96Bass
Well-known member
Just curious what the standard reed configuration and tuning is of the bandoneon.
Bandoneon Reeds and Tuning
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A quality Bandoneon uses the the same type of reeds used in quality PA's & Button boxes. They are just in a different configurations
to match the keyboard layouts. I'll try to find some older pic's of the layouts. I've always been in awe of a talented Bandoneon player
with a quality model exceed the accordion models of both PA & Button types capabilities ----
to match the keyboard layouts. I'll try to find some older pic's of the layouts. I've always been in awe of a talented Bandoneon player
with a quality model exceed the accordion models of both PA & Button types capabilities ----
Alan Sharkis
Prolific poster
Don't forget this one ...
... and this one ...
... and both of these musicians have been known to play a little accordion as well
... and this one ...
... and both of these musicians have been known to play a little accordion as well
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Another example, with good look at right hand.
Sebastian Bravo
Active member
the reed configuration is LM for most of the notes, MM for the highest ones in the right hand. That's why the LM register in an accordion is called "Bandoneon". But they don't sound similar, because of the reeds difference.
The reeds on the bandoneon are mounted in long single plates with lots of reeds, and the shape of each reed is rectangular, from botton to tip. Each reed is tiny, compared to accordion reeds. The plates are held to the wooden reedblock with nails and leather as a gasket. All that configuration togheter makes the sound sharp and bright, the disctintive bandoneon sound.
In the accordion, the reeds are individual plate for each note, and the reeds are bigger, too. The shape of the reeds is different, getting narrower to the tip. The reed plates are held with wax. That's why they sound warmer than the bandoneon.
The bandoneon is diatonic, the note changes with the direction of the bellows. That helps getting less weight and more tessitura with less reeds, compared to the accordion, that needs lots of reeds for each key.
The tuning is mostly, 442Hz in Argentina. Original tuning is always higher (445Hz and even more in some cases) and that's why most of the old bandoneons in Argentina have deep scatches and tuning marks in all the reeds, to achieve the 442Hz tuning.
The reeds on the bandoneon are mounted in long single plates with lots of reeds, and the shape of each reed is rectangular, from botton to tip. Each reed is tiny, compared to accordion reeds. The plates are held to the wooden reedblock with nails and leather as a gasket. All that configuration togheter makes the sound sharp and bright, the disctintive bandoneon sound.
In the accordion, the reeds are individual plate for each note, and the reeds are bigger, too. The shape of the reeds is different, getting narrower to the tip. The reed plates are held with wax. That's why they sound warmer than the bandoneon.
The bandoneon is diatonic, the note changes with the direction of the bellows. That helps getting less weight and more tessitura with less reeds, compared to the accordion, that needs lots of reeds for each key.
The tuning is mostly, 442Hz in Argentina. Original tuning is always higher (445Hz and even more in some cases) and that's why most of the old bandoneons in Argentina have deep scatches and tuning marks in all the reeds, to achieve the 442Hz tuning.
Sebastian Bravo
Active member
modern bandoneons are made in a weird C-Griff layout. I have a client who bought a Pigini. It's more convinient that the original button layout, the C-griff makes more sense.
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In the US a version of the Bandoneon called a Chemnitzer Concertina is very popular with a different key layout & diatonic.
Patek Concertina ā ConcertinaMusic.com
QUICK LINKS | Serial Number List | Otto Schlicht Database | MANUFACTURER BACKGROUND In 1880, Otto Georgi emigrated from Chemnitz, Germany to Chicago, Illinois where he played, taught, promoted, imported and published music for the chemnitzer concertina. In 1902 he partnered with Louis Vitak to...
concertinamusic.com
It's popular for "old time" music around here played by the German-American people who are called "Dutchmen." Go figure. I bought one but find it difficult to play, awkward fingering. I'll probably sell it. āŗ
96Bass
Well-known member
Hello Sebastian, Thank you very much for your explanation. This was exactly the information I was seeking.the reed configuration is LM for most of the notes, MM for the highest ones in the right hand. That's why the LM register in an accordion is called "Bandoneon". But they don't sound similar, because of the reeds difference.
The reeds on the bandoneon are mounted in long single plates with lots of reeds, and the shape of each reed is rectangular, from botton to tip. Each reed is tiny, compared to accordion reeds. The plates are held to the wooden reedblock with nails and leather as a gasket. All that configuration togheter makes the sound sharp and bright, the disctintive bandoneon sound.
In the accordion, the reeds are individual plate for each note, and the reeds are bigger, too. The shape of the reeds is different, getting narrower to the tip. The reed plates are held with wax. That's why they sound warmer than the bandoneon.
The bandoneon is diatonic, the note changes with the direction of the bellows. That helps getting less weight and more tessitura with less reeds, compared to the accordion, that needs lots of reeds for each key.
The tuning is mostly, 442Hz in Argentina. Original tuning is always higher (445Hz and even more in some cases) and that's why most of the old bandoneons in Argentina have deep scatches and tuning marks in all the reeds, to achieve the 442Hz tuning.
Robert
Evan
Member
Jim D. Can you advise me if Constantini plays a bisonoric or unisonoric chromatic bandoneon? I'm too unfamiliar with bandoneons to be able to distinguish from watching and listening to his youtube videos.
mandojoe
Newbie
I just sent my 1930s Cardenal bandoneĆ³n to Liberty Bellows for tuning and servicing. They told me that it was tuned to 443Hz and asked if I wanted to keep that or have it tuned to 440. It seemed a good idea to have it at 440. But, of course, this is all new territory for me: so, is there any reason why I should leave it at 443?
Dingo40
Been here for ages!
I'm not an expert but tuning issues occasionally surface here and my recollection of the general consensus is you should stay in tune with whatever the tuning is for the group you intend to play with, be that 440, 442, 443, whatever.
Being noticeably out of tune with others in your musical group is apparently highly undesirable (being unpleasant on the ear).
Personally, I would imagine a tuning of 443 among a group of players favouring 440 would be quite objectionable
.
Being noticeably out of tune with others in your musical group is apparently highly undesirable (being unpleasant on the ear).
Personally, I would imagine a tuning of 443 among a group of players favouring 440 would be quite objectionable
.
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Klaus Gutjahr
Newbie
Hello Friends,
I play, teach and build the bandoneon. I've finished my profession as a teacher on the University of arts in Berlin 1975. I still playing 65 years. If any body like to get real informations about my production of these instrument or my music, you can look on my Website. Under my name, you can find all informations. Also you can write me in these community.
I play, teach and build the bandoneon. I've finished my profession as a teacher on the University of arts in Berlin 1975. I still playing 65 years. If any body like to get real informations about my production of these instrument or my music, you can look on my Website. Under my name, you can find all informations. Also you can write me in these community.
