Rod

I share Bob Michel’s attitude that playing around in an effort to overcome the inevitable limitations of our instrument is all very much part of the fun !

Perhaps this suggests that Jim Besser’s Concertina is simply not an appropriate instrument to be a component of “ A very loud band with brass, drums and electric guitar “.

One of the vivid memories of my Second World War childhood was the amount of whistling of the popular tunes of the day, by all and sundry as they went about their business in public places. I don’t suppose the lyrics of these songs always bore any particular relevance to the war, and modern technology seems now to have largely confined such cheery performers ( some more accomplished than others ! ) to history.

Is anyone going to volunteer to extend this topic to include songs of the Second World War ?

No connection. The history of Shire Concertinas is well documented on this website.

My ‘Shire’ Anglo is identified by stamping ?/ engraving?/ etching ? In the space on the left hand grill which mirrors the position of the air button on the right hand grill.

He’s a multi-instrumentalist. He’s going to play it.

Riton must give serious consideration to treating himself to an Anglo with at least 30 buttons.

I would be concerned that over-exercising stff bellows might introduce stress in the leather. I would apply a good quality, fresh, leather/shoe cream to the folds and gussets, allow it time to penetrate, and only then embark upon some gentle exercise of the bellows.

Dave & John, As just another old fogey on the verge of 80 you both say it all. Long live nostalgia !

Over a period of more thirty five years I have built up a very considerable fund of very satisfactory Anglo chords based purely on the strength of trial and error. All good fun ...with no reference to the musical theory of it all. Once embedded in my head they have become instinctively readily available as required.

Ideal affordable introduction for a complete novice. That’s how I got started.

Mike, “harpomatic”, My brief message posted earlier today appears to have caused a little confusion for which I should apologise. I can now see how that came about. I am very grateful to you for taking so much trouble to produce such a thorough and fascinating reply. Just what I had been hoping for. My total experience has been restricted entirely to a steel reeded instrument with which I have always been entirely happy, but I had always been just a little curious to know how it might have behaved, and how well I might have been any happier, if at all, were it to have been originally fitted with brass reeds. I had got the impression that steel reeds were probably preferred by those who were anxious to generate greater volume, but I do not inhabit that sort of world. I have no wish whatsoever to ‘ perform’. I only ever wish to play the instrument solo for my own pleasure and satisfaction and I have no problems falling well and truly into the category which you so delightfully describe as ‘ whisper level, which can be satisfactorily played next to someone sleeping without waking them up.’ No problem whatsoever with my steel reeded instrument ! All the best, Rod

David, Perhaps you could elaborate by describing and comparing your experiences with both brass and steel reeds.

Thanks Alex. The weight of the buttons is probably of little significance to those of us who always play seated....but I only have experience of the one instrument.

I am more than happy with the nickel silver buttons of my Anglo. What is the supposed advantage of buttons made of other materials but only capped with metal ?

Pleased to see that the human ear still gets a passing mention.

I have been playing my 36 button, steel-reeded Anglo virtually daily, solo, for 38 years now, and my ear has yet to detect any necessity for any re-tuning. I am getting the impression that there are those who are less fortunate.

The world moves on. Now called ‘London College of Communication’........I believe.

Alex, The old traditional bookbinders knew all the tricks of the trade. It was all part of my education many moons ago at the London School of Printing and Graphic Arts, which subsequently was renamed the London College of Printing ( at Elephant & Castle ). You could try picking their brains or pay a visit to their splendid library. Happy memories. Rod.

Ultimately the exterior acoustic environment in which the instrument is played is of considerable significance.

Why play the Anglo standing when you have the option of playing seated ?

Use a slight twist of the wrist to add back-up strength strength to weak pinkie notes.

Some of the best quality rigid cases listed on the Internet as ‘ Vanity Cases ‘ are well worth viewing, even if not guaranteed waterproof. I have little doubt that mine would probably float on water and would protect against heavy rainfall, although I have no intention of putting it to the test !

Being a slave to dots on paper and musical theory is no more creative than painting by numbers.