Howard: "I'm not a member of the ICA but I have seen your article on cnet and also the one on the Concertina FAQ website".

RE: Great! Have you read them too? :-) Anyway I have tried to be more systematic in the ICA "Concertina World" articles but as I haven't tired from the missionary duty yet I try to struggle on a while over here too:-)

H:"You say "With the trad arrangement firm straps locks the mid part of the hand down and thus obstructs all finger movements."

RE: Yes that is a simple fact that illustrates the conflict between stability/flexibility very well

H:"My hand straps are a bit loose and don't lock the hand down. This lets me adjust the hand position to reach some awkward fingerings".

RE: Precisely!We got something important in common there! Your next step is to realise/accept that this achieved *flexibility/mobility* does not only mean that your ability sliding 'longitudinally'( from nearest button row to the distant one) and 'transversally' (sideways from thumb side to pinky side and viseversa) in order to "reach awkward fingerings" also means that an unwished instability arises in the 3rd dimension which allows the hand to flop with the rest/bar as a pivot.To preserve necessary stability (which constantly has to be present otherwise you simply can not act sufficiently on the buttons) you do what you describe here:

H:" I can adjust the tension with the thumb. Most anglo players I know do the same, and some have the straps even looser than I do."

RE: Exactly! What this means physically is that you constantly are doing just *that*: "adjust the tension with the thumb".Each such moment consists of a static muscular effort but since "playing" the instrument mostly means quite intensive action by the fingers the stability has to be maintained more or less but permanently and this is a static effort which may be more or less harmful but in any case NOT desirable.
I have been watching quite a few anglo players - even established star players - who obviously in my eyes practise a crampful fight with their thumbs and/or use a rather absurd instrument position in order to create sufficient stability to manage a performance of music which may be excellent as such and at first thought a natural "proof" that their playing method is worth following. This is a repeated illusion when copying musical idols who may use the most bisarre and idiosynchratic individual methods not suitable for anyone else. It is entirely different in competitive sports - the one using the best method always wins the game and the results are easily measurable.

H:"I agree with you that this isn't the best for stability. However as I said before I get around this by playing sitting down."

RE:Again, I agree, of course. So do I, when possible, but apart from that finding other/additional means to create that stability YOU also need would mean that your physical capacity - which is limited - can be used for other and more urgent tasks within your musical performance.This is one benefit from creating stability without engagement of your thumbs - the rest of your hand can do its job better!

H:" If I have to play standing up then I usually use a high stool, if this isn't available then I support it against my leg."

RE:You may have noticed I also advocate for using (elastic) shoulder straps to support the instrument while playing standing and that is a much more comfortable and efficient way solving the problems playing standing.

H:" But why should playing standing be so important?"

RE: a ) a lot of concertina players testify that they do wish to play standing but find it hard to manage b) one exclusive option included in the "concertina concept" IS the portability and possibility to play standing ( or marching or dancing..) with additional means for musical expression.You don't fiddle at the best seated either, or sing

H:" You wouldn't expect to play a piano standing up, why should it matter for a concertina?"

RE: Well, pianos/keyboards ARE frequently played standing on the pop/rock scene, and as said - many players wish to. This of curse is entirely a personal matter but why not make it easier for those who want to?

H:"Nevertheless, having experimented (with a rolled-up pair of socks!) I can see some small benefit in raising the wrist away from the instrument so that the hand and arm are in line. This does seem to improve stability slightly, but at the cost of some mobility."

RE:Just a small glimpse from a whole world of unknown playing facilities I can assure you! I admit that to *know* what this is all about one has to experience 'the whole glory' or let us say one has to experiment a bit and take some time for it since old habits always
block perception of possible advantages from any novelty. I don't have to give examples ...

H:" Perhaps your more sophisticated solution resolves this. You may even be starting to persuade me!"

RE:That sounds good but I hope not! My aim actually is never to persuade anyone! I see a possible mission in trying to inform and inspire enough curiosity to try things out in practise but firstly to use a critical mind to question not well founded old routines and designs. By knowledge and practical trials hopefully people may "persuade" themselves in the end - for their own enjoyment.