Are you sure that the speed of the recordings is the right speed ?
F is not that far from G :upside_down_face: but it's a real gap
I have a 4 cd box of Flatt & Scruggs(1950-1959) and I can't play with the songs without changing the speed or the tuning of my banjo.
They are all one step lower :relaxed:
Yeah, I was going to say that too.
I only had a guitar at hand, and to me, the first tune appears to be in F#, not F, which is even closer to G. (I should mention that I did not check the tuning of the guitar first, but it's probably pretty close to what it should be)
I think was really in G, but the speed of the recording process was off. Those old recorders were not always well calibrated to operate at 78 RPM. If it was running slow, when played back later on a properly calibrated player, the effect would be to raise the pitch and speed up the tempo.
Meloderon, you're correct. The transfer on the Youtube of Columbus' Pleur Plus (which came from Neal Pomea I believe), is not the correct playback speed. The original recording is quicker in tempo and closer to the G as mentioned.
that's what I was going to say. Not the right speed.
Well, I guess I see now why it might be driving me insane to figure out what key accordion he's playing on and what key on that accordion he's playing in! Now, to add to the factors of "times gone by" and "lost undecipherable styles", we have to add "corrupted recording speeds" and small shifts in tone from F to F flat or F sharp? Wow, it seems an impossible task!
I remember reading somewhere that the first accordions that came to Louisiana were not looked upon in favor by the long established community of fiddle players because those first accordions were in the keys of F and G. Well, there seems to be enough proof that "G" accordions were played and recorded with, but where are these "F" accordions? Also, didn't the first recordings occur in 1929? Could it be that some of these out of tune and hated "G" and "F" accordions were still around and still being used by those accordion players back then?
How are we to capture the old "master's" styles of playing? Shall we never be able to do what they did because of some corrupted recording speeds that tainted and changed the original true sound? We should not let that stop us by god!
Seriously folks, I really think I have hacked these Columbus Fruge recordings by means of deciphering the actual playing patterns of said musician, and I didn't do it by the sound of the recordings. I have literally visualized and put to hand on my C and D accordions, his method, order, and patterns of play on those two different accordions used in these recordings. I was just looking for someone to verify my discoveries. Someone with a "G" or "F" accordion that knew how to play good enough to be able to follow along with Columbus at his tempo and in the key he was using.
I guess the only question that remains after that is....."Why does it matter anyway?".
The answer...."Because no one has been able to figure it out yet." Until now that is........lol. You should never doubt The Greez. Do you realize the amount of effort I put into this discovery before posting this topic? I stand firm on my hypothesis and speculation lol.
How's Arizona these days?
Met this man's nephew on a job in Galveston Wednesday morning. He said they just called him Uncle Boyd.