Łukasz Martynowicz

If you have any questions on how to actually use this Musescore fork, feel free to ask, as it comes without any instructions and has some non-intuitive elements to it at first preparation/template making stage.

When life presents such a dillema to me I come at it from a different angle - how will I feel afterwards with possible outcomes. If you don’t accept and nobody get’s sick afterwards you have just lost a gig and some money, you will forget about it in a week or two. If someone does get sick, you won’t and your life goes on uninterrupted - you can pat yourself in the back for making good decision. If you go and nobody get’s sick, you get some money and a nice if a bit scary evening and a week or two living in uncertainty and stress if you are susceptible to such worries. And if you go and do ge

Seconded on "Musix" by Shiverware. I use it regularily on train journeys for fingering practice/learning new material without annoying fellow passengers. If you (Sean) are interested in CBAs you can get a hang of the differences in fingering between C- and B-system within the same neat package. One thing though - default orientations are designed for devices lying flat, so trying to hold your phone to mimic concertina orientation doesn't work out-of-the-box, but fortunately you can design your own presets so this obstacle can be overcome. Even on small phone you can fit one entire side of Elis

Amelie soundtrack is exactly what got me into duets and most of my repertoire is adapted from accordions. Haydens are very intuitive for typical oom-pah chord progressions and Elise is good enough (although very limiting) entry point for learning to play this kind of music. However, this is also the exact reason why I find available upgrade path problematic - both Troubadour and Peacock from Concertina Connection lack LH A4, which occurs a lot in accordion style oom-pahs (and you will use it a lot on Elise for this kind of music). Personally I find missing a single note out of accompaniment ci

I have played both Anglo and Hayden for a couple of months during my transition between systems, but then have abandoned anglo altogether simply because I found duets more suiting my needs. But I had no problem switching instruments during practice session, as the nature of those two systems is so much apart, that there was no confusioin at all. But, as years long owner of Elise I must ask - what repertoire exactly are you thinking of? Because the main difference in instrument limitations between anglos and duets isn't bisonoric vs unisonoric nature of the instrument, but the universal range

Nowadays you have the following options, in price order: Stagi, then Troubadour & Peacock from Concertina Connection, then Beaumont from Morse Concertinas, and finally Wakker H-1 & H-2. Note range wise the list goes as follows: 36 button Troubadour, 42 Peacock, 46 Stagi and Wakker H-1, 52 Beaumont, 65 Wakker H-2. That is all.

I actually have two tunes causing trouble by this. The feature I talk about is even more pronounced on slanted Park layout (similar hex based layout with whole tone/minor third/perfect fourth instead of Hayden's whole tone/perfect fourth/perfect fifth axes) where you play all major, minor, seventh, sus4 and augmented chords with a natural middle finger position further from the palm. On a Hayden you play minor and sus4 chords with inverted finger position, with your longest finger closest to the palm, which causes me a lot of troubles with left hand minor chord oom-pahs and arpeggios, because

Index finger on root, then for major triad middle finger on fifth and ring finger on third. Then ~90 degrees wrist twist gives you index still on root, middle on minor third and ring on fifth. You can also play first inversion of IVmaj mid twist (at ~45 degrees) with same fingering. On a „proper Hayden” row shift is larger so that this wrist twist is bigger and grouping my fingers to do the same feels uncomfortable. The reason I find this usefull is that you can play oom-pahs and some arpeggios using same (mirrored for arpeggios) wrist-gimball-only movement which enable „tremor amplif

One aspect of his offset that I actually like - you can play minor and major triads with the same finger on the root note, which makes a typical pop progressions easier to finger, but require wrist twist that is way harder on concertinas. This also shows that he started working on his grid with squares instead of hexagons and then skewed them slightly.

Would be interesting if not for this ugly synthetic tone. And one funny thing - from the description on Kickstarter site it seems like this guy reinvented Wicki-Hayden for the n-th time and has no clue about previous kickstarter projects with the same layout, let alone historical inventors.

One other comparison, from musicnotation.org, showing how chords look like compared to traditional notation, my chosen one is directly below traditional, Parncutt 6-6: http://musicnotation.org/pdf/comparisons/Triads.pdf

So here is an example, just couple of simple bars. This is a continuous staff, each four lines are F, G, A, B of consecutive octaves, I have left cleffs for you to orient yourself, and added a quick reference of where natural notes are on. I use color coded notes because on continuous staff there sometimes is overlap of LH and RH lines and all black noteheads cause a mess. Now it should be clearly visible how this system is a natural pair for Hayden keyboard. @David: that is a valid concern regarding my chosen system as you can see in linked example. However, chromatic notations c

I’m sharing this in case anyone else is in similar position and will find this usefull, not to preach to people who feel comfortable with traditional notation. Before my long break from concertinas I have come to realize, that I deeply loathe western music notation and it’s overcomplicated and convoluted nature. The rhytmic part works just fine, but non-proportional vertical pitch placement and non-repetitive octave positioning makes it impossible for me to sight read it thus limiting my options only to scores I can fully memorize, which in my case simply does not work for more adv

Thanks, that was informative. From a perspective of a Hayden player I would say that Crane system is half way there: it is fairly logical within an octave and chords aren’t „all over the place”. It has some resemblance to 3-row variants of accordion B- and C-systems in that you have different but limited shapes of chords depending on row of the root note. On the Crane however it all goes out the window when you go up an octave - same chord octave higher is fingered entirely differently. @RAc while it is true what you say about „music theory coming alive” in this example, it is also

Seconded, I have a dent in my A3 on the left and A4 on the right, that is enough to reposition my hands if I ever get lost. However, since I begun using thumb straps those dents aren’t really necessary anymore, as my static thumb position and muscle memory are enough to never get lost. One word about Hayden isomorphism. While I love it and not really having to learn anything about different keys to play in them is great, it has one quite significant drawback: if you run into a phrase that is awkward/difficult/impossible to finger smoothly, then you cannot transpose to different key