SIMON GABRIELOW

Just read your additional reply to my God save the Queen tune; what an interesting story that it all brought back to you; in your memory of that intriguing day you virtually met Queen. I once saw her zip by in 1977 during silver jubilee ( York) city centre.. and was many years later at York racecourse for a Royal carry on at races. One of most charming variations on theme, for me, is by JC Bach ( Bach's son)..one of my favourite composers, who wrote variations on theme, played for George 3rd. ( Ingrid Haebler fortepiano, on Philips cd label lovely recording of it!

Just listened to that Ives variations .. very enjoyable too! Her majesty has just asked to pass on the comment as follows; "One is most serenely pleased and contented that at this time of great enigmatic need; when we all need a way of perking up our senses; that such a tune as this ( which was written for my great, great, great grand papa, is still able to lift one's heart. We are greatly amused indeed"..

Yes, it's 70 years since her majesty took to the throne, and so I have taken opportunity to do a few versions of the [British] National anthem [familiar to everyone].. Of course it has had variations written upon it over many hundreds of years; so I am adding my own cheerful rendition! Sing along if you like; but it does go into very strange territories, musically speaking, and so you have to stretch your vocal range to suit.

That looks like a very interesting instrument, and usual effect on the casing with its marbleized effect. I think it looks really unusual; Two rows.. Anglo type. It needs to be used, and played, even if only now and again; give it some care and attention, and it will quickly become your best friend! Two rows can come in various keys often C and G major, but sometimes other tones of range are used. Physically it looks to my eye quite reasonable condition, but you must attempt soon to play it; give it a go!

Thanks for that reminder, I remember reading your article on reeds not 'speaking" in that colder weather. I hope it ( the concertina) is now well and recovered from that 'illness" ..!

Well, does your concertina ever get a cold? ( We get them a lot in UK)..But taking joke aside; atmosphere can affect reeds, as they are a metal after all. Metal may buzz more, or tighten up here an there! I have been lucky in having minimum problems on my concertina generally over the years, a few buzzes, maybe, and it goes in its special padded box, protected from atmosphere! Have you all had any problems with say damp weather, or dry weather, affecting tone quality? Be interesting to compare notes!

Yes in a way I can SEA that's the case!

Interesting; I would not see this difference in reed tone as being a worry.. for example on my own Anglo style instrument my G row has duplicate notes of other row notes, example G,natural on G row is more responsive when I want to play very quietly, more so than the G natural on the C major row. I use this mild difference to advantage when I want to play very delicately or very quietly. See, and use the difference to benefit playing style, and ( as long as not really serious) and see it more as that's the particular instruments "character".. (Just a thought).

I am beginning to wonder if I should have set this topic! As it's getting very alternative in its intended approach to subject set! 😁😁😁

There's so many options to structure in writing music or melody. From my own experience having scribbled down hundreds by now over the years I always wait for that moment when the tune or rhythm tells me how I will begin a piece; maybe 4/4 or perhaps cut time [2/2] time. Of course for jigs and like 6/8 is oft used in folk music as well. Then there's various other options, and some rarely used or met with on some music at least; I am thinking of the strange 5/4 beats to rhythm, and that one extra note in bar that makes it surprisingly different in affect. I wonder what is the most unusual structure to use, or that you come across, for all the rest of you out there in 'free reed' land? I suppose they all represent a challenge, to a degree, depending on how they are presented on the page. For those that do not read music - don't worry; you will have all that rhythm built in as well a part of your instinct.

What a fascinating article; and my goodness it sounds complex! I think you need to get going playing your instrument, and trust in your natural musical instinct. Maybe you are thinking still too much like pianist? This is good; but it may get in the way of adapting to concertinas. There's still even in anglo system a lot of left hand and right hand suppleness required with fingers ( which your piano self should find ok).. Don't spend too much time worrying over technicalities, is my advice, you must get playing them; that's the best way to learn, by practice.

Oh that brought back sweet memories for me; it's exactly the same model as My first concertina, a photo of which I put earlier last month picture on this site during discussion; it was simply, but nicely made, with same stained wooden casing, and those brass decorative corner plates. I enjoyed using it, and it was very reliable as well! It was still playable years later ( until I upgraded to my other one) .. then curiosity lead me to opening it up to see how it worked, and I was surprised how nicely put together it was for its type of make!

Years ago; back in 2004 actually, I made a few tape recordings on a good general tape recorder player, when I had been playing away on my concertina, and made these recordings of versions of the famous Rule Britannia tune! [ by Mr. T. Arne]. Freely improvised at that moment. Long after recorded I transferred to computer and noise reduced, added a slight echo, and then preserved the session for my own amusement! I do not know what Mr. Thomas Arne would have thought; but they are quite varied and cheerful attempts anyhow. Anyway here they are, and with added visuals to make up for it being only audio track, as they go along! Have a good listen its really quite good fun!

Hello, your getting great advice from everyone here. Best of luck with your learning of the instrument. When I started out I used a book called "First steps" which was very easy to follow, with diagrams, a simple tablature which put notes under staves for left side, and above the stave for right side of concertina. And then numbers for each button. Really very straightforward to understand. But I will not confuse you with all the alternatives to that book. Just to say as you are learning; pick the best system that seems to suit you personally then stick to that one method, and do not get too distracted by other alternative ways [as there are several]. And enjoy the process of learning; that is key, to get to know your instrument!

Thinking of C scales; my late fathers accordion [which I still have and use once a month or so] has that odd C sharp scale above.. and it is really nice to play in that scale, occasionally, it as it seems to elevate the sound in a different direction, especially when combined with the separate bass buttons. Oh, well maybe its another friendly key after all [a sort of relative friend of good old C natural scale!] ..an' uncle or aunt' relative so as to speak!!

The Donkey King; is based upon a novel I wrote whereby Islanders of an isolated community [called Similee] live by their imagination, believing everything they imagine is real, and all that they envisage is reality! [even if it is not true]. In this case therefore they believe their King [monarch] of the island is a noble man; but in reality he is no more than a humble Donkey living in a small holding of a ruined stone building. The rhythm of the tune has a hint of a honking Donkey in it part way through. It is intended for any instrument, and instrumental soloist; but also suits well a Concertina with its jolly rhythm. Written [and illustrated] 2021.. Filmed; 31 January 2022.

C major.. It's all the white notes, of course, on piano, however people seem to think the most straightforward key tone is easy, and often consider it pretty blank in value, or in what it has to offer in choice of tone. However they forget there's a couple of semi-tones hidden away there and, it's amazing what expressive value there can be found within that apparently ordinary looking key. Sometimes after practicing maybe more complex pieces, perhaps with lots of flats, and sharps, it can be quite nice to play a tune in that simpler C major key, which on most instruments is so readily accessible; maybe it is the "friendly" key therefore. After all it is, mostly, the very first one in which all music books in music theory begin with at the onset. That's C major; the genial fellow that takes your hand and oft introduces one to the world of music. Let us 'toast' to C major! Anyone else have there favourite key? What do you think?

Don't forget after you have done all the technical hand excersize and academic practice, to then relax, and play about with the instrument in a less rigid way; have fun, make some noise and see what works ( and what doesn't) .. it' good to let go between all the studying too, and you can find a lot out about sound by just simply having a go!

I am interested to hear 3D printing is used in concertina making; but I hope that the skills of hand and eye, and of making by natural instinct, and the joy of creating from scratch will not be forgotten too!

I think you play intuitively, naturally so as to speak; and so there isn't that too theoretical, technical an approach as to the music.. and that is a good thing. By that I mean the sense of feeling is refreshing. ( I don't mean by that you do not play well).. so much as the tunes are organic in their development.

Enjoyed listening to that; what a lovely rich sound from your instrument Bach would have approved, I am sure!

Looking at that colourful concertina from China, in recent topic here on net, ( the big blue one).. set me wondering how sound is altered according to the construction methods used; is metal face plate going to add something different to instrumental sound, and how does it differ therefore in relation to wood being used? My own concertina has a standard light nickel face plate.

Madoc of Hendy ( forgive my spelling of name).. very intricate, felt like Elizabethan tune in its sound somehow. Played with great sense of spirit and feeling.

Thanks so much for that remark; it took several audio "takes" to get the music bit right! And with only the slightest alteration at the end.

I know of many tunes traditionally called "THE GREEN MAN", as I am sure you all do as well. I wrote a tune a few years back, called the Green man; seeing him as a rather contented, innocent sole, who surprises people not by his nasty nature, but more by his naïve joy of life, added to the fact of his odd features; leaf like face, and tendency to appear as he wishes in the woods or forests, when you least expect; but when it suits him best. Here is a short film of a Green Man in a wood, seemingly moving about to my own tune, mysteriously, one July day in 2016. As to where the woodland is? That is a secret, but needless to say I was most surprised to see him appear briefly, whilst on my excursion, rambling, that particular day! Don't forget to check your own forest or wood; because there may be another green man there too!