PeterT

I've received this mail from Robert Harvey: Hi Peter, The website has been down since the 20 May due to renewing of the hosting company but we are back up now. The site will be going through some re vamping in the near future which hopefully will make it a little better, more up to date. Regards Bob

My memory has now clicked into gear. Tattered Swan used to have an Anglo player. Back in 1990, I photographed him celebrating his 40th Birthday at Wadebridge Folk Festival (photo published in Concertina & Squeezebox No.24). I forwarded copies, for which he was very greatful, having no recollection of the day . Carn Brea had at least one concertina player back in 1983. So, it's ancient history, but if these teams are still in existence, they might know of other concertina players in Cornwall. Regards, Peter.

It's alright, she can't sue!

Some (well, quite a few) years back, Keith Kendrick was in a band called "Ramsbottom"; named, no doubt, after the Derby Ram. There is a place of the same name, but it's in Greater Manchester. Its claim to fame is the hill which is some 940 yards long, with maximum gradient 1 in 4.8 (21%) and with the top 170 yards at 1 in 6.5 or steeper . The National Championship Hill Climb was run on this course in 1999, and I remember an epic struggle, against gravity, with thousands cheering me on (and probably a few hoping that I would fall off ). My time of 4min 13sec was about 2 minutes behind that of the winner. I decided against trying to qualify for a return trip in 2005!.

Judging from the recent postings in another thread, this might have some legs. For a one-off gig with two melodeon players (one and two row), we went under the name of "Captain Kharzi and the Galloping Majors". Not really sure how well received it was . I while later, I had a dance band for two or three years. Line-up fiddle, fiddle/hammered dulcimer, melodeon, concertina. I was a lot more conservative, here, and the band was called "The Mad Hatters". So, how about some really wacky names, either actual, or yet to happen.

I went via the ICA website, which I had also bookmarked : http://www.concertina.org/ Regards, Peter.

Hi Woody, My first thought was: left England, and moved further west to Cornwall! I've tried various Google searches, without joy, so have mailed the WCCP Secretary. Regards, Peter.

Thanks, Stephen. Glad to see that you were on hand to record the event. Regards, Peter.

Maybe we should set up a web site for our "celebrity" concertinas, where we can list their appearances. My Wheatstone C/G appeared on the 1993 "Children in Need" programme, as part of the ICA Band , and my Jeffries B'/F has recently filmed for the "Bargain Hunt" programme (as posted elsewhere). I always feel slightly humble in their presence .

I'm planning a day trip on the Saturday, and will attend the Rose & Crown session. Hope to meet a few Concertina.net members at the session, plus a few old friends. This will be my first time playing at a festival since 1995 , so don't expect me to know most of the tunes ! For those who don't know me, look out for the Wheatstone C/G with dark blue bellows/hand straps and fancy bellows papers (work of art, by Rosalie Dipper). Regards, Peter.

Sounds like you are now enjoying your music a lot more. Whilst performing is important, I guess that this should really come second, behind enjoyment (ignoring financial constraints, of course). Regards, Peter.

Hi Jeff, Jim Lucas is probably better placed than most to give you a comprehensive reply (I'm sure that he will post after a busy weekend). Meanwhile, using the Search facility (top right-hand of screen), I would suggest inputting "anglo style" (including the quote marks) and searching in All Forums. You can then click on individual threads to see what has already been written. Regards, Peter.

The drawbacks of playing music for a living must include finding time to work on new material, and learning to play new instruments.

Hi Samantha, I'm sure that your posting will get a variety of responses, and these will differ depending on whether the performer is full time profession, semi pro. etc. I'd class myself as semi pro. (i.e. in common with many performers, I have been paid for certain functions in the distant past) but I always attempt to perform with a professional attitude, and to a professional standard. Mistakes will happen, but I try to push my playing to, not beyond, my comfortable limits in public. Depending on the length of performance, which could be anything from a short "floor spot" to "support artist" to 30 minute sets at clubs/festivals, you need to perform to the best of your ability, and (hopefully) make the audience want to hear you again. Note; a great performer will often go down much better than a gifted musician who is not such a great performer. You need to convey your personality as well as your playing ability to the audience. To answer your specific question regarding set-building, here's how I would do it for two solo scenarios (1) a club booking, (2) a major concertina weekend, and (3) a duo scenario with the other musician on keyboard/MacCann Duet concertina. (1) Club booking - two sets of 30 minutes, each along the lines of Tune set on Anglo (a regular starter, to gauge how the venue feels) Unaccompanied chorus song Unacc. song Tune set on Anglo Tune set on MacCann Duet Unacc. song Unacc. chous song "Party Piece" on Anglo Unacc chorus song Note: see notes under (3) for "mix and Match". (2) Concertina weekend - concert spot of 3/4 items Tune set on Anglo (dance tunes) Tune on Anglo (maybe an air to contrast with previous set) Tune set on Anglo (probably dance tunes in different keys from above, maybe using different Anglo) "Party Piece" on Anglo to finish. Note: with any concert spot, you'll know a time limit (obviously includes getting on / set-up / getting off, plus applause ), and you need to be flexible enough to drop an item if told that the event is running late. Of a 4 number "set", item 3 is generally the one which I would drop, so items 1,2,4 have to work well, and sound balanced. (3) Club booking as a duo Lively tune set using Anglo/MacCann (almost a throw-away set; settles us down) Contrasting tune on Anglo/MacCann Unacc. chorus song led by myself Song by myself, accomp. on keyboard Tune set with myself on English, accomp. by keyboard "Part Piece" from myself on Anglo Song from partner, self-accomp. on either keyboard or MacCann Tune set using two MacCann Duets "Part Piece" set to finish, using Anglo and MacCann Note: I try to "mix and match" instruments, keys in which we play etc., to give the most variety possible with instruments and voices available. On English, I'm only playing single line melody, so the keyboard both "fills in" and adds interest in terms of the voice selected, volume, and style of the accompaniment. On MacCann, I've only got two or three tune sets which I would play in public (and these are now rusty!), but my partner is a really good MacCann player, so he takes the lead on any MacCann Duet duets. As an aside, for one booking, we worked up a tune set which saw me starting on English and finishing on MacCann, with my partner starting on keyboard and finishing on MacCann. Interesting for the audience, and very loud! Working as a duo can be easier than solo, as the audience will pick up on any banter between you. Working solo, unless you know the audience well (i.e. regular club booking, or regular floor spot), you have to build up that rapport. Hope that this, plus subsequent postings, will answer your question. Regards, Peter.

Fortunately not. I've had/sold some top quality instruments over the years, but I've made sure that they have all gone to good homes, where they are appreciated and played regularly. I see one instrument, a 46 key MacCann Duet on a regular basis, as it is played by my friend and musical partner, Mike Lambert. I'm amazed how much good, traditional, music he can make on an instrument which, theoretically, has severe limitations. If I sold my original 36 key Wheatstone, then I would have regrets, (1) it is a first rate instrument, (2) we have been through a lot together (not quite, "in the trenches", although sometimes it feels like it). Regards, Peter.

I agree; if it feels right, and sounds right, then it probably is right. I think that this is the beauty of traditional music. A written "source" is a useful reference document; either an approximation of how the tune was played, or an accurate record of a performance (if all ornamentation is included). However, if a tune has been learnt from a manuscript, I think that the onus is on the musician to interpret that tune in an appropriate manner (traditional or otherwise). Once into the public domain, any good new, or re-discovered, tune will eventually develop a character and identity of its own. Regards, Peter.

Hi Howard, I always wondered where this version came from. I prefer the 34 to the 32 bar version (where the B music seems to naturally accelerate the tune to a ridiculously fast tempo); the 34 bar version seems to hold back the tempo. When I play this tune in a session, I normally say "34 bar version" before I start playing. I guess that there are other tunes with different bar lengths, but I do not know of any. I have a variant of the "Cliff Hornpipe" which I learnt from a recording of a mouth-organ player from Devon. The A music is very different, but the B music is exactly the same as the standard version (if I play this in a session, no-one joins in until the B music). One year at Sidmouth, Lisa Sture was co-hosting an informal concert/tunearound, and she asked me to play a tune. I obliged with "Cliff Hornpipe", and Lisa immediately started step-dancing to it . Another memory triggered by Concertina.net correspondence. Regards, Peter.

Actually, Ken, you'll be pleased to know that the site is more popular than that. I'm regularly seeing 30/40 users, with a maximum of 78 a couple of weeks ago. Regards, Peter.

Even the tracks which initially I liked less, are growing on me. At least I can appreciate the ability behind the music. Regards, Peter.

Depends on the design of your trousers! But on a more serious note, some of the Music Hall players had miniature concertinas hidden in hand muffs, and the like, so I guess that anything is possible. Regards, Peter.

Hi Rob, If you consider Wheatstone/Lachenal 40/36 key, and Jeffries 39/38 key, as being the closest in terms of capability, I'd make the following comments: I've played Wheatstone C/G 36 key for 24 years, and also had two Wheatstone 40 key instruments for a few years. I have just one tune which I used to play on the 40 key, but can't on the 36 (top note is missing, and I'd have to play it an octave lower). I saw one of my old 40 key instruments today, and it is very happy in its new home. I had a top quality Jeffries C/G 38 key, which I sold because I was only using the part of the keyboard common with the Wheatstone, and I used the Wheatstone for all "complex" tunes. It went to a good home. I've had a B'/F Jeffries for over 10 years, but only seriously played it during the past few months. Apart from a few "odd" note placings, compared with the Wheatstone (which I'm coming to terms with), I have to say that I think that the Jeffries keyboard is the better of the two layouts, and actually gives more scope musically (note: I'm really not musically literate, so hope that this makes sense, or is elaborated upon by other members). So, to sum up, I would recommend the Jeffries layout, although the Wheatstone is perfectly adequate. Regards, Peter.

Many moons ago, when I had not been playing concertina for long, I used to practice whilst listening to the football commentary on a Saturday afternoon (seemed a constructive use of time!). I knew that I was making progress when I realised, one day, that I was not playing the tune which I had started playing some minutes earlier; seemless transition without noticing! I still continue this method of practice, which seems to serve me well. Regards, Peter.

Careful Dick, the Moderating Team might insist that all future communication be carried out in Latin , as the official language. I think that most of us will then be having problems! Regards, Peter.

Hi Dick, I agree on both points. Roger's accompaniment is very interesting to listen to, but I find myself doing exactly that, rather than listening to the singing. Still, great playing all the same! Regards, Peter.