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[Calum]

could anyone recommend some exercises that I could work on that may help?

I think the most basic fundamental practice "technique" is the most under-explored, because people often don't quite follow all the "rules" of it, so it doesn't work for them.  This will be egg-sucking territory for many, but a useful reminder hopefully for someone!

That technique is playing a small chunk of music many times over over a long period of time.  That sounds so obvious that it's almost embarrassing to mention, yet in my experience as a teacher focussing on this drives improvement in my students more than anything else.

Some of the rules are (some, as I'm sure I'll miss out something crucial):

- the chunk must be small enough to fit in your working memory.  Basically, you must be able to play it with your eyes shut.  This could be as little as two notes if you have an awkward shift.
- You must play the chunk with rhythmic accuracy.  If you can't, slow down.  In fact, slow down anyway.
- you need to keep repeating that chunk at that speed until it is completely automatic, relaxed, and comfortable.  This means something several hundred repetitions, spread over days and weeks.

[Squeaky Pete]

That's dead right Calum.
Unless the trip up phrase (or bar, or change) is targeted ruthlessly until it automatically falls under the fingers, it will always lurk ready to trip you again.
The real killer with this is the anticipation of the tricky bit. It occupies the bit of the brain that should be happily on autopilot.

[Tone Dumb Greg]

... it would be nice if melodeon players would learn at least to look pleasant if not to smile!  So many of the videos of even advanced players have expressions like they've been sucking on lemons (or green persimmons in parts of the USA).  Musicians who are performers usually learn to make eye contact and smile when playing.

Melodeon face seems to go with the territory. I think it's something to do with the proportion of the brain that has to be allocated to playing the right buttons with the right bellows direction.

I know it didn't happen with other instruments I've played but, if I start wondering whether my face is arranged right, while I'm playing I am guaranteed to fall off the tune.  Same with talking while I'm playing.

For some reason, it's not so bad if I'm following another players lead.

[Sharon]

I'm a rank beginner and wouldn't dream of posting anything on youtube!  But the instruments on which I have had lessons--piano, organ, French horn--there was emphasis not only on technique, but also on appearance from virtually the very first lesson!  To me, it is axiomatic to look pleasant while playing any instrument!  I guess YMMV!

Sorry but that’s ridiculous 😂

I’ve learnt several instruments and had many hours of tuition and never had any emphasis on what I looked like when playing. Didn’t figure in any of the music exams I took either. It’s music - I don’t care what a musician looks like when they are playing, I care what they sound like. I’d much rather watch someone pulling faces, closing their eyes etc and playing with real expression than watch someone looking ‘pleasant’ and sounding bland 🤷‍♀️

I have been learning melodeon for almost a year - I absolutely love it -  and I almost always play with my eyes closed 🤷‍♀️ I find it easier to concentrate tbh. If I’m playing with someone else, I do mostly try to keep them open.

[Peadar]

"- the chunk must be small enough to fit in your working memory.  Basically, you must be able to play it with your eyes shut.  This could be as little as two notes if you have an awkward shift.
- You must play the chunk with rhythmic accuracy.  If you can't, slow down.  In fact, slow down anyway.
- you need to keep repeating that chunk at that speed until it is completely automatic, relaxed, and comfortable.  This means something several hundred repetitions, spread over days and weeks."

Thanks Calum - really good advice and I shall stop worrying about being a slow learner

[Dick Rees]

Regarding "melodeon face":

Jerry Burt was born with an "alternatively designed" physical form, having nubby, functionless legs, half a right arm attenuated at the elbow and a voice punctuated by a powerful stutter.
This was offset by the joy he found in music and thus in life...a life spent in a  wheelchair.

Jerry taught himself to play a Fender Telecaster laid across his lap, fretting and picking the strings with the fingers of his one good hand.  And he was GOOD...always welcomed in country music bands and sessions.

Jerry was often in the row of tables nearest the stage soaking up the music and cheering the band on.  I was playing fiddle in a stringband/swingband/bluegrass quartet at a pizza joint he frequented.  We kicked off with some wickedly energetic number and I sawed away with all my might.  At the close of the tune he grinned broadly, leaned his head back and said:

"D..d..d..d..DICK!  Sm..sm..sm..sm..SMILE!"

I smile every time I think of him.
My best music has always been for Jerry.

Th..th..th..th..thanks, Jer.

[Dennis Steckley]

All I can say is that my experience has been quite different from yours.  Appearance DOES matter!  It doesn't make up for poor musicianship, but it IS a part of good musicianship!  I spend most of my time playing in public at the organ or piano and I am ALWAYS conscious of my appearance and the way I conduct myself!

Dennis Steckley

Sorry but that’s ridiculous 😂

I’ve learnt several instruments and had many hours of tuition and never had any emphasis on what I looked like when playing. Didn’t figure in any of the music exams I took either. It’s music - I don’t care what a musician looks like when they are playing, I care what they sound like. I’d much rather watch someone pulling faces, closing their eyes etc and playing with real expression than watch someone looking ‘pleasant’ and sounding bland 🤷‍♀️

I have been learning melodeon for almost a year - I absolutely love it -  and I almost always play with my eyes closed 🤷‍♀️ I find it easier to concentrate tbh. If I’m playing with someone else, I do mostly try to keep them open.
[/quote]

[Winston Smith]

"It doesn't make up for poor musicianship, but it IS a part of good musicianship!"

Well, I'll be OK then, as I know that I'll never be guilty of having anything like "good musicianship" anyway!

Perhaps, as usual, it's a case of each to their own, eh?

[Tone Dumb Greg]

All I can say is that my experience has been quite different from yours.  Appearance DOES matter!  It doesn't make up for poor musicianship, but it IS a part of good musicianship!  I spend most of my time playing in public at the organ or piano and I am ALWAYS conscious of my appearance and the way I conduct myself!

Dennis Steckley

I, for one, can't wait to see you demonstrate this in your videos.   
Hopefully, your training will make it easy for you to do something the rest of us can't manage after years of playing.

[Thrupenny Bit]

I find this an unusual observation, though we are all entitled to our opinions.
I've had the pleasure of attending the last two DG weekends with some stunning players acting as tutors.
Andy Cutting at one point was asked how he maintained concentration when playing. He struggled to put into words his thought processes, but said he 'built mind maps' around a tune. Once fully formed he entered that room or map and played and therefore kept concentration throughout the tune, even his most complex tunes. Watching him play, he appears at times to enter an almost trance like state, certainly not caring about his appearance. His music smiles!

The other main tutor was a Belgian lady called Ann Niepold. She is utterly amazing, often wandering off into jazz like phrases and pulling the most unusual faces and body language whilst utterly immersed in her playing. She represents the nearest thing I've seen to a classical musician whilst playing a melodeon.

Which brings me to classical musicians.... again immersed in their music, full body immersion in some cases.
I don't think any worry about smiling until at the end of their performance when greeted with applause.
Smiling? no, its the music that counts in my opinion.
Q

[CAB]

pulling the most unusual faces and body language whilst utterly immersed in her playing. She represents the nearest thing I've seen to a classical musician whilst playing a melodeon.
Which brings me to classical musicians.... again immersed in their music, full body immersion in some cases.
Q

Alistair Anderson is a prime example, whether playing traditional or classical.  The instrument really becomes an extension of his body and he just dances with it - almost intimidating if you're in the front row, in fact.  Much easier to do with a concertina than a melodeon though.

[Theo]

The late Bernard Loffet would dance while playing and singing, so it is possible.

[CAB]

Pete Coe too.

[Julian S]

Recording myself and participating in zoom sessions does make me think a bit on my appearance whilst playing - but I doubt I'll do much about it at my late stage.
Members of the dance side I play for have remarked on my dour expression whilst playing...I have a choice of responses - concentration, my county of origin (Yorkshire !), the fact that we perform at a Victorian town, and as reserve 'my expression reflects my view of their dancing !' Saying that, I have been known to dance whilst playing (and suffer for it afterwards).
In general, I prefer to concentrate on the music rather than looking happy But I agree with Q - Anne Niepold puts everything into her playing - as does Andy Cutting - they just show it differently.

J

[Dave Praties]

Formulaic “Personality” based light entertainment genre aside, I can’t imagine where or why it would matter  how people look when they are playing. As mentioned, Andy C looks like he is in a trance, Anne N grimaces and performs acrobatics in and out of her chair, but we are there to hear their mastery of music, and hear it we do. The look is totally unimportant in my opinion. I would rather see advanced melodeon face than a contrived fixed grin any day.
Dave

[Thrupenny Bit]

'zackly Dave!

[Sharon]

Formulaic “Personality” based light entertainment genre aside, I can’t imagine where or why it would matter  how people look when they are playing. As mentioned, Andy C looks like he is in a trance, Anne N grimaces and performs acrobatics in and out of her chair, but we are there to hear their mastery of music, and hear it we do. The look is totally unimportant in my opinion. I would rather see advanced melodeon face than a contrived fixed grin any day.
Dave

Yes!

[tirpous]

Important or unimportant I don't know, but the visual is part of the 'message' we receive from a performer. 

[Steve_freereeder]

Important or unimportant I don't know, but the visual is part of the 'message' we receive from a performer.

What is your source for this pie chart, Tirpous?

Perhaps what is the sauce for the pie?
getting my coat now....

[tirpous]

What is your source for this pie chart, Tirpous?

https://www.open.edu/openlearn/ocw/mod/oucontent/view.php?id=87006&section=1