CaryK

Moby Dick, the one with Gregory Peck directed by John Huston, features close ups of Alf Edwards playing. I watched that version not long ago. The concertina played is an EC. There are some nice closeups, though short, of his fingerwork.

If you buy a Stagi like this from The Button Box, it will cost more ($650 or thereabouts), but it is set up so it is playable and you get a one year warranty. Stagi's purchased elsewhere, I'm told, are sometimes fraught with problems. I purchased one from The Button Box and it has perfomed well as my starter instrument. The Button Box folks know and build concertinas. They don't merely retail them on the web. You should also go to concertinaconnection.com and check out the Wakker Rochelle, which is due to hit the shelves next month. It is made in China, but according to Wakker's specifications and with many of their parts. It is very reasonably priced at $279 for a starter instrument They made an English concertina the same way that has been relatively well regarded since it came out. Hopefully, their Rochelle anglo will be defect free and have the playability of better instruments.

Jim, yes "Constant Billy" on p. 29 and the version stressing the bass line on p. 34. I was trying to follow the notation literally using the fingering positions covered to that point and of course I found it impossible to do. I didn't fully understand Samantha's answer and hadn't thought about alternate fingering to accomplish the same thing with the bellows in sync. Thanks for your help and suggestion about the rests. I am learning not to be a complete slave to notation if there is a better way (to my ear) to interpret a tune, but I have to admit I was still a thrall to Mr. Levy.

Steve, one think you can try is something I did. I got an inexpensive book on keyboard chords (it includes some 800 of them) from a music store. Then I diagrammed where the notes of the most common 3 note chords existed on my concertina. I then made a list of the finger positions for myself and practiced playing them. I don't have any real music training so I found the exercise a good learning experience. It also showed which of the chords can be played while pushing or played in the same octave while pulling, using different buttons. Also found some chords that one would have to be double jointed to be able to play. Most of those I deleted from my list until I evolve into a concertina-playing orangutang. If you can find the diagrams on the web that's great, but working them up for yourself is kind of fun too. Good luck.

Does Bertram's tutor specifically state that all of the tune notes are to be played in the right hand? Could it be that there is a duplicate of the second note of the "push-pull" sequence that is available "on the pull" (so to speak ) on the left hand? No quite the opposite. He takes a student through tunes (at least up to the point in the tutor where I am) where the melody specifically moves from right to left hand and back again to show how an accompaniment can be fit in to work in these situations.

I'm curious as to where you see this. It seems unlikely to me that these arrangemts would have been written that way if they were intended for anglo. It's rare that an arrangement intended for one instrument can be played on a different instrument with no alteration at all. Jim, thank you for the suggestion about ignoring the notation and using the rest. It sounds like a good solution that will also improve the tune. The "assymetric" right left hand arrangements are from a couple of tunes in Bertram Levy's anglo tutor. May be they are just typos that escaped editing. Though still a concertina novice, I'm pretty sure its not possible to play with the bellows going in and out simultaneously.

I'm looking at a the notes for a tune where left hand accompaniment is played with right hand melody. The time signature is 6/8. In the first bar (and other bars as well): The right hand plays a quarter note push, eighth note pull, and a triplet of eighth notes that go push, pull, push. The left hand plays a quarter note push, eighth note pull, a quarter note push, an eighth note pull. The first quarter notes are in the same directionfor both hands. The second eighth notes are in the same direction for both hands. No problem so far. But, while the next quarter note on the left is being pushed, the right hand is going push, pull (first two notes of the triplet). That's the problem. How can I hold a left hand push note for two beats, while the right hand is going push, pull at one beat each. I've seen this assymetric left-right notation in other pieces as well. Would appreciate any advice as to how to handle this. Thanks.

I had a D40, which I purchased from an internet music store. I could not find the serial number either, so I just wrote D40 on the card with the date of purchase, and kept my receipt. I think their registration card is a generic one that is more appropriate for their many accordion models. Good luck.

I had a D40, which I purchased from an internet music store. I could not find the serial number either, so I just wrote D40 on the card with the date of purchase, and kept my receipt. I think their registration card is a generic one that is more appropriate for the many accordion models. Good luck.

And be aware, Chris. There are many of us Americans, who are not apathetic, who are politically astute and aware, who don't share your views at all.

This is just my experience and may not be representative. I tried two separate Hohner D40s (20 button anglos made in China) purchased from an internet music store. The first one lasted about a month until the air button stuck in the down position and the instrument was unplayable. Up to that point I enjoyed playing it. The music store quickly sent me a replacement, which lasted 5 minutes before buttons stuck. I sent back the instrument and was refunded again From that experience taught me I decided I would not buy another low priced Hohner from China. That being said you might want to start with a Stagi (made in Italy) from The Button Box, where they inspect and service the instruments before they send them out or wait till later this year and try a Wakker Rochelle model when they become available, which are made in China, but reportedly with better mechanisms and close quality control. I purchased a Stagi from The Button Box and have been generally happy with the instrument and with their service. However, I have recently upgraded to a wonderful accordion-reeded concertina made by Frank Edgley. The Stagi doesn't compare in quality or sound, but I still play it too. If money is not an object there are a number of makers of quality accordion-reeded concertinas and for even more money those who make concertinas with traditional reeds. Checking out the Buyer's Guide link on the home page of this forum is a good place to start if you haven't done that already.

As a recent owner of a Sean Fallon case to protect a recently purchased Edgley concertina, I can attest to the quality of this case. It is rock solid, with an ingenius locking mechanism. My concertina is held very firmly within the case. I'm very satisfied with it. The link to sean fallon's website is below if anyone is interested. Sean is located in Plymouth, Michigan. http://falloncases.com

They're dying fast here. Better hurry up. *LSGC: Large Square German Concertina The Chemnitzer seems to be doing well in Buffalo, NY. There are a number of polka bands here where Chemnitzer players outnumber the PA players. I don't know if they represent a dying trend or an increasing popularity. In this area, Chemnitzers are just referred to as "concertinas" by the general public. See the web page for the Buffalo Concertina All-Stars. http://www.geocities.com/buffaloconcertina...tars/index.html

I entirely concur. I thought about getting a concertina for many years before I actually went about it. Wish I had moved on the inclination earlier. But I also believe that things occur for a reason and that perhaps not taking it up earlier was for the best. Still, I wish I was a better player at this time in my life. Life is short and you don't want to put off dreams too long, though you still have to balance them with responsibilities. No regrets with my choice now though.

I've rarely seen some with plain brass (alloy?) though chrome plated and nickel plated brass is fairly common. And I've seen a couple with gold-plated ends. But I wouldn't expect that in the price range you seem to be considering. I think I've seen the gold plated ones on the Wakker website. They were beautiful to behold. I'll be ordering one of those right after I win the lottery or after I reach the pearly gates. Concertinas and Irish harps should make a heavenly sound. Seriously, thanks for the all the opinions and experiences that have been expressed so far. They have helped me decide to concentrate on a wooden-ended Anglo. As I doubt I will ever spend much time as a sessions player, I don't think I need an overly loud instrument. Also, wood, with proper care, should need no buffing or wiping off of fingerprints to maintain its original appearance. Stainless steel may last decades (or centuries) longer than the wood, but as for daily use, wood seems more practical. So I'll be looking for wooden, accordion-reeded box that has a warm sound, but can be played relatively loudly (for wood) to cover most of my anticipated uses. I'll be looking for opportunities to try several.

I appreciate the feedback. I haven't had the opportunity to play another other instruments yet, but I will get a chance to try one of the Morse concertinas from the Button Box soon, maybe today even. My tastes tend toward the "rich and mellow" vs "bright" or "sharp", and I'm glad to read that no matter what type of end material, one can learn to make it sound "brash" or "gentle" as the tune requires. So if all other important items, like the internal mechanism and action are similar, it may come down to the beauty and craftsmanship of the instrument in itself. This is not the most important facet of purchasing an instrument to me, but its not the least important either. I am looking at purchasing a good quality concertina with accordion reeds. One item no one has mentioned is the difference between stainless steel ends and German silver ends. I've never personally inspected either and probably won't have the opportunity in the near future. Any difference in sound quality between these two materials? Are they alike in looks? Does the stainless steel look more "industrial" than the more traditional looks of the German silver? It appears that way to me on some pictures I've seen, but I can't be sure from the picture. From what I've read I gather the stainless steel is easier to maintain. Are metal ends ever made in using any other material?

I'm looking to upgrade to a new concertina. Currently playing a 30-key C/G Stagi, which I plan to keep as a spare, a loaner, and for taking "into the wild". There are a number of makes I am considering that are within my price range. My questions have to do with whether to order one with wooden ends or metal ends. I would like the opinions of those who've owned or had the opportunity to play both. I've read that metal ends make the sound is louder and "brighter" and I've also read that the difference in sound is insignificant to some. Which opinion is most true? I enjoy learning mostly Irish tunes (though I try almost any genre). I don't sing much with a C/G as the range is not optimal for me. I doubt if I'll ever play in a session, so I'm mainly a solo player (maybe I'm wrong about that, but I know of no informal sessions in my area) with whomever I can con into being a captive audience. Does my expected use of the concertina have any relevance to which type of end I should order? Also, how are the stainless steel ends vs the German silver ends in terms of sound quality, looks & aesthetics, and maintenance? I had always assumed I would go for an entirely wooden box as I like the rich, warm look of well-finished hardwoods. But many of the metal-ended boxes are handsome too. So, what factors should I be considering in my choice? Do any of you have one type, but wish they had purchased the other type? If so, why? Appreciate whatever feedback you guys can provide. Thanks.

Jim, thank you for the detailed explanation. Your knowledge of music theory and history is impressive. I'm at home discussing sedimentary rocks, paleo-environments and oil & gas geology, but the backgrounds of music are a relatively new subject to me. Still, your explanation was clear enough that I think I got the gist of it. I will need to re-read it though to make sure. Thanks again for taking the time to write all this down.

Why build a box that way, what is the advantage. Why not just play in the key of F, for example, on a box in a standard key? Again, probably a novice question.

I'm a music novice so I apologize if this sounds like a dumb question to some of you. This is an interestng thread about buying a concertina from an uncertain source. But, what is a "transposing instrument." I never heard this term before.

Unfortunately, as of April 22nd the price for a Kensington concertina jumped 20% to $3000 and the wait is now over 2 years. I'm sure demand and the instrument's quality, as testified to on this website, justifies the increase, but it is getting into the realm of quite expensive instruments rather than as a first upgrade from an initial instrument. I couldn't swing the old price just yet, but it was within reach in the near future. Not so sure now about the price or the wait. Fortunately there are other affordable, quality options out there, just not with concertina reeds. Ke sera sera.

If you're in the Chicago area you could travel up the interstate to the Milwaukee area (90 min from Chicago) and visit the showrooms of Baldoni Accordions. They sell and service Stagi concertinas as well. See link below: http://www.baldoni.com/default.htm

My stock answer when I've been asked whether the concertina is easy to learn or not is based on my experience. Its an easy and rewarding instrument to begin with (i.e., one doesn't need to develop special physical techniques to produce correct notes), but the more I learn the more I begin to see there is much to master. This and the sound is what keeps its interesting though.

I use a program called Harmony Assistant. You can get to their website using the link below. www.myriad-online.com/en/products/harmony.htm

As for the popularity of Irish music outside Ireland, a lot of that is because of Riverdance... and The Titanic. I'm not sure this is so, at least from my own perspective and experience. I've lived in several U.S. cities over the last 30 years and in each area there was an Irish or celtic-culture core centered on a neighborhood or certain taverns. Irish music was always available to be heard in these. I'm not Irish-American, having Polish and Hungarian roots and lots of memories of eastern European music being played in my neighborhood, but I can remember always thinking that Irish and celtic music in general was something special. I don't recall being excited on way or another by Riverdance or the music in the Titanic. My attraction started when I was a kid. But its only now in my 50s that I'm taking the opportunity to learn to play some of this music. For years the concertina has always attracted me though I had never seen or held one in person. My references came from a few movies and cartoons. I did try to learn the PA when I was 13 as my Mom wanted someone in the house who could play polkas. All 7 of us children tried to learn, but got nowhere. I stuck with it for a year, but being 13 when rock was blooming I just wasn't to interested in practicing an instrument from the "old country." Still, my year of lessons did teach me the rudiments of music and a fondness for the free-reed sound. It took 40 more years for that seed to finally germinate.