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Everything posted by cohen

  1. The duckling in full flight: https://youtu.be/tmQ1pnQnsfA
  2. Introduction I’ve been following Paul Harvey’s work for many years now, as a lifelong vegetarian/vegan the idea of a concertina made without animal derived components has always interested me and when Paul announced his new range of budget instruments I was fascinated. My main instrument is a 45 key Jeffries C/G which I love, but it’s not perfect for everything and I’d been considering buying a cheap 20 key concertina to use when teaching one-on-one lessons with beginners and to use in schools as an instrument that I’d be happy for school pupils to be let loose on. I’d been considering a new Chinese instrument, but Paul’s announcement persuaded me to reconsider and I’m very glad that I did, because this is a very impressive instrument. Feel This is a very comfortable instrument to play- it is a good size (only slightly larger than a standard vintage 20 key instrument) and very lightweight. It has rounded plastic buttons which are comfortable to the touch, these are placed slightly further apart than I am used to, but I didn’t find this to be a hinderance. The button action is reasonably fast, and the button travel is limited so that they do not disappear into the ends of the instrument- a real nice feature to have on an instrument in this price range. Since this is a vegan instrument, the bellows are made from a washable paper instead of leather. I was interested in seeing how this would hold up when compared to leather, and perhaps after a few years of playing I would be better placed to answer this question, but they have already had a lot of hard playing from both myself and about 100+ school children and appear no worse for wear. The bellows are airtight and very flexible- I found that they were much easier to play straight out of the box than most new bellows are. The hand straps are adjustable and (interestingly) the hand rests can be adjusted to be closer or further away from the buttons- this is a nice addition although the hand rests were fine for me in their default position. The method for adjusting strap tightness was unusual (it involves dismantling the hand rests) though it was simple, if slightly fiddly to do for the first time. Sound So, perhaps the most important question… how does the instrument sound? Paul uses reclaimed reeds from vintage piano accordions which he tunes and voices to function as Anglo concertina reeds and he does a fantastic job at it. The tuning is good- far more in tune than most factory-built beginners instruments arrive. The sound of the reeds is also surprisingly impressive- of course as this is an accordion reeded instrument, the tone is very different to an instrument with traditional concertina reeds, but I find it to be far more concertina like than any other budget instrument, closer to the tone of a mid-range hybrid like a Tedrow or A.P. James than the tone of a Stagi or Rochelle. I’m sure that this is helped in no small part by the fact that the reeds are mounted flat, rather than in accordion style reeds blocks. Final thoughts For the price, this is a stunning instrument, very playable and with a pleasing tone. I would actually go as far as to say that I prefer it to some instruments that I’ve played priced at over £1000. It’s been a great boon for my one-on-one teaching and I’ve used it in dozens of lessons over the past few months. More importantly, so far its done (and survived!) 5 full days in schools. It’s been really interesting to watch pupils that have no experience of concertinas getting to grips with the instrument. I think that this is the perfect instrument for that job- it seems to be a comfortable size and weight for most of the students and is much more hardwearing than say a Scarlatti which in my experience don’t tend to last more than a couple of months of hard playing. A truly excellent instrument, I look forward to seeing what Paul comes up with next! More details on Paul’s work can be seen at https://www.flyingduckconcertinas.co.uk/ Video demo to come in the next post…
  3. I'm not an English concertina player, but my understanding is that piccolo instruments were made to take the high parts in the concertina bands of the late 19th and early 20th century. I have a piccolo Anglo concertina and my view (which is shared by the handful of other people I've met with piccolo Anglo and English instruments) is that the piccolo isn't something to play your entire repertoire on- just something a bit niche to add variety to a concertina collection and to play a couple of appropriate tunes on.
  4. Huge thanks for all the tips, lots of food for thought!
  5. Thanks to everyone for your recommendations so far, lots of things to think about. Since I do most of my travel in normal times by train, I would like to avoid a case that was too far on the heavy side (although I recognise that getting a case that offers high protection and is lightweight is a bit of a holy grail!). I know quite a few people with Peli cases for other things and they swear by them and by all accounts they are virtually bomb proof. What is the weight like for this with two concertinas in, and how easy was it to customise the foam inserts to fit your instruments?
  6. I'm considering getting a double case made to take my Jeffries and Crabb concertinas as a convenient way to carry both instruments when I return to doing live gigs (whenever that may be... but let's not get into that!). I know a few members on here have double concertina cases, it would be great to know who people have used to build these cases and if anyone has any recommendations. I'm UK based, so UK builders would be preferred, but non-UK builders would be considered. Thanks in advance!
  7. That layout looks to be a C/G 26 key Stephen, so same idea would apply but you'd need to drop it a fourth to get to a G/D layout.
  8. I would say that you've made a very good choice with the Mayfair as a first instrument. Yes they are somewhat limited in range and there are certainly better instruments out there, but they are as far as I've seen the best thing in their price range by a country mile. As you say some of the mass produced Chinese plastic instruments are just one step above toys. I'm an anglo player and my first year of playing was spent struggling on a series of very cheap modern instruments, in my second year of playing I was loaned a Mayfair anglo which brought my playing on a huge amount, so it's great that you've started out with a similar instrument.
  9. Steve doesn't use paypal (or at least he wasn't when I spoke with him in December) so something like Transferwise would probably be your best answer.
  10. Hi Carl. I offer online concertina lessons. I'm based in the UK, but I have a handful of US students, and the only thing to be aware of is the time zone difference, but it's usually easy enough to work around this. You didn't say in your original post, are you an Anglo player? This is the system that I play and offer tuition in- my main specialism is harmonic style anglo playing, for playing English tunes and song accompaniment, so working on Chanties and Sea songs is right up my street. If you are interested, there are more details about online lessons on my website: https://cohenbk.com/teaching Happy to answer any questions that you have.
  11. Brilliant, I love low pitched anglos. I don't think I've ever heard a 30 key Lachenal baritone in full flight- you do it real justice, can't imagine it's the easiest instrument to play!
  12. I did speak to Eddy briefly about this last year and he said that an anglo version is on the cards.
  13. 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.
  14. 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.
  15. 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.
  16. 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
  17. Chris Algar has a 30 key Lachenal D/A on his website: http://www.concertina.co.uk/stock-selection/?concertina=3253
  18. 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.
  19. 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.
  20. Ken has a point there! Thanks so much Dowright for the fascinating insight into my bass anglo.
  21. 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
  22. 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.
  23. 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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