Intervals, Keyboard Layout, and Fingering

Benefits

Use intervals to analyze music, both notation and sound.

Apply intervals to keyboard layout.

Use fingering based on intervals on the keyboard layout.

 

The Music

"Gankino Horo" from Northern Bulgaria----

Sheet music is posted at:

https://musescore.com/jmib/gankino-horo-traditionnel-bulgare

Performance video is posted at:

http://www.youtube.com/watch?v=0iziARwnTYA

 

 

The Practice

Apply the keyboard's direction for half steps and whole step (two half steps).

This is best applied where music is scale-wise with accidentals.

For example, on a B-System half steps go diagonal from left to the right and whole steps go diagonal from right to the left.

The reverse is true for a C-System where whole steps go diagonal from left to the right and half steps go diagonal from the right to the left.

So, where the music moves up or down by half step, use the half-step diagonal.

Where the music moves up or down by whole step, use the whole-step diagonal.

 

 

The Application

Using the music example above, analyze measure one for note for note by interval.

Apply the keyboard's direction for half steps and whole step (two half steps).


The time signature is 11/8 (2 + 2 + 3 + 2 + 2) with the third beat being the longest and strongest.


--Measure One--

The grace note to beat two is a whole step below beat two, so is fingered using the whole-step diagonal.

Apply the keyboard's direction for half steps and whole step (two half steps).

The last four eighth notes of measure one are a descending whole step, followed by a descending half step, and followed next by a descending whole step.

So the fingering descends on the whole step diagonal, followed by a descent on the half-step diagonal, and followed next by a descent on the whole step row.


--Measure Two--

Measure two begins with an ascending minor third (three half steps), which on either B-System or C-System is the button directly below.

Then beats one and two of measure two is a descending half step, followed by a descending whole step, and followed next by a descending half step.

(Recall that the naturally occurring half steps are between C-B and F-E.)

Measure two contains examples of the two naturally occurring half steps. One is at beat one and the other is at the last beat of the measure.

After analyzing the intervals in measure two, we see that the measure contains every interval between a half step and a major third (four half-steps).


So far we have covered fingering a half step, a whole step (two half-steps), and a minor third (three half-steps).


Using this information we can figure out the fingering for the major third (four half-steps). It is a minor third (three half-steps) plus another half step.

In this case the major third is ascending and located in measure two at the later part of beat three (the "F" going up to "A"). So, relative to the "F" the "A" is the button directly below plus one button down the half-step diagonal.

 

 

The Larger Intervals

An critical area for practice is accuracy on the larger intervals, for example fourth, fifth, sixth, seventh, and octave.

A large interval often has smaller intervals, half-step through thirds, nearby.

So, by considering the fingering of small intervals, you can improve the analysis and fingering of the music.


--Line Two, Measure One--

Using the music example above, on the second line, the first measure going into beat four ("G#") is a descending half step after an ascending fifth. By applying what you know about playing descending half steps, you can improve your confidence in playing the "A" then the "G#."

Often patterns repeat. So getting confident on the "A" to "G#" pattern, you get more confident for the same interval is measures two, three, and four of line two.


--Section Three, Measure Two--

Another large interval pattern is used on the line three going into measure two ("A" "E" "F#" "D"). The intervals are an ascending fifth, followed by an ascending whole step, and followed next by a descending major third.

This pattern repeats on the last line going into measure two ("D" "A" "B" "G").

 

 

Summary

Analyzing and fingering music based on intervals will improve your understanding, accuracy, and performance of music.

 

Reading and Playing Music Notation

Benefits

Link notes, chords, scales, intervals and keys to music notation.

Link music notation to keyboard finger location and patterns.

Use the notated music to analyze musical structure and determine best fingering note fingering.

Link rhythm notation to rhythm patterns.

Play the music using three different fingering patterns: first the scale based on finger 1, then the scale based on finger 2, and finally the scale based on finger 3.

The Music

A useful collection of music is posted at:

http://www.bushtraditions.org/tutors/inrow.htm

The Practice

Select a tune.

Using finger position 1, locate and play the tune's notes. Then play the tune in rhythm at a slow steady tempo. 

Using finger position 2, do the same.

Using finger position 3, do the same.

With practice, increase the tempo of the tune up to dance speed.

Select another tune and do the same steps to play the tune in each finger position.

Flexible Fingering Patterns

To reestablish basic finger flexibility, accuracy, and patterns, begin and end each practice day with scales and chords in every key throughout the keyboard and use the three fingering patterns, those based on finger 2, on finger 3 and finger 4.

During the practice day, when working on current and new music projects, you notice that the scale used in various musical sections shifts, usually to a related key based on the Circle of Fifths.

You notice that you are playing a scale pattern but the basic pattern is now based on a different finger.  For example, you start playing the first section using a scale pattern based on finger 2. In the next section the scale and chords shift to a related key with a pattern based on finger 4.

So rather than always shifting your fingers to play scales based on finger 2, by playing scales equally well based on fingers 2, 3, and 4, you don't have to move your hand position, which helps playing accuracy.

Finger and Mental Flexibility Exercise

On a C major scale, start on G with finger 3 and play down to C and back up to G. (Notice that the C was played with finger 2.) 

Using the same major scale, start on G with finger 4 and play down to C and back up to G. (Notice that the C was played with finger 3.) 

Using the same major scale, start on G with finger 2 and play down to C and back up to G. (Notice that the C was played with finger 4.) 

Now mix up the patterns by playing alternate buttons on half of the pattern. For example, start with finger 3 on G and end with finger 4 on C. Then shift the finger 4 on C to finger 3. Start playing the pattern upwards and half way up shift to alternate buttons and end on G with finger 2. Mix the pattern up into its various combinations.

For practice, work out various fingerings on Irish jigs and reels. 

http://www.irishtune.info/session/tunes.php

http://www.novasession.org/sheetmusic.html#.Uyj8yPldVyJ

http://www.thegrotonsession.com/tuneindex.html

Fingering Patterns for Chromatic Accordion

Searching the internet confirms this idea of combining fingering patterns.

http://en.wikipedia.org/wiki/Chromatic_button_accordion 

Types of Fingering

On the left hand, use finger 3 as the basis for the scale.

http://en.wikibooks.org/wiki/Accordion/Left_hand/Lesson_4 

Robert Smith, although for piano accordion, explores the variety of fingering styles that you can adapt to your practice.

http://www.ksanti.net/free-reed/reviews/smith-rl_fingering.html

Eric Butterworth has amassed a resource for Bulgarian folk accordion music. He recommends fingering based on fingers 1 (thumb), 2 and 3. His fingering drills are an excellent resource to adapt to your current fingering practice.

http://www.goldov.com/butterw/emdb/

http://www.goldov.com/butterw/emdb/tutorial.html

Sandra Milosevic plays Serbian and Bulgarian folk music on piano accordion using primarily fingers 1, 2, and 3.

https://www.youtube.com/watch?v=wJ8Vr9bs8ag&list=RDr72harldNuU 

However, for chromatic button accordion, use fingers 2, 3, and 4, as shown in the link below by Danijela Predic.

https://www.youtube.com/watch?v=RyIHsDOANY8

Super Mario Theme on CBA

How about some chordal playing? The left hand is in Free Bass mode, playing single notes on all buttons. This feature is not commonly available.

https://www.youtube.com/watch?feature=player_embedded&v=GI2a7_XfKaI

Add Grace Note Patterns Throughout the Keyboard

Simple tunes become more interesting when embellishments (grace notes) are added to the basic melody.

Now that you are comfortable with scale and chord patterns throughout the keyboard based on one finger pattern, adding a grace note pattern to each note adds flexibility to your playing. Embellishments often use notes a half step below and above the main note. Hence, you are incorporating non-scale notes into your playing. Hence interest to the music. 

Because you are adding non-scale notes, you want to be very secure with scales and chords before adding grace notes. Otherwise, you become confused and frustrated.

Embellishments

The basic grace note is playing a half step below or above the main note before playing the main note.

The turn embellishment is playing a half step below the main note, then playing the main note, then playing a half step above the main note, then playing the main note or beginning a half step above the main note and reversing the pattern.

The following link lists various types of embellishments. 


http://dictionary.onmusic.org/appendix/topics/ornaments

Stylistic Musical Ornamentation

Various musical styles often involve particular types of ornamentation.


For example, Bulgarian at the link below.

https://www.youtube.com/watch?v=LfM1tX1efeQ


For example, Irish at the link below.

http://www.tradschool.com/en/tunes/ornamentation-in-irish-music


For example, ornament performance at the link below.

http://www.youtube.com/watch?v=xGvRUIO170w


For example, Serbian at the link below.

https://www.youtube.com/watch?v=PCrNORbMuR0


For example, Romanian at the link below.

https://www.youtube.com/watch?v=yrjIFrGr5Gc


Noam Oxman plays a song in its original style, then in Serbian, Romanian, Bulgarian, and Macedonian styles. Notice the different use of grace notes.

https://www.youtube.com/watch?v=t17BI-tHI-4

Getting Around the Keyboard

Now you want to really settle in a scale pattern. 

For example, the major scale with the fingering that starts with finger 2.


The goal is to be comfortable and accurate throughout the keyboard.

The outcome you are working for is to be play the pattern naturally without thinking about it. Then increase speed while maintaining consistent rhythm and accuracy.

Practice, Practice, Practice

Begin with the lowest note on the keyboard than has two rows of buttons to the right so that you can play the finger 2 pattern.

Play the major scale to the highest note then back down using fingers 2, 3 and 4.

Then play the scale's major chord from the beginning note to the highest chord note and back down using fingers 2, 3, and 4.

In the left hand play the root and major chord while the right hand is playing the corresponding scale and chord.


Now go up a half step and do the same thing on half step higher. Begin with finger 2 on a button that has two rows to the right. Use the same fingers and the same pattern.  Play the scale then the chord while playing the root and major chord with the left hand.

Continue going up by half steps until you have played all of the major scales.


Again, the goal is to become comfortable and accurate throughout the keyboard at various tempos (speeds).  


Next would be to do the same thing using the natural minor scale.

Then harmonic minor scale.

Then melodic minor scale.

Then dominant seventh scale.

Then minor seventh scale.

Then diminished scale


You notice that the consistent fingering of starting with finger 2 is increasing your confidence to play anywhere on the keyboard. 

Natural Minor Scales using song "Apple" (Яблочко)

Natural Minor Scale

The Russian Sailor Dance "Яблочко" (transliterated Ya-bloch-ka) uses all of the notes of the natural minor scale.

The natural minor scale uses the notes of its related major scale.  The natural minor of "C" Major is "A" natural minor. So a natural minor scale based on "C" Major are the notes from "A" to "A."

So practice the major scales using the three fingering patterns (finger 2 on C, finger 3 on C, and finger 4 on C).

Then go down two steps and practice the same scales from "A" to "A."

A lot of songs use minor keys, so it is good to get comfortable with the fingering pattern of a minor scale. 

After you get comfortable with the natural minor scale, add in chords, arpeggios, note patterns and chromatics.

Theme and Variations

A lot of songs are played in the form of theme and variations, in which more and different notes are played each time the song is repeated.

The following video demonstrates this style of playing using the song "Яблочко."

http://www.youtube.com/watch?v=fi4jV4BAWEY

The song's notes:

A   A   E F G      E  F  D   A  E  C      A  D  D  A  B  C      C   B   A  B  C   A  

A  D  D  A  B  C      C  B  A  B  C  A

Chords - Arpeggiated Melodies

Many melodies are chord notes played in sequence with occasional scale notes added. So, many melodies can be played by placing fingers over chord patterns. The thumb (finger 1) becomes useful for playing the lowest notes in a chord.

A song that demonstrates an arpeggiated melody is Clarinet Polka. 
["The Clarinet Polka" or "A Hupfata"^[1] (Polish "Polka Dziadek", Estonian "Vanaisa polka", Russian "Полька Дедушка" – Grandpa Polka)]

https://www.google.com/search?q=clarinet+polka&safe=off&espv=210&es_sm=93&tbm=isch&tbo=u&source=univ&sa=X&ei=W237UofrEIrJ0gGV_YDACw&ved=0CCkQsAQ&biw=932&bih=687

http://www.youtube.com/watch?v=0WCMzRLov58

http://en.wikipedia.org/wiki/Clarinet_Polka

http://www.youtube.com/watch?v=FqKxcNVtm9k

Perfect Practice Makes Perfect Performance

At the beginning of each practice session, reestablish and reinforce perfect performance of the basics before introducing work on a new skill.

Scale and chord patterns are based on using three vertical rows of buttons.

Finger 2 in the Left-most Vertical Row of Three Rows

The primary pattern begins with finger 2 in the left-most vertical row of buttons.

Begin with two-octave chromatic scales up and down. When you have played them several times correctly, evenly, and crisply, move on to the next skill.

Play major scale two octaves up and down.  After several correct performances, move to the next skill.

Play natural minor scale two octaves up and down.  After several correct performances, move to the next skill.

Play major and minor scale segments of three to six notes up and down.

Finger 3 in the Center Vertical Row of Three Rows

Move the hand to the left one row and perform the above sequence beginning with finger 3 in the center of the three vertical rows.

Finger 4 in the Right Vertical Row of Three Rows

Move the hand to the left one row and perform the above sequence beginning with finger 4 in the right of the three vertical rows.

Chord Notes as Melody

As you play more music, adapt the basic playing techniques to the requirements of the music. 

For example, you start with a finger 2 pattern, but a certain section fits more easily using a finger 3 pattern.  Experiment with blending various fingering patterns to best fit the music requirements.

Chord Patterns

The primary pattern begins with finger 2 in the left-most vertical row of buttons.

Perform a major chord arpeggio two octaves up and down.

Then perform a minor chord arpeggio two octaves up and down.

Then perform a dominant seventh arpeggio two octaves up and down.

Alternating Pairs of Fingering

Minka Variations

The Cossack song "Minka" offers a good opportunity for practicing alternating pairings of fingerings. The pair of notes played is usually the melody note and a harmonizing note that is the interval of a third or sixth away. As the melody moves and the notes change, the notes are played by alternating pairs of fingers. Notes played by the even fingers (2 and 4) are followed by notes played by the odd fingers (3 and 5), followed by notes played by the even fingers, and so on.

Play C Major scale up and down using only fingers 4 and 5. Begin with the finger 5 on the "C" in the middle of the keyboard on row 3 (counting the rows from right (outside) to left (inside).

[on B-System:]

[note:  C  D  E  F  G  A  B  C]

[row:    3  4  2  4  2  3   1  3]

[finger: 5  4  5  4  5  4  5  4]  


Then play the C natural minor scale (3 flats) using fingers 4 and 5.

[on B-System:]

[note:  C  D  Eb  F  G  Ab Bb C]

[row:    3  4  3   4  2   4   2  3]

[finger: 5  4  5   4  5   4   5  4]  

Play Minka with fingers 4 and 5.

C Eb  C Eb C Eb  D  C  B  D  B  D  B  D  C  B
       [repeat 2x]                [repeat 2x]          
4  5   4  5  4  5   4  5  4  5  4   5   4  5  5  4      


C Eb  C Eb C Eb  D  C  B  D  G  B  C  D
       [repeat 2x]                          
4  5   4  5  4  5   4  5  4  4   5  4  5  4  


Eb G Eb G Eb G   F  Eb  D  F  D  F  D  F  Eb D  
       [repeat 2x]                [repeat 2x]          
4  5   4  5  4  5   4  5  4  5  4   5   4  5  4   5        


C Eb  C Eb C Eb  D  C  B  D  G  B  C  Eb  C
       [repeat 2x]                          
4  5   4  5  4  5   4  5  4  4  5  4   4  5   4    

              
Play Minka with harmonizing notes a sixth below played with finger 2 when finger 4 is used, and with finger 3 when finger 5 is used.

Harmonizing notes for Minka to be played at the same time as the melody above.

Eb G Eb G Eb G   F  Eb  D  F  D  F  D  F  Eb D
       [repeat 2x]                [repeat 2x]          
2   3  2  3  2  3   2  3   2  3   2  3  2  3  3   2    


Eb G Eb G Eb G   F  Eb  D  F  B  D  Eb F  
       [repeat 2x]                          
2  3   2  3  2  3   2  3   2  2   3  2  3   2      


G Bb G Bb G  Bb  Ab  G  F  Ab  F  Ab  F  Ab G  F
       [repeat 2x]                    [repeat 2x]          
2  3  2  3  2   3    2   3  2  3   2  3  2  3   2   3           


Eb G Eb G Eb G   F  Eb  D  F   B  D  Eb  G  Eb
       [repeat 2x]                          
2  3   2  3   2  3  2  3   2   2   3  2   2   3   2     

When playing Minka, fingering is adjusted based on the melody line. Sometimes the same set of fingers jump to play a next set of notes. Sometimes the lower finger will now play the note that was previously played by the higher finger. Another skill to develop is to play the same note or notes with alternating fingers, which repeats the notes as in a tremolo.

Below are some recordings of Minka.


http://www.youtube.com/watch?v=DLvFilT5HoE

http://www.youtube.com/watch?v=UxKjQEO-i1g

http://www.youtube.com/watch?v=Mp88c6IeGBI

http://www.youtube.com/watch?v=P5JE6s9FeGc

http://www.youtube.com/watch?v=1YisgJFlKlg

Scale Pattern Based on Finger 3

You initially began playing the chromatic scale and Major scale beginning with finger 2. The scales use three vertical rows of buttons.

As you did earlier, play a chromatic scale and a Major scale starting with finger 2 on "C."

For a B System:
Now shift your right hand one button to the left, so that finger 3 is on "C" and finger 2 is on "B." 

For a C System:
Now shift your right hand one button to the right, so that finger 3 is on "C" and finger 4 is on "B." 

Play a C chromatic scale and a C Major scale using "B" as a pick-up note.

Notice that the Major scale pattern is different when basing the scale on finger 3.

Some songs may seem easier to play when using finger 3 as the basis for the scale rather than finger 2.


Play the song "Dark Eyes" using a scale based on finger 3.

http://en.wikipedia.org/wiki/Dark_Eyes_(song)

http://www.youtube.com/watch?v=hXNh_4K287g&list=RDVdWBdqkxHKg


F# G Ab G    F# G  Ab G   G C     C B   D Eb      D C   Eb F

G Dom 7               C-minor         G Dom 7        C-minor


Eb D Ab       D Eb  D C G   F# G   Ab G    D Eb   C

F-minor                C-minor          G Dom 7        C-minor

Play Cossack Song

The following song uses the elements covered in the previous Post.

Йихав козак за Дунай (A Cossack Rides Beyond the Danube)

[ehaf  kozak za dunai] (transliteration)

https://www.youtube.com/watch?v=KtRQ2m0F_Gc



Use the chords and fingerings you have used.

Add scale notes to fill in the tune.

Briefly shift one button down the keyboard and play two chords

Then shift back up one button and replay the first part of the song



Place finger 2 on "C" and finger 4 on the octave "C."

Play the song with finger 3.


F Ab G F   E G F E    F Ab G F   E G Bb G   F 

F-minor    C Dom 7   F-minor    C Dom 7   F-minor


[Shift fingers 2 and 4 down one button to Eb]

G [finger 3]  Ab C Bb Ab

Eb Dom 7     Ab-major


[Shift fingers 2 and 4 back up one button to C]

G [finger 3]  Bb Ab G   F Ab G F   E G Bb G  F 

C Dom 7      C Dom 7   F-minor    C Dom 7   F-minor

Train Right Hand for the Keyboard

Now that you mentally know the keyboard layout, It's time to train your fingers to play the notes. Step one is to establish a stable, consistent and comfortable position for the accordion with respect to the keyboard and your right hand and finger positions. After some practicing and adjusting, you should reach a specific position that you should always assume when playing. Consistent playing requires a consistent holding of the instrument.

Rock-Steady Keyboard

A position that works for me is seated forward on an arm-less chair. Arch your chest up and slightly lean forward. Position the bottom outside corner of the keyboard against your upper inner thigh. Set the body of the accordion on top of your left thigh. Adjust the shoulder straps to fit snugly in this position.

Position your right hand over the keyboard with your main fingers (2,3 and 4 [considering the thumb as finger 1]) pointing downward with the tips of the fingers positioned over a slanting row of buttons that go chromatically (for the B-System) diagonally down to the right or (for the C-System) diagonally down to the left.

As you practice the patterns below to achieve a consistent playing of the correct notes, adjust the instrument, arm and hand positions until you settle on a final positioning.

Chromatic Scale (Twelve Half-Steps per Octave)

Begin with note "C." While holding the root "C" note in the left hand, play a C chromatic scale up and down an octave. Practice in accent groupings of two, three and four. On the B-System start with fingers 2, 3 and 4 (thumb is 1) or on the C-System start with fingers 4, 3 and 2. As mentioned above, adjust the instrument, arm and hand positions until you settle on a final positioning.

Then come up the left-hand row to note "G" and in the right hand, play the G chromatic scale.

Then continue up the bass row to D, then A, then E, etc.

Then start back at C."

Then continue down the bass row to F, then Bb, then Eb, then Ab, etc.

Major Scale (Seven Scale Steps per Octave)

Begin with note "C." While holding the root "C" note in the left hand, play a C Major scale up and down an octave using the same notes and fingerings of the chromatic scale except that you skip past the five notes that are not in the C Major scale (C#, Eb, F#, Ab and Bb). 

Practice in accent groupings of two, three and four. On the B-System start with fingers 2, 3 and 4 (thumb is 1) or on the C-System start with fingers 4, 3 and 2. As mentioned above, adjust the instrument, arm and hand positions until you settle on a final positioning.

Then come up the left-hand row to note "G" and in the right hand, play the G Major scale.

Then continue up the bass row to D, then A, then E, etc.

Then start back at C."

Then continue down the bass row to F, then Bb, then Eb, then Ab, etc.

Octave and Intervals

Octave:

Play a "C" with finger 2 and add the octave-higher "C" with finger 4 in the same row.

Play octave intervals for every note using fingers 2 and 4.

Major Chord:

Play a "C" with finger 2 and add the octave-higher "C" with finger 4 in the same row. Using finger 3, play "F", which on a B-System is on the next row in. (On a C- System, play "F" which is two rows in.) Then using the same finger, play "A", which is in the same row and one button above the octave "C." On the left hand play "F" Major and alternate playing the various notes on the right hand.

Dominant Seventh Chord:

Play a "C" with finger 2 and add the octave-higher "C" with finger 4 in the same row. Using finger 3, play "E", then "G" and then "Bb," which on a B-System are two rows in. (On a C- System, using finger 3, play "E", then "G" and then "Bb" which is the next row in.) On the left hand play "C" Dominant Seventh and alternate playing the various notes on the right hand.

Play Major Chord alternating with Dominant Seventh Chord.

Minor Chords:

Play a "C" with finger 2 and add the octave-higher "C" with finger 4 in the same row. Using finger 3, play "F", which on a B-System is on the next row in. (On a C- System, play "F" which is two rows in.) Then using the same finger, play "Ab", which is on the same row as the "F", then play the octave "C." On the left hand play "F" Minor and alternate playing the various notes on the right hand.

Play a "C" with finger 2 and add the octave-higher "C" with finger 4 in the same row. Using finger 3, play "Eb", which below the lower "C". Then using finger 3, play "G," which on a B-System is two rows in. (On a C- System, play "G" which is on the next row in.) Then play the octave "C." On the left hand play "C" Minor and alternate playing the various notes on the right hand.

Play alternating Minor Chords "F" then "C."

Repeat the above chord sequence in various keys. Start the next sequence with octave "G" notes on the right hand and "C" Major on the left hand.

Move up the left hand row. So the next sequence start with "D" octave notes in the right hand and "G" Major in the left hand.

Once all of the higher left hand buttons have been played, start back with the first pattern of "C" octave notes.

Then repeat the above chord sequence in various keys starting the next sequence down the left hand row by playing octave "F" notes on the right hand and "Bb" Major on the left hand.

Continue the sequence going down the left hand row.

You are learning the patterns and building strength and flexibility in the right hand.

An Approach to Playing the CBA

What follows is an approach to playing the chromatic button accordion (CBA) given an existing proficiency with the piano accordion. Focus will be on the right-hand button keyboard. 

Assumption is that the left hand is playing the usual Stradella bass format, which is top row being a counter-bass a major third above the second row (which is the root bass note). The third row is the major chord, the fourth row is the minor chord, the fifth row is the seventh chord, and the sixth row is the diminished chord. A Serbian-style (Dugmetara) accordion may add a top row counter bass which is a minor third above the root row, which is now the third row. The chord columns are arranged in the circle of fifth, descending below "C" column and ascending above "C" column.

Keyboard Layout

The first goal is to learn the keyboard layout so that you can label the notes on a blank keyboard layout. Your keyboard is based on one of two types, each being a mirror of the other.

When wearing and looking down from the top of the accordion, the white keys of the C-System (Western Europe) angle down to the right, whereas the white keys of the B-System (Eastern Europe) angle up to the right. Learn the keyboard pattern that matches your keyboard.

Below is the link to AccordionLab's page on Chromatic Accordions (C and B systems).

http://accordionlab.com/accordionlab/EducationResearch/ChromaticAccordion.pdf

Purpose of Blog

This blog describes an approach to learning to play a chromatic button accordion (CBA).

I solicit your comments and suggestions.

This blog documents my quest to become proficient on the CBA. I want this blog to be:

1. Useful to others seeking to play the CBA
2. Helpful to me and others as experienced players offer comments and suggestions.

I am located in the United States where button accordions are rare. I grew up playing the piano accordion which is the most common type of accordion. The piano accordion, with a piano-type keyboard for the right hand, is the most recently developed type of accordion.  It was introduced in the early Twentieth century, some time after 1900.

The original accordion is the button accordion, developed in Europe around 1850 in various forms that continue to be used in Europe to this day. The most compact style of accordion plays one note when the bellows is pulled out out to open and a different note when the bellows is pushed in to close (bisonic). This type includes concertinas and button boxes.

A larger style of button accordion plays the same note no matter which way the bellows is pumped (unisonic). This would require twice as many buttons to play the same number of notes. The diatonic button boxes have buttons arranged in a scale-like manner, somewhat like a piano accordion. The chromatic button accordion arranges the buttons in a repeatable pattern that allows easy playing of chromatic scales. The pattern used in Western Europe is the C-System, which arranges higher chromatic notes to the left.  The pattern used in Eastern Europe is the B-System, which arranges higher chromatic notes to the right.

The Challenge for the Player

The chromatic button arrangement offers fingering patterns that work in any key and provide multiple ways to finger a given set of notes.The disadvantage is that music notation represents the piano key layout. So although the chromatic button arrangement is very logical and consistent, it is not intuitive for playing music.

Consequently, to play a chromatic button accordion (CBA) requires a concerted effort to pattern your mind and your muscles through continual practice.