Jump to content

John Wild

Members
  • Posts

    1,563
  • Joined

  • Last visited

1 Follower

About John Wild

  • Birthday 03/31/1949

Profile Information

  • Gender
    Male
  • Interests
    I play English Concertina and Hayden Duet. I play solo at local folk clubs, and play in the band with Kettle Bridge Concertinas, a local small ensemble in Mid Kent. Members have mixed ability levels, some very experienced players, and some beginners.
  • Location
    Gillingham, Kent. U.K.

Recent Profile Visitors

3,254 profile views

John Wild's Achievements

Heavyweight Boxer

Heavyweight Boxer (5/6)

  1. Is it possible you can train your body so that your left arm does less work and your right arm becomes dominant in moving the bellows? That may not be easy but may be worth a try. Do you play standing or seated? If standing, perhaps consider playing seated with the left end resting on one knee.
  2. 40 or 50 years ago would take you back only to 1974. I think the key period could go back another 50 years. As an English concertina player, i have no involvement directly in this debate.
  3. This came from a workshop at Broadstairs folk week several years ago, pre-covid. Amelie.pdf
  4. Someone I met a few years ago, on my enquiring, told me his instrument was a treble-baritone. After a few more questions, I identified this as what is more commonly described as a baritone-treble. His definition sounded more accurate to me, but I doubt if that would become an accepted definition now, when baritone-treble is commonly accepted.
  5. I do not have a hard copy of the book. I found it with a google search at this website: https://ia902209.us.archive.org/32/items/ACollectionOfTheBalladsMelodiesAndSmall-pipeTunesOfNorthumbria/NorthumbrianBallads.pdf
  6. I have put into practice what I suggested above, and this is the result. It seems to confirm my suggestion. I have removed the repeat marks after bar 8, as these are not in the version in the book. Individuals can of course insert them if they wish. X:2104 T:Coffee and Tea C:Trad S:Northumbrian Minstrelsy M:4/4 O:England F:England K:G "C"ef|"G"g2 d2 BGdB|"G"Gggf ~g2 ed|"G"g2 d2 BGdB|"D7"Aefg ~f2 ed| "G"g2 dc BG B/c/d/B/|"G"Gggf ~g2 ed|"G"g2 dc BG B/c/d/B/| "D7"Aefg ~f2||ed|"G"BgBg (3def gd|"G"BgBg ~f2 ed|"G"BgBg (3dgf gd|"D7"Aegf gfed| "G"BgBg f/g/f/e/ gd|"G"BgBg ~f2 ed|"G"BgBg f/g/f/e/ gB|"D7"Aefg ~f2||
  7. The G at the start of the 1st full bar should be the same length as the G at the start of bar 5. However, that is typed as G4, i.e.twice the length. I think that that double length applies to the other notes in that bar and the similarly affected bars. I cannot explain what has happened here, but I am inclined to think that the writer has made errors in the ABC transcription. If you remove the M:4/4I references, and halve the note length in the affected bars, I think this will give you the correct notation. I have attached here an image of the relevant page from the book. Northumbrian Minstrelsy_P164.pdf
  8. When I followed the link the page was missing. It must have been removed already for whatever reason.
  9. I have taken the liberty of typing up the full tune in ABC from Dougie MacLean's book. I hope this is O.K. X:10 T:Gael, The C:Dougie MacLean S:Dougie MacLean - Tunes, available from www.dougiemaclean.com M:6/8 L:1/8 K:G |:EEE cBA|BAG AFD|EEE cBA|BAG AFD| EEE BAB|dBB BAB|GGG BAB|dBB BAB| Bcc cBc|dcc cBA|ABB BAB|dBB BAG| ABA AGA|cBA EAA|A/A/AA AGA|cBA BAG:| |:ggg eAA|aAA eAA|ggg eAA|aAA eAA| BBB dBB|gBB dBB|BBB dBB|gBB dBB| Bcc cBc|dcc cBA|ABB BAB|dBB BAG| ABA AGA|cBA EAA|A/A/AA AGA|cBA BAG:| W:Last time through, extend last G to finish.
  10. The ABC above is 16 bars. The full tune is 32 bars. However, your point still applies as the 2nd half also ends in BAG. When i played it, I played the whole tune twice in the sequence AABB AABB. The last time through, I held on to the last note for longer to make an ending.
  11. The last note in Dougie MacLean's book is a G. That is why I referred to a G major. The first note is an E, if that counts.
  12. Composer Dougie MacLean, in his own tune book, shows it in G major. Here is a recording I made of it a few years ago. there are a few points where my fingers stumble in getting to the right notes, but it came out better than I expected. I was playing a 48-button tenor English concertina. The tune book is available from Dougie MacLean's website. https://dunkeld.com/collections/dougie-maclean-music Gael, The.mp3
  13. Reminds me of listening to Journey into space. The song was planted in Lemmy's brain by the Martians, and he did not know where he had heard it before, but was convinced it must be childhood memory.🙂
  14. My opinion (just my opinion, with no evidence to support it) is that raised ends make little difference in themselves. However, I believe that most instruments with raised ends are those at the higher end of the quality range, eg, aeolas and edeophones. I am open to correction on this if there is evidence to the contrary. I am writing as a player, not as either a maker or repairer.
  15. I have some sad news to pass on. Ian Munro, passed away yesterday. Ian was a top player of the Anglo concertina. He had been in poor health for several years. Latterly, he was in a nursing home, unable to walk, though still of sound mind. I first met Ian in the late 1980's at Halsway Manor, Somerset, where the WCCP were running their annual Spring weekend. As he lived in Kilmarnock, I often kept in touch with him on my trips to visit family near Glasgow. A good friend lost.
×
×
  • Create New...