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Author Topic: Pokerwork conflicts  (Read 1521 times)

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Helena Handcart

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Re: Pokerwork conflicts
« Reply #20 on: May 10, 2019, 07:19:20 AM »

After a while, if you put in some time, you'll be wishing you'd never set eyes on a 4th apart box... >:E

Not likely. You'll be recommending a PA next  >:E

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Helena Handcart

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Re: Pokerwork conflicts
« Reply #21 on: May 10, 2019, 07:20:59 AM »

Sell it to someone wise enough to value a semi-tone box. What keys  is it in anyway? I might want it..

There's a big difference between the wisdom to value something that suits your own tradition and the foolishness to denigrate someone else's preference.
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Helena Handcart

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Re: Pokerwork conflicts
« Reply #22 on: May 10, 2019, 07:28:23 AM »

Helena, if you need a CF box I have a few sets of extra F row reeds bass and treble side or whole set of CF, I will swap for C/C* or just C* row  (:)

Thanks for your post, PM sent.
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RogerT

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Re: Pokerwork conflicts
« Reply #23 on: May 10, 2019, 07:50:09 AM »

After a while, if you put in some time, you'll be wishing you'd never set eyes on a 4th apart box... >:E

Not likely. You'll be recommending a PA next  >:E
No..I wouldn’t go that far.

Tone Dumb Greg

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Re: Pokerwork conflicts
« Reply #24 on: May 10, 2019, 08:57:55 AM »


There's a big difference between the wisdom to value something that suits your own tradition and the foolishness to denigrate someone else's preference.

Oooh! That's deep.
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It is empty, but lacks nothing.
The more it moves, the more comes out of it.
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george garside

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Re: Pokerwork conflicts
« Reply #25 on: May 10, 2019, 10:51:46 AM »

After a while, if you put in some time, you'll be wishing you'd never set eyes on a 4th apart box... >:E

Not likely. You'll be recommending a PA next  >:E

at the risk of a wee bit of thread drift I would always recommend a 5 row continental chromatic in preference to a PA.  They are the most logical box of the lot to play.

george
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richard.fleming

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Re: Pokerwork conflicts
« Reply #26 on: May 10, 2019, 01:02:30 PM »

Sell it to someone wise enough to value a semi-tone box. What keys  is it in anyway? I might want it..

There's a big difference between the wisdom to value something that suits your own tradition and the foolishness to denigrate someone else's preference.

Analyse my post and tell me where the denigration lies, please. All I said was that someone might be wise enough to value a semi-tone box (which you were contemplating dismantling at one point).. No denigration to any other system made or implied, I think you will find on mature reflection.
« Last Edit: May 10, 2019, 01:04:22 PM by richard.fleming »
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Old Paolo Sopranis in C#/D and D/D#

Matthew B

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Re: Pokerwork conflicts
« Reply #27 on: May 10, 2019, 03:04:20 PM »

I think Bob Roberts may have played a C/C# box. Judging by his recordings he played it in two keys: C and C#.  I've never been able to work out how he chose which key to use for which song. 
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gettabettabox

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Re: Pokerwork conflicts
« Reply #28 on: May 10, 2019, 10:28:56 PM »

paolos, amatonas, corsos, ericas and frontalinis. I've had them all in C/C+, all gone now!

The best thing about them is they travel through life not being played much and so are usually in
excellent cosmetic condition. They look good on a shelf and even better in a pristine case and are often bought by the innocent.  (:)
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george garside

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Re: Pokerwork conflicts
« Reply #29 on: May 11, 2019, 11:31:23 AM »

when I started as a teenager on a BC box I played it in B or C for some time until it dawned on me that  it was playable in several keys by using both rows.   




































when I started on a bc as a teenager I played in B or C for some time until it dawned on me that  keys like GDAE were quite easy.  The real revelation came a few years later when I got a  3 voice trichord BCC# . everything much easier plus the flat keys free of charge. The first tune I lerned on the trichord was the bluebell polka in GDC'

I added the DG pokerwork when I became involved with morris  as the bass rhythm was particularly useful as was the light weight for processing etc.  For years I have played 4th apart and semitone in more or less equal amounts  but ha;ve never got into playing Irish trad music despite tha fact that some people thin in terms of the semitone boxes as 'irish' boxes

george








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Helena Handcart

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Re: Pokerwork conflicts
« Reply #30 on: May 13, 2019, 07:28:00 AM »

Sell it to someone wise enough to value a semi-tone box. What keys  is it in anyway? I might want it..

There's a big difference between the wisdom to value something that suits your own tradition and the foolishness to denigrate someone else's preference.

Analyse my post and tell me where the denigration lies, please. All I said was that someone might be wise enough to value a semi-tone box (which you were contemplating dismantling at one point).. No denigration to any other system made or implied, I think you will find on mature reflection.

Erm... it was a general observation.   At no point did I accuse you of any such denigration in your previous post.
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Anne Croucher

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Re: Pokerwork conflicts
« Reply #31 on: May 13, 2019, 03:21:38 PM »

I have a fairly good Hohner Erica in C/F with low notes rather than accidentals which I really enjoy playing just for its own sake. It is easy enough to swap over between the two, but there are a few tunes which need those low notes - and anyway the C/F is red.
 
The poor battered D/G is being made better, little by little, though logically I should swap the reeds - but my head never could override the heart - and whenever I do some work and can feel the D/G is a little happier and easier it is good too.
It isn't that I want all the melodeons - just one of each....
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Hohner Ericas D/G and C/F
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Winston Smith

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Re: Pokerwork conflicts
« Reply #32 on: May 13, 2019, 07:12:38 PM »

"just one of each...."
Day of the week? Month of the year? Pairing of scales?
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