A New Anglo Tutor from Bertram Levy

[John D]

Does anyone know if there will be copies at the Squeeze-In?

[michael sam wild]

Just ordered via Paypal , I hope!

[michael sam wild]

Bertram is sorting out international sales . He's very pleased with the interest shown and asks for a little patience. Looking forward to it.

[Dave Weinstein]

How closely tied is the book to the C/G layout?

 

(I'm assuming it isn't going to be terribly useful to me, since I play a very non-standard G/D layout)

[Bruce McCaskey]

The tutor is written for a C/G concertina, but once learned the methodology can be applied to any Anglo in Wheatstone or Jeffries layout (i.e. C/G, Bb/F, A/E, G/D, etc.). Those that have lightly modified layouts such as Carroll instruments with three C#'s at the top of the right side outer row can also use the tutor, but will need to adjustment some of the fingering. Unfortunately, reviewing the layout link you provide beneath your signature reveals that your instrument's custom layout is quite unique in comparison to a standard Wheatstone or Jeffries Anglo. While I suspect you might be able to adapt portions of the tutor methodology to your instrument in a conceptual sense, I think your layout is too unique for you to be able to directly benefit from Bertram's careful and precisely scripted progressive series of studies.

[sidesqueeze]

The new Bertram Levy method book arrived today. The 'thirty studies in phrasing' are actually the American fiddle tunes themselves. As I look at the list, I recognize all of them as tunes that are played regularly in the Los Angeles area. This will give me a chance to cross over to the "old-timey" community with my concertina!

 

The studies appear to be a bit challenging, as the later ones employ harmony notes and chords. I'm going to have to spend some time with Bertram's last book as well, because I'm not familiar with his button numbering system of R1-R15 and L1-L15. It is probably very simple so hopefully I'll get on with the tunes later this evening.

 

The introductory materials are very well written. Love the part about mistakes: "Every time one plays a mistake, one learns it better."

 

I see that the list of acknowledgements starts right off with Bruce McCaskey!

Edited September 23, 2011 by sidesqueeze

[Bruce McCaskey]

Maybe I can shed some light on the button numbering.

 

As you suggest, it was also used in his first tutor and is referenced to buttons on page 8 of that work. He uses this numbering in the second tutor as an aid to locating buttons in the first four studies, extensively in the first study and sparingly by the time you get to the fourth. After that it really only shows up in technical playing notes for specific exercises. If one is not already familiar with the numbering notation, there are two appendices at the end of the second tutor, the first a "note finder" and the second identifies the notes available on standard C/G Wheatstone and Jeffries Anglo concertinas, both serve as references for understanding the button locating notation.

 

Bertram made a point to include this numbering in the study so that the tutor material would be accessible to those that were not proficient sight readers. The button numbering notation's purpose, aside from serving as a location referencing tool in the notes for the studies, is to demonstrate how someone that's not a proficient music reader can either on their own or with help from someone more proficient with sheet music, go through a "study" and add in their own button locating references (tablature) as needed to aid them in finding the buttons as they work with the material.

 

I certainly agree that the tutor is challenging, but then that's to be expected considering what it offers. Bertram's purpose was to put together a course of instruction that would be accessible to intermediate level players of a broad range and build their skills to an advanced state. To my mind the term "intermediate player" in this context describes as a minimum someone that understands the layout of the instrument and is sufficiently proficient to be able to play a number of basic tunes well. You don't have to know where every note on the concertina is to start in the tutor, you'll find them as you need them. The tutor leads off with a fairly simple study and then you proceed and advance at your own rate, whatever that might be. Those that come to the tutor with a higher level of initial proficiency will likely be able to progress through the studies more quickly, but will find them no less beneficial. To be clear, he also provides other careful notation in all the studies to precisely guide the student in learning his methodology and these fiddle tunes make a great instructional vehicle.

 

I'm deeply touched that Bertram mentioned me. He devoted a tremendous number of hours to developing and refining it, my contribution was mostly in the form of enthusiasm for the project and assisting in error checking the sheet music notation for the studies. On that latter topic, they say the devil is in the details and in the case of the tutor, distilling and translating Bertram's approach into musical notation was quite a detailed process. Those that work though the tutor will come to appreciate that there's a lot of information there. I'd like to be able to say that as a result of our efforts there are no errors of transcription, but rather will say that if any are found, Bertram will offer corrective information via his website.

[John D]

Mine arrived yesterday ..

 

I've only been playing since earlier this year, and I had to take a break for a while due to some mechanical issues in my neck resulting in numbness in my left hand .. but that seems to have subsided. I used Bertram's first book for the first few weeks until I arranged for lessons with a local ITM button accordion player who moonlights as a 'tina player. Since then and until my 'vacation', I'd been working on tunes provided by my teacher and making good progress with getting familiar with the box. We'd work out the tune on one visit, and then when I had it reasonably down she'd add ornamentation and together we'd work out fingering alternatives to accommodate the ornamentation. This was working well for me, and spurred me to work on scales on my own (mainly in G and D) with as many alternative fingerings as I could come up with.

 

Bertram's new book is very interesting .. he provides a series of suggested fingerings for scales in common keys with the emphasis on "fluid unidirectional phrasing" which will probably keep me occupied for the rest of this year! The studies look very interesting (and are all old-time tunes I mostly know from my banjo days), and it looks like each one emphasizes a particular technique in the context of the tune. I'm looking forward to working my way though this book, which promises to take a while ..

[david fabre]

My tutor arrived on saturday, and I started fighting against the first lessons...

 

My first impression is that the cross-row approach he is presenting involves

much more movement of the fingers along the keyboard compared to what I'm used to,

and to whatever I had seen elsewhere !

Until now I thought that "first column = first finger, etc..." was a general rule to cross-rowing

and I was sticking to it, but I can see that the approach of the tutor completely breaks this rule.

I guess this is one of the things he learned from the bandoneon.

 

So I'll probably have a hard time getting used to this new approach.

But I'm sure it will be worth the effort and will also prove useful for approaching other styles.

I still find some charm in the simpler, along-the-row playing style, but I'm sure if I succeed

in mastering as well the smooth cross-row style, my playing will greatly widen its scope.

 

More in a few months...

David

[michael sam wild]

My copy arrived nicely packed and promptly. I too am finding it challenging but can see what Mr Levy is aiming at. I must admit I am loathe to give up the 'default' fingering I am used to which has served me well and I also have put in a lot of work to avoid hopping from note to note with the same finger ( some of which he uses)

 

What I would find hepful is to hear the tunes to get a better idea of the old time fiddle style he is seeking to emulate.As it seems the concertina died out in the USA for some reason in the fiddle music tradition it looks as though Bertram and Jody Kruskal are pioneering a reintroduction and adapting it to the tradition. A bit like the way the Anglo and the Melodeon was reintroduced and rethought in the English traditional music scene in the 60s and 70s and on to the present day.

What seems a simple diatonic instrument gets much more complex when you have two or more rows and several choices of button and bellows direction

 

I do like the way he challenges you to rethink the approach and attempt a tune in several ways.to get the same phrases.

I'd also like to see it linked to some of the underlying chords that can be chosen to underpin and justify the phrasing , in the way that the good English players of the Anglo do. I suppose that Jody goes for the whole string band sound in a similar way that say John Kirkpatrick and Brian Peters approach a tune..Obviously the more buttons you have the more complex still are your choices up to Bandoneon and the world of the Duet !

[Bruce McCaskey]

(The following text is from Bertram regarding this thread and I'm posting it at his request)

 

 

I have greatly appreciated the initial comments so far. Let me say that the audio examples are on their way and will be posted on my web site shortly.

 

It is true that the concepts presented in the text represent a challenge to previous convention but I would hope that concertinists would view these as methods to amplify their technique rather than to discard previous accomplishments. Many tunes work fine along a single row but there are always places in the tune where the music just doesn’t come out. Rather than struggling to make the fingers do something they don’t feel comfortable doing or simplifying the tune beyond recognition, I would suggest that there are alternative ways to accomplish the phrasing, which preserves the musical intention and rhythm.

 

It is also true that this method requires study. But we all study our instruments because we want to improve. I would hope this text offers that opportunity. I, like many musicians have had to (painfully) start over from the beginning a number of times. One learns that it is not a step backwards but a move forward through a new door into a new world of possibilities.

 

I would like to address a few initial concerns expressed in this thread. One should not get bogged down on the scales in the beginning. They are offered as a perspective and should be treated as a punching bag on which to occasionally work out. They need not be learned 100% before going on. The reason is that within the framework of a tune, the fingerings on any portion of the scale will change depending on the measure beforehand or afterwards.

 

As far as the first tunes, they are offered not so much for the tune but rather to learn the process of visualization. The natural tendency is to learn a tune note by note (the melody). However there is a much easier way to learn – it is by visualizing phrases, placing your fingers in the shape that encompasses the entire phrase and only then playing it. This is how pianist learns to play Bach. Much of Bach is just giant fiddle tunes. I would hope that you will approach the first tunes as a method to learn this process of visualization, a process called preparing the hand It is very challenging at first because the brain wants to constantly default to play the melody note by note. It is a lesson I still have to learn over and over for myself but, once learned, makes the efficiency of learning incredibly easier and faster. It also dramatically improves memorization.

 

Finally I would like to comment on the question of chordal accompaniment. I think chords are great and I certainly addressed chords in my first tutor. However the focus in this text is on phrasing and on emulating the styles of the fiddle. We all know that the fiddle can stand alone and make great dance music. It uses the techniques of double stops and other melodic and bowing rhythmic devises. These can be accomplished with the concertina as well and these techniques are explored in great detail in the text. I saved chords, for the last sections, not because it is more difficult but because one must get the phrasing right first. Also as one progresses to the last chapters, it becomes clear that counterpoint melodies serve the function of harmony just as well as full chords while providing further movement and drive.

 

I hope these comments are helpful. Please feel free to write me with questions at any time at info@bertramlevy.com and I will try my best to answer them.

[symon]

I play an ec but that explanation makes me think I could learn a lot from the tutor. Hmm. Might have to pick it up at some point.

[BertramLevy]

I play an ec but that explanation makes me think I could learn a lot from the tutor. Hmm. Might have to pick it up at some point.

A few audio samples from Bertram Levy

 

While I am in the process of assembling the tutor audio samples for my web site bertramlevy.com, I thought I would put a few audio samples on the site from a session recorded with two great old time musicians from the Round Peak region of Western North Carolina-Virginia to give people an idea of the arrangements in the tutor and the old timey sound in an ensemble. Note that there is no guitar but plenty of drive. Eddie Bond of Fries, Virginia is on fiddle and Kirk Sutphin from Winston Salem, North Carolina is on banjo and fiddle. I am playing my Stagi, which may make some of the concertinists scratch their head. I actually like my 30-year-old Stagi even though the buttons go every which-a-way and which clatter like a freight train. It blends very nicely with the old timey sound without dominating the trio. It is an instrument that I have taken on many sea voyages, don’t mind giving to a 5 year old to try and left in the car in the middle of the hot desert. I would NEVER treat my beautiful Dipper in such a fashion but I can make the Stagi do everything the Dipper can – even play expressively in the key of C sharp.

[david fabre]

Thanks for the audio files on the site. They are great to understand the style

for those like me who are not (yet) familiar with old time american tunes.

 

It would be interesting if you could post solo recordings as well, to allow us to concentrate

on the concertina.

 

David

[Kelteglow]

Hi All Tutor is 36.15 USD I make it £23.10.Nice Christmas Presy .Bob

Edited October 13, 2011 by KelTekgolow

[Marcus]

Just ordered mine from The Button Box. Also looking forward to resuming online lessons with Jody Kruskal again!

[Randall Cayford]

While I am in the process of assembling the tutor audio samples for my web site bertramlevy.com, I thought I would put a few audio samples on the site from a session recorded with two great old time musicians

I hope this means you're planning to put solo recordings of each of the 30 studies on your site. Seconding David, that would be very, very helpful.

[BertramLevy]

While I am in the process of assembling the tutor audio samples for my web site bertramlevy.com, I thought I would put a few audio samples on the site from a session recorded with two great old time musicians

I hope this means you're planning to put solo recordings of each of the 30 studies on your site. Seconding David, that would be very, very helpful.

 

 

Yes I am definitely putting the solo recordings of the 30 studies. I tried to do it from Buenos Aires but not being a tech person, am having some formatting problems If I can't get it done here, it may have to wait for another 3 weeks when I return to the states. The first exercises are based on visualization in which the recordings are probably not as important as in the later studies. Thanks for your patience Bertram