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:
- stay relaxed,
- maintain proper arm and hand position, and
- gain flexibility and accuracy.
Performance Examples
The Music -- "Indifference"
Musescore provides the sheet music along with a flexible user interface.
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=-OEKEzw2tWcLudovic Beier
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