Jeff Stallard

A while back, I was writing about how I've sworn off vintage instruments, but you all said...well you know what you said. Well it really made me think, and long story short, I'm now the owner of a Lachenal from Chris Alger. It's quite a bit smaller than my Stagi; is that because of the larger reeds in the Stagi?

Thank you, Jeff. Next time I post something regrettable, we can all assume it was you. <{POST_SNAPBACK}> Ouch! Nice comeback!

Yeah, I'm the same way. To me, the differences between classical and folk are purely social in origin. Kind of like politics, where you need that distinction to help define your own group. Yes, I know tons of you will disagree with that, and probably write paragraphs upon paragraphs telling me why I'm wrong, but save your breath (fingers?), because I've heard it all before. The more I learn about ECD, the more I think it's my calling. I recently got the Kitchen Musician book of country dances, and I was pleasantly surprised to hear a very nice mix of classical and folk, even within the same song. Take, for example, College Hornpipe (the Popeye theme). The song is "folk" and yet there are some very "classical" patterns in there. Yeah, I know exactly what you mean. I like to be able to feel the music, and if it's too complicated, like a lot of classical, it loses its soul (not to mention it's harder to play). The best songs only have a few core patterns. I have lots of easy violin music as well.

My apologies , to both you and the actual originator. In the light of morning, there is much to regret in last night's post. <{POST_SNAPBACK}> I am the originator. Don't sweat it man; I'll just hack your account and post lots of juicy stuff using your name.

Rascal?! Why I NEVER...!!! The NERVE of some people!!! Hmm...never been called a rascal before...makes me think of Han Solo. Thanks.

Yeah, I see that too. It doesn't seem to be a problem with folk musicians though. My belief is that it's more rewarding to play bad music myself than to hear someone else play good music, but...if someone thought the opposite, that might certainly make them look at any amateur music as pointless. That sounds ideal!! My problem is not knowing other classical musicians. No wait...I take that back...I do know one person. Hmm...maybe I should talk to him and see what he thinks.

Man, that sounds great. I need to pick me up some schubert.

It's interesting you should say that, because I was arguing that exact same point a few weeks ago with my girlfriend. It's like being an audience member is an activity pursued for its own sake. The music is inconsequential except as a tool to increase you social standing ("I saw so-and-so last week for $100 a ticket."). Thanks for the feedback. It looks like I just need to hob-knob with classical musicians and find a group. The problem is that I don't have any musician friends. What I thought about doing was calling local music teachers to see if A) any of their students are interested, or they're hosting an amateur quartet (or whatever).

I love playing classical music, but I'm disappointed in the elitist nature of the music. You're either top-notch or you suck. With folk music, any mook with some basic skills can get together with others and have a good time playing, but I've NEVER seen that happen with classical music, even though there is plenty of easy material around. Why is that? Why can't a group of amateur classical musicians get together for a night of music and laughter, the same way sessions are held? Don't tell me it's because the music is too difficult, because I've been to sessions and I know just how hard and fast they can get. I'd wager there are millions of amateur classical musicians out there who would love the chance to play with others, but don't want the hard-core strict atmosphere of typical classical music events. I would kill for one night a week where I could get together with some fun musicians and just play whatever strikes us. Want to do a solo? Go right ahead (when it's your turn of course). Want to do a duet with someone else? Go right ahead. I know what you're thinking; "You can't just pass out sheet music and expect people to be able to play together." Yes, that's entirely true, BUT the same is also true of any ITM session, isn't it? You have to have studied the music before you can sit down in a session, yet that's not a deterent; people study hard just to be able to sit down at a session and "jam." How is that any different than classical music? Just like you have a list of your own session tunes, so too would you have a list of classical session tunes. If so-and-so wants to sit out on a particular song because they don't know it well, go right ahead (just like in a session). Note that I'm not talking about 20-minute long operatic movements here... Basically, my point is that it would be wonderful to have "classical sessions" but I have never heard of one existing. I'm toying around with the idea of trying to start one, so please feel free to give me feedback. Does the idea suck? Would you slap your mama to play in a gig like that?

It spans nearly 3.5 octaves, so you need a 48 button model to play it, or the second part anyway. I've seen the first part dropped to a lower key, but if you do that with the second part you'll lose the bottom notes. I fell in love with that song the first time I heard it, but it took me a year of off-and-on research to track down the name of it.

Thanks. Maybe it was just a good day, and tonight I will have relapsed into a state of total ignorance, but I sure hope not.

I know no one cares, but I had to tell SOMEONE, and since none of my friends even know what a concertina is, let alone play music themselves, you people are it. Before I discovered the concertina, I played the violin and then the mandolin, and there was one song ("Meditation" by Massinet) that I was never able to grasp even after eight years of playing (4 w/ violin, 4 w/ mandolin). Well I'm very happy to announce that, after only six months playing the concertina, I am able to play that entire damn song!! It's sloppy, but it's there. If that's not proof that the concertina is my ideal instrument, I don't know what is. Yes, I know those eight years gave me a boost up when I started the concertina, but there's something about this little squeezebox that fits me like a glove.

Outstanding! Thank you!

Mine smells like poo water.

If properly cared for, a 1934 Packard will require no repairs or adjustments either.....if properly cared for. Why does this bother you so much? You should be happy that I'm leaving more vintage instruments for the rest of you to pick from.

I've played vintage mandolins, so I know all about the special character a 100 yr. old instrument can have. Or are you saying there's something fundamentally different about ECs? Maybe I'm wrong; maybe vintage concertinas really aren't the hassle that other vintage instruments are. I'm willing to accept that, but not until I see some evidence. So how about all of you loan me your best vintage ECs?

Haha! Is that why everyone is gettin' the vapors over this? I just don't want to spend money on something, only to send it off for restoration and wait six months to play it. I've read countless messages from people here who say stuff like, "when I get my X back from the shop...". Furthermore, I get no pleasure from owning vintage stuff. I know some people dig antiques, and I can even understand why, but beyond the novelty factor, playing a 100 yr. old instrument does nothing for me. Function is the only thing that's important to me.

Thanks.

Vintage instruments add too many variables to the equation. I don't want the responsibility of maintaining it. I watched, in horror, as my 1918 Vega mandolin developed a crack (too dry an environment I think). I promptly sold it and swore off vintage instruments. Expensive instruments (anything over $500 is expensive in my book) cause enough worry, so why do I want to throw in vintage "quirks" on top of that?! No thank you! What is my age? I'm 30, but I don't see how that relates.

I'm thinking of getting a nice English concertina, but the only two existing English makers I know of are Morse and Geuns-Wakker. Are they are other makers out there? I'm talking about quality instruments mind you, not the $99 Ebay specials. Yes, I know there are vintage ones out there, but after owning a 1918 mandolin for a while, I had my fill of vintage ANYTHING.

My dad was a semi-professional clown for a while; I'll ask him about this.

It's kind of a small festival, so I'm not surprised you haven't heard of it. I'm not even sure I'd recommend it given the distance. The closest thing to a concertina class is "Love Your Accordian" taught by Marion Funk (a really good local accordianist). I don't know what it will cover, but I'll going to go and find out.

Are you coming to the Central Ohio Folk Festival, in early May? It's actually a little bit West of Columbus, so knock off 20 minutes of driving. There aren't any concertina workshops (I'm not surprised), but I found several good classes. http://www.cfms-inc.org/central_ohio_folk_festival.htm

Sure, let's do that. Maybe we could turn it into a Midwest Squeeze-in.

My first instinct would be to add sort of a walking baseline that followed the downbeat of each measure. I suppose that could be a root note of the measure, played down or up an octave, or even some 1-5 chord kind of thing. For example, if the measure started with a D, maybe I'd throw in an A or F(#?)to go along with it. Having played piano, I'm assuming you understand chord formation. I think it's pretty open, and whatever you think sounds good, go with.