Jump to content

Bill Worsfold

  • Content Count

  • Joined

  • Last visited

About Bill Worsfold

  • Rank
  • Birthday 09/08/1946

Contact Methods

  • Website URL
  • ICQ

Profile Information

  • Gender
  • Interests
    Music (obviously!) Started on English in 1972, changed to Crane duet in 1983, just added anglo (December, 2004).
    Also play guitar, plus lots of folk-based string, reed, wind and percussion instruments. I make my living (in partnership with my wife) as an entertainer, including storytelling, dance calling, magic tricks, etc.
    Since writing this I've retired and now play music more than ever and I've gone back to playing English system.
  • Location
    Warkworth, North Auckland, New Zealand

Recent Profile Visitors

290 profile views
  1. Another essential resource for folk inclined EC players is Alistair Andersons Concertina Worshop tutor from the 70's. It can be downloaded at: http://www.free-reed.co.uk/concertinaworkhop.pdf I came across the accompanying album at: Cheers, Bill
  2. The happy medium could simply be cross-indexing articles to draw attention of those most likely to be interested or copying to another place - the article doesn't need to be removed from one place in order to put it somewhere else, if you know what I mean. Concertina Journal seems altogether way too scholarly for me, but I did notice that Concertina Library does invite suggestions for other works to include so I shall write to them. I was just kind of hoping that someone could offer a soundfile of Alf Edwards record and a pdf of the Sing Out articles, but even better w
  3. Oops! Sorry if I offended you. Yes, I am aware of the excellent resources at the Concertina Library. The articles I mentioned are not there - it would be great if they were. Do you think there's any chance of that? I tend to think (rightly or wrongly) of the ICA as a predominantly classical association. I think that what I was hoping for was a bit of categorical separation. I read through all of the PICA papers. Most of it was historical articles about old designs, makers and Music Hall players. Frances Wilkins article jumps out as really useful info for players (in my
  4. Is there anywhere I can find old recordings and print articles online. Is there an archive of concertina stuff? Especially, I would love to get hold of Alf Edwards 'Art of the Concertina' album. I know I could probably buy a vinyl copy (at great expense) on ebay, but then I'd need to get something to play it on too. It doesn't seem to be around on CD. Has anyone uploaded it for download anywhere? The other thing I'd love to get again is Lou Killen's article on playing English concertina from a 1971 Sing Out magazine (April/May, Vol 20 #4) It was accompanied by an
  5. I, too, would love to read about other peoples arranging thought processes, so no rush, Wolf, but have you done it yet? On the same subject, if you look at Prof Rat's YT video of 'Rat in the Bed', in the comments section he explains bit about his arranging process - I think it involves playing the bass note of the appropriate chord on 1st and 3rd beats. Check it out here: https://www.youtube.com/watch?v=b1VW2HEZzbs My absolute favourite, though, for sheer insanely wonderful accompaniment lines is Rob Harbron's 'Young Collins'. I'd love to know what was going through his mind ther
  6. Alf Edwards played English concertina. I have a book by him called 'Wheatstone's Instructions for the English Concertina" - is that the same one that you have? I believe he made a record called "The Art of the Concertina" - maybe they renamed later editions to go with it. Thirds are really easy on EC - just diagonally adjacent buttons (making allowance for the key) mostly. Sixths (which are inverted thirds) and tenths (which are thirds spaced by an octave) are a bit trickier - they involve one note on each hand which is sometimes confusing to line up but I found some harmonised scale pract
  7. Hi, I don't know that much about anglos but wouldn't bellows control play a big part in volume? In other words, get a good instrument for the long haul and prioritise bellows control in your practising to learn to play quieter, rather than looking for another stepping stone. This has the advantage of improved dynamics (most people are pretty good at 'loud'!) Or you can install fabric baffles in the ends until you're confident enough to remove them. Cheers, Bill
  8. Hi Al, Yes, I am delighted to have found it. I was kind of expecting something of the level of a Mayfair or such - it's way, way better than that! (That's why I asked just what a Linota is.) As to leaving it in old pitch, that would be fine if I were playing and singing solo, but I'm usually working in combination with other instruments so, eventually a re-tune will probably be necessary. Meanwhile, it's so well in tune with itself and so responsive that it's a treat to play. Cheers, Bill
  9. Hi Al, I just checked a sample on the right hand end and they are stamped with the notes they are tuned to (even the Jeffries-style accidental layout) Is Bb/F unusual? What are the pros and cons of that tuning (and of Jeffries versus Wheatstone accidental layout, come to that!) Given that I've no interest in Irish tune sessions - I'm more interested in song accompaniments and (mostly) European dance tunes - the home keys are good for songs (for my voice, at any rate) and not as strident as the same box would be in C/G How much do other players venture outside of the home keys
  10. A further curiosity about this box is that the RH accidental row doesn't correspond to the fingering charts I have - until I compared it to a Jeffries: it's identical! Was that a normal Wheatstone practice, or has it been customised somewhere down the line? Cheers, Bill
  11. I've just been lucky enough to buy a Bb/F 31 key metal ended anglo. It has no labels in the ovals, but has 'Linota' stamped in both the wooden handgrips, so I presume it's a Wheatstone. The number written on a reedpan dates it to 1920 (using the on-line lists). I've a couple of questions: first of all, what constitutes a Linota? Is it to do with specific design factors (I've seen Suttner advertise Linota style concertinas) or a quality range, or what? In style, it's very similar to my Wheatstone Crane 48, but that doesn't have the Linota stamps Second, although it's perfectly in tune w
  12. Hi, I seem to vaguely remember reading somewhere that nickel silver reeds were offered as an option for instruments being used in tropical or humid climates - presumably they wouldn't rust as readily as steel ones. Cheers, Bill
  13. We once played a barn dance in a large shed with a new concrete floor. Apart from being a lousy dance surface, everything - instruments, PA desk, (lung linings?) was coated with a fine grey powder. Not very pleasant. I've sometimes wondered about playing in places that are unlined but have fiberglass batts insulation installed. The manufacturers claim those little glass particles that are shed are harmless, but I'm not wholly convinced. We've also had problems with hay bales - especially some that had got damp and mouldy. Almost immediately the fiddler players face swelled up with hay
  14. Hi, In my case, I don't think the number on the end paper is wrong - it's just a little bit too long for all of it to show through the little hole in the fretwork. If I look at an angle I can sort of see a '1' that I had overlooked. Re the leaks, you may be right, Paul, about the reed pans and action boards, though mine look OK. My main problem was that as I played it, pads fell off and had to be reglued. Since they had indentations molded to fit the holes and these weren't lined up when I replaced them that created gaps. I thought about maybe steaming them so they would remold to the
  • Create New...