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Owen Anderson

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Everything posted by Owen Anderson

  1. My experience acquiring a used Marcus after initially learning on a McNeela Wren is very similar to your experience here.
  2. I wasn't actually proposing changing the tones of the chord, just the order of play. So I while I would be moving the c to the 1st beat, it would not be the lowest note of the chord. To make it an inverted chord, I think I would need to make the oom "C," instead of c.
  3. I'm curious if there is any historical record of association between hoboes (particularly American tramps & bums) and concertinas. I think of the heyday for hoboes as spanning from the 1890s to the 1930s, which would have overlapped with the later part of concertina popularity in North America. And as relatively portable instruments, and ones similar to the very hobo-associated harmonica, it seems plausible that they could have seen some use. The time period is a little late - the concertina's popularity was in decline by 1910 - but if anything I would have thought that cheaply available pawnshop instruments might *increase* usage amongst the notoriously cheap hobo population. I checked Dan Worrall's book and couldn't find any reference to hobo usage of concertinas, but maybe someone else has heard of it? Conversely, if it didn't happen, any theories why not?
  4. Another, perhaps basic, question inspired by trying to arrange for Anglo. I'm working on an Anglo arrangement starting from a melody + guitar chords, and running into a measure that is giving me trouble. The bar is a-a-c'-c', accompanied by a Fmajor chord. I've arranged most of the song with straight forward oom-pahs, but here I'm finding that the normal pah (A/c) doesn't sound great against the c' in the 3rd count of the measure. I'm guessing this is because of the octave correspondence between the c and the c'. So I'm considering rearranging the oom-pah to put c on the 1st count, and F/A on the 3rd count of the measure. Off the bat this sounds somewhat better to me, but the 1st beat sounds "thin", since it's two high notes. Is this... a thing? Is there a better solution?
  5. Could someone link the actual FB post for the Cornell collection?
  6. A while ago I got to try out a Blackbird Clara ukulele, which is made from eKoa, a flax-based composite material that looks and sounds a lot like wood, but can be molded like carbon fiber. To cut to the chase, it sounded absolutely gorgeous. The eKoa allows a lot of design features on the ukulele that just wouldn't be possible with traditional wood construction. I was recalling the experience this morning, and the idea occurred to me that perhaps some aspiring concertina maker could find interesting applications for this material.
  7. I'd like to figure out an Anglo arrangement for the French-Canadian voyageur song "En Roulant Ma Boule". I was inspired by the recording that is accompanied with an accordion, so it seems plausible to arrange for a concertina as well. Here's a transcription of the melody in ABC, with some guitar chords that I got from the internet. Unfortunately, the chords don't sound that good to me (at least when played with back via a MIDI player with a concertina sound font), but I'm not competent to figure out what's wrong. The accordion player in the recording doesn't seem to be doing normal oom-pah accompaniment anyways. X:1 T:En Roulant Ma Boule L:1/8 M:6/8 K:D "D" f2 e d2 A | "G" BAB "D" A3 | "D" f2 e d2 A | "A7" (B2 c) "D" d3 | "D" f2 e d2 A | "G" BAB "D" A3 | "D" f2 e d2 A | "A7" (B2 c) "D" d2 A | "D" d2 e d2 A | "G" B2 B "D" A3 | "D" d2 e d2 A | "G" B3 "D" A2 A | "D" d2 e d2 A | "G" B2 B "D" A3 | "D" d2 e d2 A | "G" B3 "D" A2 A | "D" d2 d "A7" e2 e | "D" f2 d "A7" e2 e | "D" f2 d "A7" e2 e | "D" fed "A7" e3 | "D" f2 e d2 A | "G" BAB "D" A3 | "D" f2 e d2 A | "A7" (B2 c) "D" d3 |]
  8. Any resources you recommend? When I tried to search for stuff, I invariably get content that either assumes I have no idea what a staff is, or that I already have 5 years of music theory knowledge and am ready to company a symphony. What's the middle ground content for someone who knows the basics of reading music and wants to learn some more theory?
  9. I've seen passing reference to this meetup on the ICA website. Do you know where I can find any more info?
  10. I'm looking for someone to help me improve on Anglo in the SF Bay Area. I'm a relative beginner (~5 months in, but practicing almost every day), interested in English and American folk music, particularly harmonic style. I'm looking for someone who can give me feedback and pointers to help me improve. I'd also appreciate any other suggestions of any local groups or resource to help me learn.
  11. That's really interesting. Do you know how the pressure sensing works? I've thought about trying to build a MIDI anglo, but was never sure how the pressure sensing would work.
  12. Interesting. Does it have any sensing for bellows pressure, or is that entirely controlled out of band?
  13. I have a ~20 year old C/G Marcus anglo that I recently acquired. I've determined that while it's mostly in Wheatstone layout, it has a couple of tweaks: The left-most button on the right hand outer row is reversed - d# on the push, c# on the pull The left-most button on the left hand inner row has D on the pull rather than A,. It's the same D as the push on the button to its right. The push is B, as expected. For my purposes, I'm going to flip over the the c#/d# reed pair to get it to standard layout. But I'm curious - why would someone have made these tweaks? Particularly the low D, seems like a peculiar choice.
  14. Here is my recording. Novice player on a Marcus C/G Anglo. Only a little bit of practice on this tune.
  15. This seems really promising. I'll give some of your exercises a go and see how it works out.
  16. For what it's worth, I just recently purchased a Marcus anglo from Chris Algar shipped to the US, and it made it here in about a week without any problems.
  17. This may be a symptom of my general lack of musical experience, but I’m seeking advice on how to learn to oom-pah on my Anglo. I’ve been learning for a few months now, and can play a decent number of melodies at decent speed, including a few that I can play in octaves from memory. However, I’m struggling with figuring out how to train myself to play oom-pah harmonies, such as the ones in gcoover’s (excellent) Easy Anglo 1-2-3. With playing in octaves, I was able to learn each hand separately, and then practice putting them together until the muscle memory took. For oom-pah harmonies, I can’t really do that. I can certainly play the oom-pahs on their own, but without hearing the melody I’m unable to commit them to memory in the same way that I could when playing the melody on the left hand. Does anyone have recommended techniques for getting over the hump on this? I’ve considered recording myself playing the right hand melody, and then attempting to play the oom-pahs while listening to it, but surely there must be other methods? My experience with playing in octaves was that it got much easier once I mastered a single tune, so I’m hoping that a few pointers to get me going here will also help.
  18. I'm not going to claim to really understand how your "antlers" system works, but I was curious why you're choosing to immobilize the thumb in a downwards-pointing position? It seems like holding the thumb in a bent position like that for an extended period would be painful. Would it be possible to achieve the same effect with the thumb pointed straight, but still in a thimble?
  19. Same question. I would be quite interested in a Kindle version.
  20. I actually tracked down that version, but it only records the lyrics. The 1927 American Songbag is the earliest written form of the melody I've found.
  21. I transcribed the melody of Sloop John B, a traditional Bahamian sailors' song, for 30 button Anglo, using gcoover's tablature. This is not the Beach Boys version, but takes the melody as captured in the American Songbag from 1927, which is the earliest sheet music for it I can find. I *believe* the melody itself should be out of copyright. The American Songbag has only 1 year left in copyright, and in its text it acknowledges that it is a record of a pre-existing melody. I suppose the full piano arrangement is copyrighted until Jan 1, 2023. The melody makes use of several accidentals, as well as requiring some use of alternate fingerings for B/c to try to keep the bellows reasonably balanced. This is a good bit trickier than anything I've transcribed for Anglo before, so feedback welcome. X:1 T:Sloop John B M:4/4 L:1/16 Q:1/4=100 K:G D D | B B2 ^A B2 c2 B4 z2 D2 | B3 B B2 c2 B8 | w: * * | * * \_ \_ * \_ \_ | * * * \_ * | w: L7 L7 | L9 L9 L5a L9 R1a L9 L3a | L9 L9 L9 L9 L9 | w: Oh, we come on the sloop John B., My gran'-fad-er an' me. B4 B2 c2 d4 (3(B2A2)G2 | A8 z4 (3D2E2F2 | G8 z2 G2 (3G2A2B2 | w: \_ \_ * \_ \_ \_ * | \_ \_ * \_ | * * * \_ \_ | w: R1 R1 R1 R2 R1 L5 L5 | L5 L3 L4 L7 | L5 L5 L5 L5 R1 | w: Round Nas-sau Town we* did roam, Drink-ing all night, we got in a c8 z4 c4 | B2 A2 G B3 B4 (3A2A2A2 | G8 z4 D4 |] w: * * | \_ \_ * \_ \_ \_ \_ \_ | * * | w: R1 R1 | R1 L5 L5 R1 R1 L5 L5 L5 | L5 L7 | w: fight, I feel so break-up I want to go home! So B B2 ^A B2 c2 B4 z4 | B B2 ^A B2 c2 B4 z4 | w: * * \_ \_ * \_ | * * \_ \_ * \_ | w: L9 L9 L5a L9 R1a L9 | L9 L9 L5a L9 R1a L9 | w: hoist up the John B. sails, See how de main-s'l set, B B2 ^A B B c2 d4 (3B2=A2G2 | A8 z4 (3D2E2F2 | (G8G2) z2 (3G2A2B2 | w: * * \_ \_ \_ * \_ \_ \_ * | \_ \_ * \_ | * * \_ \_ | w: L9 L9 L5a L9 L9 R1a R1a L9 L5 L5 | L5 L3 L4 L7 | L5 L5 L5 R1 | w: Send for de Capt'-n a-shore, Lem-me go home! Lem-me go home!_ Lem-me go (c8c2) z2 c4 | B2 A2 G B3 B4 (3A2A2A2 | (G8G2) z6 | w: * * * | \_ \_ * \_ \_ \_ \_ \_ | * * | w: R1 R1 R1 | R1 L5 L5 R1 R1 L5 L5 L5 | L5 L5 | w: home!_ I feel so break-up I want to go home!_ SloopJohnB.pdf
  22. It's beautiful, and I love the concept of a smaller, more portable instrument.
  23. Probably due to being very mathematically minded, I didn’t find that explanation very helpful. Essentially all of the demonstrations I’ve seen seem to boil down to “they sound different if I say 1-2-3-4 over one of them, and 1-2-1-2 over the other”. I’d dearly love someone to demonstrate a melody played in both time signatures without overlaying a count, so I could actually hear the difference.
  24. Nope, that's it. The title is literally "I Travel Everywhere" or "I Travel All Around", but I think it's more idiomatic in English to render it in past tense: "I Have Travelled Everywhere". I've made the same tense change in the English lyrics relative to the French ones. There's a version of the lyrics in Tahitian as well, I should dig them up...
  25. After playing the various versions back in my MIDI player, what I’m noticing is the the change from 4/4 to 2/2 seems to consist of changing when the harmony chords are played? I do like the 2/2 version better, but I’m trying grasp the intuition for arriving at that decision.
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