Posts posted by geoffwright
ACs are cool!
6 musicians (including 2 anglos and 1 english) and 1 without instrument turned up for a "tunes you haven't played this year" session.
Offerings included 2 Osset beers, York Guzzler and a 6% russian stout from Barnsley.
Thanks to all.
For anyone not going to Whitby, the usual fortnightly tunes session will still be happening (led by myself). A good opportunity to swap a tune, talk concertinas and try the pub with the world's longest name -
Jemmy Hirst At The Rose And Crown
Rawcliffe, nr. Howden,
East Yorkshire DN14 8RN
Hopefully see you there after 8pm for English, Irish, Northumbrian tunes on concertina
(and great beer - beer-menu at http://jemmyhirst.freeservers.com/ ) and hopefully, I won't be lonely.
No - it could be described as a little unwieldy to play both hands at once.
If you aren't really to fussed about playing chords, and would rather play just melody line, you can't beat a C/G played in octaves for volume. You will never be swamped in a session.
(The C/G will still play all the chords, but you will have to adapt your style a little)
A most enjoyable and informative evening, in a style of "playing out" not heard as much these days - thanks to you both.
Did much band music (marches etc. in parts) get into the ICA library or is it a bit sparse? The concertinas seemed to get passed on with the demise of concertina bands, I wonder what happened to the part music?
I reckon c/g and g/d are separate instruments altogether, and playing in F will sound totally different on each.
You are better learning to play slowly in F,D,A etc. that pick up speed in 2 keys.
At the opposite end of this thread are the tunes in F without a Bb.
Anglo players like to pitch some tunes as low as possible to take advantage of "growling" notes (only to be attempted by those who have practised using their little finger). These tunes in Dm are more commonly found than Bm tunes.
Tunes that spring to mind on MaryMacs East Clare cd are Humours of Tullycrine, Connie Hogan,Ship in full sail,
Sandy Cartys on Blackberry Blossom etc.
If you want slowish and no ornaments, have a listen to any by Kitty Hayes.
A mixture of Clare-ish styles, some of my favorites include Dympna O'Sullivan, Edel Fox, Claire Keville etc.
As someone who now plays Anglo and EC, I took to EC straight away after 30 plus years on Anglo.
You do have to treat them as totally different instruments - you can't think of them just as concertinas.
I took up EC as I got fed up of grappling with Bb and A on a C/G - you do have to learn your scales on EC though, you can't just play up and down the rows. Once you have learned your scales, EC makes for much faster fingering.
If you treat them as totally seperate instruments, you should be able to switch from Anglo to EC mid-tune - I have never had problems getting my "bellows-moving head" out of gear, although I am accused of making an EC sound like an Anglo.
Naturally, some tunes are easier on one than the other, but I generally stick to Northumbrian and hornpipes on EC, and English and Irish on Anglo.
If you want to play Scottish, seek out some recordings of Norman Chalmers or Simon Thoumire (he is awesome) - the Scottish grace notes etc. are a doddle on EC.
Depends how many sessions a week you go to. If you are out at a couple of sessions every week, can you really get by on a handful of tunes?. Do YOU really want to hear the same people play the same few tunes year-in-year-out?
My theory is
learn to play well
learn to learn tunes
learn loads of tunes
pass on loads of tunes
If you are a regular session attender, you will have the chance to learn new tunes - make sure you do - keep a notebook to put tune names in
You will also be in a position to teach other people loads of tunes - make sure you do - at learners speed
Unfortunately, I take things to extremes, playing never-ending sets of tunes - simply to pass on as many as I can
I was taught to read tadpoles from being 6 and have the God-given gift of being able to play by ear, and also write tadpoles down as I hear a tune.
With my classical head on, foot-tapping is a no-no.
When I get my squeeze-box head on, I do bounce one knee rather than foot-tap, mainly for the rest of the bands/rooms benefit.
Pet Hate - people who ignore the beat, even when you are stamping your foot.
Mary MacNamara admitted that she can't play without getting her feet going first - her feet are part of her music, and she has to have a carpet under her feet when playing in the TV studio so it doesn't upset the microphones.
I tried dating a Lachenal - she wasn't interested - said I was too fast.
I tilt the concertina back 5 degrees or so, and find the lower octave is easier to manage by ignoring the finger-rest and using all 4 fingers. Robert Harbron got me into this.
But then, I'm an anglo player as well so shun safety nets, finger-rests etc.
We are changing the format of our monthly meetings and from now on will feature a guest speaker or performer at meetings.We have had many fine players in the past from all over the world so please support the sessions,which are as always free.
The speaker at our next meeting will be Neil Wayne who will give a talk on Northern Concertina Bands illustrated with unique memorabilia and recordings from his collection.This will be followed by the usual music session.Neil was instrumental in introducing many of the remaining band players 1970's to the younger enthusiasts .I remember with great affection meeting many of them at the Concertina Conventions that Neil organised.
The December meeting on 8th December, will also feature our Christmas Dinner so we will start slightly earlier at 7.30pm.If you want a Dinner reserve places with me.The cost will be around £20 for a five course meal and mince pies and coffe. Places are limited so contact me asap to reserve a place(s).
All musicians and singers are welcome even if you do not want to eat.I suggest if you are not eating you turn up at 9.00pm.
More details from Mark Davis Edeophone@aol.com
Only one way to beat pipers in odd pitch - piano accordion with big musette (I've got a Morino like that).
My wife is oft' heard to say
I play concertina all day
She says it sounds LOUD
of that, I am proud
as it frightens the cat out the way
Just listening to the daisy field on clairefm - lovely clear playing Claire!
We did enjoy her coming across to Swaledale, UK in Spring for a workshop.
If you are in the Musicians Union you can insure instruments upto around 2K for free.
Allianz Cornhill give discount to MU members - I use them.
What a find!
Just one acknowledgement to add - Kerfunten Jig was written by Irish flautist Hammy Hamilton, named after a town in Brittany.
Well Done Paul
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in General Concertina Discussion
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