Bastari Hayden Duet Bandoneon!

[ragtimer]

Here's a photo for comparison, showing the Treble (RH) ends side-by-side of a modern Stagi Hayden DUet 46-key, and my "new" (vintage 1980) Bastari Hayden Bandoneon with 67 keys.

 

Note that on the Bastari, the sharp and flat buttons are black, like on some Lachenal ECs. Also note there are as many on the "flat" (left) side as on the "sharp" (right) side.

 

And note that the Bastari isn't that much bigger on a side than an apex-to-apex diamter of the Stagi. Not that "not much bigger than a Stagi" is a great brag, but jsut in case you expected somethign really gross ...

 

I hope to upload more photos of the action, reed banks, etc. very soon. --Mike K.

[JimLucas]

'How to play your bandoneon' websites recommend supporting each end of the bellows on a knee, then opening and closing the bellows by moving the knees apart and together.

... I don't see how the knees could really push on the ends....

Have you tried installing

knee-straps

?

[ragtimer]

'How to play your bandoneon' websites recommend supporting each end of the bellows on a knee, then opening and closing the bellows by moving the knees apart and together.

... I don't see how the knees could really push on the ends....

Have you tried installing

knee-straps

?

You put a smiley face on that, but I'd guess someone has tried knee straps. They really would facilitate loud playing.

 

Not that I'd want to use knee or shoulder straps -- I really like the ease of picking up a tina, slipping the hands thru the straps, and you're good to go. And setting it down after playing (or to answer the phone, etc.) is even quicker.

 

I have a few junker accordions of various sizes that I've tried playing, but trying to get in and out of all those straps just turns me off (aside from the fact that I dont' know how to adjust the straps for comfort and ease of playing). In that time I could get my euphonium out of the case and ready to play, or maybe even put a saxophone together.

 

The concertina -- fast-food music -- grab-n-go!

 

BTW, I read that Argentine bandoneonistas, to get a strong accent on a note or chord, will slam one end onto a knee. Really. Yes, I tried it once or twice, didn't like it. --Mike K.

Edited October 10, 2007 by ragtimer

[m3838]

'How to play your bandoneon' websites recommend supporting each end of the bellows on a knee, then opening and closing the bellows by moving the knees apart and together.

... I don't see how the knees could really push on the ends....

Have you tried installing

knee-straps

?

You put a smiley face on that, but I'd guess someone has tried knee straps. They really would facilitate loud playing.

 

Not that I'd want to use knee or shoulder straps -- I really like the ease of picking up a tina, slipping the hands thru the straps, and you're good to go. And setting it down after playing (or to answer the phone, etc.) is even quicker.

 

I have a few junker accordions of various sizes that I've tried playing, but trying to get in and out of all those straps just turns me off (aside from the fact that I dont' know how to adjust the straps for comfort and ease of playing). In that time I could get my euphonium out of the case and ready to play, or maybe even put a saxophone together.

 

The concertina -- fast-food music -- grab-n-go!

 

BTW, I read that Argentine bandoneonistas, to get a strong accent on a note or chord, will slam one end onto a knee. Really. Yes, I tried it once or twice, didn't like it. --Mike K.

 

 

It's not really slamming it onto a knee. It's resting it on the knee and bouncing the knee with it, that gives strong accent.

It was what sold the whole idea to me. Watching "Forever Tango" I noticed those small square accordions, and the way they were throwing them around. I really liked the seeming ease of playing. If I only knew it's not accordion.

Too late now.

BTW, "Forever Tango" was back in town after some 10 years absence. I noticed how seriously aged those players. Back then they were in prime time, older suave gentlemen. Now - gray haired , bald seniors, trying not to move too much. Makes you think.

[inventor]

In these yer parts of Zummerzet they say "Hay as in Silage, not Straw as in Bales".

Inventor

[ragtimer]

It's not really slamming it onto a knee. It's resting it on the knee and bouncing the knee with it, that gives strong accent.

You mean raising your heel off the floor, on your toes, then dropping the heel back onto the floor?

Tried that, gave a "jiggle" to the tone, but not an accent.

It was what sold the whole idea to me. Watching "Forever Tango" I noticed those small square accordions, and the way they were throwing them around. I really liked the seeming ease of playing. If I only knew it's not accordion.

"Small" being a relative term -- smaller than most any accordion, bigger than most concertinas.

My Hayden "Bandatina" or "Concertoneon" is about 8" square. Still beats schlogging an accordion around one's neck and sholders.

BTW, "Forever Tango" was back in town after some 10 years absence. I noticed how seriously aged those players. Back then they were in prime time, older suave gentlemen. Now - gray haired , bald seniors, trying not to move too much. Makes you think.

Sounds like hearing '60s vocal folk groups like Kingston Trio, Limelighters, or PP&M nowadays. We remember their effortles tenor voicees, but today they come out as baritones and basses. Still a nice blend. When they start to sound like the proverbial "chorus of sea lions" it's time for them to retire :-)

Edited October 10, 2007 by ragtimer

[m3838]

You mean raising your heel off the floor, on your toes, then dropping the heel back onto the floor?

Tried that, gave a "jiggle" to the tone, but not an accent.

 

As with everything it needs practice and technique.

I was able to do it sometimes reasonably OK with my C/F Club, although I consider my playing technique lousy.

I was even able to do it with my Jackie and liked the result.

It's like:

Whack-whack-whack-whack-gulp

La-la-la-laaaa-la

Whack-whack-whack-whack-gulp

La-la-la-laaaa-la

 

It's fun. Send your family away though.

[ragtimer]

The odd button is the lowest-left LH one -- to left of the (normal) low F, should be Eb, plays F#. This fills in the bottom octave chromatically (there a NO gaps in either hand, top or bottom), but is of limited usefulness -- hard to make an F# major or minor chord with it, or an F#-A-C diminished (which would sound like the proverbial "chorus of sea lions" down there anyway).

Actually, to be technically correct, there is one chromatic gap in the LH coverage. The highest note is B above Midddle C, but there is no Bb below it.

 

The RH is fully chromatic.

 

As for calling the Bastari 67 a Bandoneon -- it looks like a B., is built like a B., has B.-type action, plays like a B., and sounds like a B. But for purposes of this discusssion group, I'll just call it a concertina. And certainly out in the real world I call it a C., since nobody has heard of a B.

--Mike K.

[JimLucas]

As for calling the Bastari 67 a Bandoneon -- it looks like a B., is built like a B., has B.-type action, plays like a B., and sounds like a B.

Sounds like a real

son of a B

!

[m3838]

As for calling the Bastari 67 a Bandoneon -- it looks like a B., is built like a B., has B.-type action, plays like a B., and sounds like a B.

Sounds like a real

son of a B

!

And in bandoneon circles Bandoneon is often refered to as Concertina.

[ragtimer]

And in bandoneon circles Bandoneon is often refered to as Concertina.

Well, that's more accurate than "Tango Accordion", which I often see.

 

And I understand that in the Chicago area, a "concertina" is most likely a Chemnitzer, which is more like a bandoneon.

 

Both are essentially German Anglos on steroids

[ragtimer]

I hope to upload more photos of the action, reed banks, etc. very soon. --Mike K.

I've posted a whole slew of photos of the insides, under "Instrument Construction and Repair."

--Mike K.