Jump to content


  • Content Count

  • Joined

  • Last visited

Posts posted by cohen

  1. 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.

  2. 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.

    • Like 1
  3. 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.  

    • Like 1
  4. 15 hours ago, rcr27 said:

    I’m wondering if someone has ever made an accordion with concertina reeds? That’d be interesting to hear. 


    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

    • Like 1
  5. 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.

    • Like 2
  6. 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. 

  7. 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

  8. But I'm wondering about that range. In the video, the lowest note I can hear (at the very end) is a G, two octaves below the fiddle's low G (2½ octaves below middle C). That's the same lowest note as my "G-bass" English. "2 octaves lower than standard C/G" would mean a lowest note (LH, C row) a full fifth lower than that. Do you really have such a note? (That would give it the range of the English "contra bass" seen in some old Wheatstone price lists, though I've never seen or heard of one in actual existence.) If you really do have that super-low C (3 octaves below middle C), I hope you'll record something where we can hear it. :)




    FWIW, my understanding of the "usual" anglo terminology is that a "baritone" anglo is an octave below a standard C/G (and so with the same lowest note as a "bass" English) and a "bass" anglo is an octave below a standard G/D (and so with the same lowest note as a "G-bass" English, that same lowest note I hear in your video).


    The range is a full 2 octaves lower than C/G so yes, the lowest note is C 3 octaves below middle C. As you say the lowest note in this recording is the G above that. I'll make sure to use the super low C if I record anything else on the bass. The bottom note is so low that you can actually feel it in your arm before it sounds, it's glorious!

  9. I thought I would take advantage of the festive season to give this concertina its first public outing.





    I bought this concertina a year ago in an auction, it was previously discussed on concertina.net here:



    It is a C/G bass 2 octaves lower than standard C/G. There is no makers name, but everything suggests that it is a Lachenal. The concertina when I bought it in auction was in a poor state- tuning all over the place, broken reeds, splits in the bellows, broken ends (at some point the ends have been replaced), but Andrew Norman did a great job at restoration and it now plays very nicely. Andrew finished the job in September, it hasn't had its first public outing yet, but I've been trying out lots of new material on it, so hopefully it will make an appearance soon.


    Merry Christmas!



    I grew up listening to my brother Tom playing morris tunes on Anglo but taught myself. He listened to Kimber recordings, but taught himself. So as another self taught Anglo player, who have you been listening to?


    My own listening these days has been an attempt to closely match the fiddle players I admire.


    Glad you enjoyed my playing Jody. Of course I remember you and thoroughly enjoyed your gig at Pete and Sue's.


    I have been influenced by a great number of concertina players, far too many to mention all individually. The great advantage of learning to play, as I did, in the digital age, is that recordings of countless concertina players are available instantly for me to listen to and study. But I'd say that the player that had the greatest influence on me has to be John Kirkpatrick, not only as an Anglo player generally, but I think he was the first player that inspired me to investigate the Baroque repertoire on the Anglo. It was hearing him play the Mattheson Gigue (second piece in my recital) that awakened me to the capabilities of the Anglo. And there have been a handful of other concertina players that have played material from the Baroque era that I have been able to take ideas from, especially Adrian Brown (thanks again to him for starting this thread), Brian Peters and Rob Harbron (though he plays an English).


    And as you say it is always useful to take ideas from players of other instruments, there may not be loads of Baroque concertina players but there are plenty of keyboard players and lute players along with flautist and violinists etc. playing Baroque material that I have borrowed ideas from and adapted for the concertina.

  • Create New...