Keeping Concertina In Case -- Helpful?

[Dirge]

Since a concertina performs better when the bellows are less than half open

Sorry, Greg, could you explain that one please?

[Greg Jowaisas]

Since a concertina performs better when the bellows are less than half open

 

Sorry, Greg, could you explain that one please?

 

Yes, Dirge,

Better, sharper minds than mine have said as much in this forum. I believe the reference was in regard to Irish music and Dana Johnson explained that a change in bellows direction was much more effecient in supplying air pressure to a reed and affecting its response if the the bellows were less extended.

 

If I remember correctly it has to do with the amount of movement necessary to regain air pressure in a bellows change. The more extended the bellows the greater the distance to repressurize going the other way.

 

Now in the case of your duet, Dirge, the bellows direction is not as critical. But doesn't it feel more "under control" to be playing a compact concertina rather than one towards the limits of its extension?

 

At Noel Hill school we are encouraged to keep our playing in the closed to half open bellows range.

Feels quicker to me! And some of the deeper thinkers here seem to agree.

 

I'll try and find that thread later this evening.

 

Greg

[Christian Husmann]

Since a concertina performs better when the bellows are less than half open

 

Sorry, Greg, could you explain that one please?

 

Yes, Dirge,

Better, sharper minds than mine have said as much in this forum. I believe the reference was in regard to Irish music and Dana Johnson explained that a change in bellows direction was much more effecient in supplying air pressure to a reed and affecting its response if the the bellows were less extended.

 

If I remember correctly it has to do with the amount of movement necessary to regain air pressure in a bellows change. The more extended the bellows the greater the distance to repressurize going the other way.

 

Now in the case of your duet, Dirge, the bellows direction is not as critical. But doesn't it feel more "under control" to be playing a compact concertina rather than one towards the limits of its extension?

 

At Noel Hill school we are encouraged to keep our playing in the closed to half open bellows range.

Feels quicker to me! And some of the deeper thinkers here seem to agree.

 

I'll try and find that thread later this evening.

 

Greg

 

Well,

 

I may add that with accordions it´s the same - the more *precise* bellows action you want the more you shut them. Best example might be the "bellows shake". The bellows are almost closed when starting.

An example can be seen

.

 

Christian

[Dirge]

OK I can see that; if you have to halve the volume to double the pressure (and so in proportion) then the less air in the bellows , the less you have to move to achieve the desired pressure when you turn.

 

I suppose all my bellows discipline is about placing the breaks nicely so that they add to the phrasing rather than worrying about ultimate turn speed (plus an occasional planned approach to a large long chord), and of course I'd have to do it more often, thus losing the benefits. Hmmm, but with an Anglo you'd be changing direction regularly anyway, and, indeed, as I write this I'm realising that the bellows discipline is COMPLETELY different and that this is an interesting little snippet that I may never find a practical use for.....!

 

But I now understand and thank you both. The bellows shake will have to be investigated further though, Christian; looks an interesting trick. I've seen the English types use it to put a 'vibrato' on a note but not actually to play fast repeated individual notes.

 

My duet (71 keys) rarely feels truly compact, by the way, Greg.

[Lawrence Reeves]

Most musical instruments require this type of "control" to sound best. Some examples might be withuilleann pipes, a novice might try phasing with the bellows, or evensound as though they are breathing with them. With the flute you create your own sort of resistence to make your tone more solid. The fiddle is truelyplayed with bow control. At a fleadh a number of years agoI watched a young (new) concertina sit down witha verynice Jeffries and play a number of tunes very technically correct. An older gentleman sitting at the bar, ( yes I was having a pint) said quietly to me, " wait until he figures out how to make that instrument sing". I think that may be the best way to look at bellows control,almost like singing.Now if I could only sing,or play the concertina worth a darn.

[Greg Jowaisas]

Here is the thread that I was citing in regards to using the bellows and concertina efficiently.

 

http://www.concertina.net/forums/index.php...amp;#entry52094

 

The thread starts with comments on the Edel Fox video but perhaps some of us were not paying close enough attention to Edel's efficient playing! (Lovely lass; Great player!)

 

About four posts down is Dana Johnson's explanation of why keeping the bellows tight is more effecient.

 

Greg