New Edition Of My Concertina Instruction Book

[Richard Carlin]

Hello (English) concertina players:

 

Mel Bay has asked me to update/revise my concertina instruction book, originally published by Oak in 1977 and in print through 2000.

 

I have lots of ideas -- naturally -- but would appreciate hearing from anyone (privately at harryminting@aol.com or publically here) with corrections, ideas, suggestions for the new edition.

 

Also, if anyone thinks it's a good idea, I could post text as I work on it for input from learners/experienced players. I'm not exactly sure where/how to do this, but am open to suggestions.

 

Thanks in advance for all your support & help.

 

Richard Carlin

[Aquarussell]

Just so it doesn't look like no one wants to answer, I am posting to admit I haven't seen your OLD book, so I have no ideas for changes/improvements.

 

I have one tiny suggestion. Comb binding, so it will not try to close while I am trying to practice!

 

Russell Hedges

"Aquarussell"

Abject beginner.

[wes williams]

Richard's book also missed me, so I can't comment other than to say that the 'flexidisk' wouldn't be much use anymore. Would anyone buying the new edition like to sell me the old one for archiving?

 

On the same lines, any plans for re-release of your LP of archive performances by the 'old time greats' on CD?

 

best wishes ..wes

[Stephen Chambers]

Richard's book also missed me ...

Richards book, "English Concertina", was not only an introduction to playing folk music on the instrument, but also the best source on concertina history, personalities, buying, repairs, discography & bibliography, that was available for many years. You will find that I have cited it in my writings.

 

Richard was a pioneer of concertina research and fieldwork, doing much valuable work in the 1970's.

 

On the same lines, any plans for re-release of your LP of archive performances by the 'old time greats' on CD?

That LP was my introduction to some wonderful old concertina playing, much of it taken from 78's owned by Harry Minting (some of which I now own, having bought what remained of Harry's 78's).

 

If Richard has no plans for re-release of that material (and I will provide him with better recordings, if he is interested), one of my projects is to make some of what I have collected (100's of recordings) available on CD.

[Paul Groff]

Richard,

 

I want to echo the praise of Stephen and others. The photos and interviews in the book alone made it interesting to any concertinist. There were also some repair hints (although I think the description of which reeds sound on press vs. draw might need to be clarified).

 

And please do reissue the LP on cd, either with the book or separately! Really great work.

 

Paul

[Richard Carlin]

Thanks to everybody for kind words about the OLD book -- occasionally copies turn up on Ebay (I don't have any extras for sale) for those who want to see it.

 

The new edition will probably be mostly redone from scratch as I wrote the original when I was a mere 20 year old . . . so I know there's lots I want to change. The new edition will include an Audio CD (rather than the old fashioned flexidisc) I can't control whether Mel Bay uses comb binding, but I'll suggest it.

 

The Folkways Records release of old concertina material (The English Concertina, FW 8845) is still available on special order CD from the Smithsonian/Folkways archives for those who want to have one. By the way, I didn't use 78s from Harry Minting -- the Fayre Four material came from the sisters themselves, the Matusewitch 78 from Boris Matusewitch, and the Alf Edwards . . . I can't remember, but it wasn't Harry!!! It would be wonderful if Stephen issued a CD of other early recordings of concertina music -- I'd buy one!

 

Speaking of Harry Minting: Who ended up with Harry's old instruments??? He had a wonderful "clarinet" concertina with a beautiful tone--among many other nice items.

 

Anyhow, if anyone has CONSTRUCTIVE CRITICISM to offer (I realize that small mistakes crept in throughout the text), that would be great, too. I wasn't fishing for compliments, although they're always welcome, too!

 

Richard

[Stephen Chambers]

By the way, I didn't use 78s from Harry Minting -- the Fayre Four material came from the sisters themselves, the Matusewitch 78 from Boris Matusewitch, and the Alf Edwards . . . I can't remember, but it wasn't Harry!!!

Richard,

 

Mea culpa ! I guess I must have assumed it was Harry, knowing that you met & recorded him, as well as knowing that he had a wonderful collection of 78's which he loved to play for people.

 

It would be wonderful if Stephen issued a CD of other early recordings of concertina music -- I'd buy one!

It is one of my long-term projects, which I hope to realise once I have other matters resolved. I have enough material to put together several CD's of Alexander Prince alone, never mind anybody else !

 

Speaking of Harry Minting: Who ended up with Harry's old instruments???  He had a wonderful "clarinet" concertina with a beautiful tone--among many other nice items.

Sadly, Harry died not long after I moved to Ireland, and I don't know what happened to all his concertinas, but I think the two tortoiseshell Aeolas (one of which had been made for his friend Ernest Rutterford-did he tell you about the jazz band ?) were kept in the family.

 

I once saw a beautiful "matched pair" of clarinet concertinas, a Bb and an A !

[Stephen Chambers]

Speaking of Harry Minting: Who ended up with Harry's old instruments???  He had a wonderful "clarinet" concertina with a beautiful tone--among many other nice items.

Richard,

 

I was just packing some books, for my move to Co. Clare, and came across the Phillips 15th December 1988 auction catalogue. It was the sale where I bought Harry's Wheatstone open-pallet concertina (Captain Gardnor's concertina) and his Wheatstone 112 (Lots 17 & 18), both of which had been in the Wheatstone collection.

But perhaps of more interest to yourself would be Lot 18, which I think is probably the Bb clarinet concertina you asked about, would it have had raised ends and have been made in 1910 (# 24800) ? If so, it fetched a very good price, back then, of £800.

[Sandy Winters]

Richard, I still have my original copy of your book and I promise to read thru it again and see if I can make any constructive suggestions.

[synchopepper]

The day I bought my first concertina about 18 years ago I also bought Richards book which was a big help in learning to play.

 

I recently picked up three of Richards records "The English Concertina", "The Poppy Leaf" and "In Come a Bumble Bee". They are available on nice clean Folkways transcription CD's from World Music Store (Worldmusicstore.com).

[Nanette Hooker]

Hi Richard

 

I purchased your book when I bought my first English Concertina in 1987. I had a few instruction books at the time (Salvation Army, Alistair Anderson and Roger Watson). I thought your book was the best. I especially like the extra articles such as the one on concertina bands and Russian masters.

 

I have a number of comments about the book:

 

Although I found the record useful, as a beginner I found the music too fast to play along with. I presume that time/space for sound recording will no longer be a constraint, therefore, I suggest having the music at two speeds i.e. slow and normal.

 

With regard to holding the instrument I found your suggestions mostly acceptable. I noted however that your book differed from Roger Watson’s with regard to how far the thumbs should go through the thumb straps. I found your method more comfy. After years of playing and experimenting with different suggestions I decided to hold my instrument in a way that I found comfy. I have recently purchased Allan Atlas’ book “Contemplating the Concertina”, which has a very good chapter on holding the instrument (this is not a beginner’s book though), and was delighted to read that there are numerous ways that one can hold the concertina and one should choose the most comfortable. I have also read that Simon Thoumire holds his instrument in an unconventional way (I have never seen him play so I’m not sure what that means), and he is an amazing player. Check out this web site: http://www.footstompin.com/articles/techni...lish_concertina

 

For years I followed your fingering suggestions especially for notes separated by thirds and fifths e.g. “The Black Nag”. I now prefer to follow Alistair Anderson’s suggestion that ‘cross-fingering’ should be only used occasionally. However, cross-fingering is needed for chords as you suggested, but on page 18 of your tutor there are two fingering suggestions for the e minor triad which differ from each other. At the top of the page you suggest 4-2-3 fingering, but lower down you suggest 3-2-4. I found this initially confusing but I now realise that fingering is dependant on the notes before and after, and on phrasing and articulation i.e. staccato vs legato. I am not sure how you can incorporate such things into a beginners tutor.

 

Hope these comments are useful.

 

Nanette