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Stephen Chambers

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  1. It sounds like a very interesting instrument Shay, presumably made in order to solve the problem of the tone difference between the reeds on the inside row, compared with the rest of the instrument, from the more normal (parallel-chambered) Jeffries reed-pans. Are you coming to Miltown, and will you have it with you?
  2. Yes, it's a Jeffries that was made by John Crabb. This model is more-commonly found with 26 keys and they have a very nice sound, but the price being asked for this 20-key one is utterly ludicrous.
  3. #31844 is listed as a model No. 4 in the ledger, in which case the reed-pan will be of uniform depth all around and it could have been put into the bellows frames 'a "notch" ( 1/6th rotation ) away from alignment with the other side.' You can determine the correct alignment by ensuring that the R or L markings on both reed-pans and bellows frames are lined up with each other.
  4. Dan Worrall's paper The Concertina at Sea: A History of a Nautical Icon can be viewed and/or downloaded here: https://www.yumpu.com/en/document/view/3988437/the-concertina-at-sea-the-anglo-german-concertina
  5. I think he's probably sometimes changing harmonica to get the accompanying chord he wants at that given moment, rather than for melodic reasons.
  6. Playing with two (or more) tremolo-tuned harmonicas, in keys a semitone apart (thus making the combination of the two diatonic diatonic instruments into a chromatic one - like a B/C, C/C#, or B/C button accordion) seems to be quite the style in the Far East, and the Japanese Tombo firm (the manufacturers of the instruments played in the video) facilitates this by offering tremolo harmonicas in every key possible. Here's another video of the same player, performing The Blue Danube, on various combinations of harmonicas: https://www.bilibili.com/video/BV1k54y1t7rQ/?spm_id_from=autoNext
  7. The image on the concertina appears to be a simplified version of what's on the label - I wonder if it was the maker's trade mark? The maker's label in your link, Daniel, is printed with the initials G. G. K. S., which probably stands for Gebrüder Gündel, Klingenthal, Saxony - a harmonica, accordion and concertina factory founded in 1872, and still operating in 1961. I have a copy of the 1903 Musical Opinion & Music Trade Review Directory that lists "Gundel, G. (Klingenthal).-Concertina maker. Sole agent: R. Hahn, 81 Milton St, EC" John Henry Ebblewhite's address on the box label of the eBay one, at 4&5, High Street, Aldgate, was where he was located from 1883 until his death in 1901, and his executors continued to run the business (under his name) there until 1916.
  8. It's called the Windharmonika, or Aeolsharfe, and their origins go back 200 years, or more, and before the invention of the concertina. They've been revived in recent times: https://www.guriema.de/windharmonika.htm This is the Google translation of the German text: Aeolian instruments The idea is old and spread all over the world. The basic principle can already be observed in nature. When a vibratory material is set in motion by the wind, a specific sound event can occur. If leaf tongues are exposed to the influence of the wind, as in the case of the Aeolian harmonica, you get an instrument for the soloist nature. According to its categorical classification, the Aeolian or wind harmonica is one of the first autophones, mechanical instruments followed much later as relatives - such as the punched-tape-controlled pianolas. These instruments had their heyday in the Romantic period, but can still be found in the lists of a few instrument makers up until the beginning of this century. The following can be read in a catalog from the Adolf Klinger company, Reichenberg in Bohemia from 1912: "Aeolian instruments are those which are not made to sound by the hand of an artist, but speak of themselves by exposure to the effects of a natural current of air or wind. The music thus conjured up has a special appeal to every receptive mind and Depending on the nature of the various Aeolian instruments, resembles either the sympathetic chords of distant choirs and organ tones, or a lovely, melodic chime." Instruments of this type were probably built between 1920 and 1930 by the Seckendorf company in Markneukirchen. After more than 60 years, we rediscovered the wind harmonica. Based on old catalog illustrations and the memories of some older citizens, we have made a new and functional instrument within two years. In the meantime, this unusual instrument adorns many a roof in Germany. Among other things, a wind harmonica from our production can be admired on the roof of the musical instrument museum in Markneukirchen and on an old listed powder tower in Großschirma. Depending on the strength of the wind, the wind harmonica emits humming sounds, at first softly, like distant organ tones, which seem to be getting closer as the wind strength increases, becoming stronger and stronger until they finally ring out in full harmonic chords. The sheet metal parts are cut by hand, rounded, beaded and then soft soldered. The blade, which automatically turns the instrument in the direction of the wind, is also hand-driven. The reeds are made especially for us in the foam factory in Klingenthal. They are made of a special brass alloy and are ground in individually and riveted to a plate on one side. Therefore, when it is windy, they only react to pressure and not to pressure and tension as with the harmonica. The elaborate tuning (in A major) is done by hand. Due to the sensitivity of the individual reeds, only the lower tones speak at low wind speeds. The reed plate is weatherproof and set in a special aluminum frame. The body made of titanium zinc sheet metal is polished to a high gloss and coated with instrument paint. All other metal parts are chrome-plated. Wind harmonica No. 2000 Body made of titanium zinc sheet metal approx. 66 cm long, diameter of the bell 31 cm, weight approx. 4.8 kg, height of the structure max. 107 cm. The wind harmonica can be equipped with different attachments. Our standard attachment is the lyre. Depending on your wishes (for an extra charge), the following motifs are possible: pennants with the year or initials, dragon, compass rose or motifs according to personal suggestions.
  9. Tell me about it Geoff, I'm starting radiotherapy in two weeks time! 🙄
  10. Thanks Geoff, so there's (seemingly) a big space-saving internally (compared with an Anglo) from not having a wind key, so 29 buttons on the right-hand side and 25 on the left = 54...
  11. 56-key treble English concertinas (though in a more regular 6 1/4" size) were commonly made.
  12. Those two features make it sound very much like an Italian, Bastari, English concertina, like this one: https://reverb.com/item/6881748-bastari-english-concertina
  13. I found it by Googling "C1080 concertina" - it's on the Concertina.com website: http://www.concertina.com/jeffries-duet/index.htm That's the kind of thing I was trying to describe to you Pikeyh, only you'll have to transcribe this one to Bb.
  14. Ah, and then there's this thread that you started in 2005 Wes:
  15. What a wonderfully informative sleeve Wes, a great find! There's more about Ross in this thread, from Geoff Crabb and myself:
  16. On a 38-key, or a 4-row, Jeffries the notes on the left-hand thumb key are usually F-press/C-draw, whilst that button normally provides a drone-C (press and draw) on a 30-key. But rather than doing away with drones, Cormac Begley has had me convert numerous buttons (on certain of his concertinas) into various drones. Indeed, he's even had Colin Dipper build him an amboyna-wood bass-baritone with five basses operated by thumb-switches on its ends.
  17. Another contender would have to be the Concordeon, made by Herbert Green: https://sites.google.com/site/peterbgreen/theconcordeon
  18. You should watch the out takes from the [Wheatstone] Concertina Factory newsreel, to see a professional having the same problems, starting at 9.56:
  19. B/D is commonly the original tuning of the last button on the left hand side inner row of antique concertinas, which may make more sense for the "harmonic" style of Anglo playing (though the G/D that's found there on 20-key German concertinas might make even more sense, echoing the C row, for that in a rudimentary form) - but I'd routinely convert the D to a low A for "melodic" style playing by Irish players. (Indeed, this is paralleled in tremolo-tuned harmonicas, where German instruments are tuned for vamping an accompaniment at the bottom end, whilst oriental ones are tuned for melody playing - and hence oriental ones are commonly the choice of Irish players.)
  20. Jeffries', and other makers, were always happy to oblige customers with small, or large, variations in fingerings, though you'd find them less, and less, these days after instruments have been restored and put into what we'd consider "standard" Jeffries fingering today - so I'd see no reason why they would not be prepared to make an Anglo in Lachenal/Wheatstone fingering. Whilst Lachenal's even manufactured a Special Anglo Model that fingered like a 39-key Jeffries... On the other hand, I've personally converted several Wheatstone concertinas to Jeffries fingering, and vice versa.
  21. I don't reveal my email address to people I don't know, but I put the information you are seeking into a PM ten days ago - only you haven't opened it yet.
  22. Your initial feeling would be correct, Old Philharmonic Pitch (A=452.4) is 48 cents (so very nearly 50 cents = half a semitone) sharp, which is indeed way off. The beat between the two pitches would be intolerable.
  23. I've not come across B. Peat, but here's my research on Henry Dean (i), and (ii): Henry Dean, father and son, concertina tuners, 1837-1952
  24. She's not so easy to spot in your small, dark, image of the Oldham Concertina Band on Coronation Day 1911, but the version of the same post card that's in my article Joseph Astley, Oldham Concertina Band and the MHJ Shield (possibly the "document" you mention?) clearly shows a young woman (at 10 o'clock to the big bass drum) wearing a large Edwardian hat and a full-length dress, and she's even more obvious (at bottom right) in the 1908 photo of the band with the Challenge Shield. I even commented (in footnote no.38) that "The very presence of a female band member in the two Oldham Band photos is in itself noteworthy for the era, and unique amongst the images of (non-Salvation Army) concertina bands that I have seen dating from before the First World War. However, that conflict saw women take on many roles that had previously only been filled by men, and there is evidence that in the early 1920s a few of them did play in some of the bands (the ones that I’m aware of being Premier, Ashton-under-Lyne, and Barton Hall)." Cecil Arthur Astley (1890-1959) is kneeling, to the right of the bass drum, in the 1911 photo. The "Astley's store" in the background (not altogether surprisingly) sold concertinas, and also bicycles.
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