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Ann Sanders

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  1. Ann Sanders

    Irish Concertina Lessons

    Over the first few lessons or ‘basics’ as Caitlín calls them she goes through the D and G scales with the G scale being based entirely on the inside row. I gather that as an introduction, this is slightly different than what is usually done, with most teachers in Ireland preferring to introduce the G scale as starting on the middle row. She then goes on to do what she describes as the “extra notes” and these would be the options such as the two of the As,Bs etc and explains that although the high D on the left is the one she wants students to use initially, the high D on the right, and indeed the other options, have to be practiced and used. I have been using the OAIM facility and whilst it has been brilliant and I have learnt a lot, there is something refreshing and different about Caitlín’s set up. In my experience so far.
  2. Ann Sanders

    Irish Concertina Lessons

    Yes, excellent tuition.
  3. Ann Sanders

    Irish Trad in D Major

    Thank you Late To The Game
  4. The third tune is called The Mist In(On)The Meadow or The Castlebar Races.
  5. Ann Sanders

    Irish Trad in D Major

    Thank you Ken and Dana
  6. Ann Sanders

    Irish Trad in D Major

    A question for those who play Irish trad on Anglo- what is to be lost or possibly gained by playing tunes that are strongly in D major mostly on the G row? I am not talking about only on it and ignoring the benefits of crossing when it suits but of, for example in a tune like Tobins or similar, using the A on the inside on route to the high D also on inside and then on to the C#s. I know that this tune and others like it can be played on the C row using the high D and the C# on the right and that it is no harm to be able to do it both ways, and that players like Chris Droney and Frank Edgley mostly play on the G row but am interested to hear if there are reasons why it is better to play one way or another in the case of the key of D. Thank you.
  7. Ann Sanders

    Accordion Reed v Concertina Reed

    Thank you Dana
  8. Ann Sanders

    Morse Céilí C/G Anglo For Sale SOLD

    You could also, if you wished, advertise it on donedeal.ie in Ireland and then possibly bring it to Ireland in October?Can I ask about your new concertina and who you are getting the classes from?
  9. Ann Sanders

    Concertina Bow Arm

    I've always taken it for granted that the knee that the concertina is rested on is an indication of which handed you are?? Those who are left handed and "drive" the bellows with that hand will usually rest the instrument on the right knee and visa versa.The having to use the air button on the right then being one of those things that left handed people deal with.Not sure if there is any science to this belief but there you go!!
  10. Hi, apart from the specific sound, which I am not underestimating or dismissing, what are the differences between the two reeds? Is the concertina reed more responsive or is this solely down to construction? Louder or again is that timber/construction influenced? I definitely get the more attractive sound from the concertina reed but am curious as to what else I would get in general by upgrading. I appreciate of course the variables between the general qualities, such as between a cheap or poor accordian reeded and a Dipper for example but am wondering about the differences that the two reeds specifically bring to the experience. TIA
  11. Ann Sanders

    Hand Position

    Thank you everybody.
  12. Ann Sanders

    Hand Position

    Thank you Jim, that is what I meant actually.Being an ex violinist, out of habit I aim to land the tip of my finger on the button but I call that part of my finger the pad.It's the part just behind the nail.
  13. Ann Sanders

    Hand Position

    Hi Perhaps someone might be so kind as to offer thoughts and opinions on the following? I am learning to play Anglo concertina 30 button. I have longish fingers and am struggling to land the pads of my fingers on the G row because I suppose of the length of my fingers and the way I have to bend them back in, if that makes sense? On the plus side I can reach the accidental row no problem. When needing to play the G row I can manage it a bit better by retreating or moving my hands back slightly mid tune so that the strap is not so much centred across the back of my hands but more towards the knuckle, again if that makes sense? This however gives me a slight feeling of losing control as the concertina feels like it’s out in front?? So I suppose my question is, is this needing to move or slide my hands in and out, albeit marginally, ‘ normal’ or do others have to do the same? I hope someone recognises this description or I am bound to sound quite mad. Thank you in advance
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