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RP3

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Everything posted by RP3

  1. Based on the seven fold bellows which could be original, I will go out on a limb and suggest that it likely was/is an Aba/Eb or a G/D. How good was my guess Bob? Ross Schlabach
  2. Maybe there is no need for concern here BUT keep in mind that at one time in England, it was common for unscrupulous individuals to try to rebrand concertinas so they would be mistaken for Jeffries concertinas. As the story goes, pawnbrokers would only take Jeffries concertinas, so there was one incentive to change the apparent identity of an instrument. And a number of instruments look like Jeffries so it can be hard to otherwise distinguish imposters from the real thing if the imposter looks like a Jeffries AND appears to have a Jeffries stamp. For these reasons, any apparent discrepancy from the "C Jeffries Maker" should immediately raise a red flag. AFAIK there are no genuine Jeffries concertinas with either "Jeffries" misspelled or the "C" missing, so buyer be very wary if such an error is present!! Ross Schlabach
  3. Concertina22, the C. Jeffries Maker labeled Anglos are generally regarded as having been made during the lifetime of Charles Jeffries (Sr.) but there is no way to prove that concertinas carrying these markings were/weren't made after his demise. The 23 Praed Street location was apparently used by the company between 1891-1908 and numbers of Jeffries concertinas exist with both a 23 Praed Street label and stamping of C. Jeffries Maker, but Jeffries Sr. died in 1906. And Jeffries Bros continued to make concertinas at that location through 1923. So,the general logic is that if you want a concertina that could have been worked on by Sr., then you want concertinas labeled C. Jeffries Maker but with no reference to Praed Street on the label. (This is in spite of the fact that Jeffries operated out of 102 Praed Street from 1879-1891 but AFAIK they didn't label their concertinas with that address.) I have an additional bit of speculation that others may be able to confirm or shoot down. All the bone button Jeffries I have seen are labeled C. Jeffries Maker only and may be from the earlier period when Sr. was still alive, but I haven't seen any bone button Jeffries with Praed Street labels. Of course, buttons could be changed but I think it is fairly safe to assume that most of the Jeffries I have seen/played have their original bone buttons (I admit I have a 28 bone button Bb/F that was metal buttoned at one time but there is no way to know for sure what was on the concertina originally). Can any of our forum members confirm or debunk my speculation?? Ross Schlabach
  4. Pistachio, before you create a distinct problem for all of us vintage concertina owners vis a vis the CITES laws by continuing to imply the widespread use of ivory, you should be made aware that Ivory was not commonly used in vintage concertinas. Instead, the buttons were made of bone which, while still not meeting your vegan goals, do no make use of any poached materials or otherwise despicable collection methods. This is material that would have otherwise been disposed of, or as in the case of French prisoners of war in the 1800s were used to make ship models and all kinds of other decorative items that were sold to keep them better fed and alive til the war was over. Ross Schlabach
  5. Peter is right about travel and the number of concertinas. IIRC I don't think I've ever seen Noel arrive at the NHICS class with more than two concertinas (not counting the miniature which frequently tags along). For all the class sessions, he plays a standard C/G. But when he transitions to concert mode on one or more evenings, all bets are off and many times it has been the C#/G#. Last year he used his new C/G Carroll in class, but I don't remember what he played at the concert he gave at Wally's house. It will be good to see him again in about two weeks. This is year 18, I think , for me at NHICS, and it always gets my concertina batteries recharged! Ross Schlabach
  6. I expect that Noel was playing his C#/G# which is what he normally plays in concerts even at NHICS events. So by playing D fingering across the rows, the music would come out in Eb. I asked him why he plays this instrument so much in concerts -- even at class which keeps us from practicing to recordings -- and he gave the answer I should have anticipated: the instrument sounds so good!?. So I couldn't talk him down!! Having a couple of instruments myself that sound and play so well but aren't in the normal concert pitch, I can appreciate his position. Now that he is having special Noel Hill model concertinas made by Wally Carroll, I wonder if he will transition to one of these for his concerts (if he hasn't already)? But even if he does, will it be in C/G? Ross Schlabach
  7. Alex, as a point of reference, I sold a 30 button Anglo "Rushworth & Draeper" Crabb around 2002 for the US equivalent of £3,700 and a very good player it was indeed. Like the one you mentioned, this one too was a bone button/metal ended model. Just goes to show that there are and have been fine Crabb models floating around out there and people willing to pay a serious price to acquire same. Several interesting questions to ponder as a result of the failure of the Jeffries in question to sell on eBay (the absence of adequate photo information notwithstanding) are these: Are 38 button Jeffries Anglos less desirable than 30 button ones? Do current buyers prefer bone button Jeffries models to metal buttoned ones? Has eBay become an unwelcome place to sell concertinas? Has the market become so weak that even a model from a prized maker can't sell for a very reasonable price? I have my own opinions on these issues. And maybe I have failed to pose the right questions all together? What do others think? Ross Schlabach
  8. RP3

    Jeffries For Sale.

    Well it ended with no bids. Guess the vintage concertina market is going through what Wall Street would call a "correction"! Glad I like my concertinas, cause I wouldn't want to be selling one in this market. Ross Schlabach
  9. Wow, does Michelle Mulcahy have a doctorate in something or is that a misprint? We saw the Mulcahy family during a private concert during a 2000 Ireland tour arranged by Mic Moloney and she was just in her teens then. My how time does pass. Ross Schlabach
  10. Peter is of course correct. My choice of the word "integral" implied too much and I should have said it was an "as written" part of the tune rather that an alternative way of playing that part of the passage. However, after looking at various other transcriptions of this tune, the triplet only showed up in the one source I had originally consulted, so it is apparently just a variation as Peter pointed out. Mea culpa! But it still gives you a context for one of the triplet combinations we were discussing. Now search out the alternate transcriptions, and you will also see the ways you can avoid that triplet if you -- like me -- have a rough time with the fingering!! Ross Schlabach
  11. Hi once more Greg, Just reviewed another tune, the Templehouse Reel, and it has the F#, E, D triplet we discussed last -- in the A part. In this tune, it is integral and not an ornament added by Noel. As I mentioned yesterday, it is not fun as a pinkie, 2nd finger, 3rd finger triplet, but it is a basic part of the tune. You might want to check it out - again even if it is not the one you were seeking. Ross Schlabach
  12. Hi Greg, First off, there is no way to do an F#, E, D on the C row because there is no F# on the C row -- the F# is on the G row. Using both rows, it can be done but the fingering (draw, press, draw on the pinkie, second finger, third finger) is not the easiest. But let's look at Trip to Durrow to see if we can't find what you are really looking for. Looking at my notes and listening to the tune, I wonder if instead the ornament you are searching for is D, E, C#, D. That shows up in "Trip.." in the A part, and is played: D LH G row, E RH C row, C# RH accidental row, D LH G row (all on the press) Even if this is not the ornament you are seeking, it is a fun one to learn and use. Ross Schlabach
  13. Hi Greg, If in fact the triplet is D,E, F# then the next question is "in which octave." It might help greatly if you happen to know what song this "ornament" was featured in? Without those answers, we can try to at least work out the different combinations for that three note triplet. In the higher octave, it would start with a press D on the top button in the G row, followed by the E (same button on the draw), and finished with the draw F# which is the first button on the G row right hand. This triplet frequently is followed by the press G, so you could have thought you heard or saw D,E, G -- and just didn't hear the draw F# clearly in that combination. This is frequently used by Noel and others. Another possibility that I doubt is what you are seeking could start from the draw D on the C row, right side, second button, move to draw E on the G row left side and finish on the draw F# on the G row right side, 1st button. A 3 draw note triplet strikes me as unlikely but stranger things I'm sure have happened. The lower octave triplet would have two possible normal combinations with the more likely one starting with the press D on the 4th button down on the G row, followed by the E press on the C row second button, and finished with the draw F# on the left side 4th button G row. IMHO the other alternative is less likely to be used and the only change from the first one is to start with the draw D on the C row. Where a finger may be needed next often controls the starting point to avoid things like having to use a single finger to jump two quick notes in a row. My above examples all focused on the D, E, F# triplet but Noel uses so many other triplets and ornaments that it is nearly impossible to give you good advice without knowing the context. Also, I have to acknowledge that Noel does have some rather wild ornaments used in his tunes like the one that appears at the beginning of the A part in the March of the Kings Laois (sp?). I've been struggling with many of them since my first class with him in 1996, the 17 years hence at the NHICS and again this August. But if you have an idea of the tune where it was used, I have a full collection of the assigned tunes for all those years and could probably locate the fingering in my notes. Regards, Ross Schlabach
  14. Attiel, I expect that you have not gotten any response because the budget you are working with will not permit buying a concertina that anyone could in good conscience recommend to you. There are cheap Chinese CSO's (concertina shaped objects) out there, but they and the other stuff that can be purchased for less than £200 can not be relied on to function properly and provide a decent playing experience. Please don't get me wrong; I am not trying to insult you for your budget. I am just trying to let you know that concertinas -- even entry level ones -- are expensive. As a for instance, my first concertina cost $1,200 and that was almost 20 years ago. I might have found something cheaper then, but I never regretted the investment and that was for a decent model and not a starter instrument. The closest Anglo model I can find to your budget is around £215-£250 (Concertina Connection "Rochelle") using the current US-UK exchange rates with no allowance for VAT. The English model equivalent is called the "Jackie" and would convert to about £220 plus VAT. These would be the least expensive models I have heard anyone on this forum recommend and these are probably not without some issues based on comments posted in the past. There are a number of older and seemingly inexpensive concertinas that occasionally pop up on eBay, but these usually require work from qualified repairmen and these repair costs can easily top £200 by themselves. I'm not sure how to advise you going forward. Buying an instrument for a friend is always a risky business since they may not love what you have bought for them or don't have the motivation to stick with it. You haven't said why you picked the concertina or even if you were looking for an Anglo, an English, or a Duet model but of course the limitations I mentioned above apply to all types fairly uniformly. Is it possible that you could get your friend interested in music through a different, less expensive instrument? If he/she has expressed a serious interest in learning the concertina, maybe you could contribute to a purchase with the recipient putting in funds too. In any case good luck, Ross Schlabach
  15. Hi Steve, I imagine that an argument can be made that it doesn't matter. But I have played concertinas (Anglos) with flat buttons, fully round tipped buttons and slightly domed buttons, and there is no doubt in my mind that slightly domed buttons are by far the most comfortable. And for me, what is most comfortable helps me play at my best. However, this is just one man's opinion. Good luck with your new concertina -- whenever it arrives. Ross Schlabach
  16. As someone who has been going to Noel Hill's summer classes for eighteen years (yes I know that's a bit over the top), I get my concertina batteries recharged each time. The value of this motivation should not be underestimated. But each year I also find that I am technically challenged by Noel's selection of tunes that require me to expand my fingering abilities or expose me to music I might not otherwise discover. Then there's the comraderie with other folks who share your love of the music and the instrument. However, do keep in mind that you only get a benefit from attending a class if you put in the effort, so it is a cooperative effort! Ross Schlabach
  17. Larre, we are counting on you for maximum video and or photo documentation of this neat gathering for those of us who can't paddle over to join in on the festivities. And have a great time. Ross Schlabach
  18. Daniel, Theo is right. I was referring to the fact that the reeds were riveted rather than clamped as been the more common method for traditional construction -- notwithstanding Wheatstone's use of riveted reeds in some of its earlier instruments. Steve noted the absence of valves. I would imagine that the photo was taken before the valves were installed since it is difficult to believe the concertina would work properly without them. Ross Schlabach
  19. While his designs are fresh and construction is unique, I noted that the reeds which he calls "concertina reeds" sure look like accordion reeds in brass frames. So the important question will be, how does it sound? Many of the hybrid makers have come close to a true concertina reed sound with accordion reeds with regular aluminum shoes -- either waxed in or held by screws. It will be interesting to know if the use of accordion reeds in somewhat traditionally shaped brass shoes has brought the sound any closer to that of traditionally made concertinas. Unfortunately, as past recordings have taught us, the difference may not be obvious on Internet recording media. It will be interesting to hear reports from folks who have an opportunity to try these out in person. Ross Schlabach
  20. My mistake. I relied on the "New Member" moniker below his name. Nevertheless, the rest of my comments stand and since he has been a member since 2004 (thanks Daniel), the IP has been on this forum long enough to know what is needed with a For Sale posting. Curiouser and curiouser! Ross Schlabach
  21. Unfortunately, given that you are brand new to this forum and given that your posting is devoid of any useful information, you should be aware that most of the readers here will likely conclude that your offer is a scam and reject it and you out of hand. If you are a serious and legitimate seller, posting some basic information on the concertina you want to sell (maker, model, asking price and a picture or two, plus a willingness to answer reasonable questions about the concertina in question) are the best way for you to establish some credibility. Ross Schlabach
  22. The Noel Hill classes in the USA are intended for the Anglo concertina even though he will work with EC players too. Ross Schlabach
  23. I have taken my Dipper to high humidity environments (Pete Gibbons' yard in August for NHICS) with no major issues caused by the humidity change other than a reed starting to buzz by being squashed in its holder by the rising humidity. That being said, the increased humidity would have been nothing like the changes your instrument would have faced in Vietnam and Latin American. And I'll say again that IMHO both of these trips were inadvisable for an instrument of that quality and expense -- it is just not made to withstand those extremes. Nevertheless, there is NO way that humidity can bend a metal lever in the manner you described. But leaving a Dipper out or only in a soft case is just asking for trouble. If it was on the floor, it could have been kicked accidentally, knocked by a vacuum or mishandled with painful results. A hard case isn't an option; it is a must in all situations. It isn't large or heavy but it is the only way to protect your investment. Hopefully the damage can be properly repaired. I imagine that you have learned a valuable lesson about what not to do with an expensive concertina. If you need to have concertina with you in these exotic environments, why not pick up a second, less valuable instrument to take with you. Ross Schlabach
  24. Judging by the manufacturing date you posted on eBay (2016), this must be some special Back to the Future concertina. Joking aside, it looks like a lovely instrument. Good luck with the auction. Ross Schlabach
  25. And of course, the Noel Hill Irish Concertina School in July & August here in the US. PM me if you would like additional info. Ross Schlabach
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