>Is this really true? Isn't transposing as useful skill on the concertina
>as it is on whistle?
I'm not convinced that this is a useful skill on whistle ... beyond the
novelty of it. Much more useful just to buy the full array -- C whistle, D
whistle, just got my E major!
The reason I don't think it's all that useful is that basically, these
tunes are played in one key (okay, there's the occassional, "Oh, we play
that one in G" comment, but not too commonly). If you transpose, then
suddenly you'll find yourself playing alone.
>(This reminds me that I can only *read* music in one
>key on whistle, or on fiddle or banjo. Sometimes I wish I could transpose
>and play written music on sight, when I'm faced with, say, a tune notated
>in Bb. ... I suppose that if I wanted to be a hotshot sight
>reader I would take the trouble to learn to do this. But for Irish music,
>where playing by ear is paramount, it hardly seems worth the effort.)
You okay, Rick? You seem a little on edge ;=)>. Anyway, I don't consider
myself a hotshot sight reader, but years with diatonic instruments have
given me the ability to look at tunes in the common keys (2 flats to three
sharps) and say, "Okay, there's the tonic, there's the fifth ..." and I
read the music that way. Being able to transfer fingerings between
instruments is one of the great benefits of diatonic instruments. It's one
of their strengths.
As for Noel Hill ... I think it's really bad practice to base my own
musical policies on what the virtuosos are doing. Unless told otherwise,
I'm assuming that he really *is* just transferring C/G fingerings to other
boxes ... and I'm okay with that.
Gotta love the diatonics,