What is the purpose of the taper in rolled staples?

[Kevin L. Rietmann]

Case in point:Anyone ever play a C melody sax? ew.

Yes I've played a C Melody Sax and often wished it had continued past the change of (and unification of) Pitch standard in 1939.

I bought a C Mel a few years back. Another local piper has one too and actually practices, I'm told..."Oleorezinator" on this forum doubles on both as well, has played both instruments for decades. We're one of those "close-knit fraternities" you've heard about. That, and the pipers who take to the piano accordion - Leon Rowsome, Seamus Meehan, Dave Page, my own self again.

From what I've read the reason the C-Melody fell out of favor was both its unusual pitch - in the era of swing you had all those Eb/Bb clarinets - and also its mellow tone/volume, which didn't make it in the big bands. I've always thought a sax would be just the thing for Irish music, but then the one time I took my sax to a session I was politely asked to knock it off after a few tunes...

There's some company in NZ that still makes C Mels too, with acoustics more akin to the tenor/bari saxes.

[geoff wooff]

Case in point:Anyone ever play a C melody sax? ew.

Yes I've played a C Melody Sax and often wished it had continued past the change of (and unification of) Pitch standard in 1939.

I bought a C Mel a few years back. Another local piper has one too and actually practices, I'm told..."Oleorezinator" on this forum doubles on both as well, has played both instruments for decades. We're one of those "close-knit fraternities" you've heard about. That, and the pipers who take to the piano accordion - Leon Rowsome, Seamus Meehan, Dave Page, my own self again.

From what I've read the reason the C-Melody fell out of favor was both its unusual pitch - in the era of swing you had all those Eb/Bb clarinets - and also its mellow tone/volume, which didn't make it in the big bands. I've always thought a sax would be just the thing for Irish music, but then the one time I took my sax to a session I was politely asked to knock it off after a few tunes...

There's some company in NZ that still makes C Mels too, with acoustics more akin to the tenor/bari saxes.

That is interesting Kevin.....

Years ago in Australia there was a whistle player Tim Whelan from Tipperary (I think) who used to play C Melody Sax in Ceili bands.. in the days when dance bands would double up doing waltzes and foxtrots as well as Seige of Ennis and Sets.
I played several times with Tim even once with both of us blasting away on the Saxes... not that anyone else really enjoyed the moment.

[Kevin L. Rietmann]

It wasn't uncommon in dancehalls back when, sometimes the horn players could actually play the dance music like your man. In other instances they were brought in just to play the ballroom material and back up singers, and often weren't Irish too. Was reading the little booklet on Sliabh Luachra music that accompanied the Topic LPs of the 70s (Kerry Fiddles etc), the Cliffords played with brass players off and on, and Julia learned to play in remote keys while John of course turned to the piano accordion to have an instrument that could more easily play chromatically.

Some of these dance hall lineups even made records, such as Paddy Killoran and His Pride of Erin Orchestra, here playing the Sweeps and Heirloom Hornpipes.

[bobkeenan]

Who would have guessed that my question about rolled taper staples would have evolved into a discussion on the C melody sax?

[MikeFletch]

[Thread revival. - Mod]

Case in point:Anyone ever play a C melody sax? ew.

Yes I've played a C Melody Sax and often wished it had continued past the change of (and unification of) Pitch standard in 1939.

I bought a C Mel a few years back. Another local piper has one too and actually practices, I'm told..."Oleorezinator" on this forum doubles on both as well, has played both instruments for decades. We're one of those "close-knit fraternities" you've heard about. That, and the pipers who take to the piano accordion - Leon Rowsome, Seamus Meehan, Dave Page, my own self again.

From what I've read the reason the C-Melody fell out of favor was both its unusual pitch - in the era of swing you had all those Eb/Bb clarinets - and also its mellow tone/volume, which didn't make it in the big bands. I've always thought a sax would be just the thing for Irish music, but then the one time I took my sax to a session I was politely asked to knock it off after a few tunes...

There's some company in NZ that still makes C Mels too, with acoustics more akin to the tenor/bari saxes.

Waaaaayy late to the party here, but couldn't resist putting in a word for the much maligned C Melody! My sax collection currently includes 3 of them (which is admittedly more than anyone really needs), but I regularly play one of the straight-necked Conns. With a bit of persuasion and a decent mouthpiece it works a treat! I've taken it along to the odd session and so far haven't suffered any ill effects......