His fingers never leave his hands😀

[Dingo40]

Fast forward to about 1:30 (long winded introduction)

 

[Tom]

Fast forward to about 1:30 (long winded introduction)

Sì, ma mi scusa, preferisco la presentrice.

 

[Pipemajor]

Sounds just like me.
Then I wake up

 

[JerryPH]

Sì, ma mi scusa, preferisco la presentrice.

I didn't need to speak Italian to understand that, and I agree, she is a cutie!

What I didn't like is now one of my well known pet peeves, his way of using the bellows and playing by pulling only.

 

[Zevy]

What I didn't like is now one of my well known pet peeves, his way of using the bellows and playing by pulling only.

It doesn’t look real to me.

 

[JerryPH]

It doesn’t look real to me.

I am sure his paying is real, but just goes to show that no one is perfect.

 

[Javthedog]

I met a bloke whose finger left his hand - tried shaking hands with a power saw -

 

[Dingo40]

What I didn't like is now one of my well known pet peeves, his way of using the bellows and playing by pulling only.

I understand this is a genre in his part of Italy (around Modena?)
Some players in this style have no bass reeds at all.
I suppose they don't need any push reeds in the treble either?

 

[henry d]

He surely has a style which, at least for this tune, features playing in bursts and prefers a fresh start with complete control by pulling a closed bellows after each burst. It surely wouldn't work for a sustained melodic sequence but the breaks here match the tune perfectly. He actually does briefly push at about the 4:10 mark and seems to shake a bit with rapid open/close movement several times throughout.

The bellows gives the maximum "immediate air flow" in the first couple of inches of pull; the volume inside is small when fully closed and so the "sucking" effect is more pronounced as the bellows open and rapidly increase that volume- perhaps doubling it in the first two inches of pull. Once opened, by say just six inches, another two inches only effects a 12.5% change (give or take - you have to figure the difference between fully closed interior volume plus six inches and fully closed plus 8 inches, not 6 vs 8). The "punch" is a key feature of his style.

Really light fingers; if you ever need to graphically demonstrate the difference between accordion technique and piano technique this would be a top choice.

And he must have a world class breather key on the bass side...

 

[henry d]

Would anyone else speculate that his "barely touching the keys flying fingers" technique benefits from a really stable RH keyboard -as in always on the pull vice pulled way out or swaying over to the right on the push? Normally (as proven by pretty much every piano accordionist) keyboard stability during bellows manipulation to and fro isn't an issue of note but this gentleman really does go for it with the delicate touch and bursts of just short of glissando fast clusters.

If you think about it, the RH contributes nothing towards stabilizing the instrument at all as he is playing it. Normally, the fingers on the keyboard may not be holding it- but they surely follow it as it moves during play and that feedback and stability is not at all seen for his technique.

"Standing by for heated" "Are you kidding?" responses.

 

[Walker]

Would anyone else speculate that his "barely touching the keys flying fingers" technique benefits from a really stable RH keyboard

That's not a keyboard, that's a runway.

 

[JerryPH]

That's not a keyboard, that's a runway.

I thought I saw some smoke coming from the accordion, but nope... it was his fingers!