That is so true, even for this early (old ) learner.
Most challenging about accordion learning and playing?
- Thread starter Joakim Monsen
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That is so true, even for this early (old ) learner.
what is a modern C system freebass accordion?
I think "modern" referred to the method instead of the accordion. Nevertheless, here is an "unmodern" C system freebass accordion:
What's unmodern about it? It has just 4 button rows in the treble ("modern" instruments have 5 though that doesn't really hold for typical French instruments with Stradella bass, but then we were talking free bass here). And in the bass, it has 3 separate rows for the free bass when modern instruments have converter switches that will make the outer chord bass rows 4 rows of free bass.
Now how can a method be unmodern? Unmodern methods may be characterized by establishing the outer 3 rows as the principal rows for scales and most other play when a modern method tries to utilize all 5 rows to best degree. A modern method will also try to involve all fingers including the thumb where appropriate. That means that a modern method needs to cater differently to the left hand where there are only 4 rows of buttons for melody play and where the role of the thumb will need to be different (though not as different as on the above shown unmodern instrument).
Thanks that's great I get it,and what a beautiful instrument. it has far too many buttons for me but it is quite lovelyI think "modern" referred to the method instead of the accordion. Nevertheless, here is an "unmodern" C system freebass accordion:
What's unmodern about it? It has just 4 button rows in the treble ("modern" instruments have 5 though that doesn't really hold for typical French instruments with Stradella bass, but then we were talking free bass here). And in the bass, it has 3 separate rows for the free bass when modern instruments have converter switches that will make the outer chord bass rows 4 rows of free bass.
Now how can a method be unmodern? Unmodern methods may be characterized by establishing the outer 3 rows as the principal rows for scales and most other play when a modern method tries to utilize all 5 rows to best degree. A modern method will also try to involve all fingers including the thumb where appropriate. That means that a modern method needs to cater differently to the left hand where there are only 4 rows of buttons for melody play and where the role of the thumb will need to be different (though not as different as on the above shown unmodern instrument).
Here is a dirty little secret: of the 190 bass buttons, the one that looks like it would play C♯1 is actually dumb. You can press it, and its resistance is pretty much the same as that of the other buttons next to it, but it doesn't play a note.Thanks that's great I get it,and what a beautiful instrument. it has far too many buttons for me but it is quite lovely
So there aren't as many playable buttons as it would appear.
Well yes. And I'll admit that I rarely miss it while I actually use the D1 fairly often. But if it were actually used for providing C1 (in the manner of an organ "short octave"), that would be getting some action.Is the dummy button to keep the continuity of the Look,if it is it's a very thoughtful touch
Alans
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Hands together. Hands separate no problem-hands together feels like I am diving into the deep end of a pool and I’m terrified. Maybe it’s a psychological block. I just find it extremely difficult to play hands together.
And practising. There was a very good discussion here a few months ago that talked about the need to practise every day. It’s tough-I know the benefits but it’s tough.
And practising. There was a very good discussion here a few months ago that talked about the need to practise every day. It’s tough-I know the benefits but it’s tough.
I have this book. No help for. a beginner. At least not for me. Starts out with Hannon like exercises and continues that way for no very many pages.Thanks for the reply, I know that Claudio Jacomucci has some books on the C-system in English.
Technique 1 von Claudio Jacomucci | im Stretta Noten Shop kaufen
Claudio Jacomucci: Technique 1 - for button accordion (c-Griff) - Lehrbuch (mit Noten). Schnelle und zuverlässige Lieferung weltweit.www.stretta-music.com
Thomas N
Well-known member
Just saw this post even though it's been around for a bit.
Bellows. I can tell in the first 10 seconds of somebody playing if they are new to the instrument just by their phrasing. It's something that comes with time. Breaking chords or notes in the middle to change direction really stands out.
Bellows. I can tell in the first 10 seconds of somebody playing if they are new to the instrument just by their phrasing. It's something that comes with time. Breaking chords or notes in the middle to change direction really stands out.
Alan Sharkis
Prolific poster
I have some advice that may work for you or not, but here goes:
1. Be sure you can really do hands separate on one given piece and that means perfect before considering hands together. Go s-l-o-w-l-y; practice requires patience, consistency, and honesty with yourself.
2. When that has been achieved, take the piece one measure (bar) at a time with hands together. When you can play that first measure perfectly, do the same with the second measure. When that second measure is perfect, try the first two as a unit.
3. When that two-measure unit is perfect and consistently perfect over three tries, try that method on the third measure and then the first three as a unit. Continue this way until the end of the phrase. If the end of the phrase isn’t obvious, just go to the end of the first line.
4. Tackle the next phrase or line in the same manner, and then try to combine the first two phrases or lines. If you make an error anywhere, stop immediately and practice only the measure where that error occurred until it’s perfect, then go back to the beginning and try again.
5. Do all of the above slowly. Practice is not a race. If you feel embarrassed at any time, ask yourself, “who’s listening and why should I care what they think of my playing?” Practice is not performance. How long it takes to master the piece is between you and yourself.
1. Be sure you can really do hands separate on one given piece and that means perfect before considering hands together. Go s-l-o-w-l-y; practice requires patience, consistency, and honesty with yourself.
2. When that has been achieved, take the piece one measure (bar) at a time with hands together. When you can play that first measure perfectly, do the same with the second measure. When that second measure is perfect, try the first two as a unit.
3. When that two-measure unit is perfect and consistently perfect over three tries, try that method on the third measure and then the first three as a unit. Continue this way until the end of the phrase. If the end of the phrase isn’t obvious, just go to the end of the first line.
4. Tackle the next phrase or line in the same manner, and then try to combine the first two phrases or lines. If you make an error anywhere, stop immediately and practice only the measure where that error occurred until it’s perfect, then go back to the beginning and try again.
5. Do all of the above slowly. Practice is not a race. If you feel embarrassed at any time, ask yourself, “who’s listening and why should I care what they think of my playing?” Practice is not performance. How long it takes to master the piece is between you and yourself.
It may also make sense to return to this occasionally while working on a piece: you want to develop a hearing of how you want each individual hand to be phrased and sounding. If you never practice them separately, you may make it harder to develop independent focus. And the audience, not additionally impacted by having to handle an instrument, will be in a much better position to focus on one side at a time and notice whether it is hobbled by being tied to the other hand.
One has to be a little careful as a technique that would be considered unorthodox,in one genre of music
May be common practice in another,and to add to the confusion, workarounds,working musicians acquired,over time and experience,are often the one that works.
an example would trailing a note between bellows changes,as part of a triplet
Just look at that newbie breaking chords or notes in the middle to change direction. Really stands out.
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Hi Fingers different styles require very different disciplines.Yeah! Some "newby" stuff there alright
The way that he breaches all the rules regarding his fingering is a give-away, too
(PS for the sake of the all-too-literally minded, that is purely ironic on my part)
One should always keep in mind that the people who are teaching you,are only teaching to their level of knowledge and competency.
One of the best examples and a particular favourite of mine is
Django Reinhardt,lost the use of the third and fourth fingers of his left hand in a caravan fire,so had to find a different way of playing
I don't think unorthodox is a strong enough term for his fingering, his was from necessity but It's working musicians that drive innovation.
Its like telling Eric Clapton "if you don't use your pinky ,boy you'll never earn a living"
Piano fingering evolved,for ease of movement ,but takes no account of hand size so 10th for some as easy span,would need rolling with less span.
I have no doubt that some form of technical discipline is a very good idea.
But in cultural music often what gives it the flavour, is the use of what might be considered,unorthodox techniques.
Its like telling Eric Clapton "if you don't use your pinky ,boy you'll never earn a living"
Or Ritchie Blackmore using his left-hand thumb to fret the E string. My (bass) guitar teacher would have been outraged, but I can see it's perfectly natural for him.
