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danersen

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Everything posted by danersen

  1. RE: previous post There is also a C). Free bass left hand which will accommodate the proposed very nicely and effectively with great capacity for improvisation and adaptation RE: this post How big a duet would you need to do this with bass "like a piano", and would it still do it at speed? Precisely why I commissioned Wim to build my Stark Chromatiphone layout W-C2 Duet. 8-1/4" with 62 keys Here: Wakker-concertinas.com/C-2.htm And don't forget CBA masters Ludovic Beier and Julien Labro - both of whom play extraordinary Jazz and Classical arrangements with minimal left hand involvement.
  2. Rod, What was the reasoning offered for exercising caution? Dan
  3. JL: In the meantime, it looks like he has three Crane-system duets: a rosewood(or "rosewood")-ended 48-button Crane & Sons (built for C&S by Lachenal), a 55-button ebony-ended Lachenal New Model, and a metal-ended 48-button Wheatstone. Aside from questions of condition (pads, valves, condition of reeds, tuning), DS: All consistent with my conversations with Terry, yesterday. I will be curious if Jim's impressions using Skyle when he can view them (I couldn't - ours was the usual audio telephone call) are similar to mine which follow. Despite being a bit busy in his shop yesterday, Terry was kind enough to play them button-by-button for me over the phone. If they were recently refurbished, some of the work will likely need to be re-done. Some reeds don't sound at all, some report slowly, there is a bit of "pinching" here and there. One reed seems to be missing or have been removed to serve as an air button on the Wheatstone. A "sticky" button here and there. Based on Terry's descriptions, there seems to be a bit of "slippage" in the bellows of the Lach's based on a blind (for me) "drop" test.We didn't put a tuner to them as the tuning is not important to me.My initial impression is that the Wheatstone seems to be the best of the lot and likely to require the least effort and expense to put it in proper playing condition, though it is probably playable as-is.I'm guessing that one Lach - I can't remember which - will need extensive work for it to be properly playable. It doesn't seem that either Lach will play satisfactorily as-is ... at least, what I consider satisfactory.Based on something Terry said, my impression is that these are being sold due to the passing of the individual who played them. I look forward to Jim's assessment. Sorry about the spacing and carriage returns - can't seem to get the text to display properly today.
  4. WONDERFUL, Julian! Grand to know that now I'm not the only one around here playing Stark's layout. If you get a moment, I am very interested to know which row is the C-E-G# row. Taking a BWAG, it appears that the dots may be locating the C,F,G tones or the G,C,D tones - depending on the tones in the repeating rows.. How close are these guesses? I am also interested to know location of Middle C in both hands. No rush. Just curious. Enjoy! Dan
  5. Hello Everyone, Leaving for its new home, soon. Be Well, Dan
  6. Dirge - thank you for looking. Adrian - thank you for these wonderful referrals. Be Well, Dan
  7. Hello All, This is not exclusively concertina-related, but it is my current project, so hopefully, it will qualify on that basis. Perhaps I should have placed this in the "Tunes" section, but think it may receive a "wider" view here. Please forgive and relocate this if posting this request here is out of order. I am seeking a compilation of the scores for the Concertos Comique by Michel Corrette. I have finally succeeded in tracking down (on Amazon) the score for the "Concerto Comique No. 25 in G minor 'Les Sauvages et la Furstemberg" which is among the best of the series, but I would like to have the entire series. I'm posting here with the hope that, perhaps, Perry or Jim or Dirge or some others of you may have the material among your collections and the notion that those of you in Europe - especially, France - may have a suggestion or two for a source. I've exhausted all of the usual sources including (perhaps, especially) the IMSLP Petrucci Music Library, as well as the Conservatory lending libraries in the US, and it is now becoming more like a search for a needle in the haystack. None of the usual print and digital retail sources have the material and the usual search engines characteristically return the Noels and others of his more widely recorded works. Any/All help will be greatly appreciated. Be Well, Dan
  8. FWIW, I'll not be bidding. Best wishes to those who do. Be Well, Dan
  9. All, Is anyone here contemplating or planning to bid on the Crabb? Though it's not a Crane layout, Rod certainly comes to mind. I'm considering it, but my interest is casual - converting it to a Stark chromatiphone layout - though I'm not truly certain if I want to take that on at this very moment. And I do not want to run the price up if someone else earnestly desires to have it. Please comment here or PM me if you prefer, and I shall refrain. Be Well, Dan
  10. Jim, RE: So what about Lot 1352, the 38-button Jeffries? I've assumed that it's an anglo, but could it also be a duet, albeit a "minimal" one? I did not even think to include that one in my inquiry as there didn't seem to be the same level of "uncertain curiosity" expressed about it. Did anyone else inquire? Be Well, Dan
  11. In reply to my inquiry if these instruments are bisonoric or unisonoric – From the source: Dear Sir/Madam, Lot 1450 is unisonoric as in it plays the same either way, Lot 1457 is also unisonoric. Kind Regards, Stacey's Be Well, Dan
  12. INFO FROM eBay SELLER — Unisonoric Unfamiliar keyboard layout for which he hasn't a diagram/chart. Hope this is helpful. Be Well, Dan
  13. ceemonster, While Hugo Stark developed the chromatiphone layout, it is not the only type of bandoneon that he built. The subject instrument - if it is the one at Steve's link - does not appear to have the usual chromatiphone configuration. That, by no means, disqualifies it from being some variant of a chromatiphone system. I've sent the seller a single question asking if this Instrument is unisonoric or bisonoric. I'll follow up with a post of whatever answer I may receive. The subject instrument has a layout more typical of the bisonoric "tango" ilk, and yet it appears to have no button labels as best I can see from the photos - but I can't get them very large. If it is unisonoric, a Peguri layout is my best guess at the moment given the irregular spacing around the perimeter; however that is only a BWAG, to say the least - or most - as the case may be. There were hundreds of configurations and variations/modifications/customizations of these layouts as many were built to suit individual needs/quirks/interests/styles. Something that, in my opinion, we have far too little of today. It seems that few want to expand beyond what they can build quickly, easily, or with certainty. Thank God for the few that are willing to "build outside of the box" and get out of their comfort zone, or beyond the jigs that they already have at hand. Anyway, back to the thread. The closest bandonion layout to the CBA/c-griff was attributed to Meisel and was referred to as the Meisel-Praktikal. Indeed, it is identical to the CBA/c-griff orientation. Given that you've read the posts here, you have likely read my notes about the chromatiphone layout. I think the two "constraints" as you describe them apply to both the the Hayden and the chromatiphone systems. There is little more that I can add except to say that now after 11 months with my chromatiphone system, it is the most versatile concertina that I have ever played or can imagine. And to pre-empt the naysayers, I will now add the disclaimer, FOR ME it is the most logical and intuitive and comprehensive system that I have ever played. Unfortunately, I don't think anyone else here plays the chromatiphone system who could share their experiences and with whom we could compare notes. I am eagerly anticipating a concertina with the Meisel-Praktikal layout that is in the process of being built for me. We'll see how that compares to the chromatiphone system "concertina to concertina" - especially since I play CBA/c-griff accordion and accordina. Be Well, Dan
  14. Jim, RE: "I don't mean to belittle either the instrument or the players. It's a fine sound and fine music ...I'm guessing that you're confusing, in part, being impressed by novelty with being impressed by artistry." And, yet, it seems that you do – by imposing your own judgement, standards, and declaration of what constitutes novelty and what constitutes artistry onto Jody's – thereby implying that Jody's (and, likely, others') are somehow indiscriminate and, accordingly, inferior. At least, you offered partial credit! Be Well, Dan
  15. I have played Accordina for years and I can assure you that a Borel or Dreux Accordina it is anything but a toy. My first instrument was a Borel which was superb, and my recently acquired Dreux is truly magnificent. For the uninitiated, but interested, I have provided a list of URLs to a representative variety of YouTube samples in various musical genres below. They are listed in no particular order. Both Borel and Dreux instruments are played in these videos. Enjoy! Dan ACCORDINA YOU TUBE VIDEOS
  16. NNY, May I respectfully suggest that the administration of the hospital will rescind your invitation if your playing becomes an intrusion ... and that you leave that to their discretion? Until that happens, I encourage you to continue your good deed with satisfaction and confidence. Be Well, Dan
  17. NNY, As a medical professional, I encourage you to consider the irrationality of the speaker's comments and recognize that the dynamics at play probably had absolutely nothing to do with you or your playing. I doubt that he was forced to listen to your playing, but I can imagine that he just might have been "forced" to listen to the results of a bad report or a poor prognosis or the distress of a loved one. Could be more than just a bit of transference going on here. Think of it this way — you may have been the only person available to whom he could safely vent his distress. He certainly doesn't want to rail on his medical practitioners/advisors and ... After all, your hands were tied up in your concertina. Be Well, Dan
  18. This is a bit of topic drift, but I shall ask, anyway. I'm always fascinated each time I read that one can lower the pitch of a reed by removing some of it's mass, I.e., filing it. I'm certainly no physicist or engineer, so I truly have not the slightwst clue to understanding this, but to my elementary way of thinking, it seems counter-intuitive. Would someone or ones please explain this? Thanks, Dan
  19. Hello, Given that you reside in the US, these individuals all merit your consideration. All are extremely helpful, reputable, and just plain nice gentlemen in the truest sense of the word. We are fortunate to now have these four fine resources right here in the US. In order of proximity to North Carolina, I'm guessing - depending on where you are: Greg Jowaises - already mentioned (Kentucky, I think) Bob Tedrow - Homewood Musical Instruments (Alabama) Doug Creighton - Button Box (Massachusetts) Wim Wakker - Concertina Connection (Washington State) As far as coming to the right place for help ... It doesn't get any better than right here. Best wishes in your pursuit of your ideal instrument. Dan
  20. Richard, Are you out there — even nearby, perhaps? You are referenced prominently in the eBay listing. Might you be able/willing to shed some of your light on this speculative conversation? Be Well, Dan
  21. Hello Michael, This is an interesting idea and, perhaps, I can be of some help. As there are several "standard" bandonion/bandoneon systems: Do I assume correctly that you are thinking about a bisonoric box? Just want to be sure, as there are unisonoric systems. Do you know which of the more popular systems/layouts you want to replicate? How many buttons on each hand do you want to program? Be Well, Dan
  22. Never mind. The joke just hit me. As someone who couldn't play an Anglo if my life depended on it, that system is all one big cruel and fret-full joke. I truly admire anyone whose psycho-motor skills can master that system. Dan
  23. Hello Lorie, Just a note and an example to affirm what others are saying about sequential rather than simultaneous learning. Once I became proficient on oboe — many years ago — proficiency on the other woodwinds came rather quickly as the fingerings (clarinet excepted) were quite similar though the embouchures differed. Once I became proficient on the mandolin, the guitar (and even the banjo) followed rather quickly though the scale length and the number and tuning of the strings varies as do the chord shapes and positions and the physical sizes/formats of the instruments. That said, a half-tone is one fret apart on all of them. BUT, the violin was an entirely different matter — despite it being nearly the same size, scale, tuning, and number of strings as the mandolin, it was tantamount to learning something the likes of which I had never experienced. I adapted to the various duet systems rather quickly — though I have pursued only one to a level of real proficiency — after playing the English system for 6-7 years, but still can't even think about the possibility of playing so much as a scale on an Anglo system. I am utterly befuddled by it. Likewise, the unisonoric bandonion systems came rather naturally, but the thought of a bisonoric bandoneon or chemnitzer is nearly paralyzingly to me. A free bass system comes quite naturally to me while a stradella bass Is, oddly enough, a challenge. I think John's advice may be the most prudent — pursue something new/different when what you have (after you have reached a level of, perhaps, intermediate skill and proficiency) impedes your progress, limits your expression, or doesn't allow you to accomplish what you want to accomplish. Best wishes for much enjoyment — whatever you pursue and play. Be Well, Dan
  24. Hot damn! Tom Waits! There is hope! Wendy, This is great! Too far to travel from Colorado, so far-flung best wishes for the CD release party. Have a piece of cake for me. Be Well, Dan
  25. Insult ... indeed! But who, in this case, is the insulted and who is insulting.
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