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Clive Thorne

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Everything posted by Clive Thorne

  1. As an engineer I have often thought that as well, but as an anglo player ........ I guess that if you knew what you wanted when you started then there is a choice to be made, but if you started on a 20 key anglo, and progressed to than a 30 key, then the logical next staep is to go to a 30+ Key anglo rather than re-starting on an altogther different instrument. And an anglo gives that inherent punch from the bellows reversals. Going to a 40 key may allow you to smooth that out if you wanted, but the punchiness is still inherent. Of course Duet and English players can also play with great punch, but it's not inherent in the instrument,
  2. I should have made it clear that I play in a melodic/chordy sort of style, so my comments only relate to that (and my version of that). I can't comment on anything irish-style.
  3. Jeffries layout has Eb/C# on one button on the third row, and C#/Eb on the adjacent one. If sometimes wonder if these couldn't be C#/C# & Eb#Eb.
  4. Contrary to most people here, it seems, I would love a 40 key anglo. I currently have a 36 key and use all the buttons - though some not very often. I would love to have the C row left hand G/A repeated on the right hand, and to have a top Eb.
  5. I am having lessons (On-line) with John Kirkpatrick, which I can thoroughly recommend. I'm sure the other people are good as well, but I've not tried them so can't compare. I guess that, eventually and to some extent, it depends what style you want to develop, but for a complete beginner it probably doesn't make much difference.
  6. The thread title sounds like a specialist subject on Mastermind! You questions start.................... NOW.
  7. Particulary the low D (although some have this iplace of the 'normal' low A).
  8. Beginner "Harmonising" on an anglo can be very instinctive, be it single notes or chords. It is largely what the anglo was originally designed for. Presuming you are playing mostly in C and/or G then learn where the basic three chords are for each key -only four chords for the two keys (though there are some alternative fingerings). To start with though I would just try stuff out and, if doesn't work, then try something else next time! You don't want to dull your initial enthusiam by loading yourself up trying to learn theory. Plenty of time for theory later. Others here will have a different view.
  9. Whatever else people think of Rock Chidley concertinas, it must be the "coolest" manufacturer name of them all.
  10. On the occasion that I had a problem with end screws I retapped the plates to M2.5 and used stainless Allen Heads.
  11. So is the most common view that, in the the UK at least, it should should sound a bit like 'rational'. but with an L?
  12. I was sitting musing in a hotel last night when I realised that I might not be saying Lachenal correctly. I tend to say it 'Lack'nal'. Inititially I thought that perhaps it should be 'Lash-e-nal', but after a few beers realised that there could be many other ways, e.g. 'La-chenal', ' La-shenal', evn "lac-henal" (as I say, this was after a few beers). How do you pronounce it, and what is correct? How would Louis have said it?
  13. I was also at this week end Hhi Bob)and second what Bob says above. Apart from my head occassionally wanting to explode, due to being "full", it was great weekend. Also a great opportunity to try some other peoples anglos. Clive.
  14. And when that film was made it probaly cost them a fiver from the junk shop!
  15. I am also having lessons with John Kirkpatrick, and finding them great. John's playing was my first exposure to anglo concertina so to my mind that is what an anglo concertina should sound like, and going to him for lessons was the natural thing to do. He goes at your pace, very happy to repaeat stuff, and so far has been very tolerant of my making slower progress than I should be (lack of practice time), and understands that sometimes you have to move lessons around due to life getting in the way. The zoom works better than I thought it would, and actually has the advantage that you can record it (with his permission) and refer back to it. So it's a thumbs up from me.
  16. Annd hopefully the concertina does'n sound like a penguin mating call!
  17. Note my style of playing at all, but I'm sure it's all good stuff. However the thing that stands out to me is how far they all seem to lift their fingers off the buttons. Is this an Irish style 'thing'? - it looks like hard work to me, but obviously works!. When I'm playing (English style) my fingers generally only just come clear of the buttons - possibly to do with having started on a melodeon.
  18. You can simplify this by simply using P for push and P for pull !!🙂
  19. I've never been one for tablature (concertina or bass guitar).To me it always seems easier just to learn where the notes are in your head/fingers. Learn the basic scale pattern then some chord shapes, and then, when ready, alternative position and directions. Start with simple tunes and then slowly push the boundaries.
  20. Jake, Thanks for the heads up. I'm an english style player rather than irish, so i'll probably skip the Swan & Helmet sessions (I've been to a few rockier gigs in that pub though). Is the Amtphill session a general folk session, or concertina specific? - my first instrument is really a melodeon. Also how open minded is it?. Would it object to a saxophone (my wife's instrument). PS I am having lessons with John Kirkpatrick at the moment and he was very complimentary about your concertinas.
  21. I know that quite a lot of early C.Jeffies concertinas were actually built by Crabb, but beyond that I am unclear. Did Mr Jeffries re-temper and fettle the reeds etc., or did he simply stamp his name on the end, or what? I have an interest in this because when I had Colin Dipper do some work on my "C. Jeffries" aorund 15 years ago,he said that it was probably built by Crabb, and that it looked like it might originally have had wooden ends. To honest I'm not too bothered whether it's a Crabb or a Jeffries as it is a lovely instrument either way.
  22. I'm not sure that this should be refered to as a "Faux" Jeffries. Others would know much better than me, but if it had the final reed work done by Jeffries, then I would have thought it qualified as a Jeffries. Even if not, then it will still be a top class instrument. I'd be interested to know what the reality of these "Crabb built Jeffries" is? Did he fettle them, or simply stamp his name on them?
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