Is playing on the inner rows forcing you to use the bellows differently? Or is the fingering more awkward and that is what is making legato playing difficult and hence making you sound more like a B/C player? □Īlso, why would you want to reproduce what you can do on the B/C on an instrument that is considerably larger and heavier? And why would you take an instrument that can do so much more than a diatonic and try to play it like one? ![]() Re: Traditional Irish music on the Chromatic Button Accordion (C-System)Ĭan you explain to those of us who have never tried a CBA how changing the home position from the outer three rows to the inner three would change a “very efficient legato style” into the “kind of phrasing you would get on a B/C”? I only know of one other player who focuses on IrTrad on the CBA (ceemonster), and I’m curious if there are any other players of the instrument on the board who would be interested in discussing the instrument in this context. ![]() From what I’m finding so far, it works and gives me the sort of phrasing I would get on a B/C diatonic. So, considering there is essentially zero information available on what I’m trying to do, I’ve pretty much made up my own fingering system for IrTrad on C-System CBA, based on essentially a two-dimensional extension of the B/C style linear shifting and has the home position on the inside three rows. Those fingerings work great for a lot of non-Irish tunes and music with chords, but it doesn’t really encourage the sort of phrasing one would do on a B/C box as it’s design to minimize shifting. What I found is that the standard fingering charts and methodology one can find on-line and in various methods for the CBA to me seem to focus on playing with a very efficient legato style mostly on the outside 3 rows. Originally, I had zero intention of playing any traditional Irish music on it, focused mostly on French and Russian melodeon tunes, but as time went on, I started playing some simple polkas on it, and as an fingering exercise, as I’ll often do with a new instrument, I started working through every single tune in the “Smoke in Your Eyes” Seattle tunebook, just completed the reels tonight. Some Serbian chromatic accordions have a sixth row, but this is not common.Along with playing Anglo Concertina and B/C box, I became absolute enamoured with the C-System chromatic button accordion about a year ago after a friend loaned me one for a week. This can be helpful when playing a hard tune because you do not have to change fingerings when playing in a different key, but only move your hand to the left a row or two and play with the same fingering. They play the same notes as the same buttons of the 1st and 2nd rows. Most chromatic accordions have two extra rows located to the left of the main rows. ![]() In the "type B" accordion, the "C" is located on the third row from the right. In the "type C" accordion, the middle "C" is on the row furthest to the right. In both types, the further away from the top of the keyboard you go, the higher the notes the closer to the top, the lower. There are two main types of button accordions. ![]() In Russia, this instrument is usually called a "bayan" (in Russian: баян). Each row can play three successive chromatic notes.Ĭhromatic button system (type C) Chromatic button system (type B)Ĭhromatic accordions are most popular in Europe and in Russia. They have either three or five (or very rarely six) diagonally-horizontal rows. A chromatic button accordion is a type of button accordion where the right side keyboard has rows of buttons arranged chromatically.
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