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Anglo Enthusiast

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Everything posted by Anglo Enthusiast

  1. Here is a recent youtube clip of Bertram performing Bull At the Wagon on banjo with the sensationally talented Round Peak fiddler Kirk Sutphin- http://www.youtube.com/watch?v=bkElwIbRCV0
  2. http://www.concertinaconnection.com/rochelle%20anglo.htm
  3. Very interesting. Thanks for sharing, Jim, and well played.
  4. Excellent work. I enjoy the sonic intertwining of the concertina and cello. The vast body of traditional Swedish music is a veritable treasure trove, no? Andy.
  5. "I would LURVE..." I know an ANNIE HALL reference when I read one!
  6. "Bird of a different feather"-very well punned, my dear Fearfeasog. I think you are ready to take on more responsibility within the forum (as opposed to firm). I am hereby promoting you from "Advanced Member" to "Chatty Concertinist." At the rate you are advancing, I shouldn't be surprised to see you performing monologues in verse on youtube beside our beloved "Inteluctable Opinion maker" Alan Day in a few months.
  7. Nice work, Ondrej. I've never heard traditional Czech music played on a concertina. I'm encouraged by your impulse to employ the concertina in the service of exploring musical territory not usually associated with the instrument (the old-time spiritual, these 2 Czech tunes). When your skills have fully developed and you've had time to build up an expansive repetoire, I predict that you will have a vital contribution to offer to the world of the anglo concertina. Keep up the good work! Andy.
  8. Hi Tom. The instrument sounds great and as always I enjoyed your playing immensely. Good luck selling the County Clare. Andy.
  9. Nice job, Ondrej. I like the idea of exploring old-time spirituals on the anglo, something I plan on doing myself eventually. Where did you find "Michael, Row the Boat Ashore?" Andy.
  10. >>>>I walked past a pub earlier, its been there since 1521 and its now closed and empty.<<<< That is really a shame. Similar things have happened here in Minneapolis (though for different reasons). Can't help thinking of the character Sabina in THE UNBEARABLE LIGHTNESS OF BEING who, at one point, declares that "the only beauty that's left in the world is beauty that has been overlooked by its persecutors." Perhaps an overstatement, but one that resonates nonetheless. Andy.
  11. It does appear, as you point out, that she is alternating bellows directions in quick suuccession for the triplets rather than playing cross row. As I've discovered in some of the threads on the discussion forum, the issue of whether or not to cross rows in Irish music is extremely contravertial among concertinists and I don't wish to open any can of worms just here. I will merely confine myself to stating that I think both cross-row and along-the-row are valid approaches depending on the particular occasion and/or intention. In this particular instance,it might not hurt to experiment with playing those triplets in 1 bellows direction and see how it comes out. If you take care to articulate each individual note in relation to the others that comprise the entire phrase, you need not sacrifice any of the life, or rhythm in the triplet by playing it in a fluid, uni-directional fashion. Just my opinion of course-I certainly wouldn't die for it, but there it is. Ella Mae appears to function in a mostly along-the-row fashion and likes playing in octaves, a common trait, I am led to believe, among the early anglo concertinists. Tom Lawrence, a talented contemporary concertinist based out of Seattle, has invested much time in studying this old-fashioned approach to Traditional Irish music on the ac and offers lessons devoted to fostering this technique (this is merely one of the advanced techniques mentioned on his website). I am looking forward to getting my hands on the House Dance cdrom, where Ella Mae is one of the players examined. Andy.
  12. For those interested, here is a video of one of the old House Dance concertinists from Ireland, Ella Mae O'Dwyer. She is one of the players featured in Dan Worrall's House Dance cdrom which I recently ordered (and should be receiving some time this week). Notice how she uses her index finger rather than her thumb to press the air button-very peculiar. http://www.youtube.com/watch?v=pPDM-2seKpA
  13. Good eye, David. Mr. Tedrow almost succeeded in diverting our attention away from the lucky dime he has stashed away under the seemingly innocuous pliers in an effort to gain our sympathy-the sneaky guy!
  14. Extra credit goes to jdms for contributing a play-on-words to the proceedings. A post after my own heart.
  15. Ken, that is indeed quite a haul-well done! You are in for a paradigm-altering experience with Bertram's new tutor. Absolutely vital stuff which, once internalized, you will be able to take with you in just about any musical direction your heart desires. Best of luck in your journey and let us know how it goes. Andy.
  16. Bob, I counted a quarter, a nickel, and five pennies laying on the table in the first photo (where the instrument was still in its bellowless infancy). I hope that is not all you have to show for your various concertina endeavors.
  17. That is a very nice review indeed, Dan-must be gratifying to get the positive feedback. Andy Turner's review on the site is pretty spectacular. As I mentioned on the PM I sent you, I just ordered the CDrom a few days ago and am excited to have the opportunity to access so many rare recordings of the stylistic origins of the anglo. I will definitely share my response to the digital book on this forum after it arrives and I have had ample time to digest it. Andy.
  18. Bob, that icon of you just keeps on a'strummin' the uke-it must be a distant cousin of the energizer bunny.
  19. Congratulations!Looks like a real breakthrough and is well-deserved. I'm still listening to THE BELLOW AND THE BOW constantly. Like SAGEFLOWER SUITE, FIRST GENERATION, and THAT OLD GUT FEELING it is a timeless achievement and is just as miraculous upon repeated listenings as the initial experience of discovery. Andy.
  20. I hasten to add that I do differ (respectfully, of course) with Dave on one small but important point: Idon't think "fast and rhythmic" and "more melodic" need be mutually exclusive propositions. Andy.
  21. I play an anglo system and love it. Once you learn to navigate the constant back-and-forth dance of inhabiting both realms (the note layout on the in/open vs out/close) simultaneaously, interweaving them or deliberately contrasting them, depending on what suits the particular occasion best, there is a whole world of harmonic and phrasing possibilities at your disposal (I find this to be true even when playing in keys that might be considered esoteric). Having said that, I appreciate Dave E's comments and share his conviction that whether the particular system you are considering is widely associated with any particular genre (in this case Irish traditional music)or not shouldn't be one's guiding principle. I've heard Irish music performed by English Concertina players such as Mark Gilston or Rachel Hall of the SIMPLE GIFTS ensemble, and find it to be a most welcome breath of fresh air. It's ironic, but the fact that the anglo system is so deeply ingrained in Irish music can actually become a liability, as the focus shifts from the music to the instrument itself-rather like putting the cart before the horse, or mistaking the means for the end. Bertram Levy once remarked that the aim of a musician is to play MUSIC, not the INSTRUMENT. Whether one is approaching traditional Irish music from the perspective of an anglo, English, or Duet system, the character or spirit of the music should dictate one's style. Otherwise, one will almost invariably resort to recycling a host of stale, predictable, uninspired cliches. One final note, if you are leaning towards the English system, you should be aware that Alistair Anderson, a master of that system, has just put out an instructional DVD which I've seen on the Button Box website, though probably it is available elsewhere as well. Andy.
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