geoffwright

I read a lovely bit about competitions for marching bands (kazoo bands as we would know them now) around West Yorks before the 1930s, where they had rudimentary or home-made instruments and uniforms and were marked on their marching etc. Anglo concertinas were banned from these competitions as the bands got a ringer in and the players were that good that the marching band invariably won just on the strength of the anglo player.

Whenever a low-whistle appears in our band, there is always much mirth asking "Is it scaffolding, curtain rails or whale noises tonight?" at which point the low-whistle driver imitates seagulls or does the shower scene from Psycho with it.

I beg to differ - Anglo players can change any lightbulb from three, at the same time, in either direction.

Keeping tempo - either use one foot - always useful for signalling the tempo to the rest of the band, or mentally sing along with the tune. Mind going blank - practise playing sets of a dozen tunes in the same tempo so when the mind goes blank, keep on playing in the same tempo and go into another jig or whatever - it can be done seamlessly - it is also needed for when you lose your place in the dots as well. Dont hide behind a music stand (this seems to happen all the time - swaledale etc) - you need to be able to see the dancers and people want to see the concertina played as well. Once you have got the audience watching you - smile - get them on your side. In fact, before you start playing, get comfy, look around the audience and smile - they will smile back and they are on your side then. From there its easy. Practise practise practise - sit on the back row of as many different bands and sessions as you can - best way to learn the repertoire so the mind doesn't go blank. See you at Witney Peter

Most strange that no-one seems to have made a pentagonal concertina yet. I would have thought it a most suitable shape for anglos and duets?

The last time I flew into Belfast in Spring, it was around 8 in the morning, and the lounge had a jazz trio (accordion, trumpet and female singer). Bit early for jazz, but it proves it can be done.

I am down to pester John Kirkpatrick both days, as he, for his sins, got me into concertinas. DT ruled against it, but I fancied both days on Alistair Andersons courses, (who, also for his sins, got me into all things Northumbrian) but having seen the tunes, I play most of them on English anyway, so I think a weekend on Anglo chords will keep me occupied. See you in the sesh Friday, where I am sure many of the standard English dance tunes (also C/G Anglo friendly) about to be published in the ICA music supplement for the ICA AGM ceilidh scratch band (non-attenders must still practise them!!), will be heard.

Just to encourage people to get this must-have cd and convince them its worth practising some of his stuff, a tune or three are in the tunatron. Get them up to speed then add some of his tricks (that will keep you going until Christmas).

Ask her out - buy her some flowers and chocolate

Dancing on Silver is certainly worth study. I have been working out some fingering he uses to play drones under one of his hornpipes - most useful. I love it

Alice used to live there 'cos I have read about "Alice in Sunderland".

At last ..... someone pleased with the ICA mag. Is this a record?

Ignore the "rules" threads in "The Session", and go to the tunes (including midi) or recordings (tune lists for many concertina cds) or links sections (search on either your particular instrument or tune collections). Thats where you can pick up useful stuff to play on concertinas. It is as useful as the tunatron!!. I think the biggest decision to make when starting a "slowy" is whether the group want to learn from dots or ear. I encourage the learners by arriving early and playing through their latest tunes at quarter speed.

A day or so ago, while preparing to sit around a bit in the living room, I assertively yet politely said, in an off-hand way, "I'm going to get my concertina and play it a little bit." My family and cat left the room - it makes a change from "No you are not, tea is nearly ready!".

Hmmm ..... Sunderland, isn't that where Alice used to live?

We found it fascinating - best folky tv program of the year.

If you are into Irish style, fair enough, you can play the tunes as all the notes are there. The extras are handy for ornaments, where you can find the extra at the end of the same row, rather than the accidental row, but as always, extra buttons means extra fingering to work out. The bottom line is - if you want things to work out in one direction, you need more buttons.

I am working towards not relying on little finger on the plate. Once the thumb-straps get bedded in to your thumb position, by an large, I can control the bellows, taking most of the weight on the knee, leaving the little finger either for use, or at total rest in a comfortable position with no weight on it. I guess this is the problem that causes a lot of the pain/discomfort amongst players?

Everyone

Now, you've started some thoughts, Jim, How about a C/G with an E row at the front, so it would be exactly like accordion counter-basses?

Jim, I have found the same as you - when printing, it will do two or three lines then freeze so I have to have two or three attempts, then it works fine. No problems printing with anything else.

I tried a search on "gay ladies", some rather dubious results but none of them musical.

No one seems to have suggested a B/C/C# concertina rather than C/G/D/A etc. Isn't this the most efficient use of space and a tried and tested system with no variations? With the amound of button box players out there, surely this would interest some of them?

Any error messages? Can the Open File window "see" the abc files? Have you checked the properties on the abc file for read-only?

And which particular layout might this accordion-reeded concertina be in? HB.