Bill N

I have signed up for Cormac Begley's concertina course at his place in Dingle (April 19-24, I'm very excited). I'll be flying from Canada, and am currently working out my itinerary and transportation. I'll probably tack a few days on at one end or the other, and will probably rent a car in Dublin or Kerry. Any suggestions for things to see and do would be appreciated. I've never been to the west coast of Ireland. I'm a moderately competent player, and am also interested in history and nature.

Here's a thread from a while back. A friend of mine had a similar problem and I came up with this easy fix, which is completely reversible. I have an extra one lying around here somewhere. If you DM me a mailing address I'll stick it in the post for you.

I had another go after reading your comments, and I think you might be right Peter. I played along with the recording again, this time on a G/D box, listening for bellows changes and the attack on some of her ornaments, and the "G fingering" from a C/G box sounds very much like the recording when played on a G/D instrument. Certainly it is easier to play (for me) on the G/D. On my C/G my left hand had to go places it doesn't often go!

She uses a variety of instruments on that album, but it sounds like a C/G to me. I just played the set along with the recording on my C/G, and aside from reaching into the 3rd row for a low A it seems pretty straightforward. Love, love, love her playing!

Just to throw a wrinkle into the discussion, I have concertinas in C/G, G/D & D/A tuning (and a Bb/F) and when I'm learning a new tune in G,D,A, or their relative minors or modes I usually try it out on all 3 boxes (except G on the D/A). I find that the fingering and bellows patterns of one will often suit a particular tune better than the other 2, sometimes even when it wouldn't be the obvious choice. An example: I learned a Newfoundland single (polka) in D on my C/G, thinking that playing it in the Irish cross row style would facilitate the fast tempo and triplets, and it did, but it didn't sound right-too clever by far. Then I tried pumping it out along the D row on my big South African 20 button. Hard work, but it had more of the staccato energy of a tune played on a 10 button Hohner 4 Stop, and sounded right! I think playing the same tune in the same key using multiple fingerings is an excellent way to learn the whole keyboard and develop muscle and ear (is this a thing?) memory.

If I was starting over again I would endeavour to use the whole keyboard right from the start. Initially I played very much in the "home keys" and along the rows. It became a habit I had to partially break when I started to play in a more cross row style. A helpful exercise is to take a simple tune that you know well, and find the fingerings to play it in C, G and D. Fool around a bit and look for alternatives, using the duplicates and bellows reversals available for many of the notes. It's kind of like practicing scales on a piano. I found that once I found the finger patterns for each key and played enough tunes they became second nature, and it's not difficult to change keys on the fly (in the common keys). Having said that, I mostly play in trad sessions where about 90% of the tunes are in Gmaj, Dmaj or their relative minors or modes.

Yes, I have a double reeded D/A built by the late Danie Labushagne of Pretoria, and a G/D from David Jenkins of Qadasi Music. Both of them are miles better in build quality and reed response than the Scholers, Stagis, Frontalinis, etc., and work very well for playing at a reasonable dance tempo. However, keeping up at session speed with the large size and German style bellows and action is a real workout!

The trick is that I want a double reeded instrument, i.e. there are 2 reeds an octave apart for each button direction. These are sometimes tuned a few cents out from each other to give a tremolo sound like an accordion. This is a common set up in German concertinas (which I have), but the action and reed response can't keep up to the fast Newfoundland dance music I want to play. Most of this music was originally played on a single row accordion (Hohner 4 Stop) or a 2 row melodeon in A/D tuning. I find that it's easier to get an authentic playing style playing along the row on a D/A than cross row on a C/G, and the tremolo of a double reeded box sounds more like an accordion. Why not just learn to play an accordion you might ask? Tried that, and can't get to the level of proficiency that I have on concertina in the time I have left! 😊

That was more an indication of the quality I am looking for, rather than a particular make. I realize that this might be a rare instrument. Currently I have a German-style 20 button double reeded box. I am hoping to find something that is quicker and more playable for the particular music I'm using it for (Newfoundland dance tunes).

This might be a fishing expedition, but I am interested in acquiring a vintage English made concertina in a D/A tuning. I'd be particularly interested in a double reeded instrument. 20 buttons is fine- more is OK too, but would be considered gravy. A Lachenal or similar would be ideal. Cosmetics are not important and a restoration project this side of a basket case would be considered. Thanks! Bill

I won't comment on the many social and urban planning issues mentioned above, but as a recent visiting Canadian concertinist, York was a highlight of my trip. Lots of wonderful museums and architecture, and for a Colonial boy, an almost incomprehensible depth of history, which is interpreted very well. And as a player I enjoyed the Black Swan Folk Club (I was staying in the pub, and was asked to open for the feature act!) and was directed to a very welcoming trad session. As a travelling musician with an interest in traditional music I would recommend it.

In the ebay description it says that it belonged to Ken Hopkins, as did the one in the auction listing, and his son quoted Ken as saying that it was the only one he ever saw.

I play anglo (and harmonica and jaw harp) in a trad (mostly English, Canadian and Newfoundland) duo with a citern player. I often put a harmonica in a rack and play anglo and harmonica together or alternate between the two. It gives a nice rich sound and a variety of options. I don't find it hard to do.

A word of caution- an instrument that can be supplied that quickly and cheaply is likely to be very bulky and stiff playing, if it ever gets delivered. See other threads here re: Concertine Italia, Stagi and Bastari woes.

A duet would probably be the best choice for the music you want to play. I think the most important consideration would be a good set of bellows, which would mean a vintage instrument in good condition, or at a minimum an intermediate level instrument by a modern maker such as Wim Wakker. Entry level instruments like the Concertina Connection Elise have very stiff bellows which are hard work.