Jump to content

Henrik Müller

  • Posts

  • Joined

  • Last visited

Posts posted by Henrik Müller

  1. Larry - welcome to another world...


    About bellows direction

    I think there are two schools (in lack of a better term): those who change direction on certain notes and those that don't.


    I don't - at least I don't think I do. When I change consciously, it seems to be guided by the fact that certain phrases or melody runs "feels"/sounds better on the push than on the pull or vice versa.


    But what I do is use the bellows for emphasis, down to single notes, all the time.


    About fingering/Irish Music on the English

    After 6 intensive years developing something like a fingering system or fingering guide, I'd say the best advice is to be prepared to neglect all you hear a Good Lad should do when it comes to "which finger on which button". I've managed to surprise myself a couple of times by - in frustration or despair - throwing a finger upwards where it definitely "shouldn't" be and realizing that "What?! It works!".


    Emphasis again

    Apart from using the bellows for emphasis, I also use the "never the same finger twice on the same button"-rule. Que? Emphasis? Yep: it is difficult to emphasize the second note of two by using the same finger twice - it becomes like "A-A". With finger switching you can do "A-A".


    Maybe it is time to record a little tune, with notes and fingering added...



  2. Light bulb moment! Watching the video made me realise why the big air hole in the English reed pan is off centre! My goodness that man was brilliant!



    Lightbulb indeed!

    Alright, then we better get the out takes from the film - what they cut away.


    Reed pan router-wise (new word, eh?) it is much more interesting than the edited film.

    Here it is (courtesy "varney" of c.net (because I kept forgetting where it was...)).


    Have patience with the little fella selling his own newspapers! The Wheatstone out takes start at 9:56 and the lady putting the end plate on is clearly having a bad day; no wonder thay cut it.


    If I may paraphrase the old "All good things in life are free" to "All well-working things in life are simple"...



  3. I'm just in the middle of de-tuning an English Lachenal and each time I push a reed frame back into its housing, I marvel at the precision of the dovetail slot. Does anyone know how they originally cut those slots? I'm guessing they didn't have high speed routers like we do today and yet they can't have been chiselled, much too time consuming. Perhaps they were rotary cutters, geared off a central shaft running through the factory? Are there any pictures of the factory working?



    Hello, Andy -

    Marvel away - you have certainly picked an interesting subject, there laugh.gif


    The reed pans were done on a very special router, probably developed by Louis Lachenal himself. Since Lachenal worked, externally, for Wheatstone, it is likely to be one like this (from the Wheatstone factory):




    The image a video frame from an archive film about the Wheatstone factory. You can see it here.



  4. A good friend of mine bought this gem for a small amount...


    The strange thing is the background: a maypole - which is a very Swedish thing.


    So was it done in America, done in Sweden, or was the maypole added (clearly, the "PIP, pip" (sound) was added).


    My friend is richer now -






  5. Tunes in the Church - The Holy Trinity Church, Westport


    8 to 9.30pm


    Carmel Gunning - Tin Whistle and Singer


    Jack Talty - Concertina


    Cormac Begley - Concertina and Baritone Concertina


    Tunes in the Church!





    I am listening to Jack and Cormac's "Na Fir Bolg"-CD right now.

    What a treat - theres' some lovely stuff there, highly recommended!



  6. I was listening to Mary Ellen playing only yesterday on a compilation CD.


    Last year I went with Shay and Mark when they visited Mary Ellen and we had some tunes together. She was a conscientious hostess and looked after us royally. In fact, Shay said it was important to announce your visit only half an hour before you arrived as otherwise she would start baking and making special arrangements.


    One of the things we discussed in Miltown this year was the difference between the old style of playing and the more technically complicated approach favoured by many younger players - and teachers. It was a great pleasure, in fact a privilege, on that afternoon last year to spend some time with one of the old stylists.


    I am happy to say that I was there, too, that afternoon. It was indeed a privilege - here are the photos from the occasion:






  7. ...

    ,had my pie of course,as usual it was too large a meal for me.I have never actually seen anyone finish the plate full.



    Actually, Alan, the very first time I was in Bradfield, I arrived one day too early, walked down to the Royal and ordered a pie. In my youthful ignorance I ate it all and had to pay for it later: on the way up the hill from Dungworth I was overtaken by a snail...



  8. Looking at many great workshops available this summer. July brings, Willie Clancy Week, Catskills Irish Arts, Augusta Heritage, Swannanoa Gathering. August has The Kilrush Dance and Music Weekend. I will post the instructors once finalized for Kilrush.


    I am still considering Kilrush -


  9. I just cannot understand how some musicians require the need to join in on a tune they have never heard before and strum along in the wrong key whilst you are struggling to play a new tune in public for the first time. :angry:

    There I feel a lot better now !!


    A strange need indeed - I certainly recognize it.... and why does it have to be the loudest tin whistle on the planet ph34r.gif



  10. Hi Henrik,


    Great site. I looked through it for the first time. Impressive photos, process and story. Did you only make one of your modified EC design instruments?


    Hi, Jody - yes, so far. But the experience with this has triggered a lot of new thoughts...so, let's see.


  11. Hi, Mary -


    I think you have to look at fingering with a slightly wider scope:


    If you look at the fingering of a fifth jump in isolation, you may find that it's easier for you to pull the index under the middle, but in the larger picture, i.e. what has happened before the first note and what will happen after the second, will almost always decide for you.



  12. Geoff mentioned the John and James Kelly album in another thread as a good reference for Irish rhythm. Albums that old can be hard to find, but this one is available on Itunes. It is called "Irish Traditional Fiddle Music"



    If it is old stuff you need, here's a good place for that - legal, too.



  13. I know this is an old post, but...


    Recently, I had the privilige to be asked to play a piece (of my own choice) at friends' wedding,

    the ceremony taking place in the cathedral in Lund in southern Sweden.


    Considering the reverberation time, I played an Irish slow air, Bhean Dubh an Gleanna (The Dark Woman of the Glen).


    A mighty, mighty experience, also demonstrating the value of doing one's home work: I find airs very difficult to learn and

    had spent two weeks getting it right; that paid off.



  14. ...

    They are only interested in selling large quantities of reed sets.


    In that case, their policy has changed - I bought my 27 reeds with them.



    Hello Henrik ,I came acros your kitchen table concertina a few months ago and your work looks very impresive with lots of helpfull pictures.So far I did not get any answer from those two companies that make reeds . Can you remember the price for your set?. Thanks

    Found the invoice - around €75, for 27 specified non-diatonic notes



  • Create New...