if sleezy mc**** thinks I give a rats ass about his opinion of my accordion playing he best go back to pulling his pud. I have never claimed to be an "accordion" player, I just play the accordion. And for all the regular smart asses on here I am the only one to write and record an original song. I wrote I didn't steal it. I wrote it and I did not include "te m'a quitté pur ton aller" I wrote and I have received positive comments from all the jocks playing it. My song will become a standard during Mardi Gras. Oh and just to let you all know it was sung in Cajun French. Playing the accordion is not about playing in 4 different position. It's about belonging to the music. I belong. So go ahead you counterfeit ego ***** criticize my playing. Just remember boys and girls this **** face has never posted one god**** video, not even a picture and the skin flute player continues to hide his identity.
Steve, considering "modulation"....I have some songs below that you could show your students. I'm sure the concept of "modulation" would come very clear to them if'n you would introduce them to these songs. This would also, perhaps, introduce them to the concept of how one song turns into another when recording artists don't have what it takes to create anew, but instead, borrow from another, change what was borrowed, and parakeet it into something seemingly new. Maybe you could explain to them how the songs below effected your path to playing Cajun accordion also?
Here is Steve playing Sur le Courtableau on a "D" accordion. Modulation goes from "A" to "D".
And here we go with Steve playing Sur le Courtableau on Nathan's "C" accordion. Modulation goes from "G" to "C". Notice that singing in the key of "C" is not Steve's preferred key in this case.
And then we have Nathan Abshire doing Sur le Courtableau on that same "C" accordion. Notice how he doesn't even bother to modulate, but only stays in the key of "G" on the accordion.
And next we have Lawrence Walker! But he's playing a seemingly different song on a "C" accordion with the modulations from "G" to "C" on the "Mamou Two Step". Wow, who'da known?! And note how Steve and Lawrence sort of favor each other in appearance. LOL.
And for good measure and to put the icing on the cake, we have Doug Kershaw playing "The Mamou Two Step" on a "D" accordion. Here is my gift to you. You play along with his version, but you use your "C" accordion! But get this...you will be playing in the C(C,D,_,F,G,A)2nd key of "D", formerly known as the 4th position Gypsy key, then you will modulate to the 5th key of "A", formerly known as the 5th impossible position. Maybe Steve or even Jerry could explain it better if you're not on board with this. They have a better way of presenting things for some reason. Maybe it's their Irish background.
Messonic isn't it? Possibly Illuminiah. LOL
Hey J. Let me give you a mission that will help you to find your "Big" and "Little" "C" on the "C" accordion.
In the video below, Iry Lejeune seems like he's playing two parts in this song. Listen closely and you will hear what sounds like two parts. In point of fact, it's the same part but using a different playing pattern. For the 1st part he's using the big "C" pattern located toward the top of the button board, and for the 2nd part he uses the little "C" pattern located toward the middle and bottom of the button board. If you persevere and learn to play this song properly, you will learn exactly what I mean. Stop, don't rush, listen, play, and repeat. Hunt and peck. It is possible. Don't listen to the *******ized versions of this song that were played improperly by many a chump that just thought they were as good as Iry.
Oh, and J, if you haven't labeled your valve hole paddles with their perspective push and pull notes yet, now would be a good time. Or else, you'll never catch on to the "Big" and "Little" "C" associated to Iry's Vien Me Chercher and the patterns therein. BTW the bravenet censored a word in my last post. That word was B-A-S-T-A-R-D-I-Z-E-D.