Wednesday, April 25, 2018

Same Thing, Only Different

Four-note Chords


 The chromatic button accordion (CBA) has chord shapes that are the same in any key and a wider range of notes within the span of the hand. The following four chord types and shapes are similar but different. Each chord type has a unique sound.

  • Major Seventh Chord (Maj7, M(triangle)7)


 Root position -- C, E, G, B

 Root note, the two notes together in the next row, and finally a note one more row over. 

 Also play the shape in its various inversions and using alternate rows.
Play the shape in all keys, inversions, and row combinations.
Hear and sing the root of the chord.

 In the left hand, play the Major row (fourth row from bottom).

  • Dominant Seventh Chord (7)
Root position -- C, E, G, Bb

Root note with the other three notes together in the next row.

Also play the shape in its various inversions and using alternate rows.
Play the shape in all keys, inversions, and row combinations.
Hear and sing the root of the chord.

Alternate between the two chords (Maj7, 7, Maj7, 7)

In the left hand, play the Dominant Seventh row (second row from bottom).

  • Minor Seventh Chord (min7, m7, -7)


Root position -- C, Eb, G, Bb

Root note and second note in same row with the other two notes together in the next row.

Also play the shape in its various inversions and using alternate rows.
Play the shape in all keys, inversions, and row combinations.
Hear and sing the root of the chord.

Alternate between the three chords (Maj7, 7, m7, 7, Maj7, 7, m7, 7)

In the left hand, play the Minor row (third row from bottom).

  • Half-diminished Seventh Chord ((circle with slash)7)


Root position -- C, Eb, Gb, Bb

Root note and next two notes in same row with the other note in the next row.

Also play the shape in its various inversions and using alternate rows.
Play the shape in all keys, inversions, and row combinations.
Hear and sing the root of the chord.

Alternate between the four chords (Maj7, 7, m7, half-dim 7, m7, 7, Maj7)


In the left hand, play the Root row (fifth row from bottom).


  • Diminished Seventh Chord (dim7, (circle)7)


Root position -- C, Eb, Gb, A (Bbb)

Root note and all other notes in same row.

Also play the shape in its various inversions and using alternate rows.
Play the shape in all keys, inversions, and row combinations.
Hear and sing the root of the chord.

Alternate between the four chords (Maj7, 7, m7, half-dim 7, dim7, half-dim 7, m7, 7, Maj7)

In the left hand, play the Diminished row (the bottom row).


Example Song -- "All the Things You Are"


  • Music -- lead sheet




  • Performance


Jon Persson - All the Things You Are


  • Chord Analysis

How to Analyze Chords - Essential Jazz Theory
Jeff Schneider


  • Backing Track

All the things you are - Backing Track
https://www.youtube.com/watch?v=iyHDHYrdWPs






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Saturday, April 7, 2018

Chords, in Passing

Diminished Chords


 The Chromatic Button Accordion (CBA) right hand keyboard is configured as  vertical rows of buttons, one for each of the three diminished chords. The left hand keyboard has diminished chords as the outside row of buttons.

Passing Chords


 Diminished (dim) chords, along with Diminished Seventh (dim7), Half Diminished Seventh (min7 b5), and Augmented chords (Maj #5) serve as Passing Chords.

 Passing Chords move chromatically up or down before the beat to major or minor triad, sixth, seventh and ninth chords.

 Passing Chords keep the rhythmic flow pulsing, the harmonic flow shifting, and 
the melodic flow gliding by filling in the gaps and the seams between the main notes.


Passing Chord Patterns

C Major (C, E, G) > C# dim (C#, E, G) > D minor (D, F, A)

C minor (C, Eb, G) > C dim (C, Eb, Gb) > D minor (D, F, A)

C minor (C, Eb, G) > C Aug (C, E, G#) > D minor (D, F, A)

G7 or G/B dim (B dim with a G in the bass (B, D, F)) > C6 (A, C, E) or C Maj7 (B, C, E) or C Maj 6 9 (A, C, D) or C Maj 7 9 (B, D, E)

 C Major (C, E, G) > C Aug (C, E, G#) > D minor7 (C, D, F, A)

C Major (C, E, G) > C# dim7 (C#, E, G, Bb) > D minor (D, F, A)

C Major7 (C, E, G, B) > C half dim7 or C min7 b5 (C, Eb, Gb, Bb) > D minor7 (C, D, F, A) 

Play ascending and descending major and minor scales, with each note as a chord or arpeggio. Insert a passing chord between the scale steps on the up beat. 
For example: 
C Maj, C# dim, D min, D# dim, E min, E Aug, F Maj, F# dim7, G Maj, G# dim7, A min, Bb half dim7, G/B dim, Bb Aug, C/A min.

Play Diminished and Passing Chords

Use passing chords not to diminish (reduce) your performance, but to augment (enhance) it.

"Ochi Chyorne" ("Dark Eyes")

Put the "Och" in "Ochi Chyornye" ("Dark Eyes"): F# (C dim) > G (C min) > Ab (Ab Maj ) > G (F# dim) > G (G Maj)
Music: 
Videos:
Miguel Antonio (Guitar) and Vladimir Kaliazine (Bayan)
Spanish group Limbotheque

"As Time Goes By"

The first note of "As Time Goes By": E (C# dim7) > F (D min7) > E (C# dim) > D (D min) > C (C dim) > D ((D min7) > (D min 7 b5 )> (G7) ) 

 Piano and notes
Played by SHRIN with photos from movie “Casablanca” 1942, song by Herman Hupfeld, 1931
Played by Francois Leduc on guitar


"Ain't Misbehavin"

by Thomas “Fats” Waller, 1929
Sheet music
Played by Adrian Perez Martinez on CBA
Played by Stephanie Trick on piano
Played by Joe Pass on guitar, Ted Greene transcription
Played by Thilo Wolf Big Band




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Wednesday, November 22, 2017

Beyond Chords and Arpeggios

Bayan Transcriptions


 Ivan Adamovich Yashkevich (Яашкавич) (born in 1923) has published several popular transcriptions of music for bayan (для баяна) played by masters of the chromatic button accordion. 

He graduated from the Kiev Conservatory in 1949 on button accordion, and remained there as a teacher, composer, and performer.

 The Hungarian Dance No. 5 (in F# minor) by Johannes Brahms is a popular piece of music played in styles and arrangements from simple to complex.

Complexity involves adding chords and arpeggios to the basic music content.

Print version of the melody 


This Link displays a page containing a melody-line version by Bernard Dewagtere of the Hungarian Dance No. 5.

On the page, select View or Download which is located under the Listen icon.

Yashkevich transcriptions


 Yashkevich's transcription of the Brahms' Hungarian Dance No. 5 involves the playing of multiple independent musical lines at the same time.

This is achieved by playing the melody with the thumb while playing fill-in notes across several octaves with the other fingers.

Other transcriptions of his include the popular pieces Monti's Czardas, Rachmaninov's Italian Polka, and Strauss' Voices of Spring.

 The performance complexity of these transcriptions is beyond the typical style of bayan performance and not even possible to perform on a piano accordion.

Performance of his version of Hungarian Dance No. 5

(Венгерский танец № 5 (фа–диез минор)) by Brahms (Брамс)
For comparison, here is a more typical style of melody and chords performed on piano accordion by Henry Doktorski.

 (Click a name of a performer to play.)
Alexander Tchuev performs Yashkevich's transcription using a style of multiple musical lines, possibly in the style of a concert pianist.
Other bayanists performing the same transcription:

 




Other transciptions by Yashkevich





Printed versions


The Italian Polka and The Voices of Spring transcriptions are available in:

On the linked page, check out the videos, descriptions, and other volumes displayed lower down the page.







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Friday, September 15, 2017

Smooth Move


Smoothness in Performance


 A listener can judge smoothness in performance better than a performer, who is busy performing.

So, record your performance and become a listener, and judge your performance relative to a metronome.

You will undoubtably become uncomfortable with what you hear.

So now you have more things to work on.


What is Smoothness


 Searching the internet with the entry "thesaurus smooth" produces the following informative page with a lot of words of what smoothness is and what it is not.

https://www.bing.com/search?q=thesaurus+smooth&FORM=EDGNCT

We see that "smooth" means even, silky, velvety, and not uneven, rough, and irregular.


What is Smoothness in Performance


 A musical performance has many aspects that occur at the same time that each could be even or uneven.

What are some aspects of musical performance?
  • tempo
  • pitch
  • rhythm
  • tone
  • dynamics


Mechanical Challenges of the Instrument


 Each instrument presents its own challenges for smooth performance.

The chromatic button accordion (CBA) provides many advantages for smooth performance.

Compared with the piano accordion, the CBA has an even consistent keyboard versus the linear uneven keyboard of the piano keys.

When I play the following two selections, the mechanics of performance are a lot more consistent on the CBA versus on the linear piano keyboard.


Two Musical Selections for Working on Smooth Performance


 Romanian tunes are often played by soloists and ensembles to highlight their technical abilities.

The two selections below have links to sheet music and performances.

Playing these pieces well will certainly be a recommendation for your abilities.


Hora Martisorlui


This wave of fast notes is also known as "The Clock," or "Romanian Spring Dances" or "March Hora" by George Dinicu.

The sheet music zip file of four BMP files is posted at:

http://primanota.ru/arch/scores/01789071_R_Diniku_-_Ruminskiiy_vesenniiy_horovod.zip

A CBA performance is located on the following page, which includes the above sheet music link.

http://primanota.ru/r-diniku/rumynskii-vesennii-xorovod-sheets.htm

A rousing performance by a combined band of four musical groups is posted at the link below.

https://www.youtube.com/watch?v=TeJyp123eYg


Sirba Atractiva


Peter Grigorov has posted an arrangement of the tune composed by Vlada Panovic at the link below.

 https://www.dropbox.com/s/uzyizet03bklo2i/Sirba%20atractiva.pdf?dl=0

His performance on piano accordion is posted at the link below.

 https://www.youtube.com/watch?v=ceCsYW49ELg

His tutorial is posted at the link below.

 https://www.youtube.com/watch?v=oFwM_V914wo

A Vlada Panovic orchestrated version is posted at the link below.

 https://www.youtube.com/watch?v=Dkxt6zEMgJQ


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Sunday, May 28, 2017

Four is More


Four Fingers are Better than Three


Given the fingers (thumb as 1 and fingers 2, 3, 4, and 5), fingers 2, 3, and 4 are the primary fingers used.

Finger 5 becomes important for reaching down or across the keyboard.

For example:

  • Two-octave arpeggio – using finger 5 at the top
  • Tetrachord (half a scale, four notes) – using fingers 2, 3, 4, and 5
  • Ornaments (grace notes and turns) – adding notes below or above the main note

Eventually the use of the thumb (1) can be added to reach low notes.


Four Fingers Forward


Playing across the keyboard with fingers 2 through 5:

  • smooths out the fingering motions
  • takes advantage of the natural side-to-side roll of the hand
  • combines the 3 three-finger scale patterns (one based on finger 2, another based on finger 3, and a third based on finger 4) and adds in an alternate fingering using finger 5.


The Need for Speed


Adding finger 5 to the usual group of fingers 2, 3, and 4, increases the capability for speed and smoothness.



The Practice


In all keys:

Arpeggios

    Single octave (up and down) – fingers 2, 3, 4, and 5. 

    At first play octave notes in same button column.   

    Then later play the higher octave note three columns to the right (hand going across the keyboard).

  • Major   (C   E  G  C)
  • Minor   (C  Eb  G  C)
  • Dominant Seventh  (C   E   G  Bb)
  • Minor Seventh         (C  Eb  G  Bb)
  • Diminish Seventh    (C  Eb  F#  A)


   Double octave (up and down) – fingers 2, 3, 4, 2, 3, 4, and 5

   For Major and Minor chords, at first play the top octave note in same button column.   

   Then later play the top octave note three columns to the right (hand going across the keyboard).


  • Same series of chord types


Tetrachords (up and down) – fingers 2, 3, 4, and 5 (hand going across the keyboard).

  • Major (C D E F)
  • Minor (C D Eb F)
  • Harmonic Minor (raised 4th) (C D Eb F#)


Scales (two tetrachords – C tetrachord then G tetrachord) (up and down) – fingers 2, 3, 4, and 5 (going across the keyboard).


  • C Major tetrachord then G Major tetrachord
  • C Major tetrachord then G Minor tetrachord
  • C Minor tetrachord then G Major tetrachord
  • C Minor tetrachord then G Minor tetrachord
  • C Minor tetrachord then G Harmonic Minor tetrachord
  • C Harmonic Minor tetrachord then G Harmonic Minor tetrachord


Ornaments
         Scales (up and down) – scale note, then turn, then next scale note, then turn on that note.

         Use fingers 2, 3, 4, and 5 (going across the keyboard).

         For example:

          Note   (Turn)         Note   (Turn)

            C      (D  C  B  C)      D     (E  D  C  D)



The Music

Peter Grigorov (Grigpit on YouTube) has posted a performance video, a tutorial video, and sheet music of Stisko Kolo.  Note that his fingerings on the sheet music are for piano accordion.

Stisko Kolo performance video:
Stisko Kolo tutorial video:
Stisko Kolo sheet music:


The Result

Playing across the keyboard with fingers 2 through 5 smooths out the fingering motions and takes advantage of the natural side-to-side roll of the hand.
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Wednesday, December 14, 2016

Classical Style

What is Classical Style


Classical style involves the breadth and depth of:

  • an instrument
  • technique
  • expression
  • touch
  • sound quality
  • nuance
  • mastery

 Musician Lowell Hohstadt explores a definition of classical style in his article "What is Classical Music" at the link below.

       http://lowellhohstadt.com/what-is-classical-music/


An Example of Classical Style


 Classical guitarist Tatyana Ryzhkova performs Capricho Arabe by Tarrega at the link below.



The music is available for download at the Classical Guitar School at the link below.



Additional music is also available from them at:



The Practice


 Classical guitar music offers the accordionist an extensive resource for the right hand and a bass line for the left hand.

Work with each note to develop your musicality.

Musical-U provides an extensive article about essential skills of musicality at the link below.



Ultimately, musicality comes from listening, practicing, and performing.

Master your instrument, technique, and expression to perform with sensitivity and nuance as demonstrated by Tatyana in her performance of Capricho Arabe.

Explore and enjoy the musical resources provided by Sveinn Eythorsson at his site classical-guitar-school.

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Sunday, December 4, 2016

When 7/8 is More Than Enough

Four plus Three


 When common time, 4/4, becomes just too common

     and

waltz time, 3/4, is just boom-chuck-chuck, 

     then put them together into a lively, exotic 7/8 (4+3).

Sometimes music in odd or mixed rhythm also has odd or mixed notes, such as chromatically altered notes (accidentals).

This could become interesting practice when playing the chromatic button accordion, where
    
     -- half-steps go one way,     
     -- whole-steps another, and     
     -- minor-thirds a third way.

The Music

Playing the music for the Moldavian dance “Ostropat” offers the challenges of playing     
     -- steady eighth notes,     
     -- steady 7/8 rhythm,     
     -- steady tempo, and     
     -- correct notes.
The music is available at
The dance video is available at
The dance instructions are available at

By The Way

To get the feel of odd rhythms, listen to John Eidsvoog of California play his piano arrangement of “Sleigh Ride” in 7/8.








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