Playing Standing Up

[Lester Bailey]

Since Mrs Bailey forced me to decorate the kitchen where I do most of my practic(s)e I have to stand up to play, I have discovered two things:

 

1. I can put far more expression into the tunes by not having one end of the concertina glued to my leg.

 

2. I can only reliably remember tunes I have learned stood up if I stand up to play them.

 

How many of us play without the concertina resting on a leg and do they also find it adds freedom to their expression?

 

Is it normal to have muscle memory which depends on the position you learned a tune in to affect the ability to reproduce it?

[bellowbelle]

I wish someone would decorate my kitchen, besides my cats and dogs....!!

 

What a great new forum this is, this is my first post, under my new 'ID' which was my name before (Wendy S.)

 

I try to discipline myself to play more 'in air suspended' like I would if standing up, though I'm often tired and slump down. I do think it can make the song 'fly' a bit more, sometimes.

 

Yes, I find the 'muscle memory' factor to be true -- I think my fingers like choreography and I enjoy dance steps over more 'cerebral' type note-reading, I think. Though, I don't know if someone else wuld say that's 'bad' or whatever.

 

 

I ideally want to get more used to standing up since I want my breathing apparatus to be more free for singing. This is the main reason I ended up getting a concertina instead of an accordion (for singing).

[JimLucas]

1. I personally prefer holding the instrument free, and I often hold it suspended above my legs even when I'm seated.

 

I do find that having the instrument free/suspended makes expressive control easier. It is possible, though, to develop excellent expressive control even with one end fixed (e.g., on a leg). It just takes a bit more practice

 

2. Muscle memory is a common experience. Actually, I would prefer to call it "context memory", since it can be connected to factors other than body position. E.g., some folks can't play tunes when they're sober that they learned when they were drunk.

[peterhurst]

My old concertina teacher, now departed, only ever played standing up, he often said that when standing the concertina became part of him and any emotion he was feeling was transfered to the instrument. I have to say that I also prefer standing up to play, it some how feels more natural.

[Christopher Quinn]

I play standing up sometimes but I think it places more strain on wrists and forearms than sitting down. I prefer to sit down and thus have a more stable platform for working on the buttons. Standing up has some advantages though - it enables you to play the anglo behind your head like Jimi Hendrix - though it usually fails to impress anyone.

[Chris Timson]

I've never been very good at playing standing up - I guess I just have weak arms or something because they soon start to ache and at that point any subtlety goes right out the window. But recently Anne and I have started playing for a North West morris side and you can hardly sit down for that. So Anne and I have both come up with the same solution - get a Morse. They are so light even wimps like us can play standing up for hours.

 

Chris

[Lester Bailey]

But recently Anne and I have started playing for a North West morris side and  you can hardly sit down for that.

Chris

 

I am down your way fairly regularily visiting my mum. What side do you play for and where can I find when they are dancing?

Edited August 20, 2003 by Lester Bailey

[Chris Timson]

Mr Wilkins Shilling, a sid based in Bath. I can't remember the rest of this year's dancing schedule, since we've only recently started going again after the events of last March. Drop us a line when you're next around, it'll be good to meet again anyway.

 

Chris

[Greyboy]

A general observation - meaning that it does not necessarily apply to all players: South African players often play standing up. Many of them tend to support and align the ends of the concertina by resting the pinkie while playing. Personally, I rest one end on a knee.

[goran rahm]

In my view and in short....particularly the small concertinas do attract the idea of playing standing and conditionally that the obstacles to carry the instrument , controlling the bellows and managing finger work all at the same time are overcome greater musical expression and dynamics may be achieved playing standing than seated.

'Normally' however this is hardly possible except for specific situations and for specific music. To make playing standing comfortable and advantageous the 'handle' and the way carrying the instrument has to be improved.

Have a look at earlier articles on the subject:

 

http://www.concertina.net/goran_holding.html

 

http://www.concertina.net/goran_supporting.html

http://www.concertina.net/images/goran_supporting.gif

[JimLucas]

'Normally' however this is hardly possible except for specific situations and for specific music.

Ah, here we go, again.

 

Were Göran's statement true, I would say that I'm "abnormal", and proud of it.

 

I don't believe his statement is true, unless the "specific" music he refers to includes "all the specific music I play" and "specific situations" most of the specific situations where I find myself playing.

 

Well, even if his statement isn't true, I'll say that I'm "abnormal", and proud of it. :-)

[Chris Timson]

I'll say that I'm "abnormal", and proud of it.  :-)

Can we have a picture to back up that statement?

 

Chris

[John Nixon]

Hi Friends,

The question of whether to play seated or standing seems to come around more often than any other subject and invariably leads to yet another onslaught of blinding with VIRTUAL science. I will offer observations based on simple long experience of performing in concerts, recording sessions, dance gigs & live jazz gigs.

First of all, there is quite a weight difference between the treble & baritone instruments , the treble allowing standing playing of most single noted playing with relative ease. However, when chords are to be played, it is often required to use the 4th (little) finger . (you could not ,for instance, perform the Estrellita arrangement from my English Connection C.D. without the use of the 4th finger)

When performing in the recording studio with an orchestra, it is very rare for anyone but the conductor to be standing so that a perseverance of playing seated is a must.

Most of the old Concertina tutors advise the use of a simple sling to support the instrument when playing stood up and I have found that playing Jazz or Dance gigs

to be no problem using a sling with my trusty Baritone.

I hope that the above will offer a little help to those friends particularly in the early stages of playing this wonderfull instrument.

It looks as though this new forum format will match the abilities of Wheatstones invention. John Nixon.

[squeezer]

Is playing standing up a "good thing?" For me, often, it's the only thing; it's hard to play for Morris dancers while reclining. I've learned to walk and play, but it IS hard on the tendons and has aggravated my tennis elbow. I now use a small portable stool; i use it to raise my knee to provide a suitable platform. I play standing up, without support, but especially during long dances return periodically to the stool to relieve the pressure on my arms and wrists.

 

As far as having more expression while standing up: that doesn't work for me, mostly because pain is not a good spur to expression.

[John Wild]

- it enables you to play the anglo behind your head like Jimi Hendrix

 

WOW! Jimi Hendrix played concertina as well??

 

 

John Wild

[goran rahm]

Reply to Jim:

You are always referring to yourself Jim when objecting to the suggested improvements of handling the instrument. Whether you are abnormal or not is of minor interest...for some reason you manage and are fully satisfied with it..one common reason is that everyone adapts to own resources. If you ask a lot of players you will likely find that English-players are not very fond of playing standing, Anglo-players quite often enjoy it and Duet players form a more mixed group. Of course it is to a part related to the way the instrument is carried, the weight of it and the effort doing the bellows-work...all of this depending on the efficiency of the 'handle'

 

Reply to John Nixon:

You evidently approve of the idea supporting the instrument with a "sling" ( I guess around the neck). The 'idea' is fine but the 'method' however is not an ideal in case you refer to the 'thin cord' suggested in old tutors..have a look at the "Supporting..." article of mine.

I agree that in principle the weight difference between small and large concertinas should not be much of a problem when playing standing conditionally that a good way 'carrying' the instrument is achieved and the optimal method may vary depending on the situation. I use elastic broad straps NOT around the neck but either double braces/suspenders (for trousers) and hanging the instrument in the front ends or one strap over one shoulder and under the other arm..left or right

depending on which arm is doing the dominating bellows-work.

[lildogturpy]

If you're interested in playing standing up, here's a link to a chord that you can attach around your neck. I've not tried it, since it looks very nerdy :-)

 

http://www.concertinaconnection.com/holding%20instrument.htm

[nils]

It´s all "just" training! Pietro Valente playes complex jazz arrangements and he never sits. He´s old now and the CD sold on ebay doesn`t really do him justice. (It was recorded more or less "live" and he was 78 I think.) But you get the idea what is possible.

 

Nils