Myrtle's cook

Rikki Many thanks, that's appreciated.

Has any one on the forum got one of these they might be thinking of selling? I would expect such an instrument to have most likely been for band use and have fewer keys than usually encountered. To avoid any confusion, I am not looking for a standard tenor/tenor treble (I have these already). Please PM me if you might have such a box you'd be willing to sell. Thanks for looking.

Hi Wolf You are not missing the point - I was unaware that Peli-Storm cases now come with this sort of modular foam insert - I was asuming it was from an additional source. My last Peli-Storm case - c.10(+) years ago - came with rather more basic foam.

Thanks Wolf - yes, I have fitted out a Peli/Storm case in the way you describe. I was specifically interested in the particular modular foam being used here and the detailed contouring it permits (with a couple of other case lining projects in mind!).

Hi JD The linings look particularly good. Is the apparently modular ?foam you are using to create a tailored fit for instruments a product that is readily available to buy? Also, is it self adhesive or are you using a glue (what sort?) to stick the constructed blokcing together? Many thanks

I do not have any interest in this sale either as vendor or agent - just the curiosity of an EC player 'looking over the fence' - but thought it might be of interest to forum members. The box is labelled as C Morris Handley, but looks Lachenal-esque(?) and is 13cm in diameter - according to the auctioneers. https://www.the-saleroom.com/en-gb/auction-catalogues/peter-wilson/catalogue-id-srpet10195/lot-a01cf84d-1b4d-473a-aec0-aa2600ab95e7

If memory serves me correctly Chris Algar (Barleycorn concertinas) had an ebony ended example of similar period for sale recently for £4250, it sold quickly suggesting demand is there.

I recall him saying (at a concert) that it was indeed a baritone treble, although several of the keys/reeds have been altered to more easily facilitate a drone effect. He does play it incredibly well - these are relatively heavy, bulky instruments to wrangle if one is more used to a treble/tt.

In terms of the label - if the box is a Lachenal it might well be a dealer's label, further obscuring origin (and indeed on some Jones's). Sorry that's not of much help!

A few thoughts from an EC player... I have two instruments which have non steel reeds - a Wheatstone Baritone with brass reeds from 1860s and apparently quite 'high end', and a Scates labelled (probably George Case made) amboyna treble with silver nickel reeds. - there are different standards of brass etc reeds (just as with steel). The best wheatstone brass reeds are robust, have good dynamic range and volume, need relatively little air, speak quickly and do not seem to readily go out of tune. The cheapest (e.g. basic lachenal models) seem to have far less dynamic range, be slow to speak and need quite a lot of air. I understand such reeds are a little more prone to fracture - I purchased the two concertinas above because I loved their mellow sound which combines with good reponse and dynamic range to provide a very satisfying playing experience . I use them for song. Both would struggle to be heard in a good session - perhaps a plus if you want to develop confidence, but less so if you want to really get 'stuck in'. - Brass/non-steel reeds can play any sort of music, just as well as steel reeds. However, if you are used to listening to Irish tunes played on growling Jeffries anglos then the tone of the brass reeds will be different and might take a little mental adjustment (a little less 'bark and bite' to use a phrase a Jeffries owning friend describes some of his accompaniment style). -With good reeds (and mechanism - which is part of the speed equation) high speed is possible if the fingers are willing and coordinate! If you are considering buying from Chris Algar ('and other dealers are available', including those who regularly contribute to this forum) you may well be able to get the instrument on approval and if it doesn't meet your expectations return it - as long as it is in the same condition. Good luck - we all started somewhere - my first instrument, which I still love, is in fact technically pretty poor - but it got me playing and gave an enormous amount of pleasure.

The serial number would suggest this is a Lachenal. Wheatstones with 55### onward, including 55870, are anglos. Still, potentially a good starter instrument for someone - it looks in decent condition and the non original thumb straps look quite recent replacements suggesting it has been loved or at least well cared for. Good luck with the sale.

In addition to Geoff's suggestion, you might also want to check out the Concertina Museum Collection (part of Neil Wayne's collection acquired by the Horniman Museum), the title page for the Rock Chidley instruments should be found at this link: http://concertinamuseum.com/SiteS4d.htm and contains a helpful overview of Chidley and his concertinas, the pages that follow detail individual Chidley concertinas in the collection.

Hi Christine I managed to look out my treatment notes over the weekend and located the following 'introductory' form of PMR, developed by a physiotherpist. it's one I often come back to (although I'd managed to foget it's name!) www.csp.org.uk/sites/files/csp/secure/pogp-mitchell-2_0.pdf Hope this is helpful.

Hi Christine I expect there are those who will say practice and confidence - and I' sure that's a large part of it. As a sufferer of chronic pain for some years I stumbled upon Progressive Muscular Relaxation as means of managing tension/stress when playing/performing, as well as condition management. There are various manefestations of this in on line resources, and as every person is different I suspect different methods suit different people. It is based on systematically working down the body, tensing then releasing different areas, and can be used in conjunction with breath control (i.e. slow breath whilst drawing left hand into clenched position, slow out breath whilst releasing the hand, and repeating for each area to be tensed and released). WHen initially doing this I found spoken instructions useful - there are some on Youtube and also on the Insight Timer app. Some of the approaches have their origins in physiotherapy, others seem to have been adapted and developed in mindfulness techniques. I try to find a quiet space in which to sit (car or toilet(!)) before playing, and if a long session, having a similar break halfway. There's quite a good check list within this arcticle: https://positivepsychologyprogram.com/progressive-muscle-relaxation-pmr/ One advantage may be that tension in one area of the body can sometimes manefest in another muscle group/limb during exertion. This method goes some way to minimising overall tension in the first place, making this less likely. By combining with slowed breathing it might also help control the cocktail of chemicals our bodies sometimes delivering whilst playing that promote stress/tension (cortisol, adrenalin etc). I was very cynical of this technique when it was first suggested to me, but after a little practice found it was genuinely useful for both pain control and [getting on the first step to] a Zen like state whilst playing. Hope this is helpful.

What system are you playing Christine? I am asuming Anglo (quite possibly wrongly). The stresses and strains of playing English concertina are well documented on this site, but less so Anglo and Duet. If it's a system with lower notes largely on the left hand side is there an element of trying to emphasise/underplay these which is adding to the tension and consequent pain. Glad to hear it passed easily at any rate.