Why the way you hold it decides how long you can play

Most players who complain of aching hands after an hour in a session are not doing anything dramatically wrong. They are simply holding on too hard. The Anglo concertina looks like an instrument you grip, but it works best when you barely grip it at all. The straps — not your muscles — should carry the weight of the ends. Your hands are there to press buttons and shape the bellows, nothing more.

If your thumbs ache or your little fingers cramp after a set of tunes, the cause is usually the setup rather than your technique. A few small adjustments can add hours of comfortable playing to your week.

Three points of contact, and none of them should pinch

The traditional Anglo hold uses three points of contact on each hand, and each one has a job:

• The thumb strap — rests against the inside of the thumb, close to the base joint rather than up near the nail.
• The little finger rest — the little finger hooks over it lightly, just past the middle joint.
• The hand strap — runs across the back of the hand and carries most of the instrument's weight.

Think of the hand strap as a shelf your hand rests on, rather than your fingers as a clamp holding the instrument up. The test is simple: lift the concertina by one end. If it hangs securely without your fingers curling hard against the rest, the tension is about right. If your knuckles whiten, something is too tight.

Adjusting the straps for your hands

Very few players inherit an instrument whose straps suit them straight away. Work through each fitting in turn and change one thing at a time, so you can feel what actually helps.

• Hand strap: snug enough that the end does not rattle against your hand, loose enough that you can still flex your knuckles. Many players keep them one hole tighter than necessary "for security". Try a week one hole looser and notice how it feels.
• Thumb strap: it should sit at the base of the thumb, not slide up towards the knuckle. If it rides high, it pulls the thumb into a bent, tiring position and you fight it for every note.
• Little finger rest: the finger should sit on it without stretching. Never press down on the rest to steady the instrument — it is a resting place, not a lever.
• Check both ends separately: your two hands are rarely identical in size or shape, so the left and right fittings may need different settings. Players often discover that the hand they thought was weaker simply had a tighter strap.

The two hands do different jobs

On a standard C/G Anglo, the left hand tends to carry the bass and chord work and often drives the bellows, whilst the right hand takes the melody and much of the ornamentation. That means the left hand can afford a softer, more open grip, with the wrist free to move as the bellows breathe. The right hand needs a little more stability, but that stability should come from the hand strap and a steady wrist, not from squeezing the little finger down against the rest.

Many players unconsciously tighten the hand that is doing less work at any given moment. Check in with both hands regularly during a tune; the resting hand should feel almost slack.

Wrists, elbows and playing height

A comfortable hold depends on more than the straps. Keep each wrist roughly in line with the forearm, avoiding the upward bend that comes from letting the concertina hang too low. Keep your elbows close to your sides rather than winging out, and let the instrument sit at a height where your hands are relaxed rather than lifted.

If you play seated, a slightly higher chair or a firm cushion can make a surprising difference, since it raises the whole instrument and takes the stretch out of your wrists. When you are not playing, rest the concertina on your knee or a table rather than holding it up in mid-air. There is no prize for supporting it with tired arms between tunes.

Warning signs, and what they usually mean

• Aching thumb joint: the thumb strap is too high, or you are pulling the thumb back against it.
• Cramping little finger: the finger rest sits too far from your hand, or you are pressing down instead of resting.
• Tired forearms: you are carrying the weight with your arms rather than letting the straps take it.
• Cold, tingling or numb fingers: a sign to stop, shake out your hands, and shorten your next practice session.

Stop when it hurts, not when the tune is finished. Hand pain is far easier to prevent than to undo.

Building habits that last through a long session

Before each set, run a quick mental check: shoulders down, wrists straight, thumbs relaxed, little fingers resting. It takes five seconds and saves a lot of discomfort later. When you are learning a new tune, slow it right down and notice whether your grip tightens as the notes get busier — most players find it does.

Practise in short bursts with frequent breaks rather than one long slog, and alternate demanding bellows work with quieter tunes. If you play in sessions, use the gaps between sets to lower the instrument and open your hands. With the straps set up properly and a habit of checking in, you should be able to play for as long as the tunes keep coming.