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Wolf Molkentin

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Everything posted by Wolf Molkentin

  1. Wolf Molkentin

    MacCann 46 button

    Hi Pete, congratulations (if deemed appropriate) to having acquired this new instrument. I can‘t make much of your photographs, however the four digits might very well point at a „batch“ (and not serial) number. What you’re describing re the metal ends seems to be just what is called „raised ends“ (allowing the ends to be smaller apart from the raised section). Good luck with the restauration project! Best wishes - 🐺
  2. Geoff, it‘s just that listening to some English or Duet recordings or videos is creating sort of an urge (here:) to reverse with the bellows - in me, as an audience. Like: Why is he or she (not) doing this (or that). It‘s as simple as that. I wouldn’t claim to teach or whatever myself here (albeit having been a teacher of related and non-related matters at some point). Just wanted to share a notion being quite obvious to me (re where a certain fellow concertinist „stands“ at that moment).
  3. Wolf Molkentin

    Scored A Miniature Lachenal

    for the basic version (called „tutor“ model by some today, with black and red stained keys) - yes; however, five fold or more may be preferable...
  4. Wolf Molkentin

    Two recent Dapper's Delight videos

    Adrian, I‘m greatly enjoying your version of Peter Bellamy‘s take on this beautiful ballad, the using of your very own singing voice while providing the essence of his approach to the anglo. Best - 🐺
  5. Hi Adrian, surely no one who has once been listening to your music would or even could be inclined to discount your findings. Having said that I wish to point to the origns of this discussion - a fellow concertinist (@RAc) who had his own playing videotaped and posted here. My initial take on that take was, in terms of supportive critique, that bellows reversals did occur at rather odd points whereas at then-following endings of phrases or even sections there was no such expression (it could be added now: neither reversal nor mimicking of any kind) So undoubtedly having discussed advanced techniques for variety etc. and be pointed to the musicality that only can provide meaning (as in the more recent posts) is of great interest and certainly helpful. However IMO this does not make hints to basic techniques which can provide a, can we say tangible, base for adding expression to a tune unnecessary. Refing may come later then (possibly even to the point where the basic tool appears as dispensable). Guess this is two (however related) discussions in one, don‘t you think? Best wishes - and my greetings to Rufus + Susanna - 🐺
  6. Geoff, I can easily agree - and still I would insist that a bellows reversal is a powerful and - what may be more - highly accessible tool for making a difference, Having said that I can only emphasise the notion of „working“ with the bellows in any way, move around one end, support what might be in your head, and get it to happen there through this expressiveness. Best wishes - 🐺
  7. Hi Dick, I seem to understand that your „fanning“ suggestion isn‘t referring to the notion of permantly closing the lower side of the bellows with velcro or similar but a free movement of the bellows which might give the impression of a serpent - in which case I would wholeheartedly agree... Best wishes - 🐺
  8. John: as to phrases, in the jig mentioned above (as well as others, f.i. The Irish Washerwoman) the phrases use to start on the „6“, where the emphasis is on the „1“ - I would always include the „6“ in the bellows or bow - wouldn’t you too? Best wishes - 🐺
  9. In fact I often apply lots of changes, as this adds expression to to tune. My personal background stems from a Lachenal Exelsior, my first EC, lovely mellow sound but very restricted air-supply. I couldn’t go with steady back and forth bellows movement, and I tend to keep this technique. However it is quite relaxing to be sure of more air supply being available. A Schottische seems in fact not very demanding or even promising re elaborate bellows reversals. My point here is rather to keep it regular, and then possibly add some extra reversals - but OTOH avoid skipping the regular changes and only have occasional extra ones, as this is making for a very uneven musical impression. And of course any extra reversal should sound deliberate and not forced by running out of air... 😊 As an example for a different notion we could discuss an English jig (such as The Fiery Clockface). It makes good sense to change after every second „five“ in order to emphasise the „jumping“ rhythmic pattern. Maybe enough for now. Best wishes - Wolf
  10. Wolf Molkentin

    Need some help, Pairing a tune with Scarborough Fair

    I might fancy a bit of a contrast here - start with a restful Scarborough Fair and then break into the frenzy of Drowsy Maggie. Works quite well for me, playing them (with my tenor treble English) both in the key of E Dorian (as usual for the latter, whereas the former seems to be commonly played on the root of D, and in my treble version on A). I guess A Dorian to E Dorian (or similar) might work too. What do you think?
  11. Wolf Molkentin

    2-button tunes on Anglo?

    The Watersons - yes, it's incredible what they've been able to do, espescially in the very early recordings. Guess I'll take this little song as a hint to go back to them and explore their approach a little further. Best wishes - Wolf
  12. Wolf Molkentin

    2-button tunes on Anglo?

    two quick remarks 1. too bad for Gary that the advantage of the Anglo over the English or Duet is shrinking to a poor 2:3 ratio here 😎 2. very interesting (albeit possibly regular?) to hear this simple song sung in this chromatically altered Lydian harmony* can‘t get it outta my head 🤪 thanks for posting! * Lydian through the minor above the major third, but with the raised second in the alto or * just major with an immediate shift to a diminished chord on the root note, thus indicating a far-fetched (the 8th, actually) dominant with no resolution then - like occurring in some Italian song I use to play, but just back and forth here - phew, I guess soon I‘l be ready to sleep on... 😴 ********** final (?) remark for now: folk music doesn’t always come that simple... back again to add: a harmony so well-suited for the English system, Gary 😁
  13. Wolf Molkentin

    First Video...

    nicely played indeed, Rüdiger (on both videos)! my suggestion for improvement would be: more, and more meaningful bellows reversals. what do you think? best wishes - 🐺
  14. Hi everyone, my apologies for another - as for me, unexpected - recess. It has become quite difficult to stick at making music (and then discussing it here) as I'm vocationally occupied a lot these days, and very tired in the evenings. However, I've taken up the concertina once again some weeks ago, and after another lovely - and very sunny! - concertina weekend in the tranquility of Wendland I took the courage (if not boldness) to aquire an apparently very fine metal-ended tenor-treble Aeola (C to C, four octaves). It might be no surprise to those who've got to know me a little over the years that I'm already making plans for modifying the layout. As I've been very happy with my low F on the treble(s) I'm now considering to alter the D# (left side) to a B (solderwise), reckoning I would be loving to apply the low third in all the tunes I use (and will continue) to play in G-maj. I don't think a low Bb would equally make sense (as opposed to the low F in the treble context). What do you say guys? Thanks in advance for input of any kind. Best wishes - Wolf
  15. Wolf Molkentin

    What our concertinas look like?

    I find the shiny (original) looks are reflecting the character of this (apparently not so much played) instrument. It has a well-balanced but distinct voice - not a screamer like my model 24 but very capable of fast playing in the treble range and adding „bass“ notes ad lib., maybe with potential for even more... (I chose it over a slightly later model with more closed fretwork, with very lovely low notes but too muffled in the treble range to my taste) After having denied the need and extra value of a TT to myself for years I‘m very happy to be able to expand my playing in this direction now - however switching back to the light, fast and „screaming“ 24 ET from time to time is nevertheless appealing to me, as well as perfectly manageable.
  16. Wolf Molkentin

    What our concertinas look like?

    the mean green machine, wasn’t it that Geoff?
  17. Wolf Molkentin

    What our concertinas look like?

    finally! Wheatstone Aeola TT from 1925 (now B to C)
  18. Wolf Molkentin

    Embedding Test

    SC just as bad, Peter?
  19. Wolf Molkentin

    Embedding Test

  20. Wolf Molkentin

    Double Concertina Case available in Edinburgh

    playing two concertinas at the same time, that trick I would like to watch 🤠 anyways, good luck with your sale, such a case appears to be well considerable! best wishes - 🐺
  21. Wolf Molkentin

    One More Roslin Castle

    Hi Didier, as I actually didn‘t provide a link here (apart from my signature, which seems to have hidden away in the meantime) as yet, here is what I recall as my „final“ version back then (a - from my side - rare single line playing, adding harmonies at some point later, therefore labeled „jointed“). Re concertina meetings in Germany, I have in fact just recently attended the annual gathering in Wendland, more in the north (even if still an over three-hours drive southward from where I live), whereas you might refer to the other meeting which as I seem to recall is annually held much closer to France (wasn’t it somewhere in Baden-Württemberg?). However, if you should plan to head for Kassau, Wendland, I might well be there next year again (apart from a perennial conflict with the Scandinavian Squeeze-In in Skåne, Sweden, which unfortunately uses to take place on a quite near date every year). Best wishes - 🐺
  22. Wolf Molkentin

    index finger straps

    anybody ever tried this approach, apart from Michael Jary that is?
  23. Wolf Molkentin

    What happened to new content?

    and note, that any content prior to the update appears to be marked „read“
  24. Wolf Molkentin

    Long(Ish) Original Composition For Hayden Duet

    Steve, just stumbled over this in the early morning today and find it truly beautiful and intriguing - sketched and executed with amazing musicianship. Thanks for posting! Best wishes - 🐺
  25. Wolf Molkentin

    Porter's Reel

    terrific and highly enjoyable Jody!