meltzer
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Posts posted by meltzer
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I know what you mean about the oompah, but I like to think (and I realise that it's late at night but f*** it) that I bring something of the punk/new wave sensibility to my English-style Anglo playing.
Christ almighty, that makes me sound like a coplete w*****r. Time for bed, I reckon.
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I chose the instrument first, then the music, which is probably the wrong way round! I had no experience of playing any musical instrument (still haven't, some might say), but the concertina took my fancy. I have always enjoyed folk music - not easy growing up with a peer group fixed on punk and ska. As an Englishman now living in Ireland I had a choice of musical styles, which may be a unique choice for an instrument - do fiddle or flute players play in English or Irish styles? I choose Irish, not only because that was the natural choice if I wanted to play with other people, but because I prefered the music. I like the sound of a single reed. Although I love English folk music music, to my ear, it can sound like fairground music. particularly when played on melodeon or concertina with heavy use of chords. What I mean is too much oompah, not enough melody. I do make some limited use of chords in my playing, but often find they overpower the melody or detract from the beautiful sound of the concertina. Maybe that is just my poor playing. I noticed this particularly when playing airs. You can add all sorts of chords and ornaments, but I usually prefer to hear the simple unadorned melody.
Nigel
I reckon we're about the same age then, Nigel (looking at what your peer group listened to). I know what you mean about the oompah, but I like to think (and I realise that it's late at night but f*** it) that I bring something of the punk/new wave sensibility to my English-style Anglo playing. Mostly by avoiding the oompah and doing countermelody or the big f***-off open chords/drones. As a good ex-punk myself, I might almost be tempted to see the highly-decorated Irish style as the trad expression of prog rock.
No Beatles, no Elvis, no Rolling Stones.
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Replace the words "concertina players" with the word "musicians," and it's probably still true.
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a dart thrown at a map has the same likelihood of hitting a concertina player no matter what region it lands in.
Ow!
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So it's a 12 key Anglo; (got to be an Anglo hasn't it?)
Having never even tried to understand Anglo layouts, what would the range of this be? No accidentals, no repeated notes, one and a half octaves?
I reckon one full octave with an extra G/B at the bottom (assuming it's in C) and er..... another button playing two other notes.
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This one.... Here
In fact it looks like a nice concertina and reasnable price, but the description is a gem!
apparently "lachanel was swedish and worked for wheatson at the begging of 19th century and was famous for its old pitch"
Any one for cricket?
We need Geoff Boycott to stick his keys into the reedpan & tell us what it's really like.
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There seems to be no wrist strap or finger rests of any kind. Was the player supposed to pinch each end between thumb and another finger, leaving the remaining fingers to play the 6 buttons? Might work.
I've played a minature with no straps, and that was what I did. In fact, it looked pretty much the same as that one. Can't remember where it was made though (this was over 20 years ago. God, I'm old.
). Hard to tell from the photos whether it is Anglo or EC, tho from the staggered button setup I'd guess EC.--Mike K.
The one I played was an Anglo. Can't remember about the button layout, though.
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I'd suspect a scam but I can't figure out how it works unless the sellers are managing to re-register from a different IP
Internet cafe?
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An accompaniment that I played would look and sound completely different to one of Peter's because (1) he's a far better player than I am and (2) like everybody else, we've absorbed different styles & influences over the years.
I think you are being a little modest, Nigel. It's more to do with the number of years that I have been playing. You'll close the gap soon enough!
Regards,
Peter.
Thanks for that, Peter. I live in hope.
I've had to ban myself from listening to Peter Bellamy lately, ever since I thought I'd come up with a new and distinctive arrangement of The trees they do grow high, and then listened to the version on Both sides then -- only to realise that it was basically the same without the drone keys.
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it seems that everyone just makes up their own accompanyment - is this the case?
I know I do.
It's one of the ways that English-style anglo players get their individual sounds. An accompaniment that I played would look and sound completely different to one of Peter's because (1) he's a far better player than I am and (2) like everybody else, we've absorbed different styles & influences over the years. and if so would it be possible to make a video of a typical accompanyment? Oh dear I bet you are all laughing now, sorry if this is a daft question
Cheers
Angie
No such thing as a daft question, Angie.
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But I quickly realized that there's another kind of public service. Such stamps provide details of the history of the instrument. And however limited those historical details may be, they're far more than we have for most instruments. So yes, I think it's a public service.
Me too. Plus if the stamp says "Barleycorn Concertinas", or somesuch, it can enhance the resale value of the instrument, in that you can prove that it's been restored by an expert in the field. If an instrument has been returned to playability by an expert restorer, why shouldn't they leave their mark?
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Although I used to cope with singing and playing chords on a guitar, on the concertina I prefer to play the full melody on the right regardless of what is happening on the left!
I do that while I'm working out a melody and a "left hand," but only tend to play the melody for the first verse, with variations for the others, once I've got it worked out. There's no drone buttons on my tina, but I like the effect of creating a kind of drone by using those notes that are repeated on the push & pull. Sort of gives a fiddle-type effect. Easy to over-use though, rather than as a "special effect."
As for developing an ear for harmony, it's early days for me on the tina, and I do mostly play songs that I've known for years & years, so the harmonies are there in my head, it's just a question of persuading them to travel down as far as my fingers.
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It made its way with my Great-Grandfather from Yorkshire to Moosejaw, Saskatchewan early in the 20th century.
Whereabouts in Yorkshire, if you don't mind my asking? (And did your great-grandfather's surname begin with a "D"?).
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Reported it. Would probably help if Alex did too. (If you have an EBay account, like).
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Jim - I didn't know you were into quantum mechanicsIf you play your instrument while riding a fast steed, would he become a Doppler-ganger?
(That pun's for Henrik.)
Oh, I most uncertainly am!
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If they're aiming for the folk market, they should do one that fits tankards.
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Yeah, give it a play & see how she sounds. Also, resist the temptation to open her up if things don't immediately sound OK. Minor wheezes & farts can sort themselves out with a bit of "playing in."
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Gone already.
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*remortgages flat*
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Man, how much do I want that concertina.
*want*
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Interesting stuff.
I know a little bit about music theory, but, as an Anglo player, I try to keep it separate from my playing.
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Unfortunately I can't listen to this because my computer's silent at the moment.
But it's not too many days ago that you were concerned about playing any kind of tune at all, so good on you, Bob.
Thanks Meltz,, you are correct indeed although your sound being out may be a good thing for you
It's good for everyone else, too, because it means I can't record any more podcasts.
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Unfortunately I can't listen to this because my computer's silent at the moment.
But it's not too many days ago that you were concerned about playing any kind of tune at all, so good on you, Bob.
Join The International Concertina Association Online
in General Concertina Discussion
Posted
So basically, if I wait until September, I can get 92 years membership for the price of one. Sweet.