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Description

Concertina band is an ensemble-based tradition built around families of concertinas (English, duet, and Anglo systems) arranged in choirs from soprano through bass, much like a brass band.

It flourished in late 19th- and early 20th-century Britain, especially in northern industrial towns and within the Salvation Army. Repertoire centered on marches, hymn tunes, light classics, and popular dance forms (polkas, waltzes, schottisches), arranged for multiple concertinas to create a rich, blended reed tone distinct from solo concertina playing.

Typical lineups feature treble, baritone, and bass instruments, sometimes with harmonium or light percussion. The style emphasizes precise part-writing, unison attacks, and bellows phrasing to emulate the clarity and balance of brass and military bands.

History
Early roots (1840s–1870s)

The concertina was patented in the 1830s and quickly became a favored parlour and salon instrument in Victorian Britain. A growing printed-tutor culture (e.g., Alsepti, Case) and celebrated virtuosi (Regondi, Percy Honri) expanded technique and repertoire. By the 1870s, multiple sizes of concertinas (treble to bass) enabled part-writing, laying the groundwork for ensemble use.

Emergence of concertina bands (1880s–1910s)

Inspired by the organizational model and repertory of brass bands, community concertina bands formed in northern England mill and mining towns and in Salvation Army corps. Manufacturers (Wheatstone, Lachenal, Jones, Crabb) produced baritone and bass instruments to complete the choirs. Bands competed at regional contests (often alongside brass events), played park concerts, processions, and services, and published dedicated arrangements of marches, hymn tunes, and light classics.

Consolidation and gradual decline (1920s–1940s)

The gramophone era and the popularity of dance orchestras shifted public taste. Some Salvation Army units maintained concertina sections, but many independent bands dwindled due to changing leisure patterns and the expense of low-pitch instruments. World War disruptions further reduced ensembles and instrument availability.

Legacy and revivalist interest (1950s–present)

While the postwar folk revival spotlighted solo Anglo and English concertina traditions, it also rekindled interest in historic band scoring and instrumentation. A handful of enthusiasts, archivists, and community groups have preserved music, photographs, and surviving bass/baritone instruments, occasionally mounting reconstructions and recordings. Today, concertina band practice survives as a niche heritage ensemble tradition and an arranging style that borrows the balance and clarity of brass bands while retaining the concertina’s distinctive reed timbre.

How to make a track in this genre
Instrumentation and layout
•   Score for a choir of concertinas: Treble (soprano/alto), Baritone (tenor), and Bass parts. English or duet systems carry inner harmony and lower parts; Anglo systems often take melody/descants. •   Optionally add harmonium or light percussion (side drum/triangle) for marches and outdoor processions.
Repertoire and forms
•   Focus on marches, hymn tunes, and light classics; include waltzes, polkas, schottisches, and quicksteps for variety. •   Keep durations moderate (2–4 minutes) and program contrasting keys/modes to maintain audience interest.
Harmony and voicing
•   Write as you would for a brass band or SATB choir: clear melody, supportive inner lines, and grounded bass. •   Favor close-position triads for warmth; use first-inversion chords to ease bass leaps on large instruments. •   Modulations should be practical for concertina keyboards: common keys include C, G, D, and F (with related minors).
Texture and articulation
•   Exploit bellows phrasing for crescendos/decrescendos and clear attacks; coordinate cutoffs across parts. •   Use antiphony (upper vs. lower choir), unisons at climaxes, and occasional octave doublings for brilliance. •   Ornament melodies sparingly (grace notes, turns) to preserve ensemble precision.
Practice and presentation
•   Rehearse in sections first (trebles, baritones, basses) before full-ensemble balance. •   Aim for even tone and matched vibrato/tremolo; avoid over-accenting bellows changes. •   For outdoor work, select bright marches and tempi that favor clear projection and coordinated bellows changes.
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