fearfeasog

I'm sorry, after reading my reply again it looks like I meant that the Bastari is hard to squeeze--it may be but I wouldn't know! I was talking about the Rochelle. That said, I would recommend the Rochelle for a beginner, with the caveat that you'll want to trade up soon. Fortunately, those who sell the rochelle know this, and some will take your Rochelle back for full trade-in price toward one of their own instruments. The Button Box in Sunderland, MA, for example (makers of my Morse and my good neighbors!) will do that. I think Bob Tedrow at Homewood Music does it too, though I may be mistaken there. But the Rochell ain't bad, it just ain't great! And the Rochelle is less than $500 last I checked. As for arm strength-- you may have an advantage on the Uileann Pipes if you focus on the right squeezing muscles. ff

The rochelle doesn't have the problems you describe with your Bastari. I rented one for 3 months and it was great for a start, but then I found it to be holding me back developmentally, as it's a bit tougher to squeeze than say a Morse, which is what I play now.

Reaper all the way. Great program.

I wish I had a ribbon mic to play with. I'd love to hear how that does on concertina. I do my youtube vids with a cheap large diaphragm condenser (Nady something or other--it can actually sound pretty decent) and sometimes an SM-57. Neither sounds particularly open or clear, but not bad. I have 2 shure small diaphragm condensers that I have not tried yet--they are kinda noisy but I reckon they'd do ok.

Seems to me that there are a few awkward jumps, but I suspect they're errors in your ABC notation, where you've put notes in the wrong octave. Specifically, I think the "CBC" (found three times) should be "CB,C" and the "A2b" (found twice) should be"A2B". (You will please tell me if I'm wrong.) If I'm right, then I think this is the correct ABC: X: 1 T: Jiggle the Handle R: jig M: 6/8 L: 1/8 K: Amin |:AGA AGA | cBA GED | CB,C ~D2 | E^FG ABG | AGA AGA | cBA GED | CB,C DAB | cAG A2B:| |:cBc dcd | e^fg a2b | age age | dcB cA^F | GEA GED | CDE GED | CB,C DAB | cAG A2B:| Here are a couple of rough recordings I made to show the difference. from your notation from my notation Note in particular the high squeak at the end of each A and B part in the first version. That's the high "b" in your notation. And in both cases I've included a "b" (or "B") at the very end, taking the notation too literally, since I'm pretty sure that you want if left off on the very last time through the B part, i.e., to end on the"A2". That's not a criticism of your notational skills. I normally don't write ABC at all, and I wasn't able to play your tune (and find what I think are errors) until I used the Tune-O-Tron to convert it to standard notation. P.S. A bit of a fun tune, I think. Absolutely, Jim, thanks for the corrections! and the kind words. you were right on about the jumps, that's my learning curve you're playing there! ff

this is great. I have only been playing concertina for a year+, but my friend wrote a really nice jig, and it got me thinking I'd like to give it a whirl. My first isn't that good, but it has a title I really like--Jiggle the Handle. Composed on 30 button anglo concertina. I play irish trad, pretty much, so, there ya go. Thinking I'll keep working on this particular tune, but if you all wouldn't mind telling me what you (really!) think, I'd appreciate it. X: 1 T: Jiggle the Handle R: jig M: 6/8 L: 1/8 K: Amin |:AGA AGA | cBA GED | CBC ~D2 | E^FG ABG | AGA AGA | cBA GED | CBC DAB | cAG A2b:| |:cBc dcd | e^fg a2b | age age | dcB cA^F | GEA GED | CDE GED | CBC DAB | cAG A2b:|

That Mairéad is great. Look her up on comhaltas. I wish she'd come out with a CD.

hear hear! +1! spot on! and all those other loud and hearty agreements.

this chart from The Button Box shows my jefferies layout. (I have the c#/c# combo top row index finger) http://www.buttonbox.com/images/Anglo-FC.jpg (I'd embed the image but it is big and I don't know how to upload) On the right side there are 3 high a's to choose from. I have a 2 pulls and a push. One pull is on the g row, 2nd finger. another on the c row, 4th finger. The push is accidental row waaaaay over on the right. probably never going to use that one. Maybe someday, who knows. Anyway you can see my options. I can either play the g-row pull a, then the push g# top row--the "standard" approach. OR I pull the c-row a with the pinky. or change position to pull it with the ring finger, then on to the g#. OOOOR i reach WAAAY over, sprain my pinky trying to reach the top row push a, then cry and run to the a&e, or emergency room, or mommy. seriously though, the c-row a doesn't seem to make it much easier. maybe slightly. i can certainly work with it--work it into practicing the scale. We work with what we have, no?

Thanks everyone, great discussion! The only other tune I know right now with the g# in is called Jessica's Polka. (see http://thesession.org/tunes/1532) which is a similar thing--from the a to the g# in the 'B' part. Wow, all the g's in cassidy's! That looks like a challenge.

badda bing... ...badda boom!

Understood. Since I'm new to this tune (or vice versa) and indeed new to the session scene, relatively, I can't help feeling that I'll be putting someone out no matter which key I decide to start this in. Ah well, good advice--friendlier tunes it is. Good idea, thanks!

you have indeed addressed my question, tyvm! and yep i mean the aag#a as you say. My box is a jeffries (Morse Céilí) so I'll have to look for that accidental A and hope it's there. Thanks Alan, good idea about running thru the scale. I shal add that to my list.

So I recently learned the Foxhunters in A, so obviously there's gonna be that pesky g# in the 4th part. How do you anglo players handle that? avoid it? change fingering positions? play a different note. Take your 'tina to the shop to have a g# installed where it's easier to reach, to the tune of $$$, just so you can play that one reel? Me?--I either play the b above the a, instead of the g#, or I 'll sometimes play the f# below the a. I have to play real slooooow to even hope to get up to the g# in standard position, and I haven't really tried changing positions yet. In G, Foxhunter's is much more concertina friendly. I do like it in A though, really slamming that c# is alot of fun, twisty fingering notwithstanding. (edited to correct spelling.)

mais oui! and oops, meant Neill Byrne.

Definitely great stuff. There's a Comhaltas vid I remember of Jack Talty playing in a really echo-y hallway--his style is pretty memorable. I also agree with ceemonster about The Sunny Banks, but don't forget Neill Bynre is superfantabulous too. I got to see them play that material and more in CT at a house concert--best show ever.

Absolutely!

well good, I'm listening to alot of Mícheál and also Pat and Eoghan these days. Hopefully it soaks in!!! Jody, I get abt 98 bpm on the slower wiper setting, and about 150 on the faster. 150 feels abt right for a polka, I reckon. 98 slightly laid back (not for me!!!) for a reel or jig, perhaps. 2004 Ford Focus wagon, for the record. ff

two tempi, I have yet to measure them, just going by feel. the faster one might be more a polka tempo. of course there's the intermittent setting if I want to work on my internal timekeeper.

Ok, spent an hour long lunch break at work playing tunes in my car, listening to the rain drumming the roof, and pointedly accenting the upbeat of a couple jigs, and a polka. It all sounds so much better with a little upbeat lift! It's amazing what just a little practice can do. It's not that easy to do, especially the "make the unaccented notes as quiet as possible" part. fun as hell though! I can see how this is going to pay off. Thanks again, Mr. K (and my for now anonymous PMer) ps, i noticed today that my windshield wipers run at a good reel tempo! just one of those things.

Jody, thanks--you're advice is always great. I have done a little of this, but haven't taken it as far as you suggest. I'll find out how far I can go! ff

ditto! and congrats!

Hi folks. I'm at the point where my playing is getting better, but it ain't "there" yet. Like, if it were another language I was learning, I'd be able to have a conversation with you, but you'd still have to ask me "What was that?" occasionally because of my accent. My sticky point of late is bellows control. In a recent workshop I sussed that in reels, for example, it's often good to accentuate the upbeat a bit, and to do that you often use a little extra oomph on the bellows. on jigs, I'm not sure, but I think the upbeat is kind of on the 3 and 6 of the 6/8 bar. So accentuating those beats would help give a jig the lift you're looking for. Is any of this about right? I DO listen, as well, to try to hear what's going on in good playing. I think it varies, and I think it can be very subtle and it isn't always bellows pressure that does it--it's often other sorts of articulation. and strategically accenting the downbeat is pretty dang awesome too, with great payoff potential. My actual question is: what do you anglo-philes do for bellows control exercises, and do you have any suggestions for a 1 year old anglo newbie?

It's been nearly a year since I started, and thanks to all of your great advice, I am MUCH better now than when I started. (I have to admit I didn't follow it all to the letter, but...there ya go.) I bought a Morse Ceili. I started a slow session in my area, complete with "teachers" and "students". I go to the local session once every couple weeks. I can actually play 4 or 5 tunes up to speed. I didn't practice EVERY day, but pretty close to it. I attended the N.E. concertina workshop and met some great folks, and was taught by Chris Stevens and Flo Fahy. I love my Morse. Every day I thank the great spirit thingy for music. I have listened to Irish trad every day for this whole time. Basically I met all of my goals for the first year. And I met alot of great people both online and locally, some of whom come to my house for the slow session every 2 weeks. It's not going to stop here! Best to you all, Mark

You know those dreams in which all of your teeth are loose and falling out, and you're trying like hell to shove them back in and make them stay? Well I had one a couple nights back sort of like that about my concertina. All of the pads came loose from the levers and started falling out the fretwork. Rattling around in there, they were, falling on the floor. Well, I said, I'll have to glue them all back in now. But O! the stress.