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Posts posted by maccannic

  1. Short answer: no.


    Long answer: you need to get to know the chords which will normally be required for the key you are in. For example, in G major you will likely need G, D, A minor and/or C, E minor. Try these in an effort to help the tune on the tonal journey it's trying to go on. If a chord sounds wrong, try another one. If it sounds good, stick with it (but bear in mind there may be a better one). If you're playing folk stuff, you mostly won't need too many chords. If it's 'tin pan alley' songs, you will need many more.


    Good luck.

  2. I have sat in concerts at folk festivals where one act sounded great but another act, on the same stage with the same soundman, sounded bloody awful. This leads me to suppose that the signal coming to the soundman is at least as important as the soundman himself. Or maybe the soundman was no good - he could get a good sound with one band without having to try but didn't have a clue what to do about the other band.

  3. I think that I read somewhere on these fora that there is no place for 7th chords in Folk music.

    Everyone knows that is a dastardly lie put about by melodeon players upset because their boxes don't have 7th chords on them. We concertina players know that the whole point of our instruments is that you can choose whatever notes you want.

  4. That's a strange one. If I can get through a tune once I can normally reckon to play it a few times OK. The problem is switching to a second tune, trying to remember how it's going to start, while still finishing off the first one. Not always easy, unless I always play the same tunes in the same sets.

  5. Well, I've got one for sale. See the thread entitled:

    OK, it's time to sell my first concertina

    which I started on 29th November 2011. I've still got it, because I haven't been very proactive about trying to sell it.


    I don't know what you call a reasonable price, but I would be looking for about £1500 I suppose.

  6. People will tell you (and they're probably right) that if you really want to play Irish like the Irish, you need a C/G anglo, minimum 30 buttons.


    If your musical interests go wider, you will want to investigate the particular charms of English and duet. Personally, I can't imagine wanting to play anything other than Maccann duet, but then I'm biased.

  7. Anglo-Irishman is right - the Maccann is fully chromatic. However, as most of my playing has been in tune sessions in pubs, i.e. in D, G or E minor, and being somewhat lazy, I have allowed myself to stick to my comfort zone and have never really got comfortable in flat keys. This, combined with the fact that on the Maccann the e-flat button is in a rather weird place, means that even playing simple scales or chords in flat keys is something which I really need to work on.


    One day, maybe . . .

  8. We have a crowd of mates who like to get together and play old pop and rock stuff on guitars. I often join in on piano accordian, and sometimes on my Maccann (which takes up much less room, especially once it's out of its box). Mostly they like to stick to tunes in D, C or G shapes which is fine until they put the capo on fret 3, then they come out in F (which I can just about manage), E-flat and B-flat (which I can't). I guess a Hayden system would be better than the Maccann for this.


    Still, as they say, it always breaks the ice at parties.

  9. I've played PA for many years. Finding it a bit too large and domineering for pub sessions I got a concertina (Maccann duet) some years later. There is a lot of similarity, as in each case you can play the tune on one end and go oom-pah oom-pah on the other. However there is so much dissimilarity that switching from one to the other and back is hardly a problem.


    There are some tunes which, due to a quirk of fingering or else because I have worked out some little distinctive figure in the accompaniment, I can only really play on one machine or the other. For example, on the duet I can go tenor G, tenor D, baritone G at the end of a line in the left hand which I can't do on the accordion. But on the accordion I can make up incredible right-hand chords which I could never hope to find or remember on the concertina. So I do have to concentrate, but really it's no problem.


    I should imagine that the EC is even more different, so again, no problem.

  10. Yes, a brilliant weekend. Lots of fine musicians, inc. lots of concertinas. I seemed to be the only Maccann at the sessions I attended (Sylvia N. always seemed to be somewhere else, and Irene was boxless for the weekend), but never mind, we Maccann players are used to ploughing a lonely furrow.


    Thanks to the organisers - I hope you managed to enjoy it too.

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