Dr. Harrington's CBA book

[Bobo]

Has anyone here purchased her CBA book?
http://www.worldofaccordions.org/publications.html

If so, any thoughts?

 

[maugein96]

Unless that is an old advert, then this looks like one of the newer offerings with CDs in development, but if you look at the other titles I'm worried about the "FAST" conversion course from PA to CBA. I don't believe there is such a thing

During the time I've played CBA I think I've seen as many as 20 different C system method books, maybe more, available in France alone. Each one claims to be better than its neighbours, and some of them begin by telling you all the musical qualifications of the author, in a vain attempt to convince you that their method is the only correct one.

Until you posted I would not have been able to think of any dedicated CBA method book that was written in English, and I notice she also offers a separate course in PA. Most European method books offer both PA and CBA tuition in the same volume, if they offer more than one system at all.

The biggest issue with CBA, as you are probably aware, is with fingering options, and I am not in a position to offer advice with regard to that. What I can tell you is that, depending on the styles of music you play, you'll probably find your own way eventually after you have mastered the basics of whatever method you choose.

I would seriously doubt whether many European members will have heard of Dr. Harrington's CBA method. The very mention of the title "Doctor" infers a degree of superiority, much in the same way that "Professor" does. Some people may warm to the fact that it was written by somebody "special", but it would be a "no sale" for me as none of my favourite players are doctors or professors, as far as I know.

Have you ever heard Dr Harrington playing the CBA, or any other accordion for that matter? if you haven't I think you have the answer to your question. If you have and it is your kind of music, then the same thing applies.

EDIT:- OK, I found some info on Helmi Harrington on the internet and she is the custodian of 1200 accordions in a museum over your side. I'd never heard of her before now, and she certainly seems to have an encyclopaedic knowledge of the accordion in all its variations. As I say, I would need to hear (and see) her play the CBA before I could make my mind up whether to buy the book. Her knowledge alone would be would be worth learning, but I'm still not sure about that method book.

 

[Geronimo]

Unless that is an old advert, then this looks like one of the newer offerings with CDs in development, but if you look at the other titles Im worried about the FAST conversion course from PA to CBA. I dont believe there is such a thing

During the time Ive played CBA I think Ive seen as many as 20 different C system method books, maybe more, available in France alone. Each one claims to be better than its neighbours, and some of them begin by telling you all the musical qualifications of the author, in a vain attempt to convince you that their method is the only correct one.

Well, we have in Germany the methods by Rudolf Würthner. The musical qualifications of the author are hardly debatable, but it feels weird that he wrote for both B and C system, and even his teachings for B system (which he played himself) are somewhat circumspect by him having only three remaining fingers on his right hand and playing his own instrument upside down.

So the one thing his methods certainly cannot be accused of is his judgment being clouded by favoring his own personal playing quirks. Considering how long he has been dead now, his methods are still selling comparatively well. They do focus on the outer rows a lot I think.

 

[maugein96]

Geronimo,

In the village where I grew up the accordion "teachers" were usually coal miners, and the "method books" were whatever musical notation they could get their hands on. If they still had five fingers on their right hands they used them all, although I never saw anybody play the box upside down. Every other household had an accordion, and they were all PAs. We were nearly all of Irish extraction and the tunes were mainly of a sectarian nature from Ulster, celebrating various battles which had occurred there between factions of the two different religions. Sad, but true, and I declined to become a child accordionist at that time for that very reason. The Scottish styles were there in a sort of Second Division League, but relatively few players played in that division.

There was a solitary CBA player, Duncan McLean, who was the local grocer, and one of the few people who could afford to take holidays abroad, probably due to the high prices he charged us in his shop! He came back from Germany with a big Hohner similar to yours, but minus the free bass rows. Scottish players also insist on having 5 rows. People thought he was really clever as all the treble buttons where white, without the little black dots that yours has. Duncan taught himself to play CBA, without any books or miners to learn from. He took the sensible approach of specialising in what we call "Continental" music here, and avoided getting involved with the accordion marching bands.

From memory he was a decent player, but he still owned the grocer's shop when he died, so maybe he wasn't as good as I thought.

If my attitude to method books sometimes appears to be derogatory, that's the reason why.

 

[Geronimo]

Geronimo,
[...]
We were nearly all of Irish extraction and the tunes were mainly of a sectarian nature from Ulster, celebrating various battles which had occurred there between factions of the two different religions.

In part of my long-winded past, I played fiddle in an Irish folk, uh, course/gathering/club? at university. There was a fair share of battle songs (not overly attractive to most players/students) in the stacks of lead sheets but most of the sentimentalism we exercised on was more of the love and landscape kind. Even mixed pickles like Waltzing Matilda were not overly popular. Id imagine that the enthusiasm of a younger generation even in the country itself might have similarly waned over the centuries.

There was a solitary CBA player, Duncan McLean, who was the local grocer, and one of the few people who could afford to take holidays abroad, probably due to the high prices he charged us in his shop! He came back from Germany with a big Hohner similar to yours, but minus the free bass rows. Scottish players also insist on having 5 rows. People thought he was really clever as all the treble buttons where white, without the little black dots that yours has.

Now wait a minute. The only instrument with little black dots I own is the Excelsior Ive unpacked for a few videos because it is the only large accordion with Midi I have (the Roland FR-1b runs out of buttons too fast). But I play that instrument rarely enough that I dont even think at looking at those dots. My main instrument has some cross-hatched buttons (C, G, D, not my idea), most other accordions I play are entirely unmarked on the treble.

At any rate, I dont need to delve into the really clever angle as you are CBA player yourself.

Duncan taught himself to play CBA, without any books or miners to learn from. He took the sensible approach of specialising in what we call Continental music here, and avoided getting involved with the accordion marching bands.

Well, I can certainly sympathise with not wanting to compete with wagonloads of good players. I tend to specialise on stuff nobody else is interested in playing, too. You know, angling at the if he dares playing that stuff not written for accordion, just imagine how good he must have been at playing fast accordion music. You know, like Picasso was actually a pretty great painter before turning to cubism.

From memory he was a decent player, but he still owned the grocers shop when he died, so maybe he wasnt as good as I thought.

If my attitude to method books sometimes appears to be derogatory, thats the reason why.

My attitude to every authority tends to be derogatory. All part of bluffing ones way through.

 

[maugein96]

You've obviously had quite varied musical experiences.

Irish and Scottish music obviously have their devotees in the accordion world, but I've never really been able to embrace either, despite my roots. My links are with the province of Ulster, most of which is in what is now called Northern Ireland, and part of the UK. I am entitled to dual British/Irish nationality, as my mother was an Irish citizen, but so far I've never bothered to take any perceived advantage of that entitlement. A lot of us were standing by to pay the 274 Euros to claim Irish nationality due to Brexit, but it looks as though that will not now be necessary. I do believe the music styles of the Republic are not so much orientated towards religion and politics, but I'll leave that up to others to decide. Sectarianism is a situation that is difficult to describe, unless you live with it daily.

Accordion wise I think I just wanted to be different from others, and maybe Duncan McLean playing that "Continental" music on the big Hohner helped me to make the choice. We also used to listen to French radio on a huge "wireless" set, which featured accordion music, and I became familiar with the names of some of the older French and Belgian players. In any case I abandoned the notion to play until I was in my 30s, and was living well away from the area.

Looks like I must have mixed your Hohner up with another one I'd seen, maybe on You Tube.

John Leslie, an accordion dealer in London, taught both B and C system, but to my knowledge never wrote any books on the matter. He did admit that B system was his preferred teaching medium, but I lived 650km from London, so I never got to find out.

 

[Deleted member 48]

CBA tutors or methods in English is on the to do list for the accordion teachers at conservatories and music schools.

If you read French, German or Italian, you have a choice.

Not really a tutor, and advanced level: technique I for button accordion C-system (available also in English), by Claudio Jacomucci:
http://www.claudiojacomucci.com/Technique_I.html

Michel Lorin tutor for C-system par limage:
https://www.woodbrass.com/en-gb/pia...hel-accordeon-a-boutons-accordeon-p69879.html

Frédéric Deschamps: Accordeon, Methode Vol. 1 Nouvelle Approche Technique (Edited: in 2014)

We used the Cambieri-Fugazza-Melocchi tutors (is for PA and CBA), the Joerg Dräger C-Griff Knopfakkordeon Schule.

http://www.strumentiemusica.com/en/...ti-di-fare-il-titolo-di-circa-6070-caratteri/

 

[maugein96]

Michel Lorin's book is one of the most straightforward I have seen, and gets you using thumb and 4th row very early on. It will take you to a stage where you will be well on your way to playing, without being overburdened with theory. His father, Etienne Lorin, wrote a very comprehensive method that would take a very long time to work through.

I have no experience of the other books mentioned.

 

[Deleted member 48]

In music school we all got Curt Mahr's Czerny Etuden für Akkordeon on the menu, the 3 volumes. Edited by Helbling.
The fingering notations in these 3 volumes are for PA en CBA C-system.

Recommended for accordion students, a progressive selection of Czerny's piano etudes adapted for stradella bass accordion by Curt Mahr.

 

[maugein96]

Here is a photo of the first volume of a three part method written by Tony Fallone, a Corsican who later set up a music school and shop in Dijon, France. The whole set will cost you a whopping 60 Euros, plus shipping.

Youll see that a pipe to smoke whilst playing is a prerequisite, and I can advise you on the best type of pipe to buy, and the French pipe tobacco to go with it. With regard to the method, I cannot make a recommendation, as I have no idea what style you wish to pursue. I would always ask the would be player to consider which music they prefer, try to find a player who excels in that style, and if need be contact him/her by e-mail and ask. Better still if they have written a method book, then buy it.

Now Id put money on the fact that youve never heard of Tony Fallone. I dont think he is still on the go, and if he is hell be a very old man. In fact ask just about anybody in the street in France if theyve heard of him and the chances are theyll ask you which football (soccer) team he plays for! He was a top notch player who decided to opt for classical, swing and jazz styles in the days when musette was the major genre in France. He made a handful of records and entertained those minority of audiences who appreciated the styles of music he played. He never made it into the limelight because of that, but anybody who has ever heard him playing will know the guy was a superb player.

This is just an example of the fact that there are probably dozens of CBA method books kicking around that few people will ever have heard of, and it really is a bit of a lottery whether the one you choose will be the correct one for you.

Would I recommend this method for you? No, for the reasons I have mentioned.

Just a suggestion. Youd be better off with a straight stemmed pipe, in case you foul the bowl of a bent stem in the bellows. Best French pipe tobacco is probably St Claude!

 

[maugein96]

No jokes this time!

Here is a non exhaustive list of the authors of C system CBA French language method books which may still be available:-

Raymond Gazave, Etienne Lorin, Michel Lorin, Andre Astier and Joss Baselli, Medard Ferraro, Richard Galliano, Paul Chalier, Tony Fallone, Manu Maugain. in the days before about 1960 there were literally dozens, but those wont be available commercially, and are usually sold as collectors items.

Various Italian books can be had here:- http://www.castelfidardomusica.it/it/35-metodi-per-fisarmonica The book by Davide Anzaghi was the Italian method book by which others were judged for a while, and is a dual PA/CBA method.

All of the method books are geared towards players aiming to study classical music, and it really is a case of sticking a pin in the list, unless you know what you are looking for. I dont know anything about the method books used in any other countries, including my own. I learned from French books, and had to teach myself.

There are one or two CBA teachers on the forum who may also be able to offer you advice, but I think you would do well to explore the options in your home territory.

 

[Deleted member 48]

Raymond Gazave, Etienne Lorin, Michel Lorin, Andre Astier and Joss Baselli, Medard Ferraro, Richard Galliano, Paul Chalier, Tony Fallone, Manu Maugain. in the days before about 1960 there were literally dozens, but those wont be available commercially, and are usually sold as collectors items.

Various Italian books can be had here:- http://www.castelfidardomusica.it/it/35 ... isarmonica The book by Davide Anzaghi was the Italian method book by which others were judged for a while, and is a dual PA/CBA method.

Fine selection, the CBA tutors by André Astier / Joss Baselli, Médard Ferrero, Richard Galliano and Manu Maugain are good tutors for beginners.
Paul Chalier, wasnt he also the author of the Péguri bandoneon method ? Nicknamed Pablo Caliero. We had this method in our local library.

The Luigi Davide Anzaghi tutor is generally acclaimed by teachers.

Personally I like the use of pictures of Griffsjablone or grip schemes, pattern schemes, etc in tutors.
Some German and Russian CBA tutorials and methods make extensive use of these grip scheme pictures.

 

[maugein96]

Stephen,

Paul Chalier was indeed "Pablo Caliero", although his CBA method was a bit controversial with regard to both treble and bass fingering. He made frequent use of the middle finger on the second row (e.g. G button) followed by the index finger on the first (A button), which is awkward if you are familiar with other methods. It may be something he has carried over from the bandoneon, but I've never even seen a bandoneon let alone played one. His bass instruction also made more use of the middle finger than most other methods, which makes things difficult for those of us with a row of 7dim chords. These are usually absent on French instruments, but not always.

His goal was to keep things as simple as possible, which he did with the treble side, but I couldn't get along with his bass instruction after learning from the Ferrero method. The book wasn't a huge volume and I still have it. I used to have a signed photo of Paul Chalier, but it got lost during a house move.

With the Astier and Baselli method the whole of the first volume is dedicated to finger development. They still have you working on one basic treble fingering position throughout the entire first volume, which I bought it out of curiosity, but never bothered with volume 2.

With hindsight, I do believe Michel Lorin's book was aimed at getting players up and running on popular music and wasn't really big on technical study.

I forgot Anzaghi's first name was Luigi, and I would wager most current Italian CBA players learned from that method.

I don't really know whether teachers outside of France or Italy give much credence to the methods I have mentioned, but the three volume set by Manu Maugain seems to be a feasible way to go for modern players. He immediately takes the old thumb vs no thumb argument out of the equation, and the fingering he uses is easier on the hand and ultimately the fingers. Unfortunately I cannot really manage the fingering he stipulates, or rather I could but it would probably take me a couple of years to facilitate the change from the Ferrero method, which I wouldn't recommend these days as it is very old fashioned.

It might be worth mentioning that all of the French methods I've seen work on building strength in the little finger, regardless of whether the thumb is used. Italian methods tend not to be so hard on the little finger, which may help some students. I've read on here that quite a few CBA and PA players tend not to make much use of their little fingers. You'll not get away with that with any French method I know, where some chords are played with fingers 3,4, and 5.

All of those method books make interesting reading, but are often full of contradictions when you compare them with each other.

 

[Geronimo]

Paul Chalier was indeed Pablo Caliero, although his CBA method was a bit controversial with regard to both treble and bass fingering. He made frequent use of the middle finger on the second row followed by the index finger on the first, which is awkward if you are familiar with other methods. It may be something he has carried over from the bandoneon, but Ive never even seen a bandoneon let alone played one.

From what I see bandonion players doing, I doubt that crossing fingers over is happening much: it looks more like playing a typewriter than a piano.

 

[dan]

I visited the World of Accordions Museum in Superior, Wisconsin, USA this weekend and bought the intermediate Chromatic Button Accordion book. The museums collection is intriguing--dozens of accordion varieties I had no idea existed--as is the perspective of Helmi Harrington, who has repaired and played most of the instruments in the collection.

This is a self-published work copyright 2009. It is 155 pages plus a few pages of appendices in a 3-ring binder. The CD is not yet available.

The Fast Course is intended for intermediate-level musicians who have prior experience with piano accordion and who are switching to CBA. Fast refers to pacing and the absence of filler. It assumes you can already read music, so omits most of the beginners music theory material that youll find in most method books. It assumes you can already play alternating bass lines and simple runs. The focus is on the right hand. Dr. Harrington was quick to correct me that this is not a method book. She recommended working through the first two chapters to build a foundation, but the other material can be tackled in any order, as skills are needed.

Personally I like the use of pictures of Griffsjablone or grip schemes, pattern schemes, etc in tutors.

This book is full of them. For each topic, it will show some 5-row diagrams with fingering and explanations, followed by some graded pieces of the sort youd find in Palmer-Hughes book, with fingering written in, to practice those concepts. Topics include chord formation, recognizing scale and chord patterns in written music, tranposition, parallel thirds and sixths, practing intervals, and chromatic scales.

Scale patterns employing 3, 4, and 5 rows are introduced in Chapter 2. She teaches how to shift between C on first row with thumb and C on fourth row without thumb for different kinds of passages in the same piece. She also moves to inner rows for chords in second inversion.

I will report back after Ive worked with the book for a few months, but on first inspection this appears to be the holy grail of CBA tutors for English-speaking self-taught converts to CBA like myself--an admittedly tiny demographic, but one that is very vocal on this forum. There are no other CBA books that I know of in English and very few in any language that teach how to make good use of the fourth and fifth rows.

 

[Deleted member 48]

Thank you Dan for informing the forum members about Dr. Harrington's CBA book and your visit to the World of Accordions Museum.
CBA books in English like this one can stimulate the (self) tuition of CBA beginners.

 

[Pipemajor]

This CBA tutor sounds very interesting. Is it available to buy outside of the USA?

 

[Waldo]

"Personally I like the use of pictures of "Griffsjablone" or "grip schemes", pattern schemes, etc in tutors."

What, exactly, are "grip schemes"? Can someone post an example?

Tx
Waldo

 

[Deleted member 48]

With grip schemes or Griffsjablone I meant visual representation of the chord shapes.

Here is an example of triad chord shapes:
http://www.thecipher.com/cba_c_and_b_system_triads.html

The black coloured buttons form the shape of the triad.
But you dont have to use the numbers 0 to 12, that is really not necessary.
Memorising the black coloured shapes of these basic triads is the only thing you need to do.

Then you can play and improvise with inverted chord shapes.
If you memorise only the basic root position shapes, its easy to find and use inversions.

 

[Waldo]

Thanks for the clarification.
Waldo