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Hay everyone, i just bought a Wren from McNeela Music and im hoping that it’ll fulfill my needs. I searched and skavenged the internet for some answers. Maybe you guys can help. I mostly want to back up my singing with the concertina. I come from Ukulele playing and the playing sheets I have are with guitar chords. I’d also like to play some soundtracks from Games and Movies. And I like the style of playing chords an melody at the same time it just sounds more complete to me. I tried to get a Duet at a reasonable price but couldn’t find one for shipping to Germany. Would you guys say if I learn from scratch I’ll be able to do want I want with an Anglo? Or should I try to get a duet for my purposes? thanks for y’all’s advice in advance!
I am very new to playing the concertina, and am having trouble with the right hand being too quiet when playing an accompanying chord on the left hand. The left hand notes always seem to overpower the right when played in unison. If there is already a conversation about this, I welcome the link. I am trying to figure out if it is a. Human error b. Flaw/damage in instrument c. Both a and b d. Normal. and what I can do to remedy it. Thanks!
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?