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LR71

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Everything posted by LR71

  1. How many has he built? Cost? Options - different keys, drone, extra buttons? I've read that he has a variety of choices for papers etc. Everyone else has a website, except Jose Claro, who I imagine doesn't need one, living in Ireland and all. Is one in the works?
  2. Guess I'll respond on a 19 year old thread with some observations. I play Irish music so this is all centered around that genre. I've always taken the warnings about not playing the bellows on the leg seriously, and no end of great players don't do that. Nevertheless some do, like John Williams, the only American to win the All Ireland. Don't know what they do when holes form in the bellows; cope? Get a replacement? I never liked playing with the bellows on the leg, anyway; it's great for stability but creates all this drag at the same time. The advice I've always read is to put the left side on the left leg. To my surprise quite a few players do the opposite - right side on right leg: https://www.concertina.net/images_peter_laban/batch2/healy.jpg This is Hugh Healy, I have his CD, great musician. This photo is from a a page hosted here of photos taken by Peter Laban. The majority of snaps there actually show players like Hugh holding right-on-right, or as I'm going to joshingly refer to it, playing the concertina backwards. Or how about righties and lefties? The next photo is of Brid Meaney, also a righty. Here's a video of her with fiddler Síle, her sister I assume. Terrific music! Trying to find more about Brid I found that was Florence Fahy's first instructor, and Flo also is a righty. Another thing Hugh and Brid both do is to tilt the stationary end way over to the side at an outwards angle. Guess that helps the thing to do more of the work? It's far removed from Noel Hill's keep the ends parallel approach. I've never had luck with angling like this, it doesn't make things more comfortable. I've found that I need to keep the stationary left side basically upright, and angle the other side downwards, otherwise my right hand really begins to ache. Perhaps I have a sensitive nerve on top of my right hand, where the strap makes contact. Here's one more approach: 2014 All Ireland Champion Ciaran Hanna holds the right side on the left leg - with the left side hanging in the air. This is common with box players. Here's a video. Hope this is all of interest/help to people. Try anything - I believe that what's best for us in how we hold the concertina has a lot to do with our physiology.
  3. I hadn't been playing very long when I started filling up a page from a drawing notebook with tune titles. I probably crammed close to a hundred on the one page - very small print, with red lines between titles to increase legibility. So, it didn't take me long to begin vacuuming up Irish music - but I'd been playing music my whole life, and had been very obsessive about other genres for a decade at that point. Almost 30 years later and I still constantly listen to this stuff, and learn new items. It's always fascinating to me how there's this batch of notes in my brain which wasn't there before. How'd it get in there? There are people I've known the whole time I've been playing who still churn out the same couple of dozen tunes every week. Good for them! They're happy to just get together with friends and have a good time. They have skills in other areas, too. As I said to some friends the other night, "Knowing thousands of tunes, great. That and 10 cents will buy you a cup of coffee!" That's paraphrasing a saying from days gone by, when coffee was a lot cheaper. So I'd learn whatever they're playing at your local beginner's session, for a start. Work on playing solidly, good time, lift, etc. And listen to it as much as possible, like Peter says. These things really do burrow into your subconscious.
  4. The 40 button example on this page has one, looks just like Luke's layout though, maybe it's the source. From what I've read the layout on these deluxe instruments could vary a bit, though.
  5. Florence Fahy plays Wheatstone, she's from north Clare and learned from Chris Droney so that figures. A friend was over last summer and said she really gets some decibels out of that thing, too. Liam O'Brien is another Wheatstone player. I read somewhere that Noel started playing Wheatstones simply because they're more durable... Let's not forget the sound, I simply prefer the tone of Jeffries style instruments, which I guess is mostly due to that parallel reed pan. I imagine a lot of musicians gravitated to them for that. The Jeffries pull C# gives you the ability to play a run legato around the middle D, or to play a B/C#/D triplet, having to push that C# would really gum up the works. I think. Those are some things that come to mind giving the Jeffries layout an edge for playability. Or they open up some nice possibilities, anyway; the Wheatstone layout certainly doesn't slow down a good player. The two different button box systems in use with Irish music have similar plusses and minuses, which are more like things that you can put to use in the music to create sounds; and certain things are simpler/easier on one system then the other. The differences between the two concertina systems are much more minor, by contrast.
  6. There are Master Crowley's reels 1+2, E minor, the first is often played in D though. The second is also called the Roscommon reel. Then there are Crowley's reels 1+2, no qualifier. If you look these up on the Session (Dave provided the link to Crowley's #1) you'll find all the instances of those tunes on recordings. Looking on YouTube for 'Crowley's reels' will turn up clips, too
  7. It's come up here before. The seller needs a reality check in re: this thing's value.
  8. I've been playing music my whole life, my grandfather played all kinds of instruments including a 1 row Hohner button accordion, so I've always enjoyed trying new things out - it's genetic, seemingly. I'd learned to play all of the melody instruments in Irish music, and decided to get a cheap Lachenal, I learned the scales on that at least, before I screwed up the reeds. Then I was having new reeds put in one of my boxes, it was taking forever, so I splurged and bought my Kensington, and have been playing away since, practically every day.
  9. Thanks for recording the Jones's bird whistle! Linked to it in another thread.
  10. Takayuki YAGI has a sound sample of the bird's whistle on his Jones semi-minature. Sounds about like what you'd expect.
  11. At the end of practicing today I had a notion - why not use my guitar footstool to bring the concertina closer to my ears? And sure enough it adds a decibel or two. I have it set up 7"/18cm. Even playing on my own I hope this will help - there's something about the concertina that just doesn't reach my ears. I have trouble hearing what people are saying in noisy places and I wonder if there's something aspect of that which also makes it hard to hear my hexagon. I play with the left side on left leg, right side airborne. Sometimes I've tried crossing my legs to add altitude, too. There are box players who play like that.
  12. That's some page, Paul! I'll have to get an English someday to see what all the fuss is about.
  13. I've played this one - this exact Eirú which is for sale - super responsive, crisp tone, pretty powerful if you want it to be, too. They use padded handstraps which was something I'd not dealt with before, but you could easily get used to that.
  14. Every note, every roll documents ways to attack stuff, along with links to discussions. Apparently Tim Collins was the first to start slapping the right end in lieu of a grace note(s). I sometimes throw in these slap rolls, in specific spots or tunes. There's cranning, too, where you have two cuts, no tap. And some apparently cran everything - with the same two notes - according to the link I provided. That would be dreary! Don't be reluctant to do something other than a roll. They're not mandatory! And don't think you can deploy them with the same ease as a flute or fiddle player, or piper. It's pretty demanding in comparison, especially on certain notes. High g drives me nuts!
  15. Tonewise the Kensington is fantastic, such a sweet sound. I like the Wheatstone sound fine but prefer Jeffries, and Dana really does shoot for the best of each, there isn't a note anywhere that falters either. I admire his dedication to keeping costs down, too. The Wheatstone is great for a change, it's got that character that you get in antique instruments of all sorts. Takes a bit to get used to the small metal buttons, though - which is something else I really like about Dana's work, the wide delrin buttons. That really opens up possibilities at times. Dunno if Carroll or Suttner offer those as options. I've thought for a while that if I really wanted to shop for a different top of the line Anglo I'd go to one of the concertina festivals in Ireland. We had a gathering of Anglo players in the PNW recently, too, but there wasn't much of any opportunities to try out other instruments - people just wanted to play tunes, have a concertina only session.
  16. I follow the loose straps/push with heel of hand/right side airborne approach. It's taken a while to get used to that. It's interesting how about every imaginable way of holding these things has been tried. I wondered if there was some adjustment possible with the EC, or if it mattered as much - you'd need to play both types to know. Some here could answer that, I imagine. My friend also had an Edgley hybrid, I think I played that at some point. I forgot that I have a non functioning EC - think it's a Lachenal too - also a Schoeler 20 button C/G, complete with original leather case.
  17. I don't think there's been a topic along these lines, I'm probably mistaken. Anyway, the title speaks for itself. I have the brass reed Lachenal Anglo I bought to start out with, found it to a major headache to play, monkeyed around with the reeds, screwed up a few, gave up for a while... Then I bought the Kensington I mostly play. Also have a Wheatstone. Have a 58 button Jeffries duet in Bb, nice confusing change of pace. 😁 A friend has bought a mess of Anglos over the years looking for something light that won't hurt her hands/wrists. I've played her Morse, her Irish concertina company, and now she has a small Carroll, I knocked out a tune on that the other day. Another friend has a Noel Hill model Carroll, and he keeps the straps loose enough so that I could give that a good test drive once. Another friend let me loosen up the straps on her 38 button Suttner and play it for a while. I got to hear her play my Kensington, too. Nice hexagons all! They all shine in different ways. Playing the Anglo it's really frustrating how you can't easily try out someone else's instrument, what with all the loosening up involved. I wish the quick release mechanism Dana uses on the Kensington had been universally adapted, but I'm sure some people wouldn't be happy with the look. I envy people who play the EC, no fussing around.
  18. Yes, I see what you're getting at - G/F#/E is a good one, that's a snap played all on the pull on a C/G, if you heard someone play that but the pitch is F/Eb/D they probably have a Bb/F instrument. I think...trying to think of a counterexample I started to get dizzy...🤪 I naively assume musicians mostly just pick up these sharp/flat pitched instruments and use their normal fingering for them, for the sound/result/flexibility. Eb sessions and all that. If I had a G/D that's what I'd use it for, get a load of the sound out of this Jeffries.
  19. Playing in F on the concertina is much like playing in F on the B/C box, takes a little bit to adjust is all. People play in different keys all the time, for whatever reason - change of pace, "breathing fresh life" into something done to death, works better in that key - I faithfully work on O'Dowd's in the original key of Gmin, which is a real headache, and for no real reason at all, no one I know plays that tune in the first place...I might as well just put it in Amin. I've read all about Noel's feelings about wanting to safeguard his teaching tools, that's cool, he has a right to make a living. I just wonder if anyone has any interest in comparing how different people go about playing tunes.
  20. papawemba understands what I'm getting at - sitting down with a musician, having them play a tune, noting whether they used, say, pull G on the outer row, push G on the C row, or push G on the D row. With a recording you can somewhat infer which of those is used from the tone, the grace notes, things like that, I've seen very detailed transcriptions of players of Irish music, often with quite old recordings. But with none of those instruments (fiddle, pipes, flute) are you so mystified about which of multiple choices they're using for a note like you are with the concertina. With pitch I'm usually confident that I'm hearing an "Eb" or "C" concertina, since when I play along they're sharp or flat. Unless they're showing off and deliberately playing in F instead of G - or if that's their style, ala Mary MacNamara.
  21. I'm talking about writing down which buttons were used, not just the notes.
  22. Has anyone sat down with a player and wrote out what they played, note by note? That would be interesting. The Chris Droney book has a good few of those, have other players gotten the treatment?
  23. Hi Dan, I enjoyed the book quite a bit. I chanced across a copy of The Flowing Tide when I was starting out playing 30 years ago and always fancied his playing. One thing I was curious about is how many of the observations or objections you have about how Chris played vs the cross row approach have exact parallels with the drama concerning the two button box tunings - people for a long time have found the B/C tuning too smooth, less suitable for dancing, that it emulates ornamentation from other instruments, that is the one and only way and that the C#/D tuning was outmoded - indeed you couldn't enter competitions for a long time without playing a B/C box. Things changed after Jackie Daly came along, thankfully. I assume you know all this, what with you having been playing the music for so long, and having an interest in accordions too. Perhaps it would have seemed out of place in a book about a concertina player.
  24. In a group no one's going to notice the concertina isn't playing C#, that's all there is to it really. I play in a small session with a very good player who has a small Carroll and even he fades into the mix when we're all going. My only experience with melodeons was with a very talented local musician, who sadly passed away recently. He had a B/C but preferred to play this D melodeon, made by some maker popular with the Cajun crowd. This thing was LOUD. Outdoors, that is. Once the management at a pub insisted we play inside even though the weather was nice, and all you could hear was this melodeon and my banjo, it was like the fiddles/whistles/bodhran were all miming. Kind of hilarious fun, really. My friend was so talented you just didn't notice the absence of Cnat notes, and you can surely teach yourself to do the same with a 20 button and its lack of a C#. But like the link in my last post shows you're limited to substandard old instruments; you may as well get a substandard old 30 button, or a better old one, or a good plain jane modern concertina.
  25. Also top quality vintage 20 button 'tinas are hard to come by, it seems. For a sec I was thinking hmm, get a nice 20 button Jeffries and add to it, but finding one looks to be a once in a lifetime thing.
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