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    Alabama, USA

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  1. RickC

    Jackie for Sale

    Thanks guys, I'm just now seeing this. Wow. Yeah, I guess I'll just keep it stateside-- and am very glad we don't have VAT. Rick
  2. I just received an email in reply from Wim Wakker that the Peacock "should be available in about six months". So that's that, I reckon. Rick
  3. Heh heh heh... I'll use that when the time is right. I've actually been avoiding using the finger plate as much as possible( especially on the right, it just bugs me), and have thought about just removing them and seeing how it goes.
  4. Yep, I'm seeing that on page 13, the paragraph just before the excercise at the bottom of the page. Oh well, I can't do it anyway! Rick
  5. Many thanks, Jim, Ransom- I had hoped this was just a fingering convention to get a new player started and when "real" playing started there'd be a better way to do it. I appreciate the advice. Wakkers' direction to slide the finger from one button to another rather than picking it up and putting it back down makes sense and I'm used to sliding to the outside row on box, but I haven't found a way to make that work on the Jackie, especially when trying to slide to a higher note. Today makes a grand total of 6 days I've been at this instrument so far, so everything about this is new except for reading music. I'm sure I'll bother y'all again later about something else. Thanks again, Rick
  6. Since I already play C#/D box and mandolin and have long considered the Anglo C/G fingering kabbalah something that would better suit me as a spectator sport, I broke down last week and bought a little Jackie English from Bob Tedrow. At the moment I have no great expectations from myself on this instrument, I just want to see what I can do with it. I'm working through the Wakker tutor as well as the Butler book and seem to be doing OK as long as I play slowly. But here's my question: If you have to use the first finger to play both D and A on right side and the second finger on the left to play E and B (for example, any such interval), that would seem to be a huge impediment to working up any speed on the instrument. At this point it's not because I'm only playing excercises and beginner tunes from the books-- but how do you deal with this down the road a bit? In the tunes I'm used to playing, those two intervals are very common, and there has to be a less clumsy way to manage them. Maybe this is a dumb question, but this is bothering me. Many thanks, Rick (And yes, I'll continue to be no help at all to my friend Paige who plays Anglo...)
  7. Many thanks David, I just sent her the link to this discussion. Really nice playing there, and I like the A part of Woman of the House particularly, might steal that Thanks for the clarification on the non-disclosure thing, I've been scratching my head over that. And I do stand corrected on what I said earlier about Edel Fox's phrasing-- I was going strictly from my own memory of playing in sessions with her in NY a few years back. In the most recent clip of her playing from a performance of last week, she sounds an awful lot like Noel Hill! Ah, what do box players know, eh? I have suggested Hill's Kentucky school since that's only about 4-5 hours from here (Birmingham, AL), and that's a possibility for her. One of these days I may lose my mind entirely and take up this twisted path for myself (Bob Tedrow's shop is 15 minutes from my house), but for the moment I have my hands full! Thanks again, David! Cheers, Rick
  8. Hey Paddy, I'm afraid I'm not much help for you finding a new 30 button, but I'm glad you're returning to the instrument. I was saddened when you decided to lay it down, but you were pursuing important things so it's all good. Seeing you here jogged my memory and prompted me to look for an old tape I thought I had, and I found it-- you (on concertina) and Tim Britton playing a few tunes, and I think that was recorded in a hotel room session in Dallas around 1999 or 2000, I'm not sure (all I wrote on the label was "P. League/T. Britton"). If you like I can put those tunes on mp3 and send those to you. Fine playing. Come see us in Alabama, we'll leave the back door unlocked for you! Rick (still not cleaving righteous flesh)
  9. No takers? Interesting. She told me this morning she used Mick Bramich's book to learn the basics, if that has any bearing.
  10. Apologies if this has been discussed to death already, but I did do a search and didn't find what I was looking for. First off, I don't play concertina-- C#/D box and mandolin/banjo-- BUT a friend who plays a very nice Tedrow C/G comes over from time to time to work on tunes-- I hesitate to call them "lessons" (though she does) because all I do is go over tunes with her and occasionally make suggestions such as, "You may want to try a roll on the high G there"-- something along those lines. In fact, we have a "lesson" tonight. NOW- she's doing very well, and has started asking questions (very good questions) about ornamentation particular to the concertina. While I appreciate her faith in me, I have explained that I'm not much help there since I don't freakin' play the thing and have suggested more than once that she is at the stage in her playing where she would benefit greatly from attending a summer school. So far as I know, she's taught herself from books and I don't know which one-- and she has mentioned possibly going to a Noel Hill school, which I think is a great idea. BUT-- from talking to some who have gone I know what's in store for those who play on the home rows, and from reading posts here I gather that's what John Williams teaches in his concertina tutor (I started off with John's accordion video, then of course bolloxed it all up by switching to D box...). Here's my question: Which (if any) of the tutors out there teach fingering that is at least close to some of the things Noel teaches? I read about the non-disclosure forms, right... Again, I totally acknowlege my inadequacy as a concertina teacher, that was never my aim (she originally took mandolin lessons from me)-- I'd just like to be able to point her in the right direction and spare her some of the discouragement that many face when they get to the Noel Hill system. Irish music can be discouraging enough already without finding out everything you know is wrong! I haven't totally ruled out concertina for myself some day-- maybe when I retire.... She was blown away by some session recordings I sent her of Edel Fox from East Durham a few years back. I really don't know whether she uses the same fingerings as Noel, her phrasing doesn't sound the same but I don't imagine too many players would be disappointed to be able to play like her! Thanks folks, Rick
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