How long did it take you to get good?

[aaronishappy]

I know defining good is subjective, but really, how long did it take you to be able to confidently play say at least 15 songs/dances? Im only 10/11 months practising, and I can just about play 3 small dances. Im currently learning Ozidanje which is a Russian waltz, its relatively easy. Im really impatient and am just craving to be able to play with other people and go out and busk! I can notice myself progressively getting better and better but also without a teacher I feel like Im learning some mistakes which Im unaware of, that will be ingrained into my playing. Im consistently daydreaming about being able to just whip out my accordion and bash out tunes like this

I know, its all about how much you practice. I practice at least an hour a day, sometimes 2, and it still feels such a slooow learning process...

So I am just curious, how long did it take you to learn to confidently be able to play a set of songs?

 

[artelagro]

I would say it’s impossible to answer because we are all so different. I have been learning (or struggling) for about eight years now and do not yet feel confident enough to play in front of an audience. There are days when I get that wonderful feeling that I have cracked it and the music just flows out, but the following day it’s back to normal.
Just keep having fun.
Garth

 

[BobM]

.....and it still feels such a slooow learning process...

Some things Im finding easy, some difficult. I have found that some of the gains Ive made have happened a long time after the study was done. Now I dont push the accordion in the way that I do for my main instruments, it doesnt work for me.

Go for smaller achievable goals, and importantly, enjoy the ride!

BobM.

 

[donn]

That sounds like my story, but our long time Morris team accordion player followed his job to a city far to the south, and his job has fallen on me. So ready or not, I'm on stage Sunday morning. On the bright side, this has been an impetus for noticeable progress, not just in the skills acquired from practice but also acquiring practice skills. During earlier years in my period of accordion ownership, while I never really left it alone on the shelf, still without a real gig for it, I wasn't as committed to improving my act.

 

[Anyanka]

I've been playing for 5 years now, and still get nervous in front of an audience, especially when playing by myself... however, in answer to your specifics I'd say that I reached somewhere between 'ok' and 'good' after 3-4 years. I've played a lot in that time, and have really pushed myself with regards to playing with others & in front of audiences.

 

[george garside]

It can be very misleading to use ''number of tunes'' under ones belt as a measure of ''good''. To be ''good'' you need to have mastered or be reasonably well on the way to getting the hang of playing the INSTRUMENT.

Once that has been achieved there is ,within reason, no limit to the number of tunes you can play reasonably well provided you have them in your head or on a piece of paper.

On the other hand ''learn a tune'' and you can on only play that tune(s)

I think a better indication of ''good'' is the ability to be able to play your tunes on the hoof in several or even all 12 keys.

george

 

[fjsys]

Honestly I don't know how to answer. I have been at it for 10 years and made it through 9 of the 10 palmer hughes books, but I still don't feel that I am "good". (but there is no one harder on me than me)

This doesn't stop me from getting up and playing in front of people. Sometimes I make a real mess of it, and sometimes it goes OK. I would guess that it took until around 4 years on with weekly lessons to feel that I could get in front of people with it.
However if we are using George's definition of "good" I don't think that I would ever make it. I still cannot play that well without the sheet in front of me and my music theory isn't good enough to change any keys...
But that really doesn't matter to me, I will probably always play with the sheet in front of me.

The important thing is to realize that even when you cock it up you still gain valuable experience by putting yourself out there.
But then I only really play for myself anyway and if someone chooses to listen and invite me back for future gigs then I am happy.

So far they have. I have a Christmas gig coming up this Friday that I feel I cocked up last year, but they invited me back to do it again.

HTH
Ben

 

[george garside]

- Don't overcomplicate things! ''Music theory' is not required to change keys , the key being to practice a number of scales until the fingers automatically follow the correct route for each scale without conscious thought. It is then quite possible to play in a number of scales using just one set of dots - effectively if eg the dots are in ,say,Gmaj and you want to play in , say, A major you pretend the A scale in the G scale so you read the dots for G and the tune pops out in A!. The French have a term for it ?solmisation or something like that.

- as to cocking it up last year the punters probably didn't even notice! - make the same mistake 3 times and its a new arrangement!

george

 

[smdc66]

- practice a number of scales until the fingers automatically follow the correct route for each scale without conscious thought

would major scales practice in one octave help achieve the above (that's where i'm at really) or does practice need to be at a more advanced level to reap benefits :?:

 

[george garside]

It certainly would but even better do it over 2 octaves as tuens have a nasty habit of sitting across 2 octaves.

work out both ways (sharp and flat) from C. eg learn C,G,F,D,Bb,A,Eb which will do for starters!

Rather than using the dots for the scales I suggest just starting on the keynote eg F for key F and then, without looking at the keyboard, progress along the main road (white notes) until it sounds wrong whereupon you go for the nearest 'diversion' (black note). etc etc.

Doing in this way rather than thinking in terms of any theory helps to 'programme' THE ROUTE OF THE SCALE into the brain/memory. It works equally well for dot readers and by ear players because in the real world of tune playing neither has time to think consciously eg ''play an F# next, then G then A etc etc., the autonomic mental process being more like higher or lower by varying amounts. i.e. backwards or forwards along the ''route of the scale''.

george

 

[Soulsaver]

- the key being to practice a number of scales until the fingers automatically follow the correct route for each scale without conscious thought. It is then quite possible to play in a number of scales using just one set of dots -
george

Go on then George... How long to get to that ability??????

 

[donn]

The key to mastering this one, is to get a gig playing scales.

 

[george garside]

Like any other learning process its down to the actual amount of time spent on it i.e. in minutes, hours etc rather than saying it took 2 years or whatever. When I am teaching, mainly but not always folk/trad/by ear players I put the emphasis on instrumental technique use tunes as a vehicle to this end rather than as the be all and end all.

I introduce the concept of 'rooting for scales' as soon as the student can finger the C scale reasonably smoothly. This is to prevent one scale being over important which can build up a psychological barrier to moving on to other scales. So often from about 3rd lesson we will have 'discovered ' the route of F and G . From then on its case of practicing scales for 5 mins every time you pick up the box , playing the same tunes in FCG whilst also attempting to find the route of other scales.

''how long'' depends entirely on time put in and individual aptitude and most importantly ENTHUSIASM which is the driving force of PROGRESS

george

 

[Soulsaver]

The key to mastering this one, is to get a gig playing scales.

:lol: :lol:

 

[BobM]

Like any other learning process its down to the actual amount of time spent on it i.e. in minutes, hours etc rather than saying it took 2 years or whatever. When I am teaching, mainly but not always folk/trad/by ear players I put the emphasis on instrumental technique use tunes as a vehicle to this end rather than as the be all and end all.

I introduce the concept of 'rooting for scales' as soon as the student can finger the C scale reasonably smoothly. This is to prevent one scale being over important which can build up a psychological barrier to moving on to other scales. So often from about 3rd lesson we will have 'discovered ' the route of F and G . From then on its case of practicing scales for 5 mins every time you pick up the box , playing the same tunes in FCG whilst also attempting to find the route of other scales.

''how long'' depends entirely on time put in and individual aptitude and most importantly ENTHUSIASM which is the driving force of PROGRESS

george

Are you good then, George?

 

[Anyanka]

I think a better indication of ''good'' is the ability to be able to play your tunes on the hoof in several or even all 12 keys.

george

I don't think one should dismiss a classical accordionist who plays complex non-repetitive pieces because s/he can't play them 'on the hoof'... There's a very good reason why most orchestras use sheet music!

 

[Buttons]

Playing two years nearly and I am getting nearer to it, but................ I tell people when asked can you play lots of tunes? No, I am learning to play the Accordion, not to play tunes.
Not quite the same thing although tunes are a result of learning ......eventually. As a complete beginner of music it is slow but I do lots other things as well but enjoy it and have a very good long suffering teacher. Going from a dead start to today I am pleased with what I can do, but mustn't compare with those who are gifted players. I am building up a wide knowledge of playing/music theory which will pay dividends in time. Perseverance. Playing in an orchestra is playing what is written down. Best wishes to all. Now back to that alternative base.

 

[george garside]

how long depends entirely on time put in and individual aptitude and most importantly ENTHUSIASM which is the driving force of PROGRESS

george

Are you good then, George?

Bob ,Like most players I am enjoying the life long learning curve of box playing

george

 

[george garside]

I think a better indication of ''good'' is the ability to be able to play your tunes on the hoof in several or even all 12 keys.

george

I don't think one should dismiss a classical accordionist who plays complex non-repetitive pieces because s/he can't play them 'on the hoof'... There's a very good reason why most orchestras use sheet music!

ere

I have the greatest admiration for top classical box players and agree there is no room for freelancing in orchestral playing and hence dots are essential.

I also have the greatest admiration for top folk/trad box players who do wonderful things without recourse to theory or dots

Its not about any particular type of box playing being better or worse than another , its about 'horses for courses' and the need for both complimentary and different skills being required for different 'courses'.

george

 

[Anyanka]

Good point about learning tunes, Buttons. I've met quite a few folk players at sessions, melodeon players particularly, who learn one tune after another, but never get any better at playing their instrument in general! I have to have quite a lot of tunes in my repertoire because of the various purposes (French dancing, Morris and ceilidh), but for my own playing I concentrate on a few tunes that I play over & over, trying to refine and improve.