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gavdav

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  1. Hello - I'm looking at my concertinas in the Wheatstone ledger. I understand the date, model description and serial number columns - what do the other two columns indicate? Is the first column model number? Do the diagonal lines indicate that the gaps are filled by identically specced models? I am looking at this page: http://www.horniman.info/DKNSARC/SD02/PAGES/D2P0500S.HTM thanks in advance Gav
  2. I have a 50 key as well - half an inch smaller than that monster of steve's across the flats,but a very different layout to yours. I've seen a thread some time back about big boxes - Not sure about Ron's box - but might it even outsize Steve's??? And who knows where that 20s wheatstone is? Both of mine were made in 1926 - page 50 of the ledger down the bottom...
  3. As far as I can see most of the notes facilitate chording and single direction runs - a very different style of playing to normal on an anglo (for me!) and I guess designed to open up more duet-like possibilities.
  4. "key" indicates which note is the tonic or harmonic basis of the piece of music or scale you're playing. The other thread is based on Anglo concertina, so that's what I'll mention here. The Anglo concertina has "home" keys - those in which it plays most easily up and down the rows. The given key is dictated by the notes which make up the scale. On a normal C/G anglo the standard push pul pattern will give you the key of C - C,D,E,F,G,A,B,C To play in other keys might mean playing across the rows in non-obvious patterns. In F you need to play F,G,A,Bb,C,D,E,F which is not too tricky on the C/G anglo but can't be accomplished up a single push pul row and therefore requires a little more brain and finger power to work out. Having resisted it for a long time (why???) I can heartily recommend drawign out a diagram of where all the notes are on your box and having a look at some different scale patterns. This wiki link has been helpful to me too. http://en.wikipedia.org/wiki/File:MajorScales.svg
  5. Left hand is the octave below the standard bass notes, right hand is the octave of the D row treble notes.
  6. Sorry guys - maybe someone more technically minded can explain it. It takes about eight seconds to come up on my connection but all the image links on the site seem slower today than usual.
  7. sorry guys - file was much too large so I have deleted and re attached. please see if it worked!
  8. No prob - I thought I'd got C working nicely in both hands, but the directions are making it a little trickier!
  9. If I'm looking at the post I just have to click it, but you could try right clicking and saving the linked file.
  10. If I'm looking at the post I just have to click it, but you could try right clicking and saving the linked file.
  11. This is pulling together some other things from other threads. I am currently getting my head round this concertina - I love it, but i am sure there is an internal logic that I'm only seeing part of, being less musically minded than the average person (when it comes to dots and theory). It is a G/D with a lot of extra buttons. What I have found is that playing in A major and B minor are as easy as playing in G and D and in Bm especially all those extra drones add a lot. Can anyone see any other convenient scales? I have corrected the layout I posted earlier and this one should be correct (if odd). I tend to play by shape and pattern in the "English" anglo style. Any input much appreciated.
  12. one of the amazing things about the box in question is the brazillian rosewood ends - hard to make new ones without great expense and possibly best repaired with veneered or indian rosewood parts rather than totally replaced. Certainly they don't build them like that anymore.
  13. I'd been playing Peter Bellamy's song "Fakenham Fair" for a while and realised it makes a pretty decent cheerful waltz. Has elements of Rosin The Bow about it but thought someone might like it. posted my first stab at it on youtube here... http://www.youtube.com/watch?v=acFpgilynJ8
  14. I got this over the weekend and think it is fabulous - wouldn't normally be my first choice of musical style but it is quite sublime - understated and awe inspiring at the same time.
  15. totally - I guess you're used to playing Irish style - I liek my core of a tune to be on three adjacent buttons, english style - I just found that duped button gave me melodeon style convenience! (and was less finger mangling)
  16. Opps posted when I'd misread the pushes and pulls in mike's original layout... I think I'd want that f/f button on the right hand to be e/d as well
  17. Hello - resurrecting this age old thread to see if anyone can find out any more about these. I own one and it doesn't appear to match up to any logic of even the Jeffries duet - the key layout doesn't seem to be Jeffries duet layout, nor does the stamping of reed shoes suggest that all that much fiddling went on. Many people have now looked at mine and said "not a converted duet" though it hardly matter to me if it is or isn't. I'd really like to know if anyone else out there owns one that I can compare with. The history of these is intriguing me. My concertina may even be the one in the thread above!
  18. The seller may not have been able to spot them - mine of very similar vintage had no visible markings until it was restored. Mind you, that 26 key is going to need a good £600 worth of work on it looking at those pics! You could by this lovely pristine 20 key I'm selling (I'm open to offers!!!) and add some extra buttons Here is the evidence you probably don't want to see - compare my 20 key to the wreck up above and they're pretty similar .
  19. I started singing to the tune, then found that the more I did it the freer I became, in the end I have arrived somewhere in the middle by happy accident.
  20. agreed Chris - I just changed the "extra button" ont he low end of the D row of my 46 key to gie the A/B in the same direction - this just meant I had a sequence of a/b/Csharp/d in a sensible sequence!
  21. Thanks chaps - it answers the question I was looking at -I have a G/D; I have basically duplicated the A/B of my G row onto the bottom end of the left hand D row (same directions as one on G row,). I wondered if this was something with any precedent. whilst it is notes duplicated in the same direction it has suddenly opened up easy fingerings of two keys for me that were awkward before - those being A major and B minor. I guess the same modification on a C/G would allow english style players (up and down the rowers) to play easily in D on a C/G with little or no cross rowing.
  22. Hello - I am selling My Wheastone style Wakker A1 Anglo. I am finding a C/G 30 key is not proving as useful for me as I once thought it might and this sublime box is languishing unplayed. It is a superb concertina - light, strident but sweet toned, modelled on a top period Wheatstone Linota. It has raised ebonised ends, and classic concertina tone. It is in excellent, nearly new condition, perfect tune with a tiny amount of fingernail wear to the french polish between some buttons. More details can be found at http://www.wakker-concertinas.com/A-1.htm The W-A1 is based on the vintage Wheatstone linota anglo. Both instruments share the same reed pan layout and construction, and because of that have a comparable sound. The difference is in the reed size and scaling. The W-A1 has long scale reeds and a finer reed scaling (more reed frame sizes for the same compass) which results in a more powerful tone and better balance. New price is now in excess of £3000 before import and shipping and the wait time is close to two years. I am open to offers near to £3000 I would FAR prefer to sell within the UK. Please mail if you have any questions. I will send photos on request (with email addresses) here is a reference pic from Wim's site.
  23. Hi all - in view of discussion on the concertina history thread, I am curious as to what broadly constitues a normal layout for the additional buttons once you get above 30 keys on an anglo. I am particularly interested in what is the norm on say, a 40 key G/D. This is a result of some discussion on the history thread about larger Wheastone concertinas.
  24. from the letter, and corresponding receipt it looks like he got an off the shelf C/G instead. A shame as a 40 key Bb/F would be nice round here about now!
  25. Hi Steve - a difficult question to answer. I had a go at playing them this morning in A and there was a lot of bellows reversal or uncomfortable fingering patterns. Following on from what we've talked about previously I just swapped the A and B reeds over onthat extra button on the D row - it does mean it duplicates the directions on the G row but means A is now just one button over on the D row and you have the key triplet in one direction ( the pull). You can chord it then quite easily on the G row, lefthand on the pull, plus I have an A drone to go at - I've made a quick video but it is fourteen megs and I don't now how to link to it... if you can bear a file that size I'll send it to you (and anyone else who cares!) Actually - hang on - I can post it on youtube now I think of it. One day I'll take down my bad movies and replace them with competent versions here's the link - http://www.youtube.com/watch?v=kBo9b5t10f4
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