maccannic

Not quite the same, but I once left my accordion on the floor and someone tipped a pint of orange squash into it. Took a bit of cleaning I can tell you, but it was OK eventually.

Reminds me of the old song: 'I got it one piece at a time, and it didn't cost me a dime . . .'

I have that problem - they move about all over the place. Sometimes it takes me ages to find the one I want.

I did the same yesterday, took it down to E minor and played it at a session last night. (Not too sure about your G# chords!).

Delivery to Antarctica?

Getting back to concertinas, I once saw a strange Maccann duet in which the fourth column of buttons (the one with the Ds and E-flats) was divided to form two columns, separate but close, so that it looked like one wiggly column. I've no idea whether these are generally known, but it's the only one I've ever seen.

Tried an anglo when I was young - couldn't begin to get on with it. Didn't like the sound of what English players were doing - found it boring. So that was it. Until I was 50, when I discovered the duet. I wanted an instrument I could play in pub sessions, and my piano accordion (plus its case) was far too big for a crowded pub and was a bit lacking in 'ethnic cred'. Bought a Maccann. Never looked back. 10 years later bought a bigger one, eventually selling the smaller one.

I'm reminded of an Ian Dury song: 'There ain't 'alf been some clever bastards'.

I can't remember if you already know this, but I used to own a Lachenal 'New Model' six-sided maccann duet, serial no. 1865. It had six fold bellows (I think), raised dark wooden ends, 64 metal buttons (32 on each end, middle C up to G on the right end, left end exactly one octave lower). I seem to remember being advised it was made about year 1896. I was also told (by Colin Dipper) that it was somewhat unusual in having a riveted action. It came with a (presumably original) Lachenal 'case' (more of a flimsy box actually), but it was in terrible condition so I had a new one made by Pete Grassby.

Well done sir.

Local folk club once a week on Zoom (sometimes using concertina). Local tune session once a week on Zoom (mostly using concertina). Wife and I have been having a go at Bach's 'Jesu Joy of Man's Desiring' on two concertinas - she playing the 9/8 running figure on English, me playing all the rest (or a version of it) on duet.

If you can touch type, then you must be used to the random arrangement of the letters of the alphabet. So the random arrangement of the notes should rapidly become intuitive (it did in my case).

Not having had a 'career' as such, there haven't been many highlights. But from a purely vanity point of view it has to be receiving compliments on your playing from somebody whose opinion you value. On different occasions, these have included Alastair Anderson, Colin Dipper and Rod Stradling. One obvious lowlight was submitting some recordings for possible inclusion in 'Duet International' to be told, very politely, that they weren't good enough (no hard feelings, Alan; I wasn't under any illusions in that regard). But even then, I put a couple of the same sound files up on this site when I was trying to sell a concertina and got some favourable comments, so all's well that ends well.

The answer's 'yes'. Yes, you could play one chord and hold it. Yes, you could play one chord and let go. Yes, you could play a chord every time there's a beat, or every time there's a note, or on some beats or notes but not others. The important thing is to listen to what yoy play, and play what sounds best to you. If someone suggests something different, try that too. The main difficulty you will find with the English is that both hands are involved with playing the tune, so it's not always easy to play exactly what chord you want, although that comes with practice too.

I am in awe of anybody who can play to a decent standard on different types of concertina (Keith Kendrick is a good example). As for me, I play 80-bass piano accordian and Maccann duet concertina, and even on those two rather different boxes I occasionally get confused, playing completely the wrong note or chord or trying to play something which isn't there.