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  2. As for chords, most folk tunes are written out as simple melody lines. Players add their own chords, which is pretty straightforward on an anglo (in the home keys anyway), rather as a guitarist would. It is possible to find detailed arrangements for anglo in both notation and tablature, but these cover only a tiny fraction of the repertoire. I would regard them as an aid to learning, to see how other players have approached this so you can develop your own skills to be able to play any tune you come across. Different styles of music also require different approaches. Irish music uses very little chording, but the anglo is also suited to big chords with both hands! It pays to listen to a lot of players in your preferred style to find what works.
  3. We are looking forward to presenting our next show for you on Sunday July 12th at 3:30 pm US EDT (UK time: 8:30 pm). We will be playing this live duet on JamKazam and streaming via YouTube for your listening and viewing pleasure. Here’s the link: https://www.youtube.com/watch?v=F-H3rq62pWg&feature=youtu.be Cindy Harris is a master of the autoharp which sounds so melodious in combination with my concertina playing. Expect traditional American old-time reels, British gems and a few songs, all in the key of JamKazam. See you on Sunday! Cheers,
  4. Hello! I purchased an Elise (I’m a beginner) but there was no instructional manual. Does anyone have one I could obtain a copy of? Also, any other beginner Elise Duet Hayden materials out there...? Sorry if there is already a thread. Cheers! John
  5. Likewise, it will only be 10am in Hawaii. Curious to see who all shows up! Cheers, Gary
  6. Yesterday
  7. They're baritone in range, but designed to sound very bassy on the lowest reeds - I'm very familiar with the innards of the two that Cormac Begley has. I'm also very familiar with his Lachenal piccolo, which I got playing much better for him last year.
  8. Hello Geoff I have to apologize for not getting back to you sooner and letting you know how much I appreciate your notes I'm playing chords I do have some questions you mention playing the cords below the melody line could you explain that a little further?

    1. Geoff Wooff

      Geoff Wooff

      Hello  Stephen,  I  will try to  explain.   What I  wrote  was  ' adding  harmonizing  notes  below  the melody'  not  necessarily  chords .

      If  you  add  a note to  the  melody  note,  which is  in its   arpeggio     then it will harmonize.  So  if  you  play  a  C  and you are playing  in the key of  C  then  the  notes of  a major  chord of  C  ( E  and G)  are  the  arpeggio  notes  and you can  safely  use these  to  add  harmony.


      So, the  simplest  harmonies   I  use  are  triads.  Play  a scale  of  C  like this :    C ,  D/B,  E/C, F/A, G/E, A/F, B/G ,C/E.

      Where  the  note after  the slash  is  lower than  the  melody  note  of the scale.


      This is  step  one.

  9. Interesting that the reeds weren't great. I thought their Class C was "Extra Superior". What's the serial number range on that instrument?
  10. OK...............Aeola piccolo .......and.......Dipper G/D bass I don't think the Dipper is a real bass, should be called a baritone, but that's what Colin calls it. It's hand-full to play. Robin
  11. Hello Richard I have two English boxes with odd extra buttons, one is a 50 key ext treble Aeola, the other is a 58 key Edeophone ext treble but also has a low F&F# on the left hand side (pics on my original for sale post). Regards. Mike.
  12. Happening this coming Saturday, July 11th 2020 at 1 PM Pacific time. Casual meet-up on Zoom to chat about all things related to the Anglo Concertina. Possible topics include playing technique, ornamentation, ergonomics, tunes, maintenance, challenges. Not meant as a teaching event specifically, but you never know! Please feel free to invite anyone else who might enjoy the discussion! Here’s the Zoom meeting info: Join Zoom Meeting https://us04web.zoom.us/j/6193681854?pwd=eXd3L2ZEeWNnMDBZYVI0RkJ2c3Vudz09 Meeting ID: 619 368 1854 Password: session
  13. It was the straight rows I was seeing as the truly unusual feature. As George Bolliger pointed out (he showed it to me) when you play it you don’t feel anything different to curved rows. I can’t remember seeing bellows papers and for that reason I don’t believe there are any. I can ring George and ask if anyone really needs to know. Malcolm (Hi Malcolm!), the hexagon is regular. Bill, it is a regular anglo. It was interesting seeing reeds that you know are definitely Class C. Their clearances were good but not great. There was no obvious (to me) geometry differences. The reeds were on the thinner side. There is another unusual aspect to the concertina and I should probably have shown it. Here it is..! (I realise now you can see there are no bellows papers in this shot)
  14. Last week
  15. Sorry, no music, but a nice picture from my good old days - featuring Juliette Daum on the bass-baritone and myself on the piccolo...
  16. I think I still mostly breathe in and out with the bellows unless I am singing.
  17. It seems he may well have been present at the very first meeting of the ICA: "According to the information in Newsletter 200, 1972 which is in the digital archive of the ICA, there was an Inaugural meeting on 27 September 1952 of the International Concertina Association. See below: “No.2 Newsletter was issued in October 1952. It is not signed and bears no address so we do not know who wrote it. Among the names mentioned in it are: Fred Read, Alf Edwards, Charlie Parslay, Wilfred Pearce, J. Floyd, Inga Webb, Sylvia Webb, Cheetham Walters, Helen Bland, Father Loveless,Al Coomber, Herbert Greene, Sid Ive, Rosa Loader, Teddy Stream, Con Courtney, J. Mearns, Thomas Murphy, A.G.Peters." (My italics). This is from newsletter no. 150 in 1968: "Very pleasant to have good wishes from Syd Ive, whose baritone concertina is in regular use by the Holloway Monday class". Chris
  18. That's something, thanks. I have a picture of a man born around the beginning of the 20th century and a music hall/variety performer in the 30s and 40s, which ties with the time the Accordeaphones were made in the mid 1930s and the paint job he had done to it. As an older man he belonged to the ICA and loaned concertinas to new players. Could be pure fantasy but at least it ties up with the little we know. Chris
  19. In the 1910 Wheatstone anglo catalogue (on the Concertina Library site), the description of a Class C instrument includes "...solid dark morocco 6 fold bellows,..." so I'd guess it's highly likely that the writing in the ledger is referring to solid bellows. Mind you, there's nothing which indicates the noticeable difference between the solid bellows and the "...dark morocco bellows..." of the Class B, and what distinguishes solid from non-solid. Is that what you're implying in your question about the papers, Stephen? Alex West
  20. The trick to learning is to play every day for a few minutes. Always start with something you know quite well, then spend some time on something you're learning, then back to something you know well. 5 minutes of active practice every day is better than an hour a week. The Anglo has many routes through the maze. Almost every note appears twice, and some appear three times, so there are multifarious ways to play any given sequence of 3 or 4 notes. You don't need to know them all, but you need to keep searching, because what works in one tune may not be the best solution for another tune. Most of all, have fun. It is an instrument with hidden depths to explore.
  21. I vaguely recall being asked about the name in the context of ICA membership, and it was found in the membership book. From memory, I am thinking the last entry found was around 1971.
  22. Given the style of writing, could that be an abbreviation for gold bellows, referring to the bellows papers? Just a guess.
  23. Are the top and bottom sides slightly elongated, or is that just the angle of the photo? My Jeffries Brothers ex-Ab/Eb has that feature, presumably to allow a little more space for the length of the lowest left hand reeds. AG is, I suspect, Anglo German, so perhaps the straight lines of buttons were an attempt to copy the configuration of many German-made concertinas, presumably as requested to order by a customer. Solid Bel??? No idea....
  24. If you do, John, we would very much love to hear. After quite a bit of searching all we do know is this: a) according to the professional card affixed inside the instrument case he lived in Wood Green, London N22; b) according to a 1950's Concertina World the Holloway (I think it was) branch of the ICA thanked him for the loan of some concertinas. It's not much to build a picture on ... Chris
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