John Wild
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Posts posted by John Wild
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Can I ask what is the meaning of "octo" in the ledger description?
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Very sad news. I had the fortune to attend concertinas at Witney in a year when Norman Chalmers was the tutor for the English Concertina workshop.
He was a hard taskmaster but I did learn from it.
Later I had the good fortune to buy a treble concertina from Norman Chalmers, via Ebay. If I remember correctly, he said he was selling it to buy a baritone.
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You could place another cushion underneath.
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The tutor that Roger Hare linked to above was compiled by Brian Hayden.
It shows layout charts for all the duet systems.
The other pages can be applied to all systems.
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X:743
T:St.Patrick's Day
M:6/8
L:1/8
K:G
d|:G>AG GBc|d>ed dBG|A>Bc BGD|E>FE E2D|
|G>AG GBc|d>ed dBG|A>Bc BGD|E2FG2d:||
|:def .g2.e|.f2.d.e2B|def g2e|f2de2g|
|G>AG GBc|d>ed dBG|A>Bc BGD|E2FG2:||This version of St.Patrick's day was played in the 1959 film A night to remember, about the sinking of the Titanic. It was depicted in a ceilidh scene among the Irish passengers in steerage. From a close up of the fingers, it looks like an actual concertina player, not an actor.
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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.
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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.
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This came from a workshop at Broadstairs folk week several years ago, pre-covid.
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7 hours ago, d.elliott said:
Don't forget that the anomaly is the expression 'Tenor Treble'. by rights it should have been termed a 'Treble-Tenor' as it is a treble extended down through the Tenor range.
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.
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I do not have a hard copy of the book.
I found it with a google search at this website:
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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|| -
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.
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When I followed the link the page was missing. It must have been removed already for whatever reason.
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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.
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4 hours ago, David Barnert said:
Same as the abc above, with C. But the last three notes (EDC of BAG) could go either way in terms of suggesting a major key or its relative minor.
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.
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5 hours ago, David Barnert said:
John said (referring to a version of the tune a 5th higher than posted, with one sharp in the key signature):
So to be consistent with my statement, I would have called that E minor. Horses for courses.
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.
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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
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6 hours ago, malcolm clapp said:
Brings to mind the old song "When it's Night Time in Italy, it's Wednesday Over Here".
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.🙂
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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.
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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.
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A D# with a G, at the lower end of a baritone English concertina, can (with imagination) sound like an American-style train horn.
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I have taken the liberty of typing this in ABC. I hope that is OK.
This unfortunately has to be minus your anglo tablature as I am not sure how to accommodate that in ABC notation.
X:339
T:Joy to the Person of My Love
T:17th cent. Scots song/air in Am
M:4/4
L:1/8
K:Am
|:"Am"a2 ef "C"g3c|"Dm"defg "Am"e3e|"Dm"dcBA "E"B3A|"Am"A4-A4:|
|:"Am"ABcd "Em"e2 ab|"Am"c'a"G"bg "F"a2 ef|"C"g2 f/e/d/c/ "G"d3c|"C"c4-c4:|
|:"C"g2 ec "Em"g3g|"Am"aAcd "Em"e3e|"Dm"dcBA "E"B3A|"Am"A4-A4:| -
When I played for a dance side, my English treble concertina still made a difference alongside a melodeon (sometimes 2) and an accordion.
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You would need to be careful with those solid sticks around!
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1910 Amboyna TT at auction
in Buy & Sell
Posted
Thank you. I suppose I should have guessed that.