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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. Thanks Didie, That's exactly the sort of problem I have and on the Anglo, a lot of the bass notes are only available in one direction, so when a held chord contains one, then another only available in the opposite direction, I need to make a bellows change as unobtrusively as I can. I always try to make the bellows changes as 'quiet' as I can in this music, but there is always a little sort of "presssure front' that is audible and that often goes against what I want to do musically. Perhaps with practice I will manage to hide it as much as possible, at least that is what I am hoping :-) Thanks again, Adrian
  2. Sorry Richard, missed that! I couldn't agree more about more being more as far as buttons are concerned, though I do understand those who prefer having less and enjoy the challenge that presents. However, my overriding feeling is that more than 30 opens up a whole new repertoire that is simply not possible with 30. Cheers, Adrian
  3. My wife bought this one from Robin a few years ago and she used it on our last CD. She had it at the last German meeting which is where Wolf played it... Adrian
  4. Thanks a lot! Are there any duet players out there who may have some tips for me? Unlike them, I am sometimes forced to make bellows changes at what could be an inappropriate moment within a phrase. I have several strategies for dealing with this, some involving the air button to limit the "pressure front" of the change, but I would like to know how they deal with say a long phrase with many notes, that is too long for a single bellows run? Thanks again, Adrian
  5. Hi Richard, Just so we are comparing like for like, here's a comparison of the two layouts we are considering - both are CG. It's quite possible your instrument was modified at some point - it wouldn't be the first time :-) Cheers Adrian W 30B and J31B layouts compared.pdf
  6. Thanks! It's played on my Dipper Baritone Anglo, an instrument that Colin and Rosalie made for me 3 years ago. It has the Jeffries 38 layout with an extra RH button on the right side for the high d#/eb. That means I have the full chromatic range over the middle two octaves in both bellows directions and I can therefore decide whether to play in the normal bouncy in/out Anglo fashion, or more like a duet as is the case with this piece. It has aluminium reed frames to keep the weight down and the most amazing dynamic range of any concertina I've yet played. It's also extremely air efficient and uses very little air even when playing loud. It very rapidly became my weapon of choice for any new piece and 3 years on, I feel I am still learning heaps from it and hopefully I'm starting to do it some justice! Cheers, Adrian.
  7. I wanted to try out a 5-part piece and managed to record Josquin's beautiful chanson Plusieurs Regretz a couple of weeks ago. There are several problems playing this sort of thing on an Anglo, the first of which is that the same note is often simultaneously played in more than one of the parts - as a held note in one and as part of a run in another. Sorting this out on an instrument where you have to decide when precisely to stop each note is quite difficult - on a lute or harpsichord, this is not such an issue due to the natural decay of the note. Perhaps I should take a few lessons with an organist, though at least they have 2 keyboards to manage this. A second problem is to reduce the dynamic surges that come with every change of bellows direction. Partly this is the downside of having such a wonderfully responsive instrument, but I would be interested to hear from duet players how they deal with this. (I'm playing the Anglo in a very duet-like way, only making bellows reversals at the end of phrases, or where I have specific notes in only one direction.) Adrian
  8. I don't know if it is so much speed per say as speeding up. I think most players have to resist a natural tendency to speed up when things get difficult... Adrian
  9. To my mind, the principle drawback to the Wheatstone system is the lack of a high draw d, which considering you don't have any f#s on the push, means the harmonic choices are more limited. When reorganising my tunes for the Wheatstone layout in the book I did with Gary, this was the biggest headache for us both. On the other hand, perhaps of I'd grown up with playing the Wheatstone layout I'd have organised the tunes and accompaniment a little differently. Adrian
  10. I'd recommend hot hide or bone glue for gluing lining material into cases. It's cheap, you can choose how thin you want it, it allows repositioning and it's completely reversible if you mess it up! I normally do a test piece to make sure it doesn't penetrate through the material and I brush it onto the case, wait a minute or two until it's gone tacky, before pressing the material into place. Adrian
  11. I've no idea who he was, but there is an original composition "Carnival Nights" in the publication. Just wondering if his initials give a clue to the tuning of his concertina... Is this the only method/tutor that uses an F/C concertina, or was this a common tuning in German instruments of the 1930s? Adrian
  12. Thanks to an alert from Gary, I couldn't resist getting hold of a copy of this mighty tome via Ebay. I've made a scan of all 16 pages, but since it's from 1937 and theoretically still in copyright, I'm a bit wary of just posting it on the web. If anybody is interested, send me a PM and I'll email you a copy (8.4Mb). Strangely perhaps, the tutor is for a 20 button German looking concertina in F/C Adrian
  13. We'll be there as usual, even though we missed last year's event due to our Australian tour. For any waverers, here's a video taken during a happy massed session from 2017 playing some 8-part double choir music: Adrian La Mantouana (An Hellen Tagen - 2x4 parts) by Lodovico Viadana (1560-1621)
  14. It seems like the term 'hornpipe' has meant different things to various different traditions over the last 500 odd years. However it is a much older dance term than the polka and seems to have always been associated with the British Isles. The triple-time hornpipe is probably oldest and in this great article, John Ward makes a distinction between the traditional “Lancashire” hornpipe and the “Dancing Master” hornpipes, so popular in the early 18th century. How this “tradition” morphed into the duple version is probably something that needs studying - are there any collections that include duple-time hornpipes before the 19th century? (The Clare manuscript must be the oldest collection that comes to my mind.) Adrian
  15. Glad to help out LJ. The manuscript has a few other things which might be worth my pointing out to people who are unfamiliar with old notation. The whole piece is written in double time, if we were to compare it to modern notation, the round notes without tails correspond to a 1/2 note (minim) for us, the white notes with tails are 1/4 notes (crotchets) in our notation and the black ones are 1/8 notes (quavers). The big square ones correspond to whole notes or semibreves for us and at the end of the piece, you'd hold them for as long as you felt like :-) The C which corresponds to the C clefs is middle C, or the C underneath today's treble clef and it can be on any of the 5 lines of the stave, with a C1 clef, referring to the bottom line and a C4, the forth from bottom and so on. Likewise the F clef can be either F3, F4 or even F5 and the G clef either G2 or sometimes G1. If you're wondering why they used so many different clefs, it was ultimately to avoid ledger lines which would have used more space on the page. See how each part fits comfortably between the stave. The squiggles with their diagonal lines at the end of each stave indicate the note that's coming next at the beginning of the following line. As you can see there are no bar lines in music from this period. If anyone is interested in reading up on this sort of thing I would highly recommend the veritable bible for Renaissance music written by none other than "our own" Alan Atlas: Renaissance Music: Music in Western Europe, 1400-1600 Hope this helps, Adrian
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