Now for the next tune I have chosen a well-known jig – The Pipe on the Hob . This tune uses frequent alternate fingerings for B, c, d and e, and is a good tune for practising these variations.
In The Pipe on the Hob there are a number of rolls, denoted as is usual by the symbol for what is known in classical music as a “turn”. ie.
Again I try to get a flow of notes in a single direction where possible. For example in bars 1-2 we are mainly on the press. Note that when this passage of notes repeats in bars 5-6 I have put them on the draw. This is just to encourage you to experiment. You may find one direction more comfortable and fluid than the other. I play this passage on the press but it does leave me almost out of bellows travel by the time I reach the second e in bar 6. And having the bellows at the end of their travel will sometimes throw your playing off balance and create jerkiness, bad timing. However, you can play this passage in both directions.
For the c roll in bars 1 and 5 I recommend this fingering on the press – c, d, b, c. And on the draw I would use the same notes. In bar 10 I have graced the high a with the c’ above it ( next button up, at G8 ). This is mainly to separate it from the same note before. Of course you can grace the a this way at any time, even if there’s not a preceding a ( bar 15). But I often get those gracings as clean, so I often don’t bother. There’s something to be said on the concertina for avoiding grace notes on occasions and playing the note in a staccato, “popping” sort of way to highlight. This adds to bounce in a tune. Of course the best thing is to judiciously combine both techniques within a piece so as to impart variety and colour ( hmm, that’s starting to sound like interior decorating).
In bars 17 and 19 I have got these repeating passages on the press, as they are followed ( in bars 18 and 20) by 4 consecutive notes on the draw. This gives me the sort of balance in directions that I prefer to play with. But if it’s more comfortable you could just as well play bars 17 and 19 on the draw too. Same with bar 21. It’s the same notes as 17 and 19 but I’ve changed the opening c, B, c to a c roll, just as a variation.