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Posts posted by Halifax

  1. One more tip, Susan, I find when I write out the notes into a music manuscript notebook, I'm more likely to remember the note/button the tune starts on. If I've done my practicing (lots), and I know what note to start on, I can usually depend on muscle memory to take over.


    Also, why did the pianist bang his head on the keyboard?


    He was trying to play by ear!


  2. Susan, when I'm working on a tune, I put a recording of it on repeat---just the one tune. I have it on in the background while I work, for a few days. Then, when I sit down with the concertina, I'm just creating a finger map of a sequence of notes, kind of like a finger choreography. If the tune is already in my head, everything else is so much easier.

  3. On 2/26/2019 at 11:29 AM, Robin Harrison said:

     Could you elaborate on this ?

          I have a number of concertina friends here who regularly cross borders ( national , that is !)



    Late to the Game posted the following in a thread about a Dipper Anglo:
    " Make sure  both you and your buyers do homework regarding their country's systems on  Cites II restrictions for exporting and importing woods if you are selling outside your home country.  Rosewood is currently on the restricted list, though they are talking about changing that for musical instruments in 2019.  It would be a shame to have this purchased only to be destroyed at customs.   Antique instruments are exempt, but not used ones. I think antiques are more than 40 years old, but I can't remember now.  I would check with your country's agency for specifics.  In the US the agency in charge of this is U.S. Fish and Wildlife.   The agency will vary country to country.  There was a used Cocobo flute shipped from the US to the UK early this year.  The seller did not realize Cocobo was on the restricted list and the instrument was confiscated, gone for ever.   I was told by U.S. Fish and Wildlife's Chicago office over a year ago  that an instrument sold became a commercial transaction as of the date of the sale, whether it was made pre-cites II or not.   This was right after the law came into effect and interpretations may have changed.  You will likely need an import and export permit for the wood for both the shipper and receiver.  There is a lot of info on this on the Chiff and Fipple Flute forum as blackwood was also restricted. Flutemakers have a lot more paperwork to do making sure they have a paper trail that the wood they use was sustainably harvested.   As I said, they are reviewing these rules (at the Hague?) with the idea they may exclude musical instruments next year.  As it currently reads you can travel with your personal  instrument containing up to 15 kilos of restricted wood.    So would you be skirting the rules if you took a trip and brought it home? I don't know and I'd hate to find out by seeing my Dipper walk down the hall under a customs person's arm never to be seen again.    At least one Canadian lost his personal hybrid after a gathering in the US because the Canadian Customs agent thought it looked "too new".  It was assumed he was trying to get around the rules. So people are encouraged to travel with their old reciepts if they have them. Again, if the powers that be make the exception for instruments this may no longer be a problem in a year or two.    These rules are taken  very seriously.  I recently had a new Dipper shipped to the US. It spend a couple of days in "Homeland Security" where it was opened and viewed.   In my case the woods were all Cites II compliant and clearly listed on the customs declaration.   Chris Algar may have some info on this."

  4. Thanks for the response, Ted.
    I can play the thing, but not up to session speed---and will Iikely never be able to play at the mach speed they play in the video.


    I agree wholeheartedly about speeding in pub sessions. At my local, we've been discussing it a lot lately. This Comhaltas article came across my newsfeed this week:


    Still, it's a fine progression from dirge tempo to respectable tempo to a bit fast to speeding. I'm trying to practice my way out of the dirge tempo...





  5. I like this reel because it's a good crossover and around here in Nova Scotia, both Cape Breton and Irish players know it.

    But I"m having a hellava time getting it up to speed.

    Any suggestions for fingerings on a Wheatstone Morse?

    Or is this tune simply not concertina friendly?

    Edited to add: just b/c Mohsen Amini can play it at speed doesn't mean that mere mortals can...


    All tricks and tips appreciated.




  6. Yesterday, I was looking at gig bags for the concertina. My hard case is a good one, but boxy and I was hoping to find an easier-to-carry alternative. Instead, I found an old post from John Dipper in which he listed various concertinas that came to him in need of repair because they were dropped whilst in gig bags. That night, walking to a session, I slipped on the ice and fell hard---right onto my hard case. The case sustained a bit of damage in that the vinyl was scratched off the wood. My shoulders, elbow, and wrist were a bit strained. My Morse Ceili? Totally fine.


    So until they invent an air-bag gig bag, I'll be keeping my concertina in its hard case.



  7. 1 hour ago, Ken_Coles said:

    It is irrelevant but I can't help asking: UCD = University College Dublin? University of California Davis? or?



    It's a good question, as it prompted me to fact check my post. As it turns out, the author of Tunepal is Bryan Duggan who's a lecturer in the School of Computing in the Dublin Institute of Technology. (But I did mean University College Dublin.)

  8. On 12/27/2018 at 3:53 PM, McDouglas said:

    I know this website must have been around for a while but just today I've discovered a great source for ITM tunes:  The Session.




    Ability to search by tune type (reels, jigs, hornpipes, etc) and by keys.



    I use this resource all the time. I also use an app called Tunepal. In a session when I don't know a tune, I can have my phone "listen" to it and Tunepal will tell me what it thinks the tune is. It's so cool. Developed (so I'm told) by a prof at UCD. Super handy.



  9. Like MJGray, I'm not an every-day-er. I practice in the car sometimes when I have to drive a kid to an activity and wait around. I practice in the tiny downstairs bathroom with the fan on sometimes. I sit at the kitchen table and belt out a few tunes when my family is milling about, and I'll even occasionally grab my 'tina and brazenly sit in on  impromptu Ariana Grande sing-a-longs with the kids.


    But if it weren't for the weekly session, I would not have progressed much at all.


    • Like 1
  10. I think people give up because it's hard, it's damn hard to play the concertina. It's one thing to memorize the buttons necessary for the tune, then you have to add bellows, and timing, and maybe some ornamentation (the learning of which may mean re-choreographing your buttons/bellows) and even when all this happens, the tune may not have the "swing" needed to make it musical. Or maybe you get the tune to a respectable level and then find that they play it at mach speed at your local session.


    I play because I love love love my local session. If I didn't have the support of the musicians in town, and all of you on CNET, I'd have given up long ago.




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