Wrigglefingers

Yup! But she's used up her text quota this month (500 messages) and is now barred until August! Plus, her thumbs need a rest. Jill

Ellen's just said the only thing she doesn't like about my concertina is the length of time I spend reading C.net when she wants to message her ESSENTIAL social contacts. Network, network, that's all kids do these days! J

Hi Chris, Did Anne take up the fiddle 'cos she didn't like the concertina? Ellen is ambivalent about the sound of my box some days although she says it gets me out of the house to meet and play with people and is thus a great thing. Mark famously hates it and everything to do with it. It's just another very good reason why he's soon to be history........ Jill

Hello Chris, Thanks for the offer but I booked my flight in April for mid-afternoon. For interest, it cost about £53 from Bristol which whilst not a bargain, beats driving up for me at the end of a long week at school. Sadly, it means I shall miss the 12.30pm sailing, but if the plane's not late or any of the other possible horrors occur I shall be on the last sailing on Friday. I'm really looking forward to it! Regards, Jill

A wife? Apparently they do all sorts of stuff. That sounds good ...... where can I find one?

Was this kind of thing you had in mind, Sam? Jill edited for spelling - doh!

That's it, if Henrik's coming I'm definitely there, and I've booked my flight despite knowing I'll have to deal with another attack of illness on the day! Jill

Just tried it, Jim, with six kids watching during orchestra. The consensus was "your chest keeps getting in the way, Miss". Three pointed out that my playing was "significantly worse than usual, Miss" and two wanted to take photos. Now I'm really worried about them as well as everything else ..... Jill edited for syntactical errors. Shocking! And from a teacher too... I must be more focuseder I must be more focuseder I must be more focuseder (sample line extract from student incarcerated in detention yesterday)

I'm afraid I do play my (EC) box with the bellows centred on my knee, except that I rarely open the bellows at the base and then I tend to lift the box a fraction off my knee to reduce the drag. This was how I was taught initially by a really, really good player. His rationale is that compression of the bellows and button attack needs to be fully controllable and as even as it can be on both sides of the instrument. Nothing I've found has caused me to doubt this even though it may not be the received wisdom. Moreover, it helps me enormously with rapid bellow reversals when necessary and chord playing. I take the point that needing to have the bellows replaced may be a long, difficult and expensive task. But, to my mind, it's part of playing this instrument and I accept that I will wear out my bellows faster than others who don't. If it came to a choice between treating my concertina in a way that I found difficult to play and just getting on with the pleasure of playing, for the sake of the bellows, I know what I'd choose. Just enjoy it and worry less. Despite the high cost of concertinas, it's still nothing to the investment you put in to playing it. I play to improve my musical understanding and to give pleasure to myself and others, not to be fretting about the investment return from my instrument at a later date. If I wanted to do that I could loan my concertina to a museum and go and look at it once a year. This isn't intended to be a judgment on anybody else; it's just how I feel ........ I'm going to stop now - I feel a rant coming on! Jill (Proud owner of one well-loved and played Edeophone; learning how to repair bellows slowly ....... and with real leather too!)

Hello Sam No problem as far as I can see; if we all answer on the forum we'll eventually self-identify! Jill

Well, thank you kindly Chris, but I note you didn't say whether you wanted to meet up with me. I'm beginning to think I have no friends at all ...... (self-absorbed sobbing at this point!) Jill (who can be fair company in a flattering light and with a tail wind following although a rubbish concertina player and frankly, a liability in a session...... )

Chippenham Fessie starts on Friday and I shall be there; but sadly on my own until I'm joined by Mr Wilkins' Shilling on Monday. There's a concertina part-playing workshop plus the normal number of sessions and so on. Is there anybody else going who fancies meeting up for a beer or some? Regards, Jill (known by her few friends as Jilly-No-Mates)

Something of a circular economy in Bedford too. Peeing-off-the-bridge contests were a much amusing and staple element of after-pub entertainment when staggering home. Sadly, Charlie Wells were reputed to draw straight from the Ouse, an aptly named river if ever there was one, for the late and unlegendary Fargo (known locally as Go Far; to avoid). Appparently, according to popular rumour/belief it didn't need brewing, just bottling...... Jill

Thanks for the link, Howard. Ellen did see it and said that it was clearly a melodeon but I thought that the combination of thinking about getting round to doing some GCSE revision and watching television on the sly had completely addled her brain. She said it was delightful though, and so it is ......... Jill

My Edeophone smelt horribly musty when I first had it. The smell gradually disappeared; and then it started to fall apart. It now smells delicately musty after Colin repaired it and is a happy concertina again. Moral - perhaps it's meant to be smelly. Well, the concertina anyway...... Jill

It's 12.45am and I've just got home to Bath from the SSI this year. I've had a fantastic time all thanks to Louise, Pontus and Jim again. It's been great music, delicious food, brilliant weather and stellar company; I'm looking forward to next year already! Regards, Jill edited to revise some interesting speloling - I'm very tired!

When I bought my Edeophone it didn't fit the case I had made for my first concertina because it's a different shape. The original box was so dilapidated that I stored it and struggled with a kit bag for about 6 months but it didn't provide enough protection and may have been one of the causes of a pad-board failure. I had a go at making a new leather box but wasn't happy with the result at the end of a couple of months of swearing and re-making. Subsequently, I've found the best case is an Antler brand camera bag which is a barrel-like shape and cost the princely sum of £13.99 (one-fifth of the cost of my handmade box). Camera bags are really well-padded (all that expensive glass and plastic) and come with all sorts of internal velcro dividers. These can be used to pack out the bag so that your 'tina fits snugly in, holding the bellows tight but without depressing the buttons, and my case, the bowing levers. It works well and will hang on my shoulder or be carried by the strap. It's now done trips to Budapest and Marseilles without incident except that at Marseilles the security were clearing expecting to see a camera and caused a very big fuss when presented with an x-ray of concertina ..... If anybody wants a hand-made case for a standard Lachenal though, please get in touch! Regards, Jill PS I don't know why bellows have to be stored compressed and horizontal but my guess would be that it preserves them for longer because the materials are less stressed by extension, they're not susceptible to abrasive dirt falling into them and there isn't an unequal amount of weight being placed on one end of the concertina. I also suspect leaving your concertina horizontal prevents the valves from falling and remaining open and thus deteriorating. Dave and Stephen will really know why though .........

Sorry Stephen - missed that one! Still, why stop at four? Is eBay watching now more absorbing than eBay bidding? Jill

You keep asking away Wayne and don't worry because this is the place to ask. I tell my students it's better to ask than to remain in ignorance. Besides which, you can bet your last penny that somebody else is sitting at the back thinking I'm glad he asked that question. David is quite right with his language analogy. I'm trying to learn to play the melodeon at the moment (plays like an Anglo) and it's just requires a different mindset and understanding. You asked about makers and what they made and Chris' Concertina FAQ is the best place for that but a brief guide goes something like this (and it will be contentious)....... Wheatstone made a variety of instruments but largely English and Duets in the 19thC. They are often very beautiful instruments in their many guises. The Aeola was the their 'best' instrument (made from the (1890s onwards) and has a characteristic dry note much treasured by players, they are identified by having 8 sides although some very early instruments had 6, they are generally black in colour. There isn't a cheap Wheatstone but £1000 will buy a reasonable instrument. Aeolas (last time I looked) were around £2500 from Barleycorn Concertinas. Wheatstones are still made today by Steve Dickinson in East Anglia and he makes Anglos too, but waiting lists are very long and supply uncertain. Lachenals are found fairly readily, made Englishes and Anglos (and Duets)and are generally considered to be lesser instrument and are slightly cheaper. I'm not sure I always agree with this, for some fairly complicated reasons, but barebones are that £700 will buy you a reasonably good instrument and that's where I started. Excelsiors and New Model Lachenals are slightly more and are better built with nicer reeds. Edeophones are their 'best' instrument (also made from the 1890s), have twelve sides and a very distinctive haunting mellowness in tone. The sound is very distinctive and will cut through other instruments so it's not for the faint-hearted, but I love mine despite not being able to play it properly. Edeophone Englishes are about £1800 - 2200. It's arguable, but the most sought after Anglo will be a Jefferies. They too are utterly distinctive, bright, punchy and will cut through the noisiest session. They are nearly all metal-ended which will add brightness to any instrument. Currently horribly expensive (£3500 and upwards). They were made in a variety of key sets but the most common are C/G (often used in ITM), D/G (English dance) Bb/F (now song accompaniment) but this list is not complete and reed sets could be ordered to customer preference. Crabb made good instruments from the 19thC and continued to make them into the 20thC. All the Crabbs I've seen have been Anglos (John Kirkpatrick was playing one at the weekend in Bath) and I like the sound very much. They cost a bit less than a Jefferies and come in various key sets. You will often see other makes such as Rock Chidley and Jones and so on. These were made mostly in the 19thC could be made in different workshops but some are re-badged Lachenals. They can be good. Current makers include Colin Dipper who makes mostly Anglos and others to order. Waiting lists are long again (it takes a long time to make a concertina) but worth the wait if you can (about 5 - 10 years). Colin's an all-round decent bloke and Rosalie makes the best bellows. Andy Norman (AC Norman) makes good anglos as does Marcus in Newport and both will mail order from the UK. Everybody I've known has been very happy with their instruments from both makers. Wim Wakkers (Concertina Connection) makes good instruments and has designed the Jackie mentioned before. Frank Edgely makes concertinas in the States, as does Bob Tedrow and Richard Morse (who regularly posts here) makes some lovely instruments available from the Button Box (www.buttonbox.com I think). I play between an Morse English baritone (one octave lower) and an Morse Anglo every Thursday evening. Stagi make a series of concertinas which are significantly cheaper made in Italy/China, and Hohner still make Anglos too. There are differences in construction too, but generally wooden-ended instruments are fairly mellow and metal-ended much brighter and louder. Reeds are generally made from brass or steel. Steel is stronger, brighter and stays in tune longer, but brass reeds are very gentle and sweet and an ideal choice for a quiet singer. In order to make sense of this you will need to ...... 1 Think about hiring an instrument 2 Think about what you want to do with it 3 Think carefully about cost 4 Listen to other players 5 Listen to as many instruments as you can before you choose 6 Go with an open mind but with clear objectives 7 Find local help if you can 8 Caveat Emptor (buyer beware) I should have done all these things but in the end just fell in love with my Edeophone and abandoned all rational thought. It'll probably happen to you too! Well, that turned out quite lengthy, but I hope it helps Regards, Jill PS This forum isn't short on thoughts, but English (nationality) players I like to listen to include: Rob Harbron (plays with Dr Faustus, English Acoustic Collective and Tim van Eyken), Dave Townsend, Pauline de Snoo, Alistair Anderson and Sandra Kerr (all EC) and Chris Sherborne (plays with Last Night's Fun - Anglo), Tim Laycock and John Morgan (duets) and all my mates from the forum and there's loads I've missed! PPS and edited for syntax errors. Memo to self - don't write long posts when on holiday!

Hello Chaps, I take the point about accidentals and sharps and flats. There's three reasons why I made the error. 1 I tried to keep it simple (and failed spectacularly!) 2 Whilst English concertinas are chromatic (play all of them there notes) the main rows are in C (give or take a raging argument or two about temper and what constitutes concert pitch and so on) so I tend to think that all sharps and flats are accidentals because I regard C as my 'home' key (probably a nasty hangover from being a flautist). and finally, 3 I can be very stupid at times especially when typing at speed (which hopefully explains the appalling punctuation too. I've heard good reports about the Jackie and we are thinking about buying one for use in school - any news on how robust it is? At the moment the kids are borrowing my Edeophone which makes me feel very anxious at times! Regards, Jill

Hello Wayne Welcome to the wonderful world of concertinas and concertina.net. I was in the same position as you two years ago, and I can tell you that learning to play is the most enriching thing I've ever done apart from dragging up my beloved daughter (aah!). To answer your questions Accidentals are sharps and flats and whilst it's perfectly possible to play well with a twenty button instrument it is a little limiting and so having having a few is worth while as all Anglos are in set keys (generally G/D). This means you can only play in those keys and their related minors without unless you fudge some of the tunes and that often takes away their uniqueness. I'm not really qualified to comment on your question about whether you would be foxed by starting with a 20 button instrument and then moving to a 30 button instrument but I cheerfully change round different concertinas in my consort group and they all play in subtly different ways. It just takes a few moments to adjust. Gut instinct tells me it's best to buy the most expensive instrument you can afford to start and for these reasons. They sound better even when you can't play well at the start. It's a positive stroking thing - it still sounds nice so you carrying on trying and get better. Cheap instruments can sound rough and out of tune and I've found that discouraging for other learners. Concertinas are generally getting more expensive and so you'll pay proportionately more when you come to move up (and you will want to - I did very quickly). Even if you don't take to playing you won't lose your money if you buy a decent instrument as they retain their value. This is the route I took and whilst it's not necessarily recommended I made the right choice and so you may like to think through the following points. 1 Work out what you already know. I played flute so I was comfortable with a linear type of instrument ie English system (same note on the push and pull). If you already play a harmonica it may be that you will ease straight into playing an Anglo (different note on the push and pull). Duets are many and varied but they all play with the treble on one hand and the bass on the other, rather like a piano. I know I can't play piano so this was a no-no from the start! 2 How much can you afford? It's a bit brutal this but concertinas are expensive even for 'beginner' instruments. The advice I was given was to buy the most expensive instrument I could afford. I did this with a lot of help from local players and without them I don't think I would have plucked up enough courage to take the plunge. I spent £750 on a rosewood metal buttoned English which I kept for my first year and then traded up to an Edeophone (has twelve sides and is fabulous). Anglos of a similar vintage and quality would cost thousands now. That said, there are some good accordion-reeded instruments made by Stagi for much less and although I don't think they sound like concertinas they are a good starting point. Just make sure you find one with a good action that feels comfortable in your hands. 3 What kind of music do you like to play? The traditional choice for Irish music or English dance (especially Morris) is an Anglo 'tina because arguably the punchiness bestowed on the music by the bellows changes are supposedly ideal. I'm not sure I fully support that idea as it seems sometimes that an Anglo is just about the worst choice for the smoothness and speed of Irish Traditional Music as it involves a lot of cross-row fingering and I'm willing to support that by saying that the most engaging player of ITM I've ever heard is a Dane playing English 'tina (take a bow Henrik!). I play English dance music and early consort type music on my Edeophone. We English players like to argue that we have the best of both worlds as we can play in a legato and in a punctuated style but I would admit that many players myself included struggle hard to achieve this. I've discovered it's very easy to play the English badly and very hard to play it well. Duets are excellent for accompanying singers and playing piano music. For some reason they seem to be popular with singers of music hall music (it's a mystery to me too) Chris Timson, who regularly contributes here has written an excellent guide to concertinas and you can follow this link to get there. It will give you lots of information about retailers in the GB and USA too. Good luck with your new obsession and let us know how you get on. Jill

Mark I don't want to worry you but it's getting closer - there was a handloom offered as a scam recently and antique quilts is now a decided dodgy area. It seems as soon as the selling price goes over four figures then they get interested! Jill (just say no kids - you know it makes sense!)

Hello Henrik A truly fabulous collection; but I'm interested in the matchstick. Was it the same one throughout? Also, and I hate to tell you this, but there is fellow collector and I think she may have a larger collection. Jenny Cox has been collecting concertina stuff especially tasteful figurines such as yours for many years now, but the current piece de resistance seen last Sunday was a video of Spot the Dog's Granddad playing either anglo or duet in a cartoon. Spot the Dog is very popular with the under-fives in Britain and the section was spotted by one of Jenny and Peters' grandchildren. I can't remember what tune Granddad was playing but Nick Oliver may remember if you're eager to know! Regards, Jill

Thanks Jim for setting the record straight. I've watched the debate in some distress and annoyance to the extent that I've stayed away from the board and gone to melodeon.net instead. But it's time to be counted (literally) so...... I've always been impressed by Colin and Rosalies' attention to their customers. It's always been a deep pleasure to listen and talk to them and it was due to Colin spending a long time explaining and encouraging me to take up the concertina that I bought mine. When it decided to start de-constructing itself last year (central heating curse), Colin and Rosalie sorted it out in exemplary fashion. In the meantime, I borrowed a number of different boxes from other forum members as I only have one concertina (another pleasure). I use my concertina most days at school; not having it could have prevented me from doing my job successfully and so I was very grateful for the attention I received. Colin and Rosalie knew this and that's why mine was repaired and returned very quickly. If I had another box I would have expected to wait for it for longer, because other repairs would have taken precedence. This is fair and reasonable. Colin and Rosalie are uniquely skilled craftpeople who run their business according to their own standards and no amount of complaining and sulking will change this. If the rest of us operated on similar standards we might be living in a fairer, more pleasant world. We should be celebrating not defaming such people. Jill Shepherd (not hiding behind a username - just accidently mis-named myself when joining!)

Is this anything to do with dating a concertina?