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Brian Peters

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About Brian Peters

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    Chatty concertinist

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  • Interests
    Anglo player, also singer of traditional songs, melodeonist and guitarist. <br />Traditional tunes, occasional ragtime, Beatles, music hall etc.<br />Left hand chords, moving beyond the home key signatures<br />Hill-walking, squash, really heavy ballads, Stockport County (lapsed)
  • Location
    Glossop, Derbyshire
  1. I've nothing at all against G/D instruments, and musicians like Jody do wonders with them, but remember that it is possible to play quite a lot of tunes in G, on a C/G instrument, in the correct pitch, and with full chording. The way I do it is to play the lower end of the scale (G above middle C to E) 'on the pull' on the C row, and anything above that on the RH G row. The first two notes of the scale are the pulled G at button 4 on the top (accidentals) row (LH) and the pushed A on the same button - both using the index finger - allowing a pulled G chord using the other fingers to be set against the first note of the scale. A tune like 'Speed the Plough' works fine like that, though tunes that go below G - i.e. to F# and lower - become much more difficult to harmonize as more LH fingers are needed for melody notes. Jim has a good point abut projecting over massed melodeons by playing an octave high. Personally I find the corresponding G/A reversal at top row button 2 on the RH of a Wheatstone-system instrument absolutely integral to the way I play. But that's probably just me.
  2. Brian Peters

    Weeping Willow Rag

    Great job, Jim! When I get back from holiday I'll try to work out which of my extra 9 buttons I use in that tune.
  3. Hi All, I recently posted on Youtube some mainstage performances from the National Folk Festival at Canberra last Easter, including a couple with my anglo. Here goes: The Wild Rover: https://www.youtube.com/watch?v=96Xuu8yeTFc The Northern Lass: https://www.youtube.com/watch?v=E9CK1CMiqIw There's also a home recording of 'Weeping Willow Rag' that I made last year: https://www.youtube.com/watch?v=VatDE1SMc4o Regards, Brian
  4. Brian Peters

    No Man's Jig - Cecil Sharp

    Very sweet!
  5. Brian Peters

    Heating On? Time To Humidify!

    I remember having significant air leakage problems during a trip to Ontario one frozen February....
  6. Brian Peters

    Poll: Tune Of The Month For February, 2014

    "Also, when listening to Brian's tune, The Blossom and the Rain, I was struck by how certain parts of the tune remind me of the Boda Waltz, a previous TOTM. What do others think? I wonder if Brian knows the tune and was subconsciously influenced by it?" Well, Chris, up to the moment it was brought to my attention I hadn't heard of 'Boda Waltz' and, having checked it out on Youtube (played by Jody Kruskal, as it happens) I can say pretty definitely I've never heard it before. The first couple of bars of the 'B' are similar to 'Blossom', though if there was any subconscious borrowing going on, I think it's more likely to have been from 'Silent Night' which shares the same phrase.
  7. Brian Peters

    Northeast Concertina Workshop & Concert 2013

    I'm looking forward to meeting you North East squeezers, friends old and new, in just over a month's time. See you there.
  8. Brian Peters

    Toronto English session

    Looks like fun, Robin. Next time I'm in Toronto I'll try to call in. With my melodeon. Brian
  9. Brian Peters

    Anglo systems

    It was in no sense a scientific survey, but when I tried out a few anglos on Chris Algar's stand at the Swaledale Squeeze the other week, I got the impression that most of them were in Jeffries tuning.
  10. Brian Peters

    Anglo systems

    Like Frank (though possibly not for the same reasons), I find the G/A top row button on the Wheatstone indispensible to the way I play. It's all to do with increasing the chording options on the left hand by having that convenient double duplicate, and it mirrors button 4 on the LHS top row - which seems logical.
  11. Brian Peters

    What we all look like - take 2

    Not the most recent, but at least I'm holding an Anglo and have a smile on my face. Lost that T-shirt though, dmammit. Where was Howard Jones' photo taken?
  12. Hi LDT, Your question: Did the music you wanted to play make you play a certain way, or did the style you chose affect what tunes/songs you play? is a good one. My love affair with the anglo began after seeing the late Mel Dean (subject of a recent thread) play solo at Whitby folk festival. It was most definitely the 'One Man Band' aspect of the instrument that appealed to me: I'd messed about with a mouth organ and worked out a few tunes by ear, but here was a way of playing them with added chords. I had to have one! And from that moment on, tune on the right hand, chords on the left, became my template. Over the years I've realised that some tunes compel me to finger the lower parts of them on the left hand (and I've had to find ways of keeping the chords going when this happens), that some added right-hand harmony can make the sound richer, that other kinds of music than the English folk I was first attracted to can be attempted, that song accompaniments (where the voice is carrying the melody) can allow all kinds of rich harmonic ideas, and that if I'm going to take my C/G instrument along to a session and play it in D, then I may well have to adopt a 'tune-on-both-sides' style instead. But my original template survives. One of the questions I get asked most often in workshops is: "I've learned some tunes, now I want to add chords", only to find that the person concerned has worked out the tunes across both hands, and that adding the chords is thus somewhere between difficult and impossible (unless you're a really good player like David Boveri). So Jodi's suggestion that you consider a G/D - which will enable you to carry on in the style you like, but allow you to join in the session - is probably the most practical one here. Otherwise do what I've done for a lot of my thirty years' playing anglo, and play for your own enjoyment by yourself. Please don't pack the concertina in, though. We would miss your enthusiasm on this forum, and you would miss the concertina, I'm sure. Regarding the earlier discussion of "a certain teacher" (whose identity I can only guess at), I have to say that, although I personally like to encourage flexibility at all times, sometimes it's very useful to try and imitate exactly a master's particular way of playing a particular piece, even if this is ultimately only a stepping stone to forming your own style. And I might add that, when I told a workshop group last weekend that here was this one way of playing a certain phrase, and here were at least two other ways that they might find more comfortable, one of the group said: "Don't give me alternatives, just tell me what to do!"
  13. Brian Peters

    North East Concertina Workshop (USA), April 9

    I'll certainly be in Shepherdstown on April 1, Jim, since I'm booked to play the concert there that night! Joanie was talking about running an informal ceilidh after the concert, but I'm not sure whether that's happening or not.