RAc

https://www.concertina.net/forums/index.php?/topic/15386-spring-making/ https://www.concertina.net/forums/index.php?/topic/21321-spring-winder-from-a-film-reel-rewind/&tab=comments#comment-197820 https://www.concertina.net/forums/index.php?/topic/21438-spring-winder-2/&tab=comments#comment-198747

Hi Kelteglow, it's always the same answer to all like questions: Musicianship is a combination of many skills that are frequently independent of each other, sometimes contradicting. Leading a tune (in its simplest form, barring feedback incorporation) is the closest to playing the tune in the familiar comfort zone of your home, although you'll find that once you start listening to what the session group does with (or, less desireable, against) your lead, you'll find it as hard as following. Playing against distractions is the first level of added difficulty on top of simply rendering the tune. It's a different skill and must be practiced separately. And since we're all individuals, everybody enters the ring with individual difficulties. I feel uncomfortable leading a tune (always fearing that nobody else joins in so I'll need to terminate my solo as quick and graceful as possible), but once others have picked up and joined in, it's exactly the same to me as joining into something others have started (except that I'm expected to call changes and out in that set). A lot depends on the dynamics of the session. In smaller and more intimate groups, the person who started tends to be the expected front person, so the leader role is more active but likewise carries more responsibility. In bigger groups, what generally happens is that once the set has taken off, it gets a life of its own, so you're practically not a leader anymore. Does that make sense?

Hi Prisca, I don't think in a niche market like concertinas, builders of high quality instruments would remain unnoticed for extended periods of time, in particular if they sell below market value. 4000 EUR should get you pretty far on your way, you may even want to consider having a new instrument built for you. You can try Alex Holden, he's very good in figuring out what you want and will custom build pretty much anything you ask for. His waiting list is filling up though, so patience is the key. A trip from anywhere Italy to Burnley is both affordable and worthwhile (barring, of course, unpredictable Brexit developments).

I don't see the logic in this contri. Are you saying that those who can be reasonably certain that they are not currently infected should not take a risk but those who may (or not) have contracted the disease might as well take the risk? Which risk exactly? What side are you arguing from? The side of the one whose biggest fear is getting infected himself or the one who is concerned about being unknowingly infected and thus in danger of infecting others? While there is still a number of things we do NOT know about the virus, there are a number of things we DO know about its pandemic behavior, for example that with the symptomatic cases, the average turnover between becoming infected and showing symptoms is around 6 days. Another thing that appears to be well confirmed is that the highest virulence of infected people is directly before the symptoms show; afterwards, even in complicated cases the contagiousness approximates 0, at least as far as droplet and aerosole infection is concerned. Thus, anyone who has been in some form of quarantine (either explicitly prescribed or determined by lifestyle/personal situation etc) for around at least a week is very unlikely to actively infect others around him/her unknowingly EVEN IN THE CASE OF AN ASYMPTOMATIC RUN. Likewise, anyone insecure about whether recent activity in public may have infected him/her has the option of another week in seclusion to be reasonably certain of not infecting others. To me, the concern about being a part in the infection chain much outweighs the fear of getting infected myself, even though I officially count as an enhanced risk case. I have already answered Randy in private about what choice I would make in his situation based on similar reasonings, but the point I want to make here is that we must be careful what point of view to argue from. Looking at the demoscopic distribution of forum members, I believe that most of us (being members of the older generation in fairly set and stable environments) live in circumstances that make us little susceptible of contracting the virus ourselves (except maybe for those who are professional musicians and thus spend extended times in poorly aired crowded venues which are prime Corona distribution centers). There is almost no evidence that everyday social activities such as shopping in supermarkets or walking in the streets are exceptionally dangerous in terms of contracting the virus. The only reason why I am somewhat weary about public activities is that I am concerned about infecting others, but again, if there is reason to believe that I may have become infected, I am reasonably confident that it takes not more than a week of extra caution to exclude that danger after such activities. Knowing the distribution patterns of the virus helps a lot in maintaining a good balance between leading an everyday life and taking the responsibility for oneself AND for others in pandemic times. BTW, here is sad news for those "of good stock:" TOO good an immune system may be counterproductive in fighting the infection (https://en.wikipedia.org/wiki/Cytokine_storm)...

I'm currently experimenting with early 20th century American music on the Crane. I came across a Swing Standard and gave it a shot, employing all the active instruments in my possession. The result somewhat surprised me. It's here: Stomping at the Savoy As usual, thanks for listening!

Admittedly, it's somehwat buried: Anyways, the experience of completly forgetting something is familiar to all of us who have passed a certain age, I'm afraid. What again was the question? Enjoy!

Hi Don, I believe I already pointed you to it two years ago or so - you'll find it here: Maybe the admins would want to pin this as it's one of the most valuable resources to be found regarding Crane playing?

Hi Don, is your question about melody intervals or chords? The golden rule is to NOT hop unless the melody tolerates staccato effects. We've discussed Kurt Braun's invaluable tutorial on inner and outer positions several times here. Beginning from one of the two positions, you look for a finger you can tuck below or above the current note which will change positions from inner to outer or vice versa. So stacking is the most common technique to overcome the Crane fourth plight. On the left hand (or both if you use the right to play chords), the Crane layout turns from a curse to a blessing as you can simply flatten a finger to play the two notes simultaneously which will yield a power chord.

Hi everybody, I hope this doesn't qualify as threadjacking, but I'd like to re-use this thread to point to one of my Crane duet (not anglo) recordings: Smokey Mokes This is a cakewalk, a predecessor of ragtime. Played on my Holden#3 45 button Crane duet. Most non-piano recordings of this piece leave out the trio. I believe this is because it was made popular by Ton van Bergeijks's rendition on his classic "famous ragtime guitar solos" album in which he omits the trio. It does fit pretty well on the Crane, though. As usual, thanks for listening!

Whatever. Music is for the ear, not for the eye, and any notation system is just like any attempt to describe food with words. I understand that you, Lukasz, are a very accomplished instrumentalist, so if that system got you to where you are... great, congrats! If your explorations help others to find their personal key to unlock music for themselves, perfect!

I hope it isn't him because the seller writes "A developing hand condition means I can no longer comfortably play." Needless to say, it's a terrible thing to happen to anybody...

well, maybe. Then again: there are also many arguments in favor of all of the other layouts. I tend to get more and more weary about comparing layouts. There is no such thing as "the universal perfect" instrument. If there was, there'd be no other layout, period. It's more important to get started on any system than spending hours and hours discussing back and forth the respective pros and cons. I do feel comfortable with the Crane right now, but if I had started on another system, I'd most probably be as proficient (or unproficient, doesn't matter how you look at it) on that system as I am on the Crane now. The usual piece of advice if you're insecure is this: Print out each layout in +-1:1 size on regular copier paper and do some "air playing" on that paper. It'll give you a rough idea of what your brain will expect when it comes to the "real thing." Then purchase an instrument with the layout that appeals the most to you. If it still doesn't feel right for you, it isn't. Any reputable dealer will give you an option to exchange the instrument for something else with bearable loss.

Great, thanks, John, a very useful chart indeed! One addition: Transposing a tune on the Crane a Fourth up (one row up) or a fifth down (one row down) is a very useful and enlightening exercise and comes fairly easy as long as one remembers that *exactly one finger* moves from an inward to an outward column (or vice versa) in that process. That follows inevitably from the circle of fifths and (in my interpretation) paraphrases what Lucasz wrote earlier: Music theory coming alive.

Good idea, Don! On my Wheatstone Crane I had Dave Robertson mount a slightly longer button in middle D position at reg maintenance, and on my Holden Crane I had Alex mount one with a slightly roughened texture at the same position (Cranes have a similar issue as Haydens, just 90° rotated). So haptically enhancing the keyboard to locate your home position manually is a good idea, and there are many ways to skin a cat. Yours is pretty nifty, congrats!