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Peter Hunter

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About Peter Hunter

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  • Gender
    Male
  • Interests
    concertina, sailing, both together
  • Location
    Adelaide Australia
  1. Thanks for the thoughts and relax, I'm not about to wantonly destroy the layout. I suspect (unfounded) that this layout is the original (either Hayden layout). And to emphasise, the button disposition is as exact as I can render it. Converting back to the marked layout (#2) would possibly restore the original voicing - in this case not an irrevocable step. I don't play the McCann system and I don't desperately want to convert, only return it to it's original layout , what ever that was.I learnt a few waltzes 20 years ago and the ompa bass accomaniment was easy to figure out and play so I should be able to reproduce that relatively easily. I take you point about it's history. I bought it in ~1986 and would guess it was from a deceased estate from soon before that. From what I was told I would guess that Cheeseman had it from early 1930s probably from new. I will try following up the seller and the family. Mean while I will try to give it some exercise and shake some of the rust off the reeds. I'll keep you posted and if you are in Adelaide at any time drop in and have a honk...
  2. I have checked the reed positioning and the following was revealed: reed frame markings coincide with the current note assignment so no reeds have been retuned the current layout is a Wikki transposed onto a McCann keyboard the previous layout (from the markings on the reed pan) was also a Wikki layout with the natural rows move as a whole (accidentals followed) assigning a "McCann" layout onto my keyboard doesn't work particularly well the above points leads me to the supposition that the previous Wikki layout was the original Except that the bass side has fingering for any scale is exactly the same as the right hand. ie playing a scale on both sides has each hand using identical fingers all the way through. The opposite to any duet layout I have seen (admittedly few). Hopefully the pdf of the spreadsheet layout of the keyboard will show what I am on about.duet layout.pdf Any thoughts?
  3. I have checked the reed positioning and the following was revealed: reed frame markings coincide with the current note assignment so no reeds have been retuned the current layout is a Wikki transposed onto a McCann keyboard the previous layout (from the markings on the reed pan) was also a Wikki layout with the natural rows move as a whole (accidentals followed) assigning a "McCann" layout onto my keyboard doesn't work particularly well the above points leads me to the supposition that the previous Wikki layout was the original Except that the bass side has fingering for any scale is exactly the same as the right hand. ie playing a scale on both sides has each hand using identical fingers all the way through. The opposite to any duet layout I have seen (admittedly few). Hopefully the pdf of the spreadsheet layout of the keyboard will show what I am on about.duet layout.pdf Any thoughts?
  4. Wikki/Hayden?? Ithought you were having a lend of me at first but I guess a lot has changed in 30 years. Yes, Geoff, I still have 29028 and it gets to play regularly :1st Cello suite (Bach), A suite for a musical Clock (Hayden), various classical, latin and pop tunes not to mention "Begged, Borrowed & Stolen". It's never sounded sweeter. I miscounted, there are 29 +34 buttons which have positions that don't really follow the MacCann layouts in Gaskins' treatise on chording. Regarding the disposition of notes, I have misplaced the hand drawn version that came with the instrument so it will take time to reconstitute it. I'll come up with something soon. Also the relative button positions are not as regular as Gaskins would have it (poetic license?). The reed pans have quite a lot of markings on, some are notes that don't correspond to that on the reed frame so I have some detective work ahead to work out what has been done and it seems it may not have been a "standard" MacCann layout anyhow. Point taken about moving the reeds - quite a few have paper shims of various thicknesses to keep them in place and a couple of slots seem to have been widened but I think I can rectify that. Incidentally, the serial number is 31421 and is a raised wooden ended Wheatstone AEola. It will need some work on relacing chamois sealing but that is later, it is reasonably air-tight now. I'll keep you all posted. It's nice to have someone to rave about concertinas again!
  5. I have a Wheatstone Aeola duet, 65 keys that had the keyboard layout modified in the 1940's by a Mr R G Cheeseman who entertained in South Australia during the war. The quickest way of describing the layout is that to play a natural scale 3 adjacent keys are played in order starting from the tonic, move up a row and play 4 adjacent keys, move up and play 3 to continue. This pattern is repeated for most major keys starting from the tonic. It is similar to the 5 row continental system in accordians (I think) and is easy to pick up and play tunes you already know. My question is would it be preferable to revert to a standard layout because since many of the reeds have been moved the voicing of individual notes maynot be optimal. Some of the reed frames were too long for the slot so they were filed to clear the bellows frame (shudder!). I've had it too long and want to start playing it again. Thanks for any suggestions. Also Happy birthday, Geoff. Long time since we talked.
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