PeterT

It's difficult to see through the murk, but Harry Scurfield appears to be playing a very strange Anglo, complete with a brass horn. Also, is that Alex West talking to Dan Quinn? I've not met Alex, but the "box" looks like Tony Engle's Dipper. Regards, Peter.

Hi Robin, I've just had a look; Keith Kendrick is credited on two of the songs, the other being a favourite of mine, "Dido, Bendigo". I must polish up this one, as I've had a problem ever since the Kipper Family started singing "Dido, Fido". Regards, Peter.

I'm sure that we all go to, or host sessions for a variety of reasons. I have hosted my local one, on and off for about 7 years, as I needed to be playing occasionally in public just to keep the "performance" factor in my playing. It's served my in good stead, as a few weeks of actual practice has got my playing almost back to where it was 10+ years ago. I am now motivated to try new tunes, in new keys, on the concertina. Monday of this week saw me heading down to Brighton, in search of Mandy Murray. "It's all Alan Day's Fault", as it says in the notes for Anglo International, and a few weeks ago I met up with Alan Day and Jim Besser at the George. Seeing Mandy's name on Anglo International stirred something within the deep recesses of my memory. I finally remembered that the late Paul Davies had told me (circa 1988) about Mandy, and how highly he had rated her playing. I remembered that, at the time, Mandy's name was completely new to me. However, having listened to Mandy's playing on Anglo International, I thought that I should seek out a live performance. So, the trip to Brighton was well worth the effort. For me, a session is not just about the music, it is also about the musicians; I think that the link between the two is very important. Regards, Peter.

I generally agree. It needs to become automated, to enable you to concentrate on the important thing, which is learning tunes (or reading music). A friend came to Sidmouth festival one year, with just about all the known fingering patterns for every key on a C/G Anglo. It was an amazing piece of work, and I don't know how long it took him. It must have been a useful exercise, however I'm sure that practical needs dictated that he finally used similar fingering patterns to myself. I have to confess that having learnt to play in the standard keys, I only practice scales for "new" keys, or alternative fingerings when I find that the tried and tested fingering is not working for a new tune. Regards, Peter.

Hi Cary, I use the air valve in exactly the same way as Frank E. The short answer to your question, is practice. Initially, your thumb will feel very sore in the joints, but this will recede when the air button use becomes automatic. Yes, it does alter the volume of notes being played, and this is another reason for using the air valve; it enables you to introduce more "light and shade" into your playing. In fact, with practice, it is possible to play quite softly, yet smoothly; very useful if you provide song accompaniment. For "soft", you increase the pressure on the air button, for "loud", you reduce the pressure. But, the thumb is always there, in place, ready for use. In time, you will find that this is much easier than trying to remember, in advance, that the air valve will be needed during a particular part of the music. The other factor is bellows control; I would estimate that I normally have the bellows between 35 and 70% open whilst playing. Note: I take 100% open to mean fully extended, but not putting any strain on the bellows. It is worth noting, that I play across the rows to a large extent, which also helps to reduce bellows movement. Regards, Peter.

I wonder whether the attempt made it into the "Not the Guinness Book of Records". Indeed, does the record still stand? Regards, Peter.

That's reminded me that Goathland Ploughstots appeared in "Heartbeat" a couple of times, a few years back. On the first occasion, Eliza Carthy was one of the musicians. Regards, Peter.

I think that it has its origins somewhere in the Cotswolds! Maybe a Bourton on the Water (in the water?) solo jig.

Hi Alan, I'm not sure how often Jenny visits this forum, so I'll mail you with her contact details. Regards, Peter.

Hi Ken, Looking at your photos, after noting your observations, I would agree that wrists should be straight when playing. Mine are, which means that the "heel" of the hand is at least half an inch away from the body of the concertina. I have to be especially careful since an accident on the way to a festival in 1989; my right hand was forced back, accompanied by a ripping sensation in the wrist tendons. My hand went completely numb for almost an hour, but amazingly, I was playing music the next day. However, this was a "false dawn", and the on-set of cold weather some three months later saw me in absolute agony. Rest did not work, and I finished up with muscle wastage before I finally sought medical advice. I had four months on pain-killers, before I was able to carry on almost as normal. I still have to be careful, and limit my playing hours. Regards, Peter.

Hi Nigel, When I first started playing (first two or three years), I mainly used the "home" keys, and had the hand-straps reasonably tight. At the time, I was playing for Morris, so had to play standing up. This set-up seemed logical. I then wanted to play more general dance music (sessions etc.) and needed to play in D on the C/G. I found that, having small hands, I could not reach the top C# with tight straps. Also, I could not play as fast as I wanted, with hands so close to the instrument. Over a period of about a year, I gradually let out the straps. As I was still playing for the Morris, I needed to retain control while standing up. I play with the right end on my right thigh, a few inches back from the knee. Exact position will obviously vary according to the length of arms and thighs. However, this is because I play in the "English" style, with melody on the right side of the concertina. In the last few days, I have been experimenting, playing an Irish tune in the "Irish" style. This means shifting much of the melody onto the left hand, and confirms that it is more logical to rest the left end on the left leg for this style of music. If I was only to play in the "Irish" style, I would slightly slacken the left hand-strap, and slightly tighten the right one, for better control. Hope that this is of some help. All that I can suggest is that you vary one factor at a time, as even a minor adjustment can make a difference to your comfort, and playing. Regards, Peter.

Congratulations, Phil. Looks like you will now have to update your interests, and how about a new photograph showing you with a beaming smile. Welcome to the Dipper club, Peter.

Hi Jeremy, I'll start off round 2 of Anglo v English v Duet. Anglo - very easy for playing chords, especially if the tune is in one of the "home" keys of the instrument (i.e. C or G on a C/G instrument). English - possible to play chords. The better players make it sound very easy. Duet - developed from the English system, and laid out to give the option of melody (right hand) and chords/counter-melody (left hand). See the following link for more details on Duet systems: http://www.concertina.com/ Judging from my attempts to "master" the MacCann Duet over the years (well, I can hack out a few tunes), and the relative ease with which I can hack out a few tunes on the English (single line melody only), I'd still recommend the Anglo as it sounds as if your reading ability is on a par with mine. Regards, Peter.

Hi John, No, Alexander Prince used MacCann Duet. See the Vintage Cylinders Recordings recently posted by Phil, for examples of his playing: http://www.concertina.net/forums/index.php?showtopic=3691 Regards, Peter.

Hi Ritchie, I'm certainly not an expert on Irish music, but having looked at the music, I realise that this (Ryan's Polka) is a tune which I have played in sessions. I've looked at all of your suggestions above, and, of course, all the options work. However, I believe that it's all to do with "style". If I was tackling this tune from an English "style" perspective, I would play this whole run on the right hand using pull B, pull C#, pull D (index, index, 2nd finger). Note: I have a 36 key C/G, so have the duplicated C#. Players in the Irish "style" will (hopefully) correct me if I am wrong, but here I would suggest that the run should be played on the push. Push B (left hand 2nd finger), push C# (right hand index finger), push D (left hand index finger). As it's an Irish tune, it should really be played in the Irish "style". It flows better using the second fingering which I have suggested, and I believe that this is the key point. Regards, Peter.

Hi Phil, I thought that the title sounded familiar, so ran a Google search with "Fairport"; yes, they recorded the song many moons ago. Regards, Peter. PS - I understand that Marcus Music were featured on today's BBC "Flog It!" programme. Don't know whether it was a first showing, or repeat, though. Maybe your new concertina is already a TV star!

Hi Henk, Your photographs had me so puzzled, that I went away and measured my hand! Interestingly, whilst I consider that I have a small hand, the dimensions are almost identical to yours. However, my thumb position is totally different; instead of the thumb joint resting against the air button, I position my thumb so that the button is half way between the joint and tip of the thumb (hence the reason for measuring my hand size). The difference in position will be down to two factors. Firstly, I have my right strap fairly loose (almost 0.75 inch or 2.0 cm of slack), which helps if I need to roll one finger over another to hit particular buttons on the accidental row. Secondly, my hand does not go straight through the hand-strap, but at a slight angle (about 15 degrees anti-clockwise). These two factors move my fingers away from the keyboard, rotates my thumb away from the air button, and brings most of my hand away from the hand-rail. It also means that I can "attack" the buttons from as far away as 1 inch, or 2.4 cm, although for slower tunes, my fingers will be much closer to the buttons. Note; if I stand up to play, I use the little finger on each hand to brace the hand against the hand-strap, and play using just three fingers on each hand unless the little finger is required on a particular button. It does, however, mean that certain tunes are difficult standing up, but this is a small price to pay for the increased freedom which I have gained in terms of hand movement. My left hand-strap, whilst loose, has probably only half as much slack as the right hand. Using three fingers on each hand, combined with playing across the rows, produces some fast fingering against (hopefully) not too heavy an accompaniment. Before anyone asks, I do not have ready access to digital photography, so I hope that the explanation above is sufficiently good. Regards, Peter.

As far as I am aware, it's only to open/close the bellows. I don't have an air button on my English, and I've never missed not having one. However, I could (possibly) see that it could aid bellows/volume control to have one. Unlike the Anglo, it is not required to regulate the amount of air in the bellows during playing, as this should be achieved by a change of bellows direction at the appropriate places. I'd be keen to hear from players for whom English is their first instrument. Regards, Peter.

Hi Jeremy, From what you've said, I'd certainly agree that you should be looking for a 30 key (button) Anglo. C/G is generally favoured for Irish music, but I consider C/G to be a good "all-rounder". For non-Irish sessions, many players favour a G/D box, but a C/G will cover most of your needs, and will stretch your playing ability, as you will need to play some tunes in the key of D. I favour a C/G in sessions, as tunes in the key of G will, generally, be played an octave higher than melodeons (assuming that you adopt the melody on right hand, chords on left hand, style). Of course, if you end up playing solo, you can play in whatever key you like, to make either the fingering easier, or the best overall sound. I'm assuming that you are based in the USA, so will leave it to other folks to advise on availablity and prices of suitable instruments, but a search on this forum will turn up a couple of makers based in the USA. Regards, Peter.

Oh yes! Amazing sound quality, considering the age of the recording. Regards, Peter.

Hi Barbara, I use a small (half inch), pure bristle, paintbrush. I keep this specifically for dusting delicate objects, and concertina bellows. Regards, Peter.

Hi Tom, Be sure not to use any kind of polish, or cleaning agent, as this will wear away the plating. I just leave the metal ends untouched, and looking very used. Howver, if you must retain a polished finish, I'd pass on the knowledge which I gained on a visit to Colin Dipper. Colin was wearing a soft cloth workshop overall, and was gently rubbing a metal end, by hand, on the overall as we spoke. The result was a highly polished finish, with wear minimised. Regards, Peter.

Cheers, John. Sounds like it was a busy, fun-packed, weekend. Regards, Peter.

Hi Robert, The main thing about progress, as I'm sure that you've already discovered, is that it is not linear, but a series of platforms. I think that to get from one level, to the next level up, varies from person to person. To a great extent, it depends on how you are able to learn, your starting point, and your motivation. A virtuoso on one instrument will pick up a concertina and, a couple of years later, will probably be a virtuoso on that as well. Another person, picking up the concertina, with little or no musical background, will struggle for the first couple of years (maybe longer). The important thing is how you practice, and how exposure to all forms of music influences your ability to learn. Also, if you have to achieve an objective (like playing for a dance team), this will focus your practice, and assist in your motivation. Perhaps, also, the desire to play popular songs. From my own experience, I spent 18 months making some progress, but when I finally agreed to go and help my local Morris team (who were desparate for a musician), in just three weeks I made more progress than the previous 18 months put together. We had a shared objective; I wanted to play the tunes, the previous musician had left, the Foreman could not play and teach at the same time, and the team needed the new musician to be in place within four months. If you are isolated from live music, progress and motivation can be difficult. Maybe friends who play an instrument "a bit" can be persuaded to practice with you, or send you recordings. Hope that this is of some assistance. Remember that while we all want to be better players, there will be many people who wish that they were at our level. Regards, Peter.

If he can sell them at this price, I'll have to think about tracking down the maker, and ordering a dozen! Peter.