No nyt tuli hieno veto! Upea valssi tyylillä soitettuna ja harmonikka sellainen kuin pitääkin. Aito vanha Kouvolan Kravatti näyttää olevan erinomaisessa kunnossa niin tekniikan kuin sointinsakin puolesta. Virityksessä on hienostunut ja ammattimaisella laadulla toteutettu maukas ”kierre”, johon tykästymistä on vaikea selittää. Tällainen, myös hyvällä teknisellä kuvan ja äänen laadulla toteutettu, vanhalla harmonikalla soitettu video on nykyisin melko harvinaista herkkua. Tosi paljon kiitoksia tästä!
Kiitos Pirjo,jos tästä saan sinuun yhteyden.Valssi menneiltä ajoilta on kaunis kappale,jota soittelen itsekkin.Hyvää kesän jaikoa sinulle ja kaikkkea hyvää!!!❤🎵🎵😍😄
Erittäin hieno tulkinta. Kaunista soittoa ja tunnelmaa. Kouvolan Kravatti soi, kuljin tuonne 1930-1950 luvulle,vaikken ole edes silloin syntynyt. Pisteet myös kitaristille!
I've always been a fan of the older LMMM [Low-medium-medium-medium] reed set tuning used before - say, 1938. One medium set being tuned ever-so-slightly different than the other two medium sets so as to provide jus a bit of an edge to the sound. Accordion companies began to change the treble reed sets to LMMH [Low-medium-medium-high] which produces quite a different sound - not characteristic of the earlier accordion "folk" sound heard on early 78 rpms. The sound on this instrument [made in the late 1930s?] definitely has the great sound heard above - most enjoyable. Thanks.
@@vm2881 I have played the old-time Finnish folk dance (and humorous song) music 1920s-1940s - since 1958 here in the U.S. mostly at a former Finnish-American community active just north of Washington, D.C. at Takoma Park, Maryland. As a early recordings collector and former sound recordings archivist at the Library of Congress (now retired), I early sought to pattern my accordion playing to be as close to the authentic sound as heard by Willy Larsen, Viola Turpeinen and others who were well known in the U.S. back in the 1920s-1940s. Almost all of these accordionists played Excelsior accordions - professional models made between 1925-1936. I was extremely lucky to have found three pre-1937 - pre-LMMH treble reed set professional instruments - all top model Excelsiors - all in great playing condition. Viola Turpeinen's surviving younger sister immediately recognized my 1935 model as being the exact same model her sister had played/recorded with from 1935-the early 1950s. Although I was never anywhere as good a player as Turpeinen had been, at lest I sounded quite a bit like her. Best [sisu], George Kipper
