Tradewinds Ted

I do agree that a real recording is more useful, as it will have those critical nuances that give life to the tune. An ABC or MIDI player won't provide those subtleties any better than just playing the written music on the page would. So personally I prefer to work out the tune from the written page rather than listen to an ABC player. But for those who don't read music, it could be useful to have an ABC or MIDI format player, to be able to hear the tune as written if a real recording isn't available in the desired version of the tune. Haven't tried Transcribe, but it does sound useful.

From the makers website linked earlier in the thread, they do ship internationally for an additional $6.95

indentured reed! (Edit: I've seen some clarinet reeds that have been badly chewed!)

My understanding is that the mains plug/sockets in Ireland are the same as those in use in the UK.

Even easier than tuning down from E to D, get the guitarist to capo up three frets from E to G. Then you can easily play along on either the G/D or C/g I'm lucky, my wife likes to play guitar in G, although she likes A even better, which means capoing up to C (My main instrument is a 20 button anglo, so key of A isn't usually possible for me.) Either that or I play key of A on a low E whistle, and let the concertina rest a bit. It gets trickier if trying to match a singing range, because that may fix the tune to an oddball key. The guitar can usually adjust with capo and/or transposed chords, but the 20 button anglo concertina not so well.

If you want people to know about it, please make at least some information of the information on the facebook page visible to those of us who choose not to have a facebook account. The link just took me to a facebook sign-in page, so basically a dead end. I do hope your endeavor goes well.

If you are looking for ways to create good dance music arrangements for the left hand out of those chord markings, rather than looking for duet sheet music with countermelodies, then you might be interested in the book "Interview with a Vamper" by Peter Barnes. www.canispublishing.com This was written specifically for the piano player in a contra dance band, where it is more of a rhythm instrument with melodic capability rather than really a melody instrument. So nothing to do with concertina really, but excellent instruction in building interesting harmonies when you are given only a melody line and a list of chords, if that. I learned some of these basic techniques years ago, partly from this book, and some of the ideas were therefore ingrained in how I think about accompaniment styles now. All of this long before I really even became aware of the concertina. I'm thinking I might want to dig this book out again though, and see if I can learn to apply the techniques to the Anglo. I heard Peter play for a number of contra dances and English Country dances, and lead several workshops a couple decades ago now, and was delighted each time. He is a very skilled musician, very entertaining too, in a quiet way. The bad pun in the book title might be a clue. I haven't been to a dance where he played in quite a while because I've moved away from the northeast long ago, but I hope he is still playing. If you follow the link you will also see several books of dance tunes he has compiled as well. Well worth looking for recordings of the bands he has played in too! Edit: Thinking about it again, Peter's book "A Little Couple-Dancemusik" is interesting too. It not only has a quite an impressive variety of tunes-with chords, but the intro has a condensed version of accompaniment styles specifically appropriate for most of the different varieties of couple dances, including waltzes of course, but also polka, mazurka, and tango, etc.

I don't play duet, and don't know what the arrangements in the Elise tutor book are like, but I would expect that easy or intermediate piano arrangements would be suitable. Also, arrangements for violin duet. or violin and viola duet might be suitable, although possibly difficult to read both lines simultaneously if you aren't used to it. If you are looking for dance or folk music, I've seen a series of such books under the name "Airs for Pairs" Taking it a step further, Dave Townsend has a series of called "The Village Band Book" with arrangements of English dance tunes for three, four, or five different melody instruments. On many of these you could play the main melody line on the right hand and then pick and choose which other line to play on the left hand, perhaps learn to play a dance with several different arrangements that way. I see these are available at the ButtonBox.com Same issue as above with reading different lines simultaneously of course, but that can be overcome with practice, or at least you can learn to play each line separately and gradually work on putting them together later. Good luck!

Hmmm, maybe an infinite number of corners?

Except that 360 degrees divided over eight sides, does yield a whole number, 45 degrees. Yes, 360 degrees divided over nine sides yields 40 degrees, which is great when looked at digitally, but difficult to construct geometrically because it is messy in radians. That 45 degrees is a very neat Pi/4 radians, but 40 degrees is a tricky 2Pi/9 radians. What that means in practical carpentry terms is you have to divide a circle into thirds, and then divide into thirds again, which gets a bit messy. but 45 degrees is easy to do by simply dividing in half twice, and the 60 degrees of a hexagon is also easy to do, as the sides are the same length at the radius of the circle. So a Nonagon is a pain to build, although I expect such an instrument would look very nice once completed by a skilled craftsman. Personally, I'm intrigued with seven sides, but that would be even harder to create geometrically, and is a mess digitally as well. It would be a step farther from the danger of rolling away than nine sides of course, but then again the good old hexagon has both of them beat on that score.

Sad news indeed. I had heard she was ill because John cancelled on upcoming gig at the folk club we participate in, but didn't know she did not recover. My heart goes out to him.

Agreed, although I miss the low A more as a melody note in the low range.

Mine is B push/C pull as well, so it isn't all that rare. A pull may be the most common, but another option I've seen in that position would be a D. Personally, the D seems the least useful of the three, because that D pull already exists in the C row and is easy to get to. Sometimes that lowest button on the G row is G push/D pull, which seems completely redundant to me, but it makes the G row completely the same interval configuration as the C row, which could be convenient for someone who strictly plays along the rows. I do miss the low A on some melodies, but having that lower C on the pull is great to anchor the higher C pull in the left hand G row when playing octaves, or when played beneath the A and E pull for an A minor chord, or to help out a C major harmony phrase when the melody (or bellows balance) requires a pull note.

I can't answer the original question about the "wren" I do't know anything about it. It might be fine, and that probably depends on what you are expecting. I can add my voice to the chorus of exploring the 20b instrument for a while longer first. I have a 20b Lachenal that I bought more than 3 years ago, that I dearly love. There is quite a bit you can do with the twenty button, even outside of the traditional Irish and English styles. For example, most Cajun music is played on a one row melodeon, and you already have two rows, so could learn to play many such tunes in either of two keys! Also could play a great many American Old-Time fiddle tunes, although sometimes that will mean transposing from A or D down to G or C. I actually bought a restored 30b Lachenal last year but recently sold it on, because it wasn't as nice as my 20b, and it just didn't suit me well enough. So just being a restored old instrument doesn't necessarily mean it will be great. If by small, you actually mean light, then when you are ready to increase your button count, you might find the Morse Ceili interesting. Probably the lightest out there, and very fast responsive action. I don't own one but I've tried them out at the Music Room in Cleckheaton a number of times, and will probably own one relatively soon. But of course, much more expensive than the "wren" you asked about. Slightly less expensive, slightly heavier, but just as good are the Marcus instruments.

1 Once a button is pressed far enough to lift the pad off the hole and allow air to freely reach the reed, then the volume is controlled by pressure from the bellows. I'm still fairly new to concertinas myself, but my understanding is that the additional button travel therefore isn't strictly necessary, but does allow some room for adjustment to ensure that each and every button moves far enough to allow the pad to lift far enough fully clear the hole. That point won't necessarily be the same for each button, due to differing lever arms in the action for each, yet it feels better if all the buttons are the same height and travel the same distance, 2 As I said above, I'm still fairly new myself, but presumably, pressing only as far as necessary might theoretically allow for faster fingering, if you can do it reliably. That "only as far as needed" point will vary between instruments though, as well as from button to button on the same instrument, and is probably to much to concentrate on anyway, so trying to hit it just right could slow you down instead. But it is a worthy observation, and could at least help you avoid the beginner habit of pressing the buttons excessively HARD at the bottom, which would tire your fingers, as well as slow you down.

I play a 20 button Lachenal quite similar to this, but an earlier serial number, and in restored condition and tuned to modern pitch. Mine has lovely tone, and I really enjoy it! If it plays, or can be readily brought to playing condition, then it is worth more as a playing instrument than as an antique, much better to get it playing properly. If on the other hand it is truly derelict as an instrument then it shouldn't bring much on the antique market either, or at least it wouldn't in England. What restoration it requires, and therefore what yours is worth, depends a great deal on what is inside. The condition of the reeds is the key thing, but the action is important as well. Also do the bellows leak, or are they split in any way? It doesn't seem as though you intend to learn to play, which is too bad. But if I'm wrong and you have an interest in trying it out, properly fitted replacement straps are inexpensive and easy to obtain, (for example, from concertinaspares.com) and that would also make the rest of the condition easier to assess, and I would guess would make it easier to sell, or at least more attractive on the shelf. But if it is in good or repairable condition, it would be sad for it to stay on the shelf. 20 button instruments are generally not as desired as 30 button, which command a much higher price because of the additional notes which allow playing in more musical keys. But despite the limitations, the 20 button is a great little instrument, so I encourage you to give it a try, or at least let someone else enjoy playing it.

I say it is a false choice. If the straps and a button are missing from the documented one, how can you say that it plays well and has a nice tone? There are at least two reeds that you really can't have tested, and no way to know how it feels in your hands. So I'd pick the one that works, and dream about where it might have been. Separately, the whole silly romantic in me would reject the modern data coding that is being discussed. (disgust) Handwritten notes are far more romantic!

Some good friends who are "instrumental" in the folk music scene where I used to live, advised that "amateurs tend to practice a tune until they get it right, while professionals practice a tune until they can't get it wrong." I find that I make far more mistakes when playing for even a small audience than I do at home. But really, I'm not so bothered if I have to start over a couple times at home, while that is a problem in front of people, so I fool myself into believing I have a tune in hand, when really I'm still only just starting to grasp it. I do find that it is valuable to vary my practice, playing deliberately slowly, then playing faster, then slowly and deliberately again, sometimes sitting, then other times standing or even walking around. I usually learn from written music, but I don't consider myself ready to perform a piece until I can play it from memory. The best trick for learning to play without the music is to just do it, and see how far I can get, and keep trying to push farther before peeking. Then when (eventually) it all seems to be working well, try playing something else instead, and then come back to the original tune again without looking. Often the start of the tune gets quite a bit of practice, because of playing until I make a mistake, then starting over. So another valuable trick is to practice from the middle to the end of the piece, and then when that is under control start again just a bit earlier, and gradually build up to playing the whole tune. That way when performing, the piece becomes more familiar as I go through it, rather than less familiar.

I appreciate hearing the different approaches to the tunes, but I don't often actually listen to very many postings simply because most of my internet surfing is done when I would rather not disturb others, and I usually can't be bothered to use earphones. I haven't yet posted anything either. I selected the te first three responses for question 1. Sometimes I do intend to post something, sometimes I just like to work on the tunes by myself, and sometimes just enjoy looking over the new tunes, but they don't grab me enough to want to work on them. Since only one response was possible for question 2, the reason I selected was that I found it difficult to record and post. This is true, but probably only because I haven't even looked into how to do it. I know that several people have outlined some options, and I imagine one of those explanations would work for me. A strong second would be that I haven't had the time. This is true both for learning the tunes, and for learing how to post them. If I am inspired to learn the tune, then that is how I spend my time, and I don't have time to bother with the recording. If I'm not inspired by the tune, then why would I bother learning how to record and post it? I do admit that my beginner abilities also make it a bit less attractive to bother figuring out how to record and post anything, when I compare myself to some of the excellent recordings others have offered. On the other hand, I'm not that easily intimidated, so that didn't really seem like an accurate choice. In short, I do hope tune of the month continues, and at some point I will probably get around to posting! Edit: One detail that occasionally limits my participation is that I usually play a 20 button Anglo, so anything outside of C or G or the relative minors or modes can be difficult ( although I can transpose) and anything with much in the way of accidentals simply isn't possible.

The Music Room in Cleckheaton lists a new one on their website. www.themusicroom-online.co.uk

The reeds are metal, so dry heat won't hurt them (wet salty air might) but dry heat can instead be hard on the wood that holds everything together, causing it to (potentially) shrink and allow the metal blocks that hold the reeds to loosen from where the are dovetailed into the wood. In the extreme, wood can dry and crack, as it could in any wooden instrument. So don't leave it in a hot car, and do try and avoid sudden changes in climate. Most importantly play it often! You'll not just enjoy yourself and get better, but your instrument will also come to life and sound better if it is played frequently, and if any problems start to develop, you'll notice them before they become serious.

John, if you are willing to have to have something shipped from the UK, then there are several good contacts for vintage instruments. Here are three I've dealt with, or at least spoken to: Chris Algar of Barleycorn concertina, or www.concertina.co.uk is well known and has good prices and good variety. He also sells on ebay.co.uk as cocoa111, and happens to have a 26b Lachenal which is still on auction at the moment. (note - it seems there are always at least a few anglo concertinas on ebay in the UK. some at very low prices, but nearly all appear to need a lot of work - so it is very good to know who the seller is in this case.) Theo Gibb of www.theboxplace.co.uk also is good to deal with, and has a variety of instruments www.themusicroom-inline.co.uk is another well known shop which has a number of instruments, including a Crabb 20b and a Lachenal 20b at the moment, as well as a Jones 26b. All of these will cost somewhat more than the Rochelle, but you might find something that interests you more.

If you find you need more ideas about a neck strap or harness, have a look at the ergonomics forum. There is a thread enititled "Shoulder Harness" which shows a harness designed for binoculars adapted for an English Concertina. There was also a separate post suggesting that strapping in only one end of an Anglo might work better. I can't seem to link to them though. The link dialog box keeps hanging up on my computer when I try. So you'll have to search for them yourself. Both were in 2012 though, so just on the 2nd page of that forum. You may well find other ealier suggestions there too! Good luck.

Playing in a parade is certainly compatible with a respectable musical performance, marching bands throughout the USA do this at every high school and university football game, and on several holidays. (admittedly some of those performances are more worthwhile than others.) I played Alto Horn in my high school marching band many years ago, and more recently played in a street samba band. a few years ago. I've not tried playing my Anglo in a parade, but I know there are a few things to keep in mind. The obvious one you have already identified and that is the difference between playing while sitting, and playing while standing. For me it isn't an issue, because I normally don't rest either end or any part of the bellows on my knees or lap while playing. Yet I no longer keep the straps very tight, although I admit my hands are probably larger than yours. So maybe that is a place to start. While still sittng, try playing with the instrument completely off your lap. That probably means pointing your forearms upward somewhat above level, but it doesn't necessarily mean pointing them at a steep vertical angle, which would feel awkward. I should also admit that I primarily play a 20 B wooden ended Anglo, and I do appreciate the light weight. Next consider that it is tiring if the parade is very long. Consider the route of the parade; just how often do you take a brisk walk over that distance while lifting an object the size of your instrument? And playing for an extended period is tiring too. Of course participating in the event is exciting, so that helps. But it is a good idea to try walking a bit with your instrument as a method of preparation, so you know what you are getting into. It does take some upper body strength to avoid letting your arms drop toward the end, and fingers get clumsy when arms are tired. Next, consider whether you will be walking freely, or marching in time to the music. After those years in marching band, and many years of dancing since, I find it easier to step in time to the music than to just walk, but that certainly wasn't the case at first. So if you are marching in time, you need to practice that as well, and consider what pace those steps will need to be for the various tunes you expect to play. Some tunes just aren't paced for marching, and you may not want to take a step on every beat of a fast jig! If after trying it for while, lifting the instrument free hand seems like too much, a neck strap could be fastened to secure webbing loops tightly fastened around each of the ends. Wrapping the webbing around the ends could eliminate the need to screw something into the instrument, or unduly stress an exising strap screw. The neck strap would then support the ends at whatever height you find comfortable, while still allowing lateral movement for playing. It would put stress on your neck of course, and I don't think I would like wearing it, but it might be a solution for you. Again, try it out thoroughly before the day of the parade, and not just while standing still. I've seen more than a few last minute solutions fall apart halfway through a procession. Same goes for any type of platform. I really wouldn't expect that to survive. That left hand thumb under the strap idea might work too. I also saw a thread here some months ago where someone was doing that with both thumbs because they hadn't seen the usual hand position, but once the difference was pointed out, they still seemed to prefer it. Your concertina shouldn't suffer any harm as long as: a - You don't drop it. Remember that hands get clumsy when tired, and arms tend to droop downward over time. But if you choose to use a neck strap, don't trust that with the full weight of the instrument either, but just use it to assist your arms in holding the concertina up. If you take your hands away from the instrument and let it dangle you can't feel when it starts to slip. b - You prepare in case of rain. If it is raining, don't take the concertina. But even if it isn't supposed to rain, remember that you won't be able to get to shelter immediately if the weather shifts, and the length of time you will be at the event is much longer than the time while in the parade. It usually involves lining up a while beforehand, and likely involves standing around for speeches and celebrations after, and almost certainly means walking back to where you started as well, so keep a sturdy plastic bag in your pocket, just in case. Rain damage wasn't an issue when marching with a brass instrument like the horn, but that horn got rained on many times. ( I see you are in Tucson - well, it could happen. I've not been to Arizona yet, but I've been rained on in summer in New Mexico and Colorado a number of times. Of course If it doesn't rain you should take water for yourself though, as you must already know if you live there!) I hope I haven't made the whole process sound too daunting. Playing in a parade is great fun, and I hope you get to enjoy it!

PM sent