michael sam wild Posted February 12, 2010 Share Posted February 12, 2010 This may be obvious to some but does cause me some difficulty. I play an Anglo C/G 26 and a 30 button and like Irish tunes, Morris, 'English harmonic style' , singing accompaniment and am working on songs from an older period of popular music from Music Hall through to pop music. if I could i'd play blues, cajun and South African tunes. I don't aspire to classical music but if I mastered a Duet or English i might, I love all music. The question is about what chords and and when to use them. In private or with a few friends I reckon anything goes and there are few rules but in a public session or ensemble how do you find a common ( not lowest) denominator? I've been told that for traditional music you don't use 7ths, too many chords spoil the broth, there is no place for 'jazz chords' in Irish music, 'modal chords' are best so take out the 3rds etc etc. I notice that with many melodeon players there is an increasing trend to 'fancy' chords and retunings and layouts to achieve them , and that players who do it are widely esteemed . With concertinas, where you have more scope to build up chords within the constraints (and possible limitations) are people looking to more buttons and layouts for wider effect? A big question but I am seriously interested in any response. As we get more and more new players and more recordings such as Anglo, English and Duet International, will we get back to the high esteem for arrangements that seems to have existed in the past. Can such expertise have a detrimental effect on fok or trad music. I feel that the kind of piano accompaniments to fok tunes that Sharp, Grainger and Vaughn Williams et al added actually detracted from the music and one of the influences of the 50s and onward revival was ahealthy reassertion of simpler values. Or was it a backward step in some peoples' eyes? Quote Link to comment Share on other sites More sharing options...
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