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billybunterr

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Everything posted by billybunterr

  1. Try practising chords in different inversions, I prefer Root and 2nd inversions. First inversion should also be practised.
  2. These Hornpipes were marked with a curve,some people might argue that it just means play smoothly, but then one other Hornpipe had a group of four marked one seperate then a slur over three, that has to mean a bellows change. one /three is quite a common pattern for fiddlers /violinists to use. although a lot of traditional players periodically use this pattern of slurring three over a bar line, which makes me think it was a classical musicians interpretation of traditional music. It is however a useful exercise, but not one I would slavishly copy. It sounds ok, but a little predictable.
  3. Liverpool Hornpipe,bars 1,2,5,7.plus all the bars in the second part, bellows changes are indicated,before the first and third beats,so the player is mainly changing after groups of four notes. of course it maybe a classical players interpretation of how to play traditional hornpipes. Fiddle players often use more variety than that, but anyway the point is bellows movements are marked,seven other hornpipes are marked like this. the sailors hornpipe,has 7 bars marked like this,but has more variety of bellows markings in other bars ,bars 5 6 7 ,in the first part,and bars 9 11 14 and 15,in the second part,are all marked in this way.
  4. Wheatstones instructions for the English concertina, by Alfred Edwards, has markings above the music,which look like bellows suggestions. I have another old tutor, that too has music markings for bellows, this book contains a lot of Hornpipes. most of the bellows markings for these Hornpipes, mark bellows changes on the first and third beats, with occasional groups of four played one three,it is similiar to violin bowing.
  5. Wheatstones instructions for the English concertina, by Alfred Edwards, has markings above the music,which look like bellows suggestions. I have another old tutor, that too has music markings for bellows, this book contains lot of Hornpipes. most of the bellows markings for these Hornpipes, mark bellows changes on the first and third beats, with occasional groups of four played one three,it is similiar to violin bowing.
  6. Bellows control is important. Some, but not all violin bowing can be copied effectively on both Duet and English. In my opinion the important thing is to experiment with the bellows,for example if the player was playing a waltz,it might be better to change bellows on the first beat of the bar, or one might feel it was more effective to follow violin bowing, it is really a matter of personal preference. changing direction on the first beat of the bar in Waltzes, will give you the correct Waltz emphasis, but could also become over predictable.
  7. Mrs Crotty. Kitty Hayes is ok, Chris Droney is a fine player.
  8. Can you do the Ghost dance associated with the Battle of Wounded Knee? Eight major battles were fought in the War for the Black Hills. The Sioux won three, including the famous Custer’s Last Stand (Battle of Little Big Horn). Custer rode in with 700 troopers of the 7th Cavalry and 258 were killed. At the conclusion of that war the Sioux returned to the reservations and lived more or less peacefully until 1988. That year, a Paiute prophet Wovoka had a vision in which the Great Spirit spoke to him. The Great Spirit told him that the world would soon end and be reborn. This new world would include all their dead ancestors, plenty of buffalo, and the white men would be washed away forever. To accomplish this, Wovoka preached a special dace and song to be continuosly repeated by all Indians. This was called the Ghost Dance. The religion and the Ghost Dance were enthusiastly embraced by the Sioux. Especially the concept of magic Ghost Dance shirts which could stop bullets. By November of that year, Ghost Dancing was so prevalent on the reservations that nearly all other activities stopped. This conduct scared the pants off the white settlers and towns around the reservation. The Indian Agent at Pine Ridge Rservation sent a telegram to Washington stating: “Indians are dancing in the snow and are wild and crazy. We need protection and we need it now”. The government attempted to arrest Sioux Chief and medicine man Sitting Bull on December 15th for inviting his cousin to come and perform the Ghost Dance at Pine Ridge Reservation. Forty Indian Police came to arrest Sitting Bull, who was with one hundred and sixty Ghost Dancers. A fight broke out. Sitting Bull and six Ghost Dancers were killed as well as five Indian Police. Chief Red Cloud then invited Chief Big Foot from the Standing Rock Reservation to come to Pine Ridge and mediate. Chief Big Foot had already personally renounced the Ghost Dance. He set out with 230 women and children and 120 men. On the way Chief Big Foot caught pheummonia and had to ride in a wagon. General Miles assumed that Chief Big Foot was going to Pine Ridge to participate in the Ghost Dance. So he ordered him arrested. Major Whitehead and elements of the 7th Cavalry, 500 troopers, intercepted Big Foot’s band thirty miles East of Pine Ridge. Chief Big Foot immediately surrendered and followed the cavalry five miles to Wounded Knee Creek. A campsite with supplies and several buildings had already been established. The band made camp and this was surrounded by the cavalry. Colonel Forsyth, Commander of the 7th Cavalry then arrived. He saw that Chief Big Foot was ill, so he provided a tend with a camp stove for him and had him tended to by the regimental surgeon. Colonel Forsyth had orders to disarm the Indians and take them to a railroad so they could be removed from the “zone of military operation”. A fight was not expected, but as a percaution, he deployed four 2-inch Hotchiss cannons to cover the camp. They had exploding shells and could fire just under 50 rounds a minute. So the troopers began to search the Indians for guns. This enraged a medicine man named Yellow Bird. He began dancing the Ghost Dance and inciting the Sioux warriors reminding that they wore magic Ghost shirts. At this point accounts vary. One has a warrior called Black Fox pulling out a gun and shooting followed almost immediately by several others. Another version said that a warrior named Black Coyote’s gun went off accidently and the troopers then opened fired. What ever happened, both sides started shooting at point blank range. Women and children were also seen shooting at the troopers. While this was happening the Hotchiss crews opened up on the tepees in the camp. After a few minutes the Indians, men, women, and children, broke and ran. They ran up a dry ravine and tried to hide. At this point, the battle turned into a massacre. The troopers and their Indian Scouts pursued the stampeding Sioux, showing little or no mercy. Women with infants in their arms were shot down even after most of the Sioux warriors were dead or dying. This went on for three hours and the bodies lay strewn over three miles. At the conclusion, 84 Sioux warriors were killed, 44 women, and 18 children. Among the dead was Chief Big Foot . The battle was not completely one sided.. 30 troopers were killed and 39 wounded. The day after the battle, the Sioux had a skirmish with the 7th Cavalry near the Pine Ridge Reservation. Following that, the Sioux fled the reservation. General Miles marshalled 3,500 troops and slowly and patiently hemmed in the Sioux while urging them to surrender with offers of good treatment. January 15, 1891, the Sioux surrendered.. No organized indian warfare followed in the United States. Twenty Medals of Honor were awarded to troopers of the 7th Cavalry for exceptional bravery in the action. The highest number ever given out in any battle, let alone one so small and so brief. Ghost shirts didn’t do a very good job of stopping bullets. Happy New Year
  9. Jody, very good advice. In my opinion based on my own experience, I find it important to make sure that you finish with the finger that you would normally use, so if you normally would play this note with the index, I would use my middle first and then play the index, if I normally played it with the middle then I would use a fingering sequence of index/middle, that way finger patterns are not thrown out of kilter.
  10. Are there any tutorials for unisonic Concertinas on youtube? I am interested in bellows work.
  11. try all three systems and then try all systems of duet Crane, MacCann, Hayden.
  12. the best percussion instrument is the silent clap.
  13. why are bodhran beaters called brian, because there brain is confused
  14. Sometimes I will practice my favorite morris dance tune and play it perfectly once, and botch it up the next 3 times, and then play it perfectly again suddenly out of nowhere, and then stumble over sections again. practise the difficult sections on their own, over and over. there is an art to practising.
  15. Silly? maybe its the silly season. is it any sillier than saying unisonic concertinas can not play Irish diddley twiddley.
  16. Completely agree. A somewhat daffy statement, but maybe not intended to sound the way it did. It does give me a lead in to what I wanted to say, though, which is this. I have a personal bee in my bonnet that starts buzzing like mad whenever anyone makes a statement like concertina system A is ideal for [insert traditional idiom here] while you shouldn't even think of playing [insert different traditional idiom here] on system B else the Gods will smite you mightily. The choice of a concertina system is a very personal one and has much more to do with how your brain works than it does the style of music. I, for instance, play anglos and find the English fairly baffling. My partner plays English and considers the anglo totally illogical and unattractive. We both play English dance music with a certain amount of success (including hornpipes!). I have long advocated that you find the concertina that you want to play and then work out how to play the music you want to play. If you don't get on with the system (which you chose because others said it was the right one to play) then you'll never hold to practicing and may even go off the concertina completely. OK, so how do you decide which is right for you? Well, nothing beats getting your hands on one. If you look at the Concertina FAQ you will find lists of concertina clubs, shops and dealers, any of whom will help. You may find people off this forum who are nearby who can help. Either way you have an exciting (if expensive) time ahead of you. Best of luck, Chris
  17. Anglos are well suited for dance music - especially Irish and Scottish jigs, reels and hornpipes. they are not suited for Scottish music,or English hornpipes.
  18. yes.why not? it is a good all purpose system. try a 48 key second hand lachenal, check it has steel reeds. have you considered the Duet system. both systems are unisonic,55 keys is ideal, but in your price range you should be able to get a 46 key or a 48 key Crane Duet
  19. some Banjo players do believe they get more emphasis, by using a down pick rather than an up pick, which is why some Banjo players prefer to use DUD DUD for groups of six quavers in jig time, rather than DUD UDU,the latter gives a more lyrical less bouncy effect. here are quotes from two tutors, Sullys Irish Banjo."The down stroke is stronger,therefore as a general rule the "on" beats should be picked with a downstroke, the "off" beats with an upstroke" Enda Scahill Irish Banjo Tutor,"Rule 1: odd numbers are always plucked down, even numbers are always plucked up" "The rules that apply to jigs are as follows, The first note of the bar should be down" I have come across Fiddle players, who believe they get more oomph on a down bow, they slur a group of notes on an up bow in readiness for a note they wish to emphasize on a down.
  20. some Banjo players do believe they get more emphasis, by using a down pick rather than an up pick, which is why some Banjo players prefer to use DUD DUD for groups of six quavers in jig time, rather than DUD UDU,the latter gives a more lyrical less bouncy effect. here are quotes from two tutors, Sullys Irish Banjo."The down stroke is stronger,therefore as a general rule the "on" beats should be picked with a downstroke, the "off" beats with an upstroke" Enda Scahill Irish Banjo Tutor,"Rule 1: odd numbers are always plucked down, even numbers are always plucked up" "The rules that apply to jigs are as follows, The first note of the bar should be down" I have come across Fiddle players, who believe they get more oomph on a down bow, they slur a group of notes on an up bow in readiness for a note they wish to emphasize on a down.
  21. The Bellows stop, when going the same direction is rather like a fiddlers broken slur. The reversal of the bellows has about twice the effect, the other way of looking at it, is that the stop going in the same direction is more subtle. There is no getting away from the different sound the Anglo produces, and this has logically got to be that it is not unisonic, thus it uses more bellows reversals, as do Diatonic Accordeons compared to unisonic Piano Accordeons.
  22. logically, there is no other reason other than bellows reversals,that gives the Anglo bounce. can you give me another? few Anglo players that I have heard playing Irish music use much staccato that is generated by finger attack, though there is no reason why they should not, other than it has not been previously tried.
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