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  1. Today
  2. endgrainguy

    Wally Carroll C/G Anglo for Sale

    Will send PM
  3. Don Taylor

    Stripped screwheads on Elise concertina

    IIRC these are just small wood screws. There are various screw extractors that you can buy from hardware stores, although I am not sure that they are available in sizes this small. One trick worth trying first is a section of a wide rubber band held between your screwdriver and the head of the screw. Use a hand screwdriver with a Philips bit that somewhat fits in the hole in the top of the screw, press down fairly hard while unscrewing the screw. The strip of rubber provides a decent amount of friction between the screwdriver bit and the wrecked screw head and if you are lucky then you may get the screw to turn.
  4. Hello, One of the buttons on my new Elise is sticking. I took the end off of the concertina and located the 2 screws that hold the reed pan and action together. To my surprise both screwheads were stripped - just round divots where the screwdriver slots should be. Is there any way to get them out without causing harm to the instrument or is this a job for a professional? Also what type of screws do you recommend I use as replacements? I really don't want to have to send the concertina across the country to get it fixed (purchased from Liberty Bellows in Pennsylvania). Thank you for any help! Aldon
  5. I have hated the equal tempered major thirds for decades. I asked Wally Carroll to tune my Anglo in 1/5-comma meantone. (Partly due to discussions here and other places, so thanks!) It matches standard equal temperament at D, so A is ~2 cents flat and G is ~2 cents sharp. The major thirds are noticeably sweeter. I quite like it. I don't notice that it clashes with other instruments, and no one else has commented on it either. I am generally playing Irish traditional, where the key center is near D and pipes and fiddle don't use equal temperament in the first place. The wolf interval is G#/D# and is intentionally not even available on the same direction of the bellows on this one. Now, I do have another instrument with a slightly different 1/5-comma setup where the wolf interval is C#/G# and can be played, and I would call it "awful"! I was tempted to try 1/4-comma meantone to get the just major thirds. But the discrepancy with others is larger. And, the fifths are very commonly used in Irish concertina, and are noticeably flat in 1/4-comma. So I'm not sure it would work out well. Anyway, in my experience so far I would certainly agree that 1/5-comma is a good compromise and not extreme. Would recommend, would let it marry my sister, etc.
  6. Yesterday
  7. Wolf Molkentin

    How far is the salt air dangerous...

    stay indoors with the instrument, and no dramatic thing will happen
  8. ritonmousquetaire

    Playing with Anna Magdalena

    Have you ever tried to arrange Bach's "Schaffs mit mir" on the concertina? I'm pretty sure it could sound great!
  9. tealeaf

    The Secret of Monkey Island

    It's a high compliment! There's a running joke in the Monkey Island series where Guybrush refers to things as the second <something>-est thing he's ever seen.
  10. ritonmousquetaire

    Music in our dressing room

    Great performance!
  11. ritonmousquetaire

    The Secret of Monkey Island

    I really like your version! One question though; you chose to keep an "oom-pah" pattern in the bass whereas the original follows an "oom-oom-pah-pah" pattern - have you tried to play it that way also?
  12. Thanks, Tealeaf! Unfortunately, I don't have have anything written down, I just play it from my head. I got the chords from this site: https://scummbar.com//resources/downloads/index.php?todo=Sheet_Music After I got the chords, I fitted the melody to work with them. I have so far avoided the intro part but I must add it some time. As I've said I keep finding parts that I can play in a better way, so the song keeps constantly changing. Now I wonder what the best version you've seen was 😁
  13. Just saw this thread and tealeaf's query. Thanks Daniel for pointing out where tealeaf can read the most up-to-date version of that Nautical Concertina article -- in my book, The Anglo-German Concertina, a Social History, volume 1. As Daniel mentioned, it can be accessed and read for free on Google Books. The physical book (both volumes) can be purchased on Amazon and at one or two UK and US music stores. That was a fun project, and its product is now 11 years old. The research has held up pretty well. Cheers, Dan
  14. Hi, I’m selling this nice steel reeded Lachenal EC serial number 28829. It’s advertised on eBay too so you can find a better description there, but basically it just needs some tuning to be fully playable, so if you wish to finish this project I’m open to any offer around £700. The aesthetic part of the concertina is done: new straps, leather bellows, bushes, polished ends etc. It has new valves too, so again it just needs tuning to be finished. (It has a crack on the left end unfortunately, although doesn’t affect the playability). I’m not experienced at all, so I decided to let the experts do the work instead of taking any risk. Again I’m open to any good offer (pm me) and I will post within the UK. Any question just ask.
  15. Thanks - a very useful insight into your experiences with 1/5 comma MT. For some time I've been thinking to retune the brass-reeded Aeola pictured in my avatar to 1/5 comma MT - this 'tina is the one I prefer to use for song accompaniment having a strong, sweet sound, with a good dynamic range, which I feel suits songs. I have previously used it for playing Scandinavian folk dance music, so 1/5 comma MT might work well with the harmonies. I may just bite the bullet and retune this box.
  16. It's about a year since I asked for others' experience with using fifth comma mean tone tuning in another thread. The answers I received were sufficiently encouraging for me to take the plunge and have my 48 key Crabb Crane duet tuned to this temperament. I haven't regretted it for a moment. A brief explanation before I detail my experience. The almost ubiquitous equal temperament (ET) tuning has been understood for centuries, but was shunned in favour of other tuning temperaments until the end of the 19th century and beginning of the 20th century. In its favour, ET eliminates the need to distinguish between, for example, F# and Gb and it makes it possible to play equally well in any key on a piano or other keyboard instrument. Against it is the fact that all keys are equally "out of tune" and, in particular, all major third intervals are sharp by about a seventh of a semitone (14 cents). Fifth comma mean tone is but one of many tuning systems ("temperaments") which aim to overcome this problem of the major thirds, but it does so at a price: only six of the twelve keys sound good, but all of them are equally good. However, for most folk musicians (and others) this is no real hardship - how many of us want to play in C# major or Eb minor, for example? So, I go to collect my newly tuned Crane from Alex Holden and play a tune. It doesn't sound any different. I deliberately play the "wolf fifth" interval G# - Eb. Doesn't sound bad really. I play a B major chord where the third has to be Eb rather than the D# it should be. Not that bad. Despite not sounding much different, the Crabb almost instantly becomes my "go to" instrument. Only gradually do I realise that my initial perception was coloured by a lifetime of accepting the nasty intervals foisted on us by ET. It's not so much that the mean tone tuning sounds sweeter as time progresses, but that going back to ET tuning becomes increasing painful. The sweetness of mean tone tuning became instantly acceptable whilst the harshness of ET became only slowly apparent. I think instinctively my ear knew this, but my brain took a few months to overcome sixty-odd years prior experience. What follows is a bit more detailed, so you might want to give up at this point! In my earlier thread I asked two specific questions: (1) what keys will I be able to play in and (2) how will it sound with other instruments? The answer to the first is down to your choice of accidentals. For most people Bb, C#, F# and G# will be obvious choices, but the Eb / D# choice is a bit more difficult. (This isn't a problem for English concertinas or larger Hayden duets which have space for both.) Since I tend to sing in flat keys I opted for Eb. This choice gives me the major keys of Bb, F, C, G, D & A plus their relative minors G, D, A, E, B & F#. This would be perfectly adequate were it not for one quirk: some forms of music like to employ the major seventh in minor keys, usually in the harmony rather than the melody (giving rise in classical music to the distinction between harmonic and melodic minor scales). So some tunes in E minor want a D#. It occurs only rarely in my playing and there are several ways round the problem when it does occur, so I really haven't found this to be an issue. As to the second question, over the past year I've played extensively in a duo with a guitar and likewise in a duo with a melodeon. I've also played in a jazz context with clarinet, trombone and guitar and spent a very pleasant day with a West Gallery band and choir including a vast assortment of instruments. I have never detected any problem with sounding out of tune; nor has anyone I've played with made any comment. One further observation. As the title of Ross Duffin's fascination book on the subject indicates, the problem with ET is that it ruins harmony. Melody is a different issue. In the jazz context I've played in Eb major and C minor, where I have to employ G# for what should be Ab, but as I've been playing only melody it hasn't been in the least bit noticeable. One further oddity, which I can't really explain. In a new tune I was learning an odd chromatic passage called for a Bb minor chord. Unfortunately the third of that chord has to be C# since I have no Db, but it sounds acceptable. The same is true of F minor with a third of G# (not that I've ever used that chord). So the flattened minor third seems to be more acceptable than the sharp major third in, for example, B major. Perhaps someone else can provide an explanation for that. One final point. My experience relates entirely to fifth comma mean tone tuning, which seems to be a common compromise: the major thirds are much sweeter than in ET but not actually "pure". In quarter comma the major thirds are pure whilst the fifths are narrower and the note pitches diverge more from ET. How much these last two factors matter I don't know. Some advocate sixth comma as less extreme than quarter or fifth; but my experience suggests fifth comma is not an any practical sense extreme. In all cases the six major and six minor keys are equally good, but perhaps in sixth comma the other keys are more acceptable. That might be an issue with, say, baroque keyboard music but not one that would trouble most folk musicians. I am tempted to try a duet tuned to quarter comma mean tone, but to be honest I'm content with fifth comma so I'll probably never get round to it. My new Alex Holden 44 button Crane (due to arrive next month) will be tuned fifth comma mean tone. LJ
  17. tealeaf

    The Secret of Monkey Island

    That's the second best version I've ever seen! This has been one of my dream pieces for a long time, and I've been working through scoring my own version of this. Now I'm just going to be recreating yours! Do you have any of this scored out -- notation or tablature? The one bit I do have satisfactorily is the introductory run of notes from the very beginning of the original version.
  18. No it isn't. Don't believe everything you read on the session.org, especially mishearings of misnamed tunes.. Usually it's referred to as 'the Connemara version of Páidín Ó Raifeartaigh' All three tunes played in the video have words sung to them.
  19. The cutoff is for items 'worked' before 1947, so the current exemption may well apply. Individual countries can exceed CITES regulations in their own ways, though. The UK is about to introduce a total ivory ban with some very limited exceptions, for example; and my understanding is that the US already has a total ban on ivory. So, assuming that this is genuine tortoise shell, but pre-1947, it should be exportable under CITES in the US and UK context. It might still be worth checking with the US Fish and Wildlife Service (or DEFRA in the UK) to be on the safe side. It's worth remembering, though, that for some CITES-listed products, you just need an export permit, which requires some bureaucracy and a relatively small cost. So it's not a total impossibility. I'm fairly sure that tortoise shell is only allowed in "exceptional circumstances", though.
  20. Geoff Wooff

    How far is the salt air dangerous...

    One friend , who's house is virtually on the beach, had a new car rust away during the garantee period. The warrantee did not cover living so close to the Atlantic. But her concertinas have survived with no apparent problems at that address these last 25 years.... so I'd not worry too much.
  21. Dave Weinstein

    How far is the salt air dangerous...

    We are approaching the traditional three months of sunshine in the Pacific Northwest, and there are weekend places for rent along Puget Sound (salt water). The question is, assuming playing inside, on a dry day, but within 100 meters of the salt water, how much risk to the instruments are involved?
  22. The second tune is known as the caravan. https://thesession.org/tunes/8983
  23. Last week
  24. saguaro_squeezer

    The Concertina at Sea: A History of a Nautical Icon

    Thanks, Daniel. Fortunately, I already have that book.
  25. Sunbeamer

    How far is the salt air dangerous...

    I keep My Lachenal anglo on my boat in the summertime , it lives in a Peli case and I’m careful about making sure the atmosphere is reasonably dry when I’m playing. Been doing this for a few years without any noticeable detriment. I would say the boat is fairly “airy” and almost never feels damp . Hope that helps .
  26. Dan said on his old site that the article had been superseded by a section of his book that covered the same topic, which he said is available free on Google Books. It's at https://books.google.com/books?id=1-thWE5XRmsC&printsec=frontcover&dq=isbn:0982599609 . If you scroll down into the table of contents and click on "Chapter 4. The Concertina at Sea" , it'll take you right there.
  27. I hear him playing three tunes, one after the other. I believe I've heard the first tune called both Give Us a Drink of Water and The Swaggering Jig. I don't know the name of the second one. I think the third one is Bean Pháidín (which has words in Irish).
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