richard

Gearóid Ó hAllmhuráin has scheduled another workshop in San Francisco for June 2005. This will be at the same location but will be 4 hours long instead or 3, and will cost $100.00. This fee also includes admission to one of his Bay Area concerts with Cape Breton pianist Barbara MacDonald Magone. Here are the details This will be a four-hour Clare (Anglo) concertina workshop (11 AM - 1 PM and 1:30 PM - 3:30 PM, with a half-hour lunch break). The charge is $100 for this session. PLEASE use the registration form online at: www.irishtraditionalmusic.us PLEASE COMPLETE the registration form and return it with the fee by: June 18th, 2005 to: Celtic Crossings P. O. Box 320596 San Francisco, CA 94132 The registration is on a "first come, first serve" basis and there is only room for 11 participants and not much time, so, if you are interested you should register ASAP. Those attending the workshop will enjoy free admission to Gearóid's concert at the Plough and Stars in San Francisco on Saturday night, June 25th at 9 PM. Gearóid will be performing three concerts in the San Francisco Bay Area with Cape Breton pianist Barbara MacDonald Magone. Their schedule is: Friday, June 24: Freight and Salvage, Berkeley, 8 PM (http://freightandsalvage.com/) Saturday, June 25: Concertina & Piano afternoon workshops (San Francisco) Saturday June 25: Plough and Stars, 116 Clement St., SF, 9 PM (http://theploughandstars.com/) Sunday, June 26: Sounding Board, House Concert, Cupertino, 3 PM (http://www.angeline-leleux.com/soundingboard/events.html) Please note that Cape Breton style pianist, Barbara MacDonald Magone, is also giving a piano workshop on Saturday afternoon June 25 (1 PM – 3 PM). If concertina players know of any interested piano students, please refer them directly to the same PDF registration form. For more information and direct communication to Gearóid, feel free to contact him through his websites: www.irishtraditionalmusic.us AND www.gearoid.us

Hello If any one could post a photo or photos of a Jeffries reed shoe, and even others(perhaps a Crabb manufactured) to compare it to, that would be very interesting and helpful. Should I be hesitant to suggest that a concertina that is presumed to be of 100%Jeffries bioligical heritage but is rather of mixed (Crabb and whomever), whether it is accidentally or deliberatly misrepresented can be judged on its inherent qualities which will always be evident. And many of these "mixed or of unknown heritage" instruments have unique,distincitve and wonderful qualities. Thanks, Richard

Hello Dave Is this really such a rarety and possible sign of inauthenticity or even suspicion? I have just purchased a concertina with the "C. Jeffries Maker" on the left side end plate. Richard

Hello I have a few questions about concertina reeds. If to tune up a reed one removes mass from the reed, which I understand alters the balance and weight distribution of the reed from one end to the other. That would imply that over time and because it is being exercised and stressed the reed gains mass. What's with that?! What is the process that changes the tuning of a reed? Over a life of a reed will this process of going out of tune and being retuned eventually mean the loss of structural integrity and give the reed a kind of mortality? Like us will reeds eventually fail from being tuned and played and tuned and played, or just get more and more out of tune? What does this process tell us about the level of use and stress we put on our instruments. I understand what I have heard about being deliberate and thoughtful when breaking in new reeds. But when an instrument is broken in can't it be played with skilled vigor to bring out the music? I have heard some of the great players play with a lot of subtlety, and at times use a lot of punch with the bellows to bring so much power and expressivity from their instruments. Are they hastening to eventual disintegration of their reeds? If so it must be a trade off that makes artistic sense. These are questions I have. Thanks, Richard

Hi Your description reminded me of the one eyed, three legged, deaf old dog named Lucky! Good luck, Richard

Hello Is it wrong or a bad idea to shift reeds in their shoes into a different slot other than the slot that it was meant for in the normal layout? For example on a Jeffries right side accidentals could one take the C# on the second button push and put it into the first button push, for a double C#? I'm thinking these two reeds are probably close or identical in size and the shoes should fit into the slots. If the reed shoe is one that is a bit to small a shim might do the job? If the reed shoe is bigger than the slot by just a bit perhaps it could be done as well.?I imagine if the shoe was way too big one could damage or "expand" the slot and that wouldn't be good. So, what is the extent to which this kind of reed shifting can be done? What are the no nos? Thanks, Richard

Hi Greg Thanks for your input. I appreciate hearing your descriptions. Would mind describing more of what you are hearing when you talk about that "honk" you hear and feel is the ideal in a Jeffries. Maybe you (and anyone else) have a particular recording and track that you could mention that expresses that "ideal". How about recordings that you feel have the "joyful sound" but not the "honk", as well? I really want to understand what folks are describing. Also I'm curious if the Dipper you mentioned, that had that "honk", was a particular model, or had qualities that set it apart from the other Dippers. I really enjoy when Noel plays a variety of good instruments and hearing them in contrast to one another. I treasure the little sound clip I have of him playing mine. Thanks a lot, Richard

Hello Folks I am interested in hearing from people who have had the opportunity to experience playing a variety of Jeffries, (and/or Wheatstone Anglo concertinas) and wouldn't mind sharing their perceptions and thoughts on what distinguishes a good Jeffries and/or Wheatstone Anglo from a great one. I am interested hearing what people feel are the technical, mechanical, aural and other less quantifiable qualities between two instruments of the same highly esteemed manufacturer. Does the difference have to do with the particular model, period of manufacture, quality (or lack of) of maintenance and service work? Thanks, Richard

Hello Wim The Anglo looks very pretty. I would love to hear some sound clips. I would like to hear it sound like a concertina and also like a variety of other instruments and variations. Thanks Richard

Hello I think worrying about the noise of pushing air out, or taking air in to your concertina while playing is at best useless concern. I think the real challenge with the Anglo is to make music. If you listen to the best players one might never detect it in the midst of the engaging and expressive music. On the other the other hand there is something compelling and inspiring to hear Noel Hill's music and notice the air button being used. It tells much about his technique if one is ready to understand the meaning of where and when within the tune he has chosen to use the air button. On a more poetic line of thinking I enjoy the sound of "air" because it illustrates the wonderful parallel between the concertina and us.....we both breathe. That breath at times has expressive qualities to me. Personally I like the challenge, and I spend time and energy thinking about when I will or can use the air button whithin a tune, but I spend much more time and energy thinking about which fingering I will use to bring out all the music in a tune. Over time my thumb seems to be learning and is becoming more coordinated to act when it receives information from my arms that they are too far apart or too close together, or soon they will need more air for a big chord. Richard

Hello folks I have found a number of great places to play my Anglo that have wonderful acoustics and really allow me to savor the sounds that come out of my concertina. In theses places that enhance the sound of my instrument I have had some of my best moments of playing....so much pleasure! I was wondering if others have favorite spots that they frequent that enhance their sound and pleasure? I especially like the sound I get playing on a staircase in a hallway between the poured concrete walls of The San Francisco Art institute. The sound is bright but not too echoey. There is a wonderful gallery there (with a great fresco by Diego Rivera) that has wood floors. It is about 50 X 100 feet, and a ceiling about 50 feet high. The room is modeled after a Spanish church. That space is just too much, the smallest sound is loud and echoes for seconds. It is too much but is fun too, in small doses. In the Golden Gate Park there is a tunnel that is about 60 feet long, 14 feet high, and it is semi circular in shape. This tunnel has very nice sound enhancing qualities and gives the instrument a monumental sound with out being over powering and distracting. I like to practice there on warm days. I have to admit I have been found in bathrooms at work practicing. I really like the sound, and I don't care if I seem peculiar. I have had the fun of sounding off a few notes in the grand entry hall of New York's Metropolitan Museum of Art. That was good clean fun. I would like to try Grand Central Station some day. Richard

Hello folks I have listed this very nice sounding and playing accordion before here, so here goes again, now for less than I paid for it. PAOLO SOPRANI BUTTON ACCORDION (I HAVE BEEN TOLD THIS WOULD BE CALLED AN ORGANETTO) THIS IS A VERY NICE, LIKE NEW, INSTRUMENT THAT PLAYS VERY WELL AND SOUNDS WONDERFUL. THIS IS A ONE ROW, PLUS ANOTHER ROW OF THREE BUTTONS TO SMOOTH OUT THE PUSH AND PULL. IT HAS TWO CHORD BUTTONS ON THE LEFT HAND SIDE. IT IS IN THE KEY OF B. HERE IS THE BUTTON LAYOUT (push/pull): C#/B E/D# G#/F# F#/A# B/C# D#/E F#/G# B/A# D#/C# F#/E B/G# D#/A# IT PLAYS WITH TWO REEDS AND THREE REEDS WHEN YOU PULL OUT THE STOP. IT IS IN GREAT LIKE-NEW CONDITION. I DON'T KNOW HOW OLD IT IS. IT COMES WITH VERY NICE SOFT LEATHER STRAPS AND A VERY GOOD SOFT CASE. PLEASE E-MAIL ME WITH ANY QUESTIONS PRICE: $350.00 plus shipping

Hello I didn't realize I'd be healthier without my Wheatstone. Next someone will suggest I stop smoking while driving drunk chatting on the phone clipping my toenails. Richard

Hello In the brief time that I have been learning to play the Anglo concertina, as my skills (hopefully), pleasure in playing and musicality(hopefully again) have grown so has my general appreciation and love for these marvelous boxes that come to life between our two hands. Some times I admit a bit of greed and course aquisitiveness must be teased out from my general appreciation and desire for concertinas. I try to be practical and financially sensible as to what kind of and how many concertinas I may posess that will complement one another, be enjoyed and help me play and improve. I currently possess three nice instruments (one should arrive very soon) and each one fufills a certain role and has a distinct identity. They are used, enjoyed and treasured for their sound, playablility,beauty as objects,as pieces of history and as vehicles to make music. Richard

Hello From what you describe you have a typical German Anglo 20 button concertina. To find a purchaser for it you should know what key it is in. If it is in good condition I think it would be fair to ask between $60.00 and $100.00 for it. It is what many people start out on and is a good instrument to decide if one wants to play more and move on to a better instrument. Although many old time players in Ireland played these types, and still play a concertina like yours. Let's see a photo if possible. Richard

Hello I am seeking a well playing and sounding Jeffries concertina in Bb/F. I am looking for an instrument which was originally and always in those keys. Thanks, Richard richardgldbrg@aol.com

Hello As a relative beginner and because of my delberately slow pace of acquiring, learning and mastering (to the extent I am capable of) each tune I have been a bit hesitant to attend sessions. I know playing with others is the great next step to improve my playing. I have been to a number of slow sessions. I have never been able to say I enjoy the experience. At times I have felt a small rush of excitement at being able to play along on a tune I have in common with some others who are there. Or even getting an encouraging nod when I offer up a tune on my own. I will admit most of the time being at the sessions painfully makes me confront the limitations of my skills and repetoire....but that is nobody's fault. BUT one slow session in particular there was a fellow who insisted on playing his fiddle at a very quick tempo leaving me and maybe others behind. It did sound very unmusical to me. It seemed he thought of himself as another Paganini perhaps. I thought of Delacroix's portrait of Paganini writhing and entranced. But this guy was no Paganini. I distinctly felt like a driver being tailgated and if I could have slammed on some musical version of power brakes I would have even if it would have put a small dent in my German silver bumpers. Richard

Hello folks I just want to give an unsolicited report on the the great Clare style concertina workshop we had on Sunday Feb. 27 here in San Francisco. We had 9 nine attendents from the San Francisco area and Los Angeles too. It was a fun workshop that left everyone inspired and confident and more knowledgable about Irish music, Clare concertina music, Gearoid's style, ornamentation and more... He gave us 15 tunes to learn. I would highly reccomend his workshops. Here is a link to his site which is a good way to keep posted about his workshops ,concerts, writings and recordings. http:www.celticcrossings.com Thanks Richard

Hello This aspect of making music is always a work in progress. I think I am slowly improving in this area. I have no confusion that without solid dependable rhythm throughout the entire tune, and within each measure, I am only approaching the appearance of music. I use a metronome in spurts. When I get tired of it I put it away for awhile. I am trying to teach myself to tap my foot more consistently and accurately. That is a long term project that I allow myself to learn over time. I do appreciate the visual element of keeping rhythm. Have you ever been playing when people are walking by? It is a great way to cue to a steady beat. I just ordered a "lord of the dance" DVD. My theory is to turn off the sound and watch the dancers as I play. I don't even know what music is played on that, or if the danceing will work for me. I am taking a chance. But I think this will be a good tool. Good Luck, Richard

Hello Folks I am a bit surprised and even delighted to have inspired this energetic sharing of ideas. But before it goes too far and people get the wrong idea I need to share something that might bring to a halt all this introspection, speculation and assumption! When I referred to the gender of a Jeffries as a female, (1) I was only looking at a photograph (2) It was very late at nght, and (3) I had enjoyed quite a lot of drink, and (4) yes...the lights were very dim. I don't mean to make excuses, but really, in the dark it all kind of feels the same. Richard

Hi There Thanks for all the useful responses so far.... I wonder how much of a sin it would be to just change (if practical and possible) the Jeffries accidentals over to match the Wheatstone's or vice versa? Has any one done that and survived? Thanks, Richard

Hello Folks I am curious to ask players out there who play both Wheatstone and Jeffries Anglo systems what that is like for you. What is your experience with switching back and forth from one to another? Are the imagined muscle memory confusions existent? Perhaps the ablility to change fingering when playing the same tunes on both instruments is an improving exercise that benefits your playing in general? I am considering acquiring a Jeffries to be a sister to my Wheatstone. Should I be fearful? What is your experience? Thanks, Richard

Hello There If your Scholer would take more time and energy to get back into top mediocre condition and you or your wife are just a bit curious to try taking a step towards learning the concertina you can take a small risk by buying a Scholer on e bay(one which appears to be and is "promised" to be intact). You should be able to find one for $60.00-$100.00. Some of them have a very smart and appealing mid 20th century plastoid stylishness that I appreciate just for that. Richard

Hello Keeping my upper lip stiffened and my glutes braced inorder to elevate my simple and cheerful outlook above the bitter and bilious excretions spilled out in the course of this discussion I would with humility reccomend not to let any force, institution or craftsman hold me back from acquiring an instrument of the best quality available rather than wait for a date in the future. That could solve 90% of the problem. Richard

Hi I am wondering if "Bazza" and "Oddball" have gotten to the point in the waiting process when Mr. Dipper has asked for the particulars of the instrument that you would like made for you. I understand that is what happens at some point in the queue when your turn is coming up.? Thanks, Richard