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About DaveM

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    Chatty concertinist

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  1. Didn't a concertina also figure prominently in a recent pirate themed game too?
  2. CEG is usually the tight triangle in one hand. CGE might be, the lower CG on the left, and then the E on the right above that.
  3. Here's some different flavors: Kulning - Ancient Swedish herding call trombone and of course, accordion
  4. Mutopia is a repository for lilypond music; the idea is to transcribe public domain music into lilypond so it's focused more on (older) classical music. The other repository that I can think of is MuseScore - -- I think that this application uses lilypond "under the hood", but is its own music engraving program.
  5. Wait, I thought that Bob is your uncle.
  6. The way she's working the bellows makes me think that they removed the reeds.
  7. Used purely as decor in this Bishop Briggs video (~0:40 in) https://youtu.be/bqsiJPK-94Q
  8. They're soo in the money, that they can just toss them aside without a care.
  9. And another Canada Board Cartoon Log Driver's Waltz
  10. Trailer for a new movie about Dickens: https://youtu.be/UxcnYR3mcPU
  11. I think it is a bit more than just mechanical, especially for someone completely new to music. Playing scales and arpeggios allows you to associate the muscle movements with the sounds in the context of a key. Yes, tunes do this too, but then you to divide your focus between multiple aspects of the music. Presumably, for some people this focused aspect is helpful, for others it may be unnecessary.
  12. My guess that you might be missing phrasing and articulation: - legato vs. detached vs. staccato notes, which in turn becomes (an aspect) of phrasing across multiple notes. - controlling the volume of the instrument, both between different notes, and as a note sustains, so that you can put accents on different beats or provide articulation on the notes. - the slight variations in rhythms (e.g. long-short-short for a waltz) for different types of tunes Peter Laban posted a link to this article on playing the pipes in another thread years ago, some of which applies directly to concertina, some of which only partly so, but I found it to be a good discussion that got me thinking about these aspects more. I usually consider it good practice to initially work on this while playing scales: play a scale fully legato, play a scale in legato pairs c-d e-f g-a ...etc. Play soft, play loud, play alternating nodes loud-soft etc. You can do the same kind of treatment to tune snippets, but then you have to think about two things at once.
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