Bertram Levy Music Productions

As to the question of how long your fingers should remain over the buttons. You do not need to rest the fingers on the buttons to be used throughout the entire phrase however when visualizing a phrase the fingers should be placed initially in the shape of the phrase and centered over the buttons. In the bandoneon it is referred to as making a dibujo (drawing) or diagram of the buttons sort of like a constellation of stars in the heavens. If the fingers are sitting over the relative position of the buttons, they merely have to press the button – bang -out it comes perfect and there can be no mistakes because you are right there. Once the note is played the position can be relaxed a bit but in the small concertina, the shape is not difficult to maintain. This is especially important if the phrase returns to a note such as in measure 4 of Shoes and Stockings which ends A, F, G , F, G. What you don’t want to do is play the first note and start looking for the next note. In the first lessons it is probably best to put the fingers directly on the buttons. As you become comfortable with this process the shape can be more generalize. Nevertheless you should always know exactly where the fingers are going to be and this is best accomplished by preparing the hand for the entire phrase first. .

Answer to question of sufficient air

The situation of running out of air is no different than a student violinist running out of bow length. True there are situations where there is not enough bellows length but every study in the book is worked out carefully to avoid that if one follows the arrangements as written.

Generally the reason one runs out of air is because one is searching for the next note while pressing the preceding note and using up air. The solution is not to search for the note. This is in fact the whole point of the lesson. This is so important that I need to say it again. The solution is not to search for the next note. If your fingers are in position for the entire phrase before you start playing the phrase it is only a question of playing them in the correct sequence. In the case of Shoes and Stocking, it means placing the fingers, for example in first measure, on G, B, C, and D. Try playing all four notes at once. Now put the fingers in the same position but don’t press the buttons. Try now to play the buttons separately in the sequence G B CC D. If you are still have air issues, play G- release, B – release, C –release and so on the notes come out short. You can practice the phrase with very short notes (staccato) and then try to play the phrase perfectly smoothly (legato). Then try to play as loud as you can. Then try to play as soft as you can and as fast as you can. The fastest you can play it is almost like playing all the notes simultaneously as described above. Each phrase should be treated as such.

More importantly this first lesson demonstrates the concept of visualizing the phrase first in your brain, placing the fingers in the correct position and then playing the sequence in the proper order –preparing the hand. Every phrase should be approached in this manner. It is really hard to do and takes constant practice, as we all tend to want to play the music note to note. This later technique however is a very inefficient learning process, much harder to play rapidly and harder to memorize. You are not the lone ranger, everyone experiences this tendency, myself included. Nevertheless this is the guiding principle in the book and I commend you for spending the time already to really explore this approach. It is important to make this process a habit. You will find that after the first 8 lessons, you will be miles ahead of more experienced player that search note by note.

As to the second question of playing the last measure of 1/16th notes where there is change in bellow direction, the same principle of preparing the hand applies. In the reverse fingering page 35 measure 4: the first notes are in the closing position – D, E, D, C, B, and G. All 5 fingers can be placed on this phrase. Push them simultaneously. The second part is in the opening position and the notes A, F#, G are all on the left hand. Play this note simultaneously. Now go back and forth between the 2 positions, playing the phrases as blocks of sound until the movement is seamless. Once you can do this with an automatic sense, you can separate the notes and play them as short notes pressing and releasing each one in the correct sequence.

Finally, there are times after long phrases where the simultaneous use of note and air are used in the following short phrase to reposition the bellows. It is useful and similar to the violinist moving his bow rapidly on a short phrase to prepare for the next phrase, which requires a full bow.

I have greatly appreciated the initial comments on the concertina web so far. Let me say that the audio examples are on there way and will be posted on my web site shortly.

It is true that the concepts presented in the text represent a challenge to previous convention but I would hope that concertinists would view these as methods to amplify their technique rather than to discard previous accomplishments. Many tunes work fine along a single row but there are always places in the tune where the music just doesn’t come out. Rather than struggling to make the fingers do something they don’t feel comfortable doing or simplifying the tune beyond recognition, I would suggest that there are alternative ways to accomplish the phrasing, which preserves the musical intention and rhythm.

It is also true that this method requires study. But we all study our instruments because we want to improve. I would hope this text offers that opportunity. I, like many musicians have had to (painfully) start over from the beginning a number of times. One learns that it is not a step backwards but a move forward through a new door into a new world of possibilities.

I would like to address a few initial concerns expressed in the concertina web. One should not get bogged down on the scales in the beginning. They are offered as a perspective and should be treated as a punching bag on which to occasionally work out. They should not be learned 100% before going on. The reason is that within the framework of a tune, the fingerings on any portion of the scale will change depending on the measure beforehand or afterwards.

As far as the first tunes, they are offered not so much for the tune but rather to learn the process of visualization. The natural tendency is to learn a tune note by note (the melody). However there is a much easier way to learn –it is by visualizing phrases, placing your fingers in the shape that encompasses the entire phrase and only then playing it. This is how pianist learns to play Bach. Much of Bach is just giant fiddle tunes. I would hope that you will approach the first tunes as a method to learn this process of visualization, a process called preparing the hand It is very challenging at first because the brain wants to constantly default to play the melody note by note. It is a lesson I still have to learn over and over for myself but, once learned, makes the efficiency of learning incredibly easier and faster. It also dramatically improves memorization.

Finally I would like to comment on the question of chordal accompaniment. I think chords are great and I certainly addressed chords in my first tutor. However the focus in this text is on phrasing and on emulating the styles of the fiddle. We all know that the fiddle can stand alone and make great dance music. It uses the techniques of double stops and other melodic and bowing rhythmic devises. These can be accomplished with the concertina as well and these techniques are explored in great detail in the text. I saved chords, for the last sections, not because it is more difficult but because one must get the phrasing right first. Also as one progresses to the last chapters, it becomes clear that counterpoint melodies serve the function of harmony just as well as full chords while providing further movement and drive.

I hope these comments are helpful. Please feel free to write me with questions at any time at info@bertramlevy.com and I will try my best to answer them.