Bad Habits to Watch Out For

[TomBR]

At the risk of upsetting the apple cart completely, no two human beings are identical, and consequently some people will play an instrument after their own fashion, regardless of how awkward or non-compliant that may seem. The books and teachers are great to get us up and running, but the really great players go on to develop their own skills and techniques that cannot be found in any method book.

A lot of us enjoy the music without worrying too much about about all the technical stuff. Some of the best players in the world have had no formal training at all, can't read a note, and couldn't care less about it.

Fair points but I'd suggest the essence of a bad habit is something that one does either from ignorance, or because it seemed easier, but which will hinder your playing later, or increases the chances of physical problems later.

Carpal tunnel problems are a big issue on many instruments. Lots of fiddlers, including some very good ones, play with their left wrist bent back, which is often classed as a "bad habit." OK you can play like that, but the chances of carpal tunnel problems are increased.It will also restrict your playing at a more advanced technical level, though some people may never want to make that advance.

On accordion if you only ever want to play oom-pa three chord trick, fundamental and major chord, middle finger on the bass and index finger on the chord will work fine, and perhaps be easier and more natural when starting out, but later on?

"Some great players break the rules, breaking the rules doesn't make you a great player!"

 

[TomBR]

In a different context, many years ago I worked at an Equestrian Centre. Horses are inherently unpredictable and potentially dangerous. The methods taught there were "British Horse Society" recommended as being the best and safest ways of doing things. They were often not the quickest. The thinking was, learn the BHS way as a fall-back position that should work well in nearly all circumstances. When you have the knowledge and experience, you can depart from that and do things in other ways, but you have "best practice" to fall back on.

 

[Zevy]

<FONT font=Garamond><SIZE size=125>My two cents:

My teacher, Charles Nunzio, emphasized many of the previously mentioned points.

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1. Ending with the bellows closed may seem trivial to some, but it gives a very distinguished and professional look to the performer and to the entire act.

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• Playing with expression is a must, as with any instrument.

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• Looking at the keys was a cardinal sin. He would say to me, What are you doing, sleeping?.

This is a good topic.

 

[JackieC]

I remember meeting Charles Nunzio some years ago and hearing him play. He was one of the old school of classically trained musicians. I was taught that way and will always abide by what I learned years ago. He and Anthony Gallarini were among the maestros of the accordion.

 

[Pianoman1]

This discussion is very timely for me as I am having my lesson with a small feisty New Zealander who is very much of the old school of PA playing Very thorough and very much in line with proper handling of the PA

He gets an amazing sound out of my very old Hohner Arietta 11m and bellows at me to achieve the same sounds Bellows control is paramount to him I am guilt free of looking at the keyboard as most of the time I cannot see the note

In the last few lessons I have begun to see what his underlying philosophy is and how much difference correct technique makes to the sound In our local village a young lady plays a 48 bass and its all turgid bass and mushy sounds

I have been impatient to get on an learn new stuff but the last few months have been an invaluable lesson in obtaining control of the instrument

 

[george garside]

the key to not looking down at the keyboard is to practice scales in 12 keys regularly so that irrespective of whether a tune is remembered or read the brain sends a message down the arm on the lines of 2 higher 3 lower 1 higher 3 the same etc etc etc and the hand/fingers automatically know where to go. Or something like that!

Another way would be to learn to play a large British Chromatic since looking down at the keyboard/button board is a complete waste of time as it is just a mass of white buttons with 2 notes per button and many duplicates!

Another method may be to tape a piece of cardboard to the top of the box so the keyboard can't be seen - a bit like the way touch typing used to be tought by putting blanking caps on the keys so they all looked the same

george

 

[debra]

...
Another method may be to tape a piece of cardboard to the top of the box so the keyboard can't be seen - a bit like the way touch typing used to be tought by putting blanking caps on the keys so they all looked the same

george

That's what I did (or was forced to do) as a kid. We used a piece of cardboard (not taped but kept in place by the bellows strap) to prevent looking at the keyboard. But apart from learning not to look at the keyboard I also learned not to look at the keyboard on a piano. It is somewhat harder to block your view of the keyboard on a piano, so it takes more self-discipline. I practice pieces on the piano at least up to the level where I don't have to look to find the keys and so that I can concentrate on the music score full-time. (It's not routine for me. I seldom play the piano, being mostly a CBA player.)

On a CBA you have to keep in mind that the distinction between white and black buttons is intended to just be decorative, not to look at the keyboard to find the notes. The bit that isn't decorative but mostly invisible to the audience is the textured keys (typically C and F, on Hohner that would be A, Cis, Gis). So you can literally feel your way around, like reading braille...

 

[george garside]

Probably the reason people peer down at the keyboard on piano boxes is because the layout of the black notes in groups of 2 and 3 provide a sort of navigational aid to the white keys,. As Paul has said on a continental chromatic that doesn't work and also it doesn't work on a british chromatic

george

 

[JeffJetton]

Although I dont view it as a must-do habit like some others, it is a nice, elegant touch to end a tune with the bellows closed (even if very few people would even notice it). I should probably try to work harder myself on sticking the landing like that.

That said, if you do end a tune with the bellows open, I think we can all agree that its a bad habit to then press the air button and forcibly close the bellows, generating a loud and annoying PSSHHHHHTTTT!!!!!!!!. The closing should ideally be unobtrusive, gentle, and quiet.

 

[JerryPH]

You mean to tell me that it is socially unacceptable that I have attached a turkey caller to the air outlet of my accordion and use it vigorously after each song? LOL

 

[TomBR]

You mean to tell me that it is socially unacceptable that I have attached a turkey caller to the air outlet of my accordion and use it vigorously after each song? LOL

No, thats completely normal round here. The audience would be upset if you didnt use it!


Anyone else remember the swan effect that Dag Ingram accordion player in the duo Cambridge Buskers used to use at the end of a piece from Swan Lake?

 

[acordiansam]

I just look at the person next to me with disgust and take a step back! like they made the noise.

 

[JerryPH]

LMAO!

 

[Pianoman1]

Had a lesson yesterday which raised some points

My bad habits (on the accordion ) at present are

1 Not enough juice continuously ie not enough power in the bellows I am now countering this by just going out for two bars and coming in. It works for me when reading exercises as I cannot see ordinary music unless up really close I am going to have to memorise everything I can achieve a good sound for about two bars

2 Hitting the keyboard too hard I am told this is a pianists trick again a function of having to read music and lean forward

3 Being impatient - I want to go too fast I can whip along on the piano but I am learning to control the PA and sloow down

However now I have the bug for the instrument and I WANT to play better - which means more practice and focus

 

[Soulsaver]

... generating a loud and annoying PSSHHHHHTTTT!!!!!!!!.

Thats nothing like the noise I make with a build up of excess air... :lol:

 

[Jim the box]

My major bad habit is not finding enough time to practice regularly

 

[george garside]

... generating a loud and annoying PSSHHHHHTTTT!!!!!!!!.

Thats nothing like the noise I make with a build up of excess air... :lol:[/quote]


I presume it is the accordion you are talking about!

george

 

[george garside]

My major bad habit is not finding enough time to practice regularly

practice is not a good thing!! It has very strong connotations of hard work and something that is compulsory but not necessarily enjoyable in other words it can be seen as a necessary chore.

Instead just think about enjoying playing the box as much as possible, pick it up regularly for a quick tune or two then perhaps have a go at half a dozen different scales, then try to sort out a tune you havnt quite got the hang of, then have a blast at one or two of your more polished, tunes, then maybe a dabble at something new or go back to an old favorite and see if it can be improved etc etc etc

It also helps to have a box out of its case so it can be easily picked up for a quick dabble which may then go on for an hour or so because you enjoy it.
I keep a box just covered with a large towel to keep the dust off but ready for instant use. I NEVER practice but enjoy playing for around 2 hours a day , not all in one go but always incorporating steps to maintain and improve instrumental technique as well as polishing tunes old and new

george