In this threat I'm going t
 

The fantom of the discussion i
 

The fantom of the discussion is appear on our horizon:

Fred Winterling (harbor1) wrote:
--Not necessarily. It all depends on the interpretation. I find 4\4 to be more suited to swing and blues. I use 6\8 mainly for a jazz waltz.--

Herbert WENDE (herbert) wrote:
--Blues and Swing is definitely played in 4/4 time. However there is no reason why there can’t be exceptions. Your 6/8 NY sounds really good and is superior to the 4/4 version of NY...--

Very well, gentlemen! I could be agreed with you, if you'll show us your evidence of the GOOD arrangement of swing in 4\4 or another 4-bits time signature. I'm pretty sure you've got it in your archives. Do you?
So, bring it on and we'll see how GOOD is that!

Kombrig.

Well, I have to bring my apolo
 

Hi Kombrig, You said: ”
 

Hi Kombrig,

You said:

” And right away I have a question to your, guys. Maybe I'm mistaking, but I suppose that the time-signature for the swing or blues music can be non other, but 6\8?!?!”

You also said:

“Do you feel a swing drive there, guys?

If you don't, we have an alternative here:
1. You are completely deaf (I'm sorry!), OR
2. I have no idea how IS A SWING RHYTHM pattern sounds!”

There is no Swing Rhythm Pattern if you talk about Swing as a style of jazz, played some 70 years ago by Benny Goodman Artie Shaw, Glenn Miller and many others and to some extend up to the present time. This style of jazz was mainly played in the time measure of 4/4 or other binary measures. There are a good number of exceptions.

There is swing or swinging, a way of playing jazz in relation to rhythm and timing. This is only apparent in the performance of the music, it can not be notated

There is the dance style Swing, which has lots of variations. Many variations are danced in 6/8 time. I am no expert here. My wife tells me, that on the dance floor, I appear to have two left feet and my legs are totally without any coordination.

If you take a 4/4 song, you can divide each beat into triplets with perhaps some adjustment to the melody line. If you then split each bar into two bars, you have 6 beats to each bar. You have now a song with twice the number of bar in 6/8 time. This is the case for instance in your arrangement of Blue Moon. The phrase structure consists now of 16 bar groups, rather than the normal 8 bar groups. This is a give away for the conversion. It sounds really good, but I think, that you would get a different, more rhythmically pronounced effect, if triplets were used in the melody line and four beats to the bar for the accompaniment, without splitting each bar, but leaving the song in 4/4. Your arrangement would clearly be better for dancing.

So far, I have assumed that your accordion is one of those newer Hi Tech instruments with a midi connection. This is not at all clear from your arrangements. I have however noticed that the left hand of your scores could often not be played by an ordinary piano accordion. Perhaps, you could give a detailed description of possibilities, techniques and limitations of a Bayan. Midi recordings from your instrument would be appreciated if this is possible


Marry Christmas and lots of success for the New Year,

Herbert

Hi, Herbert! I'm sorry
 

Hi Kombrig, Thank you for y
 

Hi Kombrig,

Thank you for your reply. I think, you have misunderstood some of what I had said. With some other, there will remain disagreement.

In music anything is possible and should be.

I wish you a very successful and prosperous New Year,

Herbert

Hi, Herbert! --------------
 

Hi Kombrig, You seem to be
 

Hi Kombrig,

You seem to be pretty passionate about rearranging pop music to 6/8 time. I see no point in changing the music of The Beatles or Louis Armstrong into something else. But as I said, anything is possible in music and should be. My musical interests are not in pop music but in Jazz and in Classical Music.

Here is a challenge for you. Why don’t you change Beethoven’s 5th Symphony to 6/8 time. If you are not to busy you could also do Wagner’s Ring Cycle in 6/8 time.

I seriously think, that you would have a chance for success outside Russia and perhaps also in Russia, if you would produce authentic Russian Folk Music. I quite liked your Ukr dance.not.

Thank you, for wishing me wealth. This is what I always wanted but have not sufficiently achieved. Thank you for wishing me good health. So far I am ok here.

Best wishes and like wise the very best of health for you, lots of success and may you become stinking rich during this new year,

Herbert

Hi, Herbert! I didn't m
 

Hi, Herbert!

I didn't mean to embarrass you somehow! All I wanted - it is to show you some new way to arrange "limp foot" rhythms.
And of course, it's an absolutely impossible to arrange Beethoven or Wagner in 6\8 t. s.
Well, let’s just forget what’d I say... I apologize.

Now, take a look here:
http://www.soundclick.com/bands/page...?bandID=646434

Finally, I've got my page at soundclick.com and from now on you won't have any troubles to listen or to download my music!

You mentioned once:
----------------
I have however noticed that the left hand of your scores could often not be played by an ordinary piano accordion.
----------------
As you can hear, I am able to play by my left hand ANYTHING. Even something unthinkable!

Best wishes.
Kombrig.

Hi Kombrig, No need to apol
 

Hi Kombrig,

No need to apologize. Just keep your good sense of humor and we will be the very bet of friends for ever.

Naturally my suggestion of doing a 6/8 job on Beethoven or Wagner’s Ring was not to be taken seriously.

The English word “Swing” has many meanings. I have given you three musical definitions of the word. Other non-musical definitions would be the swinging of a pendulum or a “swinging couple”, having a different meaning again.

A “limp foot” rhythm is totally the opposite of what a jazz musician would understand of swinging in connection with a musical performance.

When I said: “I have however noticed that the left hand of your scores could often not be played by an ordinary piano accordion”, I meant just that. On a piano accordion, on the left hand buttons, in the row for C for instance, you start off with the note of e, followed with c and followed with the chord of c with the notes of that chord in the order of e, g, c. Your LH in your arrangements differs. My request to you was to explain the BAYAN you play, in reference to the LH side of the instrument.

Best wishes,

Herbert

Herbert! ------------------
 

Herbert!

-------------------------------
Naturally my suggestion of doing a 6/8 job on Beethoven or Wagner’s Ring was not to be taken seriously.
-------------------------------
Nevertheless, I accept your challenge. If you'll go to 'Classic' thread, you're going to see and hear such arrangements.

-------------------------------
The English word 'Swing' has many meanings. I have given you three musical definitions of the word.
-------------------------------
You're exactly right! This is a matter of terminology. And I showed you my way of arrangements. Unfortunately, you gave me nothing but the "words". I can't believe you don't have any swing arrangements in your archive. Do you, Herbert? So, why don't you show me then how you figure this rhythm out?

-------------------------------
Your LH in your arrangements differs. My request to you was to explain the BAYAN you play, in reference to the LH side of the instrument.
-------------------------------
I'd be glad to, Herbert!
Welcome to 'Off topic discussion & comments' thread and I'll explain it to you there.

Be happy.
Kombrig.

I have checked out almost all
 

Hi Kombrig, Thank you for t
 

Hi Kombrig,

Thank you for the lay-out of the LH buttons of your Bayan. As you say it is the same lay-out as a piano accordion has. Your recommendation to press chord buttons for only half the time, confirms what I have been doing mostly.

In your arrangements, the accordion is the solo instrument. I am using the accordion for the accompaniment of a soprano voice. The backing track must be supportive of the soloist, with clear cues, proper expression of harmonic structure and as part of it, a good bass line. The LH chords on the accordion are fixed in construction, not flexible. I have mostly dropped the LH of the accordion now and have replaced it with an acoustic guitar. I always use a double bass.

Best wishes,

Herbert

It's good to see you, Herb
 

It's good to see you, Herbert!

I understood your explanations about arrangements. I agreed.
--------------
The LH chords on the accordion are fixed in construction, not flexible.
--------------
That's where you're wrong, my friend. Have you ever tried to play 'combuned' chords? For example: C + Gm, or Cm+Cdim, or C+Am.
Also, I use to play pretty often chords with the 'wrong bass': F(bass)+Cm(chord), F#(bass)+Am(chord), C#(bass)+G-7(chord) et cetera...
There is the endless amount of combination! It IS very flexible, believe me.

Be happy.
Kombrig.

And take a look to the 'Classical'.