Neil Thornock

Thank you all for the encouragement! Good call on the fingering Danny, as an organist I should have thought about that. (I'm often playing hymns in church with a nonlegato touch because I can't be bothered to finger it properly.) As a (practically) non-concertinist it didn't occur to me. Really this project will have to wait for its final polish once I've got my hands on a full-sized, hopefully decent instrument. But I'll carry on anyway, especially while I have a bit of time at my disposal.

Juris, what a cool history behind your instrument. You remind me that I need to include the dedications on these scores. In case you're curious, here's a performance of this waltz on accordion.

Here's the edition I used to engrave it. https://web.archive.org/web/20120302045755/http://www.ivanopaterno.it/web_01/conservatorio/concertina/regondi/tre_valzer/tre_valzer.pdf The 7th bar works due to the way the various pitches are resolving either up or down, and so we get the D natural (resolving down) against the D sharp (resolving up). You can find similar situations in other classical music -- not terribly common, but certainly not rare either. The harmony in much of Regondi's music is rather chromatic, like Victorian music in general, and sometimes quite surprising. You're right about the triplet notation there. Kinda confusing placement. I could put a bracket on the triplet, but these editions never used brackets, and visually I don't like it. I'd probably just do what this original edition does and leave the number off from the top voice.

Hi Juris, thanks for giving it a bit of a play-through. Like I cryptically mentioned, I only have a tiny EC (a slow breathy Jack at that) so I can't try these pieces out properly. Yeah that chord is certainly crunchy! But it's the correct harmony there and at tempo slides right by. It reminds me of learning to play Bach's Passacaglia years ago. Slow practice made every chord seem dissonant and terrible, but once I got it up to speed it sounded wonderful. Simon, thank you for the encouragement and your thoughts about it.

Regondi's Three Waltzes: https://drive.google.com/file/d/1eY0AUSb3PR1Xpn33hAwG-nmtFF89igR-/view?usp=sharing I've started creating modern editions of Regondi (he turns 200 this year!). I know the target audience for this music is quite tiny but figured I'd throw it in here and ask for some feedback. These are intended as performance materials, not any type of scholarly edition, for which I have neither patience nor use at this point. Still, I have two main questions: 1) These old scores are prone to various errors (wrong accidentals, inconsistencies, etc.). I'm correcting obvious errors. I'd like to just leave them uncommented on -- folks can consult original editions if they want I guess. But what do you think? Should I make note of these corrections on the score, or in back matter, or not worry about them? 2) Fingerings. My take on it right now is to just leave them out. My instrument is too small, fingerings are also error prone, folks might have different fingering ideas, etc. 3) Any other input? In any case, there's the score if anyone is interested in it. It may still need some fine-toothed combing but I think it's pretty good...

Incredible, and incredibly sad. Thanks for sharing.

I'd be curious to know how this goes for you, if you do remove your reeds. I'd like to get my Jack to speak more responsively on the low end but, like you say, there's no easy access to the back of the reed.

Maybe you've seen these videos but I'm quite smitten with his use of concertina in his music-making. I kinda can't stop watching this guy...

I've finally made semi-decent progress on this just intonation concertina ... I think ... maybe ... In any case, I'm totally in love with these two instruments, especially the concertina. ANYWAY, here's a little setting of Daphne.

Take 2 on this wonky tuned concertina! My fingertips are hurty-hurty from too much practice today.

Thanks each of you. Dissonance, that's quite the story.

Just got my Geordie Tenor and I'm loving it. The brilliant folks at Button Box tuned it for me in a kinda wild, kinda beautiful way. The first video, in which I describe some of my tuning choices, will have some "preaching to the choir" stuff (you all know how concertinas work already). The second video is my very short first outing with the instrument as composer/performer. I so look forward to learning to play this thing more proper like. https://www.youtube.com/watch?v=VfY44bsMn88 https://www.youtube.com/watch?v=-p6qRRXG2M0

Thanks Chris, sounds reasonable.

Thanks Alex. I'm referring to hybrid concertinas that use accordion reeds, vs those with concertina reeds, rather than accordions vs concertinas in general. 100 years is a pretty long haul!

Which types of reeds keep in tune longer: concertina or accordion? Or is it a wash? I've read through a few threads on accordion vs. concertina reeds but it's information overload for such a specific question.