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Everything posted by CrP

  1. Nice, and twisty indeed. It seems to have a sense of perpetuum mobile to it that moves well. Please do more like this.
  2. Typeface of the digits in the the stamped-into-the-soundboard number looks like those on one of my Jones instruments. Fretwork looks like Jones-type fretwork, as do the arms & mechanisms.
  3. Very nice. Hope it plays as nicely as it looks.
  4. I've had ace repairguy Greg Jowaisas modify a 26-button C/G anglo Jones with an additional button on the L side, inside row closest to the handrest. Works nicely. One might also consider getting a 30- button anglo, removing an unwanted/unneeded set of reeds (highest note on R, lowest on L, perhaps) then creating the appropriate arm + button mechanism. Greg has also modified a couple of 34-button anglos by re-purposing the "novelty" (baby cry, bird whistle) buttons and inserting useful musical notes, e.g., a C# + F# combo. Takes a good knowledgeable person to do it, but it can be done on some instruemnts, IMHO.
  5. replacement handles are easy to find, e.g., at Elderly Inastruments -- https://www.elderly.com/products/case-handle?variant=26854274170944 or this one which includes new hardware for attaching handle to case https://www.elderly.com/products/deluxe-case-handle-with-metal-rings-brackets?variant=32202383327287 and this place has them in various colours -- https://valuebeltsplus.com/collections/leather-handles-luggage-briefcase-replacement Amazon will sell you one for slightly more money -- https://www.elderly.com/products/case-handle?variant=26854274170944 As for the hinge, I suggest contacting a leather-worker. In the menatime, if you need to continue using the case, AndyNT 's suggestion (above) to reinforce the hinge is good IMHO
  6. I'd be interested in any dating information vis-a-vis G.Jones instruments since I have several of his anglo instruments, namely two 34-key C/G's, numbers 17021 and 12489; a 26-key C/G Nr. 16616; and a 26-key G/D with illegible Nr.
  7. Sounds good to me. If you haven't already made friends with a concertina repairperson, now might be the time to consider taking your button re-purposing idea(s) to such a person in search of advice. One thought comes to mind, namely, repurposing the buttons and associated reeds will have some physical limitations, such as the chamber size that is available vis-a-vis the size od the replacement reed that will be fitted into it's new space. You probably already know that the lower the note, the larger the reed shoe and the longer the tongue . Hence, not ever reed will comfortably swap places with a significantly highr or lower note. A squeeze F would be very useful, I think; ditto an extra C. So discuss it with a repairperson who won't balk at your untraditional request and might even be willing to re-purpose/swap around several notes to accommodate your much-sought alternatives.
  8. So, perhaps you might consider a used vintage anglo that already has 34+ buttons; is within you price range; has buttons that can be re-purposed; and (perhaps most important) analyze your note needs as you play to discover what and where there are fingering/bellows direction gaps that could be filled by a re-arrangment. Write to me -- I can send you a note diagram.
  9. Allow me to suggest possible compromise(s), nsmelt a 32-34-key anglo on which you can modify some 2 or 3 buttons to give you much greater flexibility in fingering (and bellows direction) choices. For instance, I have had much pleasure and ease of arranging on my 34-button Jones in C/G. I asked Greg Jowaisas to modify several of the buttons in order to give me both a [left hand] squeeze B♭/draw E on one button (formerly a birdcall or some such noisemaker); a squeeze F# /draw C# on 'tother. Then I swapped the positions of the 2 Left-hand thumb-operated drone notes to give me the easily accessible low C on both squeeze and draw. This is just an example of the possibilities that attend customization to one's particular music-playing needs.
  10. I've had a similar issue with his personal E-mail addres, too, so I use the message function of C.net
  11. Formidable! Je vous souhaite beaucoup de succès; je vous remercie. J'espère que vous en avez de melodies d'autant plus. Félicitations.
  12. Allow me to recommend a wonderful book by Mihaly Csikszentmihaly entitled Flow (The Psychology of Optimal Experience). My copy is a paperback from 1990, pub. by Harper & Row ISBN 0-06-92043-2 [should be easy to find in 2nd-hand book supply]. It's well worth spending some time with. I daresay it goes deeper in to the topic than many people want; at least read it and familiarise yourself with the concept(s). As a complement to "The Inner Game of Music" it has furnished me more insight into understanding how the mind/body combination can work when engaged in, amonst other things, Music than any other source.
  13. Correction to my sloppy typing "back to the 1870s"
  14. There's a musico-comedic, kind of vaudevillian tradition called "chastushki" ( частушки -- in English might be rendered as "ditties" or humourous/satirical rhyming couplets, quadruplets, poems). I believe it's unique to Russian culture, both folk culture and variety-show, stage-act mass culture. It can involve a single performer with musical instrument -- accordion, balalaika, guitar or concertina -- or a duo. The 2nd URL video link with the guitarist & concertina plater is typical. If you want to watch videos with other performers, simply type >> частушки << into a serch engine. This ref. to a Russian Wikipedia article gives a brief overview, dating the tradition back to the 1970s at least: https://ru.wikipedia.org/wiki/Частушка
  15. Thanks for the notice. There are a few times when I could make good use of exactly that.
  16. My son just alerted me to this concertina: https://auctions.gardinerhoulgate.co.uk/catalogue/lot/1688bc46184fa26e88b8ca1f8765589a/63b778f7668dabe928d3800924a99077/musical-instruments-lot-1561/ I had a brief attack of CAS [the dreaded "acquisition syndrome"] but then wrestled my conscience and my pocketbook back to reality.
  17. Amusez-vous bien; j'espère que le Lachenal vous convient tout-á-fait, complètement.
  18. I have a 26-button Jones anglo in G/D and I will gladly share the note layout diagram with you. If you send me a pm with your E-mail address, I'll scan the diagram and attach it to an E-mail.
  19. I heartily second the thanks to Doug and the BB staff for their dedication to the squeezer community. I, for one, will sorely miss them and their shop. The repair service will continue, as I understand it, for which we all breathe a huge sigh of relief.
  20. Bravo. Indeed, you put a smile on my face here in wintertime Maryland, USA.
  21. Thank you very much for that URL link to the article about Пирожников. I found it fascinating. Seems to me he should be better known for his many accomplishments.
  22. Thank you Kathryn. For reasons I can't identify, your piece brought to mind the open, spacious, sinuous music of Erik Satie -- "Gymnopedies" and "Gnossiennes". Yours is seductive, meant in a good way -- I did not want it to hurry up or speed up or over-emphasize the rhythm. Do more of that, please.
  23. Thank you, Jim -- I really enjoyed the combination of the 2 tunes.
  24. Thanks for the nice playing. I know the 3rd tune (with only minor variations) as a Northumbrian piper's tune and song "Wilt Thou Come Cuddle Me, Cuddie" aka "The Peacock Followed the Hen" with the "A" part of the tune in minor rather than major. Great fun to play at a good clip.
  25. Very useful advice and well put. Thank you, David.
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