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[Daddy Long Les]

I apologise for writing something which could be misinterpreted! By "a few old farts" I actually meant a few old farts, like me or with my outlook. I thought it (and still do) was plainly obvious, especially on a forum where people are generally pleasant and nice to each other, but apparently not.
Nevertheless, I'm quite certain that it doesn't warrant the use of shortened obscenities! I'm really quite shocked by such vitriol!
BTW, I also apologise to Don for interrupting the flow of the thread by being forced to to explain myself.

Don't worry about it Edward.  I was not offended at all.  Now.......... where are my pipe and slippers?...... 

[Tone Dumb Greg]

I am pretty sure you'll find plenty of players using three or four fingered techniques. You will find some people (including me, but I am more mundane than brilliant) who switch between the two, depending on what they feel they need to play for a particular chord or bass  sequence. I would say be flexible. I would also say don't fret about it. There really is no right or wrong on this.

[Martin P]

Playing a D/G mainly for English Morris (what else) I often play alternate bass style GnGcDnGc and also little bass runs, especially GBC. So I find 3 finger style suits me. As I actually play a 2 1/2 row with 12 bass buttons, I'm attracted by 4 finger style and keep trying it, but little finger just does not feel strong enough to used the most. Of course std Melodeon layout is daft because the G basses should be at chin end underneath index and middle fingers. I have come across a one row, 8 bass Hohner that has G bass at the top. Most disconcerting to play.

[Chris Ryall]

the more fingers you get moving, the sooner, the better. In due course you will get into bass runs, and that pinkie becomes worth it's weight in gold. So wake it up now.

I'm doing subtitles for Milleret's "tune a month" series 2 just now and he's using a «non conservatoire» finger on occasion. So don't worry about it if it works. Just work towards getting them all going.

Breakthrough for me was breaking an index finger in the mower, forcing me to use digits 3,4,5. But I cannot honestly "recommend" that to others! 

[Maggie]

For me, it is all about anatomy - I have short pinkies, so difficult for me to reach my F (G/C box) bass.  By short, I mean that the pinky is some 3cms shorter than the ring finger - the other three fingers are within 1cm in length of each other (does that make any sense?).

I was in a melodeon workshop recently, at the Trad'Envie festival and Marie Constant, our course tutor recommended that I tip the top of the box away at about a 45degree angle to help me to use four fingers.  It didn't feel at all comfortable - and I couldn't see the keyboard any more, so I gave up. 

I seem to do okay with three fingers......and Marie just told me that they would need to be three very nimble fingers!

Maggie 

[Chris Ryall]

"Not looking at keyboard" is a very good idea!  Try eg playing favourite tunes under a duvet.  You will be amazed at how well your fingers know their way around! 

[brianread]

"Not looking at keyboard" is a very good idea!  Try eg playing favourite tunes under a duvet.  You will be amazed at how well your fingers know their way around! 

A very able friends of mine who plays keyboards/Organ/Choirs etc, could not understand how I could play without seeing the keyboard.

[Stockaryd]

I use zero fingers on my left hand. But I'm  really good with the thumb.

And I   WILL   learn to use at least 2 fingers. Eventually?       

[george garside]

I have never been tempted to look at the keyboard as all the buttons look the same unlike a black and white piano keyboard on which the black notes in groups of 2&3 provide reasonable navigation aides.

so on a melodeon provided the fingers are placed in the right place to start a tune , often buttons 3456  one hand movement up or down  eg 4567 or 2345  will between them will provide 12 notesworth of playing and it is easy to return to 3456 by 'feel'

On 3 row boxes of any  tuning the mass of white buttons just adds more of the same, so to speak,  so again  the fingers must be trained to  go to the next required button ( and to push or pull) on auto pilot.

The autopilot touch can easily be achieved by practicing/playing scales on and across the rows eg on a BCC# only 5 scales are required to play in 12 keys. on a humble DG 2 row one scale covers D  & G and another has to be learned for A etc etc etc

the benefit of scale proficiency is that all you have to do is think a tune in terms of 'a bit higher'.. 'a bit lower' etc etc  and autopilot will take you the right distance along the right road  - or something like that!

george

george

[Tone Dumb Greg]

"Not looking at keyboard" is a very good idea!  Try eg playing favourite tunes under a duvet.  You will be amazed at how well your fingers know their way around! 

Playing under a cape makes life interesting, if you're not used to playing without looking at what your hands are doing.

[Maggie]

"Not looking at keyboard" is a very good idea!  Try eg playing favourite tunes under a duvet.  You will be amazed at how well your fingers know their way around! 

Good point!  I will be trying this out

Maggie 

[Martin P]

Of course, if you are playing for a dance side, you should be watching the dancers like a hawk. Unlikely myself whose eyes will drift to odd goings on in the crowd or worse looking at the floor.

[george garside]

Indeed! not only when playing for a ''dance side'' but also when playing for  any other sort of dancing eg ceilidh, old time, ballroom, etc etc.

As Sir Jimmy Shand put it  '' watch the dancers and it sort of comes back to you and helps you''

george