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Posts posted by SteveS

  1. 10 hours ago, David Barnert said:


    Glued??!! :o

    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.

  2. On 6/1/2020 at 2:02 PM, MiddleC said:

     I'm stuck for a UK supplier so it's off to America, online of course to Concertina Connections.


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

  3. On 4/22/2022 at 4:54 PM, Geoff Wooff said:

    Can  you  estimate  how  far  away  from  A440  the  tuning  is ?  I  could imagine  it  being  a little  high, maybe  A442  like  a lot  of  Bandoneons,  or    the  higher  pitch  of  A452,  common in England  before  World War 2.

    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.

  4. 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
  5. 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.

    • Like 2
  6. On 3/18/2022 at 4:49 PM, Robin Harrison said:

    Just curious, Bill........what is the likely final use for these reeds ?

               I know zero about reed organ reeds .



    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.

  7. 2 hours ago, Don Taylor said:

    If you are still planning to use Musescore and the concertina sound font then you can do this so that your players only need to be able to read the treble clef:


    This will play correctly in Musescore.  Note the use of the two clefs with subscripts - you can find them in the advanced palette.


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


  8. 1 hour ago, conband said:

    Hell SteveS.  I think you are making your project harder by referring to the 4 concertinas as "transposing instruments", which clearly they are not.

    Think of your simple piano score - four note chord on two hands.  They are just playing different notes on the same 'ladder'.  You would not refer to the bass note as being transposed, it's just playing lower down - on a different rung.  Similarly a bass concertina is not a transposing instrument, just on the same ladder but lower down; assuming that the four  concertinas are all tuned to the same reference point,e.g. A=440, as would be the four notes on the piano).

    When writing the bass clef notes into the treble clef, a C still remains a C, but has a different position on the stave.  When it's then played on a bass instrument, it's sounded as originally intended.


    Hope all goes well with your arrangement(s).

    Les Branchett

    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.

  9. 51 minutes ago, SIMON GABRIELOW said:

    I may seem naive on this mater of SAMPLES; but would it possible to simply have people give a physical sound recording of their actual concertina [all notes up scales[ etc.. then you can use that ? or put into computer afterwards; then they could say what kind of instrument it its to help identify it..? just wondered.

    Sampling my concertinas is an option.  My recording facility isn't setup at the moment so I was looking for another source of samples.

  10. 28 minutes ago, Don Taylor said:

    Just a technical tip about Musescore and the concertina sound font.


    I was going to advise you to use a separate stave for each instrument rather than have multiple parts on one or two staves.  I see that you plan to do that anyway, but my reason for recommending that is that you can then more easily control the volume level of each instrument when you playback your score.  

    I've been able to configure each stave with the relevant note range of each instrument, and the sound font I'm currently using plays those notes back at the right pitch.  But using strings for example, the final product with concertina is difficult to gauge - so I'm also looking for reasonably quality concertina sound fonts.  (MIDI free reed sounds are pants.)


    Yes much easier to arrange as 4 separate treble staves since the fingering for each concertina in the arrangement is the same being transposing instruments.


    So far, I've got most of Treble 1 arranged, which will undoubtedly change as things evolve,  I'm now working on the bass line since this must underpin the whole rhythmic side of things.


    I'm not sure if this is the right approach.  I'll see if it works for me.


    I also don't want each part to be too difficult to play.

  11. I'm in the process of trying my hand at arranging for a concertina quartet - my first such arrangement. 


    I have a couple of piano scores that I'm working from as inspiration.  The parts I'm arranging for are Treble 1, Treble 2, Baritone and Bass.  Being transposing instruments the grand stave is arranged as 4 treble staves.


    Any tips on arranging for a quartet?



  12. Thanks everyone.

    I'm in the process of arranging a couple of piano scores for a concertina quartet (my first such arrangement so I'm on a steep learning curve) using Musescore and it would be nice to have concertina sounds on playback rather than relying on either terrible MIDI free reed sounds or strings - I'd like to hear something that is closer to how the final product might sound.


    And any tips on arranging for a concertina quartet would be gratefully received.  I've started a new thread.

  13. On 11/27/2021 at 10:37 AM, d.elliott said:


    I use brass from a similar sort of source, I get twice the thickness that I think I will need then cold hammer it down to a thickness just enough above the thickness under the clamp, leaving enough stock to be able to dress underside of the tongue to be flat and smooth. This cold working hardens the brass. 

    This is exactly what I did to make a new brass reed - cold hammered the brass sheet to work harden it. 

  14. 8 hours ago, Wendy M. Grossman said:

    I think I might struggle with a baritone in Bb. I grew up with classical piano, and the mapping of white keys to center rows and black keys to outer rows is pretty strong in my head. I suppose I'd adapt...



    There was a baritone in Bb for sale on this forum in the last 10 days or so.

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