Hooves

So I take it that was a tradional pick up line? seems to have worked for that chap, perhaps at the next session... and just a bit of science - The European Common Cuckoo lays its eggs in other birds nests, and the young cuckoo kills off its unrelated siblings by shoving the other eggs out of the nest to get all the food.

Very nice, reminds me of Pistacios.

I've been peeved by the opposite at Irish sessions where musicians play two times through a tune only. If you are trying to learn something by ear at a session then 7 or 8 times is much better. Even if you know the tune, there is so much that can be done with how you play it that each time through is different, But I've been given the evil eye at many an Irish session for playing too many times through, that is until I figured out how to be polite in such situations... when in Rome you know. Yes, I thought about that after posting (being somewhat sarcastic as you may have noticed), that the chaps may have been working out a tune, after all you have to start somewhere. At any festival which has the very broad term "Celtic" applied to it, I would expect enough differing interests to preclude instant tune mastery. I respect the musicians willing to put thier talents on display, I frequent open-mic nights and appreciate hearing live music, even when its not from a virtuoso.

At the celtic festivals I have attended, and at some of the open "jam" sessions I have been privy to watch, I have noticed the same tendency for reels to take prominence. Sometimes, when you get a group together who don't know each other well, there will only be a few songs everybody knows. At one festival I attended I stopped to watch the "Sessions Tent", they were all playing the same tune, which is to be expected. I went and got a draft, wandered to another tent to watch some dancers, finished my pint, used the facilties, wandered back to the sessiosn tent and low and behold the same tune was droning out of the session tent in infinite monotony. Rarely have I actaully heard ballads sung, and at one "Celtic" festival I attended there was even a greatful dead cover band. It may be due to the burping factor, its difficult to sap a pint and sing gracefully, juggling belches between verses. Side Note: It seems to me performers who actaully have a real "Celtic" heritage, usually visiting the states from thier homelands, think anything they play is "Celtic", even if its stright up rock n roll with an accent.

Funny Pictures! as an amatuer duet player I cannot really speak for all duet players. From my limited expierence with the other systems, I would have to guess: Anglo = Ale, Stout, Porter English = Lager, Pilsner, Cider Duet = all of the above plus whatever is free

Gentlemen, Gentlemen, The problem is so simple to solve, no need for harsh words: pack up that English, put away that Anglo, unstrap yourself from the behemoth and take a deep long breath. Prepare yourselves for that moment of truth that echoes through the missing notes and diatonic slures, What you want is a Duet. All your concertina cotton-covered dreams will come true when you release yourselves from the stradling reins of those "other" systems. Like a falling star that lands in your front yard on a humid summer night, like a firefly inching its way out of its hexagonal cocoon; steel, brass and wood resonate beneath your finger tips, and every melody you have ever dreamed or heard flows from the lacey fretwork. Do you want to know true concertina piece of mind? Do you want to wake up clamering to get your hands round your tina? Do you want to hear melodies, jigs, and reels spinning round your head? Yes, you do: its time for a Duet. You will never look back, and you will find that inner calm only a duet player knows.

Oh I see, my cases (all two of them) have no such groove, but now that I have read about the bellows "creep" I may try that velcro trick mentioned in another thread. Also, moths eating the felt sounds pretty bad. I will velcro mine and store on axis within a repaired case, sounds like that will work.

So if you actaully take the concertina out of its hexagonal cocoon and play it, then remember to put it in the opposite side up each time you played it, wouldn't that solve the end-side-up storage problem? Only for frequent players I suppose. Best to leave it on axis as suggested by the pros. I don't keep mine in the cases anyway since most are falling apart, I hide it in the bottom of a box along side extension cords and RCA adpaters, covered with some shirts I don't wear. I keep a very cheap but fancy german anglo out in plain view for all to admire...

Just like the ends of some lachenal anglos have a dummy hole for a button near the bottom (to keep the pattern of the end symetrical). Most Maccanns do not have an air release button, but eolas, jeffries maccanns, some wheatstones and perhaps newer makes can have an air release button, a luxury feature though. I guess that the idea was that when you have the same notes on push and pull, you can just go on playing the same notes. It does not make a difference if you push or pull, same as for 48 button english concertinas that usually do not have air release buttons. Ok that works, I can see why it doesn't really need the air button, I just need to discpline myself to always end closed. I'll check out John Dowland, and while we are on the subject, does anybody have a listing of recorded McCaan players? The only other I know of is Bobb Webb, and he only has a few tunes on the CD I have that feature the concertina.

There are some pro players who play multiple systems - Like John Williams whom I mention often, he plays the B/C accordion and the Anglo. I imagine tuners must be able to play somewhat in both anglo and english system, plus I suspect Mr. Barleycorn can whip out a tune in any system. I admit though, there is a tendency for me to try to move my bellows direction when i don't need to (a side product of playing anglo and button accordion). I too, am lamenting the low D... But I bought this one too learn on, and will in a few years try to acquire a larger box (even contemplated re-tuning the infamous Eb - Heresy!) I have not seen enough McCann duets to know if this is particluiar to my instrument: No air buitton, I had not noticed when I purchased it as I bought it online. Whats strange is the fretwork clearly has a button hole for an air button, yet on inspection I can see no where on the action plate where a lever had been, nor a suitable outlet for the air.

So only 6 1/2 of us then Hooves? (I'm not giving Jim a full vote after his description of his Maccan ownership!) ??? I didn't describe my "ownership"; I described my "playership" (maybe more "boat" than "ship"). The former does affect the latter, though. Of the Maccann's I own, only the 80-button is fully playable at the moment, and it's a bit much for the casual, occasional "practicing" I do on the Maccann at this stage. Well were looking at a small sample of players, not everybody who plays concertina is on this forum, and those who are don't always reply. I know there are some proffessional musicians who do play the McCann Duet, such as Bob Webb, who as far as I know is not a member of Concertina.net. I wonder if John Williams plays any sort of duet? Regardless, we are a small but elite group.

It sounds like a good theory: I was wondering the same thing when I started reading this thread, could the reeds affect each others pitch during play. However the fact it was mentioned the tina sounded "O.K." after a while seems to contradict this theory somewhat, as the chord sounds good one day a not the next. Some people don't like the sound of a pure triad arranged root to fifth lowest to highest, and when you play on a piano it seems to me after a while you get tired of hearing that vanilla triad. In fact any interval played continously gets wearisome (sit down and play only fifths for about 15 minutes, or play only basic 3 note chords on piano, gets old fast) Although I admit being a guitar player I do like my fiths and fourths. I can not speak for all players and theres always exceptions, but I believe most peple these days are used to hearing more complex harmony then simple 3 note triads. If they are present, theres plenty of other notes being played to distract your ear from hearing that basic triad.

Surely you jest: that key is very strategically placed, the good Dr. had a few tricks up his sleave. Its use is to wake you and your audience up, it also discourages miscreants from fiddling with your box. Devilishly Clever gent that Dr. Mc Cann...

Eb? when I find it I'll let you know...

In California I have not heard much mention of May Day,although we do celebrate Cinco de Mayo (May 5th). I think most people who go to Reniassance fairs and the like probably are aware of "May Day", however I always think of the classic film "The Wickerman", and not the crummy remake mind you, when May Day is mentioned.

As the proud owner of a newly acquired 46 button McCann Duet, I was curious as to how many McCann Duet Palyers are out there?

I've heard that sometimes the finish on an instrument can be affected by being in the cargo hold of the plane, but I have not myself ever expierenced this: a friend of mine many years ago said his cello's finish got damaged when he tooka trip to europe with his cello. Which seems strange as instruments are often built outside of your home country and shipped in. The forklift story alone I think would keep me from bringing anything other than a hrmonica with me on a plane!

I have a suggestion: Do away with the T-Board altogether, and have your 2 halves mounted separtely as if only half-a-tina. Have each "Half" strapped or mounted to either each of your legs or the sides of your body. Then you can play each half seperately, no need for an awkward board in between. I had thought of making a one sided concertina so I could play a string-drum (like the pipe and tabor), with one hand on the tina the other on the hand drum/or the chord box they use sometimes in french playing. That way I could playa melody and have an drum or string-chorded accompianment. I came up with idea on working out how to best perform Shel Silverstein's "The Man who Got no Sign", but rather than actaul reeds I thought I might use an Ocarina with a bellows to get a nice whistle sort of sound, or even attach a bellows and keys to a Shakuhachi or other flute.

Truly frightening.

Strange, all my buttons elicit baby crying...

I had an eye on that one too, unfortunately the seller must have gotten an off-auction offer. I wish more duets would come up on the auction block. I see Barleycorn is tempting us with another fine duet. Also I see an unrestored duet currently up for consideration. You may have to settle for an unrestored box, and than have it repaired as the only commercially availble duet right now is the rather oafish hayden (blah, I think id rather play the accordion). Perhaps someday an enthusiastic wide-eyed concertina builder will shout "By Gum!" and set to work to roll out a line of new well crafted duets for that eager burgeoning market. Then again, theres always the ever digilent Chinese work force - Old man Stagi almost got it right...

I was looking at the different duet systems and I thought the Crane system looked the most like somethign I would like to try. I would have thought with the Salvation army using the same system (or pretty close, I think the Triumph leaves offa few keys), there would be boat loads of these lying about, yet I see them come up for sale rarely and with a rather grandiose price tag (same with all duets for that matter). I'm surprised we haven't seen any cheap duet knockoffs, perhaps the interest is not yet gret enough to warrant mass production.

They must not have Open Mic Night in Hazleton...

Theres a fiery place waiting for those foul tempered shillers, a frothing broth of brimstone and bat guano, stirred by rusty pitchforks. Grievious and unloved, the shiller thwarts the hard working digits of the esteemed concertinist, casting his ill bred farthings with grimy twisted vengence. lo the unkempt brow of the pathetic shiller, he has no joy but to torment that which he can not grasp - hobbled in his filthy shack, the shiller swigs sour goats milk, cackling as his fingers fidget over the keyboard glaring with reddened eyes. Wrinkled, broken, a loner with no hope or future, his bent nose scrapes the lid as he reaches for another rotten bid. Off to sup with an evil puckered grin, his work complete, his emptiness sated, he giggles and belches, scratching and itching, merrily to doze with visions of road apples dancing in his head.

Why not? It would be like a Benny Hill episode...