Jump to content


  • Content Count

  • Joined

  • Last visited

About ottojas

  • Rank
    New Member

Profile Information

  • Gender
  • Location
    Pacific NW USA

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Love the off topic. Two of them here. How we use high notes and coolest concertinas. They are related. A have an Aeola ebony ended 56 button. I need a second backup and since my second favorite 48 button is an Edeophone I thought I would go that route. My first favorite is a Colin Dipper 48 button with Aboyna ends. Unfortunately loud, large dynamic range, easy playing and great tone don't necessarily translate into best instrument for a particular style. The problem here is balance. The lower notes cover the high notes so chords emphasize the bass. This is the biggest drawback of the Dipper. Not a problem when playing single note melody or accompany lines and not too much of a problem when playing chords as backup, but it becomes a major problem with polyphony. Some of this can be corrected with good articulation by releasing the notes in the lower melody line quickly (or in a chord) and holding the treble notes longer. This is bit of a problem with all concertinas, but considerably less so on my Wheatstone. As to using the high notes: anywhere that the piece calls for crescendo to Forte or double Forte on the extended notes I play the lower octave as well, or add it as the notes ascend. With a well balanced instrument the effect is that we are adding volume but the ear still hears the high note. Since I started working on the Cohn concerto, I find I am using the high notes in many other situations in my bands. Both as a higher harmony, as fills and as an obbligato part. On my instrument at least, using the bellows for phrasing in the higher registers gets a more musical result than using the buttons alone. In addition I shape the notes more aggressively in the higher registers when I want to call attention to the note. Using the bellows changes effectively on phrase changes and using the bellows to shape notes is important in all registers, but more so I think in the high registers where the notes tend to sound squeaky and fade into the environment if not emphasized this way. I am still looking for that 56 button Edeophone extended range. Regards......
  2. Please post more pictures, at least one of each side of instrument with serial number visible. Do you have other pictures of you playing it, or a youtube channel with other music you do? Regards Otto
  3. Hi, the reason for the extended treble is that I am scheduled to perform the James Cohn concerto in "A" for concertina and string orchestra with our local Port Townsend Community Orchestra in May 2019. I have a nice 56 button extended treble I bought from Chris Algers, Barleycorn, but I need a back up instrument and possibly a better instrument. I like my 48 button Edeophone so I thought I might get a 56 button extended treble Edeophone. The concerto was written in the 60's, is dedicated to Allan Atlas and the composer says it has been performed 3 times. I think always by Wim Wacker and never (I believe) with the full 56 button instrument it was written for. The only extent recording is done with a 48 button and some of the high notes are left out, played by the violins, or shifted down an octive. Wim Wacker plays it very well, but not to compete with his performance, but in order to do something unique and different, I decided to do it with a full range instrument. Working on the piece I am getting much more familiar with the high notes, I am having a lot of fun, and I find myself using them much more often in the bands that I play in. The piece is very hard, harder than the Molique concerto which I performed with orchestra in 1997. Fortunately I have 9 months in which to get it up to speed. If anyone is interested, I can give info on the challenges and problems I have encountered using the piccolo range of instrument.
  • Create New...