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Posts posted by Jim Besser
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My CG is a somewhat modified Wheatstone / Lachenal (C# in both directions, top inside), the GD a Jeffries. I don't see any particular advantage to either system, and mostly switching back and forth is no problem. You get used to it.
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25 minutes ago, Jody Kruskal said:
Back in my 20s, my dancing days; I remember a pick-up side at Pinewoods Camp dancing Drunk's March. Every time I drained my mug some onlooker would fill it up again. It looked a bit like this...
I've played for Drunks March, always being very careful to keep my distance from the dancers and the sloshing pints
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Vill du Flyga, a tune written by Leija Lautamaja of the Floating Sofa Quartet, which has rapidly become one of my favorite bands.This was the tune of the week in a Facebook group, and I found arranging it for Anglo to be challenging. Still a work in progress.Played on a 30 button Jeffries G/D Anglo
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41 minutes ago, Frank Edgley said:
First of all, I believe both systems are equal. It all depends what you get used to. You will come up with a fingering pattern you are comforable with, either Jeffries or Wheatstone.
Agree; I actually play both. My CG is Wheatstone/Lachenal, more or less, and my GD is Jeffries. I don't have a problem moving back and forth, and I don't see any great difference in playability. I seem to have a slight preference for the Jeffries layout, but that's probably because I have a preference for the actual Jeffries instrument!
Re: Irish players: wondering what system Noel Hill plays. I know he has both Jeffries and Lachenal instruments, probably a Wheatstone or two as well. Does he switch, or has he modified his instruments?
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Just a coupla classic English dance tunes: the Radstock Jig and Enrico, played on a 30 button Jeffries Anglo.
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Outstanding performance. I always liked that tune, and this version is exceptional. Django really needed a concertina in his band!
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Update: problem solved, mostly. The workaround is just to leave the app open, so it doesn't have to resync the entire mass of tunes.
I've tried numerous slow down apps. There are many good ones, and I used the ASD for years. But for the way I work, AnyTune still seems the best.
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The pic of you in your clown kit is priceless
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17 hours ago, Oberon said:
Hm, have you tried the Amazing Slow Downer? It's an app for iOS and Android, I'm not sure if it's a desktop application too, but it may be. I'm pretty sure it still functions with Apple Music but I could be wrong. Before, it worked splendidly with Spotify and I loved it, it basically taught me how to play, being able to create loops, change pitch/transpose, change speed, it was essential. I say 'it was' because Spotify blocked their access and now I can no longer use it for all the streaming music I had. I can only use downloaded music, but that still works just as well for the music I own.
Last id checked it worked with Apple Music and I just couldn't justify the switch back from Spotify only for that functionality, it would represent too much work. If it still functions for Apple music though, perhaps give it a shot?
I used ASD for years - mostly OK, but not as well integrated with Apple Music as Anytune. And the start/stop loop function is not as smoothly implemented. And AnyTune has the ability to export a transposed tune; I don't believe ASD can do that.
Response from AnyTune developers indicate that the problem centers on changes Apple made to their music program, and that there's no fix expected anytime soon.
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I have used Anytune for Mac happily for years, but with the latest Mac OS update its ability to retain syncing with apple music has been lost. Which means that every time I open AnyTune, it has to sync all 21,000 tunes, which, needless to say, is a pain.
I'm wondering if there are good alternative slow down apps with the functions I need, including:
- seamless syncing with Apple Music
- Easy to set start-stop points for looping segments
- Simple process for changing keys
For the Mac OS. I have the iOs version, but don't really use it.
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I played guitar and hammered dulcimer in American contra dance bands for years, but at some point I was given a couple of old, non-functional East German 20 button Anglos. I combined parts -- with liberal applications of duct tape -- to create something of a Franken-concertina and used it to play musical games with my little kid. (I still have it. And still have the kid, although she's nearing 40 years old).
30 years ago I dropped the other instruments, bought a good concertina (the first of many) and expanded my focus to include English dance music. 25 years ago I started playing for Morris dance groups, an affliction I continue to have, and began playing concertina for a succession of contra dance and English ceilidh bands.
Other things that drew me to the instrument included Tom Kruskal and friends 1980 record (vinyl) Round Pond Relics, which I imitated slavishly. And the English concertina playing of the late Michael Reid (many here will remember him - an early and frequent concertina.net poster). He joined our dance band sometime in the late 80s; when he moved away, I missed the free reed sound and resolved to get proficient on concertina, albeit an Anglo. Completing the circle: after he moved, Michael plunged into the world of Irish traditional music and took up Anglo, becoming quite proficient.
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Serpentiner och Konfetti, a tune by Swedish melodeonist Mats Edén. I love tunes that can be fit into diverse musical genres, and this is a prime example, having worked its way into the Morris dance repertoire.
Played on a Jeffries G/D Anglo concertina.
https://soundcloud.com/concertinist/serpentiner-och-konfetti-12-30-2023- 3
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Road to the North, a tune by Alistair Anderson, piper and English concertina player.I heard this a while back and forgot about it; then, the other day, it popped up on another forum and I realized it's a totally fun tune that I just had to learn.Played on a 30 button Jeffries G/D Anglo.
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4 hours ago, Chris Ghent said:
Always surprising, life…
https://www.facebook.com/dljenks
Sorry to those who can’t follow to Facebook. Its a link to an interesting concertina maker in Kwa-Zulu Natal. If you are a member here David, well done…
Very cool music; here's an example.
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On 9/21/2023 at 10:50 PM, DavidFR said:
I'm looking to see if there's any interest in my 30b G/D Lachenal, #156154. I'm the lucky owner of a 38b Holden, and don't play this very much any more. It's a little hard to let go, but it should be played more.
The Groff hot-rodded Lachenals can be outstanding instruments. I know - i have one, in CG.
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11 minutes ago, David Barnert said:
Yes, on the back deck of Wagner Vineyards overlooking Oneida Lake. The way your guys sang “Fanny Frail” changed forever the way I play it for my guys.
What a cool place to dance. I miss going to that ale - 2 of the 3 sides I attended with are defunct.
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22 hours ago, David Barnert said:
We do border and Abbots Bromley as “Winter Traditions” for performances throughout December. The resemblance between the B section of XYZ and Cuckoo’s Nest will make it fit right in.
Same with us - traditionally, we do one border dance in December, plus Abbotts, Cotswold the rest of the year. You've seen our border dance - we did it at the Dog Days years ago. It's 3 dances tacked together, devised by the late Nick Robertshaw.
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49 minutes ago, David Barnert said:
I like it. My Morris Dance team has tasked me with keeping an ear out for good Morris tunes. I think this IS one.
Yeah, it immediately struck me as a good tune for a border dance. Wish I still had a border side to play for!
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1 hour ago, John Wild said:
My notation for this tune gives the following information:-
Northumbrian Hornpipe, first published in 1831 & named after a famous racehorse, winner of the Gold Cup from 1811-1814
Thanks! Fascinating to learn the origins of these tunes.
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Just messing around with a new-to-me tune - the XYZ Hornpipe, attributed to James Hill in the mid 19th Century and, maybe, deriving its name from a famous racehorse. Also known as "A Modal Hornpipe." From what I've read, it's exact origins are murky, and I'd be interested in any additional information.
I put it together with an old favorite, Mr. Moore's Hornpipe. I think I first learned this - like so many other tunes - from a Brian Peters recording, but no doubt my interpretation was bent and twisted by hearing it played for the Border Morris dance, Lorenz's Butterfly - one of my absolute favorite dances.
Played on a 30 button Jeffries GD Anglo concertina.
https://soundcloud.com/concertinist/xyz-hornpipe-mr-moores-hornpipe-11-9-2023- 7
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Well, it's a 30 button Jeffries Anglo, probably fairly early. Value depends to a great extent on condition, but in any event it's worth significant money.
The top dealer in the world is Barleycorn Concertinas in the UK; you can go to their site to get a rough idea of the value of a restored/fully functional Jeffries.
Depending on where you're located, you can probably find an experienced player who can give it a try and give you an idea of its condition. If you're anywhere near a dealer like Barleycorn in the UK Tedrow or Jowaisis in the US, etc., all the better to get an expert evaluation.You also need to find out the keys - ie C/G, G/D, Bb/F.
Even an instrument that requires significant work is pretty valuable, so get as much information as you can before making any decisions.
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I recorded this Rob Harbron tune a couple of years ago, but - like so many Harbron tunes - keep coming back to it. Such a creative tune writer!
Mill Lane, played on a 30 button Jeffries G/D Anglo.
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On 10/4/2023 at 3:13 PM, Wally Carroll said:
I posted this a couple of days ago on our website but thought I'd share it with the community in case anyone was thinking about getting on our list. Effective immediately we are no longer accepting new orders.
Every Carroll I've laid hands on has been outstanding; well done. And I'm eager to see what innovations you come up as you pursue new paths.
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Another tune learned from Andy Turner 's Squeezed Out blog. I did this a couple of years ago, and upon listening to it again realized I had simplified the tune a little more than it deserved. This being a gray, rainy day, I needed a cheery tune, so this seemed to fit the bill. A one-and-out take, mistakes and all.
Played on a 30 button Jeffries G/D Anglo concertina
https://soundcloud.com/concertinist/imperial-quickstep-9-17-2023
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Lass of Paties Mill
in Concertina Videos & Music
Posted
The Lass of Paties Mill, written by Scottish poet Allan Ramsey in the early 1700s. The tune was incorporated into the Beggers Opera (1728) as a satirical song.
Most recordings I've heard play this slow and pretty; I liked the punchier version recorded by melodeonist Martin Ellison, but then, I'm a Morris player, and try as I might, I can't play slow and pretty.