Anyanka post_id=63105 time=1537704840 user_id=74 said:
I don't like that
- Thread starter wirralaccordion
- Start date
- Status
M
maugein96
Guest
losthobos post_id=63128 time=1537768509 user_id=729 said:
Terry,
Sure were on the right forum here?
I dont mind watching music as long as people can put up with listening to me snoring. I have learned a lot from watching others, but learned an awful lot more just by listening and experimenting. If only I could remember what the experiments were, I might have been a half decent player. They say I should write it down, but by the time I get the pencil and paper out Ive forgotten it already. I never play the same tune the same way twice on any instrument, and dont bother with audiences any more as they keep watching me.
Anyanka
Prolific poster
jozz post_id=63130 time=1537772193 user_id=2600 said:
Thats pretty bad indeed. I was going to respond with a similarly awful German clip, but in order to find the very bottom I have to listen to the clips.... and I just cant make myself do that, so Ill concede! :lol:
george garside
Prolific poster
- Joined
- May 11, 2013
- Messages
- 1,850
- Reaction score
- 6
they were enjoying themselves as were the people watching so whats wrong with that - or are we supposed to be constantly seriarse about accordions the playing of????
george
george
I was playing that same song in a band couple of months ago wearing a three-piece suit in bright orange with little Dutch flags painted on my cheeks.
Very serious affair with the King's birthday and all :mrgreen:
Very serious affair with the King's birthday and all :mrgreen:
StargazerTony
Well-known member
jozz post_id=63141 time=1537789722 user_id=2600 said:
We are rather provincial here in the USA and have to wear pants. Wait... Oh, you mean those cheeks. My bad.
Stephen Hawkins
Experienced Gentleman.
John & Terry,
You both make very good points, though something John said in an earlier post got me thinking. The thrust of it was that the accordion industry may/would have collapsed if it were not for standard accordion music.
Just a thought, no need for anyone to bust a blood vessel, but it could be that ultra conservative attitudes towards accordion music has done the instrument no favours. Dry and dusty people who insist on rigidity and standards compliance are the ones who are guilty of putting potential players off.
Play whatever YOU like, and enjoy your accordions.
Kind Regards,
Stephen.
You both make very good points, though something John said in an earlier post got me thinking. The thrust of it was that the accordion industry may/would have collapsed if it were not for standard accordion music.
Just a thought, no need for anyone to bust a blood vessel, but it could be that ultra conservative attitudes towards accordion music has done the instrument no favours. Dry and dusty people who insist on rigidity and standards compliance are the ones who are guilty of putting potential players off.
Play whatever YOU like, and enjoy your accordions.
Kind Regards,
Stephen.
M
maugein96
Guest
Hi Stephen,
Up here in Scotland the accordion repertoire was fairly standardised, and seldom crossed over with mainstream popular music. There were a handful of the better known "Continental" accordion type tunes, and of course some Scottish and Irish music was virtually interchangeable, and incorporated by players on both sides of "The Sheugh" (Irish sea). Very occasionally a "catchy" wee tune would receive a "guest pass" into the repertoire. One such "novelty" from 1899 was "Whistling Rufus", and various Scottish and Irish players crucified that tune for many years. I hadn't heard it for a while, but heard a clip of it played by John McGarrigle, an Irish player, a few days ago. Took me right back to the days when I was making a decision about what type of accordion music I was going to play. John made a great job of that tune, but it tended to be the number where people would be standing at the bar ordering the next round of drinks.
As such it was a definite "I don't like that!"
In days gone by any type of playable accordion would have commanded a reasonable price. In fact they were so expensive that only players who were committed to learning the styles associated with them tended to buy them. At a rough guess their nemesis was the electronic keyboard, but you'll know I never took much interest in the accordion until I was in my 30s.
Nowadays in the UK there is a glut of older perfectly acceptable PAs that can be had for not a lot of farthings (for non and younger UK types a farthing was an old pre-decimal UK coin which was once of the lowest available denomination. Please note there is an "h" in the word). If what I'm reading on here is correct then a fair few people about our own age are now looking at these objects of antiquity with renewed interest, and having managed to live without dedicated accordion "styles" into retirement, rightfully see no need to be herded up by the sheepdog in their old age. Those old accordions are there for the taking, and as you rightly point out, are there to be play the music of the owner's choice.
However, I will say that many players of accordions worldwide have never really heard people from other countries play to any great degree, and in the case of the Balkan countries, the main customers for new Italian accordions, it takes them years to be able to acquire the techniques necessary to play their own national music, without worrying about how to handle anybody else's.
We therefore have a split between players who dedicate themselves to following local custom, or "international" genres like jazz and classical, versus those like yourself who prefer not to be "worked" by a discriminatory audience. These days I probably fall somewhere between the two, so I'm off to practice "Whistling Rufus" while it's fresh in my head. Sheet music? Not a chance. You play it the way you hear it and if it isn't "right", then it's a "Don't like that" number anyway.
In summary, a Flamenco guitarist will maybe take 10 years to acquire the skills necessary to perfect his/her art, on a purpose built instrument costing thousands, and in that time may or may not be tempted to stray away from it onto one of the other gazillion guitar styles. If the latter is the case, then why does he/she persist in that one style? I just don't know, and they probably don't know either.
Up here in Scotland the accordion repertoire was fairly standardised, and seldom crossed over with mainstream popular music. There were a handful of the better known "Continental" accordion type tunes, and of course some Scottish and Irish music was virtually interchangeable, and incorporated by players on both sides of "The Sheugh" (Irish sea). Very occasionally a "catchy" wee tune would receive a "guest pass" into the repertoire. One such "novelty" from 1899 was "Whistling Rufus", and various Scottish and Irish players crucified that tune for many years. I hadn't heard it for a while, but heard a clip of it played by John McGarrigle, an Irish player, a few days ago. Took me right back to the days when I was making a decision about what type of accordion music I was going to play. John made a great job of that tune, but it tended to be the number where people would be standing at the bar ordering the next round of drinks.
As such it was a definite "I don't like that!"
In days gone by any type of playable accordion would have commanded a reasonable price. In fact they were so expensive that only players who were committed to learning the styles associated with them tended to buy them. At a rough guess their nemesis was the electronic keyboard, but you'll know I never took much interest in the accordion until I was in my 30s.
Nowadays in the UK there is a glut of older perfectly acceptable PAs that can be had for not a lot of farthings (for non and younger UK types a farthing was an old pre-decimal UK coin which was once of the lowest available denomination. Please note there is an "h" in the word). If what I'm reading on here is correct then a fair few people about our own age are now looking at these objects of antiquity with renewed interest, and having managed to live without dedicated accordion "styles" into retirement, rightfully see no need to be herded up by the sheepdog in their old age. Those old accordions are there for the taking, and as you rightly point out, are there to be play the music of the owner's choice.
However, I will say that many players of accordions worldwide have never really heard people from other countries play to any great degree, and in the case of the Balkan countries, the main customers for new Italian accordions, it takes them years to be able to acquire the techniques necessary to play their own national music, without worrying about how to handle anybody else's.
We therefore have a split between players who dedicate themselves to following local custom, or "international" genres like jazz and classical, versus those like yourself who prefer not to be "worked" by a discriminatory audience. These days I probably fall somewhere between the two, so I'm off to practice "Whistling Rufus" while it's fresh in my head. Sheet music? Not a chance. You play it the way you hear it and if it isn't "right", then it's a "Don't like that" number anyway.
In summary, a Flamenco guitarist will maybe take 10 years to acquire the skills necessary to perfect his/her art, on a purpose built instrument costing thousands, and in that time may or may not be tempted to stray away from it onto one of the other gazillion guitar styles. If the latter is the case, then why does he/she persist in that one style? I just don't know, and they probably don't know either.
george garside
Prolific poster
- Joined
- May 11, 2013
- Messages
- 1,850
- Reaction score
- 6
whistling rufus and s shufling Samuel went/do go well together.Sir Jimmy Shand recorded them both.
as far as I can see there are two broad 'school' of box players.
Those of a classical disposition complete with exams and grades and who stick largely to playing as writ and who aim for perfection
those of a Folk/trad/jolly tunes disposition who often play by ear and who play whatever comes to mind and aim mainly for enjoyment - but sometimes enjoy playing with less than good results, and at other times with excellent results.
george
as far as I can see there are two broad 'school' of box players.
Those of a classical disposition complete with exams and grades and who stick largely to playing as writ and who aim for perfection
those of a Folk/trad/jolly tunes disposition who often play by ear and who play whatever comes to mind and aim mainly for enjoyment - but sometimes enjoy playing with less than good results, and at other times with excellent results.
george
Corsaire
Well-known member
Well I've no doubt which category of box player I belong to, and it's not the former !
Having been through the classical bit with the piano, I can both read music and play by ear. I have no interest in exams and grades at my time of life - I'm enjoying things that are pleasurable !
Having been through the classical bit with the piano, I can both read music and play by ear. I have no interest in exams and grades at my time of life - I'm enjoying things that are pleasurable !
M
maugein96
Guest
george garside post_id=63160 time=1537862857 user_id=118 said:
Hi George,
I had forgotten about Shuffling Samuel, which I think was composed by Felix Burns, a Scottish accordionist. Last time I heard that one was by Raymond Chuchuk, a Scottish born PA player of Ukrainian descent. He is still quite a prolific player and revered recording artiste.
In my home street, which was maybe 200 yards long, I can remember 8 accordionists, and only one of them had a preference for Scottish music over Irish. The player concerned also participated in various accordion competitions and had several diplomas/certificates relative to grades he received. Five of the remainder played in accordion marching bands and the other two werent good enough. Every one of them had a stab at Whistling Rufus at their relative levels of competence, and its possible that the non accordion lovers amongst us in those days conspired to condemn the tune to death.
With regard to Irish versus Scottish versions of the same tune, Jimmy Shands Bluebell Polka was usually shaken and stirred, crucified even, by Irish players. In fact Jimmys version would often be heralded with I dont like that, by those of us used to hearing it being playing at a faster tempo. When I think of that tune, here are the three versions that I remember most. Jimmys version was the big hitter, but it wasnt the most popular in our area. He would have come a close 4th against these:-
Mick Foster
Dermot OBrien
Gallowglass Ceili Band (slower version for dancers)
Dont get me wrong, Jimmy Shand was an accordion legend, and an ambassador of the Scottish accordion. His talent was well enough known, but his style could be a bit of an acquired taste to those of us with mixed ancestry, where the shamrock grows alongside the thistle. I know Scottish Country Dance music is sacred, and I do not seek to be critical of it, its just that my preference is for other styles, the same as many others from a similar background to my own.
Incidentally, the Bluebell Polka is played elsewhere in mainland Europe (possibly The Netherlands), where it is known by an alternative title. Im hoping somebody recognises it in the clips and tells us what it is. If I can remember what it is called Ill post it on here.
Still working on it but found another Scottish version:-
Cant remember that version in the charts, but it was easy on the ear.
maugein96 post_id=63159 time=1537857870 user_id=607 said:
My anecdote: When I was playing (gtr), while I did also play many other folk styles, Bach and flamenco were it. For me, these two forms encompassed so much. It required diligent practice. After some decades, and parenthood, my practice waned and i stopped playing these forms entirely; I occasionally went out and embarrassed myself, and quickly learned that I couldnt perform the material without diligent practice. My limited time instead went to other fun forms that I can partake and perform without such time investment in rehearsing - folk forms on various strings, accordions, rock n roll...
The last few years, Ive performed regularly on club-style accordian - it provides enough flexibility to play what Ive found to be crowd-pleasing: French folk/musette, some Satie, dance rhythms (jigs, polkas, etc)...and moldy figs like Amelie, theme from 3rd eye, whatever else is familiar and lies well on diato club layout. I find that folks are simply attracted to the sound of accordions, and many are visually compelled by the button box.
If I studied classical accordion, it would be a different story all around - although, I have no interest in this form (and dont like it). For me, accordion is all about folk forms.
M
maugein96
Guest
cat post_id=63167 time=1537893856 user_id=200 said:
Hi cat,
A lot of people write off the less complicated styles until they try to play them. Most accordionists worldwide belong to some some sort of folk or national following, but I think we all need to just accept that some people just dont like certain types of music.
Main thing is just enjoy what you play and if it gets as serious as it did when you were battling with Bach and Flamenco you know what to do.
JeffJetton
Prolific poster
StargazerTony
Well-known member
Hi cat. Do you really wrap an accordion around your neck?
- Status
