Jump to content

Geoff Wooff

Members
  • Posts

    2,646
  • Joined

  • Last visited

Everything posted by Geoff Wooff

  1. Could you tell me what a "cut" is? I have only been playing the English concertina for two months. I have the Butler, Carlin, Anderson, and Miles books. Anderson and Miles talk about ornamentation, but I did not see a "cut" mentioned in any of the books. A "cut" is a simple word for either an "Appogiatura" or an "Acciccatura". These are Italian terms for tiny notes that are played just before or at the same time as a normal length note. One type takes a tiny amount of time from the accented note and thus is the one played before this accented note and the other type is sometimes described as a "crushed-in" note. The Crushed-in note is started at the same time as the note to be accented and then imediately stopped and thus takes no time from the main note. Which of these two Italian words refers to each type of "cut" I do not remember but you can find proper definitions elsewhere. I think that in Irish Trad. Concertina playing it is more the Crushed-in note that is used, I could be wrong. So to describe how one might use such a thing; take a note that you wish to accent (grace , ornament or decorate, pick your own terminology) , at the moment of commencing to play that note play also another note, typically a third or fourth above the note to be accented. The little grace note is then immediately stopped leaving the main note playing for its needed length. This gives our main note a little rhythmic kick. Players usually pick a note two or more notes above the one to be accented to use as a "cut". I do hope this explains clearly. You can hear many recorded examples of this , one player who did this very clearly was Tommy McCarthy. Best regards and I am more than willing to try and help with any other questions that you might pose, Geoff.
  2. I would think so. As it happens I have come upon the interpretation of phrasing as a by-product of the type of concertina played in recent times on various discussion forums. Notably from one who plays Irish music without any phrasing, as it is conventionally understood in Irish music, at all as it happens. Please tell us more Peter !!
  3. Surely, Martin, the phrasing is dictated by the melody not the instrument ?
  4. Sorry, I did not want to be disparaging to those who wish to play rolls on a Concertina, and there are those who can pull them off reasonably well, but for most of us a more straightforward approach is likely to be more fruitfull. I take your point Martin that it is the Competitions, and the spirit thereof, which compell some to go a bit wild with the ornamentaion. I prefer the styles of Mary McNamara, Jacqeline McCarthy, Terry Bingham and Tom O'Driscoll (to mention but a very few of the current players) and the styles of the older players with whom I had the great good fortune to meet during my years in Co.Clare. Incidently, I play ITM on the EC but have not tried to play rolls as you describe, Martin, since my early attempts of 35 years ago were such a failure. I have not yet had a chance to look at Simon's website... I am sure it is full of usefull stuff. Geoff.
  5. And a fiddle roll does not sound like a real roll as played on a wind instrument ( pipes, flute, whistle) and the very idea of playing rolls on any type of concertina is, in my opinion, plainly ridiculous! Irish music should firstly be played with absolutely no ornaments, after one has the rhythm and phrasing correct and does not make any other "bad taste" noises then maybe the odd "cut" can be included for emphasis. The system of grace noting, including rolls and crans etc., was developed on the pipes for a specific reason and that is that a bagpipe does not have any dynamic range (cannot easily make notes louder or softer) therefore to emphasize rhythm some method of punctuation had to be devised. These rhythmic devices have become quite complex and specific to the different bagpiping traditions but their adaption onto other instruments which do have a dynamic capability is not so much a necessity, more an affectation of those traditions. Great music was played for a very long time before these modern ideas of over decoration came into vogue. Geoff.
  6. These 'cautionary' tales are very usefull. Alan... better the cup than the dog.... I am allways so carefull to watch my little dog when I am moving the car.
  7. Michael, all the responders so far have given technical opinions regarding construction of such a fretwork design. I would like to add a comment on the asthetics of it. IMHO there is a little too much 'hole' and not enough wood; the open spaces look too big, could a small child poke a finger in, would we see too much of the Action ? My preference would be for an equal share of Hole to Wood, in the crossectional sense, over the fretted areas.Your design is very nice but too 'open' for my eye. More 'hole', and thus less wood (or metal), will make for a louder instrument but because the End plates affect the tone of the instrument to quite a degree, due consideration should be given to the balance of material remaining/removed. The adjustment of the degree of openings could be used, as in Accordion and Bandonion making, to balance the volume from right and left sides. Maybe not a pertinent comment with regard to Anglos and Englishes but a consideration for Duet Concertinas. good luck with your project, Geoff.
  8. Many years ago, in Australia, a fellow came to me with a concertina in a very battered looking box... he explained that he had not opened the lid since he had reversed his car over it. Packing the car after a gig on a hot day he had place the concertina in the shade, under the car whilst loading in the rest of his stuff and forgetting that he had done this untill the crunching noises started. A wooden ended Wheatstone makes for quite an interesting jigsaw puzzle in these situations... not to be recommended !! As I recall all the parts did go back in place and it did continue to play well... hoepfully still is. Geoff.
  9. Thanks Sam! the mellow sound is because of the beautiful voice of my Jacinta, she has a bit special tunning, the name is 1-5 comma meantone, as Geoff Woof told me. And the speed maybe is a bit excessive, I would have made less mistakes if I had played the tune a bit slower... sometimes when I play it alone I get it better, but I was getting tired of repeating the recording! Fernando So nice to here Jacinta being played with enthusiasm again, after sitting in her box for nearly a year due to other concertinas having entered her domain. Yesterday I discovered a new name for that type of tuning, it is also called "Homogeneous Meantone". I am so glad she has gone to you Fernando, best wishes, Geoff. PS nice tune Chris!
  10. Having had a few tunes with Ralphie a couple of days ago, I can vouch for the abundance of volume produced by his McCann. I was playing a very loud EC and having difficulties hearing myself. Mind you it was great to catch up with him after a break of 32 years ! Regarding speed playing; as others have said there are a lot of factors.... instrument setup... playing style... personal dexterity etc etc., but I cannot see why a Crane layout should be radically different, in this respect, to any other keyboard. Geoff.
  11. Nice to meet you too Fernando ! I have eventually got home. Nice also to see the video. Sorry I did not have more time, last Sunday, to talk and play a few tunes. I am so glad that this little gem has gone to someone who will love it and play it a lot. It does have many many years of life left in it. Thanks for making a donation, which should really be the job of the seller, I would think. However as the price was sensible then I am sure you are happy to also donate. As I have also purchased another Concertina this week, from a forum member, I will also show my aprieciation for this excellent website by making a donation. Best regards to all, Geoff.
  12. I use the Microvox system too Warren. Oh! And Hi... long time no see.. must be more than 20 years... best regards, Geoff.
  13. Thanks Fernando, for you kind thoughts. I was just now playing that concertina and comparing it to another which is just like the one you play. I agree entirely that we are lucky that the English has not yet become as popular as the Anglo.There is great quality in both the trebles I have but I still think this Rosewood one is the better of my two and as you say, it should go to someone who will aprieciate it and use it well. This is the concertina I used for years when I lived in Miltown Malbay, it was great for sessions in small Bars. Now I need something that can make huge amounts of noise,when needed, hence the change. Well, best regards and Happy New year, Geoff.
  14. I'm not sure what you mean - surely the wolf is still there (but possibly slightly better hidden), because if you need to use a D# you _need_ to use a D# (-12) and if you then need to jump to an A# you're forced to jump to a Bb (+10) and that interval is going to be pretty bad. When I eventually get around to getting my concertina tuned, I'd be much more inclined to consider one of the "well tempered"/unequal temperaments - either Vallotti or Bach/Lehman (described here)... Well, yes there are allways compromises in these systems even in Bach's proposals unless we have a keyboard with many more alternatives . In the one you point out it might be necessary to use the Eb before moving to the Bb unless the unusual interval does not bother the player/listener. I have,somewhere, a CD of a famous Harpsicordist who changes temperament for each of his recorded Bach suites so as to avoid these problems. Maybe some of us would then need several Concertinas in various tuning systems to satisfy our ears. There are no Wolf Fifths in a direct line through the cycle with these Meantone's temperaments but, as you point out ,if one has to move from sharp keys to flat keys to improve a bad interval then a degree of 'wolf' will be percieved at some point. However I think you could well be right? I must study this further.
  15. Quite a few, I feel. Whereas in Equal Temperament there is only one problem which is everthing sounds equally bad or good depending on how you hear it. In all other temperaments there are big pluses and some minuses. I like to use thirds and so I prefer them to be sweeter although in 1/5th Comma they are not perfect and the fifths are worse than in EQ.Temp. I am now playing pieces that require all the chromatic notes and do not percieve any tuning problems that would send me back to E.T. I also have a scale of notes that gives a complete set of perfect intervals but it is only usefull for playing in one or two keys and their related minors, though it does pronounce the Modes in all their moods properly. I don't think it will be of any use for concertina keyboards past the 20 key Anglo.
  16. With the EC keyboard I do not think there are any wolf Fifths in Meantone temperaments because of the doubling of Ab's and Eb's with G#'s and D#'s. Well, I have just been through the cycle of fifths in the two Meantone systems that I have been using for many years and this is the results; All Major fifths in Equal temperament are 'Narrow' by 2 cents. A perfect Fifth is an interval of 702 cents and an Equal tempered Fifth is 700 cents,or seven semitones. All the Fifths in 1/5th Comma Meantone are Narrow by 4 cents and those in 1/4 Comma are narrow by 5 or 6 cents.This means that although the Fifths will 'beat', sound slightly out of tune, they are all the same. Note deviations from Equal Temperament in cents: 1/4 Comma; A = 0, Bb= +18, B= -6, C= +11 , C#= -13, D= +4, D#= -20, Eb= +21, E= -3, F=+14, F#= -10 G= +7 , G#= -17, Ab= +24 . 1/5 Comma; A= 0, Bb= +10, B= -4, C= +6, C#= -8, D= +2, D#= -12, Eb= +12, E= -2, F= +8, F#= -6, G= +4, G#= -10 Ab= +14 . Now when going around a cycle of Fifths A-E, E-B, B-F#, F#-C#, C#-G#, G#-D#,// Eb-Bb, Bb-F,F-C,C-G,G-D,D-A. You will notice the change from D# to Eb in the middle of the cycle, this is the point of elimination of the Wolf Fifth with the EC keyboard. You can check this with the numbers given above. So there are choices to be made with certain chords that include G#/Ab or D#/Eb which can make for a break of habititual fingering. I would prefer to use 1/4 Comma for its smoother sound and perfect thirds but as can be seen by the numbers this would make things difficult when playing with other Equal tempered instruments, therefore I use the 1/5th Comma which is a compromise. I usually base this on A as Zero ( A= 440hz.) but I cannot see why any note might be the starting point as long as the proportions are kept the same. I have recently moved one of my EC's from an 'A' centred 1/5th Comma to G centred thus dropping the overall pitch by 4 Cents. This is due to the scale centre of the instruments that I play with in a band. This has brought the EC quite well in line with my wife's G Cornemuse and I also think it will work better for Irish Trad. especially with the Uilleann pipes which are not (or should not) be tuned to Equal Temperament because of the constant use of a drone harmony which would clash.
  17. Yes please Geoff - please PM me or post on the forum. Thanks, Steve Ok, Maybe I should start a separate topic for this,however since we did not get home from our New Years Eve gig untill 5.30 this morning I might take some extra time to think of a nice way to tabulate these numbers. Back soon, Geoff.
  18. Yes ! Both D#/Eb and G#/Ab are slightly different notes. I can give you percentages (of a semitone) deviations from Equal Temperament for all 14 notes if you desire .
  19. Oh! What a nice thought Dirge. Yesterday I managed to tune all the instruments of our little band, including an Accordion (yes I know) and so much better we all sounded. Hopefully we will stay in tune for our New Years Eve Gig! So I wish everyone an in-tune and tune filled 2011. Geoff.
  20. No Dick, I don't mind at all and many thanks too! best regards, Geoff.
  21. Hmmmmm.... I'm not recieving any interest in my lovely little 48... maybe it is the time of year ? Let me add that it is a great instrument that I played very seriously for ten years and it never missed a beat even during long 14 hour music sessions that sometimes happen during festivals... I sold my 1910 Tennor/Treble Aeola after I got this one because I liked the tone and playability so much. It would suit someone who wants to Up-grade from the student models. I now have different needs from my concertinas, like more volume and greater range. Happy New Year to all, Geoff.
  22. I do tend to agree with Jim, even though I am a "thumbs well in" player,that it is better to let only the end joints be gripped by the straps. This does allow more flexibility of fingering especially for the lower notes. A good test of a hand position would be to take a piece of music that will use the whole keyboard, either in its melody or with the use of chordal accompaniment.Having to move from top to bottom with not much (or no) time to shift hand positions can open one's eyes as to at how great an angle it is possible to actuate the keys. I find it quite normal, when doing the above exersize, that my fingers will be angled at more than 45° to the axis of the keys at each end of the range. If I am playing a piece more to one end or the other, or if there is time to shift, then I move my little finger position as indicated by Jim. The lowest notes on a 48key Treble should not cause any problems, although on a Tennor-Treble the extra row is just 'tacked' onto the bottom end of the keyboard without shifting the Thumbstrap position and this can make for a bit of a stretch or position adjustment. Hitting keys at accute angles requires an excelent keyboard construction, to avoid 'jambing'. I have no experience of the modern instruments but, if I were you, I would consider an 'Upgrade' to be investing in a Wheatstone or Lachenal (or the modern equivalent). I realise that a 56 T/treble of these makes would cost quite a chunk of cash but there are plenty of 48 Trebles at sensible prices. A good instrument will increase your enjoyment no end... they say that "Many's the good tune played on an old fiddle" ( even if its ment to be a amorous conotation) but not many good tunes played on a bad fiddle! I am not suggesting that the Jackie (or its derivatives) are poor instruments but they are student models and if, and/or when, an upgrade is being considered then my advise is to get the very best instrument you can find. It will hold its value and you will derive much pleasure from playing it. Geoff.
  23. Many thanks for these links Dick, it does make things easier. I managed to watch the program today, with a little tear in my eye ! Geoff.
  24. I usually make my cases from Plywood and finish the outsides with some type of Varnish for protection. A coloured Varnish makes quite a nice finish. I do not think inside surfaces should be sealed because the wood needs to breath too. If you are going to stick some Vinyl cloth on the out side then it would be best not to use any sealing coat first because the glue needs to 'key' into a somewhat porous surface so as to be most effective. You may also wish to line the inside surfaces with something to protect/cushion your precious instrument and this may also need to be glued on. The old classic cases were made of very thin wood sheets covered with leather on the outside and lined with velvet ( or were they made of leather and stiffened with thin wooden sheets)? I prefer to line the insides with something a little more practical and protective like a thin foam sheet. The easiest type of foam sheet to use is the stuff sold as sleeping mats (for camping) in many sports shops. This will protect the instrument from some shocks and insulate it a little. Geoff.
  25. The documentary film about the musical life of Tom McCarthy will be shown at 9.15pm on Monday 27th. December on TG4. This is the Irish language channel based in Galway. It should also be available on their website www.tg4.ie to view for a while after this. Tom was a much loved Concertina and Uilleann pipes player originally from Co.Clare who lived for many years in London. It is a tribute to his musical enthusiasm as well as his wonderfull character that all his children are fine musicians and his Grandchildren are only one step behind their parents. Geoff.
×
×
  • Create New...