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  1. Hello, For details, please open the PDF, herewith, which includes a short summary, some photos, and a keyboard layout chart of this instrument. If interested, please contact me directly at danersen using gmail or via the messenger option here. Be Well, Dan Tedrow Stark PDF.pdf
  2. UPDATE: Saturday, 24th September The 58b and 62b Jeffries are now spoken for. Still hoping for a new home for Lachenal Chidley Duet - listed separately My thanks to all who have inquired. Much appreciation for all of your encouraging messages. Be Well, Dan
  3. Hello Concertina.net concertina gurus. I am the proud owner of a Crane duet, Wheatstone, with a Salvation Army tag. The box itself is rosewood I believe with brown leather bellows, somebody at SA decided it should be their favorite color: um "black"... and has done a rather poor job of refinishing the instrument. Ah but here's the quirk - it only has 35 buttons, but the right side highest accidental key on the top left row, normally Eb, is instead a clearly in tune "A" note. This gives the player a final high A note to complete the A minor scale. I wonder if this was by design/request, or just an accident of construction/restoration?
  4. Hello Concertina.net community. I have read through many of your forums for several years, but I'm trying to find a very specific box. I'm looking for a Crane duet, preferably 42-55 buttons as I have a Wheatstone 35 key Duet. thanks Chris
  5. Keith Kendrick & Sylvia Needham, on tour from the UK, present an evening concert of English ballads, songs, and music in Montague Center, MA, on June 18, 2016. Their wide-ranging repertoire leans towards Derbyshire dialect and maritime. Between them, they play English, duet, and Anglo concertinas, and they are known for their striking a capella harmony as well. The afternoon workshop, "Playing by Ear: the How and the Why" is appropriate for all English and duet concertinas, and for Anglo concertinas in C/G or G/D. Participants should have a handle on playing the instrument, as this is not a lesson in how to play, as such. Sponsored by The Button Box, in Sunderland, MA. For more information and to register for the workshop, see http://www.buttonbox.com/kendrick.html or contact The Button Box.
  6. Jon Boden´s interview about going on a solo tour. You can hear it singing an playing his nice Maccann Duet Concertina around 1:40 [YOUTUBE] [/YOUTUBE]
  7. Hi guys i played a duet for several years ,i had a bad wrist injury and have arthritis i had two lovely wheatstone 46k and a 55k sadly sold both of them late fifties so thought that was that ............ but recently i played on a friends 39k and it actually felt comfortable and made me realise how much i missed my boxes so i'm looking for preferably a 39k but a 46k would be great ,condition? fully restored or a fixer upper ,really any condition considered george
  8. I'm selling my Peacock Hayden Duet concertina by Concertina Connection with 42 buttons + air that I only recently acquired second-hand from another forum member who also didn't stick with the duet system so played it only lightly. It's in great, unblemished shape with a matt black finish and excellent 6-fold Wakker bellows that haven't yet been played in. Domed and bushed metal buttons. Serial no. 090, made when there were 3 versions of the Peacock - Standard, Special and Custom. Now I believe there are only 2 models available. This is an accordion-reeded hybrid duet but I find that it has the closest to a "concertina" type sound of other hybrids I have played. Lovely tone and good volume. It is lightweight and has a very responsive and smooth action. It comes with the original, good quality hard case. So why am I selling? Well, I've been well and truly bitten by the concertina bug (or concertina acquisition syndrome) and have been trying out different systems, but living where I do means buying unseen. I've simply come to the conclusion that I'm more suited to the English system! I'm not looking to make money on the concertinas I sell but I hope to avoid losing any so I'm asking what I paid: £1,500 or the equivalent in euros. As well as costing less than a new model, there will also be none of the very expensive import duties for European buyers purchasing from the USA. I'm also willing to listen to reasonable offers. I can send more photos and probably a basic recording to anyone interested. I'm happy to discuss it over the 'phone or Skype if required, just send me a PM if interested. Thanks for reading, Dean
  9. A shoegaze classic from 1988 (blimey, that went quick...) - Mercy Seat by Ultra Vivid Scene. Played on Jeffries duet, in the key of B, which sits quite nicely on that keyboard. https://soundcloud.com/lachenaliamusic/mercy-seat A bit more blurb about the recording on the soundcloud page.
  10. Hi everyone. I´m sure I´m not the first Maccann player who ask this. I have been playing this system for a year now and I have the feeling of not getting better. There are no videos I could find of Maccann duet teaching and there are only a couple videos on Youtube of people playing it. Also living in Buenos Aires, Argentina does not help. I´m the only concertina player in maybe the whole country (and this is a big country) So I would be very thankful to anyone who can give me some tips or info. Anyone giving lessons online? Thank you so much!
  11. My Lachenal Maccann duet arrived yesterday! I got it as a backup concertina to take with me everywhere. I bought it from Chris Algar like my previous Wheastone Maccann. I have to say it is always a pleasure deal with Mr. Algar. Sounds great and I´m finding bone buttons to be more comfortable than metal buttons. I love these small 46b duets. Easy to carry and easy to play stand up. Perfect for singing accompaniment. pics:
  12. Hi Folks, I've got a 1934 Crabb Crane Duet for sale, 48 metal buttons + a breather button, raised metal ends, steel reeds, tuned to modern pitch. I purchased it last year and had it completely overhauled at the Button Box. It plays well, with a solid, loud tone. It comes with a soft padded case and strap. I'm originally an English player, and I just haven't had time to practice both instruments. This instrument should be played. I'm asking $2100 USD or best offer, plus cost of shipping from Canada. Cheers Adam
  13. Hello I’m new to this so I fear this may be a dumb question but in any case... Does anyone know why some of the key positions on my Wheatstone Duet (serial 26008) were changed? I’ve attached a drawing showing the changes vs. the standard keyboard lay out shown for a 56 key Wheatstone in Ernest Rutterford’s Tutor for the Duet... 1) the C# and C on the left hand 1st and 2nd columns, bottom row are switched 2) the B flat and G# on the right hand, 1st and 4th columns, top row are switched. 3) the left hand D# has been moved from the bottom of column 3 to column 4 and 4) an extra F was added to the right hand bottom of column 5 along with a Whistle key near the air key. Would all these changes have been ordered to accommodate the buyer’s personal preference to make it easier to play a particular type of music, or am I using the wrong chart? For quite a while I kept thinking I hadn’t found the right keyboard chart but after reading Jim Lucas’ posting on October 24, 2014 about the Macann Duet keyboards I’m now wondering if the placement wasn’t customized. My thanks for any help you can give me. - Wes filename-1-3.pdf
  14. Some ten years ago (I think) I recorded a version of this, multitracked, with guitars and bass, with the concertina part simply playing Peter Hook's amazing bass melody. This time I thought it would be nice to do an arrangement that I could play live if I wished, and this is the result. It loses some muscle in the process and becomes even darker than it was to start with... I know how special this song is to many (including myself) and am aware that this might be every bit as divisive as the cover of "Hurt" https://soundcloud.com/lachenaliamusic/love-will-tear-us-apart I still find it astonishing that Ian Curtis was only 23 when he was writing lyrics like these. Such a sad loss.
  15. Hello. I am very interested in learning to play the concertina. My main reasons for learning are that I like the traditional styles of music that are played on it, and the sound in general, and also because it would be a small, portable, and versatile instrument. (And it's cool. ) The problem I have run into is figuring out what kind I want to learn. I'm sure that is a very common question among beginners, but I haven't been able to find the answers to my exact questions on here, so I'm posting this in hopes someone can help. I've done a fair bit of research but the internet has reached the limits of its efficacy. I am at the point where I need a real person with knowledge to answer specific questions, and I've had absolutely no luck finding anybody who knows anything about concertinas locally. (I live in Corvallis, Oregon, USA. Apparently concertinas are not big in the Northwest...) I have played piano for about 18 years (since I was 6) so I am very familiar with music, can sight read very well, and I am very determined to learn, so I am not anticipating any troubles regarding the actually learning or playing of the concertina (beyond the normal learning curve of any new instrument.) So differences that effect ease of learning are not my main concern. I have ruled out Anglo concertinas, for various reasons. So I am looking at English or Duet. My main goal is to have the most options as to what styles of music I can play. Though to be realistic, especially in the short run, the most likely music I will be playing (and one of the main things I want to be able to play) is traditional hymns. (If I get to the point where I can sit down and play hymns out of my hymnal for myself or even to accompany singing I will consider that success.) From my research I had settled on the duet probably being the best fit for me, since it seems to be designed to easily play melodies and harmonies/chords (ideal for hymn playing). But I ran into the problems of cost and availability. I had decided that I could handle the cost of the Elise Hayden Duet from Concertina Connection, but then I realized that it is not chromatic. (I'm a pianist, so I'm having trouble dealing with the limitations of not having every note at my disposal!) How does one deal with that? Would you really just have to transpose any songs into the keys you have and hope there are no accidentals?? Is it possible to find chromatic duet concertinas that are not in the thousands of dollars range? Or there is the option of an English concertina. From what I can find they tend to be more available/less expensive. And at least the version from Concertina Connection is fully chromatic. I guess it boils down to this, which is more limiting to versatility: a duet concertina that is not fully chromatic, or an English concertina's layout? At first I had thought that English concertinas were not well suited to something like hymn playing, but they were very big with the Salvation Army, so obviously they work with hymns. So is it possible but just more difficult to play melody and harmony/chords on English (leading to the development of the duet) or did they mostly just play melodies if they were solo and play in a concertina band if they wanted harmony? Also, if I am starting with a less expensive concertina with fewer keys is it difficult to switch in the future to a larger concertina? i.e. Should I wait and invest in a concertina with a larger range to start with, or does it make no difference? Do forgive this novella I've just written... This is why I really need an actual human person who knows stuff to talk to; there are many variables and probably some that I don't even know about yet... Hopefully my dilemma is understandable and my questions do not sound silly. Grateful to anyone still reading, Rachel
  16. A work-in-progress recording of Willie of the Winsbury / Willie o' Winsbury, depending on what you want to call it. Again, if you don't like insistent drones, this might not appeal https://soundcloud.com/lachenaliamusic/willie-of-the-winsbury My version is compiled from those of Anne Briggs, Anais Mitchell and Jefferson Hamer, and Sharron Kraus, Meg Baird and Helena Espvall. The arrangement is probably closest to that of Sharron Kraus & co. - although I've kept closer to the outline of Anne Briggs's tune. Lyrically it's mostly Briggs with various alterations caused by lapses of memory. Played on my Jeffries duet concertina. I intend to work this up into another long-form interpretation like my version of Barbara Allen, incorporating more improvisation.
  17. Hello! I have been playing an Elise Hayden duet for about a year, and I am having trouble finding music to play on it. I have many books of dance music, which have melody and chord markings, but I was hoping to find some music that is a little more ... constructed, maybe? I'm bored of simply plonking away with my left hand. I am incapable of arranging myself, as my knowledge of theory is pretty non-existent. I really liked the tutor that came with the instrument, and would like to find more music arranged similarly. Any recommendations would be greatly appreciated.
  18. So my Wheatstone 46b Maccann duet finally arrived a week ago and now I am a very happy person This is the concertina I was looking for all this time. I tried English and Anglo in the past but now I know now that the duet system is the right for me. In my opinion this is the best concertina system to sing with (just my opinion) I got it form Chris Algar of Barleycorn Concertinas and I had a really good experience dealing with him. I highly reccomend Chris if you are looking for an expert restored and fair priced concertina. pics: serial number: 35.333 (i think it places it 1938-1939?)
  19. Hi! I´m still looking for a Duet Concertina. 46b Maccann system or 48b Crane sytem in restored condition. Please contact me if you have something to offer. Shipping would be to Miami, FL. Thanks a lot! Gaspar
  20. I have a Mc Can duet concertina, very good instrument (I am a beginner). My problem is the following : I feel (and have always felt this way from the very beginning) very uneasy with its straps, find it very boring to settle them, unscrewing and rescrewing ... the holes in the straps are either too near from each other or too far etc : tedious and boring job each time for a dubious result So I'm dreaming, maybe I could get some adjustable straps for my duet, as are found herebove ? on cheap recent ones : http://1.bp.blogspot.com/_0caN5DoH4ko/S7j6mcAdRwI/AAAAAAAAAGE/55ta6TNEvbA/s1600/P1010002.jpg or even as it seems on old ones : http://www.concertinamuseum.com/Images/Concertinas_T-Series/C352c1a.jpg Any information, advice wellcome
  21. I'm a newbie to this site and a duet player want-to-be. My plan is to accompany my vocals while performing Irish Ballads and Pub Songs which are fairly simple tunes. Not traditional Irish music or dance tunes. My voice is baritone but can perform as a tenor when needed. I have been playing with lower end ECs and ACs for about ten years but I was never quite getting the sound I was looking for. After searching concertina music on YouTube I found the sound which I had in my head. The player was performing on a 58k duet. I've now spent the better part of two months researching duet systems and for several reasons (mostly availability) I have settled on the Maccann. I have found two refurbished instruments from a very reputable dealer, who has been more than helpful and patient with me. However, i would like some opinions on whether it is better to start with a smaller instrument like a Wheatstone 46K rosewood ends, metal buttons, steel reeds in concert pitch or a more versatile larger Wheatstone Aeola 67k, metal ends, metal buttons, steel reeds in concert pitch. There is a significant difference in price (no small amount in my world). I'm thinking I might out-grow the 46k fairly quickly especially if I can not play chords to suit my vocals. The third possibility is to wait for another lower priced instrument with 57K or more. But take the chance of missing the long winter months to practice. Unfortunately I live in the "middle of no-where", USA and I would be surprised to find a Duet player to talk to or even a instrument of any quality to try within 500 - 1000 miles so I'll throw it out here for comments. Thanks for any advice
  22. Today, I visited with Mr. Greg Jowaisas. Immediately walking in there was almost a dozen instruments set out for me to try, amongst them, Lachenal's and Jones'. Due to a bit of overwhelm and sensory overload, I was only able to take notes on a few. The first instrument I looked at was a Lachenal Anglo 20 button C/G with brass reeds. It had a sharp sound and was a bit dissonant, but not enough to be unbearably off putting. The one thing that gave me a hard time was gripping the instrument. A bit into the visit, Greg talked about the different parts of the instrument and mentioned the strap screw and then I realized "gripping" was more a trivial matter than a legitimate one. All in all, it was really simple to pick out a few tunes on, but the lack of a C# immediately turned me off. The second instrument I tried was a Lachenal Anglo 22 button C/G. I have no idea what changed in between the two systems, but I couldn't figure out the diatonic scale structure. Out of frustration, I moved on to the Anglo 30 buttons C/G's. The Rochelle was pretty sharp, and sometimes ringy, so tonally it was a little on the harsh side. But like the Lachenal, it wasn't so bad that it hurt. I was quite impressed with it. To answer my own question, no it did not sound like a toy. What I didn't like was how the buttons didn't really have a stopping point when pushing them, like the springs didn't have enough tension. Given it's an entry level instrument it's shortcomings were obvious and expected. There wasn't enough wrong with it to turn me off so I will officially be starting on the Rochelle. The steel reeded Jones's were really nice. They had a very warm and mellow tone compared to the brass reeded boxes. I liked them a lot. I also got to try a Carroll. It was absolutely lovely. It was very comfortable and smooth to the touch. I loved the feel of the metal buttons and it's bellows were very light. It's tone was bright but very controlled. It is a wonderful instrument. I walked in not expecting to learn a single tune, but I picked up this system very quickly. It was much simpler than I expected. I'm no longer intimidated by the Anglo being bisonoric and I'm actually quite fond of it now. Over the time I was there I managed to pick out a jig and a reel: Joe Cooley's Jig(The Bohola) and The Little Bag of Spuds. I didn't get them down-pat, but I was impressed with what I could work out in such a short time. I also tried out an English, just to give it a fair chance and to experience for myself it's "apparent" intuitiveness... First off, I have no idea why it's the recommended concertina for pianists. It's alternating pitch structure wasn't very logical to me and it's unisonoricness didn't help it's case at all. As embarrassing as it is, I admit I couldn't manage to even figure out the D scale. I couldn't find the F#! It was so frustrating and humbling, Greg brought out a fiddle for me to play so I could recover. I say all this in good humor but the English is not for me. He also showed us a baritone Duet concertina, which was enormous and made even less sense than the English. Goodness... On the English, I couldn't find the 3rd scale degree, and on the Duet I couldn't find the 2nd! xD. It was really neat sounding though. Overall, the concertinas were all wonderful. They do small acoustic instruments proud with their loudness, but they weren't too loud. Those that were bright weren't too sharp. Those that were warm weren't too muted or stale. A few did have a clarinet thing going on with their tone, and that baritone duet could've passed for a... well... Baritone(brass). But the rest of them did have a special and distinct tone. I'm so glad I got to feel and hear them live on my own knee. In between the concertinas, we were able to share a few tunes, a few stories, and a few laughs. He told me about different events in the area and talked about his experiences with Noel Hill. He also answered all the questions my very inquisitive friends had to ask. I would've learned a lot more if I wasn't so focused on assessing the boxes. One of my friends said, "I think I know more about the concertina than any other instrument now!" Definitely worth the trip and I look forward to continuing things with the Concertina. Thanks everyone for the recommendation and thank you very much Greg for the opportunity. You're a gentleman and a scholar! Cheers! -Jerone
  23. I've changed my mind. It's no longer for sale. Sorry for the inconvenience.
  24. Hi c.net, Just checking for any players of the Wakker H-1, H-2, W-1, or W-2 in the Seattle area. I'm currently playing a Concertina Connection brand Peacock, and I really like it, but am also interested in trying out one of the "top shelf" models, to see if I should be saving up for it! Feel free to PM me if you'd be willing to let me play or chord or two. I'll buy you coffee/tea. -Steven
  25. A request to Crane drivers. I’m trying to find out about instrument dimensions as they affect button reach: initially, the key dimension for me is the distance between the hand rail (on each side) and the nearest buttons, i.e. those playing the lowest notes. I played a 48 button Lachenal Crane back in the 1980’s and always found it very comfortable to hold. In fact I recall playing standing up. Recently, I’ve got myself another 48 button Crane, a Crabb with a lovely tone. Unfortunately, however I set the straps, I can only play the thing comfortably with the straps on the knuckles. If I push my hands fully into the straps, it’s awkward playing the lowest notes- manageable if I sit down and rest it on a knee. I mentioned this in a recent thread about a Crane with EC fittings. Jim Lucas said he had the opposite problem (difficulty in reaching the furthest buttons) and wondered about our relative finger lengths. I certainly find I can reach way past the furthest buttons on mine. Since then, I’ve had some information from Bill Crossland. He tells me the distance from handrail to nearest buttons (end of row) on his 48 button Lachenal Crane is 34 mm on the right hand, with the left hand equivalent being about 1 mm less. That’s 10 mm more than the same dimension on my Crabb: a whole row. I’m guessing my old box was more like Bill’s. Is there a difference between makers in this respect? Do boxes just vary? Or have I got myself an instrument with an unusually small gap between rail and buttons? What’s the gap on your instrument? Any help appreciated.
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