Wolf Molkentin

Well, I particularly disliked the "extra beat" (or extended measure, following the ABC file) near the end of the B part (the "hiccup", as Jody has put it) right from the beginning. Thus my very first decision had been to keep and allocate all the notes (without changing any of them) just within a regular 4/4 measure (feeling confirmed by your statement then). I still wasn't sure what you were saying here. Then: So it sounds like, as per my suggestion, you tacked the "hiccup" onto the previous measure, so that the last 4 bars are in strict duple time. Is that right? It is not meant to be exactly like that, David. My solution had not been guided by "hearing" that four 8th notes as end part of an extended measure but rather by the simple idea of allocating all notes (shortened as required then) within just two strict measures. Thus these two measures would read as follows: X:1 T:Abbess, The T:B-Part, Measures 12+13 M:4/4 L:1/8 K:G "Am"c) (3B/c/d/"C"e f "D"!fermata!d3/2 (cBA |"Bm"G) F"C7/G"E (c "D/A"A2-"Am"A) (F | In other words: Two notes tacked to the previous measure, two notes remaining in the next one... That's what I had written down (aside from the C7-chord, which came later) prior to reading your first remark on the "hiccup", which confirmed me in terms of "disliking" and made me curious whether you would approve of this sort of dogmatic solution... - and now I'm curious as well if you will hear these notes from my playing after all, once I submitted the dots...

Glad that you could buy it, and are happy with it! The top button may in fact have at least one reed removed in order to create kind of an air valve... With an Extended Treble, you may readily do without that highest "bat" tone... I wish you all the best - enjoy your Excelsior like I do mine!

That's really fun to listen to, great playing - but a bit disturbing to watch what the melodeon player is doing with his right foot...

No "null" votes so far, pretty unusual...

I got that, and really would like to give the tune a try myself. But given the amount of unpostponable work to be done these days I'll have to save that demanding project for later....

That's very impressive, Randy (and thus I'd mentioned your solo take myself before)! Nice further renditions (including the one from RFT) too, thank you for posting!

As long as it's not the other way round I wouldn't worry. But seriouly, it's the same with me, and anyone else (with the exception of those with such point/s), I believe (you only see your own count). Might serve as kind of a blame from above...

As always - thank you for the critique and suggestions Geoff (and commenting on the arrangement, David), much appreciated! But... you know, I'm kind of stubborn and keep trying to play what I intend(ed) to, thereby avoiding the downside impressions as reported. So here is the next step, just recorded after a nightly 3/4 of an hour rehearsal in front of "the red light". On the one hand I'm still disappointed with the outcome as yet, on the other hand it might serve as some further proof of having enough fingers and even enough (if rationed) air... And Rod, I'm not in complete agreement with your statement. Music making should be, and is fun and all! But working on the score here and there, checking out (even weird) chords and discussing the process might be belong to the fun - and does, as far as I'm concerned.

Well, I particularly disliked the "extra beat" (or extended measure, following the ABC file) near the end of the B part (the "hiccup", as Jody has put it) right from the beginning. Thus my very first decision had been to keep and allocate all the notes (without changing any of them) just within a regular 4/4 measure (feeling confirmed by your statement then). My understanding of the "folk process" includes the legitimacy of such modifications (in order to personalize a tune, and even learn to like it after all, as has been the case here). Apart from limited spreading of ones version, may fellow and future folkies decide whether to adopt them - or not.

Started with a double handicap (disliking the tune initially and suffering trom a sore thumb) this time which I've overcome more or less by now, here is my first attempt on The Abbess. David (Barnert), you will realize that I agree with you on another detail as well... => Edit: better listen to this (slightly more successful) recording of the identical arrangement.

Being an EC player myself I'm experiencing a sore right thumb (only worsened by an unlucky fall) for weeks now. Since I decided to straiten the right strap significantly the thumb seems to recover in spite of resumed playing. I had to realize that my playing (whilst supporting the right end of the instrument with the right knee) is quite far from being symmetrical. Albeit performing the pushes and pulls with the left hand it's the right hand that is apparently challenged more (due to the resistance it has to put up?). Maybe these observations apply to your playing in any way too.

In my case you are right - I play a Treble EC (Lachenal Excelsior).

There's a lot of truth in these words... And it wouldn't really find it satisfactory to hear the music, played in manic speed, only due to our knowledge from the dots or "unhurried" (Geoff) playing. For instance we could look at certain ornamentations: Being able to play them quite fast may feel cool (yes, it does!), but for both listeners and player it's more rewarding IMO to allow oneself even a little delay...

Possibly a bargain for those who can buy it without custom expenses...

Remarks from a non-Anglo-player: Playing accross the rows seems to have been established due to the huge amount of (cheaper) German 20b C/G concertinas available in Ireland at former times. From today's point of view it makes playing in D more difficult, but - the phrasing benefits from overcoming these difficulties. If you are not devoted to "ITM" (in today's strict sense) but just want to play some Irish music you can of course do it more easily along the rows, be it on a C/G (if you don't want other players to join you) or an a G/D. A D/A might fit "Irish" needs as well (or even better?) but you would miss the "English" key of G then (no C natural). Lachenals sound nice, and Theo Gibb has an excellent reputation as a (repairman and) seller of concertinas and melodeons. Those 250 GBP might be well invested therefore.. But you would have to make a decision then: keywise definitely Irish, but stylewise lesser "ITM" phrasing... Anyway - good luck with your further concertina adventure...!

But that's (apart from the intro) bellow reverse technique, isn't it? albeit in fact reminding of your blues rhythm, Stefan...

Our member John a.k.a. Anglo-Irishman seems to play one of these regularly.

Fortunately there's Shaun (and his Anglo-playing mate) still left...

(mixed up threads)

Here's just another concertina sighting (currently tagged with "Ziehharmonika" on eBay): It's a screenshot/postcard from the German "Sandman" serial (originated in the former GDR "Fernsehfunk" but kept up after "Wende" and reunification for at least several years). (O.k., it might rather be a German 20 button "Scholer")

O.k., hence I'm female, 18-24 as yet...

That's just what I am experiencing - not from sharing the computer but sharing the IP address with family members, and of course not limited to shoes...

It will at least be quite annoying (and difficult to get rid of)!

However, pretty nice by now - and quite "Anglo"...

You'd get it significantly cheaper this week! ...with the extra of (no, not another pic, but) a quite friendly and exhaustive reply: