Changing Horses in Mid Stream

[JerryPH]

"Desire" and "Determination" trump everything. If you are focused and structured and are determined that you want to move to PA, you can find a way to make it happen.

So, I have to ask... what are your reasons for wanting to move from CBA to PA and how much are you willing to sacrifice to make it happen?

I'm in my own little paradigm world where I play PA but am kinda moving towards CBA... on the left hand, with this journey on Free Bass and though I am enjoying it, its not going anywhere near as fast as I want it to because life really loves to interfere with my fantasy... lol

Jerry

 

[Longshore]

So, I have to ask... what are your reasons for wanting to move from CBA to PA and how much are you willing to sacrifice to make it happen?

Good questions Jerry.

The possible move to PA is difficult to analyse from any rational point of view.
It's about ascetics as much as anything. I gravitate to small accordions and the idea of an old (German made) Hohner student type as used by Sandy Brechin or even the 32 bass Hohner type as used by the late Jenny Vincent, is very appealing.

It has very little to do with musical ambition - it goes much deeper than that and it's something I can't really explain (even to myself).

As to 'sacrificing' - well that's another thing altogether!

 

[JerryPH]

Well, the desire part is down, the ambition/determination, that's totally up to you.
Let us know how it goes, I am sure its going to be a heck of a good story either way!

 

[Longshore]

When I know - the forum will be the next to know!

 

[Longshore]

I've shelved all ideas of changing horses from CBA to PA.
A large dose of reality and life just got in the way - so subject closed ( for me at least).
Thanks for all the advice and input anyway - much appreciated.

 

[dak]

Personally I do not know anyone who started on CBA and after reaching a certain level of mastery decided to migrate towards PA.

I think that in the first half of the 20th century there was sort of a movement suggesting that "real players" played piano accordion: there are button accordions that have been built to look like a piano accordion but actually had a CBA system at the edge of the decorational keys. Some might have used the black "keys" for register switches.

So it would appear that at that time, "peer pressure" worked the other way round. I partly suspect Hohner, but it may also have been due to the recruitment drive of silent movie organ players that found themselves without employment and were turned into accordion teachers with sight reading skills and impressive proficiency of the right hand (and apprentices in bass and bellows handling).

Either way, countries with a strong accordion tradition were somewhat able to dodge the PA wave and retain local CBA presence.

 

[dak]

One day, I'll sit down and start to work on accompaniment and chord shapes. I'm sure that, given enough time, I will be able to play chords equally as well on the CBA. There is just a lot for me to work on at the moment.

I find chords actually easier to play (as in: play a named chord). What's trickier is playing scale-based harmony, like playing a melody and the underlying third. This actually turns into a haphazard sequence of minor and major thirds that a piano accordion hides from you. With a CBA, you have to walk your fingers over the scales separately mentally instead of thinking to "add a third" below the melody line.

 

[Tom]

I think that in the first half of the 20th century there was sort of a movement suggesting that "real players" played piano accordion: there are button accordions that have been built to look like a piano accordion but actually had a CBA system at the edge of the decorational keys. Some might have used the black "keys" for register switches.

So it would appear that at that time, "peer pressure" worked the other way round. I partly suspect Hohner, but it may also have been due to the recruitment drive of silent movie organ players that found themselves without employment and were turned into accordion teachers with sight reading skills and impressive proficiency of the right hand (and apprentices in bass and bellows handling).

Either way, countries with a strong accordion tradition were somewhat able to dodge the PA wave and retain local CBA presence.

These are called “finto” accordions (finto being an Italian word for “fake”). I have a B griff here on the right behind this year’s Apple cider. I will probably never switch to it because I am old. I can’t make much out of it as the notes seem random. The one in the left has the piano key shifters.



But I really think if I switched to CBA I would need to get a new hat. I think this one with the “Number 11 anti-shock felt developed by the British Hat and Allied Feltmakers Research Association” would be the way to go as it “gives protection from head injuries” in a promotion worthy of anything coming out of Petosa. Finto? Only your driver knows for sure.

 

[Ffingers]

I want a "finto", if only as a physical representation of collective human stupidity.

That competent Italian immigrant accordionists felt pressured to abandon their well honed techniques in favour of presenting a socially acceptable image to their audiences speaks volumes for the ignorant herd instincts of the general public.

 

[Dingo40]

“finto” accordions (finto being an Italian word for “fake”).

"Finto piano" accordions

 

[Dingo40]

...speaks volumes for the ignorant herd instincts of the general public.

It's we "deplorables " who pay the bills!

 

[Ffingers]

It's we "deplorables " who pay the bills!

…and elect the self serving bar stewards into Parliament!