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David Barnert

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Everything posted by David Barnert

  1. Do you know something I don’t know? Doug looking to retire and sell the business need not signify the end of production of R. Morse Concertinas, any more than the passing of Rich Morse did. Doug doesn’t make them personally, his employees do, and I would think it reasonable to expect that those same employees would continue to do so even under new ownership.
  2. You will find that there are trade-offs between ease of playing chords against melody, key versatility, abundance, and price. There may be no ideal answer without some kind of compromise. With enough buttons (ie., expensive), you can achieve your goal with any of the systems. The English is great for playing melodies and it is possible to play chords as well, but their placement is not intuitive, as the notes are arranged so as to alternate between the two hands. The Anglo is great for playing melodies with the right hand and chords with the left, but some keys will be more awkward than others, and depending on how many buttons you have some keys may be out of reach. The same, to some extent, could be said about the various Duet systems. They tend to be more versatile than Anglos, but generally have more buttons and can be harder to find.
  3. The Wakker W-H2 (65 key Hayden) has one such button on the right. It toggles between a high Eb and F (both higher than the range of my 46-keys). I’m not sure I’d have any use for it either, but there it is. I occasionally use the mid-range B and C# on the left to play melody notes as they arise (not present on the right). I only play 3 tunes regularly that go lower than that, to the A (Amelia) or G (Ashokan Farewell and Abbots). Which brings us to... That’s what key Cecil Sharp published it in, and I think it’s a good bet (although I have no evidence) that it is the key in which Robert Buckley a) presented it to Sharp (1910s), b) wrote it down 50 years earlier, and c) heard the wheelwright, Robinson play it at that time. Robinson was an old man at the time and said he learned it from listening to the ABHD fiddler in his youth. I would think there’s no reason to suppose that that late 18th c fiddler wasn’t also playing it in the same key.
  4. It is, of course, quite possible to use the D# key as an Eb even when it’s at the wrong end of the keyboard. Here are two G minor tunes I play regularly making liberal use of it.
  5. Sorry for the thread drift, but I should mention that he passed away two years ago after suffering for many years with Parkinson’s disease.
  6. Start here: Hayden Tutorial (Wheeeeee!) Then find chapters two through eleven here. This will get you started while you look for other resources. It’s unlikely you’ll find someone willing and able to be a teacher on this system. Much later, you may find this helpful: All-Systems Duet Workshop Tutor, by Brian Hayden. Self-published, 1994, 20 pages, 31 tunes. Available as free download at http://www.concertina.com/hayden-duet/Hayden-All-Systems-Duet-Workshop-Tutor.pdf Good luck!
  7. Being able to play hymns means nothing to me, but back when Rich Morse was alive he asked me what I’d like in a Hayden that my 46-key Wheatstone didn’t have, and my answer was low notes on the left hand to duplicate the range of a guitar (which I also play) so that I could sing with and play my guitar arrangements on the Hayden, with the bass notes generally staying below the pitch of my voice. He talked me out of it, for many of the same reasons mentioned by Dana, above. And to be honest, I don’t miss it. BTW, Dana: C2? Are you sure? That’s the low note on the cello. Your use of the word “only” makes me suspect that you meant to write “G2.”
  8. In the 1980s I built a hammered dulcimer from a kit and it was very heavy. I was living in New York City and often carried it to practice at a friend’s apartment across town. I often joked (holding up my hand that could hardly move) “after carrying this thing across town, it’s the only thing I can still play.”
  9. I have flown with my concertina (valuable Wheatstone) for decades carrying it on in a hard case without problems. An empty seat next to you is a rare luxury. I usually put it beneath the seat in front of me, between my feet. There are two airport security-related warnings that I ran across many years ago that are worth repeating (for entertainment value, if nothing else). I have no idea how serious they are. They are a little nutty, but believable. 1) If security asks you what it is, answer the question without using the word “concertina.” Being short for “concertina wire,” which can be used as a weapon, the word “concertina” is on the list of things which must be confiscated. 2) When placing the instrument, in its case, on the conveyor belt for the X-ray scanner, do not place it with the ends on the top and bottom. The bellows should be horizontal. If the bellows are axial to the path of the X-rays, the image of the levers radiating out from the keys will look confusingly like a cluster bomb.
  10. A search (using concertina.net’s search function, not google’s) brings up quite a few threads, including this one. Most likely, Dave was looking for this one that he started in 2014:
  11. I agree with Little John’s answer. More specifically on the Hayden I’m likely to add a major or minor 3rd or 6th below the melody if it makes musical sense. A special case is when the tune ascends through 5-6-7-8 (major or melodic minor) I might simultaneously play the notes that descend chromatically from 5 (5-4#-4-3) also with the right hand. BTW, I almost never find myself playing intervals larger than a 6th with one hand.
  12. So there we have an anglo and a duet. I guess it wouldn’t make much sense playing an EC that way.
  13. We’re almost there. Sorry to be a bug, You put the Maccann link on both the Maccann and Hayden tutors. I realize that. My main purpose was to correct links that went nowhere, but I figured as long as I was there, I might as well point directly to the pdfs.
  14. That’s the problem. You can’t play linear tunes as fast on a duet because one hand has to play all (or almost all) the notes.
  15. Yes, please. Are you saying you’ve found someone who will sell you a G-bass concertina?
  16. Well, it’s about time (we last saw each other 8 years ago, almost to the week). See you there.
  17. Thanks, Gary. Sorry, but there are still two bad links. First, this one that I missed this morning: New Method of Instructions for the New Chromatic Duet English Concertina, by J.H. Maccann http://www.concertina.com/maccann-duet/Maccann-New-Method-of-Instruction-1st.pdf And this one is correct under Maccann, Crane/Triumph and Jeffries Duet, but under Hayden Duet it still has the faulty link. That’s also my omission (I only listed it three times instead of four). All-Systems Duet Workshop Tutor, by Brian Hayden http://www.concertina.com/hayden-duet/Hayden-All-Systems-Duet-Workshop-Tutor.pdf
  18. OK, here are direct working links to the PDFs listed above as available on www.concertina.com. They actually work. I tested them all before posting this. Anweisung das Accordion Zu Spielen (not “Anweilung” in German, the “s” looks like an “l”) http://www.concertina.com/worrall/hoeselbarth-tutor/hoeselbarth-tutor.pdf Howe’s Eclectic School for the Concertina http://www.concertina.com/merris/howe-eclectic-school/howe-eclectic-school-for-the-concertina-1879.pdf Howe’s Western German Concertina School, by Elias Howe Jr. http://www.concertina.com/merris/howe-western-german-school/howe-western-german-concertina-school-1879.pdf Instruction Book for the Use of Learners on the German Concertina, by Carlo Minasi. http://www.concertina.com/merris/minasi-german-tutor-1846/minasi-german-tutor-1846.pdf Sedgwick’s Improved and Complete Instructions for the German Concertina, by Alfred Sedgwick. http://www.concertina.com/merris/sedgwick-improved-complete-german/sedgwick-improved-complete-instructions-for-german-concertina-1893.pdf Tutor for the Chromatic Anglo Concertina, by George C. Jones. C. Wheatstone, 1946 http://www.concertina.com/jones/Jones-Anglo-tutor-1946.pdf The Concertina: A Handbook and Tutor for Beginners on the English Concertina, by Frank Butler. http://www.concertina.com/butler/butler-the-concertina-tutor.pdf A Beginner’s Set of Duet Concertina Arrangements, by David Cornell http://www.concertina.com/cornell/Cornell-A-Beginners-Set-of-Duet-Concertina-Arrangements.pdf A Practical and Comprehensive Tutor for the Duet Concertina, by Ernest C. Rutterford. http://www.concertina.com/maccann-duet/Rutterford-Duet-Concertina-Tutor-FourthEd.pdf All-Systems Duet Workshop Tutor, by Brian Hayden. http://www.concertina.com/hayden-duet/Hayden-All-Systems-Duet-Workshop-Tutor.pdf How to Play Chords on Any Maccann Duet Concertina, by Robert Gaskins. http://www.concertina.com/gaskins/chords/Gaskins-How-to-Play-Chords-on-Any-MacCann-Duet-Concertina-3.pdf (manuscript book of chord layouts), author unknown, c.1915 http://www.concertina.com/maccann-duet/Jeffries-Maccann-Chords-Tutor-MS.pdf (manuscript tutor), by Henry Stanley, c.1940 http://www.concertina.com/stanley/Henry-Stanley-Duet-Tutor.pdf All-Systems Duet Workshop Tutor, by Brian Hayden. http://www.concertina.com/hayden-duet/Hayden-All-Systems-Duet-Workshop-Tutor.pdf Crane’s Patent English Combination Concertina Tutor, by H. Wilton-Bulstrode. http://www.concertina.com/crane-duet/Wilton-Bulstrode-Crane-Tutor.pdf All-Systems Duet Workshop Tutor, by Brian Hayden. http://www.concertina.com/hayden-duet/Hayden-All-Systems-Duet-Workshop-Tutor.pdf (manuscript), author unknown, c.1950, 13 pages. http://www.concertina.com/jeffries-duet/Jeffries-Duet-Tutor.pdf
  19. I think you have it backwards. Although you can’t see it, the links are of this form: https://www.concertina.com./ In order to have a working link, you must remove the period and lose the “s” in “https” (it’s not a secure site).
  20. For anyone unfamiliar, this is what is sometimes called NESI.
  21. The more things change... This is me at the Northeast Squeeze-In (NESI) 20 years ago. The gadget was built by Paul Everett (red shirt at right).
  22. What? A bass concertina with metal ends? I don’t see it on their web site.
  23. I thought of that right off because of the 16 bars Alan plays, bars 5 - 8 sound reminiscent of bars 21 - 24 of “Liberty Bell.” But that leaves 12 other bars that don’t sound at all like LB and much of LB unaccounted for, so I rejected the notion. So either there’s another elusive answer, or Alan’s making the tune up, inspired by LB but not bound by it.
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