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Author Topic: Angeline the Baker on Corona II  (Read 315 times)

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Willh

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Angeline the Baker on Corona II
« on: September 03, 2017, 09:09:03 AM »

I started looking at this tune yesterday and would appreciate some advice from the established players on how best to approach this tune.

Here is the abc for it:

X:001
T:Angeline The Baker
% Nottingham Music Database
S:Texas Old Time, via PR
M:4/4
L:1/4
K:D
|:d/2B/2|"D"AB d3/2A/2|Bd2d/2B/2|AB d/2B/2A|"G"B3d/2B/2|"D"AB d3/2e/2|\
"D"fe "Bm"d3/2e/2|"G"fe dB|"A7"A3/2B/2 A::
f/2g/2|"D"af ed/2e/2|fe df/2g/2|"D7"af ed|"G"B3/2B/2 Bf/2g/2|
"D"af ed/2e/2|"Bm"fe dd/2e/2|"D"fe "G"dB|"A"A3/2B/2 A:|

The way I would normally play this on mandolin/with fiddle players is just with two chords: D and G, so I'm disregarding the other chords.

My initial problem is that if I start this on the push on my Corona II, the G chord is also on the push, so there's never an opportunity to pull the bellows out sufficiently to get enough air for playing the song more than once through.

If I start it on the pull, the push renders the G chord, but then I have to work wide stretches across all three rows to hit the melody notes while on the D chord.

I suspect the problem is that I need to be doing more small amounts of push and pull more frequently and this maintain the bellows in a sort of medium position, but I need to experiment more.

Can anyone advise what my best approach would be?

Many thanks,

Will
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Will

Willh

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Re: Angeline the Baker on Corona II
« Reply #1 on: September 03, 2017, 11:10:50 AM »

I've had a chance to go back and try a few things this morning and here's what I've come up with:

1. I've decided to start from the push and so pull the bellows well out before I start playing.

2. To save air, I've found that playing very light, short bass notes (and sometimes melody notes) has helped stretch things out a bit.

3. To get around the problem of the D and G chords both being on the push, I've still moved to the A row to play a D note at the end of the A section melody (instead of the A-B-A melody in the music), using a pull on the G chord to get a D while at the same time using the air key to quickly expand the bellows.

This seems to work pretty good. The only thing now is to get more proficient at marrying up the left and right hands as working across three rows kinda fries my brain a bit.
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Will

Anahata

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Re: Angeline the Baker on Corona II
« Reply #2 on: September 03, 2017, 12:51:11 PM »

Well...
On the first whole bar, I'd play the A and B on pull, giving plenty of bellows pull time, and then do the same thing with the same notes in bar three. That's A on the G row and B on the D row, in case not obvious.

I think that would be enough (with judicious use of the air button) to keep things balanced.

If you're running out of air on the B music, try playing the first three notes of the first whole bar on pull on the G row.

I play a D/G box, no A row available nor necessary!

It was possibly John Kirkpatrick who first pointed out that tunes in D often benefit from being played mostly on the G row. Because D bass and chords are available in both directions, you have a lot of choice of ways to solve problems like this.
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Willh

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Re: Angeline the Baker on Corona II
« Reply #3 on: September 04, 2017, 06:55:16 AM »

Thanks for that.

I've worked with your suggestions a bit and can see it's a much better approach.

How do you handle the bass for this? Do you typically play root and chord on the first and third beats of the bar or do you tend to play a bouncier "1 & 2 & 3 & 4 &" style of bass?

The only problem I'm having is trying to marry up the right bass notes against the quickly changing pushes and pulls.

I'll try to notate that a bit more clearly later today after I've gotten some work out of the way.

Many thanks,

Will
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Will
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