wunks

That looks like a dandy! I have a couple questions.... I don't see an air button. Is there a thumb key left side that would be E or something else? what's the size across the flats? Polly Clap shows a 58 b box in her article in concertina .com. does your layout differ from hers correspondingly of course?

I agree and I think it's because if you play as fast as you can, speed is no longer a variable to consider. Happened to me attempting Blue Grass fiddle.

This is a valid point. Some dance styles do beg for speeds higher than many of us are comfortable with or find tasteful. This generally involves some form of clogging or other footwork. Our Kentucky running set and Quebecois step dance sets are further examples. Then of course, there's the American "participatory music " form involving fist pumps, "Yee Haws!" and beer chugging, not necessarily in that order.

When playing more than one tune for a dance be mindful not to start out too fast with jigs and marches. Even though the dancers may be able to cope with the pace, a subsequent reel will sound forced and frantic.

I believe it to be the original setup. I replaced the straps on mine ( cut them myself) and the originals certainly looked all of 100 years old. They seem a bit fiddly to be sure but have stood the test of time and are very functional. My Wheatstone with the Ivory (or whatever) thumb docks is much less comfortable to play. Looks great but poor ergonomic design ( in my opinion and for my style of play).

The arrangement with the double screw plates and metal palm rests is identical to mine which lacks the thumb screw however.

Aside from the metallurgical considerations above, is it possible that when playing you subconsciously settle in to a generally uniform attack whereas the less frequently visited lower register requires a slightly different focus to sound well? Put another way, are these reed anomalies an artifact of a some what "one size fits all" approach?.......🤔

I'd say General discussion. It's top o' the list and probably gets the most "reeds".

I assumed you meant anglos but wanted to clarify because both Wheatstone and Jeffries made duets and Wheatstone made at least a few with a Jeff pattern. I have one and it has enough variation from the standard Jeffries duet to make your question relevant for these instruments.....🙂

Anglo's?

I agree on changing Instruments. Unless "ritual dancing" specifically requires concertina accompaniment, I'd go with something like a kalimba, perhaps with a metallic or plastic sound box. My wife participates in "ecstatic dance" which is concertina specific. It requires me not playing one.

Variation for the most part is in the overlap zone and in the low notes. The usual LH F# thumb key is sometimes relocated to LH top left. Interesting article by Polly Clapp www.concertina.com.

Centered on C seems to be the convention although I think it's rather arbitrary for the Jeff duet. The mid C octave is split between left and right for a standard 51 key instrument so you must switch hands at some point when playing most melodies. This seems to complicate harmonies, although the center overlap allows some options in this regard. Playing in F or B flat is actually easier than C as complete octaves fall to either hand in the mid range, however you find yourself yearning for a base note in either of these keys. In fact my 53 button Wheatstone example drops the low G in favor of B and B flat. There are several variations of low note configurations by different makers and of different sizes, presumably to facilitate play in certain keys on an otherwise chromatic instrument. Much of this may apply to other duet systems but I have no experience with these.

Thanks Dowright, although I didn't ask for a date, I'm glad to have it. I hope the description helps fill in some blanks.

Lachenal #21153 EC, (stamped inside both reed pans), fourfold green bellows, 6 1/4" hex rosewood ends with fluted edges, non-riveted action, brass reeds. London, James street Bedford Row on inside, Barnett Samuel and Son 31 Houndsditch label on paper end baffle. No other provenance. I obtained it from a luthier friend who hadn't time for it's restoration.