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Raide Brest

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About Raide Brest

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  • Birthday 09/01/1954

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    Diatonic accordions, melodeons, concertina in Irish style
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  1. Ouch!!! that makes £4130 GBP... Sorry, it's a little too much for me... RB
  2. My cat doesn't bear the concertina sound, I guess it has something to do with free reeds as she doesn't bear melodeon either... The musician quality can be suspected in the case of the concertina but not in the melodeon case.... So I definitely think its' due to vibes and reeds as she doesn't bear oboe and bagpipes either... RB
  3. Hi Doug and thanks for contributing, with Matthieu we started from Simon Wells notation too, as a Tabledit user you can have a full anglo concertina support since version 2.69-e6 and the current demo version if you are not a registered user. You may edit the basic layout used in "diato_Reder.dat" and to see the keyboard click "Display" and tick "Fingerboard" I re-wrote your score in "along the row" style you used and re-wrote it in "cross-row" style I prefer (see the .TEF in the attachment below) there are already some tablatures on Freetabs, feel free to add some Have a nice day and keep on!! RB Irish washerwoman.zip
  4. Hi John, thanks for depicting your way to progress. In what you call "something that flows and feels right" do you pay any attention to "chopping" for instance or do you go straight ahead without taking care of basic fingerings techniques? ("Chopping is when you use the same finger to hit two buttons one after the other" definition by David Levine) Have a nice day! RB
  5. Hiya Zeke and thanks for contributing, of course you are luckier than me as you have a teacher helping you, and that's a big difference... you say to have no problem to refer to buttons by notes but how do you define the best way to play a scale? Does your teacher give you the fingerings or do you have to find them by yourself? For instance how many ways to play a scale of G do you know and how many do you practice? There is a very interesting thread initiated by Alan Day about the "all on the push" and "all on the pull" scales... How do you deal with the F# in the scale of D? or the C# in the same scale as it's not always pulled on many concertinas? Don't you think it would be easier to have (for free) some sheet or a file giving you these examples and letting you practising them quietly in front of the screen? I don't say staying stuck to the score, but at least, during the learning stage, having a visual support? Have a nice day! (it's early sunny morning over here!! ) RB
  6. Thanks for the answer John, I was asking that because it happened to me when playing the concertina at the very first beginning, and I had totally forgotten that problem... I had it with the melodeon too when I started but I had "un-linked" that quite quickly and forgot it... Then, being in the same early learning position, it showed up again, I don't think it has anything to do with mouth-organ practice because I noticed it with people never having played one, but more likely with the mental concentration one put in the approach of the instrument. As I wrote earlier, even if the principle is the same they really are different and it's a whole new set of reflexes and reactions which has to be integrated again. I'm amazed it doesn't rub off on the playing of the other instrument, when I take an accordion I find back all my usual automatisms and the same with the concertina... Strange but reassuring... Have a good day! RB
  7. Hi to you all, Exactly Geoff, and that's really interesting for me... John, it was a misunderstanding from me, I follow your explanation and it makes sense too, thanks for adding these precisions... Jim, we can't really say it was great success!! but accordinas are still built nowadays... That's exactly my case and my approach. For different reasons, including culture, musical background, age, friends musicians and so on, I'm more inclined to play Irish music and Irish style, cross-row technique seems obvious to me as I already use it on melodeon... That maybe right for a real beginner, but for someone already playing a button accordion, having solved the problem of the right and left hands coordination and having a slight idea of the structure of the keyboards (and of the strength of his fingers ) Cross-row playing is obvious... well, just IMHO... Howard, I must say I'm lucky enough to know TablEdit developer quite well as I already worked with him when he adapted the program to melodeons, I don't use tabs to play tunes, but it's a wonderful archiving tool as it shows the score and the tablature, it can be used by every musician... and to start learning an instrument it's very helpful too. I don't try to convince anyone that this system is better than another, but just show up it's working for me and if some reader of this board is confronted to the same problem than me, it will save him time and energy... The aim in the long term is to have a library of tunes presenting a technical progression from "easy" to "a little more complicated" there are some already online on FreeTabs website While we're on the beginners subject, do you know if there's the same breathing problems with concertina beginners than with melodeon beginners, IE linking of the breathing rhythm with the bellows moving??... Thank you all for the interest you show in this thread, it really helps... G'Night. RB
  8. Hi John and thank you for developing your system which is very interesting... I'm sorry but 36 years of pushing and drawing on my left arm definitely let traces in my brain, I'm even amazed I can realize that by myself!! The only problem is that there ain't no buttons on mouth-organs... Back to seriousness, your system is interesting because it's based on a totally different perception (understanding) of the instrument and of the player. First what I'll say will be linked only to the Anglo system, It's the only one I know... I really "see" that instrument with 2 tonalities and accidentals that's why my reflection started in that direction and after that I read some theory on cross-rows play (which I already practice with my melodeon playing... I know it annoys you, but it's a fact.. ) and all that took place naturally one finger per button and no "chop" between rows, the rules are the same for the melodeon hehehe... The flow of the play jumps from one side to the other without problem, and we try to mainly use the nimblest and strongest fingers of both hands... On the contrary your system is based on the perception of 2 hands working independently, (at least it's what I understood, but I may be wrong...) as if there was no relation between the left and the right side... Nope, I'm sorry but the system I use doesn't take the hands in account, it only shows the position of the keys (and the action on the bellows) the use of the fingers is the sole responsibility of the musician, and it applies to the melodeon too, fingerings are seldom imposed... From that point it's just a problem of convention The limit is that you don't have 10 fingers on a single hand So it seems more obvious to start counting on the left hand and go up to ten on the right one... (I'm kidding) All that discussion is really interesting, I don't tell I'm possessing the truth, I'm just describing a system which works perfectly for me and I try to enrich it with other experiences... Thank you all for participating to the debate... I attach one of the tunes I use for my training, it's simple and basic but it covers more than 1.5 octave and implies the use of 3 fingers on each hand, I guess it's a good start... ships in full sail concertina.pdf
  9. Hi to you all, I'm re-upping this topic as I worked with Jan Anders tunes lately on melodeon, especially on that funny chicken polka and I found there was an answer on concertina and Fretless banjo UTube link #2 Have fun, RB
  10. Thank you AP and MaryB, I found Henk page after I had set up my own system, that shows when we start from the same point with the same aim, it brings almost the same result (Henk explains his system on that topic) Of course if I had found it earlier it would have saved time and energy to me Mary, Alan Day and Peter Trimming pages are really interesting, mainly by the tunes they use, I even found a Breton dance in the middle of Alan's MP3 and just like for you, Eskin's slow tunes are still far too fast for me Thanks a lot to both of you, the adventure keeps on rolling! RB
  11. Hi Gary, Simon Wells numbering made sense to me as it follows the way we teach melodeon playing here, 1 for the lowest note up to 10 to the sharpest one in the same row and tonic note on 3rd, 6th and 9th pushed buttons, after all a concertina is an accordion keyboard cut in the middle and fit with bellows between the 2 halves hehehe!!! in that case you can make errors, with TablEdit it's nearly impossible as the numbers are directly related to the notes in the score, so when you read it (It reads the score using the midi synthetizer of the puter) you hear the mistake even before trying to play it... Of course it imports and reads .ABC and .MID files too... I totally agree with you, the playing process of traditional music has to be made by ear, that tool is useful to learn either the instrument or the tune, but the printed tablatures are not aimed to be read while playing it would be ridiculous and would kill all the pleasure of traditional music... It's a great tool to archive tunes too, my Breton music library counts more than 200 files... but only 10 easy ones I try to play on concertina... (try is the right word, I'm at ligt-years of "rolls" and "cuts" ) G'night RB
  12. Hi to you all, I'm an old diatonic accordionist who recently bought a Stagi Anglo (second hand) and who is trying to sort out a way to play a couple of tunes on it as I stupidly thought it was just an avatar of accordion LOL!!! In fact I'm realizing there's nothing common but reeds, and above all playing is totally different... In my town I'm alone to try to play concertina so I started looking around on the net and found concertutor by Simon Wells and when I read his "Button positions/names" paragraph it made sense to me as it's almost the same we use here in Brittany when teaching diatonic accordion... So I considered trying to set up a tablature system based on a mix of CADB system and Simon numbering I draw a scheme of my Stagi layout (see attachment) and remembered I had worked with Matthieu Leschemelle on TablEdit design for diatonic accordions years ago... I asked him if he could do the same for my concertina and we set up all that so TablEdit supports concertina layout now, even in the free viewer (TefView) and the demo version... I think it's a great tool to learn fingerings, I know it will never replace a teacher or a workshop but I have to start, alone, and for a beginner it's a great way... now we just have to set up a library of tunes in that format and share it... I already wrote some and if you are interested, just ask.. all of them are traditional... Searching on the forum I found that subject had been discussed years ago by hjcjones and Ceilidh Jock but for some reason they never asked to the developer... The second attachment is a screen capture of TablEdit with concertina keyboard below (forgive the poor quality)... One last thing, I don't want any incomprehension, I'm not advertising in any way for TablEdit, I'm not employed by them and not paid, I just want to share my experience to help people around confronted to the same problem than mine... I just hope my English is bearable LOL!! I'm Breton Have a nice day!! RB
  13. Thanks to you all for the nice welcome, as Frank said W15LN is the common 30 buttons anglo from Stagi, it's a C/G... it's one of the most usual beginner instrument with Rochelle here, just like the Hohner Pokerwork for accordionists... :-) I'm working with Mick Bramich tutor and trying to set up my own way of learning with my accordionist experience... It's not fully over, right now... I'll tell you more in a few days more likely in a thread in "learning teaching" forum.. Have a nice weekend! RB
  14. Hello there, I just joined this forum and feel like a duty to introduce myself... I'm an old diatonic accordion player (36 years...) who just had the opportunity to buy a secondhanded W15LN and try to use it... and it's not really easy, so I'm rambling around to find ideas to learn Irish style by myself... One last thing, I'm living in Brittany (Western part of France) I hope I'll be able, with your help, to make some music very soon with that nice little black box :-) Raide Brest
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