Jump to content

CZ in AZ

Members
  • Content Count

    43
  • Joined

  • Last visited

About CZ in AZ

  • Rank
    Advanced Member
  • Birthday 05/29/1962

Contact Methods

  • Website URL
    http://dancetosteam.com

Profile Information

  • Gender
    Female
  • Interests
    You mean besides concertina ??? I play bodhrán and other percussion, sing and clog in contradance band, STEAM, and in duo, Púca. I am also a long time contradance caller and a Walnut Valley Festival, Carp Camp regular! I work at University of Arizona as the Program Director for the Water, Environmental, and Energy Solutions Initiative.
  • Location
    Tucson Arizona

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Hi all..... I have been researching this and building on David M.'s post in the previous thread. After learning more about sound waves and how they propagate, here is my summary explanation. Enjoy! String instruments resonate in a chamber, so their near volume is a sum of coalescing, reflecting, and circulating sound waves, some of which translate into propagating far-field waves. These larger sound-producing units (violins, guitars, bass, etc.) behave as extended sources, and thus produce more near-field power relative to their far-field signal. A small free-reed emits waves more like a perfect point-like source, and the output radiates into the far-field, like a pure dipole source. Although the concertina and accordion do have overtones and do not create a perfect sine wave, the overtones are produced from the reed, not by resonating in a chamber. Likewise, other far-carrying instruments, banjo, and fife, are more like a point-source, penetrating cleanly into the far-field. When close to a sound-emitting object, the sound waves behave in a much more complex fashion, and there is no fixed relationship between pressure and distance. Very close to the source, the sound energy circulates back and forth with the vibrating surface of the source, never escaping or propagating away. These are sometimes called “evanescent” waves. As we move out away from the source, some of the sound continues to circulate, and some propagates away from the object. This transition from circulating to propagating continues in an unpredictable fashion until we reach the threshold distance of 2 wavelengths, where the sound field strictly propagates (the far-field.) This mix of circulating and propagating waves means that there is no fixed relationship between distance and sound pressure in the near field, and making measurements with a single microphone can be troublesome and unrepeatable. Typically, measuring in the near field requires the use of more than one microphone in order to accurately capture the energy borne by the circulating and propagating waves. Note that the wavelengths involved are in this range: lowest note on a bass (E) = 27 feet; lowest note on a guitar (E) =13.5 feet; lowest note on fiddle (G) = 5.6 feet; middle C = 4 feet; and 440 A = 2.5 feet. So in a jam, everyone is in the near field regime for those that are close to them, but it depends on the note and the volume of the instrument whether you are in the near-field for those sitting across the jam, particularly if the circle is more than 8-10 feet across. If you are outside the jam, more like 20 feet, you are still within the near-field for the bass, but probably not for other instruments.... for them, you are just hearing the sound that is making it into the far-field. The directionality of the instrument does not make a difference in the far-field, but it can strongly affect the near-field.
  2. Hey everyone - particularly those versed in the physics of sound. I play in a lot of music jams, some of which are outside in festival settings. On occasion, I have been told by those walking nearby, that all they can hear is the concertina until they get close enough that the fiddles, banjos, guitars, bass, etc fills in the sound. Inside the jam, the concertina is pretty well balanced with the other instruments and no complaints. I experienced this myself at a recent festival where I heard a cajun accordion playing, and as I weaved my way through the cars and RVs to get to it, I started to hear all the other instruments. I assume this is the same phenomenon. At some sessions, particularly if it is a large room, the concertina seems louder in comparison to the other instruments the farther you get from the musicians. Why is this? One of my friends suggested that the string instruments depend on a resonating chamber to make the sound. As a result, the sound is more diffuse at its origin and therefore attenuates more quickly. In contrast, a reed instrument has air pushed through a very small opening and thus the sound is actually more concentrated at its source and travels farther. Another person suggested that reeds produce fewer overtones. The clear central tone travels farther, but it is not necessarily louder to players that are right next to you. I don't know enough about the physics of sound to know why this happens, but I sure would like a simple explanation. Has anyone else experienced this and do you know why it happens? Looking forward to hearing about your ideas and experiences! Claire
  3. CZ in AZ

    C/G Edgley for Sale

    Hi all, I decided to keep the Edgley for a few more years. Does anyone else head out from work at lunch to play concertina? I do and this is my lunch concertina It really is such a lovely instrument. All the best, Claire
  4. CZ in AZ

    C/G Edgley for Sale

    Hi BMD, Yes, I could sell it. Please email me to discuss this further. clairezu247@gmail.com. Thanks! Claire
  5. CZ in AZ

    C/G Edgley for Sale

    Yes it is. I have a potential buyer locally and she is using it this week. If you are interested, I should be able to get an answer back from her in a week or so. Claire
  6. CZ in AZ

    Outch - sore pinky finger and swollen joint

    Thanks to all for your thoughtful replies. It is helpful to hear your ideas. I go to the doctor tomorrow and hopefully will move a bit farther toward figuring this out. I am not sure what movement I am making with my pinky other than just playing, but I do think it is related to playing tunes that feature a lot of fingering on the low end of the instrument. As I study my playing, I also think that I lack control in my pinky and ring finger and so tend to pounce (snap down) on the buttons rather than gently depress them. I am working on that aspect. I have an ongoing issue with being too far from the buttons, in general, so it is probably related to that. Yet another thing to think about. It is probably not helpful that I type at work and then practice more than an hour at home most days. I will keep you posted, Claire
  7. CZ in AZ

    C/G Edgley for Sale

    Yes it is!
  8. Hi all, I play a C/G anglo and many of the tunes I enjoy are active in the lower part of the left hand. My pinky, on the left, has been getting progressively more sore over the past 6 months and while I am pretty sure it is some sort of repetitive stress, I am not sure what to do about it. FYI, I regularly stretch the pinky and hand, but this does not seem to affect the aching or progressive nature of the symptoms. The main symptom is that it is very stiff, i.e. when I bend the finger it feels like the tendons/muscles are having to stretch and it does not loosen much after playing. Also, the middle joint is sore and somewhat enlarged (swollen?). This has become somewhat chronic so that it aches much of the time and more when I type - not good! Perhaps I should go to a hand specialist or physical therapy or take glucosamine or ibuprofen? More or different stretching? I have tried playing with my pinky more bent rather than semi-straight, but that does not seem to help and it needs to be somewhat straight to reach the A/B button on the inside row. Any thoughts or suggestions would be most welcome. Thank you! Claire
  9. CZ in AZ

    C/G Edgley for Sale

    For Sale: Edgley C/G concertina - great condition. Asking price $2100 (not including shipping). It has a modified Jeffries layout, 30 button, with C#s on the draw and press top inside right button and also on the press on the next button. It is in great condition and was fully refurbished by the button box about 4 years ago. It has not been played very much in the last couple of years because I have another instrument. It is a hybrid model, meaning that it is a high-quality concertinas made using Italian accordion-style reeds. The sound is really lovely and it plays very easily - no bellows leaks at all. It is number 286 as you can see in the pictures. It comes with a hard case, which was originally for another concertina. FYI, I am located in the western U.S. Thanks, Claire
  10. CZ in AZ

    Stolen C/g Edgley Concertina

    Dear all, The most amazing thing happened - my concertina was returned! I want you to know that this listserve is the way that the person found me, so if this happens to you, I highly recommend posting on this site. Thank you for all your support! Claire
  11. CZ in AZ

    Stolen C/g Edgley Concertina

    It is a professional model (hybrid). The serial number is 286. Thank you so much for keeping an eye out for it. I have no idea if it will re-surface or not, but one can always hope. I am so pained by the thought that it is in the garbage somewhere. I think I will call all the Phoenix music stores next. I tried the local pawn shops as well, but no luck. It is really nice just to know you all are out there on the look. Claire
  12. CZ in AZ

    Stolen C/g Edgley Concertina

    Hi everyone, I am very sad to report that my Edgley C/G concertina has been stolen. I have filed a police report and called all the local Tucson shops. I am checking ebay regularly, but is there anything else I can do? This was my spare concertina, since I got my Carrol, so I did not play it all that frequently, but I still loved it and am really really sad about it. If you see this instrument, please let me know? It was a Wheatstone layout, modified to have C#'s as followed (rt outside row) Push/Pull: C#/C# C#/D# G#/G high-C#/high-D# high-A/high-F Thank you for any ideas on how to look for it! Claire (520)-869-8553, clairezu247@gmail.com
  13. CZ in AZ

    Any Skype Teachers? Anglo

    I have been taking from Flo over skype for a couple of years and she is great. I also took a lesson from her in person when I had only been playing a month - and she was really a good teacher for both levels. She definitely teaches the Irish style. She is clear in her instruction and has an amazing ear, even over skype, to catch little stylistic bad habits. If you are looking to eventually include ornaments, octave playing, chords, etc, she will definitely get you off on the right foot. Best of luck and have a blast!
  14. CZ in AZ

    Practice Or Learning Suggestions

    I agree with all the advice here about playing at the tempo that suites you and building up using a metronome or amazing slow downer or similar app. And I agree with Al about trying different pathways to play the tunes to increase speed. However, I want to bring up the topic of muscle memory for moving really really fast and the value of just moving your fingers that fast. I just got back from my weekly foray to Winfield Kansas, where I play in a giant jam of 60+ musicians, playing a great variety of tunes (all keys) at top speeds. With that many musicians, an occasional wrong note is completely unheard because everyone is filtering to hear the right notes. I have been playing these tunes for years on the drum and more recently the concertina, so they are firmly in my brain, which greatly helps. Playing in this setting can free you up to work out the structure of the tune, if you do not know it, and then to fill in the fancier bits. If you know the tune, it allows you to play it at high speeds, but to also step back to the gestalt of the flow for each phrase and really work to hit the timing of the tune. Early on, before I knew any of the tunes, I would merely move my fingers that fast without making a sound, just to get the feel of fast movement on the instrument. I think this has a lot of intrinsic value - just moving that fast, stepping back to the overall patterns and ingraining them, hitting the emphasis notes harder than the rest (dynamic practice). This may not transfer into your solo playing right away, but it is practice for your future self and it makes your fingers nimble and your brain step back from the minutia. I have rarely heard this type of practice mentioned here on the list, probably because we all want to play better in a solo or small session setting. However, I have found it to be immensely useful and satisfying. So if you have the opportunity to play this way, I highly recommend it... in general I think we don't let ourselves freely flow with the music nearly enough. Claire
  15. CZ in AZ

    Report From Clifftop 2016

    Hey Jody, My band STEAM is playing the NYC contradances December 9 and 10, but we won't be there for a Monday night. I don't play a lot of concertina with STEAM, mostly percussion, but we always like to jam afterwards and will be around that neck of the woods all day on the 10th. PM me if you think something could work out - how cool would that be! Have you ever considered coming to Winfield Kansas and join in the Carp Camp frivolities (Sept 14-18 for the festival, but much before that for the constant jam scene). What a blast it would be to have you there! Claire
×