MOCENS ELLECAARD'S
COMPREHENSIVE METHOD
for the
CHROMATIC FREE BASS SYSTEM
(Bassetti or Baritone Basses)
CONTENTS H . . ... . .. , .. ... .. . ... .. . , . . ... .... p. 2
Preface
Chart of Chromatic Free Bass System
.. ,.. .. ........ . .. ..
.. .. ....... .
H. ......
.... .
Chart of Chromatic Free Bass and Stradella Bass Systems, Combined , ...... . , ..... ,. .. ,.. " . .... ... .. ,.
... ... , .. ,,' . , .. ,p. 3
.... .... .. " p. 4
Chromatics (Exs. 1-14) . ........ .. '.. .. ' .., ,.. ... .. .. .. .. "", .," " ... .. .,... ... ' ... . " .. . ' ... . ' ... .. .. .. .... ... . ",. ,........ .. ...... ... .... ,.,,' .. ,.. " p. 5
Intervals and Chords (Exs. 15-29)
".p. 11
" .. .. p. 19
Arpeggios (Exs. 30-34)
"" ...
Scales (Exs. 35-39)
Menuet (Bach/ Ellegaard). .. ...
.. . ,.
,. ,., .,." . .. ,p. 23
., .. "', .. .... ', .. ,'.' ,.. ,..... .... . , .. ' ... ,.,'"., ... " .. .. .... .. ,. ... " " '.. " ... .. ... " p. 35
Invention in C-Major (Bach/ EUegaard) .... ... ,' .. ,. ' " .
Courante (8ach/ Ellegaard) - for the left hand only "
..
....
.. ".. ....... ... ... .
",. p. 36
, .... .. .. .. , .... .
.... ,... ..... .. ,.. ..
.p. 38
PREFACE
In Grove's" Dictionary of Music and Musicians" one can read that "due to its pre-fixed, unchange able chords and limited tonal range of the bass, the accordion is, indeed, little more than a toy." This statement was probably written more than fifty years ago, but today the tonal range of the con cert accordion surpasses that of most other musical instruments. And with the development and per fection of the CHROMATIC FREE BASS SYSTEM (also known as "Bassetti", or "Baritone" or "Melo dy Bass"), the serious limitation of the pre-fixed bass chords has been eliminated, too. - The Chromatic Free Bass System was invented by the HOHNER Factories in Germany more than \...thirty years ago. It has been used by top professionals in Europe for nearly fifteen years. Today performers, amateurs as well as professionals, are gradually recognizing this instrument as the ul timate in accordions. This instruction book was designed for the purpose of guiding the beginner in the easiest possible way past the first hurdles on the road to mastery of the Free Bass. The method also represents a summary of the author's own painful. experiences in learning how to play the sys tem, and if it may help the reader to avoid some of the misunderstandings and frustration which this author went through during the learning process, this method will have fulfilled its purpose amply. It is assumed that practically anybody who deCides to study this method does possess some musi cal and technical background. Therefore the method does not aim at teaching much else than finger technique. The approach is simple: Starting with finger exercises which are easy to perform (from a finger-technical viewpoint), and progressing gradually to more complicated technical patterns.
The first few exercises are accompanied by drawings of the keyboard, which should help the read er locate the required notes. (By comparing the drawings with the l\1AIN CHART on page ,4 onewill always be able to find out the exact location of the buttons on the keyboard.) The reader will also find many explanatory notes all through the method. From the very beginning the reader should pay close attention to the exact pitch in the bass - something that is rarely thought of on the 120 Standard Stradella Bass system. In many places where the bass moves in a higher register, the treble clef is used. At the time of this writing the Free Bass System is still so new that no standard notation has been adapted internationally. At a more advanced stage the reader will undoubtedly want to use BOTH the Free Bass and the 120 Standard Bass (Strad ella Bass) Systems, alternately or even simultaneously. To distinguish between notation of the two bass systems, these following two signs are suggested: ! s. B.! - STANDARD BASS IF. B.I - FREE BASS (Bassetti or Baritone Bass) Naturally, the regular standard notation should be maintained for the STANDARD BASS. In Free Bass notation ( F. B. ) every note is written in actual pitch. Also chords are written in complete form in actual pitch. It is assumed that the Free Bass System contains TWO SETS OF REEDS. (See page 34 for suggestions on bass switch technique). All through the method the reader will find finger ings for the Free Bass. Sometimes more than one possibility is given, due to the fact that the Chro matic Free Bass is an immensely flexible keyboard , offering qUite often a choice beh'leen several solutions of finger-technical problems.
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Chords
CHROMATICS
The Chromatic Free Bass Keyboard is nothing but a "left hand version" of the basic 3-row tre ble keyboard in a CHROMATIC BUTTON-KEY ACCORDION. It consists of 3 vertical rows of minor thirds - placed in a chromatic (half-step) inter-relationship. Chromatic pa.tterns are the easiest musical patterns to perform on the Chromatic Free Bass. It will therefore be practical to begin with some chromatic finger exercises, which were devised to serve two purposes:
1. Comprehension of the principle of the keyboard. 2. Starting with the simplest possible finger movements. EXERCISE NO.1 It is important that one gets used to inserting the hand through the bass strap about an inch more than usual towards the bellows. (The beginner will probably want to loosen the bass strap a. bit). This stretch may seem unnatural and strained at first. One soon gets used to it, howev e r. Only: Be car e ful that the chord buttons on the 120 Standard Bass m a nual are not pressed down accidentally. It may be a good idea if the reader has a mirror handy for checking on hand pOSitions and location, until he starts to feel familiar with the new keyboard.
All the C-buttons on the 1st row are marked (Usually like the" E" or "Ab" on the fundamental standard bass row). They are therefore easy to find, and most players use them as "geographical landmarks" in finding their way on the Free Bass keyboard. The lowest C bass (at the top of the key board) is easy to reach with the 2nd finger. The drawing shows the location of the three notes to be played in this exercise. (Compare with MAIN CHART, page 4).
BOTTOM B E L L
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2nd ro w
3rd row
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EXERCISE NO.2
E
The three new notes in this exercise are played in exactly the same way as the notes in No. 1. The only difference: the starting point is Eb, which is found by moving the 2nd finger one button down from C on the 1st row. Compare with the drawing, and repeat the movements from the previous exercise.
3rd row
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EXERCISE NO.3 This involves nothing new. The starting point F sharp is found by moving the 2nd finger one button down from Eb on the 1st row.
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EXERCISE NO.4
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1st row
2nd row TOP
Compare with Nos. 1-3. The finger movements are identical. Only the starting point is different again,
which will be seen from the drawing.
3rd row
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7
EXERCISE NO.5 This exercise contains the notes played in Nos. 1-4. At the same time it represents the 12 notes in our musical system. Once the position and location of these 12 notes has been learned, the reader actually will be able to locate any given note on the Chromatic Free Bass, as the rest of the keyboard is nothing but a repetition of these notes in different octaves. The fingers move in exactly the same way in every bar. Only the starting point of each bar is different. (Compare with Nos. 1-4).
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EXERCISE NO.6 This is a combination of the patterns given in Nos. 1-2. One should try also to change the rhyth mical accents by altering the meter.
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EXERCISE NO.7
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EXERCISE NO.8 Practice both legato and staccato. An alternate fingering is indicated in the 4th bar. (Compare with PREFACE, page 2 ). This practice will be followed all through the method. It is strongly re commended that the player studies each given fingering carefully, before making his decision. Since anatomic structure varies with each individual (some people have very long fingers; others may have a weak 5th finger, etc.), it would be highly impractical to adhere to strict categoric rules of finger ing. Particularly because the Chromatic Free Bass Keyboard is so flexible in itself.
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3
8
EXERCISE NO.9 The chromatic scale can of course be repeated through all the available octaves on the keyboard, using the same fingering. A thorough practice of chromatics is important before the player proceeds to the following exercises. It is vital that the player develops~in his fingers and his mind-a clear notion of the half-step, chromatic movement. Practising chromatics is also the easiest way to fa miliarize oneself with the location of all the notes on the Chromatic Free Bass.
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3
2
4
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EXERCISE NO. 10 In the chromatic exercises the fingers moved DIAGONALLY on the three rows.Thefollowingexer cises will involve VERTICAL movements (in minor third intervals) on the keyboard. In other words: ver tically up and down on one row. The drawing shows a section of the MAIN C HAHT . The three notes in this exercise are all situated on the 1st row - vertically. Find the lowest C with your 2nd finger again, compare with the drawing, and play: TOP
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EXERCISE NO. 11 The three new notes in this exercise are played in exactly the same way as the notes in No. 10. The only difference: The starting point is C sharp,which is found by moving the 2nd finger diagonally from C to the 2nd row. Compare with drawing.
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4
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EXERCISE NO. 12 This is an exact repeat of Nos. 10-11. (Compare with drawing).
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EXERCISE NO. 13a This is a simple combination of Nos. 10-12. The finger movements in every bar are identical. Only the starting point in each bar is different.
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2
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3
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2
EXERCISE NO. 13b This exercise involves the same finger movements as No. 13a. Only, here the pattern starts one button DOWN from C - on the Eb. (Compare with MAIN CHART).
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3
3
2
2
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32
2
EXERCISE NO. 13c Repeat finger movements of No. 13b, Only start on the F sharp - one button DOWN from Eb. (Com
pare with MAIN CHART).
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EXERCISES 14 - 14a - 14b
Here the 5th finger is introduced in exercises which were designed to develop an even touch with all four fingers. Since the 5th finger is most often rather weak, it is important that the player is a ware of this possible weakness from the very beginning, trying to counteract it by doing suitable ex ercises (play these exercises also 8va ). One will realize immediately that the change in hand posi tion, as the fingers move in the higher register, can pose new problems, particularly when using the 5th finger. In general, it can be stated that the use of this finger on the 3rd row is more difficult than most other movements on the Chromatic Free Bass keyboard.
DEXTERITY EXERCISE (14c)
11
INTERVALS AND CHORDS By now the player should be quite famihar with the location of all notes on the Free Bass. He
should also feel reasonably comfortable on the keyboard-having developed a sense of the physical/
musical directional keyboard principle (i. e. movement towards the top of keyboard = lowering of
pitch; movement towards the bottom of keyboard = raise of pitch.)
EXERCISE NO. 15 The minor third interval is rather easy to play. It consists of two notes placed vertically on top
of each other, on the same row. (See also notes to No. 10). Each of the 3 rows of ' the Chromatic
Free Bass manual is namely one long row of buttons located in a minor third relationship to each
other. One might also analyze each of the 3 rows as being a diminished 7th chord with all inversions.
In this exercise more than one possibility of fingering is given. It pays to practise both finger ings.
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EXERCISE NO. 16 Practise this chromatic sequence of minor thirds up and down through the entire keyboard.
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EXERCISE NO. 17 As the dimished triad consists of two minor thil'ds on top of each other, it is easily performed on
the Chromatic Free Bass by pressing three neighboring buttons on any of the vertical rows. This
exercise is actually a variant of No. 13. (Compare).
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EXERCISE NO. 17a Repeat this chromatic sequence of diminished triads up and down through the entire keyboard- using both the given fingerings.
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EXERCISE NO. 17b The diminished 7th chord only differs from the diminished triad, inasmuch as it is formed on four notes. The fourth note is found by pressing the fourth button on the same row, immediatelyunderthe three notes used in the diminished triad. The drawing shows how the C diminished 7th chord is play ed. This pattern is always the same. Only the starting point is different. BOTTOM
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EXERCISE NO. 18a
5
4 3 2
5
4 3
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etc.
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With this exercise the major triad is introduced, and a few general remarks about CHORDS may be helpful. One can divide chords in 3 groups: GROUP 1 - Chords with the root on ROW 1. (C-Eb-Gb-A) GROUP 2 - Chords with the root on ROW 2. (E-G-Bb-Db) GROUP 3 - Chords with the root on ROW 3. (D-F-Ab-B) Diminished triads and 7th chords are all formed on one row only and can be played in all three GROUPS with identical fingering regardless of tonal key. ALL other chords must be formed on two or three rows. We can establish this rule of fingering accordingly: Chords formed on one row - can be played with ONE Fingering. Chords formed on two rows - can be played with TWO Fingerings. Chords formed on three rows - can be played with THREE Fingerings. Chords of the "Two-Row" category can be played with identical fingering in both GROUPS 1 & 2. Only GROUP 3 needs a new fingering. The player will never have to learn more than three different fingerings to be able to playa chord in all keys.
13
The following exercises are given in three tonal keys - corresponding to the above listed GROUPS 1-2-3. Sometimes the player will need two fingerings. At other times he may have to learn three different ones. But the rule of the "Two-Row" chords is useful in the majority of the given chords. From this it can be seen that it is easy to transpose into other keys. Once the "recipe" is given, the change of starting point is often the only difference. GROUP 1:
BOTTOM
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EXERCISE NO. 18b
Note the identical fingering in GROUP 2.
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EXERCISE NO. 18c
This is the different GROUP 3 in which the fingering is changed almost every time. Practise both the given fingerings, as they will quite possibly be used very much in the future. BOTTOM
0 0 0 II
0 0 TOP
14 EXERCISE NO. 19 (CHROMATIC PROGRESSION)
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4 3 2
EXERCISE NO. 20a BOTTOM
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For minor triad exactly the same rules are valid, which we used inNos.18-19. This chord is also formed on two rows. Consequently, the player has to learn two different fingerings in order to be able to play it in all keys. (GROUPS 1 & 2 are identical. GROUP 3 needs a new fingering.) . GROUP 1.
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GROUP 2.
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4 3
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EXERCISE NO. 20c This is GROUP 3 with the alternative fingerings.
Tryout both:
00 00 TOP
EXERCISE NO. 21 (CHROMATIC PROGRESSION)
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2
2
4 3 2
15
EXERCISE NO. 22 This exercise of fifths shows exactly those same principles of fingering which rules the triad play ing: Here again we can divide the intervals into 3 GROUPS. GROUPS 1 & 2 (starting on Rows 1 and 2) have identical fingering. GROUP 3 (starting on Row 3) has different fingering and finger position. When playing intervals and chords in GROUP 3 it is often advantageous to use the 5th finger on Row 1.
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EXERCISE NO. 23 The major third interval can of course be played very conveniently with a 2-3 fingering. This would almost invariably be the case, if it is followed by any higher note (such as in broken chords, for example). However, in a chromatic sequence such as this, the fingering indicated is more prac tical. It is rather difficult to perform exercises Nos. 22 & 23 legatissimo when going UP. Coming down in chromatic movements is easier. A legatissimo playing can be obtained by simply "SLIDING" with the 4-2 fingers from GROUP 2 to 1. This SLIDE is very useful in many cases, and it would be written this way: 4 4
2
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2
EXERCISE NO. 24 Using the 5th finger on Row 3 is particularly difficult in the upper register, due to the tilted hand position. Therefore, it is strongly recommended that the player practisesthe2-4 fingering when play ing octaves on Row 3. Naturally, the 5th finger must be used in certain cases, and especially if chords with four notes are being played. (Here again the "SLIDING" can be used in chromatic movements DOWN).
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2
5
2
5 2
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5 2
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16
EXERCISE NO. 25a Inversions of maior and minor triads may appear awkward in the beginning. With some practice, however, all chords in GROUPS 1 & 2 (Compare with page 13) are soon learned. The troublesome GROUP 3 is more problematic, because the use of the 5th finger on the 3rd row always poses some difficulties. Several suggestions of fingering are given here, although it might be tempting to use the 4-3-2- fingering only, in all inversions. Again it should be pOinted out that the player is free to de cide on fingering in each case, when it comes to actual performance of music with similar chord in version patterns. Tryout all the given fingerings in any case. GROUP 1: (Major Triad)
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4 3 2
45(4) 3 3 2
43 2
J~ 4 3 2
5 4 4(3 ) 3 2
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r
4 3 2
4 3 2
r i(i)~ I i:
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4 3 2
II
4 3 2
4 3 2
EXERCISE NO. 25b GROUP 2: t;\
~
4 3
2
5 4
§
3
2
§2
5 4
4(3) 3 2
5 4 3
4
43
32
2
4 3 2
I~Jj
5 4
§(~)
4 3 2
~
II
4 3 2
EXERCISE NO. 25c
GROUP 3:
~e ~~ ~
t;\
dl
4 3 2
4 3 2
4 3 2
I ~g 4 3 2
,
~ I "r 4 3 2
4 3 2
4 3 2
5 4 3
f IUr ~~
If
4 3 2
1':'1
~tl
4 3 2
5 4 3
4 3 2
"
EXERCISE NO. 26a GROUP 1: (Minor Triad)
II l(~) 3 2
4 3 2
4 3 2
4
3 2
5(4)
~ ~
4 3 2
4 3 2
5 4 3) 3 2
4(
4
3 2
EXERCISE NO. 26b GROUP 2:
rp Ii 4
3 2
ij l(~) 3 2
I
~ 4
3 2
liY ~~~(~) lif tif 4 3 2.
3 2
4 3 2
4 3 2
If
~(i)
~f 4 3 2
lir j 4 3 2
1(!) 3 2
t:'I
I,
~i 1 4.,
.J
2
EXERCISE NO. 26c GROUP 3:
r.-..
~ ~
l'l
4 3 2
I
§
4 3
4 3 2
2
g ~ 4 3 2
I
4 3 2
, , ! r I
4 3 2
5
4 3 2
4 3
5
4
3
~
r
f:\.
{J
4
3
2
4 3 2
111
4
3
2
A comparison with the GENERAL REMARKS ABOUT CHORDS on Page 12, easily shows that chords formed on 3 rows are more cumbersome than any others, as the player has to learn 3 different finger ings to be able to play these in all keys. So far the player has only been introduced to chords formed on one or two rows. All AUGMENTED CHORDS, however, need 3 rows, and 3 fingerings. Here are the 3 basic patterns: BOTTOM
BOTTOM
BOTTOM
0
00
o o o o
o o
o
0
0
0 0 0
o
TOP
TOP
TOP
GROUP 1
GROUP 2
GROUP 3
:z:
II
4
~;U ~(§)
3 2
'J
:II
ft~§ 4
II
3
3 2
2
EXERCISE NO. 27
A chromatic sequence of Augmented Triads is extremely difficult to play. For completeness' sake we include this rare pattern, with a suggested suitable fingering;
:}(~
~~ ~;~ Iff! ~
4
3
3
2
1. 3 2
I~#~ 5
4 3
ff 4 3 2
Ib~ 4 3 2
1 I##~ c~'~f 4 3
2
5
4 3
4
3
2
IWI" ~;~ 3 2
4 3
#u 4
3
2
Again one may find it advantageous to use the 5th finger on Row 1. By doing so, one can avoid the uncomfortable stretching of this-quite often weak-finger, onto the 3rd Row.
II
18
EXERCISE NO. 28a Augmented triad inversions are not easy either. But due to the very structure of the augmented triad (it consists of two major third intervals), we have already learned all the inversions in learning the 3 augmented triads as sketched in their root position above. To illustrate: The 1st inversion of the C+ triad is played as the GROUP 2 chord (The bass note being "E", of course). The 2nd inversion of the C+ triad is played as the GROUP 3 chord (The bass note being "G Sharp"). In other words: The C Augmented Triad and its following GROUP sequence: 1-2-3-1.
'J e
inversio~1.s
H*
~
~~u
~B 4 3
GROUP 1
,I II
4 3 2
5
4 3 2
are being played by simply playing the
GROUP 2
I
4
~
GROUP 1
GROUP 3
EXERCISE NO. 28b In accordance with the principle stated in 28a, any augmented triad, which belongs to will form its root position and inversions based on this GROUP sequence: 2-3-1-2.
~~
11
4 3
5
4 3 2
4 3
GROUP 2
GROUP 3
GROUP 1
2
*itl2
GROUP 2,
I
3
GROUP 2
EXERCISE NO. 28c
Consequently, any GROUP 3 augmented triad and its inversions follow this GROUP sequence: 3-1 2-3. .D
;.;): e I~§
I~!
4 3 2
4 3 2
GROUP 3
)1
~~U
~ll
~7r
GROUP 1
'II
4 3 2
4 3
GROUP 2
EXERCISE NO. 29
GROUP 3
Playing chords with four notes does not leave the player much alternative in fingering, since he has only 4 fingers available on the Chromatic Free Bass Keyboard. (At the time of this writing, an efficient thumb technique has not been developed, although isolated examples of thumb use on the Free Bass have been encountered by the author). Many four-tone chords are rather easy to play, 'though. Thus, the diminished 7th chord and all its inversions (Compare with Exercise 1 7b). Also the dominant 7th chord in its root position. Difficulties are always in store, when the chords involve a 5th finger on the 3rd Row. Since any chord that con sists of four notes will always involve a 5-4-3-2 fingering, it was deemed unnecessary to include ex tensive listings of 7th, 9th and altered chords. It is assumed that the player will be able to build his own chords now, on the basis of his acquired knowledge through careful studies of the exercises giv en hitherto. For the sake of completeness, here is a C Dominant 7th chord with its inversions:
le 1 5
4 3 2
~ I R1 5 4 3 2
simile
f
I
~,
~f
I R1
jl
f:\
:"11
~i
II
19
RECAPITULATION OF CHORD AND INTERVAL RULES
Once a pattern (or "recipe") is set, it repeats itself constantly, as long as the starting point is on the same row. In no case will the player have to learn more than 3 different fingerings for any interval or chord in all keys or positions. This rule is always good to remember: INTERVALS & CHORDS formed on 1 ROW . . • • • 1 FINGERING only
INTERVALS & CHORDS formed on 2 ROWS •••• 2 FINGERINGS
INTERVALS & CHORDS formed on 3 ROWS •••• 3 FINGERINGS
ARPEGGIOS
Arpeggios are rather hard to play on the Chromatic Free Bass Keyboard. There are two obvious reasons for tbis: a) We can only use four fingers. b) The left hand is strapped rather tightly. (Compare with the pianist whose left hand is completely free to jump and move up and down the entire keyboard). Every instrument has certain potentialities and limitations. The technical difficulties in per forming arpeggios in the left hand is one of the limitations of the Chromatic Free Bass Accor dion. This information may appear discouraging at a time when accordionists are so ambitious ly transcribing piano literature (which is so rich on arpeggio patterns). However, it may be pre dicted at this early point that the future original literature for the Free Bass accordion will in clude arpeggios and broken chords in a manner which suits the technique and musical character of the instrument. For the moment, it is strongly suggested that one stays away from piano li terature of the above category, which was never meant to be played on the accordion anyway, even if a technical mastering of the arpeggios is accomplished. This method being of more technical character, however, should include some amount of arpeggiO exercises. As a preparatory study of arpeggios it is recommended that the player revises these exercises, playing them now in BROKEN CHORD PATTERNS: NOS. 17-21
NOS. 25a-27
20
To illustrate -here is NO. 19 as an exercise of BROKEN CHORDS:
etc •••.
EXERCISE NO. 30 Again the use of the 5th finger on Row 3 is somewhat difficult, and particularly as the hand moves down towards the bottom of the keyboard. Practise this following exercise many times:
3
3
:JJ 2
3
J ~? ~ 4
5
4
3
2
C C:J 2
3
4
4
5
3
543
5 4 3) (4
3 2:
2 (3
2
~
3
234
ti-. J r
3
~,.
4 3
3 2 2 ) ( 3)
3
I Ecr *tr 22345432
2345432
2345432 (3 2 3)(4 3 2)(3)
2345432 (3 2 3)(4 3 2) (3)
2
3
4
3
r.
v 4
2:
2
3
4
5
4
2
3
5
EXERCISE NO. 31 This exercise is valuable as a preparatory dexterity and flexibility etude:
~[
4
2:
2
3
2
4
4
3
2
r 5:
Fd 2
3
4
3
2
4
3
• 4
2
3
2:
;5
3
2
5
4
3
2
4
3
2
21
EXERCISE NO. 32a
In practising arpeggios in the right hand, the player is constantly applying the "thumb-under" tech nique. Through this flexible fingering he is able to "eliminate" the otherwise impossiblejumps,when ever he runs out of fingers for the next notes. The problems in performing left hand arpeggios even ly, without noticeable jumps, are based on the fact that a thumb technique is not readily available. The Formula must be changed to a "finger-under" technique. This exercise illustrates the most logi cal spot for a "finger-under" technique-at least from a purely finger-technical viewpoint.
:J 2
I' I 4 32
3454324
•
3
2
EXERCISE NO. 32b
However, one might easily encounter passages in which the music itself suggests a sort of "fin ger-over" technique, on a different spot in the arpeggio. In each individual case the player should make his own decision, after carefully studying the metrical and rhythmical structure of the music, phras ing marks, etc. Here is an example where the "finger-over" technique appears more logical. (P ractise in all inversions and keys).
F 4
II 5
4
3
;::.. 2
4
4 3
3
2
EXERCISE NO. 33
This is a GROUP 2 pattern, and therefore a complete repeat of the two previous exercises.
2342345432 (5)
2 4
3
22
EXERCISE NO. 34a GROUP 3 is more difficult because of the long stretch with 5th finger to Row 3. Particular ly in the upper register (towards the bottom of the keyboard) difficulties present themselves, due to the tilted position of the hand. Two solutions are offered here. Each individual player should make his decision 01) the preferred fingering only after trying out both many times.
I· II
a) 2342345434323
b)
EXERCISE NO. 34b Minor arpeggios in GROUPS 1 & 2 are performed with the same fingering as Major arpeggios. Here is a C Minor arpeggio (GROUP 1):
J~ 2
4
~
3
4
5
4
3
2
4
3
J,
I' II
2
GROUP 3 again is different. Practise first this figure as a preparatory little exercise: (F Minor Broken Chord)
THEN proceed to the F Minor Arpeggio, applying the same fingering. Naturally, this arpeggio COULD be played with the same fingering as the C Minor. However, the 5th finger does cause trouble for most players, so the following solution was found more practical:
I'
II
23
SCALES
Whereas the chromatic scale is rather easy to play, this is not the case with diatonic major and minor scales. The frequent change of half- and whole-step intervals causes many hand and fin ger positions which can only be mastered by studioas practise. The technical problems also vary according to the bass register. Towards the bottom of the keyboard-in the upper registerthe stretch of the hand thus is more pronounced, causing difficulties in "underpassing"for example. How ever, these problems CAN be eliminated if the player makes a habit of practising some of the given scale exercises regularly. Also diatonic scales can be divided in 3 GROUPS, as far as fingering is concerned.(Compare 18a) SCALES STARTING ON ROW 1. SCALES STARTING ON ROW 2. SCALES STARTING ON ROW 3.
GROUP 1. GROUP 2. GROUP 3.
Each group has its own fingering (or fingerings, since the player has a choice between two or more "sets" of fingering). Each individual group has been carefully treated in the following exercises and it is advisable to familiarize oneself thoroughly with GROUP 1 before proceeding to the next groups. All major and minor scales in each group are prepared through easy fragmentary scale passages and ex ercise, leading up to the final presentation in complete form. It is most important that the player prac tises every preparatory exercise carefully, rather than embarking upon the complete scale pattern immediately.
GROUP 1.
(Scales of C, Eb, Gb, A) EXERCISES NOs. 35a-b a) includes the 3 first notes in the C MAJOR SCALE b) includes the 5 first notes in the C MAJOR SCALE
(Compare with the CHART).
TOP
a)
~:
2 Jz 2
b)
'}
j
"-
P F I F r7?J 3
4
4
:3
reil Rr
2
3
4
~
~
3
4
2
o·
F I 53 4
~f
,1
2
r' 5
2
I
II
r 5
"
24
EXERCISES NOs. 35c-e c) introduces the last 3 notes of the A MAJOR SCALE. Notice especially the fingering in the 2nd bar. (The 2-4 shift from Row I-Row 2 is quite useful in many scale patterns). BOTTOM
:Ji
cCFFIr 2
3
4
3
r
2
(j
I
4
I
2
r
I
5
TOP
d) & e) are representing the scale - UPWARDS and DOWNWARDS respectively. The phrasing here leaves time for the difficult" shift" in the middle of the scale (G-A, and vice versa) .Prac tise many times, before proceeding to the scale in its complete form.
E-.·E
r
3
4
~ --
'}
d)
!
EtFSQ 2
3
4
3
~
:} 2 (Jr
e)
4
3
2
I2]
r
4
2
I ~SJ
I
~ 2
4
2
IJ
J 2
3
I
f"
I
5
(. I
II 5
Here is the C MAJOR SCALE complete. Practice UP and DOWN, both staccato and legato .• also using different rhythmical and metrical structures. Compare No. 38 for fingering when the sca le is extended beyond the octave. Using the fifth (5) finger on A and C is an alternative which can be ap plied advantageously if this finger is strong enough. However, most players prefer the given finger ing with 4th finger on A.
'}
J 2
r Fr Fr rr r 434
3
2 (5)
344 (5)
Ff
3
2 (5)
r crI
~
4
3
2
3
J 2
'II
EXERCISES NOs. 36a-d As you know, the melodic C minor scale UPWARDS incorporates only one small change from the major scale: The" E b" replaces the E. See a) and compare with CHART. a)
BOTTOM
~
I Er I]r~ J
j l' rJ E 3
2
3
4
4
3
2 ::J;
:} ! (£3 r ]
b)
2
3
3
2
2
3
2
II
2
~E (J 4
,J.
I 5
E
I
4
4
TOP
The melodic minor scale DOWNWARDS is most conveniently performed by using the 5th finger. c) and d) and compare with CHART.
See
BOTTOM
T OP
c) 5
4
3
2
5
5
2
5 4
d)
~}
(~
3
2
4
3
r~E I r----ile ~~ 5
4
2
3
3
2
3
2
Here is the MELODIC C MINOR SCALE complete. Na turally, the same scale can be played in Eb Minor, Gb Minor, and A Minor (all group I) with id e ntical fingering. Practise these, in both legato and staccato.
2
3
23
4
23
4
5
4
323
r 2
[ J 3
2
II
26
EXERCISES NOs. 37a-b The harmonic C minor scale with its augmented second interval between 6th and 7th step is best performed with the use of 5th finger on C. It resembles the melodic minor scale downwards, the im portant change being introduced in a): BOTTOM a)
:} ~
--
r r ~r 5
3
4
---.... I F'
~.
I r ~r r :I f 2
2
4
3
I]
b
b) should be practised carefully, before one goes on to the com plete harmonic scale form.
r
b)
2
TOP
r :.I
4
5
III
5
Here i s the harmonic C minor scale, which should be played many times both legato and staccato, in various rhythmical patterns, in fast and slow tempi.
[, 2
3
2
3
4
3
4
r.. r Err r r
F~
I
EXERCISE NO. 38 This exercise is a compilation of Nos. 35-37. It is composed by the Major and Minor Scales in the key of C. A daily practice of this entire exercise is of immense value in developing a fluent Free Bass scale technique. Once this exercise is mastered, the player should transpose into these keys: Eb-Gb A. The player should not try to embark upon exercise No. 39 until he feels comfortably sure and re laxed doing this one. The next exercises represent scales in GROUP 2, whichare quite different from the preceding fingering patterns.
P '*4y;;ia 5% aWl r nl Vi. r _~ my EJ n 2
2
3
434
2323 4
4
3
42
3432
4
323
24
3
2
432
3
:11
27
GROUP 2.
(Scales of C#, E, G, Bb) EXERCISES NOs. 39a-d From a finger-technIcal viewpoint, scales in GROUP 2 are not any more difficult than GROUP 1. In fact, many patterns from the latter group will be recognized in the following exercises.Again here it is vital that the player practises the preparatory exercises a) - d) before he tries to play the com plete scale. Consult the CHART in case of doubt. a) introduces the first 3 notes of the G MAJOR SCALE. b) & c) introduce the rest of the scale. These two exercises are also very much similar to NO.35b (Please compare - and note the slight difference, resulting in change of fingering).
a)
'Iii
:J j
ill ~
3
IJ
Jj
4~2
4
I F" = I 5
2
BOTTOM
b)
=}ii
eill I coy I=~ 2
c)
:}i i
3
4
5
5
4
en r I
3
23
~ 4
5
4
I
j
I
r
II
2
2
r
~
~3
4
I
4
j 2
I
5
TOP d)
:}i i
r-
'I
4
PfF) u
4
3
I=j 4
2
J I j 3
II
2
Here is the G major scale in its complete form. DOWNWARDS the player may prefer to use the 2nd finger on "F sharp". Tryout both possibilities and make your decision accordingly. Practise the scale UP and DOWN - staccato and legato - also using different rhythmical patterns.
5+==j
J
j
J
2342
rFrFFrrrJj 45
3
44
5 (2)
4
J wll
2432
3
28
EXERCISES NOB. 40a-c The melodic Gminor scale UPWARDS is only different from the major scale inasmuch as it has a Bb instead of the "B natural". This change is incorporated in a). Compare also with CHART.
I j.
a)
~4
4
2
b)
~:
i
~
~
~j
I
I
4
3
2
3
I
?~~
f3 4 5
rz
II
5
2
2
BOTTOM
I:
..........
-~ 4
II
0
~
0 0
0
TOP
DOWNWARDS the scale is performed with a fingering pattern which the player will from previous exercises:
recognize
I ~~~ I
c) 4
3
2
4
3
2
Here is the G MINOR MELODIC SCALE complete. Practise many times. At this point it is also recommended that the player review all the exercises in GROUP 1. He should make a habit of play ing separate scales from each group every day, aiming at complete mastering of all scales, regard less of GROUP category.
J 3
~2 ~
EXERCISE NO. 41a practise the augmented second interval, as indicated in a). (Compare with CHART). BOTTOM
a) 4
3
2
3
4
r
4
TOP
29
Here is the HARMONIC G MINOR SCALE in complete form:
3
2
4
2
23
3
44
32
324
32
EXERCISE NO. 42 This exercise is a compilation of Nos. 39-41. It incorporates the major and minor scales of GROUP 2. When the player masters this exercise, he should be able to transpose comfortably to the keys of Bb - C sharp - E • • . . since any scale in these keys is identical with the above except for the starting point. Do not proceed to the next exercise until you feel reasonably certain in playing both Nos. 38 & 42.
14~4 L.
2
3
4
2
3
2
34
2
5
34
4
4
45 ( 2)
4
3
*,
JW
2 : ; ; (2) 4 3 2 4
3
GROUP 3.
(Scales of B, 0, F, Ab) EXERCISES NOs. 43a-b Practise these preparatory exe rcises thoroughly. Again the player will encounter familiar finger patterns. Consult the CHART. BOTTOM
a)
Ja I .A J
,Xjj ;: j
~4
1@l
4
J 1=TJ
2
b)
:} a
[j77t 3
4
3
I
FEF7?t= 3
2
3
I
J
J
2
2
II TOP
Here is the F MAJOR SCALE complete UP and DOWN within 1 octave. A basic feature of this scale is the use of a 3-4 fingering UP, while the 3-2 fingering is predominantly DOWNWARDS.
'J ~ J j J j J 2
3
4
4
3
rfrr 3
4
3
Jj J j J ~
~.
3
2
2
3
2
3
II
2
When the scale is extended over more than 1 octave-as below-it is advisable to us e the 4th finger on "G" DOWNWARDS. NOTE: Practise the scale as written many times.
Fr r 2
34
34342343
434
2
32323
4
EXERCISES NOs. 44a-b a) represents the first few notes of the MELODIC F MINOR SCALE - UP. b) represents the same scale DOWNWARDS. Practise both before proceeding to t he complete scale.
BOTTO M 9
!
J
II
4
2
o J
J
00
II
3
TOP
Here is the MELODIC F l\I1INOR SCALE in its complete form within 1 octave:
~}g'@J 2
J J j J §rn ~F I
3
2
3
4
4
rI 3
~
I'k
3
2
~[
J j J J J 2
4
3
2
:3
II
31
EXERCISES NOs. 45a-b The harmonic minor scale begins and ends exactly like the melodic minor. The two following exercises are identical, but they are played with a different fingering. In b) the "SLIDE" is being used when playing LEGATO. (In staccato playing the 2nd finger is merely pressing both Db and C). It is suggested that the player practises both alternatives before deciding which one is most suit able. Compare the CHART. Needless to add that the SLIDE can only be used when playing the scale DOWNWARDS! a) 3
b)
'II
~F 2
E F
r I ~r
4
4
3
4
3
J J
~r
o
II
2
3
r F r
BOTTOM
0
o
II
2 _ 2
3
TOP
Practise the entire HARMONIC F MINOR SCALE UP and DOWN, both LEGATO and STACCATO.
¢Jg'iliJ J J 2
3
2
j
J
3
4
using both finger.i ngs.
r qr r r r 1 j (~r
3 (2
4 3
3
4
3 4
4
3
2 4 3 2 -2)
Play
J J J I
3
2
3
EXERCISE NO. 46
With the mastering of this exercise the player has now completed his major and minor scale studies. The exercisc contains all major and minor scales in GROUP 3. Once again it should be emphasized that it is important to practise Nos. 38-42-46 daily. The player will invariably en counter scale patterns in much of his future Free Bass repertoire which is somehow covered by these 3 exercises. Undoubtedly, he will also encounter some scale fragments which can be per formed with a fingering different from the ones given in this book. The Chromatic Free Bass being such a flexible keyboard, it is impossible to stipulate rigid rules of fingering to fit every occasion. If the musical line suggests a different, simpler and easier fingering, the player should certainly feel free to improvise in this respect. But before playing a new work, it is always advisable to Playing find out whether the tonal key places the left hand in GnOUp 1, GROUP 2, or GROUP 3. through the entire scales in the respective GROUP often helps one in deciding on a suitable finger ing for a new work.
32
2
-
2
,3
4
3
4
3
3
4
2 (3
4 -3
2
3
4
3
4
3
2 (3
3 4
4
3
3
2
3
2
3
2
4
3
f4f:
2
3
2
3
~
~
3
2
2
3 4
4 2 3)
3
2
3
4
4 3
4 3
3 4
2 3
2 4 2)
3
2
3
4 (3
3 4
2 -2 4 3 2)
3
2
3
EXERCISE NO. 47 As with the major and minor scales, THE WHOLE-TONE SCALE can also be divided into three GROUPS: GROUP 1 - SCALES STARTING ON ROW 1. GROUP 2 - SCALES STARTING ON ROW 2. GROUP 3 - SCALES STARTING ON ROW 3. However, any whole-tone scale, regardless of starting point, can always be fitted into one single pattern of fingering: 2-3-4- •. 2-3-4- •. 2-3-4-.. The recipe is simple: ROW 1 - ALWAYS 2nd Finger - (2) ROW 2 - ALWAYS 4th Finger - (4)
ROW 3 - ALWAYS 3rd Finger - (3)
BOTTOM
(2)
o
A comparison with this chart shows the reason for this principle. The chart shows a whole-tone scale starting on C. This permanent pattern of whole-tone steps is most easily performed in the above mentioned manner.
co: 2
~J 23 3
4
4
543 ( 2)
;;J
2
4
3
,I,
J. 2
#.
II
2
TOP
®
o
EXERCISE NO. 48 The WHOLE-TONE SCALE starting on ROW 2 - in this example on "G", follows the recipe given in NO. 47. (Always 2nd Finger on the First Row, etc.)
42
34
23
4
32
4
EXERCISE NO. 49 The WHOLE-TONE SCALE starting on ROW 3 represents nothing new. The pattern from 47-48 is identical. Only the starting point is different, resulting in a 3-4- •• 2-3-4- •• 2-3 Fingering.
3
4
2
34
fJ J I ~.
2 3
24
3
2
4
I' II
3
Naturally. WHOLE-TONE SCALES can be performed with entirely different fingerings, but at this point it would only serve to confuse rather than clarify. The player may very well-later on- en counter fragmentary whole-tone scales in his repertoir, which can be performed more easily with a different fingering. But Nos.47-49 will provide a good basic understanding of the scale prinCiple at this early point. BOTTOM
2
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34
APPENDIX
The following arrangements of music for accordion with the Chromatic Free Bass are meant to be a supplement to the preceding exercises, including many well-known finger patterns therefrom. At the same time they should serve as a good example of literature which is suitable for the Free Bass accordion. It is true that the Free Bass accordion opens the doors to a good deal of repertoire which cannot be played on the Standard 120 Bass instrument. However, it is a great mistake to think that one should now play Chopin, Liszt, Beethoven or Rachmaninoff endlessly,justbecause itistechnical ly possible to play all the written notes. Choosing a suitable, adaptable repertoire in good taste is vital. For the beginner it is advisable to look into the early keyboard works by such old masters as Tele mann, Scarlatti, Veracini, Couperin, J. Ch. Bach, etc. Particularly good are mostof the selections inllAnna Magdalena Bach's Buchlein:' A special study of the first two books of iBaTtok's "Mikrokos mos" is also recommended. Johann Sebastian Bach's works offer a splendid challenge for the more ambitious pl ay@r. The two-part, and three-part inventions, several movements from the French and English Suites, from the "Well-tempered Clavichord", plus many of his organ works are excellent from a musical and technical viewpoint. A look into repertoire of this century may also be reward ing: works by composers like Bartok, Hindemith, Satie, Honegger, Prokofiev, Ibert, Shostakovich and many others. The Free Bass accordion is nothing but a portable miniature organ. An immensely mobile and flexible organ with great technical facilities and marvellous dynamic and rhythmical potentialities. Generally, polyphonic music lends itself beautifully to the sound and character of the accordion. The particular timbre and transparent sound quality of the instrument is unique, filling a vacuum in the traditional available instrumentarium. Naturally, the day will come when the accordionist will no longer have to rely upon literature written for other musical instruments. But until the composers have created a rich repertoire of worthy original works for the Free Bass accordion, it is hopefully suggested that the accordionist play good transcriptions of suitable repertoire, rather than try to con vince the music world that such works as Tschaikowsky's Piano Concerto or Mendelssohn's Violin Concerto should be played on the accordion. Assuming that the Free Bass system contains 2 sets of reeds, the following 3 possibilities of bass registration are available:
@ = Actual pitch as written (1
reed)
E9 = One octave above written (8 Va) - (1 reed)
EB = Octave coupled (2 reeds) These switch symbols are new. They should be perfectly clear to anybody who is familiar with the standard switch notations used for treble and bass. Generally speaking, one would use the Free Bass switches mainly to obtain the right balance between treble and bass. For example: If the treble is played on single middle reed (
@ ),
bass is supposed to dominate entirely.
one should use a single reed in the IF. B.II (@), unless the
35
Menuet from "Anna Magdalena Bach's BUchlein"
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38
Courante (From Suite No.1 in G Major for Unaccompanied Cello)
J. S. BACH Arr. M. Ellegaard The Bach COURANTE was originally written for unaccompanied cello. Since the Free Bass oper ates pretty much within the tonal range of the cello, often characterized by similar timbres and son orities, this piece was thought to be a suitable bnishing "Postlude". Technically, the Courante is building on fragments of arpeggios and fragments of scales-which have all been dealt with in the pre ceding exercises. The reader will find here, that the fingering does not follow categorically those fingerings given earlier. Phrasing and metre have influenced the changes of fingering- to provide the most logical execution of the musical patterns. These changes of fingering should serve as a re minder that the player is always free to choose his own fingering in each case, although he may of course find that he is more or less using finger patterns shown in this book. The Courante presents finger problems which have not been treated earlier: Jumps above the octave. Such jumps are not easy. They are best performed if the player "prepares" them in advance by stretching the next fin geratleastpart of the distance, while performing the preceding note. (Ex.: Bar 1, 3, 7, 10, etc.) MUSically, the Courante is a refreshing challenge, not just to be treated as a technical exercise. The Bach Suites for cello are considered sublime masterpieces in the musical literature.
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