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[Accordion Dave]

That's piano accordion. No pain just fun.

[malcolmbebb]

ive got a bit lost on this thread! (about 3 pages ago !)

I must admit, I am generally with Tommy on this. I haven't read the whole thread, but music theory beyond the very basics is a new topic for me and most comments assume far more knowledge and understanding than i presently have. Tommy's responses at the beginning of the thread reflect how I feel.
There's a lot of knowledge here, but people who have that level of knowledge and can present it understandably to someone who has none are very rare, And usually underpaid!
But I shall keep plugging away!

[Cooper]

ive got a bit lost on this thread! (about 3 pages ago !)

I must admit, I am generally with Tommy on this. I haven't read the whole thread, but music theory beyond the very basics is a new topic for me and most comments assume far more knowledge and understanding than i presently have. Tommy's responses at the beginning of the thread reflect how I feel.
There's a lot of knowledge here, but people who have that level of knowledge and can present it understandably to someone who has none are very rare, And usually underpaid!
But I shall keep plugging away!

Not sure if this thread isindeed that useful for people just starting on the subject. I know i wasnt writing with that in mind ;-)
W

[Strigulino]

I think a lot of the threads on this forum I have tagged in my brain as "must look at later when I have aced the basics".  The reason why you "practice" a musical instrument, or medicine, or law, is that there is an assumption that you are always learning.  Trying to improve.  When you are good at some aspect of something, find something new to get your teeth into.

Zen and the Art of Melodeon Playing.

[george garside]

Whilst the various attempts to explain of the three chord trick  by reference to musical theory  & dot reading are quite correct the are possibly of limited interest to what is probably the majority of 'melodeon' players  who have neither the desire or intention  study musical theory or dot reading  and who prefer and aften develop considerable experise playing in the traditional by ear/from memory mode.  The latter type of player relies heavily on using the ears handily provided by the maker to maximum effect  - in other words if it sounds right it is right.

NOw to the 3 chord trick  ( with both beginners &non readers in mind!)   The 3 chord trick when playing a tune in G on the G row  requires chords and dbass notes  C, G & D to be played on the bass end of the box in order to provide an element of both harmony & rhythm between the bass (accompanyment) and treble (tune)  sidesof the box.

NOw it so happens ( refer to any DG bass chart either on this forum or in any tutor book)  that the bottom two outer buttons  on the bass end play the note (the UM) and the chord ( the PA) o G when the bellows are pushed and D when the bellows are pulled. i.e. the direction of the bellows at an;y particular time in a tune will automatilacally select D or G without you needing to make a choice and leaving ;you to concentrate on   playing a suitable accompanying rhythm using just those two buttons.

It also so hapens the the bottom two insisde ( next to the bellows) bass buttons plsy the note & chord of C  on both the push & pull of the bellows, & this is the third note used in the 3 chord trick.

Therefor for the key of G the bottom 4 bass buttons will do the necessary. The next question is how to choose between the outside 2 buttons which play G or D  and th;e inside two buttons which play C.  Rather than worrying about what goes with what it is very useful to try todevelop an intuitive way of making the choice. Therefor (best strt with a low tune) ply a rhythmic accompanyment using the D/G buttons untill something sound not quite right. When this happens try the C?C buttons which should improve things a bit. Wen the C buttons don't sound quite right go back onto the D?G buttons and continu;e untill it gets a bit iffy again at which point change onto the C/C button.& continue swapping on this basis throughout the tune.

There is a great deal more that can be done in the way of bass harmony etc but the above should form a reasonable intro to the 3 chord trick for those who prefer 'eary to theory!'.

(disclaimer - it is much easier to demonstrate than to write about so apologies for any confusion caused!)

george

[Ebor_fiddler]

I think your bracketed comment could have answered the original question George!