Important Foundation Question

[oDugain]

Hi everyone. This is a very basic, foundation question, and I hope it isn't annoying, but I just recently decided to start playing the concertina (exclusively Irish music, on a borrowed 20-key Anglo C/G) and I've come across a problem that I am unsure about, and since I have no teacher I thought I'd see if anyone here could help me. My question is:

 

I was learning a tune today (this will be only my third or fourth so far) and I discovered that I ran out of air nearly every measure, and therefore I either have to take a break every measure to pull in air via the air button, or do something differently. The reason for running out of air is obvious: almost every note in the part that I am learning is a push, and there are almost no draws.

 

Now since I realise you have a choice sometimes where to play a note (such as 'B', which you can play with either a push on the left hand or a draw with your right hand), I figured that maybe it is assumed that I am supposed to play notes on draws whenever I can, to even out the air intake. The trouble is, I tried this and, for this tune anyway, it is twice as difficult to play some of the notes as draws with your right hand than as pushes with the left. Is this just the way it is supposed to be? Or am I missing something?

 

Here is the tune I was working on by the way:

 

E|DGG BGG|dBG GBd|ege dBG|AGA BGE|

DGG BGG|dBG GBd|ege dBG|AGF G2:|

 

(Ships in Full Sail/Kitty's Wedding)

 

Thanks in advance if someone can help.

[Stephen Mills]

I was learning a tune today....and I discovered that I ran out of air nearly every measure, and therefore I either have to take a break every measure to pull in air via the air button, or do something differently.  The reason for running out of air is obvious: almost every note in the part that I am learning is a push, and there are almost no draws.

<{POST_SNAPBACK}>

 

Playing it on the G row, a reasonable starting approach, leads to the problems you mention. I printed out this tune as you listed it and found it very well balanced for push/draw when played entirely on the C row. edited to add: except for the f#, which must be on the G row, of course.

 

The difficulties in changing fingering you mention will go away with practice, particularly if you practice some scales with draw-only fingering and push-only fingering, within the capabilities of your instrument.

 

Recently, I've been setting fingerings phrase-by-phrase, rather than on what row or scale I think looks most appropriate for the tune as a whole. The choices I make depend on various criteria, such as using strong fingers when possible, finding the best accents and phrasing, adding harmony notes, and optimal air control. Usually I can start and end a phrase with the bellows in about the same position, depending on choice of fingerings. This is not as easy on a 20 button, but I think seeing if you can start and end the phrase in the same bellows position is an excellent exercise, even if other musical ideas lead you to choose a different fingering eventually.

Edited August 9, 2005 by Stephen Mills

[Alan Day]

Very soung advise from Stephen.

Try also to shorten the length of note you are playing,particularly on the pull.The notes should be short and sharp this will give you more air and as Stephen says this becomes easier with practice.The introduction of phrasing ,also suggested by Stephen, using the notes in the opposite direction provides you with more air and combining it with clever slight air intakes even when playing a note can solve a lot of problems.

Al

[Boney]

Practice holding the air button open while playing the few draw notes you have, to fill up the bellows for all those push notes.

 

Hope that's not too obvious...

[brightfield]

Practice holding the air button open while playing the few draw notes you have, to fill up the bellows for all those push notes.

 

 

<{POST_SNAPBACK}>

 

. . . . or buy an English 'tina (sorry, sorry, i know I shouldn't have said it!)

[Stephen Chambers]

. . . . or buy an English 'tina (sorry, sorry, i know I shouldn't have said it!)

<{POST_SNAPBACK}>

Tom,

 

How could you suggest such a thing ?

[brightfield]

[

How could you suggest such a thing ? 

 

I know, I know, put it down to a minor brainstorm. Having been listening to the new Sultans of Squeeze album over the last few days I can see that the Anglo goes to rhythmical places my English will never reach.

 

For myself, I'm happy to have 48 buttons which sound the same on push and pull but then we must all choose for ourselves musn't we.

[Frank Edgley]

It sounds as though your concertina is not too airtight, and, as you are a learner, you are holding notes for a long time while you are figuring out the next note. All the suggestions above are good, but maybe you should also have someone check out just how airtight your box is.

[geoffwright]

.... or buy an English 'tina.

 

What use is that? I would suggest ..... learn to play English 'tina.

 

Personally, I found English con even easier to learn than Anglo, but I will not give up either now. I must admit though, I only picked up English for ease of playing in keys more awkward on anglo, not because of running out of air.