The ASO May 4, 2010, Tuesday
As a young accordionist, and with a lot of time invested in practice, if I was going to play, I was going to be heard. In the early years (before even my time), a chamber-less, musette-tuned accordion could do pretty well competing in a dance ensemble. But the groups changed and the sound changed. Musette tuning was replaced by chambered bassoon reeds in modern jazz ensembles. Amplification also was added to the equation so the accordion could be heard.
There were some great improvements in accordion amplifiers in the late 50's, early 60's. Tremolo, which worked well for guitar (especially in surf music), was replaced with stereo vibrato, a very effective electronic replacement for the Leslie speaker often used with the Hammonds. It was patented by Don Bonham and marketed primarily through Magnatone and later through his own company, Audio Guild. Amplifiers were also an important part of accordion manufacturers' catalogues and you will still see Magnatones for sale on Ebay labeled as Giulietti, Pan, Titano, Universal, and others. I can still see Johnny LaPadula's endorsement ad, "Make Mine Magnatone." The ad should have read; "Stereo vibrato, something else that can be overused, especially by 13-year olds!"
But while the accordion and accordion amplification was changing, amplification for other instruments was changing as well. Accordionists got the Magnatone 280's and 480's but they were no match for the Vox (Jennings), Marshall, Acoustic Control, and Sunn Amps. Even though I had a Vox Super Beatle with two cabinets (8 12's and 4 horns) feedback kept me from competing with an electric guitar playing through even the smallest Fender. And in rock music at that time, size mattered.
I have mentioned an electronic Hohner accordion-like device several times in the last few posts. My Hohner Electrovox was courtesy of the West Point Band to use with the Concert band when they played for football games and for combo gigs. Combined with the new solid-state Leslie speakers, it would squawk really loud. There was a similar model from Farfisa called the Transicord. These were actually combo organs in an accordion shell. They had no reeds. There were also no bellows. The left hand pivoted as a volume control at a bottom hinge where the bellows would be. When you weren't used to it, it quickly tired you left shoulder. But it wouldn't feedback, and with the built in (though most likely unintentional IM distortion) it would screech with the best of them. It was an opportunity for an accordionist to compete.
Too many years working for Army, Navy and Marine Corps (I skipped Air Force) have influenced my use of acronyms. In an earlier post I talked of PPB and APB. You can see I am comfortable with making up my own new acronyms or adapting from old ones.
During my years with the West Point Glee Club, we performed in a wide variety of venues; everything from world-class concert facilities to places like the parking lot of Paul's Fish Market. The pianos that were provided for the performances were usually similar to the venue. It was only natural we came up with code names that broke them down into three basic categories. Respectively, there was a piano (piano), a piano shaped object (PSO) and a piece of &*#% (POS).
A new acronym that may be on the horizon is the ASO. It would be another term borrowed from our sister solo instrument, the piano. ASO - or "Accordion Shaped Object". So now enter the ASO.
The obvious early ASOs (Farfisa Transichord and Hohner Electrovox) didn't even have an accordion setting that I can remember. The Cordovox, CCs (Cordovox clones) and some of the midi accordions have reeds, so they qualify as accordions. Dale Wise has a wonderful bathroom medicine cabinet fashioned from an old accordion. The reeds have been removed. So that would be an ASO.
But what about the Roland? It doesn't have reeds, but will play and sound like an accordion? Is it an accordion or an ASO?
And what about the new digital anti-feedback technology? Can I finally make my accordion compete?
Great Comments May 5 2010, Tuesday
Thanks to Hannah Tilt for her comments that she posted on the Guest Book page. If you didn't see them, I am posting them below:
Dear Bill, I have just finished reading your highly interesting latest blog entry, and having thoroughly enjoyed the whole thing I felt inspired to comment! From my perspective, knowing all kinds of people who are playing classical accordion, jazz, and 'pop' I can also say that I think it is all very cool stuff! I find it amazing to be able to read this fascinating insight into the 1950's when the accordion was 'cool' and the 70's when it was 'uncool', I get a new perspective on the whole landscape: the accordion's journey has now almost completed its own cycle – to find a new status in the world, and now just about ALL of it's cool! Music ranging from classical/contemporary, jazz, traditional, folkloristic, rock, (even heavy metal), is played here in Europe - and practically all such styles are taught here at my college. I enjoyed visualizing you in the 1950's kitchen with the chrome legged, plastic covered chairs...it reminded me of 'Pleasantville'! There are so many cool accordion players, Now its an instrument of increasing popularity ... and there are many cool young players coming onto the scene all the time! Whether people do the jazz, classical or 'pop' things are happening here. You take people like Richard Galliano, and see what they are doing with the accordion, the more wonderful it seems! We have very cool teachers here - and just to mention two of them, we have Werner Glutsch, the former world champion (and technical phenomenon), and my own teacher, Hans-Guenther Koelz, a wonderful musician, and specialist in jazz study on accordion, famous arranger and composer! This gives wonderful diversity! Therefore, we students can actually choose our own eventual direction. From my perspective, the whole accordion spectrum is like a Kaleidoscope! An Aladin's cave of possibilities – and this is reflected in your historical musings! I want to play music from Jazz to Ole Schmidt's Toccatas - and the fantastic 'Sonata High Energy' by Bill Cosby. PLEASE could you tell me where I can get a copy!!!!? Love from Hannah xxx
To me, what Hannah is saying about the variety, scope, and enthusiasm of accordionists in Europe is exciting. But what is more exciting is her enthusiasm. "A Kaleidoscope - " such a great word. And she is young, and she is right in the center of it. There are no doubts. No hesitations.
As I read her words I felt that same energy that I did too many years ago.
Hannah's words say more than I ever could about the energy of people like Tito Giudotti, Anthony Galla-Rini, and Julio Giulietti. Though she never knew them or may not even know who they are, the true nature of their spirit is alive in her. Those of us who were lucky enough to know them will always have a respect and admiration and we can wax eloquently until the cows come home; but within people like Hannah lives the true essence.
So how do we get a new accordion generation in the U.S. to shove some of us old turtles out of the way???
Dark Eyes May 6, 2010, Thursday
by William Cosby on 05/06/10
I have been busy preparing for the stradella album. It will be my first accordion recording session in nearly 30 years. Some of the pieces have stories. Some of the stories are amusing, at least to me.
Early Giulietti advertisements talk of an accordion builder who was an extraordinary artist. An accordionist whose personal understanding of a professional accordionist's needs drove the design of the accordions he manufactured - or something like that.
There was always an extra spark in Julio's eyes when he talked to his young players about his career as an Army musician. He told us his fellow soldiers called him 'Dark Eyes' because that was all he knew how to play. And though I never heard him play a note with an accordion actually strapped to his back, I have no difficulty visualizing what he would have looked like in his Army uniform entertaining the troops or playing for a private party. I am sure it was highly dramatic and I am sure it was great fun, regardless of what he played. If there was one thing Julio loved as much as life, it was his love for the accordion. There were other passions, but that is another blog.
Anyway, from the onset in planning the stradella album I thought that Dark Eyes had to be in there someplace. So last Sunday, I finally remembered to ask Dale Wise if he had any arrangements. My original intent was to play the arrangement I originally learned as a kid. Dale returned from his file cabinets with an entire folder of Dark Eyes arrangements. If there ever were a search for the pre-1960's counterpart to Libertango, Dark Eyes would make the short list. It seemed that every great and not so great arranger had done arrangements of the piece and Dale had them all. There were also accordion band arrangements. It was an absolute cornucopia of ultimate camp. I selected the Magnante arrangement.
I once read that the best Franz Liszt ever played something was the first reading - because after that he was always changing it. He was also known to change his own compositions. I find myself making changes with much of the stradella repertoire. Sometimes I like to add some small detail to the arrangement to see if people are actually paying attention. Other times, I just rearrange it. And some purist might blush to learn that some of the world's greatest artists have done similar things to classical repertoire. I think of Earl Wilde re-voicing some of Chopin's chords, others thinning out some of the bottom end of Schubert to compensate for the increased thickness of a modern piano. Or even Wanda Landowska (one of my absolute all time favorite musicians) interpreting Bach to compliment her 9' Pleyel (not really in the accordion case of the Baroque players - something like Frosini having a Roland or a Bayan).
So sometimes the most fun is the minor (or even major) adaptations of the stradella repertoire. The goal is to make it work. Combine that with my memory that is filled with a lot of years of trivia and other garbage. Sometimes there are other surprises, planned or otherwise, especially when I have played multiple versions of the same thing.
So right now Dark Eyes is a work in progress. It is even more fun as I can't stop thinking about Julio when I am playing it. It has to be dramatic - and it has to be fun.
Logistics May 8, 2010
There is always so much to do up and beyond practicing and playing. For the past several months I have been dealing with the question of the best way to transport an accordion.
In the old days I would simply pack my clean underwear tightly around the accordion and off it would go as baggage with my regular suitcase. The old cases were relatively sturdy and the airlines seemed to show a general level of care.
But things are so different in today's world where TSI is opening baggage at will and the airlines seem to pride themselves on how hard they can handle luggage; not to mention the surcharges if you are over the established weight.
So as a start, I had an Anvil-style case made for the Supers (Fabian and Elizabeth). After being professionally involved in motorcycle safety for the past 20 years I applied much of what I have learned about the design of motorcycle safety helmets and car crashes in general to the interior design of the case. The first crash - the case impacts whatever it is going to impact; the second crash - the accordion impacts the interior of the case; and the third crash - the result to the internal parts of the accordion as a result of the second crash.
One primary consideration is total weight and size of the case. You have to be able to get it around, and if it is too big, people might tend to thrown it around even more, especially if you put fragile all over the outside.
Since I did the inside of the case myself, I went even further. I used mil-spec foam that cannot hold moisture or mold. It also has an R-factor so it should keep the instrument at a more constant temperature. It is also designed to reduce vibration. The case is also designed not to put torque or stress on any part of the accordion - something that does not happen in typical cases. The inside of the case fits the physical shape of the instrument. This is easier said than done, but is essential when you consider the crash factors listed above. At the suggestion of Tony Grieo, I also used a lining that was not the typical 'faux fur' in most cases. He showed me the inside of the keyboard bed on one of the Supers. As that fur ages and you put the accordion in and out of the case a zillion times, it can end up in parts of the accordion.
The older stock accordion cases seem to be heavier than the new ones. The Anvil case is somewhat heavier than the old case, but not as much as you might think. I also put handles in various positions on the sides so the case is easy to move around. Time will tell how successful my efforts are.
I am trying a different approach with Sebastian (the Giulietti Classic 127). Sebastian is going to get an actual SKB mil-spec molded case rather than the Anvil-style. The interior and the overall weight will be about the same.
I have heard stories of people breaking the accordion in two parts and carrying on the plane, or placing it in an overhead compartment. I personally worry about the day I would show up at the gate and someone would refuse to let me on the plane with the accordion. Also, my backpack will not fit in the overhead of a regional jet, and we are moving daily to a greater number of smaller aircraft. Another problem is the length of the full-size 45-key piano keyboard on the Supers.
So as I have started playing again, cases are an example the issues that often occupy a lot of time. Bottom line, Giuliettis have always been an exceptionally rugged and durable accordion. But TSI presents new challenges. On a recent trip for work, two of the team members opened their luggage when they got to the hotel only to find the insides were drenched, like they had been opened and left to sit on the tarmac in the rain. Whew!
Countdown to the new CD May 9, 2010
A couple days ago Jim and I checked out the studio where I plan to record the new stradella album. Having done many albums in the past in various genres as both a performer and producer I have a good idea of what I want to accomplish with the album.
After a few introductory niceties, we got down to the task at hand - discussing the recording process. I handed the engineer a copy of the Silver Taps CD and had him start one of the tracks. The first objective was to give him an idea of what a dry-tuned accordion sounds like. Then I explained how the album had been recorded and further explained that was not the sound I was looking for with this project. The liner notes for the album give a more complete story, but in a reduced dialogue, too hot, too 'in your face'. Originally recorded straight-to-two-track in my home in Cornwall, New York, the album was re-mastered at Bearsville Sound by one of their top 'rock' engineers. That was the sound I was after then.
I then handed him the Accordion Masterworks II that was recorded in 1968 - also done straight-to-two-track, but with a much more accurate representation of what an accordion actually sounds like. Alan Emig, the engineer for the recording, was in the process of designing Elektra's new Hollywood Studio and also knew how to get that edge in every part of the recording process, from cutting the tracks, to mastering, to processing, to understanding what it would sound like when played over a 1960's car radio. But he insisted that was not what this was about. It wasn't maximum SPL on the tracks; it was clarity, dynamic range, and a quality control over the entire project that would ensure a quiet pressing.
Like anything else, there are always trade-offs. If it is too pure, it can be really boring. If it is too electronically hyped, the purists will claim you are making their ears bleed. So my goal is to get the energy, but stay close to the true sound of the instrument. That can be a bigger challenge than one might think.
In my experience, the accordion is a difficult instrument to record. The lack of overtones in the actual reed and other physical aspects are acoustically problematic. Other instruments have their own unique challenges, but most recording engineers are familiar with other instruments. Most will record pianos, strings, guitars, etc., (at least in this country) with a much greater frequency than they will an accordion. So the first thing I will look for in an engineer is a musician; someone who knows how to use their ears; hence providing the two albums at our first meeting. At our meeting the engineer immediately heard the difference and defined the difference in sound without even being asked.
The second thing I look for is someone who can confidently use the facility available to them; they are familiar with the room, their equipment, and how to get the sound they want. This will more than compensate for the absolute latest piece of technology or that hand-crafted leather chair for the producer. I think of my first bassetti recording I did in about 1965 in Armin Steiner's original studio, a loft above his mother's garage.
So after our initial sound tests tomorrow, I will know if we have a match between accordionist, engineer, and facility. Some of my earliest experiences in recording technology were at Kent Records in South Central Los Angeles. The studio was in an industrial area and was part of a single-source production facility that recorded, mastered, processed, pressed, did artwork, printed, and shipped. It was also right next to a railroad track. When a train would pass they had to stop recording as the mics picked up the rumble. I doubt any of the equipment was state-of-the art and something demanded of all employees was to keeping it running. What they did was truly amazing.
So with a studio that shares a building with a machine shop, I must say I feel somewhat at home. P.S. Do a web search on Kent Records. Some of their artists include B. B. King, Ike and Tina Turner, Woody Herman, Johnny Otis.
Accordion's Bad Boys? Monday May 10, 2010
While watching An American in Paris last night on DVD I was reminded of what I have always considered the true genius of Oscar Levant. Move forward to 2010 and one has the capability to hit the internet and immediately uncover details that fill in the gaps of personal experience or knowledge on almost any topic. One comment that immediately caught my attention about Levant was that the diverse facets of his life often overshadowed his brilliance as a pianist.
My thoughts went even beyond that. His technical gifts are astonishing, but his ability to capture the style is even more astonishing. He locks into the groove and tempo with a precision and ferocity that when combined with his technique has the power of a locomotive. I have heard some of the world's finest pianists play the Gershwin Preludes to the epitome of technical perfection, but often something is missing. It becomes somehow academic and something is lost.
The accordion offers a huge versatility in its ability to play a ridiculously wide range of musical styles; perhaps even a wider range than the piano when you look at the total spectrum. So the accordionist faces an even bigger challenge to make different styles work, especially when venturing into extended genres. And styles are certainly not limited to jazz. They are a critical part of all music, each with unique challenges.
For me, in the early years it started with the selection of mentors - though in younger years that may have been more by chance. My parents didn't search out Tito because they wanted me to gain a better understanding of styles that had become intuitive to him. But by the time I worked with Don Balestrieri, Galla-Rini wanted me to work with him because of his expertise in baroque repertoire. It was an evolution.
The other part is experiential. That's where you spend hours playing with a rhythm section - hopefully a lot of those hours performing for people and with players who are better than you are. Or you play in a real rock band, learning that a big part of the challenge can be controlling enormous sound levels and locking in with the other players. Or you learn the criticality of the subtle nuances of balance and articulation of playing chamber music in an ensemble.
I am often criticized for being too pedantic, though usually by people more pedantic than I am. It's funny how life works that way. I want to figure out what I want then figure out how to get there in the quickest way possible. But the difficulty is usually time. At this point of my life there will never be enough time to do all the things I would like to do.
For me, it is also about my weapon of choice. I still love playing rock, but playing rock is something I have typically not wanted to do on accordion. It is hard enough competing with electric guitars with a Hammond. Though there are exceptions. I love how Bruce Springsteen uses accordion in some of his performances.
But back to the title of this Blog. Who accordion's bad boys? Who are the true renegades that are completely outside the box? Your thoughts?
Countdown May 11 2010, Tuesday
How does one really prepare for a performance? How do you ensure the technical accuracy? How do you fine tune the nuances? How far are you willing to push your comfort envelope?
For me, it is different with every venue. Years ago I was doing the tree lighting ceremony for Rockefeller Center with the West Point Glee Club. There were a lot of things happening all at once. In addition to a wide range of acts and celebrities, the event attracted a huge street crowd and was televised. Live. That alone can be a nightmare.
One thing that stuck in my mind that day was watching the contrast between two different mega-stars from two very different areas and eras - Roberta Peters, world renowned opera star and Lilly Tomlin, comedian. I watched how each of them prepared, how each approached the event, and how each controlled their time in the spotlight.
Roberta Peters was singing with the Glee Club. It was a bitter-cold New York day and we were outside. She arrived with her manager and remained huddled inside until right before the performance. She had been absolutely stunning when we had gone through the arrangements in her Scarsdale home several weeks before. The day of the performance seemed to go on forever. Rehearsing for a live on-site performance is a very complicated process, especially when televised. It was finally our time to perform.
The Glee Club did the first section of the performance. I never told cadets something was hard so there was little they could not do. Then Roberta Peters joined us for the final selections, emerging from the warm building to the bitter cold outdoor stage. She was obviously very uncomfortable with both the cold and the setting. Unfortunately, she reverted to what she knew how to do - filling a large hall with the power of her voice - being the opera star. I don't think she understood how the microphone and amplification system were a critical professional tool in this environment. Her voice was strained and I could see her backing away from the stage monitors, not accustomed to her own voice blasting back at her. It was a very vicious cycle and certainly not a welcome place for such an enormous talent. She disappeared the second it was over. One could not blame her for this, she had been put in a situation she did not understand and didn't know how to deal with it.
In contrast, Lilly Tomlin was present for the entire rehearsal and knew exactly what she wanted. She understood staging, understood microphone placement, and knew she was playing to two different audiences; the people gathered in the streets and the television audience. When the time came for some technical decisions that determined how she would come across to each group, she overruled the staff in favor of the effect she wanted - cater to the television audience. She knew exactly what she wanted and how to use technology to get it.
Before one would say this was merely a difference between a comedian and a concert artist, I would point out a couple of examples from the Fine Arts Series at West Point. In one example, one of the country's finest concert pianists had the stage personnel reposition the piano several times until he felt he had the best acoustical position in relationship to the shell and hall. In another example, one of Europe's top symphonies changed portions of their program after arriving at the hall. There were several contemporary works that would not work with the acoustics in Eisenhower Hall Theatre.
In days of such refined technology, many artists feel it has become increasingly necessary to understand not only their craft, but how or when the use of technology will help them more effectively reach their audiences.
I am in the countdown stage of preparing for the CD recording process. For me there are differences in both the preparation and the execution of recorded tracks. It requires a unique mindset. What may be acceptable during a performance may not work on a CD. A live performance is an event that stands in a distinct passage of time. But on a recording, the listener has the ability to listen to the same performance as many times as they would like. Thus, one of the first considerations is technical accuracy. I remember one recording engineer saying a razor blade should be credited on the liner notes; perhaps even with a picture. In earlier times, the engineer made edits by physically splicing the tape; now it can be done electronically.
But whereas the razor blade or editing program can help make it technically perfect, the trade-off is often a very cold or disjointed performance. As with many technologies, over-use may ultimately produce a diminishing result.
Another thing is dynamic range. Dynamic range is the use of contrasts. A precisely executed pianissimo will make even a moderate forte seem quite loud. There was a guest pianist at UCLA one time that was quite small and was not known for having a big sound. But with her skill and use of quiet playing and her careful use of contrasts, her loud passages seemed more powerful and thunderous than someone banging full-out all of the time.
Producing tone and volume is more complex on accordion than how hard you pull or push the bellows. Intonation changes with the demands made on the reeds. The unisons also change based on how loud the accordion is being played. Many prefer an accordion that speaks pitch most accurately at lower volumes, as that is where being in tune is most critical to the overall sound. I personally prefer to play at slightly reduced total volume levels when recording. Generally the intonation is better. An accordion can get really obnoxious when played loudly - especially with bad tone production. Recording accentuates this. This was one of the primary things Galla-Rini always emphasized.
So as I am in the countdown, my focus in practice is on details of articulation and producing the right contrasts in sound. For me, recording is a love-hate relationship. I love the technology and the flexibility, but sometimes I really dislike what I hear, especially when the sound gets too obnoxious or when the phrasing or articulation just doesn't work. For me, it is the yet another challenge. The recording process is something I need to understand to know how to make it work.
Accordion Position May 12 2010, Wednesday
I read an article a short while ago on one of the accordion websites about the proper positioning of the accordion and how it could help your playing. Accordion position is something I will occasionally address in a workshop or master class, especially when I see that the accordion position is causing a problem.
Anyway, I did a quick visual recon of artist pictures in that month's web site to see how many of the players were holding the accordion 'properly'. There was only one.
Sometimes people will ask me about the way I adjust my straps. I usually preface my comments by saying that it depends on the instrument I am playing, and what works for me may or may not work for them.
In the old days (Tito and before - pre-bassetti), I held the accordion exactly as described in the article; right hand keyboard directly under the chin, in nearly perfect vertical alignment with the body. The straps were adjusted secure enough that I had to loosen them if I played with a jacket or even a sweatshirt. I wish I had a picture of George Mandala (one of Tito's students from the late 50's, early 60's). He was the accordion position poster child. I sometimes find myself adjusting the straps more securely with a dedicated stradella.
However, when I am playing one of the bassettis with the extended keyboard I adjust the straps quite loosely. I move the instrument around as I play, sometimes to accommodate a passage in either the left or right hand. I often hold the accordion away from my body. I manipulate the position and balance of the accordion with my chin and legs. It allows me to play with a much more relaxed upper body and to facilitate bellowing and technical challenges. I am about 5' 8" on good day. If I were 6' 5" it might be different.
I have discussed this topic with chromatic-playing friends. Several said they play with the accordion in a tight, rigid position. They do not manipulate the instrument with their chin. Based on their comments I was somewhat surprised when I saw a recent online video of Frederick Lips where he was holding his chromatic bayan in a very relaxed position away from the body, similar to how I hold my accordion. But I was assured by my friends that he was playing some relatively simple pieces.
When I lived in upstate New York I was an avid skier. Over the years I took a lot of instruction and also taught ski classes myself. For a while I helped a friend with his ski shop and was also a certified mechanic for mounting ski bindings. The trend was to tighten the adjustment of the bindings as skill improved. However I had a very enlightening moment in a class I took at Hunter Mountain one day where the ski instructor had us loosen our bindings. His rationale was that you needed to ski the skis rather than muscle them. If you were popping out of the bindings, you were muscling them. It was something I carried over into the ski classes I taught. I have also found I do a similar thing with the accordion.
The simple act of playing an accordion is muscle memory and skills development. The ability to create music from manipulating the instrument is another matter.
It is not surprising that basic muscle memory and skills development carries over from one discipline to another. I spent a lot of my adult life training trainers on how to teach the Motorcycle Safety Foundation's hands-on RiderCourses. In the last revisions there were major changes in the methods used to teach the physical skills. A rigid one-size-fits-all method was replaced with a learning sequence that helped the rider develop the skill based on his individual physical skill and learning capabilities. I think much of this concept can be applied to some, but not all, of the physical aspects of handling the accordion. From that point a mentor can help the player fine tune the results while developing an effective system of self-assessment. And the level of a person's success at developing an effective system of self-assessment in all aspects of playing will equate to achieving artistic success.
Actually, nearly all of what I share in the master class or private lesson is trying to develop a player's understanding and application of self-assessment.
Can you fix that? May 13 2010, Thursday
Roll back a little over 30 years ago, right before I stopped playing. Giulietti Accordion Corps was still in New York City. Julio called one day and introduced me to an accordionist in New Jersey who had just purchased a bassetti and was looking for some help getting started. I met Frank (not his real name) shortly thereafter and discovered we had some mutual contacts with ties to the musical activities at West Point.
Frank was extremely enthusiastic about the bassetti. He had taken a medical retirement a year or so earlier and had a lot of time to practice. I offered to help, but as if often the case, he had his own agenda for learning the new left hand system. I have always refused to argue with students (except for Jim) so I let him run.
The first thing he told me was that he was going to make everything he did as difficult as possible. He was going to make his fourth and fifth finger just as strong as his second and third. I would not discourage someone from increasing their technical abilities or digital dexterity, but would suggest they start the process with exercises rather than repertoire they were attempting to learn on a new system.
Frank also found it necessary to document his progress. He had worked for almost a day to record the first line of the WTC e minor fugue and played the tape for me and my friends on our 2nd visit. Bottom line I love watching compulsive / addictive behavior in others, because I can do it so well myself.
However, what I found most interesting, and perhaps more typical, were his constant visits back to Giulietti for modifications to the accordion. The response of the left hand reeds wasn't quite right. The back side of the accordion needed to be opened up more so sound could get out. The placement of the microphones in the left hand section needed to be repositioned. Julio accommodated his requests in good spirit.
Until the most recent years of my life, my friends were primarily bikers. Not the yuppie Harley-riding wannabe's you meet today, but hard-core riders from the pre-motorcycle-craze era we have recently been going through. They often would say things I only thought, and one of the gems came from Mary (Mike's wife) as she was absolutely annihilating Frank at Pong, an early Atari video game. She had never played Pong before and he was spending hours each day perfecting his technique (when he wasn't practicing accordion). "What makes you think changing that accordion is going to fix your playing?" I thought it was a very insightful comment from someone who had never played a note on an accordion.
The concept of manipulation is not unique to accordionists. I used to see it all the time with the motorcycle instructor courses I taught. I used to get involved letters telling how the motorcycle riding course should be modified, which was fine, except the letters generally came from new instructors I had just trained who were yet teach their first course. In contrast, Instructors who had taught for years might occasionally suggest minor tweaks.
I used to see the same thing in motorcycle riders. I remember a young Coastie in Hawaii who had extensive modifications made to improve the performance of his Yamaha R1 (literally a race bike made barely street legal) to make it faster. I don't think he had ever had the bike on a track and most likely had never been over 50 mph on the street. I watched him ride in the class and he had a very modest skill set.
Julio made one-off's (a name I have heard used for one-of-a-kind efforts) over the years. But the real test would be on how many of these ideas made it into production. I don't know of any of these efforts where someone declared, "This is what it must be and all future accordions will be made this way."
Through the years I have owned four Yamaha RZ350's; a water-cooled 2-stroke sport bike imported into the US by Yamaha for a couple years. The bikes are still highly collectable. All the ones I owned were highly modified by the time I got them. Two-strokes are a unique riding experience; extremely narrow power band, light, high strung, and quick. Not a bike for the novice. Peter Fassnacht, the Vice President for MSF at the time, bought my last one. He got original parts from both Yamaha and friends in Canada and brought the bike back to factory stock. I rode it after he had finished and it was a completely different experience than the highly modified bikes. It was still fast, maybe even faster, but everything about the stock version made it more fun to ride. It was more responsive, had a more balanced power delivery, and was not as quirky. The factory had known what it was doing.
I think it is also best to trust the factory when it comes to accordions. There are certain things that evolved into production over the years that I prefer - but they are small details. One is the air button. In the early models several of us told Julio they needed increased capacity to match the increased size of the bassetti body. We weren't looking for a whoosh sound that could be combined with banging on the grill to create an effect of accordion flatulence (you might guess I am not a big fan of banging or beating on accordions, especially my own - but that is another blog); we just wanted to be able to get the bellows in when necessary as quickly and quietly as possible. Another was a slightly deeper key action. This offers greater articulation and overall speed.
So for me, first find the instrument that does what you want it to do, then make the instrument perform as best it can as designed (in my experience, reversing this sequence will generally guarantee disappointing results). Then adapt to that accordion and savor the unique characteristics. Those characteristics make each accordion special. At least for today, I don't think I should expect an accordion to fix any lack of competencies.
Countdown Zero May 14 2010
I start recording tomorrow, a little less than 12 hours from now. This will be the first accordion recording session in over 30 years. The best thing - the studio is real close to the house.
I did some home video when I was practicing a couple days ago and may see if I can get some clips from that and from the session tomorrow to put up on the site. A few friends have also asked if I would put up some audio files from some of my non-accordion work.
Thanks for some creative feedback on the blogs.
So stay tuned!
