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    Traditional Irish Music
    Anglo Concertina
    Uilleann Pipes
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    San Diego, CA

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  1. Please come join our weekly virtual traditional Irish session on Zoom every Thursday night from 6:00 PM - 8:00 PM Pacific Time! (9:00 PM - 11:00 PM Eastern Time) "The Ould Sod" is the San Diego neighborhood pub where, along with fiddler George Rubsamen, I've co-hosted a traditional Irish session every Tuesday night for over 20 years. Because this session is on Zoom, please enjoy youself however works best for you! You are welcome to volunteer to start a set, play along muted the whole time, or just sit back and enjoy listening. We can handle up to 100 players and listeners in one session. Here's How it Works Anyone in the session may volunteer to start a set. I mute everyone's microphones except the person playing the set. The person plays their set, and everyone else can hear them and play along. Because only one mike is un-muted, you hear only the person who started the set and yourself. When done with the set, I will un-mute all the microphones (for those who have allowed the meeting host to un-mute). At that point anyone can pick a new set to play and I do the same muting setup as before for the next set leader. Recently, we've started adding some fun variations like "Celtic Karaoke" where players mix in recorded tunes from sessions or CDs along with their solo playing, and "Chained Sets" where we setup multiple players in advance to play a set of tunes in a specific style. As each player completes their one tune three times through, the next player unmutes and takes over with the next tune. This pattern then repeats for all the players involved. Zoom Meeting Link Here's the Zoom meeting info: Every Thursday from 6:00 PM - 8:00 PM Pacific Time (9:00 PM - 11:00 PM Eastern Time) Click here to join the Zoom session: https://us04web.zoom.us/j/6193681854?pwd=eXd3L2ZEeWNnMDBZYVI0RkJ2c3Vudz09 Meeting ID: 6193681854 Password: session When joining the event, please use your full name and not just initials as your Zoom name to avoid delays in the meeting waiting room.
  2. That’s how I explain the instrument to those not familiar with it when they ask.
  3. Yes, she's definitely just using the bellows for the F roll. Interesting! Very cool. I've literally never done that in nearly 20 years of playing. That's the beauty of this instrument, so many solutions to the same problem.
  4. No, the first two notes are on different buttons, only the last note is a result of the "slap". All are on the pull. Are you sure that Caitlin doesn't advocate using alternate A buttons all on the pull, I can't imagine doing it all on the same button.
  5. For the repeated A notes at the start of The Silver Spear, you can also use a "phantom button" tap: All on the draw: Left side G row ring finger Left side C row index finger While continuing to pull, tap the right side above the buttons with your right middle finger This causes a brief disruption in the airflow and re-articulates the note I find this most useful primarily on the first octave draw A. Doesn't work so well for push notes, like the same pattern with G.
  6. No specific reason. Normally when I’m learning tunes, I’d just mark the A and B parts of a two part tune for playback by pressing the S key, just never thought about measure markers instead.
  7. I've been a huge fanboy of Transcribe since its 1.0 version. Here's my process for learning tunes using the program: http://michaeleskin.com/tunelearning.html and using it to transcribe tunes to ABC for notation generation: http://michaeleskin.com/transcribe.html
  8. Luke, this is fantastic, thanks for developing it! I noticed that sharing it to Facebook groups, your URL parser code can't handle the additional garbage Facebook adds to links. I told the folks there to just go to the link manually. The Facebook links look like: https://anglopiano.com/?fbclid=IwAR1l7NtBypi_S2FCXQDP6F72cgZCA24ZQ5gWtq3UmwO09eVAH-sQ9xvhdfQ\
  9. I visualize the Anglo in my mind horizontally, pretty much as how I presented it in my ConcertinaXL app for iPad. On the push: On the draw:
  10. Rather than have this be a thought experiment, just try it. Hold your concertina in front of you and try pressing lightly with the left arm while playing a note and compensating for any bellows motion and then press much harder with the right arm and compensate with the left arm for position. Yes, ultimately the opposite arm will compensate for the pressure, but I still strongly suggest that one may initiate the tone with a different pressure on each arm, with differing compensation required by the opposite arm. All this happens in a fraction of a second. What you're implying is that there is that all dynamics require equal energy from both sides of the bellows and that arm strength doesn't matter, but that also assumes both sides are completely floating and moving the same distance. At the other extreme, while floating the instrument in front of you try alternately locking your elbows against your body, if one arm is stronger than the other, you will get alternating volume levels as a result. This is why I strongly prefer left thigh anchoring where a bottom point of the instrument pokes into your leg. The right arm does all the work as far as dynamics and the left fingers (where most of the work is done for traditional Irish music) and arm are relaxed and not involved with arresting the motion of the instrument. I find having a rock-stable platform combined with the ability to relax my left arm and hand as much as possible very helpful both with precision playing as well as dynamic control. Additionally, I put a piece of leather (originally was my popping strap from my pipes) under the anchor point of the instrument to further help keep the instrument from moving on the push, the strap and the fixed arm position keep it in place on the pull, with very little engaging of the left arm involved compared to trying to actively stabilize it if the instrument is just anchored flat on the top of the leg.
  11. David, I think you’re missing the point. If played unanchored, its quite possible that one arm may initiate motion with more force than the other and then the other side would compensate with an equal force. One night end up with a pulsing of dynamics based on which arm initiated the motion. Far better to stabilize the instrument by anchoring it on the left leg and letting the right arm essentially completely control the dynamics, plus allows the left arm and fingers to relax more for more dexterity.
  12. I agree, the ABC is not correct. ABC renderers generally just do what they are told so either change: M:2/4 to M:4/4 or modify the whole tune along the lines of: X:100 T:Kelly of Killane C:P. J. McCall M:2/4 L:1/8 Q:120 R:March K:Dmaj DF | "D" A2 FA | "G" d2 cB | "D" A2 FD | "G" B,2 DE | "D" F2 EF | "A7" AG EC | "D" D8- | "D" D2 :| AA | "G" B2 GB | "G" d2 cB | "D" A2 "G" dB | "D" A2 "E7" AA | "G" B2 GB | "E7" d2 cB | "A7" A8- | "A7" A2 DF | "D" A2 FA | "G" d2 cB | "D" A2 FD | "G" B,2 DE | "D" F2 EF | "A7" AG EC | "D" D4- | "D" D2 |]
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