Bandoneon Price, Where and How to Buy Bandoneon
The Bandoneon Price depends on the type of Bandoneon you want to buy. The equation is simple: if you want to learn to play the
1 October 2024
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The equation is simple: if you want to learn to play the bandoneon, you need to have a bandoneon. But do you know which is a good bandoneon price to pay for?
A very common problem is wanting to learn the bandoneon but not knowing where and how to buy a bandoneon.
Another problem typical of beginners is not knowing what the right bandoneon price they should pay.
But there is another type of problem: which bandoneon to buy?
Not everyone knows that there are different types of bandoneons, with different keyboard layouts. The bandoneon traditionally used in tango (the so-called bandoneon 142) is a rare instrument outside of Argentina.
On the contrary, in Europe there is a high availability of instruments with a different keyboard layout.
So, the question is: which instrument is best for you?
Before deciding to buy a bandoneon, it is good to know the various types of instruments existing. Each type has its specific bandoneon price, as well as specific technical characteristics.
Without a guide it is very easy to make a wrong purchase.
instead an informed purchase is the first step to start studying the bandoneon.
This text is an help to solve these problems that are quite frequent for those who live outside Argentina. A lot of people in Europe, Canada, the USA, Japan or South Korea would like to play bandoneon.
In this guide you will therefore find information on which kind of bandoneons exist, the characteristics of each type of bandoneon according to the repertoire you want to play, the best bandoneon price indicated for each type, how and where to find a bandoneon.
Finally, a cost simulation in case you want to buy a bandoneon to restore.
The goal is to allow you to make a happy and intelligent purchase.
In this guide I refer mainly to bandoneons built in Germany before World War II (pre-War).
The bandoneons built during or after World War II are of significantly lower quality. Although professionals avoid post-War bandoneons, they can be useful for starting to study because of their lower price.
Unfortunately, many sellers take advantage of people’s ignorance and sell post-War instruments at prices comparable to pre-War ones.
Be very careful, carefully examine the photos before buying and if possible get advice from someone competent. At the end of this guide you will find a section to help you distinguish pre-War from post-War bandoneons.
This article refers to technical terms that may be incomprehensible to those who are new to the bandoneon.
To help understand the text I wrote the page Bandoneon Terminology.
In this page you’ll find a list of the terms specific to the bandoneon and the relative explanation.
There are different types of bandoneons.
The family is mainly divided into two categories: bisonoric and unisonoric ones.
The bisonoric bandoneon is so called because each key produces two different notes depending on the direction of the bellows, that is, whether I am opening or closing.
This means that to play the instrument it is necessary to learn the layout of the notes of four keyboards (two arrangements for the right keyboard and two for the left keyboard).
The bandoneon initially was a diatonic instrument to play only in certain keys, and had few bottons. Some notes were available only opening and others only closing, as in the case of the concertina, the diatonic accordion or the mouth harmonica.
Over time, keys and notes were added to make the instrument chromatically complete both when opening and closing. But the characteristic of changing the key pattern was maintained.
The advantage of this key arrangement is that there are two execution patterns for the same musical passage. Therefore, what may be difficult when opening may be easier when closing and vice versa.
The disadvantage is that the keyboard layout does not follow a real logic either in opening or closing. The keys have a rather random order, except for a few limited situations. You must therefore memorize the position of each note for each keyboard by opening and closing.
Once you have overcome the initial learning curve and learned the layout of the keys, playing any bisonoric bandoneon becomes natural.
How long does it take to learn the keyboard of a bisonorous bandoneon?
The time needed to learn the keyboard is entirely personal: for some it takes just a few weeks, for others it takes a few years.
The most popular bisonoric bandoneon is the 142 Rheinische Tonlage model, which is the typical one in Argentina and in tango.
The bandoneon 142 is usually the most sought-after instrument for two main reasons.
In short, the 142 bandoneon is the most popular system in the world and most bandoneon players and teachers play and teach this fingerboard scheme.
Anyone who wants to play the bandoneon because they want to play tango, want to use the 142 system adapted sheet music, or simply want to play the same bandoneon that most bandoneon players play, should consider purchasing this system.
The price of a 142 bandoneon ranges from $2,000 to $6,000 or more.
If you want to learn more about the fingerboard of the 142 bandoneon, I have written a specific article dedicated to the keyboard layout of the 142 Rheinische bandoneon.
Another model of bisonoric bandoneon is the 144 Einheits Bandonion which was invented in Germany in 1924 to establish a standard for bandoneons since at the time there were so many different keyboard schemes.
Although few people play it, the 144 Einheits is still an excellent system because it is an evolution of the 142 and other systems available at the time.
The left keyboard is chromatically complete both in opening and closing (unlike the Rheinische which lacks some notes when opening or closing).
Instead, the right keyboard has the “low” G and G sharp, useful for playing violin repertoire.
The 142 and 144 systems are somewhat similar.
The right keyboard of these two systems is practically the same, while the arrangement of the lower notes in the 144 system changes, where they are closer together.
As for the cost, the 144 bandoneon is available at much more accessible costs than the Rheinische.
The 144 bandoneon is a system that is currently not very widespread, despite being an excellent system. I played this system for many years before switching to the 142 bandoneon.
There is a certain amount of literature available: there are some specific methods for this bandoneon (for example the methods by Walter Porschmann, Heinz Schlegel, Peter Fries) as well as several scores.
The 144 system was the most popular system in Germany from 1924 onwards, and it also had some virtuosos. I have dedicated a specific article to Walter Porschmann, the forgotten virtuoso of the 144 bandoneon.
Furthermore, not everyone knows that one of the first pioneers of jazz bandoneon, Fred Dompke, also played the 144 bandoneon.
In terms of sound, the Einheits generally have a 3-reeds arrangement (that is, pressing the key causes three reeds to vibrate simultaneously) and the sound has tremolo, like the musette accordion.
Because of the tremolo, the 144 bandoneons are not suitable for playing tango, but they are quite good for playing valse musette, accordion repertoire, folk, jazz, baroque music.
Einheits “in II” without tremolo do exist, but they are very rare. I have one. Generally, those who have these instruments keep them and do not sell them, given their extreme rarity.
These rare instruments are good for tango as well.
Einheits 144 instruments are generally larger and heavier than a 142 bandoneon. This changes the playing technique a little, but not by much. However, I personally prefer the bandoneon to be as light and small as possible, and this is one of the reasons why I switched to the 142 bandoneon.
To conclude: those who want to play the bandoneon but not necessarily tango can consider playing this system.
The price of a 144 Einheits bandoneon ranges from $500 up to $3,000 (rarely more) and there is usually a high availability of these instruments in Europe, on the Ebay marketplace.
The bisonoric bandoneon is also called diatonic bandoneon, but this is an incorrect term.
Diatonic in fact means that it only has the notes of a certain musical scale and does not have all the alterations, while the bisonoric bandoneon is chromatically complete both by opening and closing the bellows, and this is true for both the 142 and 144 systems.
The unisonoric bandoneon produces the same note by opening and closing the bellows.
Generally, unisonoric bandoneons are much easier to learn. The keys emit the same sound at opening and closing and have a simple, logic disposition.
The most widespread unisonoric model is the Peguri system. This bandoneon was developed in France starting from the 142 system.
Peguri was a French accordion player who modified the 142 to give the same key the same note at opening and closing and to arrange the notes in a serial order, that is, with the same arrangement of the button accordion.
I have dedicated a specific video to the Peguri bandoneon: it is an interview with Olivier Manoury, one of the greatest experts in the world of Peguri chromatic bandoneon.
The sound of a Peguri chromatic bandoneon is exactly the same as that of a 142 bandoneon.
The Peguri and the 142 are externally the same, and they also weigh the same.
The Peguri chromatic bandoneon is not the only unisonoric system: there is also the Kusserow system and some others, such as the “hybrid” accordion-bandoneon.
The Kusserow is completely different from the Peguri.
It has its own keyboard, different from 142 system, and generally is larger than the others.
The bandoneon expert Karl Oriwohl was a great Kusserow player.
Unisonoric bandoneons are generally suitable for those who want to approach the bandoneon but do not want or cannot dedicate much time to learning the complex and chaotic keyboard of the bisonoric bandoneons.
The unisonoric bandoneon is very intuitive, allows you to play quickly in all keys, and is therefore very suitable for those who want to improvise with the bandoneon, as well as for accordionists, pianists or any other instrumentalist who needs to quickly learn a repertoire with the bandoneon.
Many Peguri bandoneon players (Olivier Manoury, Gianni Iorio, Lysandre Donoso, William Sabatier, to name a few) demonstrate that with the Peguri system it is possible to play any piece originally written for the 142 system.
However, not everyone agrees with this point of view, for example in this article I talked about some insurmountable technical problems related to the Peguri bandoneon. I have no direct experience with the Peguri system, so I will limit myself to reporting this point of view as well.
The price of a Peguri unisonoric bandoneon can vary, starting from $3,000 and up.
Kusserow systems are much more affordable (you can find them starting from $600).
But very few people play it in the world. I personally do not know any bandoneon player who currently plays this system.
The unisonoric bandoneon is also called chromatic bandoneon, but this is an incorrect term.
In fact, both the bisonoric bandoneon and the unisonoric model are chromatically complete both when opening and closing the bellows.
The most famous brand of bandoneons is Alfred Arnold, or AA or Doble A.
The Alfred Arnold company produced 142, 144, unisonoric bandoneons and concertinas from 1911 until 1949, when the GDR decided to switch production to diesel engine components.
The Alfred Arnold Bandonion und Konzertina Fabrik produced tens of thousands of instruments, most of which exported to Argentina and Uruguay. I wrote an article about the history of the bandoneon in Germany during and after World War II.
In addition to making the AA bandoneons, this factory also produced the Premier instruments, and also manufactured for other manufacturers or importers such as Campo, Meinheld & Herold (3B), Tipico and some others.
Therefore, all bandoneons with these brands have almost similar, often even identical, construction quality.
The average cost of a 142 Rheinische Doble A is around $4,500. In Argentina you can find playable instruments for $3,000 or $3,500, while in the USA, Canada or Europe it is very difficult to find a Doble A or a Premier in playable condition for less than $5,000.
The second most important brand of bandoneons is ELA, or Ernst Louis Arnold.
ELA also produced the Germania, Cardenal, Concertista, Tango, America, Echo and C.B. Arnold bandoneons (the latter are only unisonoric Kusserow systems).
The ELA company precedes the AA from a chronological point of view, because its production began in 1864 and stopped in 1945, when it converted into an accordion factory, the Klingenthaler Harmonikawerke.
Bandoneon players say the ELA instruments have lower quality or sound power than the Doble A, but this is an partially true consideration. They are excellent instruments, both from an acoustic and mechanical point of view. In fact from a mechanical point of view the ELA were in some respects much more advanced than the AA.
From an acoustic point of view many argue that the prevalent use of aluminum peines (reed plates) by ELA gave these instruments less sound power. This is also a half-truth. I have personally played ELAs with aluminum plates that sounded better than many zinc AAs, with a brighter, more powerful and more balanced sound.
In any case, you can find 142 Rheinische ELAs (and related brands) ready to play for less than $3,000. However, these instruments are mainly present in Argentina, while in Europe and the USA they are decidedly rare.
AA and ELA had a monopoly on the market both at home and abroad. In Germany there were some other manufacturers, such as F. Lange – Chemnitz and Konig, who also distributed their bandoneons on the Argentine market, but they had very limited diffusion.
Other German artisan manufacturers (such as Burckhardt and Birnstock) built almost exclusively 144 bandoneons and concertinas for the German domestic market and in general did not build 142 or Peguri bandoneons.
Sometimes you can find these and other brands on European marketplaces such as Ebay.
All the bandoneons produced in Germany before the Second World War had a certain level of artisanal production, even though they came out of a production chain that guaranteed a high standard of quality thanks to the high number of units produced.
To understand what I mean, let’s imagine comparing two Apple iPhones of the same generation line.
We would find them 100% identical, because the production chain leaves no room for variables that determine a better functioning of one unit rather than another.
On the contrary, in the case of bandoneons produced before the Second World War in industrial chain production conditions but with a very strong artisanal element.
The variables that determine the final result are so many that it is difficult to establish which brand or which bandoneon is better a priori.
Here are some of the elements that determine the sound quality of a bandoneon:
This is a partial list. With this I mean that each instrument is therefore a case in itself. You should try and consider each individually, without worrying too much about the brand.
Pay close attention to the ads on marketplaces: sometimes you find AA instruments, but they are not Alfred Arnold. They are Arno Arnold, post-War bandoneons and mediocres in quality.
Because of their low cost they are ideal for starting to study, but in my opinion their price should not exceed $1,500 for an instrument ready to play.
I also think it is important to highlight a frequent situation typical of marketplaces in the USA and Europe, such as Ebay.
In many cases on these sites they sell AA or ELA instruments that are Einheits 144, or are Kusserow, or are not even bandoneons but concertinas. So pay attention to the ads: choose the system that is most suitable for you and buy accordingly.
If you do not know what to choose, get help from a competent person.
Argentina is the country in the world with the greatest availability of 142 bandoneons, because this type of instrument was mainly (and after 1924, exclusively) for this market.
Nowadays the prices of a bandoneon in Argentina are more expensive than in the past: instruments in good condition are sold at prices comparable to those of the European market.
However, in Argentina it is still possible to find 142 bandoneons to repair at reasonable prices and fix them little by little (in this section I make a cost simulation for this type of scenario).
Below is a list of suggestions where you can find a bandoneon in Argentina.
In Argentina there is no Amazon or Ebay, but there is MercadoLibre. There are several bandoneon offers every day. Be very careful because sometimes there are some scams. My advice is to always buy through acquaintances before using these platforms.
The Facebook Marketplace offers numerous bandoneons. Beware of scams, which are much more frequent on Facebook than on MercadoLibre.
There are some Facebook groups dedicated to the bandoneon.
The most famous is Locos por el Fueye, and every now and then they post ads for bandoneons for sale. Always be careful about the ads, there are many cases of scams on Facebook.
Fortunately, the Locos por el Fueye community and the group administrators are very active in tracking down scammers and blocking them. In general, before coordinating a purchase with the seller, make sure he is trustworthy.
There are many music stores in Argentina, but generally they don’t specialize in selling bandoneons and know little or nothing about these instruments.
It is therefore advisable to contact specialized bandoneon sellers, present both in Buenos Aires and in the province of Buenos Aires, and in other Argentine cities.
Since I cannot publish a detailed list, I invite you to do a search on the Internet, and eventually contact me if you need my help.
If you have acquaintances in Argentina you can ask if they know a bandoneon player, and he in turn will put you in touch with someone who sells bandoneons.
If you have the opportunity to travel to Buenos Aires you can visit the schools where the bandoneon is studied (Conservatories, EMPA, Esnaola, etc.) and get in touch with the bandoneonists. Or attend a concert and approach the bandoneon player.
The Ebay marketplace offers different bandoneons every day. The problem is that sellers often do not know what they are selling and offer concertinas as bandoneons, 144 bandoneons with the same price as 142s, or “study” bandoneons (single reed) at prices comparable to those of a second instrument.
Before buying, always make sure that it is the right instrument.
The other big problem comes from the fact that you cannot try the instrument, and you buy it as is. Shipping can also be a source of problems as the instrument can get damaged during transport.
If you have the opportunity to approach a bandoneonist who lives in the USA or Canada, you can ask if he is available to sell a bandoneon, or if he has a trusted contact to purchase one.
In Brazil the bandoneon is not a very popular instrument but its popularity is increasing.
Finding a bandoneon in Brazil can be difficult because the aforementioned marketplaces (such as MercadoLibre) do not have many bandoneon ads. Anyway, given the proximity to Argentina you can consider taking a trip to Buenos Aires to find a bandoneon.
Colombia is probably the South American country where tango is most played, danced and listened to after Argentina and Uruguay.
In Colombia there are some bandoneon players who can help you find a bandoneon, or even have some instruments available for sale. Since I can’t make a complete list, I suggest you do a search on Facebook or Instagram.
Alternatively, as in the case of Brazil, it may be worth taking a trip to Buenos Aires to find a bandoneon there.
In Europe there are several dealers specialized in the sale and restoration of bandoneons.
They are mainly located in Germany, France, Italy and Belgium.
Since I cannot make a complete list here, I invite you to contact me for more information.
There are also several marketplaces with several ads every day. The most famous is certainly Ebay.
The market I know best is the Italian one, and in Italy the Subito.it and Mercatino Musicale marketplaces are also very active.
The advantage in Europe is given by the relatively low shipping costs within the European market.
In Japan and South Korea, tango is very well known and the bandoneon is a very popular instrument.
I do not know the marketplace of these countries, but I know that in Japan and South Korea there are several professional bandoneon players of excellent level. They regularly travel to Argentina and Europe and can therefore sell bandoneons, or help in finding one.
Since I cannot make a complete list, I invite you to do a search on Instagram and Facebook.
Now let’s move on to the “simulation” of costs for purchasing a bandoneon in Argentina.
This simulation concerns the situation of purchasing a bandoneon in poor condition and the progressive tuning. A fully restored bandoneon is practically as good as new.
The only truly determining element in establishing the condition of a bandoneon is the state of conservation of the reeds. If the reeds are in good condition, it may be worth buying the instrument, because everything else is 100% recoverable.
I cannot stress enough that the bellows of a bandoneon is like the engine of a car, while the maquina (the mechanics) is the gear. Finally, tuning is fundamental: playing a tuned bandoneon is a pleasure, while playing an out-of-tune bandoneon will negatively affect your perception of the music.
A new (or restored) bellows, redone mechanics and tuning are therefore the three essential interventions to carry out on a bandoneon. I take them into account in the cost simulation below.
The interventions must be carried out in this order: first the bellows, then the mechanics, and finally the tuning.
The restoration of the mueble is optional, and in general it is not essential to be able to play the instrument, unless the bandoneon body is in very poor condition and can break with use.
The simulation does not take into account the cost of travel and accommodation.
| Details | Cost (from – to) | Processing Time |
| AA/Premier in poor condition | $1,500 – $2,000 | 2 weeks – 1 month |
| New Bellows | $500 | 1-2 months |
| Maquina (mechanics) | $1,000 | 2-4 months |
| Reeds Tuning | $500 | 1-2 months |
| Total | $3,500 – 4,000 | 4 – 9 months |
| Details | Cost (from – to) | Processing Time |
| ELA in poor condition | $1,000 – $1,500 | 2 weeks – 1 month |
| New Bellows | $500 | 1-2 months |
| Maquina (mechanics) | $1,000 | 2-4 months |
| Reeds Tuning | $500 | 1-2 months |
| Total | $3,000 – 3,500 | 4 – 9 months |
In Europe, manufacturing costs are higher, as is the cost of purchasing the bandoneon due to the limited availability.
| Details | Cost (from – to) | Processing Time |
| AA/Premier in poor condition | $3,000 – $3,500 | 1 – 2 months |
| New Bellows | $750 – $1,200 | 1-2 months |
| Maquina (mechanics) | $1,500 | 2-4 months |
| Reeds Tuning | $750 – 1,500 | 1-2 months |
| Total | $6,000 – 8,000 | 5 – 10 months |
| Details | Cost (from – to) | Processing Time |
| ELA in poor condition | $2,000 – $2,500 | 1 – 2 months |
| New Bellows | $750 – $1,200 | 1-2 months |
| Maquina (mechanics) | $1,500 | 2-4 months |
| Reeds Tuning | $750 – 1,500 | 1-2 months |
| Total | $5,000 – 7,200 | 5 – 10 months |
Different restorers sometimes offer very different prices, and what I have done is an estimate. I always recommend contacting each restorer to obtain an accurate quote.
There is also the possibility of buying brand-new bandoneons.
They are slightly different in sound compared to a vintage instrument.
Mechanically, new bandoneons offer better performance than an unrestored instrument, while, always from a mechanical point of view, they are comparable to a vintage instrument with newly redone mechanics and bellows.
From the point of view of sound efficiency, new bandoneons are much more performing because modern technologies allow metal cuts with tolerances unthinkable for the technology of the past.
In Argentina I would recommend Baltazar Estol, an excellent craftsman who has his workshop in Buenos Aires. I interviewed Baltazar and you can read the interview at this article.
In Europe, the “new” Alfred Arnold in Klingenthal is active, as well as some other builders, including Harry Geuns in Belgium and Uwe Hartenhauer in Germany.
The Alfred Arnold company was practically the only one, as far as I know, that continued (or rather, tried to continue) large-scale production even after the war. The post-war AA instruments were called “ALFA” (ALFred Arnold).
A relative of the Arnolds, a certain Arno Arnold, started the production of bandoneons in West Germany from 1950 to 1971 but these were poor quality instruments.
The post-War bandoneons are easily distinguishable by the design of the cabezal.
They generally have much simpler inlays, made of lines and very simple geometric elements.
In the bandoneon post-War production there are no longer of lyres and floral elements (in the case of the Alfred Arnold production) or the typical “rose window” (in the case of the ELA production).
You should only consider purchasing these instruments if the bandoneon price is really attractive and if the bandoneon is in good condition.
Good condition means that it’s ready to play, or requires minor and not too expensive repairs.
Now that you have your bandoneon, you’re probably itching to start playing! But how do you go about learning to play this beautiful instrument? Taking bandoneon lessons is the best way to start, and you have three main options.
You can find plenty of online tutorials, including on my YouTube Channel or on my Video Blog, that will guide you through the basics. However, learning a complex instrument like the bandoneon without a teacher can be challenging.
The bandoneon has a very specific technique that can be hard to master on your own, even if you’ve played other instruments before.
Enrolling in a music school that offers bandoneon lessons is a great way to learn from a qualified teacher and progress at a steady pace.
However, schools that specialize in the bandoneon are not very common outside of Argentina. Plus, formal music education can be quite demanding, especially if you have other commitments.
This is often the most flexible and personalized option. A private teacher can tailor lessons to your specific needs and goals, and you can learn at your own pace. Some teachers, like me, are available for online lessons.
With online lessons, you can even study from the comfort of your own home.
So, what are you waiting for? Start your bandoneon journey today!
Want to delve deeper into some of the topics covered in this article? Here is the list of insights.
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