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  1. I'm playing the duet these days and two systems is more than my brain can deal with! So.... Selling my Wheatstone 48 key English Concertina, I believe it's a Model 22. Serial Number 23472.... Pics below. In great condition. Plays very well. 5 Fold Bellows (Look like they're the originals) Metal ends are in very good shape, no real wear. There's 2 bowing valves, one on each end. Steel reeds and all look original. Tuned to A440 concert pitch. Professionally re-valved this year. Original leather case still solid and useable. Looking for £2250. Offers will be considered. The concertina is in the South of England, I'm happy to try and meet so buyers can try it first. PM me if interested. Thanks.
  2. I have recently become the custodian of this instrument, the seller believes it to be a Wheatstone, only labelled and sold by Prowse... At this web page http://www.concertinamuseum.com/CM00254.htm there is a similar instrument with an slightly earlier serial number, with the detail that the maker is Keith, Prowse & Co. Does anyone have any knowledge as to the activities of Keith, Prowse & Co, did they actually make any instruments? The label at least says 'Manufacturers'. Was posing as being a maker, when you were really a distributer/retailer a known practice of these times? If Keith and Prowse were not makers, then who might have made this concertina (S/n 1155) and how old is it likely to be? (Edited on 25/11/15, to insert the comma between 'Keith' and 'Prowse', to change 'he' to 'they' etc, as I had mistakenly read the label as being Keith Prowse & Co (assuming Keith to be a first name).
  3. A friend of mine has owned this instrument for many years but never learnt to play it. Now he wants to sell it to help fund a building project. I’ve offered to help him. My question is should he sell it in its current condition or refurbish it first? Normally my advice would be the latter since most people want an instrument they can play without the delay and uncertain cost of repairs etc. In this case, though, the instrument seems to be virtually untouched since the day it was made. It might be more attractive to buyers in that condition. The serial number (11432) suggests it was built in about 1860. Wheatstone’s sales ledger shows that it was sold in July 1862. It’s the most expensive intstument on the page which presumably gives some indication of its quality. It seems to have spent most of its life in its tea-caddy case in benign environmental conditions. There’s no sign of cracking, warping or swelling in the woodwork. The bellows are pristine. There are no nail marks round the buttons and the buttons show no signs of wear. The end bolts are undamaged and there’s no damage to the wood round them. Open it up and the inside is as clean as the day it was built. All 96 reeds play. The only two issues are one broken thumb strap and half the valves curled up from being stored on its side. The broken thumb strap was almost certainly caused by pulling it out of the case after someone jammed it in by not aligning the knurled thumb screws with the groove in the case. Tuning: It sounds pretty good. I’ve been able to check some notes against a guitar tuner and these are between about 5 and 25 cents sharp. The D# is different from the Eb and likewise the G# and Ab. So it is probably in old high pitch and some sort of meantone tuning - possibly never touched since it was made. I’d welcome any advice before putting it up for sale.
  4. For Sale: brand new Jackie concertina. I bought a month ago http://www.concertinaconnection.com/jackie-jack.htm but later realized that I was more appropriate Duet. Yes, I know that it is possible to exchange, but the mean distance shipment will quite expensive, and I'm looking for an opportunity to sell its close to buy a new one. Location - Russia. I hope anyone interested. By the way, it would be great just to exchange my Jackie to Elise Hayden Duet.
  5. For Sale: Wheatstone Aeola 48 button English Concertina. Serial #24873, Key of C. I purchased this Concertina from Barleycorn Concertinas in England, and recently (2013) had it serviced at The Button Box in Massachusetts. Falling within the dear and lost years periods of the Wheatstone company, this Ebony ended concertina has unique fretwork, and is in perfect playing condition. All buttons play clearly and in perfect pitch. I am located in the Western United States. I have never used this forum before, but am aware of the 2% donation policy. I am located in Montana but will be traveling to Southern California next week and can bring the instrument with me. Please see four detailed pictures below:
  6. I'm trying to fix a slow reed on my brass reeded English concertina. (It's the a flat on the right; on the push) I'm pretty sure that the problem is that the gap between the reed and the frame is too small. I've done one round of opening the concertina up and pushing on the reed with toothpick. I was pretty gentle, pushing the tip of the reed maybe one millimeter out from the reed frame; at the end of the process I didn't see a clear change in how the reed sat. Obviously, this hasn't fixed the problem. To my untrained eye, there isn't really any gap at all; this would concern me except that the a flat reed wasn't obviously different from the adjacent a natural. How far/hard should I push on a reed to try to modify the size of the gap?
  7. I will be at BB&M in Aberdeen this weekend. I will have for sale a metal-ended Aeola TT (30964) and a wooden-ended Lachenal New Model 48, both in excellent condition having been fettled respectively by Andrew Norman and David Robertson. I'll be around all the weekend except for Sat evening.
  8. I've been searching for an hour comparing the Aeola English system Tenor and Tenor-Treble (model 17 and model 19) Which is right for me? I have the note range figured out but can't find anything specific on the size and weight comparison. Can soneone give me the size (across the flats) of both a 48K treble and a 56K tenor-treble Aeola please? Maybe a Model 22 too as well please. Actually... If this hasn't been done before, let's compile a chart comparing the different models. If it has been done please point me in the right direction or PM me for my email to send it to me please. I am mostly interested in Wheatstone but why not open it up. Please let's stick to English system though. Every few days I can put the info into a summary post. What do you say? Not the primary concern when choosing an instrument of course but it does come into it. I think this could be some very useful data compiled into one place. Please help Type (ex: tenor, tenor-treble, tenor etc,) Model # (ex: Model 17 for 48K treble Aeola etc.) Serial # (optional but especially useful if no model #) Number of keys Note range Features (ex: wrist straps, thumb strap to note position, etc.) Type of ends (ex: ebony, raised ebony, metal, etc.) Number of bellow folds Size (distance across the flats) Weight Thanks.
  9. Wanted - 48 Button English To Learn On - West Coast Canada Or PNW, Seattle area. Edit: I am now actively searching for a Lachenal Edeophone 48 key with the large reed pan hole from the late 1920s. I am really enjoying the English concertina but my bone button instrument is in terrible condition and not worth getting professionally restored. I have been told that the Edeophone has the best balance of all the vintage concertinas for the type of music I want to play. It is very important to me that the steel reeds have never been tuned, that it is in old high pitch. The rest of the instrument can be rough as long as it is able to be restored. Please let me know if anyone has something like this or knows of one for sale. I prefer to buy locally in Canada but would certainly be open to getting the right instrument shipped from the UK or the USA. Thanks, John Message me through this forum please.
  10. SOS The chances are slim for me to receive my English concertina recovering in England with Dr. Dipper ... I will be at the Mariposa Folk Festival in Ontario next weekend with my band... If you have an English concertina sleeping at home and you want to save a life, I'm your man! I cross my fingers... David Berthiaume info@reveillons.qc.ca
  11. Here's a couple of songs to get the toes tapping. The first is one is fairly well known in Oz and was done by Australian country singer Kasey Chambers, an inane song of lost love, her bloke takes off with another gal. I was wondering about changing the words to make it gender correct for a male singer but then realised I didn't have to. These days it's not unusual for a wife or girlfriend to dump their bloke and take up with another lady! Kasey sings it with a contrived American accent. I had to be careful to avoid that country twang. Here ya go. https://www.youtube.com/watch?v=Mj4jIILT1vI Here's another, the old San Francisco Bay Blues. https://www.youtube.com/watch?v=WIch3lDVzC0 I like that these songs are a bit boppy. Both have a click beat, you'll see. I've been trying to develop a style of rhythm with my playing but am undecided about whether I'm really happy with it. Sometimes the chording sounds a bit too full perhaps. They're recorded with my little portable digital recorder which probably doesn't help.
  12. Hello all! I am new to the forum and to the english concertina. I've been playing for almost two weeks now. When I'm not working through a tutor book I have come to really enjoy practicing modal scales. It is really helping me to become more acquainted with the notes on the instrument. Anyone else use modal scales during their practices? What other exercises would you suggest for a concertina beginner?
  13. I'm looking to buy my first english concertina today and I'm going to buy a Stagi English A48-S. The question is if I should choose tenor or treble(baritone is available as well but I don't want one too low). Is the treble too high and annoying or is it smooth and good for leads? Or should I buy a tenor instead? EDIT: I found some videos, and I think treble is a safe bet, you rarely go to the highest C anyways.
  14. 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
  15. 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
  16. Years ago, I spotted a rarish Wheatstone Tenor on Ebay. Rarer still was that it was located a half-hour's drive from me in Southern California, so I drove out and inspected it. Sadly, at least for me, I was outbid in the final seconds. I believe it went to someone in the UK. Anyway, I'm renewing my search for another, long shot or not. Mike
  17. This is one of the early Edeophones, as you can see by its retention of the Oval and Diamond cartouches from the New Model range, rather than the scrolls you normally find. It also has aluminium reed shoes which, as far as I can tell, make no difference at all to the sound (loud and sweet as you would expect of a wooden-ended Eddie) but do make it surprisingly light. Restoration has included new pads, valves, bushings and dampers. Woodwork has been repaired and re-finished, bellows re-bound, new straps fitted, and it has been tuned to modern concert pitch. It also comes with its original case, still serviceable after about 120 years. I'm looking for £1900, but will always consider interesting trade-ins.
  18. Hello all, I'm new to both this forum and to concertina playing. I recently bought my first Anglo, a 30 key C/G Lachenal and I'm loving it! My musical background is as a singer and I'm very involved with the folk scene down here in South Devon. I run an unaccompanied singing session in Totnes and I'm also the squire of one of the local Morris sides. I thought I would share this video of Peter Bellamy as I have been a fan of his for many years. He had, in my opinion, one of the finest and most unique voices in the English folk world and I originally fell in love with his unaccompanied singing in the Young Tradition. His later solo work, much of which is accompanied on Anglo Concertina, is as good if not better. One of Bellamy's great gifts to the world of music are his recordings of Rudyard Kipling poems, which Bellamy composed and arranged music for. The following is an old recording of Bellamy singing 'The Death of Bill Brown' and 'Goodbye Old Paint'. Unfortunately the quality of the recording is very poor. https://www.youtube.com/watch?v=JIDkhEIUveQ Followed by Bellamy's cover of Al Stewart's 'Nostradamus' (studio recording, so much better sound than the one above). https://www.youtube.com/watch?v=4LfyGoWcZ_s Enjoy!
  19. I'm regretfully selling my Lachenal Edeophone treble EC. It dates back to the late 1920s and was beautifully restored in 2013 by Bill Crossland who mentioned that it had belonged to the wife of a Salvation Army missionary working in Cuba in the 20s and 30s. I've had it exactly a year during which time it has been played regularly but cosseted and has never left the house. It has a beautiful tone, is in tune (modern tuning) and looks wonderful with no issues. It has ebonised, French polished ends with no cracks. The bellows have 6 folds and are airtight. It has the original leather case, in poor condition and held together by black tape. I've kept it in a hard case which is not for sale. I'm selling purely to raise money for other projects and also because I feel it needs a better player than me to get the best out of it. I have a second concertina of inferior quality which meets my needs and can't justify keeping 2 excellent instruments. The asking price is £1,600 or the equivalent in euros, which includes postage within Europe. I'm not looking to make a profit and this just covers what I have put into it. Anyone interested who lives near La Rochelle in Western France, or is here on holiday, is welcome to visit to try it out. I can also send more photos and a basic soundfile. Dean
  20. Hi everyone! I´m a new member of this great Forum. I felt in love with concertinas after hearing Jon Boden a couple months ago. Since then I have been trying different concertinas. I think I have settle down in the English System. I had an Anglo Rochelle and I just didn´t feel comfortable with the diatonic feature. The size of the Rochelle was also a problem for me. Now I have two EC. One is an old Bastari and the other one is a Louis Lachenal. Would you help me date this Lachenal? From what I have learned online 1865 is my best guess. The serial number is 14.228. Here are the pics: Thank you so much! cheers from Argentina
  21. Appearing at May Revels Celebration at the Strathmore THE SQUEEZERS Jim Besser - Anglo Concertina Gus Voorhees - Melodeon Randy Stein - English Concertina Saturday May 4, 2014 12:30 PM and 3:00PM Free to the Public Strathmore, 5301 Tuckerman Ln, North Bethesda, MD 20852 http://www.revelsdc.org/events-calendar.html
  22. Traditional music duo 'Blyde Lasses' are once again bringing the sounds of Shetland to Skye, Glasgow, and Stirling this coming weekend! The pair performs traditional, contemporary and self-penned Shetland material with Frances Wilkins on English concertina and Claire White on fiddle and vocals in their story-rich concerts. Frances will be guest tutoring at this year's Swaledale Squeeze in May, and this is a chance to hear her in action prior to the event. Scottish Mini Tour Dates March 2014 Friday 21st March Shetland Night at Breakish Hall, Breakish, Isle of Skye. 7.30pm. £6/4 on the door. Free Shetland Beer tasting sponsored by Valhalla Brewery. Sunday 23rd March The Old Hairdressers, 20-28 Renfield Lane, Glasgow G2 5AR. 7.30pm. £7/5 on the door. Monday 24th March Stirling Folk Club, Stirling County R.F.C., Bridgehaugh Park, Stirling FK9 5AP. 8.00pm. £8 on door For more information please see attached posters, visit www.blydelasses.com, or contact Frances Wilkins on 07780 504930 or frances@franceswilkins.com Hope to see some of you over the weekend!
  23. About a year or so ago Jim Besser and I started playing together and found music and ways to make the anglo and the EC work nicely together. We then added the young and very talented melodeon player, Gus Vorhees and started the Squeezers. Our repertoire seems to defy categorizing as we play an eclectic selection of styles and music from genres, and time periods.. In searching YouTube I found several groups and bands that have a concertina in them or the lead is a concertina or accordion. There are groups like Rachel Hall's Concertina Orchestra, the Bootle Concertina Band and others that have more than one free reed player in the group. Also a few that have Chemitzer concertinas Like Bill Czerniak Band. So anyone else have a group of multiple free reed instruments currently performing? If so what is it, where are you, and what kind of music do you play? rss
  24. Traditional music duo 'Blyde Lasses' are once again bringing the sounds of Shetland to south-west England and Wales this coming weekend. The pair performs traditional, contemporary and self-penned Shetland material with Frances Wilkins on English concertina and Claire White on fiddle and vocals in their story-rich concerts. Frances will be guest tutoring at this year's Swaledale Squeeze in May, and this is a chance to hear her in action prior to the event. South-West Mini Tour Dates February 2014 Thursday 20th February The Lion, Caerhowel, Nr Montgomery, Powys. 8pm Friday 21st February Bodmin Folk Club, Syd’s Bar, Bodmin, Cornwall. 8pm Saturday 22nd February Shammick Acoustic, Pack o’ Cards, Combe Martin, N. Devon. 8pm Sunday 23rd February The Square and Compass, Worth Matravers, Nr Swanage, Dorset. 1.30pm. For more information please visit www.blydelasses.com If you would like further information, please contact Frances Wilkins on 07780 504930 or frances@franceswilkins.com
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