Describe Bellows Control For English Jack Model To A Blind Player?

[Matthew Bullis]

Hello from Phoenix. So I now have the Jack model of English concertina, since I heard the sound files and liked the baritone sound it produced. I got some sighted help to read the book that came with it, in order to know how to hold it, but I can't seem to get proper bellows control. When trying the scale of C, I don't know whether to start with the bellows all the way out, partially in, bent in a U shape, or what. Since I don't have any vision, if you could describe how I should get the proper start, and where in the C scale I should change direction, that would be most helpful. I don't know if it's the nature of the low notes to use more air than the normal concertinas without the baritone notes, but bellows control seems hard for me.
Thanks for any help.
Matthew

 

technology and braille instructor

Foundation for Blind Children

www.SeeItOurWay.org

[Ransom]

Low notes do use more air than higher notes. I think my default starting position might be with the bellows all the way closed, or nearly so. As for when to change direction, there's an element of personal taste to that. I'd recommend practicing different ways, and mastering them all. You should be able to change bellows direction on every note, or to play a full octave in one smooth motion.

 

I'm not sure how to help you when you say you "can't seem to get proper bellows control". Could you describe in more detail what seems to be happening, and how it differs from what you expected with proper bellows control?

[Dirge]

I aim to start playing from the closed position (or wherever the thing happens to be at rest) and take the bellows out most of the way before turning round. Stop before it starts to stretch! As in, the simplest, most obvious way, I suppose. Do the turn at the end of a phrase when things are a little more relaxed, maybe? Place that silence when the airpressure drops somewhere artistic?

 

Low notes drink more air as Ransom says.

 

I don't think there's a rule, and I suspect you'll quickly work out what suits you and that will be as good as everyone else's ideas.

 

Anglo players get different notes in different directions so have to take great account of bellows positions or risk running out of air; don't let their discussions about this influence you as an English player; the situation is quite different.

[Alan Day]

Normally beginners play the notes long and hard instead of short and sharp.If you play as quiet as you can it gives more air for you to use and you will play in a more relaxed manner.

Al

[Geoff Wooff]

The use of the Bellows is one of the expressive tools. It can control Volume and add subtle swellings, vibratos and emphasize Phrase points.It is important to do more than just go in and out to provide the wind to the reeds.

 

You need to gain a feel for the Bellows action, so you could try just playing one note and with the Bellows part way open try to vary the pressure gently, or change direction with a note button pressed. How the Bellows feels when you change direction on a note and how different the effective speed of this change is when the Bellows is nearly closed as oposed to it being nearer to fully open. This way you can get a feel for the stiffness and the flexibility of the Bellows.

 

I like to use the semi elastic feel of the bellows to provide rhythmic pulses by changing the pressure whilst moving in one direction.There are many things that can be done and a real feel for the Bellows is your gateway to discovery.

 

Good luck with your Concertina playing !

 

Geoff.

Edited February 6, 2013 by Geoff Wooff

[Mike Franch]

Welcome to the concertina world!

 

One thing to bear in mind is that if your Jack is new, the bellows are going to be stiff. As you play, they will become more supple and thus easier to work.

 

Good luck and have fun!

[Mikefule]

OK, so I'm an Anglo player, but we sometimes do long phrases in one bellows direction...

 

Most western music breaks down into phrases which are typically 2 or 4 bars long. Short phrases often combine to make longer "sentences".

 

Very often, the phrases are either "call and response" or they sort of "mirror" each other. Examples might be a repeated phrase; a phrase that is almost repeated, but a note or two higher or lower; or a phrase that moves away from the tonic followed by a phrase that returns towards the tonic.

 

The ends of those short phrases are obvious breathing or "punctuation" points for any singer or musician.

 

Just because the English concertina can do long passages in one direction, it doesn't mean you have to. I have heard the English played in the same "punchy" stye as an Anglo, and I have heard the Anglo played in a more flowing style like an English.

 

So my suggestion is listen to the phrasing of the music, and it will often tell you when to "breathe". Don't look on it as a technical problem, but let the tune be your guide.

[jggunn]

As nearly everyone has indicated, there is no special rule. It depends a great deal on what kind of melody you are playing. If you were playing something slow and legato, you might draw the bellows out in one direction for as long as possible, but if you were playing staccato, you might be opening and closing more frequently. There are some accomplished players who barely move the bellows at all, but there are others who do a great deal of bellowsing, that is, make notes with the bellows rather than releasing and pushing a button on successive notes. I think the issue is one we have all dealt with in the beginning but eventually develop a feel that suits us and often do not think much about bellows movement unless we are trying for a particular effect.

[Mike Franch]

It is sometimes helpful to sing the tune; where you breathe is where you change direction. As Mikefule said, let the tune be your guide.

 

Now, if I could only following this advice!

Edited February 7, 2013 by Mike Franch