Gill B

Thanks for your reply Paul. I had come to the conclusion that it was a much later instrument than Jones' original prototypes. It is a fun box to play and the position of the extra buttons is excellent and not at all confusing. I have it tuned in Just Intonation for playing with Northumbrian pipes.

I have recently re-read the George Jones memoir in which he states : "The German concertina having one semitone only [F# on the G row], I made one with 22 keys for my own use and later made one with 26 keys full chromatic scale......''. Is it known what happened to the 22-key instrument? I have an early metal-ended Jones which was sold to me over 10 years ago by Chris Algar as a 26 button Anglo with an unusual lay out. This would, however, fit the description of the 22-key concertina, if the bird calls, drone and air buttons are not included. Could this be a second 22 key instrument, or even the original? It has no date, makers mark or serial number, but has typical Jones ends. I have looked at the reeds on the right hand side only and the ones that can be read are all stamped with the correct note for the key of C. The extra button has a C sharp and D sharp reed. I'd be grateful for any information. Gill

Hi, Is the first photo the wrong way round, or are the two drone buttons really on the righthand side?

Yes, and lampshades!

I've posted a topic specificaaly for anglo straps on the Ergonomics Forum

There has been another post recently about neck straps for concertinas. and although the ideas given are great for an english, thay don't work quite as well for an anglo. When I used to play standing up, I found that it worked best if one end (the left) wasn't restricted by a strap. So I used webbing about 5/8" and two sets of plasic push-fit buckles to set up a system which went around one end of the concetina, then up and around the neck and shoulder and back down to attach behind the hand strap to the strap screw. A short stub of webbing with one half of a buckle was left permanently attached to the concertina. The rest of the strap could be attached and ready for use in a few seconds. This system meant that one end of the concertina could be held still at about hip level, without any restricion of the bellows. Gill

Charles Staff's period of insolvency was fairly short lived. The Argus, Melbourne reported on 15th November 1864. INSOLVENT COURT. MONDAY, NOV. 14. Certificates of discharge were granted to the following insolvents:-Charles Staff, paper flower-maker, of Melbourne ......etc He advertised fairly regularly in The Argus. Melbourne, all the ones that I have found fit a 3-line box format. Here are a selection: 24th June 1876 ANGLO GERMAN CONCERTINAS, steel notes, any key, three, four, five, and six guineas. Staff, Royal Archade. A FACT.- I have the best Assortment of CONCER- TINAS in the colonies. Charles Staff, Royal Arcade. Advert 2nd April 1877 The Argus, Melbourne: ANGLO GERMAN CONCERTINAS, by Louis Lachenal, London,35s each, Guaranteed. Charles Staff, Royal Arcade. 17th August 1878 CONCERTINAS,Violins,Accordians, Flutes, Ban- joes, Flutinas,&c., reduced prices; largest stock in Melbourne. Charles Staff, Royal Arcade. 16th July 1881 THEODOLITE for SALE, by Holstlopenhagen, in perfect order. Apply Charles Staff's concertina warehouse, Royal Archade. ANGLO-GERMAN CONCERTINAS,siver steel notes; written guarantee; the best ever made. Charles Staff, Royal Arcade. From reports and letters in The Argus, Melbourne it seems that he was heavily involved in local politics.

I have been browsing the Ancestry website, where there is a wealth of photos and information concerning concertinas. "Charles Staff, concertina maker, 6 Royal Arcade,Melbourne", was probably Charles Staff born in Norwich Norfolk. on 16th October 1823; he may have died 29th June 1888 in Coburg, Victoria Australia In the 1861 census he is shown living in Liverpool with his wife Esther from Knetishall, Suffolk and four children. They seem to have moved around the country as their son Edward aged 12 was born in Salisbury Wiltshire, daughter Isabel aged 10 born Wigan Lancs, son Charles aged 8 born Ipswich Suffolk and daughter Esther aged 5 born Liverpool. Charles is described as an accordion maker. Perhaps someone from Australia would be able to research his life on the Australian genealogy web sites. Gill

Is anyone aware of any research that has been carried out on the wear patterns of old anglo concertinas? It could give an insight into how the instruments were played. I've just seen a Jones 20 button C/G from about 1870s which seems to have been played mostly in G, mostly with the left hand, and also with patches of wear possibly from the little fingers. Interesting! Gill

No, there were no bids. (and it wasn't me who bought it)

It didn't sell on ebay, but he has now sold it. Gill

Hi, Your best source for these tunes is probably pipe tune books. One excellent one with mostly tunes in Dorian A is: "The Wild Hills o'Wannies (and other tunes in A and E minor arranged as duets and trios for Northumbrian Smallpipes and other instruments)" Derek Hobbs 1999 Rossleigh Music Rossleigh House Windsor Terrace Newbiggin-by-the-Sea Northumberland NE64 6UJ Another wonderful book with tunes in a variety of modes is "Three Extraordinary Collections - Early 18th Century Dance Music for Those That Play Publick" Compiled and Edited by Pete Stewart (www.hornpipemusic.co.uk) Contact me if you have any problems finding them Gill

Many thanks for the posts. I watched the film at May bank holiday, and knew that I had to learn the tune. I didn't expect to find the music so easily! Gill

Isn't this the Jeffries discussed by "susan" back in August 2008. Sorry, I don't know how to link in the pictures! Gill

[quote name='david fabre' date='Jan 1 2009, 05:41 AM' post='86411'As I understand your meantone box has a shift between the C and G row. I'm surprised because it seems to contradict the idea of this tuning, which is to allow some amount of modulation within an adjusted 12-note scale while retaining "good intervals" (especially thirds) Can you comment on this point ? I also understand that you find minor chords better than major with this tuning. Do you see some reason ?] Sorry, I didn't explain clearly. With 1/4 comma meantone the fifths are, infact, approx 6 cents flat of their true value, and this makes the major chords sound out of tune to my ear. When I analysed the tuning of my Lachenal C/G concertina, I thought that there might have been an attempt by the original tuner to compensate for this by (generally) shifting the pitch of the G row up by 6 cents. (If you are interested, I can send you the original readings and the values used for the retune.) This gives much better sounding major chords if played across the rows. In practice this also gives a very slight pitch shift when modulating. [quoteAs for "just tuning", one point I'm wondering is the following. Just tuning on the C row implies D a perfect second above C (frequency ratio 9/8) and an A a perfect major sixth above C (frequency ratio 5/3). These D and A do not make a perfect fifth but a "wholf". Thus with a box in this kind playing in D minor along the C row (which a do a lot) would sound awful. Is you box tuned this way ?] Yes this is how my box is tuned and no tuning system is perfect. It plays best only in the main major key (sharp Bb), but is acceptable in F when playing with pipes. With modal minors the wholf tones have to be played in passing. Frequent use of the drone button seems to keep the ear more comfortable with "interesting" note combinations. Regards, Gill NB Sorry I can't get the hang of quotation boxes!

But there are many modal minor tunes in the English tradition where a minor chord will sound wrong unless it is in "Just" tuning. PLEASE try playing either "Bonny at Morn" or "Scarborough Fair" with even-tempered minor chords, and then try it again without the thirds! Gill

I absolutely agree with you. A lot of traditional tunes have there roots in pipe or hurdy-gurdy music, where they were played against a two-note drone. It is interesting to compare the chords used by a good guitarist for a tune in a minor mode, with those used by a two-note concertina "chords". The guitar in standard tuning might have to change chord more than once in every bar because it has to define whether each chord is major/minor/etc, whereas a concertina might only change once or twice in each part and leave the tune undefined. I personally do no not like guitars with traditional dance tunes for this reason. Regards, Gill

David Fabre Quote"other players playing instruments with different tones and different temperaments" After decades of playing tunes on the anglo by ear, but hating the sound of chords, I am now learning some of the theory (on a need-to-know basis) and experimenting with tunings. In the last year Dave Elliott has been very patient and tuned my even-tempered G/D anglo which I use for sessions; restored an old Jones 22+ button anglo and tuned it to Northumbrian pipe pitch in "just" intonation so that all notes are in tune with the drone; and also restored a 30 button Lachenal to a modified meantone tuning. I still don't like the tuning of the even-tempered G/D. It is very unforgiving, the thirds sound very out of tune to me and chords only sound ok in fast tunes. However there isn't any practical alternative in a mixed session. The only thing that sounds good IMO is piano music! The meantone box is interesting. The meantone system seems to be a clever mathematical concept which sounds fine for minor chords although the fifths are flat, and chords still sound out of tune to me. When I bought the Lachenal C/G it didn't seem to have ever been retuned and the G row was generally 6cents higher than the C row; so it was retuned as close to the original as possible. This means that very good chords can be played by careful choice of the chord shape used. My favourite tuning however, is the old Jones in "Just Intonation". It is now in a sharp Bb with all notes in tune with the drone. It is not responsive enough for fast jigs and reels, but has a beautiful tone for songs and old standards (like "buttons & bows" and "Home on the range".); and of course is perfect for any hurdy-gurdy or pipe tune - with or without the drone. I got a very interesting book a few weeks ago by Ross W. Duffin entitled "How Equal Temperament Ruined Harmony (and Why You Should Care)" . It may have only recently been published in England and makes very informative reading. Only £10 for the paperback. Regards, Gill

But is it really a Jones? Gill

I hope you manage to get hold of special microphones; but if not, try a pair of tie-clip mics held on with sellotape. Good luck, Gill

The bellows had Jeffries type papers, but the positioning of the pads looked like Lachenal. The fact that it had obviously been taken to pieces made me wonder if it was a mixture of more than one anglo. Gill

There's also a version with a harmony part in the Northumbrian Pipers Society's Duet tune book. Regards, Gill

Better to have one key in tune than none! I have had an old Jones 24 button anglo tuned in "just" intonation with all notes in tune with it's drone. It is beautifully mellow and sounds great on its own or with Northumbrian pipes. It would also be perfect for accompanying songs. Gill

The end plates, name stamp and button layout are identical to my C/G (?Aldershot Road) Anglo. See articles on Jeffries history at Concertina.com Regards, Gill