Thoughts on Moschino Free bass?

[AccordionJustice]

This may be a long shot here, but does anyone happen to have any experience with the Moschino system? I've heard the main advocate for the system, George Secor talk about the benefits it seems to have over competing converters and it's gotten me very interested.

 

[Zevy]

This may be a long shot here, but does anyone happen to have any experience with the Moschino system? I've heard the main advocate for the system, George Secor talk about the benefits it seems to have over competing converters and it's gotten me very interested.

Mr. Secor is unfortunately no longer with us. Dallas Vietty is playing one and he is very knowledgeable about this. Try to contact him. He’s a great guy.

 

[AccordionJustice]

Thank you Zevy. I'll be sure to give Dallas a call to inquire further. I'm also very sorry to hear about Mr Secor.

 

[Bruceclayton]

Used to play a lot ...practiced from 2to 8 hours a day competing early/mid 70s (ATG Natl championships that sent one to Wold cgampionships) ...Mario was my instructor. His system opened up the entire repotoire of piano music.

Played Bach's Italion Concerto...remember would champion that year also played the 2nd and 3rd movement of the same and Mario talking to me about how the winner was fighting his instrument and modifying parts because if the weakness of ease over the chromatic system he was using.

 

[Walker]

Played Bach's Italion Concerto...remember would champion that year also played the 2nd and 3rd movement of the same and Mario talking to me about how the winner was fighting his instrument and modifying parts because if the weakness of ease over the chromatic system he was using.

I am neutral here - I don't know a thing about Moschino or Chromatic free bass. However, it is refreshing to see people passionate about their accordions - long may your Moschino make beautiful music.

Now, I do not really understand the Moschino system, despite having watched some Youtube videos about it. However, I am convinced that all bass systems are of secondary importance to the dedication and talent of the musician. It is the man or woman who makes these instruments come to life - that's what shines through to me. The arrangement of notes is nothing without the ingenuity of the human being!

As for the winner who was fighting with his weak chromatic system... He still won - just sayin'.

 

[JerryPH]

I am neutral here - I don't know a thing about Moschino or Chromatic free bass. However, it is refreshing to see people passionate about their accordions - long may your Moschino make beautiful music.

Now, I do not really understand the Moschino system, despite having watched some Youtube videos about it. However, I am convinced that all bass systems are of secondary importance to the dedication and talent of the musician. It is the man or woman who makes these instruments come to life - that's what shines through to me. The arrangement of notes is nothing without the ingenuity of the human being!

As for the winner who was fighting with his weak chromatic system... He still won - just sayin'.

I agree... construction style of FB for 99% of the people is *completely* unimportant and has no greater value than the PA vs button discussion... whatever system an accordionist uses by choice is what they will continue to use and enjoy. It is the person that makes the difference, not the system used. Just go out there and do it... that alone places you above 99.9% of the people that don't even try to play.

Every system, BAR NONE will have some disadvantage or not be able to do something as well as another system AND it will have some advantage over another system, there is no perfect system as far as I am concerned, just what is perfect for a particular accordionist and what they like.

As far as daily playing times, don't take me there. II was obliged to do 12 hour days on the weekend and all non-school days and 8 hours a day MON-FRI (split in to 2 sessions, morning and evening), and still attend school. Holidays, birthdays or any special event were NO excuses and had to have 12 hours of accordion time completed.

I did that for **well** over a decade and it was one of the main reasons I burned out to the point of needing hospitalization and stopped for over 35 years. I started out with accordion lessons at 4 years of age and even then did 2 hours a day, 7 days a week as a CHILD by the 6 month mark of starting. There are many people here that put in the hours... it doesn't add validity to this argument. A talented player could do 2 hours a day and still out-play someone that is less gifted but does 10 hours a day.

Again, it is the person and their choice, not the time invested, that holds the greater value in the discussion of "what system of FB is better". That should actually read "the system that YOU like best is the BEST one for you"

 

[Bruceclayton]

Back to the original question of the post..."A long shot here"...

I wonder who else is out there alive that actually had Mario as their teacher/instructor? Lots of nostalgia going on here in the thoughts of this thread. I was a kid 11 when I got a Stradella, 12 when I got a Cordovox, 13 switched to a C Style, parents met Mario through Chicago Conservatory of Music, got his accordion started taking weekly lessons (remember George S occasionally being there practicing/lessons ...remember conversations about George being Mario's hope to really introduce the Mochino system to the accordion world.)

Fell in love with the beauty and challenges of classical music (all the time being laughed at for playing the squeeze box from classmates) from Fur-de-Lis to Mozart's sonatas, Bach 2- and 3-part inventions, etc. The depth and capabilities of the FB system captivated me, competition inspired me to higher levels of mastery (ATG). at 15 (North American Champion-Bach's Italian Concerto -3 movements) then ATG nationals where top 2 go to the world (Jeff Lisenby 1st, Karen S 2nd _but she had already won the AAA (now NAA), and I place 3rd. Jeff was early 20s, Karen mid 20s. International championships that year the Russian (late 20s) got Glod, Jeff Silver, Karen- Bronze... but it was the conversation with Mario afterward that I remember...

He spoke of the things you mentioned above-the Russian player could make it sing (Mario was always trying to get me to the level of music not just mechanics ("Lots of folks can sign notes" he would say, "...but Sinatra"... ) He said the Russian, and Jeff and Karen could make it (music being played on their accordions) sing and in time I would be able to mature to that... and that's where he said he felt the drawbacks of the system kept the accordionist from Russia achieving even a higher level in the Bach piece. No doubt I needed to grow up -much of music has to do with feelings from life experience, growing up... not just technique. His personal challenge to me was to grow into making it sing and his delight was having the instrument that would not hinder that on the level we were headed.

I understand now what it meant for me to be the only competitor with Mario's instrument during those years. (ATG)..I'm competing, he's having the capabilities of his instrument on display-especially since there was no one in the competitions doing the difficulty in the left hand that we were doing and demonstrating. His dream-that his accordion would help bring the accordion to the American orchestra scene as it was in Europe-I think that dream had some hopes in me continuing.

It was still an era where the higher competition featured the flashy difficulty of the Piano/ soprano side of the accordion (like Jeff L playing "Paganini Ana" accordion version) and as we entered discussion of next season and me expressing the need to get a better balance of flashiness/difficulty than just the intricacies of what Bach offered, we started exploring Rachmaninoff Piano Concerto II and how this could be done (upper range on the Piano side was limited)...but I reminisce...

Folks from Kansas University recruiting me led to discussions (short) with my parents about my plans and what to do with accordion/music...was this just a hobby/High School thing? or did it go deeper into a pursuit? /Career?

Why do I tell you all that.... Original question.

This is what I know... much wonderful music, enjoyment, personal edification, challenge, sense of accomplishment can and is being accomplished through all the accordion systems. The accordion (any style) is a very sought-after item in the Nashville music studio scene.

But...

Should you ever want to go deeper, explore the higher echelons of classical composers (the type that features piano players in orchestras) then in my experience the Mochino FB will be a system that will not disappoint. Its ease of use and layout helped me go from "Beautiful Brown Eyes " on the Stradella, to considering Rachmaninoff in under 5 years and this as a high school kid...

Well, I hope your "long shot" has resonated with an unexpected trip down memory lane with me and maybe inspires you to take a chance...

Three things are needed to make it sing like Sinatra:

1. the simple mechanics of the instrument used
2. the technique/ skill honed to master said instrument (time and practice here)
3. musicianship -only comes from life experience, love, emotions and conveying that through the notes played












































































































































































































































































































































































The discussion has taken a left turn here from what was intended...kind of like the question of "which is the best bible translation?" Correct answer: the one you will read and follow.































The best piece of equipment, like the most nutrious meal, if not used or followed does not benefit anyone.

 

[Tom]

Back to the original question of the post..."A long shot here"...

I wonder who else is out there alive that actually had Mario as their teacher/instructor? Lots of nostalgia going on here in the thoughts of this thread. I was a kid 11 when I got a Stradella, 12 when I got a Cordovox, 13 switched to a C Style, parents met Mario through Chicago Conservatory of Music, got his accordion started taking weekly lessons (remember George S occasionally being there practicing/lessons ...remember conversations about George being Mario's hope to really introduce the Mochino system to the accordion world.)

Very interesting Bruce, thank you!

 

[JerryPH]

<snip> does anyone happen to have any experience with the Moschino system? I've heard the main advocate for the system, George Secor talk about the benefits it seems to have over competing converters and it's gotten me very interested.

I sincerely think that if you have an interest for for it, dive right in with both feet and go for it. For an adult, it is less important WHAT the system is, but if it interests you, to do it. As mentioned above, that alone places you above where 99% of all accordionists go.

I started the MIII system, was taught by Glen Sawich who received his PhD on accordion and was a protégé of Joseph Macerollo at the (at the time) Royal Conservatory of Music in Toronto, Ontario, Canada. I would never change at this point in my life.

That said, if I was back where I started, I'd be playing THIS instrument for the simple reason that no other system (Moschino included) can use all 5 fingers of the left hand as effectively:

 

[AccordionJustice]

Used to play a lot ...practiced from 2to 8 hours a day competing early/mid 70s (ATG Natl championships that sent one to Wold cgampionships) ...Mario was my instructor. His system opened up the entire repotoire of piano music.

Played Bach's Italion Concerto...remember would champion that year also played the 2nd and 3rd movement of the same and Mario talking to me about how the winner was fighting his instrument and modifying parts because if the weakness of ease over the chromatic system he was using.

I sincerely think that if you have an interest for for it, dive right in with both feet and go for it. For an adult, it is less important WHAT the system is, but if it interests you, to do it. As mentioned above, that alone places you above where 99% of all accordionists go.

I started the MIII system, was taught by Glen Sawich who received his PhD on accordion and was a protégé of Joseph Macerollo at the (at the time) Royal Conservatory of Music in Toronto, Ontario, Canada. I would never change at this point in my life.

That said, if I was back where I started, I'd be playing THIS instrument for the simple reason that no other system (Moschino included) can use all 5 fingers of the left hand as effectively:

I definitely have an interest in this system. I happen to be in contact with Dallas as well and hope to bring up the topic of learning system at some point. I'm not sure when that will be exactly, maybe once I have a more complete understanding of stradella down.

The Mills system is a a new one to me. Is that the one you feature in your avatar Jerry? I assumed that was a standard C system freebass. Yet another thing for me to start researching and jotting notes down . I've seen that video before, it was when I was just beginning to understand what freebass accordion was and stupidly assumed that it was a CBA with quint. I looks like a great system, though one of the selling points of the Moschino system is that you never have to use the thumb, which is awkward for me personally. Its times like these when I wish these systems were more widely know an available so I could test each one out for myself.

 

[petch]

Random thought, is/were there any Moschino converter systems? Or are they all purely free bass?

 

[Tom]

I definitely have an interest in this system. I happen to be in contact with Dallas as well and hope to bring up the topic of learning system at some point. I'm not sure when that will be exactly, maybe once I have a more complete understanding of stradella down.

The Mills system is a a new one to me. Is that the one you feature in your avatar Jerry? I assumed that was a standard C system freebass. Yet another thing for me to start researching and jotting notes down . I've seen that video before, it was when I was just beginning to understand what freebass accordion was and stupidly assumed that it was a CBA with quint. I looks like a great system, though one of the selling points of the Moschino system is that you never have to use the thumb, which is awkward for me personally. Its times like these when I wish these systems were more widely know an available so I could test each one out for myself.

Are you aware that Dallas has a meetup each month for people interested in learning more about Moschino?

Not sure if it is only for members of his community (which is free). Next one is on Tuesday. Risingreed.com

 

[saundersbp]

That said, if I was back where I started, I'd be playing THIS instrument for the simple reason that no other system (Moschino included) can use all 5 fingers of the left hand as effectively:

100% agree!

 

[Walker]

That said, if I was back where I started, I'd be playing THIS instrument for the simple reason that no other system (Moschino included) can use all 5 fingers of the left hand as effectively:

Oh... I don't know Jerry. I think Mr. Farmen kinda makes those scales look easy, on account of him being one of the greatest accordion players on planet earth. In fact that left hand movement is a perfect Mexican Wave.

Equally mega displays of skill are available on many other systems *but only by equally world class accordionists.

From my 1 year on quint free bass (sorry, does that even count.) I know for a fact that it is EASY to play free bass very badly but very difficult to play it well. Most regular people who try recording scales like this accordion maestro would end up £250 richer after the video found its way to You've Been Framed...

 

[JerryPH]

But here is an important point... he is showing the basics... a scale, an arpeggio, that is literally 1st year accordion skills and then just sped up.

Now I had a nice response all typed out but decided to not further pull it in to a "this vs that" discussion.

(and remember I've had the pleasure of dissecting your music as I worked on your videos, its most definitely not "1 year of practice"levels!)

 

[Walker]

You are indeed a gentleman and a friend to me, Jerry.

Perhaps, when watching others play music, I tend to praise the musician and give less credit to the instrument or system. With regards to myself - I just give credit to the instrument.

I sometimes think about trying a different system - maybe to play something more mainstream, like a chromatic C on the bass - but maybe it's too late to go back... As you well know, I am three tunes in now.

 

[JerryPH]

Well, that same advice rings true for you too… if this is something that inspires you, do what you need to do and go for it!

 

[saundersbp]

But here is an important point... he is showing the basics... a scale, an arpeggio, that is literally 1st year accordion skills and then just sped up.

Precisely - it proves nowt!

I sometimes think about trying a different system - maybe to play something more mainstream, like a chromatic C on the bass

You do mention this a lot

Well, that same advice rings true for you too… if this is something that inspires you, do what you need to do and go for it!

Happy to help and lend you a C system converter, available immediately!

 

[Walker]

You do mention this a lot

If nothing else, I am consistent

Happy to help and lend you a C system converter, available immediately!

I would rather enjoy trying out a C system free bass (though I suspect you were offering it to Jerry)

 

[saundersbp]

I would rather enjoy trying out a C system free bass.

welcome - just PM me to arrange collection from N Yorks.