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Neil Thornock

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  • Interests
    Composer, organist, tuning enthusiast
  • Location
    Utah USA

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  1. Maybe you've seen these videos but I'm quite smitten with his use of concertina in his music-making. I kinda can't stop watching this guy...
  2. I've finally made semi-decent progress on this just intonation concertina ... I think ... maybe ... In any case, I'm totally in love with these two instruments, especially the concertina. ANYWAY, here's a little setting of Daphne.
  3. Take 2 on this wonky tuned concertina! My fingertips are hurty-hurty from too much practice today.
  4. Thanks each of you. Dissonance, that's quite the story.
  5. Just got my Geordie Tenor and I'm loving it. The brilliant folks at Button Box tuned it for me in a kinda wild, kinda beautiful way. The first video, in which I describe some of my tuning choices, will have some "preaching to the choir" stuff (you all know how concertinas work already). The second video is my very short first outing with the instrument as composer/performer. I so look forward to learning to play this thing more proper like. https://www.youtube.com/watch?v=VfY44bsMn88 https://www.youtube.com/watch?v=-p6qRRXG2M0
  6. Thanks Alex. I'm referring to hybrid concertinas that use accordion reeds, vs those with concertina reeds, rather than accordions vs concertinas in general. 100 years is a pretty long haul!
  7. Which types of reeds keep in tune longer: concertina or accordion? Or is it a wash? I've read through a few threads on accordion vs. concertina reeds but it's information overload for such a specific question.
  8. LJ, wow -- the numbers of button layouts in the concertina seems bewildering enough as it is. I suppose it's a small enough instrument to invite experimentation. EC made sense to me after a few months ... I imagine any other system would take a similar investment. Geoff, beautiful and inspiring playing (despite any so-called mistakes ). Thank you for the demo!
  9. Ah that is an interesting point. I can relate because my Jack is missing enough notes to make even some of those keys "out of pattern" (if I understand you correctly). The logic of EC layout is part of its charm. I also can't get my head around what it would do to having to be mindful of push vs pull (never having played Anglo).
  10. Does anyone know of an English concertina tuned such that any of the notes are different on push vs pull? For example, I'm wondering about a meantone-tuned instrument with a D# and a Db on one key, extending the range of keys. I have my doubts about the practicality but wonder if it has ever been tried and/or could be practical.
  11. I've spent the last month on my new Jack, which I have very much enjoyed. I think I've found an instrument that feels like "home" in a unique way. I'm wondering about the thumb strap screws, as pictured. Two of the screws on one side appear to be completely loose -- whether stripped or broken at the head I don't know. It looks like a similar situation is developing on the other side of the instrument. My worry is that the thumb strap will break off the side of the instrument when the third screw gives up. Is there some larger piece of hardware that I can't see that is holding the strap on? What do those little screws do exactly? How worried should I be about this? I'm hoping to trade this instrument up for a Morse in the next few months. Thanks! Neil
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