Graham Collicutt
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Posts posted by Graham Collicutt
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Why wasn't I looking at the right time.
Graham
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It seems that some of my assupmtions were right. I was aware of the possibility of playing chords, but single lines rule supreme in Jazz Improvisations and they seem to be not to important in ITM. They are not really important for me anyway.
Are there any known English Concertina Summerschools in Europa, because I won't find a teacher here, and I know, that there are limits to Self-Teaching. I also know from other Workshops, that Summerschools give a huge motivation boost, which sometimes is needed if one is stuck at a certain point and still needs some time to make the next step.
Two octaves of chromatic playing are quite a bit. The saxophone doesn't have that much more. Though I guess utilising those 2 octaves freely will be very difficult. I'm still wondering about the ranges from both english and anglo concertinas. I know there are different versions vor english, but I don't know which is commonly used.
Greetings
Hyp
Hi
See this thread: http://www.concertina.net/forums/index.php?showtopic=11306 for skype lessons.
Graham
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Good on you Dick it's in good hands
Could it have been Ab/Eb or about?Maybe it could take G/D tune up if you want to play with others
Thanks Michael, & yes G/D is Plan A, at least it is if Mr Prebble reckons the Reeds will take the extra weight!
As for it's original Pitch, if only I knew by how much Concert Pitch moved, perhaps someone here knows, then I'd have a better idea of where it was before the pitch shifted.
Cheers
Dick
I am only guessing, but if it went back to Jeffries for retuning to make it 3 or 4 tones lower they would have just fitted new reeds, much easier than retuning and they then could have re-used the original reeds.
Graham
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Link to wheatstone archives http://www.horniman.info/INDEX.HTM . At a brief look I can't find yours, but it would appear to be around 1848 or 9. Interestings photos showing square ended reed shoes.
Graham
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hello all
can any body help?in the other video clips of the same show eddy upton is calling with the open door
band.The first tune they use I have played for many a year and have been unable to name it,I think the
second tune is the "clog dance" any body have a title for the first tune please
cplayer
I think it is Keefe's/The Clog from Jacky Daly.
http://www.thesession.org/recordings/display/212 Album listing from The Session.
I can think about something else now and thanks for reminding me of a forgotten tune.
Graham
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I have had both for many years, I play mainly G/D. The biggest problem for me with C/G is I can not play tunes like beginning of Soldiers Joy half as well as I can on G/D. So if you are mainly right handed I would stick with G/D.
Graham
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I have a nice arrangement for EC but it is not allowing me to attach the pdf files. Do you have another address I can send to from my personal internet account?
rss
Hi
You have been unable to post files several times. It may be because you have reached the limit of what is allowed.
Cheers Graham
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Ok, I am a UK based G/D player with no contact with true ITM players. My approach is to keep as much of the tune in the right hand as possible. I am playing in D on the G row on the pull for the bottom of the range. I find trying to add decoration around the top G most difficult. Please make comments.
http://www.onmvoice.com/play.php?a=10612
http://www.onmvoice.com/play.php?a=10611
http://www.onmvoice.com/play.php?a=10610
http://www.onmvoice.com/play.php?a=10608
http://www.onmvoice.com/play.php?a=10607
These are from a recorded practise where I left the recorder (H4) going and then kept the best
Graham
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So its one of those illogical concertina things (is there a reason why there is no logic?). lol!
I get most confused if I change from melodeon to concertina and vice versa, it takes awhile to adjust.
One thing to note: G row on right hand side of anglo is the same as the upper octave of the G row on melodeon.
Graham
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Bounce.
Anyone?
Chris
I only know that Felix Castro, who is on Anglo International disc 3 plays Dippers and is, I think from Spain. Links on ''The Recorded Tunes Link Page'' are broken.
Graham
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'' On concertinas, the reeds are mounted differently and there is usually some tendency towards side pressure on the long side of the window which can easily close even a moderate gap and cause buzzing or outright stoppage of the reed. Most reed shoes are slightly waisted so the only contact along the sides is near the tip and root of the shoe, but this is minimal and can be overridden by wood swelling. While it is quite possible to get clearances of less than .001" / side, I find any advantage is cancelled by much less tolerance for a reed that is not precisely centered, leading to blowing flat under pressure. Also very tight clearances can lead to too many calls for help when a customer's reeds start to buzz with a change in the weather.
Dana ''
This got me thinking: Why not just use paper packing for just the reed section of the shoe to close the gap. Seems to work, is very quick and is reversable. Incidently concertina I'm discussing is the one used for this post : http://www.concertina.net/forums/index.php...st&p=101246
Graham
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http://www.onmvoice.com/play.php?a=8847 Rakes of Marlow
http://www.onmvoice.com/play.php?a=8846 Parson's Farewell
http://www.onmvoice.com/play.php?a=8845 Foxhunters
http://www.onmvoice.com/play.php?a=8844 Musical Priest
http://www.onmvoice.com/play.php?a=8843 John Locke's
http://www.onmvoice.com/play.php?a=8841 Carolan's Welcome
http://www.onmvoice.com/play.php?a=8842 Flatbush this one breaks the rules, but would be interested if anyone has found some similar arrangements.
All played on a 30 button mahogany ended Lachenal on the 2 rows, some retakes necessary when 2nd finger strayed onto alternate G/A. Recorded direct to mp3 to individual tracks with no edits using an Olympus LS-10 which is supplied with a handy remote control.
Graham
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Thank you for your reply.
I have a cheap 30 button Lachenal, maghogany, steel srews and inserts, but generally in good nick and quite quick, no warping ( you can test reeds without screwing down ). There are 1 or 2 reeds that use too much air ( the bellows travel doubles to maintain the same volume ) so I am about to try something. Thank you again for your insight, I will bear it in mind.
Graham
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Video of stills showing one being dismantled with a harmonetta soundtrack. I hope it got put back together!
Graham
There are none on ebay at present.
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Whilst browsing harmonica tweeking sites I came across ''embossing''. A blunt tool ( eg. 7mm socket ) is used to draw out some brass from the reedplate to close the gap around the reed. They do that until the reed buzzes, they then ping the reed to break of the surplus and then repeat.
I have removed reeds from the shoe, then shortened the tip, ground back to size on wet and dry paper, then reassemble and then tune to achieve same effect. It does work but when clamping screws shear off you wish you hadn't started.
So has anybody tried embossing?
Graham
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Okay, for those still following this, I looked through Mally's tunes and through the ones sent by Steve, and the paper sent by Mark...thanks, all. No matches. So I transcribed it....below. It is a strange one; it sounds a bit like a grab bag of ruffles and rhythms, scotched together...but they repeat it on dance after dance in 1978-1979, as the last tune in their schtick.
Sorry for the complex notation; I was trying to do a note-for-note, working on their playing technique. Not easy---the public performances are to the banging of a bunch of drums (and the shouts of orders from the lead dancer); the one solo recording of Marshall indoors has him not at his best....so this is the best I can do. Marshall and Coleman, old-timers both, are basically playing in octaves, the classic old way, with few chords and no oom-pahs. The piece is more inventive than it may seem, as they skillfully move from C to G row and back again....you'd have to hear the tape on that, but if you try to play this and have difficulty with parts, try switching rows. You don't need the third row for anything.
So...the question of the day, morrisers....does this bag of notes have a name?
Best, and thanks,
Dan
Hi Dan
Just curious, in bars 7 and 9 you have dotted quavers under dotted crotchets. Is that correct?
Graham
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This one is a metal ended also.
Graham
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There is a fourth. A friend has a Jeffries Brothers Praed Street with 4 fold bellows and shorter fatter buttons. Typical Jeffries sound but pitched in G a tone above a Tenor.
Graham
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Hi
Just a quick reply; still a G/D ( 30 button Wakker 30 months old) with a little help from the birds and recorded on a H4.
No emphasis on chord playing, but I do a lot of cross rowing and cross siding.
Graham
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Lots of Playford tunes: Nonsuch, Childgrove, Parson's Farewell. In F ish but no Bs at all.
Graham
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Would I be correct in saying that it matches the '' Late Chidley Duet System''
The notes G and A (assuming notes are semitone flat of those indicated) are next to one another. Cs stay in the columns with Gs etc.
Graham
edited to add
It does breakdown in the top 2 rows
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Note chart is now posted on eBay. Seems to be in B flat.
Graham
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The Adder's Waltz on 1.67 concertinas (another quick record to test out an arrangement).
If anybody has Andy Cutting/Nigel Eaton's Panic at the Cafe perhaps they can tell me who wrote the tune?
Hi Danny
Nigel Eaton wrote Adders Waltz ( this is the spelling on the cd sleeve notes ). Jean Blanchard wrote the first in the set.
Cheers Graham
Somebody got a Bargain
in Buy & Sell
Posted
I would have taken the risk and paid by paypal.
Graham