gcoover

I believe that the Harmonetta is closer in spirit to an Autoharp: ocd And here's an interesting video of the innards of a Harmonetta:

Doug, this is pretty much the same as the system used by Simon Wells for his Anglo tutor. I tried Simon's system at first, but found it much quicker for my brain and fingers to locate and learn each button by only one number instead of both a letter and a number. But, if it works for you, then that is great! Gary

I should mention I also find it quite handy to use a color chart showing all the buttons and notes, similar to the one found here on concertina.net but with colors re-arranged (for example, all the "A's" are the same color with but different shading for each octave). I've also changed the letters to coincide with ABC notation in case I ever manage to learn how to read it directly. This chart is invaluable when learning a tune as it graphically shows where alternate notes are and aren't. After a bit of trial and error, I then use this to determine what buttons to use when notating a tune to learn. I'm not quite sure how a computer program could automatically determine the best note to tab since there are so many alternates giving better phrasing and better fingering. As for notation systems that try to tell you which finger to use where - way too much trouble, and more annoying than effective. The choices are pretty limited anyway and not that hard to figure out. This all sounds a bit complicated but it's not. Notation systems should be simple, uncluttered, intuitive - that's what gets the job done. Along with an obsessive amount of repetition and practice! Gary

Raide, this is an interesting way to adapt melodeon tab, and if it works for you to learn Anglo more power to you! I think every Anglo tutor out there uses a different numbering system, some of which look a lot better on paper than in actual practice. I'd be curious to hear who likes which system. For me, I use a modified version of the one used by Chris Sherburn and by Dan Worrall for his Kimber book, with 1a-5a for the accidental row, 1-5 for the C row, and 5-10 for the G row on the left side, and the same identical system on the right side. But instead of using those annoying little "P" and "D" or "^" or whatever, I just draw a line above the notes to be pulled, where a long line can indiciate long passages on the pull. Or......you can always try what someone jokingly suggested on this forum - just use "P" for pull and "P" for push - I like that!!! I mostly play Morris and Country Dance with full accompaniment, and this system works great for me. I write the right hand numbers above the melody line dots, and then below it put in the left hand numbers. At one time I planned to put in the actual dots for the left hand in order to actually learn to read music better, but decided that was just too much trouble. The goal is to learn the tune, not notate the dickens out of it. A lot of the numbering systems out there really get in the way of learning the notes and the tune, but I find this one works best for me. Gary

Excellent way to carry two at once! Since the hard square wooden case for my Anglo is just too bulky to carry, I use a padded cooler bag with strap from Walmart, cost about $7. In a pinch, I can also use it to keep a six-pack cold. Hmmm, which is more important - concertina or cold beer? Might have to invest a second $7! Gary

In the wooden-ended EC, it looks like there are too many pads along the sides for a rectangular system of reed chambers. Only conjecture until we see photos of the insides... For some reason I only took a photo of the left side of the metal-ended Horniman EC, I guess I was saving film because I was taking photos of lots of concertinas. But I only noticed today, after all these years, that the metal ends were actually designed for a 56-button EC! Gary

Ed, Sorry to say I never looked inside. It was owned by Neil Wayne at the time, and I remember Marie Robson playing it, so maybe one of them knows? Here is a photo taken in 1979. Lovely instrument. If it ever goes missing....I will deny everything! Gary

Yes, this is a very curious instrument indeed. I've played the Jeffries English that is now locked up at the Horniman, and it is without a doubt the finest English I've ever seen or played. Would love to see the innards of this wooden-ended one! Gary

Is there any hope of finding a cure for "concertina face"? I'll never forget a visitor to a session wondering if the concertina player was blind...

You can call me old-fashioned, but I like the mic separate from the instrument, either as a single mic, or perhaps the luxury of two mics. If you're doing pirate-y things while playing like jumping about or turning 'round the capstan, this will give you much more freedom of movement plus the ability to "work the mic" in unusual ways that you just can't do if the mic is attached and follows you everywhere with an attached cord. With a separate mic you can control your own volume much more easily and work the dynamics, jump over and use someone else's mic for awhile, drop to your knees and sing into it - lots of crazy options here. But, perhaps most importantly for a pirate, you can get a mic stand attachment that holds your grog handy - I've yet to see an attached mic that can do that! Gary

For a group called "Simple Gifts", they sure play a complicated pile of instruments! Gary

Some people just want to play and not listen. Or learn. Very sad!

Common problem, the person next to you hears the concertina better than you since the sound blows out both ends so they naturally try to play louder to hear themselves. You can try sitting next to a rhythm or percussion instrument so you can hear your melody better, but whatever you do, NEVER sit next to another concertina player - you hear them louder than yourself, and if they make a mistake, you correct, you've now made a mistake, they correct, and then it just spirals downward from there endangering the entire time/space continuum!

David, you are totally right. The same can be said of Stephen Foster, Robert Burns, even Bob Dylan and Paul Simon claimed authorship of tunes they nicked from Martin Carthy years ago. I'm just curious what other tunes in the classical repertoire are shared with the folk world, knowing full well that the folk tune might have come first. Of course, we need to add Fisher's/Fischer's/Fishar's Hornpipe to the list.

Incredible photo! Truly captures the magic of the Morris. Gary

And I know it's not free, but I've used the Amazing Slow Downer to transcribe and learn several hundred tunes, so it has more than paid for itself many times over. The ability to slow down as much as 300% will help you crack the fastest tune out there, and the ability to change keys, loop, EQ, etc. are invaluable. I cannot recommend it too highly! As I recall its website is: www.ronimusic.com.

Wow, playing concertina sure makes people do crazy things! Gary

Malcolm, thanks so much for the info on expatshield, it was an easy free download and worked perfectly. It's quite a good interview, and the presenter asks very knowledgeable questions - I'm too used to the mindless idiots we often have here on TV in the States! Gary

Marcus It loads the site, then says "Not Available In Your Area". Why would they not want folks in the US to see it? I hope they're still not mad about that little Revolutionary War thing a few years ago... Gary

Leo, the one from Canada with Piet Visser actually belongs in the South Africa category. And the one from the movie should be in a new "lip-sync" category! Funny how a cheap 20-key anglo can sound like a piano accordion and a full orchestra, or.........maybe it's an early midi-concertina?!? Thanks so much for trolling YouTube every week for these gems! Gary

Several years ago, the x-ray lady at the Houston airport told me to open up the concertina case, and then she asked me to "turn it on". Well, rather than talk dirty to it, I gently lifted my 50-button Jeffries Duet out of the case, mashed down every single note at once with both hands and then pulled for all I was worth. Needless to say, she was not amused, but I do think that awful chord is still echoing about the airport to this very day! Gary

Mary, sounds like a good opportunity for you to organize something in San Diego! Yes, that's how these things work - the person with the most interest gets to be the catalyst. With other players in the area, plus Michael Eskin with his "iConcertina" apps, it could turn into something really fun. Does the morris team there use concertina? Any players involved with the "Star of India" square-rigger? And then there is also Coronado Island, Balboa Park, the Gaslamp District.....Ok, I've already talked myself into coming! Wouldn't mind at all going to Tucson either. I met Rod at Palestine this year and he's a masterful player on the Crane, and one of the stalwarts who went the distance on the 3am concertina session. Perhaps there's a nice desert resort where we could organize something? I'm sure the non-musical spouses and hangers-on would appreciate alternate activities. I can see the group photo now, with all of us playing concertina by (or in) the pool. Gary

A big ol' Texas thanks to Jody Kruskal and to all the wonderful concertina players who helped make the 2011 Old Pal Concertina Weekend such a wonderful success! The event just gets better and better, and this year it included players from 6 states which I think is the most ever. We had English, Anglo, Crane and Hayden Duets, plus one mini and two basses. Musically we had a nice mix of accomplished players and absolute beginners, and even the weather was a mix of hot and cool. The redbud trees, dogwood trees, azaleas and bluebonnets were in full bloom along the roadways, and there were areas where the purple wisteria was over 100 high in the trees. And of course, legendary East Texas BBQ. So good in fact, that we all went to Shep's BBQ twice. There is a sign in the restaurant that says "No one leaves here hungry". Very true. Jody taught us all "Waltz Across Texas" which about a dozen of us then performed on the auditorium stage to a full house that gleefully joined in with the singing. Due to Jody's arranging skills we had quite the full concertina band sound, and numerous people commented afterwards about how much they enjoyed it. Another high point of the weekend was an impromptu jam session after the main concert with 6 concertinas that outlasted all of the other old time music jam sessions around the festival. We played everything from Irish to English to German to Oldtime to whatever, but had to leave at 3am when they locked up the building! Once again, thanks to Dan Worrall for all his efforts over the years to make this event a success. I can't believe he let something like his son's wedding get in the way of his attending Old Pal this year.....talk about a lame excuse! Gary

Yep, it's virtually identical to the one I bought many years ago for $25. The bellows and RHS are now my tuning bellows, so I'd say that was money well spent! Gary