m3838 Posted December 17, 2017 Share Posted December 17, 2017 All good points. 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. Quote Link to comment Share on other sites More sharing options...
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