Pulse in music?

[Dingo40]

So, when you play a tune on your accordion, do you give a little extra push on the first beat in a waltz or the first and third for 4/4 time, for example, or just let it go?
What about you digital players? Do your machines even permit it?

 

[Glenn]

Indeed it is all about giving character to your playing by emphasising certain notes or passages. What you call a pulse on the first beat of a waltz could work for some pieces but needs to be played with feeling if not to become too mechanical and ultimately tiring on the ear. As for digital players, modern digital accordions mentioned on this forum allow expression via the bellows (or even touch). Only older or retrofitted-midi accordions will not have expression via the bellows (would have to be done via a foot pedal or some such controller).

 

[Dingo40]

Indeed it is all about giving character to your playing by emphasising certain notes or passages. What you call a pulse on the first beat of a waltz could work for some pieces but needs to be played with feeling if not to become too mechanical and ultimately tiring on the ear. As for digital players, modern digital accordions mentioned on this forum allow expression via the bellows (or even touch). Only older or retrofitted-midi accordions will not have expression via the bellows (would have to be done via a foot pedal or some such controller).

Thanks Glenn,
Illuminating and helpful!

 

[losthobos]

Pushes on two and four make for a better pulse than on one and three....
I try and accent these beats but find difficult without messing the melody..

 

[donn]

Similarly maybe, a Norwegian tune in 3 I play once in a while, has a strong beat on 3, as I'm told is a somewhat common style there (usually just the bass, the melody holds over 3.)  The conscious effort to do this brings back some of the "pat head while rubbing belly" two hands difficulty, and I find it also a bit of a struggle to consistently play the chord button on 3.  I think that's the style, but my left hand often wants to go to counter-bass or alternate-bass on 3.  I'm sure it will become natural if I play the tune more, it's just this conscious stage that's naturally a little rough.

Another Norwegian 3 style, by, the way, takes extra time for 2;  I don't think those two features are found together in the same tune though.

 

[Alan Sharkis]

My acoustic with midi does have expression in the bellows, but can also a foot controller.  I use neither for that pulse.  I belong to a more modern approach that creates the pulse by lengthening the duration of the bass very slightly on the first count of a 3/4 bar and the one and three (or two and four as the style of the music dictates) and keeping the chords short.  That way, no extra bellows pressure, which tends to be exaggerated, is necessary.  The problem is that when I was a kid the fashion was to keep both basses and chords short and I sometimes find myself reverting to that pattern.

I use the same approach with my Roland FR-4x.

Alan Sharkis

 

[Tom]

You can try to vary the accents, durations, and volumes to bass patterns to add variety to a song, or from song to song. With this you can add to your expression, and have another layer of interest to your sound.

 

[craptiger]

It's all about control, so I would suggest practise with no pulse at all, and then with an exaggerated pulse.  It's like practising tunes really really smoothly and legato, then the same tune overly staccato.  If you have the control to do both, you'll naturally be able to find the compromise in the middle where it sounds "right".

So I wouldn't worry too much about the "pulse" but focus on making it sound right.  Recording yourself is a really helpful trick (and terrifying when you listen back to it!!).  You'll be able to hear all kinds of bad habits when you listen to yourself from the other side of the box!

 

[george garside]

Before worrying about where to put a pulse in a tune it is vital that generating a 'pulse' with the bellwos is practiced outside of any tune .Time spent on this will then enable a 'pulse' to be added wherever the player feels it adds to a tune and it should not be used for any other reason.

The tighter the bellows are kept the easier it is to quikly increase pressure (or pull) to highlight a single note without it effecting the previous or following note. keeping the bellows no more than 12 inches ? 300 cm will help and the less opening the better.

It will also help if the bellows are 'fan' shaped i.e top more open than bottom .


The pulse to highlight an individual note is different to using a gentle and very fine pulse to add an additional unobtrusive layer of rhythm to a tune and this was often used by Sir Jimmy Shand.


there are no 'rules' as to when and where to pulse and it is up to the individual player to decide if and when so to do.


The gentle rhythmic pulse is definitely not to be confused with ' bellows shaking'' , a technique that I personally think sounds and looks bloody awful!

george

 

[Tom]

I think George and everyone make good points but feel obliged to add that imho, the "bellows shake" is often used to excess in an attempt to impress an audience with technique. But when used tastefully and rhythmically (as in some Brazilisn styles) it can add a lot of positive to a tune. Ie. It's not the technique that is bad, it's its abuse by certain players.

 

[StargazerTony]

I use a little trick to put pulses into tunes I play that have words. I follow the inflection of the words. That seems to work out well for me.

At least those who go screaming and running from my playing have never blamed my pulsing.

 

[Dingo40]

All very thought provoking: thanks!