Concertina Orienteering

[JimLucas]

The following was originally posted to Concertina.net in response to a question about finding -- or knowing -- where you are on the keyboard of an English concertina. While the details of button placement differ, the same principles can be applied to any concertina.

 

Because of someone else's recent post, I've decided it's worth re-posting here.

 

Posted by: Jim Lucas, Dec 20, 2002

Visual reference is of course not possible for both ends of the instrument at once, unless you have a special mirror arrangement. (This is not restricted to the English concertina, of course; it can even be a problem with guitars.)

 

My recommendations for learning non-visual reference are:

.. 1) Start with finding the lowest notes on each side. (The first few times you might need to look, but you should quickly learn to do it by feel.) These will be your "anchors", easily identified by touch, because each is on the easily-located edge of its array and also quickly located within the 4 buttons along that edge. (This method of location is even better than having a button with a rhinestone or rough surface, because with such a button once you're lost you don't know in which direction to hunt for it in order to regain your orientation. For these lowest buttons you always pull your fingers "downward", then search "upward".)

.. 2) After that, always keep at least one finger on each hand touching a button (making sure you know which button it is). When you're not pressing a button, you can still keep a light touch on it to keep your orientation.

.. 3) Basing yourself in the key of C, practice shifting your fingers over different intervals between adjacent buttons, e.g.,

"up" or "down" a fifth (B-F is a diminished 5th)

"diagonally" a third (some major, some minor)

"sideways" a half step (some up, some down)

Practice these shifts both using the same finger on both buttons and using different fingers. Learn to *feel* the distances and directions, at the same time "feeling" the musical changes.

.. 4) Do the same over longer intervals (buttons not adjacent). At first you should drag-brush the finger which will hit the next button over the intervening buttons (without pressing them), to learn to correlate the distances and directions of movement with an internal consciousness of the button array.

.. 5) Eventually you should find that you can keep track of where your fingers are relative to the buttons (and that you know which buttons/notes are where in the space your hands/fingers cover) without having to actually touch the buttons.

 

That's the basic framework, and it should apply equally well to anglos and duets, except that the patterns of direction and distance between particular notes will of course be different, and with the anglo there's also the factor of bellows direction. One factor peculiar to the English is that the standard means of holding the instrument allows greater movement of the hand position relative to the button array, so that you might lose your orientation if your hand flexes without your noticing it. The palm support on anglos and duets (and also Göran's design) gives an additional "landmark" for orientation. But as in throwing a ball, with a little practice you should be able to control the connection between your movement and the location of the result almost unconsciously, without needing extra "guides".

 

You will of course want to connect your exercises within the above framework to your music: The first thing, then, is to learn to move quickly from the initial orientation to the starting note of your tune. If this is more than one button away from your initial "anchor", you should start by moving to it in series of one-button steps. Start with one particular path, but you should quickly graduate to finding it by more than one path, so that you develop an awareness of the relative positions, rather than the specific path (sequence of single-button "steps").

 

Start by working on tunes which contain common but simple note patterns; chord arpeggios and scales are probably the best. "Soldier's Joy" is an excellent first tune, consisting mostly of diagonal shifts within one hand and short scale segments which alternate shifts between the hands. (Don't forget to keep touching the button in the hand that's not playing, so that you don't lose your place.)

 

D is the normal key for "Soldier's Joy", but it's simpler to start by playing it in C, which will keep you in the two central rows in each hand. Once you have that down pat and up to speed, try playing it in G (one button "higher"). You'll find that the pattern of fingers and relative shifts is the same *except* that for one note (the F#, which in the key of C is a B ) you'll have to use a button in the outer row, rather than the inner one. (Use a different finger for this note.) Get used to this shift.

 

Next, learn to play it in G, but an octave lower (now you'll be using the lowest note of a standard treble English). You'll find that the pattern is "exactly" the same *except* that it's a mirror image. I.e., each note of the tune will be played by the *same finger* as before, but in the *opposite hand*. Once you're used to this you can start playing in D, by making the same sort of shift as you originally made in going from C to G (up one button, one more note shifts into the outer row).

 

Another good beginning tune is "Amazing Grace". It has patterns with different symmetries from those in "Soldier's Joy". It is also normally played at a slower speed. And being based on a pentatonic scale, it can be played in three different keys (G, C, & F) without leaving the two center rows in each hand (i.e., no "accidentals"). Try working it out in all three keys and in different octaves to get a feel for the kinds of *relative* shifts that don't change. (E.g., sequences in terms of right- and left-hand may change, but in terms of same- and opposite-hand they won't.)

 

Well, I'd better stop here, or I'll be writing a book. (Maybe I should, but *not* as a post on Concertina.net.) I hope somebody finds what I've said to be helpful....

 

Edited to remove unintended smiley.

Edited April 27, 2004 by JimLucas

[Steven]

Wow, Jim, great stuff!! Thanks for reposting this, and for writing it in the first place!!

 

So much to practice, so little time!

 

Steven

[Mary B]

This post is in response to StephenTx asking for help with locating the buttons on an EC.

I found that following the suggestions of Jim Lucas was very helpful for me.

[JimLucas]

My recommendations for learning non-visual reference are....

Being recently reminded of this Topic (thanks Mary B ), I'll make this brief addition:

 

There have been some discussions of the relative value of practicing scales and other "artificial" exercises. It occurs to me that especially for a beginner, such exercises help the player to develop a familiarity with the instrument. That can be especially true in the sense of developing an automatic sense of where your fingers are, where they're going, and how to get "there" from "here".

 

So that's another useful technique for getting to "know where you are", in addition to the recommendations in my initial post.

Edited August 25, 2011 by JimLucas

[StephenTx]

My recommendations for learning non-visual reference are....

Being recently reminded of this Topic (thanks Mary B ), I'll make this brief addition:

 

There have been some discussions of the relative value of practicing scales and other "artificial" exercises. It occurs to me that especially for a beginner, such exercises help the player to develop a familiarity with the instrument. That can be especially true in the sense of developing an automatic sense of where your fingers are, where they're going, and how to get "there" from "here".

 

So that's another useful technique for getting to "know where you are", in addition to the recommendations in my initial post.

[StephenTx]

My recommendations for learning non-visual reference are....

Being recently reminded of this Topic (thanks Mary B ), I'll make this brief addition:

 

There have been some discussions of the relative value of practicing scales and other "artificial" exercises. It occurs to me that especially for a beginner, such exercises help the player to develop a familiarity with the instrument. That can be especially true in the sense of developing an automatic sense of where your fingers are, where they're going, and how to get "there" from "here".

 

So that's another useful technique for getting to "know where you are", in addition to the recommendations in my initial post.

[StephenTx]

Jim , Thank you so much. This is exactly what I was looking for. By "the lowest notes" do you mean the buttons closest to the body when holding the instrument? I can read the music but when one starts talk about "up or dow a fifth"...I have a knowledge deficet at this point. But hey I am only having my second lesson this Saturday. I really appreciate your time as I know this will help me tremendously.

StephenTX

[StephenTx]

This post is in response to StephenTx asking for help with locating the buttons on an EC.

I found that following the suggestions of Jim Lucas was very helpful for me.

Thank you Mary for remembering and suggesting.

Stephen Tx

[spindizzy]

Jim , Thank you so much. This is exactly what I was looking for. By "the lowest notes" do you mean the buttons closest to the body when holding the instrument? I can read the music but when one starts talk about "up or dow a fifth"...I have a knowledge deficet at this point. But hey I am only having my second lesson this Saturday. I really appreciate your time as I know this will help me tremendously.

StephenTX

 

Hi Stephen.

 

The highest notes in pitch are the ones above your finger tips, and the lowest below the heel of your hand ... I would call that the "bottom" of the concertina, and it'll be the closest to the body.

if you're just concentrating on the key of C ie no sharps or flats, you will just be using the two central long lines of buttons on each side. Jumps of third (literally 3 semitones) are what you get if you concentrate on one hand at a time and these middle long rows and zigzag up the concertina from lowest to highest pitch. Walk up the rows with your first and second fingers. Jumps of a fifth (doh -soh in solfa, or the first notes of "baa, baa black sheep") are what you get if you just select one of the middle long rows and move a finger along it . This means taking the finger off a button and placing it on the next one up, so it's harder not to lose your place.

[JimLucas]

By "the lowest notes" do you mean the buttons closest to the body when holding the instrument? I can read the music but when one starts talk about "up or dow a fifth"...I have a knowledge deficet at this point.

In describing musical pitch, "higher" is in the direction of bird whistles and sopranos, while "lower" is in the direction of bear growls and basses.

 

If you read music, this is also represented in the musical notation. "Higher" is toward the top of the musical staff (or the page it's printed on), and "lower" is toward the bottom.

 

So yes, the "lower" notes are those sounded by the buttons closeer to your body... assuming you're holding the instrument correctly.

 

Enjoy!

[StephenTx]

Jim , Thank you so much. This is exactly what I was looking for. By "the lowest notes" do you mean the buttons closest to the body when holding the instrument? I can read the music but when one starts talk about "up or dow a fifth"...I have a knowledge deficet at this point. But hey I am only having my second lesson this Saturday. I really appreciate your time as I know this will help me tremendously.

StephenTX

 

Hi Stephen.

 

The highest notes in pitch are the ones above your finger tips, and the lowest below the heel of your hand ... I would call that the "bottom" of the concertina, and it'll be the closest to the body.

if you're just concentrating on the key of C ie no sharps or flats, you will just be using the two central long lines of buttons on each side. Jumps of third (literally 3 semitones) are what you get if you concentrate on one hand at a time and these middle long rows and zigzag up the concertina from lowest to highest pitch. Walk up the rows with your first and second fingers. Jumps of a fifth (doh -soh in solfa, or the first notes of "baa, baa black sheep") are what you get if you just select one of the middle long rows and move a finger along it . This means taking the finger off a button and placing it on the next one up, so it's harder not to lose your place.

Thank you. I have printed this also. It is so great being with (as we say in Texas) ya'all. I have always wondered how the different "keys" are determined....now I know what the key of C is. Thank you Jim and once again as we bastadize the Queen's English in Texas-I am fix'in to go practice. :-)StephenTx

Edited August 27, 2011 by StephenTx

[Wolf Molkentin]

Jumps of third (literally 3 semitones)...

I find myself having to dispute this, I'm afraid. A "third" means the interval between the first and the third, the second and the fourth and so on note of a certain scale, which always means two steps, as you'll see.

 

The difference matters, because a "third" consists of three or four semitones (what makes a "minor" and a "major" third) then.

 

...and this is what one will find taking the described zig-zag course on the EC keyboard, or assembling chords in "triangles" and so forth.

Edited August 27, 2011 by blue eyed sailor

[spindizzy]

Jumps of third (literally 3 semitones)...

I find myself having to dispute this, I'm afraid. A "third" means the interval between the first and the third, the second and the fourth and so on note of a certain scale, which always means two steps, as you'll see.

 

The difference matters, because a "third" consists of three or four semitones (what makes a "minor" and a "major" third) then.

 

...and this is what one will find taking the described zig-zag course on the EC keyboard, or assembling chords in "triangles" and so forth.

 

you're right of course :-)

[Shas Cho]

Stephen, hi

 

I never learned to read music,

but as I have no one to practice with and learn from

I'm finding it increasingly important.

Fortunately, it's not nearly as difficult as my fifth-grade school teacher made it seem.

There are lots of on-line courses and explanations.

I find THIS ONEto be an easy yet useful beginning.

Just click on any of the topics on the left hand side of the page.

 

Between these clear explanations

and Jim's practical directions

I'm finding the learning curve to be positively enjoyable!