Modern teaching methods consider the formulation of a set of conditions for playing the accordion. These include posture, instrument and hand set, and position. The authors of known accordion schools write or illustrate patterns that the accordion should be slightly tilted forward because this position provides the proper setting of the left hand, where the 4th and 5th fingers are on the main row.
The move of the upper part of the body of the instrument to the student’s chest, in their view, deprives him of the possibility of further use of the 5th finger of the left hand on the main and additional rows. But in the initial training period, as we know, have to solve very different problems. For example, learning the right keyboard is associated with the development of its speculative view. Therefore, the position of the instrument must be mastered first, and not the future usage of the 5th finger of the left hand.
When the time comes to use it, the learner is already able to set up an accordion in the right position, because by the time he learns the keyboard to find the right keys.
But when he is just beginning to learn the keyboard, then he can occasionally look at the keyboard. And for this, it is necessary to set the upper part of the accordion a bit close to the chest. The swimming coach applies the rescue equipment in the period of initial training, knowing that he will refuse them later.
Therefore, any temporary solution is possible if it is beneficial, as in this case, even necessary. And, therefore, contributes to the more rapid development of the playing of the accordion. One could argue that the teacher is obliged to coordinate the student’s movement of fingers on the keyboard, thus helping him to develop a tactile way to hit the keys in the correct sequence.
Yes, it is true, but the teacher can only do this once or twice a week. And the rest of the time the student practices himself with no help from the teacher.
And because he is in the position of controlling himself, why not allow him to look at the keyboard? Only need to be careful to ensure that occasional looking on a keyboard does not become a habit to watch continually. On the position of hands, you need to add the following.
As a rule, almost all beginners try to hold the Griff with the right hand while closing/pushing the bellows. Which can lead to negative consequences, if not paid attention to it. The most common reason for this is the large accordion shoulder straps on students’ home accordions.
Therefore it is necessary to make sure to avoid any kind of interference, the elimination of the consequences of which only slows down the learning process and student’s overload attention. Thus it is necessary to understand that any fixed position of the right-hand does not exist, except for its natural state during the playing.
This means that the hand is in a position which excludes a bend in the wrist joint. Which is a necessary condition for natural freedom of movement of the fingers and the hand at any time and in any direction.
This condition, in turn, depends:
– first, on the fingerings (as it is logical and convenient);
– secondly, by proper coordination of fingers and hand movements and, if necessary, the entire arm;
– thirdly, by maximizing the alternation of usage of stress and relaxation of muscles;
– fourthly, by matching the speed of the playing and the possibility of the student’s speed of thinking (i.e, how easily and freely the student may control his actions at a given tempo).
No other factors leading to stiffness of apparatus do not exist (if not taken into account, for example, physical fatigue, especially in the left arm). These factors, of course, are closely interlinked, and their division into major and minor factors makes no sense. Another thing is the leading factor. This one, in our opinion, is the fourth, since it determines the reliability of the control activities and as a result, the accuracy of execution. You can control the wrong fingering or wrong coordination, but you can not function properly uncontrollably. In this case, it refers to the principle of unity of consciousness and activity.
Violation of this unity leads to disruption of operations. In other words – if the brain follows fingers, then the body becomes stiff. So, the ease and freedom of action in a particular tempo is a consequence of the ease and freedom of thought (consciousness). Backbreaking tempo creates stiffness in the mind, in the mental activity (internal stiffness), which, in turn, causes stiffness in the body (external constraint), and as a result – restraint. In this regard, special attention should be paid to the process of changing the stress and relaxation of muscles, since this also depends on the state of the performing apparatus.
Psychologists have found that the only intention (idea) to make this or that movement is already causing muscle strain. Therefore, when playing the accordion, it is a natural and necessary consequence to have muscle tension involved in this or that movement. But it is also known that the constant tension of the muscles leads to fatigue. Moreover, the cessation of movements (for example, during a short break) does not relieve muscle tension. The secret lies in the fact that the attention of the player immediately focuses on the representation of these movements, which are carried out with the participation of the same muscles.
This tension is the cause leading to stiffness. Therefore, to release muscle tension, it is necessary to shift attention to another movement, which would stress completely different muscles, giving a short “break” for tense muscles. That movement can be, for example, removing the fingers from the keyboard along with the arm movement with the outside bend at the wrist. Thus the periodic release of muscle prevents them from permanent stress and hence clamping and stiffness.
To carry out these movements can take advantage of a pause between phrases, and so on. The phrasing of a musical piece defines “phrasing” muscles (tension and relaxation) or, in other words, the “breath” of muscles should be a reflection of “breathing” music.
In conclusion, it is not necessary to require it all at once. Everything – is necessary for this phase of training. After the initial period of learning to play the accordion should be the correct formation and consolidation of the performing skills – individual movements, techniques, activities, etc., and strong uptake of the necessary theoretical knowledge…