Chris Timson

David's right on that. Also, if you look inside the big MacCanns and other instruments with lots of reeds you'll find reeds all over the place. And for my pièce de résistance may I refer you to the Lachenal Accordiaphone:-

Null concept. A reed pan detached from its instrument is unplayable and hence right side / wrong side up are irrelevant. I chose the side which seemed to me gave a good clear idea of what is going on. That's my story and I'm sticking to it ... Chris

Hi all. As promised, you will find my full review of Jake Middleton-Metcalfe's new concertinas here. As you will see I like them a lot and consider them to be excellent value for money, Have a listen to the recordings; the sound comes through well. These instruments deserve to do well. Chris

Jake loaned me a couple of his concertinas for review. I haven't had a chance to write it up yet due to having gorn to Forn Parts and other stuff like that, but I'll have it ready in the next couple of days. Spoiler alert: at the asking price these are a bargain. Chris

Ah, rats! The Devises date co-incides with a Bradford on Avon session. Never mind. Chris

The English Country Music Weekend this year is in Abbots Bromley from 23rd to 25th June. An absolutely magnificent way to spend a weekend if you like playing English music in sessions. Read more here. Chris

Merry Christmas, m'boys! Chris

Neat! Chris

Sorry to interrupt. Jody, have you seen my email or heard from Rosalie Dipper yet? Chris

^^^ This. I played melodeon many years ago and found the concertina, despite the superficial similarity of the key layout, to be very different in the approach you have to take to it. Regardless of the technical drawbacks listed above you would actually find far less of your melodeon playing skills would transfer than you hoped. So I would also advise against. Chris

Ah, but Brian will play them in a different key from everyone else ... Thom, are you coming to the session at the Dog & Fox? Chris

Remind us, Jody, and we will. We pair it with Canal In October also by Paris. Chris

Ditto. PM me if that would help. Chris

So will we be seeing this box down the session, Thom? Chris

On Thursday 3rd of November Jody is staying the night with us en route from Penzance to Swindon. We are having a one-off session that night at a pub in Bradford on Avon and anyone here is welcome. The session is basically English music but we won't be religious about it and there's likely to be a fair bit of American music as well! The pub is the Dog & Fox, 33 Ashley Rd, Bradford on Avon BA15 1RT and the session starts at 9. Chris PS the pub does superb draught cider!

"(as you will see, I take this with a pinch of salt myself):" "I, however, believe that you should find the sort of concertina that you feel comfortable playing. You will work out how to play the music you want on it. Conversely if you don't feel happy with the instrument you will never put the time into learning it properly." I can be selective too. I have no more to say on this subject. You are in the wrong and if you have not the grace to say so then I cannot be bothered to waste my time with you.

To Patrick McMahon. Selective quoting, sunshine, does not win you any friends. Here is the quote in context. In theory, before buying a concertina you would consider what you want it for and decide which type you need. For instance here are a few guidelines you may hear on the uses to which you might put the various types of concertina (as you will see, I take this with a pinch of salt myself): If you want to play in groups or ensembles of concertinas, go for an English concertina. For English folk dance the push-pull pattern of the anglo scale gives a "lift" to the music. For song accompaniment or for solo instrumentals duets are ideal. For fast flowing melody lines the key layout of an English gives it an edge. On the other hand if you play Irish music you shouldn't even think about buying anything other than a C/G anglo. If you intend to play from music or to compose music for the instrument, choose an English or a duet. Unfortunately life is never that simple. The English is widely used for song accompaniment. Alistair Anderson has shown how successful the English can be for dance music and band work. I, like quite a few other people use the anglo for song accompaniment. There are some superb players of Irish music on the English concertina (even occasionally in Ireland). A lot of people lay down the law about what sort of concertina you should play for what sort of music; I, however, believe that you should find the sort of concertina that you feel comfortable playing. You will work out how to play the music you want on it. Conversely if you don't feel happy with the instrument you will never put the time into learning it properly. This all stems from the fact that the different systems of concertina are very different to play. I will make the following tentative observation: people who want to learn to play by ear often find the anglo easy to get started and very rewarding quite quickly (it still takes a lot of hard graft to get good! There's no royal road to that). Conversely people who read music and play instruments like the piano often find the anglo thoroughly irrational and are much happier with English or duet. At the end of the day all you can do is try the various systems as far as possible and see which suits you best. If you can, talk to other players about why they chose their instruments and listen to what they play. End of quote. An apology would be appreciated. Chris

An English player indeed. Jonathan Taylor, who used to post on this forum, recorded in my studio. I have always been quite strongly against telling people that they should use a particular system for any particular type of music. The anglo and the English (to simplify the discussion to just these two systems) tend to appeal to very different types of people. For instance I love the anglo whereas my wife Anne can't stand it - she finds it illogical and annoying. Conversely she plays the English, which she feels comfortable with but which to me has no appeal at all. I can see the logic in it but it doesn't reward me when I pick it up. I have a twiddle then think, no, where's me anglo. The point of all this is that if you pick up a system because (and only because) someone tells you it's the system you should use for the music you want to play and it turns out you can't get on with it then you've wasted your time and your money and probably put yourself off concertina for life. Conversely if you get the system that you want to play then you will work out how to play the music on the instrument. Jonathan proves it can be done with Irish music on the English, Henrik Müller also of this forum is another - it's glorious to hear the two of them playing together. So, stop telling people what sort of concertina to buy. Instead help them find the instrument that's right for them. It's the right way round every time! Chris

So. Anybody care to tell me what system this was played on? Some music. Chris

A small caveat. If you play a lot of French music the key D minor seems to come up a lot, and for that you really need that low F. Not really relevant otherwise. Chris

If you can have one extra button I'd suggest a button to the left of the G/F# button that duplicates the D/E button on the left hand, also on the G row. If you're playing "English" fashion, melody on the right hand, accompaniment on the left (either chords or parallel octave) this helps keep the melody on your hand if you want it. I find it a very useful button altogether. Chris

Here's what I wrote in the Concertina FAQ a good few years ago and it's still right, I think. In theory, before buying a concertina you would consider what you want it for and decide which type you need. For instance here are a few guidelines you may hear on the uses to which you might put the various types of concertina (as you will see, I take this with a pinch of salt myself): If you want to play in groups or ensembles of concertinas, go for an English concertina. For English folk dance the push-pull pattern of the anglo scale gives a "lift" to the music. For song accompaniment or for solo instrumentals duets are ideal. For fast flowing melody lines the key layout of an English gives it an edge. On the other hand if you play Irish music you shouldn't even think about buying anything other than a C/G anglo. If you intend to play from music or to compose music for the instrument, choose an English or a duet. Unfortunately life is never that simple. The English is widely used for song accompaniment. Alistair Anderson has shown how successful the English can be for dance music and band work. I, like quite a few other people use the anglo for song accompaniment. There are some superb players of Irish music on the English concertina (even occasionally in Ireland). A lot of people lay down the law about what sort of concertina you should play for what sort of music; I, however, believe that you should find the sort of concertina that you feel comfortable playing. You will work out how to play the music you want on it. Conversely if you don't feel happy with the instrument you will never put the time into learning it properly. This all stems from the fact that the different systems of concertina are very different to play. I will make the following tentative observation: people who want to learn to play by ear often find the anglo easy to get started and very rewarding quite quickly (it still takes a lot of hard graft to get good! There's no royal road to that). Conversely people who read music and play instruments like the piano often find the anglo thoroughly irrational and are much happier with English or duet. At the end of the day all you can do is try the various systems as far as possible and see which suits you best. If you can, talk to other players about why they chose their instruments and listen to what they play. Chris

Just having a quick shufty, concertina.online, .website, .design, .life and .news are currently all available. Chris

Likewise thanks. That is a disappointing story. As I say, I am committed for the next few months and have no issue if you find someone else in the meantime, but if you're still looking in October then I'll be happy to help. Chris

I should have noticed that I wasn't getting PICA any more, and I'm a bit disappointed that the ICA haven't been otherwise supportive. Can't offer to help at present as I am somewhat caught up with supporting Anne through the final stages of her Masters degree but if you're still needing someone by, say, October then give me a shout. Chris