baritone Anglo?

[david fabre]

There is a sound file of a baritone anglo on the Tedrow website :

 

http://hmi.homewood.net/bari3/baritone.mp3

 

Sorry, maybe it's just me David, but to me that actually sounds more like a Piano Accordion than a Concertina!

 

It is indeed presented as a baritone concertina on Bob's website.

There are also pictures and a second sound file here :

 

http://hmi.homewood.net/bari3/

 

What puzzles me is that some pictures show a six-side instument and other a eight-side one.

Maybe Bob could clarify.

 

David

[david fabre]

Here are two recordings. Same recording equipment, same concertina layout, same day, same person.

 

Tedrow Baritone G/D (Drop D): http://belegaer.com/SiBeagTedrow.mp3

Dipper Baritone G/D (Drop D): http://belegaer.com/SiBeagDipper.mp3

 

Given the quality of the instruments, any issues are the fault of the player.

 

Thanks for posting these.

I had a look at your layout. It looks very, very special to me. I'm particularly puzzled by the third

row arrangement. Could you explain how you ended up with this ?

 

One question : the "cuts" you play sound somehow longer than as most players will do them.

Is it due to personnal esthetic choice or is it imposed by the instrument ?

[Dave Weinstein]

I had a look at your layout. It looks very, very special to me. I'm particularly puzzled by the third

row arrangement. Could you explain how you ended up with this ?

 

Well, the short answer is, "I made it up". The longer answer is, I started on a 20 button G/D, so I never had a 3rd row to get used to. The driving principle on this layout is options. If it is in G or D, it is likely to be available in both directions. If it is not, then it is on the instrument only once. So the third row is either those non-G/non-D notes, or additional fingerings for notes in G or D>

 

One question : the "cuts" you play sound somehow longer than as most players will do them.

Is it due to personnal esthetic choice or is it imposed by the instrument ?

 

Stylistic. I'll record something faster paced.

[david fabre]

I had a look at your layout. It looks very, very special to me. I'm particularly puzzled by the third

row arrangement. Could you explain how you ended up with this ?

 

Well, the short answer is, "I made it up". The longer answer is, I started on a 20 button G/D, so I never had a 3rd row to get used to. The driving principle on this layout is options. If it is in G or D, it is likely to be available in both directions. If it is not, then it is on the instrument only once. So the third row is either those non-G/non-D notes, or additional fingerings for notes in G or D>

 

I can understand this ; but the standart system for third row (either Wheatstone or Jeffries) was precisely designed following

this principle. So why not just have taken a standart G/D third row, or something related and shifted to match the range of your instrument ?

[Dave Weinstein]

I can understand this ; but the standart system for third row (either Wheatstone or Jeffries) was precisely designed following

this principle. So why not just have taken a standart G/D third row, or something related and shifted to match the range of your instrument ?

 

Had I played a 30 button instrument, I probably would have. Instead, I put things where I thought I'd need them.

 

So far, it seems to have worked out. I make fairly heavy use of the interior (i.e. the "clever finger") 3rd row buttons on the right side, and moderate use on the left.

[Chris Timson]

They're something special for song accompaniment. Here's mine.

 

Chris

WOW! an absolutely gorgeous looking instrument Chris!

 

What I need to know now is ...... where, on the net, can we hear it?

Somewat belatedly, I've put up a recording on this post here.

 

Chris

[Ptarmigan]

Somewat belatedly, I've put up a recording on this post here.

 

Chris

Yes Chris I found IT

 

Very tasty sound indeed. I love that last full, rich chord especially.

 

Great stuff & TA very much.

 

Cheers

Dick