Concertina Lust Strikes Again! :)

[Guest]

Dear Friends,

 

I just had my first lesson with Irish Concertina player Martha Clancy, who is down under for a couple of months, and all I can say is "WOW!" I learnt so much in just one hour, I only hope I can retain it all. Next week I will definitely take my tape recorder.

 

At the end of the lesson Matha very kindly let me play her old Jefferies. I was astond at the ease of the action - it was like kneading soft butter!

 

I WANT ONE!

 

Ah yes, that sweet sweet enticement of "concertina lust"...

 

Cheers

Morgana

[Chris Ghent]

I had much the same feelings when I played Martha's Jeffries. I suspect this is Jeffries at their best..!

 

Chris

[RustyBits]

Yeah, my friend Roger has one. . . and I am truly jealous. I also had that feeling when on of the guys in the Angel Band let me try his Dipper. . . just like soft butter.

 

I just KNOW that I'd learn stuff faster and play alot better if I just had a $6000 concertina!

[Paul Groff]

Lisa, Chris, and Morgana,

 

Do you know, I have a contrarian theory that may make you feel better.

 

I think that adult concertina students --for the first year or two -- often learn better general skills on a somewhat slower concertina. Obviously, an instrument of poor quality or one in bad repair is a burden to overcome, and an instrument with short or leaky bellows (like many that beginners buy to keep within their budget) will make slow, accurate practice (which is the best for beginners) more difficult. But an instrument with somewhat slow action -- if the action is reliable -- and especially with somewhat less responsive reeds seems to help keep students "on track' rhythmically. These instruments are less likely to run off the road (with timing and volume fluctuations) due to unintended motions, and so focus the learner's attention on the "overall" patterns of bellows and button control that create the "overall" rhythm.

 

I have often seen concertina players who learned as adults (as most of us do in North America) develop very uneven and uncontrolled habits in timing, volume, tone, and accent. These problems (with which I struggle myself, I must admit) tend to be worse among the self-taught and worst of all among those (few) self-taught concertinists who get a very fast and responsive instrument right away. No beginner could immediately control the volume and timing of a very fast and dynamic Jeffries, Dipper, etc. But those lucky enough to start off with these sometimes seem to "get used to" the wildly uneven sounds and just tune out the problem. They are so exhilarated with the comfort and freedom you FEEL when you play a very "easy" instrument that they may never get down to work and straighten out the fine details of controlling the dynamics and speed of the reeds and action. I think most of us would have had a much harder time learning basic driving skills in a hot and responsive sportscar than in the typical midrange (or cheaper) passenger car -- even more so if we were learning to drive at age 30 or 40 rather than 16.

 

The point I'm making (and with which I expect there will be some very valid disagreements) is that the concertina that is the most fun (fast and responsive) to play is not always the one that is the best learning tool for an adult beginner. As well, many students will actually sound better (to others) when performing on (e. g. ) a Lachenal than on a Jeffries, with less jerkiness, fewer "runaway" passages, fewer harsh, uncontrolled and overblown notes. At some point in their progress, almost every player will benefit from a really fast instrument with professional-quality reedwork -- but for many, I speculate that having one too soon could be detrimental, especially if you are not working closely with a good teacher to keep you honest about the extent to which you are controlling it.

 

There are two counter-arguments that I endorse: One, a great concertina may so inspire you that you practice more, take the work more to heart, and generally rise to its challenges (even just the committment of buying an expensive instrument may have this effect). Two, the great instruments have tended to be much better financial investments than the less expensive ones, making the purchase of a cheaper instrument seem like a poor value unless (as for most of us) it is necessary.

 

But if you can't be with the concertina you love, love the one you're with. Much more than you realize, it may be helping you develop the skills of strength, accuracy, and steadiness at a slow speed, and controlled beauty of tone, that are the essential ingredients for a lifetime of beneficial practice.

 

Paul

Edited February 1, 2004 by Paul Groff

[Guest]

Hey Paul,

 

Thanks for your posting; great words of wisdom and much to think about.

 

I do agree with the "start with a sedan" thinking; my first concertina was a Stagi LN15 - a good workhorse and an excellent first "car"

 

I have since moved up to a Norman, which I definitely do love - as a new vehicle, it is still being "run in"

 

Perhaps one day I will be able to afford/find a sports model - but for the moment I am having a ball with the one I have, and loving ever minute of it.

 

But hey I will still dream too

 

Cheers

Morgana

Edited February 1, 2004 by Morgana

[RustyBits]

Thanks for sharing your theory. It does make sense.

 

I went from a REALLY crappy 20 button Stagi to a Herrington, which is great, and improved my playing 10 fold. I was just hoping that if I paid enough money I could get that to happen again!

 

More likely is that I would improve with lessons and many more hours of playing. There is no one that I know of in mid-coast Maine, and my friend lives in western Mass, so for the time being I'm on my own.

 

Maybe I'll make it to the Squeeze In this year and be able to pick up a few pointers.

[Paul Groff]

Morgana,

 

I keep dreaming my playing will someday be worthy of my concertina!

 

 

Lisa,

 

I'm with you that a certain minimum quality of instrument is very helpful right from the start. I'm glad you are sticking with the concertina and making progress.

 

There are a number of good anglo concertina players in Maine; if you do not hear from them directly as a result of your posting, email me for suggestions (paul@groffsmusic.com).

 

Paul