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Author Topic: The Abbess on C/F pokerwork  (Read 7371 times)

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Anahata

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Re: The Abbess on C/F pokerwork
« Reply #20 on: November 02, 2011, 07:39:30 PM »

Thanks. That's certainly the one. What does G/F# mean as a chord symbol?
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TomB

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Re: The Abbess on C/F pokerwork
« Reply #21 on: November 03, 2011, 12:37:23 AM »

The G/F# in the first bar seems to indicate using the mediant of the D7 chord as a lead to the G chord at the start of the second bar. The G/F# in the second bar appears to mean play a G AND an F# (major 7th) to arrive at the Em at the end of the bar. Is that possible on a melodeon?
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Martyn

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Re: The Abbess on C/F pokerwork
« Reply #22 on: November 03, 2011, 01:22:48 PM »

I'm really enjoying listening to this tune.

Martin, I think your playing of it on the C/F pokerwork is wonderful.  I just leave it on repeat hoping every little detail will get absorbed  :-\

Martyn
« Last Edit: November 03, 2011, 01:25:18 PM by Martyn »
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Owen Woods

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Re: The Abbess on C/F pokerwork
« Reply #23 on: November 03, 2011, 01:49:21 PM »

Superb playing as always Martin (:)
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Pete Dunk

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Re: The Abbess on C/F pokerwork
« Reply #24 on: November 03, 2011, 07:11:43 PM »

 ;D

X:1
T:Abbess, The
M:4/4
L:1/8
Q:1/4=140
C:Andy Cutting
Z:Peter Dunk 2011
K:G
G2 |:"G"B4 "D7"B3 "G/F#"c | "G" d3 "G/F#"G G2 "Em"Bd | "C" e2 e2- edcB | "Am"cBAG "D7"d2 GF |!
"C"E2 c2 "Am"A3 F | "Bm"D2 d2 "G"BA"Em"GF |"C" E2 cB "D7"AB/A/ "C"GF |1"Gsus4"G4-GDGA :|2 "Gsus4"G4- GA"G"Bc |!
|:"G"d4 "C"e3 d | "Am"cBAG "D7"d2 dc | "Bm"BAGF "Em"E2 cB | "Bm"BAAB "D"D2 GF |!
"C"E2 c2 "Am"A3 F | "Bm"D2 d2 "G"BA"Em"GF |"C" E2 cB "D7"AB/A/ "C"GF | "G"G4- GA"Gsus4"Bc |!
dGBd "Em"e2 ed | "Am"cBce "D"ddef | "G"gBfg "Em"e2 dB | "C"cBef "D7"d3 c |!
M:6/4
"Bm"BAGF "C" E2 c2 "Am"A3 F | [M:4/4]"Bm"D2 d2 "G"BA"Em"GF | "C"E2 cB "D7"AB/A/ GF |1 "C"G4- GDGA :|2 "G"G8 |]
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Ellison

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Re: The Abbess on C/F pokerwork
« Reply #25 on: November 03, 2011, 07:25:15 PM »

Hi

Thank you so much for these lovely comments. The C/F box is a joy to play thanks to the superb workmanship of Theo Gibb. I usually find myself reaching for this box ahead of my other, far more expensive melodeons. The tune is a beautiful composition by a virtuoso melodeon player. Put them together and it creates something very satisfying and absorbing to play. I love it and I'm glad you think I've done it justice.

[I will, however, be pinching some of Roland's basses - the healthy evolution of music! Don't you just love it?]

Martin
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Pete Dunk

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Re: The Abbess on C/F pokerwork
« Reply #26 on: November 03, 2011, 10:24:41 PM »

What does G/F# mean as a chord symbol?

If I saw this on standard sheet music I would read that as a G chord with an F# bass - sounds awful to me though! This kind of chord/bass notation along with chord windows crept in to sheet music many years ago to try and explain what guitarists like Leonard Cohen, Paul Simon, James Taylor, Cat Stevens etc were doing and it's been around ever since.
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Simon

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Re: The Abbess on C/F pokerwork
« Reply #27 on: November 04, 2011, 07:48:37 AM »

This kind of chord/bass notation along with chord windows crept in to sheet music many years ago to try and explain what guitarists like Leonard Cohen, Paul Simon, James Taylor, Cat Stevens etc were doing and it's been around ever since.
They're usually called slash chords; used a lot in jazz leadsheets (don't know when they got introduced). The question is what whether G/F# is really a slash chord or if it indicates a bass run or alternative bass in this case (so F# bass but without the G chord).
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Nick Hudis

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Re: The Abbess on C/F pokerwork
« Reply #28 on: November 06, 2011, 08:30:13 AM »

Harmonically an F# bass makes sense here leading up to the G as a approach tone (in jazz parlance) and then down to the E in the next bar in a run.  Obviously you'd need a 12 or 18 bass with an F# in the right direction to play it.  I'll have to transpose it for G/C (cant get my head around D/G) and try it some time.

On a box with an extended bass it can be fun trying to slip in approach tones in the bass.  A jazz bassist will often "approach" the  next bass note from another note a semi tone above all below it regardless of the chord being played.  On the box sometimes you have no choice but to approach from a full tone, but the effect can still be good, and give the impression of a complex bass line adding interest and keeping the momentum of the music.  Not something to do when playing for dance perhaps but for a nice slow solo like this....
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Ellison

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Re: The Abbess on C/F pokerwork
« Reply #29 on: November 20, 2011, 01:17:00 PM »

I was hoping this would make 1000 views before it disappeared off the bottom of the page. Ah well, close but no cigar.

Martin
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Howard Jones

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Re: The Abbess on C/F pokerwork
« Reply #30 on: November 20, 2011, 03:55:10 PM »

I've been learning this by ear but I was just about to sit down to puzzle out an ABC when I noticed Peter Dunk's transcription, so thanks Peter.  Interesting that his is in G - I'm playing it in D (having first initially learned it in C on my C/F in order to play along with Andy's CD).

I think the tempo of 140 is a bit fast though, Andy plays it at around 110 bpm although I'm having trouble keeping it down to that speed.

Martin J

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Re: The Abbess on C/F pokerwork
« Reply #31 on: December 12, 2011, 12:09:03 AM »

Not just a wonderful tune but a fabulous example of just what a Honer can sound like when well played.  Thank you for a splendid piece Martin.

Martin


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