SteveS

I have a concertina in my resto pile with glued-in reed pans. The fact I haven't repaired it yet is because I don't relish the task of working out which glue has been used (not any natural reversible glue as I recall), and unsticking them without damaging the reed pans.

Thanks - super - that's the one.

Nope not this one. The one I'm thinking of is a leather supplier, but also provides concertina spares. I'll see if I can find the details.

There is another UK supplier - I can't find their details but something like Cornwall or Cornwell - maybe someone here can provide details.

The musical chainsaw is a thing - the Swedish/Finnish band Hedningarna used it good effect 😄

Since you're in Argentina and a lot bandoneons are tuned at A442, you might want to consider whether you fancy playing tango with a tango players - in which tuning to A442 might be worth considering. Just a thought.

Nope - I play Nordic traditional music

Yes - one issue, losing the reeds.

1923 model 12a 64 key tenor-treble

Can you post the serial number too. That will help in identifying the particular range of this 'tina.

The polska (and the family of related tunes and rhythms from across Scandinavia) - frequently written as 3/4, but that is only a convenience for notating tunes that can have short first beat short third beat stretched first, second and/or third beat any combination of the above straight even beats

I know this has been discussed before on this forum, but at security, whatever you do, don't mention the word concertina - concertina is a reserved word and may be considered to be a munition (concertina wire). I always tell the security personnel before placing on the belt, that I have a small accordion in my bag/box. About 50% of the time they want to manually inspect it, and very occasionally I get to play a short impromptu concert.

Some of these reeds are to be used in a bass I plan to build. And since I restore portable harmoniums, a few spare reeds are always needed.

Thanks Don, this is exactly what I'm doing.

Thanks for the reply - very much appreciated. Whilst your suggestion is good and is correct for arranging for say strings, I believe that concertina arrangements were historically all written on the treble clef - then only the treble clef would need to mastered by band members, and anyone playing treble, baritone or bass range instruments in a concertina band could theoretically play any of the parts without having to learn the viola and bass clefs. This is because on band instruments, the middle C on the treble clef and treble concertina, then that position will be occupied on a baritone by C one octave lower than the treble, and a bass 2 octaves lower. I would appreciate comments as to whether bands did in fact write all arrangements on the treble stave, irrespective of the instrument range. This is what I was told many years ago - and I feel would make a lot of sense from a band perspective.