SIMON GABRIELOW

Having most recently taken to playing a wooden Chalumeau [ early version of Clarinet] along with keeping up with my long-established Concertina [ and occasionally accordion].. I am quite pleased the way the Chalumeau, with its reedy voice like timbre, mingles in well with my metallic reeded concertina. And they are aerophone family of instruments anyway. The accordion [ my late father's originally which I inherited years ago] of course is in closer sound value to my concertina; and the Chalumeau with its direct, simple wooden structure, and single cane reed, falls in-between the two - but they all seem to complement each other [ sound wise I mean]. I have also heard people here on C.net perform with variety of different instruments, and they often sound very good too. Each type has its particular character, or range; for example the little Chalumeau [ keyless variety] sounds deeper toned than one may expect on appearance and has to be transposed a lot to fit its range, which I like to do anyway, [ I recently played a Telemann piece intended originally for Oboe d'amore on it] and it sounded really quite nice with it, having a similar sound to oboe d'amore, at least to my way of thinking]. The concertina has very wide range from low notes to high. The Accordion [ in C sharp] sounds good medium to low tonally, and Chalumeau even though small in appearance, has unusually deep tone, and so put them together and you have a sort of trio of musical instruments that complement each other. Just think how mixed musical choice was back in medieval times; with all the variety of things they used then; crumhorns, recorders, portative organs, hurdy-gurdy, sackbut, many later obsolete, but remained as choice for the specialist, or more curious musician to rediscover later on. What a rowdy sound they all made together, but what fun too!!! Carry-on with mixing all together I say!🙂

Update folks.. I have just found that video and added my own DOWN VOTE on the official you tube symbol on screen .. which is apparently shared with the creator of it.. 🌝🌝🌝He is entitled to his opinion of course.. but so are others too?

Other than ignoring or down voting this you tube person's Ideo opinion.. The best way to describe this kind of you tube presentation that the person made is perhaps, blowing an incessant raspberry burst of the lowest C natural note on a similar concertina or; Musical flatus)! As response of disapproval!😀😀😀

I agree absolutely with you lachenal.. I have watched this video and thought it was deliberately designed to promote one person's own individual viewpoint, as if giving expert advice, at the expense of instead exposing their own lack of knowledge. I felt that he deliberately chose an instrument off the shelf in order to exaggerate a prejudice of some kind. As owner of ( a higher range hohner model)..than shown in that video, I think it is still wrong to name call simply due to the lack of personal knowledge, or indeed ability to play them at all ( as in this case, in my own personal opinion).

Of course, with Anglo system there is the extra challenge ..( concerning bellows use on repeated notes), that in attempting to make repeated same notes quickly, you could, quite easily have a secondary note sounding by mistake. This being because of the way they have two notes on the one button ( one in and one out). So it does take a bit of careful use of bellows to do the repeated notes this way.

I wrote this little set back in 2015, and I have just updated a performance of it [ for myself mainly] as I had only done an audio track of it a while back. It is a familiar [ and traditional theme] of Green man. It starts in cut time rhythm, fairly fast, before then going into a 12/8 theme, and then straight into 6/8 jig type part [ faster] ... before then going back to the original theme tune itself, and then concluding. The three tunes are designed to played one after the other in any performance. IF ANYONE WANTS TO PLAY THEM FOR A MORRISS SESSION OF THEIR OWN - I WOULD BE VERY HONOURED. I WOULD LOVE TO SEE THEM WITH A GROUP HAVING A GOOD JIG AROUND TO THE MUSIC! [ And see the video of result on here C.net]. Have a go yourself - you are most welcome [ with the dancers in session]. If so, then I can soon provide a clear copy of manuscript for you to refer to. Just let me know.

It's almost identical to the interior of my own {Hohner branded] Italian produced model from 1999! I suggest you cautiously see if anyone is selling Stagi model in ebay perhaps, particularly if it is only to be used for interior parts or used for spares. [ would only need those bits so need not be absolutely unused?].. Other than that - I agree try the Italian people that now make the newer models in Italy [ as detailed earlier on this topic pages].

Everyone will find their own way of playing, and sometimes each individual player will have to maybe invent their own individual technique that will work solely for their own uses. The nice thing about free reed instruments is also that there is never really one and only way of doing things; there is always some friendly flexibility to accommodate new or original methods.

Sometimes if repeated note is required ( on moderately tempo) music you can just use the one finger on them.. and that will do the job. Other times if very quick.. then you can use also bellows movement in itself to staccatto ( make the sound very short).. by slightly quivering the bellows .. it will come eventually with practice.

I made a spring recently with also a very primitive setup consisting of piano wire coiled in similar manner, and the'jig' I used to form it round was simply a wood block,with a thin panel pin knocked in, on which I wound the wire around before clipping it off to required length afterwards.And it worked!!!😊😊

It's always a great thing to be asked to participate in any event.. and should be something to look forward to; people want you to give out your uniques skills and knowledge to them becaus they are interested; and that is a positive thing in itself. Opportunities to do this is not that common place these days, so see it as an exciting thing to be enjoyed..

Sounds a very frustrating carry on! You should have rights under consumer laws as to goods not being received. Have a good read up about the consumer rights as far as this goes, whilst you wait, and hopefully, it will get resolved. Keep copies of any correspondence you make, in case you have to keep up the pressure, and hopefully you will get your stuff (eventually).

I have my [ late] Father's button Hohner accordion in C sharp, which he used to often play, and I inherited it, of which it gets a good session now by my myself every few weeks. This is middle range in tone to my Anglo concertina. The accordion sounds good particularly in the middle to lower range of tone, in music to me, and the concertina has a wider range and is particularly clear in the higher range of notes sounds. Recently, having acquired another 'reed' type instrument [ my wooden Chalumeau in C] it sounds good in lower range and has surprisingly deep tone for its size! So, in a way I have now a sort of 'trio' of complimentary instruments that do actually sound together quite nicely in their different timbres of sound; [ low range - middle - and high].

I haven't put the 'like' vote in my reply near your comment of B flat [tinnitus] because I like the thought of having the noise there; I just believe it could be in fact a microtone if its flatter than B flat to begin with?🙂

Good things are always worth waiting for I believe🌝

I spend hours transcribing and taking music into other key tones ( by hand!).. which takes patience and an eye for detail. I am sure you will either find a publication somewhere that has tunes presented in different ranges, or you may have to do the work by yourself ( possibly not by hand though). Best of luck in the excersise in meantime.🌝🌝 And anyway, once you transpose the music you like.. then it's there for as long as you want to play it.

A very fascinating story behind the enigmatic melody.

I suppose, unfortunately, it is to be expected. Maybe also depends upon company or business's sending items: I was pleasently surprised how quick my own sent for item in February this year arrived, from a European company ( Germany based).. whole process including the shipping border issues done in several days ! ( Not for free reed instrument though) another musical item.

Some very interesting ideas here in response to my topic; but I like to do the transposing thing myself, manually, and by eye and hand, but I can certainly see that other methods have their place also.🌝

I only thought of this topic because it sounds a bit daunting a subject; but it need not be at all. Another reason to put the topic out is because I had to do a lot of this when I got my first concertina, transposing music to fit into suitable key range. And now, more recently, I acquired a wooden Chalumeau ( early form of clarnet) with a simple chromatic octave, and so again my transposing skills are required again. I do not see it as a burden having to do this, indeed it is a good skill to have, all you have to do is keep your eye on taking the tune up, or perhaps, down the number of steps in interval to fit. For example, you have tune in G major, needs to be used as F major.. just count down the one place ( in this example) and ensure you have made all the notes to follow suit. (And add the appropriate key signature). Using what I call transpositional instruments, that require a lot of adjustments, may be seen as making more work than needed. But I think that you often gradually build up a unique set of tunes unique to the need, as required, and often pieces that may not be used normally, or even overlooked in their home key.

Yes, leather bellows (when new) need 'excercising' and using to keep them supple and useable! ( Sounds funny but true!🌝)..

Just an idea, maybe you should have an extra tall button on the air valve? One that is longer and so easier to reach .Perhaps, as there is available generally, a plastic type modelling material (which is set in oven, ).. it may be feasible to make a sort of cap for button top ( carefully glued on top?

New bellows should become easier to use over time .. It is a sort of hide or skin and needs using to become more supple ( like your own skin). As for your air valve reach; maybe try a glove ( thumb part of) .. perhaps that will help? I suppose the instruments are made for average hand sizes, and so sometimes could be not always a perfect fit. My concertina is Anglo, and I hold it very loosely in my hands; in fact I am known for this habit.. (.. and reach air valve ok.) But my way is not standard; so you may have to also find your own solution.

Sometimes, like most, you can get that subtle buzzing in the ears, that occurs, either because it is always there, or due to cold maybe. Sometimes I have noticed that if you have that tinnitus tone ringing away, slightly even on occasions, it can actually be found to correspond to a note in musical sound! You may play, as example only for sake off argument, a D on concertina and actually find its the same note as the tone of tinnitus in the ear itself! How peculiar and rather like having a tuning fork inside the noggin itself . So, if you out have that buzzing in your ears, try and find out which note it corresponds to, and we may find between us all, a virtual choir enough to form a Tinnitus Orchestra! So, What's your Tinnitus note? It will be interesting to find out.

When I began learning concertina I made sure I used as many fingers as feasible; that is I mean, I tried early on to not use just one or two, instead to learn all ways by practice, using available fingers, even little finger left hand, and right, when needed. That meant that when later on I progressed on to more advanced music, I had by habit, more instinctive way of playing stuff, and awkward bits could be overcome by supplementing fingers,if necessary, to make the reach easier to achieve.