Re: [HG] a melissa sighting on youtube

[David Bawden]

Besides the potential for unscrewing the handle, turning the wheel 'backwards' has two other problems. First, the chien would not work in its normal position because the action of the wheel would serve to force the chien down onto the sound table rather than up off it. Of course, this could be solved by putting the chien & string on the lower rather than upper side of the wheel. Perhaps more important is that the hurdy gurdy is an instrument for dancing to and its main function is to create rhythm and beat. It seems to be that turning the wheel 'forwards' with the first buzz at the top of the turn is the most natural way to create emphasis on the first beat of the bar. It is much more difficult to create a good beat turning the wheel 'backwards' and therefore not so good for the dancers. However, some players play the first beat of the bar at the bottom of the turn, on the upstroke, so it is possible to play unconventionally.

Dave

At 16:21 03/09/2006, you wrote:

Well, there's probably a good reason for NOT cranking the wheel that way now
of course. Some modern instruments have a screwed on crank and it come off
if you turn it the wrong way too much (yes, I did it when I first got mine
and just had to try it both ways - total panic).
Were older (or more authentic) ones were fixed by a rivet?
Does anyone know when the screw fixing became the "norm"? Is it, indeed, the
"norm" now?
Just interested.
Colin Hill
----- Original Message -----
From: "Wolodymyr Smishkewych" <[EMAIL PROTECTED]>
To: <hg@hurdygurdy.com>
Sent: Sunday, September 03, 2006 5:29 AM
Subject: Re: [HG] a melissa sighting on youtube


> 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
>
>