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Newsletter 343, February 1987

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INTERNATIONAL CONCERTINA ASSOCIATION Membership Secretary Events Secrets Martin Williams Marian Janes 3 Frinton House 15 Crescent Re Rushcroft Road London N8 SAL London SW2 01 348 5563 01 737 7987 President Rev Kenneth Loveless VRD FSA FSA Scot Hon RNR Treaesirer Editor John Entract Alan Dyer 16 Mandeville Rd 29 Horton Aver Saffron Walden Thame Essex Oxon No 343 February '87 1 From the Treasurer Subscriptions and some generous donations received with thanks since Jan 1st 1987 R.C.Newell; Mrs.C.Young; G.C.M.Drew; N.Wayne; B.Edwards; P.L. Edwards; J.R.Digby; A.Maclean; T.J.Pearson; Mrs. J.Pearson; D Lee; A Clements; J Hutcherson; Mrs J Hutcherson; Mrs A R Killick; M Barr-Hamilton; J P Entract; S Ridgway; S Eydmann; C Richardson; Mrs P Wallace; N J Chamberlain; F E Butler; F R Gomm; A J Day; R C Tomkins. C.Turner; R.G.Hindes; T.F.G.Stevens; K.D.Ashcroft; A.F.C.Headon; Mrs. Headon;M. Robson. W.D.Brewer; J.A.Barlow; R.Shaw; G.J.Coyne; New members Julian Cochrane, Miss F.S.Moen, • Belfield Cottage, Eamish Bayne, Blebocraigs, Holmwood Concertinas, Cupar, Holmwood. FIFE, KY15 5UG, Swinford, Scotland. Lutterworth, Leics. Change of address Stuart Eydmann now at: 2 St. John's Terrace, EDINBURGH, EH12 6NW. Apologies to those incorrectly included on the 'No payment for the last year* list: Mrs. P.Wallace; J.D.Stapledon. John Entract FOR SALE METZLER ENGLISH 48 BUTTON, ROSEWOOD ENDS, TREBLE CONCERTINA. IN GOOD CONDITION AND IN CONCERT PITCH FIVE FOLD BELLOWS. MELLOW TONE. £120 WITH BOX. RING 0227 463626 MORNINGS OR EVENINGS. FOR SALE LACHENAL 48 BUTT0N ENGLISH TREBLE CONCERTINA. METAL ENDS, NEW VALVES AND PADS, NEW WHEATSTONE BELLOWS. WITH CASE. £400.00 TELEPHONE 0908 674005 FOR SALE JEFFREYS 38 BUTTON METAL ENDED ANGLO CONCERTINA. RECENTLY RETUNED AND RENOVATED BY HAMISH BAINE (HOLMWOOD CONCERTINAS) . £450.00 TELEPHONE MARTIN COLE 0327 842501 2 There seems to be a lot of melodeon-bashing going on in concertina playing circles, so I'm going to ask people with an interest in both instruments to try and redress the balance. This first item gives some information on melodeons and first appeared in the Concertina Newsletter - later "Free Reed", issue no 11, April 1973. It was written by Alan Pittwood who used (among other things) to play duet but now uses a melodeon for country dance music. "Different types of Push-Pull button boxes" - A comment by Alan Pittwood. The note by Peter Persoff in The Concertina Newsletter IX Dec 72 p22 goes some way towards resolving the "confusion about the different types of button boxes being played", whilst at the same time including descriptive names that could be confusing. In this comment I draw on his work and that of Mervyn Plunkett {Note on the Accordion Melodeon and Concertina in Ethnic, Vol-1 No.4 pp 4-11), in whose work the term 'vienna accordion' is used. In the naming of the instruments Plunkett uses -ion (the German termination) for diatonic instruments and -eon (the French) for the chromatic (Plunkett op. cit. pll), but retains the name melodeon for early diatonic instruments. He notes that either form of spelling is equally legitimate. Persoff, however, uses the name 'melodeon' for diatonic, and 'accordion' for the chromatic. It is worth noting that the early diatonic instruments to which the name 'melodeon' is applied were, in their time, called 'accordeons' and this name is often to be found stamped in the metal work along with the maker's name and trademark. In this note a 'melodeon' is considered to be a push- pull button box having externally visibly treble key mechanism, slides for manipulating sets of reeds and the bass buttons or keys mounted on a distinct bass keyboard. Following Plunkett, the name 'vienna accordion' will be applied to the modern instruments which have no slides, covered mechanisms, and the bass buttons mounted on the side of the headboard. The basses on these instruments are tuned to the treble rows whereas the British Chromatic 3-Row Button Accordion has a full piano- accordion bass made up of single-action notes and chords. A. MELODEON a single row. 10 treble buttons, 2 bass up to 4 slides. 1. buttons to operate the bass 2. 'spoon' shaped keys to operate the bass b double row. 20 treble. 4 bass up to 8 slides. Tuned in a fifth apart. 1. with bass buttons 2. with bass keys c double row. 20 treble. 4 bass. 4 slides. Tuned a semitone apart (chromatic) 1. with bass buttons 2. with bass keys. 3 The 2 bass instruments have 2 chords, and the 4 bass have 4. B. 'VIENNA ACCORDION' (modem melodeon substitute). a „single row 10 treble 1. 2 bass buttons - 2 chords 2. 4 bass buttons - 3 chords b double row 21 treble 8 bass - 6 chords 1. diatonic tuned in fifths, may have two buttons of accidentals. 2. chromatic tuned a semitone apart - "British Chromatic" 12 bass (9 chords). c three row. 1. tuned in fifths 12 bass - 9 chords, may have 3 buttons of accidentals 2. tuned a semitone apart, 12 bass - 9 chords "British Chromatic". C. 'VIENNA ACCORDIONS' WITH "CLUB" TUNING "club" tuning gives one note a single action and adds a partial third row of accidentals. 1. double row 21 treble 7 accidentals 8 bass 2. three row 30 odd plus accidentals 12 bass D. THREE ROW WITH PIANO-ACCORDION BASS A large "British Chromatic" button accordion with a chromatic double-action treble keyboard and single-action bass. The treble rows are tuned in semitones (example: Shand Morino). This table gives 15 sub-divisions of buttons boxes, and this could be multiplied to over 40 by considering the many different tunings. Furthermore, it does not take into account the addition to the instrument of cycle bells and other percussive effects! Although this note is more detailed than Persoffs it lays no claim to be exhaustive, for I have in my collection insturments that have unusual features - for example, a Swiss made "club" tuned 'Vienna accordion'that has two buttons for accidentals on the treble row linked mechanically to two more in a partial third row giving a choice when playing as to which to use. © Alan Pittwood 1972, 1987 4 Closely followed by this item from Pat Robson on square concertinas. In the Newsletter you have me down as playing "Chemnitzer" which is not quite true. It is the USA players (hundreds of them) who play the type known as "Chemnitzer". Here is a brief resume of the keyboards of the various square boxes - the true "German Concertinas". Bandoneons - Diatonic "Rhenische" developed by Band - the original circa 1880, usually standard 72 buttons. As played in S. America and also as my own Walnut bandoneon. "Einheitz" (German for "Standard") developed by Arnold in 1924/25 from the Rhenische, usually 73 buttons, very similar to Rhenische apart from fundamental basses and a few other notes. No gaps in compass either way. Standard for Germany, not for S. America. Bandoneons - Chromatic "Peguri" system developed by Arnold & Peguri of Paris, similar appearance to Rhenische, developed 1924 to suit French Chromatic accordion players. Same note push or pull. Bass end now reversed to from mirror image of treble end for ease of playing ends in unison. "Piano system" developed by Arnold, buttons laid out like piano keys but in four rows, upper two are an octave higher. Not much good. "Kusserow system" invented by Ernst Kusserow (1938) about 60 buttons a side. RH fingers in semitones along the rows. LH is a "continental chromatic system based on 4 instead of 3 rows. Large instrument, better for the classics than for the dance. These can be either 2 voice (octave) tuned throughout, as used for the tango, or 3 voice (2 low, 1 high) treble and 2 or 3 voice bass - a softer tone. Always a bass resonator box. Some single voice bandoneons have been made. 5 German Concertinas (always Diatonic) "Chemnitzer" usually Scheffler's •keyboard as developed by various - . •.-:_ makers in Germany & USA under supervision of Carl Uhlig of Chemnitz who coined the name "Concertina". Standard USA box has •*. / 52 buttons {the "104 key"). j , Learners' box has 39, and there have been some with 65 buttons developed in USA; Uhlig got it to 48 buttons by the time he died. "Carlsfelder". This is another keyboard on which I have no information at the moment. "Einheitz". Developed in 1924/25 with a keyboard of 65 buttons and layout similar to the "Einheitz" Bandoneon and uses the same annotated music. These have a coarser tone than the Bandoneon, usually 2 voice, octaves in bass, unison in treble. No bass resonators on current USA models, often now 4 voice treble, 3 voice bass. Bass end almost identical to bandoneon. Treble usually only 3 rose (4 rows for the 65 button USA box). Internal mikes and contacts fitted for hooking up to electronic tone generators etc. Similar annotated music as used for Bandoneon in Germany and with a few alterations is interchangeable. This, the true original "German Concertina", has been superceded in Germany by the Bandoneon version. USA "Scheffler's" system is reputed to be a very easy instrument to learn. Best used for the dance with bass/chord accompaniment and avoiding the flat keys. Concertinas and mikes. English type you must use one mike to avoid a curious stereo effect. With Bandoneon (and I supposed Duets and Anglos) use two mikes, one either side facing the box and about 3ft away. This way I do get a stereo effect, but I avoid air valve and key noises.
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  • The Accordions

    The Accordions

    Chapter 33 The Accordions Program33 Performances 1. Cousin Fuzzy, "Why Don't You Squeeze Me." 2. Tom Marincel, "Croatian Kolo." 3. Richie Yurkovich, "Maricka pegla." 4. Arthur "Zeke" Renard, "A la fete." 5. Louie Bashell, "South." 6. Hank Magayne, "Barking Dog Polka." 7. Jerry Schneider, "Emil's Polka." 8. Tuba Dan and the Polkalanders, "Flutaphone Polka." Accord ion Jamboree or the past fourteen years on the Sunday after Easter, two or three dozen accordion players have gathered at the Chalet St. Moritz, a Swiss restaurant Fsurrounded by dairy farms just west of Middleton. In front of two or three hundred listeners, these men and women spend a long pleasant afternoon taking turns on stage at the Accordion Jamboree. For many years, Rudy Burkhalter, the patriarch of Swiss music in America, was master of ceremonies. The accordions' variety and appearance are striking: little one-row button boxes have big onion­ shaped handles on the stops; two-, three-, and four-row button boxes are encased in gleaming red plastic from Germany or intricate inlaid wood from Slovenia; piano keyboard accordions are bejeweled with rhinestones, with a pha­ lanx of rectangular stops labeled Trumpet, Clarinet, Musette; chromatic button accordions have a dizzying array of black and white dots flanking ribbed bel­ lows emblazoned with a kinetic diamond pattern; electronic cordovoxes are technical wonders running on electricity, not air, the bellows but vestigial reminders of their lineage; and a few other squeezeboxes are not even accor­ dions at all, but concertinas and a bandoneon. The players play only the southern Wisconsin sampling of the diverse ethnicities and musical styles of the accordion world: Swiss landlers, German and Slovenian polkas, Polish obereks, Finnish hoppwaltzes, Irish and Scottish jigs, Norwegian schottisches, French-Canadian reels, Italian operetta overtures, Czech waltzes, a few jazz numbers, and some country and western tunes.