ergonomics for CBA and PA

[Deleted member 48]

Very few online articles exist on the subject of ergonomy and accordion playing.
Ergonomic aspects in broad perspective: fingering techniques, shoulder straps, sitting and playing position, etc etc

We can also pick up ideas in what others have written before on this subject.

Principles of Bayan Fingering by Yuri Yastrebov
http://www.accoholiday.com.ua/index.php?p=12

Nikolai Risols B-system bayan book on this topic.

More recently, Claudio Jacomucci and his book Mastering accordion technique, with Alexander technique on accordion. Available in English.

Maybe the International Confederation of Accordionists could organize a symposium on this subject?

There are many books on fingering for piano, comparing dozens of piano pedagogues from the 18th - 20th century, sometimes very much in detail.
The accordion is still waiting for a similar approach in this topic (written in English) by the accordion professors at conservatory and university level.

 

[Zevy]

<FONT font=Garamond><SIZE size=125>IMHO Piano Accordion and Accordion techniques are not one and the same. There are many differences. One example is that when playing the PA, one must try to situate the hand perpendicular to the keyboard, and particularly to the section that is being played. On the piano, one doesnt have to think about it; it just falls into place. Bob Smith, in his book on fingering for the (piano) accordion, writes on how PA technique is more similar to that of the organ. I believe that there are some piano exercises that can be harmful for the PA player.

 

[Deleted member 48]

A review of the Robert Smith book on fingering for the accordion is here:
http://www.ksanti.net/free-reed/reviews/smith-rl_fingering.html

Dont have this book. I see it has been published in 2005, does Robert Smith also writes about the chromatic button accordion in his book?
If he doesnt, this seems a bit awkward anno 2005.
A good book should have a chapter included with detailed information of all layout systems being used today.

Rare are those books and articles that offer future young accordion students detailed information on all systems.

I agree with the review of this book and Smiths statement: He begins his book by emphasizing that the piano accordion is not a piano. Therefore the accordionist should not rigidly follow those fingering patterns that have been established for the piano. The piano accordions vertical keyboard orientation presents challenges to the accordionists hand and wrist that do not exist for the pianist. Furthermore, the non-percussive nature of the accordion makes organ technique more applicable than piano technique--especially for legato passages.

The piano accordion is a whole different music instrument as the pianoforte.

 

[BobM]

So where does the 4 row CBA fit in, like this Saltarelle Bourroche? Does it have the primary 3 rows, if so how is the 4th (inside) row used?

http://www.saltarelle.com/collection_paris_melrose_us.htm

 

[dunlustin]

Row 4 is a repeat of Row1.
For me the reason this became something of a standard (at least in France) may well be because the 4th row means that chords are consistently built.
eg A Cmajor chord has tonic on row 1 with III and V (e g) on Row 2.
Without the 4th row, chords built on Row 3 mean moving fingers back to Row 1 -
eg D major chord has the tonic on Row3 but III and V (f# a) on Row 1.
Adding Row 4 keeps things consistent.
I think this was more important than being able to transpose across the keys - just my opinion.
Older tutor books discourage the use of Row4 at first as an "eay way out" - therefor to be avoided!

 

[BobM]

Row 4 is a repeat of Row1.
For me the reason this became something of a standard (at least in France) may well be because the 4th row means that chords are consistently built.
eg A Cmajor chord has tonic on row 1 with III and V (e g) on Row 2.
Without the 4th row, chords built on Row 3 mean moving fingers back to Row 1 -
eg D major chord has the tonic on Row3 but III and V (f# a) on Row 1.
Adding Row 4 keeps things consistent.
I think this was more important than being able to transpose across the keys - just my opinion.
Older tutor books discourage the use of Row4 at first as an eay way out - therefor to be avoided!

So the 4 row (on a 4 row instrument), is the same as the 4th row on a standard 5 row CBA?

 

[dunlustin]

Yes

 

[Deleted member 48]

I don't understand why the Italians keep producing 4 row CBAs for the French market like the Saltarelle Bourroche, without the 5th row you miss the benefits for transposing.

Finally Bugari is producing a 5 row 60 bass lightweight model: the "Bugari Juniorfisa 310/J" model.
This model offers a lot: 5 rows, 2 voice tremolo, only about 6,1 kg (correct weight indication ??)
Note the mistake on the Bugari website: the photo is a 12 x 5 = 60 bass.
The Bugari technical details include a mistake: (62) 38 / 72-2 / 4-3. There are no 72 basses (12x6 basses) in the accordion pictured, but only 60 basses.

The Bugari Juniorfisa models are made in 60 bass and 72 bass version.

 

[Deleted member 48]

heres the link to the model Bugari Juniorfisa 310/J
http://www.bugariarmando.com/juniorfisa_c_310.php

At last a lightweight 5 row 60 bass with tremolo/musette tuning

4 row 60 bass were mass produced for the French market, and most Italian makers still make the French musette tuned 60 bass only in 4 row version.

 

[BobM]

I like the tone of the Saltarelle (CBA 4 row), and on the videos he seems to be playing primarily with 3 fingers. As a brass player that seems a little more intuitive to me.

http://www.saltarelle.com/accordion_bourroche.htm

 

[Zevy]

A review of the Robert Smith book on fingering for the accordion is here:
http://www.ksanti.net/free-reed/reviews/smith-rl_fingering.html

Dont have this book. I see it has been published in 2005, does Robert Smith also writes about the chromatic button accordion in his book?
If he doesnt, this seems a bit awkward anno 2005.
A good book should have a chapter included with detailed information of all layout systems being used today.

Rare are those books and articles that offer future young accordion students detailed information on all systems.

I agree with the review of this book and Smiths statement: He begins his book by emphasizing that the piano accordion is not a piano. Therefore the accordionist should not rigidly follow those fingering patterns that have been established for the piano. The piano accordions vertical keyboard orientation presents challenges to the accordionists hand and wrist that do not exist for the pianist. Furthermore, the non-percussive nature of the accordion makes organ technique more applicable than piano technique--especially for legato passages.

The piano accordion is a whole different music instrument as the pianoforte.

<FONT font=Garamond><SIZE size=125><COLOR color=#0040FF>I know this book well. I contributed some material and I think I made some corrections. The fact that CBA is not addressed is simple. As popular as it is in other parts of the world, it is not well-known on this side of the pond.

 

[Russ]

If a book is written addressing fingering for the PA there is no need for it to address concerns with the CBA.

They continue to build 4 row accordions because there is a market for them. Why should someone be forced to buy a 5 row if they only want and need 4?

 

[Deleted member 48]

The Saltarelle Bourroche models are also made in a 5 row version, so if you prefer the sound of the Saltarelle Bourroche, you can choose between 4 row or 5 row.
http://www.saltarelle.com/accordeon_bourroche.htm

Castagnari also makes lightweight 5 row or 4 row CBAs
http://www.castagnari.com//index.php?strparam=&language=uk&sz=301&id=57

Weltmeister Harmona has the Romance 602 and 603, 5 row CBAs
http://www.akkordeon-klingenthal.de/index.php?option=content&task=view&id=73

Cooperfisa Perla 300ac 5 row model:
http://www.cooperfisa.com/index.php?option=com_phocagallery&view=category&id=61&Itemid=103

Here is explained why the Italian accordion makers produce again small 5 row CBAs:
Bugari Piccoloino:
http://proakkordeon.ch/index.php?op...icle&id=47:news&catid=1:latest-news&Itemid=53
Nach vielen interessanten Gesprächen mit diversen Akkordeonlehrkräften und Fachgeschäfte wurde klar, dass der Schweizer Akkordeonmarkt ein kompaktes und doch sehr qualitatives Standartbass Akkordeon gebrauchen kann. Da es eben sehr robust produziert wurde, empfehlen wir das Bugari Piccolino als geeignetes Miet-Akkordeon.

The Italian accordion makers often ask accordion teachers what kind of accordions they want for their students (children, youngsters, or adults seeking light and compact instruments). Accordion teachers prefer 5 rows over a 4 row CBA.
The advantage of a 5 row is you can already learn on a small accordion all the transposing techniques in all keys, without having to change to a larger and bigger accordion.

 

[BobM]

Im not sure about he Cipher system, but theres some good layout and fingering info here.

http://www.thecipher.com/chromatic-accordion-cipher.html

 

[Deleted member 48]

The Cipher website has some good visual information on layouts for C-system and B-system, and other isomorphic layouts.

I have some reflexions about the chromatic numbers system (0 to 12) used on the layouts.
http://www.thecipher.com/chromatic-numbers_1.html#number-line

I prefer to use the diatonic number system (1 to 7), because these correspond to the 7 diatonic functions (tonic, supertonic, mediant, subdominant, dominant, etc).
On c-system and b-system CBA layouts this diatonic number system can be used as a simplified music notation system. And because of the isomorphic layout, this notation is at the same time a sort of easy tablature.

The same can be applied to the PA in the key of C, this diatonic number notation system can be an easy tablature system. But here transposition is not automatic.

 

[squeezeboy]

The Cipher website has some good visual information on layouts for C-system and B-system, and other isomorphic layouts.

I have some reflexions about the chromatic numbers system (0 to 12) used on the layouts.
http://www.thecipher.com/chromatic-numbers_1.html#number-line

I prefer to use the diatonic number system (1 to 7), because these correspond to the 7 diatonic functions (tonic, supertonic, mediant, subdominant, dominant, etc).
On c-system and b-system CBA layouts this diatonic number system can be used as a simplified music notation system. And because of the isomorphic layout, this notation is at the same time a sort of easy tablature.

The same can be applied to the PA in the key of C, this diatonic number notation system can be an easy tablature system. But here transposition is not automatic.

The degrees number system used in the Cipher keyboards allows for transposition, and also covers the diatonic functions! Easy to apply: 1 degree is one semi-tone. Cannot be simpler

 

[Deleted member 48]

I was referring to the 7 degrees diatonic numbered music notation system by Rousseau, Paris, Galin, Emile Cheve.
http://normanschmidt.net/rousseau/

The 7 functions can be sharpened or flattened to cover all 12.
In tonic music 7 functions is enough, 7 degrees is all I need.