Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Susanne]

Hi all

I just happened to run into this discussion, while dealing with my anguish over other things (studies). I'm a beginner, and found TOTM in November or so, and was soo happy about it because a similar thing in mandolin playing helped my playing a lot a couple of years ago.
I agree what is considered beginner tunes is quite hard to say.... I guess I'd think a beginner tune is one that falls easily on the keyboard and you don't have to struggle to find notes, and there are not a lot of weird chords in it.

I haven't been able to play all TOTM tunes, but then I've just simply skipped the one I felt was over the top (which in my case was Ashokan farewell). For the other months, the only reason I haven't participated in TOTM is lack of time. Tune of January was ok and I absolutely LOVE the recent tune, Plane tree, but probably won't be able to post anything until end of the summer, at the earliest. I'm right now way too busy with my studies that are tougher than anything I've ever done, and I have to spend absolutely ALL my time to try to pass my exams and keep my head above the water and keep sane (I guess one way to do that is to go to Melodeons & more). The stress is completely beyond my capability right now.

However, I never lost interest in TOTM - I think it's a lovely idea, but it takes time to learn new tunes that are slightly beyond your level of playing, and I just don't have the time, but hope I will in the future. It's a great way to keep your playing organized.

[Chris Brimley]

The big issue: do you feel that allowing the left hand to dictate the right, i.e. putting harmony in the driving seat, compromises the phrasing and rhythm of the melody?

For me, I wouldn't say so - in fact the bellows directions often seem more natural, and that can often aid fluency and expression.  Moreover, using all rows can often allow easier fingering patterns (such as sliding button changes), and ones which in theory ought to be easier to remember (but I'm still working on that one, and this may not prove to be the case!)

Put it another way: if you were totally freed from the need to provide a l-h accompaniment, would you choose to do the r-h differently in order to make the melody more... well, more anything?

I would say, perhaps, sometimes.  For example flowing airs often need smooth changes between notes, which might dictate how best to play (but that will usually match chord changes anyway).  Also, choppy playing often seems best with swift bellows direction changes, but very often the chord changes will run with these changes anyway.  But by and large, I don't think it makes a lot of difference, you can learn to play just as easily in a different way.

I'm not trying to be 'black or white' about this 'triad thinking' technique, but I think that it's probably easier to start from the concept, and then amend the fingering if you need to cope with a particular RH issue, rather than starting from playing just along the rows, say.

[Chris Ryall]

Can I reinforce Chris on this. His main point (so long back already) was about setting up triad chords that carry the riff on the right hand. This generally mirrors left hand chords but not always - eg the B chord is maj-push on left and minor on right unless you modify.

To me the advantage is that you can drop from tune into chord/arpeggio etc at any time and stay in total harmony. If you also learn the 7^th that gives you an easy off melody flourish. Slip in any extensions that lie conveniently on your box, and you are improvising. (As these don't lie in the chord in play you can change them). Disadvantage is that you don't have the 'attack' of the English one row style. 

If you want to mess about, conceptuallising the tune as a run of right hand chord triads is a really solid basis.

[Ellie]

Having read this entire thread, I have come to the conclusion that sometimes you can think about things too much, and that the time spent thinking would be better spent practising different versions or simply just playing the thing   I'm off for (non-alcoholic - it's still Lent!)  

[press on regardless]

[Theo]

For most of us 3.5 years is a short distance down the road of music making.  I'm reminded of the pipers answer to the question "how long does it take to become a piper?"

answer:
7 years learning
7 years practicing
7 years playing

and then you are a piper

[Clive Williams]

Having read this entire thread, I have come to the conclusion that sometimes you can think about things too much, and that the time spent thinking would be better spent practising different versions or simply just playing the thing   I'm off for (non-alcoholic - it's still Lent!)  

I'm with you Ellie - just play, and enjoy playing, and the rest will follow in time.