New Anglo Concertina beginners instruction book

[richard]

Hi

 

I want to offer, unsolicited, a recommendation for a new Anglo concertina instruction book aimed at beginners of the instrument. It was lauded to me by an actual beginner who was very enthusiastic about the effectiveness of the book and its approach. She was an student of the author and utilized the book along with his instruction, saying it got her off to a great start.

It is called "Anglo Concertina Method". It is published by Hal Leonard publications a long time publisher of music instruction books.

It is written by Bruce McCaskey a long time student of Noel Hill's, and concertina teacher in Washington state.

 

Below is a link to the book:

 

https://a.co/d/hDY3jpj

Edited August 8, 2024 by richard

[Roger Hare]

9 hours ago, richard said:

I want to offer, unsolicited, a recommendation for a new Anglo concertina instruction book aimed at beginners of the instrument etc...

From the small number of pages in the sample, it looks as if the button numbering is symmetrical - that is L1 corresponds to Left index finger, R1 corresponds to Right index finger, and so on. Like this:

 

LEFT                  RIGHT
L5 L4 L3 L2 L1        R1 R2 R3 R4 R5

 

Is that correct, or have I mis-interpreted the diagrams?

 

 

Edited August 8, 2024 by Roger Hare

[gcoover]

And he shows the rows vertically, where 99% of the tutors have horizontal rows. I think only the Roger Watson is also vertical. 

 

And of the 35 or so different Anglo tab systems out there and dozens of tutors since 1840, only Mick Bramich (1996), Australian Bush (c.2000), Alan Day's 20-button tutor (2003), and Chris Sherburn's (2013) use mirrored button numbering.

 

Bruce used to be active on this forum, perhaps he can weigh in on his book and his approach?

 

Gary

[Bruce McCaskey]

I didn’t mention the book here because I was reluctant to self-promote.  Nothing wrong with doing it but I decided I’d see how the book was received on its own.  You put a bit of yourself into a project like this and can’t be certain if the result will be accepted, faulted or dismissed.

 

Since it’s been mentioned here now and there are a few questions I’ll provide some background and insights.

 

A few years back I was contacted by the Hal Leonard music publishing company.  They’d had a recommendation and asked if I would write an Anglo Concertina beginners book for them to become one of their “Method” series.  Hal Leonard is the largest music publishing company in the world so I felt honored.

 

I invested considerable time into creating this product and for button charts I utilized a format I’d been employing for private lessons.  It’s worked for me and my students, time will tell how a larger audience will react.

 

I targeted an absolute new beginner that knows nothing of Anglos, doesn’t have access to other Anglo players and doesn’t know how to read music.  I included instruction for both 20 and 30 button instruments and both Wheatstone and Jeffries button layouts. The only restriction really is that the book assumes the student has a C/G instrument.

I tried to put everything into this book that I would have liked to have had access to when I first started out in 2003.  I hope others can relate to it and find something useful within.

 

Expanding on button chart orientation, I think every Anglo button chart I’ve even seen had the button rows laid out horizontally.  Certainly that approach makes sense; if you are holding the instrument and rotate it left or right to look at the buttons then they are in a horizontal configuration like the charts.  That said, horizontal button charts never worked well for me because when I’m playing I think about the buttons in a vertical perspective (up and down), essentially the same alignment up and down as my fingers.  Buttons on the C row for example are above or below each other, not left or right of each other as they appear on a horizontal button chart.

 

Also, yes, within the book the fingers of each hand are numbered 1 to 4 with 1 being the index finger and the numbers are preceded by an “L” or an “R” to indicate the associated hand.  No 5’s for fingers because aside from operating a drone (a rare feature) and the air button, the thumbs are never used.

 

As I teach I try to guide students into building a mental map of just the buttons they use for each exercise and a default notion of which buttons/notes are associated with each finger.  As they progress through the exercises, the map incorporates more buttons.

 

I’ve also incorporated instruction on basic elements of reading music, introducing new concepts as the exercises progress.  The octave notation of ABC note naming is used to identify the notes and the recommended finger for each note and insights into fingering choices and adjustments are included.  To be clear, I’m not saying an Anglo player has to be able to read music, but I think it’s pretty useful for instructing someone that’s learning on their own from a book.

 

Hal Leonard has a very nice audio player interface on their website that offers access to audio recordings of exercise tunes via an included coded number.  The player’s built-in features allow students to choose tunes from the book and slow them down, change pitch and designate A/B points for looping selected segments.  No need for the student to have special software, it’s already there and included with the purchase.

 

I should also note there is an errata page included within the sound recordings that can be viewed and printed.  Some of my last comments to the publisher’s editor didn’t get incorporated before printing.  The non-paper formats have this corrected already.
 

This book is based on my perspective and my approach to the instrument shaped by what I’ve learned over the years.  There are other ways of approaching it, presenting concepts and making fingering choices and I don’t suggest any of them are wrong.  The fingering I’ve used should be familiar to cross-row players although it seems everyone has favorite variants.

 

I receive a small percentage of book sales but honestly I had no monetary motivation in writing this, I just wanted to share some of what I have learned with absolute beginners to help them get started.

 

Initial reviews and personal feedback have been very encouraging to date and if people find useful things within the book and share them with others I’ll be happy.

 

The title is “The Hal Leanord Anglo Concertina Method.”

It’s available in print from many sources, in Kindle format on Amazon and on Hal Leonard’s website in their own paperless format.

Edited August 8, 2024 by Bruce McCaskey

[Roger Hare]

8 hours ago, Bruce McCaskey said:

...Also, yes, within the book the fingers of each hand are numbered 1 to 4 with 1 being the index finger and the numbers are preceded by an “L” or an “R” to indicate the associated hand.  No 5’s for fingers because aside from operating a drone (a rare feature) and the air button, the thumbs are never used...

Ah! Thank you for that very full description, particularly the reasons for the choice of system - I went through pretty much the same process myself when I started, but didn't have anyone to help me along...🙁

 

Before seeing that description, I had already spent an hour last night carefully reading through the sample pages, and had satisfied myself that the button/finger numbering was as I had thought (now confirmed). Based on that small sample of the pages, this is an extremely nice addition to the (too small) corpus of tutors which take this approach[1]. Looks good! I tracked down a supplier in the U.K. too...🙂

____________________

[1] Particularly when 2 out of 3 of Mick Bramich's books are now difficult/impossible to obtain - his web site 'disappeared' 2-3 months ago.

Edited August 9, 2024 by Roger Hare

[Michael Eskin]

Congratulations Bruce!

[RAc]

17 hours ago, Bruce McCaskey said:

I receive a small percentage of book sales but honestly I had no monetary motivation in writing this, I just wanted to share some of what I have learned with absolute beginners to help them get started.

I can certainly relate to that, having published a labor-of-love book myself (not on a musical subject, sadly). The sad truth of the matter is, one doesn't publish books for the money. (as a positive side effect, you can only become surprised for the better in case it does sell after all).

[Dan Worrall]

Just resurrecting this thread with a few comments on Bruce's nice new book.

 

The vertical button numbering scheme seems to me to be entirely logical and fit for purpose for Irish music on the Anglo in the 'new' style, as is the standard button notation system. The vertical numbering is especially suited to that new style playing  (aka Noel Hill style) because that style heavily emphasizes the index and middle fingers, which are at the top of Bruce's vertical rows.  It would not work particularly well for other ways of playing the Anglo, like English Harmonic style, or Boer harmonic style, or Australian octave playing, but those styles are not the target of the book.

 

Which brings up a  minor point. The book purports to be "designed for anyone just learning to play a 20- or 30-button Anglo concertina...[a] comprehensive beginner's guide." If that is the mantra - no issues with that! - then it might best in my opinion to make clear in the title that this is a "Hal Leonard Anglo Concertina Method for Concertina in the Irish Style." That sort of mass market Hal Leonard book will ultimately be found in all sorts of local music shops (like your neighborhood guitar shop) where anyone might buy it along with an Italian concertina and start off that way. It is a very fine tutor for the Irish style, but there are other styles, and who knows what that neophyte will wish to play? I was once (decades ago) such a neophyte who bought a cheap concertina off the shelf of a guitar shop with no idea what was played on it, and such information would have helped me. I would recommend some verbage in the front end mentioning the wide range of styles out there.

 

Another suggestion would be to mention that this particular style of Irish concertina playing began a little more than half a century ago with Noel Hill's improvements on Paddy Murphy's playing. There was a time not too long ago when Noel Hill asked people in his workshops not to share his tutorial information on the outside, as he considered the fingering style as his own intellectual property. In intervening decades, of course, his many acolytes themselves began teaching, and Hill's style (and variations of it) are now fully in the public space. Nonetheless, it would be worth crediting the source and mentioning its history. That also would serve to differentiate it from that of the many notable old-style Irish players (Elizabeth Crotty, Chris Droney etc).

 

Those are just minor issues. Nice job and thank you Bruce for putting this fine piece of work out there for the general community. I understand fully well your point that such things as this are labors of love, and not done for riches!

 

Dan

[richard]

Dan

 

At the risk of making a small point that is also a bit askew to the benefits of this concertina instruction book, I don’t believe that Noel Hill ever considered the “tutorial information” by itself something that is not to be shared by word of mouth, for example.

 

As a participant in many of Noel Hill’s workshops it was my understanding that he sought to specifically protect the actual tangible media that he creates and gives to students as teaching tools: the sheet music with his settings and variations, and audio and video recordings. These are the products that he has created to share his singular interpretation of the music, and pass it on. More importantly, in this context, these written and recorded documents are his means and tools to making a living as a musician.

 

This is completely consistent with what one would expect with any of the now ubiquitous online courses which provide printed materials and video/audio demonstrations. To share materials that are the elements of an online music course (which one must pay to enroll in) would be unethical, dishonest, and would probably put one in legal liability.  

 

Please pardon me for belaboring the point, but I wanted to make it clear that Noel's approach and spirit in teaching and sharing the music is one of generosity in passing on the music.

 

Richard

[Dan Worrall]

Richard,

 

I think you may have misunderstood my meaning. Noel Hill asked his workshop participants not to share his information - yes, the printed documents and tutorial videos. That is exactly how I meant it. The purpose of that paragraph was to say that there are many people now teaching what are essentially the methods he created (or extended from Paddy Murphy). I think as a matter of courtesy anyone printing or giving lessons using these methods - which are now pretty much ingrained in the consciousness of many current Irish players - should at least give credit to where those innovations came from. And that should include this new book. It is only fair.

 

Somehow I don't think you disagree with that. I think we are in violent agreement!

 

I would guess that Hal Leanord publications has already printed all the copies of Bruce's fine book (i.e., it is not print on demand), so that horse is out of the barn. It matters little now.

[Daniel Hersh]

7 hours ago, richard said:

Dan

 

At the risk of making a small point that is also a bit askew to the benefits of this concertina instruction book, I don’t believe that Noel Hill ever considered the “tutorial information” by itself something that is not to be shared by word of mouth, for example.

 

As a participant in many of Noel Hill’s workshops it was my understanding that he sought to specifically protect the actual tangible media that he creates and gives to students as teaching tools: the sheet music with his settings and variations, and audio and video recordings. These are the products that he has created to share his singular interpretation of the music, and pass it on. More importantly, in this context, these written and recorded documents are his means and tools to making a living as a musician.

 

This is completely consistent with what one would expect with any of the now ubiquitous online courses which provide printed materials and video/audio demonstrations. To share materials that are the elements of an online music course (which one must pay to enroll in) would be unethical, dishonest, and would probably put one in legal liability.  

 

Please pardon me for belaboring the point, but I wanted to make it clear that Noel's approach and spirit in teaching and sharing the music is one of generosity in passing on the music.

 

Richard

 

Hi, Richard!  You may be correct about Noel Hill's current perspective on his fingering method, but different things have been said in the past:

 

[Bruce McCaskey]

I discussed this topic with Noel Hill before writing my Hal Leonard book and reviewed it with him again a few days ago.  

 

Quoting Noel:

 

“I simply don’t want my class materials (including class recordings) shared outside of my class as these materials form a large part of my livelihood. My style, approach, fingering, recordings and music generally are there for all to study if one has an interest.”

[Bruce McCaskey]

I see some comments regarding whether the book should provide more information about the various methods of playing Anglo concertina and perhaps establish that it teaches a regional style.

 

While not addressed in the title, the introduction mentions that there are other styles of playing Anglo, describes three of them and establishes that the book teaches a single style popularly referred to as cross-row.  It even acknowledges that there are variations in that method.  I’d originally included some additional text that described it as being the approach popular in Ireland but the Hal Leonard editor I was working with didn’t feel that was needed.

 

As to formally attributing specific influences, I’ve attended workshops and classes with several different people over the years.  Certainly I’ve had some strong influences but I feel it would be inappropriate for me to say I’m offering instruction in the style and technique of a particular source.  Not that I wish to deny or cloud a particular person’s influence in my learning and impact on my style, but rather I don’t think it’s appropriate for me to put out a book that claims to be teaching someone else’s approach unless I have an endorsement for that.

 

I’d also fear that a book suggesting it is based even in part on someone else’s teachings or style would promote sales based on the reference and not actual content.  In addition, without the oversight inherent to endorsement the book may provide an inaccurate representation .

 

On the other hand, it was never my intent to overlook acknowledgement.  The following is an excerpt from the book’s dedication. 

 

“Shortly after purchasing my first Anglo, I had an opportunity to attend a workshop with Ireland's premier Anglo concertinist, Noel Hill. I was astounded by his versatility and mastery of the instrument. I've had the privilege of establishing an enduring friendship with Noel, who continues to inspire me.”

 

Closing, I’m not suggesting anyone’s comment was wrong, misguided or overly critical, only adding my perspective and thoughts.

 

Edited September 24, 2024 by Bruce McCaskey

[Robin Madge]

I think that we all need to explore all the different ways that the Anglo is played, you never know what you might find that is just the suggestion that you were looking for. I wrote my tutor after John Kirkpatrick told me that I played differently from other players and perhaps it would be a good idea to try and write down what I was doing!

I went down the ebook route as it required almost no cost to me and I was unsure if anyone would want to buy a physical copy.

 

Best of luck with the book Bruce.

 

Robin Madge

[SIMON GABRIELOW]

I think that after learning the basics of instrument and as you grow in confidence,then you gradually develop your own singular way of playing.

The joy of free reed instruments is just that ,,"freedom" to also develop style with less rigid rules, (that is frequently applied to other instruments), as there is not one way of doing the learning, but instead many sides to the facets of developing a skill.

 

[Peter Laban]

I have heard more than a few very fine players say that the cross row system gave them the freedom they previously lacked. So there is that too.

My son went to Noel Hill for a few years when he was in his mid teens, that approach taught  a lot of options and solutions to certain patterns. Whatever else you may feel about the style or approach  it does open up the instrument and offers the player considerable freedom. And for that reason it's best not to dismiss it too lightly.

[Daniel Hersh]

15 hours ago, Bruce McCaskey said:

I discussed this topic with Noel Hill before writing my Hal Leonard book and reviewed it with him again a few days ago.  

 

Quoting Noel:

 

“I simply don’t want my class materials (including class recordings) shared outside of my class as these materials form a large part of my livelihood. My style, approach, fingering, recordings and music generally are there for all to study if one has an interest.”

Thanks.  This seems to settle this question.

[Dan Worrall]

Agreed!