Boney
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Posts posted by Boney
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'That 'air key' looks an awful lot like a knot in the bottom of the case
But what's that thing that looks like a lever leading to it?
Looks like a bit of covering from the case that's come loose and is twisted. You can see it sticking out from the bottom of the case in the pictures on the auction web site:
http://www.twconroy.com/gallery/product.cf...p=photosp112307
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I just found a 1916 poster featuring a concertina on this page. Detail:
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Possibly it is a reference to Tom Tonon's pitch bending accordion?"...instruments which allow the pitch of the notes to be sharped or flatted by the performer..."What was the basis for this interesting instance..? It may not be yours of course...
The BluesBox accordion website does mention concertinas on the front page, and shows a cajun accordion and a Saltarelle button box modified to include pitch bending. It also has this interesting information on the "technical" page:
Charles Wheatstone, an Englishman who invented and developed the English concertina in the latter half of the nineteenth century, was aware of some ways to alter the pitch and volume of bellows driven free reed instruments, but apparently was unable to commercialize them. Wheatstone did patent some pitch altering features in the symphonium, primarily for tuning purposes, and attempted to develop a large, console type free reed instrument that operated from a wind chest with bendable speaking notes. The formidable nature of the mechanical design in this latter instrument was apparently not suited for commercialization in either large or small instruments. Some western builders since Wheatstone have made other attempts at pitch bending; however, none of these appear to reflect a fundamental understanding of how bending occurs. -
Hi again, Jody. A Hayden player is always torn between two goals: to minimize use of the sluggish and dangerously inaccurate pinky (as in hitting the wrong button), and delibereatly working it into normal playing in order to strengthen it and hopefully tune up its accuracy.
At least if you play a Stagi or Bastari...
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Thanks very much for those pictures, Juliette. And your comments in the other threads. I'm off to order some CDs now, I have to hear that thing!
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Try "The Music of O'Carolan" (Shanachie 97023). Alistair Anderson plays on three of the tracks.
Check out the album in eMusic, a cool site which lets you buy individual tracks. They are much cheaper than iTunes, but don't have a lot of modern big-label stuff. They do have boatloads of trad and folky music, along with international and classical, and quite a few modern independent artists. (Just a satisfied customer, not affiliated, blah blah).
http://www.emusic.com/album/Various-Artist...d/10924208.html
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My Stagi Hayden is the same way. It just takes quite a bit of force to open and close it, I presume because the reeds don't speak easily. The bellows are quite supple and move easily when one end is off. The springs on the buttons also have too much resistance. As I've said before, when I switch from the Stagi to my Wakker anglo, it feels like there's nothing but air between my hands in comparison. I can't play much longer than half an hour at a time on the Stagi before my hands start getting tired. It may have broken in a little over the past year, but I still find it unpleasant to play. Maybe I'm just spoiled.
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Ah, but if they're not using their ears, then it's not the music that they're judging, is it?...my problem is with people who are pedantic about it, or judge the music by looking at the hands instead of using their ears.Amazingly, some people can tell if the music is any good just by the performer's hairdo, or fashion sense. That's some kind of talent.
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That all makes sense, as I said, understanding the tradeoffs is key. I've seen several ragtime-blues fingerpickers use the thumb occasionally, for example, the excellent Craig Ventresco.
And it does make sense to learn more "standard" technique first, my problem is with people who are pedantic about it, or judge the music by looking at the hands instead of using their ears.
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"It is considered" by whom? Apparently not by those who use the technique. Is this another example of the great, unquestioned "they"?
It is considered poor or sloppy technique to do so, likewise on banjo, bass and mandolin, and I believe on the classical bowed string instuments.
I'm not sure what "supposed to" means, but many guitarists do fret with the left thumb.Guitarists aren't supposed to use their left thumb to fret stringsI suppose it's taught that way by people who teach technique, not music. Which makes life easier, since it's more straightforward to teach and evaluate.
Any technique discussion should be approached not from the point of view of what is "good" or "bad" technique, but what tradeoffs are being made. If you don't know all the tradeoffs, watch other players, and experiment and figure them out. Then use the technique if it makes sense in the context of the music and how you want to interpret it. Some techniques are beneficial for some players with certain body types, flexibility, or whatever, but may be harmful for others. And some are just frowned on by academics without any real-world experience. Many virtuosos have idiosyncratic technique, and it's often suggested they are succeeding despite flawed technque. But I feel more often than not they are excelling because they've discovered a personal technique that is optimized for their particular body and mind.
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Guitarists aren't supposed to use their left thumb to fret strings
I'm not sure what "supposed to" means, but many guitarists do fret with the left thumb.
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When dancing, I like a waltz with some variation in it. A sparser section implies a different, more flowing dancing feel, then some nice triplet arpeggios can imply a carefree, spinning feel. When it gets quiet, I'll dance in a more reserved fashion, then when the band comes back in with gusto, I'll break into some broader, wilder moves.
Here's a waltz I liked well enough to transcribe and post to the Tune-O-Tron: Gateshead Waltz. I think the third section lends itself to a nice reserved feel, then back to a grander scale on the fourth section.
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Please allow me to make some constructive criticism
It's a lot better than destructive praise...
Yes, what you're saying makes sense, and it's nice to have those things reinforced. You're certainly right about the rhythm, I like to try to tap my foot along to any recording (part of the reason for recording myself), and I noticed the inconsistencies. But it's such a fun tune I decided to post it anyway, and I'm sure everyone here can take in in the spirit it's intended.
I have been working on the left hand a bit, but since you mention it, I will take extra pains not to neglect it while I'm working on some tunes. I'm just finding myself demotivated...and a nicely played tune is much more satisfying than a ham-fisted two-handed arrangement. I am also working on a waltz I'm arranging, I'll probably record and post that too (but not, to put it mildly, tomorrow). Personally, I love to hear recordings from players of all levels, I wish people would do more.
I have to admit that part of what is demotivating me and also affecting the rhythm is the Stagi I'm playing. I know some people seem to not be bothered by them, but the effort to play mine makes my hands tighten up considerably. It's been that way with every Stagi I've tried. When I pick up my Wakker anglo, it feels like there's nothing but air between my hands in comparison.
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I've been learning to play the Hayden concertina since last fall after playing the anglo for a few years. I'd like to be able to play nice full arrangements, but I've decided to focus on melody-only tunes for a while, partly because it's easy and fun, and partly because the melody having bounce and variation and ornamentation is very important, I think.
Anyway, I like to record myself for practice. Here's an old-time tune I transcribed from Yazoo's "Kentucky Mountain Music" 7-disc set of old-time tunes from the '20s and '30s. You can get it from Amazon.com or eMusic, or hear a sample of the tune at either site -- it's on disc 3. It's a nice crooked tune, and seems to have a bit of a Quebecois feel to me.
http://concertina.JeffLeff.com/audio/mcquick.mp3
I've ordered a Wakker Hayden -- I can't wait until it arrives!
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Though you (Steve) say you've already decided to sell it, I suggest you not be hasty.
Wise words. You've got plenty of time, no matter how many people tell you they want it NOW.
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I have a 2 voice (octaves) 68 button Hayden System square concertina which is surplus to my present needs, and can bring it along to Sidmouth Festival at beginning of August if you are interested.
Talk about having your bluff called!
If you will not go for it, I'm next in line.
Boy, I'd be curious to see/hear/play that one too! What are you looking to get for it? What size is it? Do you have any pictures?
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I just stumbled across this nice recording of South African "Sesotho Concertina" music by Ranoko Sebabule:
http://excavatedshellac.wordpress.com/tag/...h-africa-sotho/
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The banjo?Fashionable??!!!
From www.classicbanjo.com:
By the mid-1880s America and England were in the midst of a banjo craze: thousands of pieces for the banjo had been published, from simple marches and dances to arrangements of operatic overtures. Highly paid soloists toured extensively, performing original compositions, popular music of the day and transcriptions of music by Handel, Schumann and Mendelssohn. Banjo teachers were readily available in every city, each professing to teach the true method of playing the banjo. -
You can hear an mp3 excerpt of a medley from that dance (Mackilmoyle, Tuba City Truck Stop, Wacky Wendy) as well as read the dots for the last tune.
I hear some "Old Joe Clark" in there too. Fun tunes!
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I haven't heard but one low quality MP3 of Wim Walker's new concertina reeded instruments, but they look great, and hopefully will equal the appearance in sound and playing qualities.
Well, here are some recordings I've done with my concertina-reeded Wakker anglo. I've posted the links to the group here before. The recording quality is probably higher than the playing quality at least. I especially like the sound of the lower reeds:
http://concertina.jeffleff.com/audio/JimGully.mp3
http://concertina.jeffleff.com/audio/LamshawLads64.mp3
http://concertina.jeffleff.com/audio/ghwaltz.mp3
http://concertina.jeffleff.com/audio/UtDEagle.mp3
http://concertina.jeffleff.com/audio/WRWakker64.mp3
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Well, I recorded myself playing (and I'm sure you're sick of it by now) Whistling Rufus, and uploaded it to YouTube. Here it is:
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If someone were to build this contraption, would you volunteer to try to play it?
I don't think I'd be able to help myself!
Thinking about it a bit more, you'd need an air button on each side.
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The last bit about art taking a great deal of education to appreciate subtle differences between prodigy and the average is pure and complete....hogwash. Every human being deep within knows honesty in art on a primal level (children have that channel turned up to max as they've not learned to turn it down yet).
All my years in conservatory changed not one jot within my soul as to what spoke to me as the real thing.
Thanks, now I know a bit more where you're coming from. I think both points of view could very well be true. Even if most folks "deep within" can be touched by something genuine and pure (which I agree with), why weren't they touched? I think it's because all the stuff "higher up" (everyday worries, preconceptions about classical music, preconceptions about street musicians, worrying about what's "cool" to like, the complexity of the music, etc.) isn't allowing them to feel what's "deep within." Now, if you're intimately familiar with the style of music being played (and I do NOT mean book learning!), it can help you recognize details with the "higher up" parts, which can allow you to slow down and listen. This is why there were a few violinists who stopped to listen -- would you expect anything else? You may be touched viscerally by genius, but in my experience, playing a style of music, listening to it more, experiencing it, comparing it with similar types, seeing it live, etc., makes my appreciation MUCH deeper.
Have you ever had the experience of listening to a piece of music with a non-musician, and you mention some parts you particularly like, and they literally can't hear them? It's happened to me many times. Experience and understanding and study (again, not the book kind) can literally increase the power of your senses, like exercising a muscle. On the other side, I've had artists describe to me things they see in a painting that I can't see. My first instinct, of course, is to think they're imagining things.
I like classical music, but it seems the pieces I like the most are the ones I've played (having played french horn in an orchestra a bit). Maybe partly because I'm familiar with them, but I think more because I've explored them, experienced them on more than one level. Classical music isn't easy for me to "get," personally, maybe you're different. It takes a bit of time and effort for me. I can only imagine it's even more so for people who haven't listened to it at all, much less played it!
The best experiences come, I feel, when both parts take their rightful place. You aren't substituting "book learning" for a genuine, visceral appreciation. But you're allowing your experience to inform and collaborate with your emotional understanding.
Bertram Levy
in General Concertina Discussion
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Are you referring to this section of the article?
I've seen Bertram play a few times, including earlier this year. Wonderful stuff. And he definitely plays on both the push and the pull. I'm not sure that portion of the article is meant to be literal, non-concertina players wouldn't understand it anyway.