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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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  • Gender
    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

    Hornpipe and polka rhythms?

    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
  2. adrian brown

    Pastime with Good Company - help needed

    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
  3. In the hybrid concertinas I've seen, the reed blocks are simply fixed with screws, so it would be just a question of unscrewing the screws and turning the blocks over - just making sure the rivets are at the same end of the chamber as the pad hole. If the reed blocks are waxed in, I guess it's a bit more involved, but you just need a soldering iron to re seal them. Adrian
  4. adrian brown

    Pastime with Good Company - help needed

    Little John, This is just written as three-part harmony. You are correct about the first two clefs - they are C2 and C4 respectively, but the third clef is an F4 clef - notice the diamonds and the vertical line which makes a backwards F... (so it's a normal bass clef). If you just write the three parts out in modern notation (as treble and bass clefs) it will give you an idea of the chords you need under the melody. BTW - I'm not sure there's any evidence that Henry wrote the tune, even though he's often been associated with it :-) Adrian
  5. Hi Snoot, Sounds like the reeds are simply around the wrong way on both RH 1a and 2a buttons. As you say, on the Jeffries layout, LH button 3a should be an octave parallel with RH 2a on both push and draw. Perhaps a previous owner was used to the Wheatstone C# position and simply flipped the reed block over? If I was you, I'd flip them back... Adrian
  6. adrian brown

    Sous le Ciel de Paris - David Barnert

    Looks great David and it must have been heaps of fun to do? Adrian
  7. adrian brown

    A Garden of Dainty Delights by Adrian Brown

    I'd just like to mention that I will have a few copies for sale at next weekend's Supersqueeze meeting in Witney, if anyone is interested in getting a copy a bit cheaper than via Amazon. £20 and you'd save on the postage... Cheers, Adrian
  8. adrian brown

    Jeffries 26 key Bb/F for sale

    I played this instrument a few weeks ago and as Seamus says, it's a really nice warm sounding Anglo. Despite not really being able to do it much justice (I kept looking for the buttons that aren't there...) we made a little video that I hope gives a good impression of how it sounds. I'm sure Seamus will share it if anyone is interested. Adrian
  9. adrian brown

    Dapper's Delight - Lumps Of Pudding

    Well, inspired by this little exchange I went and ordered the DVD and happily found it was still as impressive a performance as when I'd last seen it on the tele. The playing and singing is excellent though the 4:3 video quality takes a bit of getting used to these days :-) Adrian
  10. adrian brown

    A Garden of Dainty Delights by Adrian Brown

    I was trying to use it as a tea-powered metronome, but it's difficult to keep up with it when it's under full steam... Adrian
  11. adrian brown

    A Garden of Dainty Delights by Adrian Brown

    Wooh, that was fast, I should have asked about the musical instrument at the back that resembles a dead goat! Gary is going to send you a prize and here's a video of the Sterling motor in action - all that power from a cup of tea... Cheers, Adrian
  12. adrian brown

    button layout and accompaniment on 20b Anglo

    No apologies needed Wolf - I just wanted to make the point that it's a lot easier to understand each other if we are all singing from the same hymn book! And actually, my comment has nothing to do with music notation as such, be they dots symbols or tabs, only a wish to identify which of the multitude of buttons on our instruments is being discussed. Thanks, and hope to see you again soon, Adrian
  13. adrian brown

    button layout and accompaniment on 20b Anglo

    Could I make a polite plea in these sort of posts that we try to stick to Gary's button nomenclature when describing layouts? Given that there seems to be a tribe of new Anglo players learning from his books, I think we could claim at has become the modern standard and it has the advantage of making discussions about layouts a lot easier and faster to comprehend. (But perhaps I'm the only one who had this problem when reading the above?) Thanks. As to the modification - it seems any easy one to reverse at a later date, but if you ever move on to a 30 button layout Wolf, relearning the "new" position will doubtless take a lot more effort. On a 30 button, the duplicate As and Gs serve as the key points where you can change your fingers from sitting in the keyboard's "1st position" (for want of a better word) to 2nd. By this I mean shifting all finger positions by one button to cover the other end of the keyboard, while avoiding playing consecutive buttons with the same finger. Cheers, Adrian
  14. adrian brown

    Pierced Metal Sides

    What a beauty - just a shame the 38 buttons are arranged in that way - I wouldn't be able to get my head around it... I wonder who now owns the Crabb on that C&S cover with the more standard layout. Adrian
  15. adrian brown

    Dapper's Delight - Lumps Of Pudding

    I think it's a bit older than that David, have a look at p.99 here - it's a print from a couple of decades before The Beggar's Opera. Actually, I believe that apart from the overture, all of the tunes were known popular tunes of the day which were arranged by Pepusch to suit Gay's texts. Adrian
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