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Steve Schulteis

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Chatty concertinist

Chatty concertinist (4/6)

  1. This? https://www.concertina.net/forums/index.php?/topic/9637-showing-off-tune/&tab=comments#comment-97157
  2. Another option that recently received a favorable review from an experienced player: https://www.flyingduckconcertinas.co.uk/ducklings.html
  3. Fanie, did you get everything you needed here? For the record, my order from Harmonikas arrived today, so I can confirm that I received exactly what I expected.
  4. Two of my bandmates use the Pageflip devices, or lookalikes, and they're pretty slick. They really shine for sets with more than two tunes, because you don't have to spread papers way out, make special photocopies that combine the tunes in the set, or shuffle half sheets between three-hole pockets. Big tablets are still too spendy for me, and I don't like depending on battery-powered devices, but it's a good system. I think the main thing that would stop me from using a scroll is that it seems like it would be awkward to do anything other than play the tunes in their predetermined order. Do you find that to be the case?
  5. This is for a 30-button, but if you ignore the extra row of buttons (the one labeled "Acc"), it shows the layout a few different ways with octave numbers and staff notation too: http://midnight-court.com/concertina-maps.html
  6. I'd replace the G3/D4 at the low end of the G row with B3/A3, but otherwise looks good from a casual inspection. G3 and D4 are already available in both bellows directions, so it's typical to put something else there, even though it means the G row doesn't follow exactly the same pattern as the C row. B3/A3 is the most common as far as I know, and I've found that setup to work very well for my own playing.
  7. It might be a couple of days before I get to it (I'm pretty busy at the moment), but I'd be happy to.
  8. When they say "schema", I assume they just mean the note/button layout you're looking for. When I placed an order with them, I specified each note in two ways: Scientific pitch notation, which specifies middle-C as "C4", specifies sharps with ♯, and uses "B" (not "H"). A variant of the german system, which specifies middle-C as "c1", specifies sharps by appending "is" to the letter, and uses "h" instead of "B". The note called "F♯5" in scientific pitch notation is called "fis2" in this german system. I provided each note as its equivalent sharp - no flats. So instead of "B♭4", I'd list "A♯4". I sent them a table with columns for "Note" (one column for each type of notation), "Reed Size" (I was ordering their original concertina reeds), and "Count". I'm still waiting for that order, so I can't say definitively that I got it right, but there didn't seem to be any confusion about what I was looking for.
  9. This was my first thought as well. Of course, it works both ways - the concertina has an entirely different set of mechanics to practice. Maybe it's different in your area, but around me the novelty factor of the concertina is huge. It never fails to attract attention (in a good way). I play with a little American folk group, and while many of the other musicians are much more skilled than I am, nothing seems to garner quite as much curiosity as my concertina. Everybody has seen guitars and fiddles but not that strange little squeezebox.
  10. Here ya go: https://concertinashop.com.au/
  11. While I don't think it's possible in ABC, MuseScore is quite capable of producing Coover tabs (although it's a bit tedious) using "lines" from the palette. I use line elements for both the pull bars and the button numbers, which helps keep everything aligned correctly. Nearly all of the tablature linked from my YouTube videos is produced with MuseScore. What I wasn't able to do was produce a plugin to make things easier, because MuseScore 3 never included lines in its plugin API. MuseScore 4 is supposed to be coming soon, so maybe the situation will improve after that.
  12. Try searching the forum for "meantone". Here are a few old posts that might be of interest:
  13. Haha, yeah, I've resisted the temptation to make my own tab system for exactly this reason, but the realization that identifying the row is almost enough on its own was just too much.
  14. Ok, this totally nerd-sniped me. Here's the Ma Normandie arrangement from above rendered in my proposed minimalist system (I probably made some mistakes, let me know if you find them). For noteheads, I left the C row standard, and the G row uses a down-arrow, since I think about the G row as being below the C row. For a 30-button, the accidental/bonus row could use an up-arrow notehead. I didn't do anything extra to indicate which hand a note is on - I found that in this case doing so was more confusing. I'm not sure my choice of noteheads is necessarily the best - the G and bonus rows could instead use slashed notes (again, down for G, up for bonus), which I find harder to read quickly, but which would be easier to notate by hand, especially on an existing score. Or it might be better to pick noteheads that look as much different from each other as possible. I haven't spent much time playing from this yet, but my initial impression is that it might be workable. Ma_Normandie.pdf
  15. I agree that this tablature looks like a mess, but I wonder if there isn't some cleverness hiding here. On a 20-button Anglo there's generally not a lot of notes that are duplicated within a row - typically only the very low G in the C row IIRC, and that is distinguished by bellows direction. Simply putting a row indicator right next to the notes might actually be a decent and simple way to enable/encourage reading primarily from the standard notation without giving up the specificity of which button to choose. Most of the time this notation alone would unambiguously indicate both button and bellows direction. You could potentially even extend this idea to a 30 button, although the Wheatstone layout would probably work a smidge better than the Jeffries with this approach. It might be interesting to try this (perhaps with symbols that look less like noteheads - or maybe just use differently shaped noteheads) together with Gary Coover's bellows indications. You could also add multiple staves to the mix or Kathryn Wheeler's use of stem direction to prompt which hand a note is played on. I feel like that would produce a pleasing minimalist system, but I wonder if it would be usable in practice.
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