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David Barnert

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Everything posted by David Barnert

  1. I’m interested. I’ve downloaded your files, we’ll see what happens. I’ll be limited in what I can put into it until after the July 4th weekend.
  2. Are you aware that there’s an excellent source of concertina buttons, as well as other spare parts, cases, and all things concertina a half hour drive from Spokane at The Concertina Connection?
  3. What Paul said. But you won’t find the explanation to a stuck button under there.
  4. I’m a duet player, not an Anglo player, but in the early days of my playing, some thirty-(mumble) years ago, it became clear very quickly that if I didn’t start incorporating my left hand early in the process, it would become harder and harder the longer I put it off.
  5. Don’t overlook this suggestion. It may well be all you need. A bunch of audio files that will teach you how to play by ear, without having to think about printed music. The PDF was added later because some folks insisted on seeing the tunes written out, but that shouldn’t be necessary.
  6. If all the notes sound, it almost has to be that the reed pan is turned commensurate with the action box. Could it have been done by mistake by someone who took it apart and put it back together wrong? How could that be determined? There’s nothing in the bellows that says which end should be up.
  7. The Anglo-German Concertina: A Social History by Dan M Worrall Volume 1: https://www.amazon.com/Anglo-German-Concertina-Social-History/dp/0982599609 Volume 2: https://www.amazon.com/Anglo-German-Concertina-Social-History/dp/0982599617 I believe the seafaring content is in volume 1, but don’t hold me to it.
  8. Thank you. In the late 1980s, the early days of computer-synthesizer MIDI interfaces, I spent a lot of time teaching my Mac Plus to play fiddle tunes on my pair of Casio CZ-101s. If I notated the music as written, I noticed it sounded very uncomfortable, in a subtle way. Ultimately I realized that the problem was “This thing’s not taking a breath!” I added breath-like pauses—32nd note (demisemiquaver) rests with correspondingly shortened previous notes—in appropriate places and it sounded much better.
  9. I think I see a beard on that one. There’s another person who appears to be “in kit” while watching from the sidelines: To the right of the concertina player, behind the woman in blue with the red handbag. With three musicians and a solo dancer center stage, it wouldn’t be surprising that other morris dancers are around. The solo dance (the jig) is probably one of a set of dances, the others involving a whole side of six dancers.
  10. I don’t read German, either, but it’s dated 1908, which answers the question at the top of the thread. The Symphonetta was some 30 years earlier.
  11. There is one tune I play with a very long note in it, so it is important that I start that note with the bellows all the way closed or all the way open. As I approach that moment, making sure I can play the note on one bellows takes precedence over all other concerns (see above). There are often many choices to make, and if I play a tune more than once, there is no expectation that I will use the same bellows pattern each time. On the other hand, George Marshall, an English Concertina player from Western Massachusetts (member of the contradance bands, Swallowtail and Wild Asparagus) taught me at Ashokan one year to use the bellows as a fiddle bow doing a “shuffle” bowing: oom chugga, oom chugga, oom chugga, oom chugga, changing direction on each syllable (the “oom” being a quarter note and the “chugga” being two 8ths). That was 25 years ago, and I still haven’t got the hang of it. Iris Bishop, a Maccan Duet player in England is working on a book about playing duet concertinas (all types). She has asked me to contribute some tunes, which I did. I don’t know when it will be published, what it will have to say about bellows strategy, or even what it will be called.
  12. It’s all about phrasing. If you play a bowed instrument (I also play the cello), you will find that the concerns involving bellows direction changes are similar to those involving bowing. Similarly with wind instruments or voice. Where you’d expect to hear an oboist or a singer take a breath is a good time to change bellows direction.
  13. So many questions... Why does the concertina player have his back to the morris dancer? The dancer is doing a solo jig. I’ve never seen a solo jig done to more than one musician (and I’ve seen a LOT of morris jigs). And, of course, what’s with the young lady with the legs? Nice picture, though.
  14. It’s curious that this “friend” knew your email address since nothing here points to it. Did you mention your desire for a Ceili anywhere else using your email address? Paul’s original post at the top of this thread says “report the user to an admin immediately.” The admins are Paul Schwartz and Ken Coles. Since this was outside email from (presumably) a non-user, there’s not likely much they can do about it, but it can’t hurt to alert them, and they’d probably want to know.
  15. I like that I may appropriate it. Here’s another one of mine: 4) Keep the dancers in the air until you are ready to play your next downbeat.
  16. Until recently, replacing the right end plate after opening the action box of my Dickinson/Wheatstone 46-key Hayden often resulted in the pad of the air vent not firmly closing the hole, giving a significant air leak. I could never figure out why (the end of the lever seemed to go properly through the hole in the button, although I could not see it), but taking it apart and putting it back together again (without really changing anything), sometimes more than once, would ultimately solve the problem. Just in the last few weeks, I have found a new way to deal with the air button when reassembling the action box such that the above problem does not manifest: Rather than put the button into the hand rest (with its hole properly lined up) before lowering the end plate onto the note buttons the way I always used to do it, I first make sure all the note buttons are properly through their respective holes and I can start to see the tip of the air lever poking into the hole in the hand rest and then I slip the air button into the hole and finish lowering the end plate.
  17. Here’s one: 1) If the dancers are comfortable, the musician is cold.
  18. And, of course, we often have no control over the conditions in the rooms we play in.
  19. OK, so some advice, please. I have a 1980s Dickinson/Wheatstone concertina (a 46-key Hayden). My house is heated with radiators in each room. In response to this thread, I went out and bought a hygrometer. Right now it is measuring the humidity in the room where I keep the concertina as 38%. I keep the instrument in an airtight Pelican Storm Case. Any suggestions? Should I leave well enough alone? Should I humidify the room and leave the case open when I’m not using it? Should I humidify the case and keep it closed?
  20. The limit will be variable, depending on what the user tolerates. The larger the instrument, the more moving parts and longer levers, ie., the more potential things that can go wrong. How often is one willing to have it fail?
  21. Can you take a picture of it (or several pictures) and post it here? If you tell us what part of the world you’re in, someone here might be able to direct you to someone reasonably nearby who can appraise it or help you sell it.
  22. ...And the speed at which they do so is inversely proportional to the height of the beer in the mug.
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