DOCSLIB.ORG

Music Books by Helmi Harrington Chemnitz Concertina Books

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music Books by Helmi Harrington Chemnitz Concertina Books Music Books by Helmi Harrington Chemnitz Concertina Books Five Easy Pieces. Book One. Contents: The Caissons Go Rolling Along, Camptown Races, Kumbaya, Michael Row the Boat Ashore, When the Saints Go Marching In. Plus—Scalar chart of all pitches of the “C” concertina .$5.95 Five Easy Pieces. Book Two. Contents: Concertina Waltz, Du, Du Liegst Mir Im Herzen, Home Sweet Home, Ode To Joy, Polka-Polka. Plus—Scalar chart of all pitches of the “C” concertina. $5.95 Five Easy Pieces. Book Three. Contents: Happy Birthday, Horsch was Kommt von Draussen ‘Rein, Louka Zelena, Pat O’Roosky in Ireland, Oh, How I Love Jesus. $6.95 Five Medium Pieces. Book One. Contents: Blue Skirt Waltz, Dreamy Fish Waltz, The Honeybee Waltz, Melody of Love, Waltz Across Texas. $7.95 Five Medium Pieces. Book Two. Contents: Amazing Grace, Clairene Waltz, Mexicali Rose, Little Fella, Dutchman’s Waltz. $7.95 Five Medium-Difficult Pieces. Book One. Contents: Boogie Woogie Swing (Boogie), Cuckoo Waltz (Waltz), Mocking Bird Hill (Two-Step), Moonlight and Roses (Tango), Somethin’ Stupid (Bossa Nova). $7.95 “Bohemian and Viennese” Button Diatonic Books (This is the most common pitch-ordering system. It is used in the USA for Tex-Mex (Conjunto), and is basic to instruments from many ethnicities.) Button Diatonic Method for “Bohemian” and “Viennese” Systems. Book One ca. 30 p plus Appendices $12.00 This book begins at the beginning in understanding diatonic accordions. It identifies the models and brands most commonly using this pitch-order system—and how you can determine the content of yours. Book One teaches basic rhythmic patterns, core-pitches found in many other diatonic types, tunes and exercises using one octave in three rows. Button Diatonic Method for “Bohemian” and “Viennese” Systems. Book Two 29p plus Appendices $12.00 This book introduces the next higher right-hand octave and more than six pairs of accompaniment buttons. Enjoyable pieces make this book fun, and gently progressive steps increase your skills. Pieces are longer and varied by use of double notes. Button Diatonic Method for “Bohemian” and “Viennese” Systems. Book Three. 32p. plus Appendices $12.00 This book uses the next higher right-hand octave and more varied note values. .Enjoyable pieces make this book fun, and gently progressive steps increase your skills. Pieces are longer and varied by use of double notes and new harmonies. Button Diatonic Method for “Bohemian” and “Viennese” Systems. Book Four. 36p. plus Appendices $12.00 This book uses variations techniques, dynamic interpretive techniques, new low tones, three scales, including minor. Enjoyable pieces make this book fun, and gently progressive steps increase your skills. Pieces are longer and varied by use of double notes and new harmonies. “Club System” Button Diatonic Books Known in some circles as a 2 ½ row, the “Club” system has a “Gleich-Ton” at center of the second row and sharps and flats in the third row. It is the preferred diatonic in Germany, related to the Swyzerorgli, and is usually taught by tablature. Club System (Regular Keyboard) Button Diatonic Method. Book One. 42p. plus Appendices $12.00. Useful for all “Club” accordions, this book is best for keyboards with 12-11-7 keys. Charts, exercises, and music selections make this instrument understandable and fun. Progresses through one-octave in two rows. Teaches playing by learning to read real music. Club System (Regular Keyboard) Button Diatonic Method. Book Two. 35p. incl. Appendices $12.00. Lovely folk and ethnic tunes make this book most enjoyable. Charts and explanatory pages help you learn how to make sense of music you choose from other sources. Some Club System Diatonics have more treble buttons and wider range. Some have 7th chords in the bass section. Club System (Expanded Keyboard) Button Diatonic Method. Book One. 41p. plus Appendices $12.00 Useful for all “Club” accordions, this book is best for keyboards with 12-11-10 keys. Charts, exercises, and music selections make this instrument understandable and fun. Progresses through one-octave in three rows. Stradella and Free‐Bass Books: Most of the pieces included in the following books are arranged at Grades 2-3. A few are easier and a few are more difficult, but all can be enjoyed by average accordionists. Hymns and Sacred Music. (for Piano- or Chromatic Accordions). $9.95 Contents: Abide With Me, Amazing Grace, Bringing in the Sheaves, Child in a Manger (Morning has Broken), Comfort, Comfort You my People, Faith of our Fathers, Holy-Holy-Holy, I’m a Pilgrim, Just a Closer Walk With Thee, My Prayer for Today, Onward Christian Soldiers, Praise God from whom All Blessings Flow, Pretty Paper, Rock of Ages, The Lost Chord, We Gather Together, What a Friend we have in Jesus. Selected Favorites for Free-Bass Accordion: Quint-Converter Edition. 17 pieces, 33p. plus Appendices. $15.00 Contents: Swallowtail Jig, Michael Row the Boat Ashore, Hava Nagila, Irish Washerwoman, The Happy Wanderer, Greensleeves, Moonlight Sonata Theme, Fantasy Impromptu Theme, Fuer Elise Theme, Country Dance, The Barrel Organ, Alley Cat, Musette, Casey Jones, Syncopated Clock, Away in a Manger, We Three Kings. Christmas Carol Favorites for Quint Converter 19 pieces, 33 p. $15.00. Contents: Angels We Have Heard On High, Ave Maria, Away In A Manger, Christmas is Coming, Good King Wenceslas, Hallelujah!, Hark! The Herald Angels Sing, He Is Born, I Heard The Bells On Christmas Day, Jolly Old St. Nicolas, Joy To The World, O Come, All Ye Faithful, Pat-A-Pan, Resonet in Laudibus, The Little Drummer Boy (Part !) and (Part 2), We Three Kings, What Child is This (Easy Version) and (Medium Difficult Version). Olde Tyme Favorites of the Midwest (for Piano- and Chromatic Accordions) 18 pieces, 42 p. $15.00. Contents: Accordion Waltz, Argentina Waltz, Blue Skirt Waltz, Clairene Waltz, Cuckoo Waltz, Dutchman’s Waltz, Johann Pa Snippen Schottische, Home-Coming Waltz, Isabella Waltz, Life in the Finnish Woods, Little Fella, My Melody of Love, Mariechen Waltz, New Ulm Waltz, Over Three Hills, Tinker Polka, Waltz Across Texas. Christmas Around the World (for Piano- and Chromatic Accordions) 15 pieces, __ p. $12.95. Contents: Child In A Manger (Gaelic), Christmas is Coming (Old English), Comfort, Comfort You My People (Pilgrim), Frosty the Snowman (USA), Gentle Mary Laid Her Child (British Isles), Hark! What Mean Those Holy Voices (Russia), Kling, Gloeckchen Kling (Germany), Lo, How A Rose E’er Blooming (Medieval Germany), Lullaby, Jesus (Poliand), Merry Christmas Polka (USA), Not In Lordly State and Splendor (Medieval France), Pat-A-Pan (Medieval), Pretty Paper (USA), Rudolph the Red-Nosed Reindeer (USA), Shepherds in Pastures (Czech Carol), Sing Lullaby (Old Basque Noel), Star Light Sparkles In The Night (China), Sylvia’s Christmas Song (Finland). Misc. Music Books Henle Edition Piano Album 50 selected pieces, originals $26.00 Palmer Hughes Christmas Book $8.95 For solo (with easy and more difficult versions) and 2nd, 3rd, 4th accordion parts 12 Traditional favorites Two-row Button Diatonic Method, German edition $7.95 Written in tablature, the music is understandable for progressive learning. The Box: A Beginner’s Guide to the Irish Traditional Button Accordion. David Hanrahan. 32p including charts $14.95 La Concertina. An Introduction to playing the 20-button Anglo concertina. Books One and Two Top Country Hits. For piano and “C” instruments. Texts included. Scott Joplin: Ragtime Rags. Schaum ed. 7 fun-to-play transcriptions for piano. Schmitt Preparatory Exercises for Piano. Op. 16 Ed. Palmer. One of the most essential exercise and finger-control books ever devised. Includes finger exercises, scales, chordal figurations. Used in accordion studies by Harrington. $6.95 Popular Songs for Accordion and other instruments. Fake music style, with texts. $35.00 Great for improvising, sight-reading, repertory development, and entertainment. Eric Olzen’s Scandinavian Dance Album: Swedish, Norwegian, Danish. Four volumes $6.95 each Photocopy. Gregory Stone. Concerto Breve for Accordion and Orchestra. Arcari Fdn. Landmark composition. Sheet music. The Best Concertina Method—yet! Bob Kail. $13.95 250 old and popular tunes with instructions for Anglo Concertina. Stas Venglevski. Illusions. Duets Original compositions for accordion Two volumes. $_______ each. Stas Venglevski Seasoning. Duets. Original compositions for accordion Stas Venglevski Seasoning Solos Original compositions for accordion Two volumes: $________ each Stas Venglevski Rainbow Reflections. Original compositions for accordion Miscellaneous Opportunities:Limited availability (and one-of-a-kind items) Music from Around the World, Walter Maurer, Preissler Ed.$20.00 20 songs and dances from 15 countries. Full-chord notation. Optional: 2nd accordion parts must be specified when ordering.$5.00extra Dances from Sweden, ed. Andrew Walter, Ottinger Publ. $20.00 For one or two accordions .
Load more

Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Weltmeister Akkordeon Manufaktur Gmbh the World's Oldest Accordion
    MADE IN GERMANY Weltmeister Akkordeon Manufaktur GmbH The world’s oldest accordion manufacturer | Since 1852 Our “Weltmeister” brand is famous among accordion enthusiasts the world over. At Weltmeister Akkordeon Manufaktur GmbH, we supply the music world with Weltmeister solo, button, piano and folklore accordions, as well as diatonic button accordions. Every day, our expert craftsmen and accordion makers create accordions designed to meet musicians’ needs. And the benchmark in all areas of our shop is, of course, quality. 160 years of instrument making at Weltmeister Akkordeon Manufaktur GmbH in Klingenthal, Germany, are rooted in sound craftsmanship, experience and knowledge, passed down carefully from master to apprentice. Each new generation that learns the trade of accordion making at Weltmeister helps ensure the longevity of the company’s incomparable expertise. History Klingenthal, a centre of music, is a small town in the Saxon Vogtland region, directly bordering on Bohemia. As early as the middle of the 17th century, instrument makers settled down here, starting with violin makers from Bohemia. Later, woodwinds and brasswinds were also made here. In the 19th century, mouth organ ma- king came to town and soon dominated the townscape with a multitude of workshops. By the year 1840 or thereabouts, this boom had turned Klingenthal into Germany’s largest centre for the manufacture of mouth organs. Production consolidation also had its benefits. More than 30 engineers and technicians worked to stre- Accordion production started in 1852, when Adolph amline the instrument making process and improve Herold brought the accordion along from Magdeburg. quality and customer service. A number of inventions At that time the accordion was a much simpler instru- also came about at that time, including the plastic key- ment, very similar to the mouth organ, and so it was board supported on two axes and the plastic and metal easily reproduced.
    [Show full text]
  • 3 the Invention of the Concertina
    3 The Invention of the Concertina Introduction Having outlined the concertina’s place within the broad history of modern free-reed instruments, I now discuss in detail the circumstances surrounding its appearance and first commercial production. I seek to identify the intentions of its creator, the influences upon its form and the degree of innovation involved. In doing so I hope to address two popular, yet contrasting, views on the invention of the concertina. Firstly, I wish to challenge the view commonly held by enthusiasts of the instrument, including many of my informants, that its invention was the one-off, brilliant creation of an eccentric scientific genius. The concertina was first produced some time during the 1830s by Wheatstone and Co. of London and it is clear that its conception and design were the responsibility of Charles Wheatstone. It is, however, too easy to apply a “heroic” view of invention which clouds proper understanding of innovation in the nineteenth century and over-elevates individual achievements. As the previous chapter described, the concertina was just one of a number of new free-reed products to emerge from an extended period of research and innovation in musical instrument design and manufacture. I wish to emphasise here that it was also just one part of a line of innovations by its creator, who was also an outstanding teacher, experimenter and pioneering inventor in acoustics, optics, electricity, telegraphy and other fields. Secondly, while popular tradition privileges this single aspect of Wheatstone’s work, writers on scientific matters have tended to regard his activities in the musical field as an interesting sideline, engaged in while bearing early responsibility for the family music business but abandoned on maturity for pressing work in other, more important fields.
    [Show full text]
  • The Taranta–Dance Ofthesacredspider
    Annunziata Dellisanti THE TARANTA–DANCE OFTHESACREDSPIDER TARANTISM Tarantism is a widespread historical-religious phenomenon (‘rural’ according to De Martino) in Spain, Campania, Sardinia, Calabria and Puglia. It’s different forms shared an identical curative aim and by around the middle of the 19th century it had already begun to decline. Ever since the Middle Ages it had been thought that the victim of the bite of the tarantula (a large, non- poisonous spider) would be afflicted by an ailment with symptoms similar to those of epilepsy or hysteria. This ‘bite’ was also described as a mental disorder usually appearing at puberty, at the time of the summer solstice, and caused by the repression of physical desire, depression or unrequited love. In order to be freed from this illness, a particular ritual which included dance, music and the use of certain colours was performed. RITUAL DANCING The first written account of music as an antidote to the bite of the tarantula was given by the Jesuit scientist, Athanasius Kircher, who was also the first to notate the music and rhythm in his book Antidotum Tarantulæ in the 16th century. Among the instruments involved and used, the frame drum plays an important role together with the violin, the guitar or chitarra battente, a ten-string guitar used percussively, and the button accordion or organetto. This form of exorcism consisted in a ritual carried out in the home of the sick person and a religious ritual in the Church of San Paolo (Saint Paolo in Galatina (Lecce)) during the celebrations of the Saints Peter and Paul on the 28th June each year.
    [Show full text]
  • The Aesthetics of Arranged Traditional Music in Turkey Eliot Bates CUNY Graduate Center
    City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2010 Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey Eliot Bates CUNY Graduate Center How does access to this work benefit ou?y Let us know! Follow this and additional works at: https://academicworks.cuny.edu/gc_pubs Part of the Music Performance Commons Recommended Citation Bates, Eliot, "Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey" (2010). CUNY Academic Works. https://academicworks.cuny.edu/gc_pubs/487 This Article is brought to you by CUNY Academic Works. It has been accepted for inclusion in Publications and Research by an authorized administrator of CUNY Academic Works. For more information, please contact [email protected]. VOL . 54, NO. 1 E TH N OMUSICOLOGY WI N T E R 2010 Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey ELIOT BAT E S / University of Maryland, College Park n this paper I explore the production aesthetics that define the sound I of most arranged traditional music albums produced in the early 2000s in Istanbul, Turkey.1 I will focus on two primary aesthetic characteristics, the achievement of which consume much of the labor put into tracking and mix- ing: parlak (“shine”) and büyük ses (“big sound”). Parlak, at its most basic, consists of a pronounced high frequency boost and a pattern of harmonic distortion characteristics, and is often described by studio musicians and engi- neers in Turkey as an exaggeration of the perceived brightness of the majority of Anatolian folk instruments.2 Büyük ses, which in basic terms connotes a high density of heterogeneous musical parts, in contrast to parlak has no rela- tion to any known longstanding Anatolian musical performing traditions or timbral aesthetics, and is a recent development in Istanbul-produced record- ings.
    [Show full text]
  • Melodic Identity and Tune Resemblance Karen E. Mcaulay
    1 ABSTRACTS (grouped by session) Session 1: Melodic Identity and Tune Resemblance Karen E. McAulay (Royal Conservatoire of Scotland, Glasgow) ‘All the right notes, but not necessarily in the right order’*: Musical Resemblances over the Border The appealing Northumbrian pipe-tune, “I saw my love come passing by me”, appears in at least three nineteenth century sources, and again in Cock’s Tutor for the Northumbrian Half-Long Bagpipes. The latest two of these are shorter, whilst the first two elaborate the tune with variations. Nonetheless, the resemblances are clear; their kinship is indisputable. However, there are two much earlier appearances of similar tunes in publications north of the border. A century older, each has a different title, and although the shapes of these tunes are undeniably similar, they are certainly neither identical forerunners to one another, nor to “I saw my love”. Indeed, one source was linked in 1925 to a totally different tune. Notwithstanding this earlier identification, I dispute the similarity, and propose that there is some kind of link between “I saw my love” and her earlier Scottish cousins. Whilst the Tune Archive enabled me to trace the iterations of the Border tunes, it failed to flag up these Scottish tunes as potential relatives, partly because their rhythmic notation means the Theme Code index failed to pick up the same strong beats. I propose to demonstrate the methodology I have adopted to attempt to prove my hypothesis. If I’m right, it suggests that before I saw my love come passing by me, she had enjoyed a bit of a shadowy Celtic past.
    [Show full text]
  • Introducing the Harmonica Box Concertina
    Introducing The Harmonica, Button Box and Anglo Concertina The harmonica, the Anglo concertina and the button accordion are three instruments that operate on a similar blow/draw or push/pull principle. This means, in theory at least, that if you can get your mind around the way one of them works then moving on to another will be familiar, even relatively painless. So if you can rattle out a tune on the mouth organ you should at least have an idea how the concertina or button accordion works. A full octave of musical tones or steps contains 12 notes, 13 if you count the next octave note. (To get an octave note just means doubling, or halving, the frequency, such as by halving the length of a guitar string, or causing a reed to vibrate half, or twice, as fast). A scale containing all those 12 notes is called a chromatic scale. Most basic songs and tunes however only need a select 8 of these tones, the familiar ‘doh, re, me, fa, so, la, ti, doh’ thing, that’s 7 only notes, or 8 if you count the second ‘doh’. This is called a diatonic scale. The harmonica, Anglo concertina and button accordion are diatonic free reed instruments, in general they come with just the basic 7 notes that you will need to play most tunes, in one set key or starting point. And they make those notes when air is blown over little metal reeds that sit snugly in a frame. Each button, or hole on a harmonica, has two reeds and makes two different sounds, one when the bellows are pushed together, or you blow into a harmonica, another when the bellows are pulled apart, or you draw air in.
    [Show full text]
  • The Harmonica Its Evolution, Variety and Beauty for Players, Collectors, and the Curious
    The Harmonica Its Evolution, Variety and Beauty For Players, Collectors, And the Curious A Presentation for the Members of the Lyncean Group by John Whiteman La Jolla, CA eMail: [email protected] Mobile Phone: (858) 922-3750 July 11, 2018 Outline 1. About harmonicas • Definition • History 2. Harmonica as a musical instrument • Types • Demonstration 3. Harmonica as a “collectible” • Show and tell 3 Definition of “Harmonica” • “Free reed” instrument that is played by blowing/drawing with the mouth. – Also known as mouth organ (UK mostly), mundharmonika (Germany), harp • Other popular free reed instruments: – Accordion (button box, concertina, handharmonika, piano accordion) – Jew’s harp – Reed organ (pump organ) – Melodica (evolved from the blow accordion) 4 Standard Harmonica I’ll explain this later Typical “Diatonic” Harmonica With 10 holes and 20 reeds (2 per hole) (Disassembled on the next slide!) A harmonica reed Organ reeds Air Reed is “offset” from the reed plate; air must pass in direction of arrow for reed to vibrate and make sound 5 The Insides Comb – it is sandwiched between the reed plates Plastic: good Lower CoverPlate Wood: bad Upper Cover Plate Upper Reed Lower Reed Plate - Plate - Blow Draw 27 September 2017 6 Brief History of the Harmonica • ~1821 – first harmonica was made in Berlin from pitch pipes by Christian Buschmann – a mere 196 years ago • ~1830 – first U.S. harmonicas made by James Bazin • 1857 – Hohner starts to manufacture (700 first year) • 1887 – Hohner produces 1 million per year • 1920s – Golden age of harmonicas, 20 million/year • 1932 – Peak production of 25m despite Depression • 1938 – Recorded music and world situation decreases Hohner production back to 20 million, steadily declining ever since; Germany eventually cedes harmonica preeminence to Japan and China.
    [Show full text]
  • Music in the Northern Woods: an Archaeological Exploration of Musical Instrument Remains
    Michigan Technological University Digital Commons @ Michigan Tech Dissertations, Master's Theses and Master's Reports 2018 Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains Matthew Durocher Michigan Technological University, [email protected] Copyright 2018 Matthew Durocher Recommended Citation Durocher, Matthew, "Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains", Open Access Master's Thesis, Michigan Technological University, 2018. https://doi.org/10.37099/mtu.dc.etdr/575 Follow this and additional works at: https://digitalcommons.mtu.edu/etdr Part of the Archaeological Anthropology Commons, Ethnomusicology Commons, and the Musicology Commons MUSIC IN THE NORTHERN WOODS: AN ARCHAEOLOGICAL EXPLORATION OF MUSICAL INSTRUMENT REMAINS By Matthew J Durocher A THESIS Submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE In Industrial Archaeology MICHIGAN TECHNOLOGICAL UNIVERSITY 2018 © 2018 Matthew J Durocher This thesis has been approved in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE in Industrial Archaeology. Department of Social Sciences Thesis Advisor: Dr. LouAnn Wurst Committee Member: Dr. Steven A. Walton Committee Member: M. Bartley Seigel Department Chair: Dr. Hugh Gorman Table of Contents List of Figures………………………………………………………………………….v List of Tables…………………………………………………………………………vii Acknowledgments........................................................................viii Abstract………………………………………………………………………………….x 1. There was music…………………………………………………………………..1 1.1. Enter Coalwood…………………………………………………………………………….3 1.2. A prelude……………………………………………………………………………………..7 2. Fresh Water, Ore, and Lumber……………………………………………10 2.1. Early logging and music in the Upper Peninsula………………………….…14 2.2. Cleveland Cliffs Iron Mining Company………………………………………….16 2.3. Coalwood: 1901-1912…………………………………………………………………..18 2.4. Conclusion…………………………………………………………………………………26 3. The Sounds of a Place.………………………………………………………..28 3.1.
    [Show full text]
  • Indoors Dapper's Delight
    Karnatic Lab Records, Postbox 2595, 1000 CN Amsterdam Dapper’s Delight Indoors [email protected], www.karnaticlabrecords.com Pagina 24 Pagina 1 0003_PRO_BK4P, booklet 4p 242x120, © Promese 05-2009 WITH SPECIAL THANKS TO: CAMILLA, ANKE, ROY, LOTTA, MARCO, RAPHAELA AND PASCAL FOR BABYSITTING DUTIES KRIS AND THOMAS FOR THEIR HELPFUL CRITICISM AND LAST MINUTE TWEAKING LIKEWISE PETER, FOR KAA THE SNAKE AND HIS UNFLINCHING LOYALTY MALCOLM FOR GARDEN GREEN AND FOR THE ERICA IN 1976 JONATHAN FOR EDITING THE TEXTS MARK FOR HELP WITH TEXTS, SOURCES AND HIS CONTINUOUS ENCOURAGEMENT AND ENTHUSIASM JOHN FOR HELP SEARCHING FOR THE ELUSIVE BOUNCE STEPHANIE FOR TRYING TO FIND THE VOICE JÜRGEN FOR HIS WONDERFUL INSTRU- MENT "SOOTY" CHRIS FOR THE NICEST TUCK SHOP IN THE WORLD NED, GIJS AND THE REST OF THE BACKROOM STAFF AT KARNATIC LAB RECORDS CARST FOR HELP WITH THE COVER PHOTO- GRAPHS ROBIN, ANNABEL AND MICHA FOR DOING ALL THE WORK OUR FAMILIES AND FRIENDS FOR THEIR UNDERSTANDING AND ANYBODY WHO STOPPED TO LISTEN ON THE STREET FINALLY TO RUFUS FOR PUTTING UP WITH US SO COURAGEOUSLY Susanna Borsch recorder & voice Dapper’s Delight Adrian Brown anglo concertina & voice programme notes and artwork: Dapper’s Delight; booklet photographs: Robin Bigwood 17th century broadsides reproduced with kind permission of the Pepys library www.dappersdelight.com Pagina 2 Pagina 23 0003_PRO_BK4P, booklet 4p 242x120, © Promese 05-2009 Dapper’s Delight is a duo formed to ex- comprising an unusual combination of plore the dance music and songs of the period 1550 – 1750, particularly pieces to perform composed pieces drawing on found in both high and low cultural sources.
    [Show full text]
  • Concertina World #449 2011
    CONCERTINA WORLD #449 2011 Magazine of the International Concertina Association Information/interviews/techniques/events separate music supplement Editor Music Supplement and PICA: 1 Index Jon McNamara, tel: 01279 656664 17, Nursery Road, Bishops Stortford, 2 Editorial Herts, CM23 3HJ 3 Jody Kruskal and AGM 2011 Email: [email protected] 6 Alistair Anderson weekend Librarian/Archivist: 7 Crane Concertina World Jeremy Hague 8 Westmeath Hunt Email: [email protected] 9 Crabb Concertinas Concertina World Editor: 11 Interview Paul Walker Pauline de Snoo 16 SqueezEast Tel: 00 31 73 54 79837 18 Concertina on iPod Goudenregenstraat 5, 5482 CW Schijndel, Netherlands 20 Biology of a Band Baritone Email: [email protected] or 23 Kimber Blue PLaque [email protected] 24 Blowzabella Review Secretary: 25 Douglas Lloyd Roger Gawley, Tel:0191 384 4764 26 John Nixon 17 Dryburn Road, Durham DH1 5AJ 27 Lavinia McDougall Email: [email protected] 30 Song accompaniment (2) Membership secretary: 34 Concertina for sale, Melodeon Martin Henshaw stolen Oak End, 23A Bedford Road Northill, Biggleswade, Beds. SG18 9AH Tel. 01767 627 566 Contributors: John Beckett, Les [email protected] Branchett, Pauline de Snoo, Peter Dyson, Maeve Gebruers, Martin Treasurer: Henshaw, Valmai Goodyear, Peter Paul McCann, [email protected] McDougall, Wes Williams. Other committee members: Suzanne Higgins; Gill Noppen-Spacie; Michel van der Meiren, website; Carolyn Wade; Wes Williams, document archive. The views expressed in Subscriptions run from 1 January to 31 December. “Concertina World” are solely Membership Subscriptions due on 1 January of those of the author and do not the year. Membership UK 20 GBP, Europe 23 necessarily bear any relationship GBP, USA, 26 GBP.
    [Show full text]
  • Spring Weekend: May. 28-31
    **Updated version as of 5/17/10 -- see also calendar listings on p.9 ** Folk Music Society of New York, Inc. May 2010 vol 45, No.5 April 30, Fri: Brian Peters Concert: 7:30pm 96 St & B’way-see p.2 May 1 Sat Brian Peters Ballad Wkshp: 11am-1pm, Upper West Side 2 Sun Sea Music Concert; Don Sineti and Steve Roys + NY Packet; 3 pm at South Street 5 Wed Folk Open Sing 7 pm in Brooklyn 10 Mon FMSNY Exec. Board Meeting; 7:15 pm location tba 15 Sat Chantey Sing at Seamen’s Church Institute, 8pm. 15 Sat Old-Time Jamming Workshop & Jam, 2:30 – 4:30 PM, Park Slope, Brooklyn. 16 Sun Sacred Harp Singing location to be announced 16 Sun Singing Party in Sheepshead Bay, Brooklyn; 2-5pm 21-23: Brooklyn Folk Fest at Jalopy Theatre, Brooklyn. 28-31 Spring Folk Music Weekend at Kislak Adult Center, Lake Como, PA -- see flyer in centerfold June 1 Tue Sea Music Concert-Tribute to Charlie O’Hegarty; NY Packet, David Jones, and others: 6 pm at South Street 2 Wed Folk Open Sing 7 pm in Brooklyn 3 Thur Newsletter Mailing, 7pm in Jackson Heights (Queens) 8 Tue Sea Music Concert; Peter Kasin and Richard Adrianowicz + NY Packet; 6 pm at South Street 14 Mon FMSNY Exec. Board Meeting; 7:15pm location tba 15 Tue Sea Music Concert; tba + NY Packet; 6 pm at South Street 18 Fri Nordet: a quartet from Brittany singing music of the sea; 8 pm at OSA 220 E. 23rd Street, suite 707 19 Sat Chantey Sing at Seamen’s Church Institute, 8pm.
    [Show full text]