Defra

Lovely to hear an English concertina used so effectively for accompaniment in this way - is that a Geordie tenor ? Could you please explain your strategy when accompanying these types of songs, e.g. single note runs/double stops or partial chords/ full chords etc.? Thanks for posting, Dean

Lovely playing and arrangement Randy, and Jim, those chords make this English player go green with envy!

Interesting topic and I've been wondering about the same issues. As one of the rare examples I've come across, I think this guy - George Meanwell - does a lovely job on the Geordie Tenor EC.

Very nice Wolf, I'm enjoying following your progress and different versions of this piece, along with all of the other submissions. My only New Year's resolution this year was to stop "lurking" and contribute actively to this thread so I better get cracking!

There was a nice tribute from Mike Harding on his folk show webcast last night: http://mhfs.podomatic.com He also played a track off the Patterson, Jordan, Dipper album "Flat Earth". I'm listening to this album on Deezer now http://www.deezer.com/artist/1231755 and it is a great listen. I wasn't previously aware that Mr Jordan was such a talented multi-instrumentalist.

It seems a real shame to drill through part of a 150+ year-old instrument. I'd definitely follow Frank's advice and make new baffles. If you want a thicker material than light cloth, I've had good results with the following material :http://www.ebay.co.uk/itm/Alcantara-fabric-faux-suede-leather-19-5-x-19-5-cm-/321162076654?ssPageName=ADME:L:OC:FR:3160

I'm enjoying this thread. Our cat (a neighbourhood cat that adopted us) is a positive concertina fan. As soon as I play a few notes he comes running from whatever part of the house he's in to jump on my knee, rather like in Peter's great photo. I don't understand this especially as I'm quite a lousy player. Dean

You make some fascinating and very interesting points, Lukasz, and echo my own experiences on the English concertina. I recently came to the concertina after learning the violin as a child and mandolin as an adult, and when learning a tune on the concertina, I find that I'm often visualising the transitions between buttons and chords as geometric shapes, especially the trickier sections, and only when I do that can I remember the tune. I had no experience of this in my previous instruments. Fascinating stuff. Dean

I'm advertising this concertina on behalf of an acquaintance in Belgium who liked the Morse Geordie Tenor concertina so much that he owned two of them. I recently bought the older model, which I'm delighted with, and he has now asked me to advertise the remaining new, unplayed model as he has moved on to other interests. Here's a link to the Belgian website on which it is advertised: http://www.2ememain.be/marche/?qq=concertina&afd=&pc_id Some bigger photos can be sent, if necessary and feel free to contact me by PM through this site if you have any questions and I'll pass them on. The asking price is €1,800 which includes insured postage within Europe and PayPal fees. This is a fair price given the current cost of a new model (see www.buttonbox.com) and then shipping and import duties into Europe. I'd like to stress that I'm doing this as a favour and have no financial interest in the sale. The owner will be handling the transaction and posting the concertina but I can vouch for his integrity. Thanks for looking. Dean

With great pleasure, Geoff.

What needs to be remembered is that Geoff was directing his answer at those of us who are relatively new to trying to add chords/harmonies on the EC specifically and/or who have little or no grounding in music theory and in that respect, his answer was very helpful.

That sums up exactly what I'm trying to do on the EC, Geoff, thanks a lot. Coming from other instruments with which I just played the melody line, I lack a basic knowledge of chords and accompaniment, but that's a big attraction for me in the concertina. I dithered a lot between learning duet and EC at first but am now glad I opted for the latter as I'm quite happier with a bit sparser accompaniment/chording. I've just been trying to learn by "pecking and hunting", which works some of the time and I'm sure that practice will make it more automatic, but hearing other musicians' efforts helps a lot. The chord chart on the website you referenced will also be a big help. Cheers again, Dean

Dean, I have worked up a version that fits your criteria . I am just a bit 'pushed for time' at the moment but I will see if I can either record something or write an arrangement of what I am doing that might suit the EC... Geoff. Very kind, Geoff, no rush but I'll be looking forward to it. Many thanks, Dean

I'm really enjoying this month's renditions too and the duet versions in particular have been amazing. As an beginner English concertina player, I know that I can't aspire to that level of complexity (even if I had the talent!), but I'm very interested in exploring double-stops, light chords and perhaps a bit of basic counterpoint rather than just playing the simple melody. Listening to talented players on this site and elsewhere, (Danny Chapman, Rob Harbron, etc.) I know that this is possible on the EC, but I was wondering if anyone had an EC version of Xotis Romanes that shows such elements without recording two tracks? I've been working away on this tune for a while now and managing a few embellishments but a bit more inspiration would be really useful. Thanks in advance, Dean PS The "concertina face" thing is intriguing - I'm assuming it's just a concentration issue. In addition to gurning while playing, I also have an embarrassing tendency to drool... Maybe need to buy a bib.

I just wanted to flag up a great album with some low-profile but excellent English concertina content. It's "Music from the Atlantic Fringe" by The Unwanted, a trio consisting of Cathy Jordan, Seamie O'Dowd and Rick Epping whose exploits on the harmonica and EC (often simultaneously) have already been mentioned on the forum. There's a lovely old-time feel to this album and I highly recommend it. It's on Deezer for anyone who wants to listen before they buy. Dean

Thanks a lot, Felix, for all the info and links concerning a type of music of which I know nothing but find very appealing. Cheers, Dean

Having been very impressed by forum member "Tona's" duet concertina contributions to TOTM, I decided to find out a bit more about this excellent French musician. His name is Thomas Restoin and here, with his permission, is a link to some more of his tunes on Myspace: https://myspace.com/...n-duet-19159856

What a rare treat - a full hour of great music and amazing playing on the EC - many thanks for posting. Dean

Unfortunately, at £2,500, it's way too expensive for me, that's why I'm looking for a second-hand model.

I'd just like to enquire whether anyone has a Geordie tenor concertina they are looking to sell? I've noticed the used one at Button Box, but with the import fees into Europe it works out too expensive. For that reason, I'd prefer to deal within Europe, but I'd still like to hear from anyone selling for a reasonable price further afield. Please PM me with any offers. Cheers, Dean

Loved that, Bellowbelle. That foot bass is amazing. Excuse me if this is a dumb question, but did you play the concertina and foot bass simultaneously, or did you record the bass afterwards?Thanks, Dean ...Back again. Not a dumb question! It's a bit of a workout, for me, playing that thing! I don't think I play it with as much sophistication as some players do -- delicately working it into those Victorian-era songs, etc. -- though I HAVE been trying to play it without it sounding like I'm just whomping on it recklessly. It IS a bit of a workout, for me, to play -- good exercise I guess. The tones are arranged by the Circle of Fifths, on the foot bass. So, when I played Parsons Farewell in the key of B minor (a.k.a. D major), it was totally my left foot (and leg) working. When I played the same song but in the key of F minor (a.k.a. Ab major), it was my right foot/leg that got the workout. (Of course, some keys call for both feet.) It's loud enough to cover a few quiet little wheezes and groans that I notice do show up every now and then. I'm still working on playing it just right! Thanks for the explanation. I have to admit it's the first time I've heard of such an instrument and heard one in action - very effective. I'd love to see a video of you in action on both instruments if you ever get chance! Thanks again, Dean

Loved that, Bellowbelle. That foot bass is amazing. Excuse me if this is a dumb question, but did you play the concertina and foot bass simultaneously, or did you record the bass afterwards? Thanks, Dean

Nice art but wonderful music - thanks for posting. Dean

Thanks a lot Geoff - very useful information and confirmation of what I've been feeling. Dean

Apologies to Eddy and anyone else for this thread drift, but I was reluctant to start an entirely new thread on a topic that has probably been done to death and seems to get a lot of people hot under the collar. However, this is a topic that interests me greatly, not from a purists' point of view, but just from wanting to play ITM (amongst other styles) to the best of my ability. I'm not a stranger to ITM after a good few years of playing it on mandolin and tenor banjo and I've heard enough good examples of ITM on the EC to be convinced that it can be played well, although I wish I could find examples of entire albums rather than isolated tracks on albums, Youtube or websites like this one. Anyone know of any? Secondly, I realise that there are mechanical limitations to the EC which make the famous "bounce" harder to achieve than on an Anglo concertina. Would it be safe to assume that bellows with more folds facilitate this lift or bounce? After dithering about changing to a different style of concertina, I'm now committed to sticking with the EC and am encouraged by recent progress, but I find the 4-fold bellows on my old Lachenal student model to be quite limiting, or maybe that's just because I'm still a beginner. Thanks in advance. Dean