Who's going to NCW April 17?

[ragtimer]

Just would like to know who all's going to the Northeast Concertina Workshop in Sunderland, MA on April 17?

I have a possible conflict and am trying to decide whether to go.

There will be a Duet class again this year. Same leader as last year (Rob Webb).

 

Thanks, Mike K.

Edited February 2, 2010 by ragtimer

[jdms]

I'll be there--the only reason I haven't signed up yet is that the signup form isn't available yet. Of course, being an Anglo player, I'm not so concerned with the duet classes...but the fact that both John Roberts and Jody Kruskal appear on this year's staff list means I'll have some choices to make.

 

jdms

[ragtimer]

I'll be there--the only reason I haven't signed up yet is that the signup form isn't available yet. Of course, being an Anglo player, I'm not so concerned with the duet classes...but the fact that both John Roberts and Jody Kruskal appear on this year's staff list means I'll have some choices to make.

 

jdms

 

Yes, Jody is not to be missed. I've always hit at least one of his sessions, even cutting a Duet class to do so -- his tunes work well on Duets.

 

Oh yes -- I forgot to mention -- if I come, I'll bring my Elise Duet with the handrest modified to be parallel to the button rows, a la Wicki, withotu the origiinal Hayden slope. Hayden players should try it out.

--Mike K.

[Bill N]

Just would like to know who all's going to the Northeast Concertina Workshop in Sunderland, MA on April 17?

I have a possible conflict and am trying to decide whether to go.

There will be a Duet class again this year. Same leader as last year (Rob Webb).

 

Thanks, Mike K.

 

 

I'm planning to. Just waiting for the registration form. I've been practicing the harmonic style learned from Jody last year. Might try some beginner ITM this year if it's available.

[Doug Barr]

Does not seem to be much for the "Irish style" concertina group!

[Jody Kruskal]

Does not seem to be much for the "Irish style" concertina group!

Sorry folks, no Irish from me (though that would be fun... Irish tunes in the American contra style), rather, I'll be teaching mostly OT. Here is my plan so far, I'll be leading three classes:

 

Um Pa 101. We will learn a great American fiddle tune that plays well on the Anglo. Starting with the melody and a simple left hand accompaniment we will then touch on some easy ways to add variations to the arrangement. Beginner-intermediate 30 button Anglo concertina in either C/G or G/D.

 

Going Beyond the Um Pa. Using an American fiddle tune, we will start with the melody then explore a variety of left hand accompaniment ideas, shuffle rhythms, filling out longer values with eighth notes, upper harmonies and more. Intermediate-advanced 30 button Anglo concertina in either C/G or G/D.

 

Master's Class. Play something... Jody will give you feedback and help in thinking about how to take your playing to the next level. Some things we will examine are the details of timing, phrasing, dynamics (loud/quiet), note length (legato/staccato), chord and accompaniment choices, style, posture and performance energy. Open to all systems and styles, beginner to advanced.

Edited February 3, 2010 by Jody Kruskal

[Ross]

Just would like to know who all's going to the Northeast Concertina Workshop in Sunderland, MA on April 17?

I have a possible conflict and am trying to decide whether to go.

There will be a Duet class again this year. Same leader as last year (Rob Webb).

 

Thanks, Mike K.

 

 

 

 

 

I'm considering going, but I can't make a decision until a few weeks before the event at the earliest due to work schedules.

[ragtimer]

Just would like to know who all's going to the Northeast Concertina Workshop in Sunderland, MA on April 17?

I have a possible conflict and am trying to decide whether to go.

There will be a Duet class again this year. Same leader as last year (Rob Webb).

 

Thanks, Mike K.

 

 

 

 

 

I'm considering going, but I can't make a decision until a few weeks before the event at the earliest due to work schedules.

 

Well, I made my decision -- I'm coming, and bringing with me my modified Elise with the parallel handrests.

Tho I'll be playing my Stagi, which isn't missing so many notes.

--Mike K.

[Dan Worrall]

Does not seem to be much for the "Irish style" concertina group!

Doug,

 

Here is something that might be of interest....for those interested in the deep roots of not only Irish but Boer, Aussie and English traditional styles. I've signed on at the NCW event to do a workshop on the early recorded styles of late nineteenth and early twentieth century players from these varied localities. Many of the source recordings are unpublished.

 

Research done for my new book (see this thread: http://www.concertina.net/forums/index.php?showtopic=10762&st=0 ) shows that the octave (also once called "double") style of playing found in nineteenth century Ireland's rural house dances evolved simultaneously and very independently in several other countries, especially Australia, Boer South Africa, and England. It is basically described as playing two notes on opposite hands an octave apart throughout a tune, with either one-row or two-row (cross-row) fingering, and with few fancy ornaments but, locally, optional chords. Evidence shows that it seems to have been the dominant "Anglo" style then for playing for house, woolshed and barn dances in these various countries. Social dance culture in rural areas was also remarkably similar in all these countries, and consisted of mainly German and Anglo-German concertinas (along with the odd fiddler or, someewhat later, button accordion player) playing for the then red-hot global ballroom dance craze (waltzes, polkas, schottisches, and quadriles (called "set dances" in Ireland)). I'll be discussing this lost style, including its social background, some cross row octave scales for it, and some playing techniques from several of the old masters. Here is the description at the (in progress) NCW site:

 

Workshop: "Traditional" Anglo

 

Level: B, I, Adv

 

Staff: Dan Worrall

 

Description:

Modern players have moved far from 19th-century ways of playing the Anglo.

In Ireland, England, Australia and South Africa, the dominant style in

playing for dances consisted of either single or two-row (cross-row) octave

playing for entire tunes and in many cases entire repertoires. We will

explore the basics of cross-row playing in octaves and learn some "tricks" of

the old masters in this long-lost style. We'll also discuss the style's varied origins

and why it was so globally popular.

 

 

Cheers,

Dan

[Ken_Coles]

I don't see course descriptions at the Button Box site yet...I assume Dan and Jody are giving us sneak previews of what they have submitted? Once I see what is on offer (and check on some conflicts) I will probably sign up.

 

Ken

[ragtimer]

 

 

Here is something that might be of interest....for those interested in the deep roots of not only Irish but Boer, Aussie and English traditional styles. I've signed on at the NCW event to do a workshop on the early recorded styles of late nineteenth and early twentieth century players from these varied localities. Many of the source recordings are unpublished.

 

Research done for my new book (see this thread: http://www.concertina.net/forums/index.php?showtopic=10762&st=0 ) shows that the octave (also once called "double") style of playing found in nineteenth century Ireland's rural house dances evolved simultaneously and very independently in several other countries, especially Australia, Boer South Africa, and England. It is basically described as playing two notes on opposite hands an octave apart throughout a tune, with either one-row or two-row (cross-row) fingering, and with few fancy ornaments but, locally, optional chords. Evidence shows that it seems to have been the dominant "Anglo" style then for playing for house, woolshed and barn dances in these various countries. Social dance culture in rural areas was also remarkably similar in all these countries, and consisted of mainly German and Anglo-German concertinas (along with the odd fiddler or, someewhat later, button accordion player) playing for the then red-hot global ballroom dance craze (waltzes, polkas, schottisches, and quadriles (called "set dances" in Ireland)). I'll be discussing this lost style, including its social background, some cross row octave scales for it, and some playing techniques from several of the old masters. Here is the description at the (in progress) NCW site:

 

I wonder if this style of playing octaves, giving a solid punch to the melody line, is what led to the development and popularity of the bandoneon, with its built-in octave sound?

And to the octave registers on the button accordion and of course later the PA.

A point for historians to ponder. -- Mike K.

Edited February 9, 2010 by ragtimer

[Jody Kruskal]

I can't speak for Dan but, yes, sneak preview for you in-the-loop concertina players on C.Net is what I was offering you. It's a great event always and worth attending. I don't know if my schedule allows me to get to Dan's presentation but I would certainly like to see and hear what he is up to.

Edited February 10, 2010 by Jody Kruskal

[Dan Worrall]

I can't speak for Dan but, yes, sneak preview for you in-the-loop concertina players on C.Net is what I was offering you. It's a great event always and worth attending. I don't know if my schedule allows me to get to Dan's presentation but I would certainly like to see and hear what he is up to.

Yes, it's a sneak preview for me too. I'm looking forward to it. I'm up only to my usual....trying to figure out the history of usage of this fascinating instrument! The process of making a pile of transcriptions of early recorded players...most of whom I had never heard of before....took me to some surprising places and conclusions, and that is what I will be sharing.

 

Mike K,

 

The bandoneon was invented in the 1850s, when the German concertina was just getting established, in most places. I suspect that it got its double reeds just about the same time as the smaller German concertinas did. By 1862, octave-tuned "organ" concertinas and accordions were both available in Dublin. The main driver to place octave pairs in concertinas as well as bandoneons and accordions was volume, for ballroom-style house and barn dances.

 

For the same reason, people played concertinas in octaves--mainly for volume, but also because it is an easy, intuitive, and accurate way to play the instrument. You don't want to be too fussy in your technique when you have to play solo for an all night dance. Fourteen hours on your feet is a long time.

 

It was easier to play the concertina in octaves (hence sounding four reeds at once on an octave model) than it was to play an accordion that way...so the concertina was the more popular instrument at first. Ultimately, they began putting as many as four reeds in button accordions (and bandoneons), so the concertina lost its edge.

 

There are few of those octave-tuned German concertinas around now, just as there are few German accordions in playable condition of that age (130-150 years). Most of us have seen or have tried to play those really cheapo Soviet-era East German concertinas, and those come to mind when we read about German concertinas in past settings. In fact there were really some significantly higher quality ones made. The closest one can come to those today are the retro 'boerekonsertinas' made in South Africa as replicas of the good old German ones. They are tuned in octaves. I'll bring one to the workshop....it is a real dandy, tight and responsive with a heck of a bass line. It really helps answer a lot of questions about old playing styles, and explains the high regard the real old timers in places like rural Ireland and SOuth Africa had for the sound of German concertinas.

Edited February 11, 2010 by Dan Worrall

[Ken_Coles]

Doug C. just sent along more details; note that another teacher has been added: Jacqueline McCarthy. I know that will get some interest from the Irish-on-anglo players who are thinking of attending. See you there.

 

Ken

 

"Registration is now open for the 6th annual Northeast Concertina Workshop,

being held on April 17, 2010 in Sunderland, Massachusetts. Classes will be

geared toward players of varied skill levels on anglo, English, and duet

system concertinas. There are three class periods during the day and a

public concert in the evening featuring our professional staff. Teaching in

2010 will be concertina adepts Rachel Hall, George Keith, Jody Kruskal,

Jacqueline McCarthy (Ireland), John Roberts, Dave Townsend (England), Bob

Webb, and Dan Worrall. For more information and to register go to

www.buttonbox.com/NCW.html"

[bellowbelle]

I'm thinking of going to just the evening concert, but I'll probably wait to decide until the last minute. (It's a long drive....)

[Ross]

Its a long drive from Michigan too, but I've put the date on all my calendars and haven't heard any objections so far. I haven't actually registered yet but will probably be doing so within the next week.

[Ken_Coles]

Just wondering if any of the teachers are posting music for us to work on ahead of time this year? Jody? Last year it made a difference for me in keeping up! Let us know.

 

Ken

[Jody Kruskal]

Just wondering if any of the teachers are posting music for us to work on ahead of time this year? Jody? Last year it made a difference for me in keeping up! Let us know.

 

Ken

Hi Ken,

 

I'm working on it, preparing dots for "Soldier's Joy" and "Shove That Pig's Foot A Little Farther In The Fire" with arrangements for both C/G and G/D Anglo.