SIMON GABRIELOW

That was really entertaining and enjoyable; I like the little dancing figure 'lady' motif.

I use my "blower bulb".. also used for my camera lenses. Blows dust out nicely😊

I am not certain by 'rolls'.. but most effects and ability to do them well comes over time, and with practice. Sometimes ( on Anglo) you can create a sort of 'trill' effect also by using bellows, and by so slightly moving bellows just enough to go rapidly from the one note to the other, for example: G natural to A natural is on one button on Anglo, and by moving bellows ( keeping the figer on the one button pressed down)..will alternate the two notes which can be done very rapidly if required. It's a question over button and bellows coordination on Anglo. Probably completely different to your question over "rolls".. but you will find your own way with practice ..and patience will get you there🌝

I own only one concertina .. my Anglo 30 key ( Hohner branded) Italian produced instrument. And I am quite content with this one, because it is also used often for playing published music, but also for my writing music of my own; in increasing quantities, and here it is often the first characteristic timbre of sound the tunes are produced with. I am sure all the other named concertinas are also great, but I'd am staying with my one for now.🌝

What a bouncy rhythm and cheery tune🌝

I think you will find each player will use their own way of button playing, as goes choice. And if you observe someone playing you would certanly see the buttons used, of that individual performer.

Very merry indeed.. also with a sort of chromatic feel to it.🌝

Just use that lovely bass C ( Anglo).. the 'Queen Mary at Sea' .. one that makes good fog horn effect.

How great to see everyone enjoying themselves in this [referring to the usually perceived as repressed British - 'stiff upper lip' country . I tend to move about bit when playing a tune, but not too much as my room is so small I could fall outside the window! and I have even done performance art as a costumed "Green Man".. [with music added in later on].

I was once been thoroughly ignored playing by the river Ouse ( York in UK).. so getting fed up I played the deepest bass C note, loudly.. I call it the Queen Mary ( at Sea)!...note (C)😊.. it really sounds like one of those great Liners leaving port on a great voyage.(;when you keep blowing it, you should say in English accent.. "And God bless all who sail in her"!!

There is a great train engine horn effect possible using two buttons on anglo on in bellows, then pull out afterwards.. cannot say which as do effect by feel😊and sound ..

They were certainly strange times in those days of recent, but if it gave a creative impulse spark of inspiration.. then that is a positive outcome.🌝

I put an article on a sort of academic network recently, on a similar subject as this, about the, what could be considered, 'old style' musical forms like the 'minuet' or menuetto etc.. and how I thought they should still be written [as a means to an end in themselves]. I also pointed out that the folk tradition was one of those forms in which the older style was still often practiced. By that, I do not mean necessarily writing in a period mode, or strictly adhering to absolute tradition, more as a type of dance like form which should be still made new or played for the need of doing, or dancing when it comes to it also. I recently read about Telemann's 100 minuets, which he wrote, which I believe are based upon a symbolic number, and they are full of variety, and tuneful inventiveness. With those tunes in mind, in particular, I decided to do some of my own [melodic line only] minuets, which give so much potential in writing in that form, whether in 3/4 or 3/8, 9/8, or other such equations to fit in. I have to come to the conclusion that these older style forms can still be made and exploited in writing, for the new stuff. I write them using my concertina, and if I then want to write a lower toned tune, with deeper range generally, then that wooden Chalumeau is very useful as a guide also. I do not know how many [minuets] I will write, but to date of this note, at present moment, I have written 37 and will go on with more; because it's still worth making new tunes or minuets, jigs, or songs, and to keep the musical forms going, now and for the future. So - I say - keep writing those Minuets. This incorporated video is the Minuet - number 4 of my collection. A slow quieter tune in 3/4 measure.[ Played solo] - I then made it into a duo for two instruments not long afterwards. It is called "Repose".

Thanks, Kathryn, for that lovely dual performance. So full of happy melodious sound, and cheerful throughout. I have also been doing double 'takes' of instruments, and it is quite a test of coordination in putting them together convincingly. It's even more tricky when you use alternative instruments alongside.. for example my simple wooden Chalumeau, ( early wooden clarinet in simplest form).. because it has a cane reed, and a wavering quality to it, so when combined alongside steadier metallic tone of concertina reed, you get a very unusual mix of sound resulting. I also use my late Father's two row melodeon/ accordion, which is tuned in the key of C sharp.

I imagine it would also provide a good way of someone trying out a concertina before buying one for first time [ from a starters point of view].

They do sometimes come tuned in different key ranges other than the regular C and G. Also ..D and A, for example and with the B flat in the note range.

Great sound and very evocative music.🙂

Well. I store my concertina in its purpose made box [ I made back in 1999] - inside a very plush special bag with a silky lining! It does go end in [ with face up] and the bellows close by gravity - but in a well padded and soft interior, so nice I would not mind sleeping inside there myself it's so snug😊

That was very cheerful tune and nice to hear it. I like the sudden rush at the end to finish ( presumably to fit in time restraints if the cylinder technology of the period.🌝

Well done, there's no reason why you should not adapt any instrument to your own requirements ( just think what people do to their guitars for example).. Paint them to match the rest of instrument. Or be daring, and gild them in burnished gold leaf😊😊😊😊

It was that topic on this net. just of recent about composer wishing to write for concertina, and the flood or more 'ocean' of our enthusiastic responses in assisting their wishes. [They must therefore have been nearly 'drowned' in the myriad of advice received?!] Then I have also found in recently writing for two instruments [ in form of duo] not 'duets'. the Anglo to me is ideal in achieving this format. I think it is because of its left, and right-hand keyboard set up, with the bass notes to left, and higher notes to right which allows me to hear where one voice can go with another, on the one instrument. And then there's that characteristic way you can create a second voice by use of left hand whilst playing the right on melody line, as you go along. I see it very much as also a 'means to a goal' to achieve a creative objective, in music, just as anyone may well use a guitar and strum away, or keyboard. Also, I believe that in making your first new tunes on a different instrument you do find a different and novel way of approaching musical ideas, that maybe would not have become so apparent on the standard setup. My own 'duos' are really for any instrument combination, but I start them off on my trusted Anglo concertina often [with exception of lower tonal range tunes where I write them with my wooden chalumeau on occasions]. Either way writing using alternative instruments is a good way of seeing and hearing the world of music in a completely refreshing manner that I can only encourage, based on, and from my own experience.

I agree here - particularly as that is what I use my own concertina for a great deal - for writing music with also as well as enjoying playing written published music. Makes a change from using a keyboard or maybe guitar and gives a different approach to creating ideas.

I have to say it .. but if the husband let's wife try concertina out... (Well ummm) be careful how close bellows she might get caught out.. ..😁😊😊😊

I have to beg to differ ( in good humour🌝).. with Jody's thought on classical music on English ( rather than anglo system).. I spent years transcribing classical pieces from loads of sources over a long time, for use on my Anglo 30 key, and found very few that do not work, or that cannot be accommodated by mildest adjustment ( which is often needed on even the most standard orchestral instrument anyhow). I do read the music on the page also.. but they both ( English or Anglo) have their unique approach and qualities suitable for almost any music you wish to play upon them🌝😊🌝🌝🌝