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Author Topic: That Corona III Sound  (Read 6118 times)

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Malcolm Austen

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That Corona III Sound
« on: August 14, 2009, 08:55:01 AM »

Sat listening to a Hohner Corona III being played at out local folk club last night I was trying to pick out the individual reeds.  I did a quick search here but could not find anything here although I seem to remember this being discussed before.
How are they tuned?
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george garside

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Re: That Corona III Sound
« Reply #1 on: August 14, 2009, 10:40:19 AM »

Sat listening to a Hohner Corona III being played at out local folk club last night I was trying to pick out the individual reeds.  I did a quick search here but could not find anything here although I seem to remember this being discussed before.
How are they tuned?

 
 same as trichord 3 ie MMM   i.e. 3 voice musette   .the corona 2 (& trichord 2) are effectively 3 row 2 voiceericas.

george
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Malcolm Austen

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Re: That Corona III Sound
« Reply #2 on: August 14, 2009, 10:51:30 AM »

MMM
So is that one reed on the note, one above and one below and if so how many cents typically?
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george garside

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Re: That Corona III Sound
« Reply #3 on: August 14, 2009, 11:41:00 AM »

MMM
So is that one reed on the note, one above and one below and if so how many cents typically?

Thas one for Theo!
g
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rees

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Re: That Corona III Sound
« Reply #4 on: August 14, 2009, 07:28:09 PM »

Typically, one at zero, one at 20 cents flat, one 20 cents sharp.
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Rees Wesson (accordion builder and mechanic)
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waltzman

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Re: That Corona III Sound
« Reply #5 on: August 14, 2009, 08:59:55 PM »

Typically, one at zero, one at 20 cents flat, one 20 cents sharp.

At what point in the scale?
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rees

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Re: That Corona III Sound
« Reply #6 on: August 14, 2009, 09:01:52 PM »

Typically, one at zero, one at 20 cents flat, one 20 cents sharp.

At what point in the scale?

A440
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Rees Wesson (accordion builder and mechanic)
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Theo

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Re: That Corona III Sound
« Reply #7 on: August 16, 2009, 07:45:05 PM »

Typically, one at zero, one at 20 cents flat, one 20 cents sharp.

At what point in the scale?

Over almost the whole scale, the spread is often narrowed on the top three or four buttons on each row.
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Theo Gibb - Gateshead UK

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waltzman

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Re: That Corona III Sound
« Reply #8 on: August 17, 2009, 12:04:10 PM »

Typically, one at zero, one at 20 cents flat, one 20 cents sharp.

At what point in the scale?

Over almost the whole scale, the spread is often narrowed on the top three or four buttons on each row.

Roughly how much would it narrow?  At A 880 wouldn't it be +/- 10 cents to keep the same amount of tremolo?  Would this be called musette tuning?.
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Theo

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Re: That Corona III Sound
« Reply #9 on: August 17, 2009, 12:20:14 PM »

Typically, one at zero, one at 20 cents flat, one 20 cents sharp.

At what point in the scale?

Over almost the whole scale, the spread is often narrowed on the top three or four buttons on each row.

Roughly how much would it narrow?  At A 880 wouldn't it be +/- 10 cents to keep the same amount of tremolo?  Would this be called musette tuning?.
I don't have a figure for it, I just do what sounds right.

The trouble with terms like 'musette' 'swing' 'demi-swing'  etc etc is that they mean different things to different people, so I avoid them as much as possible,  but musette does generally mean a wet tuned three voice MMM setup.  The degree of wetness can vary a great deal, and can be as much as +/- 30 cents
« Last Edit: August 17, 2009, 12:25:52 PM by Theo »
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Malcolm Austen

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Re: That Corona III Sound
« Reply #10 on: August 21, 2009, 10:29:06 AM »

Thanks all for the information, went to the folk club to listen with an informed ear and our local player turned up with a Pokerwork for a change.
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Matthew B

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Re: That Corona III Sound
« Reply #11 on: September 02, 2009, 07:40:01 PM »

Sat listening to a Hohner Corona III being played at out local folk club last night I was trying to pick out the individual reeds.  I did a quick search here but could not find anything here although I seem to remember this being discussed before.
How are they tuned?

I just came across this great story on the Reyes Forum, posted by Corona expert Peter Unbehauen, who I think shows up here now and again.  I particularly liked the bit about "bending the instrument to their wishes" since I think it speaks to a lot of the discussion here about instrument limitations (how many basses, which accidentals, various keys and tuning options, and so on). 


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jb

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Re: That Corona III Sound
« Reply #12 on: September 02, 2009, 07:59:20 PM »

great story, thanks. And the primitive/stupidity stuff is spot on too.
Ry Cooder and Flaco Jimenez are surely one of the great musical collaborations of our times.
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rees

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Re: That Corona III Sound
« Reply #13 on: September 02, 2009, 08:07:59 PM »

Thank you Matthew, Ry Cooder has been my inspiration for many's the moon.

He once spoke to me in a crowded back-stage bar at Edmonton Festival.
"Excuse me" said Ry, as he edged past.

He obviously didn't realise who I was.
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Rees Wesson (accordion builder and mechanic)
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Mike Higgins

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Re: That Corona III Sound
« Reply #14 on: September 02, 2009, 08:45:06 PM »

Quote
Ry Cooder and Flaco Jimenez are surely one of the great musical collaborations of our times.

"He'll have to go" is too wonderful for me to describe, if you haven't heard it yet.
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Re: That Corona III Sound
« Reply #15 on: September 02, 2009, 09:10:38 PM »

'scuse my ignorance but what tuning does Flaco use?
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jb

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Re: That Corona III Sound
« Reply #16 on: September 02, 2009, 09:27:45 PM »

"He'll have to go" is too wonderful for me to describe, if you haven't heard it yet.
Yes that's a belter of a track. My stand-out favourite is their rendition of Woody Guthrie's Do-Re-Mi, on the live album Show Time. Flaco has this great chromatic cascade that he chucks in as a end-line filler. Gets me every time.

what tuning does Flaco use?
standard Corona II GCF and occasional EAD, I think. Someone around here will know the wetness details.

There are youtube clips of Flaco and Ry Cooder, e.g. the soulful how can a poor man stand such times and live, and from the same 1987 concert their Goodnight Irene.
« Last Edit: September 03, 2009, 09:06:47 AM by jb »
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melodeon

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Re: That Corona III Sound
« Reply #17 on: September 02, 2009, 11:05:04 PM »

And for my money, Flaco's brother Santiago is one of the finest accordions in the 3 row Tex Mex style, and one hell of a 2 row player as was his father, Don Santiago.. the founder of the genre.
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Accordion Dave

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Re: That Corona III Sound
« Reply #18 on: September 08, 2009, 01:09:47 AM »

The Ry Cooder comments were quite interesting. I enjoy the music of the Jimenez family.

The sound of Mexican radio stations skipping in on my receiver sounded quite familiar. Except for the language, the music sounded a lot like the Slovenian, German, and Czech music on the local polka programs here along the New York/Pennsylvania border.

I have since accumulated quite a collection of Texas/Mexican border music and the Vallenato (Valley) sound from Colombia, South America.
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rees

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Re: That Corona III Sound
« Reply #19 on: September 08, 2009, 10:13:42 AM »

'scuse my ignorance but what tuning does Flaco use?

Pretty much standard Hohner but dried off just a little.
Hohner standard is often known as Tremolo Italiano whereas most Tex-Mex players use Tremolo Americano.

Many modern players like Steve Jordan have their Coronas dry tuned and then run them through chorus pedals, wah-wahs and other gadgetry.
http://www.youtube.com/watch?v=66MCgzCbW74&feature=related
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Rees Wesson (accordion builder and mechanic)
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