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Robin Harrison

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About Robin Harrison

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    Heavyweight Boxer
  • Birthday 01/03/1953

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  1. Just been directed a great "digital sing" on Face book......led by this gentleman. It's the "Revels Virtual Spring Sing" I had not heard of him but, boy, he has a glorious voice, a wonderful english concertina song accompaniment technique and a fabulous looking baritone treble concertina. Anyone know what he plays ? Robin
  2. I recall decades ago reading a book about Shackleton's journey to antarctica that referenced an English concertina and that it was an Edeophone. This morning a friend sent me this link to the BBC New magazine website......................and there it is on the shelf, above the picture of a penguin, image 5/15. Somewhat blurry but probably the metal-ended edeophone. Here is the link.....................reference was made recently on C.net to not posting links here..............I don't know a way of letting you know about this without giving the link. If anyone else can, that would be great. Robin https://www.bbc.com/news/magazine-34856379?fbclid=IwAR2wJ-oFJm_J3FoWACTPZnMdvIKGbniz2DEkM5IFIYVJ3d392-M6lF0qpSc
  3. William Kimber, I'm guessing, in Headington ?
  4. Mike says it is 17th Century in the written explanation......
  5. Yep, me too ! Maybe 15 yrs ago I taught myself to sight-read, on English concertina, just for this purpose. Robin
  6. hi jake............can't remember where the copy I posted came from. I think I did it but can't recall it at all. The one I appended here may be better...chords are simple but what I play on the melodeon. Also 4/4 not 2/2 Robin I should mention in bar 5 in the B part, I have put some notes one octave up because my melodeon does not have the low ones, so I skip up and down. Polperro Bay & Mrs_ Saggs.pdf
  7. This may help...........apparently Mrs. Saggs was written with no repeats but you can sort that out. Robin Polperro Bay & Mrs Saggs +chords.pdf
  8. When my children were small we did the Suzuki violin method with them for years....from 3 1/2 to 18 yrs of age. We were constantly changing my daughter's strings because they corroded where her fingers stopped the strings and my son's hardly ever. Robin
  9. Apparently inspired by it .....! Jim......really nice interpretation, Jim. As always, great playing ! Robin
  10. Bill N. and I have been working on a Dave Shepherd (of Blowzabella) tune, the Origin of the World, that is comparatively complex (for me) and parts of it keep confusing me. I have learnt the tune inside and out, up and down and have it down pat, but I keep getting lost in it and have not been able understand why...................until a few hours ago. I suddenly realised that the way I am playing the tune, I am not "centred" on any particular row. This is new for me............... I have spent years with the comfort of knowing where my fingers were in relation to the buttons ie hovering over a particular row. I think this is why if I am not focusing furiously, I suddenly find I have no sense of where I am on the keyboard. ie away from the comfort of my G row or D row, and just sort of drift off. It's like my hands are in a fog. There have been plenty of discussions on this topic on C.net about whether you play on a particular row or just pick the notes you need. Now I know what is happening............feels great ! Robin Origin of the World This is the first time I have played the tune through more than once...................left hand comes soon
  11. To give Mike Raven his due..................and as a little lad in Somerset, I used to love his radio prog..............he produced this book way before this type of collection became popular. It has been superseded by dozens and dozens of tune books but it was probably one of the first in my library of english tune books....... I think he was ahead of the game. Robin
  12. Hi......? I'm Robin

        My main question is the 70% issue...............I just haven't heard this before (  I don't think)

              Actually bellows control is central to my anglo playing ......I have designed a layout and Colin D. has built 3 anglos for me. It's a somewhat changed standard  37/38 key layout such that MY anglo ends up playing a bit like a bandoneon, thus playing a lot more on the draw and less on the press to try to get longer legato phrases with less bellows reversals ( which I often try to avoid.)

         So, I often need to compress my bellow fully to get max. air for the phrase. Perhaps less so on my very responsive G/D, but the F/C needs lots of air for chords and my bass G/D Dipper could really use compressed air scuba tanks !.....I'm still coming to terms with this one.

                   THAT SAID..............I did try to measure my bellows use ( slow day in paradise here !) and pretty much don't extend the bellows over 70% most of the time. However , if I needed to I really wouldn't be troubled. I think new anglo players have other things to occupy their minds but I agree that bellows control is hugely important.......funny thing is I also play English and am rotten at bellows control, and melodeon, which I am great at bellows control because I keep the bottom strap done up to get more response from my reads.

        Did you mean 70% on draw and press ?

    Anyway, it's always a pleasure to chat with others interested in concertinas; I'm up here in Paris, Ontario.

                   Just added a couple of videos for interest.



  13. Well done Gregor.........less is more when holding keys down but well done. Seems like you're having fun ! you shouldn't extend or compress the bellows beyond +-70% of its range, Never heard this before.....obviously on compressing !......but extending, I don't agree. I believe bellows to be very durable and if you total them after 40 years, then replace....see Cormac Begley as an extreme example. And second, if I need air, then I need air and it's not because of lack of bellows control. Cheers.............and maybe a separate thread not to hijack Gregor's first recording ?
  14. Hi Bill..............I'm very excited to see your new anglo. Drones..............I'm not a fan of them for the type of music we play and in fact, for myself, think of them as a lost opportunity to have a note that I can use constantly. ie both the press and draw notes on my left hand thumb button I use in chords. But I also realise that is not the information you asked ! Robin
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