsourcing collaboration. So here is the latest version Waltz #2 in Dm.2 Danny, did I get these changes right? Please confirm. Did you really mean to have five finger chords in the last two measures? I am not pleased about the transition between measures four and five now that the minims have been reduced to quarter notes, though the rest does not seem to suffer from this simplification (thanks Dave and Danny for this). I could imagine several ways to finesse this. What do you think?
  10. Danny! That's the sort of detail I've been craving. I'll make those changes and post it up ASAP.
  11. Thanks Wolf and all. Here it is in Dm with just a few adjustments aside from the transposition. Again, I would ask any nimble fingered EC player to tell me if there are particularly impossible segments that I really should simplify.
  12. Hi Cohen, John K. yes I see that. Aside from the Baroque thing, John embodies a certain kind of "stand and deliver" performance style that the two of you share. When I started into doing my solo shows I would always sit. It is certainly easier to play that way. These days I almost always stand because it is so much more active and dynamic. Standing engages my whole body. For that and a number of other reasons, standing is much better for connecting with my audience. Ultimately, that's what performing is all about. Right?
  13. Dear Cohen, We met briefly at my Coe studio concert November 2016 and I remember being impressed with your playing and singing then... but viewing your recital has blown me away. Your mastery of the Anglo is more than amazing and your musical performance kept me listening from start to glorious finish. Bravo! Interesting to hear that you taught yourself to play that way. The variety of articulation you employ and your button and bellows control that create your sweet tone are advanced techniques that I have been working on for decades and still attempting to master. Yet at your age you have managed to put it all together in a delicious package that is so compelling to listen to. I'm looking forward to hearing where you go from here. I grew up listening to my brother Tom playing morris tunes on Anglo but taught myself. He listened to Kimber recordings, but taught himself. So as another self taught Anglo player, who have you been listening to? My own listening these days has been an attempt to closely match the fiddle players I admire.
  14. As for your comments, yes, this arrangement is intended and commissioned for/by a specific 48 EC player (low G) who will be unnamed so far. My request for help is intended to help me present him with a playable arrangement with all these considerations handled, so he does not have to compare options but has a workable arrangement at first go. He does have considerable skills and is a student of the master Matusawitz. So Jim and Wolf, what do you think of setting this down a whole step putting it in Dm? Would that really be an improvement? Aside from the benefit of a reduction in pitch and the deficit of reduced harmony opportunities, would that add or subtract from the fingering difficulties? Your help is greatly appreciated.
  15. Yes, it's true, I'm scheduled to perform my solo show at the Royal in Dungworth Nov 3 2018. Dave and Martin... hope to see you there! As for Marnen, I've had the pleasure of playing dances with him for the past two decades. In addition to piano he also plays violin, viola and flute. Just don't get him started punning or his witty associations will take over and become the entirety of his conversation. He always amazes us with his inventive piano interpretations and at his best, he dazzles us with his ability to improvise melodically, rhythmically and harmonically at the same time. A rare skill. I've just booked him for a dance in New Jersey at the Swing N'Tern dance with our band Squeezology on April 7, 2018. The Squeezology contra dance band plays my original tunes and in addition to Marnen's facility on piano now features the exceptional fiddle playing of Libby Weitnauer. Will, my pedal board is a useful addition to my concertina sound at the dances I play. It gives me control over timbre and attack so that I can cut through the muck of a concert hall by use of pre-set user defined patches. My device is a vintage Korg Tone Works AX30G guitar hyper performance processor and I dread the day that it breaks because I find it ever so useful in crafting the sounds of performances of all sorts on concertina and the other instruments I play.
  16. I have a bunch of bands that play regularly for dances in New York City and the surrounding areas. Mostly these dances are not documented and though amazing music and dancing happens on an ongoing basis, it's a nitch activity that garners no media attention. That's fine with me... but a few years back I handed my cell phone to some guy on the sidelines saying, "take a video of us, OK?" He really captured the whole experience with this video of my band Hog Wild playing for the New York Mardi Gras dance in 2014. Check it out! It's worth a look! Hog Wild at the Mardi Gras contra dance produced by CDNY in Manhattan, NY March 1, 2014 playing Spotted Pony into Growling old Man Grumbling Old Woman. Tom Phillips on fiddle, Jody Kruskal on Anglo Concertina, Marnen Laibow-Koser on piano. Donna Hunt: caller. https://www.youtube.com/watch?v=39GNvbJQh6E
  17. In response, Wolf... here is what I wrote before: "Wolf - Yes, this is a bit high, but my thinking as for the Key... I have put it at Em because the following sections will then be in G and C... should I write them. Em, G and C all seem like likely easy keys for the 48 EC and with their available bass notes should access likely achievable and satisfactory harmonies. and accompaniment options." So, this score is just the first of three sections all in different keys. Em would put the two remaining sections in G and C. Cm would put them in Eb and Ab. My guess is that these would not be friendly keys. How about the first section in Dm? Then, the two remaining sections would be in F and Bb which would be more facile, right? The lower I go the harder it is to build satisfying inner parts as some of the bass notes would have to go up an octave and room for voicings will get squeezed. Do you think that taking it down a whole step to Dm would make much difference? Then, that high passage at mes. 21 would start on an F instead of a G.
  18. Hi Don, and all Here is my latest .3 version of the score posted above, first section of Waltz #2 as an mp3 on dropbox with an organ patch that does a pretty good job of replicating the concertina sound. https://www.dropbox.com/s/59j7hz62mly9u9g/Waltz%20%232Umpa.3.mp3?dl=0 So my question to all you EC experts is... can this be actually played by human fingers? What you are hearing with this link is just midi magic. There is still one note that bugs me and needs fixing. Wolf - Yes, this is a bit high, but my thinking as for the Key... I have put it at Em because the following sections will then be in G and C... should I write them. Em, G and C all seem like likely easy keys for the 48 EC and with their available bass notes should access likely achievable and satisfactory harmonies. and accompaniment options.
  19. Dear Wolf, Thanks for your help. Some thoughts. Here are 4 reasons why the melody goes up at measure 21: Dimitri wrote it that way. The line ends on an A in mes. 24 making the bass note too close to the melody note for the Pa Pas to fit nicely if I wrote it in the low octave. The EC in good working order actually does play up there and it would be nice to use that range for variety sake. Makes a nice contrast with the low section in mes. 28 creating a natural dynamic shift down. Despite this, the proof is in the pudding and if playing high at 21 does not sound good, I'll have to bring it down an octave and figure it out. To help, I've turned those high offending thirds into 6ths, added a bit of the internal line, a little bass run and other tweaks. Here is the score for Waltz #2.3
  20. Thanks Don, That's very kind of you to take the trouble. A few corrections... It's all rather too fast. Try one quarter=130 instead of the 200 you've got. Mes. 21 the high notes should be E and G. Something wrong here? Mes. 40 and 42 should have the bass note be low Bs, not the Es you have. You have not observed the first and 2nd endings but rather play the first ending twice.
  21. Thanks Wolf. Can't wait to hear what you make of it in the light of day.
  22. I’ve been asked to make a score of the lovely Waltz #2 by Dimitri Shostakovich, https://www.youtube.com/watch?v=mmCnQDUSO4I arrangement for 48 button English Concertina. This is what I’ve come up with so far. Because I don’t actually play the English system, I was hoping someone here might give me a hand. Although it looks moderately difficult, and that’s OK, I was hoping that some c.net EC expert might alert me to sections that may be nigh on impossible to play. Let me know and I’ll simplify accordingly. Thanks for your help.
  23. I guess that I forgot to mention the obvious... if a slight accumulation of gunk slows the reed down without stopping it entirely, then it will likely be playing flat. On the other hand... If a reed suddenly goes flat, it is probably cracked and needs replacing. Free reeds are remarkably stable in pitch but traditional reed shoes are generally brass which is somewhat flexible. The reed shoe could be too tight or too loose in its slot through temperature or humidity variations. So, simply sliding the reed shoe out of its slot and pushing it back in can also correct many tuning issues. If cleaning the reed and re-seating the reed shoe does not do the job... before getting out your file, try replacing the valve. The valves can shift position over time or lose the springy snap of new leather. A new valve is much simpler to install than tuning a reed. I don't know exactly why the valves effect the pitch, but I'm told that they do. What I do know is that the whole system of reed, slot, valve, chamber and end enclosure all work together to create pitch and timbre.
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