CBA learning manual - recommendations please

[Siri]

I am making my first foray into learning CBA, C-system after playing PA for some years. I am going to be trying out a small, well-renovated 3-row Hohner musette ii tomorrow. Maybe not ideal I know, but it is modestly priced and I haven't been able to find any suitable used 5-row within my budget.

My aim (eventually) is to play Scottish trad. at sessions. If I upgrade, I would still want a small and light instrument. I am very drawn to the 'melodeon' tones of e.g. the wee Saltarelle 4 Chaville or Bourroche - though the price!

I'm fully aware that the modern style of playing usually recommends using all five digits (and a five-row instrument). But I also note that many players who use these light and small accordions are still using the traditional French 'fingers only' style, with thumb on the keyboard edge; and often just the four rows. I really like the more staccato effect that this makes possible - it works well with Scottish music. I also like the notion of being able to brace the accordion with the thumb as I'm tall, so keeping the accordion stable could be an issue for me.

With the above in mind, can anyone recommend a learner's manual which teaches the method I want to try out? I could probably cope with it being in French.

I don't mind 'constructive feedback' on my thoughts - but please be kind...

 

[Pipemajor]

Hi Siri,
welcome to the dark side!
As you already play PA you only have to learn the treble side as all the rest is the same- easier said than done!
I think the Galliano book is as good as any, but there are numerous videos on youtube-also a complete set of about 16 lessons by a Frenchman.
On here there is a list of all the different fingerings if you do a search. Good luck

 

[dunlustin]

'Afternoon Siri,
If you just need to get used to the CBA keyboard layout, then you may find videos by Jean Yves Sixt useful.

Example: Technique accordéon par JYSixt Leçon N° 10​

- find him at Yvesmusette: He has lots of French music there and much of it is on 3 rows. The 'Technique' vdos are at the end of his Video section.

For a complete 'method' with a (French) trad bias then this: Méthode Chromatique - Florence Glorion, ( +Saltarelle 4 Chaville) Find it here:

DIOU FLO - Recueils de partitions et tablatures pour accordéon chromatique

Pricey but it comes with vdo/audio/book/sheet and tablature music/ and a translation.
She will also answer personal queries if you are stuck. You really need a 4-row but by then you may well have bought one!

By the way, re: the Saltarelle prices - from memory they have a mano reeds.

 

[Siri]

Hi Siri,
welcome to the dark side!
As you already play PA you only have to learn the treble side as all the rest is the same- easier said than done!
I think the Galliano book is as good as any, but there are numerous videos on youtube-also a complete set of about 16 lessons by a Frenchman.
On here there is a list of all the different fingerings if you do a search. Good luck

Thanks! And I appreciate the suggestions. I guess I may run into a few challenges with the charts and manuals at some point due to my wee learner instrument only being a three row; but the positive side of it is that at least I won't get option paralysis, lol! And I'll be forced to learn how to really get the best out of my limited instrument. I have no complaints as it was a very modest price. It sounds amazingly good despite that, and plays well.

 

[Siri]

'Afternoon Siri,
If you just need to get used to the CBA keyboard layout, then you may find videos by Jean Yves Sixt useful.

Example: Technique accordéon par JYSixt Leçon N° 10​

- find him at Yvesmusette: He has lots of French music there and much of it is on 3 rows. The 'Technique' vdos are at the end of his Video section.

For a complete 'method' with a (French) trad bias then this: Méthode Chromatique - Florence Glorion, ( +Saltarelle 4 Chaville) Find it here:

DIOU FLO - Recueils de partitions et tablatures pour accordéon chromatique

Pricey but it comes with vdo/audio/book/sheet and tablature music/ and a translation.
She will also answer personal queries if you are stuck. You really need a 4-row but by then you may well have bought one!

By the way, re: the Saltarelle prices - from memory they have a mano reeds.

These videos look just the thing to get going with. I bought my starter accordion today and can't wait to get playing.

Thanks for pointing out the Glorion manual; I hadn't come across it. It is probably where I'll go to next - I feel far more affinity with her repertoire than some of the other tunes in manuals I've looked at; and she is playing the very accordion I have my eye on, so that's all to the good...

Yes, the wee Saltarelles have hand-made reeds. I will have to start saving my pennies because I just love the tone of them.

 

[dunlustin]

As JYS points out in one of the videos, it's a bit awkward reaching back from row 3 to get chords.
This is why the 4-row has been so popular in France - row5 less important.
Unless you have a specific reason, I'd say the 4-row Chaville is a better choice than the 5-row. You could talk to Eagle Music Shop, Huddersfield
Re: "her repertoire" - Agreed, not cheap but a mix of music like no other - Trad French and Breton, Klezmer and original compositions.
Who knows, you may even end up signing for one of their courses?

 

[Siri]

As JYS points out in one of the videos, it's a bit awkward reaching back from row 3 to get chords.
This is why the 4-row has been so popular in France - row5 less important.
Unless you have a specific reason, I'd say the 4-row Chaville is a better choice than the 5-row. You could talk to Eagle Music Shop, Huddersfield
Re: "her repertoire" - Agreed, not cheap but a mix of music like no other - Trad French and Breton, Klezmer and original compositions.
Who knows, you may even end up signing for one of their courses?

I definitely only want the 4 rows if I can manage on it. I really don't need a huge instrument to play trad music. As soon as I am confident that I'm going to stick with CBA I'll sell my Manfrini PA and think about a Saltarelle. I love the wee Chaville but do have a slight doubt about only having the 60 basses - worried that there will be some situations where you have to jump from one end of the bass array to the other to get the notes you want. But I haven't quite figured out yet whether that is a real concern - I need to work out which key/s that would apply to - maybe they're obscure.

 

[Siri]

Well at least I now have a CBA, even if it's only a three-row. It's a venerable Hohner Musette ii (MMM, with a register for one voice) that appears almost as new; beautifully fettled by Gordon Deans, who looks after Sandy Brechin's accordions. He toned the musette right down. I am amazed how sweet it sounds (I had a learner Hohner PA back in the day that sounded like cats in a tin can but it was made in China; this one was made in Germany).

 

[micahcowan]

As JYS points out in one of the videos, it's a bit awkward reaching back from row 3 to get chords.
This is why the 4-row has been so popular in France - row5 less important.

I find the 5th row just as important as the 4th, particularly if you're playing in a middle-row key (such as F major), for the same reason as the 4th - without the 5th you'll still reach back from row 3. That said, as a corollary to what dunlustin said about chords, it's important to note that if you don't plan on playing right-hand chords often, a 3-row instrument is perfectly adequate. 5 rows does help alleviate awkward fingerings, particularly in very fast passages, but is never really necessary before you introduce right-hand chording. And even with chords, it's more than doable (see my just-uploaded video on my new accordina (which no one ever makes in more than 3 rows afaik). I did leave chords out of one tiny spot*, relative to how I usually play on my (5-row) accordion; but they're not really missed. (* other spots, too, but those were in order to better highlight the melody, and not for reasons of awkward fingering.)

As to omitting the thumb, I very much disagree that it buys you better ability to play tight stacatto, or better ability to do anything at all, other than perhaps avoid some very mildly awkward wrist positions. It buys you far less-awkward fingerings for many passages, IMO. I recommend not fearing to use the thumb, use it whenever it lightens the burden of playing! Even in playing the free bass (where you really can't use the thumb except in the first, sometimes second row, given that your left hand is physically strapped to the instrument), I use the thumb absolutely any time I can, as it makes the fingerings far less painful in my experience. (But where I can't, I make do. Usually at the cost of a perfect legato, probably.)

Best of luck in your journey, and future playing experiences!

 

[Siri]

I find the 5th row just as important as the 4th, particularly if you're playing in a middle-row key (such as F major), for the same reason as the 4th - without the 5th you'll still reach back from row 3. That said, as a corollary to what dunlustin said about chords, it's important to note that if you don't plan on playing right-hand chords often, a 3-row instrument is perfectly adequate. 5 rows does help alleviate awkward fingerings, particularly in very fast passages, but is never really necessary before you introduce right-hand chording. And even with chords, it's more than doable (see my just-uploaded video on my new accordina (which no one ever makes in more than 3 rows afaik). I did leave chords out of one tiny spot*, relative to how I usually play on my (5-row) accordion; but they're not really missed. (* other spots, too, but those were in order to better highlight the melody, and not for reasons of awkward fingering.)

As to omitting the thumb, I very much disagree that it buys you better ability to play tight stacatto, or better ability to do anything at all, other than perhaps avoid some very mildly awkward wrist positions. It buys you far less-awkward fingerings for many passages, IMO. I recommend not fearing to use the thumb, use it whenever it lightens the burden of playing! Even in playing the free bass (where you really can't use the thumb except in the first, sometimes second row, given that your left hand is physically strapped to the instrument), I use the thumb absolutely any time I can, as it makes the fingerings far less painful in my experience. (But where I can't, I make do. Usually at the cost of a perfect legato, probably.)

Best of luck in your journey, and future playing experiences!

Well, that's really encouraging about the three-row. I bought it as a last resort in a way, as I'd been looking at the (limited) second-hand CBA offerings for a while and couldn't find anything of a reasonable price and weight in 5-row. It's a lovely wee accordion but I have been wondering how long I will play it before getting frustrated. I don't actually tend to play a lot of RH chords so you've just made me feel a whole lot differently about it - thanks!

Re. the thumb use - I have already been sensing from watching instruction videos that that idea will soon be on the bonfire.