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Everything posted by Ransom

  1. She plays the bandoneon better than I ever plan to, so cheers there. ? I suspect that her musicianship is adequate to many purposes, but I agree that this is not a flattering style for Bach. I think that's some of the reason I can't stand Glenn Gould's take on the Goldberg Variations that everyone raves about.
  2. I'm not very optimistic about your chances. I expect the resistivity of the glue dots at least (if not the Saran wrap!) to interfere with the capacitive touchscreen operation. Do let us know if it ends up working-- that will be interesting news!
  3. The nice thing about counting the ridges is that you can see them all even with the bellows closed. So they're a particularly natural thing to count.
  4. Nah, Englishes have their outside rows aligned with the inside rows. This looks more like the Stark/Chromatiphon duet that Wim Wakker makes.
  5. The silly eye-roll made me uncertain. =) In your computer's defense, it is a single-reeded sound, where most of the accordions are a little wet.
  6. I can't tell whether you're joking, but that's totally a harmonica.
  7. Are you working the bellows ... improperly? What makes you think so? Are you getting particular results that you wish were different in some way?
  8. Until somebody finds a straighter youtube link, here's what I'm using to imagine what we're talking about: http://www.youtube.com/watch?v=RvTnpbERuOg
  9. Reminds me a bit of the neckstrap arrangement that Wim Wakker uses and advocates. Though I suppose there's a chance you could aggravate your cervical spine whilst you placate your traditionalist public. =)
  10. Some Englishes from back in the day had red C's, but you can usually get a pretty good idea of where you are from where the thumbs anchor you.
  11. I think Greg Jowaisas tends to have a few of those on hand. You might be able to spare yourself the rigors of transatlantic shipping and currency conversion.
  12. I have 13, 14, 17, 18, 19 and 21. If any of those are missing bits, I might be able to scan them for you.
  13. "Notes" here are what we would call "reeds". "Screwed" would refer to the method by which the reeds were attached to the frames.
  14. The thumb mark from where the owner has evidently been holding it backwards?
  15. Yeah, the tune-o-tron doesn't do it either. But I was confident that somebody would support it, because it's in the standard: http://abcnotation.com/wiki/abc:standard:v2.1#clefs_and_transposition
  16. Yeah, I think Kermit has a middle road where he stays down in the C longer, but finishes on the D. http://www.youtube.com/watch?v=jSFLZ-MzIhM
  17. While I think there ought to be a way to do what you want, I'm not quite sure why you want to. The "original" posted by Jim B. doesn't indicate that the harmony should be an octave lower, nor am I convinced it would sound better that way. My recording was with both parts in basically the same range, and I'm sure that's what was intended. He might be trying to do it because I did it. I don't necessarily strictly prefer it there, but I do think it sounds nice, and I thought the option was worth a look, and I figured it was a trick to accomplish and a breeze to undo.
  18. Somebody must want this: X:1 T:Xotis Romanes M:4/4 L:1/8 %%score (Melody Countermelody) K:Am V:Melody [|: "Am"Acea Te2dc | "Dm"dede d4 | "G"dgdg Td2cB | "C"cBcd "E"edcB| "Am"Acea Te2dc | "Dm"dede (d2d)d | "G"gfed "E7"c2B2 | "Am"(A4A4) :|: "Am"AccB BAA2 | "C"ceed dcc2 | "Em"egg^f fee_e| "E"(e4e4) | "Dm"dffe edd2 | "Am"ceed dcc2 | "F"eddc "E7"cBBA | "Am"(A4A4) :|] V:Countermelody octave=-1 [|:(A4A)cBA | (d4d)fed | g2B2 gfed | efed cBA^G | (A4A)cBA | (d4d)fed | g3f e2e2 | Aceg edcB :|: e4 d2c2 | g4 f2e2 | b4 a2^f2 | (^g4g4) | a4 f2a2 | a4 e2a2 | a4 eddc | (c4c4) :|] Note: the convertor at http://www.mandolintab.net/abcconverter.php will respect the octave adjustment, whereas the local Tune-O-Tron will stomp the two lines on top of each other. Take out the %%score line to separate them onto staves. If you use the midi playback at mandolintab.net, you might want to remove the "Am" &c. chord symbols-- they play as a rather obnoxious oom-pah.
  19. Sweet! Hey, and I really liked that Beatles thing you put up the other day, too. Try a twist on that opening riff, and see what you think: B-D-G D-G-D C-E-A !
  20. Because that is what the book says to do (D-F-G) and I don't know any better! Thanks for this, I think that it explains everything. I had to think about what you said before I understood it. I understand that you are saying that the B-F in this chord is the important interval - yet this interval is not in the fingering suggested in the book. Yeah, D-F-G is a really close voicing. Even playing B-F-G might sound nicer to you. I guess you probably want the G on top for melodic reasons? Otherwise maybe try it at the bottom. Another possibility is to keep all the closeness and dissonance, but play that chord really staccato. Just punch it, then hang for the rest of the note value, then play something nice to resolve. Play around. Find something you like. =)
  21. Why does your 7th chord have a second interval in it? Play the root at the bottom, not the top. For that matter, you can leave out the fifth if you like. The important interval is that diminished fifth between the major 3 and the minor 7.
  22. Appropriate, considering that Jody gives lessons using Skype. But depending on the quality of your connection, maybe Skype and Hope would be even more appropriate. If you arrange a lesson from Jody where a decent connection will allow you to improvise with each other, might you be said to have achieved Hope, Skype, and a Jam?
  23. Well, there's your problem. You've deleted your cookies so much that Google can't figure out what you're really interested in. No wonder they've got to scrape the barrel. =)
  24. You sound like you don't want to miss the "opt out of interest-based advertising" links at the bottom.
  25. You may be able to adjust relevant settings at https://www.google.com/settings/u/0/ads or someplace like it. (Not an easy page to find!)
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