Kurt Braun
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Posts posted by Kurt Braun
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No answers, but several things that come to mind:
= My hands are not small, but during my first few years of playing I couldn't reliably reach top notes. Also, my hand really arched playing the lower rows and my fingers would stumble often with the tips falling between the studs rather than on them. Loosening the straps fixed all of that. When meeting players for the first time some are very surprised at how loose my straps are. I can touch most studs with any finger and even the top and bottom most, and inner and outer most studs with at least 3 fingers.
= There many references to the difference in strength of fingers on this forum. People worry about pinkies being up to the task. Pinky fingers are not treated with such tenderness by other instrumentalists. The highest, lowest and loudest notes on pianos are played by pinkies. Highest and loudest on violins, violas and cellos as well. Left hand pinkies are well relied by guitarists. They are seriously hard workers. Fingers, even little ones are strong and well up to the tasks we give them.
=The arch and Chevron crane keyboards have been well discussed in other posts. Most Crane player (including me) feel they are essentially equal. The Chevron keyboard is a tad narrower. Both of mine instruments are Cheveron. (I play a 4 note Eb arpeggio with each stud getting a finger. That puts the pinky on the 1st Eb, ring in the G, index on Bb and middle on the high Eb. Awkward as it is, it results in a smooth arpeggio and is worth the practice. That said, I can't imagine myself not cheating and just letting the index finger play the Bb and higher Eb on a chord.) You *might* find a very marginal amount of help by moving to Chevron. Really, very, very marginal!
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On 6/26/2023 at 8:42 AM, BobBobsta said:
I mostly want to back up my singing with the concertina. I come from Ukulele playing
You might find it difficult to beat the ukulele for accompanying singing with a concertina.
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It is really difficult to pick between two things when there isn't much difference between them. I say just pick one and get on with it.
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No, I never figured out how to load the sound into the contraption. But I did load the font into a DAW and even more hassle free a font player (I settled on Sfzando). Then I connect the midi out on the contraption to the usb port of the computer. I have a thin and light Surface Pro loaded with my sheet music that is always nearby, so no problem. I also loaded the concertina font into Musescore as suggested.
David, you might be interested to know that I used the contraption to lay down a cello track at a recording studio my wife was using a few days ago. That was my very first cello gig and I was really pleased at how well it was recieved.
Kurt
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Done. That was easy!
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Thanks people.
I'm still working this. I'm in a world that I know nothing about (been in others many times in my life). I'm confident that I'll get through this, though it might be a day or so.
Kurt
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I have this contraption (aka Roland Aerophone ae10 wind synthesizer) that can emulate various musical instruments. There are too many to list, but some of my favorites are sax, flute, oboe, tuba, harmonica, violin, cello, and accordion. The list of 128 sounds does not include the concertina.
Is there anyone on this forum who might know of where I might be able to find or how to create a concertina sound patch that I could load into my contraption?
Thanks,
Kurt
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The fingering suggestions in the Salvation Army sent me down the wrong path. Be careful.
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The notes are on the ends, the music in the bellows.
I recommend that the musical phrase rather than bar lines and such be salient in any bellows adjustments, including direction changes. I find it very useful to be able to play any phrase in either direction. Sometimes this means you need to practice scales and such so that one doesn't develop a direction preference for certain collections of notes. The greatest asset of the bellows is dynamics. This will mean playing phrases, rather than just songs or tunes.
Finally, contrary to the notion that just the notes are on the ends, button attack and release is also important to musical expression. Using the bellows (change directions) to attack and release is mostly a cheat for not being well versed in attack a release tactics with the fingers. The concertina is fully capable of al sorts of articulation without use of bellows.
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Well, I try to practice chords as arpeggios (no hopping) quite a bit. When searching for a chord fingering, I first play the chord as an arpeggio and use that fingering for the chord. I must admit that for songs and tunes learned in the early years, I still find myself playing vertically adjacent notes with one finger. But I consider it to be an old (and bad) habit. Good to see people still interested in playing Cranes.
Kurt
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On 8/11/2019 at 1:31 PM, frogspawn said:
Thanks to all for the suggestions.
Kurt, I found that hitting bass notes and high chords on the left (as I believe you originally advocated and demonstrated some years ago) was too much of a jump for me, but bass notes on the left and chords on the right should be easier to find. It also means my right hand will be actively engaged and ready to switch to melody for the fills.
I try to learn from both Andrew McKay and Geoff Lakeman, both of whom I've met and spoken to in the past. I have their recordings and access to videos of Geoff on Youtube but still find it hard to work out what they are actually doing! Geoff very kindly gave me some time after a gig. He mentioned partial chords, and, I think, walking bass lines.
I can't work out what McKay and Lakeman are doing either. It is a shame because I find their playing so much more interesting and organic than what I do.
Left hand stride (alternating bass notes and chords on the left side) certainly is daunting. Mostly I just do in with more simple tunes with easy and common chords. It sure is fun when it works out!
I'm singing much more than I used to (thanks to a ukulele detour). Bass notes on the left and chords on the right and singing the melody is great fun. Then move to chords on the left, (or bass notes and runs) with melody on the right for interludes.
Here are two other techniques I've been using in more recent years.
Octave doubling a single line: Play the line with both hands an octave apart. (I got this idea from Dan Worrell.) This can be just the melody or you can do improvisation. This is fun tool for playing with others. Your octave playing can turn your 'tina into a virtual saxophone for breaks or taking leads. Or, do fills even while the singer solos. Remember, saxophones never play the whole or even most of the time. A little goes a long way.
Two sided melody: This is for those who can play chords on both ends and can play single lines on both ends as well. Also great for smaller Duets where there is little overlap between ends. Pick a tune or song in an octave where the melody line goes above and below the overlap. When it goes below, play the line on the left and the chords on the right. When it goes above, do the opposite. Like old time music, it is better than it sounds!
Kurt
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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.
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Good jobs!
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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.
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"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.
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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.
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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.
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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.
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Playing by ear is the norm at Palestine, especially among the old time and dulcimer folk who love to jam and jam and jam.
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Deleted until I figure something out.
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Check this out as well http://www.cranedrivinmusic.com/page3.htm
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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.
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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
A Flock of Cranes!
in Buy & Sell
Posted
So, so sorry.