We have drones to consider so you tune into them, taking into account the mood/mode of the tune, other than the concertina we can change the intonation as we go.
I do play a d/a Anglo treble/tenor for lack of a better description
But I did not invent it.
I purchased my first “good” concertina in the late 80’s, a Bastari from Castiglione Accordion Company.
At the time I had never heard any other concertina player, the instrument had an immediate appeal to me.
Castiglione asked me what key would I like the concertina. I asked what was available. D/A certainly makes sense to a traditional musician so that is what I purchased. I assumed they were all the same other than pitch
I taught myself to play without a tutor, as I knew of none at the time.
Turns out the lower “A” row is one octave below standard.
I did not find this out until I met my first concertina player several years later.
It matters not what fingering system you choose unless you are trying to copy another players exact chops…never something I chose to do (I usually couldn’t!)
I prefer d/a as does my wife and daughter and seven other owners of d/A instruments that I built several years ago.
The notes are all there, just in different places.
I am playing music first…concertina second.
That being said, I play the flute more often. There are getting to be quite a few concertina players in Alabama…they don’t need me!
Bob Tedrow
Great post, Bob and Paul.
Back in the 80’s, I got my first concertina from Sothby’s in England. It was an old 3 row G/C by Jones (hope that name is right). It had the drone and baby cry buttons for the left thumb. It didn’t take me long to figure out that the 3rd row (the furthest away, and all the odd notes) was very close to being tuned to D. So, having tuned pianos and pump organs, I decided to switch the reeds in the 3rd row around a little. I only had to retune 2-3 different reeds to get the 3rd row playing in D the same as a G or C row. I tuned the drone to D. The reeds in this concertina slipped easily in and out of a slot. Stretching the fingers out to stay on the 3rd row was not totally comfortable, esp when coming back to G after loosening the straps, so I switched to cheap Bastari 2 row concertinas. The spacing on the two row, for larger hands, is very comfotable.
I replaced all the plastic/rubber cushions under the buttons with surgical tubing, switched some reeds around, filed others to lower or raise the pitch a little, rewaxed the reeds back in place with a pointed solder gun, and these cheap Bastari concertinas have remained care-free for years. The one C/D I play now has not had a button stick, or slip sideways, in the 15-20 years I’ve been playing it.
It may not have the best tone quality, but I think the Bastari is the most pleasing of the cheapies. Very mellow, and only $50 for a lot 3 of them at Sandy Bradley’s auction years ago. 
Now I use 4 different concertinas, all tuned differently. An A/D, the G/D (which I use most), the G/C, and one I recently tuned down for playing with the B pipes…a E/B. I tuned the C row down to B, and the G row 2 steps down to E. That took a little doing. If you think a low B flute sounds cool, well so does a low E/B concertina played with the B pipes.
Ok, so I’ll weigh in, though my opinion is not the most educated, I’ve had a bit of experience. Bottom line, if you know what you are getting into a two row is not a bad idea. I played a C/G for awhile, really more to cord in pseudo rock bands (playing counting crows, bare naked ladies type stuff). It was a hohner (mildly better than the junkers on eBay) it was in tune and pretty easy to play, if kinda bad straps and poorly finished edges. A friend of mine plays a Stagi, which was C/G, however he ordered C# reeds for it, which I gather were about twenty bucks a pop. Opened the case and switched the reeds. With a little fiddling (and he’s not an instrument tech) it is now D/G concertina.
So, it can work, it may not be the most wonderful and professional solution. But its like a whistle, there are junky Copelands and there are awesome Generations. So, there’s a balance for everyone.
Again, humble opinion, but worked here.
Bob,
Thanks for the correction! I have never seen a Bastari such as you describe and wonder if it might have been an accident (mutation). The fine English-made D/A instruments I have seen, as well as the inexpensive German 2 row hexagonal D/As, were all in the “normal” system that I described with the inside A row a fifth higher than the D row.
But granted that the D/low A concertinas you have made were not the first, maybe you can take credit for having consciously propagated this system.
Still I think there are some advantages for students in learning the standard anglo cross-row system (and for a D/A this would be with the A row high, not low) since this will allow them to transfer their skills directly to the many fine antique instruments they might encounter. They could play standard C/G, G/D, Bb/F, A/E, Ab/Eb, etc. and the different home keys of the instrument would transpose their learned fingerings just as different keys of whistle do.
Playing a unique, new, or even just unconventional system has a lot to recommend it in an age where musicians often show little individuality. But it also can deprive a student of certain opportunities to carry on a tradition of instrumental technique. Of course, in your case you may be developing a new tradition of instrumental technique with your family and customers following!
Lorenzo,
It sounds like you may be mostly playing on only 1 row at a time? Or have you learned different cross-row techniques for each of those concertinas with varying interval relationships between the 2 rows?
I like any of the following standard anglo systems for playing with B pitch pipes or other instruments: A/E (which transposes standard C/G fingering down a minor third), E/B (which transposes standard G/D fingering down a minor third), B/F# (which transposes standard D/A fingering - often used by Kitty Hayes, as we have discussed above - down a minor third). The lovely recording of Tommy Keane and Jacqueline McCarthy has some beautiful sets in B with pipes and A/E concertina.
The instrument you describe would correctly be termed a “B/E” and would not have standard cross-row fingering.
Paul
Right, that should be “B/E.” I retuned the G (1st row) down to E and the C (2nd row) down to B. I had the others backwards too. So I have an unaltered C/G, an altered D/A, a ½ altered D/G, and the altered B/E.
I’ve actually learned different X-fingerings. I play X-fingering a little on nearly every tune, but you’re right, I like to stay on one row a lot.
On the D/G, playing in D, I can go up the scale starting with push D, LH 3rd finger, and pull the next 6 notes–alternating back and forth between rows–and end with the octave which is pushed (RH 1st finger). Or, of course, do the regular push/pull thing on one row all the way up. In either case, the C# and Cnat are both pulled.
Playing in G, on the D/G, I can can go up the scale with push G, LH 3rd finger, then keep pushing for the next two notes, then pull, then push, then pull the next 2 or 3 notes and end on the octave with either a push or pull. I actually prefer playing in G on the C/G concertina.
I don’t play the D/A concertina unless I’m staying in Amaj tunes for a while. A tune like Langstom’s Pony is a breeze on the D/A concertina (cheating the Cnat in one spot). But, playing it X-fingering on the D/G works best because it has both C# and Cnat. A tune like Pipe on the Hob works best on the G/C concertina. The Pleasures of Hope in D is a breeze on the D/G concertina, as is The Silver Spire. Our fiddler likes to play The Wood Chopper’s Reel in D on her fiddle for dances. That’s where I drew the line and started retuning the concertinas. The runs for Wood Chopper’s are easy on the D/G. I can’t imagine doing it smoothly on any 3 row C/G. But, soon as I say that, just watch…someone will do it!
Lorenzo,
Thanks for the details! I am actually always delighted to hear of unique, individual approaches and personal customizations. But these usually come out of many years of work from a dedicated musician, and since the idiosyncratic* techniques to be learned often do not translate well to instruments that are generally available, or to an existing tradition of technique on an instrument, I don’t recommend this route for beginning students.
Paul
- and from me this is a compliment
As someone who doesn’t play concertina at all, I’m trying to sort out the above comments. Is this a fair summary?
Two rows are nice instruments with a great history. (Hey, I love Mrs Crotty’s old-style playing.) However, they either are limited to the keys of C and G, or the two rows have to be different than the first two rows of the standard three-row Anglo used by most Irish concertina players.
Hey thanks, Paul. Appreciate your comments. And I don’t recommend it either for beginners. I get use to a certain pattern of fingering per tune and kinda memorize it that way. BTW, on the D scale, I said the next 6 notes were pulled, but it’s actually the next 7 before returning to push on the octave. I never use that scale totally, but usually a combination depending on the luck of the draw (or shove). 
Do you know anyone who has ever swiped reeds out of good old keyboard accordians to use in concertinas? I actually collected a bunch of old accordians from yard sales and junk stores at one time…thinking I would someday get around trying that. Never found the time though.
Hi Paul,
I play conceretina a bit. I have an old two row G/C which is a piece of junk but quite fun to play.
I also have a Hayden-system duet concertina. You might consider this though it will set you back some $$$.
While I really love the anglo system and would love to own a Tedrow someday, the Hayden duet system offers a few advantages that make it my preferred performance instrument.
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It’s unisonoric (same tone in or out) this makes the mechanics and ergonomics less stressful. Also requires one less thing to think about when searching for a note. I think it also makes some ornaments easier.
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The way it’s laid out is ingenious in that you can play a song in virtually any key (any key I’ve ever needed at any rate) with the same fingering simply by changing your starting hand position.
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It’s fully chromatic so if there is an al you’re covered.
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You can play chords easily so that even if you don’t know the tune you can play along with the guitarists anyway.
Here’s a good link for more info:
http://www.well.com/~jax/rcfb/hayden_duet.html
I got mine from “the button box” online.
http://www.buttonbox.com/newtina.html
Cheers,
Doc
Paul:
Yes, I know that the lower inner A row makes fingerings, etc. non-transferable to other anglos, but I’ve owned a few C/G and G/D anglos over the years, and none of them were as easy/intuitive to play as this D/A. I don’t play with others (yet) anyway, and play more English music than Irish, so I’m not worried about copying Noel Hill’s (or anyone else’s) ornamentation. The only change I’d like is a c-natural on the right hand, but I have no doubt that my desire for that may be an expression of bad technique rather than any insufficiency of the system. Don’t call it another system, though - we’ve enough of those! (Hmmm… Tedranglo?)
My original comment, however, wasn’t meant to encourage the questioner to seek out a D/A, but just to look for a modified C/G Stagi Anglo. Sorry to have contributed to thread drift.
Bob T:
I’d love to see any details about your playing style, or thoughts you might have about playing the D/A. I’m learning this on my own as well, although I’ve enjoyed the few sound clips you’ve posted on your web site from time to time.
I played my D/A in public for the first time this St. Patrick’s Day - for my 4yo daughter’s school party. The kids loved it.
Best,
Tim
As the topic is up, I may insert this here:
Kitty Hayes is trying to sell her three row metal ended newly made D/G Marcus concertina bought through Custy’s around a year ago. She paid around 1600 euro for it and is looking for a sale without loosing money. it’s a nicely playing concertina, very responsive, loud player.
For more information. questions etc contact me via PM. I can take pictures if needed.
Thanks for your interesting perspective Paul. I play a 32 key Kookaburra which is great for my needs. I started out on a borrowed Lachanel two row which was a pain to play but I knew I wanted a good instrument and fortunately this one came up secondhand without my having to wait for about three years on the list.
Getting a three row really wasn’t an issue with me. I want to be able to play to some extent in every key. Although I mainly play Irish (across teh rows), Australian traditional styles and township jive (mainly up and down the rows and with lots of chordal work), I like to be able to insert a simple concertina part in anything I’m asked to play. I don’t expect to be able to play Irish music fluently in keys loaded with sharps and flats. But a simple obligato behind a singer—why not?
The two extra buttons are on the C row. The extra left hand button gives me the most useful C# on the draw. This means that I don’t have to go to the third row much at all to play melody in D major and related minors. Now, if you could get a two-row, 22 button box with C# in this position and the most useful 3rd row button, say the reverse G/A on the right hand side, you’d really have a two row that did the job for most Irish music. Can these be found with any ease? I’ve heard of them but never seen one.
Tim,
The inventions of today might become the traditions of tomorrow. That is, if today’s innovators can inspire generation after generation to continue on a similar path, as the generations who have played on 2-row German concertinas (and the closely related standard anglos) have done.
I think it’s really important to have an instrument that motivates you to practice, and I agree that if you find yours “intuitive,” that will make it very valuable to you. Congratulations on your gig!
Wombat,
I do like 3 row anglos and a top quality one is a treasure, a very versatile instrument as you note. But few beginners are brave enough to go that route. You can compromise quality, or you can compromise the number of buttons, to get something a little less expensive as a “learner.”
Yes, 22 keys (also 24, 26, 28 etc.) were made by Lachenal, Jones, and others, and whenever possible I try to get these and hotrod them for the very reason you mention. They are uncommon enough that I don’t see many in the condition I like. Jacqueline McCarthy has played for many years on a lovely and rare Wheatstone 24 key, and North American makers are building new accordion-reeded instruments in this keyboard size. But it is the Lachenal 20 keys that are so abundant in the “unrestored” market, and with so many of these to choose from you have a better chance of finding one with excellent reeds and woodwork at a good price - thus a likely candidate for hotrodding. And as I have argued even the 20s have plenty of notes to allow some really nice music.
It’s funny how things turn out. Just now, only three weeks after writing the above, and not having touched a concertina for 2-3 years, I am now the proud owner of one!
I discovered just the other day that the fellow I borrowed the Morse from back then had just put it up for sale. Seeing the opportunity to get an instrument I’ve already played - straight away, and from a local guy I know very well, I decided to go for it.
So I am all excited and look forward to getting a chance to play (around with) it.
Cheers,
Jens
By Jove, I think you’ve got it!
I think the 2-row concertina, even though it might be easier to find and less expensive, is unusable for a large amount of tunes in the Irish repertoire. I was given a 2-row concertina (my first) as a Christmas present back in 1980. I began teaching myself a few tunes from recordings but almost immediately discovered that a very important note was missing; C#. I traded it in for a Rigoletta 3-row and continued teaching myself. After a while I became frustrated with the action and moved up to a Wheatstone. Only then did I understand what a concertina was really supposed to be like.
It wasn’t until 1986 when I met Noel Hill and he pointed out that it was very handy to have the C# in both directions. This also underscores the importance of this note, but there are numerous additional advantages in having that 3rd row as well.
Yeah, I’m glad I did get a modified wheatstone fingering, which has push and pull C#, which is quite handy. I’m also very happy with the concertina itself, Frank Edgley made it, and after one year I only got one technical problem with it, which Frank fixed in 5 minutes when I saw him.
For those who are playing whistle and think of learning the concertina, the only suggestion I’d like to give is to get ready for some painful practice sessions, the whistle isnt close to being half as complex as a concertina. It’s very, very frustrating to go from being able to play hundreds of tunes to having to work so hard just to get one tune going. I know what I’m saying could apply to any instrument, but the whistle is one of the easiest instrument so if you spend 2500$ without really knowing what you’re getting into, it might be a very expensive lesson
A bit OT here for a sec, but it dawned on me just the other day how playing the flute or whistle relates to playing the concertina. Each uses both hands to play the melody, and each hand is involved in both high and low notes. That’s my theory, if you’d like to borrow it – be my guest.
