Bellows And Rhythm

[viejomc]

As my fingers become more and more acquainted with where the notes are located on the Anglo concertina, which is the first challenge in leaning to play this unique instrument, I’m finding a new challenge in the bellows. The faster I’m able to play, the more I run into a problem with smoothly changing bellows direction. I’ve seen plenty of discussions on cross row fingering, but very little on bellows technique for Anglo. It seems to me that this is important for accenting the rhythm of the music and can really make a difference in just playing the notes, or playing music that makes you want to take your shoes off and dance. It’s challenging just in a seated position, I can imagine playing the Anglo standing, or dancing as I’ve seen Jody Kruskal’s moves on You Tube.

 

I haven’t been successful in using the search function for related topics. Any hints or tips from you experienced players?

[PeterT]

As my fingers become more and more acquainted with where the notes are located on the Anglo concertina, which is the first challenge in leaning to play this unique instrument, I’m finding a new challenge in the bellows. The faster I’m able to play, the more I run into a problem with smoothly changing bellows direction. I’ve seen plenty of discussions on cross row fingering, but very little on bellows technique for Anglo. It seems to me that this is important for accenting the rhythm of the music and can really make a difference in just playing the notes, or playing music that makes you want to take your shoes off and dance. It’s challenging just in a seated position, I can imagine playing the Anglo standing, or dancing as I’ve seen Jody Kruskal’s moves on You Tube.

 

I haven’t been successful in using the search function for related topics. Any hints or tips from you experienced players?

From my perspective, most of the control over the bellows results from the amount of air entering, or leaving, the concertina. The use of the air valve (or air button) is key in this control process. The better you are at regulating the flow of air, the better, or faster, you are able to play.

 

I've used the search facility on "air button", and found these two topics which should give some useful tips:

 

http://www.concertina.net/forums/index.php...c=3859&st=0

http://www.concertina.net/forums/index.php...c=3689&st=0

 

Regards,

Peter.

[Greg Jowaisas]

One of the best, and fastest way to get bellows to work for you in regards to rhythm is to attend a camp with one of the accomplished Irish musicians. Noel Hill's system is legendary for putting the strong fingers to work and he has definite opinions about which notes are to be pulled or pushed in his version of cross rowing. Noel's system is not the only way to play good music but it does answer a lot of questions and provides a useful framework for developing your own style.

 

Michael O Raghallaigh, Edel Fox, Geroid O hAllmhurain, and John Williams also give workshops in the USA.

I understand Tim Collins, who is a wonderful player, will be in Florida this Spring.

 

It sound like you are a careful, thoughtful listener to the music and your own playing. While it is possible to find or invent your own good way of playing Irish Traditional Music why not give your playing and learning curve a "turbo boost by attending one of the camps or workshops hosted by some of the great players.

 

Up and down the rows with lots of ins and outs can work too and Mary MacNamara and Tommy and Jackie McCarthy use some of that older style to great advantage.

 

Phrasing, that is, how you "speak" the rhythm and cadence of the tune is as important as the individual notes. If you can get the bellows working for you, to help with the phrasing you will really be on your way.

 

Working on my phrasing too,

 

Greg