Fingering for the piano accordion
BobSmith4
documented. While taking lessons for classical organ, I was discovered a
number of techniques that could readily apply to the "piano" accordion. Many
of these methods are not appropriate to the piano (since piano keys have to be
"struck"), but are appropriate to the accordion. It appears that the vast
majority of accordion teachers probably based their fingering on the piano.
But the "piano" accordion is really more similiar to the organ than the piano.
Let me give a few examples of fingering that appears to be appropriate, but for
which I have not seen on any accordion music or method books (I do not have a
large library, so it is quite possible that I have missed something).
When playing parallel thirds on mostly white keys, a nice way to progress,
especially when playing legato, is to use the sequence of 1-5, 2-4, 1-5, etc.
This basic trick can be extended to most scales with a little thought.
It is possible to play an entire scale using only the thumb by alternatively
using the knuckle and then the tip of the thumb. This is called "thumb
glissando" in organ method books.
One trick that I have seen on at least one accordion arrangement is the "finger
glissando" where you slip a finger from a black key to an adjacent white key.
The fourth or fifth finger can easily be tucked under the third finger when
descending notes are played. (Or the fifth under the fourth, for that matter.)
It also appears that different fingering might well be appropriate depending on
whether the hand is at one end of the keyboard or the other. At the high pitch
end of the accordion, your arm is nearly 45 degrees from the perpendicular,
whereas at the low pitch end, your arm is nearly perpendicular. I am starting
to think that the use of "old fingering" might be quite appropriate in places.
"Old fingering" was a new discovery for me. It appears that before 1700,
players of keyboard instruments very rarely used their thumbs! I think they
had their hands above the keyboard and let their fingers do the walking. Even
Bach, who was one of the early champions of more extensive use of the thumb in
somewhat of the modern way, used old fingering on the C-scale, as shown on BWV
994, "Applicatio in C".
Does anyone have any interesting fingerings or related comments that they would
be willing to share?
Bob Smith
Jack J. Woehr
> Does anyone have any interesting fingerings or related comments that they would
> be willing to share?
I think your observations are pretty good. Yes, I use fingering a good deal different
from my piano fingering for accordion, though many of the techniques from piano,
such as crossover-the-thumb work well on PA.
One particular difference is that frequently I'm playing almost with the backs of my
fingers on PA.
--
Jack J. Woehr # Ceterum censeo
PO Box 51, Golden, CO 80402 # in herbas belli
http://www.softwoehr.com # ab idem desistamus.
nysh...@aol.com
In a message dated 12/6/2002 4:51:12 PM Eastern Standard Time,
use...@d-and-d.com writes:
> While taking lessons for classical organ, I was discovered a
> number of techniques that could readily apply to the "piano" accordion.
> Many
> of these methods are not appropriate to the piano (since piano keys have to
> be
> "struck"), but are appropriate to the accordion.
So I'm not the only one! Except for one formal lesson, I'm self-taught on
the accordion, and have found myself using the same finger substitution that
I used on the organ. It not only helps with legato, but the notes are a
little more secure when moving around the keyboard.
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CDMazoff
your fingers? Oy!! Why? Sorry for asking but maybe I'm one of the
lucky one's. I studied accordion as a youth with 2 of Montreal's
finest teachers over a period of 10 years. Frank Ravenda and Jean
Marrazza. They insisted on proper technique, and we did plenty of
scales, exercises and etudes. So having learned to approach the piano
accordion properly, I can't imagine why you would be using the backs
of your fingers.
CD
"Jack J. Woehr" <jwo...@attglobal.net> wrote in message news:<3DF12539...@attglobal.net>...
Jack J. Woehr
> Jack: are you sure you don't spell your last name "weird"?
Five vowels ... as weird as it gets!
> Back's of
> your fingers? Oy!! Why? Sorry for asking but maybe I'm one of the
> lucky one's. I studied accordion as a youth with 2 of Montreal's
> finest teachers over a period of 10 years.
Well, maybe because I learned to play piano at the age of four and mostly taught
myself all the instruments I play ...
Joe Kesselman (yclept Keshlam)
> Jack: are you sure you don't spell your last name "weird"? Back's of
> your fingers? Oy!! Why?
I found I did that for glissandi.
Never mind whether it's the standard approach. If it works well for you,
and doesn't damage either the instrument or the performer, go for it.
(Of course at one point I was playing prepared piano and the like, so my
definition of "proper technique" is very much "whatever produces the
sound I want most reliably.")
--
Joe Kesselman, http://www.lovesong.com/people/keshlam/
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