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[playandteach]

Hi
I have done a quick search on other threads -so apologies if this is already covered somewhere.
My main interest is French music involving cross row techniques, but I want to improve push pull aspects too.

• Firstly on fingering -  When using the same button for different pitches on the push and pull I notice an improved quality of attack if I re-finger the note rather than leave my finger down (therefore not relying on the sensitivity of the valve to the change of pressure from the bellows). Is this the 'right' thing to do?
• Secondly - Apart from the rhythmic aspect of push and pull is there a stylistic phrasing side to this (slurs will occur when moving between buttons that aren't there with 2 pitches from the same button - or should I match the separation on those moves too - in other words keep a uniform articulation)?
  

• Thirdly - When I change bellows direction from push to pull, I notice a tendency to rock the left hand forwards first (so the boxes either end are no longer on the same plane) rather than immediately fan open the bellows. I like the feeling of this - it seems ergonomic and fluid; a little like the forward press a golfer might do before taking the club back - but is it a bad habit to start?
  

I know that there is no single way of doing things, but it is my learning style to try to understand micromovements, and as I'm still only 3 months in it is a good time to develop better foundations.
Thanks for any tips

[Theo]

We could spend a bit of time on these techniques next time you visit.

[george garside]

You are quite right in saying that there is no  single way of doing  and definately no right or wrong way.  The sound  effect made by pressing the button for each note   eg G&A on same button rather than holding the button down and changing bellows direction is different.  Both need to be learned  so that you can choose (where there is a choice) which way to do it.

I think the key to playing well on the row  ( I play mainly but not exclusively on the row)  is good bellows control  , or be;tter still very good bellows control!)  This is greatly facilitated by keeping the bellows as 'tight' as possible at all times  and by working the bellows in as much as possible before  coming to a fast run involing a quick succession of ins & outs eg the run down in harvest home or the start of the duke of perth ( broons reel).   It can sometimes sound better to play fast runs on treble only.

george

[Lester]

Re your third point - you should take care on changing bellows directions to resist any tendency to rotate the bellows either front/back or up/down. This rotation can cause the air pressure and therefore the volume to become slurred. If you look at some of Daddy Long Les' early videos up against his latest ones you can probably see what I am waffling about (congrats to DLLs on the hard work he put into correcting it)

[Howard Jones]

These are different sound effects, and both have their uses.  You say the quality of attack is 'improved', I would just say they are different.  Both have a place - I would concede that a more articulated sound is often to be preferred, but sometimes a more slurred sound is appropriate.

You have already recognised that they are different, and understand how to achieve them through fingering.  It is then a musical choice which effect you decide best suits the tune.  This might vary from one phrase to another.  What is important is that it becomes your choice, rather than one forced upon you by the instrument, and for that you need to develop the right technique so that you stay in control.

Whichever you decide on, the articulation (or lack of it) should be consistent throughout that phrase of music, rather than determined by whether or not you're changing bellows direction.

The melodeon is a strange beast, and some of its characteristics are contrary to what one might normally expect from other instruments - choices of chord, for example.  Some playing techniques are used to overcome this oddities, others to take advantage of them.  I enjoy playing to the melodeon's weaknesses as well as its strengths as this can give the music a distinctive character unique to the instrument.  So rather than there being a 'right' or 'wrong' way to play, aim to use them both consistently and understand when to use them.

My own experience is that it is not necessary for the ends to remain exactly parallel, and I certainly don't aim for this with either melodeon or concertina.  Personally I tend to play with the left end slightly forward, so the bellows are slightly fanned with the wider side towards my body.  I find this more comfortable, and the angle of push seems to help to stabilise the treble end.  I haven't found this causes any problems when playing, neither has it caused any damage to the instrument.  However I'd be interested to know what others think, especially those with formal training or who have to repair damaged bellows..

[Sage Herb]

I think the key to playing well on the row [.....] is good bellows control, or better still very good bellows control!)

Absolutely. I often find that what at first seem to be fingering difficulties with a tune are actually down bellows carelessness.
Steve

[playandteach]

Thanks for the tips. And thanks too for the offer of person to person guidance, Theo. I'll take a deep breath before I come as I find exposing my novice skills awkward after having been good at another instrument, but it'll be good for me.

[Daddy Long Les]

Thanks for the tips. And thanks too for the offer of person to person guidance, Theo. I'll take a deep breath before I come as I find exposing my novice skills awkward after having been good at another instrument, but it'll be good for me.

I know what you mean!  When I started two years ago I went from a confident professional guitarist to a stumbling  melodeon novice overnight - very humbling but as you say, good for you!!

[Daddy Long Les]

Re your third point - you should take care on changing bellows directions to resist any tendency to rotate the bellows either front/back or up/down. This rotation can cause the air pressure and therefore the volume to become slurred. If you look at some of Daddy Long Les' early videos up against his latest ones you can probably see what I am waffling about (congrats to DLLs on the hard work he put into correcting it)

Thanks Lester.  Basically for me it's a matter of making the physical effort to pull out straight and not take the easy way out of letting the bellows drop.

[george garside]

For what its worth I  tend  to play fast runs with the bellows fan shaped i.e. with the bottom closed ( but not strapped)  I find this facilitates fine control.  It works for me on both a DG lilly and a DG  3 voice serenellini.   On the larger BCC# boxes  fan shape is the norm  for most of most tunes and  many could be palayed with the bottom strap fastened.

george

[playandteach]

Thanks - a lot to absorb.