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wunks

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Everything posted by wunks

  1. Yes, of course, Eb major 😏 but no, it's not transposed. I play Jeffries duet and although the fingerings are unique for each key, none seem very difficult. My Wheatstone JD has a lovely low cello Bflat instead of the usual G which provides the trill at the end of the first part of the Sarabande! My other box is in old pitch close to a half step sharp so I've suggested Ruth tune down to D ( she has a carbon fiber spare) rather than up to C so we now have a wide range of harmonic and voicing possibilities....πŸ˜ƒ
  2. There's something magical about the cello and concertina together. I'm mostly a folksy/dance musician but I had occasion recently to demonstrate my meager duet skills for a top notch professional cellist who happens to be my neighbor. She was enthralled by the sound and insisted we play and compose together. I have no classical training but she has me learning the Sarabande from Bach's fourth cello suite in Eminor, what a blast! Aside from the tone an advantage of the concertina for a player like me is the solid intonation. You can hit a wrong note but it's hard to hit the right note badly....😊
  3. There's a Larry Miller C box listed on Vermont craigslist for $1800.00. Cheers
  4. Too late for an edit I guess. Ouellet and Messervier.
  5. Search Raynald Oullet and Marcel Messervies (sp), Top quality Quebecois builders. Don't miss the clip of them playing together!
  6. That's a great tune and played well! What's the significance of the title....what's it about?....πŸ€”
  7. I've been playing Jeff duet with cellist Ruth Barry in her beautiful re-purposed small Chapel in our village north of Cooperstown NY. After hearing the sound of the two together she has insisted we play even though I'm not classically trained. She has me learning Bach's Sarabande from his 4th suite in Eb which has surprisingly easy fingerings on the JD although my synapses struggle to comply with the rather unpredictable melody line. For my part I'm attempting to corrupt her into improvising an accompaniment for a brooding Waltz in Am and C as an ongoing composition. I must say she's doing much better with her task than I am with mine! We are maintaining social distance of course....😊
  8. That's interesting. I've been eyeing up the air buttons on both mine for some low notes, an F#/G# would make the larger box chromatic from the low F while an F/Bb would give some bottom to the 50 button in those(easier) keys. I don't use the air button while playing but I agree with co-opting a squeeker. From all the variations we've looked at it seems that outside the core key pattern lots of customizing was going on.
  9. Gary, Is it a low note pair or in the overlap zone?
  10. # as in sharp.......Pipe dream, Port key, Unicorn, Jackalope, a denizen of the realm of wishful thinking. If there were such a wonder I'd have the full chromatic range of the Cello,Viola and Fiddle in my 61/4" JD.......😊
  11. Poking around on the internet reveals some old(?) film clips of Peter and his concertina showing a similar looking bit. All pretty fuzzy that I could find.
  12. Yes indeed and not trying to quibble but I wonder why the pivot would not be set to capture both buttons. Is there a logical reason to favor one and neglect the other? The device also looks rather final, once screwed down you'd be stuck with it from beginning to end of tune with no way to release or apply it while playing......sort of like engaging 4 wheel drive instead of the differential lock on my tractor..😜
  13. The photo may be deceptive but a quick measurement shows the far left button to be a very close match for the radius from screw to "pocket" center to center while the left center button is about half it's width farther out....
  14. Is that a hex-head bolt at the business end? What is on the underside, a pad? I see no scarring on the buttons. I'd love for it to be a #ing device but my money's on the drone lock.....πŸ™‚
  15. Season 4 episode 2 Shawn the sheep
  16. Thanks for your replies. I play a Jeffries and a Wheatstone, both duets and very different sounding with the JD loud proud and clear and the Wheatstone more reserved and reedy. I like them both but I was wondering if the Jeffries reed sound is achievable in a modern made Instrument. If it's a matter of temper rather than type of steel the answer should be yes?
  17. As a fiddle player my self, playing duet, I find the left hand easier than the right (maybe because the left is the noting hand on the fiddle). Here are three things that help me note more accurately: -Loosen the strap so you can move your whole hand over the notes rather than angling and reaching with your fingers creating side ward motion. -Avoid "flying finger syndrome". Move the hand and fingers with close clearance hovering over the buttons. -Play with the left end resting on your knee. If you have a need to play standing, you can use an elevated guitar players stool, at least till you get more proficient. I think Randy Stein (?πŸ™‚) advocates playing with arms straight up and down when standing and that does help reduce side pressure across the buttons.
  18. A friend of a friend visiting from Louisiana inquired about availability of old hay tongs or grapples as the best acoustical steel for making musical triangles. Living in a rural area as I do I come across these frequently. I presume these are cast steel as apposed to cast iron although my knowledge of metallurgy is limited. Would they have acoustic value as reed making stock as well?
  19. I have a question about this. When you place a tuning fork or a reed assy. on a hard surface such as a table top the volume is increased. I can't visualize a table top acting as a tone wood. Intuitively, (for me) contact with the table top prevents a damping effect of the tuning fork stem or reed shoe forcing all the sound waves to exit via the (free to vibrate) fork or reed tips. Is sound being emitted by the table top in combination with the primary emitter? In other words, is this a venturi-like process father than actual amplification? Out of my depth with the physics to be sure......😏
  20. If it made you smile, we're smiling together. I'm a working man and those kinds of metaphors come naturally. Sorry, I can't repeat what a gandydancer would call a concertina......😏
  21. Hi. I don't play EC but I have one for repair practice. It seems to me that the thumb/support problem is more easily solved from below with a "stiffy" of some sort running from the wrist beneath the pinky, approximating a knee rest position.
  22. Gwendolin (Carol Burnett) fakes with a 20 button anglo in the comedy sketch "Rancid Harvest".
  23. Great playing! I especially like the tasteful and balanced harmonies......πŸ˜€
  24. Add damaged parcels to the list. A candid conversation with a UPS driver revealed atrocious handling procedures at loading facilities (U.S.)
  25. I'll mention that on the Jeffries duet (C core) the keys of F# (thumb key), G#,C# Eb and their relative minors are quite handy. This is because they are all on the top row as accidentals so you can play their scales along the top two rows for the most part with no more difficulty than working the middle two rows for F, G, Bb, C and D. Perhaps this is workable for other duets and/or anglos. I don't know enough about "temperment" to know how or if that figures in.
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