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Breve

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Everything posted by Breve

  1. Gentry, I don't know how far north you live in the DFW are, but in Mansfield there is a monthly slow-ish session for Irish music, held the 3rd Friday of each month in the evening 5-7pm at Dirty Jobs Brewing. (10/15/21 - is this month's session date.) There can be up to 3 concertina players who attend. Send me a message for details. I know someone who attends regularly has a Rochelle that he no longer uses and he probably would let you try it out at the session for you to get a feel. You're also welcome to try out mine - I have a Minstrel. I was thinking of a Wren last year and decided the Minstrel was a better buy. I've not played a Wren but I'm happy with my Minstrel and it will take a long time for me to outgrow it.
  2. Hi Gentry, there is a concertina maker in the DFW area, Seth Harmon. His concertinas are not in the beginner budget price range though, but something to aspire to. Where abouts in Texas are you? There's a handful of concertina players in the DFW metroplex. Are you familiar with the Old Pal festival held in Palestine each year around Easter? It's an old time acoustic music festival (concerts, workshops, jams) with a concertina component. It is going to be held next year - and you should definitely attend. See Dan Worral's posts in this forum for more info and get onto his email list.
  3. I bought a used Minstrel through the Button Box & I'm happy with it. Being female I have smaller hands and had found the Rochelle too big for me and cumbersome. Bellows are easier to manipulate than say a Stagi, but still a little on the stiff side - the only other one I have to compare is a Herrington that has easier bellows. The buttons are smaller and aren't as high (sticking up height) as others. This may make it a little more tricky for larger fingers. Whenever I try to play another person's concertina, this is what's most obvious to me. As for action, it seems fine to me and I can do ornamentation (beginner level rolls/triplets/cuts) without problem. I'd say that when trying to go fast I've noticed the notes get clipped & don't sound fully - a partial skipping sound. That's me really pushing the speed though for me and not playing realistically at my skill level. For moderately lively pace it seems to play fine, going faster is probably a lot to do with my level & not the mechanics alone.
  4. I can add my 2 cents worth as I started on G/D. I bought a concertina on Ebay and discovered it was a G/D. I enjoy the chording harmonic style but also wanted to play Irish trad. I discovered some Irish tunes can be played and some not as well. You'll end up doing a lot more fingering on one side than the other, meaning everything is mostly happening on the right hand side, with only an occasional dip to a note on the left hand side. I used to try and figure out how to involve the left hand more as I didn't want the choppy in-out bellowing all the time. (Just my preference) I was deliberately trying to play cross rows as much as I could even though some tunes automatically fall along the rows. Last year I bought a C/G and started over from scratch learning on that. While I've learned brand new tunes on the C/G I have transferred over a few Irish tunes from the G/D. Some proved to be easier on the C/G than the G/D. EG, I could never get the hang of Off to California or The Butterfly on G/D, but they were easy tunes to learn on C/G.
  5. Apologies, the link I provided is to his subscription course - which only whets your appetite of course unless you play a secondary instrument - fiddle or banjo. This is the better link- it breaks down his theory of learning to be a musician into digestible chunks. https://clawhammerbanjo.net/the-immutable-laws-of-brainjo-deconstructing-the-art-and-science-of-practice/ Index to all the lessons: https://www.banjohangout.org/blog/36259
  6. Re Memory training: Can you hum the tune without difficulty? Easily bringing it to mind? For me this is the key. It means my brain has "taken in" the melody so when I attempt to play it even if I get a note wrong I know instantly it's wrong. The process of how we learn is a fascinating study. I found the information at Brainjo helpful. This is a book/ blog by a neurologist who also plays banjo and explores how the brain learns and remembers and how you can use these ideas to learn a music instrument as an adult. https://www.brainjo.academy/aboutbrainjo/
  7. RE OAIM 6 months is far better value. Put it this way, if the beginner lesson set is 18 tunes, then that's 3 tunes a month to learn. A busy person who is working should be able to fit that into their schedule. If you have more time, go outside the set of lessons and explore the other tunes offered by other teachers, plus take time to learn to play along with the VR session tunes. Getting up to their full speed can be challenging. I found that if I pushed myself I could get 2 lesson tunes a week under my belt, but I couldn't keep up that pace for long. After a month of that, I'd drop back to 2 tunes a month. So for me, the time taken to really learn a tune well (fully memorized) and enjoy the learning process was more valuable than rushing to finish. As for the ICL course I understand the options are an annual subscription or month by month.
  8. As I'm getting towards the end of these beginner lessons now, I've fallen into this approach of how to use those animation graphics. They show me the sequence of buttons to play to make the melody and I don't worry about the red/green buttons and what they mean. I then watch her bellows which tells me whether to push or pull. Listening as I play along with her confirms whether I have the sequence correct or not.
  9. Good luck with it! Another aspect I liked in the 18 beginner lessons is that you're not stuck in the same key for all the tunes.
  10. I'm currently working my way though the OAIM beginner Edel Fox lessons. My goal is to get through the 18 lessons then take a breather for a while before re-subbing. Things I like: Edel does variations which you can ignore if you just want to play straight melody, or else use her variations as a guide to ornamentation. She explains more as the lessons progress, eg compare 1st lesson (Maggie in the Woods) with lesson 7, (One Hundred Pipers) which has chords and triplets added. The play along jam recordings are very useful once you're familiar with the tune. There's often more than one version of the play along jam track so you can have a change of instruments. Also on a computer it's possible to download the play along jam track at your preferred speed and so have it accessible on a mobile device. I also like their VR set tunes, although I only know 2 of them at this stage. If you listen to the playlist on their Youtube channel, and find a tune you really want to learn, it will be one of those VR set list tunes. There's currently 4 concertina courses - a beginner, 2 advanced beginner/intermediate and an advanced intermediate level. Also a single lesson tune by an instructor who only appears once. Just recently a 2nd advanced beginner/intermediate course was added, so plenty of course material to keep you busy. Plus many other tunes from various other instrument courses to explore, including their 50 most common session tunes list. So you could spend a long time here learning many tunes if you go outside the concertina lessons. Things I don't like: Recording quality of the beginner Edel Fox lessons. Often the concertina is way louder than Edel's voice. So if I have to keep the volume a little low for the neighbours I can't hear what she's saying. The animations showing which button to push are confusing as it's green button for push on one side of the bellows, and red for pull, but this is reversed for the other hand and I can never remember which way round it is. So I end up learning by ear instead of watching their graphics - which is how it should be - but initially it is helpful to have the buttons to show you the pattern at least. Edel tends to rush a bit through teaching the tune, as in trying to feed you larger chunks of the tune than is comfortable. (But that's what slowing down the video and re-watching over and over are for anyway.) I noticed this because I've also tried the Irish Concertina Lessons website to compare and I think that teacher's pacing is better for beginner when it comes to teaching by ear. With her lessons I didn't have to slow it down or repeat sections nearly as much as I do for Edel's lessons.
  11. Looks like O'Flaherty's Irish Music retreat will be held online this year. This is usually held at the end of October, Midlothian TX. Details: https://oflahertyretreat.org/
  12. Muse Score (free music composing software) is a place to try and find the music for popular tunes from video games, anime etc. Of course you have to be able to read music and maybe transpose. This link has several examples of music from Sailor Moon - there's a simple melody one that might work for you if transposed up an octave. I don't know how accurate it is though to the melody. Other suggestions are search google images. https://musescore.com/sheetmusic?text=sailor+moon+theme
  13. Hi ButtonBilly, congrats on your new-ish instrument and the learning journey. Seeing as you got some freebie Caitlin Nic Gabhann lessons why not subscribe and continue? She does a good job. But that's if you want to play Irish of course. Otherwise it's a matter of memorizing button layout and tab notation. Gary Coover's is the easiest (for me anyway). The trick is to be able to read the notes and know the button layout automatically without worrying about the tab notation and this takes a little time and practice to memorize. Also do a lot of learning by ear, it really helps. I also recommend practicing scales to get to know all the buttons. Best of luck.
  14. Hi Amytchickadee, I recognize your problem - I've wondered if it's something to do with the internal design - acoustics and mechanics. I found this comment on the Kensington concertina website - the maker is explaining his approach to making concertinas and his design goal: See the comment about higher notes disappearing in overtones of lower notes. www.kensingtonconcertina.com is the website URL if you want to read the rest. (I've never played a Kensington concertina btw.) Originally, I wanted to produce an instrument with a sound that was close to one of Noel Hill’s wonderful Wheatstone Linotas. I also really liked the sound of some of the better Jeffries concertinas. I ended up with something in between these sounds. I found that I actually preferred this in between sound to either of the other instruments. The Jeffries reedy quality was great for melody line playing, but the higher notes would disappear in the overtones of the lower notes when you played counter notes and chords as part of a tune. Noel's Linotas were better suited to this type of playing, but while his concertinas were exceptional, Wheatstones in general had a somewhat nasal quality that too strongly colored the music for my taste. Kensington Concertinas have an overtone balance that both allows the playing of higher notes with low notes without having them get lost in the sound, and a somewhat woodwind like sound that has none of the nasal quality of most of the Wheatstones and Wheatstone copies. My focus now is not to try to duplicate the sound of another instrument, but to refine my own. I don't know how you overcome this - except finding another concertina that doesn't do this so much.... But in the meantime you could play a 2 note chord with the LH instead of a 3 note or 4 note chord and thus the RH notes won't be drowned out. Others more experienced and knowledgeable about concertina design and playing may have better answers, than just my 2 cents.
  15. @Newbie Anglo: Give yourself more time to memorize the corresponding tab number with the staff note. I found it helpful if I played a piece slowly saying to myself out loud the name of each note on the staff as I played each note via the tab numbering. At the beginning I needed to have a printout of the button layout nearby to refer to as I played from the tab, but I got past that stage. Repeating the name of the note for each button number reinforced memorization and sped up the learning curve. Also it helped me to do sight reading practice - playing unfamiliar tunes of Coover's tab, not just practice tunes already known. This forced me to memorize quickly. Hope that helps.
  16. I'll be much closer to home (Texas) - the O'Flaherty's irish music retreat is held in Midlothian, Tx which is a little town south of Dallas. I saw the Noel Hill camps are still listed as going ahead for 2020. I'd like to get to one of those one day. Perhaps next year. Yes and I agree cross rows is key. Thanks for the good wishes.
  17. An update to this: The used Minstrel C/G arrived yesterday. It's a plainer looking instrument with the matte black finish and not as nice looking as my G/D. The buttons are a little rough around the edges - so little things like that are noticed. But it has a milder/sweeter tone and less "honky" sounding than the G/D Herrin. I think volume is a bit less too. Action of buttons etc seems good (as far as I can tell with my slow playing) and I'm glad I didn't get a more basic entry level 'tina. This will suit me for quite a while. As for initial impressions on how brains learn/rewire. I decided that as I learnt to play G/D by reading sheet music and learning the button layout off paper, to trick my brain into learning the new system I would learn C/G tunes by ear and not look at sheet music until I was much more comfortable. Hence the online lessons. The 2 tunes I've learned - one I already knew well, the 2nd was brand new to me. Of course I picked up the known tune quickly (OAIM - Maggie in the Woods). The brand new one (Caitlin Nic Gabhan's free lesson Primrose Lass) took a bit more effort as you'd expect, but I got there without too much trouble. This didn't surprise me. But I was surprised at what happened next: After I was comfortable with Primrose Lass I looked at the sheet music download and tried to play along reading that. My brain didn't like it ! It produced what I can only describe as a sort of cognitive dissonance - the associations learned for those music notes were being constantly tested as I was playing different fingering. It felt a little weird. Then I tried playing along to ABC notation. This is something new to me and I am not experienced doing it at all, but it seemed easier. Reading the letter "A" or "G" etc didn't produce the same odd sensation as reading a music note on the staff did. Perhaps because it's also new thing my brain just went along with it without a fight! It was interesting to realise this morning that while I can hum Maggie in the Woods extremely easily, I can't hum Primrose Lass for the life of me. It starts on "B" and that's all I can remember. 30 mins of learning the tune last night wasn't enough time for my brain to lock it in. I suppose professional musicians have brains that pick up and retain tunes much more easily and quickly than my brain. I'm not a neurologist or an educator but I found it interesting to discover these differences - in how the brain receives new info inputs and how the "rewiring" process happens. So even though it's very early days, it's proving my hunch that learning this new system by a different method (ear vs paper) is probably the better way for me.
  18. McNeela Swan concertinas are still on sale. As for what they sound like here's a nice tune:
  19. I once borrowed a friend's Rochelle for about a month. I found it sort of playable - but it felt too big for my (female) hands. I read about the Blackthorn in my research, but couldn't find much out about it, and I was starting to get cold feet from buying overseas in case there was a problem and had to send it back etc. In the end after a fair bit of "sleeping on it", I bought the used Minstrel from Button Box. It was someone else's trade-in and it's already had a little tune up. Keeping to a seller within the US is easier for me if it ever needs a service etc and I now have two USA concertinas, the Minstrel and my G/D Herrin. The Minstrel will work for me very well I think. The advice given on learning a new system is appreciated - it's interesting to hear of others' experiences. On the G/D now, I tend to go cross rows and try to use both hands whenever I can - although most of the work is done on the right hand of course if it's a melody-only tune with no accompaniment. In fact my memorizing of tunes and getting them up to speed is always delayed because I can't help but try out new fingering. Usually I learn a tune at first in the easiest way - (along the row) and then unlearn all that and try to to learn new fingerings. So mindful of this inability to just settle on a fingering I've decided I will sub to some online lessons for the C/G and learn someone else's fingering for the tunes! Either Caitlin Nic Gabhann or OAIM - haven't decided yet. This gives me about 6 months to pick up C/G system for the Irish music camp this fall. Again, thanks to all who responded.
  20. I like how you kept your old Stagi for nostalgic reasons and also for it's playability. I looked and did not find an old Bastari as you described. The Stagi I have (newer one) has stiff bellows - I did play it for couple of years but the bellows stayed obstinate. My hands/wrists would get a bit sore from the straps digging in as I was pulling against the stiff bellows. It put me off looking at a newer C/G Stagi.
  21. Bill N, interesting how your playing improved overall, after you took on the C/G system. So it was a 2 year learning curve for you - that's good to know. I must be patient and keep persevering then. I agree with your comments about needing a concertina similar in action/ response to what I'm playing. Otherwise yes it would feel like a step backwards and much more challenging.
  22. I am ignorant about bushings. A quick search told me it's something around the buttons and folks mention them wearing out or slipping out of place. Are they some kind of pad then? What do they do?
  23. Thank you to all who answered. I did get an answer back from Chris Algar who kindly let me know he had nothing in my budget and he didn't like shipping overseas due to the reeds possibly shifting out of alignment during transport and thus potential problems for the buyer. I don't know if this reluctance was always the case, perhaps reed misalignment due to rough handling in shipping has been a problem from time to time and he's decided to change how he does things now. I'm tossing up between the new Swan on sale and a used Minstrel. One is within budget, the other just out of budget but a better 'tina. I know all the good arguments for buying the best a person can afford. I can't trade in my Stagi for the Minstrel and I'm waiting to hear if McNeela will take it (they did ask me for photos etc) though I suspect ultimately not - as why on earth would a music store in the land of ITM want a G/D and a stagi at that ? So no firm decision made just yet.
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