David Levine

That's not a bad price for an original Wheatstone Lachenal, especially considering that it's red and suitable for mountain trails. 'Colour: RED Bike Type: MTB"

Thanks to everybody. But there is a hold on the instrument. I will repost if the sale doesn't go through as planned.

I sent you a message...

Hi-- I would like to buy a C/G baritone-- where did you get the idea that I had one for sale? Please let me know-- Thanks very much Whoops-- sorry. I got an email regarding this post, but it was not regarding me specifically, but rather a general notice of a post on this forum.

Thanks for the interest -- it's been sold.

Sold- thanks for the interest....

$2,250. Case and shipping in CONUS included. Identical to the one pictured below. When I bought the concertina I was told that Colin Dipper had gone through the concertina in the early 1990s. The instrument is in very good condition. Good leather straps, plays in tune, etc. Est 1880-1890 Selling for just what I paid for it. https://www.etsy.com/listing/677773277/lachenal-concertina-anglo-three-row-30?show_sold_out_detail=1&ref=anchored_listing

Hi- message sent to you.

Whether or not, it's great to hear. Mouthie virtuoso. Thanks.

Dear Dr. Ghent, I admire you for giving credit where due. But imitation is still the highest form of praise. Yrs, Levine

Selling for $448? That seems crazy. You could buy a working Lachenal for less than half that and easily make your own tuning bellows.

The more I play the more I understand that I should be using all of the buttons, not just the default system as described by some great players and teachers. You can hear the difference between great old school players like Noel Hill/Tim Collins and great new-school players like Mohsen Amini and Cillian King. Using buttons on the accidental rows can help you avoid bellows changes that don't accord with the phrasing. Being forced to use bellows direction to choose a note is similar to playing the fiddle and bowing without regard to phrasing. When you can use all of the buttons on the concertin

Jim, Tim Collins himself cautioned about the triplet involving the LH F# because of the difficulty of such a dramatic, fast triplet with a bellows change. On my concertinas I replace one of the right hand accidental row D# reeds with a middle octave F# on the push. This makes G/F#/E triplets accessible and is useful in general. I use the second button in from the middle on the RH accidental row. This is a feature that Colin Dipper and Chris Ghent offer. I have retro-fitted an F# reed on some of my concertinas, using Exacto knives to -- on Wally Carroll's advice -- adapt the slot to accep

"...a G/D anglo makes more sense than the traditional C/G." I agree in the sense that the G/D is more intuitive. More logical. But to me the C/G makes more sense musically.... though I'm not sure what "sense" means in this context.