SIMON GABRIELOW

Wow! What a lot of fascinating things I have learned, and seen, since I set the topic of 'unusual instruments'! Those vintage one row types, and the Kligenthal wooden cased one row type looks really unusual. There's so many varieties ! And they're all so inviting you just want try all of them out!

Thanks for adding to my topic of 'unusual' instruments.. The photos of 1 row type concertinas look absolutely fascinating to me. So intriguing to see that layout of buttons; you almost feel you want to add more somehow. That's the thing about free Reed instruments; there is such a variety of types being made

I once saw in town [York] many years ago; a man playing very rapidly in a square, in town, a small concertina which had only ONE ROW OF BUTTONS! I was intrigued and saw him couple of times more [at that time]. It seemed most unusual one I have seen at that time anyway! Anyone else recount the most unusual instrument they have come across? [or perhaps they now own such a musical beauty?]..

I used to have a how to play concertina type book when I first started years back; and it did show layouts with 40 button Anglo! But never ever saw one! I agree with others here; 30 buttons seems plenty ( to me at least) I haven't myself found limits in its potential ( excepting human ones!).. in fact it's general range exceeds some orchestral instruments many times; and all within easy scope and reach of the hands!

You can half do good dischord too ( hopefully intentionally most of time) or by accident; but can be very effective to be daring and press notes which are exotic! And clash! Then you feel a lot better for it! Say maybe G natural and at same time G sharp at once etc... Very devilish to say the least!

Years ago my mother often told me the tale of her and her friends, when they had people visiting her parents, that they were left to their own devices, and used to form a sort of noisy percussive group in the kitchen, using pots and pans, and other items to form a sort of noisy ensemble!! I can't help but ask, in a mischievous way really, what got you ( Richard), not wanting to get started on percussion? ( Maybe I shouldn't have asked)..

Message from Simon ( Gabrielow).. to thank people viewing my little performance of man with birds feet.. yet again until now no one else had ever heard the tune outside my own limited surroundings! But now it's being listened to, at least!

Hello, David, just read your note in response to my topic of melody being important as well as chords... I am glad you find the suggestions helpful for you, and "take heart" in my own idea on the subject. I have myself composed music on solo line when most others seem to overlook the technique. I have also for many years transcribed literally hundreds of bits of music, and a great deal on melodic basis! Using books like those adapted for Recorder, surprisingly is very rich in its variety, and of which I have found in its general range suits concertina very well. Some of my early longstanding favourites being pieces by Jacob Van Eyck, called Der fluyten lust hof'.. are all primarily melody line only, and rewarding to play too ( not too difficult) and relaxing after trying out more complex stuff ( I think anyway). I sometimes keep music books with accompanying parts to study and partly try out chords and the like, as you can see what works that way; however go by instinct is best; many theory books are good but can tend to give theory as if made more for piano keyboard alone, than for alternative instruments as concertinas). Thirds( chords) are easy on Anglo by just pressing together two buttons, and beyond that find out from experiment which is best for you! I have masses of melodic line music (90 % works well on my concertina)..and can always send you some to try out if you wish; just let me know). None of which is standard concertina fayre! Keep playing and practicing; if you want more help let me know.

I have often thought as someone whose transcribed music for my own uses over several decades now, and went on to write my own tunes, that we often overlook in mainstream music these days the use of the melody, and specifically the importance of the single melodic line; particularly solo line on its own. There can be the habit of forgetting the beautiful simplicity of a tune, unadorned, in its Own right, and when played with the space around it unimpeded by chords. Not to say by that meaning harmonising is unpleasant in itself, but to sometimes let go of the bunches of notes, and contrast suddenly with pure unfettered single melody alone; it can also be quite effective in itself. In folk tradition there's loads of pure tunes, of course, showing how universal and timeless the single line can work. I wonder how everyone else thinks about this subject?

Great memories being recalled by us all on this site. In York, near where I still live, they used to have a lot of Morris's dancers perform in city now an again; and in front of York minster! I used to love watching people watching the Morris's men, as they looked bemused at what was supposed to be going on; something very amusing about it, and in many ways seemingly British eccentric

Yes, there often seems to be a theme followed through in creativity, in choices made, as to instruments chosen, to express yourself through, sometimes almost drifted into gradually, or otherwise by direct choice, consciously as it were. In my own case I bought my first concertina in attempt to accompany my father on his accordion, and until then never really thought about them that much! But there again, made right choice, for me, and looking back there is tradition of free reed instruments, in Europe, particularly where he originated, and so maybe I got a little of that in me from that branch of the family! I thought, in your case, of the connection to instruments using reeds of one sort or another, was interesting to note. And what an interesting combination in timbre is sound quality they are when considered, alone or together!

Gypsea , adding to your mention of bassoon, I find the bassoon a fascinating instrument; capable of quite a lot of expression in its sound, more than most realise. Funny really it's also a reedy voice like sound, although grumbling in its tone ( to me at least).. maybe the reedy sound inspired you without realising later on to go for free Reed instrument. When you think it would be a great combination; playing music concertina together with bassoon!

Just to add a few more thoughts on this matter myself; I started with a 20 key Anglo concertina myself years ago, before moving onto 30 key variety, and I used a lot of music book originally intended for Recorder [descant or treble] as they provided a good direct melody line to play from. I found this less confusing than too much mathematical theory at that stage. Also eventually I kept the part books with all the accompanying instruments in [when included] and found you could easily try out chords printed in the full book itself to see how they work. Not all work on instrument; buy some do, and it helped me find which buttons to press for some harmony. But, at the end of the day, also find out by playing the instrument, not worrying too much about theoretical idea all the time, really let go, and enjoy making sounds [sometimes discord too!] and in that way you will begin to find intuitively what does and what does not sound good by ear! thirds are easy to do on Anglo system generally you just press or pull two neighbouring button together to get some of them. A lot of theory books are based on piano or other technique which [to my mind] is not always best suited for learning squeeze box methods. Myself I use melody line a lot and improvise chords as I go along; and by keeping the part book of music I own, I can always look at them to see how a chord sounds in written key too [if need to]. There are some very simply written books on tablature for learning concertina which look to the eye very basic; but they work very well, with the special numbering marks above each note to guide you. There's different kinds so I wont confuse you with the one I began with, except to say it was a book called 'first steps'. You may find it easier to try and learn music by listening to someone play and try and follow the actual music on page at same time. Try and get into the habit of using all your available fingers on hands, not just one or two, from the beginning, rather than picking tentatively. If people think 20 key Anglo is limited in capabilities they would be mistaken; myself I transcribed getting on 300 pieces for my own 20 key Anglo, over many years, and only then did I run out of potential tunes to play!

That's ok JimR it all has to start somewhere; there must be a point where a skill begins to develop in family, or on your own.😊

Just a brief thank you to everyone who has looked at my music [the seashell] ..! Before being put on here, no one had ever seen the work outside my own little house; so its nice to see people at least looking at the work rather than it merely residing in a folder [ignored].

Sometimes a musical or creative ability of any kind can emerge from nowhere; from the go as it were. But often there is usually already a past family member whom also cultivated the skills that can be recalled. In my own case [ visual arts aside] my Father [Jozef Gabrielow]- whose life was blighted by the war and tragedy, always recalled having a big accordion when he was in Europe [before escaping to Britain in war time].. He later on bought a Hohner button accordion [ in 1984] which he played for years in a very loud, and lively way; he never really got to reading music but played by ear a selection of partly made up tunes, and others based upon known melodies. I still have that accordion now in its own specially made box which I get out occasionally to keep it going the best I can. He also recorded an audio tape that goes on so long the tape runs out before he finished playing! My father used to tell me [ back in Poland] of his uncle playing a Dulcimer and fiddle. On my mother's very British side of family, there were people in Marines, and army who were musicians, and my great grandmother [ who never knew in life] played piano; a great aunt also, and grandmother, my grandfather played mouth organ! ..although my own mother [Betty] always recounted amusingly that she was once sent for piano lessons, but instead sat in town eating ice cream [piano just wasn't for her]! I wondered - how many others on this site also had creative family members in past; or even now? Attached is photo of my father Jozef playing his accordion in 1999.

Oh dear! I don't like that at all! Poor thing [the concertina I mean!!!!]

THE MAN WITH BIRD'S FEET! The man with bird's feet; a tune I wrote back in 2019, is a piece for any soloist or any instrument. It was inspired by a most eccentric looking stained-glass window in an old church [in York]. The window is made from odd fragments put together haphazardly, resulting in a man's head being put onto big yellow bird's feet! Very odd indeed. The thought was what the poor creature would wish more than ever - to imagine he had 'normal' and more human legs, to move about more freely with! Only to realise he was still stomping about on those huge yellow bird's feet!! This item links to my embedded you-tube video attempt with a performance of the piece I did in 2019. I use my 30 key Anglo squeeze box, and a very loose method of hands through the whole strap! [not thumb outside]. It is played on melody line only as written down. Watch as that character "Man with Bird's feet" appears every now and again in the video!

That's a great tale; you only had to attach one end of squeeze box to foot pump, adapt it a bit, then you would want to keep inflating and deflating the mattress for sake of playing more tunes in the process! [Anglo system you get different note in our out of bellows of course]. Then call it the " airbed suite"! in G!!😁

Interesting fact! Maybe as they tried to escape, and floating atop the water, they played a song of hope! That they may escape .. and live ! Of course that's another mystery, of course!

I just thought; seen as leather is a skin, just think of it this way, wouldn't you be stiff after not been moving about for long time? Suppose same with leather recovered bellows!' If your concertina could speak with a human voice they may say; "My god I'm stiff today, I will have to do my aerobics!..! in other words use them more to keep them supple as a ballet dancer!😁

Just a thought on subject of looking for concertinas; if you have one of those warehouse near you somewhere where they are full of house clearance stuff [ furniture, objects, from generally all over handed in].. You never know there may be concertina amongst all the clutter of boxes! If so they are unlikely to know too much about them, the seller, so keep secret the fact you know more about concertina then they do, and you may be able to bargain a good low price! I did that once with some engraving tools at a warehouse store near me; owner had not much idea what he was selling; whereas I did, they were expensive tools in reality, so I got low price [unbeknown to him]! Keep an eye out you never know!

To add to discussion on concertina makes just show here photo of my dear little 20 key Anglo, and my first squeeze box! No longer in existence, but here on photo in 1990's. Next to its own storage box I made then.

Hello again; its great to see you are getting lots of help form others on this site as well as myself. You asked what i would do with a budget for concertina. Hard to say really; when i got my first [German made 20 key Anglo I also had budget at that time [1988]. I saw catalogue of them at music shop, and at that time with not that much idea about them, picked a Concertina kligethall German produced, and without knowing made a good choice; as it was nice to play and very reliable. I used it for 11 years and it was still working when i upgraded to my 30 key more chromatic hohner brand [1999]. Curiosity on my part lead me at that time to open it up to see how it was made, and it was at that time well put together, with wood and metal reeds, and lovely thick bits on the lever parts [not putting it technically speaking!] The hohner brand one needed, initially, more attention for a while [30 key one] but with that I persevered and its been excellent ever since, with only barest minimum attention needed on rare occasions, and certainly no more than any other make! In other words you may have to trust your own instincts in choice; and if you get it right you will build up a knowledge of your own instruments character, as they're all different, how it sounds, the pressure to use, and so on.. sometime new instruments can seem stiff on first use, and you may have to be patient to use them to free them up [ mechanism] a bit .. b using it! Best of luck..

Hello, I haven't used stagi make knowingly myself, I say 'knowingly" because they may be linked to other Italian makers generally.. in 2011 I got spare buttons for my hohner make concertina; and they were sent to me in Stagi brand bag! Although I wrote to Brunna musica in Italy. It looks ok to me in the linked preview you put on here. Only to say I had German made concertina as my first 2 row model, and that was great too! They put their name on it which is a good thing to me anyway, ( Stagi name screened onto it).. It's up to you if you buy or not, but I hope at least my own thoughts have helped?