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 1 
 on: Today at 11:03:03 PM 
Started by Clive Williams - Last post by Pete Dunk
I don't get why you'd need to tape over a D at all?

Neither do I. A suspended chord is a chord with the third missing so D7sus is D7 without the F#. You can add a G to make it D7sus4 or an E to make it D7sus2 or arguably D9sus. Guitarists use little riffs of D, Dsus4, D, Dsus2, D all the time, a bit like playing a turn, same with the A chord, they are standard decorations. On any box with the thirds taped off, all of the chords are sus chords by default. A guitarist calls thirdless chords 'power chords', much loved in heavy rock circles.

Edited to add: I think we are going well off topic here and should move this to a new thread if needed.  (:)

 2 
 on: Today at 10:50:03 PM 
Started by Clive Williams - Last post by Tone Dumb Greg
CDG is D7 sus4. So D with C5 chord is right. You are correct in that it doesn't have the A in there, so if you have no thirds, you can play D5 and C5 at the same time over a D bass. I guess it depends on the individual box to see how overpowering that is, but I know that Toon was talking about chord combinations at the Wensleydale workshops - saying how often he uses them.
I don't get why you'd need to tape over a D at all?

I was thinking in pokerwork terms. Your solution works with  thirdless chords (thirds stop?) to give D7sus4, but that's not what Pete said. No mention of 4, or 6 come to that,. he just said D7sus (maybe that should be Dsus7) and I don't see where you get the actual D7 (CDF#A) without any thirds.

The only way, I can see, to get the chords as (possibly) stated is to tape off one of the D chord F#s.

I wonder if you're right. I look forward to finding out.

 3 
 on: Today at 10:25:45 PM 
Started by Clive Williams - Last post by playandteach
CDG is D7 sus4. So D with C5 chord is right. You are correct in that it doesn't have the A in there, so if you have no thirds, you can play D5 and C5 at the same time over a D bass. I guess it depends on the individual box to see how overpowering that is, but I know that Toon was talking about chord combinations at the Wensleydale workshops - saying how often he uses them.
I don't get why you'd need to tape over a D at all?

 4 
 on: Today at 10:16:01 PM 
Started by Mark Leue - Last post by Mark Leue
Ah poop.  I always say single voice when I mean two voice... Because It only has the one voice with tremolo!!

I also kept calling my baffetti III a two voice. 

I had some minor complaints about the MM voice on the Baffetti Carnival, particular problems on the tonal differences between the rows, but there was a more subtle problem with it, I just couldn't play it well, and I'm not sure why. I suck on that particular box more often and to a larger degree .

Spent three hours playing at the Button Box today. So far I like the small TWO voice Castsgnari Brincu playability and feel wise. But I like the hand finished reeds on a Benny he had there.  Playing with the idea of ordering something like the Brincu but with the hand finished reeds and a low G set up. I defi9netly like the smaller key layout and not sure if its my imagination, but smaller boxes _seem_ to sound brighter, which I crave.

As weird as this sounds, I'm not entirely happy with the very rich sound of the basses on the castagnaris. I want my basses to sound more percussive and punchy.  that may be an "under the ear" problem though.  It may sound different a few feet away.   

 5 
 on: Today at 09:58:23 PM 
Started by Clive Williams - Last post by Tone Dumb Greg
D bass with the C chord works as D7 sus4. D bass with its own chord would be the easiest resolution. If you did need the 7th then it would have to be over the C bass, or use a C from the right hand. It's possible I've got this wrong as I play GC and might have twisted the answer.

D7sus must involves CDA in some inversion, or other.

D bass with C5 chord gives CDG. Can't be that.
C bass with D5 chord gives CDA. Works fine. But D7 is CDF#A. That means taping off only one D. Never met anyone who did that.

 6 
 on: Today at 09:05:06 PM 
Started by Clive Williams - Last post by playandteach
D bass with the C chord works as D7 sus4. D bass with its own chord would be the easiest resolution. If you did need the 7th then it would have to be over the C bass, or use a C from the right hand. It's possible I've got this wrong as I play GC and might have twisted the answer.

 7 
 on: Today at 08:20:14 PM 
Started by Clive Williams - Last post by Tone Dumb Greg
Here's a version with slightly different chords, D7sus sounds sweet if you have thirdless chords.
...|"D7sus"DEG2"D7"G2|...

I'm intrigued as to how you can follow D7sus with D7. It seems to involve a serious degree of premeditation.
I assume D7sus is C bass with a D5 (thirdless)chord and D7 is a C bass with a full D major.
At first I thought you meant play a box with a thirds stop, but that doesn't work here. Do you tape over one F# and leave the other one working, or do you have a neater solution (or have I got it completely wrong)?

 8 
 on: Today at 07:56:02 PM 
Started by Clive Williams - Last post by Pete Dunk
I'm using a D-G Hohner Polkerworks (same as in the video)...so I'm assuming I "don't" have thirdless chords?! This will take me a while to work through as I'm a slow starter (but determined)...so how would the chords be if I just followed this youtube version to the T (if indeed I'm right about not having thirdless chords).
Thanks again.

If you can manage to follow the video you can't go wrong really, regardless of whether the chords have thirds in or not. The only proviso is that the chin end buttons on the treble side of your box are laid out the same as the one Bill is playing, the first buttons of each row on a Pokerwork can vary from box to box, but the chances are they will be the same.

Keep us updated with your progress and if you decide to explore the written music use Lester's ABC file not mine! Just ask if you want the ABC made into a printable sheet of music. Have fun and welcome to the forum!

 9 
 on: Today at 07:24:40 PM 
Started by Mark Leue - Last post by Theo
I suggest approaching your visit to The Button Box with an open mind.  Play as many boxes as you can that are in the size/spec that you think you want, and try one or two that aren't as well.

 10 
 on: Today at 07:00:27 PM 
Started by Ted - Last post by Adam-T
I usually call them accordions.
In Ireland a one-row box is a melodeon, everything else is an accordion.
In America (Cajun/Quebecois) a one row box is an accordion.
In France accordeon.
For some reason, in England they are melodeons.

I`ve always seen it as -

if its a Bi-Sonoric (Different note on the pull to the push) button box that`s also Diatonic , it`s a Melodeon, from a tiny Castagnari Mignon to a 5 row steirische Harmonika

If it`s Chromatic and Unisonoric  (same note on suck`n`blaw) regardless of whether it has buttons or keys , it`s an accordion

never knew where to place Bisonoric Chromatics like Double-Rays, Shand morinos, Irish Paolos etc , tend to think of them as Chromatic melodeons

I`m probably wrong though . if all melodeons were 1 rows, this would be a very bleak forum .......

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