Howard Mitchell
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Posts posted by Howard Mitchell
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I have a beautiful Symphonetta that I am curious about. ...
This is vaguely reminicent of the Wheatstone Tripod Concertina
Howard Mitchell
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I've recently seen some bound volumes of music arranged for concertina, some with piano accompaniment.
The publishers are variously, Scates, Blagrove, Wheatstone and Case and many of the arrangements are by Joseph Warren (I don't know this name) although George Case is the arranger for his own publications.
As an example, here are 2 pages. A title page and 1 page of music.
Anybody up for playing those runs on an anglo
Howard Mitchell
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Any suggestions, thoughts, advice, contacts? What's the Warwick Festival like? Ever been?
Jody
Jody,
I'm in Derby, some 60 miles from Warwick. I've just had look at local clubs etc. where you might get a gig. Have a look at www.derbyfolk.co.uk for a full list. In particular the Derby Heritage Traditional Music Club meets on the 20th July and is run by noted concertina player and singer Keith Kendrick - he may have an opening http://www.dhtmc.co.uk/index.html ( I'm only a member of the club, not involved with its organisation).
We went to the Warwick Festival for the first time last year and are going again this year. It's a great opportunity to see lots of performers in large and small venues. Nicely compact on a single site with a few events at outlying pubs. I hope to get along to the concertina event.
Howard Mitchell
www.hgmitchell.co.uk
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...Geoff's engineering and fabrication skills are to the highest standard and his innovativeness with the combined air bleed/dump lever is a work of art. Amazingly although a lever, it can also be pressed in and used like a button if desired although it is extremely easy to get the hang of the lever operation.
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Pete
The Wheatstone Chemnizer which I currently have custody of has a lever air button, but not unfortunately a dual action mechanism. I can confirm that it is easy to operated, probably easier than the conventional button.
Howard Mitchell
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I have a Lachenal Baritone Anglo and I know of two others in the vicinity. One is played by a member of the Winster Morris Dancers and the other was in Chris Algar's stock last time I visited.
I've had mine for 30 years and used it occasionally for morris, songs and in a concertina ensemble. I've re-padded and valved it and retuned it (including replacing a reed) but it could do with some work on the bellows as a number of corners are cracked. The sound is good but the lower notes are slower to sound but as others have said, you just adopt a different playing technique.
I saw the instrument advertised in a shop window in Bounds Green, North London in 1974 for 10 pounds. When I went to see it, the owner was at great pains to say that it wasn't a toy but when he found I could play, he sold it me for 9 pounds. Those were the days.
I also have a very old single action baritone english with brass reeds. Wonderful sound. I've only used it for song accompaniment and then not for some time.
I saw John Kirkpatrick a couple of weeks ago playing what he called a bass anglo. I think in C/G, 2 octaves below normal. I guess we might call this a contra-bass. It was big beast in an elongated hex shape. It's a real physical effort to play but John in inimitable style played Liberty Bell on it.
Howard Mitchell
Derby, UK
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I've been playing this wonderful WheatstoneEnglish (48, metal ends and buttons, six fold leather bellows, just pre-WW1 I believe) for a dozen years or so, mostly for morris, with a band and in sessions, both for tunes and song, it's the only 'tina I've ever really coveted.
As the years pass, more and more morris knees go, and rather than take up a musical instrument, these ex-dancers all learn the melodeon. I find myself increasingly part of the Castagnari Wall of Sound (it used to be the Hohner Wall of Sound, but times must be good....) - that's on the rare occasions I get to play at all, given the number of fit dancers about! Very disillusioning, I've put a lot of work into phrasing the tunes and interesting accompaniments, then you get steamrollered with oom-cha basses and staccato rhythms throughout.
The band has at least one accordionist and I find I'm spending more time playing guitar and mandolin for variety, which spills over into those becoming my main session instruments, since most of the ensemble pieces and songs we/I do in sessions I find I'm now more familiar with on guitar.
I've spent money on fettling this instrument and keeping it just so, I've had two valuations at £1600 and £1800, yet it will not remain pristine and such a nice player if it continues to be neglected. With two small children, (a) I need the money and (
I never get to practice the thing, since they go to bed about the same time I get in from work most days.Feeling disillusioned and wondering whether this lovely instrument would be better off in someone else's hands where it will get played, or whether I should hang on and hope.....
Jon,
Don't give up.
Does you're morris side have a lead musician who can arrange for smaller numbers to play, particularly for smaller venues.
In the band, you can complement the accordion (as opposed to compliment the accordionist, a very rare occurence) so long as he/she is willing to work together and I guess it depends on whether the guitar/mandolin is also need for the sound you want.
I've been through the children/practice thing but managed to come back to more active playing with no detrement to the instruments.
Don't give up.
Howard Mitchell
Derby, UK
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I'm making a short business trip to Hong Kong at the end of March.
I'll have a little free time, is there anything concertina-related I should do? Meet other cnet members, check out "cheap Chinese concertinas", look up HK morris, any sessions?
I may not have an instrument with me but it's always good to make connections.
Thanks
Howard Mitchell
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My little Marcus is having a busy time.
But I'm beginning to feel that in order to learn to play it proper, I need to know some musical theory.
Hmmm. Where I am at the moment I guess I need to develop everything
For now it's just the basic stuff. Things like how to build scales, how are minor scales related to major scales (the only thing I know about minor scales, is that there are several!!! And some with funny names... "aeolian"????? "Mixolydian"?????(Where do these names come from????.) 
) , how do you build chords?. But... Musical theory (in my mind, but then again, what do I know?) must be some kind of "toolkit", or some common knowledge built up by generations of clever musicians, that can help people like me to "understand" music a little better...Charlotte,
Have a look at http://www.smu.edu/totw/ which is an on-line guide to music theory. It may at least help you to identify the areas where you need to find more information.
Howard
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In the U.S. it seems to vary by where you are. Once, Howard Mitchell was visiting my part of the world. I took him to the local Irish session. We had to bop one fiddler on the head to get him to stop his reels (nothing elitist, he just can't stop, his parents say he's been like that since he was little) and then Howard played a great round of English tunes on his Crabb and brought the house down. They appreciated it very much. Then we figured out everyone could do a simple English tune (sorry, memory fails me which one) and did that for bit. Wish he'd come back for another visit!
Ken
Even I can't remember which tune it was! I may have been something like Winster Gallop. I've changed the Crabb for a 40 button Wheatstone and acquired a 37 button Norman in G/D. The 40 button layout helps the English style playing by giving more options to match left hand chords and the G/D now gets much more use for English tunes.
The session I frequent in Burton mixes Irish and English. There are those who stick to their own style and there are others who cross the deivide and take the emphasis with them from one tradition to another.
Sorry, Ken, I've finished the work I was doing at the engine plant in Indianapolis.
My latest trips have been to Florida and there's a possibility of Kentucky later in the year. Most of the time it's strictly work and I don't have a concertina with me.
Howard
[indeed so. I was struck in one of the other threads by the mention of Soldiers Joy as one of the 20 or so core standards of American "old-time" music, which would be a surprise to those English musicians (and there are probably many) who think of Soldiers Joy as core English repertoire and don't realise how far that tune has travelled.Chris
I had the same feeling when I first discovered A 78 recorded in 1929 by Joseph Allard in Quebec entitled La joie du soldat. It's in the National Library of Quebec Sound Archives at http://www4.bnquebec.ca/musique_78trs/accueil.htm Search by Title (Titre) then look under J for Joie.
Howard
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Derby Folk and East Midlands Folk Pages
A new web forum is now available serving traditional music, song and dance activities in all their forms centred on Derby, UK. The forum replaces the East Midlands Folk Pages and is accessible from www.derbyfolk.co.uk and www.emfp.co.uk
The forum is geographically centred on Derby and covers events in a approximate 25 mile radius. This covers Ashbourne, Ashby, Belper, Burton, Chesterfield, Coalville, Derby, Lichfield, Loughborough, Mansfield, Matlock, Nottingham, Uttoxeter… This is smaller than the East Midland Folk Pages but may expand in the future.
The forum aims to be a source of information for folk and traditional activities in the area and to provide a place to communicate, ask questions and discuss related topics. It’s maintained directly by moderators representing the generic sections on music, dance, song etc and the individual events, venues, groups etc. and the content is provided by the registered users.
The forum has been structured in a number of sections (song, dance, venues etc.) each containing message areas for individual clubs, sessions, teams etc. in which registered users can post messages, announcements etc. There is also an overall calendar for events. The overall structure is maintained by two administrators Howard Mitchell and Richard Ashe. Richard previously maintained East Midlands Folk Pages.
The Derby Folk Forum has been up and running for a week. It’s populated with a selection of clubs and events and moderators are beginning to be allocated.
We need your help to add more sections and message areas. Do you represent a club, team, venue or event which we could add? If so please send a mail to one of the forum administrators ( Howard Mitchell – howard@derbyfolk.co.uk, Richard Ashe – richard@derbyfolk.co.uk ).
You can view messages and events on the forum as a guest but please also register as a member of Derby Folk. This will enable you to post messages on the forum, contact other members and make entries in the calendar. If you agree, you can also be a moderator of one or more areas. The minimum required of a moderator is to post a “sticky message” describing the area and its activities and then generally look after that section. It’s up to you if you would like to go further and post regular announcements etc.
Please pass this on to any clubs etc. who you think might be interested and pass on the message via any related discussion groups.
We would also appreciate a link from your web page. We will be providing reciprocal links via a links section of the forum.
Thank you. We look forward to talking to you on the Derby Folk Forum.
Howard Mitchell
Derby Folk Forum Administrator
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Have a look at the thread -
http://www.concertina.net/forums/index.php?showtopic=2881
The last post introduces the S-Wave Concertina.
Howard Mitchell
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You could try going to the Derby Gaol Session run by Keith Kendrick .I am sure he would be pleased to help and a lovely Tina player to boot. It is usually the third Thursday The place needs a degree in Navigation to find but well worth the effort.
A great suggestion. More details of the "Derby Heritage Traditional Music Club" can be found at http://www.dhtmc.co.uk/
Howard Mitchell
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Derby Irish Centre, Becket Street hosts traditional Irish Sessions every Tuesday from 9.00pm
Call 01332 332842 for details.
Howard Mitchell
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Hi Howard,
Thanks for that. Are these sessions generally Irish or English?
Paul,
They're all mixed. The Coopers Session mostly English but there are a few Irish players and maybe a song or two. Holbrook the same. I haven't been to Whatstandwell for some time but I'm told that anything goes.
There is an Irish session at the Derby Irish Centre, fortnightly on Tuesdays I think. Let me know if you're interested and I 'll get more info.
Howard
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Sessions near Derby -
Coopers Tavern Session, 43 Cross Street, Burton on Trent, every Tuesday at 9 o'clock
Dead Poet's Inn, Chapel Street, Holbrook Fortnightly, Sunday
The Derwent, Whatstandwell, Weekly, Wednesday
There are others but they're monthly or not on the days you'll be here.
Howard Mitchell
Derby, UK
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The guy with the neck strap is Allan Clarke who plays with the Manchester Morris Men and the Bacup Coconut Dancers. He is two weeks away from his 90th birthday and still playing strong.
Bravo! I notice that all three gentlemen are using the Jim Lucas thumb strap method. Just to the first join. Stout fellows.
On boxing day the Manchester Morris Men will be at the Fox, Brook Bottom, near New Mills, Derbyshire as is their custom and this year they will be joined by The Bacup men in Allan's honour. I'll be there as will the other Manchester concertina player. There should be a fine array of instruments.
Howard Mitchell
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Try the Morris Dance page at http://www.morrisdancing.org/
All the organisations have links to further information.
e.g. on the Morris Ring site, follow the link to "abc music for Lionel Bacon's Black Book". Whilst there, it's worth looking at the link to the Trunch Dance Tradition from Norfolk http://www.themorrisring.org/More/Trunch/TRUNCH.HTML but keep your tongue firmly in your cheek when reading this.
For a CD, try WILLIAM KIMBER "Absolutely Classic: The Music Of William Kimber" English Folk Dance and Song Society EFDSSCD03
If all else fails http://www.hgmitchell.plus.com/hgm/winster...rris%20reel.mp3 is me playing the Winster Morris Reel.
Howard Mitchell
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...** Why no 38 button layout? Acordion reeds are larger than concertina reeds. For this reason accordion-reeded Englishes only have 37 buttons, rather than the 48 of the typical English-reeded instrument. But accordion-reeded Englishes share the lower pitched reeds between the two sides. On an anglo all the larger bass reeds are on one side. I suspect it would not be possible to cram 19 buttons-worth into one side without increasing the size of the concertina or resorting to ugly Bastari-style reed blocks projecting into the bellows. (Wouldn't it be nice if Frank or Bob or Rich proved me wrong?).
Chris,
You played my 36 button Norman on the sea front at Sidmouth. This has 18 buttons the left (including the drone). The cramming is done by mounting a few reeds on a separate platform above the main reed pan without affecting the depth of the instrument end like a Bastari.
Howard
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Chris,
I'm playing with Stradivarious for social dances in Sidford Village Hall, St Francis Church Hall and the Sidmouth Youth Centre. In between I'll try and get into the Radway.
For ID ---
Howard Mitchell
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John,
I only have details to hand for the Mossley photograh and some references to the Oldham Photo. I'll see if I can get something on the Glossop photo.
Howard Mitchell
Many thanks for this info. Don't put yourelf out too much if there is no information readily available.
Best wishes,
John Wild
No problem. I've put a scan of the newspaper article which contained the picture at http://www.hgmitchell.plus.com/glossop.jpg
It dates the photograph as 1927 and names the concertina players as Will Bowden and T. Byrom.
Howard Mitchell
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Excellent thread! My favorite musical genre (to play at least) is English Country Dance, but sadly I only have one book (Kitchen Musician's book), then a few individual songs here and there. I'll be ordering one or two of the books mentioned above. Thank you all for the information!!
On a side note, this morning, I discovered the English tune "Bath Minuet" and quickly placed it in my top 20 tunes list. I love the combination of a rigid dance tune structure and the depth of a classical song, and there seems to be a lot of that in ECD.
Jeff,
Be a little cautious. What is known as ECD in the States only covers a part of what is being refered to here as English Dance Tunes. ECD tends to be those dances published from 1650 to about 1800 and those in that style composed more recently. Each dance had its own tune, well almost.
However there is a whole different world of traditional English dances and tunes which are the bread and butter of English sessions, barn dances and ceilidhs. There is some common ground, for example Black Nag published by Playford in 1670 and Halfe Hannikin (Playford, 1650), are often seen at ceildihs and ECD groups will include such traditional dances as the Dorset Triumph and the Cumberland Reel (just picking two from opposite ends of the country) in their repertoire. This happens less often in the states where many of the traditional English dances are thought of as contra dances.
Howard Mitchell
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I have placed, for your perusal, three old photographs of morris dancers accompanied by concertinas
Howard Mitchell
Interesting photos. Can you put a date on them?
- John Wild
John,
I only have details to hand for the Mossley photograh and some references to the Oldham Photo. I'll see if I can get something on the Glossop photo.
This from Fred Hamer's notes when visiting Mossley about 1955.
Musicians
1 Jack Robinson (still living in 1955)
2 Herbert Ormerod
3 Jack Pearson
Dancers on the Photograph
Sam Morgan, John Morgan, Albert Oldfield, Levi Leech, Jim Lowe, Jerry Grimes, Bill Briers, Paddy Curry, Ted O’Neil, Fred Hanby (Pea Jim), Dave Ogden
On the boxes:
Bed Ogden, Tom Gallimore, Tom Titter i.e. Rhodes, Tom Nestor, Bill Ivins, Hoinby.
The photograph was taken in front of the Crown Inn in 1903. J. Holdsworth, the proprietor is on the photo.
For Oldham see what you can deduce from the following from Dan Howison's notes dated 1959:
Jimmy Smith (Age 73) 33 Leaver Street, Oldham
Danced with a team conducted by a Mr. Goray (centre of front row on photo), two of whose sons were also in the team (immediately behind and in front of him on photo; the small one danced centre). Smith was with them from the formation until they broke up. He says he was about 37 when they broke up, which puts it about 1923. In confirmation, he says he thinks they were dancing for about two years after the war.
During the latter part of this time, from about 1909, they were conducted by Jet Foy, out of St. Mary's Ward, who came from the "Abbey lot", taking over the team after Goray (who was fairly old) retired.
So if the picture shows Mr Goray in charge and he retired in 1909, it looks about the same time as the Mossley picture.
Howard Mitchell
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... "The Barnes Book of English Country Dance Tunes" ...
This book is considered a "standard" to such a degree that if you are playing a dance, you will often be told by the caller either that the tune's in Barnes or "here's the music."
This only pertains on the left hand side of the Atlantic. In England it is more common to play from the source notation, e.g. the Playford book, Apted, Maggot Pie etc. Many bands I know don't have a copy of Barnes and some haven't even heard of it/him. Personally I'm suspicious of some of the chording in Barnes.
Howard Mitchell
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...It is my opinion that Kimber and his father were most likely the first amongst Morris musicians to apply the "English" style...
Can anybody point out any other genuinely traditional morris/ritual/dance musicians who played concertina that we could use as other examples? I've seen lots of melodeons in old photos of sides, but struggle to remember a single concertina
(Upton-on-Severn maybe? or was that - oh shudder ye of Morris Ring - a female dancer!! ?). The examples in photos I've seen usually seem to suggest a 'village band' or 'processional' situation.
I have placed, for your perusal, three old photographs of morris dancers accompanied by concertinas at:
http://www.hgmitchell.plus.com/mossley4.gif The Mossley Morris Men with at least 3 concertina players.
http://www.hgmitchell.plus.com/glossop.gif The Glossop morris dancers with 2 concertina players.
http://www.hgmitchell.plus.com/ol1.gif The Oldham men with 4 players.
Howard Mitchell
Symphonetta
in General Concertina Discussion
Posted
A prototype used in Wheatstone's submission for his 1844 patent - a foot treadle sends wind up the column to the wind chest; each keyboard rises on a separate piston, and the keys are played as usual.
From The Galpin Society Article, The History of the Wheatstone Concertina, by Neil Wayne
Howard Mitchell