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adrian brown

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About adrian brown

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    Heavyweight Boxer

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    I play anglo concertinas with the 38 button Jeffries layout. I tend to play in a more legato 'duet' style, rather than the more bouncy anglo style, but it depends on the repertoire. I play a lot of "early music" - lute music, broadsides ballads and so on and I try to sing too. With my wife, we play as a duo "Dapper's Delight" named after the area in Amsterdam where we used to live. We play mostly 16th - 19th century music in our own arrangements and do some singing too.
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    Bredevoort, NL

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  1. Funny you should ask Alex - I sent 4 parcels with DHL express last week, 2 to the USA and 2 to Australia and one of the US parcels was held up while I got a request from DHL for my EURI number. I'd never heard of one before, but I found mine on an old letter from the tax department. I've been using DHL and UPS for years and never been asked before, neither importing nor exporting. Maybe the authorities are tightening the system. Adrian
  2. For as long as I remember British Instrument makers seemed to enjoy a VAT advantage over their Dutch colleagues in that not having to be registered for VAT, they were effectively able to keep their prices lower than us. From January, VAT at the local rate has been applied to UK products sold in the EU and so any competitive advantage will have disappeared. I suspect that it was anyhow a case of apples and pears because as has been pointed out in this thread, not being registered means you are unable to claim VAT back on your costs and materials and so your running costs are higher as a conseq
  3. David, I think the answer is in "paid gigs" - in that if you are a professional musician or an instrument maker travelling on business (for paid gigs or let's say a trade show in the case of an instrument maker) you have to arrange a carnet in advance. This involves leaving a deposit with the people who issue the carnet (usually the Chamber of Commerce in European countries) to insure that you will bring the instrument back with you and not sell it during your travels. Of course if you are travelling for work, you will also need a working visa and this is going to catch a lot of Mu
  4. I'm also completely baffled Geoff, even having read a few articles on the difference between customs duty and tariffs - I'd assumed they were the same thing but it seems that customs duty is still applied even if there is a zero tariff regime? Unlike you, I am registered for VAT, as are all businesses in the Netherlands, so I thought I'd be fine to continue with my UK suppliers, since any VAT paid, I can claim back in the next quarterly VAT declaration. However, I can't claim customs duty back, which at a stroke has made my UK suppliers very uncompetitive vis à vis their EU counter
  5. And there's a bit more to Cohen's Gigue than meets the eye: When I saw that Cohen was offering to write "a bespoke tune" as a reward for sponsoring his crowd-funding campaign, I jumped at the chance. My expectations were that he'd write an "8+8 bars with repeats" dance melody, but what he's come up with is something of an entirely different complexity... As he wrote to me: "Your tune I've written in the style of a four part Baroque gigue... I used the French musical cryptogram system to make the first 6 notes of the piece spell 'Adrian', 'Brown' is slightly less convinc
  6. Well I think John Kirkpatrick started it on his first solo LP. He called it Gigue too, it being a four-part gigue by Johann Mattheson (1681 – 1764). I think there's a more recent recording of it by JK on the Anglo International cd set and Cohen played it too in his final recital at Leeds Uni. Adrian
  7. My apologies, I didn't point out that my remarks were intended to be directed at tunes that were sung, rather than played to a collector, and the choice of key that the collector then chose to notate it in. Of course if they were played on an instrument, I can quite understand they would be notated as played. I have also managed to take this thread way off topic - sorry Gary... Adrian
  8. Just to add my tuppence-worth to this... Plagal and authentic modes were still highly important in renaissance polyphony where most parts exceeded the single octave range of the theoretical mode. Simply the system adapted to later styles and modal theory continued as the general basis until the Italians messed everything up around 1600! I find it a very useful idea to apply this to folk tunes - MIke (and David will correct me if I am wrong here) I don’t think it's the upper range of the tune that indicates plagal or authentic here, rather how low the tune generally sits under the tonic. Likewi
  9. Thanks Howard, glad you enjoyed the book. For a very long time, I didn't really think about "which button, which finger" and if needed, I certainly didn't worry about occasionally using the same finger for consecutive buttons (I think what the ITM players refer to as "chopping". But in playing more complex pieces and arrangements, I started getting my fingers tied up in knots in certain passages if I hadn't planned things out beforehand, and I was forced to come up with some sort of a system. I basically have two main "positions", with my four fingers either covering the upper or the lowe
  10. Slightly off topic, but perhaps relevant to the issue of how best to notate for the Anglo. In "our" book, there was one tune: Belle qui tiens ma vie that we notated in treble and bass clefs, with the button numbers above each of the two staves. I asked Gary to do this specifically because it was a four-part tune and I thought it was important to see the individual lines in a horizontal sense, rather than simply a succession of button numbers. To use this on an Anglo, you really need to write the whole thing an octave below how it would sound on a CG, with the happy coincidence that most of wha
  11. Hi Howard, I use my pinkie on both hands, especially for the lower buttons of the left hand (1 and 6) while on the right, I use it more for the "extra" buttons on the end of the middle and inner rows of the Jeffries 38, which having 7 buttons across the middle row, I don't think I'd have a chance to reach otherwise. These provide me with the reverse e and f, which in combination with the reverse c and d on the end of the inner row, allows you to play more legato. I think playing while standing is a different issue though and I used to do it a lot more than I do now. I tried to
  12. Thanks Jim, I remember dancing Glorisher as a teenager down in Sussex and ending up on my back in a rose garden after the last chorus - those were the days... I found this video of the dance on youtube, but it does seem to me the musicians are a trifle optimistic in their choice of tempo. You play for dancers all the time, what do you think? I would love to be able to do justice to the Sharp piano arrangement of this tune, but it needs some adaptation to play it on the Anglo and I've never found a solution that works. Adrian
  13. Thanks Jim, I ran a workshop for "Early Music on concertinas" at the Witney Supersqueeze weekend a couple of years ago and I think it was one of my favourite teaching experiences. We did pieces in several different styles and even added diminutions for those who could manage - I'll see if I can did out a recording of one of them. Adrian
  14. Since we moved out to the sticks last year, I’ve not had a lot of time for the concertina, somehow there was always a paintbrush in the way or a shelf that needed to be put up. But we now have space and specifically a designated rehearsal “studio” and the last couple of months have given me time to record a few pieces I’d been fumbling around with for a while, including these two 16th-century Franco-Flemish chansons. Both start with the same chord sequence and both are written in a more vertical harmonic style which is particularly suited to the Anglo. The first is Dont vient
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