Greg Jowaisas

Welcome aboard, Tugger! We all hope you enjoy your concertina adventure! You'll need to inform us as to how many buttons your Renelli has. (I'm guessing it has 20 and plays a different note in ans out on each button which would make it a 20b anglo.) As far as book recommendations it would be helpful to know what kind of music you are interested in playing. For traditional Irish tunes you might try the Mick Bramich books and cd. (The "Irish Concertina" is designed for a 30b concertina but some of the book's tunes can be played on 20b. He also has a 20b book out which I have not seen.) Bertram Levy's book and cds cover a variety of musics with some insight into the English approach to anglo concertina. Again, some tunes will fit a 20b; others will not. Let all of us know how you get along. Best of luck, Greg J

Now that I'm home and finally unpacked, some Catskill Irish Music Week observations and comments: Yes, Helen is just as sweet in person as in her posts on cnet. She can certainly carry her own share of the conversation on a twelve hour car trip. It was a pleasure to have her as a traveling companion. The teachers, performers, attendees and organizing committee provided opportunities for non-stop music making the entire week. I enjoyed both my concertina classes with Michael (That's pronounced Mee hawl) O Raghallaigh and Gearoid (ga Row) O hAllmhurain. Michael made the instrument and ornaments accessible; Gearoid provided history and background to the Clare tunes he showed us. I spent a lot of my free time practicing (taking two classes might have been a bit much) but I enjoyed listening at the sessions I got to and particularly enjoyed seeing the residual effects on those who were compelled to attend every available session; exhausted but happy is the way I might describe them. The week long evening concerts were wonderful. Many students departed Friday night but Helen and I stayed on through Saturday. We were rewarded by a concertina workshop with Michael O Raghallaigh, Gearoid O hAllmhurain, Edel Fox (do not miss her if you have the opportunity!) and Micheal Rooney. There was some brilliant individual playing and a stunning tour de force with all four playing a 5 minute medley. The Saturday day and early evening concerts were great. Some of my favorites were Liz Carroll, June McCormick & Michael Rooney, Baholla and the finale of many of the women performers playing ensemble as "Cherish These Ladies". I regret I didn't get to the Listening Room which featured a more intimate setting to hear some of the featured performers. And I'm sorry I didn't get to meet and hear more of the concertina students from the beginner and advanced classes. I did get to meet some cnet regulars including the inimitable Ken Coles; Robin (lildogturpy) and his amazing repertoire; Smiling, but always thinking Mike Reid; and of course, Our incomparable Helen. Nice folks. Great time. We'll do it again. Greg J

My condolances and sympathy to everyone in the UK and Londoners in particular for this tragic attack. Greg J

Ken, I like star gazing and geology. I'm camping at Lynch's Pot o' Gold. I will be the one who is bent over and aching in the morning! Oh yes, I'll have the Carroll concertina. Looking forward! Greg J

Pippa, I'd love to get a copy of that album!! (And my turntable still works!) Please email me (click my name and look for the email link) and we can work out details on a donation. I'd be happy to pay postage to the USA. Greg J

And a word about the seller.... I've had the pleasure of meeting Joyce. She is a nice, honest person who loves music and concertinas. I personally would not hesitate to do business with her by mail. (Sorry those eager Carollites hijacked your ad! But as a new Carroll owner I'm sure you understand their anticipation.) Regards, Greg J

Hi Mark, I have tried to email Barry several times to inquire about buying a Bradfield DVD or video in a North American format. I haven't received a reply. Can you help? I am keen on getting a Bradfield 2003. Thank you, Greg

I'll add a couple of thoughts and comments: Dance music has a rhythm and pulse within a framework of beats and measures. Accent and phrasing in music, as in language, make a difference. It is possible to play 16 beats of notes and have them start at the proper time and end at the proper time. What happens in between is as, or more, important. If you took four concertina players with impeccable timing, say: Noel Hill, Michael O Reilly (sp), Gearoid O hAllmhurain and Chris Droney. They all play in rhythm and in good time but they all sound different. And it is not just their choice of notes and ornaments but their individual phrasing and accent. Some tend to accent the back of the beat more than others, which to me, gives the tune a dancing "lift". Others have the accent more toward the front of the beat which can translate into "drive". I enjoy the Bramich book and cd and think they can be very valuable learning tools. I think the instruction guide is well done. Coming from the "Noel Hill school of instruction" I can take issue with some of button and bellow direction recommendations. And some of the phrasing and accents and timing within measures will probably not be my first choice as I develope more technique and expertise. Nonetheless, I use and enjoy the guide often. As a multi instrumentalist I'll second Micheal's observation that the particular instrument and one's expertise upon it can make a big difference in timing. On old time banjo I can be in front or in back of the beat according to my mood and desire. To do that on guitar takes me much more effort and concentration. Concertina? Forget it!! I'm just trying not to kill the music! Listening over and over to the music and players that inspire us is one way to internalize their sense of timing, accent and phrasing. We may never be able to play "just" like them, but perhaps that isn't the goal. If we can capture a bit of what makes their music come alive and what makes it attractive to us, then we have succeeded. Regards, Greg J edited for...you guessed it! Spelling.

Classy!!!

I'd like to second Bill's observation that contest competition and a performance mentality can excellerate the tempo, sometimes to the detriment of the music. I don't think it is a question of "never" playing for dancers but the "separation" of the art forms of music/dance that once were so closely linked. But I'll certainly agree that other factors can be involved. I've often enjoyed taking my banjo to the park and playing clawhammer style beneath a tree. But if people start to gather I find myself much less inclined to experiment and more likely to play pieces I know well or that that have some ooomph to them. I've seen the same kind of change come over a fiddle player who was playing beautifully one on one but became faster and flashier as a crowd gathered. I don't suppopse dancers are any different. Put aggressive speed dancers and speed musicians together and you can have a runaway clogging or "Riverdance" train. I'm not so sure that both art forms don't suffer in the process. There are a couple of nightspots in the Cincinnati area where the local Irish music school participants gather for sessions. By and large they are an accomedating group to less experienced musicians and will entertain a moderately paced reel. As the night wears on and more fiddlers gather the mucic often gets faster Sometimes the results are inspiring; sometimes speed leads to disaster. At least there are times when i feel that musicality suffers. So it seems the speeding up of tunes can be part of an internal competition, or testing, or a pushing each other to the limit, among musicians. Greg J PS. I stand guilty of occasionally getting out my english and playing a couple of reels inordinately fast (but with rhythm and taste, of course!) just to irk my anglo instructor.

Well, Jill, I hope it was a "Morpeth" and not a warpath rant that you felt coming on! Who can stay angry while playing the concertina no matter which knee, knees, lap or inbetween. Greg J

I believe the same thing has happened in American old-time music that has happened with "modern" Traditional Irish music in sessions. When the music players get separated from the dancers the original link of "form and function" is weakened. The players no longer have the dancers to to govern pace and the "bounce" of dance music loses importance. The exterme case can be bluegrass music. With the advent of clogging clubs I've observed an interesting change. Since recorded bluegrass music is more readilly available the dancers have abandoned much of the "bounce" that was originallya part of their style and changed to accomedate the speed and rhythm of the music. (They've also added "jingle taps" to be heard in public performance.) The Irish group Danu came to Cincinnati. Great music from wonderfully capable, young (relatively) musicians. Most of it at a breakneck speed. Two professional caliber Irish dancers performed during several medlies. The dancers did an admirable job considering the unmitigated speed, but they had to abandon all finesse and subtlty, in my opinion, just to keep up. Some choose to revel in the speed and drive of bluegrass music or Danu"s type of playing. Some remember when the form and function of dance music was more closely connected. In my school programs of Traditional American Folk Music I remind my young audiences that it is important to look back and see where you have been in order to know what direction you are headed. Only then can you make informed choices about where you might like to head in the future. I think it benefits musicians to play for dancers when the opportunity arises to remind ourselves where much of this instrumental music came from. Regards, Greg J

Alan, Not to worry about Helen. She is alive and well and, I'm sure, revising details of her visit to tne East Durham Irish Music Week as we speak. (I'm laughing "with" you, Helen.) I believe she has had some trouble with her computer or server at home and apparently her workplace will only allow 'emergency" emails. I'm not sure when she will actively rejoin us, but I'm betting that it will be soon and with a vengence to make up for lost time! Greg J (Helen's official transportation to East Durham Irish Music Week 2005)

Perhaps the hand/side that does the most work helps determine the anchoring side of the concertina? Greg

Neils, You will be in some good company using your left knee. Canada is a huge country and I don't know in what part you are located, but it might be worth reminding you that Noel Hill has a week long Nova Scotia workshop scheduled for the Fall (October 2-7 in Halifax). More details and a link on the cnet opening page under news and updates. I'm glad for you that the concertina is coming along quickly! We all have different paths to take even when headed in the same direction. Your fiddling experience will influence your concertina style. Best of luck! Greg J (Edited to include the specific Noel Hill Halifax dates.)

Hi Neils, I'm assuming you have an anglo since you indicate it was built by Frank Edgely. Congratulations on having a wonderful instrument to play and enjoy! While every player has to decide and arrive at the most comfortable technique for themselves and their music let me share a few observations you might consider. The kind of music you play may help determine how you hold the concertina. I understand morris musicians play standing up and sometimes even dance while playing. The Salvation Army had a history of standing and marching bands. Most of us mere mortals prefer to play while sitting. The past two years I have been working very hard on learning traditional Irish music on the anglo. Noel Hill and Wally Carroll have been my instructors and both place the left side of the concertina on their left thigh. I believe Noel's idea is to make the right hand act like the bowing hand of most fiddlers. Both Noel and Wally do a wonderful job with fast reels, which demands good technique. (In contrast, John Williams with a melodeon background but certainly a formidable concertina player, has a different bellows orientation.) I began my concertina playing with the english concertina and when not holding it in the air tended to place the right side of the concertina on my right thigh. I've had some difficulty making the commitment to keeping the left end of the anglo on the left thigh. While this is becoming more natural with time, I wish I had no prior muscle memory to have to extinguish. If I had it to do over again (How many times have you heard this?) I would only play with the concertina on the left thigh. I have a suspicion (perhaps some more experienced players can comment) that how you break in and treat your bellows can make a difference in your concertina's response on the more demanding tunes. I have several vintage concertinas and I find their response to quick bellows reversals to be quite different (aside from quickness of reeds and valves) . If one part of the bellows flexes more than another there seems to be a slight delay. I don't know how the bellows of these different instruments got that way, whether it was fabrication or playing technique. I do know i like the feel and response of a bellows that has a tight, equal flex across all folds. I'm not sure how quickly a bellows can be worn out by playing the folds across the leg. I would be more concerned with compromising the integrity of the bellows system perhaps resulting in the condition i described above. I do know that a leaky bellows can hinder your desire to play and practice. My first concertina needed bellows work from the onset and the leaks just got worse as it travelled with me in an ill fitting case. (Happy to report that I have recently redone the end runs and pads and the 60s Wheatstone is now a joy to play!) So while the most important thing is to play and enjoy your instrument you may want to consider how good technique and proper care of your concertina and bellows can add to years of playing enjoyment. Enjoy the adventure! Greg J

Bob, I can't recommend anyone in your area but perhaps another cnetter can come to your rescue. In the meantime you might find help at: http://www.newulmtel.net/~lorens/ That site deals with another branch of the concertina family tree: chemnitzers. From your description of the "ganged reeds" in your box, I believe your instrument is from that side of the tree. (Although, on the outside it may look like it is from "this" side of the tree. Concertina geneology can get confusing!) Best of luck. Greg J

I believe one of the Shakespeare boys made concertinas. Greg J

Hi Bob, Welcome to concertina.net. It sounds as though you have a German type concertina with a bank of reeds. We can better offer some advice if you let us know where you live. Regards, Greg J

Dear cherryqsc, (Just read your Ebay relisting) Let me add my commendation for your extra efforts to "get things right". Not all Ebayers are so conscientious. I'm sure Paul and Ken appreciate your donation. I hope your auction is a great success. Regards, Greg J

Coming from the Pete Seeger/Woody Guthrie school of high fashion folk denim and chambrey I suppose I am not really qualified to dispense chic wardrobe tips. But how about something that says: "This is who I am and I'm glad to be here!" Best of luck, (and send us a pic) Greg J

I certainly don't have anywhere near the experience or expertise of many who belong to and visit cnet. I do have a Jeffries duet and take an interest in them when they appear on ebay. The appearance of the "Wheatstone Jeffries system" certainly seemed to me to be a rare bird sighting! ("How rare a sighting" I will leave to the experts.) I was struck by how unfamiliar the button layout was compared to my Jeffries and it prompted me to visit the http://www.maccann-duet.com/ site which has examples of button patterns for Maccanns, Cranes and Jeffries. Even when the button configuration matched the left side of a 46b Maccann I wasn't prepared to make a public declaration. I left that to certainly braver and hopefully more experienced souls. But I would like to point out that the information I used to confirm my intuition was readilly available on the net. I believe the "experts" on Antique Roadshow" avail themselves of each others opinions and do "off camera" research on the net before making their pronouncements. Seems sensible. Regards, Greg

Paul, I'm not sure an inexperienced buyer, who depended on the ebay description or the expert opinion would be so forgiving when they discovered their "Jeffries duet "wasn't! If a seller's reputation is to count for something; if an opinion is to carry some weight, it is important to be reasonably accurate. I think the seller realized this as cnet members and other afficionados responded. He was depending on an expert opinion. It appears that someone at House of Musical Traditions realizes this too in offering a retraction. It is one thing for me to suggest a folk remedy for joint pain to a friend. It is entirely different to charge for the advice. It would again be different if I charged and claimed I had credentials to treat the condition. If I was a certified Rheumatologist and got it wrong...! I have heard positive things about the House of Musical Traditions and the helpfulness of Ms. Morrison. I'm sure no harm was meant and only helpfulness was intended, but... Sometimes the best answer to a question is to admit we just don't know. In this instance, I think things turned out much better than just "Buyer Beware". Kudos to those who cared enough to point out discrepencies. Congratulations to all those with the courage to admit they made mistakes and had the convictions to make the mistakes right. May we all learn. Regards, Greg J Edited for spelling which will be the "death of me!" I'll keep working on getting it right.

There was a previous and informative discussion of the use of solder in this forum entitled: " Weights On Reed Tips, Going lower without going larger". Somewhere around page 10 of Repair and construction. Greg J