Graham Collicutt
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Posts posted by Graham Collicutt
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Hi Dick
Just to quote you from a previous thread about baritone anglo:
''That's one meaty sound you've got there Graham, although I must confess, I have absolutely no idea what a Wakker midi anglo actually looks like!
For starters, how many sides does it have?
Cheers
Dick''
The answer is 6.
Cheers Graham
Hmmmmmmm So, does the end justify the means, Graham?
Reminds me of the shipwrecked sailor, who said he had enjoyed eating a bowl of Cannibal Stew, having been tricked into thinking it was mutton!
Graham, would you take out your Midi Anglo in a Session, in West Clare ..................... without an armed escort at your side?
Cheers
Dick
I don't believe I need to justify anything, but I would never consider any midi instrument to be vile.
I was not trying to trick anybody.
No, but I would take my G/D.
Cheers, Graham
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Don't these vile objects just make you want to weep?
I'm sure the likes of Stradivari, Wheatstone & all other creators of wonderful, natural musical instruments, will be weeping buckets in their graves now!
Granted, the Concertina still looks like a Concertina, but how long before that lovely old box shape we all know & love, becomes a shinny, gaudy coloured plastic or metal mockery of the original?
Can you honestly picture those Midi Pipes being played at a Burns Night?
Let's be honest, if Burns came back, I think we all know where he'd stick that Pipers plastic Midi Chanter!
Quite frankly, I really don't care how close they come to sounding like the real thing they are just WRONG for me, on oh so many levels!
Take a look at this wonderful photo of a Mongolian Orchestra
Look at all these fascinating instruments, which took thousands of years of development, thanks to the efforts of countless musicians & master craftsmen instrument makers, to reach their stage of perfection. Is this how we are going to treat all art forms in the future?
Now picture that same orchestra, standing there, each with some vile looking modern, high tech Midi equivalent of their ancient & traditional instrument in their hands!
If that's the future of music, all I can say is ................... I'm glad I won't be around to see it!
Is this how we are going to treat all art forms in the future?
Maybe we should just paint a Smiley face on the Mona Lisa while we're at it!
Here are a couple more options you might like to consider: A modern Midi Lisa
But seriously, are the Dippers of this World, really just wasting their time? ............................................
Hi Dick
Just to quote you from a previous thread about baritone anglo:
''That's one meaty sound you've got there Graham, although I must confess, I have absolutely no idea what a Wakker midi anglo actually looks like!
For starters, how many sides does it have?
Cheers
Dick''
The answer is 6.
Cheers Graham
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What do you think are the most significant differences between the 30 button Wheatstone and Jeffries layouts? Do these differences matter? How do you work around them? How do you use them to your advantage? I am looking for information from Anglo players who have experience playing both Jeffries and Wheatstone 30 button C/G Anglos.
For years I have played a 30 button Jeffries. I now have the opportunity to get acquainted with the Wheatstone system. I've been playing a very good 1937 Wheatstone Linota, with a remarkably clear and bright sound that is never shrill. There is a depth and a richness to it that is very appealing. But I do miss the flexibility that the Jeffries layout offers.
The Jeffries system I refer to offers two C#/Eb buttons on the right hand top row, reversed on each button. The Wheatstone only has the one C#, a press on the index finger top row. I use it mostly by crossing my middle finger over my index finger to move from the LH B to the C#. At some point I will probably alter the layout by putting C#/Eb reeds into the dovetail slots for the second button and move the G# from the second to the third button. Is there a reason – aside from respect for historical preservation – not to do this change? I think it would make the Wheatstone a better player for ITM.
Hi David
I have changed from Jeffries to Wheatstone layout. I play mainly G/D but I do play both. With the C/G I bring my 2nd finger below my index finger to play B with 2nd finger, C# with index finger and D with 2nd finger. If I was to play C# with 2nd finger it would have to push index finger off the B. You have got B C# D all on push swapping sides.
I've got push A and pull G on the 2nd button which is standard, G# on the 3rd.
The advantages of Wheatstone layout :-
greater range of notes on right side
more suited to playing in F
Graham
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Hi Jody,
I'm getting a broken link message for the G/D pdf.
Cheers, Graham
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Wow!
How do you play it out in sessions etc. does it need a lot of gear? I'm totally befuddled over all this technology but I like the idea of the sounds of different instruments and the ability to switchto accompaniment if there are a lot of treble instruments etc
Mike
Mike I replied to this by starting the thread about Midi links.
I've put a few more files on Sound Lantern
http://www.soundlantern.com/SoundPage.do?ToId=27848 Wakker G/D anglo, raised ends, closed fretwork.
http://www.soundlantern.com/SoundPage.do?ToId=27847 Aeola single action tenor
http://www.concertina.net/forums/index.php...ost&id=2539 reed plate from tenor
http://www.concertina.net/forums/index.php...ost&id=2540 reedplate from tenor
http://www.concertina.net/forums/index.php...ost&id=1012 photo of F/C wheatstone and G/d jeffries for comparison, both moved on.
Graham
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In response to Mike Sam Wild : I have not taken it to a session, I have played it out for a carol do where I needed to be able to play in any key ; and a couple of band practices.
You need the concertina and the wireless midi controller, the usb midi interface, the laptop and the sound source powered speaker or PA. A lot to take about!
I bought/swapped it to practice silently at home to give peace to wife and dog, but the ability to play in bass/baritone range is to tempting, to leave at home all the time.
I will be putting a few more files on Sound Lantern. Wakker G/D a C/G phoenix and a single action aeola tenor in F.
Cheers Graham
http://www.concertina.net/forums/index.php...265&hl=midi
http://www.concertina.net/forums/index.php...383&hl=midi
http://www.concertina.net/forums/index.php...960&hl=midi
http://www.concertina.net/forums/index.php...245&hl=midi
http://www.concertina.net/forums/index.php...339&hl=midi
http://www.concertina.net/forums/index.php...852&hl=midi
http://www.concertina.net/forums/index.php...912&hl=midi
http://www.concertina.net/forums/index.php...296&hl=midi
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I've put a couple of files on Sound Lantern.
http://www.soundlantern.com/SoundPage.do?ToId=27368
Wakker midi anglo played through Kontact 2, an Edirol UA-4FX usb midi and recorded straight to mp3 with Zoom H4 from audio output. Samples created from a Carrol C/G by Michael Eskin.Lowest note sampled was G3, lowest note played C1 I think. Every so often all notes hang, I have left them in, only edits were to chop beginning and end.
I prefer playing this setup in the baritone range. The anglo has 2 buttons on the left which shift up and down over 5 octaves. 2 buttons on right select different layers so with samples loaded with different keys in kontact 2 you can change from C/G to G/D instantly. With the samples stretched down over 2 octaves the responce gets slower and slower, so the lowest note takes about a second to swell up full volume. This may be giving a realistic feel, I've not played a genuine baritone. Air use is minimal though.
Graham
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I hope it's not a preview of things that I'll live to see.
Het Utrechts Morris Team Happy Together
http://uk.youtube.com/watch?v=w-ZpxEMW-Es&...re=channel_page
These lads certainly get around; looks like the Cotswolds, England, although I'm not certain of the village (Chipping Camden?).
I last saw this team dancing in the Loire Valley, France, on a tour organised by the Hong Kong Morris Men (Easter 1995).
Probably Broardway, not Campden.
Graham
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Item no. 230314391091, excellent internal photos, selling shortly. I've no connection with item.
Graham
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I was once looking around the ''Music Room'' stall at Sidmouth. There was a modern good make concertina there, where the bellows were 3-4 inches open. They were very difficult to close, well I didn't try as I didn't wan't to cause damage. I was told this was due to the shelves having no blocking.
Chris Algar stores his caseless concertinas with elastic bands.
Graham
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oops, accidental second post
Well done i arrived in France in 1980 and still have a little trouble,if yourself or anyone is intrested just pass me a line.
Interesting design: Pinhole fretwork in metal ends and only 40 ish buttons.
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anyone here write original songs with the concertina(music and words) outside the normal irish/english styles?I'ld love to take a listen, and it seems to me the anglo is highly underutilized in music outside of the normal folk traditions its involved with.
I know julian koster(an outstanding maker of music) uses one on ocassion in his project the music tapes, not sure if its an english or an anglo, but one is porminently featured on the song "freeing song for reindeer" wich i beleive can be streemed from the merge records website, deffinetly worth checking out.
p.s.- remember reading somewhere on concertina.com, the writer made the point that if a more standerdized system for the concertina had emerged (and not been overshadowed by the invention of the electric guitar) jimmi hendrix might have been shredding on a concertina.what an awsome thought(not that his jams aren't perfect the way they are) but at any rate, anyone experimenting with contemporary concertina music....rock, pop or anything of the like?
http://www.concertina.net/forums/index.php...Steven++Arntson
A link to " A Devil's Dreamworld " . Original album and manuscript fron Steven R. Arntson
Graham
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Okay; sorry about my inability to post the diagram. I am gonna bite-the-bullet and revert to a letter table for the buttons, which is as follows
Left In/Out
1st row B/C, E/F, G#/Bb, E/D, D#/F
2nd row G/D, D/F#, G/A, B/C, D/E, F/F(low)
3rd row F#/E, A/C#, D/E, F#/G, A/B, C#(low)/Eb
4th row Eb/C#, F/G#, A/B, G/G
Drone G/G
Right In/Out
1st row Bb/Ab, G#/Bb, D#/D, G#/F, E/A
2nd row C#/E, G/F#, B/A, D/C, G/E, B/F#,C(low)/D(low)
3rd row A/G, D/C#, F#/E, A/G, D/B, F/Eb
4th row Bb/G#, C#/Bb, D/C#, D#/D, E/Eb
All comments gratefully recieved.
Thanks to Chris for his cautionary note about tuning. I have done quite a bit of manual tuning but the point is well taken. My first priority is to get some of the obscure reeds sounding; you can imagine how complex it is inside this box and there are a couple that are leaking like a Government researcher (Colin DIpper has shown me which ones).
I have not been back inside the box to check Graham's point about the double-direction G button (left side, bottom row, far right) but will do tonight.
thanks,
DOUG WATT
Hi Doug
You should be able to see the lever/pad for the Gs through the fretwork.
I've no guidance on achieving a better arrangment, when I had "Kilroy" I found all the extras got in the way and reduced the button count to 32 ish. There was no high c natural when I first had it which is the same as yours. I'm now happy playing a 30 button Wakker G/D.
I assume you could move some of the reeds around with needing to retune. I have in the past flattened reeds, with liquid metal, by a semi tone with no change in tone or response, and it is reversable with no damage to reed.
Graham
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Hi. I acquired a 44-plus-drone G/D Jeffries from Chris Algar this summer and it does not have the layout that I would have expected. The reeds probably started life as different pitches because there is a lot of solder on them but each is stamped correctly with the current pitch-class and those stamps look quite old.
I have attached a diagram. Overall, it looks to me as if the unexpected notes tend towards 'flat' keys. Most of the amendments are to the right hand so I am wondering if this has been adapted for a one-note-at-a-time player (Irish?). I can see some logic to some amendments (witness the bottom row, righthand, where the same notes are either on push or pull on adjacent buttons).
Or maybe I do have a common layout. Any ideas?
I guess where I am going with this is to wonder if I could/should retune to suit myself or whether I should just get on with it and learn to play it as it is. I do play quite complex stuff in an English chordal style so finding comfortable fingerings is quite important.
And can anyone tell me why there is a G/G button, bottom right on the left hand side when the same thing lies next to it as a thumb drone? It seems wasteful to me.
Like lots of Jeffries, I cannot tell you much about the provenance of the box but someone may know it and all comments would be gratefully received.
DOUG WATT
Hi Doug
I didn't see much of you last night.
The 2 G buttons share the same reeds, ie 2 pads on to 1 reed chamber, at least they did on ''Kilroy''. Didn't you buy your Conner from Chris?
I can't see the attachment either
Cheers Graham
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They were long enough that I even pruned them back a bit.... Using my finger, I estimate the ends of the straps to be about 1 inch in width with an 1 and 3/8ths width at mid wrist. I remember asking for wrist straps and believe that's what's on my Albion right now.
Sounds like wrist straps to me. Very different looking than the straps Stuart uses, huh?
-- Rich --
As an experiment, I have placed wrist strap over back of hand just below knuckles. They look the same as Stuart's to me. As you play up the buttons, the strap stays where it is (on hand ) but your hand is free to move up and down. Little fingers get locked into finger rests.
I have a single action tenor in F, and find the wrist straps benificial to grab a quick gulp of air.
Graham
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Ah, the Coca-Cola Jeffries. Sold to Chris Algar for £4,768.88. Recession? What recession?
Chris
Just as an aside and to remove temptation Hobgoblin are listing a 26 button A flat/E flat metal ended Jeffries for .................. £2500 bargain!
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hello everyone,
i wanted to briefly announce that i've put an album of original music for solo concertina and voice online, hosted at archive.org. this link will take you to a page where you can select to hear the songs or download a PDF of the sheet music. this project has occupied me for a long time, but i'm sure there are many mistakes in the sheet music, for which i apologize.
i deeply pondered whether i should try to sell these or just give them away, and finally opted for the giveaway. i haven't made any money from music yet in this life ... why start now?
the concertina is a 2005 Tedrow Zephyr.
best,
steven
Just a note to say I am very impressed with: your compositions; your ability to play them and then to be able to write it down.
Graham
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DOCUMENTARY: Ceird An Cheoil
On: BBC 2 Northern Ireland (Digital) (2)
Date: Tuesday 13th May 2008 (starting this evening)
Time: 19:30 to 20:00 (30 minutes long)
The Harmonica.
Documentary taking a close-up look at traditional Irish instruments. Harmonica maker and player Brendan Power demonstrates his craft. With performances from John and Pip Murphy, Mick Kinsella and Rick Epping.
Episode 4 of 12; accordion was episode 2 ( I missed it) episode 3 only available for rest of today: bouzouki maker Joe Foley
Tonight's episode is on concertina. For those with a sky box: channel 992.
Graham
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The selected arrangements are presented as repertoire, (in musical manuscript--sight reading not required). All of these arrangements were done at the Concertina, not on paper. The idiomatic playability of this repertoire will be self-evident and may readily bring musical enjoyment. The piano 2-staff system (up an octave) does lend itself to the concertina's two-handedness in 3 1/2 octaves, and it allows presentation of the notation without excessive ledger lines.
Alan Lochhead (Anglo Concertina)
Hi.
I put an order for your book with Amazon, but it's out of print. Are you in the know about where it will be replenished?
Thanks.
http://www.musictime.com/product_info.php?...81358f74cca3fc2
I ordered a copy through Musictime a few days ago. I hope they had stock then.
Graham
The answer was no they haven't got in stock, it is on back order and will take at least 2 weeks and quoted postage to UK was incorrect. There is no stock in UK showing on www and the cheap postage, $4, was the deciding factor in choosing them. The Button Box have them as well.
Graham
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The selected arrangements are presented as repertoire, (in musical manuscript--sight reading not required). All of these arrangements were done at the Concertina, not on paper. The idiomatic playability of this repertoire will be self-evident and may readily bring musical enjoyment. The piano 2-staff system (up an octave) does lend itself to the concertina's two-handedness in 3 1/2 octaves, and it allows presentation of the notation without excessive ledger lines.
Alan Lochhead (Anglo Concertina)
Hi.
I put an order for your book with Amazon, but it's out of print. Are you in the know about where it will be replenished?
Thanks.
http://www.musictime.com/product_info.php?...81358f74cca3fc2
I ordered a copy through Musictime a few days ago. I hope they had stock then.
Graham
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Paul, Daniel,
Wow! Sounds like this is a guy the concertina world SHOULD know about. Since you both know him, is there any way either of you could convince him into recording a tune or two, either for the recordings page on the Forum, or perhaps for You Tube? It is a pity not to be able to hear someone with this much talent. I was blown away when I first heard Andrew Blakeny Edwards recordings of ragtime tunes....Alan seems like he is cut from the same cloth, and should to be encouraged to connect with the worldwide anglo tribe of today.
Here, by the way, is a picture I found of him: http://piperhq.com/ceilidh-music.htm
How about a techie question on this. If his sheet music were in a digital music-writing software (which it undoubtedly was before the publisher got it), it could be played back....not as good as hearing him, of course, but much better than just sight reading those arrangements. Does anyone know how to scan sheet music to get it 'automatically' in a software form?
Now I shall add my little bit about writing complex arrangements for anglo. Alan used the standard treble and bass clef two-staff approach, which is of course the way to go for anyone with piano and/or classical background. The unfortunate thing about that for anglo sightreaders is the bass clef...we are used to reading in treble. Maybe it is a small thing, but some notes (like C above middle C) are on both the left and right hands...so that the same exact note 'looks' completely different on the left hand staff than it does on the right hand staff (and, also a bit peculiar, all notes are written an octave lower than they sound). To get around this, I usually put my two staffs both in treble clef, and never mind the fact that some get a bit high or low relative to the five lines. Classical types may well recoil, but I find it much easier to sight read. A small matter, perhaps, but one that works against anglo players in reading fully arranged music, in my opinion...or am I a minority of one in this? I suppose I could just get over it!!
Regardless, the arrangements are quite an achievement, especially given the high praise from Paul and Daniel. I'd like to hear him play...they and the book have whetted my interest.
Dan
PS to Dirge: The notes are all intentionally written an octave lower than they actually sound...one of the problems I was mentioning above.
I have no idea how well it works but here is a link http://www.myriad-online.com/en/products/pdftomusic.htm and http://www.myriad-online.com/en/products/omer.htm
An anglo player who can just about read music but hasn't mastered the bass clef, so I have to first learn bass clef, just play an octave higher. It is off putting.
Graham
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DOCUMENTARY: Ceird An Cheoil
On: BBC 2 Northern Ireland (Digital) (2)
Date: Tuesday 13th May 2008 (starting this evening)
Time: 19:30 to 20:00 (30 minutes long)
The Harmonica.
Documentary taking a close-up look at traditional Irish instruments. Harmonica maker and player Brendan Power demonstrates his craft. With performances from John and Pip Murphy, Mick Kinsella and Rick Epping.
Episode 4 of 12; accordion was episode 2 ( I missed it) episode 3 only available for rest of today: bouzouki maker Joe Foley
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Stradella bass & chords are indeed restrictive. Also it gives me lots more work to connect the 120 switches to the Synth.
So, the only things opposing it is the fact that I had considerable practice in playing it and worrying that it might take years to gain the same dexterity on W/H?
With Stradella I instinctively felt where the chords are. That's why I had not to bother about scales. Albeit this involved huge jumps and a few single bass note patterns, I managed.
With most melodies I'll use Live-Styler (YamahaStyle) accompaniment. This software also has got a mapper for PC keyboard melody play.
No problem then to set it up and try it out. Hurray!
I gratefully take your good advice, Rich, for you know/ tried all button layouts. This experience I lack and that's why I'm on shaky grounds. Not sure when my project will be ready, because we trying to sell our house, but in the meantime I'll try the PC-W/H and since my musical aspirations will always with me, I'll let you all know how things worked out after longer years... God willing (!)
In this case I better build a 61 note W/H layout and for the time being at least, forget about connecting the Stradella, until I get to know the W/H. This allows me to control Live-Styler with W/H buttons in the lowest octave.
Also, the W/H allows me to see its generously sized buttons, whereas I would have blindly played the Stradella horizontally, buttons vertically. So, things with W/H looking pretty promising...
Another great idea would be to build two W/H keyboards: one smaller one for left-hand bass & chords and the right one for melody only. I then could even place them ergonomically (in natural hand position somewhere between concertina and piano) and maybe even add a 12 pedals?
Now you have decided what to do here is a link, http://musicscienceguy.vox.com/ to someone who has done a similar thing.
Graham
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Hi Peter
I don't find it a problem looking at the reversed image. The top is still the top and the inside, middle and outside rows are not reversed. I thought the lower angle was the best but for the glare from the window and the poorer light levels on the left side. Is it any improvement over the close up view?
Thank you for what you have done so far.
Cheers, Graham
Sore thumb on handstrap bolts
in Instrument Construction & Repair
Posted
Link to Concertina Connection showing anglo with duet style handrail and straps. Is the brass plate what you require?
http://www.concertinaconnection.com/wakker%20anglo.htm
Cheers Graham