Andrea's Waltz

  1. Christian DP
    Christian DP
    Looking through my virtual sheet music files, I discovered a lead sheet of Andea's Waltz by Bpb Pasaquello. It must be a sample page from the Waltz Book 2. Trying to come up with something different than usual, I struimmed the chords on my steel strimg guitar and played the melody on my A oval hole mandolin:

    But I didn't completely like this version: the steel string guitar doesn't fit in the mix and a rest stroke played on an archtop mandolin sounds a bit strange. So I rerecorded it, this time using a picked nylon string guitar and my bowlback:

    BTW: you may ask, what these pictures of old people are for. Well. I know one Andrea, who works in a nursing home: I dedicate my recording to all the people. who do this difficult job...
  2. John Kelly
    John Kelly
    A very interesting pair of recordings, Christian. Very different sounds from your chosen instruments on the two, and I like both recordings, and especially your guitar sound on the second one. It is a very lovely waltz.
  3. Frithjof
    Nothing wrong with your first recording, Christian. I don’t hear your rest stroke played on an archtop mandolin sounding a bit strange. It’s pretty much a question of taste and of your inner ear.

    Said that I confess: I prefer the sound of your second recording.
  4. Don Grieser
    Don Grieser
    I agree with Frithjof--first recording sounds fine, but the second one sounds finer.
  5. Bertram Henze
    Bertram Henze
    My vote goes to the second as well, mostly because of the guitar. The mood of the piece ist conveyed in both versions, so the difference is a minor one, really.

    I have a completely different association with the name of Andrea, though - in the late 90s, doing automation in the Jian Yin Xing Cheng steel plant with a team of three from Genova, Italy, one of them was a lad named Andrea, who was a bit on the soft side (Sergio, drinking coffee: "No, we have no sugar; if you want something sweet, you'll have to take Andrea") - figure that
  6. David Hansen
    David Hansen
    I like the mandolin in the 1st one and the guitar in the 2nd one. Is multiple choice an option or do you have to pick one or the other? Really good playing in both videos.
  7. Christian DP
    Christian DP
    Thanks to all! I'm rather a classical guitar player than a flatpicker. Every time I have the intention to work on my abilities as a steel string picker, I end up playing my mandolin...
  8. Simon DS
    Simon DS
    Me too I like the second sedate version. Nice tempo change, and slight hesitation at the key change too, it feels like discovering the rooms of a château.
  9. Ginny Aitchison
    Ginny Aitchison
    Christian, I like both of them. If under torture I had to chose, I would pick the second one, but I really do like both of them. ( will leave a comment on YT for you)
  10. Simon DS
    Simon DS
    The first one is rhythmically more expressive, sophisticated even, like a funeral march in a surreal spaghetti western film.
    (I really like it too, but if I was forced to choose between the two...)
  11. Martin Jonas
    Martin Jonas
    Very nice tune, Christian!

    I think the composer is Bob Pasquarello, not Pasaquello -- that threw me when I searched for the tune. There's a transcription here: Link.

    This may suit the mandocello -- I just did a quick run-through and I like it.

  12. Christian DP
    Christian DP
    Thanks all! Yes that's the tune among the transcriptions you linked, Martin. Same melody notes, same chord progression, the name of the composer is Pasquarello. Can't wait to hear other versions!
  13. Frankdolin
    Both versions are really nice, but I do like #2 for it's simplicity and the effect is peaceful.
  14. John Kelly
    John Kelly
    Did not want to leave you on your own with this lovely waltz, Christian, so here is my version. Mandolin, octave, piano and bass - no guitar in this arrangement for a change. Thanks too to Martin for the link to the notation and the fascinating chord sequence, especially the semitone descending bass line in the first bars.

  15. Ginny Aitchison
    Ginny Aitchison
    All so beautiful, a gorgeous flowing melody that, for me, is gentle and emotional. John..can you email me the music when you have a second. Thanks. I heard another one by the Firefly guys you might know and like..a Jacobite song called..Welcome Royal Charlie.
  16. John Kelly
    John Kelly
    Ginny, thanks very much. Music and mp3 will be on their way to you today and I hope you have fun playing along.
    The Firefly guys play some interesting stuff, very predominantly traditional and Scottish.
  17. Christian DP
    Christian DP
    Great version of Andrea's Waltz, John. I like the change of octave and the inclusion of a piano (a real one?).
  18. John Kelly
    John Kelly
    Thanks, Christian. Yes, it is a real piano - a Yamaha electric and quite a few years old now. It belonged to my late wife. It is so old it actually has a floppy disk drive which I have never used, and loads of built-in sounds, but I tend to keep it mainly as a piano and sometimes use it to create bass lines when I cannot be bothered getting the bass guitar out!
  19. Frithjof
    Wonderful, John. Octave mandolin and piano go well together.
  20. Gelsenbury
    I agree that you're being too critical on your first version, Christian. They both sound really good. And John's recording, too. It's a lovely, poetic melody.
  21. Simon DS
    Simon DS
    Ooooh no! Now I prefer the first version, ha, ha. It reminds me of Brazil where I heard a sort of ‘slumping’ rhythm at a Bahia dance. Lovely CC.

    Yours too John, I really like this slow and deliberate rhythm with precise tone on the octave. And the piano is well balanced.
  22. Bertram Henze
    Bertram Henze
    Very impressive, John. The piano makes it more serious, somehow.
  23. John Kelly
    John Kelly
    Thanks Frithjof, Dennis, Simon and Bertram. I thought that the piano would add something to the mix especially when I left out the guitar.
  24. David Hansen
    David Hansen
    That was really well done John, I loved the piano.
  25. John Kelly
    John Kelly
    Thanks, David. Good to have wee forays into other sounds sometimes.
  26. Sherry Cadenhead
    Sherry Cadenhead
    I find that I'm enjoying reading the comments as much as listening to the music in this group. If I can convince my fingers to stay down longer, I'll post something soon. It'll be just me and my Weber (melody only) until I can figure out some of the stuff you guys do to enhance the experience.
  27. John Kelly
    John Kelly
    Sherry, good to see you here in the SAW Group. As you say, the chat here is really positive and we all seem to get along well with each other. I know you are very active in other groups such as The Newbies, so I am looking forward to your first postings here, and a new contributor is always welcome.
  28. Simon DS
    Simon DS
    Are you a jigs, reels or Slow Airs type of person, Sherry?

    (Welcome! )

    -and just the mandolin alone is fine.
    We often have a sort of clear out when we’re tired of all the post-production work, and then it’s straight, rough, one time recordings with minimal editing, wearing hats.

    Up next:
  29. Sherry Cadenhead
    Sherry Cadenhead
    Simon, would I embarrass myself if I said I don't believe I've ever played any of those? My primary teacher, who is a good friend, is a classical violinist, which, hopefully, explains my background.
  30. John Kelly
    John Kelly
    No need to feel embarrassed, Sherry. We all started out not knowing tunes, and the more we play the more we learn. Recording yourself, even if not for later posting to the public domain, is a very valuable learning tool. I think you have posted some of your playing over in the Newbies group(?)

    I see a dilemma for you in that your principal tutor (and very close friend) is a classical violinist, so probably cannot really offer you any help with the actual playing of your mandolin, and especially in the kinds of tunes and songs you seem to want to be performing. I reckon your loyalty keeps you going to her but are the lessons helping you? I know that you also have a mandolin player who teaches you and is much more likely to be able to help you in your handling of your instrument. Coming into the SAW community is a good step for you, I am sure, and everyone here is always willing to offer whatever help and encouragement we can.
  31. Sherry Cadenhead
    Sherry Cadenhead
    For whatever reason, I had in my head that this was an "exclusive" group, one in which I wouldn't fit because of my limited skills. Looking to fill time the other day, I ventured in and discovered not only some great music, but also kind and encouraging comments by members. Consequently, you're stuck with me now!

    John, I agree with your recording suggestion. I took a video of myself playing "Humphreys Waltz." 2 things stood out: I'm not holding my fingers down and I'm frowning. So, now I'm working on both. (TBC after breakfast)
  32. Sherry Cadenhead
    Sherry Cadenhead
    So, now to what John refers to as my "dilemma." I currently have 3 teachers and consider myself fortunate, as I see posts by other players who would like in-person lessons but have limited opportunity. Teacher #1 is my best girl friend. She was my son's violin teacher many years ago, and we have become good friends over time. If it weren't for her, I wouldn't be playing at all. There's a chance a mandolin orchestra may be started in my area. If so, Barbara's help with the music will be invaluable. I have a weekly hour lesson with #1, mostly working on scale, rhythm, etc. exercises, and advanced (for me) pieces of music.

    I actually started with teacher #2 many years ago. Being a numbers person, I really, really need structure in my learning. He didn't give it to me, but, rather, showed me how to play something, and I was supposed to mimic his playing. That approach didn't work for me, and it wasn't long before I quit - until many years later when #1 said she could teach me mandolin. At this stage, though, I can learn from #2, and don't mind asking him to slow down, etc. I meet with him monthly for 2 hours. We work on anything I like.

    So, why a teacher #3? John will vouch for me when I say I'm all over the place with my learning and playing. #3 isn't local; however, I've had a few in-person lessons with him. I feel he understands how I learn more so than #1 or #2. So, I've enlisted his help to organize my practice toward my long-term goal of playing well with others. 3 finger chord changes are my greatest current challenge, so, of course, he has me working on those.

    It seems I go overboard with everything I do. This week I've printed the SAW table of contents and have highlighted the tunes in which I have an interest in recording. New dilemma: where to start. Lol
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