kevin toner
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Posts posted by kevin toner
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...I think I now know why my Granddad, Danny, always favoured the prowess of a piano over that of the concertina "ye canny beet the piana", as often said following an occasional performance during parties or when 1-to-1 with him discussing concertina!
Here goes, although this is something I've known in the back of my mind, but not wanting to accept:
I appreciate how no one on the forum has mentioned the following issue perhaps not to stop me short of what I've been tackling, but in piano scores it appears that accenting notes are often prescribed in one of three ways, of which one is doable on concertina i.e. when both clefs are to be accented rather than one or the other.
Unlike the Piano the concertina can't hit notes harder (accent) than other notes when more than one note is depressed without all the notes being accented
Fortunately this does not affect clef specific legato/staccato articulation when playing both clefs together
"Memories of You" has indeed been an excellent testbed.
The chorus is almost unaffected ergo with unified accents per clef per bar, but 50% of the verse is a different kettle of fish where the clefs are doing very different things...
NB in exercise 74a ("Romance" by Beethoven) of Frank Butler's "Concertina" tutor there's an accent above the 4th beat in the 2nd bar, which obviously has to apply to both the very low note and the high note, which have to play simultaneously.
So my aforementioned observation on concertinas not being able to accent notes separately within a chord is basically discussed here and again in the Mozartian exercise 75.
Looking at my '30s songbook, no transcribers appear to go beyond separating on a per clef basis, i.e. they invariably don't - as Butler shows in E74a for ECs - stipulate which of the 2 (or more) notes should be accented in spite of the notes doing very different things.
So, although the piano is capable of accenting on a per note basis: scores invariably don't go beyond a per clef basis when separating accents. I guess it's the pianists' choice to single out any particular keys they wish to accent more than others. The transcriber therefore merely indicates where attention is (or might be) due.
I've scanned both the Butler example here and a classic example from "Stormy Weather" here where the transcriber leaves it to the pianist, which note/s to accent.
That puts a little less weight on the concertinist wishing to play to the tee or by the letter.
I still contend that a minimal degree of layering will be necessary on "Memories of You" to make it feel as intended despite the do-ability of doing it in a oner. "I only have eyes for you" looks like it will be likewise, but transcribed pieces are generally not as fussy. I understand why Blake's "MoY" is so fussy after seeing/hearing his own rendition on his 96th birthday on YouTube: ergo a further indication he was his own transcriber like McHugh (one of his contemporaries). The treble clef of he verse should be layered in separately so that the accented bass clef notes do not interfere with the beautiful sounding fluency of the unaccented treble clef, i.e. again for 50% of the verse.
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- An aside: Butler has indeed wet my appetite for classical, e.g. violin part for Mozart's K376, but that's another post topic, later! All I would say here on the topic at the moment is that for classical I most certainly won't be doctoring the pianoforte bass clef for EC. I don't know about anyone else, but while I'm playing the violin section I can mentally feel the pianoforte accompaniment as I play, through a familiarity of listening to published recordings. I don't know what it is about classical, where you don't have to listen too many times to cerebrally embed the different parts/instruments' sections, i.e. orchestration in a word. No one really dares to doctor the classics (official transcriptions) as generations pass. I suppose this helps in the learning of classical work. All one needs then is a pianist to accompany your soloing provided the (occasionally long) intervals of silence have also been well practised.
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Notwithstanding the above comments, I would concur that the Frank Butler tutor is the very best for EC and will be perhaps forever more!
I'll be posting an observation from it in a moment on Shelly's 'Bass clef' practise post, which flags up a minor issue on some piano pieces.
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I've a couple of updates that relate more to the parallel discussion on treble/bass clef practise. However, one of the points involves purely bass. So I'll mention that point here:
...One of these is that, due to having a [highly resonant] risen metal-ended Aeola, I find myself coming to terms much better with the overall piece if I practise the bass clef separately before splicing it into the treble clef work.
The bass is more decipherable to the player this way when embarking on the entirety. This [apt for "MoY" too] also speeds up ones cognisance on what the rhythm/articulations are supposed to be doing.
It's an extra piece of work, but I feel it helps me to understand the piece quicker. I also did this on the aforementioned "MBS" and then quickly perceived that the melody had in fact belonged much more within the bass clef rather than the treble clef...
I still concur with the above, but have something rather disheartening to report.
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- An aside: I think whoever's been unnerving me by bouncing the structure where I'm sitting writing doesn't like the fact I'm now wired up and able to hear my instrument properly (in amongst the hellish site noises) because when the shop opened the thumps were 1 per 1-4mins, which I could barely feel because of where I'm positioned, but conversely as I write this I'm feeling them as very unnerving although they've stopped in the last 10 20 30 40 50mins - great - it's been generally much less frequent over the last month compared with 1 March '12 through to mid May, but is still unacceptable, I wish they'd take their business elsewhere, but hopefully not below another studious person.
I think I now know why my Granddad, Danny, always favoured the prowess of a piano over that of the concertina "ye canny beet the piana", as often said following an occasional performance during parties or when 1-to-1 with him discussing concertina!
Here goes, although this is something I've known in the back of my mind, but not wanting to accept:
I appreciate how no one on the forum has mentioned the following issue perhaps not to stop me short of what I've been tackling, but in piano scores it appears that accenting notes are often prescribed in one of three ways, of which one is doable on concertina i.e. when both clefs are to be accented rather than one or the other.
Unlike the Piano the concertina can't hit notes harder (accent) than other notes when more than one note is depressed without all the notes being accented
Fortunately this does not affect clef specific legato/staccato articulation when playing both clefs together
"Memories of You" has indeed been an excellent testbed.
The chorus is almost unaffected ergo with unified accents per clef per bar, but 50% of the verse is a different kettle of fish where the clefs are doing very different things.
I can therefore pursue my dilemma with a number of approaches:
1) accept that a degree of double layering is necessary (I might want to multi-layer voice/guitar/uke anyway - not in my current noise environment though, unless perhaps at 3am; this approach might also get me thinking about acquiring a model 16 B-T or an actual bass depending on their tone compatibility) - the degree of which depends on the percentage factor: i.e. if a piece is 50% compatible I'd choose to learn bass/treble together for the compatible bars, but if the piece demands that 75% or more must be played independently (clef-wise) then I'd simply revert back to single stave reading;
2) ignore such nuances when they occur by either: i) accenting both clefs when they're not doing such different things; or ii) accenting neither i.e. when prompted to do so. (the latter approach could permit minimal layering afterwards to correct, perhaps to give the concertinist a greater sense of achievement than otherwise working optimally as layerist.);
3) find my clone to assist when/where required (if I were a Fayre Sister then problem solved!...).
I think 1 & 2 will have their place in my development in the absence of 3.
The piano scores I'm going to persevere with are simply too intoxicating to give up on over a mere technicality.
And I though a recording of my rendition of "MoY" next week would be a simple affair, silly me!
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Kevin, I think what you need is a synthesizer concertina, a small amp and headphones.
chris
No thanks Chris, even if you were to pay me to, or be able to make one as authentically as possible!
ps Perhaps no other concertina beats the sound of a 1910s risen metal ended Wheatstone Aeola, which I've happened to inherit.
pps Miking it up to an amp means I've not inherited it in vain. It sounds tremendously fantastic when an adequate amount of pressure is applied: as if no service is necessary really, i.e. at this particular stage in my development.
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Thanks John,
I completely agree with that, apologies for misleading!
ps Jody, On the distraction side there's a certain song of great significance (possibly Music Hall era) often credited as by Anonymous that I should mention, which implies that frustration from distraction is again nothing new!
Although forgive me for taking the following angle. The song probably has nothing to do with distraction whatsoever. Which song, where and when?
Imagine trying to write Ulysees with Molly Malone crying outside your chosen abode. Yes it's the 1800s Dublin anthem "Cockles and Mussels". Dublin is of course now UNESCO City of Literature. Perhaps creativity/culture truly prevails if and when its anthems get the upper hand...
The Music Hall era struggled to survive apparently. If Harry Lauder (nb album: The First Knight Of The Music Hall) was its first knight then perhaps we can safely say Mercury was its last!
Sorry for going off on a tangent to the topic: On with the show, if you can, and you're not me...;
Oh, my amp is working wonders for me now: as without it I'd be at a loss, i.e. with what are the modern day 'cockles and mussels' and Molly Malones of this world, as I haven't got the ability to turn a blind ear.
At night time, if and when it's quiet enough, I'll resort to silent playing as I'm concious of the sound:
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- It's ironic that the only time I'll be fully airing is: 1) when suped up cars are going down the nearby dead-end at the back of the rly stn to hang out anywhere between my flat and the Buchanan Galleries Depot [un-suped cars even skid out here when leaving presumably after picking up stn travellers or breaching the "buses/taxis only" lanes as a non-motorway shortcut through town - why, I ask, as the Glasgow IRR is the world's tightest - beats me] amongst occasional convoys of echoing buses/taxis emergency vehicles etc.; 2) during never-ending construction works between periods of resurgent faulty alarms; _;_ ;_ ;_ ; etc.] I'll fill in the blanks another time!
As my instrument hasn't been serviced in over two decades this means much playing or notes will simply cut out.
Jody, as you mentioned before, I'm with you in thinking that you really need to hear something when practising "silently" as it were; as I too cannot warm to playing complete silence, i.e. merely pressing buttons, but not airing with applied using zero bellows pressure!
Although, again said, I do do this simply to mentally map which buttons I've to memorise, then later proceed in normal play to air the notes.
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...However, I’ll be starting from the beginning (page 30) and turning the pages forward as I progress on each score.
My strategy will be to skip those that are found to be more suitable for a Baritone-Treble (probably not more than half? - ps: no idea yet until I get round to them), which will definitely might include "Stardust".
This is because I may one day acquire a B-T, which will may entail much less doctoring - on the likes of “Stardust” - than if done with a T-T.
This goes for every score that I assess. There’s plenty that my T-T is suited for, as “MoY” has proven...
Before I begin assessing "Sophisticated Lady" next week, I may take a look at a 21st LWMCo. number naturally not included in THE THIRTIES series [nor in THE TWENTIES although it may appear in a Chappell&Co version if there is one in addition to EMI's(?)] entitled "Shepherd of the hills" 1927 by the man himself Lawrence Wright (as Horatio Nicholls), perhaps one of his best.
"You Do Something to Me" 1929 appears (at a point) to latch on to this number's last phrase of the verses; in the same way that Porter's "Get out of town" 1938 chorus/refrain seems to evoke the chorus of "Once in a While" 1937 - If Porter likes them, then so do I!
"SotH" can be found in Vol 1 of LWMCO's "songs the World Sings" series, which I recently bought because it has additional Uke tablature on the 20 LWMCo. numbers that were chosen for THE THIRTIES Decades Series. I'll post all the song lists (VOLs 1-3) on a separate post later, although they're all Googleable.
Remember Australians to get practising that "Winter Wonderland" from this Thursday 21 June. I may be doing so too even as a northern hemispherian!
ps: on initial inspection "SotH" 1927 largely suits my modified T-T (with the extra Bb) but will entail a B-T at the end of the day:-
This is because to launch the anticipated Porter-esque phrase at the words "I" & "she" an uncompromising A2 is involved.
Furthermore at the bit on that phrase that's roughly like Porter's (year later) "YdStM" ending at "...is su-preme" & "been in vain" is where an F is hit twice, this will entail the necessity of a model 16 B-T.
Now what price are those Model 16s again?
Yes, I'd prefer to leave this one for the moment...
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...One more thing is that I haven't been put off my desire to acquire a standard type B-T, despite now knowing it's a different layout from both the T-T (model 19) and its variant B-T (model 16)...
Shelly,
I'm actually in two minds over this now!
If only I had my Granddad's draughts (chequers) prowess! He was the last one to do my T-T justice, before him his dad. Alas, chess is no good here, otherwise I wouldn't fuss about acquiring a standard B-T like your's.
I hasten to think what it'd be like to mentally swap hands.
Probably like going from right hand to left hand guitar work in a way. I can't believe I was actually trying that earlier today on my uke for the first time!
I'd better stick to model 19s and 16s for the time being.
I was wondering about how you might feel starting out on a standard B-T first and having to think in different hands if swapping over to treble proper?
Actually, c/o an email by Geoff, I now know the layout patterns of the model 16 B-T relative to other B-Ts:
I was correct regarding the mod 16, but wrong regarding the standard B-t layouts. Apparently, there'd be no need to swap hands as first imagined!
The slightly different outline of button areas that B-Ts have was what was throwing me. I suspected this previously, but got carried away with a much simpler assumption, not citing more than one possibility, i.e. to an already complicated subject.
So, glad that's cleared up then.
The implication is that I'd be less averse than previously to normal (non model 16) B-T's. I might still find the slightly varied outline of buttons a little alien to begin with.
I imagine, for me, that some of the songs in my repertoire might necessitate a B-T even although "Memories of You" has proven to be a thoroughly T-T suited piece.
More on my repertoire in a moment, in the tunes forum, as I've bought the entire LWM "Songs the World Sings" series!
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I also concur with Johanna.
I find moving up or down a row or two or more (ie in 5ths) helps to build dexterity and memorisation; and as like Geoff points out it can help evolve your understanding of the neighbouring key signatures a 5th up.
I discussed doing this recently too as an exercise to see how a Mod16 B-T would feel to me (compared with my T-T) as this model of EC brings in an extra row of lower keys by presumably shunting the keys up by one row (a 5th) on the exact same layout to make way for the extra lower notes. An aside: I think the model 16 loses no high notes by adding 8 more buttons at the top.
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...As you say, Jim, not so simple!
There are also cases where you think you can't identify the sound of a particular instrument in an ensemble, but if it stops playing, you notice that it has. Even though your concertina may not ring out in a session, it's still part of the overall mix. There's a difference between solo and ensemble playing!...
When I get round to recording Memories of You, I'll do a mixed in version with actual recordings to compare solo/ensemble.
When I play along with recordings its as if I'm part of the band.
Won't be long now with these - give me a fortnight. Expect to hear traffic and site works in the background and the occasional miscue from not being able to hear properly...
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...I experience sometimes a very occasional (fortunately infrequent) similar type sound, which I know is in my own head quite distinct from the outside noise. I explained to the CPN a kind of high frequency “eet” sound/noise that I knew was similar but different sporadically. In fact, months later an online BBC news article quoted the famous John Cage anechoic chamber experiment, which described a high frequency sound pertaining to nerves and a low frequency sound pertaining to blood flow. I couldn’t find the article so I’ve provided this link from NYU’s ITP:
This might explain the occasionally random but repetitive “eet” sound/noises in my head PS (i.e. at the rate of say a slow - to sometimes medium speed - texter pressing for text). Does anyone else get a similar symptom? When I focus on them though they soon disappear! PS I don't text so I'm guessing that's the equivalent rates from what I've observed on my travels.
The very real airborne sound that I’ve actually recorded would be a near assimilation if it wasn’t so mechanised sounding. I bet ITP Alumni would know what it is because imaginative use of a sound this noise most certainly is, if it’s not something malfunctioning! ....
Just one more thing on Cage's findings:
I just found there accidentally that if I clench my teeth/jaw I can hear a high pitch if I focus hard enough (helps of course if no traffic going by; as I'm not exactly in a anechoic chamber, rather the opposite).
Hoping, biologically speaking, I'm not alone there :-)
PS Oh: back came the outside bleeps for a second there, merely instantaneously over a couple or so secs. Oh and there goes the fridge one now too: I'd Better get off my long durations on the laptop, writing about such baloney, which can't be healthy and get to bed and later proper practise and work; as I'll be hallucinating these sounds before too long!
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...PS IT’S MY FRIDGE, WHICH I TURNED OFF AT 8PM UPON HEARING THE NOISE FROM IT SUBTLY, WHEN I TURNED IT BACK ON - THE EXACT SAME CHARACTERISTICS OF THE NOISE WAS THERE - A LITTLE LOUDER: ! PPS 8.15PM : IT APPEARED LOUD OUTSIDE AGAIN THERE MOMENTARILY; I'M GLAD I DECIDED TO TYPE NEAR THE FRIDGE, YIPPEE - SO WHO'S AMPLIFYING IT THEN OUTSIDE????]
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I may have jumped the gun here. On closer inspection up close to the fridge: it's a very similar sound, but I'm not sure it's exactly the same - it does seem close though.
So the question remains: what is near simulating this noise loudly outside, which sounds more like one of the background noises on a fridge?
Hopefully, the factor I contacted and/or the site agent will respond with a definite answer... and so the saga continues!
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...Whoa, long post! It seems you are lucky to have such a good instrument, and unlucky to have such a frustrating aural environment. I hope you find out what causes the exacerbated noise. Noise pollution is certainly a testing thing to live with...
Perhaps it’s this (?) as unfolds
Still ‘completely mystifies’ me though!
Please forgive the following babbling on, which there’s no need to read. I’ve wrote it simply to get it off my chest and is probably incoherent anyway
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note the ps later however: as during writing this I've discovered something associative to the noise, i.e. my fridge noise!!!!, which I'll come to of course later. However, now back to the unfolding story.
So: here goes!
During the mental exhaustion of my last practise session I decided to pivot my sashes fully out and get a feel for the noise for a while rather than close it out through concentration.
What do I hear? Horrendous unrelenting traffic and site noises, yes.
Then after a spell with less traffic, a blast from the past appeared as evidenced under the normal noise, which became more noticeable the more I focussed on it.
In fact I’ve videoed a couple of instances on you tube
andI described the noise to a site manager or agent and he was none the wiser but said he’d find out for me from what item of plant it might be coming from.
I don’t think it’s from plant though, but rather something that’s been here for years, which I first noticed in around 2008 usually after just awakened before dawn. It previously had an even higher almost unrecognisable pitch.
As you’ll hear from my video yesterday it has a recognisable tone albeit very high pitched. Anyone know what purpose this is for?
Yester year its tone has been hard to detect, especially for the noise officer whom I once called out, who claimed that certain birds can sound like equipment. A CPN in 2009/10 told me that you can hear strange things like that just after and before sleeping, so this previous instance at tea time baffled me enough to call the noise officer in 2010. It also had a more recognisable tone on this occasion too compared with 2008. The original 2008 sound had more of a pronounced click to the sound with less tone to it, which is a little morse code-ish and goes like:-
t
t---t---t---t
trrrrrrrrrrrrrrrrrr
t-t-t-t-t-t-t
t
ttttttttt
t
the “r” was so rapid – practically continuous – and there’s no way it could have been a bird.
This time around though: it was the exact same rhythms but with a lower audible frequency akin to that of a high pitched alarm, but with absolutely no undulations whatsoever as you might expect from conventional alarms.
I experience sometimes a very occasional (fortunately infrequent) similar type sound, which I know is in my own head quite distinct from the outside noise. I explained to the CPN a kind of high frequency “eet” sound/noise that I knew was similar but different sporadically. In fact, months later an online BBC news article quoted the famous John Cage anechoic chamber experiment, which described a high frequency sound pertaining to nerves and a low frequency sound pertaining to blood flow. I couldn’t find the article so I’ve provided this link from NYU’s ITP:
This might explain the occasionally random “eet” sound/noise in my head. Does anyone else get a similar symptom? When I focus on them though they soon disappear!
The very real airborne sound that I’ve actually recorded would be a near assimilation if it wasn’t so mechanised sounding. I bet ITP Alumni would know what it is because imaginative use of a sound this noise most certainly is, if it’s not something malfunctioning!
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[i just heard it there again - 7pm - typing this in a fairly silent environment with the windows shut, but had disappeared when I opened a window perhaps behind the traffic. It doesn’t appear to back with the window closed again. Maybe I should take more time to listen for it. I remember back in 2008, listening in bed just after awake that when I detected it in its formative form, lower rumbly noises seemed to give way. So please forgive me for wanting to know where it’s coming from. [b]PS IT’S MY FRIDGE, WHICH I TURNED OFF AT 8PM UPON HEARING THE NOISE FROM IT SUBTLY, WHEN I TURNED IT BACK ON - THE EXACT SAME CHARACTERISTICS OF THE NOISE WAS THERE - A LITTLE LOUDER: ! PPS 8.15PM : IT APPEARED LOUD OUTSIDE AGAIN THERE MOMENTARILY; I'M GLAD I DECIDED TO TYPE NEAR THE FRIDGE, YIPPEE - SO WHO'S AMPLIFYING IT THEN OUTSIDE????][/b]
Judge it for yourself now that I have it recorded - I’ll try to keep a gallery of taped unusual sounds here on my URL once my web-building host gets around to resolving an apparent bug. Meanwhile, I'll have to use my You Tube Channel Kevintoner1.
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[On this photo-album, expect short clips of e.g. : a dog barking from a van all day right outside my practise space, which happened after the never ending dog barks from above over the same year; upstairs house music; the neighbouring offices which funnily during my difficult and long 1 para. CV resume attempt, which I couldn’t focus on and rightly eventually abandoned, had its rear window open allowing me to hear sporadic Māori type chanting excerises (1, 2, 3, Iyeeght, Iyeeght, Iyeeght with taut neck ligaments) – although I’ve deleted that one; pigeons nesting within the church halls’ offices wall to the rearwhich will cost 3-4k to fix apparently although I’ve not heard it for a while now... ; etc.]
I’ve left a photo or two here zooming into boxes and the likes that I think the noise might be possibly emanating from.
These are attached to the existing gable across on the site and my own theory is that these devices might be those that are said to be used for deterring juvenile delinquents. It’s said that youths are young enough to register the frequency and hopefully as a result move on.
If you know what these boxes are please say. I’ve contacted the building’s factor manager to find out what they are. If you have any ideas meanwhile, please share. Perhaps someone can throw light on it if the factors can’t.
As the video has detected the noise too, this tells me I’m not imagining it and it’s neither plant nor birds?
When I mike up, shortly, hopefully this’ll overcome all noise intrusions.
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[Last night was fantastic but alas a nearby painter working at the sill level. If I’m going to have an audience I’d better be well practised first – something downtown society has not permitted since I got extra time on my hands to practise! Painter will finish tonight presumably – so back to work on the tina tomorrow! Ready to make recordings very soon! ]
The consolation is that the exacerbated noises will mask my mistaken ridden energies to any passers-by! If only I could hear my practise properly I wouldn’t have to write about all this nonsense – can’t have the best of both worlds though.
Even if the noise pollution was to become un-exacerbated from now on, I’m sure that the concertina is quite enough not to be heard by passer-byes and/or even neighbours.
Feel free to pass by though because I’m mike-ing up irrespectively of the exacerbated noise.
This worked once before for me then I packed it in because I had the confidence to go it alone knowing conversely that I had a much stronger attachment to my instrument than I’d thought.
Distractions tend to disassociate you from your instrument...; and perhaps that rocket science called songwriting; chess or snooker etc.! There’s another condition in sports called the “yips”, which I’m hoping I’ve not got the equivalent of in music... Is it called the “yips” in music too? Yip (?) hee hee!
Neither are passer-byes (labourers too understandably) etc. silent enough at my particular block. There’s definitely a propensity to yap loud as you pass the flat – Europe’s tallest cinema opposite the Royal Concert hall is nearby so I’ll assume it can only be plain excitement, i.e. something I can now live with given my exposure to seemingly exacerbated noise pollution through the years... It seems to me they’re throwing [not speaking] their voices when passing!
If only ‘I’ had a ref who could say “Silence” to the first sign of noise, eh! Dream on I say to myself!
I’ll have to wait to sing it when I get to “So deep is the night”, 1939 arranged by Mario Melfi: From Chopin's Étude Op. 10 No. 3, ergo “...No friendly star. To guide me with its light; be still my heart. SILENT lest my love should be returning...”
Plenty of fun numbers before I get to that one though. In fact every song in the EMI rendition of “The Thirties” songbook
- has that aforementioned armoury one needs to practise let alone create while at odds with the outside world.
Perhaps it’s me that’s to be silent, not the passer-by!
There’s not just armoury in Music:-
Try film too: Cronenberg’s “Eastern Promises” gave me great relief by exposing a fictional tight-knit downtown community of shops etc. when in a scene a barber asks a young chav in his possession if he wants a ticket to an important Premiership fixture. The Mafiosi and barber, who were in the middle of some kind of deal, were momentarily disturbed by the sudden and ‘thrown’ nature of the chav’s voice, i.e. a chav/ned who a rival throng of fans wouldn’t chastise in a scene where he openly urinates on a gravestone enroute through the graveyard to the exciting fixture...
I say: what fiction Mr. Cronenberg, kind of che[e]cks out (adds up) societally if you ask me!
I heard [this morning when writing this] moments ago there the noise coming across louder than normal – so I think it might be something that can be turned up and down unless it’s something mobile. I don’t think I hear it generally because it is often under the ambient noise rather than over it.
(1. calling all acousticians: could such a frequency/noise characteristics exacerbate ambient noise)
(2. Calling all psychologists: can such a frequency/noise throw or distract concentration no matter how strong minded/willed)
(3. calling all technicians: what is the bleepy sound’s purpose)
So folks, please listen to the video and tell me what you think the noise is.
I’ve explained it to another noise officer who came around to witness and to advise, but alas not being any of the above 1-3, was unable to shed light although he did concur it was unusual and threw some suggestions across as I had: telecoms; antiquated alarms; cctv equipment and powering; you name it; and they’ll all be wrong of course.
Will let you know what the factor reveals.
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note the ps later however: as during writing this I've discovered something associative to the noise, i.e. my fridge noise!!!!, which I'll come to of course later. However, now back to the unfolding story.
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...Actually, there's occasionally a grey area where transcribers’ sheet music may imply slurs or otherwise. I've had a quick glance through my book to find such an ambiguity of where a slur might be implied as follows below. I believe such to be more common for the likes of chorded 3rds etc. where one slur curve suffices. Usually the crotchet tails are strung in the same direction for this. With semibreves however there might be greater interpretation required upon the reader.
Thank goodness the aforementioned G note on "MoY" is not such an example, which really would have had an additional curve [slur] line to avoid such ambiguity, but one example that might require reader interpretation is here at "I Only Have Eyes for You" aptly at the words "Find" and "Blun-ders" where indeed the semibreve slurring for B&D is rather vague.
I've however, had another quick swatch through the book and discovered an unusually scrupulous example of slur curve applications, not merely here on every single note of a 4 note chord at "come out!___" in the score of "Ida! Sweet as Apple Cider", but throughout the score’s entirety whether or not the chord note tails have all been joined in the same direction.
Something therefore to make the studying of scores a little more interesting...!
To continue this discussion here as most online music theory sites are far too basic.
On this link here, cast your eye over 1) the first and last treble chord of the 1st bar; and 2) likewise at the word "why".
What do you see?
Yes there is a distinction between tail direction that is contrary to convention.
My explanation is that the notes that are tailed down are not part of the slur - this is very good news for resonant metal ended ECs, which tend to sustain more than wood ended instruments, ergo making for a less mushy rendition, which I'm sure Blake would have condoned for even pianos let alone metal ended concertinas.
Yet at the start of the verse you'll see all tails in the same direction here signifying all notes to be slurred. I hope you all concur as this, in my mind, improves the scores.
It's not just "Memories of You" that goes beyond convention, most scores in my songbook do likewise, which again is fantastic news esp. for us metal ended enthusiasts.
Note that the transcriber is also generally unconventional in the voice/vocal stave, i.e. with a reluctance to put tails down when expected. Why might this be, I wonder. Laziness perhaps? Calling all vocalists/musicologists Wrong here as striked out, as the transcriber has simply pointed all Bs upward, which of course can go up or down (according to basic theory). In this instance I suppose this gives a better indication to the vocalist whether the notes will be generally high or otherwise as is the case here.
Oh, almost forgot: this latter point (on vocals) is important here on this particular score (on "Memories of You") as the high notes can come as somewhat of a surprise even without reading the notation: so much so that this song has historically been largely unaccompanied by vocalists in whatever key.
Apology for double post, I was merely updating the above word/s as bolded
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...Actually, there's occasionally a grey area where transcribers’ sheet music may imply slurs or otherwise. I've had a quick glance through my book to find such an ambiguity of where a slur might be implied as follows below. I believe such to be more common for the likes of chorded 3rds etc. where one slur curve suffices. Usually the crotchet tails are strung in the same direction for this. With semibreves however there might be greater interpretation required upon the reader.
Thank goodness the aforementioned G note on "MoY" is not such an example, which really would have had an additional curve [slur] line to avoid such ambiguity, but one example that might require reader interpretation is here at "I Only Have Eyes for You" aptly at the words "Find" and "Blun-ders" where indeed the semibreve slurring for B&D is rather vague.
I've however, had another quick swatch through the book and discovered an unusually scrupulous example of slur curve applications, not merely here on every single note of a 4 note chord at "come out!___" in the score of "Ida! Sweet as Apple Cider", but throughout the score’s entirety whether or not the chord note tails have all been joined in the same direction.
Something therefore to make the studying of scores a little more interesting...!
To continue this discussion here as most online music theory sites are far too basic.
On this link here, cast your eye over 1) the first and last treble chord of the 1st bar; and 2) likewise at the word "why".
What do you see?
Yes there is a distinction between tail direction that is contrary to convention.
My explanation is that the notes that are tailed down are not part of the slur - this is very good news for resonant metal ended ECs, which tend to sustain more than wood ended instruments, ergo making for a less mushy rendition, which I'm sure Blake would have condoned for even pianos let alone metal ended concertinas.
Yet at the start of the verse you'll see all tails in the same direction here signifying all notes to be slurred. I hope you all concur as this, in my mind, improves the scores.
It's not just "Memories of You" that goes beyond convention, most scores in my songbook do likewise, which again is fantastic news esp. for us metal ended enthusiasts.
Note that the transcriber is also generally unconventional in the voice/vocal stave, i.e. with a reluctance to put tails down when expected. Why might this be, I wonder. Laziness perhaps? Calling all vocalists/musicologists Wrong here as striked out, as the transcriber has simply pointed all Bs upward, which of course can go up or down (according to basic theory). In this instance I suppose this gives a better indication to the vocalist whether the notes will be generally high or otherwise as is the case here.
Oh, almost forgot: this latter point (on vocals) is important here on this particular score (on "Memories of You") as the high notes can come as somewhat of a surprise even without reading the notation: so much so that this song has historically gone unaccompanied by vocalists in whatever key.
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2 things to report early this morning:
both a music score observation ; and a noise trouble!
I'll post on the music thing in a moment, but will update on my ear trouble:
It seems to have settled this morning, although I've been hearing something boomy underneath some nice quite background silence as I lay awake wondering what the boomy stuff is.
Now up on my feet: I put my ears to that partition walling in my practise space (open plan LR/kitchen) that appears to absorb outside noises and strange vibrations. This time things have reversed: my LHS hears little, while my RHS detects much more vibration. All I heard in the partition and part wall was hammering within the building somewhere, why between 7-8 AM - is there any end to this remarkable level of [presumably fit-out] activity (?)
So my LHS must be settled. The instrument's not sounding great at the moment perhaps due to humidity and hearing; although it's faired well in recent times during high humidity at times, probably when just out the box.
Anyway: to give an idea of my current LHS trouble, which I might have forced at bay through doing something; perhaps a remedy(?)
First: put a finger in either ear and you should detect a rumbling noise i.e. the vibration from the finger closing over the mike as it were and trapping the sound; alternatively flap your ear round to do the same in effect.
This is the same noise, which was too hard to explain in words, that I'd feel in my left ear if I pressed down onto around the top of the jaw beside the ear. Not on the RHS though.
However, this morning, I pushed hard at this area for a few prods and found that from slightly afterwards it has stopped happening.
Strange eh, but might be something positive to tell ENT when I get my appt.
Before I post on the music score observation: just one more thing - perhaps worth sharing - on what might be related to that strange vibration (when prodding the aforementioned zone below the LHS ear/upper jaw) i.e. simulating the closed up ear. - One night in circa 2005? I had the strangest nightmare come out of body experience in this very pinpoint of an area under my left ear.
This was when the downstairs shop appeared to be drilling, just before dawn, at the outside door, perhaps after a break in I thought half asleep when suddenly I felt drilling going right through the top of my jaw/lower ear, but I didn't want to move in case I disturbed the path it was wanting to take as it felt like I was in an operation of some kind rather than being under attack. It really did feel incredibly genuine: I anxiously played dead and then probably fell back asleep. Because of the incredibly real sensation of this, I've made sure that my door cannot be breached without my knowledge ever since. I do feel a little lump or cist moving around that point when I prod around - which I of course have imagined being a implant ever since the event, since the RHS is free of one, i.e. romantically speaking of course, having seen too many Jason Borne's and Jas. Bonds etc. for my own good.
It's surely the tiniest of cartilage nodules that sometimes appear between muscle junctions (?)
[before anyone asks, No I'm not going to tell this to medical staff. I've learned my lesson there. Once with slight blood weeping from this ear before and after a long 36hole golf outing, which was at the height of my troubles (in ca2009) with the downstairs shop vibrations/hums/bass frequencies etc., (which I thought were so powerful as to be possibly brain damaging) that I thought was associated and said this to the nurse: the A&E nurse asked my if I'd mind seeing a psychiatrist to which I agreed, as the blood was merely from an unhealed spot apparently - how was I to know that. I've since had a brain scan that's came back in the clear - which I think I've mentioned in a previous post - but I fought to get away from these people as it wasn't doing my job prospects any good being on a medication (anti-psychotics) that don't work for me unless I'm happy to be docile for the rest of my life!
So yes: I definitely won't be saying anything romantically notional about my nightmare. It's a tiny biological nodule, simply that, which I felt compelled to write about given that this is the first time I've prodded there and got a successful vibration free result - yippee! I did feel that the aforementioned (almost silent) boomy noises that I heard as I lie awake, during and after prodding, were almost simulating the expectant vibration funnily enough - whether Hyperacusis or Tinnitus I wouldn't know. Diagnosis soon I hope!]
Now back to music again!
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...Perhaps like moving from Alcatraz to a luxury prison, one might say!...
Back in Alkatraz, I'm afraid!
I could near die when I tried to practise the "Memories of You" stumbling blocks
I'm getting warmer though perhaps to what might be causing it. Something appears to be triggering a possible Hyperacusis in my [historically troubled] left ear. Tried to call for an ENT appointment, but as you can imagine: not a good time here in the UK to be calling for help! Will have to wait till tomorrow!
When I tried to practice in the zone without the floor thumps (oh: these back too!), i.e. well away from the hollow thin kitchen area ceiling, I appear to notice one of two things: although one of these has stopped of late, i.e. 1) a hissing noise from the plumbing - way too much for 1 person unless they're regularly bathing and bottling water for sale, which has thankfully not occurred today; and the other thing that did occur - the usual rattle-your-cage noises from above. With my ear to the party wall: it also appears that the neighbouring office fit-out works are still ongoing. With thumps from [undoutedly?] below : I don't know who to point the finger to!
Maybe I'm getting closer when I suspect that a combination of noises are mixing with the site noises and triggering the Hyperacusis.
When I put my ear to the wall: my left hear heard a drone on top of the background noise, which my right wasn't picking up. During practise, I could sense that my RHS ear was feeling like [to over-exaggerate] a bucket was over it.
Boy was I feeling sad and lost when I tried to apprehend reality coming back. I'm feeling better in that I'm sure it's Hyperacusis. If it is: one remedy I think is to overdose on the sounds you don't like so that you can get used to them. I try to play in the slightly duller acoustics area below the offending creaks/bumps and hisses (and closest to where the hum of the restaurant's fans are); but then the creaks etc. stop so I don't get the benefit, while I'm left with a left ear that won't settle. I think its something that's too subtle for hearing tests to pick up. Fingers crossed that the specialists can diagnose this!
If hyperacusis: will record the offending noises and sleep with them through the night - as if that'll help eh! as the minute I start practising I'll lose focus again! Although maybe not and perhaps worth a try.
EN&T tomorrow...!
Ultimately, I think I'm going to have to mike up the concertina and blast out. However, when this sympton has been at it's worst, the louder you play the louder the distracting noise gets if it's for example traffic revs - i.e. to the point the concertina sound becomes unenjoyable.
So be it: if my hyperacusis doesn't settle, my amp's coming out!
3 other technicalities that are bothering me - more for the technical forum: is that 1) my concertina is not fully serviced; and 2) I'll be on my third attempt at trying to restore the clarity of a struggling reed that's tongue is difficult to centre (it stabilised for a while after my 2nd attempt at it); and 3) another reed is characteristically making a strange transition clicky noise going between low and higher volume, which I've had before on occasion - I'll just have to tweak things probably.
Signing off for now - please don't hesitate to add any comments before I return with answers; or other topics, thanks!
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So far, so good!
[occasional odours annoy, that all / Horrendous noise pollution (NP) during writing this (and during an assimilation experiment/exercise that I describe later – wow, crazy stuff!) was merely taxing my concentration on the assimilation exercise, i.e. even with my windows wide open, but fortunately couldn’t abate my concertina sound since whatever was causing the ‘exacerbated’ NP appears to have remained off for a 2nd day - cool. / Perhaps like moving from Alcatraz to a luxury prison, one might say! ]
okay, I wondered earlier how it might be to perhaps do "Memories of You" with a model 16 B-T, which goes down to F2 (1 extra tone lower than a standard), i.e. same layout as mines, but with tones shifted up by one row horizontally thereby introducing additional bass notes.
now, Judgement calls!
A model 16 B-T’s low F - as occurs at several points in the score - needn't be raised generally or in its sharpened instances at the 2nd bar in the chorus.
Raising an F (or F#) on this particular score is however going to be just as relevant for the 16B-T as explained later. This stumbles on the fact that, in the score, the 16B-T has to raise very prevalent E2s,D2s,C2s as per the T-T anyway.
I now argue why I will most certainly not be transferring this song onto B-T should I ever acquire one.
In fact I fear that a 16B-T will suit very few songs in my 1930s repertoire (excepting Roberton) when compared to my T-T. So looks like I’m going to be a happy man – instrument wise. I’m sure the 16B-T will however be necessitated on occasion. I’ll let the forum know when and with what.
To comprehend the transcriber (to “Moy”) being imaginably a Concertinist: you first have to imagine an ECist not an ACist; you then have to refine this to T-T ECist not a B-T ECist. Let me explain:-
If you had the 16B-T (i.e. with range down to F2), you’d have to raise the majority of F2s & F#2s anyway because:
1) the first 3 bars of the 3 chorus phrases ascend from the root bass key in the 1st bar, i.e. they do not drop at the 2nd... Otherwise e.g. "Wak-ing Skies, At sunrise, Ev’ry sunset,.." will become foreboding mid-way when going down rather than up: certainly not a Eubie intention. Had Razaf swapped Sunset for sunrise, then maybe Blake would have thought otherwise.
2) likewise, the last phrase of the verses at e.g. “All around me - you still remain, - Wonder why fate - should be so un –kind:___” where a drop in tone would reinforce the pessimism at this point since the start of the phrase is outside the B-T’s range and would therefore have to start the phrasing on a high note. That said, perhaps that last line (lyrically) can do with a pessimist’s touch! Count me out!
This likewise applies to a large extent on the with G2 as well.
As explained earlier in the discussion, it’s hardly any trouble on the T-T to raise the G, ergo at that only necessarily slight adjustment (practically unnoticeable) at the word ‘Spite’.
However, one advantage of the ‘B-T ECist’ over the ‘T-T ECist’ is in fact merely for a split nano second when a naturalised A2 must be struck staccato just before launching into the aforementioned last phrase of the verse as quoted at 2) above. I admit having [ps: previously] felt an ever so slight injustice by raising this flash staccato A2.
In fact, with second thoughts, there’s absolutely nothing to confess about:
This flash A2 should actually be raised to acknowledge the drop down to launch the above key phrase (again at) “All around me you – you still remain,...” as repeated at “And your spell keeps – holding me fast,...”
On Piano it’s not an issue of course!
$64k Question: - Is therefore losing the 'Raise-F' (RAZ-AF, hee hee) such an advantage?
Before analysing the ‘Mem-o Ries-of’ bar, which can be played without a ‘raised F’ without detriment to the overall phrase; and ultimately before I get back into my usual practise, although I think I’ll begin that normally tomorrow i.e. due to the taxation on my mind caused by this explanation and the pointless noises [musical works] coming from certain idle site staff across the road, [nevermind, you’ve already heard of a previously horrendous and absurd example]:
Here's what I explored this morning,
I pretended that I had a model 16 B-T and therefore played key phrases by shifting up onto the next row of keys horizontally.
This meant playing an imaginary Bb2 in its proper [not modified] location and engaging an imaginary G2 occasionally when necessary.
It wasn’t a problem on the intro bar as varied in the chorus, notwithstanding that I’ve advised against dropping down to such notes here unless using Piano as this is definitely a T-T rather than B-T song!
As an aside, much greater simulation [to the T-T] would be achievable by retaining a Bb2 in the exact same location as explained later. Notwithstanding of course that this is n/a on this particular song.
Other songs might well invoke the need for lower notes than my T-T can offer – I cannot comment at this stage. I will however describe the technicality (as follows in square brackets) before concluding on my findings in respect of trialling the aforementioned imaginary layout i.e. of a model 16 B-T overlayed upon a T-T, upon the ‘Mem-o Ries-of’ bar.
[Having the Bb2 in the modified position (in a mod16 B-T) would mean replacing the G#2 rather than a D#3 as with my T-T meaning there’d then be a duplicate Bb2 on both of the lowest extreme corners of the LHS – now that wouldn’t be the end of the world, would it, albeit it might be impractical technically for makers ? It would mean losing a duplicate Ab2(G#2) in the same way that an Eb3 duplicate (D#2) is lost on the T-T, which is a slightly bigger worry given that in major keys a G# is much more prevalent than a G# - that said an Ab is not necessary anywhere on “MoY” (in the key of Eb) notwithstanding the aforementioned momentary naturalised A. If all you had to do was swap the reeds to suit the song, like a guitarist changing tunings, then you could have the best of both worlds, albeit that’d depend on being doable from makers or concertina craftsmen ]
Okay, so what about the ‘Mem-o Ries-of’ bar, then, which entails playing an actual imaginary F2 rather than where it would be as a Raised F?
No problem, it merely entails one finger swap during a note, unless (again as above) the G#2 button position was modified with a Bb2, which would naturally give me greater familiarity and choice. Again, An Ab (G#2) is not asked for in the score – so it wouldn’t be detrimental to have a duplicate Bb2. The benefit in having a duplicate Bb2 - exactly where I have one already on the T-T - would simply be to offer greater choice although not as crucial to do this as it is with the T-T.
Apologies if my editing [on what is a tough subject] has strayed into any incoherence!
I’ll cast an eye and edit over it if and where necessary over time, if I get any sorry!
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I may be wrong with this further observation as follows, which comes from the progress on the noise pollution front today, naturally. I've updated my post on the general discussion forum to this effect.
Not feeling persecuted on the NP front today has had an amazing psychological effect: as 1) I noticed my finger tips adeptly making contact, i.e. I think from having an increased sense of hand coordination due to being able to hear the instrument properly; and 2) I could anticipate that recording would be much easier without the need for headphones if it continues this way.
That said, I'm not rushing into a recording today, to capitalise! I'm still struggling with the LHS side of the difficult gliss despite massive improvements with it today, naturally of course.
As I've been able to hear my instrument clearly today and unabated I've noticed another possible sign that points towards the transcriber being an ECist, although again it's most probably in a romantic sense.
I'm referring to the way the dynamics are shaped, which appears to assist in the playing. Time will tell.
The only thing for me to worry about now, provided the area noise pollution remains unexacerbated (or in other words if my Hyperacusis stays off), is that of the instruments limitations in terms of servicing requirements. For example, near silent capability across all (not some) of the keys could improve I think with servicing. A servicing would undoubtedly in turn improve my chances of exploring dynamics.
When it comes time to record, I'll have to increase the bellow pressure enough generally so that no notes cut out during the quiet moments in the score...
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Just before we depart the subject of noise pollution: here is a link to some of the buildings I've been talking about that have been thrown up quite quickly
http://photos.kevinscotttoner.co.uk/#53.20
You'll also see in this impromptu gallery: the Sq [with Olympic logo] where I heard the aforementioned pipe band sessions.
ps: big progress today (4 June) after I posted this update. About 2-3 hours ago when I picked up for practising (believe me, normally, this is a veritable battle over the exacerbated NP), I experienced an unexcacerbated period of NP. Yes the NP was still there in extremely heavy dosages but was not exacerbated.
During practice, I heard all of the sounds that would usually throw my concentration, but unamplified, you name it, there was: site hammering and concreting works; distant house music and roaring traffic; with undoubtedly Harley Davidsons; etc.
None of this NP came before the concertina sound, i.e. in the same way that caused me to burst into dry tears of elation a couple of months ago. I feel like Nelson Mandela once again, but will it be for a mere day again, I wonder?
Having said that, there isn't the same elation this time round as it's not a first. I must have been injected with a certain hope during the first time it occurred over 2 months ago.
I of course searched for the standard buzzing within a part of my partition walling to check if this was related, none though. So it could be related. Funnily I did hear a momentary heavy drilled noise high up directly upon my wall (next to the offices) after I got back from today's aforementioned photo-shoot. Whether that had anything to do with the improvement I dunno! Let's just say it was Hyperacusis all along and hope that it doesn't return. It's as if it's been something that literally turns off...
There were just 2 bursts of pure garlic today in the flat and 1 burst of dirty extract odour that quickly cleared because of having the front windows open. Yet no such thing yesterday! I don't really mind this anyway as long as the Hyperacusis stays off -
I thought that my finger tips were hitting their targets much more precisely as a result - freaky or what? I'll update my song progress on the music/teaching forum in a moment.
ps: spoke to soon!, but rather than continue clogging up here on this post I've updated my bass/treble practise post on the teaching/learning forum instead. Good luck Tripwire on your new Jackie concertina; apologies that you fell upon a not so straight-forward topic such as perceived loudness, etc. - we appeared to merely skim over the subject really. Hopefully, more of us will share our experiences to continue the dialogue - perhaps a science paper could ensue..., cheers
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Tell me more about silent practice. Is it really totally silent? If so, how do you know if you are pressing the correct buttons or not? Late at night I sometimes try to play almost silently (so as not to disturb the sleeping folks within earshot) but find it rather unsatisfying. The bellows is so much about how I play. Using just buttons seems... crazy!
At this stage, I can't really enjoy practising near silence because of the exacerbated NP, unless it is simply unexacerbated NP on the odd occassion as discussed.
So I go for (of late) practising as low as possible, which could entail notes cutting out here and there.
I'm like you, I don't like the completely silent, merely, button tap form of silent practise: as 'hearing is believing'.
That said, for me on EC, I might actually explore this exercise more often as I probably shouldn't be airing as much as I do when in a state of intermediate exploration. Ah, I do do this to an extent already as I'm working out the 'fall into place fingering', but it's for a mere moment, then I eagerly launch into airing my quickly learned fingering option.
I should perhaps do more balancing between what I un-air play and when. Let's ironically call it "air-concertina"! like air guitar.
ps: As per your quote, I forgot to answer on '...how do you know if you are pressing the correct buttons or not?'
I've always been able to take a minimal number of glances, then get on with it. When I'm sight reading it's not really an issue. I don't do everything by memory as I do have a good map of the layout in my mind. Let call it 'mind-reading'!
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...However, I’ve rediscovered that there is an actual ‘mind way’ connotation, but it’s a psychological one involving a progression using the third finger while the middle is engaged on a semibreve.
As mentioned previously that player’s share a lot in common regarding third finger weaknesses, this brings the conversation with Ransom full circle. I’ve rescanned it here.
During the course of the afternoon I tried in vainly to make this gliss smooth. My finger tips on the LHS are actually blackened due to repeating the gliss over and over!
I can just about do it when I’m running up/down like legato scale practice – nothing too complex here. The difficulty is pulling it off during song.
2 reasons why this is difficult: 1) the re-memorisation process; and 2) because of that aforementioned lack of independency of the third finger, in this case while the middle is engaged and while the pinkie is progressing as many notes as each of the other fingers – this tells me that my third will need to get to know my brain better without the aid of the adjacent middle and pinkie. Ironically and furthermore, the third on the RHS progresses well with the more distanced index with next to no trouble whatsoever.
This therefore proves that the third struggles if the brain is heavily working the pinky and middle.
So ‘mind way’ indeed – nothing another 200 hours won’t sort (?)...
One more thing if you look at my above quoted underlined link regarding the fact that it's LHS work that involves the 'mind way' connotation:
You'll see a "L.H." prescribed.
OK, that's for Piano players, but for goodness sake, doesn't this get closer to my theory that this transcriber was an ECist at least esoterically speaking.
Here's a definition of L.H. from dolmetsch.com
LH, L.H., l.h. abbreviation of 'left hand' or linke Hand (German: left hand), indicating that specific notes are to be played by the left hand.
Mercury's famous L.H. in the very first bar of BoRHap spring to mind as a perfect little exemplar.
However, is it really necessary for pianists at the 'mind way' glissando in "Memories of You" to do a L.H.
[ps: If not, then it (imaginatively speaking) hints towards the esotericism of an ECist transcriber - something I've long contended as a romantic notion of course.]
Calling all Pianists
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Further to the last post:
The “Mind” “Way” glissando is the one major final difficulty that I’m trying to overcome.
Something’s been throwing me and I’ve discovered what.
Firstly, I’m looking at both of the copies I have to double check that there’s practically no difference. A mere couple of things difference tells me it’s fairly authentic. Great!
[i wish that guy – if it’s him - will stop the thumpy floor bounce. It’s back during shop hours in the normal way, great to have had a 1 day break in addition to the Mondays when they’re closed. Good the shop’s closed now – so no thumps, can write in peace now hoping the upstair flat doesn’t start rattling my cage next!]
Right!
I already put this in my notation curiosities gallery because I thought a G3 was getting in the way during an octave length gliss between a Bb2 and D3.
However, I’ve rediscovered that there is an actual ‘mind way’ connotation, but it’s a psychological one involving a progression using the third finger while the middle is engaged on a semibreve.
As mentioned previously that player’s share a lot in common regarding third finger weaknesses, this brings the conversation with Ransom full circle. I’ve rescanned it here.
During the course of the afternoon I tried in vainly to make this gliss smooth. My finger tips on the LHS are actually blackened due to repeating the gliss over and over!
I can just about do it when I’m running up/down like legato scale practice – nothing too complex here. The difficulty is pulling it off during song.
2 reasons why this is difficult: 1) the re-memorisation process; and 2) because of that aforementioned lack of independency of the third finger, in this case while the middle is engaged and while the pinkie is progressing as many notes as each of the other fingers – this tells me that my third will need to get to know my brain better without the aid of the adjacent middle and pinkie. Ironically and furthermore, the third on the RHS progresses well with the more distanced index with next to no trouble whatsoever.
This therefore proves that the third struggles if the brain is heavily working the pinky and middle.
So ‘mind way’ indeed – nothing another 200 hours won’t sort (?)
So to conclude: there is 1) a psychological [third finger] difficulty at “mind way”, which I’m hoping can be overcome with time; 2) a horrendously prescribed difficulty at “Tears”, which can be eventually overcome [i can now do it – having an inch is okay] by adopting Blake’s index finger technique albeit he’s a pianist curiously and of course by practise; and finally 3) one tremendously minor modification necessary at the word Spite unless you have an expensive 1930s Model 16.
Right: that’s my “Eubiesees” novel completed I think.
Maybe I’ve got Irish roots after all, eh!
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Further to the last post:
The “Mind” “Way” glissando is the one major final difficulty that I’m trying to overcome.
Something’s been throwing me with this and I’ve discovered what.
Firstly, I’m looking at both of the copies I have to double check that there’s practically no difference. A mere couple of things difference tells me it’s fairly authentic. Great!
[i wish that guy – if it’s him - will stop the thumpy floor bounce it’s back during shop hours in the normal way, great to have had a 1 day break in addition to the Mondays when they’re closed. Good the shop’s closed now – so no thumps, can write in peace now hoping the upstair flat doesn’t start rattling my cage next!]
Right!
I already put this in my notation curiosities gallery because I thought a G3 was getting in the way during an octave length gliss between a Bb2 and D3.
However, I’ve rediscovered that there is an actual ‘mind way’ implication, but it’s a psychological one involving a progression using the third finger while the middle is engaged on a semibreve.
As mentioned previously that player’s share a lot in common regarding third finger weaknesses, this brings the conversation with Ransom full circle. I’ve rescanned it here.
During the course of the afternoon I tried in vain to make this gliss smooth in vain. My finger tips on the LHS are actually blackened due to repeating the gliss over and over!
I can just about do it when I’m running up/down like legato scale practice – nothing too complex here. The difficulty is pulling it off during song.
2 reasons why this is difficult: 1) the re-memorisation process; and 2) because of that aforementioned lack of independency of the third finger, in this case while the middle is engaged and while the pinkie is progressing as many notes as each of the other fingers – this tells me that my third will need to get to know my brain better without the aid of the adjacent middle and pinkie. Ironically and furthermore, the third on the RHS progresses well with the more distanced index with next to no trouble whatsoever.
This therefore proves that the third struggles if the brain is heavily working the pinky and middle.
So ‘mind way’ indeed – nothing another 200 hours won’t sort (?)
So to conclude: there is 1) a psychological [third finger] difficulty at “mind way”, which I’m hoping can be overcome with time; 2) a horrendously prescribed difficulty at “Tears”, which can be eventually overcome [i can now do it – having an inch is okay] by adopting Blake’s index finger technique albeit he’s a pianist curiously and of course by practise; and finally 3) one tremendously minor modification necessary at the word Spite unless you have an expensive 1930s Model 16.
Right: that’s my “Eubiesees” novel completed I think.
Maybe I’ve got Irish roots right enough, eh!
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Gary - I downloaded Frank Butler's tutor the other day. I had started looking at it but didn't get very far since I didn't have an instrument yet. I also got a copy of the old Alistair Anderson tutor "Concertina Workshop" as another resource. I reckon between the three of them, I'll find enough helpful hints for learning as well as a larger selection of beginner tunes to work with.
My Granddad passed on the Frank Butler one to me in the early 1990s. Shortly before the mid 1990s I acquired the Richard Carlin one. I still have both, although the Butler binding has loosened off through use. I concur on Butler, but I'd also recommend Carlin's guide as an intermediate companion.
Even after advancing with Carlin's I revisited Butler's to my surprise. I haven't seen Anderson's so cannot comment
Funnily my cousin recently acquired a concertina, which I've not seen/heard yet, but for his birthday recently I passed him a copy of the "Handbook For English Concertina" by Roger Watson. I'd acquired this from my family relatively recently and I hadn't bothered to scrutinise it (as a tutorial book) before passing it on. It looked good at a glance, but can anyone say how Watson's compares with Butler's or Carlin's?
Welcome to the forum TennEC
As bolded above, I forgot to say that Danny (my Granddad) mentioned that this (Frank Butler's tutor) was considered to be the best tutor book despite a great appreciation for Anderson from the specialist who recommended the book to him. That's why I concurred with Butler earlier. I see Alistair Anderson's first tutor book preceded this at 1974. I obtained the Corby Crag album I'm sure 2nd hand out of interest, but I have no records now - so I've not heard AA in a while. I must try and catch up.
Please remember: it was the early 1990s when I was informed that Butler's was the best tutor book. Whether that's still the case I wouldn't know!
reading music
in Teaching and Learning
Posted · Edited by kevin toner
I used the word "notwithstanding" as other worthwhile comments were made.
In the absence of actual tutorials, a plethora of music theory websites online can be sourced for a very basic grounding, otherwise a hard copy of a music theory encyclopaedia or manual would be handy, injury permitting. A first port of call might be the music pages at the back of a dictionary.
The 1988 ('89 reprint) Chambers/Cambridge "Chambers English Dictionary" - formerly the "Chambers's C20th Dictionary" ('01) - has such! [an aside: I asked my gran for this for my 20th in 1990; and asked her for the 1991 Oxford Thesaurus 2nd Ed (1997) for my 30th knowing how great the former had been as a decadal birthday present.]. Anyone else's dictionaries have the same?