tag:blogger.com,1999:blog-42702334547070207882024-03-25T15:06:20.626+01:00The Art of 144 BandoneonA blog about bandoneons and 144 bandoneon "Einheits" model in particular.omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-4270233454707020788.post-26589570780342612692020-12-15T13:17:00.007+01:002020-12-15T13:19:37.052+01:00Bringing order to chaos #1<h2 style="text-align: left;">Dominant - tonic in bandoneon left keyboard</h2><div style="text-align: justify;">The keyboards of the bandoneón are a real chaos. However, some <b>logic</b> can still be found.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In this article, we'll put some order out of the chaos. Today we try to simplify the keyboard according to the <b>dominant-tonic cadence</b>.</div><br /><span><a name='more'></a></span><div><br /></div><div><h2 style="text-align: center;">The V-I Cadence</h2><br /><div style="text-align: justify;">In the context of tonal music the dominant-tonic cadence (hereinafter simply <b>V-I</b>) is of fundamental importance and is not called <b>perfect cadence</b> out of nowhere.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Those who play <b>tango</b> know it well and know it is the worthy conclusion of any self-respecting tango. It would be really frustrating to "stick" a V-I at the very end of a piece.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Let's see in which cases the <b>V-I cadence is comfortable and practical</b> on the bandoneón.</div></div><div><br /></div><div><h3 style="text-align: center;">How to use the info in this article</h3>
<p class="justify"></p><div style="text-align: justify;">This article is basically <strong>practical</strong> because I limited myself to highlighting the cases
in which the <strong>V-I</strong> cadence is <strong>comfortable and facilitated</strong> in the bandoneon.
As this is an introductory article, I limited myself to the keynote of the chord,
not the full chord.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The layout taken into consideration is the <strong>144</strong> "<em>Einheitsbandonion</em>", the instrument I play and which I consider an evolution of the 142.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In the following diagrams I have not reported all the V-I cadences, but <strong>only those situations
in which</strong> the cadence is particularly comfortable. The criteria for the choice were:</div><p></p><ol style="text-align: left;"><li>position of the keys;</li><li>opening-closing;</li></ol><div style="text-align: justify;">In the diagrams below I have taken into consideration <strong>only the left keyboard</strong>,
in opening and closing. The <strong>darker color</strong> indicates the tonic of the dominant that resolves
on the tonic of the fundamental (the key has the same color but <strong>lighter</strong>).
I only highlighted dominant resolutions in the same octave, or in the immediately preceding or
following octave. The keys that admit V-I resolution in an open-close movement have been marked with a <strong>colored circle</strong>.</div><div><br /></div><div><h3 class="center" style="text-align: center;">Bandoneón 144 Einheits, <em>opening</em></h3></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDR04IkFuAce9lrr2xx-73iPjQtaGL_75BSd6MGi1WIJo6unHgp0zCOVdDa0VOxG2dmbwzE_B3fcfQ43lXPzJal1gDwMDjLJZanty_-uC8wwZo24AiLBBSlRjztCcb_IqgTHSG11aRFfKK/s800/einheits-V-I-left-opening.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="361" data-original-width="800" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDR04IkFuAce9lrr2xx-73iPjQtaGL_75BSd6MGi1WIJo6unHgp0zCOVdDa0VOxG2dmbwzE_B3fcfQ43lXPzJal1gDwMDjLJZanty_-uC8wwZo24AiLBBSlRjztCcb_IqgTHSG11aRFfKK/w400-h180/einheits-V-I-left-opening.jpg" width="400" /></a></div><br /><em><br /></em></div><div><h3 class="center" style="text-align: center;">Bandoneón 144 Einheits, <em>closing</em></h3></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvVVqUeRWvQ2mcwqMx1GVTTDU4Z-SvrSnrnbi_LCNL3BU_UAMFTIjWG9sXIyF2079-m-RNjIeowQr5f7pO4r3sQ8q0wfWjuisfcm4mi6W4CPq3yhLO5-CAgamhwkFYvsLMlZjpJJMoYGNB/s800/einheits-V-I-left-closing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="361" data-original-width="800" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvVVqUeRWvQ2mcwqMx1GVTTDU4Z-SvrSnrnbi_LCNL3BU_UAMFTIjWG9sXIyF2079-m-RNjIeowQr5f7pO4r3sQ8q0wfWjuisfcm4mi6W4CPq3yhLO5-CAgamhwkFYvsLMlZjpJJMoYGNB/w400-h180/einheits-V-I-left-closing.jpg" width="400" /></a></div><br /><h3>Conclusion</h3>
<p class="justify"></p><div style="text-align: justify;">Does the bandoneón <strong>have a logic</strong>? Yes, if you accept the numerous exceptions and the many compromises.
No, if we expect the corence of a serial keyboard, like that of a piano.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">However we will see how the deepening of the knowledge of keyboards will be possible to develop a
certain internal logic. An <strong>excellent mnemonic ability</strong> is essential. It was once said that the
consumption of fish strengthens the memory. Your fishmonger will become your best friend! </div><p></p></div><p class="justify"><br /></p></div>omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com0tag:blogger.com,1999:blog-4270233454707020788.post-75375193003794801182020-10-20T20:08:00.002+02:002020-10-23T21:33:47.793+02:00Online Bandoneon Lessons<p>As mentioned in part in the previous post, I started giving bandoneon lessons online.<span></span></p><a name='more'></a><p></p><p>For those who don't know me, I'm Italian but I study at the Buenos Aires Conservatory. The interesting thing is that I study with the bandoneon 144.</p><p><br /></p><p>You can learn more on this site <a href="https://www.bandoneonlessons.com">https://www.bandoneonlessons.com</a></p><p>If you play the bandoneon 144 you can have your lesson on this specific instrument.</p><p><br /></p><p>For italian people you can learn more here:</p><p><a href="https://www.bandoneonmilano.it">https://www.bandoneonmilano.it</a></p><p><a href="https://www.bandoneontorino.it">https://www.bandoneontorino.it</a></p><p>Contact me for more info.</p>omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com0Buenos Aires, Città Autonoma di Buenos Aires, Argentina-34.6036844 -58.3815591-62.913918236178844 -93.5378091 -6.2934505638211533 -23.225309099999997tag:blogger.com,1999:blog-4270233454707020788.post-42683336976110880722020-10-02T15:00:00.004+02:002020-10-03T17:18:35.400+02:00A video from a "student" of mine<p style="text-align: justify;">Igor Sayenko, from Ukraine, started to study bandoneon with me 3 months ago. He contacted me through this blog because, as many others, he approached the bandoneon starting with 144 bandoneon.<span><br /></span></p><span><a name='more'></a></span><p style="text-align: justify;">He was looking for a bandoneon teacher and I said I was available to teach him what I have learnt so far and I'm still learning at Buenos Aires "De Falla" Conservatory with M. Rodolfo Daluisio.</p><p style="text-align: justify;">He started in July 2020 and last month he sent me this video, of a score I proposed him to study:</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/X5ZPNzSXs5c" width="320" youtube-src-id="X5ZPNzSXs5c"></iframe></div><br /><p>I'd like to share his experience:</p><p></p><blockquote style="font-style: italic; text-align: justify;">When I've only started, I was thinking I should change one day to 142, just to have the same bandoneon as Piazzolla to be able to play his music. But now I am not thinking about that anymore)) I realised I can play Piazzolla the same way, but I can play much more. And that's thanks to you!</blockquote><p>If you want to contact Igor, <a href="https://www.facebook.com/igor.sayenko/" target="_blank">here is his FACEBOOK.</a></p><p>In case you are thinking about taking bandoneon lessons online, please contact me, we can talk about it.</p><p></p><p><br /></p>omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com0tag:blogger.com,1999:blog-4270233454707020788.post-82279161469716372102020-07-23T20:19:00.000+02:002020-07-23T20:19:16.513+02:00Canzona 19 bandoneon 144 version - G. FrescobaldiCanzona 19 from Girolamo Frescobaldi is part of the Buenos Aires "Manuel de Falla" Conservatory. I share the score with<br />
<a name='more'></a>fingering options for bandoneon 144 (or Einheits bandonion).<br />
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The work was originally transcripted by M. Rodolfo Daluisio.<br />
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The fingering options in the PDF is my personal solution to solve the score, probably you'll find more comfortable with your own solution.<br />
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<div style="text-align: center;">
<a href="https://drive.google.com/file/d/1AGDqrIVRvw0iIQtsnuu9EUD3uHpeK53G/view?usp=sharing" target="_blank">Download canzona-19-frescobaldi-bandoneon144.pdf (190 Kb)</a></div>
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<div style="text-align: left;">
Here is a version:</div>
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/dUpUEUaImMY/0.jpg" src="https://www.youtube.com/embed/dUpUEUaImMY?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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<br />omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com3Buenos Aires, Città Autonoma di Buenos Aires, Argentina-34.6036844 -58.3815591-34.8127694 -58.7042826 -34.3945994 -58.058835599999995tag:blogger.com,1999:blog-4270233454707020788.post-90922825079237382892019-08-07T14:33:00.000+02:002019-08-07T22:57:34.797+02:00A "new" layout for 144 bandoneon (?)<br />
<div style="text-align: justify;">
As the readers of this blog know, I play bandoneon 144 and actually I play the same scores playable by the 142 system, and furthermore I'm studying at Buenos Aires, the "temple" of the 142 bandoneon. All this demonstrates that <b>144 system IS playable at least as well as 142</b>, and is just habit that make people prefer the 142.</div>
<a name='more'></a><br />
<br />
Anyway it's been a while that I'm thinking about <b>some changes</b> in the 144 layout.<br />
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<h4>
Left keyboard</h4>
<div style="text-align: justify;">
As I said previously, the main difference between 144 and 142 systems is in the left side. Well, actually I already consider the left side of the 144 as a <b>perfection</b> of 142, because it's fully chromatic, you have all notes opening and closing and the lowest notes are close to each other. In my opinion, left side of the 144 <u>doesn't need any change</u>.</div>
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<br />
<h4>
Right keyboard</h4>
<div>
Right keyboard of the 144 could gain benefits from a little restyling, in my opinion.</div>
<div>
<br /></div>
<div>
The variations could follow these <b>5 directives</b>:</div>
<div>
<br /></div>
<ul>
<li>Unify the most as possible the 142 and 144 keyboards;</li>
<li>Have a more practical, more compact keyboard;</li>
<li>Complete chromatically the 144, opening and closing;</li>
<li>extend the range, at least, up to the 142 range;</li>
<li>add low notes.</li>
</ul>
<div style="text-align: justify;">
I tried to figure out how would be a new right keyboard for the 144 system following those 5 goals. But there is a <b>6th goal</b> that is quite important, too:</div>
<div>
<br /></div>
<div>
<ul>
<li><i>have a practical instrument, that's to say: not too big, not too heavy</i>.</li>
</ul>
<div style="text-align: justify;">
Adding low notes would affect considerably the weight and the size, so I decided to renounce low notes but complain with the other goals.</div>
</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
And the result is a right keyboard with <b>39 keys</b>, pretty similar to the 142 system and <b>fully chromatic</b> opening and closing.</div>
<div>
<br /></div>
<div>
With 35 keys on the left and 39 on the right we have a new system: <i>ladies and gentlemen, the <b>148 bandoneon!</b></i></div>
<div>
<i><b><br /></b></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Uut2wjGdC2BLH_EqAQGR91mSv9OYW6z6q1KTytCRIHfi8dbwLHBpY0VBrfYFGsPrOl1Uo_lY_8qhlmIwRnoQRpN8is2XRF6yzKRZBbOaxIsZxRxdjx_igD1cmm8c_FNh8D9FCmbavSGs/s1600/144-bandoneon-new-layout.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1011" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Uut2wjGdC2BLH_EqAQGR91mSv9OYW6z6q1KTytCRIHfi8dbwLHBpY0VBrfYFGsPrOl1Uo_lY_8qhlmIwRnoQRpN8is2XRF6yzKRZBbOaxIsZxRxdjx_igD1cmm8c_FNh8D9FCmbavSGs/s640/144-bandoneon-new-layout.jpg" width="403" /></a></div>
<div>
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<ul>
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omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com0tag:blogger.com,1999:blog-4270233454707020788.post-88617215509380028372019-07-16T12:12:00.000+02:002019-07-16T12:30:15.162+02:00142 and 144 keyboards comparisonSome people asked me for a comparison between keyboards in 142 and144 system. So, here you have:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJmDcYnV-5fzVvushZNTh3lsLlaXoFL2TM_PhSW6zEVsjGXmmICPiBpfKXo6yODupgkz2POfsYR22KUWtM_1Ph5zLaJ7_mHlnCmRIEHyr0_Uh21zphxA86prlPSXvITjDX6dI9iwTzIg2Z/s1600/142-144-right-opening.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJmDcYnV-5fzVvushZNTh3lsLlaXoFL2TM_PhSW6zEVsjGXmmICPiBpfKXo6yODupgkz2POfsYR22KUWtM_1Ph5zLaJ7_mHlnCmRIEHyr0_Uh21zphxA86prlPSXvITjDX6dI9iwTzIg2Z/s320/142-144-right-opening.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Right side, opening</td></tr>
</tbody></table>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9cLNG5jhSY1-jdXF3vL_HJaUnu2Se94eLKEZfr5cjLW0mQ28jeIgv45QnYFd9WBY1OufSlnzmCWN62xPO0RzcV6EsQkoTzvR5qsv7ybUMhSdv1oXWhUNbNlnFFkoAknjZiNqXIgcuTkS-/s1600/142-144-right-closing.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9cLNG5jhSY1-jdXF3vL_HJaUnu2Se94eLKEZfr5cjLW0mQ28jeIgv45QnYFd9WBY1OufSlnzmCWN62xPO0RzcV6EsQkoTzvR5qsv7ybUMhSdv1oXWhUNbNlnFFkoAknjZiNqXIgcuTkS-/s320/142-144-right-closing.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Right side, closing</td></tr>
</tbody></table>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJyOiK8gItfYWN0aX-BfH5zQU6O57oX9F2VC6O8SHtn57x8qpzi2U_dG_KTV3K3GDY6bsQXg0GWj7fmtdsrXo7x6zQo7QN_PFjaogPfntOXZgvD__JtrLX3Vq9i6LNP-WBoyvdWNMMo82Y/s1600/142-144-left-closing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJyOiK8gItfYWN0aX-BfH5zQU6O57oX9F2VC6O8SHtn57x8qpzi2U_dG_KTV3K3GDY6bsQXg0GWj7fmtdsrXo7x6zQo7QN_PFjaogPfntOXZgvD__JtrLX3Vq9i6LNP-WBoyvdWNMMo82Y/s320/142-144-left-closing.jpg" width="320" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTSRmznYfgWS2vqMj6wLP4s-bcQTxvJeVnAy6rK7RFsDzIQAXwz5szjsFQgG4Ry3P3JWIhn69vDqfyIVIUPcpxN5-2WxJy5xHsTbLCbW62WYYvCVOl3rlFrkyE-tsy3cyTlvpWWP_yDBgk/s1600/142-144-left-opening.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTSRmznYfgWS2vqMj6wLP4s-bcQTxvJeVnAy6rK7RFsDzIQAXwz5szjsFQgG4Ry3P3JWIhn69vDqfyIVIUPcpxN5-2WxJy5xHsTbLCbW62WYYvCVOl3rlFrkyE-tsy3cyTlvpWWP_yDBgk/s320/142-144-left-opening.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left side, opening</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg0KjpucBrUwkEdfT0Kmv7iWU4hB2-6rA2koeq4ZTkL5SwVkJPfTF5x910LHfuMQ7X6eCK7GVr5gTyhjNmD8U29pV87yvs41XV4yjmzC78AQG11c8bEF3bOhgYrLPUyCzIrHI7aMd1WaHs/s1600/142-144-left-closing.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg0KjpucBrUwkEdfT0Kmv7iWU4hB2-6rA2koeq4ZTkL5SwVkJPfTF5x910LHfuMQ7X6eCK7GVr5gTyhjNmD8U29pV87yvs41XV4yjmzC78AQG11c8bEF3bOhgYrLPUyCzIrHI7aMd1WaHs/s320/142-144-left-closing.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left side, closing</td></tr>
</tbody></table>
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You can download <a href="https://drive.google.com/open?id=1PRQ3i9yihwnwGetvXWSGmbDwMO13rNcy" target="_blank">all the 4 diagrams in PDF format</a>.</div>
<br />omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com2tag:blogger.com,1999:blog-4270233454707020788.post-68309041898097133552018-05-28T17:08:00.000+02:002018-05-28T17:15:37.996+02:00Studying bandoneon in Buenos Aires, Argentina<div style="text-align: justify;">
We made it.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
It's a lot of time I don't write on this blog, and I want to update about my bandoneon studies in Argentina.</div>
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<a name='more'></a><div style="text-align: justify;">
At last, I joined <b>Conservatory</b>.</div>
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<div style="text-align: justify;">
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<div style="text-align: justify;">
I'm studying Bandoneon with M. Rodolfo Daluisio at <i>Manuel De Falla</i> Conservatory in Buenos Aires.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Technique of M. Daluisio is <b>impressive</b>: he can play opening as well as closing keeping the same sound quality in both directions, no matters how musical phrases long are.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
And, by the way, those who think he is just a "classical interpreter" and doesn't play Tango with bandoneon <b>are wrong</b>.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
He grow up with Tango and he is a "killing" interpreter of it.</div>
<div style="text-align: justify;">
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<div style="text-align: justify;">
<br /></div>
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="480" src="https://www.youtube.com/embed/AknWFXJeGMU" width="495"></iframe>
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<div style="text-align: justify;">
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<div style="text-align: justify;">
We play several tango in our studies repertoire, and, of course, a lot of "classical" and contemporary music.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
If I should explain in few words what does it mean studying with M. Daluisio, I would say "he doesn't teach you to play tango with bandoneon. <i>He teaches you THE bandoneon</i>".</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Which, in the end, is what I have always wanted to learn.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
I'm also playing in the <b>Orquesta Escuela</b> with <b>Julian Peralta</b> as director.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Here we play several tangos from Golden Age and from modern and contemporary authors, like Piazzolla, Binelli and Julian Peralta as well.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
It's a nice training. I confess it is hard to me, but I'm learning a lot.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
PS. A curious fact about 144 bandoneons: of course I'm continuing studying with my instrument, and I discovered I can play scores thinked for the 152 model, because of the two "extra" notes <i>g</i> and <i>g# </i>in the first octave of right keyboard. Of course the problem is if I need to play upper <i>a#</i> and <i>b,</i> because generally 144 bandoneons don't reach those notes on the right keyboard... but I'm working on it :-)</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com0tag:blogger.com,1999:blog-4270233454707020788.post-55191859881708046612018-03-01T14:13:00.000+01:002018-03-01T14:41:15.773+01:00Learning Bandoneon Fast? Start from Pentatonics!<div style="text-align: justify;">
I spent time training scales on bandoneon starting from diatonic C major scale and then adding alterations to perform other scales following the fifths circle.</div>
<br />
<a name='more'></a><br />
<div style="text-align: justify;">
This is ok, but what happened to me was that I was spending a lot of time on the first scales and I dedicated little or almost nothing efforts to the other ones (those with really a lot of <b>#)</b>, with the double bad result I felt confortable only on few scales and only on the parts of keyboard I practiced more.</div>
<br />
<div style="text-align: justify;">
So the problem is: how to have a <b>taste of all scales</b> on bandoneon and feel <b>confortable with the whole keyboard </b>without a using huge amount of time?</div>
<br />
<b>I started thinking about <i>pentatonic scales</i> as a solution. </b><br />
<br />
<div style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwVj33AeeDIeM8oL_IBHvUgP-1LdVDaCCGYWMyd7oqTYUbA6SJRS4Is5DcSXf38Upi-VjypiLcuEyZEcuO7OsFtE1xGBiKCUuIJ5yBbEvXblV0d1jWtZxP1FLCN0OMcArQ-8DIvI8M-_fK/s1600/pentatonic-bandoneon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="236" data-original-width="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwVj33AeeDIeM8oL_IBHvUgP-1LdVDaCCGYWMyd7oqTYUbA6SJRS4Is5DcSXf38Upi-VjypiLcuEyZEcuO7OsFtE1xGBiKCUuIJ5yBbEvXblV0d1jWtZxP1FLCN0OMcArQ-8DIvI8M-_fK/s1600/pentatonic-bandoneon.jpg" /></a></div>
I apologize for the "sensationalistic title": of course in order to learn bandoneon in a complete way pentatonics are not enough. But what I'm saying is <b>learning any major and minor scale on bandoneon could start from a pentatonic</b>, because:<br />
<br /></div>
<ul>
<li><span style="color: #073763;">instead of learning 7 notes for every octave, you need to learn just 5;</span></li>
<li><span style="color: #073763;">with pentatonics you can move relatively fast from lower to higher octaves and accustoming the hand to play in other parts of the keyboard;</span></li>
</ul>
<div>
<br />
and, if your interest is for <b>improvisation and jazz music</b>:</div>
<div>
<br /></div>
<div>
<ul>
<li><span style="color: #073763;">Pentatonics are almost everywhere in modern music.</span></li>
</ul>
</div>
<div>
<br /></div>
<div>
Let's analyze one by one each of the statements. Starting from the last one.</div>
<div>
<br /></div>
<h3>
Pentatonics are used almost everywhere in modern music</h3>
<div>
<br />
<div style="text-align: justify;">
Pentatonics scales are the mainstay of modern music: think about <b>Rock</b>, think about <b>Blues and Jazz</b>.</div>
</div>
<div>
<div style="text-align: justify;">
Pentatonic scales are the base in World music too: think about <b>folklore music</b> from South America, Africa and Asia.</div>
</div>
<div>
<br /></div>
<div>
<div style="text-align: justify;">
So, <b>learning pentatonics</b> is not a waste of time, because with a relatively <b>little effort</b> you can take advantage of a relatively simple but <b>universally shared musical vocabulary</b>.</div>
</div>
<div>
<br /></div>
<div>
<div style="text-align: justify;">
Furthermore, <b>we have pentatonic scales at innate level</b>, as Bobby McFerrin demonstrates you in the video below.</div>
</div>
<div>
<br /></div>
<div>
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="480" src="https://www.youtube.com/embed/ne6tB2KiZuk" width="520"></iframe></div>
<h3>
</h3>
<h3>
</h3>
<h3>
You need to learn just 5 notes for each octave</h3>
<div>
<br /></div>
<div style="text-align: justify;">
Consider <b>pentatonic</b> as a way to <b>move faster</b> on the octave. Actually you're moving on the same scale (major or minor), <b>just making bigger steps</b>.<br />
<br />
In this way you "jump wider" because you miss 2 steps, and you need to learn 2 notes less than the major or minor counterpart. Which <b>results</b> are you achieving?</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
In my opinion, you are <b>learning to move using other intervals</b> (enriching your vocabulary) and <b>saving time</b>: you learn a pentatonic relatively fast and you can <b>invest saved time</b> to "have a taste" of another scale, with other alterations, maybe the<b> scales you know less</b>.<br />
<br />
<h4>
Train your hand for other parts of the keyboards</h4>
<br />
Approaching new scale through a pentatonic permit you to <b>save almost 30% of effort </b>you need on a diatonic one. If you practice enough the pentatonic <b>through all the octaves available</b> in each keyboard of bandoneon, you start to move easily through the octaves with less effort (because of the wider steps) and you attain the <b>most important result</b>: you increase your <b>confort</b> in changing <b>hand</b> <b>position </b>in order to perform on <b>every part of the keyboard</b>.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Obviously, the <b>pentatonic is just a starting point</b>: when you're confortable with it you are supposed to <b>add all the notes you need to complete scale </b>according to your preferences, experience and music sake.</div>
<h3>
</h3>
<div style="text-align: justify;">
In some next posts I will discuss more about <b>interesting harmonic use of pentatonic</b> scales, trying to develop an interesting point of view for <b>bisonoric bandoneon technique</b> purpose.</div>
<div>
</div>
<br />
<br />omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com3tag:blogger.com,1999:blog-4270233454707020788.post-23858572876516779462018-02-09T20:12:00.004+01:002018-02-09T20:22:05.144+01:00Learning Bandoneon in South AmericaIn november 2017 I left Italy to start a journey throught South America in order to meet <b>bandoneon players and teachers</b> through the several countries of this continent.<br />
<a name='more'></a>My travel is still in progress and I'm in Argentina at the moment, writing from the city of Rosario (february 2018).<br />
<br />
<div style="text-align: justify;">
Actually I visited just 2 countries, Chile and Argentina, and my plan is to visit more nations in the future. At the moment my next plan is going to <b>Buenos Aires</b> joining an "orquesta escuela" (School Orchestra) and Conservatory. I'd like to remember that education is public and free in Argentina and music teaching is at very good level.</div>
<br />
With present post I'd like to share my experience with those who are wondering to do the same (traveling throught South America in order to meet Bandoneon players and teachers).<br />
<br />
<h3>
Experience in Chile</h3>
<br />
In Chile I realized bandoneon is an <i>almost unknown instrument </i>so don't expect to meet a lot of bandoneon players here.<br />
<br />
The only place I was able to find bandoneon players was in <b>Santiago del Chile </b>and<b> Valparaiso</b>.<br />
<br />
<div style="text-align: justify;">
In Santiago del Chile I contacted <b>Alfonso Covarrubias</b> for a lesson. Alfonso is a bandoneon player who learned in Buenos Aires and in Germany, and <b>I really recommend him as teacher.</b> He plays at a nice level and has good ideas about expanding Bandoneon outside the role of Tango: he is working on a nice repertoire about Violetta Parra (one of the most important Chilean Singers) on Bandoneon.</div>
<div style="text-align: justify;">
He studied in Buenos Aires with <i>Julian Peralta Orquesta Escuela </i>and I will follow his advice to join the same Orquesta as well.</div>
<br />
You can contact Alfonso Covarrubias on Facebook <a href="https://www.facebook.com/profile.php?id=767338683">https://www.facebook.com/profile.php?id=767338683</a><br />
<br />
<br />
<div style="text-align: justify;">
In <b>Valparaiso</b> I met <b>Demian</b> a guy who studied in Buenos Aires with Rodolfo Daloisio.</div>
<div style="text-align: justify;">
Unfortunately I was not able to take a lesson from him, but his advices encouraged me to do the experience of studying in Buenos Aires in the Conservatory.</div>
<br />
<br />
You can contact Demian on Facebook <a href="https://www.facebook.com/elgatogarabato">https://www.facebook.com/elgatogarabato</a><br />
<br />
<div style="text-align: justify;">
In Chile I had several other musical experiences playing with very good level musicians (guitar players, singers, piano players etc.) but I wasn't able to meet more bandoneon teachers. As I said before, here the bandoneon is almost unknown.</div>
<br />
<h3>
Experience in Argentina</h3>
<div>
At the moment I can count on 2 experiences In Argentina: Salta and Rosario.</div>
<div>
<br /></div>
<div style="text-align: justify;">
Argentina is rich in terms of bandoneon teachers and players, but if you want to take advantage of their presence in this country <b>avoid to look for them in the months of december - january - february</b>. In this period most of bandoneon teachers and players are travelling and playing in the various festivals across the country.</div>
<div>
<br /></div>
<div>
Anyway, if you go to Salta and would like to play <b>folklore music</b> don't miss "<b>La Casona del Molino</b>"(<a href="https://www.facebook.com/lacasonadelmolino/">https://www.facebook.com/lacasonadelmolino/</a>)</div>
<div>
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihbMZCAfCDaqtomoi-A3mcVESbsgsabRmr7C7LzUnt_D8GE8krfBIVOaWTjkWZ7l6cexCtPZb_zUjjUz42rYWZI0cku6ij4AycJsiyRV2BDvsVfJDTeB_BKc74GIiBanYh9m-cBTMa3Vpe/s1600/casona-del-molino.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihbMZCAfCDaqtomoi-A3mcVESbsgsabRmr7C7LzUnt_D8GE8krfBIVOaWTjkWZ7l6cexCtPZb_zUjjUz42rYWZI0cku6ij4AycJsiyRV2BDvsVfJDTeB_BKc74GIiBanYh9m-cBTMa3Vpe/s320/casona-del-molino.jpg" width="240" /></a></div>
<div style="text-align: justify;">
It's a restaurant with live music, but the <b>music is made by the customers of the restaurant</b>. Here you meet guitar players, singers, flute and zampona players, bombo players and they all partecipate to create folklore group music. Any musician is welcome. The music are the typical from the Chaco region (Zamba, Chacarera etc.) and the level is generally high, and the amusement as well. <b>Bandoneon players are generally welcome</b> because the presence of bandoneon completes the typical line-up and bandoneon is a really loved instrument here, and well-known, although not common as a guitar.</div>
<div>
<br /></div>
<div style="text-align: justify;">
In <b>Rosario</b> I spent few days and I wasn't able to find bandoneon players, because I was here in february. But in Spring, Winter or Autumn you won't have problems to find teachers. In Rosario <b>you have Music Schools and Universities and Milongas</b>, Tango is very popular and bandoneon is loved and widely known.</div>
<div>
<br /></div>
<div>
Keep connected with the next update on <b>learning bandoneon in Buenos Aires</b>!</div>
<div>
<br /></div>
omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com1tag:blogger.com,1999:blog-4270233454707020788.post-24090703695025659082017-10-07T22:44:00.000+02:002017-10-07T22:58:51.701+02:00Summary from "Fundamental of Piano Practice"<div style="text-align: justify;">
"Fundamental of Piano Practice" is an interesting method for playing piano. But it contains very useful informations for playing any other instrument.</div>
<a name='more'></a><br />
<div style="text-align: justify;">
Written by Chuan C. Chang, the book is quite a voluminous reading, so I made a more practical summary. You can view and download it from the link below.</div>
<br />
<div style="text-align: center;">
<a href="https://www.dropbox.com/s/ai24ylvxt97kdje/Extract%20from%20FoPP.pdf?dl=0" target="_blank">Download "Summary from "Fundamental of Piano Practice" - PDF</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="https://www.dropbox.com/s/mm4jj14s2jao6jm/Fundamentals%20of%20Piano%20Practice%20-%203rd.pdf?dl=0" target="_blank">Download the full book "Fundamental of Piano Practice - 3rd Edition" - PDF</a></div>
<br />
<br />
<h2>
CHAPTER 1 – Basic Practice Methods (pag. 11 on book)</h2>
Since the beginning students must learn to practice musically in order to acquire technique.
<br />
<br />
<h3>
(3) Starting a Piece (pag 13)</h3>
<br />
<br />
Learn only music you can perform.<br />
Start assembling a repertoire immediately.<br />
Listen to recording of pieces you decide to learn.<br />
Next, analyze the structure of the piece and estimate how long it will take to learn it.<br />
Start analysis by numbering all the bars.<br />
<br />
<h3>
(5) Reading, Fingering (pag. 17)</h3>
<br />
<br />
Most important rule for fingering is that, for same or similar passages, always use the same fingering.<br />
<br />
<br />
<h3>
(6) Hand Separate Practice - HS (pag. 18)</h3>
<br />
<br />
<div style="text-align: justify;">
Technique is acquired most quickly using hands separately practice for music that is difficult and require technical development. If can be played hands together at final speed, skip hands separate work.</div>
<div style="text-align: justify;">
To practice HS choose 2 sections to practice, one for each hand. Practice one and switch as soon as the working hand gets tired.</div>
<div style="text-align: justify;">
Playing hands together (HT) is a separate skill that must be practiced after all HS work is done.</div>
<div style="text-align: justify;">
HS practice is used to increase brain speed.</div>
<div style="text-align: justify;">
The ability of one hand to teach the other is more important than most people realize.</div>
<br />
<h3>
(7) Difficult sections first, Segmental Practice, Continuity Rule (pag. 19)</h3>
<br />
<br />
<div style="text-align: justify;">
Practice the most difficult sections first because you must spend the most time there. Similarly, it’s clever to start studying a piece from the end and going back, because generally at the end of a performance is when you are more tired.</div>
<div style="text-align: justify;">
Choose two short segments to practice, one for each hand. The shorter is, the faster you can play without forming bad habits.</div>
<div style="text-align: justify;">
When choosing a segment, always include the beginning of the next one (conjunction).</div>
<div style="text-align: justify;">
Finish each project before moving on to the next, and finish related projects first.</div>
<div style="text-align: justify;">
HS and segmental practice are the most efficient practice methods for acquiring technique quickly.</div>
<br />
<h3>
(8) Relaxation and Gravity (pag. 20)</h3>
<br />
<br />
Relaxation means relaxing all unnecessary muscles. You are relaxed when you can feel gravity.<br />
<br />
<h3>
(9) Parallel Sets, Conjunctions, Cycling (pag. 21)</h3>
<br />
<br />
<div style="text-align: justify;">
Parallel Sets (PS), also called chord attack, provides the fastest way to increase finger speed.</div>
<div style="text-align: justify;">
PSs are groups of notes that can be played simultaneously with one hand (such as 2345) and every note appears once.</div>
<div style="text-align: justify;">
Take a short phrase of notes and segment it into group of 2 notes. Practice these 2 notes reducing the pause between them ideally up to “zero” (the fastest you can).</div>
<div style="text-align: justify;">
Then, keep the second note and add the first next note from the same phrase, practicing PS as did before. Similarly, you can choose other 2 notes from the same phrase.</div>
<div style="text-align: justify;">
Practice PS extending it to group of 3,4,5 or more notes.</div>
<div style="text-align: justify;">
PSs accomplish 2 objectives: (1) train the brain to handle high speeds and (2) increase speed as quickly as possible.</div>
<div style="text-align: justify;">
PS exercises are not mindless repetitions: they are part of music and must practiced musically.</div>
<br />
<h3>
(10) Parallel Sets Catalogue (pag. 24)</h3>
<br />
<br />
<div style="text-align: justify;">
Parallel Sets are diagnostic tests for discovering weakness and methods for correcting them. They are not exercises to be practiced repeatedly. They are used only when necessary to solve problems. Once solved, you have gained a technique for life.
</div>
<div style="text-align: justify;">
<br /></div>
<h3>
(11) Basic Key Stroke: Legato, Staccato (pag. 26)</h3>
<br />
<br />
<div style="text-align: justify;">
Legato is smooth play. This is accomplished by connecting successive notes, even overlapping them. Chopin considered legato as the most important skill to develop for a beginner.
</div>
<br />
<h3>
(12) Speed Walls – SW (pag. 29)</h3>
<br />
<br />
<div style="text-align: justify;">
HS is an effective weapon against speed walls (SW) because most SW are related to play hands together. The next weapon is segmental practice. Parallel Sets are the most useful weapons. Relaxation is fundamental. Another effective weapon is Outlining. Quiet hands is also helpful. In principle, if you always practice musically, you will never encounter SW.</div>
<div style="text-align: justify;">
SW can be related to bad habits and learning new things is a good way to erase old habits.</div>
<div style="text-align: justify;">
SWs forms when you try the impossible.</div>
<br />
<h3>
(13) Metronome (pag. 30)</h3>
<br />
<br />
<div style="text-align: justify;">
Develop the habit of using metronome and your playing will undoubtedly improve.</div>
<div style="text-align: justify;">
Use metronome to check speed, to reveal errors and where they exactly are, and beat accuracy (idea of tempo is never constant while playing).</div>
<div style="text-align: justify;">
Once timing is achieved, turn metronome off. Metronome must not over used because excessive use of it leads to non musical playing.
</div>
<br />
<h3>
(14) Memorizing (pag. 30)</h3>
<br />
<br />
<div style="text-align: justify;">
Memorize every piece of music you learn before practicing it. While learning any segment when starting a piece, memorize it. First memorizing and practicing as one process leads you to learn the piece faster.</div>
<div style="text-align: justify;">
Once a short piece or movement is memorized, break it up into logical smaller sections of about 10 bars and start playing them randomly. Practice the art of starting play from anywhere in the piece.</div>
<div style="text-align: justify;">
Do not repeat the same segment too many times because memory is not reinforced proportionately to the number of repeats.</div>
<div style="text-align: justify;">
Memorizing HS is effective because you are dealing with only one hemisphere of the brain.</div>
<div style="text-align: justify;">
Slow practice is a good test for memory because there is more time for the mind to wander around.</div>
<br />
Types of memory:
<br />
<ul>
<li>Music memory</li>
<li>Hand Memory</li>
<li>Keyboard Memory</li>
<li>Photografic Memory</li>
<li>Theoretical Memory</li>
</ul>
Music Memory are the feelings associated with the music.<br />
<br />
<div style="text-align: justify;">
Hand Memory is a necessary component of memory, wich is automatically acquired as a byproduct of repeated practicing. Dependance on hand memory is the source of most memory problems because it relies on reflexes over wich we have little control. Reliable memory can only be estabilished by adding other memory methods.</div>
<br />
<div style="text-align: justify;">
Keyboard Memory is the easiest to use, because it can be acquired while practicing the piece and memory is reinforced every time you play it.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Photographic Memory needs to be cultivated if you aspire to become advanced musician. You should photographically memorize at least the first line or page of every piece you learn. In this way you will develop capability to photographically memorize every score you’ll learn.</div>
<div style="text-align: justify;">
Start photographic memory by memorizing one hand at a time. Memorize bar by bar. Do not add bars unless all the preceding material is well memorized.</div>
<div style="text-align: justify;">
Remember to make associations during memorizing. The more associations, the better.</div>
<div style="text-align: justify;">
Photographic memory permits you to work on music everywhere and improves your sight reading.</div>
<br />
<div style="text-align: justify;">
Theoretical Music use the knowledge of music theory to help memorization: key signature, chord progression, structure.</div>
<div style="text-align: justify;">
Use all of the previous memory types and remeber, the more you memorize, the more you can memorize. Use the forget 3 times rule: if you can forget and re-memorize the same thing 3 times you will remember it indefinitely.</div>
<br />
<div style="text-align: justify;">
Memory Maintenance: memorized repertoire needs to be maintained.</div>
<div style="text-align: justify;">
Abandon the memorized pieces and re-memorize later as needed.</div>
<div style="text-align: justify;">
If you memorized before practizing the pieces and practiced only from memory, the results generally qualify as well memorized.</div>
<div style="text-align: justify;">
A most effective maintenance procedure is to use Mental Play (MP) playing it in the head.</div>
<br />
<h3>
(15) Mental Play - MP (pag. 37)</h3>
<br />
<br />
<div style="text-align: justify;">
It is the process of playing the music in your mind or on a imaginary instrument.</div>
<div style="text-align: justify;">
MP is the best antidote against performance anxiety.</div>
<div style="text-align: justify;">
On MP you tend to make the same mistakes as on the real instrument. MP is one of the best tests for memory.</div>
<br />
<br />
<h3>
(19) Breathing (pag. 47)</h3>
<br />
<br />
Breathing exercises are beneficial for music purpose and for wellbeing in general.
<br />
<br />
<h3>
(20) Endurance, Brain Stamina (pag. 48)</h3>
<br />
<br />
<div style="text-align: justify;">
Playing requires control, not muscle powers. Playing requires conditioning brain for stamina. That is why mindless practicing of exercises doesn’t work for stamina. Most efficient way for gaining stamina are to play finished pieces and make music, and practice difficult sections HS continuously.</div>
<div style="text-align: justify;">
Play some easy pieces between intense practice sessions.</div>
<div style="text-align: justify;">
Separate music from technique is counter productive because brain is not exercised, you develop non musical habits and waste a lot of time.</div>
<div style="text-align: justify;">
In order to control stamina, you need sufficient oxygen intake, i.e. increasing amount of blood circulation in the body.
</div>
<br />
<h3>
(22) Slow Play (pag. 50)</h3>
<br />
<br />
<div style="text-align: justify;">
Slow play is beneficial for practicing relaxation and correct keystroke, as for good technique in general. It reinforces memory: slow play is insurance against black-outs. Habit yourself thinking ahead of the music you are playing: think at least one bar ahead of the music and practice feeling the keys before playing. It is one of the best ways to erase bad habits. Practice the ability to detach yourself from the music, and mentally wander around and multi task, suh as looking around or talking to someone.</div>
<div style="text-align: justify;">
Always end practice session with slow play.</div>
<br />
<h3>
(24) Quiet hands, Fingers, Body (pag. 56)</h3>
<br />
<br />
<div style="text-align: justify;">
For Bach Inventions, quiet hands becomes necessary at speed close to final speed. Bach choose the speed with quiet hands in mind. HS practice is important for quiet hands. It is best not to start with HT until you can play quiet hands with both hands. In order to master quiet hands, practice quiet fingers and quiet body. Choose a short segment (HS or HS) and practice keeping all fingers near the keyboard, eliminating all unnecessary movements.</div>
<div style="text-align: justify;">
Staccato Practice, Soft Practice – SP (pag. 58)</div>
<div style="text-align: justify;">
A particularly effective method for developing finger independence and accuracy is staccato practice. Parallel sets get you up to speed so quickly that you can start HT before you have sufficient accuracy to synchronize the two hands accurately. SP is the best way to convert that speed to technique (HS) and to accurately synchronize the two hands (HT). SP should be practiced as well as HS.</div>
<div style="text-align: justify;">
SP helps with practicing relaxation.</div>
<div style="text-align: justify;">
SP is helpful for accuracy because you have less help from other fingers to locate the next note.</div>
<div style="text-align: justify;">
SP will greatly improve memorization of the piece because this action is completely different from hand memory. You may find that to work on memorization all over again, wich is a warning that you had not memorized adequately.
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<br /></div>
<h3>
(26) Speed, Rhythm, Dynamics (pag. 60)</h3>
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<br />
<div style="text-align: justify;">
Technique for speed is acquired by discovering new hand motions, not by speeding up a slow motion. The most important rule is: never practice anything incorrectly, or, equivalently, never try the impossible. Let the hands determine the optimum practice speed.</div>
<div style="text-align: justify;">
Keep speed to a minimum for accomplishing your experimentation, then reduce speed and practice the new motions with accuracy.</div>
<div style="text-align: justify;">
Improving musicality is important for increasing the speed.</div>
<div style="text-align: justify;">
Repetition is the most important element of rhythm: music works because of satisfaction which is provided by creating an anticipation or tension, and then resolving it.</div>
<div style="text-align: justify;">
How to practice rhythm: Rhythm must be treated as a separate subject of practice with a specific program of attack. Set aside some time for working on rhythm. A metronome can be helpful. Double check that your rhythm is consistent with the time signature. Check with the score to see if the correct notes carry the correct accent strictly according to the time signature. Only then, can you decide which rhythmic interpretation is the best way to play and where the composer has inserted violations of the basic rules.</div>
<div style="text-align: justify;">
Having carefully checked the rhythm when practicing HS, check again when starting HT.</div>
<div style="text-align: justify;">
When starting HT practice, exaggerate the rhythm.</div>
<div style="text-align: justify;">
Rhythm is often referenced to speeds that exist in nature, such as the speed of the human brain or the heartbeat.
</div>
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<h3>
(27) Fast Play Degradation - FPD, Eliminating Bad Habits (pag. 64)</h3>
<div style="text-align: justify;">
Play any composition at full speed (or faster), and you may suffer "Fast Play Degradation" (FPD). The following day, you can't play it as well. This happens mostly with HT play.</div>
<div style="text-align: justify;">
HS practice is the best solution.</div>
<div style="text-align: justify;">
It is important to cultivate the habit of listening to yourself, and it is the teacher's main job to show what "musical" sounds like. The ability to distinguish between musical and nonmusical is the most important skill that students must cultivate.</div>
<div style="text-align: justify;">
The best way to get around this problem is to videotape. Do it enough times until you learn how to listen to yourself and you will be able to listen while practicing.</div>
<div style="text-align: justify;">
Another bad habit is playing at the wrong speed.Some students might tend to perform pieces too fast. Slowing down just a little may enable them to play accurately and beautifully and, in the long run, acquire technique faster.</div>
<div style="text-align: justify;">
Stuttering is caused by stop-and-go practice in which a student has a habit of stopping to replay a section every time there is a mistake. At a mistake, always play through it; don't stop to correct it. Make a mental note of where the mistake was and practice that section later. Fish out a small segment containing that mistake (typically a few bars) and work on it. Once the habit of playing through mistakes is established, students can graduate to the next level of anticipating mistakes and taking evasive action, such as simplifying the section, maintaining the rhythm or melody through the flub, or even speeding up just a little and using hand memory to carry you through.
</div>
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<h3>
(29) Scales: Nomenclature and Fingerings (pag. 69)</h3>
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<br />
<div style="text-align: justify;">
Scales and arpeggios must be practiced, to acquire basic techniques and standard fingerings for routine playing and sight reading, so that they can be played without thinking about where each note and finger goes. Practice them in all the major and minor keys. Once you become familiar with the fingerings, there is no need to practice them every day although they make excellent warm up exercises.
</div>
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<br /></div>
<h3>
(37) Hands Together (pag. 86)</h3>
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<br />
<div style="text-align: justify;">
How do you know that you are ready to start HT? A good criterion is HS speed.</div>
<div style="text-align: justify;">
Typically, the maximum HT speed is 50% to 90% of the slower of the RH or LH speed. As a general rule, get the HS speed well above final speed, typically 110% to 150% of final speed, relaxed, and in control.</div>
<div style="text-align: justify;">
There is a world of difference in how the brain handles tasks in one hand and tasks that require two-hand coordination, which is why you learn faster by practicing the hands one at a time. HT skills require the coordination of the two halves of the brain, and there are comparatively few nerve connections between them. This is why HT motions take longer to learn. Bad HT habits are the worst because, once formed, they take forever to unlearn because they took so long to learn.</div>
<div style="text-align: justify;">
Most HT practice methods are the same as for HS, such as segmental practice, most difficult sections first, continuity rule, practicing softly, and staccato practice.</div>
<div style="text-align: justify;">
One method of HT practice is "adding notes": take a short segment and play the more difficult hand HS, repeating the section continuously (cycling); now start adding the easier hand, note by note. Make sure that, as you add notes, you keep the same fingering as during HS practice.</div>
<div style="text-align: justify;">
The biggest disadvantage of learning HS first is that, initially, the HT coordination tends to be weak. Therefore, practice accurate timing between the hands, using staccato practice. The ability to play HT at speed is insufficient; the two hands must be accurately coordinated. Therefore, once you complete a piece HT, play it as often as you can and make music, because playing finished pieces is</div>
<div style="text-align: justify;">
the most important part of learning playing instrument and developing technique. Having a repertoire that can be played at a moment's notice is the difference between a musician and an amateur because you can truly develop technique to the level of a musician only by playing finished pieces.
</div>
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<h3>
(38) Outlining (pag. 87)</h3>
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<br />
<div style="text-align: justify;">
Outlining is a method for accelerating the learning process by simplifying the music; it works for HS, but is used mainly for HT practice. The simplifications are accomplished by using devices such as deleting "less important notes" or combining a series of notes into a chord. The original music is recovered by progressively restoring the simplified notes.</div>
<div style="text-align: justify;">
For a given passage, there are many ways to simplify the score, and students using outlining for the first time will need some practice before they can take full advantage of the method. Advanced outlining can get far more complex than what students can manage and will need a teacher's help. However, everybody must eventually develop the ability to outline without help.</div>
<div style="text-align: justify;">
One idea behind outlining is that, by getting to the music first, the technique will follow more quickly because music and technique are inseparable. Outlining can also be used to increase the precision and improve the memorizing.</div>
<div style="text-align: justify;">
Easy methods of outlining are (1) deleting notes, (2) converting arps into chords, and (3) converting complex passages into simpler ones; this is where music theory comes in and can get complicated.</div>
<div style="text-align: justify;">
An important rule is: although the music is simplified, retain the same fingering that was required before the simplification. For HT outlining, simplify one or both hands so that you can play them HT easily, then gradually add the deleted material. Note that outlining is an extremely useful skill for sight reading.
</div>
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<h3>
(41) Playing Cold, Warming Up,Conditioning (pag. 93)</h3>
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<br />
<div style="text-align: justify;">
Playing cold means sitting down and playing without any warm-ups. It is a necessary preparation for performing because it is the fastest way to strengthen your performance ability.</div>
<div style="text-align: justify;">
Use cold practice to find out what can be played cold and what can not, and how long it takes to warm up so that you can play more difficult material. The most effective solution is to warm the body so that it can send warmer blood to the hands.</div>
<div style="text-align: justify;">
Conditioning refers to the readiness to play resulting from daily practice; it is like a permanent "warmed up" state. Playing easy pieces for a long time is not as effective for conditioning as practicing difficult material for shorter times. With enough hard work, you can skip one day of practice without significant detriment, whereas if you practice only easy material, skipping one day will decrease conditioning noticeably. Thus at every practice session, end the session with a good workout using difficult material.
</div>
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<h3>
(42) Musicality, Touch, Color (pag. 94)</h3>
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<br />
<div style="text-align: justify;">
Teachers play a critical role in showing students how to play and practice musically.</div>
<div style="text-align: justify;">
Musical phrases generally start and end with softer notes, with the louder ones in between; when in doubt, this is a good default principle. This is one reason why so many compositions start with a partial bar – the first note of a bar usually carries the beat and is too loud. </div>
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You must consciously create a conversation between the two hands, or voices.</div>
<div style="text-align: justify;">
The best criterion that you are practicing correctly is the reaction of others -- if your practice sounds good to others, then you are doing it right. </div>
<div style="text-align: justify;">
The idea is not to imitate someone else's "beautiful" touch, but to eliminate undesirable aspects of their own.</div>
<div style="text-align: justify;">
Musicality must be practiced at all times, from day one of HS practice. Not practicing musically is the main reason why so many musicians are afraid to perform.
</div>
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<br /></div>
<h3>
(45) Sight Reading, Composing (pag. 101)</h3>
<br />
<br />
<ol>
<li>Keep the eyes on the music; do not look at the keyboard/fingers.
</li>
<li>Learn all the common musical constructs.
</li>
<li>Look ahead of where you are playing, about one bar, or even more, as you develop the skill at reading the music structure.
</li>
<li>Play through mistakes and make them as inaudible as possible. The best way to do this is to make it sound as if you had modified the music.
</li>
<li>"Practice, practice, practice". Although sight reading is relatively easy to learn, it must be practiced every day in order to improve.
</li>
</ol>
<br />
<br />
<div style="text-align: justify;">
Practice the art of scanning through a composition before sight reading it, in order to get some feel for how difficult it is.</div>
<div style="text-align: justify;">
When composing, don't worry if at first you find it difficult to start a piece or end it – there are simple solutions you can learn quickly later. Start by building a collection of ideas that you can later assemble into a composition.</div>
<div style="text-align: justify;">
Once you have composed for several years, start taking composition lessons.</div>
<div style="text-align: justify;">
Don't try to learn all the composition rules at once, but learn them as you need them. Mental play skills are necessary for composing.
</div>
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<h3>
(47) Performance Preparation, Videotaping (pag. 106)</h3>
<br />
<br />
<div style="text-align: justify;">
Videotaping is one of the best ways to improve musical playing and to practice for performances is to videotape your playing.</div>
<div style="text-align: justify;">
During a performance, students tend to get blackouts, etc., at unexpected places where they had no trouble during practice. Recording sessions can flush out most of those problem spots. Pieces are not "finished" unless you can record them satisfactorily.</div>
<div style="text-align: justify;">
Video taping takes time but, fortunately, you only need to do it a few times. After the first few sessions, you quickly reach the point of diminishing returns after you have identified the major issues. There is no need to re-identify them many times.</div>
<div style="text-align: justify;">
All mistakes originate in the brain. All the necessary information must be stored in an orderly manner in the brain, with no confusion. Therefore, you must have a simple, mistake-free memory of the piecethat can be retrieved in spite of all the added distractions.</div>
<div style="text-align: justify;">
The practice routine for recital day is to play nearly full speed once, then medium speed once and finally once slowly. That's it! No more practice! Never play faster than recital speed. Don't play your heart out, play with minimal expression and reserve your "heart" for the performance.</div>
<div style="text-align: justify;">
If, during these allowed practices, you make a mistake that is "stubborn" (most students can recognize these), it will almost certainly recur during the recital. In that case, fish out the few bars containing the mistake and practice those at moderate speeds and HS (always ending with slow play), then test it at almost final speed, and end with several slow plays, just those few bars. If you are not sure that the piece is completely memorized, play the insecure section very slowly several times. At this time, MP is critical -- it is the ultimate test of memory and readiness to perform. Practice MP at any speed and as often as you want; it can also calm nervous jitters because it satisfies the urge to practice on performance day, and keeps you occupied instead of worrying and getting more nervous.</div>
<div style="text-align: justify;">
For the week preceding the recital, always play at medium speed, then slow speed, before quitting practice.Medium is about 3/4 speed, and slow is about half speed. More generally, medium speed is the speed at which you can play comfortably, relaxed, and with plenty of time to spare between notes.</div>
<div style="text-align: justify;">
For working on long pieces, avoid playing the entire composition many times. It is best to practice short segments of a few pages. </div>
<div style="text-align: justify;">
Avoid learning new pieces during this last week. You can still practice any piece that was previously learned. </div>
<div style="text-align: justify;">
Make a habit of playing yourperformance pieces "cold" when you start any practice session.</div>
<div style="text-align: justify;">
Blackouts can be eliminated by using several procedures. The first is mental play (MP). Practice starting from anywhere in that structure, so that you can restart after a blackout.</div>
<div style="text-align: justify;">
Slow play is the best way to reduce the dependance on hand memory. Therefore, playing slowly before quitting is absolutely essential for the week before a performance. Every practice session must be a practice session for avoiding mistakes.</div>
<div style="text-align: justify;">
Casual Performances are probably the most effective and easy ways to practice performing. These are different from formal recitals because of their greater freedom and reduced pressure. The secret to performing is musical practice.</div>
<div style="text-align: justify;">
Playing snippets is effective: the ability to stop and start anywhere in the middle of a piece. Start with short snippets, then gradually try longer ones. It's much easier to play snippets mistake free. Once you have done this type of casual snippet performance on 4 or 5 different occasions, you will have a good idea of your performance capabilities. </div>
<div style="text-align: justify;">
Don't perform a piece you had just learned. Let it stew for at least 6 months; preferably one year. If you had spent 2 weeks learning a difficult new piece, don't expect to be able to play snippets that had not been played at all in those 2 weeks -- be prepared for surprises, such as blackouts.</div>
<div style="text-align: justify;">
Practicing them slowly will help. Can you still play them HS? HS play can be one type of snippet performance, and you can play them very fast! Make sure that you can MP everything.
</div>
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<h3>
(48) Origin and Control of Nervousness (pag. 114)</h3>
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<br />
<div style="text-align: justify;">
Nervousness is a natural human emotion and arises in critical situations. Therefore, it is normally a performance enhancing reaction. Nervousness makes us concentrate all our energies towards the critical task. Most people dislike nervousness because it is too often accompanied, or is caused, by fear. it needs to be kept under control.</div>
<div style="text-align: justify;">
Playing easier pieces will reduce the supersaturation of worry.</div>
<div style="text-align: justify;">
The eagerness to make music for the audience can prevent performance anxiety.</div>
<div style="text-align: justify;">
Performance training must include lessons on how to react to various circumstances, such as when you make mistakes or have blackouts.
</div>
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<h3>
(49) During, After the Performance (pag. 117)</h3>
<br />
<br />
<div style="text-align: justify;">
Do not assume that there won't be any mistakes. Instead, be ready to react correctly with each mistake, or more importantly, anticipate an impending mistake that you may be able to avoid.</div>
<div style="text-align: justify;">
Most students, when they make a mistake or when they anticipate one, get worried and start playing more slowly and softly. This is a formula for disaster.</div>
<div style="text-align: justify;">
Although hand memory is not something you want to depend on, this is one time you need it. Hand memory depends on habit and stimuli; therefore, in order to enhance hand memory, you must play slightly faster and louder. The faster play makes better use of the playing habits, and leaves less time for moving some wrong muscle that might derail you. The firmer play increases the stimuli for the hand memory.</div>
<div style="text-align: justify;">
Learn to anticipate mistakes and to avoid them by using these avoidance maneuvers. Another method of playing through mistakes is to make sure that the melodic line or the rhythm is not broken, even at the cost of missing some less important notes.</div>
<div style="text-align: justify;">
If you have a blackout, don't try to restart from where you blacked out unless you know exactly how to restart. Restart from a preceding section or a following section that you know well.</div>
<div style="text-align: justify;">
After the Recital: Review the recital and evaluate your strengths and weaknesses so that your practice/preparation routines can be improved. </div>
<div style="text-align: justify;">
Those who make mistakes probably have not yet learned to play sufficiently musically and almost always are not using MP. </div>
<div style="text-align: justify;">
After such repeat performances (in fact, after every performance), play it slowly as soon as you can, in order to erase the fast play degradation and "reset" the music in your mind.
</div>
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<h3>
(59) Project Management </h3>
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<br />
<div style="text-align: justify;">
Every time musicians learn a new piece of music, they go through an exercise in project management (PM).
</div>
<ol>
<li style="text-align: justify;">Preparation: A project must have a plan based on knowledge of what is needed to start, execute, finalize, and maintain it after completion. It must have an objective and a time table.</li>
<li style="text-align: justify;">Start: you must know how you are going to execute, finalize, and maintain.</li>
<li style="text-align: justify;">Execution:</li>
<ul>
<li style="text-align: justify;">Never try the impossible; work in manageable chunks -- even easy chunks; the easier, the better. Simplify. Successive chunks should overlap.</li>
<li style="text-align: justify;">Make sure that each chunk is finished before going on to the next one. Practically all chunks of a project support each other; this is one reason why they should be contiguous (continuity rule). Contiguity is most important in projects.</li>
<li style="text-align: justify;">Every system has knowledge or experience based "tricks" that lead to success. Any education is helpful because education teaches not only knowledge, but also how to seek knowledge. Know the pitfalls: what not to do.</li>
<li style="text-align: justify;">The project must pass periodic tests to see if it is progressing according to plan and even the best laid plans often need to be modified or improved.</li>
</ul>
<li style="text-align: justify;">Finish: to finalize a project, you must have a precise definition of the goal.</li>
<li style="text-align: justify;">Maintenance: Worthwhile projects are useful for a long time and require maintenance.</li>
</ol>
omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com0tag:blogger.com,1999:blog-4270233454707020788.post-86195305842502894312017-02-22T22:25:00.000+01:002017-02-23T08:39:01.924+01:00Buenas Noches, Che Bandoneon<h2>
Playing this "classic" on 144 bandoneon</h2>
"Buenas Noches, Che Bandoneon" is an original score from J.J. Mosalini. It's a "must" for bandoneon player and one of the first pieces I learned.<br />
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<h3>
Score with <em>fingering</em></h3>
You can donwload score with specific fingering for bandoneon 144. Here is link for download.<br />
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<a href="https://drive.google.com/open?id=0BzZwJCNluc8tbG5pY09YcEZyeEk" target="_blank">Download Buenas-Noches-Che-Bandoneon-for-144.pdf (808 Kb)</a><br />
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In the score, fingers are the same as piano, that's to say:<br />
<br />
<ol>
<li>thumb</li>
<li>forefinger</li>
<li>middle finger</li>
<li>annular</li>
<li>pinkie</li>
</ol>
<div>
Of course you can have your own fingering options. Those shown in the PDF are a suggestion.</div>
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<h3>
Video</h3>
To better understand fingering, I prepared a little video. Have fun!<br />
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<iframe allowfullscreen="" frameborder="0" height="480" src="https://www.youtube.com/embed/QY1xrSAmO58" width="520"></iframe>omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com1tag:blogger.com,1999:blog-4270233454707020788.post-1376784932200683602017-01-27T07:36:00.003+01:002017-01-29T16:33:28.150+01:00Advantages of bisonoric bandoneons<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX0gqgZbbIrFYeGxlo8W9669gQJr50xSHsJy1GKMqTAR1E58lp0IYDbxwopbGsphxYdH_1VujSd_pnww9S1KCvkkETFBEKkQMYmR-Nt-Zc6bWaADvKC6R7BVf_SYSbs5p2vYhgIl7AiYld/s320/chromatic-or-diatonic-bandoneon.jpg" style="display: none;" />
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<h2>
Learning <i>bisonoric</i> could be difficult at the beginning, but it's worth.</h2>
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<div>
Compared to the logicality of unisonoric bandoneons, the "chaotic" keyboards of bisonoric models have 2 main benefits:</div>
<div>
<br /></div>
<div>
<ol>
<li style="text-align: justify;">you have <b>2 different schemes to play</b> the same musical passage: one for opening, one for closing. If a passage is hard opening, could be easier closing, or viceversa;</li>
<br />
<li style="text-align: justify;">you have the possibility to <b>play some chords more easily</b>, especially some open chords and those <i>chords needed in Tango</i>: actually, some chords and harmonic sequences for 142 bandoneon were created by some Tango Authors directly on the instrument.</li>
</ol>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX0gqgZbbIrFYeGxlo8W9669gQJr50xSHsJy1GKMqTAR1E58lp0IYDbxwopbGsphxYdH_1VujSd_pnww9S1KCvkkETFBEKkQMYmR-Nt-Zc6bWaADvKC6R7BVf_SYSbs5p2vYhgIl7AiYld/s1600/chromatic-or-diatonic-bandoneon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Chromatic or diatonic bandoneon: which one choose?" border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX0gqgZbbIrFYeGxlo8W9669gQJr50xSHsJy1GKMqTAR1E58lp0IYDbxwopbGsphxYdH_1VujSd_pnww9S1KCvkkETFBEKkQMYmR-Nt-Zc6bWaADvKC6R7BVf_SYSbs5p2vYhgIl7AiYld/s320/chromatic-or-diatonic-bandoneon.jpg" title="" width="320" /></a></div>
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omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com0tag:blogger.com,1999:blog-4270233454707020788.post-72444820360648942612016-11-04T10:37:00.001+01:002018-03-01T14:14:35.069+01:00Hystoric background of 144 Einheits Bandonion<br />
<h3>
A large family with several internal divisions</h3>
<div style="text-align: justify;">
Bandoneons are basically divided in 2 categories: the <b>unisonoric</b> models (inappropriately called <i>chromatic</i>) and the <b>bisonoric</b> (inappropriately called <i>diatonic</i>), with several different versions within each category also. For example, in unisonoric versions you find at least 3 different layouts: <b>Peguri</b> (originally spread in France and Belgium and now in all Europe), <i>Kusserow</i> (very rare, with small diffusion in Europe) and Standardbandonion (invented by bandonion virtuoso <i>Heinz Schlegel, </i>and largely unknown), but the list goes on.<br />
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Instead, in the bisonoric category mainly only 2 systems survived: the <b>Rheinische tonlage </b>(the bandoneon "par excellence" with 142 tones) and the <b>Einheits tonlage</b> with 144 tones. So, when we talk about 144 bandoneon, we refer to this one.</div>
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<h4 style="text-align: justify;">
A little about 144 bandonion origins</h4>
<div style="text-align: justify;">
The birth of Einheits 144 bandonion dates back to 1924, as an <b>attempt to fix a standard</b> for a numberless keyboard layout versions. In the early 20s unisonoric systems weren't so popular yet (probably didn't exist at all) and bisonoric was the standard, but every manufacturer, even every musician could have had his own version of the bisonoric keyboard. So, was decided to create a unified version, the <b>Einheits model</b> (Einheits means "unified") starting from the pre-existing models (quite similar to the already existing argentinian bandoneons). The new instrument <b>was unsuccesful in Argentina</b>, because <i>tango players</i> were accustomed for decades in playing the 142 models, but <i>became the standard in Germany</i>. It even seems that it was <b>mandatory</b> to play this 144 version in the german bandonion orchestras, and was forbidden to play other systems, like the pre-existing rheinische models.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCTe8P9P19LqMtuadxgoEYKkk00fIb1OlxU3VO_GynSAPewVBfsmNj14WE1IM-zJNgMWGckBQo4j3P4iI0sUkLQlv2mON1_UStkaZvf1wxmCXsVh4jHK2GgKVtwFIEJxjjEbxqetrjrrrp/s1600/bandonion-german-orchestra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCTe8P9P19LqMtuadxgoEYKkk00fIb1OlxU3VO_GynSAPewVBfsmNj14WE1IM-zJNgMWGckBQo4j3P4iI0sUkLQlv2mON1_UStkaZvf1wxmCXsVh4jHK2GgKVtwFIEJxjjEbxqetrjrrrp/s400/bandonion-german-orchestra.jpg" width="400" /></a></div>
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Different layout, different music, different sound</h4>
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Because of the rejection of argentinian players and the spread among german players, 144 Einheits consolidated its role as a popular music instrument and was used for <b>german folk music</b> together with a <b>vibrato sound</b>, given by a third reeds row (absent in argentinian models) to "emulate" the sound of a very popular folk instrument, the <i>accordion</i>. So the 144 and 142 bandonions became <b>different</b> not only in the keyboard, but in the <b>sound</b> also, and in some construction features. For example. the zinc plates in argentinian models were replaced with <b>aluminium</b> in <i>Einheits</i>, because aluminium was lighter and more durable in time, but had a lower sound output and a "too smart" tone, not suitable for Argentina melancholic music, <i>tango</i>. However, <b>you can find some 144 bandonion with zinc plates:</b> they are the older models or the custom instruments for german players who wanted the same sound as Rheinische models in order to play tango.</div>
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The "post war" decline</h4>
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144 bandonions were quite popular and spread in Germany till 2nd World War, and this is demonstrated by the large amount of instruments you can easily find nowadays on websites like Ebay or similar. But after the war, because of the <b>upcoming rise of electrified music</b>, started the decline for most of the "melodic" instruments without an academic background, including the bandonion. In Argentina the decline was strong, but there you always had bandoneon players during the years, because tango here is artistic heritage and bandonion is the national instrument. Otherwise, <b>in Europe bandonions were totally forgotten</b> in every version (chromatic or diatonic). We must wait 80-90 decades, with spread of <i>tango nuevo</i> and popularity of <b>Astor Piazzolla</b>, to find an increasing interest for this instrument.<br />
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Nowadays situation</h4>
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A strong tango revival gave <b>new popularity to the bandoneon in Europe</b>, wich is still a quite rare instrument, but becomes increasingly widespread. The most spread bandoneon version is probably the Rheinische, the argentinian one, because most people are interested into tango or Piazzolla music AND THEN become interested into bandonion. A quite large popularity is dealing with "chromatic" bandonion (Peguri system), very popular in France and Belgium and quite common internationally among accordion players who feel more confortable with this instrument, because don't require you to learn the "chaotic" keyboard layout of bisonoric models.</div>
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<b>And what about 144 Einheits bandonions?</b> Except for some folk orchestras in Germany, <i>this instrument is not widespread and is little-known</i>, and <u>that's a shame</u> because the 144 bandonion has some interesting features:</div>
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<li>it has actually the <b>same expressive potential</b> as rheinische 142;</li>
<li>it has the <b>same, or at least, a similar sound as tango 142 bandonion</b>: you can silence the third reeds row or search for a zinc plates model;</li>
<li>it has a <b>more coherent keyboard</b>, without repeating notes like the rheinische 142;</li>
<li>it is <b>cheaper</b> than any 142 model;</li>
<li>unlike the 142 coming from Argentina or Uruguay which are consumed because were played from their manufacture to date, 144 models were played for some years and then "forgotten on a shelf" somewhere. So you have a "<b>almost like new</b>"old handcrafted instrument;</li>
<li>the <b>right side note range is more versatile</b>, thanks to "extra G and G# notes" (not present in 142 models) wich permits you to work on a classical and folk repertoire more easily.</li>
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My hope is that this instrument can earn one day the consideration it deserves.</div>
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omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com6tag:blogger.com,1999:blog-4270233454707020788.post-65397014899481686102016-10-17T17:50:00.001+02:002016-10-24T20:19:18.239+02:00Chromatic and Diatonic Bandoneons: really sound different?<div style="text-align: justify;">
If you want to play bandonion and you are in search for an instrument, probably you will read in some blogs or forums that the <b>only way to get THAT sound</b> is to buy a 142 bisonoric instrument, and no other versions of the bandonion's layout can provide you such a colourful sound.</div>
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Well, right this summer I attended a music stage with french bandoneon master <b>Olivier Manoury</b>. He plays chromatic bandonion, and hearing him I realized that a <b>chromatic bandonion sounds great</b> exactly as a diatonic one, when you are good enough to play bandonion.<br />
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So, do not give too much attention to those who say you have to buy a 142 Rheinische bandoneon OR you will not have that sound and you will never play real tango or real bandonion. Everyone feathers one's own nest. Chromatic bandoneon sounds great exactly as any other 142 bandoneon, <b>if you are able enough to handle it</b> giving expression with bellows and weight pressure. You should decide with which layout playing according to instrument availability, budget, experience and your personal attitude.</div>
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And what about <b>144 bandonions</b>?</h4>
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Generally these instruments were built for German Folk music, and thanks to a third reeds row they are tuned with "<i>vibrato</i>". But you can silence the third row and tune the remaining 2 reeds at perfect octave, <i>et voilà</i> you have a 142 bandoneon sound like.</div>
omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com022036 Erba CO, Italia45.8116198 9.226728399999956345.7673458 9.1460473999999561 45.855893800000004 9.3074093999999565tag:blogger.com,1999:blog-4270233454707020788.post-65567621204252330762016-07-24T23:13:00.002+02:002016-10-17T18:22:42.965+02:00The Bandoneon Range of notes<div style="text-align: justify;">
Bandoneon is a nice instrument because in a small "box" you have an unexpected extension: in the 33/38 <i>Rheinische Tonlage </i>the left side (bass side) starts from C2 and reaches up B4 (3 octaves), while the right side ("singing" side) starts from A3 to B6 (3 octaves again).</div>
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The 2 sides extensions partially overlap, for a total extension of almost<b> 5 octaves</b>. Not bad for a little squeeze box!</div>
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Let's see a comparison with some musical instruments in the next infographics:<br />
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<a href="https://drive.google.com/file/d/0BzZwJCNluc8tREtfcWNvd3VVeUU/view?usp=sharing"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAXn-xgfgh3ZtZAKsk_SGKpH0SHbRvaZquAhdQ7WgLJCyj8u3wYFvQxm7nbq4CERi5uk0Z8LztAbZbQQ6tdhN_Y25gZX3McvUHd-dz0x_czDT90r7mBzZVq2yh2Yk1Le7pHtRL7ZVG_i8W/s320/bandoneon-range-of-notes.jpg" width="261" /></a></div>
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<a href="https://drive.google.com/file/d/0BzZwJCNluc8tREtfcWNvd3VVeUU/view?usp=sharing"><i>view large</i></a></div>
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And what about 144 tones Bandoneons?</h3>
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The 144 bass side of 144 models also starts from C2, and arrives up to A#4, while on right side it starts from G3 and reaches up to A6.</div>
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<a href="https://drive.google.com/file/d/0BzZwJCNluc8tUEI1TkMxYmxCQjg/view?usp=sharing"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPv0pXQHDw1bssuEga7kFRf91YLpeb1s4OftC2et1nyIY4rXGLnm_Rtn5qAo_HWBpChMnPaXVhn6D0inEISAPeiFeSbtfpEVoU0YVeKN4Pqe1Ew22CAHf0MAKAZzw3Wx_pvZ-Y2lrnOjWa/s320/bandoneon-144-range-of-notes.jpg" width="320" /></a></div>
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The range of 144 is slightly less than 142 model, but the total extension is sacrificed in favor of a <b>more coherent keyboard</b>, in fact chromatically complete for both opening and closing.</div>
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omar.cacciahttp://www.blogger.com/profile/13657594290710456150noreply@blogger.com022036 Erba CO, Italia45.8116198 9.226728399999956345.7673458 9.1460473999999561 45.855893800000004 9.3074093999999565