this actually brings up some questions--historically speaking-- as to the reason for the direction we crank. if the trompette were located on the opposite side from standard, then CCW cranking owuld be required. our threading of screws, which usually runs so that righty=tighty, is also something that in modern construction has created a convention. is there always documented evidence about the direction of cranking? the position of the trompette gives us indications for instruments with a buzzing bridge, but how about those without? i documented several stone carvings in spain that showed crank handles being held 'underhand', and also saw photos taken by Tom Kafka of Antonio Poves, an organistrum reconstructor, where he played his organistra in a similar fashion. Tom, do you recall what direction he cranked? I am remembering the photo right, yes?

thanks all,
vlad


On 03 Sep 2006, at 0h20, [EMAIL PROTECTED] wrote:

    I have seen him live and listened to him play and although it is painful to those of us that have been drilled repeatedly to never-ever-ever play backwards. It works for him because that is the way that he learned to play and without a buzzing bridge it really makes no difference which way he chooses to play it. He really isn't playing it to do French dance nor is working on playing with the buzz so it is not a matter of whether he is developing bad habits either.
 
    Actually the part I like the most is when he uses his cymbal playing monkey (on his left in the video) as a back up percussion player. It is eclectic and fun and the HG is just another element of his gig. So that you are all clear, the HG is a part time instrument not his main focus or his main instrument in the show.
 
   Just to clear it up. Even though I enjoy him it is painful to watch him play but that is a function of my learning and not his playing, which is slow, but still matches the melody well. This is not meant to chastise but rather to give you a different view of the man as a player.
 
   Scott

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