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No first hand experience, but have you considered a recumbent bike?

Well it’s a nice tune.. so thanks.. hope I did it justice.. always hard to judge one’s own offerings!. One always focuses on a note held a fraction too long or not long enough.. or too harsh.. etc etc.. but I suppose that’s all part of the process:) It actually plays well as a tango too, I discovered!.. though I’ve never heard anyone playing it so.

It's something that's come up previously and was probably done with export markets in mind - to show that (though they have accordion reeds) these inexpensive models were made in England, and have English-style metal levers, not troublesome wooden ones like you'd find in German concertinas. Indeed I've known elderly players of the German concertina in Ireland who described the "new-fangled" Anglos as "English concertinas" because they were made in England. Whilst I've also come across a MayFair Anglo that was made for export to Gallo Record Company in Johannesburg, and branded "Gallotone / English Concertina / Engelse Konsertina" on it - common terms for the Anglo in South Africa...

Hello Does anyone have any experience with riding a bicycle causing pain or discomfort which affects your concertina playing mechanisms. I'm just getting a bike to ride around a bit but nothing too aggressive. I'm trying to set it up so as to be comfortable for me regarding the seat and handlebars height, and also the angle and position of my wrists. I can get a sense that with the wrong "set up" of the bike one could create or exacerbate pain issues with perhaps your lower and upper back, neck, arms and wrists. Anyone with experience with this and suggestions? Thanks, Richard

Elegantly masterful!

For sure, Dave. I just thought it odd considering 'English Concertina' seems usually to connote a different system of instrument entirely.

Wheatstones' are/ were English Made, and 'Anglo' is 'English' the name taken from the Angels or as the Romans called the tribe Angli . The etymology of the name of English Counties and the Anglo-Saxons. Although I doubt the Wheatstone Designer was thinking historically. Makes more sense than calling Anglos 'Irish' concertinas?

I've just spotted a Wheatstone Mayfair for sale over on Barleycorn Concertinas and note that the instrument itself says 'English Concertina' on the metal ends! A curious branding decision I thought... Snedder

If I'd known, I could have dropped in there - I arrived in Tokyo on the 6th for my first ever trip to Japan for a wonderful walking and sightseeing holiday!

Having just returned home, I can now officially thank Totani-san for organizing such a fantastic first-ever meeting of many of Japan's top concertina players in Tokyo on April 7 - himself, Kato, Takayuki, Goisagi, Kana, Ryoko, Akane, Aya, Tomoyuki, Gene, Aguarypko, and Ushiro (hope I remembered them all). I've known of many of them from their YouTube performances over the years, and it was quite an honor to be able to meet them in person. What a wonderful group of players, and what amazing Japanese hospitality. Totani booked a karaoke room ("world's first concertina karaoke?") in the Ochanomizu area for the group to meet in, and it lasted so long we had to move and reconvene in another room. Gene brought a 360-degree camera and hopefully I can share some of those photos of the group with everyone here on CNET. Totani later took us to Taniguchi Gakki (English Taniguchi-Gakki / 谷口楽器 since 1935), the local Tokyo shop that specializes in accordions and concertinas, where I was able to meet with owner Hiroshi Iwata through an interpreter (since I only know about 5 Japanese words). They also sell an ingenious button number/note overlay developed by Toru Kato that can be attached to Bastari concertinas to help beginners learn the notes. At the shop I also found the 116-page, 70+ tune, English Chromatic Concertina tutor written by Miyuki Miura in 2021. She has recorded 4 CD's of concertina music, and the book looks to be very well done and comprehensive, with single notes and harmonies, and with graphics showing which buttons to play for 48-button tenor, 30-button soprano, and 48-button soprano instruments. She is Gene's concertina teacher, so hopefully he can help me reach out to her about also publishing it in the English language. One of the attendees, Hayahiro Ushiro, is also an amazing manga artist, and we're already talking about doing an Anglo concertina book in Japanese (and English) that will feature many of his drawings. The meet-up was such great fun for all, I do hope they make it an annual event. And if so, I will definitely have to work up some Japanese tunes for next year. And did I mention the cherry blossoms just happened to be in full bloom all over Tokyo at the same time? I'm not sure how Totani managed that, but it was very impressive. To all the players, and especially Totani - Otsukaresamadeshita! Gary P.S. Although unable to attend, Totani reached out to Yuka Nakafuji of Tricolor who was able to confirm the name of the "Japanese Polka" in Easy Anglo 1-2-3. It is known in Japanese sessions as the "Nishijima Polka" since a fiddler named Nishijima first brought it to Tokyo. Yuka said it was originally called "Ray's Classic" - a reel written by Shetland fiddler Willie Hunter in 1975 in honor of his good friend Ray Leask's Ford Consul Classic car. You can hear "The Nishijima Polka" here at about the 4:15 mark:

An update many years later... I have just returned from Singapore where I found a very friendly Irish Session in the back room of Molly Malone's Irish Pub in the wonderful River Walk area on Tuesday evenings. A fairly young group of about 7 players from a mix of nationalities, mostly Irish reels and jigs, but they also played Angelina Baker and a couple of songs including a lovely version of Ralph McTell's "Streets of London". Also, Guinness and Kilkenny on tap. There had formerly been a concertina player at the session, but I was the only one this evening, along with flutes, tin whistle, fiddle, guitar, mandolin, Northumbrian pipes, and ukulele. They were very curious how the EC and Anglo worked, and several asked for a quick 5-minute lesson which they picked up on very quickly. So, next trip, I'm hoping there will be some new concertina players! Gary

My first concertina, after playing the box for some years, was a brass reeded Lachenal; I figured they were a big company, I don't have to have steel. Well, what a chore to get music out of that thing I figured out the scales at least; and then basically broke a few notes trying to make it work better. A few years later I bought a Kensington, almost as an impulse purchase - the seller had cut the price a few times. And have been at it ever since. Really stumbled onto something grand. I've played Carrolls and Suttners, and they left nothing to be desired playability wise; but mine is simply the cream of the crop tonally. Notes never fail to speak perfectly, either. I really prefer the Kensington's big delrin buttons, too; and Dana's general philosophy of building something that won't crack, that can be taken apart easily, that's free of extra added decor that jacks the price up, to make an instrument that's affordable to as many as possible. And the strap system, where you can adjust the tension in seconds so your friend can give it a try. Adjusting conventional straps makes me think of those pit crews at the Indy 500, getting the tires off the things ASAP... I've been thinking that it'd be nice to have a G/D eventually, and figured I'd do business with Dana again - he's been very helpful with advice and repairs - reed swap, new handrests. Shame to see you go! But you gotta do what you gotta do.

I just finished converting this song to be able to be played on my C/G Anglo concertina. This is one of my first attempts at translating a song so it might not be the best, but I think I did a pretty okay job. Feedback is appreciated. Edit: A few notes are purple because they were hard for me to see Nocturne_of_Ice.pdf

A cheerful tune - Adam's flowers; every garden gets them [ Dandelions!] whether you want them or not you will almost certainly find one growing, with the cheerful bright yellow flowers looking like little sun rays [ soon to turn to feathery seed heads and parachute all over the place!] - Then you will soon get more growing, like an invasive botanical army marching all over your garden! A man called Adam likes to grow them [ that's another story completely].

Listening to the Jean Megley stuff now. I always thought he was a bit good.

Look what you've missed in your absence: http://www.concertinas.org.uk/DuetAudio.htm

I've been searching for German silver or nickel-silver sheet to make new ends for a concertina with wrecked ends. I've been trying to get a specification of 65% Copper, 18% Nickel, 17% Zinc - at least this proportion of Nickel under advice from a respected maker. It's not proven easy to obtain and certainly not in the size and small quantity I need - 2 sheets of around 200mm square at a thickness of 20SWG - .036" or 0.914mm. There are places in the US which have this grade in 300mm squares, but to get 2 ends, I'd have to get 2 sheets and there's be a lot of waste. I found one place which has offered to do a special order of 10 sheets at 200mm square - but I only need 2 (4 at the most). Is there anyone who would need or want the remaining 6 sheets for their project(s)? Contact me and we can discuss pricing, postage and all those things if you're interested Alex West

Just worked it out, Al. Corse you can!

Duet Recordings Page Alan? Wossat? But probably! And thank you Ken and to you.

Dana, Best wishes for a long, happy and fulfilling retirement! Dan

Happy music and good health to you, Dirge! Ken

We still have room for you on the Duet Recordings page and I still have your recordings for Duet International. Can we use them ? Will you be around for Folk East > The last time I saw you. If not Take good care Al

Hallo friends, nice to hear from you all. I am still playing 'the Caledonian' Geoff, and always remember to be grateful to you when I do! My playing has dropped off a lot since the Duet International days though and I need to get down to some serious practice again. (Life has been distracting me from the important things.) What I have been doing is playing my small aeola with a band, so improvising bluesy sort of stuff which is taking me into another new field for me. One day I will get the big one out and move up to this job too but for the moment the accidentals of a 50key are enough to get my head round, especially when I'm playing standing and trying to sing some of the time too. With a brass reeded 46 Lach that Mike swapped out the low C sharp for a D as my 'rough and tumble' concertina (gets taken on sailing holidays, that sort of thing) that's the proposed long term stable previously mentioned. As I said, great to hear from you all.

I've always love this song and it was one of the first concertina arrangements (2009) that I attempted, but now can't find the arrangement file. My very deepest apologies to Ewan MacColl, whose A Capella version on the album "The Real Maccoll") will forever be the Holy Grail standard. But mine was about the concertina, not the voice. Link: https://www.dropbox.com/scl/fo/i5lofidbbd1yjobp9n9g0/AG3cvIuctpmyNHXehpLB9qw?dl=0&preview="Lang+a+Growin'"+w%3A+concertina.mp3&rlkey=69a5q3urtcv1j4uk1s83do1bi