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Anglo Playing in F


Kelteglow
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Would you consider to change to the english concertina? because F is one of the keys that can be easily played. There are a few keys that are really difficult to play, like F# or G#. But F can be played well, I learnt a few tunes of Irish Trad in F because I know two tin whistler players that like to play with the tin whistle in F from time to time.

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C/G - specially when you have the extra C button on push/pull (matching the air button on the right hand side) - which can be nicely included into chords (well if your thumb cooperates with you)

 

Have fun !

Edited by Tina
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F is not too bad. you just need to find an effective way to get from Bb to A. you can either choose push A in the accidental row on the left hand, or you can use 3rd finger A in the G row. this may seem awkward, but i much prefer it. do whichever works best for you.

 

Or .....

 

Draw A, right hand G row (second finger), draw Bb accidental row (third finger). This is for the Wheatstone/Lachenal layout, which I seem to recall is the one which Bob uses.

 

Leaves the left hand free for nice chords. ;)

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F is not too bad. you just need to find an effective way to get from Bb to A. you can either choose push A in the accidental row on the left hand, or you can use 3rd finger A in the G row. this may seem awkward, but i much prefer it. do whichever works best for you.

 

Or .....

 

Draw A, right hand G row (second finger), draw Bb accidental row (third finger). This is for the Wheatstone/Lachenal layout, which I seem to recall is the one which Bob uses.

 

Leaves the left hand free for nice chords. ;)

 

haha. i'll have to try that. do you have any idea how to get rid of those pesky leprechauns too?

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Eileen Curran (Salior's Return), Humours of Westport, Caves of Kiltanon (also Paddy Fahey's Jig arrangement by Liz Carroll), The Tap Room (Youngest Daughter), Paddy Fahey's Jig (the one in Key of A(dor) but with B flat accidentals throughout) and Humours of Ballycastle (key of A maj for the G# on same button as B flat) - all are in the key of F except where otherwise mentioned. These tunes provide good examples of where both David's and Peter's alternate A and G fingerings, quoted below, can be used. IMO, these tunes provide good practice for the key of F. BTW, these are also very good tunes to play out.

 

Steve

 

F is not too bad. you just need to find an effective way to get from Bb to A. you can either choose push A in the accidental row on the left hand, or you can use 3rd finger A in the G row. this may seem awkward, but i much prefer it. do whichever works best for you.

 

Or .....

 

Draw A, right hand G row (second finger), draw Bb accidental row (third finger). This is for the Wheatstone/Lachenal layout, which I seem to recall is the one which Bob uses.

 

Leaves the left hand free for nice chords. ;)

 

haha. i'll have to try that. do you have any idea how to get rid of those pesky leprechauns too?

Edited by s2maur
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  • 3 weeks later...

Oddly, hearing John Kirkpatrick play in F on a C/G over the summer ( a 40 button Crabb I think...) it sounded fuller, sweeter and more rounded than the same box in its home key of C. Undoubtedly the player had a lot to do with it, but John seemed to agree that F was a fabulous and very full key on the C/G

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No question - if you want to play in F with the full range of chords and alternative fingerings then go for an F/C instrument - preferably with 39 or 40 buttons. They sound very rich and mellow and are ideal for song accompaniment, music hall, marches etc.

 

 

I'd love one but how often do they come up or have a lot been converted to G/D?

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Oddly, hearing John Kirkpatrick play in F on a C/G over the summer ( a 40 button Crabb I think...) it sounded fuller, sweeter and more rounded than the same box in its home key of C. Undoubtedly the player had a lot to do with it, but John seemed to agree that F was a fabulous and very full key on the C/G

 

I agree Gav I was at the same workshop as you know . Brian Peters also uses F on his Crabb C/G 38b and it sounds great.

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I agree about John K's playing.... Whenever I hear it I think he does the impossible. He brings a very rich sound out of his Crabb. The only thing about playing in F on the C/G box is that you don't have that lovely low octave for chord work that you get on the F/C - a full octave down: it makes the instrument more in the tenor range compared to a standard box. My F/C was made for me by Wim Wakker - pic attached. It's beautiful.

post-6888-12670317065581_thumb.jpg

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I agree about John K's playing.... Whenever I hear it I think he does the impossible. He brings a very rich sound out of his Crabb. The only thing about playing in F on the C/G box is that you don't have that lovely low octave for chord work that you get on the F/C - a full octave down: it makes the instrument more in the tenor range compared to a standard box. My F/C was made for me by Wim Wakker - pic attached. It's beautiful.

 

 

Looks lovely ( what kind of reeds does it have hand made or accordion type?) I really fancy one but they seem quite hard to come by

 

What are the lowest notes. I find the low notes on my G/D Lachenal nice and rumbly so i assume on F/C they loosen your bowels!smile.gif

Edited by michael sam wild
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Concertina reeds - all made by Wim Wakker. The layout is 40 key Wheatstone all a fifth down from the standard C/G. The low notes are beautifully rich and the whole instrument has a good, mellow tone, especially on chords, but is loud enough to hold its own in sessions (because of the part metal fretwork ends). If you place an order with Wim and Karen Wakker they will tailor an instrument to whatever you require. More pics of mine here:

 

http://www.wakker-concertinas.com/A-6.htm

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