Notemaker

It is a year and a week since on Ebay I won the auction for my Tina. There have been many, many surprises since. During the auction nobody knew which kind of Crabb was on offer. Nor, until I received it from USPS, did I. First surprise it turned out to be a C/G Anglo with a broken air valve, a few small leaks, but with fair springs, faded leather valve tongues, and a couple of off tune reeds. All of which expertly repaired by Greg Jowaisas, he is here on Cocertina.net, and in fine playing order when I got it back last spring. From the very start I noticed a lovely scent

Thank you each for helping, and for the super expert solutions, until reading which, I had no idea how to fix the wear spot. I am somewhat delayed, because of the crazy Covid19 thing and not finding time to make the picture - I use a Macro Lens & Tripod. So, yes! it is indeed a fabric / leather thing, not wood as the photo shows. Because my lovely Tina did not have any such blemish when first I seen it, I will be applying the appropriate cure, and revising my posture, which I suspect is the source of the injury. On another thread an attempt to rela

Noticing some wear on the corner of my bellows, most often on the knee, I see a faint trace of wood coming through. So how do I fix that? Before I get tips on better posture, I already learned that one by just resting the very corner of the bottom on the knee when needed. IOW I practice sensible holding of my lovely Crabb C/G Anglo. What is used to make the bellows and wooden frame black? Is it dye? or is it paint? Would boot polish be a good substitute? Thank you for any help. NM

Well his partner plays/used play on a D / D# Accordion, so using the Eb Anglo Tina, either sort fits in well with that plan. As to Eb V D#, I think there would have to be a serious re-tuning involved there someplace. The symbol you wonder about means 'Flat' so A flat / E flat, or Ab / Eb.

Thank you for the suggestion. Yeah that's it, today we do not have a ready made popular set of songs for Anglo! And, agreed perhaps it might work better on EC or Duet. But any easier folk song would be a start even on the Anglo.

My interest in Morris and Celtic has, more or less, per-occupied practice time since I re-started on Tina. Ok, it is my own fault and nobody else is to blame. But, I do want to caution newbies, if you got into it because you love one kind of material, yet have to get through others - tutors etc., - please make sure you keep to the central focus on your first choice. Because I now realize what brought me to the Tina is not either I practice on, and there is a reason why this happened. I first chose the Tina because I heard it used as backing for a folk singer, 'chordin

Thank you all for your expert suggestions. I like Alex's method best even if it is a bit more work. Noting that brass is easier to work with anyway, and new end bolts solely for a new bellows would be the best way ahead. But I am not stripping the old bellows frames for this project, rather, planning to save the entire good working bellows as it is. Job needs a full new frame with new end bolts and anchors.

Considering making a complete spare bellows. Looking at suppliers, I cannot find anything at all about the wee anchors built into my existing bellows end frames. Any suggestions? Thank you.

TBH I do not think it matters so much as to worry. I played ITM on the Chromatic Harmonica for a time. Then I quickly learned that somethings are completely home made to get around decorations. I don't bother too much with them on the Anglo, but have noticed those who do will use any note that works to achieve their goal. LHS G on the C row is topmost, so you'll probably want to try using the LHS G on the G row, and tickle the B - next button up from there. You mention Edel Fox. If you slow her down on YouTube you will find she uses notes far removed from the main one for her rolls/cut

Thanks for the quote. "Irish dance tunes are essentially fiddle tunes. " Imagine that! I am sorry you feel that way. Yet Internet scholarship is rather like cloud sculpture, it may, or may not, endure. Is this claim supported by any accredited scholarly work? I would be curious to know the answer, yet here in the forum is not a proper place for such, perhaps you might later like to PM me about it.

After reading Bob Tedrow's excellent webpage about it, http://hmi.homewood.net/ I began pricing the materials needed to make a bellows. Too, it is not clear which width of tape one should select. Judging from the size of his billets, after trimming, 1 1/8", I am guessing the tape size at 1 inch. But when I saw the price of the Bookbinders' tape Bob recoes, had to look further because I am not rotten rich with money, and, sure enough, on Amazon came up with an alternative. Bob's reco; from Talas https://www.talasonline.com/Gummed-Cambric-Tape?quanti

No! I think 30 tunes is far too much to be hanging on to. Instead work on mastering your instrument. Because tunes are not hard to image, while playing them in different keys on the Tina is. Too, our health can, and does, limit how we learn, or try to, and how much we can memorize. I have trouble with that as I grow older, my attention span shrinking with age. There is nothing that can be done for that except work with it! Though I am not a Concertinist, and have played Harmonica forever, today Tremolo, I recently returned to the hobby due to unexpectedly wi

Thank you. Well, touch wood, so far, I have not heard any need to have the reed adjusted. But then again, with the gString tuner app, did not measure its pitch before, or after. So you are probably correct but, at this time I cannot detect any difference in the sound I hear from it.

I misread your original question. Hope you get it resolved.

Here is something I actually know about ...lol Ok from a Teaching perspective, its easily fixed. Simply set your timer click slow, like 60 BPM. Then imagine yourself walking in step. Then drumming instep, then have a go with playing instep. There is one condition to this method, know the melody off well before you start, IOW know how to humm, whistle etc., the music without a score, which almost always means selecting something you already know well instead of the piece which gave rise to the need in the first place. Its a separate skill and needs developing outside of