Newsletter 343, February 1987

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. It records better than a single point stereo mike placed in front of you. With English type for playing at a gig I believe Maggy St George plays over the top of a mike- But why amplify for a small gig? Pre-World War 2 no band - even if it were only piano, sax or fiddle, and drummer, or a bigger 2 reed, 2 brass, bass, piano and drummer - used any amplification at ;all for any gig out in the country with maybe up to 50 or more couples dancing and talking. With the average PA it all comes out as a mush, the "live stereo" effect of the acoustic band is lost. You have to literally scream your head off direct into the barman's ear to order a drin , you can't hear the 'music' for the row it makes unless you go outside, shut the door and listen from across *ne road. Is everyone going deaf? 6 William E Blakeman

Bill Blakeman died at home on 15th January 1987. He was one of the first members of the Battersea classes. John Entract wrote to his daughter, Mrs Laker, and here is part of her reply.

"Yes, my father did attend the Battersea Concertina classes at Lavender Hill. He started there about 23 years ago under Mr F. Butler. He continued to attend classes until the school closed it because there were not enough members."

"As for my father's war years he was a 2nd Officer in the Merchant Navy. He was a prisoner of was for 4 months on the Altmark after being sunk by the Graf-Spee. He was released along with 298 other British prisoners when the Graf-Spee was taken in the Norwegian fjords. He had his name mentioned in the newspaper because the 1st officer was killed in battle and the captain shot himself, so my father was the officer in charge for a short time. After that he went on to Russian Convoys. He was torpedoed twice more before the end of the war."

Bob Hayes It is with great sadness we record the death of Bob Hayes at Dorchester on February 7th. I first met Bob soon after he joined the I.C.A. when he arranged a meeting at Dorchester to sound out the possibility of forming a group of concertina players in the West Country, From this very small beginning the W.C.C.P. emerged and to Bob's delight and I think, amazement about 28 players met at Frome early in 1983, From then on, due. in no small part to Bob's enthusiasm and hard work, together with the help and support of his wife, Ethel, W.C.C.P. has gone from strength to strength. In 1984 he and Ethel organized the first Halsway weekend, now a regular feature of our programme, Sidmouth Folk Festival became a wonderful meeting place for concertina players due again to the efforts of Bob and Ethel in finding a venue and providing music. He took the first steps to interest the Taunton Music Festival committee to put on classes for concertinas in the Music and Drama Festival in November each year, now another regular event in the West Country and which now extends to a full day of classes. Bob was a man with many interests, very well known in English Country Dancing circles, and a member of the E.F.D.S.S. Many of us benefitted from his encouragement and kindness. He will be greatly missed. To Ethel we send our deepest sympathy, and sincerely hope she will continue to be a valued member of the W.C.C.P. and I.C.A. Vi Fordham.

7 Arranging for the concertina To arrange music for the concertina you have two choices - either to play just the concertina as a solo instrument, or play with piano accompaniment. (Or use both methods).

F Solo Playing

The beat approach is by piano music, starting with the treble clef and arranging chords by studying the notes in the bass clef and bringing them into the range of your concertina. Waltz tunes are reasonable especially if the melody is played in octaves.

March tunes can be found a little difficult.

Songs can generally be adapted to give good harmony.

With Piano Accompaniment

Here the choice is wider, music is readily available for violin - cello - clarinet with piano accompaniment. You can just play the solo part, but to make the full use of your concertina, if you study the piano part you will be able to add either single notes or chords, or play in 3rds 6ths octaves or lOths varying according to your feelings.

I have an arrangment of a Tschaikowsky Barcarolle developed from a trio arrangement (piano, violin, cello) which shows what can be done.

It does not make a good arrangement to take a piano copy, make a concertina arrangement, and have the accompanist play the piano copy, because you get duplication of notes which rather clashes.

I have never experienced any real difficulties but you must watch the basis of the chord, or the notes involved in the bar you are arranging.

Arthur Clements

8 Basic Music Theory Very basic indeed, for we go back to 550 BC when Pythagorus was reputed to have discovered the interval we now know as an octave. He discovered that by halving (or stopping) a string at the half-way point it sounded an octave higher. He further discovered that by stopping it at the two-thirds point it sounded the fifth higher, and by stopping it at the three-quarters point it sounded one fourth higher.

If for convenience we confine ourselves to the scale of C, he had thus established the notes G and F as well as the octave C. By tuning a string to G and stopping it at the two-thirds point he gave himself the note D. By tuning to the note D, at the lower octave, he could obtain A by stopping that at the two- thirds point. From A he got E, and from E he obtained B. So now he had the major scale of C.D.E.F.G.A.B.C'. The piano keyboard is a perfect visual aid to this progression. A later generation than Pythagorus continued the progression. Meantime, the seekers after change started their scales on different notes of the scale of C major, not having progressed as far as discovering sharps or flats. These scales of C major, starting on different points, became what we now know as 'Modal' music. The ancients gave a different name to each mode. Harmony for the time being (many hundreds of years) became only singing at the octave, the fifth or fourth, and very harsh it sounds to modern ears. The modes were not a question of pitch. The singer or player could start at any pitch; it was the sequence of tones and semi-tones that characterised it. The performer, choosing the Ionian Mode, which for convenience we will imagine starting on G, found that by sharpening the seventh note he gave himself the same sequence as he enjoyed in the Lydian Mode starting on C. The string player would have no difficulty in advancing his finger slightly, and the wind player might obtain the same effect by blowing slightly harder.

But the scientific musicians continued the progression of fifths and octaves, obtaining in this order F sharp, C sharp, G sharp (or A flat), D sharp (or E flat) and A sharp (or B flat). The fifth above B flat brought them to F natural, and now they had the scale of twelve semitones, and theoretically could play in any key. Don't expect to swallow all this in five minutes. It probably took eight hundred years to evolve. The mystery is that when one has worked the whole cycle in perfect fifths, one finishes up sharp. That is the reason for tempering the scale.

To be continued if the editor askes for it.

F E Butler He has ! 9 BUTTONHOLES FEBRUARY 1987

Daffodils for Colin and Rosalie Dipper, from Maggy St. George.

It's a nice drive-from Halsway Manor to Heytesbury, and we did it the day after the Taunton Festival last year. An added bonus was the discovery of an unusually jolly pub, bang-next-door-but-one to Colin and Rosalie's beautiful Georgian house. The new landlord of this well-sited hostelry is not only a professional entertainer, but also a gifted accordian player with a sound folk background, and he was happy to play for his customers. Needless to say, with boxes in the car we couldn't resist joining in ...

Then to business, for such it was when a long-felt-want materialised into a Wheatstone tenor-treble discovered by Phil Inglis, who deserves a Buttonhole to himself for his sleuthing and the service Oundle Music provides.

It was to the Dippers that Phil had sent this box for rejuvenation. He had previously played it, in old pitch, over my phone one evening and it sounded about as mellow as a screech owl; but everybody does, since our wall-phone departed from its rawlplugs and subsided sulkily onto the yoghurt-maker. So here rested the instrument after which I had secretly lusted for years. (I do refer to the concertina, you understand, rather than the telephone or the yoghurt-maker, both of which we could actually live without ...)

We called on Colin and Rosalie one short and sunny Sunday afternoon, successfully interrupting the re-siting of their wood-burning stove and some extensive D.I.Y. conversion work. Upstairs in his Aladdin's Attic workshop, Colin was unperturbed at my disappointment that the box in hand sounded much as it had done over the phone. With consummate tact and patience he transformed my doubts into a semblance of Order - ie. what sort of sound was I really after, before he started work on it. Come back in a fortnight, he said.

We did. In the interim, the indefatigable Phil had come up with another one. A rare occurrence, he said modestly, but we were most impressed. Unattended, No.2 would have beaten No.l hands down, but after "Dipperisation" my preference was for the first one for its even tone and light action. Colin has done much more than alter it to modern pitch; he has virtually transformed the instrument, and once I've become more used to all those gorgeous extra bass notes, it will be wonderful. Even the lads in the band approve, as being somewhat brighter than my treble, it needs less amplification and therefore the tone is better with our jungle of free reeds, fiddle, piano and guitars.

Restoration is high on the list of Colin and Rosalie's priorities, but primarily he is a builder of new concertinas constructed to the very best traditional standards. If you want a new Dipper, custom-built, you may wait 3 years and pay 4 figures; though he can build an Anglo in less than a year on his current workload. If they interrupt this demanding and meticulous work on a backlog of orders, to restore a box you buy, you will find you have paid a minimal amount for the confidence of a beautifully balanced instrument that gives you the best of which its original craftmanship was ever capable.

10 ICA FESTIVAL 9th May

VENUE VICTORIA METHODIST CHURCH, WESTMORELAND TERRACE LONDON, SW1. Eight classes of competition ; Elementary to Advanced, English, Anglo, Duet, Solo and Groups.

Full details in the January Newsletter. - TIME: 11 am to 7 pm and not as shown in the previous newsletter.

MY THANKS to those members who wrote to me in response to my request for items to use in the newsletter. Some are included in this issue and I have others in reserve but I need lots more. Thankyou to Hilda Gibson who did the drawings on the covers of this and the January newsletter.

l1th April '87

Will not be at the Bloomsbury Community Hall

but in the Maurice Hall, Working Men's College,

Crowndale Road, London NW1. Directions in the next newsletter. At this meeting Douglas Rogers will play a new work for Concertina, 'A song of the Sea', which was specially composed for him by Oliver Hunt. Usual time... 1.00- 7.00pm. Regarding your suggested talking points,- in particular, 'The All Electronic Concertina'. Accousticly the idea horrifys me! but as a learning aid it could be a boon. Especially if it had the benefit of ear-phones that could be plugged in and render the instrument inaudable to all but the player. Thus appeasing long suffering family's who at present have to endure daily practice sessions. In the absence of a commercially produced instrument, perhaps it is within the inginuity of some D.I.Y. reader to modify an acoustic write-off; and give it a transplant utilising the guts of an expensive electronic keyboard. D.H.Murray,

As for Customs examining Concertinas: Whilst staying in San Francisco about 6 Years ago as a (working) guest of Cody Grundy of Hobgoblin Music U.S.A. a box was sent to me from England for me to repair and sell. Well, there must be some law differentiating between antique and modern instruments, requiring import tax to be paid. Assuning this to be suitably antique (knowing only that it was a Wheatstone Concertina) I proceeded to explain that Charles Wheatstone was producing Concertinas before 1840, so it must therefore be very old and exempt of duty. Not being convinced by words alone the Customs Official deceided to open the parcel. Two or three of them peered into the box and nodded in agreement that yes, this was obviously antique and duly handed it over. When I examined the box later, (expecting it to be quite rare and ancient) I was suprised to be confronted with the chrome plated ends, plastic buttons and rexine bellows of a 1950's? Wheatstone 'Mayfair' anglo. A little disappointing but amusing to reflect on. (I think the import duty would have been more than the value of the instrument)! Andrew Norman, Andrew also repairs and sells spare 157 Garlands Road, , parts for concertinas. Redhill, Surrey, RH1 6NT.

A hexagonal concertina with the Spanish Armada? As bogus as the Piltdown Man. This one "fell off the back of a ship". Prior to Wheatstone's 1844 patent the concertina was a square box - no reason then for it to be otherwise. No holes for buttons, it might be that the word "Concertina" once referred to a sort of ditty box - it has been applied to a variety of Pump organ by Debain the French Builder around 1837. Pat Robson.

12 Music-fans' session on the 3rd Tuesday of each month at the Queen's Arms, Cowden Pound, @ 3m south of Edenbridge on B2026. Details from Peter Trimning, 01 689 5550. South Wales Concertina Players meet on the last Monday of every month at Marcus Music, Newport, Gwent.

Pub sessions with (usually) four or more concertina players among the fiddles, whistles and melodeons, on the last Thursday of February, March and April at the Red Lion, Heath and Reach, Lelghton Buzzard, Beds. Details Alan Dyer, 084421 2702. After April, the pub's being done up and the session will be moving, but we don't yet know where to.

All West Country Concertina Players' Freshford meetings &re 12 - 6pm. Tea and Coffee will be available, but bring your own food. For full details of all WCCP events, phone Jenny Cox on 0272 48796.

For full details of all ICA London events phone Marian Janes on 01 348 5563.

If ycu know of an event which would interest concertina players, let me have details for inclusion in the Diary.

Dates and Venues for Astor Piazolla (Bandoneon) and his "New Tango" Quintet.

London Logan Hall Wed 11th March 7.30pra Lancaster University Great Hall Thurs 12th March 7.30pm Manchester Opera Theatre RNCM Fri 13th March 7.45pm Leeds Queens Hotel Ballroom Sat 14th March 8,00pm Plymouth Theatre Royal Sun 15th March 7.30pm Warwick University Arts Centre Wed 18th March 8.00pm Southport Arts Centre Thurs 19th March 8.00pm Bracknell Wilde Theatre Sat 21st March 8.00pm Leicester Haymarket Theatre Sun 22nd March 7.30pm Hull New Theatre Mon 23rd March 8.00pm Cardiff St David's Hall Wed 25th March 7.30pm If the "Come Dancing" type is the only tango you have ever heard, GO AND SEE THIS. It will amaze you. Though far too avant garde for my taste, it is certainly impressive, moving - and rather frightening. I think he could make a good sound track for a horror movie.

13 March 1987

7th WORKSHOP IN NOTTINGHAM - contact Angela Bell for details at 26, Larkfleld Rd, Nuthall, Nottingham, or phone 0602 384779.

20th - 22nd HALSWAY MANOR WEEKEND Workshops led by Calennig, Tim Laycock, Dave Townsend and others.Workshops on song accompaniment, music hall, playing for dance, ear playing, duets. #47.50 includes all food, fees and accommodation. Contact Jenny Cox, 26 Hill Grove, Henleaze, Bristol. BS9 4RJ.0272 629931.

April 1987

Sat 11th ICA MEETING in London, l-7pm. Douglas Rogers will be performing a new piece of music composed for him by Oliver Hunt. Venue to be confirmed, see main body of Newsletter or next month's diary.

May 1987

Sat 9th ICA FESTIVAL at Victoria Methodist Hall, Westmorland Terrace, London SW1 - same place as last time. Details in January newsletter.

Sat 16th THE NELLSTOCK BAND (Dave Townsend on serpent, Paul Burgess and Flos Headford on fiddles, Ian Slake on clarinet) will be leading a Musicians' Workshop at Duncombe Drive Social Centre, Leighton Buzzard, Beds, 2.30pm to 5.30pm. It's an opportunity to learn the tunes, harmonies, style and techniques from their repertoire of 19th century Southern English village dance band music. They'll also be playing for a Ceilidh in Milton Keynes that evening from 8pm - 11.45pm. Details 0525 374614.

Sun 17th WCCCP AGM and playing at Butleigh 11am.

July 1987

Sun 5th WCCP at Freshford 12 - 6pm.

November 1987

7th November - Concertina day at the Taunton and Somerset Music Festival. Details from Jenny Coxs 0272 629931

March 1938

18th - 20th - West Country Players' Concertina weekend at Hal sway Manor, led by Alistair Anderson.

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