Sound extraction

The sound on the accordion is extracted by pressing the keys and simultaneous movements. The technique of extracting sound on the instrument is inextricably linked with the art of mastering bellows as an apparatus for sound presentation.
Bellows not only make it possible to obtain one or another strength of sound, duration, and types of performance. But also affects the character of the sound.

An increase in air pressure changes the degree of sound volume. Excessive air pressure generates noisy sounds, with insufficient air supply – an incomplete weak sound.

Inept handling of bellows causes an involuntary change of movements and distorts the sound. Also breaks the smoothness and accuracy of musical phrasing.
Fast and sudden movements, excessive stretching of the bellows, and the desire to put pressure on the instrument with excessive movements of the body are indicators of inept possession of the bellows.

To acquire the right sounding skills, at the beginning of training, you should play slowly and pull or push the bellows smoothly and evenly.
It is especially necessary to follow a clear change in the very direction of movement of the bellows.
So as not to break the structure of the musical phrase and not to distort the duration of the sound.
Also bear in mind that the wrong method of changing the bellows can give double sounds.
Where they are undesirable, and thereby involuntarily distort the duration indicated in the notes.

Following this - do not interrupt or change the movement of the bellows:

a) Throughout the sound, whatever the duration, for example, a half, a quarter, or the 8th note.

Also with the tie on the same note through the barline

b) on the upbeat of the bar when playing scales

You should be aware of a sudden pressure of the bellows and a sudden stop of bellows movement. Which generates sounds that are extremely non-musical and unpleasant to the ear.
It must be remembered that on the accordion, the cessation of sound should be the result of the removal of the finger. And not the cessation of the air supply.
The movement of the bellows should always be connected to the music itself. The construction of musical phrases and the nature of the music dictate the direction and scope of the movement of the bellows.

Well, not only the ability to control the movement of bellows, i.e, pulling and pushing, is the art of mastering bellows.
This is just a simple and primary form of bellows motion control. A more complex art is the ability to create strokes as an artistic technique of performance.
A stroke is a more or less small movement of the bellows, directed at least in one direction. The use of one or another stroke (pulling or pushing) also changes the nature of the performance.

a) without strokes:

b) with strokes:

In initial training, you should not use bellows as a technique for performing fine finger techniques, playing staccato, repeated notes or tremolo.

Such types of playing should be performed with the right hand. Excessive movement of the body and unnecessary shaking of the instrument should also be avoided. In performing practice, many original strokes you have to perform with the help of bellows.

It would help you if you had your performing manner, and therefore students from the very first days of classes should take care of developing this important element of artistic performance.

Exercises

Perform all exercises slowly on legato with both hands together. Pull the bellows with your left hand, firstly with each hand separately and then slowly and evenly with two hands together.

Do not open the bellows widely.

Unwanted change of bellows and in the presence of a tie that combines different notes

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