Love on the IV Chord (Bal Folk #26, 131, 132, 140)

Something of a theme for this entry in the Bal Folk Tune Book Project. I noticed that a number of mazurkas I play have a characteristic of beginning the B section with the IV chord. It creates a lovely sense of levitation and, if the song were telling a story, I think that’s when you would know the two of them were really in love!

Mazurkas for love

It happens often enough in mazurkas that I am beginning to think this is a defining trait of a subset, but it doesn’t only happen in mazurkas. As I was recording the mazurkas, I remembered the tune, “Mominette” (by Maxou, in the tune book as untitled #26), which also goes to the IV chord at the B section and is quite lovely (especially as the A section has a ominous tone. Will things work out??? Yes, yes they will. You know because of the IV chord.)

Also, with the mazurkas, the first is a sans nom tune that I began to call “Hannibal’s Mazurka” some years ago (I was teaching the ancient Romans at the time). If anyone knows a different name, let me know. I can be taught!

The Chifferobe Set

This past week I picked up Tiny, who had undergone repair, and then went to stay at my sister’s for a day or two. Her place has great sound and is very dramatic. She’s got a chifferobe (portmanteau of “chiffonier” and “wardrobe” — Fun Fact Gary!) that has quite a character. I shot two pieces in its vicinity. The first is Wim Poesen’s amazing Wals vor Polle.

 

The second is Mazurka de Comptoir

Notice how much the Chifferobe contributes. That there is a piece of furniture! My sister says I look too serious. They don’t know about accordion face, these civilians. Any accordionistx would know that I am brimming with joy in both of these.

Le Bon Truc Concert videos

I lead a good life. On May 2nd, my trio, Le Bon Truc, played at Blue, in Portland (Maine). We managed to pack the place and then play perhaps our best ever. It was super and felt great. Friend of the band, Sunshine Perlis, took video of eleven of the sets. The lighting is suboptimal, but the sound is great. I’ve put these together into a playlist so you who wish may enjoy our good fortune!

We’re hitting five years of playing together, and our lax variety of ambition has served us well. I love these two, and I love the music we make.

Suite des Aigrettes

A suite of tunes written by myself: The Egret’s Suite. Written in what was intended to be a breton-ish style (but drifted). The first tune is definitely one idea of what Breton folks might write as mazurka, if they wrote mazurkas. The second tune is influenced by my hero, Yann-Fañch PERROCHES. You can hear it in the 7th chords, though it’s a bit of a heavy handed approach compared to le maestro. The third tune is a happy retreat — a release from regrets and aggression.

This was created as a sort of demo for my band. Here are the dots!

Suite des Aigrettes

Duo Abbas/Thézé Mazurka

A very beautifully shot performance of a beautiful piece of music. Duo Abbas/Thézé bring a bass clarinet and chromatic button accordion together for a super sexy, jazz inflected mazurkas. The dancers are mesmerizing. That guy at the end, his smile … tells a story.

5 Mazurkas by Decombel

Jack Humphries, a buddy over at mel.net recorded this lovely video of himself playing five mazurkas by guitarist Maarten Decombel. Here’s what Jack has to say, “My favourites by the great Maarten Decombel, a guitarist who writes tunes so good to play on the accordeon: Tuileries, 1/11, Vappu, Ostendaise, Geliefden, Tuileries.”

Enjoy!

Pignol & Milleret Monday

I have not been attending to my duties. I’ve been traveling and actually had to move house. I’m in a very nice new place, and life is good. I did play at NEFFA with the quintet, Nouveau Chapeau. We played an hour of mazurkas for a mazurka dancing workshop. Who knew such a thing existed?!? That was a blast. Maybe next year scottishes?

For today I am posting two older vids worthy of study, they are of the duo Stephan Milleret and Norbert Pignol, two monsters in the field. Aside from their playing, they have been enormously influential on modern box playing through their four volume Diatonic Accordion Method. Here are the men themselves. Nearly 20 minutes of goodness.

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