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Everything posted by CrP

  1. I'll send you a pm about this. CrP
  2. Chris: You might try contacting Greg Jowaisas (a member of this C.net forum) who has lots of experience working on Jones instruments, some of them mine, in fact.
  3. Am I right in thinking that the buyer of the Wheatstone will need to consider possible problems taking the concertina out of the country and then re-entering because of the tortoiseshell veneer? I recall some serious complications that other musicians have run into from the Fish & Widlife agents' enforcement of recent legislation about importing certain materials, e.g., ivory, totoisehell, rare woods, and the like.
  4. Thank you posting the link to those photos. I scrolled thro' them to see what all the instruments look like and was really impressed. How many different examples of leather + wood combinations have you done? Very impressive!
  5. Haven't tried earplugs. Thanks for the suggestion. There may be several aspects to the question besides the seemingly simple "can I hear myself"? For instance, I know that my music-making depends to varying extents on what use I make of the aural feedback. For instance, am I relying on the sound to tell me that I'm playing the correct note or chord? Do I rely on it too much, perhaps at the expense of musicality, by adjusting dynamics, chording, pressure, etc. __after__ I hear the sound, rather than, say, knowing how loud I want it to sound because I decided that was what i want before I commenced playing? What I've tried to build into my music-making is the intentionality of my musical choices, developed during and as a result of practice, repetition, experimenting with variations in my notes or chords in search of a sense of sequence and phrasing -- that kind of thing. So, I'd rather be an intentional musician than a [let's call it] "reactive" musician, always (and maybe overly) dependent on the aural feedback that comes from listening to myself . reactive in this sense might mean trying to adjust my musicality after the notes have sounded.
  6. May I offer a comment on relative button spacing (between rows) and distance-between-buttons (side-to-side)? These 2 factors affect the feel of an instrument beneather the fingers and there is no single industry standard that all the concertina manufacturers adhered to over the 150-odd years that folks ahve been mass-producing said instruments. As I occasionally play a Lachenal, a 44-key Jeffries, and a couple of Jones instruments, i find that several factors affect the speed with which I can play any given instrument and the accuracy [meaning how reliably finger X presses the intended button solidly and cleanly enough to control the resultant musical note]. Not least of these is the amount of practise time I have put into playing on 1 instrument and the proportion of that pracvtice time that is recent. Perhaps this discussion ought to continue in the "ergonomics" section instead of or as well as here. Other important factors to consider: The surface area of the buttons, i.e., button diameter; height of button above the wood or metal surface and definitely -- most definitely -- the distance from handrest to the rows, along with the optimum hand and wrist angles that best suit the player+instrument combination. Seems to me as soon as one encounters any significant discrepancies in any or several of these factors between 2 or more instruments, one's muscle patterns will have to change to adapt to those slight (or major) differences. Comments?
  7. Thank you, Bruce. You found some real gems there that i had missed.
  8. Nice explanation, wordless yet illustrative. I learned a bit about those essential circles of leather & card. Thanks, Mike
  9. That's some lovely woodworking and wood-finishing you did there. My eye was drawn to the graceful shape -- the curve -- of the handrests; maybe there's some ergonomic adaptation in the rests that fits them to the hand? Be that as it may, lovely work!
  10. Tho' one of my concertinas is a Jeffries, I can proudly and gladly say that it plays so well, sounds great, and functions beautifully thanks to an extensive overhaul that Colin performed on it about 25 years ago, including new bellows. It's a joy to play and really easy to to get good music from. Would that instrument count as a Dipper" or is it merely "restored by..."?
  11. One additional observation, this time about the handrests. The photo shows (indistinctly) but a small portion of the R hand handrest beneath the strap, which looks to me as if it's made of (maybe perforated?) metal -- rather than the same wood as that seen in the frame of the instrument. If that's so, then I think that's mighty unusual for a Jones, yes?
  12. I concur with Jake's observations and conclusion, based on comparison with a 34-buttom metal ended Jones with which I am acquainted. The presence of 2 very small screws on each of the flat sides is virtually identical to the one I know, as is the patterning of the metal fretwork. Can we call it "fretwork" if it's in metal? not sure.
  13. Hi, Jim: That's a really nice, interesting arrangement. You've done a lovely job of sustaining the very slow crescendo while at the same time gradually increasing the complexity of the ornamentation and harmonisation. I particularly like the feel that comes across thanks to ornaments on the downbeats; it would have been easier & simpler -- less interesting, however -- to steal the fractional bits of time for ornaments from preceding notes just prior to the downbeats, but you didn't. Nice sense of ensemble there, too. Craig
  14. Hey, cool, Jody and thank you for the note. Now you've really aroused my curiosity to see the film character "translation" -- or is it transposition?
  15. There's a book about the evolution and history of the many approaches to tuning -- not specific to concertinas, admittedly. It's called "Temperament" by Stuart Isacoff, Alfred A. Knopf, NY, 2001. Yes, it goes into great detail about the many ways that musicians dealt with tuning over the centuries -- philosophical, practical, aesthetic, mathematical, and so forth. Can be rather heavy reading, tho' it does cover a lot of the ground discussed above.
  16. How timely -- for me, at least. I'm negotiating with a leatherworker right now for a case to fit my Jones anglo, so I have referred him to your case as a model to follow or copy. Thanks a lot; It's really nice, handsome, functional, possessed aof a certain -- what shall I call it? panache? I like it, particularly the side-mounted handle. Side-mounted rather than top-mounted.
  17. Bravo. The Molique piece does indeed sound very challenging, and musically sophisticated. Nice job, Wim.
  18. With abject apology for any offense committed against the intricate rules of this game, I venture to comment as a novice player. I draw on my long-unused knowledge of London arcana to call for a ruling on one player's use of a move to Balham. Noting the reference to the famous travelogue [pace, Peter Sellers], and being a somewhat rule-obsessed person, I thought it appropriate to to double check his reference. Voila!! The proper name of the place is "Balham - Gateway to the South." The first sentence of the travelogue is, ipso facto, a confirmation of its location outside the London Underground system, viz. "We enter Balham through the verdant grasslands of Battersea Park." It is thus obvious that one may enter Balham via -- and only via -- the grasslands, not via The Tube. This move is de facto suspect if not downright illegitimate.
  19. JoshWoodward once sang a song called "The Last Slice of Pecan Pie." http://www.joshwoodward.com/song/thelastsliceofpecanpie
  20. Found another one: Pecan pie: http://www.lyrster.com/come-back/Pecan-pie-song-lyrics/www.lyricshuddle.com/g/golden-smog/pecan-pie.html
  21. How about "Shoo Fly Pie"? See: http://www.metrolyrics.com/shoo-fly-pie-and-apple-pan-dowdy-lyrics-dinah-shore.html It was once sung by Ella Fitzgerald, amongst others.
  22. That's a handsome instrument. Maybe just a bit of an eyecatcher, too.
  23. Thank you, Don. For those of us who take tunes from other instruments (tunes not always written or played in concertina-friendly keys for C/G anglo, for instance), this looks to be very useful.
  24. Thanks for the mention of possible notes for LH "drone" button -- particularly its use as an "F" push. I never thought of that, tho' I can visualise and hear some possibilities immediately. I've got 1 (or in some cases 2) LH drone button on my Jones C/G and find I rarely use the C push.
  25. Nice job! I note some good corner protectors there, too.
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