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Everything posted by gcoover

  1. With duets (and Anglos) it's too easy to play full chords on the left against a single melody note, which makes it instantly outgunned three (or four) to one. The key is in the arrangement and in the micro-phrasing (I think that's what Jody Kruskal calls it). You seldom need to play full chords for their entire length, and sometimes just adjusting the timing of the accompaniment can let the melody shine through. A few notes can suggest a chord, notes can be played staccato against a legato melody, single harmony notes can arpeggiate (if that's a word?). Open fifths are also good. When playing, really concentrate on hearing the melody, and let the left hand fill in as needed. Easier said than done, but let your ears tell you when you are nicely accompanying the melody as opposed to drowning it out. You'll also find you will have a lot more air if you're not playing big lefthand chords that are eating up most of the air. Listen to how folks like Michael Hebbert (Jeffries Duet) or John Watcham (Anglo) make great accompaniments without overbearing lefthand chords. I'd try this, which admittedly comes easier with time, rather than trying to make physical modifications to your instrument which could potentially lead to bigger problems. Gary
  2. I have seen and played this instrument and it is as wonderful and delightful as Richard describes. If I didn't play harmonic style and needed all the extra buttons, it would have never made it to this cnet post! Gary
  3. What a great tune! Sounds like it might be for a northern clog or garland Morris?
  4. Or you can also briefly play octaves along with the melody, or maybe thirds, just a little interlude that sounds planned but is often due to not having the right notes in the right direction.
  5. Would love to see the insides of this one, why the ends are so elongated. Gary
  6. Looks like it will be Portland on the 22nd if anyone wants to meet up for a low-key master class, tunes, and/or drinks! Gary
  7. And a lovely version of Old Woman Tossed Up:
  8. Posted on YouTube just yesterday, John Watcham playing Longborough versions of "Hey Diddle Dis" and "Swaggering Boney" with Taylor's Morris, for the birthday of Harry Taylor's great granddaughter. Gary
  9. Hey Joe, sounds like a great idea, for one or many, could easily be in Longview in the shadow of Mount St. Helens. Maybe July 22 or 23? Gary
  10. If you plan on playing harmonies, the 4-fold would not give you as much air. Gary
  11. Just wondering if there are any harmonic-style Anglo players in the Pacific Northwest? I'll be in the area the third week of July and could easily meet up for tunes, coffee, beer, etc. Gary
  12. Welcome Ben! Just listen to as much concertina playing as you can to get a feel for the music and the capabilities of the instrument, and have fun exploring and learning and working around its eccentricities! Muscle memory takes a long time, but once you've got the basic notes you can experiment with expression by using the bellows to breathe life into the tunes. Glad you found cnet - lots of good information here, advice, and always lots of opinions that can be helpful as well as entertaining! Gary
  13. And here's the update: Polished rosewood 48-button Crane Duet labeled "Crane and Sons", "Manufactured by Lachenal & Co." Student model, with colored and labeled bone buttons, 20 buttons on the left, 28 on the right. Number 55 is on the left side cloth baffle and also internal. On the left handrest "Patent-21730-1896", and on the right handrest "C&S 3 9 6". Brass reeds, never retuned, it is in unrestored original-everything-close-to-mint condition, and pretty much in tune with itself at A=456. One of the original "Crane & Sons" leather straps is broken, the other is about to break. Original bellows are airtight with no patches, but I am hearing a little pad leakage. One pad on the left side has been munched on by something. And that's it! Being such a low number after the patent date, I would guess it dates to 1896 or 1897. So, the big question is, restore and upgrade things like straps, valves, and pads, (and learn how to play Crane Duet!), or leave as is? Gary
  14. I wish you guys would quite pointing these out! It's now on its way to Hawaii... Gary
  15. Since Pikeyh has undoubtedly now piqued some curiosity, here are some sample pages from the 81-page booklet that came with the Lachenal Edeophone Jeffries Duet #4764. On the keyboard page, someone has written in the transpositions to Ab (the home key of the Edeophone). The book shows the 12 different scales for both left and right, and then goes through pages and pages of chord combinations, the example here being Cm/Fm/G7 for both left and right. The interesting thing is the little black dots on the chord pages look to be from some type of stamp dipped in ink, which implies some sort of (very) limited mass production? And no, no names or dates or any other identifying marks. Gary
  16. One quick note on playing this tune, which applies to many tunes in F on the C/G - you'll need to grab as much air as possible at the same time as playing the few push notes, in this case while playing the C chord. If your instrument has problems with the long passages on the pull, you can try substituting a push Am. (I see some of the Am chord symbols are a bit out of whack, but you should be able to sort it out fairly easily on your own.) Gary
  17. Brand new from the always entertaining and amazing Simon Thoumire (he's the one with the concertina):
  18. Just now noticed a name written on the underside of the strap - W. Letchford.
  19. I usually do one line at a time, unless there is a really troublesome measure and then it gets extra treatment. And after that the entire A or B or whatever section over and over for 5 real minutes (use a timer!). But it's not just rote repetition - it's focused repetition, really thinking about what goes where and when. And then it's a whole different experience doing the same thing without the crutch of tab or music. Recording helps - but not in the way you think! The immense concentration and repeated takes may or may not result in a satisfactory performance, but I've noticed I'm suddenly playing much better a few days afterwards. My guess is the subconscious wants to make sure you're serious about it first before burning it into memory. As for dealing with distractions, that's a focus issue as well, and not always easy. I know I too often play with my eyes closed or stare into the bellows. But it's best to get so caught up in the music that nothing else matters. Gary
  20. This thread has drifted into discussions of music theory, but in an attempt to bring it back to the original OP I totally agree with Anglo-Irishman about patterns and sequences of movements. In talking with many of the professional Anglo players, for the most part they are not coming from a place of knowing much about theory, and instead talk more about learning basic patterns. I'm sure there is a place for music theory, and there are those to whom this is very important, but for the Anglo a lot of the issues are sorted already. My knowledge of music theory would probably fit comfortably on the head of a pin, but through a lot of trial and error and experimentation I'm able to come up with harmonic arrangements that I'm reasonably happy with. There are some chords I play that I have absolutely no idea what they are, and guess what - I don't care! As long as I like the resultant sound that's good enough for me. I don't think it's just memorized movements by themselves, but movements that are sonically reinforced by what we hear with our ears. The two together, with repetition, create the "muscle memory". There is a section of "Namida no Regret" in D#, almost all on the pull, but after looping it for a full 5 minutes (no cheating) a few times, it's now imprinted and actually easy to play, much to my surprise. The whole subconscious muscle-memory thing is pretty amazing in how it works, I don't fully understand it, but glad to often get to the point where my fingers just know where to go without having to think about it. On the contrary, if I do start thinking about it I usually screw it up! Gary
  21. ...and here's a comparison with one of Jake's Wolverton Anglos. Gary
  22. Update - the mini (micro?) arrived today. 8-button EC, 1.5" x 2" on the ends and about 4.5" long when resting - fits nicely in an old iPhone box with room to spare. Mixture of steel and brass reeds, the reedpans are held in with two tiny screws. No markings inside other than "L" and "R". How does it sound? Dunno, it's pretty leaky. I can hear an "e" an octave above middle "C" that appears to be in modern pitch, just not sure where it's coming from. Attached are couple of photos of the innards from the original listing. I've reached out to the seller asking if they know anything about its history. I'll be bringing it to Greg Jowaisas after the Old Pal Concertina Weekend in hopes he can work his magic on it and make it as playable as possible. Of course, the biggest problem with these little guys is lack of air due to the extremely tiny bellows capacity. I know it's heresy to suggest, but it really should have a supplementary air tube like a melodica! Now if I could just figure out a way to store this "mini-me" inside my contrabass EC that would be awesome. Gary
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