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Pete Dunk

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Posts posted by Pete Dunk

  1. The thing that struck me was the popularity that these tunes, published around two hundred years ago, still have today. The folk process has changed them slightly but they are today much as they were then and the popularity has diminished not one jot. That's the tradition for you!

  2. A bit of a departure here as this is a two part arrangement of Green Ginger from the Steel Skies suite by Alistair Anderson and takes a full three and a half minutes to play in its entirety which is the whole thing twice through. Listen to a midi version here, the voices are an octave apart so you can hear what each line is doing. This is a long abc file so I'm going to try and contain it within a 'code' window.

    T:Green Ginger
    C:From Steel Skies by Alistair Anderson
    D2 | GFGF BDFA | GB d2-d2 fe |: dfaf gfed | cdef e2 fg |
    z2 | z8 | z4 z2 A2 |:dcde dAGA | GE E2-E2 FE |
    "5"afdB A2 FG | ABAF E2 FE | DFAd gfeg | fe d2-d2 cB |
    DF d2-d2 fe | defa gfeg | afdB A2 EC | DEFA G2 FG |
    "9"AECE AFDF | AEFA defa | ge c2-c2 fe | defa g2 fg |
    Aceg fedf | ec d2-d2 cB | AECE A,CDE | FA d2-d2 FA |
    "13"abaf gd B2 | efed cBAG | FA d2-d2 ef | gece d2 ef |
    d2 dA GFED | CD E2-E2 FG | AFDE FGAF | BAGA BABd |
    "17"ge c2-c2 ge | fafd AFED | FA A2-A2 GF | GABe c3 A |
    cBAB cdeg | fe d2-d2 df | abaf defa | bgec AGEC |
    "21"defa geag | fdaf ecAG | FAdf gAcg |1 fe d2-d2 D2 |
    "25"GFGA BDFA | GB g2-g2 fe :|2fe d2-d2 g2 |
    gdBG FGA=c | BA G2-G2 A2 :|2 FDAF GECE |
    |:"28"fg a2 ef g2 | de f2-f2 ed | ecAF EFGc | ecac B2 ed |
    |:FA,DF ECGE | FE D2-D2 CD | EF A2 CD E2| A,CEF E2 AB |
    "32"ce g2-g2 fe | fgaf fdAF | GABd cdeg | af d2-d2 eg |
    cAEC A,CDE | FAde FG a2  | ef g2 cd e2 | fdAF G2 E2 |
    "36"fdAf gdBg | agfd gdBG | AB c2-c2 AB | cdef g2 fg |
    FADF GABd | ge d2-d2 eg | aeca gecg | aecA ECA,C |
    "40"fdcd Ad c2 | GABd g2 fg | a^gab a=geg | fe d2-d2 df |
    DF A2-A2 fa | gbgd B2 AG | ECA,C EGFE | FEDE FAGF |
    "44"gd B2-B2 dB | A2 dA F2 GA | GB e2-e2 Ac | d2 fa g2 fg |
    GBdg b2 af | ge d2-d2 gf | eBGE B,GEC | AF D2-D2 GB |
    "48"af d2 ge c2 | defd A2 FD | GABd gfeg |1 fe d2-d2 g2 :|2 fe d2-d2 D2 |
    d2 AF E2 Ac | df a2-a2 ba | g2 gb aece |1 dAFD GBAG :|2 dAFA GABd |
    "53"GFGA BDFA | GB g2-g2 fe | dfaf gfed | cdef e2 fg | afdB A2 FG |
    gdBG FGA=c | BA G2-G2 A2 | dcde dAGA | GE E2-E2 FE | DE d2-d2 fe |
    "58"ABAF E2 FE | DFAd gfeg | fe d2-d2 g2 |"rall   -    -    -   -    -   -      -   -    -   -   -" fg a2 ef g2 |  fe d2-d4 |]
    defa gfeg | afdB A2 EC | DEFA G2 AG | FDFA EAce | fe d2-d4 |]
  3. And no need to go all snide about living on planet earth and all that. It could just as easily be said that if you're to skimpy to pay for a file to stream and you live on planet earth you'd sign up for a Box.net or soundcloud account and get things sorted like other people do.




    I don't see where snide comes into it, I wasn't being underhand or saying anything in an evasive way, I was merely being mildly sarcastic in a very obvious way. As it happens I have both Box and Soundcloud accounts, Soundcloud wasn't any use in this instance as I was sharing a video file so I used Box. Box spools MP3 but not video that's just the way it is.


    It wasn't my intention to upset, insult or irritate you in any way but as my style of writing isn't to your taste I will avoid any future contact.

  4. File is only available for download (6.5 MB), not for preview.


    If you have a dial-up connection this is not recommended. If, however, you live on the planet earth just hit the download button and get the file for free. Preview involves me paying for you to spool the file onto your media player, this, I have to say, is never going to happen!

  5. FWIW, there were several parts that sounded familiar, but I'm not sure they were all from a single tune (song? I found myself trying to recall words) that I've heard before.



    I agree Jim, there are phrases that bring words to your lips but they are too brief to make sense of. The end of the A music has me singing '(working) for a year' and the only song I can think of that that fits with is The Lish Young Buy-a-Broom but it's too fleeting to tie it down and I'm not convinced . Other suggestions are that it contains elements of L'inconnu de Limoise which is tenuous at best!


    I've Googled the names of the Italian musicians involved and largely drawn a blank other than that they actually exist and perform but apparently they neither record nor have a website.


    Ho - hum!

  6. Tom Tolley's Hornpipe is one of my all time favourite tunes, not least because of Robin Shepherd's superb interpretation on Hardcore English mentioned by Gary in the post above. Robin plays this as Tony Hall would, with great drive and enthusiasm. This performance made me seek out and buy the 'Magnetic North' CD which is excellent!


    Looking back through the thread I'm amazed by the diversity of the contributors. We start off with Alan Day, Horley, Surrey followed by a response from Jim Besser, Washington DC. Next up is Ron Geering, Cape Cod, USA who shows more than a passing knowledge of the repertoire of North Yorkshire and Cumbria. I've deliberately avoided looking anything up here but I reckon Cape Cod is on the Eastern seaboard of the USA, about as far North as you can get without it being Canada. I think that's Maine but I could be very wrong and Maine may well be on the West coast!!


    Next we have a post by Bill N, Hamilton, Canada. Canada is vast and I have no idea where Hamilton is but they have sessions and play concertinas (well at least one anyway!)


    Then we have a post from Chris Drinkwater, London. I met Chris some years ago now and his tune knowledge is very good indeed!


    Last but not least is Gary, "gcoover, Land of Aloha" which I take to be Hawaii. His knowledge of Robin Shepherd's playing of the tune surprised me, I now have him down as ex-pat Brit!



    This cause and effect are well understood here. The inefficiency of the reed with wider clearances brings its own problems ie. the need for more force to create the same volume and slower response. Retaining the close clearances and having a more mellow sound is where the game is.

    I am not suggesting a reed with wider clearances in general, only at the top edges. The width over most of the slot depth is the same.

    I was mystified by your comment until I have looked back through your posting history; I now realise you might never have come across a real concertina reed.


    Briefly, there are three common types of reed assembly used in concertinas, traditional reeds, as used in almost every English built concertina, accordion reeds used in hybrid concertinas, and what I term semi-hybrid reeds which have the geometry of accordion reeds but the outward appearance of traditional reeds.


    Concertina reeds are only tight at the top, the reed window is relieved underneath, an important part of producing the concertina sound. Accordion reeds have relatively vertical walls in the frame and it is easy to imagine the clearance will be small throughout the downward swing but the reed itself is usually tapered which means as it travels down through the frame window it effectively shortens and increases the clearance. Filing the top edge of either type will decrease the efficiency of the reed.



    I too wondered if rlgpf was looking at the physics of accordion reeds without realising that the construction of concertina reed frames is very different!


    We are apparently talking about different regions, because two of the regions i am talking about are very near the tongue, above and below, and are certainly not reservoirs. Reservoirs are useful for one point of each of the two hypothetical streamlines (one above, one below) to which i applied Bernoulli's equation. One streamline follows air as it moves from the upper reservoir toward the tongue, colliding with it before drifting onward to pass through the gap in the end. The other follows a streamline just below the tongue, from the fixed end, where the air is essentially static, toward the free end, where it joins the general flow of air that has passed through the gap.


    But we can dispense with Bernoulli's equation altogether to show that the pressure at the top of the tongue is greater than P1, when the air is moving, as it is just before the tongue has begun to respond significantly. Anyone who has stuck their hand outside the window of a moving car can feel the extra force (beyond static air pressure) that the air exerts as it collides with the hand.


    In the present context, when the valve is opened, air that flows into the chamber will relatively quickly cause the static pressure in the chamber to rise to the level of that in the bellows (P1 reservoir). But the air flow doesn't just stop, and a significant amount of that moving air will strike the tongue (i.e., all of it doesn't just make a beeline for the gap). Whatever strikes the top of the tongue exerts an extra force (beyond P1*A) on the tongue as it collides with it, and as you know, extra force means extra pressure.


    On a theoretical physics level I cannot dispute anything you say because I'm pathetically unqualified to do so but I would ask you this:


    Do you understand the fundamental difference between traditionally made concertina reeds/frames and accordion reeds/frames? You should be able to describe this in ten words or less because I can and I'm stupid. ;)

  8. I think valuations on a forum like this are ill advised, the disparity in valuations given proves my point and I note that the first valuation wasn't posted in this thread so either i) it was delivered by PM or ii) it was off forum. Anything that is for sale is worth what someone is prepared to pay for it. I'd love to own a Wheatstone baritone concertina but not alas with brass reeds and aluminium frames which is a bit like owning a Ferrari that's governed to 50MPH, the thing is of high quality but lacks performance. Given the current depressed state of the economy and the number of quality concertinas that pass through UK ebay at very good starting prices and fail to attract a single bid my best advice is to store this pretty instrument until better times.


    Here is a true example of the fluctuation in prices I have seen in that last few years. In 2006 I bought a Wheatstone model 21 treble concertina for £1350. Three or four years ago I was amazed to see the price of the same model creep over the £2000 mark. A couple of months ago a very pretty model 21 in better condition than mine, fully overhauled and offered by a very well known UK dealer failed to attract a single bid with a starting price of £1000. The bottom has fallen out of the market in the UK and that's just the way it is!


    Far from caveat emptor it's a sharks market at the moment so let the seller beware!

  9. Some time ago I set about documenting the contents of the numerous tune books I have, I have also added some that I don't own because the information was freely available and easily added. All of this was to enable me to search for tune names to see if I had the sheet music for a particular tune. The main sheet lists almost 8400 titles, the next tab lists the source books. Ignore the preview Box will start to generate (the preview isn't searchable and is generally less than useful!) and click the download button to get the spreadsheet file. I hope someone finds this information useful. :)


    Printed Tunes

  10. You should be aware that Brian Hayden is a member of the forum citycat, he's very helpful and approachable so if you have any Hayden system specific problems or questions just search the members for 'inventor' and send a PM.


    ABC is an interesting subject of which I have more than a passing knowledge (by no means expert you understand but a few of those who have much greater knowledge grace these halls too) but do you really want to start exploring that in this topic where it may just serve to muddy the waters?


    I'm happy to pitch in about ABC in a new topic and as a fluent music reader you'll grasp the basics immediately, you'll be blown away by it's simplicity and sheer power and endlessly frustrated by its limitations. It has more positives than negatives and everything about it is free including the software packages that provide a graphical front end to the simple text based language that is ABC. If you want a ride on the roller coaster you only need to ask!



  11. Here are links to 4 books I have scanned, I know that the titles refer to English concertina but I can't think of anything arranged for English that a duet couldn't tackle, hopefully you may find something useful.




    English Concertina Olio

    Concertina Melodist 1

    Concertina Melodist 2





    The first three as PDFs!





  12. A new folk supergroup called Leveret are rapidly gaining popularity in the UK at the moment here's a tune by one of them, english concertina player Rob Harbron, who is well known on this forum. Quite tough this one, you'll need your thinking head on!

    T:Down To The Beach
    C:Rob Harbron
    "Bb"DEF EDC|[M:9/8]FEF "C"G3 GFC|[M:6/8]"Bb"DEF EDE|FBA "C"GFE|
    [1"F"F3 FEC:|2F3 FAc|:"Bb"d2c cdB|[M:9/8]"F"AGF "C"G3 FAc|
    [M:6/8]"Bb"d2c def|"Dm"AGF "C"G3|B2A GFG|[M:9/8]"F"ABC "C"G3 GFC|
    [M:6/8]"Bb"DBA GFG|FBA "C"GFE|1"F"F3 FAC:|2F3 Fcd||
    |:"C"e2d efg|"Dm"f2e fec|"Bb"d2c cdB|"Dm"AGF "C"G3|
    "Bb"B2A "C"GFG|[M:9/8]"F"ABC "C"G3 FGA|[M:6/8]"Gm"B2A GFG|"Dm"ABc "C"G2C|
    [M:9/8]"Bb/D"FEF "C/E"G3 GFC|[M:6/8]"Bb"DBA GFG|\
    "Bb"FBA "C"GFE|1"F"F3 Fcd:|2F6|]

  13. My father William Isaac Dunk was born on the 12th March 1911 in Great Grimsby, Lincolnshire. His father William moved from the Barnsley area to the East coast in the early years of the 20th century. I have little detail about the family at this time. Nothing at all suggests that we were connected with the Dunks you mention. It's interesting though!


    Peter Dunk, Leeds, Yorkshire, 1953.

  14. This one is quite a challenge and I still can't reliably get my fingers around it. Others of course may find it very straight forward, difficulty rather like beauty is in the eye of the beholder!


    T:Bernadette, Valse
    C:Marcell Messervier
    %% barnumbers 1
    |:F2G2|A2 AF AB|A2F2G2|A2 AF AB|A2F2E2|D2 FD FA|d2B2 zd|
    c3B AF|G2E2F2|G2 GF GA|G2E2F2|G2 GF GA|G3G EF|
    GF EF GA|cB AG FE|B3c BF|A2F2G2|A2 AF AB|A2F2G2|
    A2 AF AB|A2F2E2|D2 ED FA|d2 cd ed|B2G2D2|B3B AB|
    e4 ee|e2d2B2|A2 AF df|a2 A3B|c2 B3A|ag fg Bc|
    d2A2F2|1D2:|2D4 GB|:d4B2|e4 B2|d2 Bd GB|d2 Bd ef|
    g4g2|e2 g3e|f6|f6|e4 ee|e2f2g2|
    f4f2|f4e2|d4d2|d2 cd ef|e3f ec|d2 Bd GB|
    d2 d3B|e2 e3B|d2 Bd GB|d2 Bd ef|g4 gg|g2 fg ag|
    {d}e6-|e3d ef|g4g2|g2 fg ag|d2 Bd gb|d'b gd'bg|
    a3b ag|f2 ed ef|ge dg Bd|1g2 B2 GB:|2g6|]

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