Turks Fruit -- Soundcheck
#21
<QUOTE author="debra" post_id="55781" time="1519760352" user_id="605"><s>
debra post_id=55781 time=1519760352 user_id=605 Wrote:You have a good solution to the impossible chord.
Well, I wanted to keep the "harmonica" as main solo instrument, so that is where I want the bulk of rhythmic and melodic adlibbing (not much so far) to end up. The passage with the "impossible chord" is sort of an orchestral passage in the original, so the lead melody there is taken by the "flute" which is quieter and more straightforward and, being in déclassement, doesn't really match the character of the chord reeds. So I did not want to put other voices in the treble here. I'd have settled for worse variants to get that.
<QUOTE><s>
Quote:The registration and bellow control require some further work, but in the end there will be a nice new performance!
"The registration" as in "the choices of registration" or "the awful fumbling with registration"? With regard to the former, I think that the current working set is not really bad. The latter, of course, is evident. Since I don't have any combination registers, I might have to develop "strategies" for the changes where one starts with the most defining reed set change and follows up with the rest. But yes, given that this is my main instrument, my registration performance is subpar.
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#22
<QUOTE author="Geronimo" post_id="55782" time="1519761603" user_id="2623"><s>
Geronimo post_id=55782 time=1519761603 user_id=2623 Wrote:...
"The registration" as in "the choices of registration" or "the awful fumbling with registration"? With regard to the former, I think that the current working set is not really bad. The latter, of course, is evident. Since I don't have any combination registers, I might have to develop "strategies" for the changes where one starts with the most defining reed set change and follows up with the rest. But yes, given that this is my main instrument, my registration performance is subpar.

Registration itself is pretty much a matter of choice. I don't have to like all the choices you made.
But the fumbling with the switches has made me realize how spoiled I am with my selection of chin switches on all my accordions. Yet, I have first played this piece on a PA without chin switches many years ago. But the register switches were "normal" combination switches. You clearly show there was a good reason for inventing those.
(The girl who played this piece at her final exam also only had normal register switches. Apart from struggling with the intricate bass combinations her biggest problem was managing air with a bellow that was too small.)
One of the first things I did after buying my Artiste XS was to change the under-keyboard sliders into chin switches. This was actually rather straightforward, requiring only fairly standard diy skills.
Paul De Bra (not Debra...)
http://www.de-bra.nl
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#23
<QUOTE author="debra" post_id="55788" time="1519807117" user_id="605"><s>
debra post_id=55788 time=1519807117 user_id=605 Wrote:<QUOTE author="Geronimo" post_id="55782" time="1519761603" user_id="2623"><s>
Geronimo post_id=55782 time=1519761603 user_id=2623 Wrote:...
"The registration" as in "the choices of registration" or "the awful fumbling with registration"? With regard to the former, I think that the current working set is not really bad. The latter, of course, is evident. Since I don't have any combination registers, I might have to develop "strategies" for the changes where one starts with the most defining reed set change and follows up with the rest. But yes, given that this is my main instrument, my registration performance is subpar.

Registration itself is pretty much a matter of choice. I don't have to like all the choices you made.
Some choices are made more by the instrument, and naturally one's preferences gravitate towards what one is used to enjoying. I'll likely do a few more passes listening to the versions of Toots Thielemans (depressing as that is) to get more of a feeling how the orchestration worked out there and how that might map best to my instrument and abilities.
<QUOTE><s>
Quote:But the fumbling with the switches has made me realize how spoiled I am with my selection of chin switches on all my accordions.
Spoliation does not amount to all that much here I guess. It's more like how clumsy I am. Combination switches would probably require a bit less training, but if someone plays the same instrument for close to 10 years and does not manage to deal with 3 levers for switching between the principal registrations of L, M, LM, MMM, and LMMM without getting stuff wrong and fumbling, this is a lack of training due to a lack of practice discipline. Similar on the bass side.

It's not like I get along better with combination registers when I have them. I do like the combination register thumb sliders on the Morino Artiste VID. And on an LMMM instrument, that concept would work even better.
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#24
<QUOTE author="Geronimo" post_id="55794" time="1519820089" user_id="2623"><s>
Geronimo post_id=55794 time=1519820089 user_id=2623 Wrote:...
It's not like I get along better with combination registers when I have them. I do like the combination register thumb sliders on the Morino Artiste VID. And on an LMMM instrument, that concept would work even better.

It's exactly those thumb sliders that I got rid of. I know several people who had them removed because they hated them. I at least converted them into chin switches.
Paul De Bra (not Debra...)
http://www.de-bra.nl
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#25
I decided that there is no point just taking the disadvantages of recording, so I put some not so subtle EQ on the bass, pulled in another chord reed for texture while mellowing the chord range with EQ again and started working with a monitoring headphone and microphone technique (moving closer and further depending on the musical needs). Of course, more things to keep in focus, so the playing blunders are more or less the same as previously.

Still, it might be interesting to listen to <URL url="https://youtu.be/85sZIoyo8oc"><s>[URL="https://youtu.be/85sZIoyo8oc"]this version.[/URL]</URL> I'd probably have to play sideways to the audience in a live situation with that registration in order to mellow out the chord reeds, and it would likely impact the bass response as well. But in a recording, anything goes.
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#26
It's not only sounding better every time... if you keep working at it you will in the end reach a faultless version as well!
Paul De Bra (not Debra...)
http://www.de-bra.nl
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#27
Sorry to be so late to an old thread. Beautiful sound, Geronimo, and beautiful arrangement, Paul. I don’t know the movie.
Where can I find the arrangement?
Bugari “Blue 72”, Tiger Combo ‘Cordeon, Iorio Concert Accorgan G Series (electronics removed), Hohner 1974 Melodica (Piano 36)
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#28
(28-06-2019, 04:49 PM)Eddy Yates Wrote: Sorry to be so late to an old thread. Beautiful sound, Geronimo, and beautiful arrangement, Paul. I don’t know the movie.
Where can I find the arrangement?

The arrangement is of course available from my site with free arrangements: https://www.de-bra.nl/arrangements.html (where almost all arrangements are for ensembles or orchestras, but Turks Fruit is for solo).
Paul De Bra (not Debra...)
http://www.de-bra.nl
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#29
(28-06-2019, 08:29 PM)debra Wrote:
(28-06-2019, 04:49 PM)Eddy Yates Wrote: Sorry to be so late to an old thread. Beautiful sound, Geronimo, and beautiful arrangement, Paul. I don’t know the movie.
Where can I find the arrangement?

The arrangement is of course available from my site with free arrangements: https://www.de-bra.nl/arrangements.html (where almost all arrangements are for ensembles or orchestras, but Turks Fruit is for solo).
Thanks, Paul!
Bugari “Blue 72”, Tiger Combo ‘Cordeon, Iorio Concert Accorgan G Series (electronics removed), Hohner 1974 Melodica (Piano 36)
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