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Steve Mansfield

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About Steve Mansfield

  • Birthday 07/02/1962

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    Whaley Bridge, Derbyshire

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  1. Gosh, there’s a question. in no particular order - bellows control. The great temptation on EC is to pull out until you run out of air then push in again. Use the bellows to shape phrases and individual notes, use the attack of a change of direction to give a note an accent. - work on 3rds, 5ths and octaves. - learn chords and putting an extra harmony note in. - learn to move away from the set idea of one finger one row of buttons, use cross-rowing to help get notes. - get used to playing in different keys. Scales, arpeggios, runs. - learn some ornamentation to help bring tunes to life. I over-use bagpipe-style grace notes, but rolls and cuts are good tools. - listen to all kinds of players and musics and try to work out how to play them on EC. - and just play the thing for pleasure! If I’d done half of that I’d be a much better EC player than I am 🙂
  2. ECs are always hot. We just don’t feel the need to constantly tell everyone
  3. Good luck finding a new owner and best wishes for your retirement. I love my Geordie baritone EC and it would be a real shame to see them going out of production
  4. I was part of the live audience for this and got a lot from it. I’m still doing my homework several weeks later!
  5. Musescore will export in musicxml format, and EasyAbc (for one, no doubt other apps will do the same) will import musicxml and convert it to abc for you
  6. RAc has providede good support already, but no don’t use phantom power on your Microvox! If you’re not getting sufficient gain I’d look into your sound card settings first, but also consider getting a USB interface (I use a Focusrite Scarlett Solo with excellent quality results).
  7. A change of bellows direction can be used to give the note a bit more attack or separation from the previous note, so can be used as a driver of the rhythm or pulse of the tune you are playing. As an exercise try playing a piece you already know, but changing bellows direction at the start of every bar. Then try it again changing at every half-bar, then again playing it in one direction for as long as possible and only changing direction when the bellows, rather than the pulse of the music, make you. All of the above are valid ways of playing, the musicality and expression of the music comes from using those effects ina conscious way. When you start to play chords you’ll need to be much more mindful of your bellows to create the sound you want. It will become more intuitive and automatic the more you do it, so you’re not facing a lifetime of consciously monitoring your bellows along with everything else - but it’s back to our old friend practice to getting there ...
  8. Welcome to the forum Ciaran. I got my 50(!) key Wheatstone EC from your Dad a couple of years ago and really enjoyed my morning playing loads of boxes before deciding on the perfect one. Great to see Barleycorn continuing and, when we’re all allowed out again, hope to see you at a festival sometime. Don't worry about putting the occasional general message about the business up, it’s a good way to keep the community informed.
  9. I’m working on a church harmonium-style arrangement of one of our songs on the Morse baritone EC. I might post a sound file when I’m done - though i say it myself, its coming on nicely!
  10. I play chordal accompaniments on my Morse Geordie, and although you have to put some thought into bellows direction I rarely run out of puff. The Geordie also has an air button in place of the top b, which can be useful in ‘leaking’ a bit more air into the bellows - but can also catch you out if you transfer a tune from treble that goes up that far, and instead of a top note you get a breath of air!
  11. Chapeau! That’s really good, thanks for posting. I do like concertina reed trebles playing with accordion reeded baritones ...
  12. Did someone take you up on this or can I buy it off you?
  13. Very very old thread - but has anyone got a copy of Phil Hopkinson’s book that they would be willing to part with, or any idea how to get hold of a copy? My EC chording is stuck in a rut and this sounds like the perfect inspiration!
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