Robin Harrison

I seem to hear Amin as suggested in the seventh bar I know what you mean ,Wolf, but to my ears, the C-> Em-> Am-> is more interesting ? Small difference really, I think. I also play melodeon and if you are not careful you can end up playing the same chord over and over so I strain to change it up on that instrument and I bring that approach to the anglo. There’s a classic 16th c Italian renaissance progression called the passamezzo antico that fits the A section: Am–|G–|Am–|E–|C–|G–|AmE|Am–||. For the B section, I would use the “romanesca” variant (see both linked wikipedia articles) replacing the first Am with a C. Interesting articles, Dave. I do like the suggestion of changing the E minor's to E major in the first section. As it turns out, that is what I do anyway. I often play two note chords on the bass side which tends to be a neutral chord but very effective on the anglo when tapping/punching out chords without the beat note. But we agree on A dorian, with an F# in the key signature ? Thanks both. Robin Greensleeves.nwc

Nice playing, Graham ! Ab ? What old friend have you got there ? Robin

Thanks wolf...............I'll check out those suggestions. Anyone else care to chime in?

I've recently found this version of Greensleeves, one I Like very much. Could someone have a look at the pdf and tell me if the B part looks right...........ie should I keep the same key sig. throughout and place the # signs as I have. And A minor dorian ? The chords I've indicated are ones I play but any other suggestions welcome. Thanks.................Robin Greensleeves & Polly the Lass Greensleeves.pdf

And here is a pdf for anyone interested......................... and Mount Pleasant, the tune I have paired it with. Robin Thrunton Woods.pdf Mount Pleasant.pdf

Alistair's name is listed as the composer. That's the answer I'm looking for; thanks again Robin

John, you are a pal ! However, I'm not sure it gets me any further ahead ! Reading the notes carefully , he appears NOT to mention the second tune, Thrunton Woods; assuming that the "polka I found in a manuscript etc" is the Hawk Polka . Is that how you read it ? Thanks again , Robin

And the answer is....................Thrunton Woods from Corby Crag, the Alistair Anderson album This from Novascotian who I believe may be a member both here and Mel.net. Thank you to him for a good memory ! Next up I would like to figure out where it comes from. I've tried enlarging images I can get off the net of the back of the LP but can't make it out. If anyone owns the LP, I'd appreciate an image of it. I"m pleased to have found the name but it's not one imbued with beauty for such a chipper tune.............Thrunton.....................but perhaps Thrunton Woods is a place of loveliness, who knows. Robin

I've seen this anglo and played it...................nice instrument and well cared for. Robin

Looks like 3/16ths

Thanks Mike...............more fun asking living, breathing concertina players ! So also an opportunity to remind people what a great tune this is ...... Robin

As I remember it from ?40 years ago......may not be exact after this passage of time but it came to me like this last week. It was on an Alistair Anderson record, the name of which also escapes me. https://www.youtube.com/watch?v=VsI8AVOvf2Y Any ideas ? I was looking for a tune to pair with Mount Pleasant and half a bar's similarity prompted the return of the tune. This is Mount Pleasant............just a great tune ! Mount Pleasant.pdf

Let me know if you still need some.........I have some I have no need of that I was gifted and can send you. No cost to you but send the shipping to Paul who graciously runs this show ! Robin

Hi Roger......... This is my take on whether it matters; I lead an English session in Toronto so this is a subject I have thought about. If you are doing these abc transcriptions etc for your own purposes with no idea of sending out in either digital or printed form, then I don't think it does matter. If however, you are "sending them around" to fellow musicians then I think it does . This is already a complex subject to those of us without paper training and sending out digital versions of incorrect sheet music further muddies the water. If I am uncertain about anything, then I try to have it checked by someone who does know before sharing........this appears to be what you are doing, so well done . Robin

It was, Will, after conversations with Adrian. Alex.....very neat jig, well thought out both intellectually and in its simple construction. I don't think you said as much, but do you use this jig for tuning the low reeds ? They can be hard to tune due to the slow response on a tuning bellows and this jig would be easy enough to modify to obviate the problem would ? Robin

Loving those left hand runs, Jody !! Robin

Happy to hear the good news, Claire. Care to elaborate ? It sounds an interesting story. Robin

And, I guess, also explains what lead me astray. Bb/F's are more common now ( I believe) because all the Ab/Eb's have been G/D'd ? Thanks for the explanaton Robin

Hi there.......I did email you with any possible leads that I turned up ( there were none that met your specifics) but the email was bounced back. Cheers.....Robin

Hmmm................I have always thought that the favoured keys for concertina band players were Bb and F......and I had also thought that these were far more numerous than the Ab / Eb combination ( and I'm referencing Jeffries anglos here). Have I been wrong all these years ? Robin

I was somewhat astonished to learn that Bert Jansch played an English concertina. I was a huge fan of theirs and saw them live twice in the early 70's. I had not discovered concertina then: I was a late teenager. https://www.youtube.com/watch?v=ysFKjWG_W54 https://mainlynorfolk.info/folk/records/pentangle.html#cruelsister Anyone else out there who was a fan and didn't know he played ? Robin

This question really moves away from the OP intent and, in part, has been addressed many times over in different ways but here RAc poses it very succinctly......new thread perhaps: widened perhaps to include hand/finger rests, air release, size, key combos (for anglo) . It's a subject I find endlessly interesting... Robin

Thanks.......as played by Kimber, as far as I am able.

This was the part I was intrigued by... Don't know how many times over the years I've been playing a tune and suddenly realized I can't play it.......and crash to a halt. And yet I had been doing perfectly well until I thought about it. Robin

Well I lucked out I think........the one Cohen mentioned was unavailable but Alex, a member and friend here on C.net, offered me one that he had bought from Paul Groff. It was ( and remains) slightly sharp of old pitch and was in really poor condition. Alex has done a first rate job rescuing it. New Dipper bellows; quite substantial cracks in the action board stabilised and repaired; lever arms replaced; frames repaired and very nicely French polished; completely cleaned and valved and padded. All that he had not done was to tune it........ And boy, it's a honker. I have owned Jeffries in F/C, G/D, now Bb/F and C/G and for a full and balanced Jeffries sound, I think the Bb/F stands out. It has some buttons where I am not used to them.......and this video is taken 5 minutes out of the box. https://www.youtube.com/watch?v=AV3OUzts60k And what a great anglo it will make for Morris.....loud and lusty ! https://www.youtube.com/watch?v=WYqQjCl77e4&t=6s Thanks all for looking ! robin