Triplets And Bellows Changes In A Reel

[Baxter]

I've been learning Wind That Shakes the Barley from Mrs. Crotty's RTE cd. I'm learning it in G, as she plays it, on my C/G Stagi anglo. At one point I am using some BAG triplets that sound a lot like what she does. Now, I could use the A/G reversal in the third row to play them entirely on the draw, but I like playing them entirely on the C row, which means there's a bellows change in mid-triplet. I make it sound decent about half the time, I guess, at a slowish but not plodding speed. A corresponding situation is the FED triplet in the left hand, and for that there's no choice but to switch bellows in mid-go. I'm not making that one sound decent yet. What are other people's experiences with this sort of thing? A year ago I'd've sworn it was impossible, but now I'm not so sure.

[Alan Miller]

I don't have a clear answer but I am very interested in the responses you get. I play Wind That Shakes the Barley from the Comhaltas book where there are no triplets written in although there is a F# E D sequence. But the sequences you describe are common in many tunes. One example if the repeated F# E D is Brosna Slide. Another is Road to Lisdoonvarna. There are many examples so I decided to try to establish a pattern. I tried first with the draw D, then experimented with the press D, then kept going back and forth, etc. Finally I decided to do it with a press D if played very fast. That works well for me, although I still often use the draw D if the sequence is not too fast, and the next note after the D is a draw note such as an A. As for B A G, I think that is an easy triplet on the C row as you described, that is with the draw B & A, and a press D. I am guessing that you will get lots of (valid) perspectives on this. I, for one, think the notion of avoiding bellows reversals is often overemphasized.

[Baxter]

Brosna Slide

Well, now, it's interesting you should mention that. I play that tune, with that triplet in it, all the time and never give it a second thought. But a little scratching of the head gets me that I'm playing the actual notes 2/3 to 1/2 the speed in the slide relative to what I want in the reel, so maybe that explains it.

 

Thanks for the comment on bellows changes. When I started playing, I avoided them at all costs, but lately I've been making myself use them instead of the reversal buttons - it has helped my skill a lot, I think.

[Alan Miller]

Baxter: One more thought. I started on a Stagi, and spent 8 months on it before moving to a better concertina--for me it was an Edgley. The difference was almost indescribable. I know that some people play well on a Stagi, but for me I was struggling with the bellows, and was trying to reach buttons that were awkward, e.g., play a G chord with the little finger spanning the G & C row to go with a push G on the top button of the G row. I couldn't do it on the Stagi but it was easy on the Edgley. If you have a chance to try a better concertina, you will be spoiled. I know that Colin Dipper said that the concertina is as addictative as cocaine, and just a bit less money. So I don't want to start you on that journey against your will but you should know that a good concertina makes a huge difference in playing triplets as well as invirtually all other aspects of playing.

[Baxter]

try a better concertina

Heh - in fact I did have the opportunity a few months ago to try a couple of Bob Tedrow's boxes. I noticed the action felt much quicker, more stable, and more uniform than the action on my Stagi. But I was so busy getting used to the different button position relative to the handles, and the unfamiliar button layout on one I tried, that I didn't pay much attention to triplets and other ornamentation. Actually I have entered negotiations with Bob for a sparkly new one - nice to hear you expect it'll help me out in this regard. I fear the addiction though!