Overdue updates, a new development, and generosity

Has it really been 5 days? How is that possible? Business!!!! I have had several really long work days and with the weather being unbelievably seasonally warm too, more 'blog time' has been spent outside too. But, it doesn't mean I've quit! Nope! I'm plugging away.

First, let me talk about practice and developments. Practice has been more sporadic as my time has been more sporadic, but they have been good practices with seeing improvements nearly every time I sit down to play. I have decided not to move on to the next section of the method book yet I decided to  just keep going back through the tunes and exercises I have already started so that they start to feel less strained and approach even their lento tempo on the recordings. It feels a bit less horrible - not good, but less like random notes being played on a page.

The new development actually has me almost giddy. There has been a lot of discussion on melnet about how to learn and how to play the melodeon. I totally get the thoughts and feelings on this too. The melodeon is a folk instrument. It's meant for dance and singing along and for a showing emotion.  It's a music to be felt deep in the soul to be "good" really. I've posted some really, heart felt, deeply felt - either in joy or sorrow pieces. The players might not be feeling sorrowful or joyous, but their music expresses it.

Like these two in an off the cuff moment. They play off each other and let the tunes evolve. It's just a joy to watch and listen to.

I didn't grow up in that tradition or learn music in that manner.Maybe there is just less of that overall in much of the US? (I grew up in a mostly rural-ish part of the country - but as an adult I've always lived in or near large cities). I learned in school, on a classical instrument and I was to strictly play what was on the written page and to follow the director for tempo, etc.

There was a jazz band at school, but the French Horn is not ever used in a jazz ensemble (though I did get to play on one piece and got to go to state as there was an arrangement for horn... but it was still all on paper.)

And I think I'm a German deep in my soul and to top that - a mid-westerner through in through in my behavior - don't let loose -follow the rules - don't show emotion. All scripted music.

So, that has been how I've been approaching picking up the melodeon because that's how I know how to approach music. People on Melnet tell me to noodle around on the box. That leads to nothing. The melnetters who grew up with hearing the music and experiencing this instrument as a folk instrument are probably dying inside or wanting to throttle me for wanting to make this folk music into a classical, strict, style of playing. I get that, but I cannot undo my nature or my more formal learning on an instrument (despite huge gaps in learning).  The notes on the page work for learning and introducing new tunes to my ear -hearing it and seeing it written out gets it in my head. BUT... I do have an inner voice that does want to break free. More on that in a minute.

Anyway, one of the five pieces I'm working on in the method book is a catchy tune. I found myself this morning humming it, but not as it's written on the page, but how my inner composer is feeling how it could be played. In my head, the basses compliment the melody - it's not in the traditional um pa steady rhythm, but instead are stressing certain tones and notes. Just now I thought of it again, and the tune in my head sounds differently with stresses elsewhere in the piece.

This is a huge development for me. I am feeling the music specifically for this melodeon and it's off the book. It feels heartfelt in my head. It sounds fun! Yay! Now, there is no way in hell I can play that tune that is running in my head as I stink at this instrument as a beginner, but I"m feeling it differently for pieces that "stick".

And that might be a problem for the one piece especially that is not working well at all. I don't hear that song in  my head - it's either not interesting or not natural sounding or something. And I've decided that if I don't particularly like a piece, I shouldn't play it or practice it! There will be other pieces that go over the same skills I can work on that I do like and do feel more natural and will therefore be more interesting and easier to learn.

So 'by the ear' learners. Take heart. I will break free from the page too - somewhat, in time, within my comfort zone.

And now, generosity and how it comes at a time when I need it.

I had a hard Sunday this past week. I don't like it when my work doesn't feel "good". Not so much for me, but my volunteers. I want their experience working with kids to feel good and to be rewarding and when it's not possible (usually do to too many kids at one time), I don't feel good about it. 

Monday was a really good day, but it was a very long day. I had hoped when I got home I could practice... this in itself in interesting. I wanted to practice. because even as horrible as it is to listen to myself right now, it is a stress reliever. I look forward to it. However, I got home at 10 pm. Read to my son before he went to bed, and then it was nearly 11 pm. Too late! I was feeling a bit deflated, but then I saw there was a package for me. A package from Wally from Minnesota, Walleye on Melnet, I discovered. He had sent me a book of tunes for the diatonic accordion. I even recognized most of the names that provided the tunes. I felt dumbfounded... another gift - just because. I did choose to play the melodeon because I found that the group on melnet were so generous with helping new people learn and that it was a true community built around the playing (and restoring) of melodeons, but I didn't expect this generosity of materials and I'm really touched and I can't wait to dive in more.

Then I checked my personal email and I had two messages - one for tracking info from the UK and a message from Steve Rouse who makes the Streb e-melodeon. It was a note saying he sent me an older, loaner e-melodeon just to test it out and to use as a silent melodeon. So on those 12 hour work days, I can practice at work too without bothering anyone for a midday break. I had put myself on a queue for buying a new instrument a week or so ago. The queue for these hand-made electric melodeons is 12-18 months long. That he is lending his older one to me, is breath-taking generosity from Steve. 

Honestly, there is so much generosity, I need a list:

1. Scott Bellinger - spent his time with me helping me choose an instrument.
2. Scott Bellinger allowed a like for like swap of CF Hohner Liliput accordions so I can get it faster.
3. Scott Bellinger threw in a soft-sided carry bag and free shipping to send the two instruments.
4. Sean sent me the Pignol and Milleret Method book - just needing to pay for shipping.
5. Playandteach has answered so many of my questions and even answered one by doing a tutorial on a skill just for me on a youtube video.
6. I was sent two books via Amazon from an anonymous person.
7. I was sent a wonderful tune book by Wally.
8. I am being sent a loaner e-melodeon by Steve where I just need to pay for shipping.

This has all happened in the last two months. That is incredible. I am a giving person - always have been, but I'm not used to being on the receiving end of such generosity. I'm deeply touched and I promise it won't go to waste.

The Hohner Liliput that is on the way

I talked about the Hohner Liliput when I talked about how I always looked for bargains, but I haven't shared much more about it.

If you recall, I decided to swap the one I got from ebay with one already to go at Bellinger's Button Box. They were practically identical. So, this one below is "the one" I'm getting.

Scott does a similar test on all his melodeons, which has made it great to hear the different voices and to compare one type with another. When you listen to this you will notice the voice has a slight tremolo to it, which means it's not completely dry and I'm actually glad about that as it will also give me a different sound between the two boxes I will have (besides being in a different key).

The Hohner Liliput was made between 1935-1940. (The other Hohner on the way was made some time pre-WWII).  From, Gumshoe Arcana:

Accordions accompanied German soldiers and officers to the front. To this end, Hohner designed instruments that were small and lightweight for soldiers to stow easily in a rucksack. Today, the Preciosa and Liliput are much sought after accordions.

Yes, these accordions were specifically made smaller to take to the battlefields. And they are quite amazing to have such a full voice in such a small box. (the Preciosa was made even smaller for the same reason). The smaller size makes it easier, supposedly, to learn to play because you learn to play the bellows and other skills without tiring the player as quickly because it's easier on the back, shoulders, etc with less weight. I hope the smaller buttons don't add complications, but we'll see.

What I find funny about a "rucksack" accordion is that: a. of all the things to carry, even a small accordion would be one of the top things to go on my list! It's added bulk and weight to have to march with and it pushes other things out of the rucksack - like FOOD and blankets! I guess it shows how important having entertainment and comfort on the battlefield mattered.  Also, funny to me is that the accordion is a fairly easily to damage instrument. My grandfather, born in 1900 was a bugler... THAT instrument on the field is much less destructible, of course, it was used for service, not for entertainment... big difference. And I suppose, besides a simple flute and mouth harmonica, a square wooden box is the next "safest" small instrument as fiddles and guitars have shapes that are more prone to breaking and definitely not able to stuff in a rucksack.

Here is more about the Liliputs, this time post war from Melnet from 2009:

I recently played my little Hohner Liliput to my mother who is 83. She immediately recognized the instrument and came up with an interesting story.

Just after the war in the late 40's she went on a walking holiday in the Swiss and Italian Alps guided by a former member of the French Resistance. Apparently whenever they met German hikers in chalets and inns, the German's produced little accordions out of their rucksacks just like the Liliput and played and sang. Given that at that time in history Germans were not the most popular people in Europe, these little accordions did a lot to break down ill will and establish friendship between people who only a year or two before had been killing each other. 

Now that's a nice thing to know about melodeons.

So, how does it play? Here is Pikey playing a nice piece on a Liliput I believe in CF like what is coming to me:

Here's another two, but in BbEb the first one just makes me smile. I think a BbEb will be another voice I will get if I fall in love with playing. I love the tone in this key:

Here is another tune, this Liliput converted to a DG: