Margaret's Waltz

[David Barnert]

3 hours ago, Michael Eskin said:

Latest demo video on playing "Alternate" chords in my ABC Transcription Tools:

 

I tried it earlier today with the version of Margaret’s Waltz that I posted Wednesday. The E minor seventh chord (alternate for an A major chord) in measure 13 sounds a little juicy, but I went back and checked the source and it’s certainly there in Barnes.

[Jody Kruskal]

What a great word, David. "Juicy" chords... I love it. 

Or how about Janky, Extravagant, Flamboyant, or Show Off chords. As my late friend and autoharp master Drew Smith used to say, "That one's your WOW chord"

[Jody Kruskal]

On 3/12/2025 at 4:40 AM, RAc said:

yet the chance to play for "real" (in the context of dances in my case) has issued a number of eye opening reality checks and brought me miles farther down the musical road.

Yes, So true. Right David? 

Playing for dancers is the best training for playing tunes with that lift that the dancers like, and makes pretty girls smile.

The dancers keep you honest with the tempo. You've got to keep them comfortable yet energized.

Playing for dancers is really much more fun than playing to a metronome. The dance hall responds to the energy, whatever flavor you're playing.

 

[David Barnert]

10 hours ago, Jody Kruskal said:

Yes, So true. Right David? 

Playing for dancers is the best training for playing tunes with that lift that the dancers like, and makes pretty girls smile.

The dancers keep you honest with the tempo. You've got to keep them comfortable yet energized.

Playing for dancers is really much more fun than playing to a metronome. The dance hall responds to the energy, whatever flavor you're playing.

 

Playing for dances helps a lot, but, as I said earlier in this thread, so does dancing. I’d be hard-pressed to decide which of the two “is the best training for playing tunes with that lift that the dancers like.”