Jump to content


  • Posts

  • Joined

  • Last visited

Posts posted by danersen

  1. Hello All,


    These lovely mandolins are headed for new homes with thoughtful players who recognize that there indeed variations in quality and relative value among mandolins just as most of us here recognize that there are differences in quality and relative value among concertinas.


    And for the record, Hooves - in my opinion, your comments are not "cricket." They are disrespectful, exaggerated, erroneous, disingenuous, and patently offensive. I will appreciate your refraining from your reckless and careless rhetoric in reply to any content that I may post in the future. I'm glad others compliment you on your playing. Perhaps you would do well to concentrate on your playing and abandon your irrational chatter.


    Be Well,




  2. Hello All,


    Jim - Thank you for your efforts. Your perspective/analysis is just the kind of help I'm seeking. Yes, it is a piece of cake on the English which is the extent of my experience. It's difficult to assess flow and fluidity from a chart. And there just aren't concertina shops to visit and have a go at a variety of instruments here in Colorado.


    Marien - The initial sample includes two phrases typical of material that I've collected or composed over the years. Most of the work is Chassidic is character/form which is somewhat different than Klezmer. Most of the material that I play is in Am, Bm, Fm, and E with Cm and D as the alternates. This material is actually a subset of Yiddish music that is akin to, though different, from Klezmer. The scales are usually a semi-tone apart on the 5th or the 7th. Not really knowing if this is an accurate analogy, I will offer it. Klezmer, Chassid, Liturgy/Ritual melodies in Yiddish music might be like Irish, Scottish, and Morris melodies in Celtic music - ? The composite of melodies among Yiddish music is extensive - much of it being adaptations and derivatives from eastern European and Russian folk tunes as well as Middle Eastern and Byzantine sources. (An example: HaTikvah - the "national anthem" of Israel is based on a Czech folk melody). It seems to that that much of the klezmer "book" is somewhat more influenced by the Russian folk melodies. There is also a Sephardic (Spanish/North African) element that is distinct, yet similar in character. Klezmer has been the most popular expression of Yiddish music, by far; and reasonably is the term that is most often used to refer to Jewish music. It is, actually, just the tip of a beautiful and diverse iceberg replete with nuance and character.


    Below is another snippet from a tune that I wrote titled "Almost Shabbos." I wrote it when we were in Jerusalem a few years ago as a way of recalling the excitement and anticipation of the Old City's preparation for the Sabbath. It's an extraordinary experience that I've observed no where else. Note the A-NATURAL among the other four flats and the E-NATURAL accidental in the 4th phrase. It is intended to be played at 1/4 note = 128.


    Anyone willing to "test play" this sample with comments similar to Jim's related to the first sample will be greatly appreciated.


    I welcome any/all additional perspectives and comments.


    Be Well,





  3. Hello All,


    Thanks for your replies to my inquiry. The perspectives expressed are very helpful and provide much needed context for my lack of direct experience with any duet system.

    Dirge - I am in Colorado.



    I realized after reading Larry's request for a music sample that an efficient, if not effective, way of garnering the benefit of your expertise and experience is to chart a typical melody and hope that some/many of you will play it and opine as to the relative ease/flow of fingering on the different duet systems. I realize the flaw in this in that you are all accomplished and I will just be starting. However, your collective voices of experience may be the best way to avoid traveling down a road that may be frustrating or less than likely to lead to success.


    So, here is a quick handwritten chart of a typical melody.

    Please note that amidst the three flats - Bb, Ab, and Db - sits an E-NATURAL.

    Please also note that there is one measure of 5/4 time.


    Ideally, I wish to know the ease/difficulty of the fingering patterns in all ranks where there is rotation of the note positions between the lower and upper registers.

    e.g., the shift in the note locations on the Maccann 81 which are different in the higher registers than the lower ones.


    Thanks to all who are willing to help.


    Be Well,




  4. Hello Marien -


    Thanks for the explanation regarding the notation placement.

    Though I did, I didn't mean to say that the Crane system is not suitable for melodic structure.

    I meant to say that it is not well suited to the melodic structure of the music that I play which incorporates many accidentals.

    The typical scale in F is: F,G,Ab,Bb,C,C#,E,F; in C it's: C,D,Eb,F,G,G#,B,C.

    The relative locations of the accidentals in the lower portions of the Maccann layout lend themselves to exceptionally easy access and flow.

    It also allows for playing in either direction relatively easily, e.g., starting with the root of the key in the 2nd column or the 5th column.


    Hello Dirge -


    Thanks for your insight on the Jeffries.

    For most melodies, a 58 key Jeffries would likely suffice.

    I must admit that I love the 81 Maccann, but am also a bit overwhelmed by it - especially, given the shift in the layout.

    I would be far more comfortable - and more likley to use the full range, I suspect - if the button layout progressed consistently and fully throughout the courses.

    The shift in the layout in the upper registers really bungles up the flow compared to the layout in the lower registers.

    As for the sound of a Jeffries, how might you rate it for Chassidic dance music?


    I welcome any further advice and instruction.


    Be Well,



  5. Hello,


    I have been playing a recently acquired Maccann (81 keys), and finding it much to my liking.

    So I began a bit of study on the duet fingering patterns, and it appears as if the Jeffries layout may, in fact, be even more suitable to the melodic structure of music than the Maccann.

    (The Crane/Triumph, BTW, is not.)

    The layout of the lower notes on the Maccann (with the "A" placed in the third column adjacent and to the right of the "G" in the 2nd column with the "B" in the fifth column is hard to beat for my playing.

    But , the Jeffries appears that it may be even a bit more fluid.

    Hence, my question.

    I am under the impression that the availability of Jeffries instruments is limited at best and so the opportunity for acquiring one to "try" is unlikely.

    So, I am testing my impressions here.

    Additionally, does anyone have an explanation why the Maccann layout "shifts" its pattern among the g.a.and b, notes as it ascends on both hands.

    Or perhaps it changes as it descends from what I've observed in the Maccann tutors on concertina.com


    Any and all assistance will be appreciated.


    Be Well,



  6. Hello Stephen,


    Thank you for replying.

    I appreciate your assistance and counsel.

    Next time I open it up, I'll look more closely at that "80."

    With you encouragement, I will be contacting Steve Dickinson about that s/n plate.

    I didn't notice the entry re: Percy Honri.

    Thanks for mentioning that.


    Be Well,


  7. Hello All,


    I recently acquired a Wheatstone Aeola Maccann "giant" in truly extraordinary condition.

    Every reed is virtually spot-on in concert pitch.

    It has been wonderfully maintained over the years which was evident when I opened it up to find the serial number as the metal s/n plate is missing.

    Here is the Horniman/Dickinson entry:


    July 9, 1925

    No. 41

    Duet N.P. Octo 81 keys





    All of the numbers are in the usual places and match.

    There is an entry "R 20" to the right of the serial number on the bellows frame that I'm curious about.

    Perhaps this is typical, and I've just never noticed it on others.


    I am also curious what the "80" entry in the ledgers represents.


    I will appreciate an explanation of the significance of this entries.


    Also, might anyone know if Steve Dickinson can/will/might/has prepare a replacement serial number plate?


    Thanks for your assistance.


    Be Well,



  8. Hello Becky,


    I am fortunate to be the custodian of your concertina's older "twin" sibling (31203 - 2nd July, 1926).

    In my experience, it has required nothing different than my Amboyna.

    Either, I'm lucky or it's not any more demanding than the usual proper care and feeding.

    They are truly lovely "creatures" - literally and figuratively - as they are genuine tortoise shell.

    I sent mine across the water (I'm in Colorado, USA) for a complete going over by Steve Dickinson and had no problems with the CITES matter.

    I did include multiple copies of the Horniman/Dickinson ledgers and a written explanation of the reasons for it's transit.

    Perhaps, because it was going back to Wheatstone helped.

    Enjoy and


    Be Well,



  9. Hello Chris,


    Your concern is very well founded.


    Fortunately, since being in my possession, the Horniman ledgers and its papers have served it well and kept it quite safe from the irrational and narrow-minded extremists who would destroy anything composed of tortoise.


    According to the Horniman ledgers, this concertina was made long before the turtles were endangered and long before the CITES treaty was ever conceived. July 1926, to be precise.


    By the time of the CITES treaty, the original owner had played it in the Labor Union Halls and the Workmen's Circle Socials in New York City for nearly 50 years.


    It is truly sad that due to the egregious behavior of profiteers subsequent to its creation, the concertina's own existence is endangered and imperiled by those that would prefer to destroy-on-principle rather than protect and preserve something so extraordinary.


    Stepping down from my soapbox, now.


    Having said all of that, any change in possession of this exquisite concertina will have to be conducted in person. Aside from the customs issues, the concertina is just too precious and valuable to be subjected to the abuses and potential damage that comes with shipping.


    For an amount similar to that of overnight shipping and insurance, an airline ticket to Denver can be procured. And in doing so, both the instrument and the majesty of the Rocky Mountains can be experienced first hand.


    Thanks, again, Chris, for mentioning this. I sometimes forget that not everyone has become as familiar with this matter as I have.


    Be Well,



  10. Hello Simon,


    Might my Wheatstone Aeola Tortoiseshell #31203 be of interest?

    Superb instrument in every way. Completely gone-over by Steve Dickinson.

    I purchased it in exceptional condition from the family of the original owner who played it in concertina bands and simchas throughout his lifetime in New York City.


    Be Well,


    Dan Stenersen

    Colorado, USA

  11. Hello All,


    I am seeking a chromatic button accordion - Russian B-system bayan for an elderly gentleman who is desperate to play again.

    He is 80+ years old, speaks little English, and misses his accordion -which he left behind when he immigrated - very much.

    It is my understanding from his therapist and interpreter that he was very accomplished in his day and it would be profoundly beneficial for him to play again.


    I am concerned about the weight, but I think we can overcome that.


    In speaking with him today, he would be overjoyed with any 3, 4, or 5-row treble and any bass of 72 or more.


    As I know next to nothing about these, I am inviting anyone's assistance and counsel. I do know that it needs to be a B-system Bayan layout.


    I would prefer to purchase a used one in very good or better condition as I will personally be funding the purchase.


    Thanks to any and all.


    Be Well,


    Dan (Stenersen)

    Colorado, USA

  12. Hello David,


    I have this one.

    It is black.


    inside measurements =

    8" side-to-side

    7-3/8" front-to-back

    5-1/2" top-to-bottom


    I do not remember how or when it came to me.


    Best wishes to all for your holiday season.


    Be Well,



  13. This one's rather interesting. It appears to be a cross between a concertina and a bandoneon - more so than a chemnitzer. Watching the video seems to support this notion given his bellows management. Also given its reed type and configuration/construction. I've emailed the seller requesting more particulars, esp. regarding weight and dimensions given his descriptive comments.


    Might anyone have any idea what the proper value of this might be - or how to even BWAG a value?


    Be Well,



  14. Perhaps I missed somthing. I apologize if I did.


    Keith's initial post states that his father-in-law specifically presented this concertina to Keith to sell on his behalf. I'm wondering if we have really been helpful to him given his stated purpose for posting. Has anyone been able to thoughtfully consider his original questions:


    Firstly can anyone give me a very ballpark valuation? Secondly where is the bext place to sell this?


    This information could prove very helpful to Keith and his father-in-law for a sale to an unknown party or if someone in the family wishes to provide compensation to Keith's father-in-law for the purpose of "keeping it in the family."


    The "romance" of "keeping it in the family" may or may not be practical or feasible. Not knowing (and not wanting to) Keith's father-in-law's circumstances or motivation, it seems to me that the most important matter is fair and appropriate valuation of the concertina and just compensation to Keith's father-in-law regardless of the identify or interests of the next purchaser.


    Is there no one among this august group who is willing to even hazard a guess in response to Keith's original questions? It's nteresting to me that the usual "take it to Chris Algar" advice hasn't even been tendered.


    I'm also curious if anyone who offered was able to visit with Keith and/or the concertina and if it is a TT or a BT.


    Be Well,



  15. "Caps Lock". Turn it off, please.

    Seconded (with some sympathy).


    Does anyone know how to kill the thing permanently? The 'Caps Lock' still wastes my time when I tickle it by mistake and have to retype a couple of lines, and I never use it deliberately.


    Using a large hammer only seems reasonable for a split second, fortunately.



    Hello Dirge,


    A programmer more informed than I may be able to advise you if/how todisable the CAPS LOCK function.


    However, there is a handy and, perhaps, irritating little feature that will inform you with an audible tone that you've actually turned it on. Could save you come re-typing. Please note that the content of the text is taken directly from the Microsoft instruction with no editorializing on my part.


    Here's the instruction:


    To turn on ToggleKeys

    ToggleKeys is designed for people who have vision impairment or cognitive disabilities. When ToggleKeys is turned on, your computer will provide sound cues when the locking keys (CAPS LOCK, NUM LOCK, or SCROLL LOCK) are pressed. A high sound plays when the keys are switched on and a low sound plays when they are switched off.


    Open Accessibility Options.

    On the Keyboard tab, under ToggleKeys, select the Use ToggleKeys check box.

    To turn off ToggleKeys, clear the Use ToggleKeys check box.




    To open Accessibility Options, click Start, click Control Panel, and then double-click Accessibility Options.


    Be Well,



  16. Hello Paul,


    As time passes, the postings have a tendency to get buried. I am simply refreshing the position of the listing.


    There has been substantial interest - some from serious buyers who need to complete other transactions for funds - some from bargain hunters which is not my puprose re: these concertinas - and some from individuals purely interested in the concertinas.


    Given that I am in the fortunate position of not having to sell them, but acting primarily out of guilt, I am seeking a buyer/s who has an appreciation for them that is commensurate with their value to me.


    Though they may not be being played to their fullest potential, they are not languishing here. And while guilt may be an effective motivation, it need not be a compromising one.


    Be Well,



  • Create New...