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cohen

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About cohen

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  1. Thanks for the plug. As you say, the festival is going ahead online this weekend with a mix of pre-recorded and live videos. Plenty of concertinas among the artists, but my events for those who are interested are 4:30 on Sunday which is a live 'chance to meet' where I'll be doing a sort of Q&A along with playing a few songs/ tunes. Along with this I'm in one of the Monday evening concerts- this is pre-recorded. All events are free with any donations received being split between the artists and the NHS Covid-19 relief fund.
  2. I do tend to read bass clef when playing pieces in parts however, in my experience of arranging pieces for concertina bands in the UK, most people prefer baritone parts to be written out in treble clef an octave higher than sounding and bass parts written out in treble clef two octaves higher than sounding.
  3. Kind of, but still retaining the melodeon shape. I can't find anything about it online, but here's a lo-tech picture of the photo that appears in the book.
  4. There is a description of a Lachenal 'Chromatic Accordeon' in the book A Maid and Her Music, which biography of Ruth Askew, who amassed a huge collection of free reed instruments in her life. The book describes it as having 19 treble keys across two rows tuned in B & D and 4 left hand keys. The reeds are Lachenal concertina reeds on the right with more ordinary accordion/melodeon reeds on the left. It was made in around the 1930s, so very late for Lachenal when they were under harsh competition from the accordion market- around the same time Lachenal also produced the infamous Accordeophone: http://www.concertina.info/tina.faq/images/accphone.htm
  5. Chris Algar has a 30 key Lachenal D/A on his website: http://www.concertina.co.uk/stock-selection/?concertina=3253
  6. Thanks John and mathhag. I've been pleasantly surprised by how well it's gone- there are some wonderfully generous and supportive people in the folk scene.
  7. Hello all. It's been a while since I posted on here, hopefully you wont mind me using this post for a little shameless promotion. I am an English folk singer anglo concertina and melodeon player- some of you may be familiar with my work through the very nice thread that was started on concertina.net about 2 years ago: I've launched a Kickstarter to raise funds for my second solo album which I am planning to release at the end of the year. This album has been in planning for about 9 months, and unfortunately the current situation with Covid-19 in the UK has left me without work for the foreseeable future and therefore without funds to produce the album. I am therefore asking anyone that is interested to consider supporting the project through Kickstarter, in exchange for a range of rewards, including advance copies of the album, skype lessons, bespoke tunes, song requests, right through to your own gig. If you are interested, the kickstarter page is here: http://kck.st/2UFvMWE Thank you very much for reading.
  8. Ken has a point there! Thanks so much Dowright for the fascinating insight into my bass anglo.
  9. I found what I believe to be a Lachenal serial number inside my C/G bass Anglo. The number is 49188. Is this a Lachenal serial and if so, any idea what approximate date this would correspond to. Thanks, Cohen
  10. I've spoken to Steve on a few occasions about his beautiful and unusual concertina. Steve refers to his concertina as a Bass-Baritone-Tenor, although Steve Dickinson says that Wheatstone referred to such instruments as 'Cello Concertinas'. I believe it is a 64 key Aeola but the bottom 4 keys have anglo action (i.e. they play a different note in each direction). The lowest note is a Bb which is nearly 2 octaves lower than the usual G bottom note of a treble English concertina. The concertina is still tuned in old pitch so its about 12 cents sharp of standard concert pitch. He said it came from a former salvation army musician from Doncaster.
  11. My layouts for my 45 key Jeffries are in the PDFs attached. The first shows the layout as it was before I bought it (which is probably more relevant to what Adrian is discussing here). I had the layout altered when I bought the concertina. I was already used to the wheatstone/lachenal accidentals from my previous anglo so I had the notes on the top row altered to match that as shown in the second PDF. If I were to do the alteration now I think I may do it slightly differently, I have lost some of the advantages of the Jeffries system, especially the c#5/eb5 reversal and I have ended up with two eb6s on the pull. But my playing has been shaped by this layout and I feel that it is too late to change now. A few people have also raise the lack of an f4 on the push on the left hand on my concertina, it is one of the few missing reversals. I have seen a number of Jeffries (including Adrian's) that have an f4 on the push of the thumb button, but I use the thumb drone so much that for me it is a useful trade off. What is particularly interesting for me is the key at the top of the G row on the right hand (sorry not familiar with Gary's new numbering system) which both I and Adrian have as a G#/Bb reversal instead of the high F# and B as it is on almost every other concertina I have played. I find this reversal extremely useful, far more than the extreme high notes it displaces. I wonder if/why this is unique to only the larger Jeffries. Cohen Jeffries-key-layout original.pdf Cohen Jeffries-key-layout altered.pdf
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