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adrian brown

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  1. Glad we gave you some food for thought. And in the meantime, if you do want to use a drony effect, try using the buttons you have, it might not be as difficult as you think, once you are used to the concept. Good luck, Adrian
  2. I felt an urge to have another stab at this, this time playing it on my Dipper baritone. It's very nice to revisit pieces like this after a long gap and comforting to feel how after a short acclimatisation, your fingers seem to move instinctively over familiar button patterns, hopefully giving more time to think about your interpretation. The harmony in this piece is not quite as close as in some of the earlier stuff I've recorded with the baritone and I think it really brings out the "architecture" (for want of a better word) of this instrument. Something for a cold, wet and rainy January weekend? Cheers Adrian
  3. You beat me to it Alex - I can't imagine why you would want to swap two very useful reversals to duplicate notes you already have in both directions! On the other hand, perhaps Jeremy is talking about a low d in both directions? (a whole tone above the lowest note) In this case I don't think the chamber would be big enough to support such low reeds. Adrian
  4. Here's a few photos of one of mine - as you can see it's just a piece of bent brass riveted to the leather with three brass nails. I didn't bother with the engraved line around the edge, but it would be easy to do for somebody with engraving tools. Adrian
  5. Hi Luke,I mostly find it useful to give an extra emphasis on the last notes of pieces in D minor or dorian. Here’s a few of them I’ve recorded, the first two are on a standard CG followed by a baritone version:The Queen's Almain - La Monicahttps://www.youtube.com/watch?v=ThMNAL1X3PkBelle Qui Tiens Ma Viehttps://www.youtube.com/watch?v=HmUAG8mJ_OIAlso this 5-part renaissance composition: Josquin Des Prez - Plusieurs Regretz https://www.youtube.com/watch?v=kSO_Uzs6oZQ And of course the piece Cohen wrote for me, he didn’t indicate a low finalis but I played it anyway - If you’ve got it, why not flaunt it 🙂 Mr Brown's Gigue https://www.youtube.com/watch?v=cJxjOfeqsEU I am sure I’ve also used it in the past for a C, D, E, F low bass run, but I can’t remember when. Cheers, Adrian
  6. Sorry Luke, Only just seen your question from a while back. No, on the "standard" Jeffries 38 layout, that button has a Bb3 draw/ Bb4 press. The duplicating of Bb3 on button 2a allowed me to change it for a very valuable D3 - this is what I mean: https://anglopiano.com/#layout=_30_eFHdJKNMmn.._160_PQTSstVWZX......_15_cGGIijkLMNnh_80_rNoOqpSRuTwURq..IHjlMNOopqrs_110_poSrUTvuYw1x...._145_Kk_125_Li_220_xv (BTW What a fantastic tool that is - did you program it?) I believe John Watcham had his duplicate Bb3 swapped for an F#3 as he found that more useful for certain bass runs. Without wishing to sound pedantic, I would avoid using the term "drone" for any unisonic button on the Anglo layout - it's never really a drone because the note cannot be held past the limit of the bellows, and so any combination of other buttons having the same note would create exactly the same effect. (and otherwise all buttons on the English and ˜duet systems could be considered drones 🙂 ) Martin, I have no idea why the air button is sometimes counted on the Jeffries layout, but not the Wheatstone - a few years ago, some of us here tried to extend Gary's tablature system in a logical to incorporate both the Jeffries and Wheatstone extended layouts, but as far as I know, they've not been used in any publications, so have yet to find acceptance. Cheers, Adrian
  7. Here's a photo of how I repaired my wife's similar case: I cut out a strip around the hinge down to the wood with a scalpel and removed the leather. I cut a new piece from an old leather satchel that had a similar colour and thickness and glued it in place using hot hide glue. It's been in use for about 4 years now and looks better in real life than on this photo... However, I see from your post that your case is made from only leather and fabric? Our one (also Wheatstone, but from 1939) has a wooden box covered with +/- 1mm thick leather, so you may have to be more inventive. Perhaps you could glue a new piece of leather on the inside, if you can get the lining off without damaging it? Good luck and I hope this helps, Adrian
  8. Or a maybe a cello like a viola... Adrian
  9. Hi Luke, Thanks for your interesting question which made me ponder how things would be the other way around - which notes (and buttons) I would miss, and what would be the potential gains, if I swapped my Jeffries layout for a Wheatstone 40? In terms of gains, it’s clear that the RH G4 is a great addition, allowing you to play melody runs down to G4 on the right hand side. That said, G4 is normally part of the chord you’d be playing on the LH, so it’s not as crucial as say, having the A4 on the RH. I personally find the C4/C4 LH thumb button combination a bit of a waste - both on Jeffiries and Wheatstone layouts. I’d have the push tuned to an F4, which is far more useful. (Push C4 is of course already on button 3 and if you want to do a sort of drony LH thing, it’s simple enough to swap between button 3 and the thumb button.) However, the two things I would miss the most are the RH pull C5 - I can’t understand why that’s not there, and of course the low D3, which on my layout is where your Bb3 is - my Bb3 being at the end go the middle row. It’s true D3 is not part of the standard Jeffries 38 layout, but because there is room for it, it’s an easy modification and gives you mighty chords when playing in Dm and DMaj. On my RH button 10, I normally have a pull G#5, but on some occasions, I’ll swap this reed in advance for a D#6, because a few pieces I’ve played need it. On the custom Baritone Colin and Rosalie Dipper made for me, they squeezed in an extra button nearby so I could have both... One last comment - have you considered a Jeffries layout with a Wheatstone RH accidental row? I’ve seen a lot of instruments that have had this conversion, in both 30 and 38 button versions, and it might be that an hybrid layout of this sort would work best for you? Cheers, Adrian
  10. Okay so here’s the first tune from the A Garden of Dainty Delights in treble/treble clefs and treble/bass octave clefs. As you can see the treble/bass version gives fewer ledger lines and the whole piece fits more or less centred on the clefs, whereas the double treble version, the RH is more at the top of the clef and the LH at the bottom (as you’d expect). Another thing I want to point out is that as Jim 2010 mentioned in the original thread, tablature can suggest note duration without being too strict about it. In staff notation, you are obliged to indicate a note length, which throws up other problems. In bars 1, 3, 4 etc. I am doing a sort of “rolling" om-pa where the om is held until the shorter pa comes in. In tablature this was easy to indicate approximately with a row of dashes after the digits, but here I am obliged to enter an extra voice with its accompanying rests - it just makes the whole thing seem more complicated on the page. Of course I could write it out in strict quarter-notes and anyone listening to the accompanying video would get the idea, but I wanted to indicate the more relaxed accompaniment a piece like this needs. BTW this is far from being polyphonic music as suggested in the title of this thread, but since this book was the object of the original question, I thought I would use one of the tunes to illustrate my points. A typical 4-part renaissance piece is difficult enough to fit into a T&B clef system as the voices frequently cross each other and the middle voices weave between the clefs. Then you have to decide whether to keep the voices in the same clefs, using ledger lines, which makes it more difficult to read, but preserves the contours of each voice, or you let them cross, making it easier to read but difficult to see which line is which. No notation system is perfect, but it is a good idea to learn to read the most common clef combination, (treble/bass) as it gives you access to a lot more literature. As I said in the other thread, I am willing to consider doing a staff notation version of A Garden of Dainty Delights if there seems to be enough interest to warrant the time it would take to re-edit it in this way. Adrian All in a Garden GreenTB.pdf All in a Garden GreenTT.pdf
  11. A few plus and minus points to consider: Jeffries 39: + different keys (I have the same system in CG, BbF, GD, FC and baritone CG. This becomes important if you want to sing too, since the bass limitations will force you into a certain key, which then might not be suitable for your voice type. Having differently pitched Anglos allows you to play with the same fingering patterns and produce a different pitch. - They tend to be dearer concertinas, as most of them are made by Jeffries and command a premium price. - The ’standard’ button layout goes to a on the RH side, but not a g. Wheatstone/Jones 40 + A lot more of them around, and they are generally cheaper. +The RH side goes down to a g, so you can keep more of the melody on the RH - I’ve not seen many in other keys, although I’m sure they exist. - not sure there is the important RH f reversal in the standard pattern? In the end, whichever system you choose, you’ll be able to play a much larger repertoire than on a 30 button. Adrian
  12. Thanks for your kind comments Aaron. The reason we did it this way was to fit with all of Gary’s other books. Probably more than half of the tunes have a simple om-pa accompaniment anyway, so it doesn’t necessarily lend itself to a more rigid staff notation - the tablature and chord symbols show where the harmony is leading. I would be up to editing a staff notation version, with no button or bellows markings - perhaps it might be interesting for duet players too? The problem is which clefs do you want? I would prefer to transpose the notation down an octave and use standard bass and treble clefs, but in my experience, a lot of concertina players shy away from the bass clef? Certainly I think two clefs would be needed to show more or less what is played on the left and right hands and to keep it clear. I would also need to be sure there was a potential interest of more than just one person 🙂 Adrian
  13. “Classical Music” covers a huge variety of genres and styles and it would be impossible to find an instrument to play everything. I myself have mostly concentrated on renaissance polyphony with a few excursions into baroque music. Vocal polyphony 1500-1620 works wonderfully on most polyphonic instruments and I think the Anglo concertina does it well too. The small range of the voices and only two signatures (with a flat, or without) means you can usually find a way of fitting it into the Anglo’s limitations. With later music, the problem is always where the bass is going, since the broken, diatonic lowest octave of the 30 button Anglo means you need to sort out what you are missing first, then transpose to a pitch where you have the correct notes. If you can find a way of getting a low d, a tone above the lowest note, it will help enormously in this regard. Having more than 30 buttons means you can play smooth melodies (legato) and not be forced by the system to change bellows direction, while at the same time playing bouncy melodies when you want to. Adrian
  14. 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
  15. 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
  16. 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 🙂 Cheers, Adrian
  17. 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 1960’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 how 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 🙂

    Greetings from The Netherlands and have a Happy Easter!
    PS. I thought I'd send this privately - I don't want to embarrass the poor fellow...
  18. Or some masterful renaissance polyphony on the Anglo Concertina... Adrian
  19. 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 🙂 Adrian
  20. 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
  21. 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
  22. Valve friendly workaround for Jeffries style jug cases: Valve threatening problem with cube cases: 🙂 Adrian
  23. 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
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