lildogturpy
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Posts posted by lildogturpy
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But every version I found starts with a run that is diatonic, not chromatic
Of course you're right Jim - didn't have my thinking cap on
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My current favourite is the Deck of Cards ....
The twelve reminds me of the eyebrows on 6 armadillos ....
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It's odd how the internet works - rather than google I used the abc tunefinder and the first 20 or so were in A with the first 5 notes a chromatic run
Nice tune too -
I'll keep the politics out of this forum but direct those interested elsewhere (Les Barker's Homepage). Les Barker is renowned for his humorous monologues. The Civilized World, found on the above page, while funny is certainly very serious in its message
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discuss the ins and outs of concertinas
very funny Alan
and Jim - I think the blue boxes that Dave was refering to were the many hundreds you have just below where it says "heavyweight boxer"
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I guess answering my own question - La Boite a Frisson (the freezer or ice box? although I thought it might be a reference to an accordion - literally a shaking box
) has a nice lilt to the rhythm - I posted this in the tune-o-tron here -
Pete Jung's "Far Away" Waltz has a fun "reverse-hemiola"-type thing in the B section that's a lot of fun
Yes - that was the first tune I ever learned on the concertina
And for those of you who know of Jean Duval in Montreal, the Far Away Waltz usually leads us into his Halloween Jig. -
I was recently introduced to the Tolka Polka which I just posted on the Tune-o-tron here. The B and C parts have fun rhythms to play and it's a bit tricky to keep the beat going but a lot of fun. I then found that it goes quite well with Chassepain by Gilles Chabanat which I posted here a while ago.
Can anyone recommend other tunes that have unusual rhythms?
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Just in case - here's a photo of Ken Sweeny at the recent NESI - note his left hand little and ring finger both on the finger rest
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Surely you mean Ken Sweeney?
Surely you mean Ken Sweeney?My apologies to Ken
Of course I meant Ken Sweeney -
The basic one is a quarter/ 2 eights rhythm (crochet, quaver, quaver), alternating in and out.
Dave - is that out in/ in/ (abc notation here) or in out/ out/ or even out in/ out/ ?
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When I started playing the English I had a really cheap chinese made "thing" and the best I can say for it is it got me started :-) After a month or so I realized that when playing a tune it was much easier to play one section all on a "Pull" than on a "Push". I asked on the net in a few places and was advised to "practice until I could do either with ease" Very good advice and I think I'm pretty much there (with the note that if you push much harder than pull I find they produce notes about the same in my hands)
In the several replies I had no one seemed to discuss any other way of playing exept "pulling" until all the way out and then "pushing" until all the way in. I just noticed in a very confusing thread (here just read it you'll see what I mean
) the following commentNeither play in the smooth in/out flow that most E.C. players use.The only vague reference to anything different was a comment my melodion playing brother said
button accordionist are always trying to play smooth like english concertina players, who are always trying to sound like button accordion playersSince he's been playing over 10 years and he's also my older brother I just nodded politely and tried to look as though I understood what he was saying and thought it was very deep! After a wonderful workshop by Ken Sweeny and the recent NESI I now know exactly what he means and wonder why I haven't seen many references to it.
The bellows control Ken was demonstrating feels more like anglo bellows control. For example, when playing a jig, the bellows go "out, out, in, out, out, in ..." This is very hard to do to begin with - like patting your head and rubbing your stomach but well worth it. The sound is much more crisp and lively. It is much harder work on your arms though (and the bellows if you have the bad habit of resting them on your knee instead of the concertina end) and I now see why Ken uses the little AND ring finger of his left hand on the finger rest.
With this in mind, the following quote from the same post as above makes sense
R.H. plays with rapid changes in direction to suit the tuneI'm still working on doing this for jigs and haven't tackled reels yet ("out, out, in, in ..." or "out, out, in, out ..." depending) But it does produce a wonderful sound.
Does anyone else have advice on this style of playing while I'm still new at it?
[edited to correct Ken Sweeny's name - I had originally put Ken Stewart]
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Looks like a lovely instument. Here's the ledger page for this concertina (serial number 26040 from the photo on ebay)
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According to the Squeeze-In sheet the tune is from the Galacian band "Milladoiro"
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I still have the sheet from the Squeeze-In and I believe it has some notes on the tunes origin - I'll see what I can dig up. I posted the tune here in the tune-o-ton
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No callouses on my fingers but definitely on my thumbs from the thumb straps
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My vote was to keep it as is. I know I've only been to one so I don't have a wealth of experience to base this on but I found the time this last squeeze-in to be about right. I found that there were not a large selection of workshops and so there was no rushing from one place to another or having a conflict. I did find that the workshops I went to were an hour spent that gave me ideas to work on for the next year so that just sitting and playing in a session the rest of the time was fun. Having a full day of activities on the Saturday made that day seem like the main event and the Friday before was a nice get together to get in the mood and the Sunday a nice wind down to play a few tunes and get ready to leave.
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Wendy,
I have a great song you might approve of. Here are the lyrics. I didn't sing it at the squeeze-in because I'm still trying to learn it all by heart and as I've often been told "If you sing acapella and forget the words - you don't have much left!"
STITCH IN TIME
Oh there was a woman and she lived on her own,
She slaved on her own and she skivvied on her own,
She'd two little girls and two little boys --
And she lived all alone with her husband.
For her husband he was a hunk of a man
A chunk of a man and a drunk of a man,
He was a hunk of a drunk and a skunk of a man
Such a boozing, bruising husband.
For he would come home drunk each night,
He thrashed her black, he thrashed her white;
He thrashed her, too, within an inch of her life,
Then he slept like a log, did her husband.
One night she gathered her tears all round her shame
She thought of the bruising and cried with the pain,
Oh, you'll not do that ever again,
I won't live with a drunken husband.
But as he lay and snored in bed,
A strange old thought came into her head,
She went for the needle, went for the thread,
And went straight in to her sleeping husband.
And she started to stitch with a girlish thrill
With a woman's heart and a seamstress' skill,
She bibbed and tucked with an iron will,
All around her sleeping husband.
Oh, the top sheet, the bottom sheet, too,
The blanket stitched to the mattress through,
She stitched and stitched for the whole night through
Then she waited for the dawn and her husband.
And when her husband woke with a pain in his head,
He found that he could not move in bed,
Sweet Christ, I've lost the use of me legs!
But this wife just smiled at her husband.
For in her hand she held the frying pan
With a flutter in her heart she given him a lam;
He could not move but he cried, ``God damn!''
``Don't you swear,'' she cried to her husband.
Then she thrashed him black, she thrashed him blue,
With the frying pan and the colander too,
With the rolling pin just a stroke or two
Such a battered and bleeding husband.
She said, ``If you ever come home drunk any more,
I'll stitch you in, I'll thrash you more,
Then I'll pack my bag and I'll be out the door,
I'll not live with a drunken husband.''
So isn't it true what small can do
With a thread and a thought and a stitch or two?
He's wiped his slate and his boozing's through
It's goodbye to a drunken husband.
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Dave,
I noticed that on the Sunday morning session of the squeeze in there was a mandolin player doing exactly what you describe. It was almost as though he was quietly saying "diddley diddley dum diddley ........ "
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Carol, accepting the prize for the winning limmerick, written by her husband.
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More Concertina Band
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The Concertina Band
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Frank Edgely. "Is there a concertina in the house?"
"Why, it's a Frank Edgely!"
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More concertina
Squeezing In Quebec
in General Concertina Discussion
Posted
Hi Jim,
Not sure exactly when you'll be here but we may miss each other - I'll be in the UK from the 17th Dec to Jan 3rd. I usually play in two sessions here in Montreal. O'Regans pub on Bishop St just south of Ste Catherine on Wednesday's from 8 - 11ish. Mostly beginners of all instruments, quite informal and very friendly. I think the Wed between Christmas and New Year is very quiet. Claddagh Pub, on Bishop just North of Ste Catherine (3-6) and McKibbins Pub, on Crescent (7 - 10) on Sundays. More wide ranging music, Irish, middle eastern, songs, Van Morrison etc. I believe they also play at McKibbins on Sat from 6 - 9. Sat also has Hurley's Irish Pub on Crescent from 3 - 6 I believe. More experienced players, ITM, fast reels and the more well known of the Montreal Irish Music scene (players such as Jean Duval).
There are lots of other places but I don't know them all (yet)!