I'm a complete newcomer to music ( at 67 ) and 6 months ago when I first watched this it went right over my head ! Now I understand what is being said, it's so cool. Thank you David ,and other You tubers out there who are helping people like me learn the accordion and keyboard. 🎹👍
David Lange BRILLIANT lesson. My ear was fooled by that Dom7th. In the words of Maxwell Smart : "The old missing 5th trick". You have given us a new direction. Thank you for sharing that.
It's a real pleasure to learn with you. The attention you have to the left hand is for me a liberation for the right hand. I think your recommandation always serve music before performance... well... it's not incompatible but I prefer music, you too I can suppose...You are a great teacher, a great musician and I like very much your sensible personality. Bye and see you later...
David, it was so nice listen to the beautiful music you guys played yesterday at the Edmonds Jazz Walk! And, above all, talk to you in person! On our way we back started speculating on how to play jazz chords on stradella, this video showed up first! :) Boy, it's complicated! Thank you for the wonderful music!
David: Note that many 60 and 80-bass stradella accordions voice the 7th chords differently from the more common 72, 96, and 120 bass models - where (as you explain) 72/96/120 bass models voice 7th chords with the 1st/3rd/7th notes of the chord, these 60/80 bass models voice these chords with the 3rd/5th/7th notes. This messes up a lot of jazz chord combining on these models, but allows players to get diminished chords without having a dedicated diminished row - that's because the 7th chord voiced this way works as a diminished chord for the row that's a 5th above. (i.e. the E/G/Bb notes of the C7 chord makes a G-dim chord, etc).
That’s . I am a pretty miserable accordion scholar, so it’s always great to get get information from somebody who knows more than I do. I wish there was an easy way to update some of these videos to include information I received after the fact. For the most part, I don’t think I’ve done too much damage. I’ve often wished there was a chord button for a simple augmented chord. I believe there are some accordion‘s that have an extra chord row for this. Is this something you know about as well? Thanks again for your input. David
@@deedpartle I've seen 140 bass accordions with an extra row of buttons, but the ones I've seen had minor 3rd buttons above the major 3rd counter-bass row. That would allow for easier Aug chords I guess, with - for instance the Ab minor 3rd on the F row combined with the C7 chord.
@@AlanZisman, this was very helpful as I was struggling to get some of the sounds, I found out that my 80 bass uses the different configuration. Unfortunately I’m struggling a lot with that because, as a piano player, I’m really trying to get those extended colors in the chords. Do you have any suggestions or similar charts where I can cover the possibilities while still using my 80bass accordion?
I just bought an accordion and i was worried because i wasn't hearing the fifths on dominant and diminished chords, so thought it didn't work well, but now i understand, great video, thanks!
Yes. In most cases not having those 5ths is a real benefit. I was thinking of doing a very short video on those missing 5ths because in the 30s and 40s they existed . I think you will be happy without them.
@@deedpartle It would be great to see that video. But i was thinking.. wouldn't it be more convenient to have the sevenths missing instead of the fifths for diminished chords?
@@SPG8400 that’s an excellent question. And I don’t have an answer yet. The modern standardization of the Stradella system was guided by Galla-Rini and I would like more knowledge on his choice there. My ears and my guess tell me that the choice was the the diminished 7 makes the chord sound richer and the ear fills in the 5th. There are also advantages to not having all four notes of the diminished chord as they often did in the 3os. I’m so use to doing the progression 2-5-1 in a jazz context the when the minor 2 chord is changed to a minor 7b5 it’s easier for me to grab D bass and f dim than to jump down to D counterbass and f minor. Even though my chord is incomplete it doesn’t make a mess and is faster. When I do the Stradella video I’ll try to fill in the holes pf my knowledge.
@@deedpartle yes, it's also that, with dominant chords, the harmonic series fills that fifth, but it doesn't happen with the diminished ones, but anyway, each case has its advantages.
Thank you! This is so enlightening/helpful! Question about your Petosa or accordions in general. Do you recommend 3, 4 or 5 reeds for jazz? Which tuning? And how important is a double tone chamber to the sound and responsiveness? I'm shopping for a better instrument and am still learning about the variety of instruments. Thank you!
you'll find a variety of responses to this. I personally like a chambered single reed. Art Van Damme set the standard for jazz accordion. And because of his influence the bassoon reed is the usual choice. On my AM 1100 the clarinet (or chambered middle reed) is the sweetest. I'm drawn to that particular sound and so 85 % of my time is spent with that sound. The accordions I've seen with chambered reeds have all been 4 reed instruments. All my reeds are at A 440 with the exception of the 2nd open middle reed very slightly sharp for the occasional dry musette .
Greetings David sounding great...if you want the 5th to play also on the 7th bass chord, hot the major chord button at the same time with the 7th....or minor chord button depending what you want to play
Hi David, can you recommend accordion pickups? You get such a great sound! Are you playing into the room or recording direct from your pickups? Thanks for your videos!
Gary I'm sure you don't need a reply now. I'm 2 years late. I don't use pickups in the studio. The videos are done with a couple mics just out of camera. I do have the sennheiser system in my Petosa for live performance. If you're you have any more interest you could go to the Petosa Accordion website where the have a pickup system they are fond of. I haven't used it but they usually go for the best stuff.
This is late as well, and I assume that you went to Petosa in Seattle, but I have the Harmonik Mic System in my Scandalli, and they are wonderful very true accordion sounding Mics. I had the sennheiser system for years and found that the sound reproduction wasn't so great, and that they really had a lot of feedback on stage. Cheers
@@lesmotyka9576 and David, yes about a year ago i purchased and installed the Harmonik Mic's. They are great and it's so nice to have a clear sound on gigs!
For the C7/9 it is easier to just use the C and the Gm chords in combination - the 7th is already included in the Gm chord. Maybe for some it is easier to handle, always depends from which side you are "arriving" there... The simple Cm7 chords needs the Cm and the Eb - chord as an extension - obvious, but not listed in your great overview!
Well it’s a bit of apples and oranges. You could be right that C major in G minor are easier to hit physically. I’m not certain of that. Theory wise most people think of the extensions off of the seventh chord and therefore C7 and G Minor make a little more sense. It’s the same chord either way, and you’re right, what lays best in a particular song could be either. Yeah keep digging around I’m sure there’s a myriad of chords that I’ve left out of there collection. I keep finding new voices all the time good luck with your playing.
@@diegofernandes5547 I didn't sense anything negative Diego. But I have been thinking of making some videos that would be useful but more accessible . So I welcomed your comment. I think my next one I'm working on will still be hard.
I'm a complete newcomer to music ( at 67 ) and 6 months ago when I first watched this it went right over my head ! Now I understand what is being said, it's so cool. Thank you David ,and other You tubers out there who are helping people like me learn the accordion and keyboard. 🎹👍
David Lange BRILLIANT lesson. My ear was fooled by that Dom7th. In the words of Maxwell Smart : "The old missing 5th trick". You have given us a new direction. Thank you for sharing that.
I appreciate these videos and your precious hints so much. You have a lovely tone of voice in teaching and sharing your knowlegde.
Thank you!
Thank you , mister Lang for melody of my childchood . I m here and there after collecting jazz basses finished my short street performences .
Thanks yet again. Very clear, extremely helpful. You’re adding to the instrument a great deal
David obrigado por compartilhar seus conhecimentos fantásticos no acordeon.
It's a real pleasure to learn with you. The attention you have to the left hand is for me a liberation for the right hand. I think your recommandation always serve music before performance... well... it's not incompatible but I prefer music, you too I can suppose...You are a great teacher, a great musician and I like very much your sensible personality. Bye and see you later...
David, it was so nice listen to the beautiful music you guys played yesterday at the Edmonds Jazz Walk! And, above all, talk to you in person! On our way we back started speculating on how to play jazz chords on stradella, this video showed up first! :) Boy, it's complicated! Thank you for the wonderful music!
Thank you so much David. Your insights are incredibly helpful!
Thank you very much for you acordion lessons!!!
nice gift for father's day.
Sovalue to Shaer ti! Thank you só much! Eddie, from Brasil.
Extreme informativ!!! Thank you for the lesson!! :-)
thanks - a few years of practice for me there!
This is really an incredible channel.
Very interesting! Thank you so much
Thank you very much, great taste!
Thank you very much for the video, it has been very useful! Now, to practice.
David: Note that many 60 and 80-bass stradella accordions voice the 7th chords differently from the more common 72, 96, and 120 bass models - where (as you explain) 72/96/120 bass models voice 7th chords with the 1st/3rd/7th notes of the chord, these 60/80 bass models voice these chords with the 3rd/5th/7th notes. This messes up a lot of jazz chord combining on these models, but allows players to get diminished chords without having a dedicated diminished row - that's because the 7th chord voiced this way works as a diminished chord for the row that's a 5th above. (i.e. the E/G/Bb notes of the C7 chord makes a G-dim chord, etc).
That’s . I am a pretty miserable accordion scholar, so it’s always great to get get information from somebody who knows more than I do. I wish there was an easy way to update some of these videos to include information I received after the fact. For the most part, I don’t think I’ve done too much damage. I’ve often wished there was a chord button for a simple augmented chord. I believe there are some accordion‘s that have an extra chord row for this. Is this something you know about as well? Thanks again for your input. David
@@deedpartle I've seen 140 bass accordions with an extra row of buttons, but the ones I've seen had minor 3rd buttons above the major 3rd counter-bass row. That would allow for easier Aug chords I guess, with - for instance the Ab minor 3rd on the F row combined with the C7 chord.
@@AlanZisman, this was very helpful as I was struggling to get some of the sounds, I found out that my 80 bass uses the different configuration. Unfortunately I’m struggling a lot with that because, as a piano player, I’m really trying to get those extended colors in the chords. Do you have any suggestions or similar charts where I can cover the possibilities while still using my 80bass accordion?
Hello David. I like your jazz lessons. I going to continue?
самое время мне освоить джазовые аккорды .спасибо и за мелодию моей юности
I just bought an accordion and i was worried because i wasn't hearing the fifths on dominant and diminished chords, so thought it didn't work well, but now i understand, great video, thanks!
Yes. In most cases not having those 5ths is a real benefit. I was thinking of doing a very short video on those missing 5ths because in the 30s and 40s they existed . I think you will be happy without them.
@@deedpartle It would be great to see that video. But i was thinking.. wouldn't it be more convenient to have the sevenths missing instead of the fifths for diminished chords?
@@SPG8400 that’s an excellent question. And I don’t have an answer yet. The modern standardization of the Stradella system was guided by Galla-Rini and I would like more knowledge on his choice there. My ears and my guess tell me that the choice was the the diminished 7 makes the chord sound richer and the ear fills in the 5th. There are also advantages to not having all four notes of the diminished chord as they often did in the 3os. I’m so use to doing the progression 2-5-1 in a jazz context the when the minor 2 chord is changed to a minor 7b5 it’s easier for me to grab D bass and f dim than to jump down to D counterbass and f minor. Even though my chord is incomplete it doesn’t make a mess and is faster. When I do the Stradella video I’ll try to fill in the holes pf my knowledge.
@@deedpartle yes, it's also that, with dominant chords, the harmonic series fills that fifth, but it doesn't happen with the diminished ones, but anyway, each case has its advantages.
Thank you! This is so enlightening/helpful! Question about your Petosa or accordions in general. Do you recommend 3, 4 or 5 reeds for jazz? Which tuning? And how important is a double tone chamber to the sound and responsiveness? I'm shopping for a better instrument and am still learning about the variety of instruments. Thank you!
you'll find a variety of responses to this. I personally like a chambered single reed. Art Van Damme set the standard for jazz accordion. And because of his influence the bassoon reed is the usual choice. On my AM 1100 the clarinet (or chambered middle reed) is the sweetest. I'm drawn to that particular sound and so 85 % of my time is spent with that sound. The accordions I've seen with chambered reeds have all been 4 reed instruments. All my reeds are at A 440 with the exception of the 2nd open middle reed very slightly sharp for the occasional dry musette .
More videos, please. Greetings from Austria
Tom
Espectacular
Greetings David sounding great...if you want the 5th to play also on the 7th bass chord, hot the major chord button at the same time with the 7th....or minor chord button depending what you want to play
Hi David, can you recommend accordion pickups? You get such a great sound! Are you playing into the room or recording direct from your pickups? Thanks for your videos!
Gary I'm sure you don't need a reply now. I'm 2 years late. I don't use pickups in the studio. The videos are done with a couple mics just out of camera. I do have the sennheiser system in my Petosa for live performance. If you're you have any more interest you could go to the Petosa Accordion website where the have a pickup system they are fond of. I haven't used it but they usually go for the best stuff.
This is late as well, and I assume that you went to Petosa in Seattle, but I have the Harmonik Mic System in my Scandalli, and they are wonderful very true accordion sounding Mics. I had the sennheiser system for years and found that the sound reproduction wasn't so great, and that they really had a lot of feedback on stage. Cheers
@@lesmotyka9576 and David, yes about a year ago i purchased and installed the Harmonik Mic's. They are great and it's so nice to have a clear sound on gigs!
I want more
For the C7/9 it is easier to just use the C and the Gm chords in combination - the 7th is already included in the Gm chord. Maybe for some it is easier to handle, always depends from which side you are "arriving" there... The simple Cm7 chords needs the Cm and the Eb - chord as an extension - obvious, but not listed in your great overview!
Well it’s a bit of apples and oranges. You could be right that C major in G minor are easier to hit physically. I’m not certain of that. Theory wise most people think of the extensions off of the seventh chord and therefore C7 and G Minor make a little more sense. It’s the same chord either way, and you’re right, what lays best in a particular song could be either. Yeah keep digging around I’m sure there’s a myriad of chords that I’ve left out of there collection. I keep finding new voices all the time good luck with your playing.
Can you please say me the title of the song that you play in first seconds?
Sorry I just saw this. The song was ‘these are a few of my favorite things’ written by Oscar and Hammerstein for the sound of music.
@@deedpartle thanks a lot! You’re so good👍🏻
Do you plan to do a video on tri-tone subs still?
Aaron Albers thanks for the nudge. It is still on my list, I just need to find some time. Hopefully it won’t be too long.
YES
Too advanced for me. In a few years I will return.
I know some of this is overwhelming. I have to review myself. Perhaps I'll try some shorter and less daunting topics. Thanks for checking in.
David
@@deedpartle
I WOULD LIKE TO MAKE CLEAR THAT IT WAS NOT A CRITIC. VERY OTHERWISE, IT WAS A PRAISE, FOR THE HIGH LEVEL OF THE CLASS. CONGRATULATIONS!
@@diegofernandes5547 I didn't sense anything negative Diego. But I have been thinking of making some videos that would be useful but more accessible . So I welcomed your comment.
I think my next one I'm working on will still be hard.
@@deedpartle THANKS AND CONGRATULATIONS!
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