Jeff Stallard
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Posts posted by Jeff Stallard
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I was surprised how little finger movement it takes to span an octave. At first I was always pushing buttons higher up than I had to, thinking the jumps were farther, but it's really just tiny little movements. The closeness of the buttons is a very good thing. I was thinking it would be confusing.
Learning to read sheet music is very difficult, so give yourself time. It was very frustrating for me. Oh, you might think about getting some sheet music flash cards. They help a lot.
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I could have bought an official concertina case, but that was too expensive. I could have built one (amateur builder), but I don't feel like it. So the hunt was on for a practical carrying device. I thought about a small duffle with custom-fitted foam (electric knives are GREAT for cutting foam), then maybe an overnight bag, then a toolbag, then a camera case, and then it hit me while I was walking around Target looking for my muse....a LUNCHBOX!! They're cheap, compact, and the insulation makes GREAT padding (in most). So I went through everything they had looking for something suitable, and I eventually found a nice tan, tweed, Eddie Bauer lunchbox that fits my concertina LIKE A GLOVE (yes, like a glove). So for $14 I got myself a nice looking gig bag that can double as a beer cozy.
Ahhhhhh, I love it when a plan comes together!!
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We've replaced many a concertina bellows which have been played this way. This happens to *any* quality of bellows from the cheapest Stagi to the best Dipper bellows.
If the same argument was applied to violins then violinists would use the bow stick instead of the bow hair and would hum instead of touching the strings for fear of damaging them.
Well Richard *HAS* repaired many damaged bellows from being played that way, so it seems pretty indisputable that it causes damage. How much is debatable of course.
In your picture, the concertina seems to be supported mostly by the strap across the bottom, not the bellows. furthermore, with that strap on the bottom, the bellows movement is restricted severely so it can't rub on your thigh nearly as much, which might explain the lack of wear on yours.
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Use a neck strap. Yes, I know they're not "necessary", but your hands will thank you. PLUS, you maintain the proper arm position. PLUS, you don't have to hunch over while playing; you can walk around, sway with the music, or whatever. Get a strap; you'll love it.
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Yep, Stagi, but I don't know if it's any particular model or anything. For the time being, I'm using the old way of holding it, with both the ring and pinkie fingers on the fingerplate, but once I get my strap on, I imagine I'll be able to all but ignore the plate.
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Yeah, that's true, but I'm a tinkerer at heart, so drilling holes where holes weren't intended holds a certain charm and thrill with me.
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I got my 48b English on Wednesday. By Wednesday night I was noodling around with Pagalia's (sp?) Song (dropped it an octave) from Captain Corelli's Mandolin. By Thursday night I was using sheet music to play (poorly mind you) a nice little waltz ("Josephin's Dopfals" or something like that). I'm very happy with the learning curve on this English. I know it's going to take a while for muscle memory to kick in, but the initial intimidation of all those buttons has worn off and it seems very nicely laid out.
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That's good to know Richard. Thanks. Unfortunately, it's 12 hours too late for me; I've already decided on a system. I'll keep you in mind though for future purchases.
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I want to add a neck strap to my Stagi, and last night I had what I think is a good idea. I had an extra guitar strap lying around, so I zip-tied it to the thumb straps just to try it out and get some ideas. Then it dawned on me...guitar strap buttons! Mount them horizontally on either end, then just slap on any old guitar strap you want. It's cheap, practical, unobtrusive, allows for a wide variety of straps, is easy to remove, and most importantly...only requires TWO additional holes in the instrument. I'll probably swap the factory screws with something a little smaller than the rather robust factory screws.
Yes, I know straps aren't necessary on trebles, but I like them.
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The goal, of course, is to get to the point where you don't need any tools to keep rhythm. Back when I was learning to play drums, I'd listen to a song and tap out the downbeat. Then I'd turn down the music and continue to tap the downbeat. After a period of time, I'd turn the volume back up and see how accurate I was. The better you get, the longer you can leave the volume down and still be right.
Basically you should learn to be a drummer. Tap out beats while listening to music in the car. Tap out the beat when you're waiting in the doctor's office. Get to where you can tap to a song while focusing on something else, like a book, or a conversation. There are no shortcuts unfortunately.
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You're not going to like this, but...suck it up and get used to the metronome. Get a mechanical metronome though, so you can focus visually on it (in your peripheral vision) rather than trying to focus aurally.
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I've tried to anthropomorphize my instruments, but it felt kind of pointless, so I quit trying.
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Most people only like the music of their peers, so I'd so no, they're not going to come around.
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I think you will be suprised by all the different types of music played on our magical instrument
My mind is already swimming with ideas. Just this morning I was playing "La Bella Notte" and "Le Waltz de Junes Filles" on the mandolin and thought, "Wow, that would sound incredible on the conertina!!" There's so much I want to play on it, it's going to be frustrating taking the time to let my fingers memorize the keyboard (buttonboard?) layout.
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I do it the old way, using my middle finger for a beater, which produces a lower sound than a stick.
Yeah, I do that same thing, except I use the index finger. The sound is much better suited to small groups. If I need to add a little more energy, I use both the index and middle fingers. It gives a slightly louder sound, and adds a subtle double-hit sound, like two bodhran playing in sync.
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And that from a man who actually admits to having played (played!) the bodhran and banjo!
I see their reputations have preceeded me. For the record, it's the irish tenor banjo, a distant cousin of the bluegrass behemoth. Also, I'm one of the enlightened bodhrani who understands that less is more.
Thanks for the information everyone!
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I just thought I'd throw my hat in the ring. I've been playing music for about six years now (violin, tin whistle, bodhran, tenor banjo, mandolin, and tenor guitar), and during the last month, I've gotten an itch to learn the concertina. I dismissed it at first, because I first saw the anglos, and the diatonic nature didn't appeal to me (why spend all that money and NOT have the ability to play anything). AHA, but then I discovered the English concertina, and I was pretty much sold. After several hours of research into brands, fingerings, and pretty much anything I could get my hands on, I ordered a 48-button Stagi last night.
Reading the history of the concertina, I saw that it was used to play classical music, but that kind of died away. Is that still the case? I play all kinds of stuff, but I'm really intrigued with the classical aspect of the concertina. Do you see many classical players these days?
Oh, and what do you call someone who plays a concertina? ConcertinIST?
Progress After Two Days
in Teaching and Learning
Posted
For the first few years (classical violin), I learned only through sheet music. I was so entrenched in that way of learning that I could sight-read a piece no problem, but take the music away and I would be 100% lost. I didn't like that, so I started using the sheet music as a guide. I'd play through it a few times reading it, then look away and see how far I could get. I got better, to the point where it only took a half dozen times with the sheet music before I had it memorized. Bear in mind I could ONLY do that with folk music, which is a lot simpler than other styles (oh boy, I'll take some heat for that). Now I'm going down two roads: strictly sheet music with the concertina, and strictly ear learning with the tin whistle.