maccannic

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.

But some of the tracks were included on CD on 'Anglo International'.

I'm guessing the seller is c-netter 'Sprunghub', who comes from that part of the world, and is an honourable person to deal with.

Maybe turn the whole thing over? So the buttons are hanging down rather than (not) standing up?

I must be doing something wrong. They 'play', but all I get is silence. Edited to add: Ignore that. My computer had gone into mute mode, don't know why. And great music by the way!

Loved it! I was particularly struck by the mellow tone, almost clarinet-like.

Hopefully Kettle Bridge Concertinas are still going strong.

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Brilliant. That's what I call multi-tasking!

Then of course there is my avatar (though I'm not the first to have put that picture up on this site).

I'm no scientist, but I find myself wondering about the longevity of a carbon fibre reed. I'm remembering the problems Rolls Royce had with carbon fibre aero engine blades, which basically vibrated themselves to bits.

Forgive me if I'm talking rubbish here, but the problem could also be a wonky or delaminating pad, right?

As promised, here's a couple of links to myself playing my previous concertina (a 64-button Lachenal maccann). http://www.nonce.dk/4C.net/Maccannic/TG2-MP3-003 Maruxa.mp3 http://www.nonce.dk/4C.net/Maccannic/TG2-MP3-001 Argeers,Christina.mp3 I hope they still work. I'm not claiming they're great, but they give an idea of what can be done (I'd been playing about 10 years when they were done, but I didn't used to practice much). (I still don't).

I sent in a few first-pass recordings for Duet International. The response from Alan was not altogether positive, but he suggested I re-do a couple of them. I must admit, at this point I rather lost heart and didn't take it any further. There are a couple of recordings of myself playing on this forum somewhere, in case you (or anybody) is interested. I'll have to see if I can find them. But I've got a bigger concertina now, and my playing is not the same.

A maccann duet version, with different sounds for left and right hand ends, would be my idea of heaven!

I didn't know whether to put this in the Construction forum or the History forum, so I'll just put it here instead. I've got a Wheatstone Aeola Maccann duet made in 1914. It's got a little white bit at the end of each handrest where the strap attaches. Are these ivory, or just bone? Or something else? Grateful for any info.

I seem to remember Tim Laycock singing an ironic song called 'The Accordian's the Instrument to Play', which was about how much better the accordian was than the concertina. He accompanied himself on the concertina of course.