RAc

just to bring in a different line of thought - the original quote reads "until." Although this sort of implies "quantity," it can also be read as "quality." In other words - playing the same piece a bazillion times doesn't necessarily make it better. Maybe the pro also has techniques to practice the piece right with less effort, no?

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To my best knowledge, no, they don't. The final test would be to try from a different machine. If the problem still shows, I believe it must be on the server end of things (something got messed up with your profile), so you should then contact the forum admins... best of luck!!

Really obnoxious... have you tried deleting the cookies? From my limited knowledge of browser technology, I can't really see how this could be related to anything but cookies (unless the Web server randomly treats some user cookies differently from other users', that is...)

That's strange, Jim. I go by New Contents as well, and I haven't experienced any of the problems. Could it be that your machine has troubles with Cookies (eg the c.net cookie placed in it has somehow "frozen in time," eg been set to read only)?

yes, this is a nice video, thanks for posting. However, it's already been discussed on this forum at least once: http://www.concertina.net/forums/index.php?showtopic=17218

Thanks for the clarification, Geoffrey! I have to admit that my perception is probably limited due to the fact that I haven't so far played other Cranes than the ones who have the traditional wrist strap. I can see that resting the instrument solely in your thumbs could be an alternative; would be interesting to try that some time. And since the instrument restored by David (looks like a very nice job as far as the pictures can reveal, by the way) does not appear to have an air button (or does it? what is the little lever thing on the right hand side next to the thumb strap?), the thumbs could be dedicated to holding the instrument, leaving the other four fingers free for playing (requires a pretty strong set of thumbs though I would assume, though). Thanks again!

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why, Geoff, thank so much for sharing your thoughts on your listening experience (and by the way, all the best wishes for the coming year to you and everyone else on C.net). I have been wondering myself what the genesis of this set was. The CD booklet of "At the Heart of It All" doesn't tell, it only lists Donald Shaw (who plays Paino and Accordeon for Capercaillie) as the co-author of "Alistair Sutherland's" and Manus Lunny (Bouzouki, Guitar and vocals) as author of "The Foggy Stew." Unfortunately, it's hard to contact Capercaillie outside of Facebook (which I am not and won't become a member of) for details. I too do believe that the two pieces, even though they are joined as a set of marches, are drastically different from each other. It would be very interesting (and useful for playing it autherntically, too) to find out the true history of the set. I tend to agree that the second piece is much more like a march - it makes me think of a soldier who's done with and worn out from the madness and wishes for nothing but a normal life at home, so your image and mine are very much alike. The first piece to me is nothing like a "march" at all. Maybe it resembles the promise that many soldiers are given to lure them into the ugliness of war - somewhat light hearted, easy, carefree... just so to juxtapose this with the cruel and terrible reality of what they really signed up for... I don't know. I just like the set, and I like it that it evokes so many images. Thanks again, Ruediger

Hi there, I guess I owe everyone a late apology (aside from the one I owe you for not contributing very well recently, but that's a different story). I realized that putting out "works in progress" may not be a very wise thing to do because, well, if the rendition is known to be incomplete, why comment when there is a chance that the comment addresses an already known shortcoming? I hope to be eligible for a second chance though; I still like the piece a lot and I do believe that my arrangement has some substance. So I've been working hard to get it as good as I possibly can - I also did the second march in the set (the Foggy Stew) along and managed to speed it up alomst to original. So, for your listening pleasure, here's a version of the march set that I would consider "played as well as I possibly can get it at this point," of course knowing that one can always do better. Thanks for listening! https://soundcloud.com/rac-13/alistair-sutherlands-marchthe-foggy-stew

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this is a close up of a wooden chandelier frame in the traditional Heidelberg restaurant Schnookeloch (http://www.schnookeloch-heidelberg.de/). Anyone care to identify instrument's type/manufacturer/model year?

@Howard, Geoff and Matthew: Thanks for trying to interpret my moronic gibberish. The only excuse I have for putting it out is that a) I should stop trying to juggle bits and bytes and thinking about music at the same time and with my first 48 Crane I used to have the problem that I ran out of air, and one of the pieces of advice I got was to cut down on notes to be played at the same time, and apparently I haven't tried otherwise since then. (the only other feasibly explanation would be dementia, and I'd be too scared to follow up on that). Of course all of you are right. There is no substance in what I wrote, and I kindly ask all of you to forget about it. And to prove just how wrong I was and in order to at least contribute something reasonably significant to this discussion, a few minutes ago I hastily recorded myself playing something with both full chord accompaniment (first time around) and single note (second time). It's a piece taught to me many years ago by Jimself, and apologies for a quick and dirty recording (I just couldn't expect my wife and my dogs to take even one more take): http://www.ruediger-asche.de/tidbits/yc_demo.wav . I think it clearly proves that there is no loss in full chord accompaniment. I DO feel sheepish, I really do. Again, sincerest apologies.

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I just caught up with this thread and felt like making a remark about the feedback issue: In terms of proficiency and musical ability, everyone of us is somewhere on a scale between complete beginner and veteran pro. I understand that my status currently would at max allow me to make helpful remarks about renditions which a) are so "below" my own current position that I can make improvement suggestions which I am absolutely certain to be helpful (for example obvious rhythmic errors; there aren't that many contris satisfying that criterion) or strike me in terms of taste and interpretation. When I see contributions by giants like Alan Day, David Barnert or Randy Stein, I couldn't even begin to consider comments aside from generic (and useless) "likes" because what happens up there concerns questions of subtelty that escape my ear. Except maybe (very rare) renditions that completly blow me off my feet and leave me with only a "wow" to whisper... Not receiving a great deal of feedback myself, I've come to the conclusion that this means that the contri isn't either that bad that there are obvious errors to point out nor that good that it evokes the "wow" effect. Which in itself is a good thing to begin with... I have in the past made a few suggestions of type a) via private messages with mixed results (where I define "result" as an indication whether the addressed individual considered that feedback helpful or nor), always fearing that I might either have discouraged that individual or presented myself as some kind of wanna be teacher. Funnily, *giving* feedback is a situation not unlike *waiting for feedback* with all its anxieties, at least for me. Maybe one way out (if technically possible) would be to make limited optional anonymous commenting possible (of course such a strategy would bear a bashing potential which however I don't foresee in this community). As for the TOTM itself - I think it's great and I do follow it regularly, and I can see going back to contributing to it. The repertoire assembled in it is a true treasure box. Some of the tunes I studied towards it still are corner stones in my repertoire. Thanks!

Thanks Wolf!

Thanks, Don, well appreciated, I'll correct the link. Thanks Hansi as well.

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? No replies even though many users here use Soundcloud? Or have I simply overlooked already existing threads about the issue (I di my very best to search before hand, sorry if I missed something)? Thanks again!

Hi there, I've noticed that a lot of you use Soundcloud to publish their tracks. I consider jumpin on as well, but I'm kind of confused about the cover policy (see here: http://help.soundcloud.com/customer/portal/articles/1480502-can-i-upload-cover-versions-of-my-favorite-songs-to-soundcloud-) ------------------------------------------------------------------------------------------------------------------------------------------------ Can I upload cover versions of my favorite songs to SoundCloud?You'll still need permission from the original copyright holders of a song before you can post your cover on SoundCloud, even if you provided the vocals and played all the instruments. After all, the song itself is still someone else's." ----------------------------------------------------------------------------------------------------------------------------------------------- Makes sense to me, but how would I go about obtaining the permissions? Does anyone have real life experiences on how to do it, or how do those of you who publish covers handle the issue? Thanks!!!