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And another question..

on my new instrument I have an extra button at the top of each middle row: that's an F# push/E pull on the left, and an A# push/G# pull on the right (this being the same notes reversed directions as the top button left incidental row). Any advise on their use?..I mean should my fingers, middle and ring, stay in position over the second and third buttons down and index stretch up or should all fingers move up one button? The first option seems more logical but the stretch is putting my figers out of place and I'm messing up. I'd welcome any advise from players with similar machines.

 

Thanks, Alan.

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Well no response to my question so before it disapears off the radar I'll add another comment to try and kick start it as it were. Now I know Jaqueline McCarthy plays a two row with extra buttons at the top of each row on both sides, and I did a class with her a few years ago, but she never got specific on fingering patterns or stuff like that and I didn't watch closely. Anyone ever notice how she utilized these buttons? I think her c# was one of these extras so obviously she had to use her extras frequently. Alan.

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Well no response to my question so before it disapears off the radar I'll add another comment to try and kick start it as it were. Now I know Jaqueline McCarthy plays a two row with extra buttons at the top of each row on both sides, and I did a class with her a few years ago, but she never got specific on fingering patterns or stuff like that and I didn't watch closely. Anyone ever notice how she utilized these buttons? I think her c# was one of these extras so obviously she had to use her extras frequently. Alan.

 

Well I don't have any of those problems (alas). But my thought is why be dogmatic about it? I would figure that what one should do would depend on what one was playing and specifically what notes came before and after the use of that particular button. Personally I would love to have an F# on the push on an instrument in almost any position.

 

--

Bill

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Thanks for a response Bill,

the problem is when you get this extra facility you don't want to mess up, you want to 'start out right', and that's where I am; so advise would be most welcome. I also would like to say that the Dipper that came with this 'problem' was worth every penny! It's not just the reeds: it's the craftmanship that is way beyond any midprice concertina; put your name on the list and save up your pennies - you won't regret it.....Alan.

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Alan, did you bring that instrument to the Catskills this year? Were you in Father Charlie's class or is my mind playing tricks on me?

 

I can understand the part about wanting to start out right... on the other hand one can let oneself get trapped by that as well. The way I look at it is that most modern teachers teach based on the players having 30 button instruments, and indeed that trend is so strong that many players with 32-40+ button anglos only use the normal 30 (probably even less since there are likely notes that don't used much in most music) . To a certain extent I doubt there is a single agreed up way in which those extra buttons should be played; heck there isn't a single agreed up way that the other 30 should be played :).

 

I would just fool around and find out what sounds good in the music I play. It it sounds good and doesn't otherwise restrict your playing, then it is good :).

 

In any case the Dippers are wonderful concertinas... so are the Suttners. I have been personally toying with the idea of putting a downpayment on a 39 button Suttner. Figure that will give me 4 years to save up for the $4-$5000 US it will likely cost me when it is done.

 

--

Bill

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And another question..

on my new instrument I have an extra button at the top of each middle row: that's an F# push/E pull on the left, and an A# push/G# pull on the right (this being the same notes reversed directions as the top button left incidental row). Any advise on their use?..I mean should my fingers, middle and ring, stay in position over the second and third buttons down and index stretch up or should all fingers move up one button? The first option seems more logical but the stretch is putting my figers out of place and I'm messing up. I'd welcome any advise from players with similar machines.

 

Thanks, Alan.

 

I'm with Bill on this one - which finger you use for these buttons will be entirely dictated by what the previous series of notes were. I have a "base position" for my fingers where they hover when they're not doing something else*, but beyond that I have no set rules as to which finger plays which button - whatever gives the best result for the tune in question is all I can suggest.

I am certain, for example, that although the "base position" for my left hand ring finger is over the third button in the C row, that button could equally well be played by my pinkie, second or first finger, if the tune demands it.

Samantha

* I think I more or less devised this system for myself based on the way I was taught to touch type ...

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