PeterT

Good luck with this venture, Dick. Regards, Peter.

That 'Freedom Pass' will soon arrive! By M&M, mine will be 3.5 years away. The worrying thing, as the years pass, is that the summers go past in a flash, whilst the winters last for much longer. It's not so many years since my postman delivered the post, on Christmas Eve, in shirt sleeves. This year, we might see snow even before the end of November! :-( Don't mind the snow, it's the cold weather which comes with it, and the icy conditions which follow on its heels.

Well, you are not asking for much ....... I've read the debate over on 'the other side'. In isolation, it should be possible to make a good stab at it, but obviously more difficult with other instruments, and yet more complex in a session, with background noise. Here's what I know/think regarding your recording: (1) The first tune is called 'Chasse Pain'. (2) The general background noise immediately suggested that this recording was from 'The George', London. (3) Actually, the melodeon is leading this set. (4) Concertina is playing in the same octave as the the melodeon, suggesting a G/D Anglo. (5) Taking the above into account, my thoughts were that Alan Day should have been the Anglo player. I therefore listened for foot stamping; it's there, if you listen hard enough. (6) There are other instruments being played; I can hear traces of a fiddle, early on. (7) There is a certain amount of confusion when the tune changes from 'Chasse Pain' into the second tune, with Chris Shaw remembering to shout 'change!' at 2.53. (8) I was a little confused, since I am used to Alan Day leading this tune. (9) Could I identify the concertina as a G/D Jeffries Anglo from the above recording? NO!!!! How am I doing? Regards, Peter.

Hi Yvonne, I think that 'comfort' is key, along with being relaxed. This is almost exactly the playing position which I adopt. If it is of any help, I have attached a short video clip. The only thing to bear in mind is that I am describing the 'English' style; for 'Irish' style, read left end on left leg, rather than right end on right leg. A very slight downward pressure stops the instrument from moving whilst being played. Regards, Peter. http://www.youtube.com/user/ConcertinaTuition#p/f/1/4esXds_v6xk

I wasn't aware that Monty Python wrote a series of books on the concertina. Still; if it was anything like "The Life of Brian", surely it must have been the definitive work. Ralph will have his work cut out .....

"Her eyes, they shone like diamonds".

"Anglo Tango" would make a good album title.

Well; the technique is coming on. I hope that you take stock of where you are, musically, compared with where you were (say) two years ago. The touch sounds a lot lighter; maybe playing the (M word) has helped, in this respect.

Well; we are talking about a rather special talent, and a very rare instrument. There are musicians who can play both systems (and more), but generally favour one over the other, when it comes to performing. In the UK, I can think of Keith Kendrick who seems equally at ease with both systems; however, he seems to favour the Anglo for tunes, and English for song accompaniment. I've not seen Keith for a number of years, but I'm guessing that my comment still holds true. Regards, Peter.

Impressed! P.S. - Welcome!

Sadly, only available to those able to access the BBC site. Originally from the BBC Antiques Roadshow series of 2007. "Priceless Antiques Roadshow" is a compilation of themed highlights. Douglas talks about his father, captured by the Germans, in WWII. Short clips, starting at 04.23 http://www.bbc.co.uk/iplayer/episode/b00jcrwz/Priceless_Antiques_Roadshow_Series_1_Episode_7/

Welcome back! Some good pictures, and interesting use of B&W for some. Can I ask which range of lenses that you used? I took some pictures, back in 1991, but can't remember which lenses I took with me. As I flew, I'm guessing 50mm and 135mm (using fast film, and wide apperture). Regards, Peter.

In the valley, in South Wales, from which my mother hails: ear here year your all have the almost identical pronunciation (yer), which can create a certain amount of confusion. I recall a cousin waggling her ear with her fingers, saying "yer yer" (your ear). If any of the family read this "We'll keep a welcome" might be a thing of the past!

Deaf and Texas? Deaf and tax is. Mind you, down in Croydon, we pretend to be more refined than the "common" Londoners; however, the end result sounds similar!

Deaf comes to us all, eventually. [Might need to explain this one, to those not from South London!]

[Pedant warning] Shanties were work songs, which were sung un-accompanied, therefore you don't need to worry about which instrument is better. Forebitters, the songs which sailors sang, during their leisure time, were known to have been sung to concertina accompaniment. Basically, the sailors would have used any instrument which was small, light, and portable (and probably low value). [end of pedant warning] As to which instrument is better for your other musical examples, I think that the videos, which you have selected, show what is possible on each instrument (with sufficient practice!). However, if you go down the Anglo concertina route, I would suggest the 30 key (button) instrument as a good starting point.

Reminds me of Jean Megly, playing his Crane duet. Can't remember whether he tapped both bass and treble, though.

That is cruel (but necessary, probably). ocd It did come with a "health warning"!

I'm afraid that, at this point, we have to re-introduce the "P" word.

Bet your dog loves this one, too! I was expecting the guitars to break into spontaneous applause.

It would be easier to answer if you gave the latitude for the occasional melody note to drop onto the left hand, otherwise you are probably limiting yourself to tunes with a range of an octave, or less. Many Morris tunes probably fall within these limits. Off the top of my head: Ty Coch Caerdydd (in C). Keel Row (in G). Could be played in C, but a couple of notes drop onto the left hand. Another, which fits onto the right hand, is Hunt the Squirrel (in G). http://www.traditionalmusic.co.uk/pub-session-tunes/000009.HTM Whilst the B music, as written, goes up the "squeaky" end of the instrument, the accepted method is to drop this section of the tune down an octave. Worth learning this tune, since it's commonly used for dances, and often played in sessions. Whilst you are working on the tune, here's a photo go be getting on with: http://www.geograph.org.uk/photo/2074332

Marching Band, featuring concertinas, at 3.54 (short clip): As usual, for Cumbria, it's raining; so you hear them, rather than see them!

Here's the link to the Wheatstone Ledgers: http://www.horniman.info/DKNSARC/SD01/PAGES/D1P0380S.HTM Whilst your instrument does not appear to be rare, it does date from the period immediately prior to WWI, when the very best quality materials were available. Properly restored, you should finish up with a top quality instrument. I'm guessing that the reeds, although rusted, will not need to be replaced; however, the restorers on this forum will be better placed to comment, having seen some photos. On the subject of adding photos, the size for attachments is limited. It's best to considerably reduce the size before trying to upload. If you still have a problem, I'm sure that someone will be on hand to talk you through the process. If you scroll down (when posting), notes are available regarding attaching files. Regards, Peter.

"Please Miss, I know this one!": http://www.geograph.org.uk/photo/2051573 Redwing.

I meant the dancer, of course.