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adrian brown

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About adrian brown

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    Heavyweight Boxer

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  • Website URL
    http://dappersdelight.com

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    Male
  • Interests
    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 live. We play mostly 16th - 19th century music in our own arrangements and do some singing too.
  • Location
    Amsterdam, NL

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  1. adrian brown

    A Garden of Dainty Delights by Adrian Brown

    Hi Snoot, I made an attempt at arranging the tunes in order of difficulty, although the methods used were very unscientific and based solely on the number of times “Bugger” was uttered while practising for the videos. But in the book’s running order, All in a Garden Green up to Buffoon Dance I thought were easy. From The Maid Peept to Black and Grey were medium difficulty and from Belle qui tiens ma Vie to the two Joaks, Difficult. Once you have The Black Nag going smoothly, how about trying Jenny Pluck Pears, or Jamaica? If you want to play Buggering Oates, I’d recommend you start with the left hand - get the arpeggios going smoothly and on auto-pilot and then you can slowly add bits of the melody as you feel more confident. Hope this helps, otherwise, let me know. Adrian
  2. adrian brown

    Pierced Metal Sides

    Alex, This is the only one I have ever seen in the flesh: https://www.horniman.ac.uk/collections/browse-our-collections/object/2834 I've always wondered how important the reflection off of the side walls is in concertinas - thinking about how different the "inboard" mounted reeds sound. Adrian
  3. adrian brown

    A Garden of Dainty Delights by Adrian Brown

    That's good to hear Mike, do let us know how you get on with it - after such a long time working on this all by ourselves, we're very keen to get any sort of feedback :-) Cheers, Adrian
  4. adrian brown

    Digby's Farewell

    Here's another tune form the same Playford collection as "Digby's Farewell" and again I've made use of the original bass line in my arrangement. It was fortunate for me that the bass line exists since this tune goes all over the place harmonically and I don't think I'd have been able to work it out solely from the melody... Adrian
  5. adrian brown

    A Garden of Dainty Delights by Adrian Brown

    Yes, it gets a good rollicking about once a year, but no secret life as a time traveller or heavy metal usage I'm afraid... Adrian
  6. adrian brown

    Dapper's Delight - Lumps Of Pudding

    Someone left a wonderful quote on our youtube channel, which is attributed to Handel: "Ballad opera pelted Italian opera off the stage with Lumps of Pudding". He's referring of course to the success of the Beggar's Opera, which resulted in the public turning away from the opera house and ultimately led him to writing Oratorios. Here's a solo version of Lumps of Pud. from my Garden collection... Adrian
  7. adrian brown

    Forgive me if your looks I thought

    I always admire those who can pull off an unexpected twist or turn in music, always with the security that they have a good reason for doing so. Perhaps pushing a rule, or tradition a bit and in the process making a connection between themselves, the listener and the "rule set" which they understand and can exploit. Having neither a formal musical background, nor connections to any musical tradition, I think I can be rather naive when I go out on a limb, because I only have my ears and feelings to guide me and have to rely on others to guide me back when I go too far off the beaten track. Anyway, this is just a long way of saying thanks and that I really appreciate these sort of exchanges because they teach me to think more about why I do things and, yes, hopefully avoid laziness in my playing. Cheers, Adrian
  8. I'm another who got a mallet finger and participated in the above mentioned thread in 2014. It took 6 weeks with my finger in a splint, living under the threat that if I once bent my digit in that time, I would have to start all over again! I tried out a variety of splints over the period and found the least intrusive and comfortable to be the oval 8 plastic splints. I got three different sizes since the swelling started to go down after a while. Funnily after 4 years, that finger is still rather porkier than the others, almost as though my tendon has beefed itself up in the process. I kept playing all the while, trying to utilise the other fingers, while keeping the splinted one out of the way and I found myself using the splints for about 4 months after the injury, putting them on whenever I didn't need to bend my finger - that time period was the only time I had some pain there and putting the splint back on helped control it. Before this happened, I was one of those who thought that socks were the most innocuous items of clothing and I had to learn the truth the hard way... Hope this helps, and good luck, Adrian
  9. adrian brown

    Forgive me if your looks I thought

    Thanks a lot, I'm glad you liked it. David, I asked Susanna what she thought of that little clash at the start of the second half and she said it was an example of "lazy playing" - I can't win them all... Adrian
  10. adrian brown

    A Garden of Dainty Delights by Adrian Brown

    Thanks Gary, the pleasure was entirely mutual and I'm really going to miss our twice daily e-mail exchanges... Since Gary's run out of space here, I'll attempt to add "Daphne", the sample tune here. It's a deceptive tune, probably one of the more tricky in the book, but a good example of the repertoire. It emerged as a keyboard piece in the Fitzwilliam Virginal Book around 1600, became a popular broadside tune, was a dance tune in Playford's dancing master, took on a new life in the Netherlands with the title "Doen Daphne" and ended up with some demonic divisions written for the recorder by Jacob Van Eyke (1590-1657). I took the accompaniment from an anonymous 17th century virginal manuscript and despite the melody creeping over to the left side on occasion, I think it fits quite nicely on the Anglo. Daphne-J.pdf Daphne-W.pdf Below is a picture of the cover, which as you can see, I had a lot of fun with:-) I hope the book will be a nice addition to Gary's impressive stable of instruction books for the Anglo and that people will enjoy playing these tunes as much as I have. Adrian PS. and here's the accompanying video for "Daphne":
  11. adrian brown

    Forgive me if your looks I thought

    Thanks David, Is it the point at 0:24 (and 1:14 in the ornamented version) where I let the E-major chord hang over the upbeat to the new section? There's a momentary clash between the E-major chord and the G natural of the upbeat to the second section, but I quite like that little bit of tension before the relief of the C-major opening chord. (I think I may have emphasised it a bit more in the first version than the second?) That said, I'm probably so used to it now that it's not registering with me so much any more. In any case is, it is more due to my ineptitude, than a temperament issue :-) Cheers, Adrian
  12. This is an example of a ‘Cebell’ or ‘Cibell’, a short lived English form from the late 17th century named after an air in Lully’s 1676 opera Atys that accompanies the descent to earth of the goddess Cybele. The air became very popular in England and Purcell is credited with being the first to make a parody of it, which itself was parodied by many other composers. This version comes from Playford’s Musical Banquet and seems to have been written by Robert King - other versions of the same tune have the name as I love you more and more each day. I play it twice, the second time attempting some typical Baroque ornamentation… Adrian
  13. adrian brown

    Let Me Call You Sweetheart

    Very nice Simon! Did you manage to surprise your wife with it one morning? Looking forward to meeting up with you again in Witney... Cheers, Adrian
  14. God Chris, that's awful - did you really have to post that, mate, it's quite put me off my lunch :-) ... but like a disaster tourist, I'm terribly curious to know, so do tell all... A.
  15. Hi Roman, It did come up here earlier this year: And there are some links there to other threads where this was discussed. I think if I had to choose, I'd want a push f natural in both middle octaves (on left and right sides). Drawn notes on the LH, a low D, (a tone above the lowest note), if it could be managed in the available chamber and on the RH a high d' if it was a Wheatstone layout. Hope this helps, Adrian
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