Charles Hunt
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Posts posted by Charles Hunt
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On this topic of tradition versus innovation, I believe there is no "one" version of any tune. This was pointed out to me at a fiddle workshop when jazz violinist Micheal Gray asked individual participants in the workshop to play St. Anne's Reel. While all the versions were definitely related, each person had a slightly different take on the tune with a slight difference in phrase here and a triplet there. In my experience, in a band setting everyone needs to play the same version of a tune when they are playing in unison. However when someone takes a solo, they have the option of playing the agreed on version, or taking off in an innovative solo that stays within the chordal structure of the tune. This inevitably makes the music more interesting in my opinion. I describe fiddle tunes to my mandolin students as similar to Leitmotif in classical music. The tunes are frameworks or themes for regional and personal settings and musicians need to be open minded when they run into these differences. That is my take on this discussion.
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Dear Crane Driver: Thanks for your comments and directing me to your website to hear your playing and singing. I am always glad to listen to someone who plays Crane Duet. I find it fascinating how players use the instrument to its potential. I think my biggest problem is that the straps had stretched and I was using my thumbs to over-compensate. I guess this is a continuing story as the straps at first are a bit too tight, then later need tightening. Thanks again. Charlie
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Dear hjcjones:
Thanks for replying. You stated the obvious and I tried tightening the straps. I think you were correct in that the straps had become too loose and I was using my thumbs to over-compensate. I am on the last, tightest, available adjustment and it is just a hair too tight, but I am sure it will loosen up with time. If I have to tighten again, I will have to go to a leatherworker to punch another hole and carve the sides of the strap down to make another adjustment. Thanks for the suggestion. Charlie
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I am a Crane Duet player and have noticed that I have to grip the wrist straps fairly tightly with my thumbs or I start to lose control of the accuracy of playing notes with my fingers. I also know that any kind of tightness might not be good overall for playing. I was wondering if anyone else has any thoughts on using a somewhat vice grip with the thumbs on the wrist straps. I imagine that anglo players may have the same grip. I have also wondered if it would be useful to put thumb straps on a duet like those on an English concertina. My thumbs do get sore when I practice a lot. But if I don't keep a pretty good grip I find my hand starts slipping backwards away from the buttons and I lose accuracy. I would appreciate any thoughts on this subject. Thanks Charlie
MySpaceMusic Website:
http://www.myspace.com/charleshunt
CD Baby Website:
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I am a mandolin player mostly and learned it originally when I was 25 years old. I did not read music when I started, but my mandolin teacher, Hibbard Perry, was a classical fretted instrument player and taught me to read music along with the mandolin lessons. At the same time I was playing folk music and learned to play tunes by ear. If I can hum the whole tune, every note, without doubt about any phrase, I can figure it out on the mandolin. When I decided to take up Crane Duet I was 60 years old and so far, I have only played by ear on it. I sometimes look at note system chart to figure out what note to start off on, but once I get rolling I can usually figure out the melody by ear. I have quite a repetoire of mandolin tunes and I have been applying them to the Crane Duet. Of course the left hand is another matter, although I instantly know by ear if I am playing the wrong chord. I would say the Crane Duet has taught me a lot about forming and playing chords and accompaniement, although I still have a long way to go in that respect. Charlie
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I am mostly a lurker on CNet and I do play Crane Duet Concertina which I enjoy very much. But this post is shameless self promotion of a new CD I have made of mandolin music called The Cabin Hunter's Mandolin. There is no concertina content on the CD. My wife does play some piano accordion on a couple of cuts. I know many CNetters play other instruments as well. It is a CD of instrumental music played by me with help from some of the finest acoustic musicians in Fairbanks Alaska. Check out my CD websites at:
CD Baby: http://cdbaby.com/cd/charliehunt
MySpaceMusic: http://www.myspace.com/charleshunt
Hopefully in the future if I make another CD there will be Crane Duet Concertina on it. All the Best Charlie Hunt
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I've been thinking of making a post of all sorts of issues and challenges and discoveries I've had on the duet, maybe some time soon, but I think I'll have to be selective, or make it a series.
I'd like to hear your observations, Boney.
I've been wondering if I/we SHOULD be studying air button technique. So far I use the button pretty much like everyone else -- twice a session -- coming out of the case and going back in
I had typed a much longer reply, but the spell checker ate the whole thing
--Mike K.
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I have been playing Crane Duet for a couple of years now with no previous concertina experience. So I don't really have anything to compare it to. I have a friend who took up English about the same time. I would say she has made more progress playing melodies. That is all she plays so far, single note melodies. I have been concentrating on trying to play the chords and melodies at the same time. I find this a daunting task, but I am definitely starting to make progress. I have also been concentrating on playing waltzes. If I play just right hand, I can keep up with my English playing friend on most melodies. Add the left hand and I get flummoxed. I have been bringing the crane to sessions and trying to fit in where I can. I would say I have trouble playing with others on the Crane concertina. I am working a lot with a metronome because I think rhythm is a good part of the problem. I am very good at fitting in with almost anybody on the mandolin so this is a mystery to me. All that said, it has been a humbling, interesting and rewarding experience to take up another instrument. I intend to record myself playing a waltz then ask other Crane players what they would do differently to make the left hand accompaniement more interesting. Charlie
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A few years ago I found a small volume in a used bookstore.
It was, published in the 1890’s, and filled with musical aphorisms. Here are two of my favorites:
A while ago, I heard Ray Charles being interviewed once on the radio. He summed up the concept of musical improvisation:
"What your mind think of, can your fingers play it?"
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Boney: Great playing on those waltzes. I am a beginning Crane Duet player and it was very instructive to me to see someone playing a waltz on a duet. I have been working on waltzes on the Crane, accompanying myself in an oompah pah style with the root note of the chord on the one beat and the third note on the second and third beats. I now see the and hear the advantage of playing fuller chords on the second and third beat. I liked seeing the keyboard on both sides of the concertina. I also admired your bass runs to connect the chords together. That instrument sounds great by the way. I would find it very helpful if you would post a video of you playing a reel and a jig on the Hayden. I have worked on a similar oompah accompanyment on reels but find it tiresome. Jigs so far have eluded me on any kind of system to play chords. Thanks for posting your video, All the best Charlie
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The other day I ran across a picture of a vibrandoneon. It looks a lot like a melodica in that it is powered by blowing it through a long curved stem. The one I saw was made by the Victoria accordion company which appears to make high end accordions of all types (though no concertinas). There are piano keyed versions of it and also button keyed versions. The Victoria brand body is made out of wood and they look like quality instruments. My question is how the button system ones are set up. They look like they might be set up like a chromatic accordion, or possibly a Hayden type of chromatic arrangement. I also wonder if the reeds sound anything like a bandoneon. I have scoured the Victoria site but there are only pictures of the instruments and a price list. Any information would be greatly appreciated. Thanks in advance. Charlie
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My concertina is a Lachenal Crane Duet, 48K with a replacement riveted action by the Concertina Connection. It was a Salvation Army Instrument. All the best Charlie
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After reading a number of accounts of Wakker replacement actions, I decided to take the plunge and have the action replaced on my 48K Lachenal Salvation Army Crane Duet. (Pictured in my avatar). This concertina had problems with air leakage, and was no where near air tight. Also, the action was continuously malfunctioning. I was having to periodically take it apart and fiddle with it. I am not particularly handy or mechanical and I hated messing with it. I sent it off to Wim hoping that he could do something with it. Two months later the concertina came back totally changed. It was about as air tight as an old Lachenal can get. The instrument was much louder, probably because it no longer leaked air. Also, the action was more consistent feeling. I did have problems almost immediately with one note sounding with no button depressed. I figured out that the offending Key needed to be bent slightly up on the button end. Since then I have not had a problem with that key or any other key. I think this is just what the concertina needed to make it really playable. I now have a functional instrument with a new crisp action. I thought the price for this work was entirely reasonable considering the action, pads, sampers etc were replaced and the instrument retuned. I don't know if this is the right choice for every instrument, but for me it was the correct answer. As a mandolin player, i have always chosen playability over any other concerns. I like my instruments as playable as I can get them. So this is my two cents on this subject. All the best Charlie
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After watching some of the videos of the group Buille (I believe pronounced similar to Beulah) on Youtube, I ordered their CD. It arrived yesterday, and I gave it a listen where I do most of my music listening these days, in my truck. I think it is a great CD. The central instrument is Naill Vallely's anglo concertina with great support on piano, guitar and percussion. Like Simon Thoumire's recording "Big Day In", the CD is very musical, interesting, and never becomes tiresome from the beginning to end. I highly recommend this CD not just because it is a concertina CD, but because in my opinion, it is an exciting new sound in celtic music. All the best, Charlie
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Hi all,
I have attached the keyboard layout for a Crabb built 80 Key (79 + Wind key) Crane Duet. It opens as a Word document. First time I have done this, so hope it opens OK.
Geoff
Geoff: What an amazing instrument that would be. Orchestral in dimensions. So was this instrument ever built? I have a hard enough time keeping track of 48 keys, but I would love to hear an instrument like this one. Thanks for sharing this layout with us beginners. Charlie
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I have been playing a 48K Crane for about a year now. I picked up the right hand melody fairly easily, playing by ear. I am pretty sure I can learn any melody I can think of over time, although I still stumble a bit because my muscle memory is not totally intuitive yet. My main instrument is mandolin so I have years worth of tunes in my head. The hardest thing for me has been adding the bass accompaniement. I have systematized the bass pretty much into playing the first and third note of the chord to make up the chord. Mostly I have been working on waltzes with this method (My Cape Breton Home, The Lover's Waltz, When Summer Ends, Waltz of the Floating Bridge). I have also been working on some reels, once again playing the first and third note of the chord in kind of an oompah accompaniement. I learned the G part of the melody for Lover's Waltz on the bass and then switch to the right hand for the D part (with oompah bass chordal accompaniement.) Having heard some recordings of real Crane Duet players, I realize a lot more is possible with the instrument. So my progress has been glacial, but I am really enjoying the challenge.
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Stephen: I saw this Crabb, which has similar aluminum type ends to my Jones Crane Duet. I think the ends on my Jones are more primitive yet than the ones on the Crabb that is for sale. Too bad the Crabb is only 45K or I would be interested. Incidentally, the Jones Crane Duet was checked out by the Button Box and they convinced me that I would be better off investing in another instrument. I took thier advice and now have a nice Lachenal Salvation Army metal ended 48k, which I bought from Chris Algar. The Button Box did a great job tuning it and tweaking the action. Some day I might have a go at restoring the Jones just to learn something about repair. I am enjoying learning to play the Crane although I find it slow going. Charlie
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A while ago I posted some pictures of my purchase from Elderly Instruments of what seems to be a Jones Duet Concertina. There was some discussion about the instrument including comments from Geoffrey Crabb and his photo examples showing pretty conclusively that my concertina was not a Crabb. Recently (see attached photo) this Jones anglo showed up on Ebay with metal ends that look very much to me like the metal ends on my duet. Same type of aluminum like material and unispired metal work. So I think it is possible that my Jones Duet was made totally by the Jones company, maybe in its death throes. It would be interesting to get the serial number of the Jones Anglo to see if it was made in the same time frame. This is probably of interest only to me but I thought I might mention it. My Jones Duet sits in a closet awaiting restoration and meanwhile I am having fun with a nice Lachenal Crane Duet I bought from Barleycorn. All the best Charlie
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I have no hesitation in saying that the tops (end plates) of the concertina in question are not of Crabb manufacture. From the pictures, the fretwork seems very poorly done and I feel sure that if work of this quality had been produced then it would not have been allowed to leave the workshop.
I believe that the instrument may have started life as a model with wooden ends and due to irreparable damaged these were cut off and replaced with metal ends. Because of the reduced thickness of these replacement ends, a ‘raise’ had to be incorporated to allow for the accommodation of bushing woods. For this instrument it appears that an Anglo type raising tool was used by the shape of the raised area.
In the Crabb workshop, the side veneers would have been removed and the sides built up to a level that would allow the fitting of bushing woods. The sides would then have been re-veneered and ‘flat’ metal ends cut and fitted.
The outward appearance of the ends of this instruments is reminiscent of the efforts of a now deceased player/repairer? Who I believe should be remembered more for their exceptional playing ability than their repair expertise.
Thanks to all who responded to my question especially Mr. Crabb. This concertina is probably a "Frankenstein" put together from various parts and pieces of other concertinas. But I think it started its life as a Duet of some make. It will be interesting when the Button Box folks look at it for I have heard they are experts in the field although not more expert in identifying a Crabb than Mr. Crabb himself. Thanks again. Charlie
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I have no hesitation in saying that the tops (end plates) of the concertina in question are not of Crabb manufacture. From the pictures, the fretwork seems very poorly done and I feel sure that if work of this quality had been produced then it would not have been allowed to leave the workshop.
I believe that the instrument may have started life as a model with wooden ends and due to irreparable damaged these were cut off and replaced with metal ends. Because of the reduced thickness of these replacement ends, a ‘raise’ had to be incorporated to allow for the accommodation of bushing woods. For this instrument it appears that an Anglo type raising tool was used by the shape of the raised area.
In the Crabb workshop, the side veneers would have been removed and the sides built up to a level that would allow the fitting of bushing woods. The sides would then have been re-veneered and ‘flat’ metal ends cut and fitted.
The outward appearance of the ends of this instruments is reminiscent of the efforts of a now deceased player/repairer? Who I believe should be remembered more for their exceptional playing ability than their repair expertise.
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There is a serial number on the George Jones reed plate. It looks like this:
R
26928
I am not sure this is the serial number of the reed plate, or the serial number for the concertina. It also appears to have bone buttons although at least two of them have been obviously been replaced with something else. The buttons are ratty looking as you can see from the picture. I think the bellows is not totally dysfunctional, but probably needs repairing or replacement. Can anyone confirm that the aluminum end plates of the concertina look like Crabb concertinas? I am on the waiting list to get this one restored at the button box. Meanwhile I am working on learning the contradance waltz "Two Rivers" and driving my wife crazy. Charlie
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I managed to copy some pictures off the Elderly website of the Crane Truimph Duet concertina I recently purchased. As you can see from the attachments, the reed pan was made by the Jones company. I believe the end plates may be those of a Crabb company concertina. Has anybody seen this beast before or one like it? Thanks for the replies I got earlier. I hope the attached pictures come through. All the best Charlie
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I recently bought what was listed at Elderly Instruments as a Crane
Triumph Duet Concertina. I don't know if anyone on the forum saw it advertised. It is a little strange in that it is a 48 button, but has only 18 buttons on the
bass side and 30 on the treble side. I am not a concertina player (yet) but I am
interested and after reading about the different types, the crane duet
system appealed to me. I am a fairly accomplished mandolin player and have
played harmonica since I was a kid, although not so much now. The sound of
a concertina has always appealed to me, so anyway I took the plunge. I was
wondering what fingers you use for the rows of buttons on the bass and
treble side. I would think you would use all 4 fingers. Maybe your index
finger for the first two rows of buttons and the rest of the fingers for
each of the other 3 rows? On the left, bass side, the maker left out the high G
and high F# studs. On the treble side, they added high C# and high D#
studs. Have you ever seen such an array of studs? The instrument from my
very little knowledge looks like a Crabb I have seen. There is a guy in
Alaska who has a Crabb English, and his has similar aluminum ends. It also
has papers that look like I've seen in pictures of some Crabs. The reed
pans however say George Jones on them, although I read Jones never made a
duet concertina. This one might be a Frankenstein. It works tolerably well
and is mostly in tune. I have got on the waiting list for the Button Box to
restore it whenever they get that far. Meanwhile. I will try to learn to
play it. I would appreciate it if you could comment about anything you
might know about this concertina. All the best Charlie Hunt
New tunes on myspace
in Concertina Videos & Music
Posted
David: Nice playing. I liked the Crested Hens tune and Farewell to Chernobyl. I especially liked your arrangement of Chernobyl which I have been playing for years on mandolin at Contradances. I thought it breathed new life into the tune. As far as the controversy over the title, whenever I hear the tune I think about the Chernobyl disaster. If everybody thought about the disaster for only a short time who hears this tune, then it is politically as well as musically valuable. When Prokofiev premiered a new sonata, he was booed off the stage. In response he came out and played the whole thing over again. Squeeze on. All the best Charlie