RP3

Michael, you've asked some good questions. I have been going to Noel's class since its second year (1996) up at Bucksteep, and I believe that the class is very beneficial. Let me take your questions one at a time. 1. I almost exclusively use Noel's system and only stray from it when some of the fingering for a specific tune is hampered by using the NH system. Even Noel recognizes this fact and has you substitute different fingering when his normal pattern doesn't suit the tune. I was only into my 14th month of anglo playing when I first attended, so my habits weren't firmly in place and no backsliding resulted. I know others who with more experience did undergo a more difficult transition -- but they still seemed to regain speed, confidence and comfort with this system by the end of the first week of class. All said, Noel teaches a good system that takes advantage of your strongest fingers and this helps one get going and achieve results fairly quickly. 2. NHICS has been crucial to the development of my understanding and appreciation of traditional Irish music. Through both the classes, his concerts, and sharing with other students, we have been exposed to tunes we might have otherwise never heard, and Noel shares history about other famous traditional musicians that adds enjoyment and understanding to the class experience. Some tunes that are very common seem to have been homogenized by the "Irish super groups" that play them, so it is quite refreshing to hear these same tunes played in a sometimes totally different setting by an master traditional Irish musician. 3. Every year I really look forward to attending the class. Not only have I made great friends, but Noel's class really recharges my music batteries. While virtually every student will struggle to greater or lessor degree with an unfamiliar tune (2 per day), and we all seem to choke more or less when having to perform the assigned tune in front of Noel and the rest of the class, still the challenge is energizing. Each year I have left more inspired and with lots of new (to me) music on tape to attempt to learn over the winter. As is true in most endeavors, you get out of something what you put into it. So, in my view, an open and willing mind will get you a great learning experience that is far more valuable than its actual cost. After many years in the Mass./NY class, I'll be at the Midwest class this time around and will be looking forward to new music and making new acquaintances! Hope to see you there sometime. To quote an old TV ad: "Try it, you'll like it!"

I've participated in the the NY/Mass class since 1996, but this year my work schedule has required that I switch to the Midwest class. So in addition to the challenges Noel gives us, I'm also looking forward to meeting some new squeezers and sharing some tunes. BTW, anybody know much about the site, Maryknoll? Have Dipper, will travel!

Dave does that concertina count include that huge box of concertinas from Bob Tedrow? The reason I ask is because Elaine and I brought 5 concertinas betwwen the two of us!

I think that everyone had a great time. The Cottage Inn was an ideal site for this event -- small though it was this time--and based on discussions we had Sunday morning, we'll be coming back next year. My wife was the unofficial cameraperson so I'll burn Ken a CD for posting purposes. (Ken if you read this let me know the mailing address I need to use!) Bob Tedrow brought a double handful of his intruments and I got to try them all. I must say I was very impressed with their tone and playability. Keep up the good work Bob. His wife Klari and he played a couple of duets of hymns and the music sounded wonderful -- just like it was coming from a small pipe organ. Alex, their daughter soloed beautifully on several tunes and showed us some nice step-dancing too. To those of you who couldn't come, you really missed it! But there will be a next time in 2005. My best to all that participated in the music and the comraderie.

You know, it's a real shame that I've been playing concertina since the mid 1990's and provided some of the initial contributions to this website at its formation, and yet this forum "system" has the audacity to call me a "New Member". How humiliating!

I have two other high quality concertinas with which I am very comfortable and enjoy playing (one 28 buttons and the other 30 buttons), but the spacing of 38 buttons is just not comfortable for me. When I ordered this, I probably should have picked the 30 button model instead. So I'll just sell this one to somebody who can really enjoy it and I'll look for something else. But thanks for the thought Jim.

This is a virtually new Suttner 38 button model A4, Ab/Eb concertina that I ordered new from Suttner and received about 6 months ago. It has solid, flat, ebony ends (which was an extra cost option), 7 fold bellows, and is truly beautiful in both appearance and full sound. The only reason I am selling it is because my hands are too big for the button spacing. It plays like a dream with rich bass. If not sold beforehand, it will be available for inspection and test drives at the Southeast Squeeze-in this weekend in Cashiers, NC. Buy this one and save yourself a four year wait! Price not negotiable and domestic shipping/insurance to be paid by purchaser.

Three members of Paddywhack + one non-musician spouse will be coming.

I have a 28 button Jeffries and on the basis of that plus playing and observing other like models I would like to add a couple of comments. As far as I can tell, the 26 and 28 button vintage concertinas preceded the development of the 30 button models. You shouldn't always assume that a 26 or 28 button concertina is in some way inferior to the more buttoned models - at least not for a Jeffries. Mine is top quality and I'm familiar with similar quality 26 button models owned by others. Make no mistake, there are some drawbacks and accidental row note position is one place were a number of changes are evident. For instance, on my 28 button Jeffries, the low press A is on the last (or bottom) button on the outside row and other note combinations are similarly shifted over one place by the absence of that 5th button on the outside row. This does change fingering a bit. The right side is less affected since in the Jeffries note layout the first and second buttons on the outside row are just inversions of each other. So the note assignments of the other button notes in that row are unaffected. Overall, I am very pleased with this instrument. By virtue of the fewer buttons, it is lighter than 30 button models. One last and important difference is that these models (less than 30 buttons) are frequently less in demand and may be acquired for more attractive prices. So, to paraphrase an old TV ad, "Try it. You'll like it!"

Hi Dave, In the last year or so there have been two or three (memory is going) miniature Wheatstone Englishes on eBay. The first went for the most money and I think the final price was around $1,500. The others did not bid up as much with the prices stalling around $900-$1,000. It used to be that miniatures brought as much as full size 48 button models, but I don't think the market rewards them as much these days. And good 48 button English Wheatstones prices are moving up into the same territory as their anglos $2.8k to $3k+. This is supported by recent advertised prices on the Button Box site. Ross

Congrats Dave, As a long-time student at the NHIS, I have really missed the Northeast Squeeze-In since we moved the date and location of the class. Your initiating the Southeast Squeeze-In less than 75 miles from my home in Tryon is a Godsend! I will be making my reservations ASAP. Looking forward to some serious free-reed overload and meeting some new folks. See ya there! Update: Just made my reservation in the Box Bend cottage. Since it has a little living area and a couple of fireplaces, I hope to host an anglo slow jam and maybe a class for slow airs on the anglo concertina. English concertinas and button boxes will be welcome to join in too! Ross