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 11 
 on: Today at 10:32:11 AM 
Started by Steve_freereeder - Last post by Steve_freereeder
That's a useful link - thanks, Andy!

 12 
 on: Today at 10:30:02 AM 
Started by Nic Pennsylvania - Last post by Thrupenny Bit
I find this an unusual observation, though we are all entitled to our opinions.
I've had the pleasure of attending the last two DG weekends with some stunning players acting as tutors.
Andy Cutting at one point was asked how he maintained concentration when playing. He struggled to put into words his thought processes, but said he 'built mind maps' around a tune. Once fully formed he entered that room or map and played and therefore kept concentration throughout the tune, even his most complex tunes. Watching him play, he appears at times to enter an almost trance like state, certainly not caring about his appearance. His music smiles!

The other main tutor was a Belgian lady called Ann Niepold. She is utterly amazing, often wandering off into jazz like phrases and pulling the most unusual faces and body language whilst utterly immersed in her playing. She represents the nearest thing I've seen to a classical musician whilst playing a melodeon.

Which brings me to classical musicians.... again immersed in their music, full body immersion in some cases.
I don't think any worry about smiling until at the end of their performance when greeted with applause.
Smiling? no, its the music that counts in my opinion.
Q

 13 
 on: Today at 10:24:14 AM 
Started by Steve_freereeder - Last post by Andy Next Tune
https://www.efdss.org/whats-on/61-conferences/10113-conference-traditional-tunes-and-popular-airs

 14 
 on: Today at 09:59:15 AM 
Started by Nic Pennsylvania - Last post by Tone Dumb Greg
All I can say is that my experience has been quite different from yours.  Appearance DOES matter!  It doesn't make up for poor musicianship, but it IS a part of good musicianship!  I spend most of my time playing in public at the organ or piano and I am ALWAYS conscious of my appearance and the way I conduct myself!

Dennis Steckley


I, for one, can't wait to see you demonstrate this in your videos.   ;D
Hopefully, your training will make it easy for you to do something the rest of us can't manage after years of playing.

 15 
 on: Today at 08:58:13 AM 
Started by Hugh Taylor - Last post by Steve_freereeder
Not wishing to hi-jack this thread further, but Celia Pendlebury has informed me of a forthcoming conference which may well cover some of the subject matter discussed here. Could be very interesting...

I've started a new topic about it here:
http://forum.melodeon.net/index.php/topic,25769.msg306700.html#new

 16 
 on: Today at 08:54:10 AM 
Started by Steve_freereeder - Last post by Steve_freereeder
Rather than hi-jack Hugh Taylor's Change in music at the end of the C18th thread, I'm starting a new thread for those who might be interested.
Celia Pendlebury (whose master's thesis was mentioned in the earlier thread here) has wondered if folks here might be interested in this forthcoming conference on Saturday 10th and Sunday 11th October 2020. Originally destined to be held at Cecil Sharp House, this will probably now be a Webex on-line event. It would seem that at least some of the conference will cover some of the issues raised in the 'Change in music at the end of the C18th' thread.

Here's what Celia wrote to me in an e-mail:

"I have just been reading through this correspondence [i.e. the melnet thread] with interest, as this topic matches my line of research.  Your correspondents might be interested in the series of conferences specifically about traditional tunes over history. These are organized by Julia Bishop in conjunction with the Elphinstone Institute, University of Sheffield and EFDSS. They are academic in nature, but "independants" (such as me) are welcome and anyone can submit a paper.  Details of the next one being planned in October are here: 

https://networks.h-net.org/node/73374/announcements/5809517/cfp-3rd-traditional-tunes-and-popular-airs-conference-deadline 

At the moment Julia & co are deciding how to deliver it and I suspect they shall opt for a Webex platform, which will make it accessible to a lot more people. Maybe you could provide this information to your friends on melnet?"

The deadline for submission of papers is now passed, but the conference itself may be of interest to members here. The topics to be discussed/presented are here.
If you are interested in taking part, please contact Julia Bishop for further details:

Dr Julia Bishop, Hon. Research Fellow, University of Aberdeen, and Research Associate, University of Sheffield
e-mail: julia.bishop@blueyonder.co.uk

 

 17 
 on: Today at 08:52:21 AM 
Started by Hugh Taylor - Last post by Tone Dumb Greg
I've heard JK point out that he doesn't use the 6th note of the scale in it, as that would pull the key centre too strongly in other directions.
So it could be Phrygian.

Are you sure that was the 6th note of the scale and not the 5th? It's the flattened 5th that makes the scale so weird.
My ears are not clever enough to be certain, but I don't think I can hear a flattened 5th in JB's song.

The 6th note in the phrygian is the same as the 6th in the locrian. [Edit: Actually, on reflection,  I think this statement is probably wrong]

Maybe Hugh should have his thread back now   (:)

 18 
 on: Today at 08:50:32 AM 
Started by Nic Pennsylvania - Last post by Winston Smith
"It doesn't make up for poor musicianship, but it IS a part of good musicianship!"

Well, I'll be OK then, as I know that I'll never be guilty of having anything like "good musicianship" anyway!

Perhaps, as usual, it's a case of each to their own, eh?

 19 
 on: Today at 07:55:23 AM 
Started by Hugh Taylor - Last post by Anahata
I can't remember ever hearing a tune set in the locrian mode. If I have I instantly forgot it  ??? ;D
There's John Kirkpatrick's song Dust to Dust sung here by Jon Boden
https://www.youtube.com/watch?v=IONfXsgRYZY

Thanks Lester. More listenable than I expected. Sounds rather like the phrygian mode-ish.
I've heard JK point out that he doesn't use the 6th note of the scale in it, as that would pull the key centre too strongly in other directions.
So it could be Phrygian.

Edit: PS - that's rubbish, it couldn't possibly be Phrygian. Sorry for posting while not properly awake.

 20 
 on: Today at 06:40:32 AM 
Started by Hugh Taylor - Last post by Roger Hare
This is probably an off-topic 'side thread', so I'll be as brief as possible...
Can you supply/link to any of those scores? When looking up tunes with those names on abcnotation / thesession / folktunefinder, none of the ones I can find are in any kind of locrian.
I can't link to any of those, but I did find this which may be Locrian:
Code: [Select]
X:136
%From Sylvain Pirons web site - www.tradfrance.com.
T:POLKA PIQUEE DE PLOEUC
Z:Yves Belotteau
M:4/4
L:1/8
Q:1/4=120
K:C
% Last note suggests Locrian mode tune
| c2 g2 g2 fe f2 g2 a3 z | G2 a2 g2 fe d2 g2 e2 c2 | c2 g2 g2 fe f2 g2 a3 z | G2 a2 g2 fe d2 g2 c3 z |
g3 z e2 fe d2 d2 e2 c2 | G3 z e2 fe d2 d2 B3 z | G3 z e2 fe d2 d2 e2 c2 | G3 z e2 fe d2 d2 B3 |
The ...Last note... comment is from the original transcriber, or some subsequent 'editor', not from myself.

Is it Locrian, then? Why? Why not? After 6 years, I still can't really get my head around how to decide the mode of a tune...

There's also James Fitton's 'Rainbow Jigs', the last part of which ('Purple Jig') is F#Locrian. See:
http://forum.melodeon.net/index.php/topic,18359.msg232135.html#msg232135

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