How to Play Chords on Any MacCann Duet Concertina

Transcription

How to Play Chords
on Any
MacCann Duet Concertina
Robert Gaskins
<[email protected]>
67-button MacCann Duet
G"
C"
G"
-1
C"-1
G"-2
-1
E!
E-1
C-1
E!
-1
G"
F"
2
E!2
-1
B
B!
F-1
F"-1
B-2
B!-2
D-1
A-2
G-2
F
D
A-1
-1
C1
A
E
C
G
B!
B
G
G"
1
C"1
G"
C"
G2
D2
G
1
C1
G
C
A!
C"
A!
J
M
J
M
C:
3/
4
E!
B
R
N
R
2
N
D
E!
M
A!
F
F"
B
S
F
F"
C"
A!
E2
B1
D
J
M
J
2/
1
B!2
A2
B!1
1
E1
A
E
E!
AIR
C
B2
A
D1
E!1
D
R
B
R
N
S
N
D
E!
3
C3
F2
C2
F1
B
F
F
M
F
B
F"2
C"2
❦
F"1
B!
F"
F"
February 2001
C"
F"
S
(The latest version of this document is available for
viewing or printing at www.maccann-duet.com on the web.)
Table of Contents
MacCann Duet Concertina Chord Charts
2
I. Introduction
Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Same Chords for All MacCann Duets . . . . . . . . . . . . . . . . .
2
3
A Plan for Simplicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
How to Read the Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4
5
Fingering for Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Variant Chord Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8
9
Variant Chords on Larger Instruments . . . . . . . . . . . . . . . . . . . 10
2. Chord Charts
Chord Charts, Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Chord Charts, Button Names . . . . . . . . . . . . . . . . . . . . . . . . . . 15
3. Where the Chords are Located on Actual MacCann Duets
Wheatstone “Standard” Pre-War Designs . . . . . . . . . . . . . . . . . . 20
Some Actual Instruments
. . . . . . . . . . . . . . . . . . . . . . . . . . 27
“Chidley-Variant” Designs . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Historical Instrument Designs . . . . . . . . . . . . . . . . . . . . . . . . . 46
4. Bibliography
Sources of Information about MacCann Duets and Chords . . . . . . 49
5. Chart for Lid of Concertina Case . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Robert Gaskins <[email protected]> February 2001
G"
C"
G"-1
G
C
B
E
-1
G-1
C-1
A
E-1
A
D
E!
C1
F
F"
B-1
B!-1
F-1
F"-1
E!2
G"1
C"1
G"
D2
E2
1
G1
C1
G
B
E1
A
G2
B!1
A1
D1
E!1
F2
C2
F1
B
F"2
C"2
F"1
B!
G"
C"
G"
-1
G
C
G-1
-1
C"-1
G"-2
-2
C"
C
G-2
C-2
E
A-1
E-1
A-2
E-2
B!
1
A
D
E!
D-1
E!-1
-2
E!-2
D
C
G"2
F
F"
B-1
B!-1
-1
-1
F
F"
B-2
B!-2
F-2
F"-2
G
2
2
E!2
G"
1
D
G1
1
C"1
G"
C"
AIR
G"
-1
3
The challenge to preparing simple instructions for chords on MacCann duet concertinas is that the instruments
come in so many different configurations. The biggest ones have about twice as many buttons as the smallest; most
instruments have between 46 and 81 buttons, always arranged in six columns of buttons per side. There are many
“standard” sizes (numbers around 46, 55, 57, 62, 67, 72, and 81, plus or minus one, are common). Some of the
buttons produce different tones depending on the size, even in the standard designs. To make matters worse, a
very large number of custom instruments were built, either with non-standard button arrangements at the factory, or
by interchanging or retuning reeds so that some buttons produce non-standard tones. Sometimes it seems that every
instrument varies at least a little bit.
Since all the instruments are antiques, hard to find, and very expensive to buy and restore, many players don’t
expect to play more than one instrument in a lifetime--surely not more than one at the same time. So many players
just treat the particular MacCann duet they happen to own as being a standard, and learn to play only that
instrument, treating it as a special case.
But after examining a number of MacCann duet concertinas of various sizes and looking at the fingering charts
for many more, it turns out that there is a central core of 45 buttons which are nearly always arranged in the same
positions, and nearly always have the same note assignments. There’s no great mystery why this is so; it just turns out
to be a historical fact that all but one of the buttons on a 46-button instrument were preserved intact as additional
buttons were added to make larger instruments, and most of the many custom configurations were also made to
affect only the added buttons on larger instruments.
AIR
B
The Same Chords for all MacCann Duets
C
G
C
G-1
B2
E2
B1
B!2
3
A2
B!1
1
E1
A
E
A-1
A
D1
E!1
D
E!
C
F2
C2
F
D3
F"2
C"2
1
B
F
B-1
F"1
So these chord diagrams portray the button-arrangement and note-assignments of a hypothetical instrument
with 45 buttons--21 buttons on its left (bass) side, 24 buttons on its right (treble) side. There probably are no
actual 45-button instruments, but this is the part of the keyboard which can be expected to be present on almost
every instrument. Charts are given here for all of the frequently-encountered sizes of MacCanns showing where the
common 45 buttons are located on actual instruments.
If you learn the chords shown here, and restrict your variations to the rest of the 45 buttons shown in these
charts, you should be able to pick up very nearly any MacCann duet and play the same chords on it.
B!
F"
B!-1
MacCann duets come in many different sizes; the
largest have about twice as many buttons as the
smallest, with a lot of individual variation. But
virtually all contain the 45 buttons used in these
chord diagrams--shown here in gray and black.
4545-button Chord Charts
G"
C"
G"
G
C
G
C
E!
B
E
A
E
A
D
E!
C
G"
F
F"
B
B!
F
F"
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
F"
B!
B
G
G"
D
A
G
G"
A
E
C
C"
E!
E!
E
C
C
G"
F
F"
B
B!
F
F"
C"
G"
E
D
G
B
E
C
G
A
B!
A
D
E!
F
C
F
B
used in chords (26 buttons)
C
also on both sides (8 buttons)
C
on only one side (11 buttons)
C"
Within the 45-button diagrams, only 26 buttons (13 on each side) are actually used to form all the chords. The
26 buttons, 13 on each side, make up a full chromatic octave scale, from G up to G, arranged in the same positions
on both sides of the instrument. The chord charts will show “the same” chords on both sides of the concertina, so
that chords, an octave apart, can be played on both sides at the same time with “the same” fingers in “the same”
positions. To achieve this, clearly, only buttons in positions which are matching on the two sides can be used.
F"
B!
In addition to the 13 buttons making a full scale from G to G on each side (26 total), there are four additional
matched buttons on each side which extend the scale up to C, omitting one note (8 more total). These 34 buttons,
17 on each side, are the only common buttons arranged identically on both sides.
Beyond these matched buttons, the 45 common buttons include 4 more buttons lower, on the left side only,
and 7 more buttons higher, on the right side only. These can be used to make variant chords played on one side
alone.
Not every MacCann duet has all of the 45 buttons (though virtually all do). There are a few MacCann duets
with only 39 buttons, for example, and occasionally there are "miniatures" with even fewer. There are a few late
(1950s) instruments where the notes have been moved around into a strictly-uniform pattern, called “ChidleyVariant MacCann” or “Chidley-System”duets. There are also quite a number of non-standard instruments which
may be lacking one or two of the 45 common buttons. But almost all MacCann duet concertinas have the
minimum 26 buttons needed to form the chords shown in the chord charts.
G"
C"
G"
-1
C"-1
G"-2
G
C
G-1
C-1
G-2
B
E
A-1
E-1
A-2
B!
A
D
E!
D-1
E!-1
C1
G"
F
F"
B-1
B!-1
F-1
F"-1
B-2
B!-2
2
E!2
G"
1
C"1
G"
C"
AIR
G2
D2
G1
C1
G
C
4
The charts show 45 buttons (21 on the left, 24 on the right) which are the same on nearly all MacCann duets,
but not all of these buttons are used in the chords.
F"
45 buttons common to all MacCann duets:
C
A Plan for Simplicity
B2
E2
B1
B!2
A2
B!1
1
E1
A
E
E!
A
D1
E!1
D
C3
F2
C2
F1
B
F
F"2
C"2
F"1
B!
F"
A beginning MacCann duet player can safely learn to play the basic chords using the 26 buttons, as shown in
the charts. These 26 buttons will be on nearly every instrument.
A next step would be to go on to learn chord variants and inversions involving the other 8 buttons common to
both sides, and to learn to use the remaining 11 buttons for one-side variants. All 45 buttons shown are reasonable
to learn and use, since they are almost always present. The remaining buttons beyond these 45 on any particular
instrument should be considered carefully, since what you learn to do with them will not necessarily be possible if
you pick up any other instrument.
To apply these instructions to play a particular MacCann duet, first locate where the 45 common buttons are
located on your instrument (or if not all are present, which ones you have). The provided diagrams of instruments
should make this easy. After that is done once, then you can use the chord charts directly to see which buttons to
press to play each chord.
The 45 total buttons common to virtually all
MacCann duets are shown in the chord diagrams
(top). These diagrams can be related to any
actual MacCann instrument by finding where the
45 buttons are, for instance on an actual 67button instrument.
How to Read the Charts
Take as an example this chord chart for a C chord. It locates (in black with white labels) the notes C, E, and G.
The corresponding buttons are played on both sides, and with corresponding fingers. (Owing to a slight bug, namely
the fact that human hands are mirror-reversed but the concertina is not, these are the last three fingers of the left
hand and the first three fingers of the right hand.) All the other notes (white in the diagram) do not participate in
this chord.
buttons
to play
A!
C"
A!
G
C
G
C
E!
B
E
A
E
A
D
E!
C
F
B
F
A!
F"
B!
C"
A!
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
F"
F"
A!
G"
Left-Hand
Buttons
C"
G"
Left Fingers:
(4=little, 3=ring, 2=middle)
G
C
G
C
3
C:
/4
E!
B
E
A
E
A
D
E!
C
F
G"
F"
B
B!
F
F"
C"
G"
D
G
C
G
2
2
/1
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
F"
}
Right-Hand
Buttons
B!
Right Fingers:
(1=index; 2=middle; 3=ring)
3
A complete set of chord diagrams is provided further on in the form shown above, with the name of the note
produced shown on every button. But a simpler set of diagrams is also provided, which focus just on the positions of
the fingers, the tones played, and their role in the chord. (This notation for concertina chord charts was invented by
Brian Hayden in 1985--his articles introducing it are listed in the Bibliography.)
To visually simplify the chord charts, the names of the notes are not repeated on every button--they are always
the same in every chart, after all. Instead, only the buttons participating in the chord are labeled. Other occurences
of the same tones, in higher or lower octaves, are left in white but also labeled with the same letters.
For a major chord, the three buttons are labeled M, J, and R (think “MaJoR”). The root note in the chord (C
for a C chord) is labeled “M”; the fifth in the chord (G for a C chord) is labeled “J”; the third in the chord (E for a
C chord) is labeled “R”. Here, for example, is a simplified diagram equivalent to the diagram above; all the C-note
buttons are labelled with the letter “M”, all the G-notes with “J”, all the E-notes with “R”, and the rest blank.
buttons
to play
C"
{
C
B!
Black buttons indicate the notes to play, always
within the band of 13 buttons on each side used
to make chords.
A!
5
G
M
J
C
E!
B
R
A
E
A
D
E!
C
A!
F
F"
B
B!
F
F"
C"
A!
D
G
M
J
E
B
R
A
B!
A
D
E!
F
C
F
B
F"
C"
F"
{
C
Left-Hand
Buttons
A!
C"
B!
A!
Left Fingers:
(4=little, 3=ring, 2=middle)
J
M
J
M
C:
3
/4
E!
B
R
N
R
2
N
D
E!
M
A!
F
F"
B
S
F
F"
C"
A!
D
J
M
J
2
/1
R
B
R
N
S
N
D
E!
3
F
M
F
B
F"
C"
F"
}
Right-Hand
Buttons
S
Right Fingers:
(1=index; 2=middle; 3=ring)
How to Read the Charts--2
6
It may look as though identical buttons are being played on both sides, but the tones on the right side are
pitched higher, so actually the buttons played on the right side will sound one octave higher. When you play “the
same” three buttons on each side, you get six tones over most of two octaves, very roughly the range of a chord
played on the six strings of a guitar.
C
G"
C"
G"
G
C
G
C
3
C7:
/4
E!
B
E
A
E
A
D
E!
C
G"
F
F"
B
B!
F
F"
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C
C"
A!
F"
C"
B!
A!
J
M
J
M
2
2
/1
3
3
C:
/4
E!
B
R
N
R
N
D
E!
M
A!
F
F"
B
S
F
F"
C"
A!
D
J
M
J
2
2
/1
R
B
R
N
S
N
D
E!
F
M
F
B
F"
C"
F"
S
3
For every major chord, the charts also show its seventh chord, made by adding the seventh (actually the flatted
seventh, as is normal) to the major chord, with that button labelled “S” (think MaJoR +Seventh)
C7
G"
C"
G"
G
C
G
C
3
C7:
/4
E!
B
E
A
E
A
D
E!
C
F
G"
F"
B
B!
F
F"
2
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C7
C"
A!
F"
C"
A!
B!
J
M
J
M
2
(1)
/1
3
(4)
3
C7:
/4
E!
B
R
N
R
N
D
E!
M
A!
F
F"
B
S
F
F"
2
C"
A!
D
J
M
J
2
(1)
/1
R
B
R
N
S
N
D
E!
F
M
F
B
3
F"
C"
F"
S
(4)
And also for every major chord, the charts show its relative minor chord. For instance, Am is the relative
minor of C, with its three notes labelled “M”, “N”, and “R” (think MiNoR). The root of the minor chord (A
for Am) is “N”, the minor third (C for Am) is “M”, and the fifth in the minor chord (E for Am) is labelled “R”.
Am
G"
C"
G"
G
C
G
C
Am:
3
E!
B
E
A
E
2/
2
A
D
E!
C
F
G"
F"
B
B!
F
F"
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
Am
C"
A!
F"
C"
B!
A!
J
M
J
M
2
3/
3
Am:
3
E!
B
R
N
R
2/
2
N
D
E!
M
A!
F
F"
B
S
F
F"
C"
A!
D
J
M
J
2
R
B
R
N
S
N
D
E!
F
M
F
B
F"
C"
F"
S
3/
3
How to Read the Charts--3
7
There are some advantages to using the simplified labels on the buttons in the charts. For one thing, in every
chord chart the letters have the same “relative” meaning--whether the diagram is for a C chord, an F chord, or an
E! chord, the letter “M” is always used for the root of that chord (C, F, or E!), for instance.
E!
G"
C"
G"
G
C
G
C
E!:
4
E!
B
E
A
E
A
D
E!
2
C
G"
F
F"
B
B!
F
F"
1
C"
G"
D
G
C
G
E
B
E
A
F
B!
C
A
D
A!
C"
F
B
E!
E!
F"
F"
S
B!
A!
R
N
R
N
1
3
B
E
A
E
4
E!:
4
M
A
D
M
N
A!
F
F"
B
J
F
F"
2
S
A!
1
N
R
N
R
E
B
E
A
J
A
D
M
1
F
N
F
B
3
F"
S
F"
J
4
Another advantage is that it is easier to adopt a “summarized” form of chord chart, which can combine a major
chord, its seventh, and its relative minor, with the fingering for each of them, into a single diagram. This summary
chart includes the black buttons for the “M”, “J”, “R”, “S”, and “N”; you push the three or four buttons for the
particular chord you want. The fingering for all three chords is shown in the same form as for individual charts.
C/Am
Legend:
A!
M
M
M
J
J
N
MaJoR
R
R
R
S
C"
A!
MaJoR+flatted Seventh
relative MiNoR
J
M
J
M
E!
B
R
N
R
C(7):
3/
4
2
Am:
3
2/
2
N
D
E!
M
A!
F
F"
B
S
F
F"
(1)
C"
A!
D
J
M
J
R
B
R
N
S
N
D
E!
2/
1
3
2
3/
3
F
M
F
B
F"
C"
F"
S
(4)
Here, playing the buttons “M”, ”J”, and “R” gives a C major chord; playing “M”, “J”, “R”, and “S” gives a
C7 chord; playing “M”, “N”, and “R” gives an Am chord, the relative minor of C major. This diagram makes it
easy to see how the fingering for the chords is related.
With summary diagrams, it is easy to show all the common folk chords--majors, sevenths, and minors, for every
key, with fingerings--on one side of a single sheet of paper, just right for keeping in the lid of your concertina case.
(Such a diagram is provided, see the very last page of this document.)
C
A!
C"
A!
J
M
J
M
3/
4
C:
E!
B
R
N
R
N
D
E!
M
A!
F
F"
B
S
F
F"
C"
A!
J
M
J
M
Am:
3
E!
B
R
N
R
2
C"
A!
G
J
N
D
E!
M
A!
F
F"
B
S
F
F"
G
J
F:
3
C"
A!
M
C
M
C
G:
4
A!
S
B
R
E
R
N
S
2
J
A!
M
F"
B
B!
M
F"
A
N
C"
A!
1
J
D
J
M
J
A
J
E!
2
C
S
A!
F"
R
B!
S
F"
1
N
G
J
G
2
E!
R
N
M
2
G
A!
C"
/2
E
J
2/
1
F
A!
A!
2
Am
A!
C"
D
C"
A!
J
M
C
M
1
R
B
R
N
S
N
D
E!
F
M
F
B
F"
C"
F"
S
3
R
B
R
N
S
N
D
E!
3
F
M
F
B
F"
C"
F"
S
/3
E
B
E
R
B!
R
N
S
3
N
A
J
M
B
F"
C"
F"
B!
4
N
R
M
B!
A
J
E!
3
S
C
S
R
F"
C"
F"
B!
Fingering for Chords
8
The same fingering will always be used to make the same chord. Rather than learn different fingerings for each
chord in different progressions, related chords have been assigned standard fingerings that work smoothly.
Moreover, the fingering is “equivalent” (mirror-reversed) for the left hand and the right hand for every chord,
so that the hands move “equivalently” on both sides of the instrument. Constraints such as short fingers and missing
buttons have been taken into account in making the patterns the same for both hands. This simplifies learning a
great deal; later one can progress to playing so that the left hand doesn’t know what the right hand is doing.
Below each button-array are shown the finger assignments for the chord: 1 for index finger, 2 for middle, 3 for
ring, and 4 for little. Where two buttons in the same row are played, the fingers to be used are indicated by two
numbers separated by a virgule (e.g., 3/4). In cases where a single finger is to be splayed across two adjacent
buttons in the same column, the number of the finger to be used is repeated (e.g., 1/1). The chords here have a
maximum of two buttons from a single column (and this is the only case where one finger plays two buttons).
In some common chord progressions, successive chords share at least one note; since the standard chords are
built within a single octave, this means that often one or more fingers won’t move at all but will stay on the same
button. It’s worth examining successive chords to identify these pivot fingers, and practising the movement from
one specific chord to the next in frequently-used chord progressions, rather than lifting all the fingers and positioning
them all anew for each chord played.
From C, for example, to get to Am (considering the left hand only--the right hand is the same mirror-reversed)
one can lift the fourth finger from “J” (leaving the third finger in place) and roll the second finger on “R” down so
that the same second finger also depresses “N”. To get from C to F, one can lift the fourth finger, leave the third
finger in place, move the second finger down one button, and put the first finger down. To get from C to G, one
can lift the third finger, leave the fourth finger in place, move the second finger right one column and lower, and
put the first finger down.
The fingerings have been chosen using these criteria: (1) easy to finger without stretching or squeezing; (2) easy
to move to the seventh, the minor, the relative minor, the sub-dominant (and its relative minor), and the dominant
(and its relative minor); (3) natural fingering in common progressions of chords; (4) limited degree of arching of the
hands, so that the hand-straps may be reasonably tight; and (5) easy to maintain position. In the description above
of moving from C to Am, to F, and to G, in each case there is a finger which remains on the same button; but
there are less-obvious ways to maintain position in other progressions, for instance where a finger moves to an
adjacent button, or to a button previously occupied by a different finger.
When you begin, your fingers will frequently hit the wrong buttons. When this happens, it’s worth
remembering that the notes making up the chords form a narrow band across the instrument, really all very close
together. You are apt to be reaching too far rather than too near.
4
From the fingering for a C chord, moving to Am,
to F, or to G leaves a finger in place, making it
easy to maintain position.
Variant Chord Patterns
C (variant a, both sides)
A!
C"
A!
J
M
J
M
3/
4
C:
B
R
N
R
N
D
E!
2
M
+
A!
F
F"
B
S
F
F"
C"
A!
C (variant b, both sides)
J
C"
A!
M
J
M
C:
3
/4
R
N
R
N
D
E!
J
M
J
2/
1
1
B
R
D
M
J
F
F"
B
S
F
F"
C"
A!
M
J
F
B
R
N
N
D
E!
3
R
N
F
B
C"
F"
S
4
R
B
M
F"
S
N
D
E!
F
M
F
B
F"
After it has become easy and automatic to play the standard chord patterns in all kinds of progressions in all
kinds of songs, it’s possible to consider learning some variant patterns. These variants are not necessary to play
chord accompaniments, but can be used to emphasize a particular note at a particular moment.
Variants can be found by considering the labeled white buttons in the chord charts (octaves above or below the
black buttons) which can be used as additions or alternates in chord patterns. For a C chord, for example, the
“extra” finger on each hand can be used to add a fourth note of high C, the “M” high in the fifth column on both
sides (see variant a). Since the corresponding buttons occur on both sides, the hands continue to do “the same
thing”. Similarly, again on both sides, the two fingers in the second column can both be moved up a button, with
the effect of moving the G (the “J”) from below the root note of the chord (the “M”) to above it (see variant b).
C (variant c, left side only)
J
C"
M
F"
J
S
M
2
2
/1
3
3/
4
C:
Other occurances of the notes making up the
chords can be added or substituted.
9
B
R
N
R
N
D
E!
M
E!
A!
F
F"
B
S
F
F"
C"
A!
D
J
M
J
R
B
R
N
S
N
D
E!
F
M
F
B
F"
C (variant a-both, b-right, c-left)
J
C"
M
F"
J
S
M
2/
1
2
3
C:
3
/4
B
R
N
R
N
D
E!
2
M
+
R
J
F
F"
B
S
F
F"
C"
A!
M
J
2
1
/1
R
N
F
N
D
E!
3
F"
M
C"
F
F"
B
S
4
Variants need not be the same on both sides, although it is distinctly more difficult to learn to do “different”
chord patterns with the two hands than to do the same thing. For example, again in a C chord, it is possible to
move both the third and fourth fingers of the left hand one button lower in the second column (possible on the left
side only). This still gives you all the notes (M, J, and R) on the left side, but now with C (“M”) as the lowest
note—like variant b, but moved lower (see variant c). These variants of the C chord can also be combined, since
they all employ the same fingering (see the example with a on both sides, b on the right, plus c on the left).
There is a similar left-side-only variant of the F chord in which F (“M”) is the lowest note, again with the same
fingering as the standard F chord. The standard G chord already has G (“M”) as its lowest note, so all three chords
can be played with their root (“M”) notes as the lowest notes on the left side.
C (variant c—left root lowest)
J
M
J
M
C:
3/
4
B
R
N
R
2
N
D
E!
M
E!
A!
F
F"
B
S
F
F"
C"
A!
D
J
M
J
R
B
R
N
S
N
D
E!
F
M
F
B
F"
F (variant—left root lowest)
C"
A!
F"
C"
S
A!
G
J
G
J
2/
1
3
F:
3
B
E
R
J
E
2
A!
M
R
C"
B!
S
S
A!
N
G
J
G
E
B
E
R
B!
R
N
S
M
J
M
B
F"
G (standard—left root lowest) E!
C"
A!
F"
C"
B!
A!
M
1
M
C
M
C
2
3
4
G:
4
R
N
A
N
A
J
E!
2
C
A!
S
F"
R
B!
S
F"
1
C"
A!
J
M
C
M
1
N
R
N
A
B!
A
J
E!
3
S
C
F"
C"
S
R
F"
B!
4
C"
G"-1
C"-1
G"
-2
G
C
G-1
C-1
G-2
B!
B
A
E
A-1
E-1
A-2
D
E!
D-1
E!-1
C1
G"2
F
F"
B-1
B!-1
F-1
F"-1
B-2
B!-2
E!2
G"1
C"1
G"
C"
AIR
G"
{
{
standard
chords
lower
notes
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
B
E
A-1
E-1
G2
B2
2
D2
G1
C1
G
C
E
B1
E1
A
E
E!
Beginning at the 67-button size, most (but far from all) instruments will have the complete set of buttons
used in chords duplicated exactly, one octave lower, on the left-hand side.
B!2
C3
A2
B!1
C2
A1
F1
D1
E!
D
F2
1
B
F
F"2
C"2
F"1
B!
F"
B!
A
D
E!
D-1
A-2
10
A larger instrument, with additional buttons beyond the common 45, offers the possibility of still further
variations for chord positions. There is always the consideration that the additional buttons are not found (and
are not the same) on all instruments, but for many people this may not be a major issue.
G"
Variant Chords on Larger Instruments
C1
F
F"
B-1
B!-1
F-1
F"-1
B-2
B!-2
E!-1
There is a lower set of chord-notes on the lefthand side of many instruments with 67 buttons
or more. The same is true of the right-hand side
on many instruments with 80 buttons or more.
So on such a 67-button, you could theoretically just move your left-hand fingers two rows closer to the
palm rest and play the identical chord patterns, an octave lower. This usually doesn’t sound very good, since
the low notes sound “muddy” together. It generally sounds much better to use one finger to “reach down” to
get a single lower note, or possibly two fingers for two notes. Once you have learned the chords in their usual
positions, it is straightforward in almost every case to move any finger down two buttons in the same row (to
lower one note by an octave) without any other adjustments in fingering, or with only minor adjustments. The
variants of C and F chords mentioned before are instances of the same idea, but confined to the lower buttons
found within the common 45; by using all the lower notes of a 67-button instrument, any note at all in any
chord can be lowered on the left-hand side.
A similar complete second octave lower on the right-hand side is rare--the smallest standard size with this
property is the giant 80- or 81-button size--but a lower right-hand octave would merely duplicate the usual
octave of the left-hand side anyway. The very late-period “Chidley-Variant MacCann duets” of 67 buttons or
more do have a duplicated octave of buttons on the right side, but pitched higher instead of lower--too high to
be of much use.
❦
A note on the spelling “MacCann”: John Hill Maccann of Plymouth, concertina soloist and patentee of
the improved duet concertina, invariably spelled his own name with a single capital and seven letters. In
contemporaneous printed materials (e.g., the patent specification of 1884, a booklet published in 1888,
notices of performances prepared under his direction), the name of the inventor is spelled “Maccann”. For
unknown reasons, most secondary sources have altered the spelling to “McCann”; the most likely explanation is
a mistake endlessly repeated. In modern usage, the spelling “MacCann” is a normalized spelling referring to the
concertina system. But “Maccann” is how the Professor always printed his own name.
Chord Positions (1 of 3)
C
A!
C"
A!
J
M
J
M
3/
4
C:
E!
B
R
N
R
N
D
E!
M
A!
F
F"
B
S
F
F"
C"
A!
D
J
M
J
R
B
R
N
S
N
D
E!
F
M
F
B
F"
C7
C"
A!
F"
C"
S
A!
J
M
J
M
2/
1
2
3/
4
C7:
3
E!
B
R
N
R
M
N
D
E!
A!
F
F"
B
S
F
F"
2
C"
A!
D
J
M
J
R
B
R
N
F
S
M
N
F
D
B
E!
F"
Am
C"
A!
F"
C"
S
A!
J
M
J
G
C
G
C
E!
S
E
A
E
A
D
E!
D!: 4/4
C
J
R
F"
S
N
R
F"
M
J
D
G
C
G
E
S
E
A
N
A
D
E!
R
C
R
S
F"
2/
1
(1)
D!7
M
G
J
F"
M
N
J
C
G
C
1
1
/1
E!
S
E
A
E
D
E!
D!7: 4/4
4
C
A
1
J
R
F"
S
N
R
F"
M
J
3
D
G
C
G
E
S
E
A
A!
C"
A!
G
S
G
S
D:
E!
N
E
J
E
3
J
M
E!
S
A!
F
R
N
B!
F
R
2
C"
A!
M
G
S
G
E
N
E
J
B!
J
M
E!
F
S
F
N
R
D7
R
N
C
A
R
D
S
E!
4
/1
C"
A!
R
C"
B!
A!
G
S
G
S
1
2
3
4
D7:
(4)
E!
N
E
J
E
3
J
M
E!
S
A!
F
R
N
B!
F
R
2
C"
A!
M
G
S
G
E
N
E
J
F"
3
(1)
B!
J
M
E!
2
R
N
R
2
A!
S
A!
R
N
R
N
B
E
A
E
4
E!:
M
A
D
M
N
A!
F
F"
B
J
F
F"
2
S
A!
N
R
N
R
E
B
E
A
J
A
D
M
F
N
F
B
F"
E!7
S
A!
R
N
F"
S
J
A!
R
N
1
1
3
4
E!7: (4) (3)
M
B
E
A
E
A
D
M
2
N
A!
F
F"
B
J
F
F"
1
S
A!
N
R
N
R
E
A
M
J
F"
M
N
J
G
C
G
(2)
F
S
F
N
R
J
R
MaJoR
M
J
R
S
M
N
R
relative MiNoR
F"
B
S
F
F"
C"
A!
J
A
D
M
3
E!
S
E
A
E
A
D
E!
C
J
R
F"
S
N
R
F"
2
1
Bm
C"
A!
R
C"
B!
A!
M
J
B
R
N
S
N
D
E!
F
M
F
B
F"
C"
F"
S
M
J
D
G
C
G
3
/3
E
S
E
A
N
A
D
E!
R
C
R
S
F"
M
F"
N
G
S
G
E!
N
E
J
E
1
J
M
E!
S
A!
F
R
N
B!
F
R
2
1
C"
A!
3
M
G
S
G
E
N
E
J
B!
J
M
E!
F
S
F
N
4
R
C"
R
B!
4
F
N
F
B
F"
3
Cm
S
A!
F"
S
J
A!
R
N
R
M
B
E
A
E
2
A
D
M
N
A!
F
F"
B
J
F
F"
S
A!
N
R
N
R
E
B
E
A
J
A
D
M
3
F
N
F
B
4
F"
S
F"
J
4
Cm:
M
F
J
2
4
N
(1)
E!
A!
R
/(4)
3
E
B
D
M
/2
Bm:
E!
N
B!m
S
1
B
D
(4)
B!m:
D
J
C
1
/(1)
M
M
Am:
D!
J
E!
11
3/
4
2
2/
1
3
E
R
N
R
G
C
G
C
E: 4
E!
J
M
A
M
A
S
E!
3
C
R
F
F"
J
B!
F
F"
N
R
S
G
C
G
M
J
M
A
B!
A
S
E!
F
C
F
J
F"
E7
N
G
R
F"
N
B!
R
C
G
C
1
1
2
E7: 4
4
E!
J
M
A
M
3
A
S
E!
(2)
C
R
F
F"
J
B!
F
F"
1
N
R
S
G
C
G
M
J
M
A
B!
A
S
E!
F
C
F
J
F"
C"m
N
R
F"
N
B!
R
G
C
G
C
1
2
(3)
A!
C"
A!
G
J
G
J
F:
3
S
B
E
R
E
R
N
S
2
J
A!
M
F"
B
B!
M
F"
C"
A!
N
G
J
G
E
B
E
R
B!
R
N
S
M
J
M
B
F"
F7
C"
A!
F"
C"
B!
A!
G
J
G
J
1
2
3
F7:
4
(4)
S
B
E
R
E
(3)
R
N
S
(2)
J
A!
M
F"
B
B!
M
F"
C"
A!
N
G
J
G
E
B
E
R
B!
R
N
S
(1)
(2)
(3)
M
J
M
B
F"
A!
J
A!
G
C
G
C
N
B
S
A
S
A
D
N
C
A!
F
M
B
R
F
M
1
F": 4
J
A!
D
G
C
G
S
B
S
A
R
A
D
N
F
C
F
B
M
F"7
J
A!
G
C
M
J
R
A!
G
C
/1
4
1
/4
F"7: 4
N
B
S
A
S
A
D
N
C
A!
F
M
B
R
F
M
1
(3)
/1
J
A!
D
G
C
G
S
B
S
A
R
A
D
N
C"
A!
F"
C"
B!
A!
G
J
G
M
A!
C"
A!
M
C
M
C
G:
E!
R
N
A
N
4
A
J
E!
2
C
A!
S
F"
R
B!
S
F"
C"
A!
J
M
C
M
N
R
N
A
B!
A
J
E!
S
C
S
R
F"
G7
C"
A!
F"
C"
B!
A!
M
C
M
C
1
1
3
4
G7:
4
E!
F
C
F
B
M
R
N
A
N
A
J
E!
2
C
A!
S
F"
R
B!
S
F"
(1)
/1
C"
A!
M
C
M
N
R
N
A
B!
A
J
E!
E
R
E
3
A!
M
J
R
A!
G
C
G
3
S
C
S
R
F"
J
R
MaJoR
M
J
R
S
M
N
R
relative MiNoR
B!
F
F"
N
R
C
G
/1
S
R
N
S
J
A!
M
F"
B
B!
M
F"
(4)
2
M
A
B!
A
S
E!
F
C
F
J
F"
N
F"
B!
C"
A!
2
N
G
J
G
1
E
B
E
R
B!
R
N
S
2
N
B
S
A
S
A
D
N
C
A!
F
M
B
R
F
M
1
2
J
A!
D
G
C
G
3
S
B
S
A
R
A
D
N
/1
Em
C"
A!
F"
C"
B!
A!
M
J
M
B
F"
C"
F"
B!
4
F
C
F
B
M
J
M
R
M
C
M
E!
R
N
A
N
A
J
E!
C
A!
S
F"
R
B!
S
F"
4
3
C"
A!
J
M
C
M
N
R
N
A
B!
A
J
E!
S
C
S
R
/4
F"
C"
F"
B!
/4
Em:
M
J
G
J
/4
C
1
F"
D"m
J
4
(2)
J
F
1
B
D"m:
G
S
E!
R
M
4
C
1
A
C
Dm
Dm:
F"
M
A
3
J
1
J
S
4
C"m: 4/4
F
E!
12
4
3
1
1
2
4
A!
M
C"
M
G
R
G
R
A!: 4
J
B
E
A
E
3
A
D
J
R
M
N
S
B
B!
N
S
C"
M
D
G
R
G
E
B
E
A
B!
A
D
J
N
R
N
B
S
A!7
G
C"
M
S
C"
B!
R
G
M
R
2
1
2
A!7: 4
3
J
B
E
A
E
3
A
D
J
R
M
N
S
B
B!
N
S
2
(1)
C"
M
D
G
R
G
E
B
E
A
B!
A
D
J
N
R
N
B
S
Fm
C"
M
S
C"
B!
M
A!
R
A!
S
C
S
C
E!
B
J
M
J
M
D
E!
C
A!
F
N
B
B!
F
N
R
A!
S
C
S
J
B
J
M
B!
M
D
E!
F
C
F
B
N
A7
R
A!
S
C
N
R
B!
A!
S
C
2/
2
A: 4
D
1
3/
3
1
A7: 4
(3)
E!
B
J
M
J
M
D
E!
C
A!
F
N
B
B!
F
N
2/
2
2
3
S
C"
S
N
C
N
C
E!
B
E
A
E
A
R
E!
3
B!:
C
S
J
F"
B
M
J
F"
2
1
C"
S
R
N
C
N
E
B
E
A
M
A
R
E!
J
C
J
B
F"
R
A!
D
S
C
S
J
B
J
M
B!
M
D
E!
F
C
F
B
N
N
C"
S
F"
C"
M
C
N
S
C
2
3
4
E!
B
E
A
E
B!7: (4)
A
R
E!
3
C
S
J
F"
B
M
J
F"
2
1
4
(2)
C"
S
R
N
C
N
N
C"
N
G
C
G
C
R
M
E
S
E
B:
S
D
R
3
C
N
F
J
M
B!
F
J
2
1
C"
N
D
G
C
G
E
M
E
S
B!
S
D
R
F
C
F
M
J
B7
R
A!
N
R
B!
A!
G
C"
N
J
C"
B!
C
G
N
C
2
3
4
B7:
M
E
S
E
(4)
S
D
R
3
C
E
B
E
A
M
A
R
E!
2
J
M
B!
F
J
2
1
C"
N
D
G
C
G
J
C
J
B
F"
J
R
MaJoR
M
J
R
S
M
N
R
relative MiNoR
N
S
B
B!
N
S
1
C"
M
1
C
S
E!
B
J
M
J
M
D
E!
C
A!
F
N
B
B!
F
N
4
3
3
E
M
E
S
B!
S
D
R
F
C
F
M
C"
S
F"
C"
M
S
N
C
N
G
R
G
B
E
A
B!
A
D
J
N
R
N
B
S
C"
S
B!
R
A!
2
D
S
C
S
4
J
B
J
M
B!
M
D
E!
F
C
F
B
N
R
N
B!
2
3
E!
B
E
A
E
1
A
R
E!
C
S
J
F"
B
M
J
F"
C"
S
2
R
N
C
N
4
E
B
E
A
M
A
R
E!
J
C
J
B
F"
C"
F"
M
4
J
4
3
1
G"m
C"
N
J
C"
B!
N
G
C
G
C
(1)
1
Gm
R
M
E
S
E
1
S
D
R
C
N
F
J
M
B!
F
J
C"
N
D
G
C
G
2
E
M
E
S
B!
S
D
R
4
F
C
F
M
J
C"
J
B!
4
G"m:
M
E
J
M
E
3/
3
(1)
N
F
S
C
R
A
D
R
F"m
Gm:
B
E
A
3
C
1
B!7
G
B
D
(4)
F"m:
B!
R
R
Fm:
A
G
J
13
4
2
1
1
3
4
Chord Positions (Summary)
D!/B!m
J
M
J
G
C
G
C
E!
S
E
A
E
A
D
E!
D!(7): 4/4
B!m:
C
J
R
F"
S
N
R
F"
M
J
2
1
A!/Fm
M
C"
M
G
R
G
R
A!(7):
4
3
Fm:
4
3
E
A
E
A
D
J
R
S
B
B!
N
S
2
S
A!
R
N
R
N
E
A
E
E!(7): (4) 4(3)
3
Cm:
D
(1)
M
N
F"
B
J
F
F"
2
S
C"
S
N
C
N
C
E
A
E
B!(7): (4)
M
J
3
4
Gm:
R
R
E!
MaJoR
S
B
M
J
F"
2
1
3
C"
S
J
A!
F"
C"
N
A!
G
J
G
B
E
A
B!
A
D
J
N
R
N
B
4
N
R
N
R
3
B
E
A
J
A
D
M
N
F
B
R
N
C
N
3
B
E
A
M
A
R
E!
J
C
J
B
2
(1)
1
R
S
2
3
E
N
S
A!
M
F"
B
B!
M
F"
R
N
S
M
B
A/F"m
C"
A!
F"
R
B!
A!
4
A(7): 4
2
4
F"m:
2
J
M
J
3
C(7):
Am:
/4
3
E!
B
R
N
R
N
D
E!
M
F
F"
B
S
F
F"
2
2
A!
A!
F"
C"
J
A!
M
C
M
G(7):
4
Em:
4
N
A
N
A!
F"
C"
M
A!
G
S
E!
A
J
E!
2
3
C
A!
S
F"
R
B!
S
F"
(1)
G
4
D(7):
4
Bm:
(4)
M
J
E
3
R
A!
J
/1
J
M
E!
/1
A!
R
N
B!
F
R
1
2
J
M
C
M
1
F
2
R
B
R
N
1
relative MiNoR
S
N
D
E!
F
M
F
B
3
3
F"
M
S
J
(3)
N
R
N
A
B!
A
J
E!
S
R
N
S
R
C
S
R
F"
C"
A!
M
G
S
G
3
2
E
J
B!
J
M
E!
F
F"
C"
B!
N
G
C
G
S
F
N
2
3
2
3
B!
F
N
M
A
M
G
C
A
S
E!
(2)
C
R
F
F"
J
B!
F
F"
1
G
S
E
(4)
4
A!
R
J
B!
A!
G
C
C
J
M
B!
F
J
3
2
1
2
1
R
G
4
F"(7): 4
4
D"m:
A
S
C"
N
D
N
C
2
(2)
B
J
M
F
M
B
R
F
M
/1
1/
1
J
A!
1
B!
M
D
E!
F
C
F
B
G
C
G
R
N
B!
4
2
S
N
3/
3
M
J
M
A
B!
A
S
E!
2
(3)
F
C
F
J
F"
N
F"
B!
4
2
D
G
C
G
E
M
E
S
D
G
C
G
B!
S
D
R
(1)
A!
1
(3)
S
J
1
N
A
C
/1
N
F
B
S
R
R
D
S
1
F"/D"m
C"
N
1
S
D
1
E!
M
E
R
A!
1
1
J
3
C
(1)
B
3
B(7):
G"m:
R
N
B/G"m
N
/4
A!
F
3
E(7): 4
C"m: 4/4
C"
4
E
N
(4)
D
E!
C
2/
2
4
F"
(4)
M
E/C"m
C"
/3
1
S
J
C
C
E!
3
N
C"
1
N
E
M
2
D/Bm
C"
J
2
(1)
R
S
C
/2
G/Em
S
C"
A!
D
3
E!
B
C
2(1) 3(2) (3)
C"
G
E
J
F"
1
A!
F"
J
R
M
1
S
F"
C"
A!
G
B
B!
3
A!
3
E
R
J
E
3(4) 2(3) (2)
B!
4
E
R
N
Dm:
C"
(4)
F
B
C/Am
S
4
E
S
F(7):
S
1
M
E
(1) 1(2)
2
/1
C
F"
M
C
1
J
G
2
E!
A
R
2
A!
B!/Gm
B
G
1
S
2
/4
D
1
A!
F
S
F/Dm
F"
M
M
A
D
E!
R
3
M
E!/Cm
A!
A
C
1
C"
1
B
G
E
A
R
4/
(4)
M
N
C
S
N
1/
1
J
B
G
E
J
1/
(1)
4
D
14
S
A
C
F
M
2
3
3
4
S
B
F
R
A
D
N
F
C
F
B
J
C"
J
B!
4
M
J
M
R
4
(2)
3
/4
4/
4
Button Names (1 of 3)
C
G"
C"
G"
G
C
G
C
3/
4
C:
E!
B
E
A
E
A
D
E!
C
G"
F
F"
B
B!
F
F"
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C7
C"
G"
F"
C"
B!
G"
G
C
G
C
2/
1
2
3/
4
C7:
3
E!
B
E
A
E
C
A
D
E!
G"
F
F"
B
B!
F
F"
2
C"
G"
D
G
C
G
E
B
E
A
F
B!
C
A
F
D
B
E!
F"
Am
C"
G"
F"
C"
B!
G"
G"
C"
G"
G
C
G
C
D!:
4
E!
B
E
A
E
A
D
E!
/4
C
G"
F
F"
B
B!
F
F"
C"
G"
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
2/
1
(1)
D!7
C"
G"
F"
C"
B!
G"
G
C
G
C
1
1
D
/1
D!7:
4
4
E!
B
E
A
E
C
A
D
E!
1
/4
G"
F
F"
B
B!
F
F"
C"
G"
3
D
G
C
G
E
B
E
A
G"
C"
G"
G
C
G
C
D:
E!
B
E
A
E
3
A
D
E!
C
G"
F
F"
B
B!
F
F"
2
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
D7
F
B!
C
A
F
D
B
E!
4
/1
C"
G"
F"
C"
B!
G"
G
C
G
C
1
2
3
4
D7:
(4)
E!
B
E
A
E
3
A
D
E!
C
G"
F
F"
B
B!
F
F"
2
C"
G"
D
G
C
G
E
B
E
A
F"
3
(1)
B!
A
D
E!
2
E
A
E
2
G"
C"
G"
G
C
G
C
E!:
4
E!
B
E
A
E
A
D
E!
2
C
G"
F
F"
B
B!
F
F"
1
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
E!7
C"
G"
F"
C"
B!
G"
G
C
G
C
1
3
4
E!7: (4) (3)
E!
B
E
A
E
A
D
E!
2
C
G"
F
F"
B
B!
F
F"
1
C"
G"
D
G
C
G
E
A
C"
G"
F"
C"
B!
G"
G
C
G
(2)
F
F"
B
B!
F
F"
C"
G"
G
C
G
B!
A
D
E!
3
2
E!
B
E
A
E
A
D
E!
F
C
F
B
F"
4
C
G"
F
F"
B
B!
F
F"
2
1
Bm
C"
G"
F"
C"
B!
G"
G
C
G
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
F"
B!
C"
G"
D
G
C
G
3
/3
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
F"
B!
E!
B
E
A
E
1
A
D
E!
C
G"
F
F"
B
B!
F
F"
2
1
C"
G"
3
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
4
F"
C"
F"
B!
4
F
C
F
B
F"
3
Cm
C"
G"
F"
C"
B!
G"
G
C
G
C
(1)
E!
G"
E
/(4)
3
E
B
D
C
/2
Bm:
E!
A
B!m
C
1
B
D
(4)
B!m:
D
G
C
1
/(1)
C
C
Am:
D!
G
E!
15
E!
B
E
A
E
2
A
D
E!
C
G"
F
F"
B
B!
F
F"
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
3
F
C
F
B
4
F"
C"
F"
B!
4
Cm:
3/
4
2
2/
1
3
E
G"
C"
G"
G
C
G
C
E: 4
E!
B
E
A
E
A
D
E!
3
C
G"
F
F"
B
B!
F
F"
1
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
E7
C"
G"
F"
C"
B!
G"
G
C
G
C
1
2
E7: 4
4
E!
B
E
A
E
3
A
D
E!
(2)
C
G"
F
F"
B
B!
F
F"
1
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"m
C"
G"
F"
C"
B!
G"
G
C
G
C
1
2
(3)
G"
C"
G"
G
C
G
C
F:
3
E!
B
E
A
E
A
D
E!
2
C
G"
F
F"
B
B!
F
F"
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
F7
C"
G"
F"
C"
B!
G"
G
C
G
C
1
2
3
F7:
4
(4)
E!
B
E
A
E
(3)
A
D
E!
(2)
C
G"
F
F"
B
B!
F
F"
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
(1)
(2)
(3)
F
C
F
B
F"
G"
C"
G"
G
C
G
C
E!
B
E
A
E
A
D
E!
C
G"
F
F"
B
B!
F
F"
1
F": 4
/1
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
F"7
C"
G"
F"
C"
B!
G"
G
C
G
C
4
1
/4
F"7: 4
E!
B
E
A
E
A
D
E!
C
G"
F
F"
B
B!
F
F"
1
(3)
/1
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
C"
G"
F"
C"
B!
G"
G
C
G
E
G"
C"
G"
G
C
G
C
G:
4
E!
B
E
A
E
A
D
E!
2
C
G"
F
F"
B
B!
F
F"
1
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
G7
C"
G"
F"
C"
B!
G"
G
C
G
C
1
3
4
G7:
4
E!
F
C
F
B
F"
E
A
E
3
B
E
A
E
A
D
E!
2
C
G"
F
F"
B
B!
F
F"
(1)
/1
C"
G"
G
C
G
E
B
E
A
B!
A
D
E!
G"
F"
C"
B!
G"
G
C
G
3
B
B!
F
F"
C"
G"
G
C
G
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
F"
B!
/1
E!
A
D
E!
C
G"
F
F"
B
B!
F
F"
C"
G"
2
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
F"
B!
F
C
F
B
(4)
2
1
2
E!
B
E
A
E
A
D
E!
C
G"
F
F"
B
B!
F
F"
C"
G"
D
G
C
G
3
E
B
E
A
B!
A
D
E!
4
F
C
F
B
F"
C"
F"
B!
/4
F"
1
2
/1
Em
C"
G"
F"
C"
B!
G"
G
C
G
C
1
F"
D"m
C"
4
(2)
D
F
1
B
D"m:
G
E!
G"
E
4
C
1
A
D
C
Dm
Dm:
F"
E
A
3
C
1
B
D
4
C"m: 4/4
F
E!
16
E!
B
E
A
E
A
D
E!
C
G"
F
F"
B
B!
F
F"
4
3
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
/4
F"
C"
F"
B!
/4
Em:
4
3
1
1
2
4
A!
G"
C"
G"
G
C
G
C
A!: 4
E!
B
E
A
E
3
A
D
E!
C
G"
F
F"
B
B!
F
F"
2
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
A!7
C"
G"
F"
C"
B!
G"
G
C
G
C
1
2
A!7: 4
3
E!
B
E
A
E
3
A
D
E!
C
G"
F
F"
B
B!
F
F"
2
(1)
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
Fm
C"
G"
F"
C"
B!
G"
G"
C"
G"
G
C
G
C
E!
B
E
A
E
A
D
E!
C
G"
F
F"
B
B!
F
F"
2/
2
A: 4
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
A7
1
C"
G"
F"
C"
B!
G"
G
C
G
C
3/
3
1
A7: 4
(3)
E!
B
E
A
E
A
D
E!
C
G"
F
F"
B
B!
F
F"
2/
2
2
3
G"
C"
G"
G
C
G
C
E!
B
E
A
E
A
D
E!
3
B!:
C
G"
F
F"
B
B!
F
F"
2
1
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
G"
F"
C"
B!
G"
G
C
G
C
2
3
4
E!
B
E
A
E
B!7: (4)
A
D
E!
3
C
G"
F
F"
B
B!
F
F"
2
1
4
(2)
C"
G"
D
G
C
G
G"
C"
G"
G
C
G
C
B:
E!
B
E
A
E
A
D
E!
3
C
G"
F
F"
B
B!
F
F"
2
1
C"
G"
D
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
B7
C"
G"
F"
C"
B!
G"
C"
G"
F"
C"
B!
G"
G
C
G
C
2
3
4
B7:
B
E
A
E
(4)
A
D
E!
3
C
E
B
E
A
B!
A
D
E!
2
F"
B
B!
F
F"
2
1
C"
G"
D
G
C
G
E
E!
G"
F
F"
B
B!
F
F"
C"
G"
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
F"
B!
1
1
C
G
E!
B
E
A
E
A
D
E!
C
G"
F
F"
B
B!
F
F"
C"
G"
2
D
G
C
G
4
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
F"
B!
3/
3
(1)
G"
F
G
F
C
F
B
F"
4
3
3
E
B
E
A
B!
A
D
E!
F
C
F
B
C"
G"
F"
C"
B!
G"
G
C
G
2
3
E!
B
E
A
E
1
A
D
E!
C
G"
F
F"
B
B!
F
F"
C"
G"
2
D
G
C
G
4
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
C"
F"
B!
4
F"
4
3
1
G"m
C"
G"
F"
C"
B!
G"
G
C
G
C
(1)
1
Gm
C
E!
A
D
C
F"m
Gm:
B
E
A
3
C
1
B!7
G
B
D
(4)
F"m:
B!
C
C
Fm:
A
G
E!
17
E!
B
E
A
E
1
A
D
E!
C
G"
F
F"
B
B!
F
F"
C"
G"
D
G
C
G
2
E
B
E
A
B!
A
D
E!
4
F
C
F
B
F"
C"
F"
B!
4
G"m:
4
2
1
1
3
4
Button Names (Summary)
D!/B!m
G"
C"
G"
G
C
G
C
E!
B
E
A
E
A
D
E!
D!(7): 4/4
B!m: 4
C
F
F"
B
B!
F
F"
1/
(1)
2
/
G"
/
1
A!/Fm
G"
C"
G"
G
C
G
C
A!(7):
4
3
Fm:
4
3
A
E
A
D
E!
C
F
F"
B
B!
F
F"
2
(1)
1
C"
G"
G
C
G
C
E
A
E
E!(7): (4) /4(3)
3
Cm:
A
D
E!
C
F"
B
B!
F
F"
2
1
B!/Gm
G"
C"
G"
G
C
G
C
B!(7): (4)
Gm:
G"
B
E
A
E
A
D
E!
3
C
F"
B
B!
F
F"
2
1
1
E!
C
F
B
4/
(4)
3
/
D
G
C
G
1
2
1
2
C"
G"
F"
F/Dm
C"
G"
F"
C"
B!
G"
G
C
G
E
B
E
A
B!
A
D
E!
F
C
F
B
F(7):
4
F"
D
G
C
G
3
E
B
E
A
B!
A
D
E!
F
F"
C"
B!
C
F
B
F"
(1)
C"
G"
3
/1(2)
2
/1
G"
G
C
G
C(7):
3
Am:
3/
G"
F"
C"
B!
D
G
C
G
4
E
B
E
A
B!
A
D
E!
F
C
F
B
F"
2
1
2
3
E
E!
G"
F
F"
B
B!
F
F"
2/
G"
G
C
G
G(7):
4
Em:
4
C"
G"
F"
C"
G"
4
D(7):
4
Bm:
G"
E
A
E
A
D
E!
2
C
G"
F
F"
B
B!
F
F"
G
C
G
(4)
C"
G"
E
D
E!
2
C
G"
F
F"
B
B!
F
F"
(1)
E
3
C"
G"
A
D
E!
C
G
3
D
G
C
G
/1
1
1
C
G"
F
F"
B
B!
F
F"
1
2
E!
F
B
1
3/
A/F"m
C"
G"
F"
C"
B!
G"
A(7): 4
E
B
E
A
B!
A
D
E!
4
F
C
F
B
/1 3/
/1
2
D
C
F"
F"m:
E
C
A
G
F"
(3)
3
E
E
B
E
A
B!
A
D
E!
F
F"
C"
B!
C
F
B
F"
C"
G"
D
G
C
G
3
2
E
B
E
A
B!
A
D
E!
(4)
G"
G"
F"
C"
B!
G"
/4
B(7):
G"m:
C
F
B
G
C
G
2
3
2
3
B
B!
F
F"
A
E
3
G
C
A
D
E!
(2)
C
G"
F
F"
B
B!
F
F"
G
A
E
(4)
4
G"
F"
C"
B!
G"
G
C
C
F"
B
B!
F
F"
3
2
1
2
1
E!
G
4
F"(7): 4
4
D"m:
A
E
D
E!
2
(2)
A
G"
F
F"
B
B!
G"
D
C
F
B
D
G
C
G
D
G
C
G
D
G
C
G
F"
C"
F"
B!
4
/2
E
B
E
A
B!
A
D
E!
(3)
E
B
E
A
B!
A
D
E!
(1)
C"
A
F
3/
3
2
C"
B!
E!
2
G"
E
A
C
F
B
F
C
F
B
3
3
4
B!
A
D
E!
F"
C"
F"
B!
4
2
E
B
F
F
C
F
B
F"
C"
F"
B!
4
F"
C"
F"
B!
F"
1
(3)
G
E
1
C
F
C
B
/1
E!
A
G
E
/1
G"
F
D
B
E
G"
1
F"/D"m
C"
C"
E!
A
D
1
1
B
E
G"
E!
B
E
C"
1
1
3
C
(1)
F"
B/G"m
C"
F"
E!
G"
F
/3
E(7): /4
C"m: 4/4
/4
F
D
C
E/C"m
G"
(4)
A
2/
2
4
C"
/3
E!
B
G
C
E!
B
A
G
2
E!
3
E
D
2/
A
A
A
F
C
(1)
B
A
G
E
2
/2
E
C
B
B!
C
E!
B
G
E
2(1) 3(2) /(3) 4
D/Bm
B!
C"
D
1
/4 2/
C
(1)
A
D
C
G/Em
C"
3
E
A
C/Am
G"
(4)
B
3
C"
4
E!
3(4) 2(3) /(2) 1
Dm:
C
G"
F
A
D
F
C
E!
3
4
C"
2
/4
G
E
A
/
G"
F
C
B
B!
1/
1
1
E!
B
G
E
C
G"
E!/Cm
G"
G"
E!
B
E
C"
D
18
/1
1/
1
1
4
(2)
3
/4
4/
4
Where the Chords are Located
on Actual MacCann Duets
Wheatstone “Standard” Pre-War Designs:
46-button Standard MacCann . . . .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
20
21
22
23
24
25
26
Some Actual Instruments:
39-button “Gregory” (Lachenal) #885 . . . . . . . . . . . .
46-button Wheatstone #26116 . . . . . . . . . . . . . . . . . .
46-button Lachenal #1746 . . . . . . . . . . . . . . . . . . . . .
46-button Lachenal #3538 . . . . . . . . . . . . . . . . . . . . .
57-button Wheatstone #26989 . . . . . . . . . . . . . . . . .
60-button Lachenal #4083 . . . . . . . . . . . . . . . . . . . . .
61-button Lachenal #4161 . . . . . . . . . . . . . . . . . . . . .
67-button Crabb . . . . . . . . . . . . . . . . . . . . . . . . . . . .
68-button Lachenal . . . . . . . . . . . . . . . . . . . . . . . . . .
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
“Chidley-Variant” Designs and Instruments:
67-button Chidley-Variant Design . . .
67-button Chidley-Variant #36645 . .
.
.
.
.
42
43
44
45
Historical and Special Instrument Designs:
24-button 1840s Prototype Duet . . . . . . . . . . . . . . . .
Maccann’s Patent of 1884
....................
46
47
48
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
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.
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.
.
.
.
.
.
.
19
.
.
.
.
46-button Standard MacCann
20
46-button Standard MacCann Duet Concertina
G"
C"
G"-1
G
C
G-1
C-1
B
E
A-1
E-1
A
D
E!
C1
F
B-1
F-1
F"
E!2
B!-1
G"1
F"-1
C"1
G"
D2
G1
C1
G
E2
B1
E1
A
G2
B!1
A1
D1
E!1
F2
C2
F1
F"2
C"2
F"1
B
B!
AIR
Source: A Practical and Comprehensive
Tutor for the Duet Concertina, C. Wheatstone & Co.,
4th edition, mid-1930s (where it is called “46-key”).
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
Notes used in all of the
standard chords-found on all instruments,
on both sides
(shown in chord charts)
C
Notes also on both sides
of all instruments-for two-side variants
and inversions
C
Notes on one side
of all instruments-for use in melodies
or one-side variants
C
Notes NOT the same
on all instruments-special to this size
or this instrument
(NOT in chord charts)
21
G"
C"
G"-1
C"-1
G
C
G-1
C-1
B
E
A-1
E-1
E!-1
B!
A
D
E!
D-1
C1
F
B-1
F-1
G"2
F"
E!2
B!-1
G"1
F"-1
C"1
G"
G2
D2
G1
C1
G
B2
E2
B1
E1
A
B!2
A2
B!1
A1
D1
E!1
C3
F2
C2
F1
F"2
C"2
F"1
B
B!
AIR
4th edition, mid-1930s (where it is called “56-key”
including the air valve).
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
22
G"
C"
G"-1
C"-1
G
C
G-1
C-1
B
E
A-1
E-1
E!-1
B!
A
D
E!
D-1
C1
F
B-1
F-1
F"
E!2
B!-1
G"1
F"-1
C"1
G"
C"
AIR
D2
G1
C1
G
C
E2
B1
E1
A
E
E!
G2
B!1
A1
D1
E!1
D
F2
C2
F1
F"2
C"2
F"1
B
B!
F
F"
4th edition, mid-1930s (where it is called “58-key”
counting the air valve).
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
23
G"
C"
G"-1
C"-1
G
C
G-1
C-1
B
E
A-1
E-1
A-2
B!
A
D
E!
D-1
E!-1
C1
F
B-1
F-1
B-2
G"2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
C"
AIR
G2
D2
G1
C1
G
C
E2
B1
E1
A
E
E!
A2
B!1
A1
D1
E!1
D
F2
C2
F1
F"2
C"2
F"1
B
B!
F
F"
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
24
G"
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
B
E
A-1
E-1
A-2
B!
A
D
E!
D-1
E!-1
C1
F
B-1
F-1
B-2
G"2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
C"
AIR
G2
D2
G1
C1
G
C
B2
E2
B1
E1
A
E
E!
B!2
A2
B!1
A1
D1
E!1
D
C3
F2
C2
F1
F"2
C"2
F"1
B
B!
F
F"
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
25
G"
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
B
E
A-1
E-1
A-2
B!
A
D
E!
D-1
E!-1
C1
F
B-1
F-1
B-2
F-2
G"2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
F"-2
C"
AIR
G2
D2
G1
C1
G
C
B2
E2
B1
E1
A
E
E!
B!2
A2
B!1
A1
D1
E!1
D
C3
F2
C2
F1
F"2
C"2
F"1
B
B!
F
B-1
F"
B!-1
4th edition, mid-1930s (where it is called “72-key”,
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
26
G"
C"
G"-1
C"-1
G"-2
C"-2
G
C
G-1
C-1
G-2
C-2
B
E
A-1
E-1
A-2
E-2
E!-2
B!
A
D
E!
D-1
E!-1
D-2
C1
F
B-1
F-1
B-2
F-2
G"2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
F"-2
C"
AIR
G"-1
G2
D2
G1
C1
G
C
G-1
B2
E2
B1
E1
A
E
A-1
B!2
A2
B!1
A1
D1
E!1
D
E!
C3
F2
C2
F1
D3
F"2
C"2
F"1
B
B!
F
B-1
F"
B!-1
4th edition, mid-1930s (where it is called “81-key”,
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
39-button “Gregory” (Lachenal) #885
27
39-button “Gregory” (Lachenal) #885 (early 1900s) MacCann Duet Concertina
G
C"
G"-1
C
G-1
B
E
A-1
A
D
E!
C-1
C1
F
F"
B-1
B!-1
F-1
F"-1
G"1
C"1
G"
This instrument is missing
several of the “common 45”
buttons. But the standard chord
patterns all work.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
G1
C1
G
B1
E1
A
B!1
A1
D1
E!1
D2
C2
F1
C"2
F"1
B
B!
Source: direct examination. This instrument
has been made from the parts for a 46-key,
with buttons, holes, pads, and reeds omitted
for the missing notes.
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
46-button Wheatstone #26116
28
46-button Wheatstone #26116 (c. 1913) MacCann Duet Concertina
G"
C"
G"-1
G
C
G-1
C-1
B
E
A-1
E-1
A
D
E!
C1
F
B-1
F-1
F"
B!-1
F"-1
E!2
G"1
C"1
G"
D2
G1
C1
G
E2
B1
E1
A
G2
B!1
A1
D1
E!1
F2
C2
F1
F"2
C"2
F"1
B
B!
Source: direct examination.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
46-button Lachenal #1746
29
46-button Lachenal #1746 (c.1888) MacCann Duet Concertina
G"
C"
G"-1
G
C
G-1
C-1
B
E
A-1
E-1
A
D
E!
C1
F
B-1
F-1
F"
B!-1
F"-1
E!2
G"1
C"1
G"
D2
G1
C1
G
E2
B1
E1
A
G2
B!1
A1
D1
E!1
F2
C2
F1
F"2
C"2
F"1
B
B!
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
30
46-button Lachenal #3538 (c.1904) MacCann Duet Concertina
G"
C"
G"-1
G
C
G-1
C-1
B
E
A-1
E-1
A
D
E!
C1
F
B-1
F-1
F"
E!2
B!-1
G"1
F"-1
C"1
G"
D2
G1
C1
G
E2
B1
E1
A
G2
B!1
A1
D1
E!1
F2
C2
F1
F"2
C"2
F"1
B
B!
AIR
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
31
57-button Wheatstone Æola #26989 (c. 1916) MacCann Duet Concertina
G"
C"
G"-1
C"-1
G
C
G-1
C-1
B
E
A-1
E-1
E!-1
B!
A
D
E!
D-1
C1
F
B-1
F-1
F"
E!2
B!-1
G"1
F"-1
C"1
G"
C"
AIR
D2
G1
C1
G
C
E2
B1
E1
A
E
E!
G2
B!1
A1
D1
E!1
D
F2
C2
F1
F"2
C"2
F"1
B
B!
F
F"
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
32
57-button Wheatstone #29195 (c. 1922) MacCann Duet Concertina
G"
C"
G"-1
C"-1
G
C
G-1
C-1
B
E
A-1
E-1
E!-1
B!
A
D
E!
D-1
C1
F
B-1
F-1
F"
E!2
B!-1
G"1
F"-1
C"1
G"
C"
AIR
D2
G1
C1
G
C
E2
B1
E1
A
E
E!
G2
B!1
A1
D1
E!1
D
F2
C2
F1
F"2
C"2
F"1
B
B!
F
F"
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
33
Wheatstone #31374 (c.1927) 57-button Custom MacCann Duet Concertina
C"
G"-1
This instrument is missing on
its left side six of the “common
45” buttons--all four of the
non-chord notes normally
found on both sides, and
(more seriously) the highest
F" and G used in chords!
Chords using either of these
notes must substitute the
corresponding note an octave
lower (always the same
fingering). Note that this
instrument has a full “lower
octave” below the chords on
the left side, like a standard
67-key instrument.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C"-1
G"-2
C
G-1
C-1
G-2
E
A-1
E-1
A-2
D
E!
D-1
E!-1
F
B-1
F-1
B-2
F-2
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
F"-2
C"
AIR
D2
G1
C1
G
C
E2
B1
E1
A
E
E!
G2
B!1
A1
D1
E!1
D
F2
C2
F1
F"2
C"2
F"1
B
B!
F
F"
Source: an instrument offered for sale by
Chris Algar, May 2000; verified by direct
observation.
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
34
60-button Lachenal Edeophone #4083 (c.1909) MacCann Duet Concertina
G"
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
E
A-1
E-1
A-2
G2
A
D
E!
D-1
E!-1
F
B-1
F-1
B-2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
C"
AIR
This instrument is missing two
of the “common 45” buttons, the
highest B and C normally on the
left side. But the standard chord
patterns all work.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
D2
G1
C1
G
C
E2
B1
E1
A
E
E!
A2
B!1
A1
D1
E!1
D
F2
C2
F1
F"2
C"2
F"1
B
B!
F
F"
Source: Marc G. Lamb’s home page
http://members.home.com/mglamb/
an instrument owned by him.
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
35
61-button Lachenal Edeophone #4161 (c.1910) MacCann Duet Concertina
G"
C"
G"-1
C"-1
G
C
G-1
C-1
B
E
A-1
E-1
A-2
B!
A
D
E!
D-1
E!-1
C1
F
B-1
F-1
B-2
G2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
C"
AIR
D2
G1
C1
G
C
E2
B1
E1
A
E
E!
A2
B!1
A1
D1
E!1
D
F2
C2
F1
F"2
C"2
F"1
B
B!
F
F"
Source: Marc G. Lamb’s home page
http://members.home.com/mglamb/
an instrument owned by him.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
36
Wheatstone Æola #34366 (c.1937) Custom 66-button MacCann Duet Concertina
G"
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
B
E
A-1
E-1
E!-1
B!
A
D
E!
D-1
A-2
C1
F
B-1
F-1
B-2
F-2
G2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
E!-2
C"
AIR
D2
G1
C1
G
C
E2
B1
E1
A
E
E!
B!1
A1
D1
E!1
D
F2
C2
F1
F"2
C"2
F"1
B
B!
F
B-1
F"
B!-1
Source: direct examination. Said to be typical
of instruments made for Henry Stanley and his
students. (This instrument has Stanley’s name
on the inner faces of both action boards.)
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
37
Wheatstone Æola #29500 (c.1922) 67-button MacCann Duet Concertina
G"
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
B
E
A-1
E-1
A-2
B!
A
D
E!
D-1
E!-1
C1
F
B-1
F-1
B-2
G"2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
C"
AIR
G2
D2
G1
C1
G
C
B2
E2
B1
E1
A
E
E!
B!2
A2
B!1
A1
D1
E!1
D
C3
F2
C2
F1
F"2
C"2
F"1
B
B!
F
F"
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
38
Wheatstone Æola #32096 (c.1929) 67-button MacCann Duet Concertina
G"
C"
G"-1
C"-1
F-2
G
C
G-1
C-1
G-2
B
E
A-1
E-1
A-2
B!
A
D
E!
D-1
E!-1
C1
F
B-1
F-1
B-2
G"2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
C"
AIR
G2
D2
G1
C1
G
C
B2
E2
B1
E1
A
E
E!
B!2
A2
B!1
A1
D1
E!1
D
C3
F2
C2
F1
F"2
C"2
F"1
B
B!
F
F"
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
39
Wheatstone #27917 (c.1918) 67-button Custom MacCann Duet Concertina
G"
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
B
E
A-1
E-1
A-2
B!
A
D
E!
D-1
E!-1
C1
F
B-1
F-1
B-2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
C"
AIR
G"-1
D2
G1
C1
G
C
G-1
E2
B1
E1
A
E
A-1
G2
B!1
A1
D1
E!1
D
E!
F2
C2
F1
F"2
C"2
F"1
B
B!
F
B-1
F"
B!-1
Source: chart from Randall Merris,
from Bob Snopes and Mario Cote,
at The Button Box.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
67-button Crabb
40
Crabb (c.1908-1925) 67-button MacCann Duet Concertina
G"
C"
G"-1
C"-1
F-2
G
C
G-1
C-1
G-2
B
E
A-1
E-1
A-2
B!
A
D
E!
D-1
E!-1
C1
F
B-1
F-1
B-2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
C"
AIR
G"-1
D2
G1
C1
G
C
G-1
E2
B1
E1
A
E
E!
G2
B!1
A1
D1
E!1
D
F2
C2
F1
F"2
C"2
F"1
B
B!
F
B-1
A-1
F"
B!-1
Source: from Joel Whittemore, an instrument
belonging to him. No serial number, but
marked “H. Crabb”, a style used 1908-1925.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
68-button Lachenal
41
68-button Lachenal MacCann Duet Concertina
G"
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
B
E
A-1
E-1
A-2
B!
A
D
E!
D-1
E!-1
C1
F
B-1
F-1
B-2
G"2
F"
E!2
B!-1
G"1
F"-1
C"1
B!-2
G"
C"
AIR
G2
D2
G1
C1
G
C
B2
E2
B1
E1
A
E
E!
B!2
A2
B!1
A1
D1
E!1
D
C3
F2
C2
F1
F"2
C"2
F"1
B
B!
F
F"
B
Source: Don Nichols’s home page,
http://www.d-and-d.com/dnichols/DoN.html
an instrument belonging to Kevin McKeogh.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
67-button Chidley-Variant Design
42
67-button Chidley-Variant MacCann Duet Concertina Design
G"
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
A
E
A-1
E-1
A-2
C1
E!
D
E!-1
D-1
B
F
B-1
F-1
B-2
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
G"2
F"
C"2
B!-1
G"1
F"-1
C"1
B!-2
G"
C"
On Chidley-Variant MacCann
Duets, the “E!” button used in
the standard chords produces a
note one octave lower than
usual, on both sides. Also, not
all of the buttons in the
“common 45” are the same. But
the standard chord patterns all
work.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
B!
G2
C2
G1
C1
G
C
A2
E2
A1
E1
A
E
C3
E!2
D2
E!1
D1
E!
D
B2
F2
B1
F1
B!2
F"2
B!1
F"1
B
B!
F
F"
AIR
Source: Wheatstone & Co. “The Wheatstone
Concertina” Catalogue, apparently from 1950s
(where this is called a “68-key” size, including the
air valve).
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
43
G"
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
A
E
A-1
E-1
A-2
C1
E!
D
E!-1
D-1
B
F
B-1
F-1
B-2
F-2
work.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
B!
G"2
F"
C"2
B!-1
G"1
F"-1
C"1
B!-2
G"
F"-2
C"
AIR
G"-1
G2
C2
G1
C1
G
C
G-1
A2
E2
A1
E1
A
E
A-1
E!2
D2
E!1
D1
E!
D
F2
B1
F1
F"2
B!1
F"1
B
B!
F
B-1
F"
B!-1
Source: Wheatstone & Co. “The Wheatstone
Concertina” Catalogue, apparently from 1950s
(where this is called a “72-key” size, including the
air valve).
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
44
C1
G"
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
A
E
A-1
E-1
A-2
D1
E!
D
E!-1
D-1
B
F
B-1
F-1
B-2
F-2
work.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
B!
G"2
F"
C"2
B!-1
G"1
F"-1
C"1
B!-2
G"
F"-2
C"
AIR
G"-1
G2
C2
G1
C1
G
C
G-1
A2
E2
A1
E1
A
E
A-1
E!2
D2
E!1
D1
E!
D
F2
B1
F1
F"2
B!1
F"1
B
B!
F
B-1
F"
B!-1
Source: K. V. Chidley, The Duet Concertina -its History and the Evolution of its Keyboard,
Free Reed, no. 17 (1974), pp. 15-17 (with
notes by Neil Wayne, written “about 1950”).
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
67-button Chidley-Variant #36645
45
67-button Chidley-Variant #36645 (c. 1960) Wheatstone MacCann Duet Concertina
G"
C"
G"-1
C"-1
G"-2
G
C
G-1
C-1
G-2
A
E
A-1
E-1
A-2
C1
E!
D
E!-1
D-1
B
F
B-1
F-1
B-2
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
G"2
F"
C"2
B!-1
G"1
F"-1
C"1
B!-2
G"
C"
work.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
B!
G2
C2
G1
C1
G
C
A2
E2
A1
E1
A
E
C3
E!2
D2
E!1
D1
E!
D
B2
F2
B1
F1
B!2
F"2
B!1
F"1
B
B!
F
F"
AIR
Source: private communication.
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
24-button 1840s Prototype Duet
46
24-button Wheatstone 1840s Prototype Duet Concertina
G
C
G-1
B
E
A-1
A
D
C1
F
F"
B-1
G1
C1
G
The 1840s prototypes were not
chromatic, so chords in all keys
cannot be played. But the
standard chord patterns all work
as far as the notes allow: C,
Am, F, Dm, G, G7, Em, D, D7,
and Bm are the most obvious
chords, which cover many
songs.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
B1
E1
A
A1
D1
C2
F1
F"1
B
Source: "The Wheatstone English Concertina," by
Neil Wayne, in Galpin Society Journal, XLIV
(1991), pp. 117-149. Examples of these 1840s
prototype duets are owned by Chris Algar and by
Neil Wayne.
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
47
24-button Wheatstone Æola #32199 (c. 1929) MacCann Duet Concertina
C"
C
G-1
E
A-1
G
D
E!
F
F"
B-1
B!-1
C"1
G
This instrument is missing many
of the “common 45” buttons; in
addition, the high G on both
sides is relocated, and the G"
on both sides is missing. But
most of the standard chord
patterns still work. Chords
requiring a G" are not possible,
and an A7 requires a different
fingering, but all the chords in
common folk keys work as
shown in the charts.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
C1
E1
A
G1
D1
E!1
F1
F"1
B
B!
Source: private communication. A much smaller than
normal instrument, measuring 4 5/8 inches across, but
otherwise made in Wheatstone’s best professional style.
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
Maccann’s Patent of 1884
48
John Hill Maccann’s 1884 56-button Duet Concertina Patent Specification
G"
C"
G"-1
C"-1
G
C
G-1
C-1
B
E
A-1
E-1
E!-1
B!
A
D
E!
D-1
C1
F
B-1
F-1
C"1
G"2
F"
E!2
B!-1
G"1
F"-1
C"1
G"
G2
B!1
G1
C1
G
B2
E2
B1
E1
A
A2
D2
A1
D1
E!1
C3
F2
C2
F1
B!2
F"2
C"2
F"1
B
B!
AIR
The patent specification has
two of the “common 45” buttons,
a B! and D on the right side,
interchanged with respect to
later “standard” instruments. But
work.
C3 =
C2 =
C1 =
C =
C-1 =
C-2 =
3 octaves above
2 octaves above
1 octave above
middle c
1 octave below
2 octaves below
Source: British Patent No. 4752 of 1884, “Specification of
John Hill Maccann, Improvements in Concertinas.”
From “Specifications of Patents. 1884: No. 4601-4800”,
British Library, St. Pancras, consulted 12 October 1999.
C
on both sides
C
and inversions
C
Notes on one side
C
Notes NOT the same
or this instrument
Bibliography
49
Sources of Information about MacCann Duet Concertinas and Chords
Chidley, Kenneth V. “The ‘Duet’ System, discussed by K. V. Chidley,” World Accordion Review,
incorporating “The Concertina” 6,3 (December 1950), 31-32. Reprinted with notes as “The Duet
Concertina -- its History and the Evolution of its Keyboard”, Free Reed, 17 (1974), 15-17.
Cornell, David. Arrangements for the Duet Concertina Workshops at Swaledale, 1999 and 2000. Available
from David Cornell, [email protected] .
Evans, Richard. “Reuben Shaw, MacCann Duet Player.” Concertina Magazine, 10 (1984), 10-14.
Hayden, Brian. “Fingering Systems for Duet Concertina.” Concertina Magazine, 16-19 (1986-7), 16:19-23;
17:7-9; 18:11-15; 19:6-10.
Hayden, Brian. “Playing Chords.” Concertina Magazine, 12--14 (1985), 12:5-7; 13:12-14; 14:8-10.
Honri, Peter. Working the Halls; the Honris in One Hundred Years of British Music Hall (overture by Spike
Milligan). London, 1973. Pp. xvi+215, record sealed inside back cover.
Inglis, Phil. “The History of the Duet Concertina.” Concertina Magazine, 12-14 (1985), 12:18-19; 13:1820; 14:11-13.
International Concertina Association. The library of the ICA contains arrangements for MacCann duet
concertina. (Also, a number of excellent MacCann duet players are members of the Association.)
Information on the web at http://www.concertina.org and http://www.concertina.org.uk .
Kirkpatrick, John. “How to Play Chords on an Anglo.” http://homepages.tcp.co.uk/~hmitchell/anglojk.htm
Maccann, J. H. The Concertinist’s Guide. London, 1888. 8vo, 24 pp. British Library, St. Pancras, Rare
Books and Music Room. Former British Library Shelfmark D-7808.c.14.(14.) ("D-" in shelfmark
means "destroyed in World War II”.) Replaced by British Library Microfilm Mic.A. 10532(4) from
Bodleian Library copy, Bodleian Shelfmark 17426 e 3(2). Microfilm consulted 12 October 1999.
Bibliography
50
Maccann, J. H. “Improvements in Concertinas.” British Patent No. 4752 of 1884. In Specifications of
Patents. 1884: No. 4601-4800. British Library, St. Pancras. Consulted 12 October 1999.
Maccann, J. H. New Method of Instruction for Duet Concertina. London, c. 1884.
Meredith, William. “Chord Relationships of the English Concertina.”
http://www.concertina.net/wm_english_chords.html
Rutterford, Ernest. A Practical and Comprehensive Tutor for the Duet Concertina. (Wheatstone’s Instructions
for the Duet Concertina.) London, 1914. (Not seen.)
---, 4th ed. London, undated (1930’s ?). Pp. 54. Photocopies of an original belonging to Chris Algar are
available from Bob Knaus, [email protected] .
---, 5th ed. London, 1946. Pp. 52.
Shaw, Reuben. “Memoirs of a Concertina Playing Man.” As told to Phil Hopkinson with an introduction by
David Cornell. Concertina & Squeezebox, 30 (1993), 12-17.
Timson, Chris. Concertina FAQ. Web version: http://www.harbour.demon.co.uk/concerti.htm .
Wayne, Neil. “The Wheatstone English Concertina.” Galpin Society Journal, XLIV (March, 1991), pp. 117149. Also available on the web at Neil Wayne’s website, www.free-reed.co.uk .
Wheatstone & Co. “Instructions for Performing on Wheatstone’s Patent Duett Concertina”. London, 1855.
Pp. 20. (About the pre-Maccann instruments; copies available from the web archives of the Center for
the Study of Free-Reed Instruments, http://web.gc.cuny.edu/freereed/ .)
Wheatstone & Co. “The Wheatstone Concertina” (catalogue). London, undated (1930’s ?). Pp. 28.
Wheatstone & Co. “The Wheatstone Concertina” (catalogue). London, undated (1950’s ?). (Seen only in
part.)
Chart for Lid of Concertina Case
C/Am
R
J
R
M
S
/4 2
3 2/ 2
3
F/Dm
R
N
N
R
M
F(7):
Dm:
J
N
R
S
R
S
M
4
3 2 1
3
1
S
(4)
S
J
N
R
M
J
M
N
R
D(7):
Bm:
M
J
3A, Tottenham Court Road,
London, W.
3
3
4
www.maccann-duet.com
N
S
N
R
J
(4) 3
2
1
3 2 1
(4) 4(3)
3
/4
2
2
1
(1) 1(2)
2
/1
A!/Fm
R
M
N S
R
M
S
R
M
J
1 2
1 2
3
M
S
J
J
M
(1)
R
S
A(7): 4
F"m: 4
1
S
J
R
R
S
MaJoR
M
J
R
S
1
M
/(1)
1
2 1
1
N
R
/1
R
B(7):
G"m: 4
(4) 3
S
R
M
S
N
J
R
M
3 (2) 1
3
1
1
/1
4
M
J
N
M
S
J
2 (3) 4
2
J
M
S
N
2 1
2 1
S
N
M
J
relative MiNoR
N
J
R
M
J
N
/(4)
S
S
M
R
M
1 (2) 3/3
1
2
1
N
R
F"(7): 4
3 4D"m:
4
S
N
M
N
J
S
R
R
S
R
S
F"/D"m
R
J
R
M
N
R
N
J
N
E/C"m
M
M
M
S N
J
R
N
R
N
J
M
J
M
3
B/G"m
4
S
D!(7): 4/4
B!m: 4
J
S
(3) 2/2
E(7): 4
C"m: 4/4
R
(4)
D!/B!m
M
4
2 3 4
J
N
N
N S
2
R
N
J
R
M
J
A!(7): 4 3
Fm: 4 3
N
J
R
M
M
(1) 2 3
S
N
E!(7):
Cm:
S
N
S
R
Soloist and Patentee
of the
Improved Duet Concertina
J
R
S
R
M
J
S
J
2 3 4
2
4
1
N
R
R
N
J
M
M
R
J
S
J
PROFESSOR
JOHN HILL MACCANN
N
(1)
E!/Cm
M
N
R
A/F"m
J
J
B!(7):
Gm:
J
S
M
N
R
M
1
3 (4)/4
1 2
4
M
2(1)3(2) (3) 4
2 3 4
J
N
S
4
2 (1)/1
4 3
1
S
R
S
R
D/Bm
M
J
S
3(4)2(3) (2) 1
3 2 1
N
M
M
B!/Gm
S
G(7):
Em:
(4)
J
R
N
M
J
S
J
/1 3
2 3/ 3
N
S
J
M
S
S
R
M
N
N
N
J
R
M
M
2
(1)
S
J
J
R
G/Em
S
N
R
M
R
J
M
N
J
C(7):
Am:
M
N
51
N
S
R
(1) 2
3 4
3 4
1
M
J
S
J
M
R
N
R
M
1
(3)
2
/1
/1
1
1
4
(2)
3
(Cut along outer dotted line.
This diagram will fit inside
the lid of the case for any
MacCann Duet concertina.)
/4
/4
4

How to Play Chords on Any MacCann Duet Concertina

Transcription

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