wunks

Add damaged parcels to the list. A candid conversation with a UPS driver revealed atrocious handling procedures at loading facilities (U.S.)

I'll mention that on the Jeffries duet (C core) the keys of F# (thumb key), G#,C# Eb and their relative minors are quite handy. This is because they are all on the top row as accidentals so you can play their scales along the top two rows for the most part with no more difficulty than working the middle two rows for F, G, Bb, C and D. Perhaps this is workable for other duets and/or anglos. I don't know enough about "temperment" to know how or if that figures in.

Alternatively, if it is sharp of modern ( old philharmonic), it would be C, Bb, G, and F which are the easiest major key fingerings of a C core duet such as mine. Hmm... if the A is true it would yield G# so no match there.

You didn't say orchestral strings, you said classical strings, which includes the guitar, lute, tromba marina, banjo etc.. "Avoiding" open strings implies a choice . "irrefutably correct"? Please..... ?

Are the buttons same note push pull? The button pattern looks Identical to a Jeffries duet.

It's a bit wonky but I'm getting B C and G scales, starting on the push, from the bellows out.

I'll try it a bit later today. There's a pad missing (on the base side I think) that over rides all else, plus the leaky bellows. The 3 lowest RH notes were easiest to discern (judged against my duet which is modern pitch).

The 3 lowest buttons on the diatonic side (RH) from the bellows outward yield (push/draw): eb/g#, c/f, and b/e

Fascinating. Thanx Geoff ! I've just listened to some of Vasher's Youtube offerings: what a full sound it has, even with his maddening ornamentation! Some beautiful new tunes to try on duet also. Was the Mixte developed in France? It seemed to me to have an eastern European look to it. That seems to be the way it's set up. Don't feel bad about playing PA. There was also a nice small (15 white keys 12 bass) Camerano that was tempting but I'm trying my best to stick to the duet concertina. This Mixte, though, deserves more than to live in the back of my closet. If I can't swap it I'll take it out to the Button Box for an evaluation. Thanx.......?

I just got this, along with a very nice fiddle, at a favorite junk shop. It's ancient. It's diatonic. It's very heavy. It seems to be very well made. The bellows have a couple holes in creases. All the reeds seem to sound, some when they shouldn't. The buttons on the base (?) side are linked to form chords. I know I should have left it and I know it's not a concertina. I'm looking for a Jeffries duet that has it's reeds and needs restoration I'm sure someone here will know what this is and if it's of interest to anyone? No external markings that I can see. The decorations are etched then filled in with lacquer(?)

Ornamentation may well vary with instrument, key, player, setting (dance or session) and from time to time. Seems to me a session is a very local (time and place) thing and therefore not broadly authoritative. I agree with Ken and Gary and would add that if you're looking for "cred" check out some of the old stuff. Keep a copy handy when you launch into "Fisher's Hornpipe" in F though.

A Jeffries!? I honk, therefore I am ?

By following do you mean accompanying or mimicking or something in between? I've always been a strong lead player on fiddle for dances and have found it agonizing to attempt seconding, but to survive being pressed into service with a blue grass band I had to reduce my input to a rhythmic drone/chordal approach to participate. Surprisingly, from that starting point, improvisations became easy.

I have a Jeffries duet 61/4" from the early 1900's and a Lachinal EC 61/4" from the late 1800's. On a whim, when I had both opened up, I swapped the ends, reed pans and all and discovered a perfect fit. Even the end bolts threaded snug and tight. Seemingly there was quite a bit of standardization at this size. Perhaps it's a mongrel?

Coming from duet rather than EC but helpful I hope; Reverse your thinking. Play the chord sequence first and derive the melody from the chord. It's easier to locate the single note needed, which more than likely will be included in the chord, than to grope about for an appropriate cluster of harmony notes. Start with a very sparse simplified version of the tune maybe even one note per bar. Soon you'll be able to join both halves of your brain in the magnificent production of a glorious harmonic whole!....?