cryptastix
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Posts posted by cryptastix
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Yeah yeah ok.
anyways things that were wrong with it are that the strap to hold your left hand, a screw fell off. also two buttons fell in and also the low note on the C note was no good. I read they cant handle the heat, and i live in florida. but common... brand new out of box with problems like this.
Amazon did do a refund and i was able to upgrade to a rochelle anglo (thank god).
The point being is I nearly quit before i even got started because the concertina was junk. I was just trying to help prospective players out.
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Sorry everyone, Im just fuming over a stupid hohner d40 that they charged a bunch and it was for lack of better words, a piece of sh*t.
I would never ever recommend a concertina like this to even someone i hate.... because i hate whoever crafted this crap even more.
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got one
sorry dont know how to delete this post 
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The advantage of an anglo over a duet? In your case, that's an easy one: you already have an Anglo, and we assume you can already play it a bit!
More than any other system, the Anglo is a "good news / bad news" thing. The good news: the two home keys are really easy to play in. The bad news: the farther you stray from the home keys, the more difficult it gets to play - particularly if you're trying to harmonise your music.
For me, this is of purely academic interest. Why? Because I can sing most songs in C major, and most of those I can't, I can sing in G major! So a standard C/G Anglo does me fine!
Some years ago, I did buy a Crane duet, with the intent to free myself of this C/G "restriction." I now sing to the Crane duet as well as the Anglo - but still most of my songs are in C or G. Those that I can manage better in F, I accompany with the Crane, or transpose up a tone to G and use the Anglo.
The reason why I play Anglo in the first place is because all that was available in the shops when I was a lad were the cheap, 20-button East German concertinas. If an Uncle in the Salvation Army had bequeathed me his Crane/Triumph, I'd have played that just as well and willingly, or if I had stumbled over an English in the attic, I reckon that would be my main squeeze now.
I think you only start to find restrictions in your "native" concertina system when you've really sounded out all its capabilities - and that takes most of us a lo-o-ong time!
Cheers,
John
btw this was a great answer that helped me understand this instrument. thankyou
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wow you guys are a wealth of knowledge. i really preciate all the input, its helping me
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hey!
Im looking for a good concertina. Im looking for a good 40 anglo or a duet. (I currently have a rochelle and a vintage chemnitzer) I have many guitars and banjos for trade or if that doesnt work, cash by paypal. One of the fun/original backpackers by bob mcnalley before martin bought it up. 12 string to boot! they dont even make those! year 85. I also have hind ocarinas and various fun other instruments like an authentic didgeridoo that the bugs ate out the middle of the tree and has bees wax and made by the aboriginals
im not rich but i do like to know the history of my instruments so i can pass on the knowledge when i give it away.
thanks!
jason
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Hey I finally decided what direction I want to take my learning.... and thats to learn how to accompany songs.
which type of concertina is best for faking by yourself?
english
anglo
duet?
The simple yet true answer is, I believe, "the one you're most comfortable with". They're all good for song accompaniment, though the "simplest" or "easiest" types of accompaniment will likely differ from one to another.
I myself have used both anglos and duets for song accompaniment (among other things), but far more I use the English, because that's the system that I've always found most comfortable. There are others who also find the English to be most comfortable, but still others who find it terribly uncomfortable. Likewise for the anglo and the various duets, some folks find each of them very comfortable, while others feel the opposite. And there are yet others who seem to find them all reasonably comfortable.
There's not much point in trying to make good music if it's a pain to do so. On the other hand, if the playing itself is enjoyable, the music probably will be, too.
Yes I have an anglo rochelle. I was just wondering if i should get a duet or english as well.
The way I understand it is that the duet has more room for improvement but the anglo does it more/less naturally. Being the case that ill never be some world class musician, im leaning to anglo for supposed ease. plus all the videos on youtube, the anglos seem to sound better...
I think it would be counterproductive for you to dilute your learning efforts at this stage by trying to work with more than one system before you've reached reasonable proficiency with even one. It sounds like you're already comfortable with the anglo, both physically and musically, so I suggest you continue with it unless and until you find yourself frustrated in trying to do something with it that you just can't seem to get. And even then, with a bit of help from your friends here, you might find yourself able to do that something, too.
There will always be the option to experiment with other systems in the future, though if you're comfortable with the anglo, you're not likely to give it up, but rather to add another system. Regarding "room for improvement", there are many factors involved, including relative sizes. E.g., a 30-button anglo can do more than a 20-button, and a 38- or 40-button can do even more, but each step up gets heavier to hold. In this post in another thread, Geoff Wooff notes some factors with regard to the Hayden layout. So how much "improvement" can be made on any of the keyboards and how much work will be required to make it, will depend both on what you want to do and subtle details of how the keyboard sits under your fingers.
A few encouraging examples in favor of sticking with the anglo even if you want to get "fancy", as long as it feels "natural" to you:
- Harry Scurfield played 40-button anglo with the band Bayou Gumbo (1987-2012), doing "cajun, zydeco, reggae, blues and high life amongst others." And I remember one session where Harry started playing Frankie and Johnny in the key of C# on his C/G anglo, but then modulated into D when a couple of us gave him pained looks.
- Zak van der Vyver, who grew up in the Boer tradition, does rich jazz-flavored stuff, also on 40-button anglo.
- John Kirkpatrick is well known for playing all sorts of stuff on various anglos as well as on the melodeon.
- But 40 buttons isn't a requirement. I once heard Scott Joplin's Maple Leaf Rag played on a 30-button anglo, and it sounded as if it had been composed for that instrument.
- There are other great examples (as well as many not so great) of players and playing on YouTube. I'm sorry that I haven't kept a proper list, but I'm sure others here can point you to their favorites, and you should easily find more worth hearing than you have time for listening.
very helpful post
so whats the advantage of an anglo over a duet? -
I'd say they have the description wrong. Instead of "Cosmetic wear from age and use" but I think it should read "Serious wear from neglect and abuse"!
Ross Schlabach
lol
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Yes I have an anglo rochelle. I was just wondering if i should get a duet or english as well.
The way I understand it is that the duet has more room for improvement but the anglo does it more/less naturally. Being the case that ill never be some world class musician, im leaning to anglo for supposed ease. plus all the videos on youtube, the anglos seem to sound better...
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Hey I finally decided what direction I want to take my learning.... and thats to learn how to accompany songs.
which type of concertina is best for faking by yourself?
english
anglo
duet?
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So on congo is the left hand played on every other beat weather on push or pull?
thats what I think i understand. ill keep working on it, I'm still learning your style. I found out I got used to a different tab system than you lol. but that's not a problem, plus I'm playing on a 30 anglo, still no problem. cause they got 20key built-in.
got it:
simon gray put up a full visual:
http://nwc-scriptorium.org/db/folkethnic/congofe.html
so its a note every push AND pull beat.
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It's a long time ago, but I remember the same problem with jigs.
My solution was a very simple exercise.
Assuming you have a CG box:
On the right hand, play the notes CDE CDE CDE CDE repeatedly in triplets. It helps to play it slightly accented, with more emphasis on the C.
Now bring in the left hand:
Play low C in time with the C of the triplets. ("Oom") Use the left little finger.on button 1.
Play EG with your first two fingers of your left hand, buttons 4 and 5, in time with the E of the triplet. ("Pah")
So on the right hand, you have "DI du lee, DI du lee" etc. and on the left hand you have "Oom (and) Pah, Oom (and) Pah" etc.
When that starts to work, develop the right hand into CDE EDC, CDE EDC etc.
This gives you the basic timing and coordination without the confusion of (a) playing a full melody and (
having to keep changing chords to fit the melody.Once you have the timing, it will be much easier to start to use the 3 chord trick with simple jigs. After that, there is a whole world of more interesting things to do, but you need to get this basic thing right first.
Good luck.
how do you know what chord goes with what note when you are making arrangements?
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Oh wow! I am not sure what to make of that.
The first 3 full measures of the DADGAB section sound good, but then the next two measures sound, well, weird. Almost like a recording artifact - sort of out of phase. Then I hear two measures that are OK before another measure that is strange, almost muted, before another normal sounding measure, one more strange measure, one more OK and then another strange one.
I am going to have to listen a few times to see if the strangeness goes away but the amplitude of the strange measures seems to be less than the normal measures. Is this psycho-acoustical or are you muting those measures?
Added the following day after a few more listens and some time has elapsed:
It does not seem so weird now and it is an interesting sound. I am still a bit bothered by the apparent changes in volume.
lol! I agree
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So on congo is the left hand played on every other beat weather on push or pull?
thats what I think i understand. ill keep working on it, I'm still learning your style. I found out I got used to a different tab system than you lol. but that's not a problem, plus I'm playing on a 30 anglo, still no problem. cause they got 20key built-in.
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The idea of this tutor is to coordinate the left hand with the right.
The first excersize is to just play 1&3 (LH) on push notes only., Just that on all the music you are playing on your right hand.Every push beat .and nothing on the pull.
Play that over and over again so that you get your left hand timing
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The next excersize is to then seperate the notes and play 3 first push note and 1 second push note.Repeat for the tune over and over again
The third excersize is to try 5 first push note and secons push note 1&3 repeat as before.
This is demonstrated on the tutor.
Do not lose patience and start on the tunes.I practiced just the above for weeks.
Al
very helpful alan, hopefully one day I can help people as much as you do. Good examples and resources are few and far between on the concertina. I'm gonna play with this tonight.
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Here is a new recording of the tune.
The tune is all played on the right hand the notes for the accompaniment is, first time through just three and one played either on the push or pull.The second time round is five with one and three push or pull.
Al
is it 1&3 on beat one and button 6 on beat 3?
so is it:
first time 1&3 on push/pull and on beats 1&3
and then second time is it
1&3&6 together on beats 1 and 3
or 1&3 on beat 1 and then button 6 on beat 3?
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yes, the page is:
http://www.etanbenami.com/Anglo%20Concertina%20Tutor/
Then click the pdf at the bottom and it has the sheet music. its kinda hard to piece it all together but im glad to have the resource
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You could try a full G chord 5,123 on 7th beat and hold to eighth.
Straightforward base 5 on the beat with on all push notes with 1&3 on off beat as before for the first six.
Heavy pull notes try 1&2 right hand with 5 Left Hand.
Once you get your left hand bouncing away whilst playing the tune on the right ,other tune accompaniments will start to get easier.
Well done if you are making progress.
Al
What does the number 1 and 2 mean on top of measures 4 and 5?
figured it out i think:
When you play through the first time go to the repeat sign then repeat to the beginning. Then when you play through the second time skip the bar marked 1. and go directly to the second part.
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You could try a full G chord 5,123 on 7th beat and hold to eighth.
Straightforward base 5 on the beat with on all push notes with 1&3 on off beat as before for the first six.
Heavy pull notes try 1&2 right hand with 5 Left Hand.
Once you get your left hand bouncing away whilst playing the tune on the right ,other tune accompaniments will start to get easier.
Well done if you are making progress.
Al
What does the number 1 and 2 mean on top of measures 4 and 5?
Alan Day Tutorial Help
in Teaching and Learning
Posted
hey everyone-
Alan day made a tutorial on the exact topic i want to learn.(how to accompany music) His tutorial, while lots of knowledge is in them, It is confusing and hard to learn.
so anyone that has useful info on his tutorial, please post. I will do the same as I can.
lets start with the topic on congo song:
http://www.concertina.net/forums/index.php?showtopic=18908