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adrian brown

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    http://dappersdelight.com

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    Male
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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. I should add that my 38 button FC Jeffries is a bit larger than the standard anglos - I measured it as 6 3/8"AF, but perhaps that counts as 6 1/2" given that the standard version is a bit smaller than 6 1/4"? Adrian
  2. I would agree with everything LazyNetter says above and will just add the following comment about the 30 button layouts. Having adapted many of my arrangements for the Wheatstone 30 button layout in my book, A Garden of Dainty Delights, I found the biggest problem was the lack of a high draw d. This complicated the fingering considerably and meant a less than ideal LH accompaniment in many of the pieces. However the flexibility 38, or 40 buttons will give you is really worth the investment if you want to play legato passages, or impose your own press/draw sequences to give certain rhythmical emphasis. Another consideration is that while Jeffries Anglos were made in many different keys, the 40 button Wheatstones are mostly found in CG - I don't think I have ever seen one in say FC, although I guess they must exist? What I want to point out is that if you think you might like to play the deeper sounding Anglos one day, and not have to change fingering, it might be worth starting with the Jeffries system. I hope this helps, Adrian
  3. Thanks a lot Luke, I haven't played for a morris team for years, but I do love to mess around with them. As you say, they are a great framework and since most of them had a previous life before they became dance tunes, I feel justified taking this approach. if you're interested, it's really worth examining Sharp's piano arrangements to work out what he suggests harmonically - it'll give you loads of ideas ๐Ÿ™‚ Cheers, Adrian
  4. Thanks for your kind post Howard! When I first heard Cohen playing, I realised how it must have felt to have been a jobbing blues guitarist in London in the late 1960โ€™s when Hendrix rocked up! In fairness, Cohen would have been brilliant playing any instrument, but I think it does show what can be done if you start early enough and really work at it. Anyway, I find it wonderful howย he has taken Anglo playing to a new level, and the instrument is so much richer for it. One hopes that our much-maligned poor relation of the concertina family can finally be seen as a serious musical instrument ๐Ÿ™‚

    ย 
    Greetings from The Netherlands and have a Happy Easter!
    ย 
    Adrianย 
    ย 
    PS. I thought I'd send this privately - I don't want to embarrass the poor fellow...
  5. Or some masterful renaissance polyphony on the Anglo Concertina... Adrian
  6. Assuming the ends are not plated Don, I guess there is no shortcut to hours of graft with abrasive paper of different grades and eventually a light final polish with a buffing wheel. You'd need to use a block on any flat surfaces to avoid sanding an unsightly depression. I just wonder if it's really worth the effort - after all you could see it as a badge of honour showing it's a "working instrument", rather than a museum relic ๐Ÿ™‚ Adrian
  7. I had missed this thread until today, so thought I should pipe in. I re-recorded this just over a year ago for my daughter's birthday with a somewhat more free arrangement on a CG anglo: I took a lot of liberties with the dotted rhythm and went a bit wild in the slows. (It's what happens if you are not playing for dancers...) However, if there is any interest I will try to notate the c sections for posterity (which Gary wisely chose to ignore...), but I'm not entirely sure it would be possible on a 30 button. Adrian
  8. Yes, That was 8 years ago now and I still think of it taking my socks off! Good luck Alan and keep it in the splint for the full three months. I heard horror stories of people taking it off too soon and then having to go back to the beginning again. I tried a number of different types of splint over the mending period and with one of them I could use my finger (it was the RH middle one) on some of the outer row buttons. Adrian
  9. Valve friendly workaround for Jeffries style jug cases: Valve threatening problem with cube cases: ๐Ÿ™‚ Adrian
  10. I knew it Alex! Thanks for correcting me. I still think the 32 keys referred to in this price list includes an air button and a LH thumb button, since the 39 keys is the 38 + air model that is also pretty common. Not sure about the bigger Anglos and duets, but it seems reasonable to assume you would include the air button in the count for all models, if you did for the smaller concertinas? Thanks again, Adrian
  11. It's because they count both thumb buttons Gary = 30 buttons + 2 thumbs. I've personally never seen a Jeffries without a LH thumb button, although I'm sure somebody will correct me ๐Ÿ™‚ Glad to hear your collection is expanding on all fronts ๐Ÿ™‚ Cheers, Adrian
  12. Thanks for the link to this tutor, which I found both interesting and amusing to read. However the second tune above had me stumped, because since the left hand is written an octave lower than normal, I wondered if it was for a sort of hybrid baritone/treble Anglo. However, the explanation is at the top of page 25, although I don't really understand why he didn't simply use an octave clef to indicate this. His musical catechism dialogue in the introduction is very comprehensive and this seems a striking omission. A second thought is although I see the logic in writing the left hand an octave lower, why not do the same for the right hand to get rid of those multiple ledger lines? If you want to arrange music for the Anglo using bass and treble clefs, it's worth transposing both sides down an octave for this reason. Also, if you get can used to reading in this way, it opens up a lot more keyboard arrangements which tend to be written in this range. Adrian
  13. 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 bespoke instrument case. They used to come up on ebay every so often and I think I bought a couple from Chris Algar. They quickly disintegrated with use, but were reasonably easy to repair. I ended up making a few of them myself, which took ages, but a good leatherworker could do it a lot quicker. Years ago, I made a plywood and leather case for 3 concertinas and only used it twice - it was just too heavy to lug around. Cheers, Adrian
  14. 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
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