First Tune - Critiques?

[devinomatic]

Hi everyone!

 

I'm new to playing irish traditional music, as well as concertina, and I've been playing for about a month now. I've posted a link of my playing here in hopes that someone can give me some input. I want to improve, and make sure I nip any bad habits in the bud early on.

 

Thanks in advance!

Edited April 4, 2007 by devinomatic

[Christian Husmann]

Hi everyone!

 

I'm new to playing irish traditional music, as well as concertina, and I've been playing for about a month now. I've posted a link of my playing here in hopes that someone can give me some input. I want to improve, and make sure I nip any bad habits in the bud early on.

 

Thanks in advance!

 

I could if you want me to...

[devinomatic]

I could if you want me to...

 

Please do.. it's a free for all!

[Christian Husmann]

 

 

I could if you want me to...

 

Please do.. it's a free for all!

 

Right than

 

First of all: Amazingly good for "only" one month of practice - I am really impressed. Having in mind how I started with waltzing matilda, very slowly :-)

 

I have noticed two things:

 

First thing: you can hear the change of bellows. The note when you change direction is a bit shorter, or not really in time - which makes the change obvious. It´s always the starting point with wind instruments, unfortunately. You can avoid this by "hiding" it, in a pause if possible or what is always good is if you can split up a tune into 2, 4, 6 bars - whatever - and really calculate when the best opportunity to change is.

To calculate is maybe a bit too much, I would assume that you will get a feeling of when to change once you´ve done that.

 

Second thing (and not at all important actually): is the B part legato? You play it differently from the first part, so is this intendet? If not I would avoid playing long legato parts. For some tunes it may be helpful for the melody but I avoid it as often as I can. Music is more transparent when all the notes have a little gap between them...

But that´s personal like or dislike...

 

So, keep on squeezing!

It really sounds good!

 

Christian

[devinomatic]

Thanks so much for your input! I agree with the change in bellows direction, as that's the most challenging part for me at this point. I'm assuming that if I practice more slowly with most of my tunes, I'll be able to massage it until it becomes more transparent.

 

Now that you mention it, I am noticing the legato-ness of that phrase, and it wasn't all so intentional. I've heard warnings that some players tend to mush their notes together too much on the EC, and after having some playing under my belt, I can understand how. One difficult thing about my box is that some notes fire much quickly than others, so it's a bit of a juggling act to compensate.

[Christian Husmann]

Thanks so much for your input! I agree with the change in bellows direction, as that's the most challenging part for me at this point. I'm assuming that if I practice more slowly with most of my tunes, I'll be able to massage it until it becomes more transparent.

 

Now that you mention it, I am noticing the legato-ness of that phrase, and it wasn't all so intentional. I've heard warnings that some players tend to mush their notes together too much on the EC, and after having some playing under my belt, I can understand how. One difficult thing about my box is that some notes fire much quickly than others, so it's a bit of a juggling act to compensate.

 

No problem, you´re welcome.

 

slowing down the speed is as well helpful - it´s only a little thing which will disappear soon.

Yes, one tends to play legato because it gives a bit of security I suppose. On some tunes (I´ve got a wonderful lament which must be played legato, otherwise it would loose something, I guess) it does make sense but most of the time it´s unnecessary. And once you´ve practiced playing every note without being attached to the next one you can easily change that into a legato but it´s more difficult getting rid of the habit playing everything that way.

 

Christian

[m3838]

Just listened to Kesh.

Not my field of preference, but...

I'd slow down a bit. No point of rushing through. Try dancing to you tempo and you'll see. When you play slower, it's more difficult, the rhythm and phrazing comes forward.

I'd also practice this tune stacatto. It'll give you great rhythm and teach you to slow down, because you'll naturally will speed up.

Bellows attack on strong beats would be great too. Whack it!

I'm just beginning to get into it myself.

I'd also add some short harmonies here and there (or octaves), like on the strong beat - Whack it with octave!

Other than that I'm very envious, you have great sence of rhythm and fingers' dexterity.

[Greg Jowaisas]

Hello Devinomatic,

You are off to a good start. I'll echo much of the advice you have already gotten:

 

Playing slowly and under control is the pathway to making the instrument and music say what you want them to say.

 

The nature of the english concertina is to have the notes roll out legato. You have to make a determined effort to put the phrasing in. One way is through button control. Playing and practicing staccato can help.

 

Chicago has a strong Irish Traditional Music scene. If you are interested in playing jigs and reels in good rhythm I'd make it a point to hear as many of the local players as possible and attend the local sessions.

John Williams is in Chicago. Listen to him play the Kesh. That is what you are shooting for.

 

You are on your way.

 

Good luck!

 

Greg

[catty]

Hey Devin: sounds great -- glad that you're putting that Jackie to good use!

[Tom Hall]

A very good beginning. But, as others have said, slow it down. You're missing a lot of notes and nuances which you won't be able to add at that tempo. But once you've got them at a slower pace, they'll flow nicely - Tom

[david_boveri]

sounds good! ditto on everyone else about slowing down and the legato bit. if you dont know of any good sessions, minimally i could let you know where they are. there's nothing quite as motivating as watching great musicians enjoying eachothers' company. if you ask nicely, they'd probably even let you record for a lifelong memory.

 

too bad to hear about your buttons sticking. i'm glad that you finally received the instrument and chose the one that you thought would fit you best. good luck with it and keep it posted!

[Mark Evans]

Bravo! and on an instrument that you have to fight...impressive.

 

You've been given some sound advice.

 

Note of caution here: Legato is just another tool in a musicians kit. Don't appologize for your instruments advantage in this area. An English player will rarely garner cudos for attempting to sound like an anglo as a little look see at past theads will attest amongst traditional Irish conoscenti. I rather enjoyed the b part legato for it took me by suprise (isn't that what unexpected delight is all about). Perhaps the issue is applying legato or marcato by choice.

 

Tempo? Well, it is a spritely but not unreasonable clip. If you are playing for dancers, a more relaxed tempo will be appreciated. If they are those folks that do it competively...perhaps slower still (don't worry, they'll let you know right off at what speed you should proceed ).

 

Version: Over the years I've heard so many variations on this particular jig that like cockle burs little bits have attached themselves to my cuffs and become a part of what I do.

 

Wouldn't it be fun to hear your version in say six months?

 

Again, bravo!

Edited April 5, 2007 by Mark Evans

[Henrik Müller]

...

Bellows attack on strong beats would be great too. Whack it!

...

Best advice yet. Slow it down a bit, speed will come later.

After such short time you are doing very well!

 

/Henrik

[MitfordRI]

Golly.

 

I have nothing to add re: critique. I have only been playing a few months, taking classes with Chris Stevens at the CCE in Boston. The Kesh is the first piece he assigned.

 

I would say it's my 'best' piece. But Chris would fall off his chair laughing if he read that. (and d.v. he isn't). I only mean that it is marginally better than any of the other pieces I routinely torment.

 

My point, and I do have one, is that I would never have the huevos to post a recording of my Kesh online and then invite critique. Not sure if you are a masochist or a nut. But I admire the huevos.

 

Nice recording too! Although I note skinhead (which I listened to) has been played 4.5 times more.

 

 

Lucy

[devinomatic]

Golly.

 

I have nothing to add re: critique. I have only been playing a few months, taking classes with Chris Stevens at the CCE in Boston. The Kesh is the first piece he assigned.

 

I would say it's my 'best' piece. But Chris would fall off his chair laughing if he read that. (and d.v. he isn't). I only mean that it is marginally better than any of the other pieces I routinely torment.

 

My point, and I do have one, is that I would never have the huevos to post a recording of my Kesh online and then invite critique. Not sure if you are a masochist or a nut. But I admire the huevos.

 

Nice recording too! Although I note skinhead (which I listened to) has been played 4.5 times more.

 

 

Lucy

 

 

Thanks for the input! I'm not usually a man of great cojones, but since I'm learning without any formal instruction, I figure it's a good way to make sure I'm getting the kinks out early. I taught myself guitar for two years, and pretty much only learned bad habits. A month of lessons undid all of that, and I felt like I had to start back at square one.

 

I'm an animator and illustrator too, so I've come to thrive on critiques. I tend to benefit the most from the constructively negative ones, but there's always something worth drawing from almost every piece of input out there.

 

Thanks for all the comments everyone! I feel like they've helped already.