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Everything posted by jlfinkels

  1. If you are interested in how it sounds, I've added a sound file here.
  2. I am in a position that requires me to sell my Edgley Professional model C/G Jeffries concertina, which I have had approximately 9 months and was purchased new from Frank. It has silver ends, black wood, a new Fallon case and is priced at $2400 USD. Sorry for the poor photo quality, but if you would like to see more images I can borrow a camera and post them. Please PM if interested. --jeff
  3. From "Dirty Linen #68": By all accounts, the flagship release of the Viva Voce series is the double cassette Michael Coleman 1891-1945 [Viva Voce 004], which contains 40 sides from the great Sligo fiddle master. This release was also expanded by Bradshaw into a set of two CDs, available from Gael-Linn records [Gael-Linn/Viva Voce CEFCD161]. The CD version contains eight more tracks and a more complete bibliography, and the sound on all tracks is differently remastered for digital media. I don't own the cassette, only the CD version, so I can't help much.
  4. John Fallon makes great custom cases. You can reach him at http://www.falloncases.com/.
  5. Rather than printed score, you can get ABC format of most any tune these days. There are many quality ABC format programs out there, most are free. On my Mac I use BarFly, which will take in ABC files and play them or output printed music. On Windows I've heard of folks using ABC Navigator and being pleased with the results. Not sure about Linux or others. I've played with OMR a few times but have never had much luck with the free programs. If you want to give it a go try OMeR. --jeff
  6. That area has actually been cleanup up quite a bit. They's even got a fancy eatin' place across the street called "Wendy's". When's the last time you were in Macon? If it's been 10 years or more you would be surprised by how far it's come.
  7. somewhat clunky animation Nice. Is it just me or does it creep anyone else out?
  8. I use an inexpensive Sony ICD digital voice recorder with an external mic to record lower quality stereo. It holds about 4 hours at a reasonable stereo setting. If I want a good quality stereo recording I use a Zoom H2 with the AC power supply. I purchased the Sony recorder for around $100 on sale a few years ago and the Zoom H2 was around $150 a few months back. There are a lot of choices out there but I wanted gadgets that were easy to use since I'm not particularly technically savvy. I asked a similar question here a while back and at the time those were the two that seemed to fit my needs.
  9. It is my pleasure to help. I had a similar thing happen a while back, but no idea why.
  10. Go to the "Options" pull-down on the right hand side and under display mode select "switch to standard". That should make it right as rain.
  11. I'll take a whack based on my limited experience... 1. I started with "Demystified" and it helped with finding the notes. I used http://www.tradlessons.com/ to learn a lot as well since it had tunes I'm familiar hearing at sessions. There's nothing like finding a live teacher though, even if it is just for a few hours to get you started. There are a lot of workshops and music camps available that I found very helpful. 2 & 3. As a carpal tunnel patient myself I know the problems all too well. I've had a few surgeries and had some problems playing, but spending some time with Bob Tedrow, Grannie Hambly and Fr. Charlie Coen helping me with setting up the straps correctly and learning to hold the concertina properly allowed me to avoid many problems I likely would have had otherwise. I can play with little to no pain these days thanks to their advice. 4. I own an Edgley C/G and love it, but I used to own a Tedrow G/D and it was a great instrument as well. I don't think you would be unhappy with either. I've played a Rochelle and wasn't particularly happy with the straps, but I've got pretty big hands so that is always a contributing factor. I think the Rochelle had good action, not near a Tedrow or Edgley, but for the money it seemed a good deal. I don't think you would go wrong getting one, especially if you can trade it up later. Regarding Jeffries vs Wheatstone, I personally have a Jeffries layout and like it better, but I would go with the recommendations of others much more knowledgeable than me. 5. I can't comment on 30-key vs others as I've only owned a 30-key. The one suggestion I make is if there is any way you can make it to a workshop or find someone to help you get started, even over the internet via webcam, it will be time well spent. The Anglo is a precocious little beastie and it is easy to get into bad habits, especially around button choices. The folks on this forum are extremely helpful and generous with their time, so you have a ready resource available to ask questions. As a further suggestion, listen to good players. Henk van Aalten has a great site with recordings of cnet members @ http://www.anglo-concertina.net/links.htm. There are many great CD's available from different sites e.g. the Button Box and others. And most importantly, have fun!
  12. As a relative beginner myself and having played a few of both, I suggest trying them if possible to find out what you prefer. If you can't do that, I recommend considering the Rochelle. You may want to consider purchasing one through a company such as the Button Box or from a someone like Bob Tedrow or Wim Wakker. If you decide to upgrade at a later time they may consider taking it back as trade on a new instrument, but talk to them first to make sure they are still doing that. Even if you purchase it from someone else, you should be able to sell it outright later. One point I'd like to make is I think it is a good idea starting on a C/G as every class I've been able to attend is based on that setup. You can move to a G/D or other later once you become proficient. --jeff
  13. Not sure, I'd entirely agree with that. Purpose of these is usually to separate 2 notes of the same pitch or to accentuate/ lift a note. e.g. suppose on an Anglo you had to play two G's on the LHS C row, you might separate them with a very quick C on the RHS C row. The cutting note, C in this case borrows a little time from the second G. But it doesn't have to be a C, it could be any convenient higher note going the same bellows direction. You shouldn't hear what pitch the cutting note is As to ornamentation in general, as my daughter would put it, 'it's those twiddly bits you put in'. Thanks for the correction. Now that I think about it more I believe you're right. A cut or tap can be a percussive ornament, it's more what we could call grace notes are melodic ornaments. When I was taught to play fiddle ornaments that separate two of the same notes, the cut/tap borrows from the end of the first note, not the beginning of the second. I find myself doing the ornament right before I'd do a bow change on the beat, not after the beat or right where I would do a bow change. Again, that's a fiddle explanation thing and I don't know how it would be done on a concertina but I sure want to learn. NHICS can't come too soon!
  14. I'll try to give a simple fiddle explanation since I can actually do them on there, then maybe someone much more versed on the concertina can explain the difference. There are two classes of ornaments, melodic and percussive. The melodic ornaments, cuts and taps, are meant for the note being used to be heard. The percussive ornaments, crans and rolls, are meant to break up the rhythmic pulse by striking the notes such that the notes are not heard but that the rhythm is broken by striking those notes. Cuts involve playing the note directly below the desired note. Taps are played by tapping the note either directly above or a third above the desired note. They're not played exactly like a sixteenth note or such, it's more of a short sounding of the note above or below. A roll is a single note played with the rhythm broken up by a percussive cut and tap (the note you want, cut from the note below back to the same note, then a tap to the note above and back to the original note). For example b-a-b-c-b where the notes a and c are played without sounding the note long enough for the tone to be heard, it's more a percussive motion. It's hard to explain but easy to demonstrate. Cran's involve percussively playing the note a third above the note you want, then the note above, then the note itself. Some play the note you want, then a third above, the note you want, the note directly above, then the original note. For example, a-c-b-a or a-c-a-b-a. Again, the c and b are played like the roll with the tapped notes played percussively. As I said, I don't know how this is done on concertina but if you listen to Noel Hill you'll get the idea much more effectively than I could ever explain. Good luck and keep squeezin'! --jeff
  15. I've been playing fiddle around 3 years and can play pretty well, at least according to the folks at our local session. Got a pretty good repertoire of session tunes and am able to start and finish many sets. Tonight I felt your pain. I've been playing concertina off and on for about 6 months and decided about a month ago to focus strictly on this wonderful instrument. I took it to our weekly session tonight and found that I could not keep up, even with the slow tunes. Even when I started a tune I couldn't keep things going as I kept getting confused on fingerings, getting bellows too extended or too closed for keeping the music going, and even completely forgot the tunes as I focused on the fingerings. While it was a complete frustration it was also mildly exhilarating. I actually took it out in public and played it with others! Not particularly well, but for a few brief seconds I felt at one with the concertina universe. My belief is I am thinking about things too much. I need to practice more and become fluent with the instrument, not fight it. I just wanted to let you know you're not alone. I like your thoughts on the way to overcome this is to play with others more, not less. Thanks for sharing your experiences and helping me get the courage to take a chance!
  16. Your logic is so logically illogical it makes me realize why I enjoy your posts so much. We are kindred spirits More specifically to the topic at hand, I agree with the concept of the Anglo requiring sufficient play-time to allow the fingers to "find" the notes. The more I play the easier it gets, but it did take about 6 months of diligent effort to even begin to feel really comfortable. I'm not particularly good at writing down abstract concepts, but it seems I can't analyze it as I do most things. I just have to play and let the muscle memory do it's thing. --jeff
  17. Peter, thanks for posting those tunes. Great stuff!
  18. Fr Coen is amazing. I bet he could play the tag itself and make it sound better than me. I was fortunate to have a chance to play with him one-on-one at the Atlanta Comhaltas event a few years back. It's a memory I'll always treasure.
  19. Don't you hate it when someone follows up their own post with another post? Drives me batty, especially when it is me doing it to myself! Based on some previous posts on similar topics I took the RH end off my instrument and by looking closely at the B/C lever I realized the spring that pushes the arm up after the button is released is brushing up against the vertical pivot point that the arm rests in, which seems to be retarding it returning to the original position. I also noticed that the strength of that spring is less that other buttons, but since it is a button that is played often I didn't know if that is expected due to the repetitive pushing. So my question is now, can I adjust the spring to have more tension or move it away from the vertical pivot point myself, or does it require an expert to adjust/replace? I can send it back to Frank Edgley for repairs, but if it is something simple I can do it myself. I assume I have a similar problem with the higher note that sounds when pushing the instrument closed with no buttons depressed, but one problem at a time.
  20. The RH B/C button does seem to be out of place when it sounds. If I tap it the button seats itself properly. The high note that sounds on a push does not seem to be out of place, but I still haven't identified exactly what button it is that sounds.
  21. I actually got brave and took my instrument apart to check things out. Nothing jumps out as being wonky, but I don't know specifically what I'm looking for either. Let me try and explain it better... My RH B/C button (first finger) occasionally sticks and the note sounds even after the button is released. If I tap it again it stops sounding and is fine for a while. There is a higher note that sounds is I push the concertina closed without touching any buttons. If I tap the keys it will stop, but starts again after some time playing. All help is appreciated. Thanks!
  22. I've had a similar thought recently regarding a drone C, D and G. I don't know if it is possible from a space perspective, but love the idea of the drone.
  23. I heard it's even worse than Guantanamo Bay Gitmo for concertina players? Don't give anyone any ideas we may live to regret.
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