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dwinterfield's Achievements

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  1. Wally Carroll has developed an adjustable hand rest. Now I've always sensed, with sufficent practise, our fingers can get used to playing any button they can reach. That said, when my Carroll arrived last year, I adjusted the left hand rest so that the F# is exatly alligned with my left pinky. There are lots of flaws in how i play, but i can't use reaching for the F# as an excuse any more. Button placement matters, but so does everything else in the design of the concertina ends.
  2. Michael I haven;t had a similar experience but I've had torn rotator cuffs on both shoulders. Talking to the surgeon and physical therapist, i've learened that there small muscles in the shoulder and upper arm that have very discreet functions. They only fire to assist a specific motion. You never know they are there till they aren't working right. Pain is often a result of inflamation. The type of pain you describe is very familar to me. A good PT ought to be able to help you sort it out. Or an orthopedic doc if you're inclined to go that route. Good Luck
  3. I've had surgical reapirs to both shoulders so what follows is my understanding from talking to Docs, PTs etc rather than any actual medical knowledge. Most pain and limitation in movement is from inflamation. The rotator cuff, biceps tendon, labrum etc. all come together in a pretty small space. If your anatomy isn't just right, they may be chaffing against each other. I had bone spurs on the under side of the the acromion bone leading to torn rotator cuffs after 60+ years of wear. If you get frozen shoulder and it gets better, it may be inflamation that reduces when you stop to motion that caused it or take OTC anti-inflamatories. If it returns, there is probably some sort of structural issue that leads to the inflamation. Shoulder problems are very common. The technoloy to fix them has improved immensely in the past 20 yrs. They can fix most of these issues. I've had surgery on each shoulder (2 yrs apart). The surgery was short and arthroscopic. No hospital time. The pain is significant, but managable with meds. The post surgery is essential but slow (6 months). The result is full range of motion in both shoulders, no pain and no limitation on any activity. Good luck
  4. Paddy: Check you private messages.
  5. I'm in Duxbury, MA if you'd like to play the Geuns Wakker hybrid.


  6. Paddy:

    Saw your post. I have a Geuns Wakker, 30 button C/G. Nice condition, about 5 years old. It's a hybrid with accordion reeds. I realize that if you're looking for a Jefferies, a hybrid may not work for you. Harry Guens sells these for $3400 although it is reduced if shipped the US and the VAT is deducted. I'd be looking for about $2500.

    Mark Mahoney

  7. Regarding he air button, I wonder if you might modify the length of the hand rail. I had an outstanding hybrid, but found that the hand rail was too long for the structure of my thumb. Because of the length of the rail, I had to curl my thumb over the top of it to reach the air button. The maker shortened (by about an inch) the hand rail for me and it was never a problem again. I don't know how the rail on a Stagi is mounted. If it's screwed on, you should be able to get at the screws by removing the end. If it's glued, you could probably trim it in place, but be very careful not to mess up the finish.
  8. Perhaps it's more that NH has been coming to the US teaching 45-60 students a yr. for decades. He's probably taught more people in the US to play concertina than anyone else and maybe more than everyone else. When he comes to the US he's an event. In Ireland, I suspect he's just around and much more routinely accessible to students. I've been to camp and know and like the "system". I've also been to classes and workshops taught by former students. They'll pull the d far more often than NH. It's all okay.
  9. Brian - What was your Carroll # and might you tell us what you got and how it plays? Thanks Mark Oh, yeah. That would have have been the 2005 Noel Hill Midwest school, right? Thank you for passing that along. Brian ps I didn't pay him to write that
  10. The publicity may lead to a period on irrational exhuberance in the global concertina market but the spike will end, the bubble will burst and I'll still be waiting patiently on Colin's list.
  11. I recall Noel Hill saying that when Charles Wheatstone invented the concertina, he was intentionally creating an instrument that would be in the same harmonic range in an orchestra as the violin. I'm not sure this is quite the right way to be looking at it. Range is one thing, harmonics is another. Wheatstone's 48-key English concertina has the same range as the violin: that is, they have the same lowest note and although the violin has no theoretical highest note, it generally confines itself to the notes that are also found on the concertina. But that says nothing about the sound of the instruments or how they blend. For that, you look to harmonics, which involves the shape of the vibrations, the presence of overtones, the timbre of the sound. Violins and concertinas have rather different timbres, so one might expect differences in their harmonic structure, although I have not seen a harmonic analysis. I'm very comfortable that what you say is correct. What I wonder is whether it's also from a 21st century prespective. Today, anyone can play into a computer and do all sorts of harmonic and tonal analysis. Wheatstone wouldn't have had any of the electronic tools that let us do that. I suspect he would have been able to match the range and then experiment with reeds, bellows, action etc. and used his ear to refine his product. I wonder is he thought he had succeeded or even what he considered sucess. Maybe one of the historians knows.
  12. I recall Noel Hill saying that when Charles Wheatstone invented the concertina, he was intentionally creating an instrument that would be in the same harmonic range in an orchestra as the violin.
  13. i always wonder at this. i learn from said teacher, and have learned to use all the buttons. i have heard this before as well from many other sources, and i can never figure out why. also, it is confusing, because even if they do not use the same buttons as you do, surely they should have the tools in their concertina-toolbox to play any tune. sometimes i wonder if people learning pay attention at all. i'm always interested in learning how others play. i'm sure you're so busy this time around at the fleadh since you guys are hosting it that you wont have time to sit and "talk shop" about fingering, but i'd really like to see how you approach the concertina some time. As the most challenged person in the room that day with Frank, I will comment that one of the joys of learning to play the concertina is sitting with different teachers. Students don’t always put themselves in the right class. Frank was very patient. That particular class was a bit beyond my skill level and I did find it quite frustrating. While I didn’t learn the tunes that day, it was one of the most enlightening moments I’ve had as a student. I had the same experience that some “along the row” players have had at Noel’s camp. I still have those tunes and will re-visit them. Since that class, I’ve jumped into the world of alternate fingering with “said” teacher and with Chris Stevens in the Boston Comhaltas classes. I’m also in a practice ceili band at Comhaltas and my new complaint is that the whistle and fiddle folks can pick up new tunes quicker because they don’t have to spend time deciding which d to use.
  14. From a note an attendee sent Linda and she passed along.
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