Why the Concertina Is a Natural Fit for Folk Tunes

The concertina is small enough to slip into a rucksack, loud enough to hold its own in a noisy pub session, and expressive enough to make a slow air weep. For British folk music, it is almost purpose-built. Its bellows give you the same breath-like phrasing as a fiddle bow or a singer's lungs, while the buttons let you find harmonies and ornaments that sit perfectly with jigs, reels, hornpipes and Morris tunes. Whether you are drawn to English country dance, Irish session standards, or the singing traditions of the West Country, the concertina rewards steady, patient practice with a sound that is unmistakably at home in the folk club.

Choosing Your First Concertina: Anglo or English?

Most folk players start with the Anglo concertina, so that is what this guide focuses on. The Anglo is bisonoric: each button gives one note when you push the bellows and a different note when you pull. That sounds confusing, but it is exactly what makes the instrument so rhythmic and punchy. The English concertina is unisonoric — same note on push and pull — and is lovely for melody and chords, but it suits a different style of playing.

For a beginner, a 20-button Anglo in C/G is the classic choice. It gives you two rows of buttons, one in C and one in G, which covers a huge amount of folk repertoire. A 30-button Anglo adds accidentals and extra notes, but you do not need one to start. If you can, borrow or hire an instrument before buying. Cheap concertinas can be hard to play and put you off; a modest but well-made starter instrument is worth saving for.

Holding the Instrument and Taming the Bellows

Sit comfortably, rest the concertina on your knee or hold it just in front of your chest. Slip your hands through the straps so the instrument feels secure but not clamped. Your thumbs sit in the thumb straps (on an Anglo) and your little fingers can rest on the hand bars. Keep your wrists relaxed. The bellows are the heart of the instrument — they are your breath, your volume control and your phrasing all at once.

Start by practising silent bellows changes. Push the bellows out slowly, then pull them in without pressing any buttons. Aim for smooth, even movement, using your arms rather than your shoulders. When you do add a note, try to change direction without a bump or a gap. A common beginner habit is to jerk the bellows on every button press; instead, let the air flow steadily and use the buttons to shape the tune. A good exercise is to play a single note for four slow beats on the push, then four on the pull, listening for any wobble.

Understanding the Button Layout (Without Panic)

The Anglo layout looks random at first, but it follows a pattern. On a 20-button C/G, the C row gives you the notes of C major, and the G row gives you G major. Within each row, the push notes tend to form a chord (C major or G major), while the pull notes fill in the rest of the scale. So a simple tune in C can often be played mostly on the C row, using push for the home notes and pull for the passing notes.

Learn one row at a time. Start with the C row and find the button that gives you a C on the push — usually on the left hand, top row, middle button. Then find the D on the pull next to it, the E on the push, and so on. Say the note names out loud as you play them slowly. Many tutors use a numbering system, but the important thing is to build a mental map of where the notes live. Do not try to memorise all twenty buttons at once. Five minutes a day on one row will teach you more than an hour of frantic button-pressing.

Three Easy Folk Tunes to Start With

Choose tunes you already know, because your ear will guide your fingers. Here are three that work well on a 20-button Anglo:

• The Keel Row — a bright, bouncing tune from the North East. It sits mostly on the C row and uses simple push-pull patterns. Play it slowly at first, with a smooth bellows change every two bars.
• Bobby Shaftoe — a gentle English song tune. Focus on even bellows and let the melody breathe at the end of each phrase. It is a good piece for practising a steady push on the long notes.
• The Rattlin' Bog — a rollicking Irish song. The chorus is easy to pick out by ear. Use the G row for the higher phrases and keep the bellows changes crisp and rhythmic.

For each tune, play the first phrase on the push where possible, then pull for the answering phrase. This helps you avoid running out of bellows and gives the music a natural lift.

Practising Effectively and Joining a Session

Short, regular practice beats occasional long sessions. Ten to fifteen minutes a day is plenty at the start. Begin with bellows control, then spend a few minutes on one row, then play a tune you know. Use a metronome or a slow recording to keep your timing honest. Learning by ear is a traditional skill worth developing: listen to a phrase, sing it, then find it on the buttons.

When you feel ready, find a local folk session or Morris side. Sit at the edge, keep your volume modest, and learn the tunes you hear. Do not worry about playing every note. Sessions are welcoming places, and the concertina is a social instrument by nature. Above all, enjoy the process. The bellows will teach you patience, and the buttons will reward you with a lifetime of tunes.