Stradella Bass System Fingerings

[murathan]

There are 2 approaches on bass side fingerings for using bass and chord buttons (main hand position). For making oompah...

(Fingers numbered from Thumb: 1, to Pinky: 5 on both hands)

German Style (4-3-2)
Many modern teachers always suggest that. You press bass buttons with finger 4 and divide the 3-2 to chord buttons.
3 for major - minor, 2 for 7th and Diminished.

American Style (3-2)
You press bass buttons with 3, using 2 for chord buttons. Simple choice.

Playing scales is another matter. I find American style 3-2 very easy and comfortable and use that. They say American style is coming from Concertina, while German style is coming from German Folk accordions. What are your thoughts?

 

[Rosie C]

I started teaching myself from an accordion book and played 4-3-2. Then I took lessons and the teacher suggested 3-2. I think now that was a mistake, now that I'm:

• I'm playing more melodic bass lines on the root & counter rows (playing in a rock band!)
• Playing more 7 chords in oom-pah folk accordion music

 

[Alan Sharkis]

I’ve used both. Sometimes, in minor keys, I’ve even used 3-2-2 ands then 5-2-2.

 

[Tom]

I use mostly 4,3 (4,2 for the 7th, dim). I use all 4 fingers for counter bass and runs or scalar patterns.

 

[JKJ]

The stradella book “The Mighty Accordion” recommends the 4-3 method. Some of my other books describe both with a preference for 4-3. My instructor insists on 4-3. Good enough for me.

But when practicing scales/runs on bass/counter base I’m using whatever makes sense. Before I tore up my left shoulder I was getting fairly comfortable with running up and down the scale.

 

[dileko]

Since I train with the Anzaghi method, I use the 4-3-2 system.

The methods and works of Pietro Deiro and Charles Magnente that I studied are also arranged according to the 4-3-2 system.

 

[noelekal]

Was taught strict 3-2 as a kid and that is what I still use, with adaptations as I deem expedient.

 

[John Doe]

I default to 3 2- go to 4 3 2 depending on the progression of the particular music and, I hate to say it, frequently add finger 5 which I find especially useful for descending minor scales.

It is also useful with the quint system- though I'm still pretty clumsy with same.

The two "primary" methods have in their favor the same reliability as does using one foot for both the accelerator and braking on a car; two feet might arguably be more efficient but under stress one might eat the back end of a dump truck...

For most the pinky finger is quite awkward, slow, and inaccurate, but I figure that's because it doesn't get used. Once one sets their mind to it it becomes a real boon in many situations.

I pick no quarrel with those who point out spectacularly skilled accordionists who see no need- it clearly can be done without and more power to you- but I know a pianist* with nine fingers who can play rings around most and match right up with the best. Given my druthers, I'd prefer a ten finger piano technique and a four fingered Stradella method.



*That's piano as in the 88 key model.

 

[murathan]

On 4-3-2, hand stays a little awkward. Also anatomically 4 and 5 are extra fingers (for helping grip or if others injured). 3 is a strong finger and in the middle, so there are fingers ready for up and down. Making minor "cross" oompah is convenient on 3-2 while major cross is convenient in 4-3-2. On these moves in 4-3-2, fingers are crossing over and hand gets a bad posture. Both styles are about getting used to. After that you feel comfortable.

 

[Alan Sharkis]

Anybody here try running major scales with all basses in the same row? You get lots of pinky practice that way.

 

[murathan]

Anybody here try running major scales with all basses in the same row? You get lots of pinky practice that way.

Not the all scale but I use like that either for bass moves in melody endings.

 

[Zevy]

Anybody here try running major scales with all basses in the same row? You get lots of pinky practice that way.

Not major scales, only minor scales.

 

[John Doe]

In my wildly-less-skilled-than-Zevy approach I use all basses in the same row going down on minor scales but the usual mixed approach going up.