David Barnert

Try using the "code" option, which gives you more control (it displays as a mono-spaced font). For example: Left Hand Side (Push/Pull) | Right Hand Side (Pull/Push) -------------------------- | --------------------------- | B/C E/F G#/Bb E/D Eb/F | Bb/G# D/E F/Eb Bb/G# C/E | G/D D/F# G/A B/C D/E | F#/G A/B C/D E/G F#/B | F#/A A/C# D/E F#/G A/B | C#/D E/F# G/A B/D C#/F#

Glad it's not just me. Thought I had changed a setting or something when they disappeared Today there's more surprises. The yellow squares are still missing. But there's also this: I logged on a total of 3 times yesterday. The first time (which was the first since October 6) the system remembered me and my PIN. The two latter times (and today) I had to log in from scratch. But when I finally reach the front "forums" page, I am greeted with this message: Welcome back; your last visit was: Oct 6 2007, 07:52 AM In the past, if I logged off (not by clicking "log off" but by closing the browser window or by crashing my system) for a brief period and returned, the "last visit" would remain unchanged, but this is the first time it has remained unchanged overnight. Am I doomed to remain stuck in time, à la "Groundhog Day"?

That would be Jeff Jacobs. Since diatonic music rarely includes both a note and its accidental in the same passage, this is not really a problem. The "nearby" accidentals in any key (sharp 4 or flat 7 in a major key, for example) are within easy reach. The raised 6 and 7 of a melodic minor scale can be a bit of a stretch. Yes, but Klezmer can hardly be described as diaonic. Brian ("inventor") summarized them a year ago here.

What has happened to the little yellow squares on the "view new posts" page that indicate (and provide a link to) unread posts in a particular thread? I've logged on twice today (first times in a week) and they are nowhere to be found.

See this post from two years ago (a year when the "late November gig" fell on December 1).

Once a year I play a late November evening gig on a sidewalk in Saratoga Springs, NY. The temperature can be anything from 0 to 50 Fahrenheit. Not antarctic, to be sure. Never tested the intonation (I'm usually playing alone with the Morris Dancers), but it doesn't seem to do the instrument any harm.

Sorry if this is more than you'r asking for, but if you're really asking what it means, here's the basics, simplified (please, I don't want to hear what I've left out about temperament, the physics of the vibrating free reed, or the perception of sound). We're talking about frequency. The reed vibrates at a certain frequency (vibrations per second) and sends pressure waves through the air until your eardrum vibrates at the same frequency and you hear the sound. The higher the frequency (the faster the vibrations), the higher the pitch. As a tuning standard, the A above middle C is commonly assigned a frequency of 440 vibrations per second. The rest of the notes can be calculated from that (each octave up or down doubles or halves the frequency, each semitone up or down multiplies or divides it by the 12th root of 2, or about 1.06). Your concertina is tuned to a different standard, where A is 444 rather than 440. This is about 1/6 of a semitone sharp, and one could expect (if the instrument is in tune with itself) that all the notes are sharp by the same interval (1/6 of a semitone, not 4 beats per second). This would definitely be noticeable if yoou tried to play with an instrument tuned to A=440. If you both played A, the sound would flutter 4 times per second. Faster for higher notes and slower for lower notes. If you're playing by yourself, it should sound fine. Hope this helps.

Well, nice playing, Chris. And always nice to put a face with a name (even if it's a "concertina face," which may or may not be the same as we look like when not playing).

I wouldn't be surprised if it was Gene Murrow. I know he was on "Whales & Nightingales" a few years later. In fact, the story behind the track on that album called "Gene's Song" (as told to me by Gene) was that the album was recorded in Philharmonic Hall (now Avery Fisher Hall, in Lincoln Center) and during a quiet moment, he stepped to the center of the proscenium to see what it was like to play a solo on that stage. He played the Playford tune, "Beggar Boy" unaware that the tapes were rolling. By the time Judy and her producers decided they wanted to use it on the album, they had lost touch with Gene (he was living in Boston at the time) and had no idea what to call it. Edited to add: Googling around a little, I now see that Louis Killen played concertina on the later album, "True Stories And Other Dreams." I see no concertina credit for "In My Life" (which includes Liverpool Lullaby) but I'd still go with the Gene Murrow guess. Some pages I've stumbled across in my search that might be of interest: http://www.softshoe-slim.com/lists/c/collins_judy.html http://swisscharts.com/showitem.asp?interp...+Life&cat=a Hear part of "Gene's Song" (Beggar Boy) at amazon.com here: http://www.amazon.com/Whales-Nightingales-...1580&sr=1-1 Dates of albums mentioned: In My Life 1966 Whales & Nightingales 1970 True Stories And Other Dreams 1973

This pretty well jibes with the story as I heard it, which also included Steve actually apprenticing with Watkins (free) for some time. One day he came to the shop to find it all disassembled and locked up. Sid had died the night before and B&H was ready to sell it all for scrap. Then the story picks up as above.

Mark? On the page, he's identified as Chris. Do we have the right clip? Note, however, that this is not quite the same version of the tune as played in the clip. Several subtle differences, the most significant of which is that the YouTube player (Chris? Mark?) plays no C#s. Most of the notes Henk notates as C# come out as C naturals, and some as B naturals. I don't know the tune (never heard it before just now), so I can't say with any authority whether one version is "more correct" than the other.

Same here. Like I'm a complete stranger (using my home computer).

Thanks for your efforts, Paul (and I'm really not complaining). But it's happening pretty much every day (twice today). But not every time I check in (which can be several times in a day).

We need a thread like this every now and then to blow stuff off. Anyone who doesn't want to read it doesn't have to.

OK, my turn. On Labor Day weekend I was at a camping event called the "Last Gasp" run by the Pickin' & Singin' Gatherin'. It's a group that has been around for about 30 years, and in addition to the yearly camping weekends has monthly sings and sessions. This year somebody had a video camera, and now I'm on YouTube. My only appearance is from 3:51 - 4:19. I'm on the left, to the right of Joyce with the red sweater, with my back to the boat. I mentioned this session in another thread a few weeks ago because of the Uillean pipes.

FWIW, it's still happening. About 2/3 of the times I visit the forum I have to reenter my login information, despite tossing my cookies several times.

I learned it this way: Civilli, der, dego. Fortibus es inero. Novilli, deus trux, Summit causen, summit dux. And then there was: Pas de lieux rhône que nous. [Paddle your own canoe.] Talk about irrelevant! If the word weren't in the name of the thread, I'd have to apologize for thread creep.

Carrie Saldo, a reporter for WAMC, one of Albany's public radio stations, spent much of last Saturday snoopinng around Bucksteep Manor with a microphone, interviewing many of us. The resulting report was broadcast this afternoon. It can be heard on the web here: http://www.publicbroadcasting.net/wamc/new...le/1151848.html The very first sounds in the file is me playing my Hayden Duet. Happy listening.

Yes, there are two such photos in the collection at the NY Times site. Apparently they were at an outing and it started to rain suddenly, which may be why some of them are posing and others are starting to run.

Bass guitar and string ("upright," "double") bass both have the same range. The strings of each are tuned an octave below the lowest 4 strings of a guitar. What's confusing is that all three of those instruments (bass guitar, string bass, regular guitar) play an octave below where the music is notated, so that if a middle C (C4) is written, they're actually playing C3, etc. The guitar actually has approximately the same range as the cello but the cello plays as writen in the bass clef while the guitar reads the treble clef. In 18th & 19th century orchestral music, basses and cellos often read from the same parts but play in parallel octaves.

Question to Inventor: Brian, how do you pronounce your last name? Does the HAY rhyme with "Way" or "Why"? Is the concertina pronounced the same way? I know you only check in here periodically. I can wait.

Sorry to be stepping on your toes today, Rich (I just finished posting this), but while that may be true with EC's and anglos, it certainly isn't with Haydens. The Bastari 46 Hayden (I have one) and the Stagi 46 Hayden (I played several this past weekend) couldn't be more different. But Brian has settled the question. Apparently there was a hexagonal Bastari 67, although from his post it looks like there was only one and it was barely playable.

Actually, it's the E an octave below that... the lowest E on a piano... Sorry. That's not right. The lowest E on a piano is the low E string on a string bass. The piano keyboard goes a fifth below that to A, but not down to another E. I found this diagram of a piano keyboard here. The low notes are at the top of the image, as if the piano bench were at the left. C4 is middle C. C3 is the low note on a viola. C2 is the low note on a cello. E1 is the low note on a string bass, and also the lowest E on the piano. A0 is the lowest note on the piano. E below a string bass would be E0, but it's not on the piano. The frequency of E1 is 41.203 hz. An octave lower would be half that, 20.6 hz. The limit of human hearing is usually given as 16 hz. It's possible that the Frankentina has E0, but I suspect it's E1.

A story appears on the front page of today's New York Times arts section about a trove of photographs recently discovered that depict SS officers at Auschwitz relaxing and frolicking in the months before the liberation. The article can be read here: http://www.nytimes.com/2007/09/19/arts/des...amp;oref=slogin Of particular interest to this forum is a photograph (referred to, but not seen in the paper, but it appears in the multimedia display available at the site above) with the caption: An accordionist leads a sing-along for SS officers at their retreat at Solahütte outside Auschwitz. Clearly, it is not an accordion, but a concertina, of the type that we would today refer to as a Chemnitzer, or perhaps a Bandoneon. Universal language, indeed.

Surely you mean "built-in speaker." They both have built-in stereo microphones. Edited for typo.