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JackJ

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  • Interests
    Irish Traditional, mostly.
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    Indiana, USA

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  1. This is indeed my intent. I've been using the Transcribe+ app for a while now to help me learn tunes by ear, and to slow down the parts that fly by too fast--usually the entire tune!. I do like having the dots to fall back on, but I'll mostly be using the CD's, plus the slow down software, to try to learn these tunes and these specific settings. The software also allows me to loop a section, or the entire tune, continuously, which is especially helpful when the recording is just one time through. For me, this book without the CD's wouldn't have much value.
  2. Following up on my own post, I've gone ahead and ordered the Morse ESB with d/d on the left thumb button. I often miss not having a press f# or draw e (in the same octave) on the left hand side, but Doug at the Button Box indicated that the thumb usually doesn't have the dexterity to get in on quick melody notes. Delivery is at least a couple months away, but looking forward to going low on the baritone.
  3. Following up on my own post for anyone else interested in this book: It is, as Gary says, just the tunes and nothing else. The 2 accompanying CDs do cover all the tunes, but just one time through on each. The dots are not completely accurate transcriptions--they include no double stops/chords, for example, and don't capture every ornament. But they're pretty close. Still, I'm glad to have this. The book has a lot of tunes I want to learn, including some I already play, but where it will be helpful to incorporate some of the phrasing/variations presented here. And unlike learning a tune from a fiddle or flute recording, here I get concertina-specific elements, played in a "pro" manner. I.e., not just a basic, unadorned version of the tune. Certainly not an essential purchase, and not one that would have done much for me when I was just beginning, but I think it will be helpful in my current intermediate phase. Once I've spent some time with it, I may want to see if I can pursue some lessons with the author.
  4. Thanks Richard! I have seen mention of Aogán offering online lessons, and may well pursue that. And in editing my post above to add a link to the book, I found a tune list on the Walton's site. (It's a popup image that I don't see a way to copy, otherwise I'd paste it here.) It includes a good number of tunes played at my local sessions that are not yet in my personal repertoire, so I'm going to pick it up, hoping for some concertina-specific insights. But would still love to hear any impressions from anyone who has used this particular book. Thanks!
  5. Hello, Has any looked at the book "110 Irish Concertina Tunes"? I can't find a tune list/table of contents for it anywhere, though it appears to widely available, both with and without CDs. I also don't see it listed in Gary's excellent list of books here on c.net. Some of the reviews mention it covers ornamentation, which I'm really hoping to learn more about, and would love to see applied to specific tunes. On the other hand, if the content is mostly generic versions of things I can find online or in my umpteen other Irish tune collections, I'll probably pass. Thanks for any insights!
  6. Hello! I'm seeking a copy of the "Anglo International" CD that was produced by several members here some years back. I'm guessing that new copies are long gone, but hoping someone might have an older copy that they'd be willing to part with. Please PM me if you've got one you could sell to me. Thanks! Jack
  7. Nice work! I love the mnemonic phrases, especially, and the diagram of duplicated notes is great to see laid out. I'm about two years in, and still have it on my list to learn the notes on the buttons at the extremities that I rarely get to, so I may be spending time with your learning aids. Here's hoping your new instrument arrives soon and lives up to your expectations!
  8. As mentioned above, Grey Larsen's primary concertina is a 40b Edeophone Anglo in D/A tuning. You can hear it here:
  9. Personalized instruction is a great thing, so I don't want to discourage you from finding a teacher. I believe there are several who are regular contributors here, and maybe some will follow up with you personally. But since you mention the Irish Tunes book, and if that's your primary interest, I'd encourage you to take a look at irishconcertinalessons.com and oaim.ie Both are subscription based online learning sites, and I've had great experiences with each of them. They're not direct substitutes for the feedback you'd get with one-on-one lessons, though. But since they have free samples, I'd encourage you to take a look.
  10. Beautiful! Thanks for sharing it.
  11. I've got a Morse Ceilli C/G that I'm really enjoying and I'm thinking about adding its octave-lower ESB cousin. This baritone anglo comes standard with a left hand thumb button which plays f on push and c on draw for the C/G model. I play mostly ITM, and those two notes won't do a lot for me. In fact, the f naturals on my Ceilli are complaining of neglect. So I'm wondering about switching the notes on button 31 to d/d. I've corresponded briefly with Doug Creighton at the Button Box about this, and he thinks it's feasible. They'd be the same pitch as the two d's typically played with the left hand ring (draw) and pinky (push) fingers on a c/g--there's not enough room for reeds an octave lower (which would be quite low on a baritone). Does anyone have thoughts on other notes for that button? I'm gravitating toward the double d since I've seen it on other anglos, advertised as a drone. g/g seems like another possibility. But with the pitch not being lower than my regular left hand d notes, I'm not sure if using them would really give that pipe drone sound. My playing has not yet progressed to the point where I'm proficient in adding chords, though I will be working on that. So: Two d or not two d? That is the question. (I'll grab my coat.)
  12. Thank you! I have played many musical instruments over my 6 decades on the planet, and while I can read treble clef music ok, I usually opt for tablature, as it's been easier for guitar, banjo, ukulele, harmonica, etc. Except for concertina, for the reasons you state. Despite there being multiple button options for a good number of notes, I find it much easier to figure out a tune from standard notation than those cryptic, inconsistent tabs. Maybe they work for some learners, but for me, I tried and failed. And in hindsight, I'm glad I've had to figure out the specific fingering--which d, g, b, c, or a option I was going to choose--when learning a tune from a page. It's a lot easier for me than on, say, guitar, or especially banjo when I've got different tunings to consider. Iit's made me pay attention to how to get the best phrasing for a particular passage. Don't get me wrong--I'm glad those tutors are out there, and I'm hopeful that many new players have benefited from them. I respect the time and effort the authors have put into them. But so far, none has done much for me. Beyond the tablature issues, the lack of consistency in naming and describing ITM ornamentation is another factor, though I think that's probably true for all instruments, and not just the concertina. I've got a different perspective on one issue though: I've never cared for tutors that start me off with "Mary Had a Little Lamb" and "Hot Cross Buns." I get your point. But if I want to learn ITM, I want all the tunes to be in that repertoire. Many can be simplified, and if I'm not familiar with them and the tutor doesn't include recordings, I can always find versions on the various streaming services that let me know what I'm aiming for. But maybe your preference is best for someone with little to no previous music experience. Me, I'd be happy to play "Britches Full of Stitches" a thousand times to try to get it right. But after three times through "Hot Cross Buns" I'm questioning whether I even want to learn another instrument. For me, the best tutor for any instrument among the hundreds (yes, I've got scads of them) is Grey Larsen's Essential Guide to Irish Flute and Tin Whistle. It's a superb example of technical writing, with careful, clear analysis, and very helpful descriptions. The included audio tracks are also extremely well done, as are the transcriptions of the works of other master players. Of course Grey also plays concertina, but he's said he will not be writing a concertina tutor, probably in large part because he plays a D/A instrument and not the C/G favored by most. Too bad for us. On the flipside, we have the wonderful online offerings from OAIM and irishconcertinalessons.com, which emphasize the all important aural learning. If you can't take personal lessons from someone who's an accomplished ITM player and an excellent teacher, these are the next best thing, imo. Rather than trying to figure out what 3A^ means, I can watch the fingers and see the bellows movement, with Edel or Caitlin also telling me which finger goes where. Great stuff, and worth the price.
  13. Carroll Concertinas has a short video on the subject that might be helpful.
  14. I wish I'd taken a closer look, or even some measurements, when I got to play the two side by side. Since I've really only spent time with one concertina, my Morse, both the Small and Standard Carroll felt different to me, but not significantly different from each other.
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