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Playing B Then C# Across The Rows On A Wheatstone Layout


lxnx

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I've been reading up on playing across the rows, and about avoiding the playing of two notes in a row with the same finger on different buttons.

 

This was working out for me when playing in the key of G, but once I started on some D tunes which contain a B and C#, I'm not quite sure how where I should be playing them (I'm on a 30-button anglo, wheatstone/lachenal layout).

 

Since I only have one C# (button 1 top row push on the RH side), it seems I should avoid using button 1 middle row pull on the RH for the B, and use button 4 push on the bottom LH row instead. Does that sound right?

 

Should I always use that B and get into the habit of it, and avoid the RH B in general? Or should the B I use vary with which key I'm playing it?

 

Or should I just vary this with every tune I play, regardless of which key I'm in?

 

I read a bit about Noel Hill's suggested button choices, but information on this seems to be spread quite thinly about the place, I've not seen anything comprehensive about it. Also, the posts I've seen about it all seem to list some ways of playing notes for the Jeffries layout, which seems to have plenty of C#s!

 

I was planning to attend one of his camps next year, but wanted to avoid any (avoidable) bad habits in the meantime.

 

 

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My main instrument is a modified Jeffries layout with three C#s on the right. I've learned my fingerings originally from Noel. I would generally play the C# on the push with my middle finger on the second button of the top row.

 

When confronted with a Wheatstone layout, I'll still use my right index for the pull B on the right, then my middle finger for the C# on the first button. It's a bit of a reach, but allows me to keep the same fingerings if I'd like.

 

One common alternative on a Wheatstone layout would be to generally play the push B on the bottom row on the left, then the C# on the right.

Edited by eskin
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A good way to prepare for a Noel Hill camp is to make the RH pull 'b' your go to default note.

 

As you've already discovered there are times the LH push 'b' is the best alternative. Most times a 'b' preceding a c# is best taken with the LH push 'b'.

The 'b', 'c#', 'd' triplet works very nicely beginning with a push 'b'.

 

"The Silver Spear" has lots of opportunities to choose the primary 'b' or alternative along with choosing the G row or C row 'a'.

 

Some of your choices depend on the fingering but also pay attention to how the notes sound as well. Noel's contention is the RH pull b (which is not under the palm the way the LH 'b' is) is a stronger sounding note. You may find the same is true of the G row and C row 'a' notes.

 

Noel once told me, "The concertina is a minefield!" So try not to get blown up, but enjoy the adventure!

 

Greg

Edited by Greg Jowaisas
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Thanks eskin and Greg, I'll take those suggestions on board.

 

I can see why he'd describe the concertina as a minefield, I initially thought different notes on the pull and push would be the tricky part, but seems there's even more to get my head around than I first imagined :)

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  • 2 weeks later...

If I were attending a Noel Hill workshop, I would consider getting a concertina maintenance person to convert the instrument to a Jeffries (easy and cheap to do). AND make sure, when asked to play a scale of Dmaj, to use the LH middle row D, and the RH pull B.

 

True exponents of the Noel Hill method seem to play Jeffries or similar layouts - 2 or more (eg Carroll has 3 C# buttons as standard) - and often gloss over the difficulties of NOT using the lower-row B together with that C#.

 

But in my view the lower row push D (on what my notation in "The Concertina Diaries" - see IrishTunebook.com if you don't mnd me plugging a website) would call G2 is extremely useful, very often, especially when you're playing an F# next to it (button G2), since your finger's on that button anyway for the F#. The two B options both have their place and it just depends on what tune you're playing; what sequence of notes. Indeed, why should ANY of the buttons be regarded as taboo? The three locations for A (C5, G3 and A4) all have their place; try playing Tobin's Jig (Dmaj) on a Wheatstone layout, incorporating that push A on A4 (outside row), and it suddenly become easy and elegant to play.

 

And don't ever under-estimate the ease of playing some tunes ALL along the inside row (apart from the C#, of course); it often makes an otherwise difficult tune both easy and elegant.

 

Heather

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PS: AND sometimes playing all along the C row (except for the higher notes on the RH) especially for tunes in A or E minor. The Geese in the Bog, a jig in Emin (the natural minor of C) plays easily along the middle row.

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