wunks
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Posts posted by wunks
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14 hours ago, PortableOrgan said:
Can you elaborate on this a bit? Are you playing 2 notes simultaneously, or in succession? If the former, are you playing power chords (root & 5th), octaves, or something else entirely?
2 notes mostly but I move it around a lot, adding or dropping a note. A single low note is often enough. Mid-range and higher I might play 3 notes and sustain one or another. lots of double stops ( including single note ) in Bluegrass; depends on what your instrument is capable of. I'm still exploring this and I haven't wrung out a satisfactory Bluegrass flavor yet, letting my ear tell me what works.
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He also plays Jeffries duet and anglo ( see his post above ) and contributed to Gary's Jeff duet tudor...😊
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A bluegrass band will probably have at least one or two lead instruments, a bass and a guitar for the mid range. I'm finding ( as I did with the fiddle moving from old time style ) that a soft 2 note chug on the off beat adds a lot and allows for easy forays into the melody or other harmonies without competing.
I think the percussive nature of the banjo. mandolin and acoustic guitar make it sound somewhat frantic/urgent. A good fiddle player can smooth it out as could a concertina with some mid and high range sustained notes. That's where my ear tells me the sweet spot is.
On 7/26/2016 at 6:58 AM, StuartEstell said:I play a lot of mountain music, but not in what anyone would consider an authentic style -- I certainly rarely approach the breakneck speed of some bluegrass. If you alter the arrangement to remove all the fast-moving stuff, the melodies are often quite slow...
Stuart, If you see this which instrument do you favor for bluegrass? I'm a JD player myself.
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39 minutes ago, Jim2010 said:
Speaking as a longtime guitarist, you might consider adding melodic texture (echoing or varying the melodies, adding single line harmony to them, etc.) rather than concentrating on adding/duplicating harmonic texture, along the lines of a flute or saxophone player backing up a singer.
It depends on what the guitarist is doing. They are capable of self-accompaniment so you don't want to compete. I'm finding that an occasional light chug on the back beat combined with a sparse base line and/or an intermittent/variable high drone works well. It's been mentioned that those around you hear the volume of your box louder than you do. Last night the banjo player, of all people, complained he couldn't hear himself above my mild and tasteful efforts!
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It occurs to me as a dance/folk musician that some of the objection to such simple tunes comes from taking them out of context. Many of these tasty little dittys come from what we would call play party tunes for children's dances, parlor games or skip rope. There's songs for sitting to spin or knit, milking cows and other repetitive hand work, square dance tunes and changes from the old quadrilles, work songs for heavy work like lining track, working timber or cutting cane. I'm sure as concertinista(o)s none of us would spurn yet another chorus of "Haul away Joe! ". And what would we of small talents do to get our point across beneath our fair one's balcony or through the whisper tube under the Squire's baleful gaze?
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15 hours ago, Jody Kruskal said:
The only thing that bothers me about Hot Cross Buns is how much do they actually cost? is it one a-penny or two a-penny? Really, please!
At the currant rate, they'll soon cost an arm and a leg.
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A week's worth of teenage summer camp laundry!? I hope you supplied your cello case with an ample supply of odor eaters....😄
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There's got to be a way to fit a concertina into a violin/viola case. Maybe a mini?
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When it's clear as a bell as you nod off and it's gone by morning ...snooze muse.
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On 3/10/2023 at 4:57 PM, gcoover said:
This is a world music presentation. All of our globally local musics may offend in one way or another or they may equally delight. Perhaps it's tired stuff to you but not for someone else.
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Belly pack. See it, access it, protect it, ect.. Learned this from back country skiing. If you fall or are attacked your body will fold frontly ( fetal ). Keep your junk in in your back pack, your essentials tight to your center of balance.
Good platform for an impromptu twiddle.
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There's an " interesting" discussion in the Traditional Tunes Archives about the jumbled parts of this tune.
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This tune is one of several I've tried to master on fiddle ( with little success ). I view it as a benchmark tune for a high level of competence. Perhaps the concertina will be more accommodating.....😏 Does anyone here play it?
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There are many underlying causes of aches and pains as we age who's onset coincides with our taking up the concertina. I've only found playing to be therapeutic. I slip and slide, mash, thumb note, and double-up.... what ever works to get the desired effect; beyond redemption I reckon....😊
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I find it helpful to experiment with different fingerings, harmonies etc. and when you achieve something interesting work it over a few times and then stop there without moving on or at least come back to it at the end of your practice. Makes it easier for (my) brain to retain.
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McMaster-Carr lists black oxide socket head (Allen) bolts with the right head profile. Fine thread is available but I don't know about sizing. Perhaps the hex socket could be turned into a slot with a couple of epoxied shoulder pieces.
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12 hours ago, Chris Ghent said:
Oh, and I vote for slot heads.
Well how 'bout a "captured" or "housed" slot head? I can visualize such a thing; just a modification of a square drive.
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1 hour ago, David Barnert said:
Has anybody ever tried something like a suitcase (or concertina case)-type latch in the center of each side on each end (ie., 12 of them for a six-sided instrument)? Or maybe half as many, on every other side?
I can see a possible problem if the loosen a little over time.
When I was thinking along these lines ( steam punk pipe dream ) I looked at some types of fancy jewelry box clasps. I think you could get along with just one if you used a tab on the opposite side ( like a plastic battery changing port ) and a couple of pilot nubs to line things up correctly. I think there are ( or could be ) cam-acting clasps ( like on a window sash, perhaps operated with a thumb screw ) that could be semi-inset. You could also just reduce the # of end bolts. Maybe two would be sufficient.......🤔
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2 hours ago, Łukasz Martynowicz said:
Yes, I know. Alex Holden and Flying Duck Concertinas also made some boxes with Allen screws.
If I read it right and those notes are in reversed, descensing order, then you’ll be dissappointed by such substitutions in terms of response, pitch stability and timbre, more and more as you go further down from F. Lowest of those may even not speak at all. It’s because you need increasingly larger chambers as you go further down from C3.
A fair observation but we're getting off topic I'm afraid. I will say I've had excellent results with bisonorics.
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12 minutes ago, Łukasz Martynowicz said:
There is a way to do something like this relatively easily on 3d printed concertinas, namely using wedges and slots, but it comes at a hefty price of increased size. Same goes with accordion style pins - accordion bellows walls are way thicker than concertina bellows walls. Screws are the most elegant and space efficient solution. However, I really don’t understand why modern makers stick to straight slot screws. Allen heads are way more convenient to use, way more durable and, at least to my eye, look way nicer than other head types except for torx. The only reason I can see to stick with straight slot is if screws have to made from brass for aesthetic reasons. Other than that, it is one of those „traditional ways” I can perfectly live without in times of hybrids, cnc machined reedpans and entire 3d printed boxes.
Although I wouldn't make any drastic non-reversible changes, I would consider having a set of such end bolts made.
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I'm interested in this because I have a situation where easy access would be desirable. My Wheatstone Jeffries duet now goes down to the cello low F while lacking the G#,F#,E,Eb,D, C# and C. I'd like to be able to make substitutions at this low end of the range to facilitate playing some classical arrangements and dance accompaniments.
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I've thought about this a lot: hinges,clasps, velcro etc. but the only improvement that I think works is a hex ( Allan ) or star drive end bolt and of course if you want to access the reed pan you leave the bolts in the end plate/action board for easy reassembly. Without looking it up, some makers are doing this .
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1 hour ago, seanc said:
My reading of his reply is that he is NOT actively doing any independent buying/ selling. And he is ONLY doing repairs.
If he Knows a guy that is looking for something. Then he may be able to put people in touch with each other. But, as far as I can tell that would be the extent of it.
That's my understanding as well. perhaps I should have been clearer
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If you google the Button Box Repair Shop you should see two listings. The first yields a contact form. The second gives Bob's Phone #. I know he has a list as I have one for sale with him and one wanted. It is an informal service for clients as far as I know, no advertisements.
No wrong notes!
in Teaching and Learning
Posted
Absolutely!