Doing the Splits

When to Do These Exercises

These exercises give your hand a workout. Follow these guidelines.

• Do only after the hand and fingers are well warmed up.
• Do with minimal tension.
• Rest and relax hand as needed.
• Work towards a slow gradual improvement.

Goals for the Exercise

Strength -- move and control 

Flexibility -- stretch and bend

Accuracy -- vertical key press at center of button

Relaxed -- effortless and smooth motion of entire arm

Same Sound -- each note has the same attack, sustain, and release. Start as detached notes, then eventually move towards a smooth legato, and then to a crisp staccato.

Speed -- work towards an even speed for all notes. Start at a slow tempo. Eventually work towards a faster even speed.

Space Between the Fingers

An advantage of the chromatic button accordion (CBA) is that there are more notes in a given space compared to the piano and the piano accordion.

The span of notes that could be reached on a CBA may be twice as wide as what could be reached on a piano:

• a third instead of a second
• a fifth instead of a third
• an octave instead of a fifth
• two octaves instead of one octave.

Notes played across a wider span can produce a more open sound than notes played within a narrower span.

Doing the Splits with the Fingers of Both Hands

A similar exercise could be used with the left hand, but I will explain the exercise for the right hand.

Fingers One and Two --

Put and keep the first finger (thumb) on the lowest note of the third row from the outside edge of the keyboard.

Using the second finger, on the outside three rows play a chromatic scale up to the maximum extent possible, then play the scale back down.

Repeat playing the chromatic scale on rows two, three, and four from the outside edge of the keyboard.

Repeat playing the chromatic scale on rows three, four, and five from the outside edge of the keyboard.

Fingers Two and Three --

Replace the thumb with the second finger on the lowest note of the third row from the outside edge of the keyboard.

Using the third finger, repeat playing the three chromatic scales.

Fingers Three and Four --

Replace the second finger with the third finger on the lowest note of the third row from the outside edge of the keyboard.

Using the fourth finger, repeat playing the three chromatic scales.

Fingers Four and Five --

Replace the third finger with the fourth finger on the lowest note of the third row from the outside edge of the keyboard.

Using the fifth finger, repeat playing the three chromatic scales.

Doing the Hand Stretch with the Fingers of Both Hands

A similar exercise could be used with the left hand, but I will explain the exercise for the right hand.

Fingers One, Two and Five --

Put and keep the first finger (thumb) on the lowest note of the third row from the outside edge of the keyboard.

Using the second finger play the second octave note. 

Using the fifth finger play the third octave note.

Play the three octave notes chromatically up the keyboard to the maximum extent possible, then play back down the keyboard.

Two Videos on Finger Stretching

Finger Stretches Piano Lesson - Josh Wright Piano TV

https://www.youtube.com/watch?v=NNCu2Nbpxcw

Part 1: 10 Exercises for Hands without Piano (excerpts from Czesław Sielużycki)

https://www.youtube.com/watch?v=bTptqn9U6fU

Across the Keyboard

Natural and Relaxed Playing

Being physically unnatural and tense limits playing and encourages injury.

The Russian piano method and the Alexander method are two approaches to work toward in your practice and performance.

Root out tension and eliminate it.

Irina Gorin demonstrates many techniques for realizing the goals of the Russian piano method.
https://www.youtube.com/watch?v=dgnPyBaMsrI

Diane Sussman uses the Alexander method to be actively aware of posture and eliminate tension throughout the body.
https://www.youtube.com/watch?v=9BKK6znLHlc

Differences Between Playing Piano and Playing Accordion

The piano makes the sound on its own. The speed of the finger press affects the speed of the piano key hammer, and thus affects the sound of the struck string.

The accordion requires the bellows to make the sound. The key press opens the valve damper and allows the reed to sound. So only the lightest touch is required on an accordion key.

Otherwise, much can be learned by applying proper piano playing technique to the accordion.

Playing the Accordion as a Piano

The basic technique of playing the chromatic button accordion (CBA) is to have the right hand parallel to the keyboard with the wrist and forearm centered on the hand. The elbow and upper arm adjusts to maintain that alignment. This duplicates piano technique.

The CBA, unlike the piano and the piano accordion, has many more rows of keys in front of the hand. So the hand will move inward from the outside edge of the keyboard but the hand continuing to remain parallel to the outside edge of the keyboard.

Consider the Natural Hand Position

The relaxed placement of finger five (the little finger) is an important consideration for hand placement. Placing fingers two, three, four, and five on the same row of buttons duplicates the technique used on the piano. 

Alternately, consider that finger five naturally falls towards the outside edge of the keyboard. So, playing across the CBA keyboard from inside row to outside edge may reduce some hand tension on the side of the hand along finger five.

Practice

Diminished Sequence (1, b3, b5, 8)--

Start at the upper left of the keyboard and play the diminished arpeggio down the inside row using fingers two, three, four, and five. Move down to the next key in the same row and play the inversion. Upon completing two octaves, reverse direction and play up the keyboard.

Now do the same thing, but this time place finger five on the alternate outside row.

Now repeat the sequence, but this time with fingers four and five on the alternate outside row.

You may repeat the diminished sequence on the next button down the inside row (a minor third up).

Minor Chord Sequence (1, b3, 5, 8)--

Start at the upper left of the keyboard and play the minor chord arpeggio down fingers two, three, four, and five. Play each inversion. Upon completing two octaves, reverse direction and play up the keyboard.

Now do the same thing, but this time place finger five on the alternate outside row. Then follow the fingers across the keyboard with each inversion so that each inversion has more fingers on the alternate row. 

You may repeat the minor chord sequence on the next button down the inside row (a minor third up).

Major Chord Sequence (1, 3, 5, 8)--

Start at the upper left of the keyboard and play the major chord arpeggio down fingers two, three, four, and five. Play each inversion. Upon completing two octaves, reverse direction and play up the keyboard.

Now do the same thing, but this time place finger five on the alternate outside row. Then follow the fingers across the keyboard with each inversion so that each inversion has more fingers on the alternate row. 

You may repeat the major chord sequence on the next button down the inside row (a minor third up).

Augmented Chord Sequence (1, 3, #5, 8)--

Start at the upper left of the keyboard and play the augmented chord arpeggio down fingers two, three, four, and five. Play each inversion. Upon completing two octaves, reverse direction and play up the keyboard.

Now do the same thing, but this time place finger five on the alternate outside row. Then follow the fingers across the keyboard with each inversion so that each inversion has more fingers on the alternate rows. 

You may repeat the augmented chord sequence on the next button down the inside row (a minor third up).

Relaxed Playing

Whether you adopt playing across the keyboard or not, the key practice elements are: 

1. stay relaxed,
2. maintain proper arm and hand position, and
3. gain flexibility and accuracy.
   

Performance Examples

The Music -- "Indifference"

Musescore provides the sheet music along with a flexible user interface.

https://musescore.com/user/2809151/scores/1444471

Performances

Some players adopt the use of "across the keyboard" techniques.

French players Richard Galliano and Ludovic Beier both play with very fluid technique and tone.

Richard Galliano with the Tangaria Quartet

https://www.youtube.com/watch?v=-OEKEzw2tWc

Ludovic Beier

https://www.youtube.com/watch?v=bOqipn8jGY4