Wolf Molkentin

Perhaps 'twas something else they gave you?

That's one to enjoy, again...

Funny! The "more vigorously" type, this time used for single note melody playing... Why not leave it to the "individual choice and preference" (Rod, again)? And, i.m.o.: The way Simon Thoumire is demonstrating his approach comes quite natural under the hands... By the way, my long-standing personal reference for the "tremolo" effect: http://www.youtube.com/watch?v=kAtH0RJzaN4&feature=related

Thank you for the post (the latter video being particularly moving). I was just trying it out in a similar way (like he does it around 0:40) as a result of our forum discussion this evening - feeling further encouraged thereby now... (and as well challenged by the beauty of his playing once again). Yes, you can use it like that, but you might as well do other things with that whole lotta shakin'...

I think that Jody got it right. It looks to me like they're both doing the same thing with the concertina - the South African player is just doing it much more vigorously. D'accord. I would like to add that Piet Visser (same as some other players overthere) is using tremolo in a more rhythmic way, thus emphasizing harmony-backed structures, whereas in the Noel Hill example it appears to intensify a melody or certain parts of it (which may make it a suitable substitute for the none-available - pitch - vibrato then; as mentioned above by Jody Kruskal in his former post #10).

Having once considered going for the Maccann system myself, I remember a guess of 10 to 20 players in total, but cannot tell where it actually was, I'm afraid.

Trying to insert "my" South African video as "media" - now that I learned this could be done here : http://www.youtube.com/watch?v=Ykai8tI1orY&feature=related P.S.: I myself do appreciate the coexistence of "academic" and "practical" viewpoints a lot.

Yes indeed, , done with that weakly sounding Stagi... Concerning the ornamentation, I agree on the fact, that ornamentations and grace notes do appear in so many types of music - it's just a matter of the style... of the ornamentation itself then. And Jeff/Boney: I hear him featuring or proposing a "new" glissando type use of grace note(s) through his exercise, and I take that as a suggestion well worth considering... Will hardly suit for "ITM", but somewhere else, I guess...

Thus an "H" would make it significant...

Thank you (both) for pointing me at that pink elephant video, which I really enjoy too... So you are the guy playing that "whistling rufus" so nicely, having therewith delayed my overdue change of course from the Anglo to the EC considerably!

Things complicate i.m.o. because of the way a "tremolo" effect (on the amplitude) is indirectly generated with accordions and melodeons, as you will know (the "wet" tuning of - at least - double reeded instruments through slight differences in pitch, thus also modifying their basic sound itself). Apart from this (and thus talking about the usually single reeded concertina again), I have heard a lot of tremolo in your understanding (but including some harmonies) done in Boer music (of which I'd like to provide a fine example here; they use/d to play lots of Anglos over there apparently).

same as mine, right? (no need to apologize for a fault concerning your own business) And... how does that 'tina happen to be in such a pristine state - do you know?

Wow, simply amazing! no abc, but gif and pdf (as well as midi). Dozens of tunes alone from "my" beloved Fanø... Thanx a lot!

You seem to have missed just one of the numerals; I'd suggest the following. Apart from that, I'd be more than "interested" in this obviously lovely instrument, if I could only afford it...

Well..., that depends... (there would be a total of seven "modes" in any case). This one is written in the key of "A", as you may read following the "K:" (for "key" ) just before the first note (and it sounds like that indeed). Means "A major" or "A Ionian".

"Sounds" nice when just reading the sheet. Impatiently looking forward to rehearsing it. Thanx a lot!

You're right! I apologize for losing track of the topic. I guess it was just my newly acquired enthusiasm for the layout of the EC. Holding mine in my hands for the first time finally (having considered the diverse systems one after another before) had been sort of a revelation for me, because it suits my personal approach of musical "thinking" so well...

It's one of those things with "similarity"... Would consider buying it, had I not "my" Lachenal (with which I am very happy), and not the budget for buying a second one for the time being, unfortunately. (edited only to better "say it the English way", as I hope I did...)

Yes indeed. Very nicely told... Thanx for this one

I find myself having to dispute this, I'm afraid. A "third" means the interval between the first and the third, the second and the fourth and so on note of a certain scale, which always means two steps, as you'll see. The difference matters, because a "third" consists of three or four semitones (what makes a "minor" and a "major" third) then. ...and this is what one will find taking the described zig-zag course on the EC keyboard, or assembling chords in "triangles" and so forth.

Nice concept indeed. Thought he'd been talking about (perhaps then heavily overblown) harmonicas in that hospital...

This may very well be so. Nevertheless I'd like to point to that fantastic record of A. L. Lloyd named "Leviathan": Really great accompaniment of those beautiful and haunting songs of the whalers (Topic Records has sadly - in a questionable effort of updating their shape? - deleted even the catalogue number) on the EC.

How about "Don't Rain On My Concertina" then?

I'd strongly affirm that! Quite logical; a bit similar to any piano keyboard, both "chromatic" (with full access to any key) and "diatonic" (because of the melodic progression concerning the "middle" button rows). You may then have a look at this; it's more about melody playing with bits of accompaniment, but might be usefull as well.

eBay are telling it over there: