wunks
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Posts posted by wunks
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13 hours ago, Terrence said:
Thanks for that tip about not using solid wood for the ends. Maybe I'll try some nice maple plywood.
And yes, I'd like to experiment with something to speed up the action. I have some delrin to turn some buttons and could probably try aluminum, brass, and bronze. Right now someone is getting a wood I'm curious about, Osage Orange (variously known in the U.S. as horse-apple, hedge apple, or bois d'arc). It's extremely hard and springy wood that is a very bright yellow color, but cracks unless dried carefully.
It's also very heavy and unless used as a veneer would add significant weight. Has anyone used Burl of any species?
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It may be the same as or similar to "The Rivers Of Texas" but one of my favorites is "The Hills Of Mexico" or "The Mexican Cowboy". the earliest version in my ken is from Roscoe Holcolm. For a sublime version, Lonesome Ace String Band on utube. For a romantic aspect, "Someday Soon", Ian Tyson. Tragic? "Darcy Farrow" written by Steve Gillett. " The Tennessee Stud" was long and lean. Finally, I don't remember what her name is but she sings the Hell out of "West Texas Waltz". "Cherokee Shuffle", (sometimes called "Lost Indian") is a fast fiddle tune we play for dances, usually in A. I double dog dare you to play it on concertina!
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Thanks for the reply. I know it sounded a bit like a test question. I've been listening to this for a while with intent towards the fiddle but now that you've brought it up I think I'll give it a try on duet. The melody seems simple enough and as a string player I'm used to noting with the left hand. Tunes in a lower register are most pleasing to my ear as well.
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Jim, was this piece written with the bandonion in mind, and if so, does it favor a bisonoric instrument?
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The title of this forum is General Concertina Discussion. That's what I want to hear about and talk about.
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Cool. It's amazing to me that where I live we are surrounded by 2nd and 3d growth hard and softwood forestland where one can sell hardwood logs as fire wood and make more $ than selling to a logger by the standing board foot and yet a 3/4"x5"x6' Oak board costs $50.00 in a big box store. Band saw mills are a cottage industry among the Amish here but they're mostly sawing Hemlock, White pine and Larch for outbuildings and other farm use. I did pick up a truckload of Amish sawn Walnut slab firewood for free and it contained several pieces of heart wood. Go figure (pun intended).
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I re-visited the sale yesterday and got a # for the estate managers: 315- 894-3262 or 315-717-3673 Juanita Bass. I discussed the wood with mdarnton's Luthier friend David and he declined to make the 5 hour trip so as far as I know it's still available although the sale itself has ended. To clarify: The Instrument builder's name was Carl E. Latray who is listed as a builder of Dulcimers and other folk instruments. His workmanship, judging from the examples at the sale and some of which I was able to purchase, was exemplary. The wood appears dry and is stickered in 2 small barns.. as an estimate there are approx. 8 or10 4x8' stacks. most of it is in short billets which are numbered on the ends. Much of it appears to be pine but it's hard to tell. The sale lists hardwoods as well and his instruments would speak to this. There are also a couple of stacks of thicker live-sawn crooks and such. I would say it's worth a call if anyone is fairly close by.
Perhaps Concertina.net should host a "Heads up" forum for such things of general interest. I feel a bit guilty for clogging up this thread.
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mdarnton, I gave your friend a call and left a message. The estate sale is through "Juanita" but they left no Phone #. It's listed under estate sales on Albany Craigslist. It's rainy here so I'm thinking of taking a ride back up I'll get a #. If the sale ends he should be able to contact them as they are acting as agents.
Erik
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Inventor You have complicated my life considerably! I just looked at the Jeff on Theo's facebook page and it appears Identical. Unfortunately, I'm knee deep in instruments right now as I just yesterday stumbled across an estate sale of a wonderful folk instrument luthier. I bought what I could and may go back today. No one seems interested in Dulcimers (hammered and mountain), Autoharps and such even at rock bottom lawn sale prices. There's even a stack of Piano keyboards and 2 barns full of air dried instrument wood billets. Off topic but I mention it in case anyone is near Utica NY and has an interest. It's probably all going in the trash bin after today. The address is 237 Daley Road, Frankfort NY.
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Rest easy, Gentlemen. I would never attempt such delicate work. I spent 37 years building and ripping up railroad track. My hands are used to four foot wrenches, hammers and claw bars. In my profession the way to fix it is to hit it as hard as you can with the heaviest hammer you can find.
"Just shy up" on my instrument would be a larger leap than just shy down as the C is audibly a bit below C#.
I've realized there is an advantage for me when singing with the Jeffries. The near semi-tone high brings the low end up enough to be much more comfortable for my vocal range.
I've also noticed that the the bellows on the Jeff are thicker and respond differently than those on the Wheatstone. Although that has nothing to do with pitch might they be anglo type? I've heard there is a difference.
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I follow you Little John and I think having a D box offers no great advantage for a duet, at least for me. I've been exploring different keys and the Jeffries pattern seems to accommodate anything I'd want to play without much trouble.
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Yes, and for now, considering all the above advice. I'll stick with that strategy. Plus, I've sorted out the anomalies in the Wheatstone and realize I can get my low G by swapping out a low B which doesn't exist on the Jeffries. Thank you all for the help.
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A'rity, Pirate it is then! No rules save mine own. Damn yer eyes!
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Thank you gentlemen. I appreciate your cautious statements. "I seem to understand" is a new one for me! I had a brief phone conversation with someone from the Button Box (a couple hours away) who thought it would be best to leave it as is and I'm gathering other opinions before I decide. What about historical interest? I'm a player not a collector so my inclination is to enhance playability but I don't want to spoil a vintage instrument.
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So, tuning down shouldn;t be detrimental to she sound of the instrument?
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I have a Jeff duet that is just shy of C#; probably old philharmonic pitch, as Wolfe M. has kindly pointed out. I'm considering having it re-tuned to modern concert pitch. I Have a second instrument that is already there. Both are centered on C. I could tune up and have an instrument in D or tune down for C. Upward would be slightly more of a leap. In general, is it easier to tune up or down? It has a Nice Jeffries Honk and I'd hate to lose that. I play a lot of Dance music and it is more robust than the Wheatstone. I favor tuning down or leaving it the same but I really like playing with other musicians.
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Thank you John. I'll guess NP is nickle plated. The entry describes this instrument to a "T". It seems centered on C as is my actual Jeff duet but the lower end favors F and B flat but slights the key of G. The F# is added to the lower top left row rather than being a thumb key and there is more overlap than the Jeffries. There are some blank spaces in the low side reed block and there is room for another set or two of buttons on the end plate as they are crowded to one side. Considering the date, I wonder if this was a custom job set up for playing Big Band or Jazz music and if there are others like it. I'm tempted to have it's range extended but not if it's historically significant. I bought it from Crabb's shop in Islington in the late 60's.
Thank you Wolfe, as well
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I'm curious as to what the ledger notes say about this concertina and did Wheatstone make any other Jeff duets? It's rather large; 9 1/2" across the flats (Hex) with 53 buttons and varies slightly from the standard Jeffries pattern on the low end.
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Not to draw any conclusions but doesn't the label look rather crudely snipped out of a larger piece, say with scissors? Would a maker or dealer be so careless with their Mark?
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I find myself switching fingers on the same note often, usually to set up the next series of notes so as not to run out of fingers going up or down the scale or for grace notes. This can create a rapid little stutter that is unique and sometimes pleasing or make the switch before the hole closes if it's not desired. I'm playing Jeff duet but some of this may apply to other systems.
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Rio Vista Hoof manicure. Your welcome. Now, how did you solve Gout and Rheumatiz?
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I have come across his delightful playing but only recently while searching for other players of this strange beast. Can I send you a PM after I talk to some folks (if I can figure out how; the computer is much more baffling to me than the Jeffries seems to be.)?
Erik
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Hello Jim. I don't play English myself, I'm 3 or 4 months into Jeffries Duet, But I know some folks That I believe are playing English out and about. We are on the south plateau above the Mohawk-Little Falls area near Cooperstown NY. Lots of music and beautiful scenery here, perhaps if you could stand a mixed session with a fiddle or two? With your permission I'll pass along your info. we're about 20 min. from the canal, and bike trail.
Erik
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Oh, the first head gent... grab your girl, go down the center with a butterfly whirl!.........
Any EC players in Ayrshire, Scotland?
in General Concertina Discussion
Posted
Hello Rich. I'm a Bloody Yank so I can't meet with you in person but I just hit 70 and my advice is your concertina will teach you. Sit and play tunes you have in your head.