Friday, May 25, 2018

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

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

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Monday, May 14, 2018

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.

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




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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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