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A very tasty and well fitting combo, and played very well, living up to your usual standards ( Five points to the first person to identify my source for that )  😉

 

The only remark I'd have is that in this piece, I wouldn't expect that many ornamentations. Those are simple (albeit beautiful) melodies that should come out clearer and get somewhat drowned in the ornaments. May be just my personal taste though...

 

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2 hours ago, RAc said:

A very tasty and well fitting combo, and played very well, living up to your usual standards ( Five points to the first person to identify my source for that )  😉

 

The only remark I'd have is that in this piece, I wouldn't expect that many ornamentations. Those are simple (albeit beautiful) melodies that should come out clearer and get somewhat drowned in the ornaments. May be just my personal taste though...

 

 

Hi Rüdiger,

 

thanks a lot for listening! I'm glad you like my take, and your remark is much appreciated as well. As to the ornamentations, I concur with you re beautiful simple melodies which should not be over-embellished. So you got me thinking as to why I chose to apply frequent ornamentations here. I guess I'm looking at them as a function of rhythm. The second tune (over which I stumbled in the Jeffries English thread...) is not - contrary to widespread belief - a waltz, however I didn't approach it as sort of an air either. Instead I instantly found myself playing the tune in the same accentuated manner as the well-known O'Carolan tunes in triple time. Anyway, the second tune seems to lead to even more embellishment this way - but I guess that's what I like for the moment.

 

Best wishes - Wolf

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Very nice, Wolf. I note in the second tune you're making good use of that non-standard low B, both for B minor and first inversion G major. I have it as a non-standard adaptation on all my Crane duets. I couldn't live without it!

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Nicely played.  I'd slow down a bit and thin out the infill.  The tempo and aggressive ornamentation create a bit of a calliope effect.  I think of these as somewhat pensive tunes that should flow more.

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10 minutes ago, wunks said:

Nicely played.  I'd slow down a bit and thin out the infill.  The tempo and aggressive ornamentation create a bit of a calliope effect.  I think of these as somewhat pensive tunes that should flow more.

 

Thanks a lot for your listening and commenting! The tempo was meant to be fast but however feels slightly too rushed at times, that's true I guess. As to the sound of a calliope (which I loved as a child) that's a fascinating and intriguing idea in fact, which leaves me feeling both confirmed and bewildered at once. There are (well, trumpety, brassy) moments in the "bass" I really love when going thru the track (can't hear the subleties of the sound as a player - I was altogether amazed now and had no use for any EQ with this first recording) which might just be part of this effect. Anyways, I'll surely have to explore what's in the (second, new to me) tune beyond my playing it this time.

 

Best wishes - Wolf

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1 hour ago, Little John said:

Very nice, Wolf. I note in the second tune you're making good use of that non-standard low B, both for B minor and first inversion G major. I have it as a non-standard adaptation on all my Crane duets. I couldn't live without it!

 

Thanks a lot John, very glad it's appealing to you and you've been listening that closely!

 

As to the low B, it's exactly the same for me. I was admittedly prepared to find out what single note I might add myself (as there's one accidental at the low end of any English concertina which can be deemed dispensable as it is enharmonically duplicated on the other side). In the treble range it clearly was the F (albeit having a F# would have been similarily nice as the low B here for tunes in D-maj), so I initially considered soldering a low Bb but then realised in an instant - just with my hands on the keyboard - how greatly the low B would fit with tunes in the very "English" key of G-maj (in both positions as you are mentioning). I couldn't even really warm up to the instrument without having this work done, which I managed to accomplish soon afterwards.

 

I thus absolutely agree - this single note is essential for my playing the lower-sounding tenor-treble (still mostly in the treble range, but with added low notes). Very nice to learn about your respective fondness, even "across the border"...

 

Best wishes - Wolf

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Upon repeated listening and further practice I've come to the conclusion that the first tune, Fanny Power(s), is in fact too uniformely embellished and thus to some extent alienated.

 

My solution would be: 1. variation, 2. acceleration (without compromising the beat), starting with a more basic presentation of the tune. Nevertheless, the melody line of Fanny Power(s) always seemed to invite me to ornament it more than usual, particularly in bars 3 and 4 where the melodic development appears to lack the usual progress; however part of the challenge for the player might well be to abide just with that...

 

Guess it will take me some time to get things right in an improved way - however from experience the freshness and exitement of a first recording (re the second tune, The South Wind) may never be regained at a later time... Thanks all for listening and commenting thus far!

 

And I'm still truly enthusiastic over sound and balance of this instrument!

 

Best wishes - Wolf

 

 

Edited by Wolf Molkentin

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You could try mixing in some more "passive" ornamentation such as slight variations in timing, volume and beat (as opposed to tempo).  Slurring or even lingering on the previous note, using a doublet instead of a triplet and extending a note with a mild tremolo also come to mind.

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3 hours ago, wunks said:

You could try mixing in some more "passive" ornamentation such as slight variations in timing, volume and beat (as opposed to tempo).  Slurring or even lingering on the previous note, using a doublet instead of a triplet and extending a note with a mild tremolo also come to mind.

 

Thank you for your ideas here - I might consider some of them (albeit tremolo I already have in the second tune and slurring or lingering on doesn't seem to fit with my style of harmonizing I reckon).

 

However in the current matter I'm rather planning just to reduce the lots of embellishment I already have, and my mentioning of variation (incl. occasional skipping) and acceleration was re these given ornamentations themselves.

 

Besides, in general I feel that ornamentations of my preference shouldn't at all played at maximum speed but have to be slowed down a bit or put in front of the beat and harmony instead in order to ring out beautifully.

 

It's just here (first tune) that it appears to be the other way 'round.

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Thank you Mike, good to listen to your rather strict playing (which I always admire for its steadiness and ease). A lot to consider (at least for variation), and I like the 8-7-6-5 bass run at the beginning of the B section...

 

That said I like to add that I greatly appreciate your replying musically - I guess this is what always could be done post-TOTM. I on my part am explicitly inviting anyone to add a recording of his or her own playing the tunes, or one of them.

 

Best wishes - 🐺

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June totm ?.. :)

 

 

 

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That made me smile - very nice, very Français 😊 - thank you for chiming in, Thomas!

 

================================

 

besides - The South Wind, anyone?

 

 

Edited by Wolf Molkentin
going bilingual

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