Singing With English Concertina

[greenferry]

As an accordion reeded instrument, the Albion is all on or off while it is new. In my case, that has required me having my mind in the business of how I handle the bellows for as you may have noticed the Albion has a good strong voice.

 

 

This is a question from a beginner about "responsiveness." I just want to make sure I understand what is involved. Can somebody illuminate on this?

 

Seems like "action" refers to the speed that keys respond to the touch.

 

Does "responsiveness" mean the ability to make the noise softer and louder (i.e., bellows action)?

 

Does it also mean the sound quality of the reeds (sharp or mellow)?

 

If I get a brand new concertina, will I run into problems of stiff bellows and not be able to dampen the sound for soft pieces?

 

Mark's comment about "all on or off while it is new" got me to thinking. If I get a new one (such as the Morse Albion which I admire), should I just expect it to be "loud" and "unresponsive" until it's broken in?

 

One more question ...

 

Do any of you know where I could find an MP3 or .wav file of somebody playing the baritone concertina *online*, so I could hear what it sounds like? I will make a trek out to The Button Box soon, but I am eager to gain as much insight as possible on the baritone.

 

Thanks!!

Edited November 29, 2005 by greenferry

[Mark Evans]

Yes, action does refer to the keys.

 

Response I use to discribe the bellows pressure required to vibrate the reeds. The Albion bellows are by no means stiff or unresponsive. I was spoiled playing an instrument that had the original bellows from 1921 and it had been taken very good care of. After a rebuild by Mr. Crabb several years before the Aeloa can to me it was air tight with bellows so well broken in that it almost thought for me.

 

My guess is that you would not feel a lack of response. The Albion is a dream, and brand new, a clean slate on which to write. The air pressure required to sustain a note at piano or pianissimo is a bit more than a vintage instrument, but I adjusted and now #209 is adjusting to me. We are very happy together.

 

The Albion sound is not what I would call sharp, just full and bright.

Edited November 29, 2005 by Mark Evans

[bellowbelle]

..................One more question ...

 

Do any of you know where I could find an MP3 or .wav file of somebody playing the baritone concertina *online*, so I could hear what it sounds like? I will make a trek out to The Button Box soon, but I am eager to gain as much insight as possible on the baritone.

 

Thanks!!

 

There's a few samples of the Guens-Wakker baritone English at concertinaconnection.com.

 

.......I looked at your website and saw the ingenious 'tina box you crocheted, that's really nifty. I bet it took awhile to finish it.

 

Thanks! Yes, takes me a long time to complete one, especially since I don't work on them often, anymore. I have a few in the works. Then, I think I'll do some other things -- pillows and window art, etc., since it gets difficult to store too many of those 'tina holders around the house!

 

IN OTHER NEWS....

Just taking this opportunity to say an early HAPPY HOLIDAYS to everyone, since I expect to be mostly offline until at least January, except for checking my e-mail once in a while. I've just been so busy with a ton of things to do.

 

My new stove/oven is winning the competition with the computer...this computer can't cook or bake! And, my time at the computer seems to go to slowly lately, because I find myself needing to come back and re-read things, due to very tired eyes, headaches, etc..

 

So....ttyl! (IM talk for 'talk to you later.')

 

Oh, Mark...I do have tentative plans to get to the Charles Dickens presentation, where you'll be playing your concertina, on Dec. 6th...so, see you then, maybe!

[Mark Evans]

That would be nice Wendy. I've been under the weather and don't know how much singing I'll do. Those Victorian carols all seem to be in G, D and F so a little singing may be possible. Perhaps I'll croak through a few or look pleadingly at you should you come.

Edited November 29, 2005 by Mark Evans

[Brian Peters]

I am trying to decide on what kind of concertina to buy, one that goes well with singing. (snip) Should I be considering an Anglo instead? Would a baritone be better for singing with? I read somewhere that some types are not as good if you want to sing with them, and I'm not sure why that would be.

 

Speaking as an Anglo accompanist, I would say that you can get great results with this instrument, but you have to know what you want to use it for. Slow songs generally require sustained chording which, given the nature of the Anglo, can find you running out of air. That's less of a problem if you have minimum thirty buttons, and can find some duplicate chords in both directions - G is straightforward, and there are ways to find reversals of C, D, A minor etc. Secondly, Anglos are limited in their range of keys, so you need to have an idea of your vocal range, and the range of the songs you want to sing. For instance, a lot of songs work well in F for my voice, and that's not a problem on a C/G Anglo. Lastly, all concertinas and especially metal-ended Anglos can be pretty strident, so unless you have brass reeds or have muffled the ends with felt, you really do need to develop a gentle touch on the instrument. And of course that's all the more difficult when you're trying to concentrate on singing at the same time. Any kind of insecurity about what you're doing tends to lead to a panicky heavy hand on the instrument.

 

Anglos really come into their own for bouncy dance-rhythm songs, music hall and the like.

 

I tried out the Morse baritone Anglo on a recent visit to the Button Box and it was really nice. I wouldn't mind doing some accompaniments on one of those one day.

 

By the way, I agree with the general consensus about Ian Robb's excellent accompaniments. Also it's worth checking out Steve Turner, the best English system song accompanist I ever heard.

Brian

Brian

[greenferry]

Lastly, all concertinas and especially metal-ended Anglos can be pretty strident, so unless you have brass reeds or have muffled the ends with felt, you really do need to develop a gentle touch on the instrument. And of course that's all the more difficult when you're trying to concentrate on singing at the same time. Any kind of insecurity about what you're doing tends to lead to a panicky heavy hand on the instrument. -- Brian

 

 

Brian,

 

Thanks so much for your suggestions! The comment about the gentle touch is especially useful, and I will focus on it. I've made two visits to the Button box already to look at the Morses, and I think it's just a matter of one more visit before I decide on which one to get. After deliberating for a long time over the treble and the baritone, I told Doug, "I may have to get two!" and he agreed that could solve the problem. But for the moment I just need one to get started with. If I don't get the baritone right now, I will probably get one later this year. It seems as though people don't have too hard a time selling them if they decide to change to a different instrument.

 

Your comment about watching out for the "panicky heavy hand" is a real good visual reminder that I will follow. Thanks, Brian!