ceemonster

[[[No hurry, I shall wait for the right instrument]]] FYI, Andrew Norman, AC Norman Concertinas, offers a Bari EC. He makes good riveted action and quite loud concertinas. If you go to his "Products" link, at bottom of 1st page, click on "next page of products" and it is there. Also Harry Geuns in Belgium, offers a Bari EC with full 48 buttons. Page bottom in his "Concertinas" link. I actually would really like one of those. I like the attenuated tenors and trebles since I don't need or want a full octave above "High C." But in a Bari, it's nice to have the full 48, so then you have up to "High C." Shied away for years from the Geuns due to the exchange rate since I am US. It seems to be evening up a bit . . . For a UK buyer this concertina would be no more expensive than Morse, and it might well be less.

[[[wonder about the thinking behind producing treble and baritone versions using the same body size.]]] As it happens, I corresponded with BB at some point last year to ask about the baritone Albion as I was/am thinking about an accordion-reeded baritone. However, I would want it only with premium TAM reeds, not factory. Because the BB site added a note that the Albion was now available with a TAM upgrade (the Geordie had had this add-on for a while), I was musing between the two. And the reply I received, was that they did not think they could cut the TAM down successfully to fit in a Bari Albion's smaller size. So that decided it for me---if I do go for one of these baris, it would be the Geordie with a TAM upgrade and an extra bellow. Wouldn't do it without the TAM upgrade. I like the squawkier tone, and definitely want the enhanced response in a bari. BB uses the TAM reeds standard in their ANGLO bari. And I like the way that model sounds. Provided the reeds are the higher grade, I quite like accordion-reeded Baris.

Make yourself a separate chart or diagram of the layout for each octave. Put them together vertically on a big chart, and note to yourself in your own words, how they are similar, and how they differ. The exercise of doing that, will help anchor it in your brain. Practice each octave hands together in all major and minor keys, particularly the "hard" keys, and in jazz keys if you are a jazzer. Do the same with chromatic scales. Then, in all these keys, practice each octave hands together in contrary motion. Get so you can do all octaves from top to bottom, bottom to top, hands together, in unison and in contrary motion. You can also do this with different octaves on each hand. Do the same with arpeggios and chords. This isn't "playing" the Maccann. But getting very fluid at it, will help enormously with "playing" the Maccann.

Yes, Manoury is wonderful, another unisonoric concertina player--his bando is the unisonoric "chromatic" bandoneon. He has also done a recording of non-modernist, old-school dance-hall tango classics that is another of my favorites . . . The "Anglo International" anthology CD set includes a cut of Niall Vallely playing Monk's "Round Midnight" on Anglo concertina. It too is lovely . . . He also laid out a lot of beautiful melodic jazzy lines on his recording "Buille."

Sweet indeed. Reminds me again that free-reed instruments to my taste are most expressive and beautiful as melody instruments. Yes, more concertina melodic jazz would be great . . . There is a neat short clip of Wim Wakker doing "Cat on the Prowl" as Sound File 2 of the EC samples on the Concertinas page for bandoneon/concertina maker Harry Geuns--- http://bandoneon-maker.com/concertinas/ This bandoneon recording of Thelonius Monk stuff, "Bando Monk," is another wonderful project . . . a favorite of mine . . . http://www.cdbaby.com/cd/manoury

OP, have you already mentioned your position when playing? If so, I missed it. If you're not doing this already, you might also try holding it on your lap slightly tilted at a 45-degree angle, in the manner of Anglo players. Some folks also find this a stress reliever, along with not trying to force your pinkies to adhere to those metal things if they do not sit there easily (on the pinkie front, you might try slipping into the thumb strap, relaxing your hand, seeing where the pinkie falls naturally, and undertaking a few days of play with it there). It's very subjective and particular to the individual. I tried a cheap Asian-made EC for a couple of months and did indeed find its action resistive enough to contribute to stress pain. The problem was not the size, dimension, or weight---for me, that issue is negated by lap playing. The problem was, the reeds and action were resistive to a degree that caused discomfort, plain and simple. RE, your "hope that the Anglo arrangement might be adaptable to the EC," I have been a voluble participant in some of those discussions you referenced. An Anglo-like arrangement IS adaptable to the EC . . . But it requires a re-think/re-design, and the developmental lab experiments to get us there have not been undertaken . . . YET. But for, very interesting work in this vein by Henrik Muller of this site, which is detailed in some of the discussions you've probably seen. I believe it is certainly achievable in a 38-40 key. We just don't have enough mad scientists on the case. . . YET. . . .

[[[i much admire players of diatonic instruments but accept that the technique is difficult for chromatic players - which brings me back to the reason for selecting the EC in the first place, it is chromatic. . .]]] Many bisonoric instruments are chromatic, not diatonic, including two-row button accordions whose rows are a semitone apart, such as b/c and c#/d, and including, largely speaking, bisonoric Anglo concertinas of 30 or more buttons. Anglo concertinas of 38 or 45 buttons are chromatic, not diatonic, and 30b Anglos are largely chromatic. However, 30b Anglos do not possess all tones in both directions, and are missing a couple of tones outright, but only less-used tones, on the low (left) side. The technique of bisonoric concertina, can be difficult for some who "click" better with unisonoric systems. However, others find the bilateralism of the unisonoric EC harder to "grok." RE your discomfort with your EC ergonomics: You might try not trying to fit your pinky into that thing, and putting it where you are comfortable. This can give a lot of relief to the entire hand, including the thumb.

I counted 28 on one side. But that could have been affected by Yuletide giddiness . . .

Omygosh. And I see another familiar face there that continues to intrigue and tantalize.

As a Winter Solstice tableau, this is your best one yet, Greg. And as a concertina array, it is luscious. What is the metal-ended concertina to the left of the huge metal-ended Maccann? Be still, my heart. . . .

I am lovin' this.

Yes, labels do change, don't they? "Real" punk was early to mid 70s, late '70s if you're stretching it. Then there was "post-punk." There are still current bands that think of themselves as punk bands, long may it wave. The terms "indie" and "alternative,' or "alt-rock," came in when, in the '90s, I think.

for irish/celtic I usually learn by ear. but I've used sheet music from other genre, and it works out fine.

[[[Or they might simply find them too expensive, without feeling the need to demean concertinas and concertina players.]]] Perhaps a review of Sex Pistols themes and lyrics, might be illuminating. "Demean" was too mild for the classic punks of the bad ole days, whose rhetorical flourishes made John Lennon telling those in the cheap seats to clap, and the Royal Family and the aristos, "to just rattle your jewelry," sound like a little old lady feeding her kitty-cats. [[[-if you can solve the feedback problem]] Hmmmm. I do sometimes have access to a metal-ended Crane whose previous owner supposedly used it in a rock band. And with no mikng or amplification of any kind, it is the sole instrument I've had under my roof that makes the cat cry. Johnny Rotten might have put it to good use for a rousing rendition of, "God Save The Queen, Your Fascist Regime . . . . " I actually read much of Johnny Rotten's (real and current name, John Lydon) newly-out second volume of memoirs over the weekend. Titled, "Anger Is an Energy: My Life, Uncensored." He is a hilarious and perceptive character who grew up in London's Irish slums, and whose father was a Galway man who prior to emigration to The Fog, played . . . accordion in show bands. The first volume I believe came out in the early/mid '90s, and is a great read and helluva punk autobio, title is "Rotten: No Irish, No Blacks, No Dogs."

In principle, violin sheet music works for Anglo concertina. Particularly if you really mean, "fiddle" sheet music, for folk genres in keys amply endowed on the Anglo concertina. In practice--If the violin sheet music in question is in keys, and/or covers octave ranges, well endowed on the violin but not on the Anglo concertina, you'd want to transpose and/or rearrange. Like, the melody line of a Chopin Waltz in D-Sharp Minor, or something. Or, better yet, get an ENGLISH concertina. The "Treble" EC's note range matches that of the violin, by specific design. But ABSOLUTELY you can use violin/fiddle sheet music with Anglo concertina. If you examine a PDF or other diagram of the Anglo layout, you'll see what I mean, particularly if you are talking 30-button Anglo. Some notes do not appear in both directions--i.e., one someplace on the pull, and one someplace else, on the push. In those keys, it might be annoying to play violin sheet music, though if it is very melodically simple folk-dance music, it might not matter. You also don't have all the notes even once in some keys, particularly on the left-hand side. If you are trying to play classical stuff that goes way above "High C," you won't have much range on the Anglo. None of these problems exist with EC. But if your sheet music is largely melody-line folk music in Anglo-friendly keys, or classical melody music in Anglo-friendly keys, you're fine. You can also do SOME bass-side effects on Anglo, something I have not bothered much with, because I find concertina most beautiful as a melody instrument.. I have used Paris musette, klezmer, and tango sheet music for violin or other melody instruments on Anglo and it worked great. I'm liking EC better, but it worked fine and dandy on Anglo. It works best if you learn to play ALL the notes on your Anglo, and consider them ALL potentially in play when deciding how you want o finger a given passage in your sheet music. Strategic choices are there to be made, particularly in keys where most main notes appear twice, but one or two main notes only appear once. Such as, G-minor, where you only have one B-flat. You would then make strategic choices as to the notes you DO have in both directions, to facilitate approaching or leaving that annoying solitary B-Flat in your passage. Playing melodies from sheet music on Anglo is also very good for your brain.

Yes, there has been another thread about this phenom. I think the OP in that thread used a different generic label than "punk/indie," but they were pointing out that they and other younger players who were taking up concertina were interested in this. I think that person called it, pop, or singer-songwriter stuff, I can't remember. Anyway, I personally, think that rock/pop, etc ., etc., sounds asinine on the concertina but it would be great if there was a huge groundswell of punk, orckabilly, acid rock, funk, concertina, you name it. As the other poster pointed out, folk instruments have long been used for folk-flavored elements in all kinds of rock/pop genres, including punk, if you look at Gogol Bordello or the Pogues. The band Brave Combo was famous for accordion and genre-bending. I'd guess concertina has gotten little use in rock/punk bands because it is so easily drowned out. The accordion has more of a fighting chance. But also, bringing us back to another frequent topic, fast, playable concertinas usable for fast, energetic musical genres, are more expensive than your typical punk rocker can afford. A DIY, punk artist might view them as an elitist toy for rich snobs.

Moi aussi, je pourrais faire de mon mieux de m'addresser aux questions et participer aux discussions. Vous parliez d'avoir une page independente francophone? C'est une bonne idee, ou egalement une bone idee d'avoir une section ici si il y avait assez de gens. Est-ce que vous jouez la musique d'Auvergne sur votre concertina? Musique Irlandaise? Ah, je vois que l'on a des gouts eclectiques. Excellent chapeau dans le "Katyusha" clip. Salut, C

I've found EC not a great match for constant, or super-frequent shuffling, a la American folk "sawstroke" fiddling or literal one-row melodeon. However, that's not to say EC isn't great for bellowsing and direction changes. You can introduce more than enough "movement" into EC playing for the "lift" of oldtime music. The key is to do it in spots compatible with the folk idiom you're playing in. I often change directions on consecutive same notes like the poster mentioned above. I also often change on "long" notes, got that one from Gearoid O'Hallmhurain in an Anglo class. And often change at the end of an "A" part or a "B" part, sections which do often feature "long" notes. I do the same on unisonoric accordion (CBA), but don't switch directions as often as on EC, which loans itself to more switching than the much bigger accordion. For switching during running phrases of fast notes which are different notes rather than the same note repeated: In Irsh or oldtime reels, I've found that implementing the direction switch on an "off" note or beat gives to the ear, the sound of landing on the "on" note or beat. Trying to switch right on the "on" note or beat, sounds weird in reels. I do it on the previous note, and that needs to be an "off" note. At least as important as bellows switches to getting the folk dance-music sound you want, is taking your fingers off the button and breaking the air flow, frequently enough to give your playing a folk, rather than classical, sound. Again, this is an issue not only of doing it frequently enough, but of learning by listening, WHERE in the tune it "fits" the idiom for you to do it. Many EC players attempting to play folk-dance music forms do not grasp this. They slur entire tunes, changing directions only when they run out of bellow, and never breaking the air flow between notes so it is too smooth. This is what has given the EC a stigma in many trad folk genres. An undeserved stigma.

It is only a "bargain" if you yourself have the proximity and expertise to assess it, can take possession of it and march off with it in person, and also possess the expertise to restore it yourself.

The Clare FM podcast is up of Eoin O'Neill's Friday, Nov. 20 trad show, which essentially was devoted to honoring Dympna O'Sullivan. There is gorgeous concertina music throughout, including recordings of Dympna as well as tracks featuring Kitty Hayes, Jacqueline McCarthy, Noel Hill, and Edel Fox. Not yet archived but due in a day or so is another lovely offering, the Monday, Nov. 23 show hosted by Joan Hanrahan, a lifelong friend and frequent musical partner of Dympna's. On the Clare FM page, these are accessed by clicking "Sounds" (NOT "Shows"), and then "Trad Music."

Yes, I guess "Hup" is a series; Rick Epping is featured in an installment during a festival in County Dublin. I had only gotten as far as jumping into the latest, Feakle installment and noting all the concertina music---Look forward to seeing the three other installments, which are in Skerries, Co. Dublin; Ballyshannon, Co. Donegal; and Abbeyfeale, Co. Limerick.

Well, my machine will not copy http addresses onto this site. But currently TG4 has available for clicking and watching, a wonderful 24-minute short doc titled "Hup!" which was done during the Feakle Festival, featuring a delightfully low ratio of blabbering to a delightfully high ratio of wonderful playing from local musicians, including several interludes featuring concertina. Sorry if this has already been posted---I looked and did not see it. Googling as follows should pull up the link: Hup Baile Seinntoir TG4

So is this the Holiday Concertina Hedgerow?

[[[Very sad, although perhaps not unexpected]]] I think many folks did not know of her illness the past few years, particularly lovers of Clare and/or Irish concertina music on the US side of the pond. Out there in the TIM social media sphere, there have been expressions of shock and inquiries as to what happened.

Dympna O'Sullivan of Lisseycasey, one of Clare and Ireland's loveliest concertina players, has passed away. She was beautiful inside and out.