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Kevin Rielly

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About Kevin Rielly

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    New Member
  • Birthday October 30

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    Male
  • Location
    Upstate NY
  1. Boney, Thank you for your response, I think you've raised a couple of interesting points. I'm glad to know that repeating same finger on the same button is acceptable. In so doing however, one would not be able to play in legato style. If available, the use of another button with the same note could be used to play legato. The choice then is dependant upon the song (or how you wish to play it). I've tried sliding my finger from one button to an adjacent button but it seems a bit uncontrollable. For instance, I've play A# to A (on the draw) from button L-5 to L-10 using my index finger. It seems rather like cheating. Though its somewhat clumsy, using my index on L-5 and middle finger on L-10 seems to offer more control, better articulation. My own inclination is to learn both ways and use them as needed, right or wrong. It is helpful to know what constitutes correct technique on the concertina. There is so little written about the instrument (believe me, classical guitarist have written books about the merits of a particular fingering..). I think Jeffn's list of three fingering possibilities is complete, Sailor mentions tapping the box, I'm not sure what that is but would like to know more. Thank you for your responses. kbr
  2. Hello, I've been teaching myself Anglo for about 1-1/2 years and am doing pretty well. I've been thru the Levy and Bramich tutors and can play all of the songs. One thing that bothers me is how repeated notes are best played (and me, not wishing to teach myself any more bad habits than necessary). I recall reading (not sure where) that if you use the same finger to play two consecutive notes, it is called "chopping" and is to be avoided. Neither Bramich nor Levy seem to provide guidance. In the case of some notes, it would make sense to use the same finger, such as playing the F# (L-12) with the left pinky or E (L-9) with the left middle finger since this note is not duplicated anywhere else on the instrument (I have a Morse Ceili C-G with the Jeffries layout). Where a note can be played in 2 or 3 different places, what is the norm? The D may be played on the draw at L-8 and pressed on L-12. My inclination on some songs, usually where two D's end a phrase (Garret Barry's Jig in Bramich's book), is to play the second note by using the same finger along with a brief interuption of the bellows. In the first measure of Shandon Bells (also in Bramich's book) there are two D's in the first measure. The first I press (L-12) and the second, I draw (L-8) which allows the following F# and A (L-12 & L-13) to be played without changing the bellows direction. Other choices do not seem so clear...the G and A notes are available in three different places, the B, C, C#, D, D# and E in two places. I have to admit that using the same finger to repeat a note, at times, seems to make sense even if it is an expediancy. With multiple choices where to play the same note, repeating the use of the same finger can be avoided with some thought. My own inclination (as a long time musician) is to develop proficiency with both methods and use each to my advantage (even if one is bad technique). Other fingerings, such as going from A# to A, L-5 to L-10, with the left index finger seems to be sloppy and should be avoided. Folks on this forum never seem to be at a loss for opinions, so, am I on the right track? KBR
  3. Hello, I've been reading the forum for the last year and a half. I enjoy making musical instruments and found the posts about construction techniques very interesting. One thing I haven't seen is information on reed making. I checked out Wim Wakker's photo essay on concertina making at the Concertina Connection site and that was interesting...so, where might a person look for specs for different pitch reeds and advice on how to make reeds? By specs I mean, reed sizes, thicknesses, materials &c. Is there a place to find this type of information? kbr
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