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Kurt Braun

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About Kurt Braun

  • Rank
    Chatty concertinist
  • Birthday 03/04/1944

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  • Interests
    Concertina performance, instruction, playing with others, singing, Crane duets, interesting and amusing songs and getting to know other players both on and off line.
  • Location
    Baton Rouge, Louisiana

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  1. Listen to Andrew McKay and Geoff Lakeman for Crane assisted singing ideas. Also try bass on left, chords or arpeggios on the right, while singing an save melody playing for intros, instrumental breaks and endings.
  2. This is Saturday (the second day of our three days of Winter). I will be playing by the fireplace this evenig. Meanwhile, I made motel reservations for the Palestine, TX weekend. See you there.
  3. "A difference, to be a difference, must make a difference." Do any of you have an opinion on what difference an arc over the cheveron (or vis versa) makes? I think the columns on the chevron layout are closer than on the arc.
  4. Even playing slowly, the nature of the musical phrase can, and often does, require that the two notes be connected. If we don't use the same finger on two succeeding notes, the choice of articultion is musical rather than fingering convenience or comfort.
  5. Did any c-netters go to Clifftop this year. If so, could you share about your experiences, other tina players who where there, how concertins were recieved, fit in, etc.? Thanks.
  6. The low last night was 80 and relative humidity 89 percent here in Baton Rouge. That said, I travel in air conditioned cars and do not leave instruments in them when parked during the heat of the day. In the summer, I pretty much stay inside with the air conditioner on. I never check my concertina when flying.
  7. Playing by ear is the norm at Palestine, especially among the old time and dulcimer folk who love to jam and jam and jam.
  8. Check this out as well http://www.cranedrivinmusic.com/page3.htm
  9. I have to say that my favorite thing about playing a Crane is wonderful camaraderie and helpful fellowship among the the players, experts and students of the instrument.
  10. David, For me, I can't begin to imagine what was being attempted here. I am glad you are turning it into something more useful. I'd be much more interested in trying it when it is "normalized," or from my perspective, made playable. Kurt
  11. I'd say that no tradition is both a blessing and a curse. But back to the topic, I used to play saxophone in a big band. With the right hand doing the melody and lots of chord changes in the left, the duet can remind me of a big band sax section. When singing or jamming, I try to emulate a guitar (bass line on the left while strumming chords on the right). Surprisingly, the ukulele has also influenced my playing and singing. The uke does lots of rhythms and quick chord changes to jazz up songs. This can be done by playing chords on both sides with independent rhythms. Just chords will also help with learning tune or song structure. I do sacred harp (shape note) singing, but I can't say it has influenced my concertina playing. Sacred harp is kind of a thing unto itself for me.
  12. I recommend relying on your own opinion/feelings. Sometimes you will play well for a crappy audience, though it is lots more fun to play well for a good audience. I was once in a really terrible audience listening to Taj Mahal. It was obvious that he recognized that the audience didn't appreciate him. He was not at all happy about it, but he rose above that and put on a good show. I also once saw the Bass section on the New York Philharmonic fall apart playing a not difficult Mozart symphony. Everyone has bad days. Finally, remember Kipling's If: If you can meet with Triumph and Disaster And treat those two impostors just the same Kurt
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