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eskin

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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 |]
  13. JackJ, are there some specific box players you enjoy listening to and perhaps would like to learn from? That might help drive your choice in box tuning. In my case, I really love John Whelan's playing and approach to the B/C instrument, so that had a big influence in my choice to play B/C. Also, all the local players I knew when I first started played B/C so that's what I went with.
  14. In the 10+ years now I've been doing these apps, I've heard every imaginable criticism of the apps, including that I was literally going to h*ll for making them. 🙂 For every criticism of the apps I received over the years, I've also seen amazing things done with them. In some cases, the apps make it possible for players who, because of physical limitations, were able to play the iPad where a real instrument would be problematic. They also make it possible for players to practice anywhere without concern for disturbing others. Are they perfect, absolutely not. Can they be useful, absolutely.
  15. I'm sure one could make a simple inexpensive punch out of a piece of sharpened copper tubing or similar if they were sufficiently motivated. The protector sheets I've seen people use aren't glass, they are very thin plastic of some kind that still work with the capacitive touch screen on the iPad. They are often used to give the Apple Pencil more of a pen-on-paper feel.
  16. Unfortunately there is no haptic feedback available on iPad, but I have seen people make touch-screen compatible screen-protector overlays where they punch out holes that correspond to the button positions on the screen, so you can feel the edges of the buttons.
  17. Once you start considering moving away from mechanical switches and going to touch-based capacitive switches, you might want to just consider using an iPad, which is how I implemented my various iPad-based MIDI concertina controllers. These all work with whatever CoreMIDI sound module you want to use on the device, for example, the Roland Sound Canvas or my own Celtic Sounds apps. Or if you want to use external MIDI sound modules or interface to a desktop-based MIDI program, connect the iPad to a hardware MIDI interface: English: https://apps.apple.com/us/app/miditinaxl-control-surface/id388856713?uo=4&ls=1&mt=8 Anglo: https://apps.apple.com/us/app/midiangloxl-control-surface/id579999924?uo=4&ls=1&mt=8 Hayden: https://apps.apple.com/us/app/midihayden-control-surface/id375667582?uo=4&ls=1&mt=8 Example videos:
  18. I play this tune both in G and in A on the Anglo, happy to go over it with you on Zoom if you like at some point showing what I do for chords based on her playing...
  19. When you first started playing, what lead you to this choice of anchoring? It is interesting how there are many solutions to the same set of challenges on the Anglo.
  20. The ergonomic requirements for harmonic style playing, where, unless I'm missing something, both sides of the instrument are used nearly equally for tunes, are very different than for traditional Irish playing. In traditional Irish-style playing, at least using Noel's most common scale fingerings, the majority of the work is being done on the left side of the instrument so having a stable left side of the instrument is optimal. It really doesn't make sense to me when I see Irish-style players with a right side anchor, seems like being able to have a relaxed left arm to allow for minimal tension in the fingers would be preferred, but that's just my take on it. Certainly many excellent players play with a right side anchor, I have to wonder how they arrived at that solution. Both Irish and Harmonic styles have their own optimal anchoring requirements.
  21. Noel anchors on the left leg, with the right arm doing all the bellows work. Since I learned to play from Noel, I play that way as well with the addition of a leather square under the instrument to provide additional resistance to the instrument moving around and reduces the need to dig a corner into your leg. This removes any need to put any energy into the left arm to stabilize the left side of the instrument on the leg, reducing arm and hand tension and makes it much more comfortable if you are playing wearing shorts.
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