accordian
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Posts posted by accordian
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Hey guys as you know I'm looking for a 40 button anglo. That being said I'm not having much luck. I'm looking for a stagi ws 40 or heck any brand for that matter.
Thanks guys.
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Well I've come across another reason. Availability of the instrument.
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10 hours ago, Ken_Coles said:
They are currently listed on the new instrument lines page at buttonbox.com as a special order (i.e., Doug doesn't keep them in stock, but is willing to order them).
Ken
Sent them an email today asking about it and they said that they haven't received their last shipment of concertina's from them yet. They said they are worried there (stagi) brand is going down the drain. P
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1 hour ago, John, Wexford said:
Try Google.
Oh trust me I have for a couple months.
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if it makes any difference the reeds are made of brass
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How comes these 40 button concertinas from stagi are no longer being sold?
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14 minutes ago, Takayuki YAGI said:
I found this chart of Stagi 40 button assuming C/G tuning. http://www.accordionary.com/en/product/4954/stagi-anglo.html
YAGI ?
Thanks this helps a lot.
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Hello. I'm still looking abouts for a 40 button concertina and a question came to mind. How many octaves are on the right hand and as well as this which notes are available in each direction? I did look for a graph and found one however it only had the note names not which octave they came from as well.
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Thought Id have a go at repairing my old 1 row melodeon.
One of The bass notes needed more
Effort to get it to make a sound so I gently bent the reed back into its position so that the space between the reed and the air chamber is less. That worked however another problem with one of the reeds is that it make a rattling noise.
The rattle sound is made on the opening of the bellows.
What do you think? My guess is that the reed is hitting the reed frame if. This is what is happening what would be the correct method to fix it?
Thanks
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6 hours ago, Mikefule said:
There is no single answer.
The first possible answer is very negative, and is certainly not universal, or aimed at any individual concertinist:
I used to do fencing (foil and epee) and we had a category of people whom I called "winner beginners". They had done judo, or kendo, or karate, and therefore knew the basics of things like distance and timing, and they were not afraid to hit or be hit. These people were usually the best in the beginner's group. Then, as those who applied themselves to their fencing lessons started to overtake them, they started to make excuses, then became interested in kung fu, or aikido, or archery, and we never saw them again. There is a type of musician who fits this pattern: they learn to knock out a tune on one instrument and this helps them to make rapid progress in the early stages of learning a new instrument. They seem keen and talented, but once they get beyond those first few tunes and exercises and have to knuckle down to learning the instrument, they move on. They get a lot of admiration for being "multi instrumentalists" because they can play the same few standard tunes on several instruments.
The second possible answer fits me, until I discovered Anglo. I sort of half heartedly wanted to be able to play music. I had no musical background, but was surrounded by folk singers and musicians. I taught myself harmonica to a reasonable standard because it was cheap to buy and easy to learn, but I stalled at expanding my repertoire. I then tried, in roughly this order, trumpet, piano, fife, melodeon, guitar, and English concertina. I reached the stage of being able to knock a tune out of the trumpet, and being able to play melodeon for Morris dancing, but I never really enjoyed it, and certainly never practised in any meaningful sense.
Then one day, almost on a whim, I became interested in concertina. I read up on it, decided that English made most sense, and tried that but got nowhere beyond the C and G major scales, and I gave up. Then I tried Anglo and immediately fell in love with it. I started regular lessons, and practised every day. Within 6 months, I had gone from wanting to buy one, to buying a Rochelle, to buying a Marcus. Following a series of opportunities and trades, I now have 4 Anglos and play as near to every day as life allows. I love it.
So, my second answer to your question arising from my own example, is that perhaps some people simply do not fall in love with the concertina. If so, I hope that they each fall in love with another instrument, whether it be oboe, saxophone, melodeon or whatever. You can only make progress with an instrument when you have to resit the urge to pick it up or force yourself to put it down. When daily practice is a boring duty, it is no fun.
A third possible answer is simply where someone is in their life and in their appreciation of music at any given time. Until recently, I had lessons with a chap who started playing in about 1980. As a result of his head start, he is immeasurably better than I can ever aspire to be. However, if I had started in 1980, or even 1990, I would almost certainly have lapsed, because I was not ready to make the commitment that properly learning an instrument requires. Who knows, if 15 or so years ago, on a whim, I had looked up saxophones, I might now be playing sax every day — or I might simply have a saxophone in the loft with my trumpet, fife, bodhran...
I definitely agree with your second answer I play a lot of scqueezeboxes but none more than concertina and accordion. And the accordion well I have a few.... 5 and that’s just the accordions lol.
5 accordions
1 bandonika / 2 row melodeon
1 bandoneon
1 anglo
the only problem with me is I love all the old designs and art on them so I can’t ever resell them as it seems so one Elise other than me likes them. They were cheap out the factory but 50+ years later and they are 50 £ a pop
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Me personally I’ve not quit that being said I can understand why some do.
i myself would say that’s it’s tits die with a couple of reasons. These reasons I will say in order of progression of an instrument from first day to next month etc.
the first week or so is about determination and pushing yourself as well as being able to teach yourself if necessary. When I started piano accordion I had never played anything seriously with any real intent of getting anywhere Other than harmonica which is how I got to accordion because the melody was all lonely and needed some accompaniment lol. But seriously when I started I had no teacher couldn’t read sheet music and trying to get co ordination involved was extremely difficult to the point where I would have found it difficult playing row row row your boat. From here all I had was YouTube tutorials.
once I got my co ordination down to the point where I could just play a song I then moved on to the harder stuff which honestly is where I am still. Bass jumps dun dun duuuuun. Bass jumps I’m not going to lie to you are horrible because the way you learn these jumps are through repetition or so I here and then one day you just go to do it and all of a sudden you have got it. However the problem is the consistentcy of the quality of practicing to get it into muscle memory as well as the amount of time put Into it. What I do and have done is sometimes set a timer for practicing for an hour and repeat the same bass jump again and again and when I start to get it perfect practice the next part again and again until I can play it perfect then repeat to the previous section and practice that again.
the next part of all of this is trying to give a song it “character”. Sometimes you can play a song correctly note for note but it doesn’t have the same drive. behind it and no matter what you try you can’t seem to make it sound right.personally I have given up on one song “mario bros 2 theme”. This part is extremely frustrating because sometimes you record yourself playing and you think as you are playing it “wow I’m great no mistakes” but it still sounds very dull.
on every instrument there are different difficulties which one must overcome and that first part of determination comes into it.when I first started I got my first accordion song in a week which was ode to joy and honestly it probably didn’t sound that great and I remember thinking oh well here we go again for the next song and can I bothered or not but I did and so determination is a huge part of it throughout all stages but more so at the beginning.
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4 hours ago, Theo said:
There is still a chamber there for each reed. Don't dismiss the idea of the upright reed block, it might allow you to fit in more reeds.
So the picture that wolf was showing they are still called a chambet
chamber? I thought a chamber was a space for air with 2 holes? Think I got a bit muddled up some where. As for the reed blocks it is quite true I might be able to fit more reeds but when I have to remove every reed and tune it I might as well just screw it straight to the board as wolf showed.
I think the most difficult part of all this is going to making the buttons and levers with the pads on as I have no access to metal so wood is my only option.
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13 hours ago, Wolf Molkentin said:
look here
That's exactly what I was asking if I could do. Thanks for that all I wanted was to know if I could mount the reeds like this. Rather than having huge reed block sticking out like my concertina.
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What I'm saying is I've been playing accordion for quite a while and really I only started 30 button maybe 4 months ago. If I look at my concertina it has accordion reeds in accordion Reed blocks. What I'm asking is does there need to be a chamber for a reed and if it does does it really have to be the size of an accordion Reed block chamber or can I just make a little chamber from wood with a hole in it for the air to get in and out? If you don't understand me I will draw some quick diagrams in paint when I get home
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2 minutes ago, Theo said:
I don’t think you need to worry about airflow. Much more significant is how you will fit the number of reeds you need. The first thing you need to do is to make some detailed design drawings showing how you will arrange the reeds and the action.
That's a good start lol. The reason I ask about airflow is because I'm wondering whether I could get the reeds and just stick them on with a small piece of wood to hold it in place and not obstruct the reed.
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Hi
So yesterday I was saying about my idea for making a 40 button concertina. I said I don't mind what ever size it turns out to be. While this is the case I was wondering: although I have to remove the Reeds from their block to tune them anyway would I be able to forget using the Reed block entirely and hold down the reeds using 2 screws at each end and have a hole where the Reed is? I ask because I understand stand reeds work by air trying to escape through them causing them to vibrate that being said I don't quite understand the movement of air.
Thanks
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7 hours ago, Leonard said:
This question by Accordian is posted twice.
I suggest to concentrate all reactions to the other "making a 40 button Anglo".
So this one can be deleted when it's discovered by Paul or Ken.
sry i dont know how i did that. until i got notified of a message on one of my posts
i didnt even know about it
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1 hour ago, Devils' Dream said:
Accordion:
With respect, do you know the saying "dogs breakfast"?
Maybe you will enjoy the endless tinkering, the parts and junkers being readily available, maybe you have the time...
But unless you are blessed by the free reed gods, you are going to end up with ????
Been there.
I try to enjoy playing what I have; if I can't afford it, well ....
oh yeah im not expecting a masterpiece.my plan is to use the bellows from my scarlatti concertina
then for the ends gets some paper and figure out the distance between each reed (at the moment
I've got them in reed block so i may cut up the reed block to fit them best i can or i could cut them into sections like my 30
anglo.then tune the reeds as needed for a 40 button concertina from here I know how much room the reed blocks would need
and so I can make the ends for them based on the size as for the bellows not being the correct size i can make a hexagon from
wood and then a second the first for attathcing the bellows the second for the actual size of the box if you see what i mean and then from there make some
other bits as required for the buttons etc.
at the moment ive got a good idea and am tryng to get some good info about anything else rather than rushing in and making rubbish.
but besides anything else I think it will be quite cool to play something made by myself just knowing the work thats went into it. as well as this
if i design it I can make design choices which will allow me to add or change bits later on for athetic reasons etc.
what I do want to figure out is any deeper information about tuning reeds. I mean if it's litterally "ugh its too high" - files down the tip or end
and bingo its solved then tuning learnt and ive got loads of spare parts as you said but if there is anything else which would come in handy i'd appreciate it
especially voicing reeds as iv'e heard of this but don't have a clue. then again I spose thats what the internet is for.+
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hmm. i see. I wonder if I could figure out how much room the reed pan or reed blocks or whatever i come up with and then use my concertina 30 button as a template in it's shape and scale up as required? hmmm. see I own a 30 button scarlatti sc 30 (I think) / the wooden one. and i got to say its fairly small so I wouldnt imagine that if i made one it wouldnt be huge! (with hope lol)
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hi guys, me again.
got a question for ya.
im still looking to buy a 40 button concertina however that being said they cost way too much. ive got an idea which might save some money buy id like your guys opinion.ive got a 30 button concertina so i'd have the bellows I could ask for some pics online of reed pans 40 button as well as the way the mechanical parts such as the butons and springs work together and make my own version or something similar.
I play piano accordion and have owned quite a few that were terribly out of tune. so ive got a ton of reeds which i could use for this. that being said ive never tuned reeds eitherr. i get the very basics of it is get a file and file a little either at the top or bottom depending on whether you want to lower or higher the pitch.
but yeah what are your guys thoughts? i hear that accordion hybrids arent uncommon and im not looking for the "sound" found in a concertina. it'd be nice to get it sure but beggars cant be choosers.
but yeah any info as to whether you think this would work or any tips would be appreciated as said i have only the basic knowledge of tuning reeds at the moment and so am watching tutorials on line and doing my homework before i go in.
thanks guys!
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hi guys, me again.
got a question for ya.
im still looking to buy a 40 button concertina however that being said they cost way too much. ive got an idea which might save some money buy id like your guys opinion.ive got a 30 button concertina so i'd have the bellows I could ask for some pics online of reed pans 40 button as well as the way the mechanical parts such as the butons and springs work together and make my own version or something similar.
I play piano accordion and have owned quite a few that were terribly out of tune. so ive got a ton of reeds which i could use for this. that being said ive never tuned reeds eitherr. i get the very basics of it is get a file and file a little either at the top or bottom depending on whether you want to lower or higher the pitch.
but yeah what are your guys thoughts? i hear that accordion hybrids arent uncommon and im not looking for the "sound" found in a concertina. it'd be nice to get it sure but beggars cant be choosers.
but yeah any info as to whether you think this would work or any tips would be appreciated as said i have only the basic knowledge of tuning reeds at the moment and so am watching tutorials on line and doing my homework before i go in.
thanks guys!
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7 hours ago, Anglo-Irishman said:
Well, what did you expect? To put it on your knee, turn a handle, and hear "The Stars and Stripes?"
Rome wasn't built in a day, and an instrument as idiosyncratic as the Bandoneon can't even be assessed in a day, either! Even the fairly staightforward piano takes weeks or months to familiarise yourself with.
As Wolf pointed out, the Bandoneon is bisonoric, so you have to press different buttons on the press and the draw to get the same notes. However, the notes may be in a differrnt octave, which would invert the chord. For instance: C major is made up of the notes (low to high) C, E, G. In the other bellows direction, the same C and E might be available, but the most convenient G might be an octave lower, so the chord would come out as (low to high) G, C, E, which is still a C-major chord, but with the notes in a different order, which will make the chord sound slightly different to the C, E, G version.
By the way, why start with C major? On the Bandoneon, the keys of G, A or E major are much more accessible. An Anglo concertinist can play tunes - and harmonise them - in those keys right from the start! Learning to play the same chord on press and draw is - for me, at least - something for the next step in familiarisation.
BTW, in another thread, I recommended the following tutor: http://bandoneon.petermhaas.de/en-grifftabellen/ . It's for a small Bandoneon with 110 tones (like the one I have), but as the author points out, the button layout and the fingerings you learn on the 110-tone instrument can be transferred directly to the 142 and 144-tone versions.
Cheers,
John
Hey John.
I didn't expect to be a master it's just my bandoneon sounds a lot different compared to others and so thought I might be playing incorrectly in some way. As for learning the chords in different directions I personally think it depends on where the chord is positioned compared to the previous.
As well a this a 144 has pretty much everything in each direction. And so if a chord in one direction is a bit tricky you can go for the other direction.
As for the tutor you said about I will definitely give it a look with any luck it might have la cumparsita.
Like said really it's just mine sounds different not in a bad sense but more in if I'm doing something wrong I will correct it. But as said may literally just sound different to others.
Thanks John!
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7 minutes ago, Wolf Molkentin said:
Congrats to having a new instrument abailable which is always exciting. As to a 144 Bandoneon, AFAIK it‘s basically a bisonoric instrument, which means that - at least in the „core“ rows (like of a German concertina or 20 button Anglo) - the notes have to differ from push to pull. Hope that helps as a starter...
Best wishes - ?
Thanks. All help is appreciated. Never thought I would be able to own a bandoneon. Wanted one for a long time.
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Hey guys.
Received my bandoneon today
And am finding it a bit tuff to start
Off eg I'm playing a oompah pattern, c major. As I'm playing it in one direction it sounds different in the other direction. Maybe it's because I'm using different notes and don't realise it.maybe not.
As well as them sounding slightly different they don't have quite the punch I'm looking for. Then again I'm playing it at the second from lowest octave so I will try with a higher octave for more of a punch. But yeah any tips are appreciated.
Ps. I play 144 bandoneon
Looking for 40 button anglo
in Buy & Sell
Posted
Well call me an idiot but I'm an accordion player mostly that being said I bought a scarlatti 30 button and it's great fun that being said I can do any sort of acompanyment with a lot of the songs I'm looking at playing. Eg grandfather clock. I'm looking at playing like toru Kato on YouTube. Besides that although a duet would probably better suit me I'd prefer a anglo due to the bisonoric changes of direction and the layout. As for 38 button anglo's I'm not sure.