David S
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Posts posted by David S
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When John Kirkpatrick was asked this question in a workshop he replied "Sing louder".... and he does!
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In most cases it is just easiest to leave the C# out altogether; if you are playing on your own and, as is the case in Morrison's, the C# is the middle note of three consecutive quavers, then you might hold the first quaver (turn it into a crochet). See what that sounds like, but leaving the note out is usually my method!
David
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Anyone know where to find prices and technical details of the Norman concertinas? Their homepage is not very helpful - just shows the outsides and tells you the number of buttons.
Are they traditional-reeded or accordion-reeded? If the latter, how are they mounted?
Cheers,
John
Norman Concertinas are (high quality) accordion reeded, with the reed frames held in place on the reed pan with a screw - flat onto the reed pan, not in a bank, melodion style.
David
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I know I'll have to play them for myself, but can anyone who's played them give me any idea how an A C Norman anglo compares with a Marcus anglo? Sound, playability, weight etc etc. 30 button G/D for English style.
Thanks
Sue
Hi Sue,
I have a Norman G/D and a friend locally has a Marcus C/G. Now obviously I can only compare these two specimens and there may well be wider differences between two Normans or two Marcus'. My Norman has a very easy action and the reeds speak quicker than those of the Marcus and are louder and perhaps slightly more strident than the Marcus. However that could be all to do with the 'set'. Both instruments are well made and nicely finished - the Marcus is a little prettier as it has polished natural wood frames and bellows papers, whereas my Norman is 'ebonised' with black bellows but I note that the Normans are now available with a variety of pretty papers and the Jubilee version comes with wooden ends as well - and a more mellow sound. I haven't actually weighed them but my feeling is that there isn't too much difference between them - both quite light.
I am sure that whichever you choose, you'll be well satisfied. They represent excellent value for money if a new instrument with accordian reeds is what you are after.
Best wishes
David
PS Antony (AP) James also makes a nice Anglo - he used to work for Andrew Norman, but now is in business on his own and may not have such a long waiting list.
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Roy Whiteley at Accordion Magic does a great job of conversion. His website is a bit out of date, but it will give you an idea of what he can offer. I have an anglo MIDI and the electronics and installation are bombproof. Also the volume (bellows pressure) sensor is very effective. He may be able to put you in touch with someone with an English conversion as I know that he has done several.
On the samples side, that is dependent on what you can get and utilise; top quality samples are not cheap and no-one has been able to point me towards Jeffries or Wheatstone concertina sample set, although it would seem that Michael Eskin (on this forum) has made his own.
However, my idea of a MIDI conversion is not to sound like a concertina but to be able to utilise your keyboard skills (and mine are less bad on a concertina than anything else) to make the sound of other instruments....strings, organs, woodwind are all useful, but the quality depends entirely on the synth that you use. I have a small MU50 which is quite limited ( but OK within its limitations) compared with the larger studio machines that have many more voices and variations.
The other use of course is for silent practice; I can play away on headphones without alerting anyone to the fact that I am playing rather than working!
David
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This is more or less what I play and it is fairly similar to the version on the album 'Rags, Reels and Airs' by Swarbrick and Carthy. Had never noticed the similarity to Trumpet and Air, but now that you mention it.........
X:1
T:Hens March To the Midden
M:4/4
L:1/8
K:G
D|G2 D2 G>AB>c|(3Bcd c>B A2 D2|G2 G>G B2 B2|c>Bc>^c d2 d>d|
d>cB>d c>BA>c|B>AG>B A3 D|G>BA>c (3Bcd c>B|1A2 D2 G3:|2A2 D2 G4||
D2 A2 D2 A2|D2 D>F A2 B2|G2 B2 G2 B2|G2 G>A B2 d2|
G2 G>A c2 e2|G2 G>A B2 d2|G2 G>A c2 e2|G2 G>A B2 d2|
d>cB>d c>BA>c|B>AG>B D4|G>BA>c (3Bcd c>B|A2 D2 G4:|
(ABC originally from Nigel Gatherer's collection)
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Saw this today at Willingham Auctions whilst looking for something else! Bellows good; all reeds play but undoubtedly needs overhaul, pads, valves etc. Guide price £200 - £400. Sale is on 6th March.
Serial No:53285 Lot No 1195
David
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I've just played a couple of Normans; they had a very nice feel, but i felt they were a little weak sounding.
I'm surprised that you found the Norman a little 'weak'. I have a 30 key G/D (about 12 years old) which I choose above my other instruments (Wheatstones) to play outside because it is loud! The action and response is excellent on the Norman, and he does build a 36 or a 40 key anglo.
David
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The problem with the C/G for "melody on the RHS and chords on the LHS" play is mostly one of range. In the keys that most folks play fiddle or dance tunes, the melody gets too high on the C/G to be taken seriously or too low to fit on the right hand. Also, to play in those keys on the C/G requires some crafty tricks like cheating the melody to a harmony note at need or jumping octaves for whole sections. The G/D does not need to do that as often because its range fits the "melody on the RHS and chords on the LHS" model of play.
BTW, a better name for this style I think is HARMONIC STYLE for reasons we could discuss.
Thanks for this definition, Jody. I shall now describe my playing as HARMONIC STYLE from now on..... no more confusion over "Oom-pah", "English", "Morris", etc.
David
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Love your view. I like to play in my window seat in Cambridge - winter view attached.
Back on topic - I often record my playing for self criticism. When I listen to my playing without a concertina in my hands I am much more aware of my shortcomings and become much more humble and self critical. Very good for me!
Good luck ith the recording,
David
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Watch the dancers has always been my rule, but for East Anglian step dancers I have found that it doesn't help to look at their feet and it seems better to just play on through and let them fit in with you. Anyone else found that?
David
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Where can I purchase pre-tuned reeds for my Mayfair?
Try Contacting Dave Jolly (northampton) www.jollybox.co.uk who does repair accordions and concertinas
David
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Anthony James used to work for Andrew Norman and makes his concertinas (around £1200) in a similar style. Both the James and the Norman are excellent instruments for the price and with stable fast actions. I have a Norman G/D as my canoeing box and I much prefer its action to that of some of the other similarly priced concertinas that you mention. Yes, they are accordian reeded, but with quality reeds not in in any way to be compared with the Stagi or Hohner. IMHO they represent excellent value for money and whilst ideal for a beginner, will not hold back a player in the way that a wheezy old Lachenal (in the same price range) might!
Check out the pictures on his website (http://www.apjmusic.co.uk) to see the quality of the instrument.
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If the key height is set right: so the tip of the key's peg is well located into the guide hole, the key's cross bushings are good, and there is not too mush 'slop' between the key and the hole in the action box cover, the 'oversize' of guide hole is no great issue.
My advice is to get the key hole bushings (if any) in good condition, similarly the key cross bushings, and then with good pads set the action height and travel correctly. The 'worn' guide pin holes will look after themselves. I can assure you that 1 mm peg clearance is not an issue. The cause of the ovality and chipping how ever is! The cause is that the action has been set up incorrectly, too high, or cross bushings have been lost.
Thanks, David. Exactly the advice that I sought.... do nothing! The cross bushings and the key hole bushings are in poor condition and the keys are very sloppy on the action arm, which probably accounts for the chipping around the hole.
Thank you for your most helpful post.
Best wishes David
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I am working on a 20 key Lachenal at the moment.... the buttion guide pin holes seem very worn so that the buttons are sloppy; some are oval and chipped away at the top and almost all are around 4.2mm diameter, whilst the guide pins on the buttons are 3mm. I am thinking of filling the existing oversized holes with a hard setting wood filler and then redrilling 3.3mm guide holes.
Any advice, please; Dave Elliott's excellent book is silent on this subject!
Thank you
David
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A new little tune played on a CG Jeffries (C & G Rows)
Starts with a run on the C row and next notes are on the G row,then back to the C row. A bit fiddly, but you will enjoy the jumping around
I hope you enjoy it.
Al
Very nice tune, Alan. I will take the afternoon off work and go and learn it. Maybe it will work well with Manor Royal (played as a jig) and make up an 'Alan Day' set!
Thank you for posting it.
David
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David
you should definitely put in some blocks. everyone here has good recommendations. if you cant fit some good blocks, i'd be more than happy to take the linota off your hands and give it a new home and a good case
. free of charge, too.David, that is a very thoughtful, kind and generous offer. However I have asked the Linota what she thinks (it is definitely a 'she') and she would rather stay in England and continue to learn English tunes and live in the very snug blocked double box which I made, following the good advice of this forum, for her and her mellow G/D companion.
Best wishes
David
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Amongst tunes that are very well known (round here anyway!) how about,
Three Around Three
or
(Sussex) Bonny Kate
or
The Sheepshearing and then The Sloe
Possibly slightly less well known,
Double Figure Eight ?
Thanks for your help; the tunes go really well together. David
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Thank you gentlemen for your help; I'll get some quotes today!
David
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My usual choice to to play English tunes on their own (5-6 repeats with variations) but almost all the rest of the community seem to want to run 2 or three tunes together. I'm not good at selecting compatible tunes and would welcome some suggestions to go with Jack O'Robinson, please.
David
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Musical instruments of any real value usually fall outside normal household contents insurance and anyway, are unlikely to be covered out of the house. I have used EFL for all my 'gigged' instruments and kit, but their rates seem to be climbing rapidly and I wondered if UK members would kindly share their recommendations and experiences on instrument insurance?
David
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On another thread, m3838 made the comment that "90% of pros play Irish style". Leaving aside (for now at least) the accuracy of that percentage, it got me wondering how many concertina players are full-time professionals, meaning that they rely on their music to make a living?
In folk music the rewards for being a musician are not great, and many good musicians are capable of earning far more by having a "real job". To be a folk musician, you've really got to want to do it, and many (including some highly-regarded players) choose to earn their living by other means and play music as a sideline. This is particularly the case with bands, since the fees don't rise pro rata with the number of band members. On the English ceilidh scene (which I know best) virtually all the top bands, even those with national reputations, are semi-pro. Some of the best and most highly-respected players, therefore, are not always full-time professional musicians.
So far, the ones I've come up with who are full-time pros are (in no particular order):
John Kirkpatrick
Brian Peters
Alistair Anderson
Simon Thoumire
Dick Miles
Jody Kruskal
Noel Hill
Michael O Raghallaigh
Liam Robinson
Roger Watson
John Spiers
Who have I missed?
Chris Sherburn?
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SO I'm taking my scarlatti camping...any tips for transportation of the instrument and how to keep it from getting damp in the tent (as we all know when you camp it rains and yes I've seen the weather forcast..doesn't look good). It will be something to do while I'm stuck in the tend with rain pelting down..no one will hear anything over the roar of the rain.
Should I wrap it in a plastic bag overnight to keep it dry? Or should I put it in the car just in case?
LDT.... I wrap it in a large woollen bobble hat and then slip it into a 10-12 litre dry bag similar to the ones at http://www.endlessriver.co.uk//product_inf...products_id/776. So long as the Scarlatti isn't too much bigger than than a standard anglo it should fit comfortably, but do check the bag diameter before you buy one!
David
Looking around my colleagues' wet kit, GUL make a really substantial 25 litre dry bag (£12.95) that would enable you to wrap the concertina in your spare clothes and keep the lot safe and dry! These bags have a roll down top that, when secured properly, make them totally waterproof
David
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SO I'm taking my scarlatti camping...any tips for transportation of the instrument and how to keep it from getting damp in the tent (as we all know when you camp it rains and yes I've seen the weather forcast..doesn't look good). It will be something to do while I'm stuck in the tend with rain pelting down..no one will hear anything over the roar of the rain.
Should I wrap it in a plastic bag overnight to keep it dry? Or should I put it in the car just in case?
LDT.... I wrap it in a large woollen bobble hat and then slip it into a 10-12 litre dry bag similar to the ones at http://www.endlessriver.co.uk//product_inf...products_id/776. So long as the Scarlatti isn't too much bigger than than a standard anglo it should fit comfortably, but do check the bag diameter before you buy one!
David
Lachenal 48 button just given to me, value?
in Concertina History
Posted
"Grief, we get this sentimental slop time after time.
Look Gentlemen, the bloke has decided to sell. He doesn't want to play it nor does anyone else in his family. He wants to cash it in and is happy with the idea that it goes to someone else who wants to play it. OK????"
AMEN!........ can someone who is familiar with unrestored Lachenal trebles please give this gentleman some good advice on its realistic value.
David