Bertram Levy's New Concertina Project
Bertram Levy is a busy man with musical roots in two worlds; American music and Argentinean Tangos. Each calls to him, and he has responded by establishing a presence in both. When he had the opportunity a few years ago to retire from a long career in medicine and devote himself full-time to his musical interests, he did so and hasn't regretted the choice. These days he spends much of his time studying the bandoneon, writing music and performing with the Tangoheart quartet, but he also sails, builds wooden boats, teaches music and plays American fiddle music on the banjo and concertina.
He's been involved with music since the 1960's and has been recorded playing all of the named instruments on various well received albums. He's made multiple appearances on the popular Garrison Keillor Prairie Home Companion radio show, and among other accomplishments, he started and subsequently directed the Festival of American Fiddle Tunes for several years. As of 2011 that event is now in its 35th year and continues to draw hundreds of players.
I had the good fortune to meet Bertram a few years back and from the start I've been amazed at the ease with which he can produce lovely music, it seems to almost drip from his fingers. His disarmingly casual caress of buttons results in a flood of tones, sometimes simple and straight forward, and sometimes incredibly complex and layered. When he recently permitted me a look at his latest project, I felt I was peeking behind the wizard's curtain with Dorothy and the troupe. He has graciously authorized me to share my thoughts in the form of a pre-publication review:
American Fiddle Styles for the Anglo Concertina
30 Studies in the Art of Phrasing for the 30 Button C/G Anglo Concertina
Bertram Levy has long been established as a master of the Anglo concertina, and his tutor "The Anglo Concertina Demystified" has been a standard for beginning players for more than two decades. Some years after releasing that publication he encountered the bandoneon and drawn by its expressive voice, felt moved to explore the incredibly complex instrument. Throwing his heart into the endeavor, he moved to Argentina for a time to study with the acknowledged icons of the bandoneon, learning the techniques and perspectives that permit one to fully utilize the instrument’s considerable potential
.He did not abandon the Anglo concertina however and Bertram has now drawn on a lifetime of concertina experience and related insights from his 20 years with the bandoneon to author a new tutor, "American Fiddle Styles for the Anglo Concertina." Subtitled "30 Studies in the Art of Phrasing for the 30 Button C/G Anglo Concertina
," it is intended to guide intermediate level players toward achieving a high degree of proficiency and sophistication with the Anglo. Bertram recently offered me an opportunity to look at his pre-publication draft and try some of the exercises. It really opened my eyes to the potential of the Anglo and now I’m anxiously looking forward to its public release.As the name implies, Bertram draws on a collection of popular American fiddle music, but once one is finished with the tutor they will be well prepared to go in whatever musical direction their heart calls. Although his methods can be applied to either Wheatstone or Jeffries systems, Bertram favors the Wheatstone system in part because it offers complete symmetry between the octaves and his material takes full advantage of that. If one plays a Jeffries system it will be necessary to adjust some of the tutor fingerings related to the unique aspects of the Jeffries, but after a few exercises this adjustment will become intuitive
.This new tutor is not a direct continuation of "The Anglo Concertina Demystified" and therefore that prior work is not a prerequisite, but it is quite suitable for the purpose. His prior tutor served to familiarize the new player with the Anglo and firmly ground them in the basics, but stopped far short of detailing advanced techniques. Bertram’s new tutor is designed to take someone already familiar with the basics and lead them down the road towards mastery of the instrument. Phrasing, finger positioning, bellows control and other topics are addressed as a part of the tutor’s progression.
The tutor begins by establishing a method of notation to identify the intended buttons. From there a simple introductory exercise advances one quickly into more detailed material. All elements of the notation should be closely considered, it is otherwise easy to glance at what appears to be a relatively simple passage and overlook the subtle fingering intended. Bertram has incorporated a planned progression into the exercises, establishing basic hand positions and finger patterns that will be used as the framework for more complex passages and chording in later sections.
As to my personal experience with using the tutor, Bertram’s approach is comprehensive, utilizing the full potential of the notes available across all three rows in both directions. His phrasing approach takes advantage of the instrument's layout to use flowing sequences where appropriate as well as bellows-reversing sequences for strong expression. I struggled the first few days as I stumbled my way through the material, however as I gained familiarity with the notation, fingering and flow of the music, I discovered that my concertina could be fertile soil for other types of music beyond the Irish I’d come to love.
I’ve also found that despite the considerable difference in playing styles, my "Irish cross-row" approach has benefited from my exposure to Bertram’s tutor. As a result of working through just the first few sections I’ve developed a much better grasp of the overall Anglo button layout, which is very handy when one seeks "on-the-fly" solutions to otherwise difficult passages. In addition, I feel that I’ve become more precise in my playing of previously learned tunes. To be clear, I'm not planning on abandoning my prior skill set, rather I'm looking forward to adding a new one and being able to draw from both.
One shouldn’t expect to rush through this tutor, Bertram has packed a lifetime of insight into it and much of it is only realized and internalized as one gains proficiency and speed within the progressive exercises. As Bertram describes it, his approach opens the door to playing any style of music but advancing through the tutor will require thoughtful study and effort. It’s clear to me that the end result will be well worth the time invested though. For years I’ve thought of the concertina only in terms of Irish music, but after spending some time with Bertram’s tutor I can now see a clear path into other genres and that this tutor provides the tools to prepare one for the journey
.The tutor became available September 15, 2011 and is available via Bertram's website and other outlets identified there. Here's the release notice:
Announcement of Publication of
“American Fiddle Styles For the Anglo Concertina”
Thirty Studies in the Art of Phrasing
Bertram Levy
An advanced course in the Anglo concertina for serious concertina players of all idioms and styles. Drawing on the author’s lifetime of experience with the Anglo concertina, it combines a traditional approach to the instrument with a new and expanded vision derived from many years of intensive study of the bandoneon in Argentina. Using a backdrop of American fiddle music as the teaching medium, the potential of the Anglo concertina’s layout is fully explored. In addition to offering a detailed and insightful perspective on the partnership of bellows, buttons and fingering, elements of lyrical phrasing, techniques for rhythmic dynamic and examples of the use of chords and counterpoint in harmony are presented as the student learns the subtleties of accessing the full capabilities of the instrument.
For more information and ordering, visit www.bertramlevy.com
Here's a peek at the Table of Contents.
Updated September 15, 2011