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Everything posted by fernando

  1. G mix sounds right to me. But not G mixolydian. Rather G mixed. Hi Jim! What do you mean by Gmixed? It sounds like a joke to me, but I'm not sure, because you are an Ineluctable Opinionmaker
  2. I don't know the number of this tune Chris, sorry, I recorded in a session in Galway city time ago. I have the feeling that you must be right Michael, I don't think this is in G major. I can tell it just because of the fingering. I love this tune, and I'm getting a bit excited about it. Because I can see that it is in a key I don't usually play, I love that! the fingering is new, this is a new pattern for me. I need to know the key because I'm transposing it to other keys. What I usually do is to find out about the key of the original, and then I know the key of them all, I just have to look for the note that gives the name to the key. But I couldn't find this tune in internet! because Paddy Fahey's puts allways the same name to all his tunes, I cannot make a proper search. Do you know where I can find a recording of that tune that is in thesession.org Michael? it's in Dmix! I would like to try to play that! I can change the key of the one I know to Dmix and see if the fingering is similar
  3. http://www.youtube.com/watch?v=_tXcRYA1M08 I would like to know the key of this tune, if anybody can tell me that would be great. If anyone is interested in knowing about the composer, Wikipedia will explain it much better than me: http://en.wikipedia.org/wiki/Paddy_Fahey
  4. Very good the concertina player Dave Paton! it's the fifth video of USA. He plays the English system, and he is playing Irish music, with a very good bellows movement! he is making similar effect as an anglo. It's the first time I see someone doing it so well with an English Concertina. Also if anyone know the key of the swedish tune that is in the video with the name Schottis fraĚŠn Lima that would be great. It's a nice tune, I like it. It deserves to have it a go on my concertina. Fernando
  5. Thanks for this tune, I like jigs, and this style is the one I usually play. Never mind the mistakes, I always do them, and If I'm recording or there is someone listening I do even more, I wouldn't make a good professional player! But enjoy the playing... that's my speciality!
  6. Can anybody please play this tune? I learn everything by ear, and I feel curious about this tune. I don't mind if the recording has mistakes, if this is the case, a few rounds to the tune will be enough to understand it. Or maybe someone can play it with another instrument that allows to play the melody line in an easier way. Or maybe someone can whistle it! Fernando
  7. Very nice Dick! I liked the video, and the one where you play the fiddle it's very good as well!. From the latter, I recognised the last tune, I suppose it's french canadian because It is in one of the cds of La Bouttine Souriante. Fernando
  8. Nice Alan! never heard of this one. Do you have a name for it? I suppose it is a jig Fernando
  9. Hi Chris! I love the Presbyterian Hornpipe! the version I play is the second one you say, I think the link you posted is again the Danny Chapman video. The link for the tune is this: http://www.youtube.c...h?v=LQw07poGrLU And you are right, this version goes lower. Still playing the same notes I think, but changing the octave at one point and going lower. I didn't know this was Gm, thanks for that. Did you try to change the key of the tune? if you try to play it in another key give me a shout. This is a good one to experiment because it has a wide range of notes. I'm trying to look for the second tune you say in youtube, but I cannot find it, do you where I can find a recording of it? Fernando This should be the second version Laura Mackenzie and the Lads (I've edited my post) I discovered yesterday that The Presbyterian Hornpipe in Gm played in the high octave is very nice playing in the English Concertina. The highest notes are played, but the fingering is very interesting. Fernando
  10. Hi Chris! I love the Presbyterian Hornpipe! the version I play is the second one you say, I think the link you posted is again the Danny Chapman video. The link for the tune is this: http://www.youtube.com/watch?v=LQw07poGrLU And you are right, this version goes lower. Still playing the same notes I think, but changing the octave at one point and going lower. I didn't know this was Gm, thanks for that. Did you try to change the key of the tune? if you try to play it in another key give me a shout. This is a good one to experiment because it has a wide range of notes. I'm trying to look for the second tune you say in youtube, but I cannot find it, do you know where I can find a recording of it? Fernando
  11. Very nice Michael! I'm happy to hear that! And Fernando, thanks for the information about the basque diatonic accordion, I wanted to know the notes they are tuned, because I can see that they are always playing different keys from the Irish Fernando
  12. I was waiting for this Leo hahahahahahahaha
  13. I don't think people are giving you enough credit for your playing. I really enjoy your excellent use of the bellows to put life into the tune. Not enough English players take advantage of that capability. I have a Basque friend who introduced me to the instrument an music a few years ago. I'll have to get her to bring back some more CD's next time she goes home. It is a very lively tradition. Thanks for the treat! Dana Thank you Dana! I like what you say about the use of the bellows, because I strongly believe that it can be done with the English system, at least with the small concertinas like mine. I don't know about the bigger ones, I suppose it would be a bit more difficult. But Dana! you don't need to wait for your friend to bring you the cds! there is a lot in youtube, I'll show you some: Just to listen: If someone is able to play this on the concertina I buy him/her 4 jeffries, 5 Wheatstones and 3 Lachenals! (all Anglos hahahaha) (in Basque Country there are competitions as well) Other tunes I play: http://www.youtube.com/watch?v=qqN1JfXKhAU http://www.youtube.com/watch?v=jYjBJ5BKNds&feature=related A way easier eeeeeh! Tunes I would like to play: And I'm glad you liked the tune Marien! If anyone plays something basque please let me know! Agur! Fernando
  14. I knew that with the serial number would be enough, I saw the page of the Wheatstone ledger once. Yes, the 29th of November Virginie was born! because I forgot to say that the name of my concertina is Virginie, ma petit Virginie! And nobody knows the origin of the basque. When these people talk I don't understand a single word. Sometimes I can understand Galician, or Catalan. Because it can be similar to Spanish, they must share the same origin or something. But when a basque talks Euskera (that's the name of the language), I don't understand anything. Well, I understand their music! Fernando
  15. Thank you Geoff! My concertina is a Wheatstone, the serial number is 27688, 48 buttons. I don't know if this can answer your question... Fernando
  16. Hola amigos! I learnt this tune from the BTM (Basque Traditional Music hahahahahaha). This people play a diatonic accordion called trikitixa, and they do wonderful music with it! Many tunes are impossible for me to play, they usually do very tricky ornamentation. I only play here the melody, and I give two rounds to the tune. I make a few mistakes, but I think it is possible to make an idea of how the tune goes. http://www.youtube.com/watch?v=7IwT_NePOlI I hope you like it! Fernando
  17. Very good Alan! I love that tune! I'm very interested in French bourrees. I'm planning to go to live to France in a few years, and I can get ready for that I learnt from you the bourree Chasse Pain, that was the first time I played chords in a tune. I cannot play exactly the same as you because I don't know how you do it! but I do something similar. Do you have a name for this tune you posted here Alan?
  18. I'm very interested in this topic! I sometimes play in other scales that have an arabic sound to me, but I don't play any tune, I just mess around. But I feel so well when I play those notes! Once I think I got to change the scale of this tune: Scotish Border Pipes.wav I turned it into this: Change of Scale Scotish Tune.wav There are mistakes, but you can see that it is the same tune. I changed a few notes, and with that I think I'm playing the same but in another scale, and I think it is the arabic. But I'm not sure. If anyone knows tunes in the arabic scale that can be played in the concertina please let me know! I need something simple, easy to play because this scale is new to me. Fernando
  19. That's good Jim! ok, I don't know if you like English music, but I saw this guy in youtube playing this beautiful tune: Nice tune. I'll try to learn it. Good stuff! there is no rush for this Jim, whenever you get some of the tune, even if it's only part of it, we can start commenting on the fingering. At the moment I haven't put chords, and not too much ornamentation, only the usual cuts I do when I play. It's a nice tune, isn't it? this guy says it is a hornpipe, but I think this has a 6/8 time signature. I tell you how I hold the concertina: I put it on my left leg, the whole thing resting on my leg, close to the knee. I'm going with the bellows in and out trying to do the same thing as the Anglo players. I have one lever for the air release, but I never use it when I play. I never use the pinkies, only three fingers from each hand. Enjoy your playing!
  20. I like the idea. But I won't have time to consider doing anything about it for at least a week or maybe even a month. I've already postponed a trip twice because of interruptions by other issues more urgent. But that's not meant to discourage you. Instead, feel free to remind me about once a week using PM or email via concertina.net. Eventually, I'll get to it. In fact, if you want to choose a tune now, then I could think about it in free moments, such as when I'm on the train. That's good Jim! ok, I don't know if you like English music, but I saw this guy in youtube playing this beautiful tune: I like it very much. I don't play any chord at the moment. I think it is in C Major. In my concertina of 48 buttons I can play it in three octaves, this means that for the fingering you can get all the small triangles in all positions for both hands. I've been changing the key as well, and I found one with a very interesting fingering. If I'm right about the C Major, this key is B Major. If you don't feel like playing this I can tell you more tunes Jim, from traditional music of other countries if you prefer that.
  21. It's generally more useful to consider the buttons next to G and D to be G# and D#, but consider those next to A and E to be Ab and Eb. Then in any standard key signature from 3 flats (Eb major and its associated modes) to 4 sharps (E major and its modes) the standard choice is obvious, since it will be a note within that key signature. (E.g., there is an Eb in the key of Bb, but there is no D# in that key.) The scales in all of these keys/modes share a simple pattern in which the scale alternates ends of the instrument, while all the notes on one end (every other note of the scale) alternate sides of the center line, forming a "walking" pattern "up" (or "down") the end. In keys which have more flats than 3 or more sharps than 4 this pattern breaks down, but consistent (though different) patterns can also be found for these keys. In these keys at least one note needs to be "replaced" by its enharmonic (same pitch, but different name) equivalent, which will be on the opposite end of the instrument from that required by simple alternation. When this happens, it should also be reasonable to replace any of the duplicated notes with its enharmonic equivalent, if that results in a more comfortable fingering sequence. (It's a good idea, though, to keep any such changes consistent through all octaves.) But then you should experiment with the different combinations to find a sequence for each scale that is comfortable for you. As an example, the C# major scale is C#, D#, E#, F#, G#, A#, B#, and C# again. But E#, A# and B# don't exist in positions close to E, A and B; instead one needs to play F, Bb and C. Then the scale can be constructed as C#, D#, F, F#, G#, Bb, C, and C# again. But I like to use Eb instead of D#, so that the button sequence is C#, Eb, F, F#, G#, Bb, C, and C# again. What does this gain me? A button sequence for the scale which has some nice internal repetition and symmetries. In playing an ascending octave scale, I first have two notes on one side of the instrument, then two on the other, and then that 4-button pattern repeats exactly, but "higher" on the keyboard. Describing it is clumsy, but in playing it, it's easy to feel the symmetries. I wish you happy experimenting. Jim wonderful! that's it! this is the kind of stories I was expecting to hear when I started this topic! I'm against the eternal debate English against Anglo... we can learn from each other! I'm learning a lot from the Anglo players here in Ireland. I will have to try to understand what you wrote in there, I did not get everything, but I will eventually. I play mostly by hear, and I use a lot the symmetries. The english concertina is the concertina of the "triangles". At the beginning I only played these triangles, but as you well say, there are keys that these triangles are broken. But I'm sure this is like another language to learn, this can be learnt. But these fingerings are more unique, they don't repeat as much as the triangles fingering. I see here that anglo players, they are used to alternate buttons with the same note that are in both sides of their concertinas, and they do that playing within the same tune. Well, I think that when the symmetry of the triangles is broken in our concertina, we can do the same. What kind of music you play Jim? maybe We can agree to play one common tune and we can start talking about the fingering we do. That would be great, if you like the idea of course. Thanks a lot for the technical advise Jim!
  22. Fernando, I would love to be able to know the modal approach! but don't know this story well... I know there is a lot of theory... Maybe a few questions: - How do you recognise the kind of minor mode of a tune? - What are the minor modes used in ITM? Mixolydian and dorian? or there are more? - Do you have a good way to recognise the key of a tune? And this is for the english concertina players: - In both sides of the concertina, the notes G# and Eb are repeated in all the octaves. There are keys that it is clear which one of the two sides to play, but some keys it is not clear at all, any guideline in this regard? Fernando
  23. I didn't know that CG anglo players can play in F and A Minor! thanks for that Alan! If I'm not mistaken, I knew that they can play in: - Major keys: A, C, D and G - Minor keys: Bm, Dm, Gm and Em But those two are new to me! I love to play in F Major, I sometimes practise a few tunes in that key. Fernando
  24. Hi Alan! I must recognise that because I'm trying to do this, I'm leaving out some details in the music. For example I hardly ever play chords, and the ornamentation I do is simpler as well... When I listen you playing I can see that the music is more elaborated, with more details. But anyway I have many questions about this. For example: My concertina has 48 buttons, the anglos that people play here in Ireland have 30. I suppose that if they had an anglo with more buttons they could experiment to play in all the keys? As you say, I've met people with anglos in another keys. I would love to be able to know straight away which keys I can play with them when they get those uncommon concertinas Fernando
  25. Hello Chris! No purpose in mind really... I mainly do this for the fun of it But sometimes I do come across with music in extrange keys: Basque Country, Castille, Central France... I usually take a tune and start changing the key. I usually take one I know which key it is in, and from there I start playing in a different note. Today I got excited, that's why I posted this Chris. I got to play one Irish barndance that is in G Major in all the Major keys, 12 in all. I need to practise more in C#, F# and G#, but I'm almost there. For sure these are the most difficult ones for me for the Major scales. To do this for this barndance I've chosen the easier octave I could find for each key. And Chris! I play one of your tunes, The Gardener's Delight, in 9 keys! A, Bb, B, C, D, Eb, E, F and G. I do G#, but with many mistakes at the moment. I leave C# and F# for the future. Fernando
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