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thank you for your vids , I have been watching a view of you vids... I inherited my dads chromayic accordion, yes a button one...he died like 20 yrs ago anyway my sister had it and she never really played it so , she gave it to me.. im nearly 60 never played it in my life even a keyboard i play one handed , but to my surprise just watching some of your vids i am not doing to bad on the accordion ... thank you very much...
Hallo Ronan! Ich stimme Ihnen völlig zu... Akkordsymbole reichen aus, um freier und kreativer spielen zu können bzw. zu "müssen". 😉 Herzliche Grüße aus Deutschland, Edith
Most of the sheet music I've got doesn't even have a bass line. It's mostly for guitar. If I can get some idea of what chords I need, I can usually Figure a bass line for it. Great video!😁
Ronen, this video is excellent for beginners. I know a person just picked up a piano accordion, who lives in Canada. I just forwarded the link of this video and your website to him. Hope he can learn a lot from you as I did. Thank you again for being my first teacher and all the wonderful help in the past.
Lead sheets are great for guitarists. There are times when the full notation is fundamental to the understanding of the overall flavor of the piece in question. You're really dumping on the composition graduates (I'm one of them) who intend to include a broad audience of musicians who thrive on the subtle differences in notation. While I generally love the videos you produce, this isn't one of them. I get complaints all day about my scores which are written in standard notation, but I expect there is a great discrepancy between the anticipated stradella audience and the free-bass community which is capable of far greater liberties. Please don't lump us all into the typical stacks available to the stradella fans... there are many of us who regard such limitations as oppressive?
Agree with you. Even Stradella players can achieved fantastic results (I'm thinking Nikolay Bine playing jazz chords on his left hand w a Stradella system). And like you say, free bass. But in general, 99% of accordionists I meet and teach have a eureka moment when they are able to *play* the chords, versus trying to read them. All of a sudden they are *musical*. But 100% agree with you that there is a necessity sometimes for bass notation. Just as there is a time for guitar chords vs guitar tab and precise notation.
@@moshezuchter I hope I was not too harsh. I share my scores free of charge to include a larger audience of players and being aware of the inversions commonly available to the stradella system, I realize concessions for ease of play will be used. To be more succinct... I accept (and except) that there are perfect substitutions for all chord variations. What I am saying is that there is a very specific order of chord changes, including those which are common to the stradella stack which convey the essential elements, but we must rely upon the creative talent of individual players to extract the full potential of these arrangements to express their full individual potential. I'm currently extracting some works by Scott Joplin for easier accordion play... and relying upon my training as a comp major, it's far from easy. The essential elements of chord phrasing and syncopation must be observed, not to mention the value of walking bass lines to give character to pieces like "The Entertainer". Forgive me if I have been too critical... but I see a great redemption in value when I see the fundamental instrument (piano) 's capability has been retained. Yours... Mark.
Not too harsh at all, Mark :) Thanks for the input. I know I'm taking the easy way out when I try and arrange a piece on accordion - I can't even begin to imagine the difficulties (and technical skill required) to play a Scott Joplin piece on accordion, where it's not just the "oom-pa" sound. Thanks for doing the work that you do :)
@@moshezuchter I apologize for allowing my frustration to be shown. I've really fallen in love with the accordion and part of why I'm frustrated is because it's not regarded by universities as a "real instrument"... even though several individuals tried desperately to get it on the curriculum. When I pull up the history of how popular the accordion was at one time, it's staggering. I hope it never fades away. I know you're doing wonders as a teacher to keep it alive. If there's a method to put more capability into a portable instrument, the accordion is king. Finally and sorry to type this much, one half of an abbreviated Joplin tune is definitely oompah 😄It's a reduced-skill arrangement and it's all yours to enjoy if you'd like. Please disregard the fingering notations... they just work for me at this stage of my learning. www.noteflight.com/scores/view/593c7fb4b03cc99cf892f7d04269c570dcc1aa95
thank you for your vids , I have been watching a view of you vids... I inherited my dads chromayic accordion, yes a button one...he died like 20 yrs ago anyway my sister had it and she never really played it so , she gave it to me.. im nearly 60 never played it in my life even a keyboard i play one handed , but to my surprise just watching some of your vids i am not doing to bad on the accordion ... thank you very much...
Hallo Ronan! Ich stimme Ihnen völlig zu... Akkordsymbole reichen aus, um freier und kreativer spielen zu können bzw. zu "müssen". 😉 Herzliche Grüße aus Deutschland, Edith
Agreed, Edith! Thank you from Canada :)
Most of the sheet music I've got doesn't even have a bass line. It's mostly for guitar. If I can get some idea of what chords I need, I can usually Figure a bass line for it. Great video!😁
Ronen, this video is excellent for beginners. I know a person just picked up a piano accordion, who lives in Canada. I just forwarded the link of this video and your website to him. Hope he can learn a lot from you as I did. Thank you again for being my first teacher and all the wonderful help in the past.
Richard! Thanks for spreading the word :)
Lead sheets are great for guitarists. There are times when the full notation is fundamental to the understanding of the overall flavor of the piece in question. You're really dumping on the composition graduates (I'm one of them) who intend to include a broad audience of musicians who thrive on the subtle differences in notation. While I generally love the videos you produce, this isn't one of them. I get complaints all day about my scores which are written in standard notation, but I expect there is a great discrepancy between the anticipated stradella audience and the free-bass community which is capable of far greater liberties. Please don't lump us all into the typical stacks available to the stradella fans... there are many of us who regard such limitations as oppressive?
Agree with you. Even Stradella players can achieved fantastic results (I'm thinking Nikolay Bine playing jazz chords on his left hand w a Stradella system). And like you say, free bass.
But in general, 99% of accordionists I meet and teach have a eureka moment when they are able to *play* the chords, versus trying to read them. All of a sudden they are *musical*.
But 100% agree with you that there is a necessity sometimes for bass notation. Just as there is a time for guitar chords vs guitar tab and precise notation.
@@moshezuchter I hope I was not too harsh. I share my scores free of charge to include a larger audience of players and being aware of the inversions commonly available to the stradella system, I realize concessions for ease of play will be used. To be more succinct... I accept (and except) that there are perfect substitutions for all chord variations. What I am saying is that there is a very specific order of chord changes, including those which are common to the stradella stack which convey the essential elements, but we must rely upon the creative talent of individual players to extract the full potential of these arrangements to express their full individual potential. I'm currently extracting some works by Scott Joplin for easier accordion play... and relying upon my training as a comp major, it's far from easy. The essential elements of chord phrasing and syncopation must be observed, not to mention the value of walking bass lines to give character to pieces like "The Entertainer". Forgive me if I have been too critical... but I see a great redemption in value when I see the fundamental instrument (piano) 's capability has been retained. Yours... Mark.
Not too harsh at all, Mark :) Thanks for the input. I know I'm taking the easy way out when I try and arrange a piece on accordion - I can't even begin to imagine the difficulties (and technical skill required) to play a Scott Joplin piece on accordion, where it's not just the "oom-pa" sound. Thanks for doing the work that you do :)
@@moshezuchter I apologize for allowing my frustration to be shown. I've really fallen in love with the accordion and part of why I'm frustrated is because it's not regarded by universities as a "real instrument"... even though several individuals tried desperately to get it on the curriculum.
When I pull up the history of how popular the accordion was at one time, it's staggering. I hope it never fades away. I know you're doing wonders as a teacher to keep it alive. If there's a method to put more capability into a portable instrument, the accordion is king.
Finally and sorry to type this much, one half of an abbreviated Joplin tune is definitely oompah 😄It's a reduced-skill arrangement and it's all yours to enjoy if you'd like. Please disregard the fingering notations... they just work for me at this stage of my learning.
www.noteflight.com/scores/view/593c7fb4b03cc99cf892f7d04269c570dcc1aa95
Nice lesson, thanks!👍❤️🎹
impresionante aprendo mucho contigo
Thank you 🙏