Tradewinds Ted

As I understand it, part of the trick is to also use notes on the alternate buttons from the G row more often to supplement the home keys in the C row, so YOU gain more control of when you push and pull, rather than the intrument having control. Most of the time (more than 80% ?) you can find the note you want going either direction somewhere, so you can build phrases that minimize the push pull. You mention the D on the push in the G row, but there are B's there as well, and there are C's and E's on the pull, to complement the C's and E's on the push in the C row, so you can build phrases in either direction as needed. But it is hard to get to the point of really being just as comfortable with either button. I am also a beginner, and playing along the rows when possible does seem more natural, but I am trying to branch out. Others will hopefully offer more help! Bertram Levy has written some good instruction in this. He has a beginner book "The Anglo Concertina Demystified" which I have just started to look at. He discusses D major toward the end of the book. He recently published another book about phrasing when playing american fiddle tunes on concertina, that seems to focus even more on this issue, but I haven't actually seen this book yet. Oh, and about layout - the difference is usually just in the accidental row, on the right hand. The rest is the same. You should be able to find a diagram of the Wheatstone/Lachenal vs. Jeffries button layouts somewhere around here! Otherwise it available in the book I mentioned, or online you can find it in the ordering information for the anglo concertinas sold by the Button Box, in Amherst MA, USA.

I know I mentioned Mystic above, but I just noticed that there is an event this Saturday afternoon, if you can get away. It shouldn't be more than a couple hours from Brewster, so you could even do it as a day trip, but you might want a place for Saturday night after a day in the pub. Mystic Pub Sing and Chantey Blast Might be a good way to start gaining those contacts you need to find a regular chantey group or song circle closer to home. (Then you can make the trip up to Button Box next weekend instead of this weekend.)

Agree with above that Sea Chanteys as work songs were often unaccompanied; basically the chanteyman himself was there to set the pace of the work - so the chantey iteslf WAS the accompaniment. But yet, performances of sea chanteys and other folk songs go well with the concertina. I also agree with the above, not to purchase the cheap asian imports. I bought an asian 30 button anglo online several years ago before I knew what I was doing, and was glad I had purchased from a reputable store so I was able to return it, because the quality was so poor. I waited another two years before I got my 20 button Anglo. I love it, but I do wish my budget allowed for a good 30 button. The Rochelle anglo is what I would recommend too. The reason I didn't buy one was because of the size and weight, as it is a bit heavier than the $2000-$2500 anglos out there. But you aren't going to get around that within your stated budget, unless you search for a good deal on a vintage 20 button anglo like I did. If you decide to upgrade later when you are ready to spend more, several places take the Rochelle model back in trade, often at full price, if you are purchasing one of their better instruments. The 30 button anglo will play more than just two keys. The 20 button already plays effectively in two keys (and the relative minor keys for each) and even that can be stretched into other keys if certain notes are not required , but the 30 button gives you quite handful of additional useful notes. For example the C/G is often used for D major as well, and many other keys are are possible, just not quite a easy, as I understand it. Some say the anglo was considered more of a working class instrument than the english concertina, but that isn't necessarily so. If it was true it would suggest that the anglo would go well with sea chanteys. In any case I know of several good chanteymen who do perform with anglo concertinas. I do have a good musical background, and play several other instruments, so the limited keys on my 20 button anglo do annoy me at times. I wonder sometimes about the english system with all the notes and no worries about bellows direction, but when I tried one I didn't care for it. (and that was before I had started learning the anglo system either) Alternating sides from one note to the next just didn't match my way of thinking, although I've seen others that seem to enjoy it very well. I also didn't care for the way the english is held; I found the thumbstrap and pinky bracket very uncomfortable. Again, others seem to enjoy the english concertina very well. I am intrigued by the duet systems. I think that might be pretty good, but you aren't going to find one in your price range, and it is hard to find good instruction material for these systems, particualarly as a beginner. There is the concertina connection Elise model, but from what I read, it has too few buttons, and the missing notes compromise the flexibility in keys that the duet system is supposed to offer. Maybe someone who has tried one can say more about that. I strongly recommend trying out several intruments of each type before spending any money. Make the trip up to Button Box. I've never done business with them but they appear to be well respected, and clearly have a variety of intruments on hand to try, which is exactly what you need. Try some of the more expensive instruments as well, so you have an idea what the difference is. It will make you pine for them, but you may as well learn on the system that will lead you toward the instrument you hope to upgrade to later. Amherst is a nice town to visit too. I have been there, although I didn't play concertina at the time, or know about Button Box. Back to sea chanteys! The best way to get involved in these is to find other people that like to sing them, as these are call and response songs, and only really come into their own when sung in a group, not as a soloist. I don't know what there is close to you, but there likely is a group that gets together somewhere nearby, the trick to find them. In June there is a Sea Music festival at Mystic Seaport You really owe it to yourself to get there, if you hadn't already planned on it!

Wasn't there for the hurricane, but I have noticed that playing with eyes closed helps me avoid distractions, and dark would be even better, although it makes it difficult to cheat when I forget what comes next. After a while I try to play while watching something else, basically inviting distractions, as a test. I would like to sing as I play, but that is usually beyond me, as I still beginning and have to focus too much on playing, unless I really simplify. (and even then....) I would consider a tune mastered if I could carry on a conversation without hesitation while playing, but that hasn't really happened yet! I hope that you and yours have recovered pretty well from Sandy by now.

That first study suggests that female birds ARE confrontational to other females, but indirectly. They use duets to signal a pair bond. Not necessarily happy, just putting on a DISPLAY of happiness to make the intruder feel unwelcome. The second study doesn't say that "dots" players have smaller brains at all. It does explain why it is so hard for some of us to sight read a new version of a familiar song, if the arrangement doesn't match the one we are used to hearing!

I can confirm that The Music Room in Cleckheaton, Yorkshire does indeed have a Morse Ceili on the shelf availble to try. I've tried it myself, it is very nice, light and fast, a great instrument. They also have a Marcus, which is slightly less expensive, only slightly heavier (still light) also fast, and has perhaps a richer tone, so also a great instrument. Personally I'm torn between the two, which has so far saved my wallet, but might spell disaster instead if I get silly and buy both. They also have a number of vintage instruments, so you would get a real chance to compare instruments before buying, if you find your way there. website is here: www.themusicroom-online.co.uk

I find that the my antique 20 button Lachanel Anglo drives my wife to distraction when I am working earnestly on perfecting a difficult bit, and since I'm just starting out, most bits are difficult! A few reeds are just a little slower to sound, so I find the quiet part of the range can be hard to maintain. On the other end of the range, I have no problem being heard above her guitar, or even banjo. The concertina also drives the cat to out of the room. He leaves as soon as the concertina comes out of the case, scratches at the carpet in protest, then dashes upstairs at top speed. Does the same for the tin whistle, but has gradually learned to ignore the low whistle, piano, my wife's guitar, and recently even my banjo. But it seems the concertina is just a step too far. As for playing in a park, just watch out for rain!