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About Ritchie_Kay

  • Birthday 12/23/1971

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    Darmstadt, Germany

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  1. Well it is possible to play it badly as I can demonstrate..... There are some rolls on the low D which I don't think I was doing properly when I made that recording but not to much in the way of triplets. I don't know how much this corresponds to your version I basically transcribed this from a Noel Hill recording. It is one of my favourite reels (of the few I know). Ritchie
  2. Googlin' with "d egdB A2" did not give much, but on "egdB A2" gave this result. Have fun and a Happy New Year Happy New Year to you too! Well that certainly has quite a few similarities. I have tried to transcribe as much of the recording that I have of this but the problem is that the guy who played it got it wrong and messed up the second part so the ending and how it runs back into the first part is hard to transcribe. The end of what I have transcribed is therefore not right. Here is the abc, a jpeg and the midi. Seems to be a difficult one to track down! Ritchie
  3. Also known as "The Mourne Mountains." http://thesession.org/tunes/display.php/898 I hear a little of "George White's Favourite" in there somewhere too, I think, maybe. http://thesession.org/tunes/display/718 Thanks for listening, but it is not either of those.... I find it very distinctive because of the repeat of the snippet "d egdB A2". The odd thing is that it leads off with this snippet so although you keep coming back to it throughout the tune it marks the start of a section and not the end. Ritchie
  4. I have a snippet of a reel from a weekend I went on which I've recorded (slowly) as far as I know it. It has a fairly recognisable refrain. Does anyone know the title and better still, the notes for the rest of the tune? thanks!
  5. Thanks, Bill - that makes sense. Ritchie
  6. There were some threads about crans (rolls, fake crans or whatever....) recently which reminded me of something that I wanted to check. In many reels which might go, for eaxmple, ADDD, I tend to put in a cran which would go ADD{dB}D. Sometimes I have had the impression that people tend to do AD{dB}D - i.e replacing the middle D. Specifically Niall Vallely's tutorial seems to do that. Now, I can understand that one might play A2 D{dB}D as a variation - i.e. lengthening the first A but it seems that unless you want to do that you need to keep the three D's for rythmn. Does any one have any comments? Particularly if you have received advice from a master. Michael Rooney talked about this in a class that I was in and whereas I though I knew what he was saying I wondered afterwards whether I had misunderstood... thanks.
  7. Hi Alan, I had a class with Michael O'Raghallaigh too.... The first crann is low D high d b a and back to low D - in abc notation DdbAD The first roll looks like a roll on low C - i.e. one C a cut G onto C and another C - CGCC and so on....
  8. Just to clarify: I am talking about how to access the C# more generally not for this particular tune. Obviously the option you choose will be related to the particular circumstance. None of the examples that I gave of how "top irish players" approach the BC#D issue imply that that is what they would do for this tune.
  9. Hi Peter, I find it hard ever to determine what flows intrinsically better and what just feels better because you are used to it. The first three examples that I gave were all what I have seen as the fingering choices of three different top irish players. I know that your suggestion would be followed by other top irish players. Ultimately what I am trying to say is that there are various options and people playing well in the Irish style may pick any of them... so it is really up to what you feel is best. Ritchie
  10. Hi Gretchen, from looking at tutors and what actual players do there seem many different variations. Three top players that I've seen all do different things: one would play push B pull C# pull D (works if you have a pull C# on the first button - in fact, thinking about it, that C# could be a push on the 1st button if you have the wheatstone layout) one would play pull B push C# push D (which works well if you have a push C# on the second button) one would play pull B pull C# and pull D but use fingers 1 2 and then 3 (seems awkward to me). I experimented recently with playing the sequence on the pull but using the finger sequence 2 1 3. That worked quite well a lot of the time but I've stopped doing it now Other people, I guess would play BC#D all on the push but I have also seen that some top players are not afraid of jumping. I'm not an expert - those are just my observations...... Ritchie PS just edited for spelling and again because I said push C# rather than pull in the first example.
  11. I jotted down some notes on this on a web-page (see link below). You are right Niall Vallelly and Mick Bramich follow the same basic method which is very different to the one that Frank Edgley follows. There is a vociferous discussion that goes on about which is better which doesn't have a conclusion. I did a class with Michael O'Raghallaigh who seems to follow the same approach. Other top players seem to follow the second approach - so I don't think there is an answer. You might find one of them suits you better. It is probably best in any case to get comfortable with using all of the buttons. I followed Mick Bramich's book at first and very rarely used the left hand Grow. I had to correct this later because sometimes you need it...
  12. Hi Respi, I can't comment on the anglo/english hand-size issue. As for the sounds and reed types. A cheap Hohner concertina certainly does not have true concertina reeds. It will have accordion reeds although they may be slightly modified (I have no idea what the difference is btw). But I don't think that is your problem. I have a Stagi and an Edgley concertina. Both have "accordion" type reeds but a) I guess some accordion reeds are better than others and the quality of the sound is driven by other factors as well as the reeds. I had the same experience of the Stagi sound as you describe but my Edgley concertina sounds very sweet and nothing whatsoever like the Stagi. So I wouldn't worry too much about the reeds issue. If you can try and get your hands on a variety of instruments to see how you like the sounds and if you can't there are enough music files on the web which will give you an idea of what sounds you can expect. Hope that helps!
  13. Hi Helen, it shows a piano keyboard and superimposes the fourier transformed wave form on top. So you can see what the main note is but you'll also see all the harmonics above it. It's very useful if you want to work out what chords someone is playing. It is better of course if there is not too much background music. I tried looking for software that would actually transcribe a tune into notes but nothing does that well. This doesn't try to do the whole job for you but it's very helpful when trying to work something out. You can download a trial version and take a look.... Ritchie
  14. I use the transcribe program quite a lot - transcribe - it costs a small amount (after a trial period) but it also helps you to transcibe a recording. You highlight part of the waveform and it shows what notes it consists off. You can slow down and speed up and also alter the pitch. It is possible to make very fine adjustments to the pitch which is also useful when a recording is of an instrument that is not at concert pitch. It's worth looking at...
  15. That's alright. It's not a recording that I'm particularly proud of. The bellows reversal issue is illustrated in the first 6 notes of the piece: BAG AGE- This is all on the Crow and there are four consecutive notes on the same button. Really the second A needs extra emphasis which I find hard to achieve with just the bellows reversal which is why I wonder if I should strike the button again for that note. The blurring can be seen if you open the music in transcribe and look at the wave pattern. At no point can you see distinct notes they all run into each other. Whereas on the recording that I have there are definite small gaps between the notes and I wonder whether this doesn't also help the rhythm particularly if the groups of three are separated slightly. Thanks for the tips, Ritchie
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