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About TonyRussell

  • Rank
    Advanced Member
  • Birthday 11/11/1945

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    N.Yorkshire, UK.
  1. Haven't posted in ages, but still alive! Can I strongly support the views already expresses but from a different angle. I am an English player and also play Cajun accordion, BCC# and BC predominently in English music but have also done TexMex on the BCC#! Get a D/G!!! That's the beast for your needs. A Cajun is tuned to play (at least mostly) a 5th off the base key - i.e. "G" on a "C" box. It can play English, but you're better off playing Cajun on the "wrong" box rather than the other way round. Just my thoughts. Tony.
  2. Hi there - I remember your relative, Tom Prince, well although it's a long time ago. For old time's sake I would be glad to hear of anything you have about him. Tony.

  3. I picked up your correspondence on Tom Prince. Tom was a distant relative of mine (through his wife Elsie) and we used to visit him/them whenever we were up North. I have recently been hunting for any remnants of him and found sound recordings at the ICA and just today watched a video 'documentary' of him at the EFDSS in London. If you would like any of this, please send me an email thr...

  4. You need to listen carefully to the sounds you like on those recordings. Concertina is essentially a single reed per note sound - think "classical" harmonica/guitar pitch pipe sounds. The names you mentioned, Cheryl Crow etc., are unlikely to be using a concertina - I would have expected accordion to be more their thing. That sound typically has two or more reeds per note giving a tremolo effect - think Cajun/Quebecois (McGarrigle's) TexMex music? You might also look at the sister site - http://forum.melodeon.net/ - for those "other" instruments. Maybe this will help your search?
  5. A drone is a constantly sounded accompanying note, often in a lower register. F'rinstance, play a tune in G and keep your finger on a low G (drone) all the while. It's the bagpipe effect, as they have "drone" pipe(s) in addition to the melody (chanter) pipe. That's the musical definition - otherwise, it's a male bee.
  6. You have many replies here that all say the same thing. And they're all absolutly right. You must keep on the beat, and that's not just for dancing. Even if you completely fall off the tune, pick up where the tune should have got to - not where you left off! Coming to concertina from a piping background, I remember Billy Pigg saying, when I was struggling to fit all the notes in a difficult piece, "play what you can, they'll hear the rest anyway"! T.
  7. Welcome Tony. There are quite a few of us on both forums, so you'll see some familiar names crop up. Regards, Tony (Black Sheep Tone).
  8. Yep, I guess so Randy. I've added some bio. here, it may be of some interest to you or others. Tom won some competitions at the annual International Concertina Association meetings around 1970 using the concertina he got from me. I sold that to him because his ability to use it was greater than mine at that time. Also he played so hard that the bellows on his "old" one used to collapse in on one side when he drew! I was bass with the Tyneside Concertina band and Tom (although he never came to rehearsals) used to join us at concerts and take over as leader, playing with his back to the audienc
  9. I knew Tom (he even bought a Wheatstone 64 from me), was there anything you particularly wanted to find out? Tony.
  10. Yes of course! Soprano, concert and baritone. Can't have too many ukes! Tony.
  11. "... so I'll go off in secret to avoid The Wild Rovers Try here! www.thebuckinn.net Only about an hour away from Sheffield. (playing Morris tunes)
  12. I agree with the last couple of posts (sorry Dirge) but the answer to your original question depends on which system is most intuitive for you. I play plenty classical pieces on EC despite acknowledging the greater range of most duets. Here's an anecdote that shows how your brain can overcome many limitations of the instrument; round about 1970 an American guy called Peter Persoff came to tour British Isles, bought an anglo and started to learn it, spending hours every day. In his travels he absorbed styles and tunes so when, after 6 months, he got to NE England (Tyneside) he was VERY good! H
  13. Interesting - I had expected my opinion to stir up more controversy! The mention of English hornpipes is apt - Scottish music having the strathspey as a reasonably similar form. Again, I find the EC suited very well to strathspey (and hornpipes for that matter - changing the bellows for the triplets at the start of "the Trumpet" is a prime example). Best wishes, Tony.
  14. Add the actor (obvious non-player) wielding one in "A Christmas Carol", the bit where spirit of Christmas Present takes Scrooge to a lighthousemen's party. Personally I preferred JK on the Victorian Farm show. Regards, Tony.
  15. Here's my opinion, for what it's worth, based on my experience of the music you want to play and having played EC, some Anglo and BCC# accordion (the Jimmy Shand jobby) for many years. While you can sucessfully play Scottish music on any system of concertina I think you are right that the EC is probably the most suited. The fingering system is logical and potentially fast; Scottish style gracing is not difficult because of the placement of the buttons; it's easy to hold a drone in the bass to emulate pipes; and the keys of A, D, G and Bb (a Scott Skinner favourite) are well within a learner's
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