debra wrote: ↑
Mon Jan 08, 2018 12:47 pm
Nice try, Geronimo! Good to see someone else struggle with the bass fingering...
I suspect it gets worse afterwards. I mean, it's just 4 pages, so I should give it a try, but it will take months for me to get anywhere.
And yes my observation is also that on a free base accordion (Morino or other in fact) the stronger base makes it much harder to cope with the air consumption and also harder to not overpower the right hand side.
Air consumption did not really faze me until I pulled in two chord reeds in a low setting on my main one. Usually I just use one chord reed there and then it is rather handy that I can move the octave break around. It would be better if it were more realistic to move it in-piece. I suspect that might have worked better on those versions of the mechanics having seen more use and testing.
It would sound better with LMH an octave higher than the prescribed MH but then air consumption is killing (unless you try to stay at pianissimo).
Adding the piccolo reed (not available on my free bass though) does not really make much of a difference at that pitch regarding the air consumption in the treble with its single sounding note. The problem rather is the air going through fatter chord registrations. Lower notes take more air, and a single reed set immediately adds three reeds per chord as consumers.
The attempt (around minute 11) of adding reeds left and right clearly shows that excess air consumption and the need for a very long left arm and more bellow folds. The "high" versions use less air but I don't find the sound acceptable.
The 11 minute attempt basically was going for a bombastic sound without pulling the tutti stop (which would just drown out the bass notes in chords and suck air like anything) by adding rather low chord sets. A "real" accordion does not offer chord reeds starting at A2: that's just silly.
I find the sound for the standard bass Morino and the high bass setting an option that actually matches "Dat mistige rooie beest" at least in category of mistigness. Of course I'd have to evaluate the rest of the piece in order to see whether this can make sense. With the free bass Morino which essentially plays all the same notes in the last example, the resulting texture is not finely chiseled/homogenous enough to be equally compelling: the single notes stand out more.
The Excelsior actually had a similar high bass register but it worked even less, and without a cassotto reed there just wasn't a fitting subdued light with a twinkling edge for cutting through the mist in a subtle manner available.
For a similar reason, I used octavated L and LM on the Morinos instead of the prescribed MH even when the latter would have been available: MH was too noisy.
It's likely that a lot of those subtleties get lost in recording, but I'm actually not too unhappy about how these recordings worked out when played over reasonably accurate speakers (for one thing, the low bass settings of the Morinos are pretty unimpressive if your speakers do not reach there).
Thanks for this very nice illustration of the difficulties in playing slow songs with drone bass and not drown everything in the bass and not run out of air either.
Air management is probably among the worst aspect of those recordings, but I was loath redoing stuff when something worked more or less, and air management was low on the list of "ok, you really need to redo this one". You can see lots of cuts/transitions and of course the parts where I am repeating stuff again and again and muttering curses under my breath are taken out.
Maybe in half a year I'll be able to make a useful take, and of more than just this fragment.