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About DickT

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    Nr Aberdeen Scotland

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  1. I was playing today and started listening to the difference between the pad noise on my Edeophone 56 key ET and my Aeola TT. The edeo has a much sharper and louder pad slap. Both 'tinas have been relatively recently re-padded so I was wondering what might cause the difference in sound. Any ideas anyone? Dick.
  2. DickT

    Hornpipe and polka rhythms?

    Try The Steamboat as reel, it goes very well.
  3. DickT

    Hornpipe and polka rhythms?

    To my mind the difference between a polka and a hornpipe is in the phrasing. A hornpipe goes tum-te-tum-te with strong 1 and 3 but 3 is slightly less than 1, all played as a 4 note phrase. Triplets tend to put a bit of a 1-2 feel in but triplet 1 is still stronger than 3. A polka has a strong 1-2 feel to it with the first note of each tied pair having equal weight in the bar. When written the hornpipe has blocks of 4 tied notes (usually) emphasising the 4 note phrasing as against the polka's tied pairs. A reel has a more running feel to it going 1234-5678 with 5 being slightly subservient to 1.
  4. DickT

    New to English Concertina

    Hi Stu, English concertina is fine for what you want. I play trad tunes and songs and find EC great for this. The thing to watch for when playing tunes is that you attack the notes quickly and also take your finger off sharply so that the notes are clear and well separated. Not doing this tends to smear the melody and then the tune lacks definition; this is what gets EC a bad name when players do not take care. I second mdarnton's recommendation of Alistair Andersons workshop. Dick.
  5. DickT

    Playing along with Guitar

    Hi Bob, A capo is used as an easy key change device. In the case you quote the guitarist has changed the key from D to E (up 2 frets) but, for their own convenience, is still able to use D chords. For following on a concertina you need to read the chords played and mentally transpose. The problem for an anglo is the increasing difficulty in accessing keys away from the home keys, even the EC gets difficult with more sharps and flats (for me anyway). I will be down in Penzance in Dec if you would like to talk about this more. Dick.
  6. A Spanish friend is having a go at EC and would like to find players in Madrid when she goes home next year. Does anyone know if there are any? Dick.
  7. Hi Remster, Try Steve Dickinson, he is in Stowmarket and trades under the Wheatstone and Co name. He does a very good job, is meticulous and has an encyclopedic knowledge of concertinas. I know that he repairs Wheatstones but you would need to ask if he does other makes. For contact details do a web search for C Wheatstone and Co. Dick.
  8. Poor bellows control with a lack of phrasing to suit the tune is a major fault of many EC players and is the main reason why EC is not respected as a tunes instrument, as opposed to the anglo. There is no reason why the bellows cannot be worked more like an anglo to give the tunes lift. I now pay much more attention to bellows phrasing but it has taken me a long time to break the suck til full, push til empty habit. I have found that fanning at bellows reversals is especially important to get crisp notes; linear reversals, especially at full stretch or empty, rob you of all control of articulation. Dick.
  9. DickT

    Astounding Thought

    I think I'll stick to English!
  10. If Dave is regularly seeing 'tinas modified like this it would seem that players want this feature. It may be orthodoxy that you should finish a piece with the bellows closed but I have certainly never been able to achieve this and find the removal of a never-used reed the solution to closing the bellows without an unseemly squawk. I have no qualms in doing this to make the 'tina play as I want but I do keep the reeds in the case against future need. I do wonder how many players ever use this Bb; can we have a straw poll? I don't think I have ever played above the C below this, it's squeaky bat territory.
  11. Just to clear this up; it's my concertina and for years I have removed these reeds on my instruments to create a breather button. I have never needed this note so it does not limit my playing. I keep the reeds so that they can be re-installed by a new owner. Alex, please keep it as it is.
  12. I've had one roll but not off the edge.
  13. I have come up with a compact device that helps prevent edeos rolling off table tops. It consists of a ring of cordage, currently 6mm diameter but better to be a bit more, that is placed on the table for the concertina to sit in (see photos). It is not foolproof at the current cordage size but gives a great deal of stability, is very light and fits easily in the bag or box. Dick.
  14. For better access to more keys you might consider an English. Peter Bellamy used Anglo but A L Lloyd was accompanied by an English, afaik. Damien Barber uses English. It might depend on your affinity for or adaptability to the push/pull of the Anglo or the one key, one note of the English. I started with an Anglo, a very good Jeffries Bb/F, but could not get on with the push-pull. As soon as I tried an English I took to it straight away and have played EC ever since. There is an opinion that the EC is unsuited to dance music or punchy songs since it lends itself to legato playing but this is a myth; take Alistair Anderson's advice and treat the buttons as if they were red hot, get on and off them quickly and your music will be as bouncy as any Anglo. If you can, try both systems before deciding. I hope this helps. Dick.
  15. Geoff, a very interesting take on the current market; I fit the demographic perfectly. Thanks all for the replies. Dick.