Noel Ways

Brian, I have searched and searched over the years but have come up with no hits. I will keep trying. For those of us who play the Hayden system, to have some links would be a treasure! It would also give us a point on connectedness to the one who brought this system into use. Any chance that you know of someone who could do this for you ?? Please ?!?!

I have absolutely no idea, but what I do know is that IF it is lemon, you will have wasted $229, even though it looks like a great price. I would like to suggest that you extend your wait time from a few days to a few weeks. That concertina is not going anywhere. I started out by RENTING a concertina from Button Box for around $35 per month. That proved to be wise for me. Just a suggestion. https://www.buttonbox.com/ If the instrument is poor in quality, your experience may be poor, and you may give up. Having an instrument that responds and plays somewhat well, can help to propel you through the multiple learning curves that you are about to embark on.

Hello, I have some reed shoes that slowly creep out of their slots resulting in a bit of rattling or buzzing. Wally Carrol has a useful video that addresses this. I will put the link below. He suggests "Veneer Tape". But before I do this I wanted to ask if anyone else has had this issue and how they addressed it to keep the shoe snug and in place. Thanks in advance

Thank you, David!

This thread touching on a nagging issue for me that perhaps someone can help with. In "Advanced Ear Training and Sight Singing" by George A. Wedge he gives an example of how to use the second inversion in three ways, one of which is as a "suspended or appoggiatura chord". But I have never been able to reconcile his example with the article mentioned above nor the explanations given here. I have attached a screenshot of the page (which is in the public domain, by the way). Is there a difference in an appoggiatura and an appoggiatura chord? Did George just not give an example of grade note application? Glad this thread came up !! If interested, a link to the text is: https://books.google.com/books?id=Umc0AAAAMAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

After Alex Holden completed his first prototype of the Hayden (and had received Brian's stamp of approval); I have been very interested to know what direction Alex was planning to go with the Hayden, if indeed he goes into production mode. I bet someone in this conversation knows?!?! What is Alex thinking? Might he be willing to preserve the slant as well as provide a parallel option?

My first hayden had a slant, and playing fifths on the left side with one finger was standard My current hayden has a key layout that is parallel to the handrest, and playing fifths with one finger is no longer an option (how I wish it still was) on the left side. Playing forths with one finger works fine. Having played both configurations for years, I **think** I have come to the conclusion that for this and other reasons, the slant is superior.

Somebody on another thread brought up the name, Nick Robertshaw, who I had never heard of. I began polking around and found a site dedicated to remembering him and his music. https://www.youtube.com/channel/UCKncQPQYAQ_XtYHrv-hr4dA

Although I do not have a Beaumont, I am curious at what temperature accordion wax does melt. Does anyone know? This has always been an issue in the back of my mind when in times past I have considered the Beaumount as I do quite a bit of road travel, and wherever I go the concertina frequently goes.

Interesting Video.

Here are a few odd points. Keep fingernails trimmed - can damage finish around buttons. Protect from wild changes in environmental humidity - important if the soundboard is not plywood. If I recall from Edgley's web site he will make his concertinas with both "traditional soundboard" or a plywood soundboard, depending upon what the customer requests. Find out what your soundboard is made of. Give Frank Edgley a call with concertina number and ask him for his thoughts. If the finish is really nice, not a bad idea to wash and remove sweat, oil, etc from hands before playing it. Store in a place where is protected BUT readily accessible. If it is hidden away, practice time may go down or even stop as the months wane into years. Seek out all the concertina care threads on this site - there are MANY !! A good resource is https://www.amazon.com/Concertina-Maintenance-Manual-David-Elliott/dp/1899512675 If there is a particular surface where there is more potential for abrasion, such as the surface that is on the lap; rubbing a little bit of beeswax of that particular surface can reduce friction, or at least protect the finish somewhat. Keep away from sunlight and extreme heat as in a car in parking lot. Hope these random points help.

Your woman friend needs one of these: https://www.cafepress.com/mf/109846944/ask-about-my-concertina-skills_mugs

Two bad habits that I need to constantly avoid: Practicing too fast. If one practices a piece slowly and correctly, this saves steps. Once mastered slowly the tempo can be increased. Not using a metronome. There is a tendency for me to go slowly during more difficult sections and pick speed for the easier parts. I have found if left unchecked the speed differences may become habits. I think for the listener this can be unnerving. I can think of others, but these are my big two. A metronome is a good investment if you do not already have one. Noel

Scroll down to the end of this link and you will see some very interesting and very small reeds. http://www.philharmonicas.com/philharmonicas.html The accompanying videos by Philharmonicas demonstrate the quality of the reeds. I am curious if concertina makers think that such reeds deserve consideration for use in possibly piccolo concertinas, or otherwise ?!?!

Aaron wrote this sometime ago for the wedding of a personal friend of his. I had contacted him about it about 5 years ago, and he sent it to me. I had contacted Aaron through: http://www.amarcus.org/marcii/about.php