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About mdarnton

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    violin maker, photography, music, concertina, of course.
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  1. Looking at results, only, I think we need more examples like this:
  2. I have noticed that many EC players just push in one direction until they run out of air and then change. The result of this is that the music has no pulse at all---just a constant arrhythmic flow of notes that doesn't make a whole lot of sense. I've been trying to think more like a drummer, changing when I want accents, not just at the beginning of the measure, but where the rhythmic flow demands. It's not always on one (and three), or giving an extra accenting push in those spots
  3. mdarnton

    Scored A Miniature Lachenal

    What a lovely little thing! And the can/case! 🙂
  4. mdarnton


    On most instruments, notes tend to get less complex as they go up in pitch, which tends to strip out a lot of the personality, and about all you have control of is the number of harmonics (harsh v mellow, basically), not their relative volume, and the identity of a particular instrument becomes more a matter of the type of attack of the note, rather than the overall tone. My understanding of the clarinet is that it's lacking every other harmonic--I can't remember, but it's either the even or odd numbered ones.I wonder if this fishtail strategy might not work as well on a treble instrument, and that's why you've only seen basses. Now I want a clarionet tenor-treble!!
  5. mdarnton

    Harsh Reed Work Around

    Are you talking about snuffing only the one reed, or toning down the whole instrument? I lined the grill of my metal-end Lachanel with dense foam supported by foam tape, and the tone of the whole thing was considerably improved, especially fat, close chords. If you are talking about a single reed, it seems like the closer you get to it with a damping material, the better. Perhaps even within the reed chamber.
  6. mdarnton

    Pop Up Ads

    I have been using phpBB (free) for about 10 years, and it's worked fine, but the availability old threads is an incredible resource, and I'd hate to lose that through the migration to some other forum platform! If there is a membership offered for $$, I will buy one.
  7. https://reverb.com/news/new-cites-regulations-for-all-rosewood-species This is a noose that I think will continue to tighten.
  8. The outer layer looks like Brazilian Rosewood of a quality that hasn't been available for quite some time. One sees it occasionally in old guitars. It is very regular in grain, and doesn't have the black streaks that are now inevitable. These days it's essentially illegal. The inside appears to be mahogany, but I'm not certain of that. If it's not, it might be sycamore, a British version of maple which is quite common and would be good for that job.In the photo I can't really get a fix on what I'm looking at. If I were doing this, I'd strip the rest of the veneer from both sides, glue on some currently-legal flashy wood, and go from there.
  9. mdarnton


    My piano teacher suggested that I forget playing and clap the rhythm when I was having problems. There's a whole book based on that method, but maybe you should try it on the tunes until you figure them out. It's always best to strip problems down to their essentials rather than having to do other things (fingering notes) at the same time. https://www.amazon.com/Studying-Rhythm-Anne-Carothers-Hall/dp/0136145205/ref=sr_1_2?s=books&ie=UTF8&qid=1524577292&sr=1-2&keywords=studying+rhythm+hall
  10. mdarnton


    Is this a perception problem, like you don't know what to play from the notation, or a playing problem? If it's a playing problem, be sure to keep the metronome slow enough that you can keep up with it flawlessly. Speed comes with practice, once you get the notes and rhythm ground deeply into your head and fingers.
  11. mdarnton

    Gum Arabic

    We are, of course, burning to know what the question was, nevermind the answer.
  12. I was looking for a tune on YouTube, and stumbled on this page. https://www.musiclessons.com/youtube/watch?v=-svY5SjkVBk#about-youtube I haven't spent a lot of time on it, but it appears that you can search in the box at the top for a particular tune on YouTube, then a list of the possibilities is displayed on the resulting page. When you click on one, it's inserted into their player software. Find the beginning and end of a phrase you are working on, and it will loop it over and over for you to figure out, then you can set new limits and move to the next phrase.
  13. mdarnton

    44 Key Aeola English

    I doubt it cost more to have a bunch of buttons, works, and reeds left out!
  14. I don't think that button-pushers necessarily realize that wind instruments have the same flexibility in pitch as violins. Bending notes around to match what else is happening is standard and nearly unconscious.
  15. mdarnton

    A Lot Of Newbie Questions

    I think that if you are interested in theory, you should treat it as a separate subject and dig into that independent of your concertina playing. It's an interesting subject, but can get deep and irrelevant quickly, unless you are composing. Playing, a lot of the theory has been done for you already, and whether or not you understand what's going on can be relatively irrelevant, and as Late says above, you'll stumble into what you really do need to know. That said, understanding what lies beneath what you're doing definitely helps appreciating what you are doing. Some things are as clear as glass, but you don't appreciate them until they're pointed out. I started concertina with a long background in music, and I started learning directly from written music. Now I am glad I did--it's opened some doors for me, both in terms of what I can do on my own now without having to hear things played first, and for playing opportunities, like the year or two I spend playing early music with a viol player, and quartets with some string players (both of which I never anticipated when I started concertina!)