Dan Worrall

Hi Leah, I sent you a PM. Cheers, Dan Worrall

Thanks, all! I shall endeavor to learn it.

Nice tune and very nicely played, Robin! Do you know anything of the origin of that tune?

Well done, Gary! Looks interesting, and timely. Any other books in the pipeline?

Dredging up an old post, but here is a link to a nice retrospective on Chris Droney's life and music on this week's Clare FM with Therese McInerney. It includes an interview with Chris's daughter Ann Kirrane, and Therese even mentions the book Jarrett Branch and I wrote about Chris (nice of her!). Traditional Greats: Chris Droney

Thanks for posting that Peter. She was a lovely person.

Hi Roger, the first edition in 2005 was published by EFDSS. It is out of press. The second edition was published by Rollston Press, Gary Coover’s company. He sells it on Amazon, but in England, Red Cow Music carries it. I hope you enjoy it! Cheers, Dan Worrall

Beautifully done!

"On the breadline" was not my term; I think Allison was using it as a manner of speaking. As far as I know, he only ever owned one very modest house, which he built himself, brick by brick. Regarding the lot that the house rested on, he was indeed "wealthy enough" to buy it, though I would say that he "scraped up" enough money for it. It was about 30 by 120 feet The lot was very small, but with enough space behind the small house that he could raise pigs chickens and vegetables to help feed his family - he had eight children, and for a part of that time, he was a widower. Bricklaying was by the job, which means that there were periods of time with no work, especially in midwinter. He was never well off, throughout his life. His friend Cecil Sharp helped him out by sending the odd bit of money or spare clothes from time to time, but appears never to have thought of giving him some of the royalties from County Gardens that Percy Grainger had offered Sharp. Sharp magnaminously declined the offer from Grainger, who had proposed a split of the royalties, which were reasonably large (it was a big transatlantic hit). Neither of them appears to have thought of giving some of that to Kimber. It seems an oddity of the way people thought back then. Of course Kimber himself learned that tune from older sources. It is worth wondering however whether the tune would have survived without Kimber having played it for the Headington morris side, dancing in the snow in 1899, and without the ensuing revival of morris dancing led by Sharp and others. My guess is that the tune would have died or at least remained obscure.

Great! Let us know what you think of it.

Alison, I’d have no objections to that if Gary Coover, who published it, can make it happen. Over to Gary… Cheers Dan Worrall

Ha ha! Thanks Gary. I have a bunch more transcriptions that I should send you!

Learning to play in the style of Boeremusiek is a tall order for someone not living in South Africa, as it is both complex and is typically passed from person to person; there are few if any printed guides. More to the point, it is a highly individualistic style, and no two players play exactly the same manner. Most modern players prefer a 40 button Wheatstone and use nearly all the buttons, so mimicking the style on a 30 button is problematic. Many hardcore traditionalists use a 20 button Boer concertina, which is more accessible stylistically. I reported this in my House Dance book, of which you seem to have found an old print-only version. The classic Boer recordings on it are important and hard to find; in the new edition of the work published by Rollston Press two years ago, the recordings are all included as click-on QR codes, and I strongly suggest you obtain a copy if you are serious about learning in this style. By the way, 20 button Boer instruments are being made by Faber concertinas in South Africa, and I'm told they are working on a tutor book. Maybe someday! If you live in Britain, you should reach out to Zak van der Vyver, a wonderful player on the 40 button Wheatstone. He lives in Southsea near Portsmouth. He could give you some good pointers. Of the classic era players, as you noted I included some sheet music in House Dance but without button tablature. Of the old players, my favorite and the nostalgic favorite of many is Faan Harris. Learning from his style is recommended if you play 30 button, as his instrument was a 30 button Lachenal and thus easier to follow. I transcribed a number of his tunes, thinking to publish a little book someday, but never got around to it. I attach below for your use his lovely version of Eileen Alannah, with button fingering. It will give you a good idea of his approach to chording, which is quite distinctly different from, say, English harmonic Anglo playing. I wrote extensively on the history of Boer concertina playing in my Social History of the Anglo-German Concertina, vol. 2, which can be searched for and read online. A very nice study of Boermuziek's origins can be found at https://www.nplusonemag.com/online-only/online-only/the-sound-of-musiek/ Good luck! Dan Worrall Eileen Alannah with fingering final.jpg.pdf

Beautiful, Kathyrn!

Very sorry to hear that, Robin. I met him once and corresponded a few times. Very nice fellow and a great concertina resource.