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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. Hi Cohen, I normally travelled with 3 Anglos back in the times when it was possible to play concerts (it's so long ago, I can't remember if you spell consert with a "c" or an "s"...) I've found the best solution weight/space are the traditional leather and card "jug" cases. They're light and tight, they look lovely and you can easily cram 3 of them in a medium sized rucksack (horizontally...), which you can then pad out with a change of clothes, the odd recorder and so on... An advantage if you're travelling by train is that a rucksack looks less attractive to thieves than a bespok
  2. In my experience Alex, yes they all do. I know of several Jeffries altos that have been converted to the Wheatstone layout, but I imagine the standard was to have the push A5 on 5a, since 2a is occupied with the reverse notes of 1a. (c# and d#/eb) Adrian
  3. Wow, what a labour of love that must have been. I've used abc for complex music in the past (not that complex though...) but I find it irritating to edit and change things in the code - just finding where you are is often a nightmare when you have several pages of polyphony. I started using musescore a while ago for more complicated stuff and I really appreciate being able to edit on the stave, rather than in the code. It's also pretty compatible with abc in that you can import abc code with a plugin, which on the whole works very well and a lot better than the pdf import function.
  4. You're probably correct Paul, but like schult suggested, you can only do the best in your own jurisdiction and hope that those responsible get it right! What happens when they don't is anyone's guess, but it's unlikely to make you lose much sleep unless your sales are in the millions 🙂 Adrian
  5. Thanks for posting this news Stephen - just informed my accountant and the Dutch instrument makers' association. None of us has heard anything of this from our tax department! Looks like it's going to make things a lot easier if you sell a lot in one or two countries of the EU and more complicated for the rest of us! Cheers, Adrian
  6. Stainless steel reeds? - don't think so... Adrian
  7. Just to add my tuppence worth to Howard’s sage advice and overview. We came against the sharp end of this when recording our Dapper’s Delight CDs, the second of which has an arrangement of an Ian Dury song. We got in contact with the Dutch performing rights equivalent (BUMA) who were very helpful and contacted Dury’s estate on our behalf. After a couple of months, permission was given and the fee we paid up front was (I think) only about 80 euro. (It’s a fixed amount dependent on the quantities of physical media and the length of the piece.) Strangely enough we also had to pay a si
  8. This doesn’t really answer your question Alex, but it might be of interest to some like me on the other side of the great divide... I recently needed to buy a replacement motor for one of my machines, with the sort of spindle that is common in the UK and rather difficult to find elsewhere. Fortunately, I found a supplier in Northern Ireland and they were able to sell it to me as though I was buying it from any other EU country (I give them my VAT number and they deduct the VAT amount, which I tally in my next VAT return). The motor arrived a few days later not having passed by any customs offi
  9. Whether it's 11 or 12, you beat me to it Little John, it's a popular misconception that where you put the wolf is dependent on where you start relative to ET. As you point out, you can put the wolf where you like, and independently decide which note is closest to a particular ET scale. the only difference will be to shift the whole instrument up or down a few cents, depending on which note you choose to align with ET. Because I have quite a few Anglos in different keys, it made sense to tune them all to a-440Hz, and shift the wolf around the circle depending so that it is always be
  10. Yes, my baritone has 39 buttons (the "standard Jeffries 38" + one extra RH) and it does indeed make it easier especially if you want to play some sections more legato than than Anglo is usually associated with. However, I have just spent a happy hour playing slowly through the piece and imagining I only had a 30 button, (which in itself is not quite so easy as you might think!) and I think it is actually surprisingly doable on a 30 button Anglo. The most obvious problem is that there are a number of low Ds in the score, but you could simply play these notes an octave higher without
  11. I thought there might be some interest here in my interpretation of Cohen’s gigue, so here below is my first stab at recording it. I have used my baritone Anglo for the task - partly as it allows me to make the excuse of a rather more sedate tempo than Cohen’s blistering pace, as befits Mr. Brown's ageing frame! I think the baritone also brings out other qualities in the harmonic architecture of the piece and gives it a very different feel. All the same I must say it is a pretty relentless experience and gives one little time to relax, as Cohen said to me in a recent e-mail ”I've been using it
  12. Thank you Gilbert and Jim, it's nice to play again after a bit of a house-renovating hiatus. It would be even nicer to play for a live public, but that's not going to happen for a while yet... Gilbert, yes my baritone Anglo is in 1/4 comma meantone, with enharmonic d#s and ebs, as are most of my other Anglos. I think this music in particular would sound quite sad in equal temperament, and over the years, I've got used to meantone for other styles too. There are not many occasions where I find myself reaching for the equal tempered instruments. Adrian
  13. Thank you Kathryn, that's very kind of you to say:-) My latest lockdown effort is another fantasia by Philip van Wilder (1500 - 1554) performed in two different versions. It is a piece that was written as a musical puzzle in that you can play it as written, or you can remove all the whole and half bar rests from each voice and magically the four voices line up in different places to each other to give you a different, more compact (and shorter) piece. It’s quite amazing how it’s possible to write something like this, where certain sections are almost the same in both versions, but th
  14. One might be forgiven for thinking a homophonic piece like this would be a bit of a doddle after some of the more complex polyphony I’ve previously posted in this thread. However, it has taken me a long time to get this to the point that I was happy with it and could find the calm that it cries out for. 40 years ago my music history teacher had us playing all the versions of this song from Isaac to Bach on a motley collection of recorders, crumhorns and viols and declared that it was perhaps the most important piece in the Western classical canon. While I don’t share all his enthusiasm,
  15. My guess is Geoff that that someone would do best by making a quick trip to the UK with the old instrument, do the deal, pay UK VAT and then hot foot it home without anyone noticing. I doubt a single instrument would attract too much attention at the border and I'm advising my single UK customer this year to do exactly that. Hopefully in a year or two things will become clearer and established procedures will be in place, but until then, I think we will all have to improvise. At least we can take heart that we're not dealing in perishables... Adrian
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