Boney

The point is the point that he said he was making - to show that it's possible to play fast single-line melodies on a duet. And what is your point? Yes, I posted it in the "Teaching and Learning" section, not the "Videos and Music" section. It's not at all meant to be a demonstration of HOW to play, just to show that raw speed is tecnically possible on a duet layout. If it also shows that someone playing as fast as they can is unmusical, maybe that's a bonus. I've started recording a few other snippets to show some things I'm working on, and they include starting and stopping, mistakes, and the like -- quite unmusical! But that's the point of that channel. I post music to my JeffLeff channel, which I also don't claim is anything but an amateur's dabblings, but at least I'm trying to make something to listen to there.

Doesn't the video demonstrate that adequately? Actually, I agree with you, speed is a useful tool to have, and good to work on, but there's often an over-emphasis on it. I think people are inspired by their favorite players, and speed is one of the easiest things to quantify and emulate. Thanks! I've certainly learned a lot from discussions about English and Anglo concertinas. And some subjects should translate quite directly to the English, ornamentation and bellows control, for example. Yes, it can be nice slower with a bit of swing. I tend to play a tune similarly to the version I learned, and in this case, Dwight Lamb played it a bit faster than my first version, and with very little swing. A "hornpipe" in the American old-time tradition is usually played quickly and with little swing, unlike in the Irish tradition, although the melodies usually have some hornpipe feel. No, it has the "Hayden slant." I like to include "Wicki" sometimes because outside the concertina world, that's what the layout would probably be called, no matter what spacing or angles are used. So those looking for more general information should be aware of the term.

Here you go. I like the way the melody "bounces" down to the lower D at the end of the second part. X:1 T:Scotch Corner! Scotch Corner! C:Keith Topham N:For Simon and Dawn, to mark their frequent trips N:between Lincolnshire and Scotland M:6/8 R:Jig K:G d |: BGG GFG | A<FE D2d | BGG GFG | A<dd d2c | BGG GAB | c<ee edc | B<dG G<cF |1 G3-G2 d :|2 G3-G2 B |: cee edc | B<dd d2B | Acc cBA | B<de d2B| cee edc | B<dd d2B |1 AAA AB^c | d<DD D2B :|2 B<dB A<cF | G3 G2 |]

I'm starting a new web site! It will be about my experiences learning to play concertina, and I'll discuss ideas, tricks, techniques, or whatever. Each topic I post will link to a thread here on concertina.net, where people can add their own ideas and experiences. I especially want to make things more "real" by including videos or other examples with each post. This is my first one! Check out the website at: http://www.ConcertinaCorner.com One of the most common topics on concertina.net is weighing the relative merits and weaknesses of the various concertina keyboard layouts. It can get contentious as people defend their own chosen system, or over-react to other people's generalities. It seems to me each system has tendencies, but many of them can be overcome if one makes the effort. One commonly-heard idea is that the English Concertina layout has the potential to play single-note (or lightly embellished) melodies at a quicker tempo than the other systems. This may be true, as the work is shared between the hands, and long runs of notes can be played without changing the bellows direction. Duets may have the reputation of being the most difficult to play up to speed, since generally one hand has to do all the work of playing the melody. But clearly any system can potentially play up to "session speed." It seems that most people seem to get on well with one layout or another, and struggle with others, and it seems difficult to predict which one will work for you. Having played both Anglo and Hayden (Wicki) duet, I feel I can generally play quicker on the duet. Many runs fall along the rows neatly. I recorded this video partly because of a thread, in which was posted: So here's a video of me playing "Rickett's Hornpipe" (taken from the accordion playing of Dwight Lamb) at three different speeds. This tune, especially the first part, falls easily under my fingers on the concertina. The first speed is about how fast I'd generally play it, I measured it at approximately 117 beats per minute. I then play it quicker (and more sloppily) at 132 BPM, then a silly version at 145 BPM or so. I don't know if this "proves" anything, but I thought it might be useful to give folks an idea of how one non-expert player sounds playing quick tunes on a Hayden (given a few extra takes). Any comments or responding videos encouraged!

Hi-yaa! https://www.facebook.com/groups/72271408988/ Saw it was in Brightlingsea on this page found by googling ECMW, so tried "Brightlingsea music weekend" on facebook and found it.

Correct. You can see photos of my actual concertina on that page. I played a Stagi "Hayden" for a while, and it might be sufficient for slower stuff, especially if you have strong shoulders.

I agree. I find playing single-line melodies leaves much more room for me to listen, use subtle control of dynamics and articulation, or play faster. I like playing chordally, or with bass/chord accompaniment, or single-line -- each brings out a different sound, and each has different demands. By the way, I play a Wicki (Hayden) duet, although I played Anglo for several years before that. I find I can play the duet at least as fast as I ever played the Anglo. Perhaps I shall record a simple clip of fast melody-only playing. I think in an expert's hands, an English can probably play single-line melodies (or somewhat embellished ones) faster than a duet. But I think a bigger difference is the physical connection to the instrument - the strap/handbar arrangement gives a more physical, but less subtle connection to the instrument. It allows for quicker reversals, and more "punch" in your playing. The connection to an English seems to allow a more direct feel, and more ability to move the instrument around, or play standing, which can be used to create subtle dynamics or tone color changes. I'm sure you could do what you want on either system, the differences are not constraints, just tendencies. The English certainly gives more range in a smaller package, but a duet may give more options down the road if you want to attack other styles as well.

I like the 3/2 hornpipes too, and their distinctive slippery sound. I recorded a few Northumbrian tune sets back in 2005/06 (when I was playing Anglo), including two 3/2 hornpipes: Jamie Allen / Rusty Gully Lamshaw's Fancy / Lads of Alnwick

There's a good version on the album Happy To Meet, Sorry To Part, even the clip here should give you some ideas: http://www.amazon.com/gp/product/B000S99482/

Worth a look at the photos posted on the link in the eBay posting, including:

Yes...very supple and carefree sounding. I like the mixture of styles and instruments too. Good job Rachel!

Cute and polka-y. I like it.

The third measure in the third line has 4 1/2 beats, and the second measure in the fourth line has 5 beats. I suspect that's not quite right.

Well, I have too many instruments too. And it took quite a few months longer to get it than expected. I've played with it a bit, but the feel is so different that tunes don't directly translate over (for me). The leaps are much larger than just moving a finger, so it's hard to do it by feel. I think it requires a fairly different approach from how I play the concertina. I probably should practice with my eyes closed sometime. Perhaps I'll make a simple video soon, just to give myself a goal.

Larger reeds may take longer to start, but that effect does not create any gurgling or scratchy sounds when the reed starts. It sounds like a valve issue to me too.

Great idea, Jody.

Yes, the same one as in my YouTube videos.

Interesting, but I could use a little more information.

I started on Anglo, and I agree with this. I switched to duet because of the many compromises you have to make when playing say a ragtime or klezmer piece on the anglo. Even with fairly simple tunes in easy keys, some just don't "click" with the layout of the anglo. You can either do a very sparse arrangement, or maybe you could find a 40+ button instrument and practice a lot. My on YouTube is as complex as I got before switching, I wouldn't want to go further down that road on the Anglo, it was too idiosyncratic for me. The tune actually lays quite well on the Anglo, but it's not easy to play, and I wanted to go even further down that road. Here are some other recordings I posted, played on the 46-button Hayden duet, fairly simple stuff, but much of it would be hard if not impossible to do on an Anglo or English. Although an intelligent reworking for those instruments might sound better than my arrangements... Very nice, it qualifies to me. You could obviously make an arrangement for duet that would be even more complex, but that very well might not sound as nice as that elegant arrangement for the English. Thank you very much, sir.

It seems this link goes to the attachments uploaded by whoever clicks on the link, not yours specifically, Dirge. I'm not sure how to search for attachments by a particular user, but I found a few anyway by guessing at likely words: http://www.concertina.net/forums/index.php?showtopic=11119 http://www.concertina.net/forums/index.php?showtopic=12485 http://www.concertina.net/forums/index.php?showtopic=9972&view=findpost&p=100908

So what's "unique" about that? It certainly can't be VERY unique, as we all should have been taught at school ! Isn't absolutely everything unique, really? The meaning of most words isn't so black and white, and using them in colorful or non-literal ways is quite useful. "Very unique" to me would imply that not only is it "one of a kind," but it's more distinctive from similar items than usual. For example, every snowflake is unique, but an eight-sided one would be "very unique." Or read what Merriam-Webster say about "very unique" in their Usage Discussion: http://www.merriam-webster.com/dictionary/unique

A "lot of people" who have never played a Hayden Duet, I'd wager. I can play melodies on the Hayden duet at least as fast as I ever could on an Anglo. And playing chords on one side and melody on the other is just what any duet system is designed to do. If you want the easiest self-accompaniment, play accordion. Duet gives you more flexibility on the left side, but with more complexity since each note of each chord has to be fingered separately. English makes it more difficult to play completely independent accompaniment, but can play chords alone or harmonized melodies with great facility. Anglo gives you a different feel and some opportunities for ornaments not available on the others, and the push-pull aspect creates a more physical style of playing. It's a tricky question, because it takes years to know if a system is really for you. But I don't think the technical theories people have about each particular system end up meaning much after you've played for a while. If you have the music in you, you can get it out of whatever instrument you end up playing. Diving in and exploring is so much more useful than theorizing and fretting.

I don't like Stagis either, but if I had to choose, I'd take it over an Elise. To me, those extra buttons are a HUGE difference. They let me play in more keys, let me do more ornaments, play more music with chromatic elements, and give me extra range. Many pieces I play just would not be possible with 34 keys. If you stick to diatonic folk tunes, and choose those that fit the instrument, the Elise can be very useful. But it's also very limiting, especially if you want to play what your friends are playing, and you suddenly need a G# or an Eb. You can fake around the limitations, or play backup on those tunes, but that's somewhat unsatisfying to me. Those high notes probably don't sound nearly as weak and squeaky to an audience as they do to you, especially on faster tunes where they fly by quickly. And if you're having trouble reaching the higher notes, your hand straps are probably too tight. You'll find with practice you can play with looser straps, and it gives you more mobility while giving up very little control. I keep the instrument in my lap, and use pressure from my thumb, or by arching my hand, to tension the straps and stabilize the instrument. This will eventually become second nature.

Workhop?

Now at: http://www.idw.at/concertina/