BA2 - UNIT SEVEN (of TEN)
Rhythmic Bass Taps for Tunes with Mixed-Interval Notes
ZOOM SLIDES (Compressed) with COMMENTS
Rhythmic Bass Taps for Tunes with Mixed-Interval Notes
ZOOM SLIDES (Compressed) with COMMENTS
Web Slide 2-7-1 Zoom Slides 1 & 2
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2-7-2
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Zoom Slides 3
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Winter Schedule:
Units 6 to 10 |
2-7-3 Zoom Slide 4
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Winter Outline:
Units 6 to 10. Unit 7: Rhythmic bass-taps for tunes with paired "mixed-interval" notes. |
2-7-4 Zoom Slides 5 & 6
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Unit 7 Topics.
Bass taps for paired mixed-interval notes. Mixed interval notes includes those, held for a fraction more than a whole beat-interval, such as those held for 1½ intervals. Paired mixed interval notes include mostly those held for 1½ & ½ beat-intervals. |
2-7-5 (Topic 1) Zoom Slide 7
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Brief review of
Accordion notation timing symbols. |
2-7-6a (Start of Topic 2) Zoom Slide 8
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We'll use this Canadian (NL) folk-song to first explore tapping for paired mixed-interval notes with the order shown.
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2-6-7 (Topic 2) Zoom Slide 9
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This diagram may help us visualize this melodic sequence of two notes
The top line shows the two equally spaced beat intervals. The next line shows the mixed interval & half-interval note spacings. Assume that each tap takes one-half of a beat interval (third empty line) |
2-6-8 (Topic 2) Zoom Slide 10
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Here are the first bars of this tune, with the waltz-time beat pattern | B C C |
All except two of these treble notes are held for a single beat-interval, and thus use familiar rhythmic bass tapping. This is new: We have to decide where to tap for the paired mixed-interval (1½) and fractional-interval (½) notes. And does it matter? |
2-6-9 (Topic 2) Zoom Slide 11
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Let's assume for the moment that it does matter.
Here is the first tapping option, where the two required taps accompany the first (;5) note; then the second ("5*) note is played but not bass accompanied. For some tunes, including this one, this pattern can be OK. |
2-6-10 (Topic 2) Zoom Slides 12
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Here is the second tapping option, where the first bass tap accompanies the first (;5) note (placed in the middle of note); and the second tap matches the ("5*) note at end of 2nd beat interval. For some tunes, including this one, this pattern can also be OK. |
2-6-11 (Topic 2) Zoom Slides 13
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Third tapping option: Each tap is in the middle of each beat interval.
This means that the 2nd tap is split between two notes. For some pairings, but perhaps not this one, this pattern might be OK. Problem? The 1st note is on a bellows push, and 2nd on a bellows pull. |
2-6-12 (Topic 2) Zoom Slide 14
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Play the tune segment at left using whichever tapping option, for the paired mixed notes, that works best for you.
Remember the quote that sometimes "the perfect is the enemy of the good". Perfection is seldom necessary, and, in many cases, not even possible. |
2-6-13 (Start of Topic 3) Slides 15
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We'll use the 2nd half of the "Squid Jigging Ground" verse to explore tapping for paired mixed-interval notes, with the ½ beat-interval note first, followed by the 1½ mixed-interval note. |
2-6-14 (Topic 3) Zoom Slides 16 & 17
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Here are the next bars of this tune, with waltz-time beat pattern | B C C |
Again, all except two of these treble notes are held for a single beat-interval. Again, we have to decide where to place the two taps required with the timing reversed for these notes. Again, there are at least three options. |
2-6-15 (Topic 3) Zoom Slide 18
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Here is the first tapping option, where the first tap accompanies the first note ("5*), and the 2nd tap is in the middle of the second note (;5)
For some tunes, including this one, this pattern can be OK. |
2-6-16 (Topic 3) Zoom Slide 19
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Here is the second tapping option, where the two required taps accompany the second (;5) note.
The first ("5*) note is played but not bass accompanied. For some tunes, including this one, this pattern can be OK. |
2-6-17 (Topic 3) Zoom Slide 20
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This is the third option, and in this particular example might be OK.
However, it could be problematic if the two notes were in opposite bellows direction. |
2-6-18 (Topic 3) Zoom Slide 21
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Play the tune segment at left using whichever tapping option, for the paired mixed notes, that works best for you. |
2-6-19 (Start of Topic 4) Zoom Slide 22
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Featured Tune (iii)
Joyful, joyful we adore you. This notation is written in cut-time as an exercise, instead of the usual common-time. Tapping pattern: B C |
2-6-20 (Start of Topic 5) Zoom Slide 23
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Featured Tune (iv)
Streets of Laredo This is the first of two slides, covering this tune. Waltz time. Tapping pattern: B C C |
2-6-21 (Topic 5) Zoom Slide 24
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Featured Tune (v)
Streets of Laredo This is the second of two slides, covering this tune. Waltz time. Tapping pattern: B C C |
2-6-22 (Start of Topic 6) Zoom Slide 25
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Featured Tune (vi)
Blowing in the Wind (2nd part of 2st verse + refrain) Common-time (4 beats/bar) Buttons 5 to 8* (either row) There are two pairs of half-interval notes in line 1, and single pairs in lines 2, 3 & 4. Tapping pattern: B C C C |
2-6-23a (Start of Topic 7) Zoom Slide 26
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List of four additional (home) practice tunes |
2-6-24 (Topic 7) Zoom Slide 27
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Practice Tune (i)
Auld Lang Syne (1st verse) in cut-time with beat pattern B C |
2-6-25 (Topic 7) Zoom Slide 28
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Practice Tune (ii) Auld Lang Syne (Refrain) in cut-time with beat pattern B C |
2-6-26 (Topic 7) Zoom Slide 29
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Practice Tune (iii)
Spirit, Spirit of Gentleness (Refrain) in waltz-time with tap pattern B C C |
2-6-27a (Topic 7) Zoom Slide 30
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Practice Tune (iv)
Maid in the Garrett (1st verse) in common time with tap pattern B C B C |
2-6-28 (Topic 7) Zoom Slide 31
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Practice Tune (v)
Send Me The Pillow in common time with tap pattern B C C C |
2-6-29 (Start of Topic 8) Zoom Slide 32
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Looking Forward to
Next Individualized Session. Reminder of the half-hour individualized sessions on every second Tuesday & Wednesday |
2-6-30 (Topic 8) Zoom Slide 33
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Looking Forward
to Unit 8. |
2-6-31 Zoom Slide 34
