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Current contents: Page 2 Editorial Page 4 Harry Scurfields Chiltina Workshop/ Geoff Thorp Page 8 Anglos in Bristol / Jenny Cox Page 12 Wheatstone Bicentennial Concert / David Lee Page 15 Folk Jottings / David Lee Page 17 Cecil Sharp Centennial Festival/ Geoff Thorp Page 19 Concertinas in Hungary/ Jane Bird Page 21 Giving up "Angling" / Rob in Tims Page 27 Kilve Autumn Concertina Weekend?Martin Henshaw Page 30 So you want to participate in Folk Sesslons/ Geoff Thorp Page 32 Son Accompaniment / Martin Henshaw Page 41 Stop Press: Song Accompaniment for English Concertina Dick Miles Page 44 Visit to Sotherbys/ Horniman / Martin Henshaw Page 47 Tailpiece / Editor Page 48 Bo lton English Concert ina.,. Band Pic. Jenny Cox Editorial .. . off at the terminal - one colleague waS kind enough to gi ve me a li st of things Ok - it's late ... Okl Okl - look time to say and do if the boss caught me passes - and as you get older yo u stop asleep at the desk - of which my fa­ noticing that a little more has slipped vourite was simply to sit up and soya out of the door. I know I'm sitting very pious "AM EN!". though I don't here with apparently all the time in the think I ever foo led anyone! world to get all these things done - I mean - that IS what being retired is But how time does fly - the mirror supposed to mean isn't it? Eh? Putting starts to tell an unpalatable truth - the feet up , playing gentle lulling melo­ and the children are suddenly older dies on the leather ferret - reading and wiser. It was brought home a cou­ the paper and falling into a profound ple of hours ago when my daughter Sa­ doze after eyeballing the headlines and mantha (now nine years old) took me the page three girl .. . aside after dinner and told me that she thought that her very sweet and DON'T BELIEVE IT! very much loved hamster had died be­ cause "I looked at her just before It is a myth put about by the people lunch she was all stiff and cold" - I still at work - to encourage you to re­ said as gently as possible that it tire - so they can then give you "little sounded probable that she had passed jobs" in case yo u "get bored" with all on that time on your hands!1 Don't listen "Yes" says Sam" I thought so too - I to them - THEY LIE! didn't mention it before lunch because I know Mum loves her and I didn't want Being retired is knackering - you have to spoil her lunch! ". Indeed on check­ all the jobs you always wanted to do, ing Hannah the Hamster was indeed in all the jobs the wife wants you to do - hamster heaven. all the things you now have to do "to contribute to the household effort". Sammy - oh she was sad for a long You can't even put your bum in a chair cuddle and then cheered up - "oh well and have a doze without feeling guilty she lived a long t ime for a hamster - about it ... I mean - if you fall asleep at and now I can get a couple of those work - Someone is paying you! Unpaid tiny hamsters I've wanted for ages '" I sleep just isn't quite so refreshingl guess if we're lucky they' ll breed which One of the side effects of diabetes is should make there departures easier! you tend to fall asleep at the wrong In fact we now have four Chinese Ham ­ moments - and indeed, after lunch sters - three females and one male - (even alcohol free) I'd tend to doze

·2· and Sammy is watching and waiting for formed - was well received and raised the population explosion I about £ 1400 for the school - so I'm Actually the cats are VERY interested well pleased with thatl) . Most of my - Chinese hamsters are just about the tasks for the ICA have been done - size of mice! apart from the Welcome pack rewrite - so it's CLARION TIME ... And here But - this is suppose to be the editorial we go. - the bit where I sound off about all the reasonS why this little magazine Many of the contributions have come in hasn't appeared on your breakfast ta­ over the past year - I hope I've in­ ble along side your breakfast egg for cluded them all - if your piece has been a year or So. missed - it is because I've filed it in the wrong place. What I would say is Well, part is of course related to the that contributions have "trickled" in - number of "little jobs" I'm trying to do if you want me to produce these little - sometimes I think the ICA would issues more regularly - chuck plenty of simply vanish up it's own silencer if I articles at me - then I 'll be forced to didn't get my fingers out and start publish l preparing document and chasing people up to get things done (or leaving me to So on with the Issue - oh and I have a get them done). I am starting to have lack of photographs this issue - so I'll a very strange feeling about all this - include some of the many images you it's not that people in the ICA aren't can find on the inter-net using a doing things - Gill works harder than Google search for concertinas - having anyone for the Association and for the selected the image option first! Concertina in general - and I know John Wild keeps his corner clean and tidy .. . And so it goes on - everyone does their bit .. . So why do I some­ A midi concertina!! times feel I do all the work ... Maybe I 'll wait until the next AGM and then step down - just to watch the expres­ sions of pan ic!

Anyway - no excuses - just a few rea­ sons - I've been working over the past year for concertinas in general and theatre in my daughters school ( the play what I writ has now been per-

·3· 'The Chiltinas' Harrv Scurfield delightful and very able Jane Edwards. VVorkshop & Concert I must say , that being a very mediocre Sunday January 18th 2004. player of the English concertina, I wasn't sure how much I could gain from Or: one of Harry's workshops, since he "We're just wild about Harry"! waS an Anglo player. I must say, it was a very good experience and I resolved A few of the stalwarts met Harry for there and then, to make this experi­ a very convivial lunch at The George' ence available to members of 'The public house in Maulden. Lunch at 'The Chiltinas' at the first pOSSible opportu­ George' is always a good way to start nity. I just had too wait for a suitable the Sunday session and especially when t ime when Harry had had enough 'milk we have a guest. I would encourage all of amnesia' to cloud his better judg­ members to participate when ever they ment, to get his agreement! can. To those few people who do not Well Harry ventured down to know Harry, then let me give you a 'Southern Climes' from Otley in York­ short resume of his musical interests. shire ( Bah-t'at ), and we were very He is an exponent of several unusual pleased to see him. I first experienced genres of concertina music -viz jazz ( one of Harry's workshops at the 'Great what I would call 'traditional jazz ), Swoordale Squeeze' that is ru n by the Jewish, Cajun, French cafe music , black music from South Africa ( played rhythm on the on-beat , but explained on a cheap 'Tina with strange fingering, that in jazz, the emphasis was usually which is all that the poor indigenous on the off-beat. He then played the population can afford ), Creole type tune several times whi 1st we tried ac­ music from New Orleans and of course companying him using the pulsating Irish and English music. All round, a chords in their sequence. When we had very versatile squeezer, 'nay-c-par' ( reached a reasonable proficiency in threw this last bit in to See what that, he introduced the concept of im­ Harry thinks about my fluent French? provisation and explained that at this Well as usual , we had several stage members who had conflicting events, on our learning curve, if we played any but we managed to muster ten mem­ note of the scale in the chord se­ bers and for a change, we were about quence as it changed, it would not 50 ':'0 Anglos. Harry's workshop waS a sound too bad. He then divided uS into 'delve' into trying to get us into playing two groups 'a' & 'b' and first 'a' played jazz on the concertina. We started the chord sequence, whilst each mem­ with the old jazz classic 'Frankie & ber of group 'b' attempted to improvise Johnny' , based on old the three chord individually in turn. This exercise was trick D. G and A. Harry explained that repeated by changing 'a' with 'b'. To the tune consisted of a twelve bar se­ complete the tune, Harry introduced quence as follows :­ the concept of playing a sequence of D/D/D/D/GIGIG/D/A/AI notes at the end which he called 'the DG I DA I turn-around'. Harry then explained Harry reiterated the make-up of the that when playing the chords we could basic chords os:- achieve a 'bluesy' sound by changing The 'D' chord made up of the first Some of the notes in the chord by note 'D', the third note 'F#' and the flattening the third and adding the fifth note 'A'. seventh e.g .. for the 'D ' chord', use F The 'G' chord made up of the first note natural instead of F# and add C. For 'G', the third note 'B' and the fifth the 'G' chord, use Bb instead of Band note'D'. add For C. For the 'A' chord, use 'C' The 'A' chord made up of the first instead of C# and add 'G'. note 'A', the third note C# and the He also suggested that other notes fifth note 'E'. could be 'touched whilst improvising on All this information was displayed the chords, e.g .. For the 'D' chord, on large sheets that were placed so we 'touch' E, G or B, For the 'G' chord, could all See them. Harry started us 'touch' A, C or E. for the 'A ' chord, off by playing the chords in their se­ 'touch' B, D or F#. quence in the tune as a pulsating We then had a break for Carol's described above - Harry was also guest scrumptious cakes and coffee. at the ICA (International Concertina To complete the day, Harry gave uS a Association) AGM in Sedgefield in late concert thot demonstrated a ll his var­ October. An interesting and instruc­ ied musical interests associated with tive trip for your truly - pausing over­ playing his Anglo concertina. It was night in Denby Dale there and back. As amazing to sit and listen to Harry, an aside - a dozen or so of us all went whilst observing the incredulous ex­ to the Dun Cow in Sedgefield for lunch pressions on the faces of many mem­ (very nice too) - very peaceful - a cou­ bers of the audience that had never ple of weeks later two other people had a 'Scurfield ' experience beforel lunched in the Same pub - ond made Many thanks to Harry for giving front page news - Tony Blair and us a wonderful day and for venturing George Bushl Personally I thought we down South to the Chiltinas. were news too - but we never made the papers! Report by Geoff Thorp. But to return to Harry! Harry wos our The Dynamic Harry . . . in vited guest to provide a short work­ Harry Seems t o be the flavour of the shop ( and a longer concert) for the year - with the very exciting workshop morning of the AGM. His chosen

for your col lection! ·6· theme waS the sound dynamics of the Harry also has two excellent CDs instrument. For an hour or So we ex­ available (see previous page) which plored - how quietly we could play the every self respecting concertina player instruments - just increasing the air should own ... You don't have to like pressure on the reeds until they them (though I consider that to be started to sound - how loud , how fast very easy) - just play them to anyone (staccato) how to drag one note into who doubts the value of the Concerti­ the next - indeed any ph ySical combi­ na! The playing is superb ... And the nation of fingers and pressure that singing - a close second to the playing. would produce a change in the quality It may be that Harry's voice is an ac­ or quantity of the sound. What fasci­ quired taste - but I've yet to meet an­ nated me was just how wide the varia­ yone who, with careful listening - tion was - here was an instrument that hasn't acquired it! rumour suggests has the dynamic range of a dead cod playing from a whisper to "Anglo's in the Dark" - is just Harry a roar ... On a single note if yo u want - and an damn good concertina - I'm not and all it needs the the tender nurtur­ sure there is much you'd need to add ing of the player - and an awareness of to augment the experience - some good the potential. Go on - put this down - quality French bread and cheese maybe pick up your concertina and start ex­ and a large glass of really fruity red ploring it - hard, soft, pull bellows, wine and a good friend ... Play it loud push bellows - push after pressing a and to blazes with the neighbours ... key - and then push harder. Push the And when you've blasted through bellows - and then press a key - relax "Ang lo's ... " Put on "Bayou Gumbo" - the pressure. It's quite amazing the pour out another glass of that wind - range of dynamics you can find in your wind up the wick to very loud - grab little friend. that good friend - forget inhibitions and swing that thing" Personally I Harry likened it to "p laying a li ving have no idea what Bayou Gumbo is - but thing in your hands - it breaths and if it's half as much fun as this record­ cries like a baby - we should grant it ing - then it should be made compul­ the same awareness and respect we sory consumption for all Monday would a li ving creature - nurse the mu­ morning miseries! sic out of it - and we'll get music. How many time have I heard the beginner play with ruthless ind ifference to the reeds dynamics - far to many ... But I am tryi ng to change t hat now'

·7· Next we have an item supplied by evangelical work, for big open - air meet­ Jenny Cox - there isn't very much that ings on Durdham Downs, and at many relates to actually playi ng the concer­ other open-air venues . t ina - but it does g ive me the excuSe to If you can help me in any way I would be let a potential player relate part of his most grateful. I am now in my 'eighties' family history (In reality it is an inter­ (but young in heort), and have all my life esting reflection on the history of the played the piano, organ and mouthorgan. instrument and their use in everyday life )- and to publish a wonderful photo­ 15 November, 2002.Dear graph .. . So over to Mr Kenneth Mel­ ling , MBE , KCSG. FRS A of Bristol: Jenny (if I may, it seems to be all Chris­ tian names these daysll!) Anglos in Bristol! Thank you so much for your nice letter of the 11th , (you didn't enclose the F.A.Q. To Jenny Cox: sheet about beginners anglo info), I am (not yet) on the internet, but my sons (I 7 November: have four) are gi ving me everything for it I am writing to you rather than worry you for Christmas - whether I shall be able by telephone. Your name has come to me to learn it I just don't know - I am in my firstly through StephenRowley of eighties, although they say I am mentally Stroud, and then from the 'Concertina and phySically very active - I do my best FAQ: Clubs and Organisations, from the to keep abreast of things anyway - sadly Internet. I lost my wife (after 56 years of a won­ derful marriage) only a few months ago , I have just purchased a new HOHNER and the concertina is something I 've al­ ANGLO BI Concertina and am anxious to ways had in mind , so now have all the find someone who can teach me to play time in the world to try and move on with it. it. I understand your interests lie more in I have one , maybe more photos of my the ENGLISH Concertina, but if it is father playing his big concertina, but the pOSSible for you to let me know of any church we were associated with had an 'Ang lo ' teachers in this area (Bristol) I BOth celebration last year and all my wou ld be most grateful. photos were used with that - I can't My father played concertinas all his life, f ind what I want here - but I have had a he had three of them, one a large (15") word this morning with the organiser of hexagonal , one around B"" and a small one thot event and he is looking through eve­ about 3" - he was a Methodist Minist er rything for me , so 'fingers crossed'!! . and used the concertina for his outside -8- My father was an Independent Method­ of eighteen she studied the Bible and in ist, they were mainly in Bolton Lanes , her later years was t o become a leading from where the family comes from, but authority on the New Testament. he came down with my mother, during the first world war, to open an Inde­ Whilst working as a weaver in the mil l pendent Methodist church in Bedmin­ she met a young man who was working in ster. Th is quickly grew to move to the the machine shop of the same mi II , by Railway Mission in Mead Street, by Tem­ name Norman Woods Melling , and t hey ple Meads Station, then later to a bigger married in their early twenties. Church in Summerhill Totterdown. From My father studied at the (I M) Ministry there my father did a lot of open-air College, and when ordained a Minister work , I remember on the corner of during the First World War accepted a Bushy Park in Totterdown, then on the request to move from Bolton to Bristol Welch Back (Bristol Bridge) then often to found an (I M) Church there. on the Downs near the top of Blackboy Hill. It is in one of his meetings on the My mother continued her Bible studies Downs that my best photo covers. I and waS very active in the new church, hope I can find it -I will copy it, as starting a Women 's bible class and many Stephen Rowley wants one too. other activities for the girls and women of the district. Interesting about the new Music Gal­ lery shortly to open in London, I am in As (I M) clergymen were not at that t ime London often, my no.4 son li ves there. paid for their work my father started his own business to support the family, my My Mother two brothers and I having been born My mother, Nellie Catlow, was born in Shortly after their arrival in Bristol. 1888. in Bolton Lancashire. She Towards the end of the First World started work in a cotton mill at the War, the Church outgrew its initial age of eleven, working as a trainee premises and the then sizeable parish weaver for four hours a day in the moved to a much larger church. morning , and attending school for two hours in the afternoon. She became a During the middle twenties my father full y qualified weaver at the age of went to India for a number of years, on thirteen. Missionary work, helpi ng two Missionar­ ies who had been trained by him and had She attended an Independent Methodist gone to India to found the 'South India (I M) Chapel and in her early twenties Mission ' and it was that Mission that my became the youngest Sunday School Su­ father helped to establish whilst he was perintendent of the time. From the age there.

·9· Whilst my father waS in India my her Eighties. In her eighties she waS mother ran the family business, there sti ll visi t ing sick church members, saying still being no other meanS of support, as to me on one occasion "I must go and visit well as helping to run the church , and Mrs Walkerdene. she is not well , but looked after my two brothers and I - no what do you expect she is in her mean task for a relatively young ladyl l 'sixties' "!!

As soon as the Second World War All through her Christian life (oft times started my brothers and I joined the referred to as 'a Saint in her own life­ forces - my father was then in very poor time') she had used as a yardstick of the health and sadly died early in the War. Christian Faith the well- known text On her own my mother still continued to 'John 3, ve rse 16' - For God so loved the run the business and waS even more ac­ world that He gave His only begotten son tively engaged in the church, now with­ that whosoever believeth in Him shall out my father's help, and without many not perish but shall have everlasting of the young men who too had joined the life' . She conti nued to quote this verSe forces, and of course with uS three sons to so many, particularly to me, and on to look after. her death-bed she said to me - 'don't forget John 3 -16 Ken' . Whilst my mother continued to run the family bUSiness , it was however becoming Being looked after in a Catholic Nurs­ nigh impOSSible to run the church as well , ing Home for the last few months of so she contacted the International Holi­ her life she was still, at the age ness Mission (IHM) in London and per­ of eighty-eight giving talks on the bible suaded them to send a Pastor down to (in the NurSing Home) and it was inter­ run the church certainly until the end of esting to see that the f irst to take their the war. seats at every session were the Nuns!!! - they told me they wouldn't miss 'Mrs My mother continued her many Bible Melling 's bible classes ' for anything!!! classes and Bible lectures, and her work Truly a life 'well and truly spent' !!! with the girls and women of the district.

At the end of the War the 'IHM' took 12 December, 2002. Dear Jenny , over the church on a permanent basis Thank yo u for your letter of the 11th , and my mother, then in her sixties con­ yes of course you can send the photo to tinued her church work, I then had been anyone. I am still trying to find photos demobilised and took over the running of of the other concertinas my father the business from her. had, though as he died during the war whe n my two brothers and I were over­ My mother continued her church work, SeaS in the wartime Services and my particularly her Bible work, until well in mother had to move , and most of our -10- belongings faded away before we got days. back in 1946. If I can get any other photos I'll send My father was the Rev. Norman Woods you copies. feel free to give them or Melling, some details of his life are in­ show them to anyone you wish. cluded in a paper I did on my Mother recently, copy enclosed. The church the 8 December, 2002. Independent Methodists in Bolton Dear Jenny and Stephen, Lanes acquired for him was a little church in St. John's Lane Bedminster, Th is is the best photograph I can find so opposite the Engineers Arms public for, if I can find better oneS I 'll let you house, still there as a church, but my have them. This would have been around father moved to a larger church, the 1928 on Durdham Downs, Bristol. old Railway Mission Hall in Mead Street, near Temple Meads, then a few years after that to the Mission at the bot­ [This is a large open space in Bristol not tom of Summer Hill in Totterdown, for from where Jenny lives - near Black­ where we were ever since those early boy Hill (sic) and Whiteladies Road (sic) =

The Rev. Norman Woods Melling around 1928 on Durdham Downs, Bristol. the main artery into central Bristol and Wheatstone Bicentennial Concert, the main shopping street.) Durham , Saturday 3 August 2002.

Jenny adds that she thinks the concertina Of the two concerts held last year in is a bass Anglo - and I must say it looks England to celebrate the bicentenary very much that way - unless the Minis­ of Wheatstone's birth, the one held in ter was a very small man! I have often Oxford, just before the Concertinas wondered if these big instruments at Witney weekend in autumn 2002, found a use outside of the Concertina seems to have attracted most atten­ Bands - and here is direct evidence of tion. As someone who attended both, a very publ ic uSe. (Note: the photo­ and because I have not seen any writ- graph has been processed to obtain a ten record of the Durham concert, I clearer picture - I just love the hats in thought others (or even posterity) the foreground - and just in case you might welcome a brief report. I can't read it - the Hotel on the left started to write this review about hand side has an advertisement for twelve months ago , so whether it still Mazerwattee tea on the name board) has any relevance I leave to any editor The only other public use of the who may receive it. bass concertina waS given me by The concert took advantage of the Mike Harding (of Folk Fame) who coming together of a notable group of always clO/med that a three second players as tutors for the Folkworks blast of the lowest nate on his bass Summer Schaal in Durham. It waS held concertina would clear the top deck in the new Gala theatre - part of of a number 23 bus in ten seconds Durham's millenium project, opened by flati (Please excuse tasteless edito­ the Queen in May 2002. The two con­ rial comments!). certs complemented each other nicely, with Durham demonstrating the con­ And now onto some of the other certina in traditional mUSic-making and contributions that have been grac­ Oxford showing more of the 'classic' ing my in tray for far to long - more side. Certainly there were not many or less every contri butor after th is 'dots' on stage at Durham. point has every right to demand my apology - please accept that t hey The four players were Alistair Ander­ are honestly offered . son - Folkworks Artistic Director; San­ dra Ke rr, who was t utor for harmony song at the adult summer school , and who has been concertina tutor in previ­ ous years; Robert Harbron , concertina tutor at the adult summer school; and -12- Michael Jary, concertina tutor at the Another contrast came next with San­ yo uth summer school. dra giving a master class in the use of The concert started with the four the concertina to accompany a song as players combining to play 'The Road to she sang John Warner's 'Miner's Point'. Alistair then introduced the Washin' '. The balance between voice audience to the concertina and some of and instrument waS perfect, with the its history, making uSe of items from emphasis on the voice and the story of Neil Wayne's collection. We were t he song. There was much space in the shown the Chines sheng; the Symphoni­ accompaniment, with the humour um , a mouth blown device with buttons pointed by the pace of delivery and the in concertina pattern, and an 1831 con­ pauses. (The song comeS from John certina. Alistair's answer to the ques­ Warner's CD 'Pithead in the Fern'. A tion 'how do you play the English better known song from the same concertina' was a model for us all , and Source is 'Anderson's Coast' and the CD used the 'Yellow Pages' advertisement is well worth seeking out.) 'let your fingers do the walking' to ex­ That left Rob Harbron to 'show his plain how fingers move up and down the credentials' which he did most ably rows of buttons. playing his own composition. Rob said We then got into the concert proper, that the tune came about after listen­ and most of what follows is a record of ing to lots of morris tunes. After the what was played with a few of my com­ tune, Rob added variations by adding ments. I did not get all the details for minor or modal based harmonies. In some of the tunes played, so please this piece his playing technique was forgive me if I have got a title wrong . very much 'four-fingered', with the concertina sometimes rotated so that As befits his position as President of the axis of the wrist hand was angled the International Concertina Associa­ to the button rows in a way that gave tion, Alistair Anderson strarted things preference to fingers 3 and 4 playing with three tunes: Will Atkinson / An­ the low end, and 1 and 2 playing the top gus MacKinnen / Lord Salutie - lively - a mo ve towards the Simon Thoumire north-eastern style musi c given great school of fingering? rhythm and punch in Alistair's li vely style. This contrasted nicely with the As an in troduction to the next item, next item, Michael Jary playing his own Alistair claimed that he is at an age composition , Autumn , on a an old bari­ where it is easier to take stairs in tone which had a lovely sound, but leaps of two or three steps rather seemed quite slow to respond. The than step-by-step. The tune was 'Dog tone was fully exploited by Michael Leap Stairs', the name of an exces­ with some full chords. Si vely long fl ight of steps in Newcastle

-13- taking you from river to rail (h igh) lev­ someone leaving his girl , but then com­ el. If that is how Al istair t ackles ing back, getting married and li ving them, it is certainly consistent with his happily ever after, Rob's claim Seems playing style. Rob Harbron played in doubtful. Surely there are no folk support, and seemed to take as a songs like that? starting point the arrangement pub­ Alistair had been working with the jazz lished as part of Alistair's 'Steel Skies' trombonist Annie Whitehead to create score, with parallel runs and counter­ a work for concertina, jazz trombone, melodies, a nice contrast of st yle to jazz guitar, fiddle and percussion. his earlier chordal approach. Even Alistair could not transfer all Michael J ary did a solo spot ne xt , play­ that to a performance on a single con­ ing three Northumbrian hornpipes, The certina, but he played, as he said, Steamboat, Miss Thompson's and Mad­ 'some of the bits that work on concer­ ame Bonaparte. The last was intro­ tina', Crazy Midnight - Twelve Midnight duced as 'starting with some of Billy - Still Waters. 'Twelve Midnight' came Pigg's variations ...... and maybe one or with a health warning - it's in twelve­ two others'. What followed was a vir­ time, broken into bars of five and tuoso display, through which a rock­ seven beats (5+7=12!). As Alistair said, steady rhythm was maintained; full of 'if you decide to tap your feet , make humour, unexpected accented notes, sure you end up with the right foot on chromatic runs; altogether stunning! the leg it started on.' (The basic tunes are all in Pauline It was Sandra's turn to take the lead Cato's 'Northumbrian Choice) next , playing 'Nancy'. This was written Sandra Kerr played her own reflective by the Northumbrian piper,Tom 'Solace as the next item, supported by Clough , for his wife (though inspired, Rob. This was a piece with the pace so Joe Hutton once told Sandra, by and feel of a misty morning on a canal the musical phrase his wheelbarrow boat, quiet and inward looking , a nice squeaked as he worked underground at contrast to Michael's fireworks. the pit!) Alistair, Rob and Michael all Rob next demonstrated something he joined in to create a variety of duet had been talking about during his con­ and trio sections. It was a treat to certina classes at the summer school, See how closely they all watched and playing a self-accompaniment and keep­ reacted to each other to give a per­ ing it quiet and simple enough not to formance combining spontaneity and drown the voice or detract f rom the unity. song. The song was 'The Gown of Alistair's 'Road to the North' was the Green'. Rob swears that this is t radi­ penultimate item, played not as a brisk tional, but since it is the story of march but in a more relaxed style , be-

-14- fore a final all-in session of Northum­ Ke rr, John Kirkpatrick , Rob Harbron, brian 3/2 hornpipes - 'Rusty Gulley' and Alistair Anderson (w ho is a Folkworks 'Lads of Alnwick'. These were played director), Andy Cutting , Simo n Thou­ several times, first fast and then mire, Chris Wood , Karen Tweed and foster - a suitably uplifting end to the this year Dove Townsend. Some are concert. almost regulars, others occasional, and every year there is new blood, so there With all the other events of the week­ end , there waS no time for encoreS - is always a new slant to enjoy. j ust a short ti me to look at some of Students come from acroSS the UK , Neil Wayne's treasures before snatch­ with occasional people from ove rseas. ing a quick meal in time for the final Like the tutors, there are many regu­ evening concert of the Durham Gath­ lars, but al so a lot of new faces each ering - but that's another story. year. After the first year, you know yo u will be renewing a lot of friend­ David Lee ships. Isemi-connected folk jottings. You choose one instrument (or voice) option and one band option. Bands may When I was yo ung , and my father read be 'with song', 'ceilidh', 'concert' etc. 'Autocar', I remember a regular column and often there will be one group for call ed 'Disconnected jottings'. These 'basic' players and one for the more notes are in similar vein , except that competent. The school is not for abso­ they have a tenuous connection lute beginners; when I f irst attended, through my folk ramblings this sum­ I chose song oS being the only group mer. for which no previous experience was For the last four years, I have at­ required. As I got more confident, I tended the Folkworks Summer School moved on to do concertina first with at Durham. Since I don't meet many Sandra Kerr and then Rob Harbron. Chiltinas at Durham (Robin Tims and This year I signed up for Alistair Teresa Moon only, to my recollection), Anderson's 'Bas ic Band', a mi xture of I'll quickly outline the format. There players of many different instruments are two folk music schools running con­ with varying skills and including currently, one for 'youth', the other 'Chiltinette'Teresa. for 'more mature' folkies. For the post A t ypical Folkworks day is taken up two years, the adult school has used a with alternating sessions on main in­ local school as a centre. Tutors include strument and band , though the 'Basic top names as well oS others less wel l Band' is an exception in coveri ng all the known but equally able. 'Nome' tutors sessions. The week is enlivened by in recent years have i neluded Sandra various concerts and dances - usually

-15- starting with a tutors' concert on Mon­ most co ntinuous sing-around or session , day evening, a concert gi ven by the en livened by a dozen or more Morris students, a ceil idh (and with tutors as (and related) sides fil ling the centre of band and callers, it's goodl) , and vari­ Durham on Sunday. The final event is ous sessions. At the end of t he week, a 'Survivors' sing around' on Sunday a selection of tutors drawn from the eveni ng , at wh ich a presentation is adult and youth schools gi ve a public made to the person deemed to have concert in the local Theatre. There won the competition for 'a good song, are also a couple of shorter 'feature' well sung'. concerts. In 2002, this included a I've added one more element to my an­ Wheatstone Bicentenary event nual stay in Durham. After visiting (Alistair, Rob Harbron, Sandra Kerr, Durham every July for a number of Michael Jary), and often there is a years and visiting Durham Folk Club on concert with a Northumbrian flavour, Thursday evenings, I can now add an­ for example when Pauline Cato was the other day to the experience by travel­ main artist. Add to all this a ling up during Thursday and starting 'showcase' concert where various my annual pilgrimage at the club on groups from youth and adult schools Thursday evening. perform things they have worked on Through repeated visits, I now view duri n9 the week, and you have a very Durham almost as a second home. full week - and we have not even got to There is some wonderful music availa­ Saturday yet. ble throughout all the events and at Saturday has performances in the the Fo I k Party you hear some wonder­ market square in the morning: a 'folk ful singers. It waS through Durham picnic' in the grounds of Durham Light that I came to realise the extent of Infantry Museum in the afternoon, Graeme Miles songwriting, and enjoy where a grass bank makes a natural the singing of Robin Dale, who waS the auditorium: with a final concert and driving force (and photographer) be­ also a final ceilidh in the evening. hind the illustrated book of Graeme's Sunday is a day to sleep late! songs, 'Songscapes'. (You don't have a So that's the Folkworks Summer copy? Shame on you I See the refer­ School: but in order to get a really enceS at the end.) good fix of f olk to last me through the finall y, I have a tip for the top. year, I extend the school by arriving Look out for a duo of performers, early in Durham early, in t ime for the Em ily Weygang (voice, f iddle) and Ben Durham Fo lk party. This takes place Har ker (guitar, harmony vocals). They over the Friday-Sunday of the previ­ come from York, do wonderful versions ous weekend. In summary, it is an 01- of ma inl y traditional material, and -16- could live alongside Nancy Kerr and of the tunes played slowly, and at sessi, J ames Fagan. I first heard them at speed. the Durham Folk Party a couple of years ago , and they get better and The Cecil Sharp Centenary Festival better. If you don't believe me, get of Folk Dance & Song. their CD and judge for yourself. (See Hambridge. Somerset the references at the end.) August 23rd - 24th 2003. So , that was the core of my summer. Alistair's basic band was a great expe­ As a long standing member of the rience because he is such a good EFDSS and passionate about English teacher at all levels, and the atmos- Folk Song, I thought that I should at- phere is so supporting. But overall, the tend this celebration as it was obvious memories are of wonderful music of all that I wouldn't be able to attend the folk and traditional varieties, and many bicentenary. friendships renewed. Cecil Sharp became 'the father' Guess where I'm going next year. of Engish Folk Song when visiting his old friend, the Reverend Charles Mar­ References: son, vicar of Hambridge in Somerset. 'Songscapes' is a beautifully produced It was here whilst staying at the vicar­ and printed book of Graeme Miles' age on August 22nd 1903 that he songs and drawings, and Robin Dale's noted his first folk song - 'The Seeds photographs, worth having on either of Love' - from the singing of the gar­ count. dener , John England. See www .redscarecrow.co.uk: e- mail This visit sparked off an interest [email protected], or ask that resulted in Cecil travelling by me. train and bicycle to collect over 1.500 Emilyand Ben's CD is available from songs from some 311 Singers in Somer­ them: 3 Lower Ebor Street, York, set. He continued to collect a further Y023 lAY 3,500 songs in England and the USA. tel: 01904466295 Cecil revitalised the Folk Song Society, Folkworks is based at The Sage Gates­ recorded Morris Dances and Sword head , PO Box 254, Gateshead Dances and in 1911 founded the Engish NE82YR. Folk Dance Society. e-mail The weekend's celibration was fa I kwor [email protected] organised under the auspicies of Folk South West which is directed by that Folkworks also supply useful tunebooks well known 'West Country Prime Mov­ traditional tunes, with accompanying ct er' - the Singer and concertina player, Eddie Upton. To mark the occasion, an -17- excellent book has been published by previously, but had on ly produced a EFDSS in assocation with Fo lknSouth few squeeks when trying to produce a West entitled' Still Growing - English tune in the lower register. Suffice to Traditional Songs and Singers f rom say, the big thi ng I learnt f rom this the Cecil Sharp Collection ', ISBN 0 workshop, was that in the lower regis­ 85418 1873. The book consists of a ter I waS blow ing the whistle when I forward by Shirley Collins , followed by should have only been 'breathing' gen­ extensive notes on C.S. and hi s collect­ tley into the whistle! ing by Vic Gammon , followed by fur­ In the Saturday afternoon I de­ ther notes by David Sutcliffe, Eddie cided to attend a concert in the village Upton, Bob & Jacqueline Patten, Steve hall given by a band that I had heard Roud & Malcolm Taylor. This is fol­ of, but had never heard - 'The New lowed by the selection of 50 songs Scorpion Band'. They were a bunch of from the C.S. manuscripts, presenting brilliant multi-instrumentalists. One of the dots, words and notes on the sing­ the band members was Q concertina ers from whom the songs were collect­ player ( he also si ngs and plays the me­ ed. This book is a 'must' for the lodeon and guitar, hurdy girdy etc. J, library of every lover of the English namely Tim Laycock. The concert was Tradition. wonderful and the band received a well Many musical events were organ­ deserved standing ovation ( see ised for the weekend and there were www .new-scorpion-band.com J. craft & food stalls and a DD-bus seil­ I n the evening , Carol & I settled ing real ale and Somerset cider and down in the concert tent to listen to a Brandy. The main events were cen­ band of young but very talented musi­ tered on the school , village hall and the cians calling themselves' Dr Faustus'! adjacent field and the pub. I waS a lit­ They were the 'warm-up' band and tle disappointed, that for such an im­ they were followed by one of Britain's portant event in the history of English foremost folk bands - 'Waterson­ Folk Song, the only other 'tina player Carthy' . Norma, Martin and Lisa gave there that I recognized, was from the their usual brilliant performances ab- WCCP! ley supported by Tim van Eyken, adding This weekend event was like many exta colour to the group with his vo­ others, in that at times, one had to cals and melodeon. This was another make a choice between interesting al­ concert ending with a standing ovation. ternatives. So, on Saturday morning , I Sunday morning I attended a joined a whistle workshop. To me , the vo ice workshop, but I don't think any­ big appeal of the whistle, besides it's one will notice any improvement in my size, is for playing in sessions. I'd singing! In the afternoon Carol & I at­ tried to play the whistle a few t imes tended the Hambridge Community Play

-18- featuring Eddie Upton ( voca ls & con­ Fol k South West, to all the workshop certina ) playing the part of Rev. tutors, musicians , singers , morris danc­ Charles Marson and Tim Laycock ( vo ­ ers, etc. and last but not least - Cecil cals & duet concertina) playi ng the Sharp, without whom , non of this part of Ceci l Sharp. This was a play would have been possiblel about Hambridge village life at the beginning of the last century when C.S. Report for the Chiltina Clarion by Ge­ started his co llection. The supporting off Thorp. cast, all in dress of the time, appeared to include many members of the Concertinas in Hungary Stanch ester Quire. The cast started the play inside the concert tent and During the course of Owlswick Morris' then moved outside the tent into the trip to Hungary there were several con­ sunshine, where many of the songs certina related incidents, which we feel that C.S. collected in Somerset were sure you would like to read about. How­ featured. ever, let uS first outline some of the The play was well presented and very background. evocative of the life and times in Ham­ bridge at the turn of twentieth centu- This August, Owlswick Morris made ary. their fifth vis it to Sarvor I nternational I n the afternoon, there were Folklore Festival. Sorvor is a small spa several other events, includ ing a per­ town in eastern Hungary. The main formance of a young people 's mus ical stage for the festival is in the court­ theatre project, a Somerset singers yard of Nodasdy Castle, where the fes­ concert and a performance from the tival was this year running at the some Kingsbury Episcopi Band . time as a beer festival. Along with many The finally to this wonderful of the other groups from Spain, France, weekend was the specially commis­ Latvia, Kazakstan and further a field , sioned ' Fanfare for the South West' Owlswick's performances took them concert featuring a host of very tal­ into some of the towns and vi Ilages near ented folk musicians. These included Sorvor, and it was with great pleasure John Kirkpatrick, Gina Ie Faux, Tim van and enthusiasm that they entertained

Eyken, Benjy Kirkpatrick, Robert Har­ audiences at Q living craft museum , in a bron and supported by the Stanches­ village sq uare, outside a pub and at a ter Quire and directed by Eddie wine festiva l! Upton. Many thanks must go to Eddie Narrow Escape for Squeeze Box and to all those involved in the organi­ It is with great sadness that I report sation of this un iq ue weekend from the first concertina related incident. -19· Three of the party had travelled to anglo concertina which were being Hungary by car, and the side were an- played. I (for I was one of the concer­ gered to hear that on the second night tina players) suggested that he might (and despite the Spanish group's dance like a go on this sort of box as we ll. He party that went on until about three in declined, explained that he'd never the morning) their car was broken into played concertina before and wouldn't and various items were stolen. At first, know how to play it without it having any it waS believed that among the valua- base buttons on the left hand side. bles taken were a guitar and an anglo Despite my pressing him , he refused to concertina. It was later discovered play. that the concertina was in fact safe (proving that the thieves lacked as Several drinks later, and following fur­ much taste as they lacked scruples) in a ther playing (in particular of Monks' crate of beer and under a travelling rug. March), the Spanish box player asked whether he cou ld have a go after all. He Breath Taking Spanish Squeezer picked the concertina and proceeded, without a false note, to r ip into a flat On the third evening, the Owlswick out fast jig and continued playing for at were propping up the bar at the student least five minutes. Several jaws (mine halls were the foreign groups were included) took some time to be recov­ staying (to the bemusement of the bar- ered after hitting the floor. I believe man , who waS more used to the antics of that he'd worked out how to vamp on agricultural students playing skittles the left hand buttons as though they than these foreigners with instruments were bases, and realised that it wasn't who wanted to dance a lot). The evening such a problem after all. He after­ had started at 11 o'clock with t he Eng- wards explained to me that he'd care­ lish at the first across the threshold. fully chosen a fairly simple tune, one Later, others came to join them. Sev- without complex bellows work, and that eral of the musicians and dancers from it wasn't as impressive as all that. the Spanish group joined them. Their Personally, I disagree, but I will admit melodeon player waS interested to see that had he been drinking as much as we various of Owlswick's musicians squeez- had, he probably would have found the ing away. As he hadn't brought his task a little more difficult. instrument with him , one of Owlswick offered to lend him his Castagnari me- Hungarian Free Reeds lodeon, which he accepted, compliment- ing the owner on the brand of box, and The third is less of an event and more proceeded to play it very well indeed. of an observation. In Hungarian, a ll He also took an interested in the two free reed instrume nts are translated as -harmonika. A piano accordion is saxophone. Grandma 'Becky' was a tangoharmonika (let's not get pedantic bit of a singe r , and keen on old about bandoneons), and a mouth organ music hall renditions, as was my dad, is szdjharmonika - literally, mouth­ whose party pieces were things like harmonika. It waS possibly our Hun­ "Do wn the Strand ". There waS garian translator, when working on the ways a lot of musical chat around text of the leaflet wh ich Owlswick the house, and in the late forties produced, who decided that a concer­ and early f ifties we had wonderful tina should be hatsziigietu harmomka, mus ical family get-togethers during or six-sided-harmonika! the evenings of bank holiday weekends. The neighbours were Jane Bird vited as well , and we all gathered in the front room of our small rented house (about 5 miles north of Giving Up Angling Oxford), and made a r ight old din. Songs from the shows, hymns , You may think that this is hardly the Christmas carols, traditional t unes, place to air any pro or anti-bloodsport music hall , current hits, all were to views. You would be right in that, but be heard. Alcoholic drinks were then the title probably drew your modest and lasted for much of the attention which was the general idea. evening. Half way through the All r ight then maybe a tale of a move evening we would all break for a cold from fishing-rod to music-stand. No , buffet meal previous ly laid in the nat that either. This is the story of a ning-room . There would be much few false trails, then of a failed musical talk, and I can remember my ambition, a mountain unci imbed , but grandpa speculating on an English with the prospect of a happy ending. concertina for sale in a junk shop near where he lived in London , My family was all very musical in a saying that "those English ones are hobby kind of way. Grandfather 'Pop' fficult to learn". waS a great banjo player, playing e laborate finger solos, even With this background I start ed performing in public as well early. At 10 years or so , my first sometimes, with the London Banjo public performance was with a Club . Dad too, played the banjo very ukelele, using the 3 chord trick, (C , well , also though maybe less well , the and G, not that I knew then) at a piano , fiddle, and guitar, all by ear. chool concert'. Shortly afterwards I Mum played piano as did aunt Else'. started piano lessons with a very Cousin Don played clarinet and alto- sharp-tongued lady school-teacher, -2 1· then later we changed to an Oxford watch my cheeks and chest inflate based piano-tuner and tutor, who waS to bursting before collapSing again blind and very grumpy too. r blush to time with my efforts to master the tell that when my renditions of "Over aky old bellows. Eve ntually it the Waves' resulted in angry sappeared, to be replaced on my 21" criticism, r shamelessly stuck my rthday by a new Hohner 48 bass tongue out, and made horrible faces ana accordion bought for me by my at this tetchy old gentleman. Soon parents. r had co mpleted an after that r successfully pleaded "too engineering apprenticeship in much homework" and escaped piano aviation by then, and lived away lessons, but r had at least found out from home , but practised lot about those 'magic dots' and how occaSionally and tried to understand they worked. all the different bass chords, and the 'circle of fifths' (you know , C, At age 14, attending the school now G, D, A, E, B, F sharp one way; and C, known as Henry Box School (current B flat, E flat, A flat , C sharp the home of Hands on MUSic) r got other way). r loved using that big hooked on harmonicas and rather bank of ready-made chords for unusually learned pop tunes mainly accompanying the melody. rom the dots'. r learnt too, how to vamp chords by lifting my tongue on After my dad sadly became very ill and off two or three holes whilst and died in 1960 when r was only 23, ma intaining melody through just one. terrible blow , music playing became With Saturday work deliverinQ more or less abandoned for the next groceries , and sotne work in a garage, 25 years or so while r pursued a saved enough to buy my first Hohner career, marriage, and life in general. Super Chromonica, with 3 octaves and did buy a guitar though , and fully chromatic, so starting a lifelong strummed around with friends at interest in push-pull free reed nchtime though nat to much effect, instruments. just a few folk style chords. My Son now plays that guitar. A battered mahogany one-row melodeon came next , found on a scrap At the end of 1989 my 'high heap by dad. The note layo ut being structures design' business had similar to a mouth-organ certainly managed a good year resulting in a helped in my first attempts. The ttle spare cash. r ve ry much fancied family found it highly hilarious to concertina, but without much more press me to play, not for any musical to go on , than hearing Bing Crosby's reason but just so that they could accompaniment to 'True Lo ve' in the -22- film 'High Society'. I researched a have seen at Rochester Sweeps bit, including a chat with superlative Festival in 1996 a struggling English concertina player Sarah accordionist in the street, complete Graves (in Maldon where I li ved then), with music stand. That would have before buying from Hobgoblin an old been me , and I was not very happy, ebony ended Lachenal 48 button at least not until I spotted and then treble, a very nice box. Of all the bought a second-hand Hohner tutor books I still think Frank Pokerwork DIG melodeon. In the Butler's "The Concertina" is one of following months I became the best, and I slowly worked my way completely obsessed, with learning through much of that for several to play this, aided by the ubiquitous years, with gaps along the way. It but excellent Mally tutor books. At went reasonably well but sometimes I Witney that year, I swopped it, got bored with only managing melody together with the concertina, for a ne , the sole chord being the usual one new and terribly expensive two-and­ at the end. half row Castagnari . My affection for melodeons remains still, and On f ina lly achieving full-time now , continuing after our move from retirement during 1995 the old Essex to Norfolk, I still regularly Hohner piano accordion was play 3-row AI DIG for the Morris exchanged for a new Galotta 3-voice and at sessions. The Galotta 72 bass, and weekly lessons were accordion, relatively unused over commenced with a tutor in the eight years I had it, waS sold Colchester. The concertina was left quite recently. Not only did it feel to take a back seat for a while. The very heavy, but somehow my fingers lessons also connected with some were always reluctant to encompass modest band work, though the pieces an eight-key octave with any were not often to my taste. Sensing uency, four buttons on a melodeon that progress waS faltering , my wife seem so much easier. very cleverly plotted with a friend to get me to attend a practise night What is it about the inescapable with the local North-West Clog magnetism of concertinas and group. There was little I could concertina people? Withdrawal contribute to their music on that symptoms had led me , as soon as f irst visit , but I waS very much taken mid '97, to buy another one, an by it, giving up the Colchester lessons ebony-ended Edeophone treble. It soon after to concentrate on pl ay ing was an ill-considered buy though ond for dance, and getting involved too , at first was a disappointment, with the local Morris side. You could nothing like as good as my earlier -23- Lachena!' In desperation, and with the other) but has only five-fold invaluable help of Sarah Graves again bellows, so I sometimes suffer air to introduce me , I took it to Steve problems. Dic kinson who , in a few weeks, reset many of the reeds, renewed a le ver, In the Autumn of 2001 the famil iar changed some valves and pads, and pangs of discontent surfaced more made a new case, assuring me (as I strongly than ever. Chordol fills and told my Bank), that it waS a very accompaniment on concertina still worthwhile instrument. It had a uded me, and I seemed stuck with pleasing tone, and I kept it for some aying much like a flute, and unable two years, playing it at Ch iltina to join in at sessions if I had no meetings and so on , before selling it dots to lean on. True, I had not at Kilve. I still see and hear it locally worked at it as much as I should, from time to time. Meanwhile I also mainly through distraction in acquired directly from John Connor keeping up with melodeon for the as an ex-demo instrument, a 'De-Luxe' Morris, and for their sessions. I 48 key metal-ended treble. This was a very much enjoyed parts-playing at beautiful concertina, with fast short Witney, at Kilve , and with my travel action, very loud indeed with a friends at East Dereham and so on really bright tone, the sort that but sometimes as I listened makes neighbouring workshop enthralled to the likes of Brian students wi nce. It was also very Peters, John Kirkpatrick, Andy solidly built but terribly heavy. After Turner or Harry Scurfield, I really while I persuaded John to add wondered if all this time I had been neckstrap f ittings (which were really completely misSing the point. Why neat) but still my wrists ached after on earth did someone of my playing. At Witney in 1999 I also background, interest and inclination bought a Wheatstone Aeola ebony­ totally ignore the ANGLO ended treble which I still have. This concertina? It was 50 obvious , push­ was as Iight as the Connor WaS heavy, pull action, chords mainly on the wonderful to play , with a bright sound ft, melody based very much on the and criSp action. Numbered 24576 ght, I would probably be a 'natural' I (roughly 1908 I think) it seems in told myself, and storm into it from remarkably good condition although the first squeeze. I wish I the lower reeds occasionally foul and need clearing . It is a bit unusual in Resolving to trade or sell the having "bowing le vers", (air-release on Connor to ease the financ ial strain I the push at one end , on the pull at the started to look for a suitable Anglo , as well as to agonise over the choice -24- of either a CIG or a GID version. The Harry Scurfield. Nearly in despair latter looked favourite at first, being when I first Saw the advance music, particularly suitable for folk tunes, need not have worried. It was a Morris, and related sessions. The pusf superbly tutored and very enjoyable and pulls for the various notes would, workshop. I learned a tremendous be consistent with those I already kn. amount, espeCially about 'Blues' On the other hand GI D's are a bit air­ chords and music on Anglo, even consuming, sound a bit deeper and les, though I struggled with the actual penetrating, and can be slightly slowe, aying. speak perhaps, than their higher soun, brothers. I talked as well with several At first the button layout on an Anglo-owning friends and discovered t Anglo seemed pretty weird , and the GID's tend to be in rather a minority tuations where you have a 'push especially at workshops, and this point hoice or a 'pull' choice were often greatly influenced my eventual choice hard to decide, even though on instead, of a CIG. melodeon I have always been an veterate row-crOSSer. There were I managed to find in October 2001, 01 huge problems with bellows control at a pretty steep price, an ex-demo as well, and the use of the air-button Suttner 30 button metal-ended CIG if continually defeated me , especially Jeffries pattern layout, a really nice when I tried to go for chords. I instrument, very loud, even a bit brasf often found myself learning Irish loved it, and enthusiastically set abau' tunes where the chord problem both the Bernard Levy, and Mick Bra~ dn't arise so much , although the fast tutor books. Struggling yet again thro bellows reversals were a nightmare, the inevitable 'Three Blind Mice' and being for me , partly 'contra­ Tommy Don't Go' kind of stages, the stinctive' to the dots. After 18 effects of years of DIG Melodeon pia months of working at this, progress soon made itself felt. Using , as I agre seemed pretty slow. The Aeola yo u should, mainly the C row as a basi, started to come out again for many notes I instinctively read on the therapeutic relief, and frequently as ,', Anglo as 'push' were 'pull' instead, and well , the already overworked versa. This slowed me down enormousl melodeon.There were thoughts about Nevertheless I went to Kilve 'Beginne, the 'waste' of all those years of coming away with 'Monk's March' (in C: arning already achieved. Was an old and a few other tunes accompanied by dog like me simply too old to learn modest chordal fills, and feeling great from scratch a new instrument, even encouraged. In the Spring I felt brav, one from a familiar family? Should I enough to do another Kilve , th is ti me \ have anticipated from experience -25- the amount of application involved? competent player, able on a 'good day (I am al ways telling people that with a following wind ', to play even a there are no instant short-cuts) At few passing chords along with the this rate how ol d would I be whe n melody. Furthermore I could rejoin finally I became of even average as well my 'band' friends whom I had ability? These we re sobering rather missed. thoughts. What about those chords I yearned for? If I played 'I rish' in It was a sad mome nt offering the onl y melody style, then I might as Suttner for sale at the end of July well , except for the aspect of 'lift', 2003, and it sold ve ry quickly. In the have stayed with Engl ish following 'grieving period' and after concerti no. selling the piano accordion as well , I bought new American Morse Albion Like most people I detest the concertinas in both treble and thought of 'gi ving up', but clearly, baritone versions to add to, and given my age, I had to do some reduce the load on , the Aeola. They serious thinking and face up to are both a delight. Practising hard reality. I loved 'my music' and every day, I seem to have regained wanted to give it a lot of my time. my former ability le vel at least, and I Some of that still had to be given have rejoined my local parts-playi ng ove r to melodeon and my friends in group in East Dereham, very the Morris, although age would satisfying for me if not for them, as eventually impinge on that too. my 'counting' remains a bit of a Meanwhile I desperately wanted problem! Best of all , my "Play in the more than ever to play concertina. Pub without Dots" list is growing If I put in all the effort and steadily with a number of tunes and practice on that wonderfully chirpy one or two 'party pieces' that can be Anglo , I might become able to play played with more confidence. Regular a few tunes reasonably well , practise of scale patterns, arpeggios, although probably never well and chord progressions is beginning enough , say, to play in the street to result in cleaner location of the for Morris (where for me Anglo required buttons, and more control concertina is the most suitable of of dynamics. A few simp le chords all instruments). With English too, are starting to creep in at last , though, I reasoned rather late in some almost of their own vol ition. the day, I was al ready able to play a bit, and might not the appli cation Thus , it seems , "You are never too of all that effort produce in the old to learn" has sometimes to be same time at least a half- tempered by "You cannot teach an -26- old dog (or some old dogs) new That may be because, being a man of tricks", not too many tricks anyway. leisure these days, I waS able to time Giving up 'angling' was a big my journey to advantage and I arrived disappointment. Who knows what the at about 15: 30. tale might have been if it had been Anglo from the very beginning? Don't I called in at Geoff Thorp's en route anyone even BREATHE the words to pick up a couple of concertinas DUET SYSTEM CONCERTINAS I that he wanted valuing. What - you Written by Robin Tims for "The didn 't know Geoff had more than 1- Clarion" , house magazine of The nor did I. He's a closet multi-concer­ Chiltinas Concertina Group, tina owner but he has now been outed. encouraged by the Editor, Jon There's no shame in having more than McNamara to whom many thanks. one and I am sure he will still be oble 13 'h October 2003 to walk with his head held high. He was really disappointed though not to be stashing his gear into my car and coming with me. In the end it waS Robin Tims was one of the founding decided that the responsibility of members of the Chiltinas - until re­ having 3 concertinas in my care was rement helped him move away - I too great for me and I did not in fact have the pleasure of meeting him at take them. Just as well as by the end Witney each year - and can report of the weekend I had 3 concerti noS that he is very much getting back anyway and with Geoff's that would into Engling l JFM have totalled 5 - more than any mor­ tal could handle. KILVE AUTUMN CONCERTINA WEEKEND 17TH to 19TH OCTOBER Immediately upon arrival I was press 2003. ganged (not really) along with Esther into making up the name badges and I This summer has been absolutely had not even had time to take my fabulous if sunshine-hours are the gear up to the dormitory or park the meaSure. This weekend was not to mobile . Once I had myself ensconced, break the weather pattern. I and Esther and I were taken to what is everyone I spoke to agreed that the normally forbidden territory where journey down there had been very the badge manufacturing facility is pleasant and for the first time since situated, and we were not to be seen 1996 (my first visit to Kilve) there again for at least an hour. Being nov­ were no road works or hold ups on ices in such activities we were in­ the motorway part of my journey. structed by one of the senior -27- members of the Badge Makers' Guild , we suddenly re-oppeared as quick as Denis Bannister, in how to operate the we had earlier vanished. machine. Well it Seems that not only waS the badge-punch a little rusty not Kilve waS now under new management, having been used for 12 months but Ray having put down the reins just 3 Denis's magic touch seemed to have weeks earlier. Upon my arrival I was suffered the Same fate. After a pe­ greeted by a couple of younglings riod of trial and error, that we ll known wearing maroon sweatshirts just out­ philosophy that always works in the side the main door. Who are they I end, we soon got the hang of the ma­ thought and wh y are they welcoming chine and the correct orientation of me in such a strange way? I had never the printed label relative to the fas­ experienced this before. It later tener. We quickly progressed from transpired that they were part of the slow waltz speed up to reel time and new management team - but $000 young things were really going apace when and fresh! I am sure that the female the punch jammed. I had inadvertently activists of our group must have no­ put 2 metal discs in at the Same time. ticed as well as some were seen to That was sorted and the badges were lIarrive" several t imes. falling off the end of the production line like we were on piece work rates. After the even ing meal and the official To speed things up even more as the welcome by Beryl, we dispersed to var­ novelty was now starting to wear off I ious rooms for the workshops of our started loading both sides off the choice. The programme was t ypical of punch at the same time. In theory it other years with beginners and post would have reduced the time per badge beginners workshops for all systems, rate to levels previously unheard of intermediate band workshops, playing except for that well-known law of by ear with the irrepressible Kate and physics that states "when males try to Drs. Rand C Dippers' "Your life in do 2 things at once the time required their Hands" medical workshops on ail­ doubles instead of being halved ". In ing concertinas (all operations done the end this approach was abandoned. without anaesthetic) - not for the The final Score was 69 badges cor­ squeamish or those of a nervous dispo­ rectly punched and about 13 wasted. sition! Esther's part in all this was of course exemplary. Returning later to the After the f irst workshops everybody other side of the great di vide abso­ migrated to the bar area for drinks lutely exhausted you could hear the and the traditional round the room gears of the minds grinding away when session ably run by the only person I know to have a concertina system -28- named after him and who still insists Later down in the bar the reason for on playing a Crane: our very own, newly Steve '5 earlier disappearance became wedded, ne ver goes to sleep (cause the apparent when he took out a s panking snoring disturbs him) ~aul McCann. brand new , gleaming Dipper Anglo . No The quality and variety of the per- wonder he couldn't be found earlier. formance never ceaSeS to amaze me. It shouldn't after all these years. The The bar session which followed the tunes, songs and recitations are mar­ mini concert waS even better than Fri­ vellous and you always hear some new day 's and lasted until about 3 in the and refreshing oneS as well as old fa­ morning . As the last sessioners were vourites. This year there was a high going to bed a raucous could be heard percentage of first timers and some from one quarter and words like "that needed a little coaxing to perform but concertina" , "bed" and "dead body" ne xt time I wi II expect more. I have could be heard. We never actually got made notes so there will be no escape to the bottom of that incident. especially if Big Bruiser Geoff Thorp takes control of the evening. Sunday was more of the same plus the student demonstrations where we showed what we had learnt over the Saturday continued in a similar vein. past 48 hours. Before we all said our The Dippers arrived complete with goodbyes there were the compulsory toolbox and spare parts for the sur­ cream teas - reason enough to be at geries that were to be held over the Kilve . Those who left early missed out weekend. Shortly afterwards Big and I noticed the others reaping the Steve Greenhalgh disappeared from rewards, not wanting to let any go to the face of the Earth. He could not be waste. found anywhere. It was most strange. The whole weekend ran without a hitch After the evening meal we had "Meet thanks to Beryl and the WCCP. The the tutors" time (which I missed hav­ staff at the Centre were wonderful as ing got involved with Alex, Hava Nag ila usual and are to be congratulated on a and a new secret counting system up in very smooth transfer of power. The the dormitory). These things happen - new management team could not , in you get invol ved and time just disap­ their wildest dreams, have imagined pears. (I wonder whether Einstein took what was about to descend on them this effect into account whilst devel­ this weekend. I just hope they don 't oping his theory on Relativity). have nightmares about it.

-29- By about 6 0' clock everyone had left. all y in the keys of D & G ) melodeons Well not quite everyone. There were being played, note which row the tune still some reluctant to venture forth. is being played on. The row farthest These stalwarts regrouped at the away from the bellows is the D row and Hood for a very tasty evening meal fol­ the row nearest the bellows is the G lowed by more music until the bewitch­ row. If the melodeon player is mare ing hour. After breakfast next day we experienced, he may be playing across too left for home leaving Kil ve echoing the rows which makes it harder to with sounds of music and laughter that judge the keyI You can also try to ask will have a half life of many years. one of the other participants what is the key the tune is being played in? With apologies to the named partici­ Sometimes this may be answered in pants, sign language i.e. One finger pointing Martin Henshaw. upwards = 1 sharp, two fingers pointing upwards = 2 sharps, thumb down = 1 flat and the hand held horizontally flat and making a chopping motion = in the key of C. So Do You Want to Participate in Soln. 3) Start by learning a few com­ Folk Sessions? mon session tunes from the dots and commit them to memory. Then as you If you are like me , you would love improve , continue adding more to your to be able to take your bo x out of it's repertoire. caSe and join-in with the other 'tina, Soln. 4) Remember, when you first melodeon , fiddle, whistle, etc. instru­ start off joining in , if you onl y play mentalists you come across, playing one note in each bar then you are par­ together in a pub session. However, ticipating. you don't even take your instrument However, help is at handl There out of it's caSe because you feel inade­ is now available, musical support for quate for several reasons, e.g. 1) You playing in sessions from David Oliver ( don 't know the tune. 2) You know the on accordion! ) who is the Head of Folk tune but can 't work out which key it is Participation Programmes North Music being played in. 3) You can 't play with­ Trust. This support consists of three out the dots. 4) You don't think you tune books , each with a companion CD. can play at that speed. Suggested so­ The CD's have two tracks for each lutions :- tune. The first track is played slowly Soln. 1) Take along a tape recorder, so that you can familiarise yourself record the tune and its title with, and learn the tune. The second Soln. 2) If there are any 2 row ( usu- track is the tune played at the correct -30- session speed and as part of a set. Al­ 6) Roxburgh Castle. so, when you are getting accomplished 7) Soldier's Joy. at playing along, you can fade out the 8) Come Letus Dance & Sing. accordion track and play the tune along 9) Spootiskerry. with the qccompaniment on the other 10) The Blackthorn Stick. track. 11) Hexham Races. The first book of dots and the 12) Drummond Castle. CD are entitled: ' Vo lume 1 - Getting 13) The Hogmanay Jig. Started' and covers the following 14) Sir John Fenwick's the Flower tunes :- Amang them All. 1) Egan 's Polka. 15) Rusty Gulley. 2) John Ryan 's Polka. 16) Lads of Alnwick. 3) Winster Gallop. 17) The History Man . 4) Jamie Allen. 18) Off to California. 5) Salmon Tails up the Water. 19) Miss Thompson 's . 6) Davy Nick Nack. 20) Farewell to the Dene. 7) Hesleyside. 21) Memories of Father Angus McDon­ 8) The Fairy Dance. nell. 9) The New Rigged Ship. 22) The Fo x Hunter's Jig. 10) Athol Highlanders. The third book of dots and CD 11) Out in the Ocean. are entitled: Volume 2 : 'More Great 12) Spirit of the Dance. Tunes' and covers the follow ing tunes 13) Drops of Brandy. 14) The Peacock Followed the Hen. 1) Spanish Lady. 15) The Harvest Home. 2) I-tiddly-I-ti. 16) The Trumpet Hornpipe. 3) Haste to the Wedding. 17) The Boys of Blue Hill. 4) The Kesh Jig. 18) Margaret's Waltz. 5) Sweets of May. 19) Give Me Your Hand. 6) Buttered Peas. 20) The Road to the North. 7) Cad dam Wood. The second book of dots and CD 8) Whinshields Hornpipe. are entitled: Volume 2 : Extending 9) I' ve Lost My Lo ve. Yo ur Repertoire' and covers the fol­ 10) Smash the Windows. lowing tunes :- 11 ) Sweet Hesleyside. 1) Shoe the Donkey. 12) The Wonder Hornpipe. 2) Bill Sulli van's. 13) Durham Rangers. 3) Because he was a Bonny Lad. 14) Redesdale Hornpipe. 4) Nancy. 15) / 16) The Pinch of Snuff. 5) Morpeth Rant. 17) The Oyster Girl.

~31· IS) The Moon & Seven Stars. !sONG ACCOMPANIMENT CHORDS 19) Gardebylaten. k ND HARMONY RULES - 20) Appelbolaten. 1 09-12-2003 21) Going to the Well for Water. 22) The Old Favourite SONG FORMS 23) The Jig of Slurs. Each of the above sets ( dots + CD) cost £9.99 per set and are excel­ lent value to those of us who have that Two periods of A (statement) - B 'burning desire' to become session par­ (departure): ego A - B - A - B, A - B - ticipants. B-A They can be obtained f rom :­ The Sage Ternary Gateshead, P.O.Box Three periods of four or eight bars of 254, music in the format A (statement) - B Gateshead, NES 2YR. (departure) - A (restatement) or A Tel : 0191 443 4666. (statement) - B (departure) - C email : (extension of restatement) [email protected] Single period/ Strophic Review for the Chiltina Clarion by Ge­ off Thorp. Chain of phrases follow ing the blues format of question and answer. The next Item is the notes for Martin Henshaws workshop on Song accompa­ What form is the typical fo lk song? niment ... Any confusion in the order of Binary? the sheets is probably my fault (Mac) since I managed to miss the original workshop! THE INTRO - THE SONG - THE END­ Song Accompaniment Workshop notes ING plus accompanying sheets in order.(I think) The Intra Interval sheet I nversion sheet Sets the key , tempo and mood and Movable chords sheet "names" the song you are about to sing Chord sequence sheet - useful if others are to join in. Major scale construction sheet A recognisable phrase - four or eight Major and harmonic minor scales sheet bars - can be the first or last phrase

-32- of the verse or chorus or a four-bar the key especially in a session situa­ chord sequence related to the song tion as the s inger launches into the harmony. song without prior consultation! If you wi s h to accompany the singer you The Song have to qu ickly find the correct key and be able to slot in part way through Play accompaniment. For some verSes the first verse - something many peo­ or the chorus play the melody alone or ple find quite difficult to do , so much an octave higher or work out a har­ so that the singer has finished by the mony line. time they have got their act together if at all. Personally I usually manage The Ending to work it out about 30 seconds too Repeat last phrase - hold a chord - go late. into the melody if it can also be played as a tune - possibly speeding up. Question. Are our voices calibrated to concert pitch due to exposure from SONG ACCOMPANIMENT childhood to western scales or can and do Singers sing say somewhere Key choice between C and C# and still keep rela­ tive to pitch for the rest of the tune? Tradition has it that the singer se­ lects the key. My personal view is Does a Singer actually have a free that it may be easier for a singer to choice of key? One usually learns a change key within limits than it is for song or tune from a CD , a friend or a the accompanist especially if they play song book and whatever key you first concertina. Shifting up a whole tone heard a piece in is what you usually requires totally different fingering as continue to use unless it really is out­ does going up or down an octave. side your range i.e . someone else has Changing by a semitone is even more already chosen it for you. difficult. The guitarist has an easier life in that she/ he can simply uSe a Songs sometimes sound better in one capo and the Same fingering. Melo­ key than anather for no apparent rea­ deon and Anglo players are limited to son - not to me anyway. two keys usually G and D or C and G unless they are able to play across the rows. SONG ACCOMPANIMENT, CHORDS AND HARMONY RULES -2 The problem is that very often you do not get the opportunity to negotiate Vo ice range

-33- basic chord of a given root and on the The human vo ice has a typical range of English concertina form a IItrianglell one and a half to two octaves. which will include sharps or flats de­ The 48 key English concertina, banjo pending on chord. The fi ngers can be and guitar cover about three octaves rather cramped especially if onl y and a piano se ven octaves. "w hite" notes (inner two rows on the English concertina) are used so try the Female vo ice: Soprano lower G to E, root and third on the left side and Alto lower F t o C fifth on the r ight (first inversion) or the octave of root and third on the Male vo ice: Tenor lower C to G, Base right side and fifth on the left lower G to D (second inversion). A mixture of both the inversions ie . the octave of Try testing your own range. Use the the root and third on the right side concertina to follow the voice. Stop and the basic third and fifth on the when the tears start to flow! left side also makes for a pleasant and fuller sound as well. See Chord Inver­ The accompaniment itself sion sheet. Inversions spread the fin­ gers out between the two sides of the Does the song need an accompani­ instrument. (Try to use t he root and ment? - do not force one on it . second inversion as much as possible. The instrumentalist must follow the Dick Miles). You could also try going singer. up and octave for a more penetrating sound. THE ACCOMPANIMENT MUST NOT OVERWHELM THE SONG - KEEP IT It's possible to make chords using six SIMPLE AND LOW. notes. Using three or more notes for a chord may be too powerful for a solo Chords singer but fine with other instruments or in a session. For two-note chords If you play the notes on the Interval use either root and third or root and Sheet you will notice that some of f ifth whichever suits best. When them sound pleasant and others sound playi ng chords for obvious reaSons discordant. The ones that sound much mo re air is used than when play­ pleasant are the major third , perfect ing tunes so you have to be careful not fourth , perfect fifth and major sixth to run out. 56-key instruments and those that sound harsh are the major Duets have an advantage in this re­ second ond major seventh. The root, spect because of their larger bellows. the third and the fifth make up the Try to use one finger for each note of

-34- chord - this helps in playing arpeggios than one key sequence so you do not or the pu lsing of one note of the chord actually need to learn nine chords but whilst holding down the others. only fi ve to cover the above keys. For the female voice other keys may suit Movable chords better. In the final analysis learn the keys that suit your voice first then As with guitar the concertina also has learn the others so you can accompany movable chords. That means yo u do people whose voices have a different not have to learn a new shape for range from yours. every chord. See hand out on Mo vable Chords. SONG ACCOMPANIMENT, CHORDS Chord sequence in a song AND HARMONY RULES -3 The Three Chord Trick: When you played the note pairs on the Interval Deciding what chords are required for Sheet, the perfect fourth and perfect a song fifth sounded pleasant as well. The chords of the root, fourth and fifth By looking at the music form the guitarist's three cord trick, Song books usually give chords above Eg . C - F - G(7). This sequence will be the melody. If you do not like the key fine for many songs and will get you transcribe the chords into the key you going but you may well need the rela­ want. Use the charts. If the chords tive minor chords sometimes as well. are not given try starting with the The individual notes of the root, root chord. Look for the long notes fourth and fifth chord progression and take these as the tonic of a chord. give you all the notes of the particular Also look at notes and playa chord key you are in. That's why chords that has the note in it. There may be work. a choice sometimes. Select which sounds best to yo ur ear, PRACTICE CHORD CHANGES UNTIL THEY ARE INSTANTANEOUS AND By ear CAN BE DONE IN ANY ORDER. Start with the chord of the key the START WITH ONE KEY AT A TIME. melody is in. Hold the chord whist humming the tune until you hear a I suggest the chords of the following clash. Now try one of the other keys first: C then G then D. From the chords in the basic sequence. If that chord charts you will see that some of does not fit try the remaining chord the chords are to be found in more

-35- or possibly a minor chord related to Study tunes that already have a sec­ the key. ond line.

Playing chords Harmony rules. Still t o come

Vamping Drone accompaniment Very basic method. Hold all notes of chord down together and lift fingers Use the root or fifth note above root on and off notes or pulse bellows to of main chord(s) or both - change rhythm of song. when it no longer sounds good usi ng the root and fifth of another chord of Smooth the key the tune is in. Hold the note As with vamping but do not pulsate - or pulse according to the beat. just hold chord and change when nec­ Drones can be very effective particu­ essary. larly for slow airs and sad songs.

Rolling Play first note of chord for its beat FURTHER READING and then play next note of chord whilst still holding the previous note The Gig Bag Book of Theory and Har­ for an instant longer. Now release the mony: first note before completion of beat Joe Dineen and Mark Bridges - Amsco. of the second note. Continue for other £7.95 - ISBN 0.7119.7600.7 notes of chord in a similar fashion. Accompanying the Jazz/ Pop Vocalist: Arpeggios Gene Rizzo - Hal Leonard ISBN 0- Play the notes of a chord individually 634-02807-3 one after the other. You can run on to the next chord up or down. Often the Folk Song in England: notes will be part of the melody and a ALLloyd - Panther Books 1969 mi xture of chords and melody can make an accompaniment interesting. SONG ACCOMPANIMENT. CHORDS Harmony (counter point) - Future AND HARMONY RULES -4 project PRACTISING How to write counter point to a tune. Read "The Gig Bag Book of Theory and 1. LEARNING A NEW SONG Harmony". (see below).

-36- To perform a song wel l you need to be song in a given key. The accompanying able to play the tune/ chord sequence handouts will hopefully Save you time off by heart and also know the words and help you in doing that, although perfectly. When learning a new song they will not tell you the order you it is best to learn the tune first and must play the chords in for a particu­ then the words before combining lar song - that you must work out for them. yourself. Try melody, harmony and drones as well as chords. Mix them. First try humming the tune quietly and play the accompaniment until yo u get 3. ACCOMPANYING SOMEONE ELSE it right. This also ve ry useful in help­ - PRE-ARRANGED ing you became accustomed to hearing the music in your head at the same Decide together on the key. If you time as playing your instrument - are unfamiliar with that particular key something that may seem strange if or your instrument is limited in the yo u have never tried it before. Make keys that can be played on it, it may any changes to the chord sequence or be easier for the si nger to change phrasing that you don't like. Change (within limits). A singer usually has a key if it does not suit. Next sing the range of one and a half to two octaves. words using your internal voice i.e. not Decide on the tempo, intro and ending. aloud and play along to that. When you Practise together beforehand. Try have finalised the arrangement sing it melody, harmony and drones as well as aloud for all to hear. Now take it to chords. Mix them. the club. 4. ACCOMPANYING SOMEONE IN A 2. ACCOMPANYING YOURSELF SESSION

Practise chord changes as a guitarist Record yourself singing a few songs - would . In any of the usual keys, you leave the recording for a few days must be able to make rapid changes then play it back and try accompanying between the root, fourth and fifth the recording - sing songs in different chord of that key otherwise you do keys and accompany them as well. not stand a chance. It wi II become second nature quite quickly and with­ Record friends singing unaccompanied out too much effort especially if you (ask first) or make a compilation of can play tunes by ear. some professionals (live or recorded) The hard work is puzzling out which and try accompanying them. notes make a particular chord and which chords to play for a particular

-37- Try melody, harmony and drones as well as chords. Mix them.

5. AT THE FOLK CLUB OR SESSION PUB

In a session environment song accompaniment can be difficult. It's usually quite noiSy - yo u have to work out what key the song is being sung in before the singer finishes - you do not usually get the opportunity to negotiate a mutually suitable key before t hey start singing - if yo u make an error it may well put the singer off and spoil their on ly chance of shining until next week after they have spent hours rehearsing.

FIRST CHECK THAT THE SINGER IS HAPPY FOR YOU TO ACCOMPANY THEM.

Practice a little before the session starts or in the break. Agree on tempo and key. Always follow the singer. DO NOT DROWN THEM OUT. DO NOT OUT-SHINE THEM WI TH A FLASHY ACCOMPANIMENT - IrS THEIR SPOT NOT YOURS. IF YO U ARE NOT FAMILIA R WITH THE TUNE OR CANNOT FIND THE CORRECT KEY­ STOP. IF IT LOOKS LIKE YOU ARE MAKING THE SINGER FEEL UNEASY - STOP. Feedback to mortin_ h@emo il.com

AID TO DETERMINING TH E CHORQ:S FOR A GIVE SCA LE K,y Three Cho rd Tr ick (major) Roo t +4M Root Roo t+ 5M I I Ass ociated Minor Chords -2m -2(Rm) -2m

Dominant 7th Root+5 M7

#'S& b'S 4b 's 3b's 2b's 1b 0 1# 2#'5 3# '5 4#' 5

KEY Ab Eb Bb F e G D A E

CHORDDb Ab Eb Bb F c G D A E B

REL MINOR Bbm Fm em Gm Dm Am Em Bm F#m C#m G# m

DOM. 7TH Eb7 Bbl F7 C7 G7 D7 A7 E7 B7 F#7

EXAMPLE SHOWS CHORDS (BOLD ) TH AT BELONG TO THE SC ALE OF C MAJOR.: FOR OTHER KEYS JUST SLI DE THE EX AM PLE HIGHLIGHTED OVER TO THE REQUIR ED KEY ALO NG WITH THE REL ATED CHORDS. RE PRODUCED FROM THE DuET CONCERTINA WORKSHOP TUTOR FOR THE w eep BY BRI AN HAYD EN ( WITH PERMISSION). Feedback to [email protected] -38- MAJOR CHORDS AND TYPICAL CHORD PROGRESSION PLUS RELATIVE MINORS

A(3#)

1 4 5 5 RM A D E E7 F#m 8m C#m I I I I I I I A C#E D F#A E G# 8 E G#8 0 F# A C# 8 0 F# C# E G#

8 (5#)

1 4 5 5 RM 8 E F# F#7 G#M C#m D#m I I I I I I I 8 D#F# E G# 8 F#A# C# F#A# C# E G# B D# C# E G# 0# F# A#

C

1 4 5 5 Rm C F G G7 Am Dm Em I I I I I I I CEG FA C G8D G8D F A C E D F A E G 8

D (2#)

1 4 5 5 RM D G A A7 8m Em F#m I I I I I I I D F#A G 8 DA C# E A C# E G 8 0 F# E G 8 F# A C#

E (4#)

1 4 5 5 RM E A 8 87 C#m F#m G#m I I I I I I I E G# 8 A C#E 80# F# 80# F# A C# E G# F#A C# G# B D#

G (1#)

1 4 5 5 RM G C o 07 Em Am 8m I I I I I I I G8D CEG D F#A D F#A C E G 8 A C E 8 D F#

THE NOTES IN ITALICS DETERMINE THE DOMINANT 7TH AND MINOR CHORDS. IF ONLY TWO NOTES ARE TO 8E PLAYED TO MAKE A CHORD YOU CAN­ CHORD SEQUENCE = 1ST (ROOT), 4TH (SU8DOM) AND 5TH (DOM) Rev 27-10·2003

Ab(G#) (4b)

-39- 1 4 5 5 RM Ab Db Eb Eb7 Fm 8bm Cm I I I I I I I AbC Eb Db F Ab 8bG 8b Eb G 8b Db F Ab C 8b Db F C Eb G

8b(A#) 12b)

1 4 5 5 RM Bb Eb F F7 Gm Cm Om I I I I I I I BbD F EbG 8b FA C FA C Eb G Bb 0 C Eb G DFA

DbIC#) 15b)

1 4 5 5 RM Db Gb Ab Ab7 8bm Ebm Fm I I I I I I I Db F Ab Gb 8b Db AbC E Ab C Eb Gb Bb Db F Eb Gb 8b F Ab C

EbID#) 13b)

1 4 5 5 RM Eb Ab Bb 8b7 Cm Fm Gm I I I I I I I Eb G Bb Ab C Eb Bb 0 F Bb 0 F Ab C Eb G FAC G Bb 0

F 11b)

1 4 5 5 RM F Bb C C7 Om Gm Am I I I I I I I FA C 8b 0 F CEG C E G Bb D F A G Bb 0 A C E

GbIF#) 16b)

1 4 5 5 RM Gb B Db Db7 Ebm Abm Bbm I I I I I I I Gb 8b Db 8 EbGb Db F Ab Db F Ab C Eb Gb 8b Ab Cb Eb Bb Db F

. USE THE ROOT PLUS ANY OTHER IN THE 1ST, 4TH AND 5TH CHORDS AND ROOT PLUS THE ITALICISED NOTES FOR DOMINANT 7TH AND MINOR CHORDS.

-40- MOVABLE CHORDS (rev 27-10-2003)

In a similarly way to the gu itar, t he concertina also has some movable chords. I . e. the same fingering when mo ved up a r ow (fret) produce another chord (applies to both sides).

A, D, E

A7, D7, E7

Am, Dm , Em

C,F,G

C7, F7, G7

Cm , Fm , Gm ,

C#m, F#m, G#m Bristol Citadel Concertinll Balld c1923

STOP PR ESS : DICK MILES / Song Accompaniment [or English Concertina

For anyone who wants to start putting Mar­ ~ wi thi n my abilit y - a lmost!N - so I'm happy to tins ideas into practice - without all the recommend this book to most players. My work of understanding a ll the tables - may r reservatio ns are - the pitch of t he songs - refer you to 0 new publi cation by Dick since my voice is a different range from Miles: "Song Accompaniment for English Dic ks - and the lac k of t he "guitar" chords on Concert ina ". Th is is labeled as a tutor and a the musi c. The latter would have been inval­ follow up t o the ~Conci5e Concertina Tutor". uable in the learning process and wou ld have The actual ~ Tutor " part is qu ite short cov­ helped the transfer of the playing experi­ ering Chord substit ution and the use of the ence on to other music. But - at a quid Q song pentatonic scale. I've read it t hrough a + (£12 I think) from Dick Miles, Coo ragur­ couple of t imes and it makes some sort of t een, Ballydehob, Co Cork, EI RE I Email sense to me - but as yet - no practical val ue [email protected] it is sure to be as use­ - t hough I'm su re it will even t ually. ful addition to anyone's playing kit - it would What I do find interesting and useful are also be useful for people wa nting to play the eleven songs from Dicks repert oi re - all ~ more than one note at a t ime styles". Per­ wi th concer t ina parts written out in fu ll - sonally I like the book and wi ll find it useful - some wit h more than one arrangement. I but it might not be for everyone. Buy with have played through some - and they are caution! ·41 · MAJOR SCALE

T T ST T T T ST #&b c"" 1 2 3 4 5 6 7 8 );..,;;.. A B C# D E FII G# A 3# If

A# B# G## 0 # E# FII# G## A# 7# Bb C D Eb F G A Bb 2b

B C# D# E F# G# A# B 5# Gb Db Eb Fb Gb Ab Bb Gb 7b

C D E F G A B C 0 .,".\jt.,

G# Oil E# F# Gil A ll BII G# 7# Db Eb F Gb Ab Bb C Db 5b

D E F# G A B C# D 2#

0 # Ell F## G# A# BII GII# 0 # 7# Eb F G Ab Bb C D Eb 3b ~ E F# G# A B C# D# E 4#

F G A Bb C 0 E F 1b

F# G# A# B CII Oil E# F# 6# Gb Ab Bb Gb Db Eb F Gb 6b

G A B C D E F# G 111

G# A # B# G# Oil Ell F#II Gil 711 Ab Bb C Db Eb F G Ab 4b RMNR

RMNR =RELATIVE MINOR T =TONE ST =SEMITONE

IN PAIRED ROWS EG . A# AND Bb THE KEY IS USUALLY REFERRED TO THE DESIGNATION IN BOLD TYPE.

CHORD SEQUENCE = 1 (ROOT). 4TH (SUBDOM) AND 5TH (DOM)

Feedback to mar1!J.1 _h@emalltom

·4 2· MINOR HARMONIC SCALE

T ST T T ST 3ST ST #&b 123 4 5 6 7 8 ABC 0 E F G# A 1#

A# B# G# D# E# F# G## A# 7# Bb C Db Eb F Gb A Bb 4b

B C# 0 E F# G A# B 3# Gb Db Eb Fb Gb Ab Bb Gb 7b

C 0 Eb F G Ab B C 2b

G# D# E F# G# A B# G# 5# Db Eb Fb Gb Ab Bbb C Db 6b o E F G A Bb C# 0 1b

D# E# F# G# A# B G## D# 6# Eb F Gb Ab Bb Cb 0 Eb 5b

E F# GAB C 0# E 2#

F G Ab Bb C Db E F 3b

F# G# A B C# 0 E# F# 4# Gb Ab Bbb Gb Db Ebb F Gb 6b

G A Bb C 0 Eb F# G 2b

G# A# B ~ D# E ~ m g Ab Bb Cb Db Eb Fb G Ab 6b RMJR

RMJR: RELATIVE MAJOR

NATURAL MINOR SCALE: T - ST - T - T - ST - T - T

HARMONIC MINOR SCALE: T - ST - T - T - ST - 3ST - ST

MELODIC MINOR SCALE: T - ST - T - T - T - T - ST CHORD SEQUENCE: 1 ST (ROOT), 4TH (SUBDOM) AND 5TH DOM)

Fe edbad< 10 mat1 I1·[email protected]

-43- MAJOR SCALE CONSTRUCTION FROM BASICS REV 13-11-2003

COEF I GA8C GA8e I DEF#G D EF#G I A8CltD Asclto I EF#G#A EF#G#A I BCltO#E SHARPS SC#O#E I F#G#A#B F #G#A#B I CltO#E#F# I C#O#E#F# I G#Alt8#C# I I known by their flat equivalent

CDEF I GABC

F GABb I CDEF BbcoEb I FGABb EbFGAb I BbCDEb FLATS AbBbCOb I EbFGAb

DbEbFGb I AbBbCOb GbAbBbCb I DbEbFGb CbDbEbFb I GbAbBbCb

known as B

* C Major and start of sequence. Key Name is the large bold character of each line.

NAMING CONVENTION A scale takes it's name from iI's first note . Each letter of the Alphabet between A and G must be represented , There are 16 scales given above but 4 of them are identical tonally making only 12 unique scales. There is a preference to use one name over the other as indicated.

KEYS WITH SHARPS IN THEM The scale of C major, CDEF I GABC is spiH into its 2 Tetra chords . The upper Tetra-chord now becomes the lower tetra-chord of the next scale along (G in this case) and is continued alphabetica ll y for 4 notes to form the new scale's upper tetra-chord. The spacing of the intervals must adhe re to the major key pattern 01 T T ST T T T 5T and to keep this pattern the F has to be sharpened eg o DEF#G . Continue to the right in the same manor for the other sca les main­ taining the interval pattern. It is possible to go beyond C# but that wou ld involve using double sha rps.

KEYS WITH FLATS IN THEM These works in a similar way to the sharps except that now the lower tetra-chord of C major becomes the upper tetra ­ cho rd of the next scale. The first note of the new lower tetra·chord (working from right to left) has to be flattened to maintain the major interval pattern eg oi n the scale of F you have FEDC and the next in sequence will be B which mu st now be flattened to Bb. It is possib le to extend beyond Bb but will involve double flats. The key starting with F is called F major and not F Flat major despite the fact that the other keys that have flat notes do have flat as part of the key name.

Visit to Sotheby's and the box from Sotheby ' s - the auctioneers Horniman Museum 24- 11-2003 in London . It has been f ive years since I last went and now with the Towards the end of October every Horniman Museum having a gr and dis­ year a letter pops through my letter play of concertinas I thought it was -44- time for another visit. Not wishing to go alone I asked Geoff if he wanted to Well as you go through the rather un­ come along. On the appointed day I assuming entrance you arrive in a com­ drove round to Geoff's place and Carol pletely different world rather like then took us to Flitwick station. After going into the Tardis. Entry was free about 90 minutes by train and tube we but we bought a catalogue, which being arrived at Oxford Circus. It waS then the day before the actual auction was a short walk to Sotheby's which nor­ to take place was reduced by 50'10 to mally would have taken only a few min­ £10. The catalogues themselves are a utes but it's almost impossible to get work of art and beautifully produced. Geoff passed some shops especially No search was done and after asking, ones selling Australian goods. Having we were allowed to toke photos and thoroughly investigated all the wares play the concertinas on display. There of J.R.Williams we managed to get out must have been 12 at least - mostly after half an hour leaving no money English and Anglos in various shapes behind. Would we prove to be so suc­ and sizes. Of those we tried about cessful at Sotheby's? four or five were in reasonable playing condition.

Apart from concertinas there were all manner of other in­ struments such as violins , flutes, hurdy-gurdys, guitars (at least one expected to reach £5000), pianos, harpsichords (some of which were beautifully carved), brass ins truments and the demon serpent. Instruments that were nat in a display and labelled accordingly were free to be "played" so we spent quite a long time trying to get a noise out of some of them.

At the reception there were old catalogues for sale at £5 each. I could have spent a fortune there alone! AS- let you listen to the sound of most of There were also other sales taking the famil ies of instruments that can place but time did no t allow us to look be seen in the displays. You select a at these ex hibits. pic ture of the one you are interested in and then press the play button to After two hours of wandering through hear an expert giving a demonstration. the auction house we left to go to the Horniman Museum but not before re­ Geoff discovered a side room where freshing ourselves at The Mason's you were allowed to play various in­ Arms just around the corner. Looking struments such as the hammer dulci­ at the tube map it appeared that we mer and the bodhran and of course we could get the tube from Oxford Circus direct to London Bridge but that proved not to be the case and we had to change at Charing Cross station to get a train to Lon­ don Bridge. From Lon­ don Bridge we got another train to For­ est Hill. From the Forest Hill station the brochure said it was a five minute walk to the muSeum . Entry waS £3.50 and as we only had abaut two did. We had only been in the room a hours (they close at 17:30) we made few seconds when the sharp eyed su­ straight for the music gallery. Upon pervision paid us a visit to make sure entering we were faced with a display we were actually playing them and not of some 50 or so brass instruments. destroyi ng them. It really waS quite impressive. It is amazing how ingenious humans have Just before we were about to be been in finding ways to make a musical thrown out we did a quick tour of the note. The number of different types other galleries. One was on African of instruments was mind blowing to cu lture and the masks that were on say the least. They have done an ex­ display were extremely frightening cellent job in developing a system to and it is easy to see why tribes must -4 6- have been so in awe of the med ic ine dots"! The inc ident involved an adult shout­ men or wi tch doctors. There was also ing at a child MListen to me - you wi ll listen to me" - it suddenly reminded me of 01 1 the a fi ne natural history gallery with a times I had been shouted at and t old to lis­ display of a river running its cou rse ten! Ma inly because I cou ld never remember from the mountains to the sea com­ what was shouted at me . half my mind had plete with fish etc. After the staff be occupied by the thought "how the hell did pleadi ng with us to go we eventually I get in this predicament?" and the other left and made our way back t owards hal f "How the hell do I get out of t his" When I play music from the dots - I try I the statio n intending to get the tube listen - and in part r do - I listen to my fin ­ to London Bridge again and the gers - and t heir physical position on the but­ Thames Link back to Flitwick but Ge­ tons - I li sten with my eyes at the next dot off had spotted the Hob Goblin Pub so to play· and my ears listen that it's right (or we called in to wet our respective nearly so ). whistles with a couple of pints. At I'm listening so intent ly - I DON' T HEAR t he musi c. So , when I put the dots away· I about seven thirty we actually set off can't remember it! I'm now trying to leave for home to be met at Flitwick by the fingers/ eyes ond ears to do their own Caro l and chauffeured back to thing - and just LISTEN to t he music - I'm Maulden. By the time r got home it not saying it's very successful yet - bu t I've was nearly ten 0 ' clo ck. It waS a thor­ almost learnt to playa couple of tunes with­ oughly enjoyable day out and r would out t he dots· simply - as my daughter tells me . by f inding a bit of the t unes in the recommend others to combine a visit notes - and then just following it along! to both Sothebys and Horniman in the Th is being her exp lanation for suddenly find­ way we did. ing the t une "Ode t o Joy" on her recorder.

Tail piece Any comment! hint s would be most welcome ... how do YOU learn t o ploy without t he dots We ll I got here· I thin k - I still have to - all suggestions please to me for publ ication! pr int out the rough copy and check it . if bits are mi ssed at the end of stories, or part of Martins tables don't appear· forgive my fumbling· I'll do better next t ime (next year! . before t hat· if you 011 send me Editor: MstuffH). To make up for the lock of pictures Jon McNamara in this issue· I've accepted Jenny Cox's per· miss ion to print a copy of the Bolton Eng li sh 17 Nursery Road Concertina Band 1910 (over) which I have Bishops Stortford just spent a few days in the very enjoyable process of "mending" electronically - what HERTS, CM23 3Hl wonderful faces - and beautiful instruments. My last thought for you involves an incident 0] 279656664 I witnessed at Christ mas - and the problem [email protected] for a score reader t o ~ play wit hout the ·47·