Tedrow Concertinas

[RustyBits]

Hi All,

 

I'm back after a 4 year . . . ?? Insanity break? I'm wondering if anyone within a stones throw of Maine has a Tedrow concertina they'd be willing to let me have a visit with. I'm thinking of ordering one in the near future and would like to give one a squeeze first.

 

Lisa

[ben]

Hi All,

 

I'm back after a 4 year . . . ?? Insanity break? I'm wondering if anyone within a stones throw of Maine has a Tedrow concertina they'd be willing to let me have a visit with. I'm thinking of ordering one in the near future and would like to give one a squeeze first.

 

Lisa

 

Welcome back, Lisa. Bob Tedrow makes anglo concertinas in different keys i.e. C/G, G/D, and Bb/F. The C/G is perhaps the most popular choice. My Tedrow is in the key of Bb/F. You have to specify which type of concertina you would like to borrow.

[RustyBits]

Good point! C/G is what I've been playing. The thought of a G/D is interesting because it has a deeper voice. I'm not sure the fingerings would transfer though.

[Anglo-Irishman]

Good point! C/G is what I've been playing. The thought of a G/D is interesting because it has a deeper voice. I'm not sure the fingerings would transfer though.

 

Lisa,

This is something I've been wondering about for some time. Could some expert please enlighten me?

 

As I see it, on a G/D the middle row must be G and the inner row must be D - otherwise, as you put it, Lisa, the fingerings wouldn't transfer.

Also, the D row must be pitched higher than the G row, so the G row of a G/D must be an octave lower than the G row of a C/G (otherwise the D row would be awfully squeaky).

 

So am I right in assuming that the notes on each button of a G/D are a fourth lower than the notes on the corresponding button of a C/G? Meaning that I could transfer my practised arrangements from the C/G to the D/G and they'd sound the same, only a fourth deeper?

 

Cheers,

John

[Alex West]

As I see it, on a G/D the middle row must be G and the inner row must be D - otherwise, as you put it, Lisa, the fingerings wouldn't transfer.

Also, the D row must be pitched higher than the G row, so the G row of a G/D must be an octave lower than the G row of a C/G (otherwise the D row would be awfully squeaky).

 

So am I right in assuming that the notes on each button of a G/D are a fourth lower than the notes on the corresponding button of a C/G? Meaning that I could transfer my practised arrangements from the C/G to the D/G and they'd sound the same, only a fourth deeper?

 

Cheers,

John

 

John

 

You're absolutely correct - the standard G/D arrangement is a fourth below C/G so your arrangements will be exactly the same. If you find a Bb/F, then it's a semitone below a C/G and an Ab/Eb instrument will be a semitone above a G/D, so in some ways you can regard them as transposing instruments.

 

There are exceptions. I've got such an exceptional G/D concertina where the G row is an octave higher (ie the same as the G row of a C/G) which means that it doesn't transpose - but it does give some other possibilities which are still interesting enough for me to hang on to it

 

Alex

[Robin Harrison]

So the point is Lisa,if you are able to play one locally, it really doesn't matter what key it's in..............you play them the same and you'll get some idea if you like the make.

If you like the Tedrow then you can later decide what key you want.

Robin

[RustyBits]

Ohhhhhhh! Thanks! I actually sent Bob Tedrow an e-mail today asking if the fingerings would be the same : ) but you have answerd that question for me. I'll mostly play for Highland Mary Morris Dancers and the deeper tone would be great.

 

Now my mission is to get my hands on someones box! (Heavens! That sounds almost indecent!)

[Jim Besser]

Ohhhhhhh! Thanks! I actually sent Bob Tedrow an e-mail today asking if the fingerings would be the same : ) but you have answerd that question for me. I'll mostly play for Highland Mary Morris Dancers and the deeper tone would be great.

 

Now my mission is to get my hands on someones box! (Heavens! That sounds almost indecent!)

 

Yes, fingering's the same.

 

For Morris, the G/D has advantages because we end up playing so much of the time with melodeonists who believe G was one of the Ten Commandments.

 

But I have both C/G and G/D boxes and probably play more on the C/G because the higher register is more audible over the noise of dancers. Tunes that I can play on the G row of the C/G, without shifting down -- Upton on Severn, for example -- work better on the C/G than on the G/D, played mostly on the middle, or G, row.

 

This is especially true for accordion reeded instruments, which just don't have the penetrating power of traditional instruments. If you have a Jeffries, it's probably not going to be an issue.

 

If you only have one instrument, the G/D may be the way to go for Morris use because you can almost always use it, but be aware that there will be times when you end up playing tunes in the lower register and it'll be harder for the dancers to hear. I'm fortunate to have both, and bring both to all gigs.

 

For most Morris tunes in minor keys, I prefer playing in Dm on the C/G when soloing.

Edited March 1, 2008 by Jim Besser

[Jim Besser]

Whoops. Senior moment, somehow duplicated the last post.

Edited March 1, 2008 by Jim Besser

[Pete Dunk]

Whoops. Senior moment

They do happen with alarmingly increasing regularity don't they? Now where the hell did I put my specs?

[Dirge]

Don't fiddle about with prescription glasses. Go to the 'pound shop' (2 dollar shop over here) and buy lots of cheap ones and spread them about your workshop and house. Treat them like pencils. Can't find a pair? Get a new one out.

 

The chap I got this from, a builder of vintage racing engines didn't even take the tag off. As a result if you talked to him while he was working there was a label on one lense that drew your eye distractingly.

 

I'm beginning to need reading glasses for the finer engineering work on my old car and when I'm attacking it probably destroy about two pairs a week by treading on them, catching them on things, accidentally hitting them with a blast of solvent or whatever. This way I don't care and always have an instant remedy when it happens.

[richard]

Hi

 

I think if it is possible to attend a concertina workshop, or any event where a lot of players are present (Noel Hills, The Button Box...etc) you can have the opportunity to try a range of instruments of the type you are interested. I was able to try a Tedrow, an Edgley, a Marcus, a Button Box, and others , all at one location, before I decided what I wanted to order.

 

Richard

[RustyBits]

Yes, fingering's the same.

 

For Morris, the G/D has advantages because we end up playing so much of the time with melodeonists who believe G was one of the Ten Commandments.

 

But I have both C/G and G/D boxes and probably play more on the C/G because the higher register is more audible over the noise of dancers. Tunes that I can play on the G row of the C/G, without shifting down -- Upton on Severn, for example -- work better on the C/G than on the G/D, played mostly on the middle, or G, row.

 

This is especially true for accordion reeded instruments, which just don't have the penetrating power of traditional instruments. If you have a Jeffries, it's probably not going to be an issue.

 

If you only have one instrument, the G/D may be the way to go for Morris use because you can almost always use it, but be aware that there will be times when you end up playing tunes in the lower register and it'll be harder for the dancers to hear. I'm fortunate to have both, and bring both to all gigs.

 

For most Morris tunes in minor keys, I prefer playing in Dm on the C/G when soloing.

 

Not only do they believe that G is one of the Ten Commandments they play those funny looking boxes! (I even owned one for a while. Nice, but NOT a concertina!) I probably shouldn't tell you that our current musician plays the banjo. And we dance to it! Sacrelige! It will be tough for me to sit and play instead of dancing.

 

Interesting that the higher pitch seems to cut through the racket better. I hadn't noticed or thought of that.

[Chris Timson]

Just thought I'd mention that in any session I've ever been in that has Martin Nail in it the loudest instrument present has always been Martin's Jeffries G/D. He can really give the brass section in the Radway a run for their money ...

 

Chris

[Chris Drinkwater]

Just thought I'd mention that in any session I've ever been in that has Martin Nail in it the loudest instrument present has always been Martin's Jeffries G/D. He can really give the brass section in the Radway a run for their money ...

 

Chris

 

 

Yes, indeed! Martin's playing is so peircing that it can be painful to the ears, so much so that my partner Rosie (we were together at the above mentioned recent Radway session) seriously considered going out and buying some earplugs. In the end, she had a quiet!! word with Martin to ask him if he could tone down his playing but it didn't make any difference. When Martin gets started, he's away. Alan Day's playing on his Jeffries is pretty loud too. It drowns out my metal-ended Edeophone. What is it with these Jeffries reeds?

Chris

[Chris Drinkwater]

Don't fiddle about with prescription glasses.

I'm beginning to need reading glasses for the finer engineering work on my old car.

 

 

Dirge. Stop making a spectacle of yourself! You are off topic. This has nothing to do with concertinas. And if you persist, start another thread, perhaps under the heading "you've been framed"!

 

Chris

[RustyBits]

Ahhh. . . a G/D Jeffries. Wouldn't that be nice I do see two major problems with that instrument. Finding one and paying for it!

 

I think I'll just go down to Wal-Mart and get some disposable glasses instead. This being over 40 thing really isn't working for my eyes.

[Dirge]

sorry Chris.