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Moonlight Serenade

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Nice!

You just have to pay a bit more attention to the bellows control. This song has some lovely long notes/chords and you have to try to commit to either extending the bellows further past your "comfort point" (which the accordion can easily handle), or to smoothly change direction just before those long notes.

Very good job!
 
Hi Terry,

I still think that you're playing so that the RH register sounds too close (low) to the left hand chords. Are you using an octave setting on the RH? I'd experiment with register or octave changing to try to get a little more sound space between the hands.
The Dim chord on bar 2 that you're playing off the root from bar 1 lifts the tune better if you make it an Ab Dim. If you don't want to make that jump you can stay on the Fdim chord but play a B bass from the G row.
If I had a penny for every time I played this tune in Big-Bands..

BobM. :)
 
Thanks peeps...Jerry bellows control always needs attention for sure...bob I more often than not raise the octave or steer clear of the low cassotto bassoon reed...but sometimes I can help being attracted to its warm hum...and you don't wish for a penny every time you've played this tune...you really just wish you'd saved them..
 
losthobos said:
bob I more often than not raise the octave or steer clear of the low cassotto bassoon reed...but sometimes I can help being attracted to its warm hum....
Click to expand...

The Cassotto straight tuned Bassoon reed is the register of choice for many jazz players, just shift the whole piece up an octave on the RH. Honest.. Check with HH.
 
Good job. Yes I second the notion of playing an octave higher and using just the bassoon. It's an old swing jazz tune relax have fun with it.
 
Ok, just to raise controversy, I am one of those that also enjoyed the deeper tones, that Brandoni sound is just sweet down low and so I enjoyed it at the octave it was played. :)
 
I think I've listened to this 10 times now - lovely rich harmonies, it swings in spite of the slow tempo which is not easy to do, and it's got this sort of dark nostalgic vibe or to me it has. I agree solving the question of the bellows changes would only add to these things. Although I enjoyed the pile up of all those low notes and the sound is fantastic, you've got more going on than first meets the eye in the left hand (held notes, held chord with the root playing each beat of the bar, etc etc, and I had to listen on headphones to make some of that out. So I don't know, is there a way to bring in all the low notes and still have more separation of parts. Anyway please keep them coming.
 
Matt Butcher said:
...is there a way to bring in all the low notes and still have more separation of parts.
Click to expand...
The answer to any kind of similar question is of course yes it is possible, but it might take a bit more complex of a recording setup. Perhaps separate L/R mics, a more acoustically better controlled room and some time spent with the equalizer and effects in post production, and voila, the answer to your questions is happening. :)
 
Matt Butcher said:
...is there a way to bring in all the low notes and still have more separation of parts.
Click to expand...
The answer to any kind of similar question is of course yes it is possible, but it might take a bit more complex of a recording setup. Perhaps separate L/R mics, a more acoustically better controlled room and some time spent with the equalizer and effects in post production, and voila, the answer to your questions is happening. :)[/quote]

If we listen to the original MS played by the Glenn Miller Orch, the main theme is played on a clarinet above 3 or 4 harmonised saxophones, with an answering phrase being played on muted brass, (trumpets and trombones). Theres also some nice piano fills and the whole lot sits on a simple bass part, and this is good orchestration, because the individual sections are audible and occupy their own space.

But because the choice of (losloboss) RH low octave and reed register puts the melody in a similar range to the LH, both of the parts are in the same tonal range, unlike the (GM) original. One of the reasons why accordionist who play mainly jazz usually play full sized boxes is so that they can play using a Bassoon reed in a high register to achieve a good separation.

BobM
 
I understand where you are coming from and you have a valid point, Bob, but though it was chosen to be played at a lower octave by the performer because he liked it that way and wants to continue to play it that way, kind of trumps the orchestration of Glenn Miller's original manuscript in this case. :)

My point was that even if lostlobos wished to continue to play that way, one could separate spatially in the stereo image, have his right hand on the right side and the left on the left side, and get a near infinitely variable level of separation on the channels based on desired results. I've done that many times in varying amounts and the effect does accomplish the effect I was talking about in the original post. Also, with equalization, one can lower the low-mids of the right hand and deepen the lows of the bass on the right hand and increase that difference and of course adjust volume independently as well.

Most amateurs won't invest in as complex a set-up to accomplish these goals, but I was answering Mat's queries that it was possible without changing the way lostlobo liked playing it, that's all I was trying to say. Of course the registration or octave could be changed as the easiest/quickest suggestion is not a terrible idea. :)
 
JerryPH said:
I understand where you are coming from and you have a valid point, Bob, but though it was chosen to be played at a lower octave by the performer because he liked it that way and wants to continue to play it that way, kind of trumps the orchestration of Glenn Millers original manuscript in this case. :)

My point was that even if lostlobos wished to continue to play that way, one could separate spatially in the stereo image, have his right hand on the right side and the left on the left side, and get a near infinitely variable level of separation on the channels based on desired results. Ive done that many times in varying amounts and the effect does accomplish the effect I was talking about in the original post. Also, with equalization, one can lower the low-mids of the right hand and deepen the lows of the bass on the right hand and increase that difference and of course adjust volume independently as well.

Most amateurs wont invest in as complex a set-up to accomplish these goals, but I was answering Mats queries that it was possible without changing the way lostlobo liked playing it, thats all I was trying to say. Of course the registration or octave could be changed as the easiest/quickest suggestion is not a terrible idea. :)
Click to expand...

I understand, its just that loslobos invites comments, and well...

BobM.
 
First,I want to say lostlobos the way you played it is up to you and no wrong!
Music is tast. That's why you get so many different opinions.

Thanks for posting!
 
Sorry I misspelled you name Loslobos. I will blame it on spell ck.

I don't think anyone here was bashing him at all. Just saying how we might play it. Isn't that what this site is all about the exchange of information and ideas?
 
Sorry been busy trying to knock up little demo vid for someone...and thanks to your inputs have opted to start the demo with Moonlight Serenade...put in new topic..Demo in Progress....
Bob I've followed your wisdom and played octave up cassotto bassoon reed...actually started in lower octave but ditched left hand a tad...also felt i needed to add a little sparkle on top so added a 5% offsett non cassotto clarinet reed...and playing the Abdim in bar 2....good call...certainly more dynamic now
On the other few ditties I've added are 5% offset plus cassotto clarinet, cassotto clarinet plus offset 5% and 15%, or clarinet and bassoon in cassotto with 5%offset...
Accordion Sam don't worry about me getting a bashing.....BobM has my card marked well... he knows i post here so tunes develop and thankfully helps the process
Matt i'm flattered ...i don't think anybodies ever listened to any of my ripoffs that much....certainly not my girlfriend anyway...
Jerry sadly i am still recording on a fujifilm camera....but there is a real sweet spot in the house at T junction/alcove at end of hall.... and i now have a zoom r8 multitracker so soon i'll be trying recording without the camera....just need a decent mic for left hand, have clip on senheiser 608 for right...
will say what happens over the dingy months...welcome autumn leaves....
thanks again
 
If it hadn't've all been so low pitched, I wouldn't've had to listen so many times! Only joking, the enjoyment is genuine and if I could steal an idea or two along the way then so much the better.
 
I have to hold my hand up here.. loslobos is playing it in F, bands usually do it in Eb and (IMO) it doesn't sound quite right played higher on Bassoon in F. If I were to play this I'd change the key to get the melody to sit in a more Bassoon friendly key, maybe like Bb but with a straight tuning. Sorry for the distraction.. :(

BobM.
 
Gimme a clue Bob...does the original recording sound better in the lower octave than the new....don't wanna shoot myself in foot by sending wrong version for demo...I trust your judgement probably more than my own...cheers LostHobos
 
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