All good points, although I view mechanical transposition on CBA more as a crutch than a feature.Well folks thanks for the tips, it was a fun ride but I’m switching back to piano accordion after 2 years of frequent CBA playing, 2 years of infrequent playing and one year of almost no playing (covid). I still remember some PA repertoire, can sight read better, and play by ear about the same as on CBA-C system. More teachers and instructional resources for PA in USA, and being able to transfer rights hand lines between accordion and keyboard were the deciding factors.
For those on the fence about accordion systems I’d say it’s horses for courses. More fingering options on CBA can be a blessing or a curse. Some musical phrases are easier to play on CBA (arpeggios and chromatic runs) some are easier on PA (parallel thirds). Some key signatures are easier on CBA. Transposing is easier on CBA but only if you have a five row accordion and stick to 3 rows and are consistent about how you finger it; if you can play well by ear transposing on PA is not that much harder, at least for simple tunes
accordions are fun, no matter the variety
There at least 3 features of CBA that make it my primary (although I still play piano and Vibrandoneon)...
Chromatic scales, whole tone scales, and most importantly, diminished arpeggios/ scales.
Jazz is built on those three, particularly diminished.
Ive played music for half a century, and in 3 years on CBA have lapped the improv skills Ive ever had on other instruments. No contest.
CBA is laid out for jazz in a way that connects my fingers to my brain like no other.
As far as reading, I also read just as well on CBA as on piano. But that may also be related to spending the last 2 years studying solfege and theory.