Jim2010

If I understand correctly, some writers have alluded to some special playability of CG vs GD. Wouldn't the playability be the same. For example, what one does with the fingers to produce a tune or scale in C on a CG would be the exact same thing one would done to produce the same tune or scale in D on a DG? If I am correct about this, wouldn't it make sense to have one of each tuning (and possibly others), playing whichever suited the tune being played? Much the same as a guitarist has the option to use a capo? Or a CBA accordionist moves the same finger patterns for various scales around the available rows to play in different keys? I am not knowledgeable enough to have an opinion about this. These are genuine questions of a newcomer.

Here are a couple of links to a Concertina Connection Elise duet. https://buttonbox.com/concertinas-in-stock.html#duet http://www.concertinaconnection.com/elise.htm I'm not the right person to ask about quality, but it is only $425 US and can be exchanged for a full purchase price trade in if you want to move up.

Thank you. I have someone locally to ask about that. I am also curious if the size of the box, its construction (materials, thickness, placement of the reeds), type of reeds, etc. I have a friend who plays cba accordion and bandoneon. Even though he is better as an accordion player, when he plays the bandoneon it's distinctive voice is quite striking.

Thank you. I may look in that, but for now I am curious to know If a cba accordion and be constructed/modified to sound more like a bandoneon.

To my ears, the bandoneon sound is "livelier," more "raw" sounding than a cba accordeon, which sounds "smoother," more "homogeneous" to me. Could someone who is knowledgeable about how construction/materials affects sound point me in the direction of how to explore if an accordeon could be constructed/modified to sound "lively/raw" as possible. I am aware of the hybrid c system bandoneons, but I am more interested to learn if a cba accordion can achieve a "bandoneon-like" sound (beyond simply using LM reeds). Thank you for any help. Jim

Terrific! And if I had to guess, he plays the classical guitar, too. [Fingernails]

Thank you very much for that information. I really appreciate it. I wish I was able to go on Saturday, but I'm about 1200 miles away.

Great music. Do you know the maker of the guitars? Are they nylon string?

This is a C system chromatic button instrument. If anyone has one for sale or knows of one for sale I would appreciate hearing about it. I am currently playing accordina and think (based on youtube recordings) that the vibrandoneon can sound similar to bandoneon.

I am trying to find a Victoria VM400BM CBA vibrandoneon. Any suggestions about where to look for one? I have posted messages on accordionists.co.uk and melodicaworld.com, too. Thank you. Jim

Dear Dan, Thank you very much. Yes. It certainly is somewhere to start. It doesn't sound boring to me because I play other instruments and recognize that what you are recommending is very good advice. Best, Jim

My Marcel Dreux accordina arrived and it sounds and looks beautiful. Thank you to everyone for your suggestions. I know that opinions vary about fingering for scales, but I'd appreciate it if anyone would would like to tell me the fingering they use for major and minor scales on each of the rows. I've got to start somewhere.

i would like to thank everyone for their help, which has been invaluable. I hope my accordina arrives soon. Best wishes. Jim

Dear Dan, Thank you. Something I cannot tell from looking at youtube performances how much breath is needed to play. I played trumpet as a child and recorders as an adult (and harmonica if you consider playing like Bob Dylan to be "playing the harmonica"). Is it comparable to any of those instruments? Thanks, Jim

Thanks Geoff for the website link and Tona for the link to the beautiful tune. (I hope that someday I can play that well!) Regarding the placement of the mouthpiece on the Dreux instruments, are there any physical/mechanical advantages (arm/hand/finger) or posture advantages to having the mouthpiece in one place or the other. Jim

Dear Dan, Thank you. Your comments are very helpful. I am going to order a Dreux instrument. Am I correct in thinking that if I want I can change the location of the mouthpiece myself (if I have the necessary mouthpiece)? I am leaning toward starting with the long Nicolas mouthpiece, but who knows. I wouldn't want to have to send the instrument to France just to change the mouthpiece location. I've heard that each instrument is special ordered and it can take a few months for it to arrive. Is that your understanding? I guess in the meantime I'll practice on the iPad CBA (if I only knew what to practice). Any further suggestions apprciated, including any method books that might be helpful. I might be able to struggle through the Galliano book. Because I have a lot of experience with similar instruments (in the sense that fingering patterns are readily moveable) such as guitar, lute, viols, and c vs f recorders, and I am used to both regular musical notation and four types of tabliture, I should be okay with the mental side of things. Hopefully there are excercises to help my fingers get used to the most common movements, and suggestions on how to make a nice sound breath/embouchure-wise. If you don't mind...why do you have three accordinas? Best, Jim

Dear Dan, Thank you. I look forward to hearing more. If there is any other forum (or other location) where you think I can get information about buying (and playing) an accordina I would appreciate it. Best, Jim

I want to play the accordina but need help choosing one. I am leaning toward either the Dreux or Carrel instruments (or an original Borel if one became available) but haven't seen them compared or heard them played side by side. If anyone has experience playing either or both of these instruments I would like to get your opinion on the various instruments, including placement and style of mouthpiece. Thank you. Jim