Noel Ways

I have felt for a long time that what determines a good musician from otherwise is how well they recover from an “error.” The “error” becomes a springboard or call to action to lead the melody or harmony (or both) in the direction that one desires. Alternatively, a “wrong” note frequently adds a little dissonance and needs to be resolved, and this can make the music more exciting and colorful. Most of my playing involves coming up with a melody in my head and then harmonizing it, sometimes spontaneously or sometimes after I have run through the tune a time or two. It is a constant exercise in resolving dissonance and leading the melody to a final resolution.

This brings back such bad memories of when I had my Peacock. Humidity. I bet if you put the concertina in a controlled environment, the concertina will correct itself without any invasive assistance. Do you have a dehumidifier? My current concertinas are much less sensitive to drastic changes in environmental conditions. Still, nevertheless, when the humid summer months come upon us, my "tinas" do a yearly migration to an area in the home where these issues are controlled. Admittedly, it is a little inconvenient, but it works.

A beauty of the concertina is its portability. When the size becomes "excessive," perhaps one should consider a free reed organ?!? https://www.youtube.com/user/ReedOrganSociety

Here are two young lads doing a bang-up job!

This piece that you wrote Kathryn so reminds of MrManfid's, "For Levon":

A little more background … When I first started exploring the Hayden system over a decade ago, I, too (like Stephen / Robert mentions above), thought the F# was an error on the key layout diagram. The word “Typo” came to mind back then. I thought that the diagram would surely change in time, but like others also observed, it did not (and I did check). Fast forward to the present, and I have now become a “steward” of one of these bastari instruments (as of a few months ago). I had forgotten the above layout issue - until I began to play in a few keys anticipating that lower Eb. Ouch!! Since then, I have been considering having the note changed from F# à to Eb, but before moving in that direction, I sought concertina.net’s input – which you have provided. Thanks again; this has been most helpful. I am leaning strongly to move in that direction.

Can anyone tell me why the original Hayden layout (for the left hand) has an F# next to the lower F and not a Eb? I'm sure the answer is straight forward, but it just does not make sense. Many thanks in advance. Screen shot of layout attached.

Delightful:

Hear are videos of this instrument in action

Below is a nice documentary of using the concertina in education and in a group setting.

That was a feast! The music had a particular depth and feeling. I have never been a connoisseur of poetry, but there have been a few exceptions. The recitation of the poem at the end is one of the few. I am also amazed that the music was done on a lowly 20 button anglo (maybe I should not consider it "lowly" anymore)!

https://www.youtube.com/watch?v=7xtqEGqiiWQ

Keep your dog!! Perhaps this thread will provide some encouragement:

There are several videos by this group which are sweet. This one boasts a concertina. I suspect that this group is new to most of us, so thought it worth sharing. Best