McDouglas Posted December 21, 2018 Share Posted December 21, 2018 This could be added to the EC accompaniment thread - although my query is a bit more specific. When playing a three- or four-note chord do you a. play each note with one finger or b. play some notes with the joint of a finger (I am able to do this when notes are a fifth apart on one side or the other) and some notes with individual fingers? I imagine the responses will be pragmatic, as in, do whatever works. Nevertheless, I do wonder if there is an established technique that produces more consistent outcomes. When using a joint to play two notes with one finger, it sometimes takes my hand out of position in such a way that I have trouble getting back on the right buttons. Maybe like everything I just have to practice more. Any wisdom to shed on one technique versus another? Quote Link to comment Share on other sites More sharing options...
Wolf Molkentin Posted December 21, 2018 Share Posted December 21, 2018 first, I wouldn’t regularly play three- or four-note chords so close that this would be an option, and second, if so, I would only use one finger for two or more buttons combined if lead to that somewhat naturally - not as a technique. but there are different opinions on that... Quote Link to comment Share on other sites More sharing options...
McDouglas Posted December 21, 2018 Author Share Posted December 21, 2018 3 hours ago, Wolf Molkentin said: I wouldn’t regularly play three- or four-note chords so close that this would be an option, I understand (I think) why you say that - as it seems to me that more open voiced chords sound better on the EC - as well as the general principle that less is more. However, I've just found the English Concertina Melodist Books 1 and 2 on this site. Downloaded them and started looking at these arrangements by Eugene Riviera. I'm guessing these volumes are from the early 20th century. Close three and four note chords are everywhere! Quote Link to comment Share on other sites More sharing options...
Wolf Molkentin Posted December 21, 2018 Share Posted December 21, 2018 Yes, we have these „chord charts“, and it‘s common to mention the accessibility of the triads as pro of the EC - I have reduced that to the open fifths which are in fact powerful, in my own playing... Quote Link to comment Share on other sites More sharing options...
Don Taylor Posted December 22, 2018 Share Posted December 22, 2018 1 hour ago, McDouglas said: However, I've just found the English Concertina Melodist Books 1 and 2 on this site. Downloaded them and started looking at these arrangements by Eugene Riviera. I'm guessing these volumes are from the early 20th century. Close three and four note chords are everywhere! I am not sure when the change over to Equal Temperament tuning for concertinas occurred, but maybe those books were written with a mean tone tuning in mind where closed chords are sweeter. The EC was not designed by Wheatstone for ET tuning. There have been numerous discussions about mean tone tunings for concertinas on this forum. I think that the general concensus is that 5th comma mean tone is the best compromise to give you a decent number of keys (not all) and that will not clash with other instruments tuned in ET. I believe some Anglo players use fourth comma mean tone which would sound really nice but would further restrict the number of useful keys. If you buy an EC from Greg J then he can tune it to fifth comma mean tone for you. Quote Link to comment Share on other sites More sharing options...
Wolf Molkentin Posted December 22, 2018 Share Posted December 22, 2018 Don, you’re right about Wheatstone’s design (including several enharmonic doubles), and the ET tuning issue might make room for the heavy use of major thirds in those books in retrospect, but I would still not build harmonies like that, had I my instruments tuned to a mean tone variant I reckon... Best wishes - ? Quote Link to comment Share on other sites More sharing options...
Geoff Wooff Posted December 22, 2018 Share Posted December 22, 2018 Wolf, have you tried a Meantone tuned EC ? Quote Link to comment Share on other sites More sharing options...
Wolf Molkentin Posted December 22, 2018 Share Posted December 22, 2018 46 minutes ago, Geoff Wooff said: Wolf, have you tried a Meantone tuned EC ? actually no (would love to of course), however my point was, I prefer spread harmony... best wishes - ? Quote Link to comment Share on other sites More sharing options...
Geoff Wooff Posted December 22, 2018 Share Posted December 22, 2018 (edited) 1 hour ago, Wolf Molkentin said: actually no (would love to of course), however my point was, I prefer spread harmony... best wishes - ? The use of closer harmonies , with an emphasis on the problem of harshness of ET major thirds , especially on metal ended concertinas, was the reason I chose to re-tune my EC's to Meantone 30+ years ago. I love the 1/4 Comma sound but chose 1/5th Comma version for convenience when playing ensemble. I use wider harmonies as well but the sweeter Maj triads means I do not need to avoid them and so my harmonising has more freedom. Best wishes and a happy Christmas, Geoff. PS: finger assignment ? Of course complex fingerings need to be worked out and memorised ... planning ahead etc., but some exersizes to increase positioning flexibility might be helpfull: Playing scales in octaves or other intervals. Playing scales or tunes using just one finger of each hand... And yes, playing two buttons with one finger... rocking that finger to press one button or the other. Some people like to play with four fingers, allotting one row to each finger others like to use three fingers and keep the small finger for emergencies and escape routes. I like to use the Pinkies for low harmonies, tucking them under my hands. Edited December 22, 2018 by Geoff Wooff Quote Link to comment Share on other sites More sharing options...
Wolf Molkentin Posted December 22, 2018 Share Posted December 22, 2018 2 hours ago, Geoff Wooff said: Some people like to play with four fingers, allotting one row to each finger others like to use three fingers and keep the small finger for emergencies and escape routes. I like to use the Pinkies for low harmonies, tucking them under my hands. Yes, as soon as harmonies or counter-melodies are involved, all four fingers will be needed for best results, and in fact the pinkies will rather push „bass“‘ buttons then. The plates are not needed as long as the instrument is put on a knee or thigh. You might try rotating the instrument by 45 (or better 60) degrees (an advantage of the hex tina) which proved to be essential for my own playing... Quote Link to comment Share on other sites More sharing options...
McDouglas Posted December 22, 2018 Author Share Posted December 22, 2018 Thank you all. I value the ideas and insights of the veterans here. Quote Link to comment Share on other sites More sharing options...
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