John Adey

Thanks John ..... that £5 note I promised, is in the post, hidden inside a Christmas Card! 5? I thought you said 55!

Having tried this instument before Dick bought it, I can vouch that it is a real beauty. Dave Prebble has done a great job on its restoratio and it just need playing and playing and playing..........etc

Dick, A subjective impression in this response. For me, it's like when you get a different car, suddenly you notice others of the same model. No idea of the actual stats. Wrist straps are a must for me; they save stress on the joint at the base of your thumbs which is where lateral forces from bellows movement, the 'draw' obviously, can impose an appreciable burden, especially if you've already got a bit of arthritis there. They'll also help you cope with the weight of the instrument if you're standing. John

I don't know the version you mention I'm afraid, but I know what you mean about the chorded section standing out, it can sound a bit clumsy and unsubtle if given the same emphasis as the melody note on concertina. It might help just to give a very light (quick) touch on the additional keys so that you don't keep the harmony on for the full value of the melody note - Alistair Anderson does that sort of things particularly well, filling out a single line with great subtlety. Adding to Dirge's comment, I think you'd get a lot out of the March Kilve coming up in 2009; we've got Robert Harbron tutoring on English. His chord work is stunning and he's an excellent tutor I'm told.

Further thoughts after looking at the notation: 1. Chords on crotchets in bars 3 & 7: how about, on the first crotchet, c, add a low E (part of C major chord) with the 2nd finger of your left hand - you could keep that on for the a and c quavers as well, then, on the b and g, play a low d (part of G major chord) with the first finger on the right ? 2. As for fifths, looking at the e and b in the 1st and 2nd and 5th and 6th bars, bring your first finger across to play the b after playing the e with your second finger. This is called 'cross fingering' and helps you get a legato effect, although after printing out the abc as a pdf document the e crotchet is actually marked as stoccato. If you want to talk more then PM me and I can let you have my phone number. Happy practicing. John

Since you list Somerset as one of your residences, you might find it helpful to come along to the WCCP meetings at Ruishton where you'd meet lots of experienced players happy to guide you. Take a look at the programme at wccp.co.uk for the dates.

When making a start on sorting a stack of music going back ages the other day, I came across 'Old Molly Oxford' from a workshop given at Kilve back in (?) 1992 by one P Trimming. I can't get it out of my head and it's the tune I automatically play now when I pick up an instrument;I find the tune quite hypnotic. I was 'pom pom'ing it quite loudly today when walking the dog, and got some funny looks from other dog walkers!

Apologies. I realise this is anatomically incorrect! The angle I meant is NOT the one between spine and pelvis, but that at the hip, between pelvis and thigh - which is why the problem is rectified by sitting on a firm chair of the correct height.

Excellent Dave! I really enjoyed that.

Whilst agreeing with most of what you say Steve, in my experience there are 'faster instruments' in that there's a range of responsiveness; some instruments are not very responsive and there is a delay between finger/ bellows action and the sound coming from the instrument. On an unresponsive instrument speed of playing will be far more difficult to achieve. Having said that though, I also query the wish for speed. I.M.O. speed is often a mistake in that the music gets lost in a display of supposed virtuosity, particularly in players of Irish music it seems. Slow down and let's hear the music! (For an example of superb slow concerina playing, I suggest listening to Noel Hill playing 'Lament for Limerick'; a slow air that will bring tears to your eyes and a lump to your throat.)

Bing Crosby in 'High Society' sits in the bottom of a boat 'playing' and singing (? 'True Love') to Grace Kelly,working the bellows on a hideous red 'concertina' as if he's trying to pump up an air mattress.

quote] Hi John,A bit of a long shot but it could be connected to John Beare of London(Ithink still in buisness) retailed concertinas at one time. Regards David. David, That sounds a distinct possibility. Thanks for that.

I'd agree with the suggestions of a dining chair. Sitting on the average bed will mean you are on too low a seat and, adding to that, your backside will tend to sink into the bed and result in an acute angle between your pelvis and spine; result, a very unstable position in which to sit, especially if you have one foot off the ground with your knees crossed. You will also not have support for you back on a bed, so all this together will result in extra work for all the muscles that work away supporting your spine; you're asking to much of your back muscles . That tension will also not be helped by feeling anxious about your progress and trying too hard. Advice: find a good supporting upright chair, relax as you play and take lots of breaks. A good chair will be a better alternative to physiotherapy bills! If all this fails I suggest a one off consultation with an Alexander teacher for her/his opinion.

I was looking at an English concertina the other day which had a small brass plate on one side, in the equivalent position to the serial number on the other side,. On the plate were the initials 'JB' in a copperplate type font. I have a vague hunch I've seen something similar before somewhere - possibly a photograph on C.net(?). Does anyone remember something like that? The most likely, and obvious, explanation is that these were the initials of a one time owner. But does anyone have any other ideas?

Greg, Many thanks. That's given me the information I wanted. John

Please can someone with a more comprehensive knowledge of the Wheatstone ledgers tell me if the production ledgers ever stated the tonic range of an instrument with 56 keys? The instrument I'm researching is listed as '56 keys' with no indication of whether it was made as a tenor/treble or an extended treble. Thanks

- (s)he could be bisexual. After all, (s)he has so many sides! Chris Chris I think we're straying into dangerous territory here. LDT could be reading and she might accuse us of being sexist as well as crazy.

Yup!

Chris, A male Edeophone? Surely female with that more rounded shape and those....[censored! Shouldn't it be 'Edie' rather than Eddie? Or maybe (s)he has gender identity 'issues'.

Dick, The transposing baritone is not common but you can find one if you are patient. They're often used as band instruments, playing the euphonium line in brass band music. Mine's a metal ended Wheatstone that I acquired a couple of years ago from Chris Algar. Because of its pitch it tends to get lost when played in unison with other instruments which are playing an octave higher, but it's great for putting chords behind a melody line or song. I just love the lower pitch, especially for slow airs. At the October Kilve meeting, just over a week ago, Colin Dipper was selling, on behalf of someone else, a lovely wooden ended Aeola baritone of the transposing type, as well as a wooden ended Aeola tenor baritone where the range progressed downwards fron the tenor, C below middle C, range into the baritone range (I think it ended on the F). The transposing layout means you just read straight from the treble clef as if you were playing a treble, whilst on the latter instrument you have to rejig your reading, if that's what you're doing, and your brain 'cos you're well into bass clef territory and the lower keys are on the opposite side of the instrument to where they'd be on a transposing intrument. Having said that though, it too was a great instrument with a gorgeous mellow tone. John P.S. But that 64 key instrument is, with such a range and in such condition, the proverbial hen's teeth!

Worry not, I was joking. The so called credit crunch seems to be having an effect; lots of admiration but no one with the cash last weekend. Whatever instrument you go for I wish you lots of enjoyable music making.

quote] Yup, most of my spare time is spent on Ebay already, then onto XE.com to find out how much these lovely little things cost in Yen. Does this count as infidelity 'cos I thought you were saving up to buy my tenor/treble English?!

Going on what has been posted before it sounds as if this has a downward progression from a conventional treble layout, which means the lower keys in the baritone range are on the opposite side of the instrument compared with a straight, what you refer to as a'true', baritone instrument where the layout is as a treble but an octave lower. Colin Dipper brought a similarly keyed tenor-baritone to Kilve this last weekend, which was interesting but not easy to find your way around if you were used to playing a conventional treble or baritone.

Dick, Great stuff, you sound to be making that Prebble restored Wheatstone sing, and just think, it will only get better! John