How do people play the anglo ? :):)

[PeterT]

Peter, if I lived in England I would play English style, period! Morris dances, and all those old bumpety-bump tunes. They are lovely tunes, full of life and joy. I can't imagine playing them now. Who would I play them with?

We just need to find an English "Noel Hill", and have something of a cultural shift. I think the former is more likely.

[JimLucas]

But there is a well known expression to do with the incompatibility of old dogs and new tricks.

Ignore it!

It's a fraud perpetrated on the world by

cats

.

[Susanne]

Wow, what a long thread came out of my little asking for help:)

I downloaded that description of Irish style anglo playing, and it's probably good but I just don't have patience enough to start counting the buttons, I keep myself enough busy with learning what notes are on them!!

 

I don't see the problem with "chopping" (and in any case, I do and will always connect that term with bluegrass mandolin playing) if you do it smoothly. I use the B on the pull on the C row and then the C# on the push on the accidential row right hand, sometimes with the same finger on a particular tune I'm working on, but I must say it goes more smoothly using two different fingers... and thus avoid what you call chopping... maybe I should try the B on the G row there... I really hope it's on the push! I have so many notes on that tune on the pull that I have to use the air button on every push note to even be able to play the tune more than once ...

 

I haven't used the G row a lot yet, only for F#. I'm slowly learning where to find the notes. Now the next step is probably to find my way well enough to pick out tunes by ear in the right key!

 

The anglo is a fun little instrument. I must say that it goes faster to learn the layout on this than it did on the English. Maybe my 2-row accordion playing helped a little after all even if I'm not aware of it.. or the anglo has a simpler layout...

 

And Jim, whatever happened with my concertina, if you managed to fix it or not, I'd like it back with or without straps. I'm able to wait until the SSI, I plan to be there next time. Please get in touch if you read this. I'm still in Ireland but will be back in Sweden during the spring, more or less the same place as before.

[michael sam wild]

Mike: I've been writing this for about a year now. Refining it so it makes sense. And it only makes sense, really, for Irish playing, assuming you want to play that way. Old time Irish playing - like Chris Droney or Kitty Hayes - has it's own undeniable charm and I suppose I shouldn't call the cross-row style "Irish," in a definitive sense. But there is a clear difference between Noel, Tim Collins, Micheal O'Raghallaigh, Dympna O, etc, and the Droneys, et. al.

Here is the Z pattern of the first-choice notes that you asked about. First, imagine that the concertina is "spatch-cocked'- it is split in two and the sides laid out flat next to each other so that, in a line for the middle row, on the press, you have: C-E-G-C-E-F.

On the D row you'd have D-G-B-D-G-B.

Now stack them one above the other so you have

C-E-G-C-E-F

D-G-B-D-G-B.

Now put in the draw notes, in small letters:

Cd-Ef-Ga-bC-dE-fG

Df-Ga-Bc-De-fG-aB

 

 

 

David I think you mean the G row don't you?

Mike

[David Levine]

Yes, I did mean the G row - not the non-existent D row. Sorry-- I didn't know what you meant at first.

However, I don't think of it as the G row.

I don't think of the rows as being in either C or G, since for me the progression goes back and forth between the two, even when I play in the key of G.

When I play in C or D minor - which is seldom - then I might think of the arrangement as a row in a particular key.

[CaryK]

------

Cary, accomplished players have chimed in on other threads, agreeing with me that avoidance of chopping is one of their hard and fast rules. I do everything I can to avoid chopping. Azalin, for instance, agrees with me. I asked Noel about this and he agreed with me about chopping. I can't imagine why he would teach a tune where you'd go from #10 to #15 as the proper technique. Does it seem faster and more fluid for you to chop from the (10) G to the (15) D than to go from the (10) G to the (23) D? I have asked many players about this. They have all agreed with me. We can't both be right. That said, I find myself unable to break the habit of sliding my finger off C# (16) to B (21), on the draw.

N.B. The reference here is Wally's chart at http://www.carrollconcertinas.com/images/C...uttonConfig.jpg

------

 

I do find it at least as fast and as fluid to go from (10) G to (15) D than to go from (10) G to the (23) D. But to be fair, I haven't practiced doing it the way you recommend, very much. And I'm intrigued enough by your post to try some tunes I know well while avoiding what you call "chopping" just to see if I notice an improvement in fluidity.

 

As for what Noel taught us and how he taught it, my previous post on this is as accurate as I know how to make it. "Chopping" was not something we were taught to avoid at all; the term, or any equivalent term and the concept were never brought up and we were definitely taught to go from (10) G to (15) D in most cirmcumstances, as well as other sequential combinations using the same finger. So I will leave our differences there. Thanks for your further clarifications though.

[David Levine]

No CaryK - don't leave our differences. My conversations with Noel don't accord with your account of the class experience. So either he does something different in class, or one of us misunderstood what he's about.

For instance, the reason Noel advocates that we use A on the G row - 13 - is to avoid going from 15 to 10 - from D to an A by chopping. There is no reason to use the #13 otherwise. As I say in the article, that A (13) is your friend. I'm not saying that chopping cannot be done, and done quickly. But it will be more musical and more fluid to spend the time it takes learning to avoid it. That is one of the major points of Noel's system. Noel could not play as fast as he does if he were chopping.

[Kelteglow]

Peter, if I lived in England I would play English style, period! Morris dances, and all those old bumpety-bump tunes. They are lovely tunes, full of life and joy. I can't imagine playing them now. Who would I play them with?

 

Jody Kruskal - a great teacher - tried to teach me basic accompaniment and I couldn't even handle that. What would I do with it? I love the chords that the great English players do so with what seems so little effort. Chording for the Irish tunes seems to be a very different thing.

 

Hi All What I want to know is, are there any of you out there like me who play Irish style at sessions and English style for dance and song accompanyment ATB Bob

[Boney]

Noel could not play as fast as he does if he were chopping.

I'd like to add that the term "chopping" bugs me, it just sounds overly negative, and isn't very descriptive. Like anything else you do, there are tradeoffs involved with using the same finger twice in a row on different buttons. If for your style, the tradeoffs almost never make sense, fine. But there's nothing inherently wrong with it -- it might even help you add a staccato accent just where you want it. Even though I don't play "Irish style," I do tend to avoid hopping the same finger from button to button, but it's sometimes worth the tradeoff. Hm, maybe "hopping" is a better term, more descriptive, really. I don't want to feel like I'm a hack or something when I decide that's the way that works best. If it doesn't work well and you put up with it instead of deciding how to make the music flow better, that's a different question of course.

[Larryo]

I have "spoken "with David by email on this issue of chopping and it's connection or not to Noel Hill's tuition and whilst I agree that it doesn't make sense for me, never mind Noel, and whilst I accept that it is not David's experience of Noel's class- that he allows/teaches/encourages you to jump from G to high D on left side( can't be doing with all these numbers), it has been my experience that two people who are followers of Noel's style, definitely do teach you to jump or chop from G to high D.

On one of the occasions, it was a day workshop and Noel was in one room and we the beginners were in another with an ex pupil/aficionado of Noel's(there by Noel's agreement) and he immediately began "correcting " what some were doing. Part of the re-learning process was to play the jig sometimes called The Butchers March using the first finger of each hand as a way to prove how clever this system was.He also by the way was "having a baby" over people using the high D and high E on the right side and confided in me after "that a lot of people were going the wrong way"- that some of these people were pupils of Micheal O'Raghallaigh seemed neither here not there and I recently over heard a young child telling her friend that she was told never to use the high E on the right side and when asked who told her that, she mentioned the teacher I am referring to !

But I digress. Whilst as I said, I respect that David has learnt one way from Noel, and whilst it certainly doesn't make sense to me to be jumping and chopping and I avoid it like the plague, I would have to say that I have seen evidence that somewhere along the line, those who learnt from Noel did definitely get the idea somewhere that it was ok to do so. The other teacher who taught that way would be very close to Noel.

Edited December 20, 2008 by Larryo

[ceemonster]

i have taught myself to play across the rows with no formal instruction but for workshops with various wonderful master players, but have never taken a noel hill class or used the noel hill method. i don't follow the "use THIS "D" but don't use THAT "D" rule. i consider all choices to be open depending on how you want the phrase or "bow stroke length" to sound, with the sole limits being, not getting snarled up, and not getting so smooth you sound classical or like an EC. but i think the nh approach sounds like a great default start--off method. i was reprimanded for this by an NH disciple in a workshop, and i didn't argue with the person, but i blithely ignored this party line and continue to have a rich, full life. (notably, two other brilliant players and teachers separately saw me doing this in OTHER workshops and each separately said, oh, i see you are using notes all over the concertina, and this is perfectly all right and is working working perfectly fine for you, you are fine & dandy....)

 

anyway, i've never heard the term "chopping" and have never been told in any workshop not to use the same finger twice on two buttons.

however, having said all that, i just naturally made it a policy from the start to avoid doing this because it usually sounds bad and can also get you into dead ends you can't get out of. i also play piano, piano accordion, and b/c box, and perhaps those experiences also made me feel it was bad form. so here are the only instances when i do it:

 

a) i have only a 30-button, and certain notes don't repeat in each direction. i am starting now and then to attempt keys such as e-flat or b-flat, and to "lower" my g tunes into f sometimes, or my a-minor tunes into g minor, etc, and i sometimes do this when i'm dealing with notes i have in very limited placements, like e-flat or b-flat. like the b-flat on the top row lefthand side. i will do this thing you guys call "chop" in order not to break a phrase that i want smooth. i'm currently doing it in "farewell to miltown" in g-minor, to get a phrase in the "A" part which involves the b-flat, as smooth as i want it.

 

i very infrequently do it when playing tunes with complex stretches of low left-hand notes. as somebody already observed, you can usually deal with the low end by moving your hand, but infrequently i prefer phrasing and ease i get using a combo that involves a "chop." i often like to use the low push "a" on the top left side, and sometimes "chop" from a middle-row note up to that low push a.....

 

c) finally, i sometimes resort to an emergency chop on the spot, when playing out at a session at high speed when my neurons get crossed and i find myself in a tight spot, usually with a tune it turns out i haven't practiced enough. i consider this to be absolutely against policy but do it rather than blow the tune. i try to later practice the tune without the "chop" to try to get it into my subconscious so it won't happen again.

 

i HAVE, however, heard the phrase "chipping," to describe a cut you do on a new note in the tune, while still holding the prior note......

Edited December 20, 2008 by ceemonster

[David Levine]

Everybody's right. I don't like the word "chopping" either. But I think it is appropriate, unpleasant as it may sound. It is descriptive. And I confess, I do sometimes chop - most notably when going from 16 to 21 (First finger C# rt hand 3rd row draw, to rt hand C row B draw). Some of my best friends and musical pals are "choppers."

I have said, "choices" is not the same as "imperatives." I use all the keys at some point or other.

Playing notes below middle D is a different matter. Here I do chop, shift my hand position, cheat and play a substitute note than what a fiddler might play. It's the hardest part of the instrument for me.

We aren't talking about Jesus here- it's just Noel Hill. He's human and fallible. I believe he is capable of changing his mind, of not paying attention, and of saying contradictory things at different times. But I will continue to recommend against chopping. It slows you down, it is unmusical, and it is a lazy way of approaching the instrument.

[Larryo]

I wonder is it that what happens in a lot of cases is that the instructions of certain tutors are passed down the line and get changed or altered as in Chinese Whispers. In the instance I wrote of where a teacher, purporting to be teaching in the Noel Hill style, says dogmatically that you cannot be playing high D and E on the right side, I wonder how they would explain this instruction in the context of tunes like Congress Reel, Maid In The Cherry Tree etc? Whilst it is possible of course to play the high E to mid A on the inside row, it certainly doesn't make sense and playing it in the middle makes life easier without unduly affecting the tune- unless of course you advocate jumping or chopping across two buttons, which is where the argument that this latter practice is done in classes of Noel Hill's style teaching is put forward?

The other teacher I had when beginning, in an effort to keep to Noel Hill's style of using the high D on the left, instructed that we jump from the A to the high D in the first part of the Carraroe Jig. This to my mind was absolute madness and it wasn't long before I was out of there. But if he had conveniently used this way rather than practice using the A on the inside row then one could see how bits of Noel's teachings would be passed on whilst the more challenging bits might be conveniently forgotten ?

The more accepting of teachers that I have come across will use the mantra that if the buttons are there, they are there for a reason- to be used.The only criteria after that is how you use them to get the sound you want.

In the first three months of my playing I had three teachers- one on a weekly basis and two others in one day workshops- all giving different messages and I quickly ran for the hills and decided to step back and from there on always determinded what style someone taught in before enrolling in classes. I understand of course that this is not always possible, especially outside Ireland and it was made easier for me because I had already played other instruments. I do think that the anglo concertina in what is known as Irish trad is so difficult to teach in a definitive way, that all a teacher can do is show the pupil all the options and let them off to do their own thing and that is why I cannot for the life of me understand the concept of "a Noel Hill system" or indeed any type of system for that matter because the tunes, when played in session keys, all call for different approaches and it seems madness to be ruling anything in or out. It is possible to keep to a strict regime of only using certain buttons in the tunes taught if the tunes are of a certain type or key and that is also why you will find that a lot of pupils come away from Noel's classes with tunes in certain keys which might be considered "anti social" in the context of a session, and this is not discovered until they go to play with others.

[michael sam wild]

[Hi All What I want to know is, are there any of you out there like me who play Irish style at sessions and English style for dance and song accompanyment ATB Bob

 

Answer.

As I came to Anglo from melodeon and mouthorgan I found a style like William Kimber's quite sensible and have tended to build on that as I got to know more about chord possibilities by attending workshops and listening to records. I still play for English dance and song accompaniment

 

 

As I have played Irish music for many years on various instruments since childhood and it is my 'intuitive' music ( well before my exposure to the British folk reviva in the 60s) I also worked on crossing the rows for speed and ornament and I find you can do both as long as you can make the mental and cultural shift ( I did the same on melodeon) I concentrate on melody but do use chords here and there as I listen to a lot of fiddle, pipes and box players and like some of their effects.

 

I found Mick Bramich's book very helpful and John Williams' DVD and booklet. Frank Edgely was helpful on embellishment, and advocates flow on same bellows direction.

 

At the moment I am concentrating on the stuff that David Levine describes, so I find this debate very useful

 

I play a 26 button Jeffries and it does most of what I need, though I might add another c sharp push on the RHS 1st accidental button, as I have to slide with the first finger to the B pull just below it , or bring in finger 2

for the c sharp. Normally I like to stick closely to one finger - one button, as Bertram Levy advises

 

Mike

[michael sam wild]

I'm returningto this evergreen subject to ask if other people have an experience like mine.

I use the B/c and d/e buttons on the G row LHS interchangeably with the c/B and e/d on the C row RHS as it suits the tune and to avoid 'hopping' with the same finger too much. I use notes in the same bellows direction for cuts and rolls for flow and speed

 

At Whitby this year in the great marathon Irish session in The Ship I noticed that I wasn't hearing these notes on the LHS as well as those on the RHS so tended to veer over to the RHS.

 

I wondered whether my hearing was worse in the left ear but , by coincidence. I got a reminder to go to Specsaver who do the free hearing test every two years. At 71 I expected the worst but the chap said they were as good as two years ago and not appreciably different.

I assume the position of the reeds and pads , under the Left hand at the bottom on the LHS makes all the difference and I do find them more muffled under the strap and the palm. On the RHS they seem more bright as they are out at the periphery Has anyone done any metered volume comparisons?

 

I think, instinctively I have been adopting the buttons that give the 'nicest' sound and never fancied playing in G along the G row as much as playing off the G on the C row LHS..

 

 

I also like to use the Gs and As on the Accidental row too.

[david_boveri]

Mike: I've been writing this for about a year now. Refining it so it makes sense. And it only makes sense, really, for Irish playing, assuming you want to play that way. Old time Irish playing - like Chris Droney or Kitty Hayes - has it's own undeniable charm and I suppose I shouldn't call the cross-row style "Irish," in a definitive sense. But there is a clear difference between Noel, Tim Collins, Micheal O'Raghallaigh, Dympna O, etc, and the Droneys, et. al.

Here is the Z pattern of the first-choice notes that you asked about. First, imagine that the concertina is "spatch-cocked'- it is split in two and the sides laid out flat next to each other so that, in a line for the middle row, on the press, you have: C-E-G-C-E-F.

On the D row you'd have D-G-B-D-G-B.

Now stack them one above the other so you have

C-E-G-C-E-F

D-G-B-D-G-B.

Now put in the draw notes, in small letters:

Cd-Ef-Ga-bC-dE-fG

Df-Ga-Bc-De-fG-aB

 

Now underline the first choices to show the Z I referred to:

Cd-Ef-Ga-bC-dE-fG

Df-Ga-Bc-De-fG-aB

 

The glitch is the F# on the G row. Ignore that for the purpose of illustration. Aside from that F# you can see that the movement is basically a Z (granted you have to imagine the Z). Let me know if this is clear so that I can add it to the article. And thanks for asking.

------

Cary, accomplished players have chimed in on other threads, agreeing with me that avoidance of chopping is one of their hard and fast rules. I do everything I can to avoid chopping. Azalin, for instance, agrees with me. I asked Noel about this and he agreed with me about chopping. I can't imagine why he would teach a tune where you'd go from #10 to #15 as the proper technique. Does it seem faster and more fluid for you to chop from the (10) G to the (15) D than to go from the (10) G to the (23) D? I have asked many players about this. They have all agreed with me. We can't both be right. That said, I find myself unable to break the habit of sliding my finger off C# (16) to B (21), on the draw.

N.B. The reference here is Wally's chart at http://www.carrollconcertinas.com/images/C...uttonConfig.jpg

------

 

note: i will use wally's chart as a button reference as well.

 

 

you are mistaken on noel's use and teaching of "chopping," and cary is correct in that noel has taught him to do this--noel teaches this regularly. you are right, in that many accomplished players view "chopping" as public enemy #1. the reason you think noel does not do this is probably because he would not endorse chopping if asked about it point blank, because there are many instances that it is a disastrous thing to do, and much fewer where it is a good idea. however, as you will see from my response, noel teaches these specific instances very often.

 

in this response, i will call the technique jumping, rather than chopping because the acoustical effect is different when noel does it, and the technique is different as well. i have pictures below demonstrating that the technique is different, underlying my rationale for differentiating between the two terms. i am pretty sure noel also uses the term jumping, but i know he would not differentiate between the two words as i am about to, and would probably think they were equivalent. please feel free to use the terms as you see fit.

 

as a student of noel hills for 7 consecutive years at the advanced level, i can say with some authority that the jump from button #10 to #15 is an essential part of noel's technique. in the 2 part lark in the morning, for example, | A2A AdB | AFA D2D|, noel teaches to go from the A (10) to high d (15) by jumping. in a concert last year, noel played the bucks of oranmore. consider the 4th section, which has the following pattern repeatedly: | Adfd ... | although you might expect noel to play 3rd finger A (13) to first finger d (15), he actually played it as A (10) on the first finger jumping up to d (15).

 

noel does tend to use third finger A (13) in conjunction with push d (15). i would say that that avoiding the jump is his preferred or default fingering for that note combination. however, there are MANY instances where he will use first finger A (10) instead, causing a jump between buttons on the same finger. noel does this to add lift to his playing. in discussing this, he once told me, "it's dance music, your feet lift up, so why can't your fingers jump, too?" this is especially true for jigs and hornpipes in noel's playing, where he will even go from push d (15) to first finger A (10) in order to create space between the notes.

 

in certain instances, jumping or chopping as it is also called creates space between the notes, and offers a shape and phrasing not possible otherwise. this is why i teach my students to only "jump on purpose, and with good reason." so, laziness or inability to play an alternate fingering (such as third finger A, etc) is not a good reason. personally, i tend to teach third finger A (13) as the default fingering for anything adjacent to button 15 (d or e), because i think cleanly jumping is an advanced technique and can result in a choppy sound if done incorrectly. i also do not want my students to learn to extrapolate and jump all over the place. the only place i let them really do it is between sections, if they do not have a pickup note, even though i myself (in line with noel's playing and teaching) jump between certain buttons very often, in line with noel's teaching.

 

in case you have any doubt, rest assured that in 7 years i have asked many questions and watched his fingers and analyzed his fingering patterns extensively. not only am i positive that noel hill jumps between buttons 10 and 15 very often, i can tell you when, why and with what part of his finger he hits the buttons when jumping. i asked him once why he goes from first finger A (10) to push d (15) or pull e (15) more often than the other way around. he said that it was the natural movement of the fingers to be easier to jump inwards that outwards. he thus demonstrated the ease of jumping inwards and the awkwardness of jumping outwards between buttons. i believe this was in 2009.

 

i also asked him in the same conversation why he sometimes collapses his first finger on button 15 moreso than on every other button. he said no one had ever asked him this, but he thought about it for a second and demonstrated why. when jumping/chopping between buttons, you lose time compared to using an alternate fingering, and it can sound choppy (hence the term). most players would try to play both buttons with the pad/tip of the finger, which is the natural way to press a button. however, if noel jumps from button 10 to fifteen, he actually hits button 10 with his finger tip, and then button 15 with the first joint of his finger, rather than his finger tip. this is all accompanied by a mostly sideways shift in finger position. collapsing the joint and subsequently using the joint itself to depress the button helps decrease the amount of time this takes to move from button 10 to 15. this is why i call it jumping... when done correct, it adds a nice round sound to the two notes, rather than a chopping sound.

 

because this is all confusing, here is some pictures to demonstrate how noel hill jumps between these two particular buttons using the collapsed joint, going from A (10) to d (15). i include a picture in the middle (to provide contrast) of "chopping" with the finger tip, which is not how noel does it. please be assured that this is a very technical discussion, and the minutiae of finger placement is not the sort of thing he would normally teach his students during class, because it can be very confusing (in case anyone was worried!).

 

 

pulling first finger A with the pad of the finger:

 

pull A by consairtin, on Flickr

 

 

 

what it would look like if you chopped upwards to push d, using the pad of your finger to press down the note:

 

chopped d by consairtin, on Flickr

 

 

 

what noel hill does when he jumps onto d (15) from A, by pressing d (15) with a collapsed joint (10):

 

jumped d by consairtin, on Flickr

 

in this last picture, the pad of my first finger is on the end of the instrument, rather than on any button. the joint of my first finger is pressing the button. it may even appear i am not pressing any buttons at all, but if you look closely, the joint of my finger is collapsed inwards to bridge the gap--i assure you i was pressing the button and making sound while this picture was taking. this is EXACTLY what noel hill does when going between first finger A on button 10 to push d with his first finger on button 15. so, the reason it does not sound choppy (and why you might think he does not "chop") is because noel moves his finger SIDEWAYS just a bit, off button 10, and simultaneously collapses the finger onto button 15 in the G row. this takes much less time than moving the entire finger backwards to put the tip/pad onto button 15.

 

i provide this extensive, overly technical description of jumping between these two buttons to show you that it is not an easy thing to do, and can be very difficult to get it right. noel does use third finger A (13) all the time, in reels, jigs, hornpipes, etc., and this is his default fingering. but, he DOES teach jumping between A and d, as cary said, without the technical discussion i relayed that he had wit hem. he tends to inwardly jump in jigs and hornpipes, but i can think of several reels beyond what i mentioned that he does this as well. he has only taught me one instance of an outward jump during a reel, from d on #15 to A on #10, which was during august 2011. it was in the reel called "the enchanted lady." let me tell you: this is very difficult to get at full speed! i think he might normally teach this as third finger A on button 10...

 

so, in conclusion, noel's position on chopping is to only do it in specific situations on purpose. as you can see, it took up quite a lot of space to discuss only one instance! it is also important to note that noel does emphasize alternate fingerings first and foremost, which is why, david, he said this to you. i just wanted to let you know that cary was not wrong in saying noel taught him a tune with a jumped fingering in it, and he is most certainly not imagining things.

Edited September 7, 2011 by david_boveri

[Azalin]

so, in conclusion, noel's position on chopping is to only do it in specific situations on purpose. as you can see, it took up quite a lot of space to discuss only one instance! it is also important to note that noel does emphasize alternate fingerings first and foremost, which is why, david, he said this to you. i just wanted to let you know that cary was not wrong in saying noel taught him a tune with a jumped fingering in it, and he is most certainly not imagining things.

 

Dave, you realize you answered a two years old message? Hehe, but your post is quite interesting. I would never have believed Noel would be jumping these buttons. Quite interesting.

[david_boveri]

so, in conclusion, noel's position on chopping is to only do it in specific situations on purpose. as you can see, it took up quite a lot of space to discuss only one instance! it is also important to note that noel does emphasize alternate fingerings first and foremost, which is why, david, he said this to you. i just wanted to let you know that cary was not wrong in saying noel taught him a tune with a jumped fingering in it, and he is most certainly not imagining things.

 

Dave, you realize you answered a two years old message? Hehe, but your post is quite interesting. I would never have believed Noel would be jumping these buttons. Quite interesting.

 

haha, no, i didn't realize it. michael sam wild mentioned the thread on another post, so i went and looked for it. it's still all true!