Melodeon.net Forums
Discussions => Tune of the Month => Topic started by: Clive Williams on June 30, 2018, 10:50:56 PM
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Tune of the month this month, and worthy winner is this wonderful composition by Sam Sweeney, played here by DTN on a C/F: https://www.youtube.com/watch?v=Q028xkvfIDk and with thanks to Pete and a bit of tweaking from Mitch, we have
X:6
T:Grenville Morris
C:Sam Sweeney
S:Inventions Tune Book accompanying the Leveret 'Inventions'cd.
M:6/4
L:1/8
%%titlefont Helvetica, 22
%%subtitlefont Helvetica,16
Q:1/4=110
K:F
FGAc|:[M:4/4] d3 d d2 c2|GABc A2 F2|B3 B B2 A2|[M:6/4] F2 FG E4 EFEC|[M:4/4] D3 C DE F2|
E2 FG F2 GA|B3B B2A2|1[M:6/4] F2FG E3 E FGAc:|2[M:6/4] F2 FG E4 Fcfe||
|:[M:4/4] d3 c Bcde|[M:6/4] c2 AF G4 GAFE|[M:4/4] D3 A B2 A2|[M:6/4] GcGF E3 G FE C2|[M:4/4] D3 C DE F2|
E2 FG F2 GA|B3 B B2 A2|1[M:6/4] F2 FG E3 E Fcfe:|2[M:6/4] F2 FG E4|]
W:
W:Source: The Inventions cd Tune Book
W:
W:"Written for a wonderful man & musician. Gren was a huge inspiration to me
W:when I was growing up in Castle Donnington & this tune is in memory of him "
The tune is recorded on Leveret's latest album 'Inventions' which has the dots for each tune thoughtfully included in the CD liner notes.
Cheers,
Clive
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Because I can't play in F (afaik at least), I've took the freedom to simply transpose the tune to D. Purists, look away. :P
X:9
T:Grenville Morris
C:Sam Sweeney
S:Inventions Tune Book accompanying the Leveret 'Inventions'cd.
M:6/4
L:1/8
Q:1/4=110
K:Dmaj
DEFA|:[M:4/4] B3 B B2 A2|EFGA F2 D2|G3 G G2 F2|[M:6/4] D2 DE C4 CDCA,|[M:4/4] B,3 A, B,C D2|
C2 DE D2 EF|G3G G2F2|1[M:6/4] D2DE C3 C DEFA:|2[M:6/4] D2 DE C4 DAdc||
|:[M:4/4] B3 A GABc|[M:6/4] A2 FD E4 EFDC|[M:4/4] B,3 F G2 F2|[M:6/4] EAED C3 E DC A,2|[M:4/4] B,3 A, B,C D2|
C2 DE D2 EF|G3 G G2 F2|1[M:6/4] D2 DE C3 C DAdc:|2[M:6/4] D2 DE C4|]
W:
W:Source: The Inventions cd Tune Book
W:
W:"Written for a wonderful man & musician. Gren was a huge inspiration to me
W:when I was growing up in Castle Donnington & this tune is in memory of him "
This is a really tough song to learn. Looking forward to improve my game! (:)
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Because I can't play in F (afaik at least), I've took the freedom to simply transpose the tune to D. Purists, look away. :P
This is a really tough song to learn. Looking forward to improve my game! (:)
Are you playing a D/G melodeon Fred? If so, then try it in G. It flows very nicely from the fingers in that key, which makes sense as Andy is playing it with Leveret in F on a C/F box.
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I'd agree it's an inner row tune if you have two rows (and would be a real challenge on one row...) but there are other reasons for it being hard to learn, like the ever-changing time signature.
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Because I can't play in F (afaik at least), I've took the freedom to simply transpose the tune to D. Purists, look away. :P
This is a really tough song to learn. Looking forward to improve my game! (:)
Are you playing a D/G melodeon Fred? If so, then try it in G. It flows very nicely from the fingers in that key, which makes sense as Andy is playing it with Leveret in F on a C/F box.
Yep - transpose to G is easiest. I think it's one of those tunes where some phrases play easily on the inside row, some on the outside row. If you find a phrase too tricky on one row, try it on the other and see if that seems more natural.
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I'd agree it's an inner row tune if you have two rows (and would be a real challenge on one row...) but there are other reasons for it being hard to learn, like the ever-changing time signature.
A worthy winner indeed. But unlike some metre change tunes this one keeps a common pulse to the extent that you could almost ignore the barlines. At least that's what I will do. Like I do with birthdays- just annoying little reminders of what I've failed to achieve with my allotted time to date.
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At least that's what I will do. Like I do with birthdays- just annoying little reminders of what I've failed to achieve with my allotted time to date.
Ouch that hurt.
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A worthy winner indeed. But unlike some metre change tunes this one keeps a common pulse to the extent that you could almost ignore the barlines.
Yep, I suspect it might be worth considering it as a tune in 2/4 with an irregular number of bars.
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Hmm, methought as the result rolled in, (and not for the first time). Almost gave it a miss, but loins girded, knoodled on paper and non melodeons, listened to a couple of versions and here is the outcome. Once without repeats on an F one row, (as has been mentioned previously, probably not an ideal tune for that instrument). Seemingly hypnotised on the CF I played three times through by accident. Slower than authorised versions, but how I hear it. No idea whether the metrical changes are in the right places.
https://youtu.be/6wLblyjfcJA
All the best
Bill
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Almost gave it a miss
Happy you did not! I'm astounded by the fact you made it work on a one row. And the slightly slower tempo also fits the tune quite well, so well done on that part as well. (That were quite a few "well"s in that sentence... oh well.)
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Despite my earlier remark about one rows, there are no accidentals in this tune, so it's not such a problem if you don't bother with basses and chords.
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I'd agree it's an inner row tune if you have two rows (and would be a real challenge on one row...) but there are other reasons for it being hard to learn, like the ever-changing time signature.
A worthy winner indeed. But unlike some metre change tunes this one keeps a common pulse to the extent that you could almost ignore the barlines. At least that's what I will do. Like I do with birthdays- just annoying little reminders of what I've failed to achieve with my allotted time to date.
Ahem, I think you mean reminders of the joyous opportunities that still await...
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Slower than authorised versions, but how I hear it.
And the slightly slower tempo also fits the tune quite well, so well done on that part as well.
There's a metronome marking of 110 on the ABC, and according to that, Bill's speed is about right, or if anything even a shade faster.
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There's a metronome marking of 110 on the ABC, and according to that, Bill's speed is about right, or if anything even a shade faster.
Depends on how long a beat is. Not sure why 110bpm is given. Leveret and DTN both play at about 80ish crotchets a minute.
Bill is playing about 50ish.
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After practicing for two days and fiddling around with the keys, I've decided to stick with D major. Even though a few of you rightfully pointed out that the tune fits very well on a two row D/G melodeon if played in G major. I personally prefer the darker tone of the lower notes when playing it in D.
As this tune is indeed not so easy, I'm surprised how fast I was able to get to a point at which I was comfortable with recording it. It took about 6 or 7 attempts or so (for recording, not practice of course), but the outcome now properly reflects my current ability to play the tune. I'll definitely play it more often from now on, as I'm enjoying the flow of it.
https://soundcloud.com/laubblaeser/grenville-morris-take-3
Thank you for listening. Any critique or compliment is welcome, especially when it comes to the chords that I've chosen.
For reference, I'll add the ABC I've modded to include the Chords:
X:9
T:Grenville Morris
C:Sam Sweeney
S:Inventions Tune Book accompanying the Leveret 'Inventions'cd.
M:6/4
L:1/8
Q:1/4=110
K:Dmaj
DEFA|:[M:4/4] "G"B3 B B2 A2|"Em"EFGA "D"F2 D2|"G"G3 G "Bm"G2 F2|[M:6/4] "D"D2 DE "A"C4 CDCA,|[M:4/4] "G"B,3 A, B,C "D"D2|
"A"C2 DE "D"D2 EF|"G"G3G "Bm"G2F2|1[M:6/4] "D"D2DE "A"C3 C DEFA:|2[M:6/4] "D"D2 DE "A"C4 DAdc||
|:[M:4/4] "G"B3 A "Em"GABc|[M:6/4] "D"A2 FD "A"E4 EFDC|[M:4/4] "G"B,3 F "G/B"G2 F2|[M:6/4] "D/E"EAED "Am"C3 E DC A,2|[M:4/4] "G"B,3 A, "D"B,C D2|
"A"C2 DE "D"D2 EF|"G"G3 G "Bm"G2 F2|1[M:6/4] "D"D2 DE "A"C3 C DAdc:|2[M:6/4] D2 DE C4|]
W:
W:Source: The Inventions cd Tune Book
W:
W:"Written for a wonderful man & musician. Gren was a huge inspiration to me
W:when I was growing up in Castle Donnington & this tune is in memory of him "
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Can anyone clever tell me if this tune is in the Locrian mode of C# when set in 2 sharps?
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Can anyone clever tell me if this tune is in the Locrian mode of C# when set in 2 sharps?
Without further thinking about it, that sounds about right to me.
Short thought process: 2 sharps are D major. C# is the 7th tone of D major. Therefore it should be C# locrian.
Corrections welcome, as I'm not very well versed in musical theory.
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A scale starting on C# with an F# would be Lochrian mode, but the scale for this piece doesn't start on C#. Simplest way to interpret this piece is an honest major key. Some arguments can be made for Lydian mode if you argue that the key of the piece is the downbeat of bar 1, but there isn't a feel for the raised 4th of the Lydian mode either, so just a major key (Ionian mode).
Unless I've misunderstood the question.
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A scale starting on C# with an F# would be Lochrian mode, but the scale for this piece doesn't start on C#. Simplest way to interpret this piece is an honest major key. Some arguments can be made for Lydian mode if you argue that the key of the piece is the downbeat of bar 1, but there isn't a feel for the raised 4th of the Lydian mode either, so just a major key (Ionian mode).
Unless I've misunderstood the question.
You understood the question right (:)
I asked because it seems to resolve onto the C# in the final bars of the parts, which is often a better indicator. But, it has more the feel of a major key. Not that it really matters. Maybe it's just another of those ambiguous tunes.
Edit: Actually, I think my argument puts it in A mix. Whatever it is, I agree with Fred. It works nicely in 2 sharps.
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It ends on a C♯, but I wouldn't say it resolves - I'd say it ends unresolved. As you say, the feel of the tune is definitely major.
The 'last note' rule is useful for deciding a key, but sometimes you have to think in terms of what you expect rather than what you get.
Real Locrian mode tunes sound much weirder than that. Try John Kirkpatrick's Gravedigger's Song, or some early church music.
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For what it's worth, I wsn't asking out of mere intellectual curiosity. At the Leveret weekend there was a lot of investigation of drones as an accompaniment to tunes in playing around with ways of playing them.
It's a bit tricky to experiment on your own. Much better as a group thing but I'm the only person round my part of the world working on this tune, as far as I know (Jimmy?).
I was wondering if the key of the piece would give a clue to good notes to try. Don't think it does, though.
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Lots of interesting debate here! I just play it how it sounds...seems to work for me... :)
https://youtu.be/vOOhVgfEc0c
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Lots of interesting debate here! I just play it how it sounds...seems to work for me... :)
https://youtu.be/vOOhVgfEc0c
Sounds great to me (:) I've yet to get my fingers around the B part...
J
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Lots of interesting debate here! I just play it how it sounds...seems to work for me... :)
https://youtu.be/vOOhVgfEc0c
I have to agree. That's good. Thanks for showing what's going on with your basses so clearly.
All the talk is nervous bluster on my part. Trying to work out how to start.
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Nicely played Saul...... thanks for sharing
Q
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Lots of interesting debate here! I just play it how it sounds...seems to work for me... :)
https://youtu.be/vOOhVgfEc0c
Really interesting how fast you were able to learn this tune (only 3 days!) and bring it to such a high level. I'm in awe of your skill.
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Lots of interesting debate here! I just play it how it sounds...seems to work for me... :)
https://youtu.be/vOOhVgfEc0c
Beautiful!
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I was trying not to check out Saul's version so that I didn't either try to copy it or get disheartened. But having listened to it anyway, it's too nicely done for either eventuality. Well played indeed.
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I was trying not to check out Saul's version so that I didn't either try to copy it or get disheartened. But having listened to it anyway, it's too nicely done for either eventuality. Well played indeed.
You should check out Leveret playing it, though, if you want to know what the tune is...
https://www.youtube.com/watch?v=u3vSBeFn3lo
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To be fair I rather think Mr Cutting takes the credit for the way it was played...I just listened to it religiously when it came out ;D
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To be fair I rather think Mr Cutting takes the credit for the way it was played...I just listened to it religiously when it came out ;D
You would have loved the Halsway Leveret weekend, Saul. Great insights into how they put their music together.
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I've put this on the Gaillard G/C box in C. It comes out in the top octave with lots of row crossing and legato chords.
I've stuck to simple chords, just C, G and F and played it slower than the Leveret recording.
(Sorry about the rather dominant subdominant bass note that keeps intruding).
https://youtu.be/kxCNVHVeU2E (https://youtu.be/kxCNVHVeU2E)
Mitch
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Today's the first day since last Tuesday that I've felt fit enough to play for more than 5 minutes at a time...
So, on the usual D/G Oakwood/Dino Baffetti: https://youtu.be/VN8IuouiCyw
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There's a metronome marking of 110 on the ABC, and according to that, Bill's speed is about right, or if anything even a shade faster.
Slightly OT, I'm afraid...
That metronome marking appears on the score as a tempo of 110 crochets per minute. Is this the usual way of specifying
the metronome marking in a printed score - ie: in terms of crochets per minute? I ask because I have seen loadsa ABC
scripts which produce scores with the tempo displayed as no of minims per minute, etc. I would like to specify all my ABC
scripts in a 'standard' way (so I don't have to think too hard when I look at 'em). Standardising the way the tempo/metronome
marking is displayed is one thing I can do...
Ta.
Roger
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I think you can specify whatever units you like, which why you have to say whether it's crotchets, minims , quavers or whatever. I'd have thought you used the main beat as your "per minute" unit as it would make sense, but I'm not aware of any rules about it.
(Wikipedia says: "The note value of a beat will typically be that indicated by the meter signature. For instance, in 4
4 the beat will be a crotchet, or quarter note.")
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There's a metronome marking of 110 on the ABC, and according to that, Bill's speed is about right, or if anything even a shade faster.
Slightly OT, I'm afraid...
That metronome marking appears on the score as a tempo of 110 crochets per minute. Is this the usual way of specifying
the metronome marking in a printed score - ie: in terms of crochets per minute? I ask because I have seen loadsa ABC
scripts which produce scores with the tempo displayed as no of minims per minute, etc. I would like to specify all my ABC
scripts in a 'standard' way (so I don't have to think too hard when I look at 'em). Standardising the way the tempo/metronome
marking is displayed is one thing I can do...
Ta.
Roger
Mathematically, you can specify the metronome speed in whatever note values you like, and in ABC it will work out right if you specify the note value in the Q: field - e.g:
Q:1/4=120 will show a crotchet = 120 in the written music, and the software should play it at that speed too.
Howver, it is more useful to think of the metronome speed in terms of beats per minute, i.e the number of times per minute you feel able to tap your foot or dance along sensibly. The most obvious example would be in those hornpipes with a 2/2 or 3/2 time signature where the 'feel' of the tune is in minims. So you might want to specify (for example) Q:1/2=96 - a good tempo for a duple- or triple-time hornpipe.
When you get to 6/8 time signatures for jigs, the 'feel' beat is a two-in-a-bar dotted crotchet. So your Q: field would look like e.g. Q:3/8=110 for a good stready jig tempo. You could specify Q:1/8=330, and the tune would play at the same speed, but it is a bit silly metronomically; no self-respecting metronome would want to tick-tock at that tachycardiac rate. :Ph
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you have to say whether it's crotchets, minims , quavers or whatever
You Brits are making these words up, right? They seem like fantasy words straight out of a Monty Python sketch. :D
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you have to say whether it's crotchets, minims , quavers or whatever
You Brits are making these words up, right? They seem like fantasy words straight out of a Monty Python sketch. :D
Sorry, it's normal English musical speak. Two nations divided by a common language, etc.
[Edit, we are , of course, bilingual. But, it would be a shame to lose the real thing]
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semibreve = whole note
minim = half note
crotchet = quarter note
quaver = eighth note
semiquaver = sixteenth note
See, I can speak American if I have to!
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I think you can specify whatever units you like, which why you have to say whether it's crotchets, minims , quavers or whatever. I'd have thought you used the main beat as your "per minute" unit as it would make sense, but I'm not aware of any rules about it.
(Wikipedia says: "The note value of a beat will typically be that indicated by the meter signature. For instance, in 4
4 the beat will be a crotchet, or quarter note.")
Oh, goody - that's more or less what I've been doing - so presumably, that means I got it more or less 'right'...
Mathematically, you can specify the metronome speed in whatever note values you like, and in ABC it will work out right if you specify the note value in the Q: field - e.g:
Q:1/4=120 will show a crotchet = 120 in the written music, and the software should play it at that speed too.
Howver, it is more useful to think of the metronome speed in terms of beats per minute, i.e the number of times per minute you feel able to tap your foot or dance along sensibly. The most obvious example would be in those hornpipes with a 2/2 or 3/2 time signature where the 'feel' of the tune is in minims. So you might want to specify (for example) Q:1/2=96 - a good tempo for a duple- or triple-time hornpipe.
When you get to 6/8 time signatures for jigs, the 'feel' beat is a two-in-a-bar dotted crotchet. So your Q: field would look like e.g. Q:3/8=110 for a good stready jig tempo. You could specify Q:1/8=330, and the tune would play at the same speed, but it is a bit silly metronomically; no self-respecting metronome would want to tick-tock at that tachycardiac rate. :Ph
Yes, it's the tempo in terms of 'the number of times per minute you feel able to tap your foot' which I was aiming at.
I've been specifying Q:1/4=120, and it does exactly what I expected/wanted for 4/4 tunes. T'was what to do with
other time signatures that was doing my head in - all is now clear (well, clearer... (:)).
It was the mixed time signature in the TotM which prompted the query, that and the fact that (clearly), the 'rules' are
not really 'rules'. more of a 'movable feast'.
Thank you folks. Explanations here are always clearer than stuff I find on t'Internet.
Roger
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Hi all - here's my take on this, played on a G/C Van der Aa, so we're in C.
https://www.youtube.com/watch?v=kIXzscEbeFM
I do think those of us who play by ear have an unfair advantage here - the changes in time signature are something that I didn't really notice when learning the tune to be honest - it sounds like a slow 2/4 march to me, albeit with an irregular bar count.
Now I've had a chance to listen to the other versions (I try not to before I record), nice jobs so far people! Saul, I do hear a lot of Andy's technique in your playing - you have the bellows shake done very nicely that is such a characteristic part of what he does - really good job.
Cheers,
Clive
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Here's mine. I decided to keep it in the original key.
https://youtu.be/dO9Lsj8Tkgw
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Here's mine. I decided to keep it in the original key.
https://youtu.be/dO9Lsj8Tkgw
Lovely. The advantage of a CF box?
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Here's mine. I decided to keep it in the original key.
https://youtu.be/dO9Lsj8Tkgw
Lovely. The advantage of a CF box?
Yes - nice playing. C/F boxes sound lovely and mellow. I'm generally of the opinion that it's a shame to convert a nice vintage C/F box into D/G when there are plenty of modern D/G boxes available.
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Hi m.net,
a quick recording between two french fests..
https://youtu.be/wKYxiP8dD7g
Cheers
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Here my recording: https://youtu.be/EgABbaXO4hQ
Initially on a Streb eMelodeon (to celebrate it's arrival last week!) and then my normal D/G Handry.
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Here my recording: https://youtu.be/EgABbaXO4hQ
Initially on a Streb eMelodeon (to celebrate it's arrival last week!) and then my normal D/G Handry.
The Handry version sounds great, he says, cautiously (:).
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Here my recording: https://youtu.be/EgABbaXO4hQ
Initially on a Streb eMelodeon (to celebrate it's arrival last week!) and then my normal D/G Handry.
The Handry version sounds great, he says, cautiously (:).
I'd have to agree with this, very cautiously worded, sentiment.
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To my ear, there's a quality in the Handry performance that the Streb hasn't got (yet?). I'm not sure if it's a characteristic of the Streb, or if it's just a lack of familiarity. I do love the Handry version though, Pete. You have that elusive bellows shake off nicely.
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To my ear, there's a quality in the Handry performance that the Streb hasn't got (yet?). I'm not sure if it's a characteristic of the Streb, or if it's just a lack of familiarity. I do love the Handry version though, Pete. You have that elusive bellows shake off nicely.
Thanks for the kind words chaps. The Streb version is played using a "Church Organ" voice which, on it's default settings, has a flat (on/off) response to bellows pressure. I think that is why it perhaps comes through a little lifeless. It was just an experiment and I also prefer the Handry version (:).
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This thread is driving me mad. Every time I see the title appear on my list, I see/hear Arkwright, in Open All Hours, saying g-g-g-g-Granville!
Surely I'm not the only one?
Sir John
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The Streb version is played using a "Church Organ" voice which, on it's default settings, has a flat (on/off) response to bellows pressure. I think that is why it perhaps comes through a little lifeless...
Ah! That's exactly it. Looking forward to hearing more from the Streb, then.
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This thread is driving me mad. Every time I see the title appear on my list, I see/hear Arkwright, in Open All Hours, saying g-g-g-g-Granville!
Surely I'm not the only one?
Sir John
Thank you for that gift. Not. ;D
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The Streb version is played using a "Church Organ" voice which, on it's default settings, has a flat (on/off) response to bellows pressure. I think that is why it perhaps comes through a little lifeless...
Ah! That's exactly it. Looking forward to hearing more from the Streb, then.
Yep, the Streb's default settings are a bit odd. Try response curve 3 rather than flat response, pump up the reverb, and it's a different beast!
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My Grenville Morris contribution. I started off playing straight upand down the G row (more or or less). Then I worked on a cross rowing setting, but I decided I couldn't do that as effectively as the previous contributions, so I've gone for something a bit different. I'm quite pleased with the way it came out. Not perfect, but it works for me.
(sorry about the poor video quality).
https://www.youtube.com/watch?v=XKQHvfRhs0I&feature=youtu.be
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My Grenville Morris contribution. I started off playing straight upand down the G row (more or or less). Then I worked on a cross rowing setting, but I decided I couldn't do that as effectively as the previous contributions, so I've gone for something a bit different. I'm quite pleased with the way it came out. Not perfect, but it works for me.
(sorry about the poor video quality).
https://www.youtube.com/watch?v=XKQHvfRhs0I&feature=youtu.be
Ooohh, Greg, that got a very nice swing to it. Shows pretty much why we all love the melodeon so much, as it gives that certain up-and-down feeling with its pull and push movements. And your box sounds lovely, got that nice slight tremolo and has a lot of character. Thanks for sharing. Nothin substantial to improve on, I'd say. Keep on going! (:)
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Thanks for your comments, Fred. They describe what I was aiming for better than I could myself. Just wish I could eliminate melodeon face. (:)
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Just to say how much I've enjoyed the recordings and different interpretations of the tune - which ranks among my current favourites.
I've rejected my own recordings so far - hampered by a combination of technology, heat and light in the music room, noise from workmen (and the missus practicing her fiddle tunes), and my own incompetence...haven't found the most appropriate melodeon face !
I must try harder...
J
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Just to say how much I've enjoyed the recordings and different interpretations of the tune - which ranks among my current favourites.
I've rejected my own recordings so far - hampered by a combination of technology, heat and light in the music room, noise from workmen (and the missus practicing her fiddle tunes), and my own incompetence...haven't found the most appropriate melodeon face !
I must try harder...
J
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These are some (most) of the reasons I started posting on SoundCloud. It's a lot less stressful and time consuming. The less pressure you are under, the more likely you are to come up with a recording you are reasonably happy to share.
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I've rejected my own recordings so far - hampered by a combination of technology, heat and light in the music room, noise from workmen (and the missus practicing her fiddle tunes), and my own incompetence...haven't found the most appropriate melodeon face
These are some (most) of the reasons I started posting on SoundCloud. It's a lot less stressful and time consuming. The less pressure you are under, the more likely you are to come up with a recording you are reasonably happy to share.
Whilst I understand agree, I'd rather watch an imperfectly recorded video than listen to a polished Soundcloud version. I have never got to the end of a melnet Soundcloud posting, but frequently do with youtube versions. I like seeing the box, the performance positions, different ways of holding them, seeing if they are playing on the row v cross rowing, and other technical aspects. In the best cases of course, I try to copy them, and a glimpse of left hand really helps.
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Whilst I understand agree, I'd rather watch an imperfectly recorded video than listen to a polished Soundcloud version. I have never got to the end of a melnet Soundcloud posting, but frequently do with youtube versions. I like seeing the box, the performance positions, different ways of holding them, seeing if they are playing on the row v cross rowing, and other technical aspects. In the best cases of course, I try to copy them, and a glimpse of left hand really helps.
I've hijacked this discussion to a new thread ( http://forum.melodeon.net/index.php/topic,22616.0.html ) because it is interesting but I don't want to spam this one.
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Apologies for poor sound quality - the fault of the technology (of course!) work in progress as all my tunes are. Hoping the link is ok ...
https://youtu.be/TkD3G5VYilI
J
Ps, recorded on the Salty Pasty 11, Dedic/Viennese tuning, weird bass layout
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Link doesn't work. (or video is private?)
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Hope this works !
https://m.youtube.com/watch?v=TkD3G5VYilI
J
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Thanks all - time to move onto the new tune! In the meantime please put any late contributions, or indeed any last minute but before midnight, so not really late at all contributions on the end of this thread in the time honoured fashion.