Ec Bellows Use And Reinforcement?
Posted 16 December 2017 - 11:55 PM
I'd just add that I'm not dismissing anyone's style and hahbits but trying analize it from the point of view of my personal experiences of tennis elbow treatment (6 months) and recent violin accident, when I didn't applied proper technique and overplayed my arm so badly I had to abandon the violin for good. That year and a half of my lessons let me to fall in love with the instrument and now I'm barred from it because of my own stupidity.
So analizing the problems with the EC, small, portable and convenient, I came to certain conclusions, much to my surprise.
1. fanning bellows
2. necessity of some sort of handle
3. single note preference to chordal
The last one is the result of much listening and is a total reversal of my earlier point of view.
But enough about me.
I would disagree with the statement that bandoneon players shy from learning the push layout. It's not true. They do play on the push as well. No, it's the ease, with which the bellows fall apart by themselves, that helps with the expressiveness by taking the strain off the arms, and often it's the difference between music and noise. Accordion players do the same, accents on the draw.
Which is useful for EC players.
Posted 17 December 2017 - 02:49 AM
BTW, it never occurred to me that while playing the PA I would have to rely on the weight of the (left) end.
And as with the EC, if I myself would have to observe a preference for the "draw" direction at all (I'll have to check on that later), it would (of course) relate to my personal approach and style, and therefore rather the enhanced latitude if bellows movement (or whatever reason; with the weight issue appearing least intuitive to me).
Posted 17 December 2017 - 03:18 AM
[The EC] seems to be perfect for that:hands are independantly mirrored in just the right places, just where you want them to be, octave-wise.
I guess this is an apt notion of what the EC's about when harmonizing. As I can't judge on the Duet(s) from own experience as a player I have to rely on some (!) recordings provided by fellow concertinists, and some remarks on "Duet style" (linking it with a certain "piano style", which I personally would object to).
Based upon this, the Duet (which might be considered as combining "the best of both worlds", i.e. EC and Anglo) might lead the player to just add a chord below the melody (just like applying some "triangles" with the EC). My point is, that your observation as quoted above is a perfect starting point for explaining as to why the EC might rather encourage the use of two notes/buttons on either side, in the higher and in the lower register, which will result in a spreaded harmony (with significantly passing sixths) and an overall "interwoven" quality of the music, as I use to call it.
My own "arrangement" of "Let It Be" (which however came rather naturally from the beginning, making then room for some bass runs or counterpoint) may serve as an appropriate example for this approach (it's all in the intro already). Ask me why I'm so happy with the English system - I'll might choose this tune for a demonstration. While this may be perfectly playable with any Duet as well, it's the EC that positively paved the way for me.
Best wishes - Wolf
Edited by Wolf Molkentin, 17 December 2017 - 03:21 AM.
Posted 17 December 2017 - 11:55 AM
Posted 17 December 2017 - 11:13 PM
There is no way to argue the styles that people are used to. There are physics, and there are the ways to override them. To me - if you spend effort to go against the nature, I can't say more than I already said, it's time for me to keep on practicing and showing you my progress, if the latter will occure at all.
Posted 18 December 2017 - 07:30 AM
... separate hands - that comes from anglo to an extent. To an extent, because the idea of "separate hands" layout is found in every keyed instrument, from piano to sax.
Piano, OK. But the mention of the sax surprises me here. My knowledge of woodwind is limited to tin whistle and recorder, and on them you certainly can't play a melody with one hand and a counter-melody with the other. Like on woodwind, it takes both hands to play a scale on the EC. At least the EC is capable of multiple notes (if the player is!) And of course, there are some scales on the Anglo that you need both hands to play ...
Posted 18 December 2017 - 11:08 AM
Posted 18 December 2017 - 11:16 AM
Posted 19 December 2017 - 12:39 PM
https://youtu.be/x3uGaZ1ayPolooks like Piazzola
https://youtu.be/-GiAq9eei_Yparty in Osetiya
https://youtu.be/Nc4g3Bk4Z5o diatonic osetian accordion
And finally... Russian poppy-super-pop with some of the best accordion solo
Posted 19 December 2017 - 04:13 PM
Edited by harpomatic, 19 December 2017 - 04:16 PM.
Posted 19 December 2017 - 05:21 PM
It is alive.
You are incorrect about the pop scene. That pop star was looking hard for an accordion player, and when he finally found the right one, immediately he got at least 3 mega hits.
Another group comes to mind, Fyodor Chistjakov with his button accordion, "Group Zero". Mega star. https://www.youtube....h?v=Oc1bHG3wDZ8
But you got it right about the lack of any shyness. Hmm, especially among the russian rock scene. You'd with they had some.
Edited by m3838, 19 December 2017 - 05:22 PM.
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