The Chromatic Button Accordion

Introduction – an Approach to Learning the Chromatic Button AccordionChapter 1 – The Direction ProblemThe VerticalsExercise 1Exercise 2Chapter 2 – The Intervals on the Vertical2.1 The Minor Third2.2 The Tritone2.3 The Major Sixth2.4 The OctaveChapter 3 – The Vertical Range Exercises3.1 Range Exercises with Individual Tones3.2 Range Exercises with Minor Thirds3.3 Range Exercises with Tritones3.4 Range Exercises with Major Sixths3.5 Range Exercises with Perfect Octaves3.6 ExercisesExplanation of the SymbolsChapter 4 – The Chromatics4.1 The Diagonal and the Direct Path4.2 The Horizontal and the Indirect Path4.3 The Bridge4.4 Range Exercises4.4.1 Chromatically ascending and descending4.4.2 Minor Thirds chromatically ascending4.4.3 Tritones chromatically ascending4.4.4 Major Sixths chromatically ascending4.4.5 Perfect Octaves chromatically ascending4.5 The Linear Chromatic Scale4.5.1 Exercises, Chromatic In Parallel Motion4.5.2 Exercises, Chromatic In Contrary Motion4.6 Simultaneous and Successive Exercises in Identified Intervals4.6.1 Exercises in Minor Thirds4.6.2 Exercises in Tritones4.6.3 Exercises in Major Sixths4.6.4 Exercises in Perfect OctavesChapter 5 – Four Other Intervals that Proceed Outward from COn the Direct Path from the First Row to the Second RowMajor ThirdPerfect FifthMinor SeventhMinor Ninth Formula 1 (Motto: to find something new, build upon something familiar)Exercises1. Vertical Range Exercises, Ascending and Descending2. Chromatic Range Exercises3. Interval Exercises – simultaneous chromatics4. Interval Exercises – successive chromaticsLessons 1 – 4Playing the chainsSummaryChapter 6 – The Five Remaining IntervalsMajor SecondPerfect FourthMinor SixthMajor SeventhMajor NinthThe Direct Path and the Auxiliary RowFormula 2The relationships in the arrangement of the keysThe transformation from the indirect to the direct pathChapter 7 – The Study of All of the Intervals on the Indirect PathThe Interception ProcessExercises 1 and 2: Connecting the Indirect and Direct PathsFormula 3Exercise 3: To Prepare for Fingering Variations A and BFormula 4Application of Fingering Variations A and B Using ExamplesChapter 8 – Chromatic Variations for the Preceding on IntervalsBuilding the ThirdsBuilding the FourthsChapter 9 – The Chords and Their Structure9.1 TriadsExercises for Triads9.2 TetrachordsExercises for Tetrachords9.3 PentachordsExamples of PentachordsChapter 10 – The Major Scales and their Three Basic Fingerings10.1 The Ascending ConstellationsExample: Sonata in D Minor by Domenico Scarlatti10.2 The Descending Constellations.10.3 Overview of the Basic Fingerings 10.3.1a First basic fingering, ascending10.3.1b First basic fingering, descending10.3.2a Third basic fingering, ascending10.3.2b Third basic fingering, descending10.3.3a Second basic fingering, ascending10.3.3b Second basic fingering, descending10.4 Basic exercisesChapter 11 – The Primary Five–Note Exercises In Major KeysChapter 12 – The Primary Five–Note Exercises In Minor KeysChapter 13 – Conclusion: Recognize – Think – Do“After–Thoughts” by Klaus–Ernst BehneAppendix – NotesElsbeth MoserAcknowledgements on the TranslationKey Pages for Orientation to the InstrumentKeyboard DiagramsNaming Conventions for Notes, Intervals, and ChordsCross Reference to Graphics for Intervals and ChordsChapter 3 – Positioning the Left HandCross Reference to Chapters between EditionsIndex