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 1 
 on: Today at 12:41:15 PM 
Started by Hugh Taylor - Last post by Steve_freereeder
To me, this would be an excellent subject to research if someone happened to study on the postgrad world music course led by Fay Hield (amongst others) at Sheffield. (But maybe that focusses less on the historical aspects ?)
I wonder if there is anything in back editions of the EFDSS Folk music journal ? Saying that I've just found a reference in an article in the last journal, to an unpublished master thesis by Celia Pendlebury (University of Sheffield 2015 !) 'Jigs, Reels and Hornpipes : A history of 'traditional' dance tunes of Britain and Ireland. Sounds interesting !
The article itself is about John Malchair, 1730- 1812, who categorised and collected tunes - but seemingly focussed more on Welsh, Irish and Scottish tunes.

J
Celia Pendlebury is my co-musician colleague with Lizzie Dripping. I will ask her if she is prepared to make her masters thesis available.

 2 
 on: Today at 12:28:58 PM 
Started by Clive Williams - Last post by Julian S
My extra buttons are Eb/C#,G#/G, A/Bb, Eb/C#, G#/G and A/Bb. I've got extra basses as well - Eb/Bb and G#/B.
The reversals mean, for example, that I can play the first four notes all on press then the next three on pull. The run C, B, A, G can be played in either direction or push/pull. So I think about chords and work out treble to suit if possible.
There isn't really a downside although extra buttons mean a heavier box - mine is a 3v as well. There is obviously a learning curve and I certainly haven't fully got to grips with my G/C - particularly in playing in different keys. It's certainly interesting learning the same tune on different instruments - next project is La Mal-Aimable...
Sessions hereabouts (when they happen !)are D/G but I'm very fond of French music as well.
From my memory Frederic Paris plays a 8 bass btw.
J


 3 
 on: Today at 12:23:45 PM 
Started by Hugh Taylor - Last post by CAB
Footnote:  For anyone who hasn't seen it, I've temporarily put a copy of Vic Gammon's paper here:

https://www.dropbox.com/sh/ti5u9a6c9a5wdk7/AACDYCagpLgZcaVx0A3GfFNfa?dl=0

Chapter 3 is the most obviously relevant and sections of part 3.  Of, course the discussion of modes is under the section on song.

 4 
 on: Today at 12:08:59 PM 
Started by Hugh Taylor - Last post by Thrupenny Bit
I've lost touch with EFDSS years ago after the C# House debacle caused me to end my membership. I have no idea of their current activities.
I'd have hoped with Sheffield and Newcastle Uni's involvement in folk music that this type of question poses a serious research opportunity if it hasn't already been touched on by them.
Q

 5 
 on: Today at 11:44:42 AM 
Started by Clive Williams - Last post by BobM
We don't know what type of instrument is being played on the La Chavannée recording, it could be a 12 bass to keep the bellows close?
I'm going to go with the A- options apart from bar 7 where I'll use a C chord to get the bellows back. Using the a C chord to replace the other A-'s in the B section make the sequence sound too much like the A section IMO, I like the contrast between them.

Julian S, can you explain the pros and cons of the G + A reversed note please?

 6 
 on: Today at 11:42:37 AM 
Started by Hugh Taylor - Last post by Julian S
To me, this would be an excellent subject to research if someone happened to study on the postgrad world music course led by Fay Hield (amongst others) at Sheffield. (But maybe that focusses less on the historical aspects ?)
I wonder if there is anything in back editions of the EFDSS Folk music journal ? Saying that I've just found a reference in an article in the last journal, to an unpublished master thesis by Celia Pendlebury (University of Sheffield 2015 !) 'Jigs, Reels and Hornpipes : A history of 'traditional' dance tunes of Britain and Ireland. Sounds interesting !
The article itself is about John Malchair, 1730- 1812, who categorised and collected tunes - but seemingly focussed more on Welsh, Irish and Scottish tunes.

J




 7 
 on: Today at 11:38:45 AM 
Started by Janneke Slagter - Last post by Roland Carson
This is really good Janneke...It sounds great and your command of the technicalities for the recording is impressive.

 8 
 on: Today at 10:52:35 AM 
Started by Hugh Taylor - Last post by Hugh Taylor
Thanks to all contributors to date, esp Julian and Bob who seemed to have focused on my original query.
I know that the late C19 and early C20 collectors may have reinterpreted what they heard, but I'm not interested in them. What I was referring to was the increasing knowledge that we are building from fiddlers/flute tune book, eg Village Music Project and comparing them to C17 and C18 publications such as Playford, Walsh, etc.
Julian is absolutely correct in that there is research needing to be undertaken, though I'm sure some already has, but where is it?
Chris? Vic? EFDSS?

 9 
 on: Today at 09:55:22 AM 
Started by Clive Williams - Last post by Julian S
I've been checking my chords against the recording - and comparing tge latter with the 'official' dots - which themselves differ from the recording in slight detail.
I haven't found a problem with 'air management' but that might well be down to my box, as well as my use of air button and bass. I also noticed that I use a C chord on the first notes of bar 3 B part, and on bar 5 - unlike Mr Paris. Just sounds more interesting to me. And that G in bar 8 is important I agree in helping the lead back to Bar 1. The dots on that bar read A B A D E F but the recording is definitely different - my ears think A B A B C D...??

J

 10 
 on: Today at 09:36:53 AM 
Started by Jimmy - Last post by Jimmy
For sale from the Netherlands :

Hohner Corso, tuning is C/F, in good condition
Price : € 295,00 (two hundred and ninety five Euros) incl. shipment in Europe.
USA, Canada, Australia etc. is 60 Euros extra.
Photos : https://1drv.ms/u/s!AqjhHtivqDlz1G8USxAyoa0pwHQv?e=WvcAcZ

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