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Here's something different to the harmonic arrangements of tunes I usually do - I wanted to see how my 20b anglo would sound with a piano accordion and what combinations of textures might work. This is my first experiment - with a single line in the anglo. (I might swap roles and see what comes out..) So, here the accordion is providing all the "accompaniment/countermelody/textures". I love playing around with alternatives to the usual "oom pah" accompaniment associated with the PA. I was actually going to record this piece on two accordions* but just couldn't help picking up the anglo and having a quick little go - hence this! I fancy working up something for solo anglo at some point. Back to normal service very shortly * I came up with the tune originally for a series of canal inspired short tunes for a video by British Waterways - they were inspired by walking along stretches of the Worcester and Birmingham canal (especially Tardebigge lock flight and round Hanbury/Stoke Works) in Worcestershire. I wrote a duet for two accordions recently which this video is based on, musically, expanding the ideas, so that I could play it with a local accordionist friend who has really got into composing for the instrument.

Starting with this post and continuing (at least) through this post, the thread for the October 2013 Tune of the Month seems to have morphed into a discussion of tricks, techniques, and further discussion regarding creating arrangements of tunes. I think this is a worthwhile discussion that deserves to be continued under a title less cryptic than "Xotis Romanes", and that this Teaching and Learning subForum is the right place for it. I hope others will agree and continue the discussion here. I've created the topic title, "How WE think music really works" (now why do I think the Forum software is going to change my capitalization?) by altering the title of a book recommended by Rüdiger Asche(and the first 6 chapters of which are available for free on the internet), to place the emphasis on our own thoughts, rather than the author's. Personally, I was put off by the book's introduction, which reads like a standard "guaranteed plan to get rich", except by writing music instead of investing in the stock market. But knowing Rüdiger, I'll read further before passing final judgement. What I'm pretty sure of is that we have a variety of individual ideas of "how music really works", not only in arrangement, but in other aspects -- e.g., accompaniment, composing, or simply listening, -- and that we can benefit from sharing and comparing these ideas. I hope to find time to add some specific comments and observations of my own later today (and mostly likely beyond), but I have some chores to do first, so I hope some of the rest of you will continue this thread even before I do. How about it?