Chromatic x semi-Chromatic

[Augustus]

Hello.

Since anglo concertina 30-buttons has the complete scale notes why is it called SEMI-chromatic?

 

Thanks!

[Ransom]

Because it doesn't have them over its whole range.

[Augustus]

Because it doesn't have them over its whole range.

 

hummmm...

But it is possible to reproduce the sharps and respectives flats perfectly?

I'm sorry but I'm a beginner ...and I'm trying to decide for what concertina buying.

I'd like one anglo which could play any song...

[Anglo-Irishman]

Augustus,

 

The 30-button Anglo is chromatic in the sense that it has all the sharps and flats, at least in the central octaves. But it's architecture is diatonic: The two main rows each have a diatonic scale (usually C and G), arranged in such a way that you can add harmonies by pressing adjacent buttons (like on a harmonica). However, this easy harmonisation applies only to the main keys (C major and G major). The more sharps and flats there are in the key signature, the less easy chords you have. So while it is possible to play a melody in C#, for instance, it is almost impossible to play harmonies with it.

 

So "semi-chromatic" means chromatic with regard to playing a melody in any key, but diatonic with regard to full chording capability being limited to a couple of keys.

 

Cheers,

John

[Augustus]

Augustus,

 

The 30-button Anglo is chromatic in the sense that it has all the sharps and flats, at least in the central octaves. But it's architecture is diatonic: The two main rows each have a diatonic scale (usually C and G), arranged in such a way that you can add harmonies by pressing adjacent buttons (like on a harmonica). However, this easy harmonisation applies only to the main keys (C major and G major). The more sharps and flats there are in the key signature, the less easy chords you have. So while it is possible to play a melody in C#, for instance, it is almost impossible to play harmonies with it.

 

So "semi-chromatic" means chromatic with regard to playing a melody in any key, but diatonic with regard to full chording capability being limited to a couple of keys.

 

Cheers,

John

 

 

 

Thanks so much John! Very nice explanation!

[ceemonster]

the 30-button concertina is actually far more amenable to a far greater scope of chromaticization than the currently conventional configuration allows.

 

this would be achievable by designing and producing a concertina thusly:

 

Step One:

a) eliminating the useless notes below the F under middle C (i.e., the super-low "e," and the super-low "c")--thus freeing up those spaces for doubles of notes you now have only once, in only one direction.

 

Bee) eliminating the useless notes ABOVE high c (for those who can live without such notes). less drastically, one could keep the super-high "d," and eliminate all other notes above high---thus freeing up those spaces for doubles of notes you now have only once, in only one direction.

 

c) eliminating all notes of which you have THREE--thus freeing up those spaces for doubles of notes you now have only once, in only one direction. this will make many anglo users howl in protest. but while i, too, adore the notes that recur three times, if you're even halfway adept, you only NEED two of each---one on the push, one on the pull. this is triage we're talking here....[i would note as well on this point, that even the argentine bandoneon does not have three of each note. the notes recur twice--once on the push, once on the pull. that is more than enough. the reason the bando has all those buttons, is because it has FIVE OCTAVES, NOT because notes are recurring a bunch of times.]

 

 

Step Two:

 

Stragetically placing the now-missing pushes and pulls in the spots vacated by the steps outlined above. You won't get them ALL, particularly on the left side. But things will improve, bigtime.

 

 

you will then have a much more versatile tiny box that will be supple and fluid in the "flat" keys as well as the common concert-pitch keys. your concertine maker may have to make a variations in size to allow for reeds a tad larger than the teeny super-high notes we are getting rid of in this improved version.

 

Voila! some chordal opps may still elude you, but you will be able to much more easily play melodies in a-flat, e-flat, b-flat, etc, with ease and fluidity on this groovy new development in the 30-button bisonoric concertina.

 

this scenario would optimized all the more on 39-key instruments. on a 39-key, you could keep your beloved triple notes, and just implement the other steps i outlined above, plus customizing your extra buttons with an end to giving a double (one in each direction) for every note.

 

i have been working for years on such a custom layout for my long-ago-ordered suttner 39-key, and recently reached what i hoped would be a workable final version, only to find myself wondering if i might rather have a suttner Tenor EC done in its place....sigh.

Edited November 24, 2012 by ceemonster