On the Other Hand

Left Hand Equality

The left-hand side of the accordion with a stradella layout has the two rows closest to the bellows as single notes. The twelve notes of the chromatic scale in one octave is available. Sometimes there is a third row of single-note buttons.

With register switches, that becomes multiple octaves, often high, middle. and low. That is 36 notes, which is a pretty good match to the right hand keyboard.

The Titano-Palmer quint converter layout gives all three octaves across the keyboard. The two rows closest to the bellows being the low octave, and the two rows closest to outside edge being the high octave. 

Goal for the Exercises

The following exercises bring extension, flexibility, and strength to fingers 2, 3, 4, and 5 of the left hand. Consequently, the exercises can also enhance your ability to play other left-hand button layouts, such as a chromatic layout.

Play All Twelve Notes on One Row

While this develops your left hand ability, it also establishes your memory of the button layout, so you can quickly find a note when you need. The following exercises are done on a single vertical row of buttons.

Major Scale--

Beginning with the central "C" button, play the C Major scale up and down. The pattern is two tetrachords.

        C, D, E, F (fingers 4, 3, 2, 5)

        G, A, B, C (fingers 4, 3, 2, 5)

Then move up two buttons to "D" and play the D Major scale. Continue to move up two buttons and play the next scale, until you reach the top of the keyboard.

Then return to the C Major scale. Then continue to move down two buttons and play that button's scale, until you reach the bottom of the keyboard.

Demonstration of major scales played by the left hand--

Natural Minor Scale--

Beginning with the central "A" button, play the A Minor scale up and down. The pattern is two different tetrachords. The second tetrachord begins with a stretch up and down (E, F)

        A, B, C, D (fingers 3, 2, 5, 4)

        E, F, G, A  (fingers 2, 5, 4, 3)

Then move up two buttons to "B" and play the B Natural Minor scale. Continue to move up two buttons and play the next scale, until you reach the top of the keyboard.

Then return to the A Natural Minor scale. Then continue to move down two buttons and play that button's scale, until you reach the bottom of the keyboard.

Chromatic Scale Ascending--

Beginning with the central "C" button, play the C Chromatic scale up to the top of the keyboard using fingers 5 and 2. The pattern ascends by half-steps with finger 2 extending upward seven buttons, then finger 5 moves upward by two buttons.

Next, begin at the bottom of the keyboard on that row and play the ascending chromatic scale until you reach the top of the keyboard.

Chromatic Scale Descending--

Beginning with the central "C" button, play the C Chromatic scale down to the bottom of the keyboard using fingers 2 and 5. The pattern descends by half-steps with finger 5 extending downward seven buttons, then finger 5 moves downward by two buttons.

Next, begin at the top of the keyboard on that row and play the descending chromatic scale until you reach the bottom of the keyboard.

Demonstration of playing chromatic scale with the left hand--

Repeat--

Repeat the exercises on other single-note rows.

Tetrachord Teaser

Why a Tetrachord?

A tetrachord is four consecutive notes of a scale. In C Major that is C to F, D to G, E to A, and so on. Coincidentally, your hand has, excluding the thumb, four fingers. So, play an ascending tetrachord with fingers 2, 3, 4 and 5. Play a descending tetrachord with fingers 5, 4, 3 and 2.

Goal for the Exercise

With the notes so close together, you will quickly discover that flexibility of the hand is the key to this exercise. This practice is critical for the chromatic button accordion (CBA) because compared to the linear layout of the piano accordion the CBA requires the fingers to stumble over each other when playing tetrachords.

Play C Major Scale Tetrachords on Outside Three Rows

Play the first tetrachord, C to F, up and down using the fingers in order, 2 to 5 going up and 5 to 2 going down. Then go up a scale step and play the tetrachord D to G in the same manner. Continue on the next scale step, E to A.
Repeat the sequence going up the scale steps until you have done eight sequences and reached the octave. Then play eight more sequences descending step-wise from the octave until you are back at the starting point.

Extend the exercise by playing it in various keys and also the range of the exercise into upper and lower octaves.

Repeat Exercise Across the Outside Four Rows

Eventually, revise the exercise for four rows. This will change the fingering patterns.

Repeat Exercise Across the Outside Five Rows

Finally, revise the exercise for five rows. Again, this will change the fingering patterns.

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

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

https://www.swiss-jazz.ch/standards-jazz/AlTheThngs.pdf

• Performance

Jon Persson - All the Things You Are

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

• Chord Analysis

How to Analyze Chords - Essential Jazz Theory

Jeff Schneider

https://www.youtube.com/watch?v=65zrLQhWotw

• Backing Track

All the things you are - Backing Track

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