Classical Music On A Concertina

[BW77]

@BW77: I don't know what the tremolo/vibrato distinction has to do with it - these are not really part of early music. BTW, for me as a string player, tremolo is what you do on a mandolin; vibrato is what you do on a violin.

Cheers,

John

Not much at all *here* ( Adrian's playing) it was just a remark concerning *tone* in general. My comment on his "studio" and the possble effect by its absorbing wall construction definitely is relevant however. Playing technique of course IS important. Instruments too - so to find out you have to compare players and instruments ( doing the the same piece of music) in a specific situation....not often practicable....Anyway, playing in octaves ( partly very suitable with an anglo but generally better with duets) may do a lot to tone. This is the principle with Bandonions too. I don't quite follow your comment regarding old and modern ones since "old" Bandonions to my knowledge generally have double reed sets in octave and that is the basis of common "bandonion sound" also simulated with a similar reed combination in accordions and with dry tuning. Maybe sometimes adding the "wet" mid

reed set as well.

Concerning vibrato/tremolo I agree and i tried in #9 to correct my misprint in #8 but I failed doing the right quoting

Concerning instruments a tremendous lot can be done to modify *tone* even with single reeded concertnas. I think "modern" idioms and fashion to a great part has driven the interest for more delicate and sensitive instrument qualities away from the scene. Just compare how different many "victorian" englishes sound compared to 20th century models. Colin Dipper obviously has been interested in making instruments with varying sound character. Anglo players today I believe mostly are more interested in having a "strong" strident "bright" tone than a less powerful mellow tone in a sensitive instrument. That likely is one reason that "this" sounds so special...

[Rod]

The 'strong strident bright tone' often associated with the Anglo is perhaps all too often the result of attempts to create uncomfortably excessive volume outside the comfort zone of the instrument ?

[Randy Stein]

Quite lovely.

I found myself fascinated at the phrasing and bellow movements.

[BW77]

The 'strong strident bright tone' often associated with the Anglo is perhaps all too often the result of attempts to create uncomfortably excessive volume outside the comfort zone of the instrument ?

The best answers maybe can be given by makers who have been around for a while or got a family history to back it up like Geoff Crabb who also takes part in these discussions on and off. They know what tonal qualities customers ask for. There is a definite difference if you want to use the instrument indoors or out, something which may covariate with doing trad Irish or Morris style anglo playing. "Classcial" on anglo is not all that publicly common at all, is it? But if you take a glance in really old anglo tutors you may find quite varied musical stuff.

The "comfort zone" with concertinas is an interesting matter. The "worst" sound hits the listener beside the player or the player him/her self...