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rlgph

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About rlgph

  • Rank
    Chatty concertinist

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  • Gender
    Male
  • Interests
    American folk music
  • Location
    Western North Carolina

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  1. I think i like squeeze best, especially with the past tense of squoze. Twiddle is also kind of appealing, as is noodling, which pretty much describes my playing on all my instruments.
  2. I've been wondering about a verb to use when i'm playing my concertina. For guitar (and some other stringed instruments, at least in the US) we use "picking". What about concertina?
  3. Over in the "Buy and Sell" forum there is a thread titled "wtb Wakker W-2" which has drifted far from its original intent. Since i want to make a comment that would take it even further afield, i decided to start a new topic here. This question about whether a slant is optimum for a Hayden duet or not has ignored the fact that on a usual Hayden (in which the sides are not mirrored) the functionality of the individual fingers on the two hands differs. So far as i can see, the "fact" that a given configuration works better for the right hand does not mean that it will also work better for the left hand -- unless, of course, the left hand button arrangement mirrors that of the right hand (to the extent that it can, with usually fewer buttons). I, of course, am an advocate for a mirrored left hand arrangement because (1) it allows almost automatic transfer of finger memory from the right hand to the left hand, making it relatively easy for beginners to play melody or phrases with the left hand an octave or two lower (simultaneously with the right hand or not) and (2) so far as i can imagine, collectively it is no harder to play chords with a mirrored left hand (although some individual chords may be easier with one arrangement or the other). Anyway, it seems like it would be easier to determine whether a slant works better for the hands of a given player if the two sides are mirrored. ron
  4. I agree. And from this point of view drawing analogy to different stringed instruments doesn't work because the experience of listening to guitar music is different for the audience than that of a banjo or mandolin, for example.
  5. Thanks for the suggestions, especially your long, thoughtful post, Don -- a lot there for me to mull over. Just, to be clear, though i initially started my left hand accompaniment with octave shadowing entire tunes, i now limit all of the variations 0-3 to a measure or two here and there. The melody is always dominant in my playing. Although i can in principle work out and learn counter melodies to go with my right (or left) hand melody, my biggest enjoyment with the concertina is playing a melody by ear and devising variations of it. (In addition, recently i've been having fun quietly playing single hand accompaniment at a weekly guitar/banjo jam that i attend.) I'm not willing to invest a lot of time memorizing a few set pieces (that would be substantially inferior to those of a good player, no matter how hard i worked). That's why i tend to base any accompaniment i do on the octave variations that i mentioned -- i can do those on the fly along with my melody playing, with a relatively small sacrifice in speed. Thanks again for your comments; i shall be trying out some of your ideas over the next batch of months. ron
  6. In another duet accompaniment thread Don Taylor said "I am just so happy if I can get anything going on the left hand that sounds good with the melody on the the right." I immediately thought "I resemble that remark." That's the primary reason i consider myself as remaining at an advanced beginner level. (I play mostly American or British folk or pop tunes by ear.) Since the left side of my Hayden is mirrored, octave accompaniment is very easy for me, so that's what i usually go for when i do anything on the left side other than playing melody. However, obviously i don't always want to slavishly follow a right side melody with my left hand. As i have thought about it, i've come up with the following variations on octave accompaniment that i've tried (I mostly limit the use of one or two of these variations within a given tune.): 0. Strict octave shadowing of phrases within the tune. 1. Echoing phrases of the right side with the left side (call and response). 2. Alternately playing phrases of the melody between the right side and the left side. 3. Shadowing the melody with the left side shifted a fourth (or other fixed shift). I'd like to hear comments you have about other possible variations, or your views about the artistic merit of any/all of these variations. Thanks.
  7. This is a job for ... a Hayden duet! 😉
  8. Take a piece of paper and fold it once in the middle — one ridge and two “half valleys”. Now take two such folded pieces and tape them together. Two ridges, one full valley and two “half valleys”. Continue as far as you like, the number of folds is the same as the number of ridges. Or you can turn the pieces over and talk about N (full) valleys, N-1 full ridges, and two “half ridges”. In either case the number of folds is the same as the sum of the number of ridges or the sum of the number of valleys. Of course, Alex is right that it would be better to think in terms of hinges.
  9. Surely that’s the waiting time for a Wakker Hayden, not a CC Peacock. The wait time for one of those is about 6 weeks, and used ones show up fairly frequently.
  10. It is no more difficult, nor is the deposit any higher, to get a CC Peacock with mirrored left side than the more common configuration. I understand that the B.B. Beaumont can also be ordered with a mirrored left side, though I don’t know that for sure, nor what the deposit is. ron
  11. Thanks for your comments. You, and many others on this forum, obviously have a more serious attitude toward music than i, perhaps because it's just a retirement activity for me. I dabble at guitar, singing/songwriting, concertina, bass guitar, (a hyrid stringed instrument that i call a) chimera, and was formerly in a bagpipe band for 15~20 years. I am mediocre at all, in part because i didn't start any of them except the pipes until i retired, and in part because i haven't the patience to spend enough time with any one instrument to become proficient. Nevertheless, i enjoy the time i spend playing, both alone and jamming with others. So, i'm not a real musician, which is why i'm satisfied playing melodies with or without octave-based accompaniment. Spending hours and hours learning a small handful of "complete" (and in my case still marginally proficient) pieces doesn't interest me at all. However, i think that there are lot of people like me who could enjoy many of the benefits of playing music. I am in favor of any ways of making it easier and more interesting for them to do so, whether or not they rise to the level of real musicians.
  12. I'm not surprised, since you'e an experienced player who learned on a non-mirrored instrument -- not a beginner. From my perspective, speeding the learning process for beginners, IF IT DOESN'T NEGATIVELY EFFECT THE ABILITY TO ACHIEVE MORE ADVANCED SKILLS, would be a significant point. In my case, i know it sped up my learning to play melodies and octave-based accompaniment with my left hand. Whether it retards my ability to play more involved accompaniment is an open question.
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