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 21 
 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.

 22 
 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

 23 
 on: Today at 03:49:58 AM 
Started by Nic Pennsylvania - Last post by Dennis Steckley
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

Sorry but that’s ridiculous 😂

I’ve learnt several instruments and had many hours of tuition and never had any emphasis on what I looked like when playing. Didn’t figure in any of the music exams I took either. It’s music - I don’t care what a musician looks like when they are playing, I care what they sound like. I’d much rather watch someone pulling faces, closing their eyes etc and playing with real expression than watch someone looking ‘pleasant’ and sounding bland 🤷‍♀️

I have been learning melodeon for almost a year - I absolutely love it -  and I almost always play with my eyes closed 🤷‍♀️ I find it easier to concentrate tbh. If I’m playing with someone else, I do mostly try to keep them open.
[/quote]

 24 
 on: Today at 02:24:36 AM 
Started by Nigel.H - Last post by boxcall
Is it typical for a factory produced instrument to have "sets" of reeds on the blocks where only one central reed on each face is "stamped" with the makers name, whilst the others, albeit obviously identical, are plain.  Specifically Antonelli in the couple of cases I have seen.
Antonelli and its successors Voci Armoniche tend to just have one or two reeds in a set stamped as such. As far as I know, Binci reeds are stamped on every reed plate. Hohner reeds are stamped with H or T on every reed plate. Dix reeds similarly with an O
Beltuna one row maker has their stamp on the starting note of each row / bank of reeds and the Cagnoni I just used same thing

 25 
 on: Today at 01:56:01 AM 
Started by Hugh Taylor - Last post by Gena Crisman
Ref the book scan from Peadar, I love the idea of trying to explain modes using both a parallel scales and a relative scales approach all at the same time, while also telling us to also forget everything we know about scales in the paragraph just before. A muddy puddle, indeed.

I've watched/read quite a bit about teaching people about the modes of the major scale and what I generally see is that there's a lot of different ways of explaining how they can work and it's usually about finding the 'right' one for how someone thinks about/experiences music/their instrument. Perhaps the one in the book is just right for someone. Then again, the explanations/ways of thinking about them back a couple hundred years was probably pretty different as well.

One thing that I would describe as perhaps a misconception that I think people tend to have is the idea that modal tunes implicitly can not 'resolve' in some way, or have a fundamental feeling of awkwardness that our 'modern' ears (or those of previous generations) struggle to tolerate. Awkwardness certainly exists, but, I think it's entirely independent and can exist in any tune, Ionian or no.

 26 
 on: Today at 12:53:27 AM 
Started by Nic Pennsylvania - Last post by Dick Rees
Regarding "melodeon face":

Jerry Burt was born with an "alternatively designed" physical form, having nubby, functionless legs, half a right arm attenuated at the elbow and a voice punctuated by a powerful stutter.
This was offset by the joy he found in music and thus in life...a life spent in a  wheelchair.

Jerry taught himself to play a Fender Telecaster laid across his lap, fretting and picking the strings with the fingers of his one good hand.  And he was GOOD...always welcomed in country music bands and sessions.

Jerry was often in the row of tables nearest the stage soaking up the music and cheering the band on.  I was playing fiddle in a stringband/swingband/bluegrass quartet at a pizza joint he frequented.  We kicked off with some wickedly energetic number and I sawed away with all my might.  At the close of the tune he grinned broadly, leaned his head back and said:

"D..d..d..d..DICK!  Sm..sm..sm..sm..SMILE!"

I smile every time I think of him.
My best music has always been for Jerry.

Th..th..th..th..thanks, Jer.


 27 
 on: Yesterday at 11:52:58 PM 
Started by Nigel.H - Last post by tirpous
Quote
Any maker identified by/with
(...)
Quote
Diagonal mark across  one corner? (treble end)

The diagonal on the corner is a more or less standard indicator of the 'out' face of the reedplate, not a maker's mark.

 28 
 on: Yesterday at 11:48:44 PM 
Started by Nic Pennsylvania - Last post by Peadar
"- the chunk must be small enough to fit in your working memory.  Basically, you must be able to play it with your eyes shut.  This could be as little as two notes if you have an awkward shift.
- You must play the chunk with rhythmic accuracy.  If you can't, slow down.  In fact, slow down anyway.
- you need to keep repeating that chunk at that speed until it is completely automatic, relaxed, and comfortable.  This means something several hundred repetitions, spread over days and weeks."

Thanks Calum - really good advice and I shall stop worrying about being a slow learner (:)

 29 
 on: Yesterday at 11:38:34 PM 
Started by Hugh Taylor - Last post by Peadar

Thanks Peader. That is not the  clearest way I have ever seen of understanding modes. Possibly the muddiest puddle on the street.

The reference to variable notes seems to tie in with a much earlier post in the thread..... She (Margaret Fay Shaw) also seems to be saying that she is referring to pentatonic modes - Reading the key a few times I start to see that the numbers allocated to fundementals eg C 4/7 correspond to the "variable" notes F and B. In key of D F and B are respectively 3rd and 5th notes ... hence D 3/5 etc.

 30 
 on: Yesterday at 11:35:42 PM 
Started by Gary Chapin - Last post by bluegreen
When I heard the bourrée, it hit me that I knew the tune from somewhere-- took me a moment to place it as the Road to Boston (or at least a close relation), a march that still gets some use in US fife and drum bands and the New England contra scene. The first part is a bit different, but you could probably get away with swapping one version for the other once around as a variation, at least over here. https://youtu.be/TmuQgBf8ZIc

Did some very superficial poking around on the internet and read some youtube comment claiming that the Road to Boston was based on a late 18th century French tune that some colonials from Rhode Island took up as a march-- I wouldn't be surprised if there was an intermediate step or two involved of course. Ha, it also seems someone defaced the wikipedia page about the march claiming that it's from Denmark, "ecsactly [sic] the same tune" as something from there. Wherever it comes from-- I'm betting on France, personally-- it's lovely how tunes bubble up in different places and different times with different accretions and alterations.

Anyway, nice playing! Really appreciate the videos-- had been thinking about picking up a copy of the book and this is pushing me over the edge.


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