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Kathryn Wheeler

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  • Website URL
    https://www.youtube.com/channel/UCyfaF1wA2EZagdS7E8i3ixw/featured

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  • Interests
    20 button anglo, composition
  • Location
    Worcestershire

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Chatty concertinist

Chatty concertinist (4/6)

  1. Thanks! It would be nice to do more singing, if I could only remember the words!
  2. Darn, mine only supply melodies to others’ words. And is no use when I’ve forgotten words!
  3. This is SO true. They come up with the tunes, too!
  4. Two ways: One end against left thigh (if I'm doing tricky things especially with my pinkie on the lower left side) - right side if right (I have a short little finger and it helps..) or Playing the anglo standing (e.g. for dancing/singing with a group) - in which case I'd like to say I play it more vertically, with the instrument over the elbows, but in practice it varies.. I also move it around more (unconsciously - I guess it just goes with the whole body movement).
  5. It is brief (1 minute long), but it’s based on a longer video (that I also posted yesterday). YouTube Short videos have to be 1 minute maximum. This is the original piece: Yes, played on a Bb/F with a good few more buttons. It was played as if it was on a 20 though! No third row in the tune. In fact the piece it’s based on was originally written for one row! Theres more information in the video description on YouTube
  6. Thankyou, that’s really useful to hear. I’ve not videoed this instrument before, so so it’s really helpful to have your feedback!
  7. Yes, I reckon! This looks interesting: https://pubs.aip.org/physicstoday/article/64/3/44/413526/Acoustics-of-free-reed-instrumentsDocuments-dating
  8. I've just tried my first YouTube Short video (it's only a minute long) This is an improvisation on the introduction to On from Abberley, that I just posted. It didn't fit in with the video, and works on it's own.
  9. This is a tune for 20 buttons - in fact for much of it it’s for one row - but it was written whilst playing this unusual 32 button Bb/F instrument by David Leggett. No worries though - the tune works very well on a C/G and on a 20b.
  10. What an interesting discussion! I tend to use flavour words, as these come to mind most readily. For example - a harsh violin E string I would describe as being sharp and lemony, or acidic, or stringent. The lower tones on a viola might be fudgey or chocolatey. Regarding concertinas, I've played some that were too metallic sounding and others that were warm and rich (is that still flavour, or am I using a wider range of words?) But saying this, since I studied acoustics I do use other terms like "this has too many higher overtones" (for harsh and bright). Some concertinas have been excellent in terms of response and playability but have just a uniform sound I'd term "pure" (i.e. not enough soul or character...not emotionally complex enough?..that's quite an intangible thing to describe!) I wonder if it is related to pure in the acoustic sense i.e. not having lots of overtones and having a sound wave more like a sine wave. I did do an acoustics project but it was on the medieval fiddle. It would be interesting to look at the acoustics of different concertinas and compare them i.e. do fourier analysis (look at what harmonics are present in the sound) to analyse the timbre.
  11. Hi! What else do I play? Piano accordion - I've realised I don't really play it for folk, unless I'm accompanying. A lot of right hand chordal stuff, interesting harmonies, really using the sustain capabilities. Basically a portable keyboard/synth with a nice bass! Lots of pop influences. Good with singing. Viola - chuggy rhythms, harmonies/countermelodies, double stopping, more soulful than my violin, which I'm not really using at the mo. Medieval fiddle - love the potential of it for droning (bit like a hurdy gurdy) and the interesting tuning.
  12. Sorry I haven't responded to all your really interesting comments until now! It is fabulous to see someone doing Cotswold Morris with a concertina - all I've been doing so far is a simple Border step. I'm deep in Border country here, with little opportunity to try Cotswold. And I haven't been in the set with other dancers (good point about sticks!) The only processing I have done is at festivals just playing whilst walking (and the dancer's did their thing). I do very much like how the anglo is a natural for really getting the _feel_ of the dance step in its playing, if that makes sense.
  13. I bet it had a different timbre too and stood out from the middle/bass ranges of those instruments
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