This exhibition was developed in collaboration with Randy Raine-Reusch of Vancouver, a multi-instrumentalist, expert, and avid collector of traditional Asian instruments.
The display is also generously supported by loans of instruments from the National Music Museum at the University of South Dakota, the University of Washington Ethnomusicology Program, and private collections of John Whiteman and Leslie Hoffman.
From being fairly average he is now regarded as highly accomplished and in a sense makes his concertina fly.
With a refreshed outlook to life after cancer, Steve now enjoys raising funds for the Leukaemia Foundation and the proceeds from his gigs and CDs go toward fighting blood cancer.
Through exploration of ancient roots of modern reed instruments, their evolution and modern innovations in Europe and in American, this exhibition retraces the long and winding roads used to bring us where we are today.
This exhibition presents an overview of the entire reed instrument family and highlights rare and unique examples of instruments from Asia and the Middle East comparing and contrasting them with modern day instruments made in Europe and the U. One of the special highlights is a collection of Asian free reeds or mouth organs that are displayed side by side with commercially produced, colorful examples of European free reeds including the harmonica, concertina, bandonion, accordion, and reed organettes, dating back to the 1800s.
Use of the "German" part of the title Anglo-German ceased in the UK during World War I. For example, if the row closest to the player's wrist is in the key of G, the next outer row is in the key of C below.
The heart of the Anglo system consists of two 10-button rows, each of which produces a diatonic major scale in a pattern devised around 1826 by Bohemian designer Joseph Richter for use in a harmonica (Richter tuning). An advantage of the Richter tuning is that pressing three adjacent notes in one row produces a major triad.
“We were a bit stunned, to be honest; all looking round at everyone else, thinking, ‘Is it just me, or was that really good?
’” “It’s definitely more of a pure-drop trad sound than most of the other bands we’re involved in,” adds Cork-born uilleann piper, flautist and whistle player Ryan Murphy (Mànran), “but I think that’s partly why it feels so natural.
Just last December, meanwhile, Brown celebrated RURA’s crowning as Live Act of the Year, at the 2015 Scots Trad Music Awards.