Wolf Molkentin

This should do it: X:1 T: See You All an Saturday C: Dottie Beck M: 3/4 L: 1/8 R: Waltz FG | A2 d2 AG | FD D2 EF | G3B GF | E4 EF | c3c dB| A2 E2 cB | A4 BG |F4 FG | A2 d2 fe | d2 A2 ef | g3g fe | B4 ef | g2 g2 ag | f2 A2 ef | g3e ce | d4 || FA | f2 f2 fe | ed d2 ef | g3g fe | B3A ce| a3b aa | Ac ea Ac | eg Ac gf-|f4 FA | f3f fe | ed d2 ef | g3g fe | B4 ef | g2 g2 ag | (3fac' d'2 ef | g3e ce | d4|| W: Dedicated to Bob Farrall April 2014 Best wishes - Wolf

Thomas, from 1:15 to 1:30 you seem to deliberately make use of that rhythmic shift in the B-part (by playing straightly along the bars) which Jody had been afraid of... Edit: A closer look reveals that the A-part is quite of the same kind: There appears to be an emphasis on the second half of the second bar which results in the impression of a 9/8 bar. Your version (other than mine), Thomas, keeps it rather strange but doesn't seem to completely avoid the effect. Thus I'd say it's in the tune: an appealing irregularity finally adding up to 16 complete bars - which might have qualified it as a candidate for the "theme" thread as well...

Here's my next Zelda (thanks to Thomas and Jody for inspiring me to playing the start in a more bouncy way!) (Edit: noticed that I sort of did that echo effect with part B which had been on my mind from the very beginning; might develop it to some further extent I'd say)

This would be my guess too. As for me, concertina playing is very much about bellows controlling the tone, the attack in particular. I would believe this to be hardly done at the point of bellows reversal. If you'd thus have to care for the monent of reversal, you would be playing just like we're use to play our ECs or Duets. This would still leave it open to reduce the amount of reeds, but you wouldn't expect a revolution of your playing capabilities from that any more...

Positively a nice one, Jody!

Hi Chas! Albeit I'm very much focussed on that one person, one concertina, happening live thing myself, I must admit that I realy like the third section too! Best wishes - Wolf

Nothing to laugh about in any way, and you're very likely to proceed further on in a little while... I'm glad that the hints appear to have been of some help! And as to speed, I might slow it a bit down myself...

So here is my first approach to Zelda. The four takes were rather to make the A-part sound as intended, not for the B-part... (uncut live recording as before - extra percussion effect on the same track, rattling buttons )

Interesting (but not disappointing!) to hear it without reverb added. As expected from listening to the processed version I'd suggest 1/3 of the effect will do it. The original version will allow further analysis and self-criticism, but for listening and delight some reverb (be it natural or synthetic) suits an elegic or hymnic tune like this one well as to me. Best wishes - Wolf

That made my day, or at least noon time, Terry! And as to considering frequent tuning, David had described the instrument as untuned, without any marks on the reeds which are in old pitch. Interesting thread! Best wishes - Wolf

Hi Julie, welcome to concertina universe! As to your request, are you playing Zelda in A minor? If so, you may simply try out every major or minor triad which is playable with white piano keys at different points of the tune: C, F and G major as well as D, E and A minor, just for a start. Best wishes - Wolf P.S.: Although I would do so when playing Zelda, E major might replace E minor, as a matter of personal taste. Looking forward to listening to your recording, be it single line melody or with some harmonies added...

Plain, simple and beautiful, Pete!

Just another thought - let'a assume your French attribution is it, Terry, but in the manner of sans-per... whatever..., as referring to the sort of lose (= without ...) connection as appropriately described by Pete.

Peter, thanks for temporarily switching to nerd mode to enlighten the uninitiated...

Very instructive explanations, Jim! And a jolly recording of that Greek tune with a bit of Scarlatti touch in the harmonies to it - really like it that way! Best wishes, and see you soon - Wolf

And the seasons they go round and round And the painted ponies go up and down - We're captive on the carousel of time. We can't return, we can only look Behind from where we came And go round and round and round In the Piccadilly Circle game. It's confusing, all this going round in circles, but it has occurred to me that, with Edgar's Sore Point eliminated - he is responding to treatment in Paddington Hospital - that leaves the diagonal open for a sling-shot out of the Circle Line and straight to Mornington Crescent Mr Chairman, I'm sure that you will confirm the validity of the move. I'm in doubt whether I have to blame my most recent move for having cleared the way..., as I had thought myself safe due to not keeping up-to-date with the developments at Paddington Hospital. Won't be that careless next year, I promise... For now I bow to the superior player!

Hi Terry, I'd say there is sense in the usage of such tools with the concertina, as the leakage not affecting the tone will result in a serious loss of air and thus force the player to possibly undeliberate direction changes. As to your checklist, if you would be executing the "hang test" for a first impression of airtightness, you might rule out the bellows' condition in case of a poor result by identifying (and then adjusting) some leaking pads. Best wishes - Wolf

Adrian, I chose this thread for my feeding back: what a fine parcel of baroque and renaissance tunes, and as said in the booklet: a freer touch on what is called Early Music, tastefully executed by you and Susanna! All in a Garden Green has been one of my favourite tunes ever since I heard a Viol Consort playing it, and your version reall adds something, as Geoff remarked. Always loved The Fairy Queen as well, and am delighted by your renditions as to that. There's so much more... After all (and much repeated listening), this CD (which my wife likes too, I'm supposed to add) is a very lucky find as for me! Best wishes to the two (resp. three) of you - Wolf

Dan, I really appreceate these pieces of information! I knew about Zimmermann but hadn't been aware of the concertina relation. And the video gives in fact a taste of another instrument well worth the effort, so thank you! Best wishes - Wolf

We had these discussed before, quite recently I'd guess. I believe they were just German concertinas with an appealing design...

I'd guess an addition as desired might be executed with a concertina reeded Anglo concertina as they might have some empty reed chambers both in a parallel and a radial layout. I don't know if one would be able to add reeds up to the number of 60, and using heavily bended levers might be another issue. But first of all, this isn't very likely to be done with accordian reeds in a cheaper instrument because they will already demand all space provided. Anyways, discussing this will be useful only regarding a certain instrument which you wanted to keep if only the number of buttons were sufficient.

That's at least what the OP says:

Yes, there were inspiring days and memorable moments! As to me too, thank goes to many, in particular to Robert for making the whole thing happen, Rainer and Adrian for running their Jazz and Harmony classes - and Thomas for some great harp playing! Wolf

I'm sure you have it right, as I believe this to be a piece of (dangerous) information which I even had at some point but seem to have sort of blocked out until today... As to the OP, the lack of regularily getting a belting might be part of the problem...

In that case I will go to North Ealing instead of the other one. Well - while it's nice to take the scenic route I think that this game has gone on long enough, so let's kick things up a gear to..... South Kensington And the seasons they go round and round And the painted ponies go up and down - We're captive on the carousel of time. We can't return, we can only look Behind from where we came And go round and round and round In the Piccadilly Circle game.