67button Edeophone Mccann Duet Wanted

[njurkowski]

I think you're right, as soon as my instrument is the DUET. I used to play english but it's a long time ago, and I perhaps forgot the right way to arrange tunes for it!

 

Actually, I think the arrangements are quite nice! Michael might be being a little melodramatic to say that some are unplayable without leaving out notes - in my cursory reading of them I didn't notice anything too terrible, if you use some creative fingerings. It's true that they maybe aren't completely idiomatic for the English, but they work quite nicely none-the-less, and it's so nice to get new arrangements for the English!

 

Merci beaucoup!

[m3838]

Actually, I think the arrangements are quite nice! Michael might be being a little melodramatic to say that some are unplayable without leaving out notes - in my cursory reading of them I didn't notice anything too terrible, if you use some creative fingerings. It's true that they maybe aren't completely idiomatic for the English, but they work quite nicely none-the-less, and it's so nice to get new arrangements for the English!

 

Well, good to know somebody can take on them on the English.

I'd by very interested to hear the rendition and get advice on the fingerings.

I tried a few, and noticed they use oom-pa, woven into the one stave. Not the end of the world, but making it a bit more difficult to play on the EC without giving that extra touch. Duet, on the other hand, is well suitable for such technique. Playing Oompa with melody on the English is entirely possible, but not very expressive, it's not English' forte, so to speak. Funny that I say it, because I'm working on guitar score for "Mar Janja", and that's what it is: Oom-pa, ba-ram-pa, Oom-pa, bar-ram-pa, Hop-la-h, La-la-ah.

[njurkowski]

Actually, I think the arrangements are quite nice! Michael might be being a little melodramatic to say that some are unplayable without leaving out notes - in my cursory reading of them I didn't notice anything too terrible, if you use some creative fingerings. It's true that they maybe aren't completely idiomatic for the English, but they work quite nicely none-the-less, and it's so nice to get new arrangements for the English!

 

Well, good to know somebody can take on them on the English.

I'd by very interested to hear the rendition and get advice on the fingerings.

I tried a few, and noticed they use oom-pa, woven into the one stave. Not the end of the world, but making it a bit more difficult to play on the EC without giving that extra touch. Duet, on the other hand, is well suitable for such technique. Playing Oompa with melody on the English is entirely possible, but not very expressive, it's not English' forte, so to speak. Funny that I say it, because I'm working on guitar score for "Mar Janja", and that's what it is: Oom-pa, ba-ram-pa, Oom-pa, bar-ram-pa, Hop-la-h, La-la-ah.

 

 

Well, like I said, they aren't totally idiomatic for the instrument, and I agree, one of the interesting things about English is the way you have to get creative with harmony. That being said, "oompa" is another tool to have as a player, so I like to practice it. I have found that it's pretty much impossible to do a good job oompa-ing unless you make extensive use of the fourth finger, or are using rather sparse chords. Do you use your pinky when you play? If you don't, I can see how some of the voicings would be tough.

[m3838]

Do you use your pinky when you play? If you don't, I can see how some of the voicings would be tough.

 

When I first tried English, I immediately recognized the anachronism of finger rests.

Now I think they are not such an anachronism after all, but I am used to using 4 fingers now.

Still, some of he voicings are tough. Mainly because I don't see the point of struggling for so little gain.

The tunes are easily playable with a two/half row melodeon, with a nice French touch to them (or so I think).

[Dirge]

Now, why did you mention "three parts"? I think in Classical music it doesn't matter, how many parts.

 

For me music written in parts has to be played as parts so you need to be very careful to hold 'held notes' for their full value so that that particular line is not compromised; also contrapuntal music usually resolutely refuses to settle into block chords so there is always lots of movement-against-long-note action going on. Then add a third part and I am guaranteed (because I only have two hands) that I will be playing a lot of the time with one finger banged resolutely down on one place while the other three try manfully to assemble a second theme around it; it's hard work and needs a lot of pre-planning so that it can be done halfway convincingly. Well that's the duet take; maybe it's so higgledy-piggledy on an English anyway that it doesn't make much odds!

[m3838]

For me music written in parts has to be played as parts so you need to be very careful to hold 'held notes' for their full value so that that particular line is not compromised;

 

Oh, I see what you mean. I thought "parts" meaning "part A", then "part B", then "part A twice" etc. type of parts.

You mean "lines", or may be it's properly called "parts". A violin part, a bass part, a guitar part.

On the English I don't feel that it's higgly-piggly. I see parts clearly. Not that I can play them clearly, but there is no confusion. Contrary, parts fuse and visually are represented more correctly as clumps of music. So you kind of "sculpt" your playing.

On duet or Bandoneon they are separated and are easier to see and to play, so some tough passage on EC is rather simple on Duet (simple to see and understand, but not necessarily to play). I don't think that adapted music must be adhered to very strictly. Bandoneons have good solid bass, and concertinas tend to "moo", so that "mooing" should be kept short, though transcribed long.

You may look at the music I posted as written in two parts. Each may look like single line, or as harmony. Accepting your logic, four part harmony in each hand is music written in 8 parts? I doubt you can find music written specifially for your level in the manner that suits you personally. You have to adjust.

At least you have those low notes and I don't.

Boy, you're picky.

I say, start playing and stop complaining (if you complaining that is).

[m3838]

There you go, the whole page of duet music, i two parts.

http://www.abdn.ac.uk/scottskinner/audio.php

[njurkowski]

Do you use your pinky when you play? If you don't, I can see how some of the voicings would be tough.

 

When I first tried English, I immediately recognized the anachronism of finger rests.

Now I think they are not such an anachronism after all, but I am used to using 4 fingers now.

Still, some of he voicings are tough. Mainly because I don't see the point of struggling for so little gain.

The tunes are easily playable with a two/half row melodeon, with a nice French touch to them (or so I think).

 

 

Do you mind if I ask in which pieces you find the spots that are especially difficult to finger? I may have glossed over them in my cursory reading.