Conclusion
An important tool for musical interpretations
After extensively reflecting on 3D bellows through my experiments, benefits of said technique became clear. Moreover, I haven't found any disadvantages. A three-dimensional approach to playing the accordion allows a better balance between the right and left-hand manual. It is a technique that can ease the interaction of energy between the left and right hand. Different frequencies and harmonics could be discovered through the 3D use of the bellows, which could lead to more resonance and timbre nuances. The technique enhances direction and phrasing in accordion music, reinforced by the visual perception of 3D bellows.
Being beneficial in so many aspects, 3D bellows can be applied to each type of music. However, the approach towards 3D bellows and the intensity of the swellings varied in each case study. The technique should be reviewed in different musical contexts. In baroque compositions, for instance, the 3D movements are preferably less explicit, whereas, in theatrical and humouristic pieces such as Escape of the Meatball over the Fence, movements can be very big.
An important realisation throughout this research process concerns the order of practising: at which practice phase is it effective to explore the three-dimensional bellows technique? The prerequisite of a continuous air supply remains vastly important. Furthermore, I found out that conceptualising the music always comes first - artistic choices should be made on how to approach the music. In this framework, decisions can be made around 3D bellows.
Generously connecting with the audience
Using the 3D bellows technique in accordion performance is playing with dimensions such as spatiality and proximity towards the audience. Frequently, I get positive feedback after performances that I "fully capture the attention of the audience" and that I "embody my instrument". By moving three-dimensionally with the bellows, the audience feels more approached and perceives a more continuous energy line, for which performances can be described as "captivating". In this regard, there is a stronger connection between the performer and the audience. As I found out when comparing audio files to video files of the experiments, these effects can be reinforced by the visual perception of the performance. However, to make any significant conclusion, I'm aware that more thorough research can be done on this particular aspect.
Application in teaching
The survey responses showed a general interest in 3D bellows in teachers, although there were concerns about the feasibility of teaching this technique to students at a beginner level. In my vision, accordionists - young and old, beginner and more advanced - can develop their instrumental skills and musical hearing through the application of 3D bellows. Thus, 3D bellows should not only be a tool for performing but could also be used in teaching. As stated above, through 3D bellows various sound colours can be explored, as well as possibilities in phrasing. Being able to consciously hear these nuances is a valuable skill to learn in instrument lessons. Showing students different 3D bellows options has even been as strong as an "ear-opening" experience for them. I believe it can truly increase their appreciation, if not passion, for the accordion.
With beginners, I suggest first teaching about air supply. It is important to first know how to maintain a good airstream for a basic sound quality. Just as accordionist and Alexander technique expert Claudio Jacomucci suggests, the bellows can be opened and closed following the rotation of the thorax - this is a circular motion which feels very natural. Mentioning at the beginning of the learning process that there are a lot of possibilities regarding opening and closing the bellows, keeps future options open.
The accordion comprehended
Throughout this research I got to know the accordion better; I made a deeper connection with my instrument. For me, that was the most valuable take-away message. I'm more aware of the concept of musical energy and the impact it can have on an audience. Further, I believe that exposing different, innovative accordion techniques such as 3D bellows could be an important step in the development of the accordion as an art instrument that is fully integrated into the contemporary classical music field. Looking at the future, I designed a follow-up experiment at Studio LOOS in The Hague. For this project, I’m looking for ways to broaden the extra-dimensional aspect of accordion playing from using 3D bellows to creating a spatial performance using a surround sound system.