Laitch
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Posts
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Posts posted by Laitch
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This was played on a Wheatstone treble and was submitted to Sound Lantern by a contributing member of thesession.org currently known as "Dow".
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Hey Dick
Tim Collins is playing a Bb/F Jeffries in tracks 5, 6, 10, and 13 of the CD "Dancing On Silver."
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Mark,
Have you read the references under "Flying Clouds" at Andrew Kuntz's "The Fiddler's Companion"?
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Take your pick of these gif and pdf versions at JC's TuneFinder, Bill.
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Hey Bob
The third row (usually referred to as the "accidental row" on 30-button anglos) is not tuned to a major scale like the other two rows; instead, it has notes that allow you to play in other keys and their relative modes, and allow some alternative fingering for notes found on the G and D rows. Your third row likely has the notes indicated in this illustration of Wheatstone 30-button G/D layout provided on Chris Timson's helpful Concertina FAQ site. For example, the G# notes on the accidental row allow complete A major scales, and the left-side accidental row E/D button plays the same notes by using the opposite bellows direction of the left-side D/E button on the G row.
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The instrument seems to this beginner to be OK except I dont like the location of the bellows button. I cannot reach it with my thumb and it a hassel trying to work it with a finger.
I'll bet it's tough working that button with a finger especially if you'd try working it with a finger from your left hand, bear!
Assuming you've got your thumb outside the strap, here's one post discussing the Stagi air button problem and here's another. -
Maybe you could use this, David, until you find something else.
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No, I'm trying to suggest that whoever claims that Irish music can't live without endless decorations is wrong.
That isn't decoration you're hearing in Irish dance music, m. That's the music itself, just as leaves, fruit, and flowers aren't "decorations" on trees although they might appear to be "decorations" to someone who didn't know any better.
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Looking out through the windows at people in this condition is one of the bonuses of playing concertina in the good ole Irish heterophonous (There's probably no answer to this except 'Well that's what we like to do.' but it is why I look in through the windows with a rather baffled expression on my face.
) style.
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Hey DavidI like the way they played the first tune - The Ebb Tide -- but I thought Ace & Deuce was somewhat choppy and forced, as if they were reading the tune. I didn't feel any sense of lift. I hear it as being a more graceful, legato tune. I miss hearing a dotted rhythm to the tune. I don't hear it as a slow reel, which is how they played it, but rather as a slow set dance, which it is.How about posting a snippet of Ace & Deuce here as played by you on your flute or concertina to demonstrate your point?
You got your wish, David!I did love track 4, though, which I thought was purely lovely duet playing: The Copperplate, The Old Bush, The Spike Island Lasses. The two instruments, without backing, create a gorgeous texture. I wish there was more of the same. There is more on that CD!
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Track 4--Hurray For The Gallant Tipperary Boys/The Cumainn Na mBan Is Dead And Gone/Jim Droney's/The Three Little Drummers
Track 8--The Kilcloon/Jimmy On The Liner/The Flower Of The Red Mill
Track 16---The Stone In The Field/Thaddy Casey's
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Really authentic sound file, that can be called "Motherland", although it's called differently.
Now that's boring.
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Hey DickIf so, would members here like the opportunity of being able to download MP3s of their own playing for other members to check out and would you also enjoy being able to listen to the playing of other members here?Can you imagine how this might liven up discussions here?
Wouldn't it be great to be able to post an MP3 to back up what you were discussing?
I agree that having a on-site dump
for member's mp3s would be fun but I think supporting maintenance and copyright-policing of such a feature is a lot to expect from a couple of concertina-crazed guys involved in the part-time operation of a fee-free site. It is fun have a post with an mp3 to explain a point during a discussion. Each of us has about 4MBs of uploading capability and some of us have upload soundfiles for that purpose already. I uploaded a snippet trying to aid a member in comparing the scale range of a 30-button C/G to that of his smallpipes and I was using 56kbps dial-up at that.
After the point was made I removed it to have room for posting photos later. Another member posted some files demonstrating rhythmic techniques on an anglo. Those are just a couple of recent examples.I'd like to see members posting such files more often, ephemeral as those file would be due to storage capacity limitations, because they could make some discussions more dynamic and relevant---even helpful.
We wouldn't want to risk crashing the site from a long queue at the refund desk, would we, Jim?Now if you were proposing a pay-to-play system, some us might be willing to risk "exposing" our talents to see what others think of our playing as they "vote with their pocketbooks".
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Thanks for editing your last post, Leo. It made it a lot more clear.
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That squiggley is interpreted as a roll, triplet or other articulation, Alan, and which articulation that's used can change each time through the tune sometimes. From reading your past posts I think you've got the stuff to roll those notes or make a triplets of them.
It does help to hear a tune played by experienced players in the several ways it might be played. If you haven't heard the Comhaltas session version, here it is. -
Mum's the word.Did you manage to get the loot downstairs without mum seeing it? -
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Hey, the fine print says the sale's ended so let's all move on to something else. Uilleann's got a nice Edgley and then there's my Morse, of course.
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Late-breaking 007 news has been placed in the original post, again!
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I think both Peter T and Larry have good observations regarding your difficulty, Mike.
The Jeffries and Wheatstone layouts differ in where some of the notes are located not where the buttons are located. You likely will need to play the inside row buttons with a different part of your finger tip than you play the middle and outer rows. Your fingers will need to be limber and you may need to loosen the handstrap a little to accommodate curling your fingers toward the inner row. You may need to punch an intermediate hole in the handstrap to do this. If your difficulty has not been caused by lack of enough focus, practice or patience then I suspect that there are variations among the manufacturers in button row positions, relative locations of the handrests to the button rows and even button heights and profiles to which you are sensitive. If modifying the handstrap doesn't help, a less drastic move than buying a different concertina would be to try increasing the height of your hand on the handrest by adding some comfortable material under your hand or, finally, by relocating the handrest with the help of a skilled concertina or musical instrument tech.
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Nice looking basement!
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You'd need to ask your mother, Dirge.But if we want to buy YOUR concertina, that's OK with her, right?
Going too often down to the damp basement makes them that way, steve. Just make your bed yourself once in a while.I asked, mom, she wasn't pleased with me
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I really don't think that kind of prejudicial statement is appropriate, and I'm not writing this just because my mom told me to either.. . . you would feel somewhat safe in dealing with me (moreso than if I said I was holed up in the basement living with my mother).
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It seems I don't take to Mishonics as my third language.What do you mean "instruction manual"? It's just a free bass single voice small accordion.
His is the "Tidy Bowl White" model, isn't it? He's a good player. I've heard him at sessions in Burlington, Vermont and the NESI, I think.One of my pals, Moshe Braner, has it or had it for quite a while, and seemed to be in good favor of it.
Given That The Reeds Are The Same
in General Concertina Discussion
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Hey Rod
Baffles (the lining in the ends) can be mounted on standoffs to allow airflow.
Here is an article discussing the subject.