Arpeggiation on free bass (@Paul Debra)

[stickista]

Actually, not even free bass-specific…
I’m learning the accompaniment to Fauré’s Sicilliane on MIDI CBA, which allows me to use a sustain pedal for a nice ringing arpeggiation.
But my goal is to port to accordion when my free bass instrument arrives next month and I’m struggling to achieve anything on actual accordion that doesn’t sound as if I’m just building a big 5-not chord one note a a time.

I have to believe there must be a standard accordion technique for arpeggiation that involves something like only leaving any 2 consecutive notes depressed at any given time, sort of rolling through the arpeggio but I’m not finding useful tutorials or descriptions anywhere.

Does anyone have any pointers for overcoming the lack of decay on accordion?


(In key of g minor, 2 flats)

 

[EdBouchard]

What pedal do you use on your midi CBA? Which make CBA?

 

[EdBouchard]

On the brief example, I’d simply hold down the keys for each chord change.

 

[stickista]

What pedal do you use on your midi CBA? Which make CBA?

Nektar variable sustain pedal.
My keyboard is MaSter from Italy.

 

[stickista]

On the brief example, I’d simply hold down the keys for each chord change.

The problem is that, since each note maintains full volume until released (on accordion), arpeggios turn into mud after a couple of notes.

 

[debra]

It takes a bit of practice but in the given example I would play the lowest note on free bass and the other notes with the right hand, with the arpeggio technique where you only have 2 notes pressed at most at any given time. It never becomes quite what you get on a piano but it may be acceptable.

 

[stickista]

It takes a bit of practice but in the given example I would play the lowest note on free bass and the other notes with the right hand, with the arpeggio technique where you only have 2 notes pressed at most at any given time. It never becomes quite what you get on a piano but it may be acceptable.

Yes… I think the key may be committing to the bottom note on each and making sure any other sustained notes are pleasingly spaced.

 

[Vladimir M.]

Does anyone have any pointers for overcoming the lack of decay on accordion?

Hi stickista,
a few years ago I dealt with this dilemma in the case of a Bach/Gounod adaptation. You can see the result of my attempt at that time (ca 2022) here: CLICK. It cannot be said that I am very satisfied with my result, but we must realize that arpeggios on the bass buttons will (almost) never be as technically manageable as, for example, on the treble of a chromatic button instrument (CBA)...

in the given example I would play the lowest note on free bass and the other notes with the right hand, with the arpeggio technique where you only have 2 notes pressed at most at any given time. It never becomes quite what you get on a piano but it may be acceptable.

It's a great idea, but we have to be a little careful that the bass and treble aren't too different in "sound color" (that is, for example: the same notes in the treble (in the cassotto) and in the (free)bass have slightly different strength, "coloration", and character...). But yeah, good idea...

Best regards, Vladimir

 

[debra]

...
It's a great idea, but we have to be a little careful that the bass and treble aren't too different in "sound color" (that is, for example: the same notes in the treble (in the cassotto) and in the (free)bass have slightly different strength, "coloration", and character...). But yeah, good idea...
...

By playing the low root note on the bass side and the rest on the treble side, using the same registration, the difference in sound is mostly negated by the fact that the bass note is lower than the treble notes. And if the bass note is too loud you can try a different registration, and even just your position/orientation. You can strengthen the treble side by placing yourself (right side) closer to a reflecting wall or panel and you can dampen the bass sound by staying away from a reflecting wall (left side). Also, get someone to listen because what really matters is how it sounds to the audience and not how it sounds to you as a player.