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About JimLucas

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    all systems
    all kinds of music

    My main squeeze is the English -- in various sizes, but principally the standard treble, -- but I also play some Crane duet and anglo, and a wee bit on the MacCann duet, which I hope soon to devote more time to. I'll try my Jeffries duet and Chemnitzer once I get them into playing condition, but that may be a while.
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  1. Yes. But note that we are in the Central European time zone. So 10 am for us is 4 am for US East Coast and 1 am for the Pacific Coast. (9 am for the British.) That's the reverse of the problem that I have with Zoom sessions hosted in the US. I've just gotten up to join a shanty session in Seattle. For them it starts at 8 pm; for me that's 5 am. 8^)
  2. Scandinavian Squeeze-In April 23-25, 2021 (last weekend in April) This will be our 21st SSI.  Not a school nor a festival, but a weekend of squeezers sharing with and learning from each other. Due to the risks and restrictions of the ongoing pandemic, we will not hold our event as an in-person gathering, but thanks to some last-minute technical assistance, we are going to try an on-line format. Very short notice, but if you want to join us, you don't have to make travel plans. Please see our web site -- http://www.nonce.dk/SSI/ -- for
  3. Yep. Technical problems! I got the same, except barely audible. I've already contacted Jody about it, privately. Let's hope they can figure out what went wrong and try again.
  4. A long shot, perhaps, but maybe you could contact Fabbrica Concertine and see if they would be interested in helping you on the Italian end. I would think that they should at least want to work to eliminate (from the internet) any references which could lead others to being similarly cheated in trying to buy a product which is now properly associated with their name.
  5. You could both be right. During Playford's time, the tunes and dances travelled widely all around the North Sea (also to Ireland and the American colonies), sometimes keeping the same name for the tune and dance but claiming different composers/authors. 8^o I know from my own experience that at least a couple of tunes that I learned as "Playford" playing for dances in NYC are still in use -- though for a very different dance -- on the island of Fanø on the west coast of Denmark.
  6. Others will have to answer your question. I'll only quip in passing about the danger of acronyms. I finally decided that your "ISO" means "In Search Of". For me, since before the first personal computer, it has always meant "International Organization for Standardization". 8^)
  7. But it's not entirely "circular". Those who only play by ear are unlikely to compose a tune with the intent of easy reading-writing in a common clef. Instead, they're likely to simply have it fit in the range of other tunes with which they're familiar. And the commonly-known clef will also have been chosen to comfortably cover that same range. Of course, many tunes will also have a range that is limited by the composer's instrument. E.g., a flute player is unlikely to compose a tune that goes down to a violinists' low G, and somebody with only a 20-button anglo is unlikely to
  8. I'm rather with Newbie Anglo on this. I learned long ago to read "standard" notation, and I play tunes on many differrent instruments. I find it much more sensible to have a single form of notation and then learn how to finger each note on each instrument (flute, saxophone, trumpet, guitar etc.) than to try "translating" among mandolin, banjo, and anglo "tabs", especially "on the fly". Or for that matter, translating between "Wheatstone" and "Jeffries" button numbers. And if I and my friend who plays melodeon want to play together, it doesn't seem reasonable that either of us sh
  9. I'm only an occasional anglo player (the English is my main squeeze), but my answer would be "no" to both. When I have printed out stuff for either my own use or for others, I have used an actual-pitch treble clef for the left hand (as in your upper example) and an octave-lower 8va -treble clef for the right hand (as in your lower example). Neither I nor those with whom I've used this system have found any confusion with regard to which octave we were reading, since that is determined by which hand we are using, with one hand per staff = one staff per hand. The proble
  10. Do you think that collectors without recording equipment would necessarily be less fastidious? Judging from the various books I have, those who recorded folk songs did not transpose them into "standard" keys, but transcribed them in the keys in which they were sung by their informants (who did not all have the same vocal range). So I'm sure that they had means of determining the pitch they were hearing... e.g., a pitch pipe, if they themselves didn't have "perfect pitch". Actually, a couple of my folk song collections do have all the songs transposed into one or two "standard" keys, but the
  11. Such a limited classification "excludes" a great deal of the folk song repertoire, where in a great many songs, both major and minor, the lowest note is neither the tonic nor the fifth,, but often the sixth or seventh (and on rare occasions, something else). I'm particularly fond of song tunes which are in a major key, including the major seventh of the scale everywhere except for the lowest note, which is a flatted seventh, a full step/tone below the lowest tonic. I don't view such limited classifications as helpful in "understanding" broader systems, but more as attempts to make
  12. This reminds me of the discussion of "modes". And also the garmmar of spoken languages. I.e., a certain repertoire is studied in order to find a structure in it. If such a structure can be found (and sometimes even if not), it is used to construct a set of rules which can then be used to generate further "valid" examples of that repertoire. Problems can arise when those rules are subsequently applied to a different musical repertoire, language, etc., which those rules don't fit. Or even when someone else derives a different set of rules which are equally valid in de
  13. "Proper"...i.e., real pirates back in sailing ship days were plunderers and murderers. They were no more "romantic" than modern street gangs or drug cartels. Some contemporary pirates, though not all, prefer kidnapping and ransom to outright murder, but they are still far from admirable members of our society. I've never been a professional sailor, but I love sailing ships and the sea, and I have many friends who have been professional. A few have actually had to fight off real, modern-day pirates. So I pass on this message from them (which I tend to agree
  14. I just got this email from my friend Rickard in Stockholm: I've also asked Ken to post this in the "Lost or Stolen" thread in the "Buy and Sell" forum.
  15. Lost... hopefully not stolen, but...


    From my friend Rickard, in Stockholm:

    Something horrible happend last saturday, I lost my bag with my two
    favorite concertinas on Underground Stockholm.
    My Whetstone G/D 30735 and my Crabb made Ball and Beavon C/G.
    I have reported this to police and to the Underground section for lost
    things, havn't heard anything yet.


    Of course, we want everyone everywhere to be alert for anyone trying to sell something which fits the description, even though the likelihood of them being simply tranported out of Sweden during the current restrictions is remote.


    And we hope that we'll soon be able to remove this notice, but it's already been most of a week with no luck.




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