D/D#s?

D/D#s?

How many D/D# box players are there around this site? How did you come across your box? Did you stumble across it, or was it planned?

Do you play it in sessions?

I’m thinking about approaching Castagnari to see what the cost of a D/D# tuned box would be… no doubt astonomical, but they do sound great…

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sorry - some of that doesn’t make sense

I meant “did you make a concious decision to find one/buy one from the manufacturere?..”.

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Yes, it does, and I’m excited for you ~ considering having a box made. How cool is that. Get excited and tongue tied. You’ve worked hard and earned it I’m sure. And good on yuh for choosing this tuning too. I like to think of it as D/Eb… 😉

Some folks in the past have managed a discount by buying more than on, import hassles and all, and then done even better by selling the extras so that the remaining box for them is either free or a lot less of a financial outlay. I gather that route isn’t easy, and you need to be pretty sure you can sell the remainder, and in the current climate of ‘credit-crunch’ it might not be the easy alternate…

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It would seem as if the D/D# (D/Eb) box is the perfect instrument - the Eb row coming into its own in Eb sessions and for use of the flat keys generally, as well as to provide passing or ornamentational notes. It seems to have things going for it over and above what a C# row has.

So why does the D/D# box seem that less commonly used than the C#?D? Is it harder to ornament from an inner row than from an outer one, or something?

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D/D# is my aspiration too.

a better layout would put the D# row on the outside - I believe that some D/C# american built boxes (Baldoni?) are configured this way.

think of what you could do with a G/D/D# box…..

Posted by .

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Just learn the B/C and stop whining.

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BC is for Neanderthals… 😉

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D/Eb is the thinking person’s box… 😎

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Got mine from Rees Wesson, a 1960s Galanti. This was planned, I’d been looking for one.
I’m at the stage of playing with friends on it but not “in public.”

The only layout chart I’ve come across was at
www.korbo.com/piedcrow/DiagramIndex.htm
but it seems to be “down” at present. Pity, a good look at how the usual main keys work out (no transposing) would have shown why we’re talking about this system. Don’t miss that “bridge” shape in G. Look at the rolls and chords you have too.

Michael at irishdancemaster.com seems happy to put one together. I’ve bought reeds from him and he was very helpful.

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I play a D/D# or D/Eb if you prefer. Or, I just ordered reeds for an empty Paolo Soprani I’ve got.

The reeds I’ve ordered are in that key to play in Eb sessions, and to play with a few friends. I play a C#/D normally, but like the sound of tuning up a semitone.

Most of my style of ornamentation works around grace notes from the C# row - I HAVE tried playing D/D# in the key of D, but I don’t like the ornamentations it opens up for.

American D/C# - Baldoni, Walters Etc. are a bit harder when it comes to ornamentation - I’ve got a D/C# baldoni, and I can’t seem to play the same ornamentations “inward” to the C#-row as I can “outward” on the C#/D.

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“I HAVE tried playing D/D# in the key of D, but I don’t like the ornamentations it opens up for.” Fair enough Larshansen, I just wrote “no transposing” to emphasise that I was talking about “native” D/D#.
So far it seems to me that most of the rolls are fairly satisfactory, though sadly B is one of the weakest with G as the only dip note. Ds are nice triangles so long as you use the pull D. (D and G being the “magic notes” of course.)

How do rolls work out in practice on the C#/D? What “dip” note would you use for B and E (particularly when playing in G)?

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I think the dip note is Bb for a B roll and Eb for an E roll, on the C#/D.

I could be wrong - I’ll check tonight.

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Sean Garvey has a 1960s Paolo Soprani D/D# on his website, open to “Offers” at present. (Walkinstown, Dublin.)

http://www.allaboutaccordions.com/secondhand.htm

(I’m posting this more as a matter of removing temptation than due to altruism!)

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ceolachen- Thinking person’s box

What are they thinking?

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That comment intrigued me. I assume you just meant it as a straightforward sort of comment Ceolachan, but it could also be taken as meaning “a theorist’s box,” one for someone who has spent too much time studying the layout charts, and should just get on with playing some tunes!

(But for myself I’m just enjoying playing D/D# because it seems so easy and natural compared with other systems!)

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Tom, I just love D/D# or Eb, and a lot of those I’ve hung around with in the past played boxes like this. The comment was just a daft aside of a tired mind, tongue in cheek, but I have generally tended to think of it as Eb instead of D#… But hey, my head is curiously wired… 😉

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It isn’t like I’ve ever avoided the company of B/C players, or D/G, or C/F, or even club and piano accordion players… 😀

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Besides, we all know that all our serious problems are sourced to fiddlers…

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Oh No! I’m (primarily) a fiddler!

(Thought that was how you were meaning it ceolachan, I was just playing with an alternative interpretation.)

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For someone not too well into scales, one has to wonder why all the D/D# problems ?. What would be achieved by using a C/C# instead. I, possibly wrongly, thought that all the note on a C# scale were sharp, posibly except one. If the inside has all the #, surely it should possible to get most common scales that way