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W3DW

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About W3DW

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    Advanced Member

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  • Gender
    Male
  • Interests
    Happily playing a Hayden-system Beaumont from the Button Box.
  • Location
    Georgia, USA

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  1. W3DW

    Need some help, Pairing a tune with Scarborough Fair

    Our audiences are our musical partners as well, and few members here would recognize the unmixed ITM session if it were presented. They will be happy to hear Scarborough Fair, and may enjoy the less familiar Drowsy Maggie and Fig for a Kiss as well.
  2. W3DW

    Need some help, Pairing a tune with Scarborough Fair

    The proper title is Shaking of the Sheets, recorded by Steel Eye Span. The lyrics begin: Dance, dance the shaking of the sheets, Dance, dance when you hear the piper. I've attached the music from www.thedancemacabe.org. The music is written "square" but is played with a strong swing like a hornpipe. Daniel
  3. W3DW

    Need some help, Pairing a tune with Scarborough Fair

    Eileen Og (or Oge) is found in The Session as Pride of Petravore. A composed song, you'll find multiple versions on YouTube. I couldn't find The Dancing of the Sheets in Google, either. It appears that "Dancing IN the Sheets" is some big popular song. I'll work on this - it's a song about the Black Plague (lots of fun!) and has a fine melody. I've known the tune forever and don't know where to find it... Daniel
  4. W3DW

    Need some help, Pairing a tune with Scarborough Fair

    OK. Looking for tunes harmonically similar and rhythmically different, then. A Fig for a Kiss? Aileen Og? The Dancing of the Sheets? Daniel
  5. W3DW

    Harsh Reed Work Around

    Since you've asked all-stars to work on it without adequate improvement and your tape makes the reed sound good, why not install heavy paper or perhaps some felt inside the metal end where you've placed the tape, using rubber cement or another non-permanent adhesive.
  6. W3DW

    Upgrading My Duet

    I'm a happy Beaumont player, and I selected it because I felt that my harmonic preferences would be better served by the Beaumont rather than the smaller Peacock, and I'm very glad I did so. Also, it's a delightful instrument. Reaching across the instrument when you run out of keyboard on the side your playing will always happen unless you get a 90 button Hayden, but 52 keys allows far less of this awkward interruption of the familiar chord/harmony patterns. I was SO happy to be free of the Elise's gaps! If you are inclined toward the Beaumont, call the Button Box - they have a shop Beaumont which allows potential buyers to try it out. Perhaps you could arrange a home trial. Enjoy your new Hayden! Daniel
  7. W3DW

    Playing By Ear

    For me, it'll depend on what you mean by "sing 3 notes". If you are suggesting that you just randomly choose 3 unrelated notes and then seek to play them, you'll find very few that can because you'd need to have perfect pitch. You would have to be able to say "I hear a C#, an A and an F#" first, then know where to find them. Not many musicians have this skill. Perhaps you are suggesting that someone choose 3 notes of the C scale at random, not notes adjacent or in arpegio as you state. In this case you are likely to find that many musicians will know where to find the buttons to match. Those who play by ear should do very well, and I would expect those who depend on reading do well also. If you choose random tones (like a C#, an A and an F#) from the key of C, the exercise would be a bit more challenging because musicians are accustomed to playing MUSIC by ear and not oddities of the scale by ear, but I think most play-by-ear folks would still locate the buttons. I'd need a moment to sort it out and then play you back the pitches.
  8. I play the Hayden duet system and started on an Elise, which is the Concertina Connection's intro duet instrument, the duet equivalent of the Rochelle. A pleasing concertina in it's own right, it is designed to be the least expensive proper entry level instrument, and I feel they succeeded nicely.
  9. W3DW

    Bad Habits

    Use your little fingers. They may feel slow, clumsy and weak when you start out, but they will become much smarter and stronger in short order. In the end you may decide to use them only in certain situations, or even not use them at all, but you won't be able to judge their utility without giving them a fair trial. Enjoy your new concertina!
  10. I really enjoyed the Maureen Dwyer link you attached-it reminds me of my marching band days, though her tune has a much more advanced chord structure than the marching repertoire! JeffLeff is doing a great job on his Hayden, and you'd have to be amazingly talented to get a significantly bigger and richer sound than the arrangement he has recorded. Is this the sound you are after? Ms. Dwyer's instrument has SO much more going for it than a Concertina! Multiple reeds and the greater range do so much for the presentation, and the huge keyboard makes the chord sequences more orderly and accessible than a concertina of any description. Even a middling accordion of any design would make a far more satisfying rendition of this musical style. But if you find LeffNeff's approach satisfying, that's wonderful. All of us here work to get the most out of our delightfully portable concertinas, and I, for one, enjoy the game. I play a 52 button Hayden Beaumont, which is about as many buttons as you can practically obtain in this modern system. Yes, I still wish it had a few more buttons, for convenience, but it has everything I need. I am attracted to the logical pattern of the Hayden. However, there is a good supply of larger Mccann vintage concertinas available at good prices, and they would clearly help make a bigger sound. Go to the Button Box site for two current examples of larger Mccanns. I found them a bit big for my plans and definitely wanted a Hayden, but your view may differ. Welcome! I look forward to hearing what you come up with. Daniel
  11. David Barnert's suggestion above is, of course, an excellent one. If you can patiently teach your brain to move from "I see a middle C and my right first finger activates it right THERE" to also where it also accepts a movable DO concept to where you can read an F above middle C in the key of F, and your brain says "This is the root note, DO, which is always under my first finger on this line of buttons when my fingers are set in the place for the key of F so this note is right THERE" then you will have a very useful concept for our isomorphic Haydens. I'm not sure how learn-able this is for a non professional who requires complete versitility. I just came wired this way. Not all brains are interested in acquiring strongly different views of music, and this simply may not mesh with the strengths of your musical apparatus. Many folks associate a note with a specific physical action: a trumpeter sees middle C and down goes valves one and three. A fiddler sees a high G and the left middle finger goes exactly THERE on the first string, and if you have forged a relationship with your right first finger and the Hayden note C, you are in excellent company. So you have a go-to strategy of transposing music into C, and reading music using this finger-button association. Excellent! You might find it possible to transpose directly from your music with this old visual trick. You have a tune written in G, and you want to play it in C. The tune is written in the treble clef, and of course G (DO) is on the second line of the staff. Imagine that the second line of the staff has turned into the ledger line of middle C, and that the three staff lines you see above this on the actual music are the first three lines of your new imaginary treble clef - the first two upper ledger lines complete the illusion of the relocated staff. Just read away using your preferred index-finger-yields-a-C- in-the-first-Hayden-line linkage and you'll have it transposed. If the tune is in F, where DO the treble clef first space, imagine that space is now accompanied by two lines above it, and that the one line that is actually below it is accompanied by two additional ledger lines, and read away in whichever octave makes sense to your fingers. The easiest transposition is a tune written in the treble clef in the key of A - just pretend you are reading bass clef, and you don't have to re-imagine the staff at all. This is hardly a new idea, of course, since this is exactly what the tenor and alto clefs are: simply five-line four-space clefs with the notes renamed from our accustomed treble and bass staffs with the goal of writing music that is not covered with ledger lines. I learned this trick from my teacher while playing brasswinds, where Bb is no-valves, and low C is valves 1&3 and the note-to-valve linkages are strongly fixed in my brain. If you can successfully go squinty-eyed and see the reimagined staff solidly enough to play on it, you can get by without resorting transposing with pencil and paper, recreating the score in the key you need. Maybe it will work for you, and prove easier than wrapping your brain around the movable-DO concept. We're all wired so differently! Isn't it fun? Daniel
  12. RAc sees this issue just as I do. Whether it is an A in the key of C, or E in the key of G, that note is La, or VI. There is no conversion to do for me, and the note position is there more naturally than the note name. I explained this to the long-suffering Dr. Ron Cox who taught Ear Training and Sight Singing to me in college decades ago, and he regarded this as a bug, not a feature, but it sure helps me in the Hayden world. I mostly play by ear. Daniel
  13. W3DW

    Peacock Duet

    I'm really pleased by the fingering discussion here, and especially by the existing threads referenced by our forum colleagues. Don Taylor's comment "It is probably worth giving some significant thought to this early on." is exactly correct - I cannot imagine that wandering into the fingering wilderness without a plan would bring satisfactory results. The fingering advice you will find in your tutor is entirely suitable to a beginner, especially one unfamiliar with the language of music, but it seems that you may progress quickly beyond this book. I used this book since it came with my Elise starter concertina, and it introduce the notes - with recommended fingerings - a few at a time. I summerized these recommendations as follows: It generally suggests finger use by zone, and that's good as far as it goes, but considering finger use within the context of the scales and music you're playing is important. The posts above will take you in that direction. May the upcoming 6 weeks pass quickly. Daniel
  14. W3DW

    Peacock Duet

    Mr. Brent, you've found the only Hayden-specific tutor I know of. It's worthwhile but basic, and spends a lot of time teaching you to read music. Will you be mostly learning from music or by ear? You'll see that the repeating pattern of the scale goes, in visual terms: DO... FA SO LA TI DO RE ME as you ascend up the scale and up the illustration above, in the primary keys. The tutor suggests you finger this pattern as follows, index is 1 and little finger is 4 1 .... 3.... 1 2 3 4 on the right and 4 3 2 1 on the right hand 1 2 3 3 2 1 Every one, including Brian Hayden himself, will tell you this is NOT an inflexible rule, but I recommend it to you for starting out, because it will make things simpler, and starting this way will help you incorporate your little finger into your playing which will serve you well in the future. Some folks never use their smallest finger and play wonderfully, but give it a whirl because, rather logically, it increases your possibilities by 33.3%! Your little finger already is used to the work of the piano, especially on the left, and I feel that it is more important that you use the little finger for FA on the left side than using it for TI on the right. Practice with it as you start, and I guarantee you it will do things in two months that seemed impossible when you start. Daniel
  15. W3DW

    Peacock Duet

    I believe your choice of Hayden duet concertina is an excellent choice given your musical preferences and piano background. And know I'm very biased, happily playing a Button Box Hayden Beaumont! On piano, you'd probably start a tune with a bit of right hand melody with a bit of close harmony added while providing some left hand boom-chuck-boom-chuck bass note and chord accompaniment. As you start the lyrics the left hand might play more bass notes and less chord pattern since the right hand can take up more counter-melody and assist with chord duties. An instrumental break would see the right hand provide melody with full-force harmony all around. Good news! This strategy will work the very same way on your Peacock! You'll find you might play fewer notes at one time both for clarity and to manage the air needs placed on the bellows. And, unlike the piano-Forte, you cannot play some notes louder and others softer. You'll learn to shorting the duration of the notes you want in the background to create the same effect. And you now have an advantage over the piano - there are about two octaves on each side, and you can reach these notes at one time! Welcome, and enjoy. Daniel
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