SIMON GABRIELOW

Very hypnotic catching melody; reminded me almost of an Elizabethan piece I could well imagine playable on spinette, or even lute.

I also believe Vivaldi did some variations of La follia as well. Or at least I have record with some very varied versions of similar tune

I have found this most fascinating; how things are adopted over side of the globe, and each nation is still then adapting the instruments to suit their own needs. Looks like a very big instrument, and maybe smallish man! Playing it. Also what a lovely colour it is painted! Just another example of what a huge variety of "free,reed" instruments there is out there!

Thanks for your interest in my topic of Farinell's ground. Firstly, I loved hearing the audio submitted of the recorder, harpsichord ( Corelli) versions; I greatly admire the performers (Bruggen, and Leonhardt) Bruggen, to me, really showed how good a recorder can sound, in the right hands, and partly rescued it from its more misunderstood image by people generally. As for my thumb all inside the strap; I have always done this, and it's something that doesn't affect how I play, it might look awkward, but it's just the way that suits me best. And actually the leather strap does not get worn down with use, as it's not tightly adhered to the hand. ( Only last year redid strap after 22 years of constant use. The hand is much freer in movement, and you could, if you wished even use thumb on buttons too ( not usual)! More relaxing for hand, I believe, as between notes, I can rest the tendons more easily. It's sometimes good to stretch the rules a bit ( like the sample of audio someone put on here earlier on) with the man electrifying his concertina! Like one with electric guitar...! My Thumb inside.? Yes, .It might look an odd way of doing things; but, despite appearance, is less straining on the hands overall! (At least for me it is).

I have often thought how enjoyable it is, and how freeing, to improvise; the chance to go off at a different angle and away from the rigid rules of theory and let go. And then there's variation form, of course, and if you combine the two elements of improvising with variation, it can be very exciting. One of the most well known tunes for developing variations upon is the tune Farinell's ground [La Follia similar] or same.. It was developed and varied upon for many hundreds of years by many composers. [ CPE Bach, Corelli, and others did variations on tune]..There's hardly anything to the simple bars of the piece itself, after which you can add your own notes as so wished! It has almost an inbuilt chromaticism to the notes, and at first can look very mundane; but try it out and there's a lot hidden in that material. Here is a copy [photo image] of my sketch of that simple theme, And also a link to my own attempts at playing variations on it recently! [video January 2022]. Have a go at adding your own variations on the theme; lets see what happens? There could be an interesting number of different ways of playing it? Be interesting to hear the many varied ways it can sound; by others on the net site?

Just remembered, reading through all these lovely recalled events, years ago in York there was a man went about with a hand wound barrel organ, he would wheel about, and a couple little monkeys that sort of sat on the thing as he wound the handle; amazing and olde world even then ( in the 70s)! Not much related to concertinas but odd musical memory brought back to me!

it's interesting when one sees how composers own instruments look, in reality, how basic they can appear to say they made their music through them; eg. Elgar's basic piano, was quite ordinary and clunky but provided the notes he needed to hear his own tunes. And others alike, off all musical genres, each speaks with its own voice as individual as the people that use them!

The nice thing about what I term as being organic living ( none electronic) musical instruments, is their individual sound; the timbre or quality of the notes, or the physicality in the way you press buttons in, maybe it clicks, or is always smooth. Or a note buzzes a bit , or has a sweet tone; they have their own character in themselves! It can be as sensitive an issue that if you pick up another unfamiliar instrument, even for a few moments, it can feel unfamiliar in the hands. The buttons can bend to one's own way of pressing, or that little mark on the wood, metal plate, that makes it yours! It becomes its own personality, in a way, and if someone insults your concertina; then it is quite jarring! I bet there's other net. Members that have similar thoughts on their favourite instrument, one out of dozens they may have owned, that just has become part of them, as a performer?

My little thought on the worry over this problem is simply the fact that often people can worry too much over learning a technique, and apply it in a rigid way ; and this can in itself create a barrier to progression. Once there is that barrier or wall put up in the mind of "having to do this, or that method".. it can make things worse. It is best sometimes to trust on skill built up over instinctive experience as well; by making mistakes and learning from them. You will soon find out how to progress in that way I am sure. Don't worry over the 'oopmpah' method just try it out, and with advice of our people here, then I am sure you will master it eventually. Main thing I have found is that learning a new technique is continuous and goes on for years, and if it is enjoyable, and you progress, then it spurs one on to achieve even greater things! Enjoy the learning process do not see it as a burdensome worry, and you will succeed.

I feel that people can sometimes become too concerned over the range, or type of instrument, they wish to use; if one is in one key or another.. myself I don't let it worry me too much, as I, personally play music as a means to an end and happen, by happy chance to have chosen concertina as my instrument. As long as instrument has a chromatic range within a certain compass ( 30 key as example).. then you can work in any key range you wish, and with very minimal adaptions being required, of which, incidentally, even most standard instruments have to often consider.. ( at least as far as transposition is concerned.

It won't take me to tell you all how important the venue setting can be to making an instrument [of any kind] sound either beautifully rich, or maybe flat and lifeless. I am thinking of my own backroom in my domestic home, here in York [UK]; it has wall paper and is full of items, paraphernalia from my differing art forms [Easels, books, pictures in frames, old carpet on floor] etc.. All of which absorbs or reflects sound to a degree. Then in a bathroom with tiles, surprisingly, the echoes made by the shiny walls is, on the other hand, great! [that's why people practice singing in the bath?] The best venue I tried was in a Chapel in York, in March 2020 [shortly before the 'virus' lockdown finished things].. There sat in the chapel, with its tall walls, and high ceiling, the sound carried beautifully with just the right amount of resonance to carry the quietest note, and the deepest bass C of my beloved concertina; which when I let it go - really bounced off the place marvellously! I played one of my own short solo compositions [Jasmine] at end of what was really a mini audition session, and it too was so easy to mould the sound as I wanted in that setting. The acoustic there would be envy of most performers; so it was sad that once virus lockdown came the whole opportunity was finished. I am sure you will all have memories of the best places you have played in? Good and bad - and why that was so? It would be interesting to know and compare notes on this. Finally I am taking full advantage of my newfound skills in online You - tube .. to ask you to hear that wonderful acoustic in that very Chapel in York in March 2020, when I set my camera on to record my little tune "Jasmine".. its only a short piece of music, but came out so clearly and lucidly in that marvellous setting. I paste link here in this topic.

I don't suppose that it is easy to absolutely prevent some air leaking on a concertina; my own has mild air leak, and very slowly gradually will close up if I leave it; however I have had my one for 23 years, and serviced it myself when required. In my case I could easily seal it up more, I suppose, but it really doesn't affect much in duration of tone produced [Anglo system]. It depends upon how I hold the instrument as well; when sitting with it on my lap I hold it differently than standing, and this also means bellow pressure is different too. However, I would agree with previous people, as yours is new; get it sorted out first, and don't attempt a repair as it will possibly void a warranty that may be on it.

Recently I submitted a copy of my piece written back in 2013; called "The seashell".. it is a piece for any solo instrument in reality, and I was glad people had at least viewed the topic, other than it languishing at home [unloved!] and unheard by anyone else! So I got out of my collection of audio, and video, my own attempt at playing the very brief musical work, a couple of years back, with visuals added to make it more interesting. Its not easy to play the thing [you do not always write down what is possible to do yourself, if the idea is needed to be expressed!] But here it is in this link to my 'YouTube channel' where I have just added the video. Its not even two minutes duration; have a look and see what you think?

What a cheeky reply; but good fun!

For hundreds of years people have written music with the aid of keyboard instruments; like piano, or before that harpsichord, perhaps.. I have myself written music for ( soloist) mainly, with aid of my concertina, which I find in range an ideal solution for my own needs; with its compactness, and range of notes being more than adequate to compose upon. It gives one a different and alternative way of hearing that first few bars, or the emergence of a new melody, a different feel than might normally be heard, on say piano, or guitar even. In this way I mean I write neutrally, intended for any solo instrument other than that it is first composed upon. How many others here, on this site, I wonder, also find it liberating to write, or perform their music, firstly on our free Reed family of instruments?

I wonder if national character comes out in the way people play their instruments? Is an English concertina player, for example, fairly reserved and methodical in performing. Or maybe someone from Other parts of Europe more passionate? My own father ( from Poland) played his accordion with great sincere energy, when he really felt the need to. (They can be a passionate race and sometimes display fiery energy!) Just a thought.

Just listened to that reed organ; what a lovely sound it has... And capable of quite dynamic range too ( loud and quiet).. so nifty and handy size... Is it Harmonium related? Or same instrument?

I have realised recently, as I am sure you all have too, that I may keep popping in to make yet more comments on concertina things! I don't know if I should stop or humbly ask for your forgiveness in this habit; but, you see, until recently I have few opportunities to discuss such niche interests to others; if you mention to other people 'concertina' they seem to smirk a bit! or be mildly amused; or pass comments as to say 'as long as it keeps you amused'... We all of course know that there is a vast world of possibilities of these wonderful instruments, and how once someone tries one out, just how addictive they are to want to learn to play! So there I was sat, very much a 'closet performer', and then I discovered this little site; and off I went, to share the interest. So, let's all try and enthuse whoever we can with the alternative instruments available today; other than the [marvellous] guitars, electronic keyboards and the like? The free reed wonders as they are!

Its always amazed me that despite the seemingly, on the surface, reserved appearance of the Victorian people and generation, just how inventive they were. The Concertina was an amazing little invention in itself; almost part machine, and part musical instrument. Can you imagine if Mr. Wheatstone tried to give Queen Victoria herself a try on it how it could have made her actually smile! [what a thought]!

Thanks for getting going with my topic set the other day. Instruments could well choose their owner [in reverse] I suppose! For example you may go into a music store and suddenly an instrument could drop off a shelf into your very own hands! Just your hands at that moment [almost begging to be taken home by YOU!}.. just a daft joke... but there's a relationship builds up between the player and the instrument that's for sure. Sometimes the lower notes sound like my rumbling tummy; but I hope some characteristic are less similar[bellowing windiness for example!] You will find in time how the apparent limited Anglo concertina range is in fact capable of a wide variety of music and effects as you gain even more experience; so carry on enjoy your 30 key one [ I am on that setup and I have yet to find limitations in its capabilities.

When I started this topic a short time back I never expected to see such variety in form and shape, as we see surfacing here in this discussion; really fascinating what turns up!

That was such a joyful little film to watch; so cheerful and happy! It's a special job entertaining people; I know because my mother used to do puppet shows ( her own puppets) and go round entertaining places for many years! (With my brother and myself in tow). The little figure reminded me of one my grandfather made, in a way, and is so very effective.

I have often being slightly amused at how suited to instrument people can become; think of Liszt at piano with his long hair in ecstasy playing with his fingers flying over the keys, or perhaps Paganini with his lithe little persona transfixed over his often deliberately snapped violin string to show off how well he could adapt. But what of a double bass player; need he be necessarily overly large, to fit the thing? Or a piccolo be best suited to a tiny little person? Instruments can be as different as people are; as we all know each make of squeeze box has its own personality likewise in itself; traits, likes, and dislikes, buzzing notes, clicks, pops or etc... Perhaps then I should reverse the thought; and instead maybe say.. does the instrument become very much like its owner?

Just an additional thought - I think also myself that we are lucky to play concertina instruments because think of the many advantages as say a solo instrument; compared to many mainstream and wonderful orchestral instruments, such a flute, oboe, clarinet, and so on.. all lovely instruments; however on their own they are always limited to single notes too! Whereas concertinas can stride both sides of the divide, by making their own accompaniment, and chords if required, alone, and a sense of two instruments being played too; even a sort of mini orchestra in a box if you want! [if you really let go!]..

just after thought you asked what techniques others use to express in instrument; there will be many just as there are many instruments to play them on. Myself i use many methods; a sort of or smooth lilting by partly bellows, and smooth lifting of finger from one button to other, and near to no button clicking sound. Sometimes playing very quietly as much as can allow, until there's a whisper of sound. Its something which cannot be easily describe in words; instead only listened too. I have no audio examples to put on, and my only video playing [birds feet tune] is all have managed tune playing anyway online. But I enjoyed listening to your rendition! And quite appreciate Elgar's music.. funny how his family had music shop and once he remembered a bunch of concertinas they sold at Elgar brothers being knocked over completely and the racket it made!