Palmer-Hughes Quint Free Bass

[harmonikadave]

Hi John M,

The thing with playing scales on quint converter is that you are not bound by the finger patterns of stadella. There are whole new paths available, and they transform the experience entirely. This is where our friend on the quint review has really missed the mark badly. It is not his fault, there are simply other routes available. It just requires a little lateral thinking (or the scales sheet with finger work notated). When you choose the right paths, the 'crossover point' melts away, it becomes a flow. It is a real shame that some people will make a decision without knowing the correct finger pattern.

Quint has its own finger options. (the 'c' beside a number means counter bass)

C major on stradella: 4 - 2 - 4c - 5 - 3 - 5c - 3c - 4
C major on quint : 2 - 5c - 3c - 4- 2 - 5c - 3c - 2 (the last note on the 2nd finger is the start of the next octave).

After a little practice of the new finger pattern the results are quite remarkable. The octaves will fall into place. Every musical key will have it's own best finger pattern. This is where it is a good idea to have the right study materials - so you can know how to make the best choice. No point guessing it.

I am happy to take some time to try and help anyone who is open to the possibility of the quint system. It genuinely has some wonderful potential, and I think it's great.​

Hi Walker, thanks for your knowledgable and generous insight into quint freebass. I have been wanting to play bass notes over more than the stradella "octave" for a long time now. I am struggling to find anyone near me who teaches freebass. I have agonised over the chromatic v quint decision for quite some time. Fortuitously I have just been lent a titano with quint converter. Have been bumbling about trying to see what I could do on my own with below average results. Your fingering for the c major scale has been a revelation. I have taken your recommendation and purchased the Palmer Hughes freebass books. Am wondering if you could put up some fingerings for a couple of other keys, to tide me over till the books arrive.

 

[Walker]

You are welcome @harmonikadave, I will email you all the major and minor scales as the document is too big to upload here.

I am glad you have been able to order these books:

Palmer - Hughes Instruction Book for Converter Accordion
Palmer - Hughes Selections for Free Bass Accordion Book 1
Palmer - Hughes Selections for Free Bass Accordion Book 2

I think they are worth their weight in gold.

 

[dak]

If only we could come to simple conclusions about accordions whatever their design.
More good reading here:

The Classical Free-Reed, Inc, The Classical Bayan

Click on the author's name to discover another fascinating man who, it turns out, plays quint PA.

Maybe apocryphal: I once heard that the C system was a rip-off of the Russians' B system to avoid patent difficulties.

That doesn't convince me, given that the first occurences of the B system were with the Schrammelharmonika (B system on the right, diatonic bass) used in Viennese music. This would have been prior art preventing a Russian patent on the B system.

 

[Alan Sharkis]

I have a Roland FR-4x, which gives me a choice of several free bass systems. In my mind, as a.person who played Stradella up to just a short time ago, I narrowed the choices to C-system or Quint. Most of the people I consulted said C-system was the better choice, so I started with that, and so far, I have no regrets.

The reason I was given to avoid Quint, and this was for almost all of the people I consulted, was that although Quint would be instantly familiar to somebody who already knew Stradella, there would be stumbling blocks further on. What did I know? I followed the crowd, and so far, I’m OK.

 

[dak]

I have a Roland FR-4x, which gives me a choice of several free bass systems. In my mind, as a.person who played Stradella up to just a short time ago, I narrowed the choices to C-system or Quint. Most of the people I consulted said C-system was the better choice, so I started with that, and so far, I have no regrets.

The reason I was given to avoid Quint, and this was for almost all of the people I consulted, was that although Quint would be instantly familiar to somebody who already knew Stradella, there would be stumbling blocks further on. What did I know? I followed the crowd, and so far, I’m OK.

One comparatively bland reason is range. The standard "big" converter range is 58 notes. That would mean 10 bass rows on quint bass. Now admittedly quint bass seems very much focused on piano accordion players, and for those a range of 48 notes is already luxurious. However, if you play duets, you have to reach treble range in both hands, and of course you still have to be able to hit the bass in the left.

 

[Walker]

In the heyday of the free bass accordion in America it has been estimated that (by 1975) some 70% of all Titano accordions built were Quint free bass models. It's quite amazing that the free bass instrument was so popular in the USA at that time. Indeed, as I mentioned the Palmer & Hughes learning materials were brilliantly produced and, quite frankly, a credit to America and it's accordion heritage.

In this day and age, having spoken to some people in the accordion industry there, I have been advised that America has largely returned to stradella bass only. I don't mind that as I love stradella bass too. That said, I actually believe that there are lots of people in America who still play free bass accordion as a hobby etc. Some will play Quint system and other folk will chose Chromatic systems. There will always be a bit of to and fro about the advantages and disadvantages of each system.

Now, I have always looked up to the American accordion heritage and it is no secret that my all time favourite American accordionist is William Popp. William Popp is a Doctor of Composition and writes classical and contemporary music for free bass accordion. He plays a Quint free bass system instrument - a vintage Titano Cosmopolitan Converter piano accordion.. To me this man is an inspiration. He possesses the qualities I admire in great Americans. He has a quite intellect, kindness, thoughtfulness and an unassuming way that shines through. He is also one of the main reasons why I undertook an online course in Composition at Cardiff University, specialising in writing contemporary music for Quint free bass accordion.

When you have great accordionists to look up to it gives a new perspective on the instrument. I don't see Quint free bass as anything other than wonderful. I think Chromatic free bass is great too and I have spent quite a considerable time with both instruments.

I wanted to share some of the recordings of Dr. William Popp here, seeing as we are in the Quint free bass thread.

I love Popp's interpretations of Baroque music:


Also his "simple" writings for free bass learners are just wonderful. Of course, I have all of his "Piccola Musica" suite and it's perfect for free bass learners on any system. Here's a tiny sample:


For those who have the appetite for "contemporary" music, here's a piece that I really like, even though I'm not smart enough to know quite why.

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