The extra dimension: exploring 3D use of the accordion bellows

Kaat Vanhaverbeke

In my search for extradimensionality in accordion playing, I have explored the three-dimensional use of the accordion bellows. This concerns moving the bellows forward or backwards at different angles, instead of typically maintaining a straight line. This research dives deeper into how the 3D bellows technique influences accordion music interpretations. A survey spread to accordion teachers worldwide made clear that this technique is quite unknown and undiscovered. In 4 case studies, video recordings of musical interpretations were compared using a linear bellows concept versus using 3D bellows. After intensive reflection, benefits of the 3D bellows technique became clear. Firstly, it allows a better balance between the right and left-hand manual. Different frequencies and harmonics could be discovered through the 3D use of the bellows, which could lead to more resonance and timbre nuances. Furthermore, the technique enhances direction and phrasing in accordion music, reinforced by the visual perception of 3D bellows. However, the technique should be reviewed in different musical styles: in baroque compositions, for instance, the 3D movements are preferably less explicit. Considering some prerequisite skills, an important concern in the practice process has been when to apply 3D bellows. The research suggests that 3D bellows can be included more explicitly in accordion practice and pedagogy today. It was found to be a useful tool to deepen musical interpretations and musical hearing in accordion students and professionals.

Index

>Titlepage >Introduction >3D bellows in accordion pedagogy

>Experimenting with 3D bellows >Conclusion >References

>Appendix: pedagogic survey

APPENDIX: pedagogic survey

Questions (pdf) ↴

Bellows technique instructions

(answers to question 3, categorised)

posture/physical idea

Always have pressure on the bellows before trying to get a correctly-timed note to play.

Arc, in and out, raised on the in.

Bellows move a bit on their own, you just have to help pulling or pushing a little bit. Do not pull/push to hard, feel it

By working on the different techniques in rhythm and metronome of the bellows, taking care of the position and holding of the instrument

fan shape

Feel the resistance of the bellows

From the first lesson, I focus on good bellows technique. Good posture plays an important part in this. When the bellows changes are well under control, I continue to work on making dynamics, playing with a bellows stop, different bellows techniques... With each score, the bellows movement is always notated.

Half circle moves

I mostly teach to beginning students: From an early stage, I support them to move their bellwos in a regular pattern: Mostly 2-4 bars per movement. And I always encourage them to start with their bellow slightly opened, in case they make a mistake while closing it, causing a lack of air.

Less than they expect! I often encourage buttoning up the bottom end.

Over and around the left leg

Start with it closed, then open gradually

Through my method, all bellows movements are indicated, even from the beginning Bellows shake. Good position of the accordion on the left leg, equal force when pulling and pushing, equal tone, etc.

With the side of the right keyboard resting against the right leg. Bellows balancing on left leg.

notation

Depending on the song, I try to get him to duplicate the amplitude couture of the measures and to experiment with different coutures than how someone else plays them.

I mostly teach to beginning students: From an early stage, I support them to move their bellows in a regular pattern: Mostly 2-4 bars per movement. And I always encourage them to start with their bellow slightly opened, in case they make a mistake while closing it, causing a lack of air.

Through my method, all bellows movements are indicated, even from the beginning Belllows shake. Good position of the accordion on the left leg, equal force when pulling and pushing, equal tone, etc.

To focus on sound. I try to mark bellows into sheet. And i want students to make bellows.

with symbols / by phrasing

musical idea

as if breathing/speaking

Bellow is like breathing while singing

Do not change bellows direction in the middle of a phrase.

I start from the beginning that it is just for the air supply. I always link it to the left hand part so you practice the bellows movement with the left hand instead of last when you already know all the notes. Then I teach the students that the bellows are not one-dimensional but can move in several directions.

Listen to the music where you can change bellow direction.

Naturally

Shaping the music with the bellows. Let it quietly fall open in the natural direction, starting from the sound that comes naturally, and then adjust and refine it with the bellows. First listen carefully, then adjust/adjust.

Smoothly without pulsing. Plan bellows change in advance. Add shaping to the phrases by tapering off the volume.

To breathe with it, like singing. I invite them from the beginning to make a sound from pp to ff and again to pp when they open the bellow and when they close. They can play with one note in right hand, then left hand.