Tune of June - folky: The Agnes Waltz

[GOM]

Hi Jarvo,

Thanks for the comments. As regards how, through a Zoom H2N wired direct to my Mac using Audacity as capture software.
The variable bass is probably due the small room and the fact that I tend to wander around while recording, this has not been a problem when playing sax as the mic is attached. I don't like the effect of direct wiring the Roland it's dead and lifeless to my ear.

Regards. Alun

 

[merv123]

Hi All
Perhaps most people here don,t use midi accordions but here is Agnes Waltz played on a midi shand morino coupled to a Ketron X.D.3..

 

[Matt Butcher]

Thanks Merv, I enjoyed it, nice pulsing of the bellows, proper slow waltz feel, and I always enjoy the sound of the BCC# (unless I'm playing it). I haven't ever used midi, are the held keyboard notes in the "background" in your recording triggered or are you holding them down as you play?

 

[Glenn]

Hi All
Perhaps most people here don,t use midi accordions but here is Agnes Waltz played on a midi shand morino coupled to a Ketron X.D.3..

Thanks Merv, I really like it. Steady and solid beat, perfect for dancing I guess.

 

[jarvo]

Solidly played Merv, nice steady beat and tempo.....kudos {} :b

 

[merv123]

Hi Matt..
The background sounds are from the X.D.3 all of the background sounds can be set to play any instrument of choice ..

 

[Pippa]

I'm stumbling over line 6, where it goes A7 - Am - Cm - D7. Are those the chords everyone is using, or did anyone find something better?

 

[BobM]

From bar 4 of line 6, I’m using A7 A7 A7/Eb D7. The second to last chord is a 7b5 chord and appears on the Jimmy S recording. You could just stay on a straight A7 as the Eb appears In the melody anyway and there’s no 5th in the LH chord to clash with it.

BobM

 

[Matt Butcher]

I knew when I saw the question that BobM would have an elegant solution. I tried a few things (no idea what ended up on my recording which is messy as anything):

- jumping
- slowing down expressively and jumping
- going from Am to Cm but playing the root of G on the first beat of the C minor bar, not such a jump
- playing nothing on the first beat of the Am bar and using the time to move, then playing root C and counterbass E on the second and third beats of the Am bar, then you are in the place for Cm already, bit of an odd sound though

For some reason I didn't ask my teacher's advice, perhaps I still will consult the oracle. So I wouldn't advise you to listen to what I say, I am no stradella guru and I don't know much music theory either whereas BobM is an actual musician. I just wanted to put my ideas up in case anyone had any comments.

 

[BobM]

The Eb in the bass and melody of bar 6 of line 6 is a bit of a curved ball but the Cmin chord works ok. I’ve been practicing it as an A7b5 with the Eb in the bass (2nd inversion) as per the JS recording, but I prefer an A7 and let the melody carries the Eb, easier to play too..

BobM

 

[BobM]

For some reason I didnt ask my teachers advice, perhaps I still will consult the oracle. So I wouldnt advise you to listen to what I say, I am no stradella guru and I dont know much music theory either whereas BobM is an actual musician. I just wanted to put my ideas up in case anyone had any comments.

Hi Matt, don’t beat yourself up. You’ve posted clips on Soundcloud which is a lot more than me. There are a few tricks to working out chord sequences by ear, and rest assured that the Stradella system has evolved to cope with pieces like these, including the 2 Diminished chords found in the JS recording.

BobM.