Air Control Techniques

[CaryK]

I am new at the anglo concertina. I had a 20b Hohner, but sent that back to the mail order store twice for serious air valve defects (became permanently stuck in down postion). Still, I got to play my Hohner long enough to fall in love with the instrument. I've now purchased a 30b Stagi (working my way up the dollar chain) and am waiting on its delivery. I have purchased and used several beginner's books for the 20b concertina. My question is (and none of the books dealt with this) what are the tricks for managing the flow of air? I constantly run out of air in the middle of a bar, especially if I converted some of the single notes to double notes or chords. Also, with the Hohner, if I needed to add air at a rest (like a chorale singer taking a breath) I would use the air valve, but it gave a loud wheeze, which I thought ruined the music. Is this wheeze characteristic of the Hohner D4 (Made in China model) or do all anglo concertinas do this? If so, what is the best way to hide or minimize the sounds of my concertina "breathing?" Appreciate any help anyone can provide here. Thanks.

[harpomatic]

I am new at the anglo concertina.  I had a 20b Hohner, but sent that back to the mail order store twice for serious air valve defects (became permanently stuck in down postion).  Still, I got to play my Hohner long enough to fall in love with the instrument.  I've now purchased a 30b Stagi (working my way up the dollar chain) and am waiting on its delivery.  I have purchased and used several beginner's books for the 20b concertina.  My question is (and none of the books dealt with this) what are the tricks for managing the flow of air?  I constantly run out of air in the middle of a bar, especially if I converted some of the single notes to double notes or chords.  Also, with the Hohner, if I needed to add air at a rest (like a chorale singer taking a breath) I would use the air valve, but it gave a loud wheeze, which I thought ruined the music.  Is this wheeze characteristic of the Hohner D4 (Made in China model) or do all anglo concertinas do this?  If so, what is the best way to hide or minimize the sounds of my concertina "breathing?"  Appreciate any help anyone can provide here.  Thanks.

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I just posted on Repairs forum about larger vs. smaller air hole. Your question brings up another point/solution for a larger air hole. It seems, larger air hole would cause less noise on the exhale. What do you think?

Misha.

[CaryK]

I am new at the anglo concertina.  I had a 20b Hohner, but sent that back to the mail order store twice for serious air valve defects (became permanently stuck in down postion).  Still, I got to play my Hohner long enough to fall in love with the instrument.  I've now purchased a 30b Stagi (working my way up the dollar chain) and am waiting on its delivery.  I have purchased and used several beginner's books for the 20b concertina.  My question is (and none of the books dealt with this) what are the tricks for managing the flow of air?  I constantly run out of air in the middle of a bar, especially if I converted some of the single notes to double notes or chords.  Also, with the Hohner, if I needed to add air at a rest (like a chorale singer taking a breath) I would use the air valve, but it gave a loud wheeze, which I thought ruined the music.  Is this wheeze characteristic of the Hohner D4 (Made in China model) or do all anglo concertinas do this?  If so, what is the best way to hide or minimize the sounds of my concertina "breathing?"  Appreciate any help anyone can provide here.  Thanks.

<{POST_SNAPBACK}>

 

 

I just posted on Repairs forum about larger vs. smaller air hole. Your question brings up another point/solution for a larger air hole. It seems, larger air hole would cause less noise on the exhale. What do you think?

Misha.

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Read your post in the Repairs forum. Never played a concertina with a larger hole so I don't know what the sound difference is like. However, I thought the comments in the forum regarding "riding the clutch" might be something I need to learn how to do to minimize air "gulps" or "dumps". Just not sure how to do it though. Will have to experiment to get it right I guess.

CaryK

Edited May 1, 2005 by CaryK

[Samantha]

[snip] ... "riding the clutch" might be something I need to learn how to do to minimize air "gulps" or "dumps".  Just not sure how to do it though.  Will have to experiment to get it right I guess.

CaryK

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I do this on (but only) one note in one tune (I think) and it involves partially depressing the air button at the same time as a note button and driving the bellows a little harder than usual to retain the same dynamic (volume) and allow for the additional airflow through the air button hole.

Samantha

[harpomatic]

Read your post in the Repairs forum. Never played a concertina with a larger hole so I don't know what the sound difference is like.

 

It is my assumption (which experience with bandoneon's larger hole seem to prove) that larger hole does not whistle as much. Just like we whistle with our lips - to wide of an openning, and it does not work, make a small enough hole and blow harder - there it is.

[richard]

Hello

 

I think worrying about the noise of pushing air out, or taking air in to your concertina while playing is at best useless concern. I think the real challenge with the Anglo is to make music.

 

If you listen to the best players one might never detect it in the midst of the engaging and expressive music. On the other the other hand there is something compelling and inspiring to hear Noel Hill's music and notice the air button being used. It tells much about his technique if one is ready to understand the meaning of where and when within the tune he has chosen to use the air button.

 

On a more poetic line of thinking I enjoy the sound of "air" because it illustrates the wonderful parallel between the concertina and us.....we both breathe. That breath at times has expressive qualities to me.

 

Personally I like the challenge, and I spend time and energy thinking about when I will or can use the air button whithin a tune, but I spend much more time and energy thinking about which fingering I will use to bring out all the music in a tune.

 

Over time my thumb seems to be learning and is becoming more coordinated to act when it receives information from my arms that they are too far apart or too close together, or soon they will need more air for a big chord.

 

Richard

Edited May 3, 2005 by richard

[CaryK]

Hello

 

I think worrying about the noise of pushing air out, or taking air in to your concertina while playing is at best useless concern. I think the real challenge with the Anglo is to make music.

 

If you listen to the best players one might never detect it in the midst of the engaging and expressive music. On the other the other hand there is something compelling and inspiring to hear Noel Hill's music and notice the air button being used. It tells much about his technique if one is ready to understand the meaning of where and when within the tune he has chosen to use the air button.

 

On a more poetic line of thinking I enjoy the sound of "air" because it illustrates the wonderful parallel between the concertina and us.....we both breath. That breath at times has expressive qualities to me.

 

Personallylike the challenge and I spend time and energy thinking about when I will or can use the air button whithin a tune, but I spend much more time and energy thinking about which fingering I will use to bring out all the music in a tune.

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Thanks, Richard (& Samantha) for your advice. I'm not sure I'm convinced that the wheeze of my Hohner had poetic or musical qualities (it had more of an asthmatic quality). On the other hand its good to hear that some air sounds may be ok, if in the right place. I hope to eventually control this part of my playing as well as getting the music to come out as I'd like. Thanks again.