Introduction
Paul de Ville, The
Concertina and How to Play It (New
York: Carl Fischer, Inc., 1905) is one of the most widely available sources of
basic instruction and tunes for the Anglo concertina. A recent printing
features a new cover, a slightly enlarged format, and a retail price of about
$10. Copies of earlier printings have sold for $25 or more in the secondary
market. Buyers and sellers have assumed that these copies were printed in 1905
or soon thereafter. However, all copies that I have seen in the secondary
market were printed from the 1950s onward.
In fact, when the book first appeared in 1905, it was titled as The Eclipse
Self Instructor for Concertina (see
Fig. 1).
The Concertina and How to
Play It has links to both earlier and
later periods. Most of its tunes and other material were taken from earlier
publications, and most of its contents reappeared seventy years later in Bob
Kail, The Best Concertina Method—Yet! (Carlstadt, NJ: Ashley Publications, 1975).
The Predecessors of De
Ville's Book
The Concertina and How to
Play It has the same basic
organization as many Anglo concertina books that predated it. Like these books,
The Concertina and How to Play It
contains sections on (1) reading music (staffs, key and time signatures, time
value of notes, etc.); (2) use of the concertina (holding the instrument, using
the air valve, understanding the button layout, using the tablature, etc.); (3)
a few scales and exercises; and (4) tunes in standard musical notation and
tablature. The Concertina and How to Play It, like many earlier books, is long on tunes and short
on instruction. It contains 60 pages of tunes and only 17 pages of other
material, including "Rudiments of Music" (10 pages),
"Description of the Concertina"(4 pages), and scales and exercises
(3 pages).
Fig. 1. Cover of Paul de
Ville, The Eclipse Self Instructor For Concertina, 1905.
A somewhat surprising
discovery is that 208 of the 250 tunes in The Concertina and How to Play It were taken directly from two books by Elias Howe, Jr.
(see Figs. 2 and 3)—i.e., 98 tunes from Howe's Eclectic School
for the Concertina (Boston: Elias
Howe; and Chicago: Howe & Grant, 1879), 108 tunes from Howe's
Western German Concertina School
(Boston: Elias Howe; and Chicago: Howe & Grant, 1879),
and two tunes that appeared in both of these Howe books. With a few minor
exceptions, the musical arrangements and tablature in The Concertina and How
to Play It are identical to those in
Howe's books. Howe's
books contain a number of songs with lyrics. The Concertina and How to Play It includes some of these songs but without the lyrics.
Fig. 2. Cover of Elias Howe, Jr., Howe's
Eclectic School for the Concertina,
1879.
The Concertina and How to
Play It contains 42 tunes that do not
appear in Howe's concertina books. A few of these tunes are still well
known—e.g., "Rickett's Hornpipe," "My Old
Kentucky Home," "Adestes Fideles," "Rock of
Ages," "Nearer My God to Thee," and "Sweet Bye and
Bye." The original sources for these 42 tunes have not been documented.
Six of theses tunes (i.e., "College Hornpipe," "The
Coquette," "Morella's Lesson," "Old Zip
Coon," "Rory O'More," and "The Tempest")
are the same arrangements as those found in Howe's The Complete
Preceptor for the Accordeon (Boston:
Oliver Ditson, 1843, 1850, and 1851), suggesting that de Ville appropriated
these arrangements and wrote concertina tablature to replace Howe's
accordion tablature.
Almost all instructions, scales, and exercises in The Concertina and
How to Play It were taken verbatim or
in paraphrase from Howe's books. However, the "Rudiments of
Music" section of de Ville's book was borrowed elsewhere.
This section is larger and more advanced than the "Elementary Rules of
Music" in Howe's Eclectic School for Concertina. The
advanced material in the section
has no direct relevance to the other sections of The Concertina and How to
Play It.
Fig. 3. Cover of Elias Howe
Jr., Howe's Western German Concertina School, 1879.
The Concertina and How to
Play It contains an illustration
(taken from Howe's books) of the notes for the 28-key German concertina,
even though all tunes in de Ville and Howe's books are tablatured
exclusively for the 20-key concertina. The 28-key German concertina had slipped
into obscurity long before de Ville's book was published.
The Successor
to De Ville's Book
Bob Kail's The Best
Concertina Method Yet (1975) contains
249 of the 250 tunes from The Concertina and How to Play It.
Except for eradicating the tune numbering and enlarging the pages, Kail
reproduced the tunes exactly as shown in de Ville's book.
Kail's book contains (1) Elementary Music Principles (1 page), (2) a
description of how to hold the concertina and how to read tablature (1/2 page),
(3) scales and exercises from de Ville's book, (4) twenty-nine songs
arranged by Kail,
and (5) the 249 tunes from de Ville's book. Kail structured his book to
downplay the acquisition of tunes from de Ville, but made no outright attempt
to conceal the fact. The first part of Kail's book contains scales,
exercises, and a few tunes from de Ville, interspersed with songs arranged by
Kail. The second part contains 235 tunes that are reproduced in the same
order--even with the same page numbers--as in The Concertina and How to Play
It. The last part contains more songs
arranged by Kail and more exercises from de Ville's book, as well as a
couple exercises by Kail. The note layout for the 28-key German concertina was
not included in Kail's book, and the 20-key concertina diagram in de
Ville's book (p. 15) was transformed into a pull-out card to accompany
Kail's book.
Paul de Ville's book contains no table of contents or tune index,
and Kail's book contains no tune index. Kail's book has a table of
contents, but the tunes taken from de Ville's book are not individually
listed therein. A complete index of all instructional material and tunes in The
Concertina and How to Play It and The
Best Concertina Method—Yet is
shown in the annex.
The Kail and de Ville books have similar retail prices, even though The
Best Concertina Method—Yet contains
almost all of the contents of The Concertina and How to Play It, as well as the songs and exercises not found in de
Ville's book. A minor selling point for the de Ville book has been its
smaller size (6¾-by-10 inches, compared with 8½-by-11 inches for
Kail's book), making it convenient for storage in non-fitted concertina
cases. The latest printing has a slightly larger format of
6¾-by-10½ inches.
The ordering of tunes in de Ville's book
consists of a block of tunes from Howe's Eclectic School for
Concertina, followed by a block from Howe's
Western German Concertina School, followed by another block from Howe's
Eclectic School for Concertina, etc. The
tunes not taken from Howe's books are interspersed among these blocks.
Paul de Ville made some relatively minor changes in a few tunes. He changed the
pick-up notes of the "Star Spangled Banner" and inserted
accidentals not found in a couple tunes in Howe's books. De Ville passed
up 149 other tunes in Howe's books, including "Three Blind
Mice," "Santa Lucia," and a few others that are still well
known. "Aunt Jemima's Plaster," "Female
Auctioneer," "Dog and Gun," and others are now relatively
obscure.
Two tunes with racist titles—"Ten Little
N----rs" [blanks inserted] and "The Jim Crow
Polka"—were taken from Howe's concertina books. In later
printings, "Ten Little N----rs" was retitled as "Ten Little
Soldiers" in de Ville's book and as "Ten Little
Dancers" in Kail's book. The most recent printing of both books
still contain "The Jim Crow Polka."
Annex
Index
Paul
de Ville, The Concertina and How to Play It (New York: Carl Fisher, 1905).
Bob Kail, The Best Concertina Method—Yet! (Carlstadt, NJ: Ashley Publications, 1975).
| |
Page |
| De Ville Only |
De
Ville |
| When the Swallows Homeward
Fly |
20 |
| |
|
| Kail Only (All with
lyrics except The Entertainer) |
Kail |
| A Bicycle Built for Two |
83 |
| Battle Hymn of the Republic |
15 |
| Careless Love |
13 |
| Cielito Lindo |
7 |
| Down by the Riverside |
93 |
| Frankie and Johnny |
96 |
| I Love You Truly |
21 |
| In the Good Old Summertime |
85 |
| I've
Been Working on the Railroad |
86 |
| Little
Brown Jug |
19 |
| My Darling Clementine |
81 |
| Wild
Irish Rose |
18 |
| On
Top of Old Smoky |
84 |
| O
Sole Mio |
90 |
| O
Susanna |
10 |
| Scarborough
Fair |
20 |
| She'll
Be Coming ‘Round the Mountain |
80 |
| Shenandoah |
11 |
| Silent Night |
22 |
| Sweet
Rosie O'Grady |
92 |
| The
Blue Tail Fly |
14 |
| The Camptown Races |
84 |
| The Cruel War Is Raging |
91 |
| The Entertainer |
82 |
| The Man on the Flying Trapeze |
81 |
| The
Marines' Hymn |
8 |
| There Is a Tavern in the Town |
89 |
| The Wabash Cannonball |
12 |
| When the Saints Go Marching
In |
9 |
| Tune |
De
Ville |
Kail |
| Adeste Fideles |
79 |
79 |
| Air from Lucia di Lammermoor |
60 |
60 |
| A Life on the Ocean Wave |
41 |
41 |
| Alps |
72 |
72 |
| America |
23 |
23 |
| Am I Not Fondly Thine Own |
38 |
38 |
| Annie Laurie |
43 |
43 |
| Anvern |
69 |
69 |
| Arkansas Traveler |
53 |
53 |
| As I'd Nothing Else To
Do |
28 |
28 |
| Augusta's Favorite |
20 |
16 |
| Auld Lang Syne |
45 |
45 |
| Bachelor's Hall |
31 |
31 |
| Balerma |
67 |
67 |
| Beautiful Belle |
39 |
39 |
| Beautiful Nell |
29 |
29 |
| Be Gone, Dull Care |
34 |
34 |
| Be Joyful in God, All Ye
Lands of the Earth |
75 |
75 |
| Belle Brandon |
37 |
37 |
| Benevento |
72 |
72 |
| Blue Bells of Scotland |
36 |
36 |
| Bonnie Blue Flag |
24 |
24 |
| Bonnie Dundee |
25 |
25 |
| Bonny Doon |
34 |
34 |
| Boston Hop Waltz |
63 |
63 |
| Bower of Prayer |
72 |
72 |
| Brian Boru |
27 |
27 |
| Bryan O'Lynn |
22 |
17 |
| Cambridge |
69 |
69 |
| Camptown Hornpipe |
25 |
25 |
| Canaan |
76 |
76 |
| Castles in the Air |
33 |
33 |
| Cephas |
71 |
71 |
| Charley Over the Water |
22 |
16 |
| Charming Young Widow, or
Mantle So Green |
28 |
28 |
| Chinese Dance, or Hark the
Merry Bells, from Stradella |
51 |
51 |
| Chinese March |
56 |
56 |
| Chorus Jig |
49 |
49 |
| Cinderella Waltz |
63 |
63 |
| Clarance |
70 |
70 |
| Clifford |
75 |
75 |
| Clog Dance No. 2 |
52 |
52 |
| Colchester |
69 |
69 |
| College Hornpipe, or
Sailor's Hornpipe |
51 |
51 |
| Columbian Grand March |
57 |
57 |
| Come, Come, Soldiers, Come |
45 |
45 |
| Come, Good Shepherd |
68 |
68 |
| Come Ye Disconsolate |
73 |
73 |
| Comin' Thro' the
Rye |
20 |
17 |
| Conway |
70 |
70 |
| Coronation March
("Prophet") |
56 |
56 |
| Cracovienne |
21 |
6 |
| Dallas |
72 |
72 |
| Dearest Spot on Earth To Me
Is Home |
46 |
46 |
| Dedham |
72 |
72 |
| Diamond Schottische |
64 |
64 |
| Dixie |
24 |
24 |
| Do They Think of Me at Home? |
38 |
38 |
| Dover |
68 |
68 |
| Dream of the Ocean Waltz |
62 |
62 |
| Drunken Sailor, or The
Monkey's Wedding |
52 |
52 |
| Duane Street |
77 |
77 |
| Duke Street |
74 |
74 |
| Effingham |
69 |
69 |
| Elfin Waltz |
64 |
64 |
| Ever of Thee |
36 |
36 |
| Fairy Waltz |
62 |
62 |
| Favorite Song ("Lucia
di Lammermoor") |
45 |
45 |
| Federal Street |
74 |
74 |
| Flora's Birthday |
26 |
26 |
| Flying Cloud Schottische |
65 |
65 |
| Fred Wilson's Clog
Dance No. 1 |
52 |
52 |
| Gabriella Polka |
59 |
59 |
| Gallopade Quadrille |
59 |
59 |
| Garibaldi March |
57 |
57 |
| Gay and Happy |
59 |
59 |
| Glory Hallelujah |
34 |
34 |
| Golden Hill |
68 |
68 |
| Grand March in Norma |
54 |
54 |
| Greenville |
76 |
76 |
| Hail, Columbia |
24 |
24 |
| Hail to the Chief |
51 |
51 |
| Hamburg |
69 |
69 |
| Haste to the Wedding |
53 |
53 |
| Hebron |
67 |
67 |
| Helter Skelter, or Over
Sticks and Stones Galop |
58 |
58 |
| Her Bright Smile Haunts Me
Still |
46 |
46 |
| Hervey |
71 |
71 |
| Hob or Knob, or the Campbells
Are Coming |
54 |
54 |
| Home, Sweet Home |
21 |
16 |
| How Beauteous Are Their Feet |
75 |
75 |
| How Can I Leave Thee? |
47 |
47 |
| Hunting the Hare, or The
Calais Packet |
51 |
51 |
| I'd Offer You This Hand
of Mine |
43 |
43 |
| If I Had But a Thousand a
Year |
28 |
28 |
| I Heard the Wee Bird Singing |
23 |
23 |
| Il Bacio Waltz (The Kiss
Waltz) |
62 |
62 |
| I'm Leaving Thee in
Sorrow, Annie |
35 |
35 |
| Immortellen Waltz |
60 |
60 |
| Indian Death Song |
21 |
6 |
| I Need Thee Every Hour |
79 |
79 |
| In Happy Moments
("Maritana") |
33 |
33 |
| In the Lonely Grove
("Linda") |
44 |
44 |
| Irish Washerwoman |
50 |
50 |
| Italian Hymn |
74 |
74 |
| It Is Better to Laugh Than Be
Sighing |
44 |
44 |
| I've Nothing Else to Do |
48 |
48 |
| Jefferson and Liberty |
53 |
53 |
| Jerusalem the Golden |
38 |
38 |
| Jim Crow Polka |
58 |
58 |
| John Anderson, My Joe [Jo] |
30 |
30 |
| Johnny Sands |
27 |
27 |
| Jordon |
71 |
71 |
| Jordon Am a Hard Road |
50 |
50 |
| Kate Kearney |
49 |
49 |
| Kathleen Mavourneen |
48 |
48 |
| Keemo Kimo |
32 |
32 |
| Kildoughalt Fair |
40 |
40 |
| Kitty of Coleraine |
32 |
32 |
| Lament of the Irish Emigrant |
32 |
32 |
| Lancers Quadrilles (Nos. 1-5) |
65-66 |
65-66 |
| Land of Rest |
71 |
71 |
| Land of Sweet Erin |
49 |
49 |
| Lanesboro' |
77 |
77 |
| Larry O'Gaff |
41 |
41 |
| Last Rose of Summer |
37 |
37 |
| Lisbon |
76 |
76 |
| Lischer |
73 |
73 |
| Listen to the Mocking Bird |
38 |
38 |
| Listen to the Nightingale |
20 |
17 |
| Little Maggie May |
29 |
29 |
| Lord Lovell |
22 |
6 |
| Louisville March |
55 |
55 |
| Lucia March ("Lucia di
Lammermoor") |
46 |
46 |
| Mabel Waltzes |
60 |
60 |
| Maiden's Prayer |
37 |
37 |
| Maid of Judah, or Silver Moon |
42 |
42 |
| Marching Along |
35 |
35 |
| Marching Thro' Georgia |
26 |
26 |
| Martyrdom |
70 |
70 |
| Maryland, My Maryland |
24 |
24 |
| Mary of Argyle |
35 |
35 |
| Massa's in the Cold,
Cold Ground |
26 |
26 |
| Matrimonial Sweets |
44 |
44 |
| Mendon |
71 |
71 |
| Millennium Dawn |
76 |
76 |
| Missionary Hymn |
77 |
77 |
| Moll Roon |
41 |
41 |
| Molly Bawn |
31 |
31 |
| Money Musk |
54 |
54 |
| Morella's Lesson |
34 |
34 |
| Moulton |
68 |
68 |
| Mountain Maid's
Invitation |
44 |
44 |
| My Bible leads to Glory |
78 |
78 |
| My Old Kentucky Home |
27 |
27 |
| Nashville |
77 |
77 |
| Nearer, My God to Thee |
78 |
78 |
| Nichols |
70 |
70 |
| Nobody Going to Marry Me? |
28 |
28 |
| No, Ne'er Can Thy Home
Be Mine |
22 |
17 |
| Norah, The Pride of Kildare |
30 |
30 |
| O Haste, Crimson Morn
("Lucia di Lammermoor") |
45 |
45 |
| Oh, Hear Me, Norma |
36 |
36 |
| Oh! How Happy Are They |
77 |
77 |
| Oh! I Should Like to Marry |
36 |
36 |
| O, Lassie, Art Thou Sleeping
Yet? |
46 |
46 |
| Old Folks at Home |
26 |
26 |
| Old Hundred |
67 |
67 |
| Old Rosin the Beau |
23 |
23 |
| Old Zip Coon, or Turkey in
the Straw |
50 |
50 |
| Oliphant |
74 |
74 |
| O, Nanny, Wilt Thou Gang With
Me |
58 |
58 |
| On the Beautiful Blue Danube
Waltz |
61 |
61 |
| On the Road to Boston |
53 |
53 |
| Ortonville |
70 |
70 |
| Over the Summer Sea
("Rigoletto") |
42 |
42 |
| Pas Styrien |
42 |
42 |
| Peace, Troubled Soul |
78 |
78 |
| Peterborough |
67 |
67 |
| Pirates Chorus, or Ever Be
Happy |
31 |
31 |
| Pop Goes the Weasel |
47 |
47 |
| Prescott |
74 |
74 |
| Prima Donna Waltz |
63 |
63 |
| Pulling Hard Against the
Stream |
29 |
29 |
| Raw Recruits, or
Abraham's Daughter |
35 |
35 |
| Ricket's
[Rickett's] Hornpipe |
25 |
25 |
| Robin Adair |
25 |
25 |
| Rochester Schottische |
64 |
64 |
| Rock of Ages |
78 |
78 |
| Rory O'More |
49 |
49 |
| Roses Waltz |
61 |
61 |
| Russian National Anthem |
67 |
67 |
| Sally, Come Up |
47 |
47 |
| Saw Ye, My Saviour |
72 |
72 |
| Scotch March |
55 |
55 |
| Shabby Genteel |
48 |
48 |
| Shining Shore |
39 |
39 |
| Shule Aroon |
41 |
41 |
| Sicilian Hymn |
68 |
68 |
| Soldier Laddie, or
Independence Day |
42 |
42 |
| Spanish Dance |
52 |
52 |
| Spanish Waltz |
61 |
61 |
| Sparking Sunday Night |
22 |
6 |
| Star-Spangled Banner |
23 |
23 |
| St Louis Quickstep |
57 |
57 |
| St. Martin's |
70 |
70 |
| St. Patrick's Day in
the Morning |
39 |
39 |
| Strike the Cymbal |
21 |
6 |
| St. Thomas |
68 |
68 |
| Sweet Afton |
43 |
43 |
| Sweet Bye and Bye |
78 |
78 |
| Sweet Memories of Thee |
43 |
43 |
| Swiss Boy |
44 |
44 |
| Teddy, You Gander, or Bully
for You |
40 |
40 |
| Tempest Quickstep |
54 |
54 |
Ten Little Soldiers (De
Ville)
Ten Little Dancers (Kail)
Ten Little N-----s" [blanks inserted] in early
printings
|
28 |
28 |
| The Coquette |
21 |
17 |
| The Bell Goes A-ringing for
Sai-rah |
29 |
29 |
| The Bright, Rosy Morning |
33 |
33 |
| The Flag of Our Union |
25 |
25 |
| The Girl I Left Behind Me |
37 |
37 |
| The Harp That Once
Thro' Tara's Hall |
30 |
30 |
| The Heart That Feels No
Sorrow |
39 |
39 |
| The Lord is Our Shepherd |
76 |
76 |
| The Low-Backed Car, or The
Jolly Ploughman |
40 |
40 |
| The Merriest Girl
That's Out |
30 |
30 |
| The Morning Light Is Breaking |
73 |
73 |
| The Old Arm-Chair |
32 |
32 |
| The Peri Waltz |
60 |
60 |
| There Is a Fountain |
79 |
79 |
| The Stars and Stripes For
Ever |
23 |
23 |
| The Tempest |
50 |
50 |
| The Witches' Dance |
51 |
51 |
| Troas |
73 |
73 |
| Twilight Dews |
22 |
16 |
| Uxbridge |
73 |
73 |
| Virginia Quickstep |
59 |
59 |
| Washington March |
55 |
55 |
| We Wont Go Home Till Morning |
27 |
27 |
| What's a' the
Steer, Kimmer |
33 |
33 |
| When Johnnie Comes Marching
Home |
31 |
31 |
| Widow Machree |
40 |
40 |
| Wilmot |
68 |
68 |
| Windham |
67 |
67 |
| Within a Mile of Edinboro'
Town |
47 |
47 |
| Woodstock |
73 |
73 |
| Yankee Doodle |
23 |
23 |
| Zion |
67 |
67 |
| Zouave Quickstep |
56 |
56 |
Exercises
| Exercise (As Numbered
in De Ville) |
De
Ville |
Kail |
| No. 1 Notes on the concertina (20 key) |
17 |
|
| No. 2 Scale of C Major |
17 |
4 |
| No. 3 Scale of G Major |
17 |
4 |
| No. 4 Right Hand, C Major |
18 |
5 |
| No. 5 Left Hand, C Major |
18 |
11 |
| No. 6 Right Hand, G Major |
18 |
5 |
| No. 7 Left Hand, G Major |
18 |
11 |
| No. 8 Right Hand, C Major |
18 |
5 |
| No. 9 Right Hand, C Major |
18 |
5 |
| No. 10 Right Hand, C Major |
19 |
5 |
| No. 11 Left and Right Hand, C Major |
19 |
17 |
| No. 12 Left and Right Hand Together, C Major |
19 |
88 |
| No. 13 Left and Right Hand Together, G Major |
19 |
88 |
| No. 14 Left and Right Hand Together, C Major |
19 |
88 |
| Exercise (Kail Only) |
|
|
| Left Hand Accompaniment and
Multiple Notes |
|
87-88 |
| Other |
|
|
| Scale of the German
Concertina With 28 Keys (Antiquated) |
16 |
|
| Diagram of 20-Key Concertina |
15 |
Pull-out
card |