Playing in G sounds so shrill

[halimium]

I was trying to learn the tune uncle bernards polka, on the G row as I do tend to stay and play in C row so much.

 

The thing is it just sounded so shrill to my ears getting on to those right hand high F# and G notes in the tenth bar, is it feasible to start the tune lower on the left hand ? at least it would sound more easy on my ears there and have a more pleasing bassy tone.

 

this is the sheet I was looking at.

 

 

Any ideas on how to approach this.?

 

thx

[BertramLevy]

I was trying to learn the tune uncle bernards polka, on the G row as I do tend to stay and play in C row so much.

 

The thing is it just sounded so shrill to my ears getting on to those right hand high F# and G notes in the tenth bar, is it feasible to start the tune lower on the left hand ? at least it would sound more easy on my ears there and have a more pleasing bassy tone.

 

this is the sheet I was looking at.

 

 

Any ideas on how to approach this.?

 

thx

 

Your are definitely right - start it on the lower octave on your left hand. Generally I play everything in this lower register calling the C on the middle row third button -middle C. If you have a 30 buttton it can all be done cross row starting on the opening G on button 4. If you are playing the 20 button or prefer to play on the single row , you will be on the lower G row. Even so you can still alternate with the first two buttons on the C row on the right hand for phrases like DED CB to have them be smooth in contrast to the introductory theme in the first measure. Hope that helps

 

Bertram

[ceemonster]

or, learn a bit of basic theory, and transpose at will....in irish music-land, in a "flat session," if it were a C session, this tune would be in F. In an E-flat session, it would be in A-flat. In a B session, it would be in E. And in a B-flat session, it would be in E-flat....

[malcolmbebb]

The octave starting on the left hand is the same octave and (effectively) the same keying as you will find on the G row of a D/G melodeon, if you choose to try one.

I find I can transfer across fairly easily.

[halimium]

I was trying to learn the tune uncle bernards polka, on the G row as I do tend to stay and play in C row so much.

 

The thing is it just sounded so shrill to my ears getting on to those right hand high F# and G notes in the tenth bar, is it feasible to start the tune lower on the left hand ? at least it would sound more easy on my ears there and have a more pleasing bassy tone.

 

this is the sheet I was looking at.

 

 

Any ideas on how to approach this.?

 

thx

 

Your are definitely right - start it on the lower octave on your left hand. Generally I play everything in this lower register calling the C on the middle row third button -middle C. If you have a 30 buttton it can all be done cross row starting on the opening G on but

ton 4. If you are playing the 20 button or prefer to play on the single row , you will be on the lower G row. Even so you can still alternate with the first two buttons on the C row on the right hand for phrases like DED CB to have them be smooth in contrast to the introductory theme in the first measure. Hope that helps

 

Bertram

G

 

thanks. I did at first try to move the melody up an octve but ugh it just sounded terribly shrill.

[BertramLevy]

Hi Halimium

 

Harmony for Pat-a-cake

 

I am presently in Buenos Aires again studying the bandoneon at the Conservatory de Manuel de Falla. I took a study break and thought I would write you an arrangement of your piece as I figured you might like to add some harmonies.

 

When you transfer the melody to the left hand, you cannot play the concertina like a melodeon with the chords on the left and the melody on the right. Nevertheless there are lots of options once you accept the fact that the melody and harmony share the same side of the instrument. In fact this explores one of the greatest qualities of the instrument, which is the ability to have two independent voice lines – the principle of counterpoint. It takes a bit more study but in time it becomes quite natural.

 

So here are some suggested harmonies and bellow directions. The harmonies are different than in your original score because those did not make much sense to me (especially the B played with a D chord). I wasn’t sure if you play a 20 or 30 button, so I wrote it for the 20 with the exception of the lower C played against the A which is impossible in the 20.

 

The open and closing indications are also only a suggestion. There is probably one hundred ways to play this tune as written. The method described here involves crossing the row which is not difficult and worth knowing.

 

I hope this is helpful for you

 

Bertram

Patty Cake Polka.pdf

[halimium]

Hi Halimium

 

Harmony for Pat-a-cake

 

I am presently in Buenos Aires again studying the bandoneon at the Conservatory de Manuel de Falla. I took a study break and thought I would write you an arrangement of your piece as I figured you might like to add some harmonies.

 

When you transfer the melody to the left hand, you cannot play the concertina like a melodeon with the chords on the left and the melody on the right. Nevertheless there are lots of options once you accept the fact that the melody and harmony share the same side of the instrument. In fact this explores one of the greatest qualities of the instrument, which is the ability to have two independent voice lines – the principle of counterpoint. It takes a bit more study but in time it becomes quite natural.

 

So here are some suggested harmonies and bellow directions. The harmonies are different than in your original score because those did not make much sense to me (especially the B played with a D chord). I wasn't sure if you play a 20 or 30 button, so I wrote it for the 20 with the exception of the lower C played against the A which is impossible in the 20.

 

The open and closing indications are also only a suggestion. There is probably one hundred ways to play this tune as written. The method described here involves crossing the row which is not difficult and worth knowing.

 

I hope this is helpful for you

 

Bertram

 

Yes, many thanks for that, this is great practise for me, I did try to learn counterpoint years ago on guitar, but it seriously confounded me on that instrument to even get further than first part..

 

This music gives me tonight's and many other nights practise

[Jody Kruskal]

I was trying to learn the tune uncle bernards polka, on the G row as I do tend to stay and play in C row so much.

 

The thing is it just sounded so shrill to my ears getting on to those right hand high F# and G notes in the tenth bar, is it feasible to start the tune lower on the left hand ? at least it would sound more easy on my ears there and have a more pleasing bassy tone.

 

this is the sheet I was looking at.

 

Any ideas on how to approach this.?

 

thx

 

My suggestion is to get a G/D Anglo. This will let you play in G on what you now call the C row on your C/G. Because the G/D plays a 4th lower you can make full use of the upper right hand row for melodies in D without having it be shrill. I just want to add that when I started on the Anglo concertina, many years ago, I had a C/G and because I was playing in isolation for a few years, I played in whatever key sounded best. When I started playing with other folks I realized that what sounded best for harmonic playing required a G/D. I got one and have been happily squeezing on it for 30 years. I know that other great players disagree with me about this but it seems obvious to me. If the high end of a C/G is too squeaky... get something that plays lower, then you can play with more options and play the whole instrument in its entire range.

Edited December 18, 2012 by Jody Kruskal