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J Werner

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About J Werner

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    Advanced Member
  • Birthday 11/06/1979

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  • Interests
    Folk, Irish Traditional Music, Bluegrass, Blues, Lots of Other Stuff
  • Location
    Ithaca, NY, USA
  1. I second this -- I have The Irish Concertina by Mick Bramich and it has a very systematic explanation, with diagrams, of a number of different cross-row techniques (the book assumes you know how to read music, but nothing else concertina-specific). Playing this way is used in ITM primarily in order to be able to go faster. eg, if you can play a difficult section by finding all the notes you need on the pull, rather than pumping in-and-out, you might be able to do it faster. I'm a beginner, and I'm only about half-way through Bramich's book, but it's been really helpful so far.
  2. needs to learn more tunes

  3. I've attached a pdf of tadpoles translated from the ABCs posted in the original post. Sorry if this is redundant, I honestly haven't read all the posts, but I wanted to see the music in a form that I can read and I figured someone else might want the same. ohdearwhatcanthematterbe.pdf
  4. Traditions to which you've been exposed form the context for your music, but everyone has been exposed to more than one categorical musical context, and most music fits into more than one category. I think traditions are not so much like a set of boxes, but rather more like an interwoven set of family trees that continue to grow and branch and in-breed. So, preserving musical traditions is kind-of like in-depth geneology. It's not so much about replicating the past, but more about having a detailed understanding of where you came from.
  5. Wow, the polkas have a really interesting rhythm to them! I like it. The "relentless drive" sounds good if you ask me. It maybe would be hard to dance polka to, but it sounds really fabulous.
  6. It's funny, when I play concertina I get the blank, slack-jawed look you're describing, but when I play guitar or mandolin I do the "white man's overbite" (ie, biting my lower lip in the Bill Clinton concerned kind of look).
  7. Yeah B is a tough key for a C/G anglo. I made a table of keys that are easy to play in on different types of anglos (ie, not too many accidentals, options in both push and pull, and there are some nice chords available) to visualize the pattern (below). If there were such a thing as an E/A anglo concertina, it would play well in B (as well as E, A and D).
  8. Maybe someone with some reed-tuning skills decided they wanted to make a bizarre duet out of their anglo??
  9. I concur that this is totally acceptable. It seems very honest and forthright of Jim to only charge the amount of his original deposit, as there was an additional cost to him of the wait time (ie, interest that could have been earned on the $250). The alternative scenario of Jim acting as a middle-man would be a lot of hassle, and no-one in the universe would get any additional benefit from that scenario except Jim who might make a little money.
  10. The Mick Bramich book I was referring to is "The Irish Concertina." It assumes knowledge of reading music, but little to no experience on the concertina. Lots of great diagrams of cross-fingering in different keys, tricks for playing all on the pull, ornamentation, etc. There's apparently also an audio disc to go with it, though I don't have that. Cheers!
  11. Hi Liz, Welcome to the forums! I am also just learning on a Rochelle anglo! If you know a little bit about reading music, I second the recommendation from Fer to get Mick Brammich's tutor. I got several tutors a couple months ago, and Brammich's tutor is the one that really spelled it out for me how all the different cross-fingering tricks worked. Happy music making!
  12. The tutor is really helpful Alan, thanks! I'll be keeping an eye on the concertinaman.com website for new stuff!
  13. I'd say it sounds like you know what you want to do, so go for it! It'll be "different," but it sounds like you're musically knowledgeable enough to figure out and teach yourself the tricks you'll need to play well on a G/D. (Though I'm glad I'm learning on a C/G because I have the benefit of learning from all the techniques that have been developed for playing in G and D on this instrument.) There are lots of techniques used on a C/G to do certain parts of certain tunes fast and stylized in a certain kind of way, but I'm sure you'll come up with different techniques that work well for those tunes on a G/D. One limitation of a G/D that I personally wouldn't like is that it would be more difficult to play in F, while F is one of my favorite keys right now on the C/G. (The patterns for playing in F on the C/G would give you the key of C on the G/D instrument.) Think about how much you like tunes in F before getting a G/D.
  14. I don't remember what I was searching for, but this site popped up and I thought it was really interesting: http://www.fbc-accordion-club.org/reeds.htm They go into the details of making accordion reeds with lots of photos and discussion of how the reed profile affects the sound. There are a few slight differences between accordion and concertina reeds (concertinas have a different-looking shoe and attachment for the reed tongue to sit in), but I feel like I understand reeds much better now after having seen this site. Edit: here's the same story and photos, but much easier to read because the website layout is better: http://accordions.com/vociarmoniche/en_reed1.htm
  15. Also, if you want a portable device that can both display sheet music and play/interpret it (using a midi player, basically?), you also might consider a netbook computer. The display isn't the fancy e-ink, but it's just as portable and is actually a tiny computer, so in addition to reading and playing music (and movies), you can surf the internet, etc. The cheap ones cost about the same as an e-reader. I have a little Asus Eee PC netbook computer, which is about the size of a paperback book, and I have it loaded up with tunes downloaded from thesession.org, etc. I've also found myself searching for a lot of tunes on youtube, and saving the videos for future reference. But, as far as screen size goes, it's quite small. I have pretty good eyesight, but it's hard to sight-read music unless you get fast and accurate at scrolling downward while playing (works okay on mandolin, but probably not feasible on the concertina). Hooray technology! I can see a device of the future -- pen tablet that displays, plays, and allows you to write sheet music... maybe this already exists (ie, tablet PC with the right software on it).
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