So that vid was made only 13-14 years ago? I thought it would have been a lot longer based on the 4:3 video format.
Do they still play?
Advanced musician asks: piano or button PA or CBA
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Do they still play?
So that vid was made only 13-14 years ago? I thought it would have been a lot longer based on the 4:3 video format.
Do they still play?
Yes, in 2009. No idea personally re the second question.
One of them at least is still playing the accordion. Here is her YouTube channel and here is a very recent recording.
SteveBox
Well-known member
For everything you want to know about the Twinnies, start here: https://en.wikipedia.org/wiki/Twinnies_(duo)
Wow, they're not twins and not even related but good friends... lol. I want my money back, they're not "twinnies" and I was lied to! haha!!
SteveBox
Well-known member
And the Doobie Brothers weren't even brothers. We have all been deceived!
Ex-squeeze
Member
Rofl rofl rofl
tombitondo
Newbie
Great thread! In my particular case, I'd love to own a PA since I've been playing and teaching both piano and piano accordion like forever...I'd just like more flexibility in the basses. SO maybe a PA with a bass convertor would suit me best of both worlds) or a relatively inexpensive PA with a freebass.
The question is, which freebass is more suited for what I play (rock, jazz, baroque and classical).
I'd also just consider a PA with only freebass (no convertor). Just wondering the advantages of B versus C system.
Your expert opinions?
The question is, which freebass is more suited for what I play (rock, jazz, baroque and classical).
I'd also just consider a PA with only freebass (no convertor). Just wondering the advantages of B versus C system.
Your expert opinions?
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C or B system: chromatic scales are child's play and diminished across all rows for Jazz, Bach etc.
tombitondo
Newbie
I will look for a "relatively inexpensive" used PA with free bass. Not even concerned if it's a converter or not.
Probably lighter in weight if not.
This will likely help me determine if it is something I could adapt to.
Probably lighter in weight if not.
This will likely help me determine if it is something I could adapt to.
Walker
🪗
Hi @tombitondo,
For what it's worth, I think any free bass/converter system can make awesome music. But it's solely down to you as an individual to make it work, because it's your efforts and dedication that will bring a musical instrument to life. The layout of buttons is far less important. I chose quint converter and there are a number of solid reasons why I prefer it. But that's just my choice. You must look until you find the right instrument for you. Don't just settle for something. Explore and find the bass system that works best for you. There's no rush and there's no wrong choice either.
Converter systems are good, regardless whether they are arranged in semitones or 5ths. Free bass 'bassetti' and MIII systems can be brilliant too. Look around, listen to the great accordionists on Youtube - there are many fine accordionists playing every bass system you could imagine, and some systems you might never have even heard of. There is no perfect system, each has advantages and disadvantages. But a great musician will not get too obsessed about systems, they will be too busy writing and reciting to care too much about what others think.
One day I would like to try a chromatic button accordion with chromatic converter. It's not easy to find one, but in time I hope I will. Will it stop me playing a piano accordion with quint converter? No chance. I will play both systems - if I can. And what's more, I will give the piano a try too. I think the piano has a number of significant advantages over any free bass accordion. But that's a different debate altogether.
Lastly, if I were to give only one snippet of advice, it would be to choose an instrument that has a stradella system present. Stradella is truly special and it is the only universal system we have on the accordion. In many ways it's the foundation of our instrument and when other systems come and go, stradella will endure. Plus if you ever need to sell your accordion it will be a far more difficult task without stradella bass.
Ramble over.
For what it's worth, I think any free bass/converter system can make awesome music. But it's solely down to you as an individual to make it work, because it's your efforts and dedication that will bring a musical instrument to life. The layout of buttons is far less important. I chose quint converter and there are a number of solid reasons why I prefer it. But that's just my choice. You must look until you find the right instrument for you. Don't just settle for something. Explore and find the bass system that works best for you. There's no rush and there's no wrong choice either.
Converter systems are good, regardless whether they are arranged in semitones or 5ths. Free bass 'bassetti' and MIII systems can be brilliant too. Look around, listen to the great accordionists on Youtube - there are many fine accordionists playing every bass system you could imagine, and some systems you might never have even heard of. There is no perfect system, each has advantages and disadvantages. But a great musician will not get too obsessed about systems, they will be too busy writing and reciting to care too much about what others think.
One day I would like to try a chromatic button accordion with chromatic converter. It's not easy to find one, but in time I hope I will. Will it stop me playing a piano accordion with quint converter? No chance. I will play both systems - if I can. And what's more, I will give the piano a try too. I think the piano has a number of significant advantages over any free bass accordion. But that's a different debate altogether.
Lastly, if I were to give only one snippet of advice, it would be to choose an instrument that has a stradella system present. Stradella is truly special and it is the only universal system we have on the accordion. In many ways it's the foundation of our instrument and when other systems come and go, stradella will endure. Plus if you ever need to sell your accordion it will be a far more difficult task without stradella bass.
Ramble over.
tombitondo
Newbie
Very well said, Walker! Thanks for the encouragement.
I guess a big consideration IS the availability of instruments, should one get damaged or otherwise.
It's the primary reason I always loved the stradella..any instrument is always a "garage sale away" if you needed something quickly!!!
I will keep exploring...
I guess a big consideration IS the availability of instruments, should one get damaged or otherwise.
It's the primary reason I always loved the stradella..any instrument is always a "garage sale away" if you needed something quickly!!!
I will keep exploring...
Walker
🪗
You are most welcome @tombitondo. And congratulations on being a multi-instrumentalist too. Piano & piano accordion - nice!
If I were in the USA and looking for a free bass or converter instrument, the first two names to my mind are:
Giulietti for a chromatic free bass accordion.
Titano for a quint converter instrument.
America has a fantastic accordion heritage for both stradella, converter and free bass accordions. You guys were perfecting it in the 1950s when many other nations, including the UK, had never even heard of free bass.
I have no doubt the right instrument will find you.
Good luck,
Stewart
If I were in the USA and looking for a free bass or converter instrument, the first two names to my mind are:
Giulietti for a chromatic free bass accordion.
Titano for a quint converter instrument.
America has a fantastic accordion heritage for both stradella, converter and free bass accordions. You guys were perfecting it in the 1950s when many other nations, including the UK, had never even heard of free bass.
I have no doubt the right instrument will find you.
Good luck,
Stewart
tombitondo
Newbie
Cheers! Much appreciation for the encouragement!!!
It pains me to contradict when such kind and well intentioned advice is given, however:
All said in the spirit of fraternity and the advancement of truth
If you read about the lives of many of the great composers you'll find the exact opposite is true - instrument design was quite an obsession, and in many cases composition developed hand in hand with instrument design.
Used freebass accordions (except when crazily priced) go like hot cakes as their lightness and versatility makes then ideal for young learners. I speak as a buyer of a lot of these: they aren't easy to find.
Eastern Europe seems to be worthy of historical note, and more importantly has endured on the freebass front on a more significant scale that the US.
All said in the spirit of fraternity and the advancement of truth
Walker
🪗
The historical composers, okay, thanks for this interesting context for the conversation.
I just want to play the accordion. I don't really care about harpsichords or historical development of classical instruments etc. The accordion is different - it is vibrant and colourful - it is associated with almost every culture and most nations have their own traditional music, instrument designs and styles. It is modern and wonderful. It is the instrument of the everyday man and woman. I don't see us all narrowing down to one type of instrument any time soon.
Sounds like you have a nice little niche for free bass instruments without stradella. Fair play to you in your enterprise.
Eastern Europe likes free bass. I am cool with that. But on 4th of July you choose to belittle the accordion history of America. Wow. I have read extensively about the Russian accordion tradition but perhaps you should learn a little about the American tradition. There were some amazing people who did their best for the accordion, on stradella and free bass in America, that are truly humbling. Anthony Gala-Rini for one is a true hero of the accordion, the likes of which might never be seen again. There were several others who did wonders for the accordion in America.
Sometimes Ben, it's not about you having a monopoly on the truth, and others not. The only reason I am here is for the enjoying of music and to support others the best I can and share my 30+ years of accordion experience - though compared to some here, I'm still a beginner.All said in the spirit of fraternity and the advancement of truth
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Thank you for your reply.
I'm a big fan of many aspects of the USA and many of its great composers, but with the unrivalled financial power of its consumers and music publishing houses its good to champion the less powerful. The 4th of July is after all a celebration of independence from an imperialist hegemony.
Fair enough if that's your view, but personally I do care a lot about all musical instruments and traditions. I don't like seeing the accordion in an isolated compartment (its not done us any favours) but rather as a relevant and important voice in the vibrant chorus of music making today.
If only that were true! In my own small way I'm trying to do something about making this statement a little more accurate in the UK at least and addressing the issue of affordability for children from deprived backgrounds.
A cool dude, lovely
I'm a big fan of many aspects of the USA and many of its great composers, but with the unrivalled financial power of its consumers and music publishing houses its good to champion the less powerful. The 4th of July is after all a celebration of independence from an imperialist hegemony.Walker
🪗
I find your perspective peculiar. The accordion is not isolated - it is international. It is the sound of the village ceilidh, the street side busker, the carnival and the concert hall. I think you underestimate the accordion a little.
Respect.
I give credit where it's due. America has a solid accordion tradition. I'm not interested in politics.
donn
Prolific poster
Interesting discussion, which has I see reached the 4th page. I note that 4thpage mentions, at least twice, a commonly cited CBA virtue - ease of key transposition.
I read through it all somewhat hastily, but I didn't notice anyone chiming in, in support of that, until the 3rd page - and there it's somewhat ambivalent, since that person describes a 3 row approach that uses the other rows and thus apparently might really be a 5 row approach.
What I'm talking about here: the transposition feature requires that when you learn the passage that is to be transposed, you play it exclusively on 3 adjacent rows. As mentioned earlier, traditional players do indeed tend to play on the outer 3 rows. Now this might be easier for some passages than others, but as we can see from their example, it's sure possible to play in this manner with incredible facility.
As usual with my musical instruments, I puzzled out a way to do it on my own, and didn't trouble myself to adopt any traditional method for playing C griff CBA, and I use all four of the rows I have. I would really have to discourage that for others, as I belatedly realized that it smacks into a cognitive weakness of mine - when I am confronted by two different ways to do something, it takes me at least twice as long to do it. But it does make it a little easier on the fingers in places.
Anyway, I invite the CBA players to comment on how significant an advantage they really feel it is, that 5 rows hands you transposition on a plate.
I read through it all somewhat hastily, but I didn't notice anyone chiming in, in support of that, until the 3rd page - and there it's somewhat ambivalent, since that person describes a 3 row approach that uses the other rows and thus apparently might really be a 5 row approach.
What I'm talking about here: the transposition feature requires that when you learn the passage that is to be transposed, you play it exclusively on 3 adjacent rows. As mentioned earlier, traditional players do indeed tend to play on the outer 3 rows. Now this might be easier for some passages than others, but as we can see from their example, it's sure possible to play in this manner with incredible facility.
As usual with my musical instruments, I puzzled out a way to do it on my own, and didn't trouble myself to adopt any traditional method for playing C griff CBA, and I use all four of the rows I have. I would really have to discourage that for others, as I belatedly realized that it smacks into a cognitive weakness of mine - when I am confronted by two different ways to do something, it takes me at least twice as long to do it. But it does make it a little easier on the fingers in places.
Anyway, I invite the CBA players to comment on how significant an advantage they really feel it is, that 5 rows hands you transposition on a plate.
Re-read please - 'I don't like seeing the accordion in an isolated compartment (its not done us any favours) but rather as a relevant and important voice in the vibrant chorus of music making today.'
I think in agreement as ever!
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