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About Anglo-Irishman

  • Rank
    Heavyweight Boxer
  • Birthday 06/15/1946

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  • Gender
  • Interests
    Acoustic music of all kinds. Collecting playable instruments.
  • Location
    Near Stuttgart, Germany

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  1. Why should someone prefer a Duet to an Anglo? Perhaps for the reason that led me to look for a Duet in addition to my Anglo. And that was the freedom to play in any key that might happen to be preferered by singers, or required by wind players. Of course I thought about a small Duet that might fit a beginner's budget. Of course there would be limitations, and my study of the button layouts proved this. HOWEVER ... Study of the button layouts of the 35-b Crane and the Elise Hayden showed different limitations: The 35-b Crane is limited in pitch range - more specifically, the
  2. 😄 That's a new one on me! Though beginners on stringed instruments sometimes get confused when their tuner calls the note we all think of as Bb, "A#". There's usually a setting that detemrines whether all the enharmonics are expressed as sharps, or all as flats. Most of us, I think, would want a tuner to indicate F#, C#, G#, but Bb, Eb, Ab. Db. We Autoharpers are an exception: on a chromatic Autoharp, the enharmonics are all labelled as sharps! So calling a note A# is OK with us - even though the chord that it's the root of is labelled Bb! 😝 Cheers, John
  3. Fascinating, indeed! By good fortune, my first contact with the sheng was live, at a concert of Chinese music in a hall near here. The concert was organised by the more classically-oriented side of our culture club, so, thankfully, there was no PA system to falsify the timbre of the sheng (or of the erhu, the two-stringed fiddle, which I heard live for the first time on that occasion). As I remember, I was very much struck by the sheng's similarity of timbre to the Crane/Triumph concertina that had so impressed me in my childhood. Cheers, John
  4. Count my Anglo in with those! It's 30 years old, was played regularly in the group, and is stil going strong. It had to have a new bellows, and I had to repair a broken air-button lever along the way - but the reeds are still in tune, and my bandmates preferred the sound over a raditional-reeded Lachenal! BTW, I bought it in a "normal" music shop in Stuttgart (i.e. not one specialising in free reeds), so there was no tweaking of the reeds before purchase. Cheers, John
  5. Hallo, Bernhard, Congratulations on your upcoming "freedom!" I've been a pensioner for almost 10 jears now, and enjoy having the time to improve my playing. I live near Stuttgart, by the way! That describes me pretty well! My excuse is that I have a good singing voice, and my instruments are mostly for accompaniment, so I don't have to be able to pay them like a virtuoso ... What instruments do you play? I'd say that people who play several instruments, and do it at home just for fun, are musical, even if they never perform in public. The concertina is one of the
  6. For self-accompanied singing, I use a Tascam recording device, which produces a WAV file that I can edit in Audacity. You may have to experiment a bit with whether the recorder should be nearer to your mouth or to the instrument, but there's no witchcraft involved! It's just like a self-accompanied gig. If you want two instruments, it gets more complicated, with multi-track work. Cheers, john
  7. Yes, there is sometimes a tendency to forget that a dance tune is not just a time signature and a tempo - in the same way as a dance is not just movements of the feet. I had this brought home to me when two German orchestra violinists I know asked me to help them work up an Irish tune, of which they had the sheet music. It happened to be "The Irish Washerwoman", probably the most widely-known jig in Ireland. So we tuned up, and off we went ... I'd never realised before what a lovely waltz the "Washerwoman" makes! When I asked what they were doing, the violinists said they were play
  8. Hi, LDT, Long time, no see! My take is that keeping instruments in cases is, on the whole, safer than keeping them permanently in gig bags. However, there are temporary constraints on the weight and bulk of the cased instrument, when using public transport or hiking, for instance. That's the reason I bought a gig bag even though each of my concertinas has its own hard case. I had a look at the knitting bag you linked to. It's wider and longer than my gig bag (28x30 cm vs. 23x25 cm), so it would have pleny of room for protective padding all round. And you wouldn't get even an in
  9. I have one arrangement where I have to press left-hand buttons 5 and 9 at the same time. I just use the flat of the top joint of my index finger, rather than the finger-tip. Hope this helps, Cheers, John
  10. I suppose so - my concertina gig-bag didn't take up any more space than his camera bag. And I played my concertina, and he took his photographs, on deck! Cheers, John
  11. To pick up this line of thought: I just recently had this YouTube clip pointerd out to me. It deals with my other instrument, the banjo, but I reckon the principles discussed are not instrument-specific. https://youtu.be/SZR-u9SF7-Y Cheers, John
  12. Hello, Kathryn, and welcome to the forum! I like that piece, and the way you play it. Just goes to show that some good can come of lockdown! Cheers, John
  13. Yes, and the gentleman behind the concertina "player" is not actually playing the mandolin, either. He can't be - hasn't even got a plectrum! 😉 Cheers, John
  14. Nice story, Jody, and two nice songs that came out of it! In my experience, it's not uncommon for a chance remark or allusion to trigger a lyric, a poem, or even a story. At least you in the US and UK can still have a harmless chuckle at gender-speak. In German-speaking countries, due to the structure of the language, in particular the declension of the definite and indefinite articles, statements about peoples' occupations have nearly doubled in length ... Cheers, John
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