Low end on the LHS of Anglo

[michael sam wild]

Just a small enquiry- I play a 26 button Jeffries Anglo, C/G. I've been working on some Hornpipes like Stoney Steps or Cross the Fence (McGlinchey's) in G that go down to the 'dusty' buttons as low as the bottom A ( pull) on the G row. What I am developing is to shift my index finger from the G/A position to E (push) on the C row for these runs down or up and then be free to use the little, pinkie on the lowest A. I can't find a simpler way having only 4 fingers and 5 buttons! Once I've drummed in the need for a shift it works OK.

 

Evolution went wrong for concertina players when Crossopterygian fish started the Pentadactyl fin/limb off all those years ago!

 

 

How do other folk deal with such matters?

 

Another 'tricky move is deciding in advance which fingers to use when going onto the first buttons on the accidental rows on both sides for G sharp or c sharp. Sometimes I use index or another time 2nd finger depending on the combinatio of notes required.

 

Normally I like to keep the same fingers for the same buttons as a 'default' position but sometimes it's just not possible.

Edited April 24, 2009 by michael sam wild

[Lawrence Reeves]

Michael, The way I do it most of the time is to only move the pinky out of position for the notes as you mentioned. Try thinking in terms of which D you need to end on. If coming from the pull low A, then always to a pull d on the c row,and the same from the push note of low B. You use the same pinky if pulling a low B on the C row. Another great muscle memory exercise is to alternate staccato between the pull low G, and the push low G both on the C row. After that try the push vs pull low B staccato but this time alternating between the G and C rows. These will be like trying to alternate between a forth finger E and an open string on the fiddle, tenor banjo, or mandolin. At first awkward, but then very second nature. There were previous discussions of tunes by Fahy, Reavey and Bobby Casey. For me, this added 4th finger dexterity is key to execute some of these tunes. I can either stay in or out of normal position on one particular Reavey tune ( The Letterkenny Blacksmith), but I choose to go out of positions, and even use a push Low A with my third finger, then place me hand over the C row, all pulls ascending low G,B,D. then back to normal.I ignore the low A( it gets in the way of smoothness).

 

G2 BG AGFD | GABG EA, A,2 | G2 BG ABcd | edcA FDEF |

G2 BG AGFD | GABG EA, A,2 | G,A,B,D EFGA |1 BdAc BGGF :|2 Bd Ac BGGA||

Bdgd Bdgd | ^ceae ce a2 | Bdgd Bdge | fdcA BGGA |

Bdgd Bdgd | ^ceae ce a2 | egfa gbag |1 fdcA BGGA :|2 fefd cAFA ||

[michael sam wild]

Thanks Lawrence that is very useful advice, I'm doing the Gs at the moment!

 

I also realized that some of the runs are G scales so I'm doing thse from the lowest notes and taking in various fingerings and bellows directions. Then backwards and in various arpeggios I wonder whether 'The Stoney Steps' was a fiddle exercise. I know it is sometimes attributed to James Hill who played complex tunes. (But is recorded from before his time in Vickers book).

 

As you say the Reavy and Fahey tunes are a great challenge. I also play the tunes in various rhythms and speeds and with variations to avoid getting too dependent on a single version, once I've got the tune established in the old noddle.

 

When I first tried them I found them devilish now they are feeling better. I also like some of Padraig Rynne' s tunes for the lower notes eg Dermot Byrne's Reel (Hornpipe)

Edited April 28, 2009 by michael sam wild