Complete and Systematic Accordion Course

1. Course presentation: Do you want to learn to play the accordion from the comfort of your own home at your own pace? As a certified accordion teacher with many successful students? I designed these course to meet your needs. I'm Stefan, an accordion teacher at a state music school with an academic degree in accordion performance. I've been teaching accordion online since 2015 and currently have around 30 active students of all ages from various parts of the world. From New Zealand. I've been having sons Stepan for three years. I started as a complete novice, and I found Stefan very pragmatic and very, very patient. Highly recommend Stefan reporting listens. I'm Pia from New York, and I'm a student of Stefan since 2020. It's been a truly wonderful ride for me to learn how to play. Oh, my name is Dobe and I'm from Singapore. I've been learning according with Stefan for more than two years. He is a great teacher. Thank you, Stefan, for all the progress I've made with you and no. My teaching experience, I have discovered the best and most enjoyable ways to learn the accordion easily and most importantly, how to be independent and creative in the future. This course will be very fun as we learn famous songs such as Jingobll, Kan Kan, K Serasa, Bella Chow, Wellerman, Waltz for Emily, and many, many other popular tunes. By learning these well known songs, we will systematically explore new lessons in AccordonPlay. By the end of this course, you will not only be able to play popular songs, but also develop the skills and confidence to explore your musical creativity with According enroll in the course today and check out my free samples with us to learn more. Join me to the musical journey, and let's make beautiful music together. 2. 1.1 Short Guide on Selecting the Right Accordion for Beginners: First of all, this course mostly is for piano accordion. But even if you're but on accordion player, you can learn a lot about how to play accordon from this course. So that's why my tips in this guide will be generally for piano accordion. If you are kid, definitely, you have to search for a small and lighter model of accordion. The beginner models have 26 to 34 keys on the right hand side, and 48 to 70 bases to the left hand side. This accordion, for example, is 34 keys on the right side, and 60 bases on the left with five travel switchers. It's very old, but very nice Welk Mr. StelllaGerman accordion. Also can be good for some adults who don't want to spend a lot of money on the accordon. This accordon is not very heavy, only eight kilos will be good for some ladies too. The only thing that I don't like in this accordion don't have the Dimanchechord, the last roll. If you want more professional accordion, at least 37 keys on the right side, 96 bases on the left side, and more than seven switches on the right side. Let me show you, for example, this accordion. This is in piator Balkan. The full size model, 41 keys, right side, 120 bases on the left, and 12 switches plus one extra. This accordion is made with Italian parts but crafted in Macedonia Europe. This one is 12 kilos. Tuning. So words about tuning. Accordion have different tuning. My accordion is tuned for classical and Balkan music. 440 hertz. In this accordion, I can play literally every type of music, but not going to sound very authentic. If you like to play mostly French, Italian, German music, search for zet tuning accordion. They have strong and distinctive tremolo sound. Everything depends on your taste. Budget considerations, piano accordons can range from a few hundred to several thousand dollars. For beginners, it's wise to find a balance between cost and quality. Used accordance can be a cost effective option. However, have a person with you understand about accordions and check it for any issues like sticking keys or damaged writs. Sound quality and construction. Italian accordons are known for their high quality, but German brands are also excellent. Look for an accordon that produce a rich, clear sound. Testing a few models in person can help you evaluate the sound quality. If possible, visit a music store to try different models, pay attention to how the keys and buttons feel and the weight distribution and the overall comfort. Ensure the accordion fins comfortably in your hands, and the keys buttons are easily to press. The below should be tied with good compression. Also check the quality of the straps and of course, read online reviews from the buyers. 3. 1.2 Basic Music Theory: Basic music theory. First of all, we have stuff. Stuff consists of five lines, one, two, three, four, five, and four spaces, spaces between these lines. Okay. Then we have travel clef. Travel clef actually are the nodes for the right hand, the keyboard. This is actually the travel clave this sign. Below are the five nodes. We are going to play soon, C, D, E, F, and G. Try to remember this order. CD EFG. Repeat many, many times, CDEFG, CD EFG. At the beginning, try to remember where they're located, especially node C. And a node G, especially this node. This is very important. C. That's why I put green. Go ahead. Base clef, notes for the left hand. This is the sign actually for the left hand. It's called base clef. In this course, I will write the left hand with letters like this, and I think that's going to help a lot, of course. But it's good to know to read this clef without written letters. In the first song, we're going to use only C in the bass. C G and F at the beginning. And from the arts, I'm going to explain later what is base, what is charts and what is. In the arts, we're going to use these nodes C again, G, and also F. Maybe same letters, but they're written a little bit different. You need to remember understand this C, G and F for now. No duration. Okay. First it all, let me explain what is bit. Or many often you can find count. Beat or count is the same, of course. Okay, beat is some regular pulse, just like your heartbeat or the ticking of a clock. One, two, three, four. This is actually one bit or one count. Whole notes. Whole note. This is actually the whole note. Many kids are joking that looks like potato. Okay, so whole note is having four bits or four counts. Let's try to count. One, two, three, four. Then we have whole rest. When you have rest, we are not playing music. This is the sign for the rest and it also is having four counts one, two, three, four. The next note is half note. One half note is having two bits, two counts. Let's count one, two. Then we have half rest. Also, these are a little bit similar. So the half rest actually is pointing up and is having two counts. Going ahead. Okay, this is very important note because we're going to have a lot. It's called quarter note. It's with black color. And it's having one bit. Let's try two counts. For example, here you have four. One, two, three, four. Then we have quarter rest. A little bit further in the course, we're going to learn eight node. Eight node is half bit. And when we are counting eight nodes, we're going to use the word end and we'll be like this one, N, two, N three, and four d, and eight rest. Like something extra. This is dotted half note and it's having three bits. Here we have half node plus dot. Three counts, three bits, and this is the rest for three bits. Let's count this one, two, three. Take a look one more time. Hole, half note, quarter eight. At least in the beginning, try to remember this half, quarter, and dotted in few song we're going to have. This one we're going to learn a little bit later. Okay, in this picture, you can actually see how they are connected. For example, whole nodes, four counts, four bits, then two half notes are making one whole note. For example, this is four counts, two counts. Then this is one count. Two quarter notes are making one half note. Four quarter notes are making one whole note. Pay more attention to the connection. And in the end, we have eight nodes. Take a look one more time. Four counts, two counts, one count, half count. All right. And like extra always, we're going to have this dotted half node which is three beats three counts. Here you have one test for homework, so you have to write the names of the nodes under the following nodes. For example, I'm going to help you. T is C. And you have to fill this example. C. Okay, let me help you with another node. This is E. Try to fill the rest. And then we have another homework. Here you have to tell how many what is this node and how many counts or bits is having this node. Let me help you, for example. This is half note. Half notes is having two counts. Okay? Yeah, like this. When you fill this, try to capture with your camera. When you complete, please use this link to check your answer. So this is important. First, fill the test and then check your answer. Check Do not check the test and then write the answer, of course. The point is to learn something from this course. Okay. In the end, we have bar lines and time signatures. Time signatures. This is time signature. It tells us how many bits are in each bar of music. This is actually time signature. In this case, four over a four tells us that there are four bits per bar, four bits. For example, maybe in this bar or measure we're going to have four quarter notes. One, two, three, Four. This is bar line. This is bar or measure. So actually, bar and measure same meaning. And you have repetition again what is beat. Beat or count is actually some regular pulse like your heartbeat or the ticking of a clog. Thank you for watching. 4. 1.3 Parts of the Accordion: Parts of the accordion. First we have Bello strap. You have to clip clip. Also on the bottom, you have to clip and clip if you want to play. Then we have right and left shoulder straps. Going to the right side, let me show you here what we have. Travel keyboard, black and white keys. Then we have travel registers or switches. So actually, when you press this, they change the color, the sound. Let me show you a little bit. You have deep. Very high. And a lot of combos. Let's go to the left side. We have here bellos. The bellos actually is the soul of the acordon music. You have to pull or squeeze, close the bellows if you want to produce the sound. Let's go to the left. We have here bass keyboard, bass buttons, bass switchers. Also, they change the color, the sound. We have here base trap. Here, we have one wheel adjusting for adjusting this base trap. 5. 1.4 Handling the instrument: Handling the instrument when you want to put the accordion in hard case, hold it from the top and the bottom of the bellow section, and gently place in the case with the keyboard going first. Let me show you. So the keyboard is going first. What is actually wrong? If you put the base part first and the keys actually catch the case and you can damage. This is very wrong. Just remember keys base, and that's it. The cordon has its own feet located on the base side. Let me show you one, two, three, four, four feet. And when it's not being played, even when you put in a hard case, it rests on these feeds. If you have more space at home, you don't need to keep it in the case all the time. Feel free to let it rest on its feet, but make sure to cover with something to protect it from dust, and don't store it in very cold or hot rooms. Something very important. When you need repairs, take your accordon to a good and experienced accordon repairman. Don't experiment with repairs yourself. When you want to clean it, this is advice from my repairman who is very qualified. Only use a cotton cloth or microfior for cleaning. And if it's needed, use a little bit water and then quickly quickly dry it with a dry clothe Let use alcohol. 6. 1.5 Correct Accordion Position: Chair. Sit on a chair without arms, sit on the front edge of the chair with your back straight and your feet on the floor. Straps. These are straps, shoulder right and left shoulder straps. So the left shoulder strap should be tighter than the right straps. So right always is looser longer. So you have to adjust it until your chin is directly above the keyboard. See, this is actually a good position. It's good to use a back strap. Using a backstrap helps keep the shoulder strap, position it correctly, and the colon will be more fixed to your body. Bserap. The basetrap should be tight, but of course, not too tight. You have to be able to move your wrist up and down. You have much more control when the basetrap is tight, especially to the bellows. As I mentioned before, quality, bellows, quality sound. Turning this wheel will help you to adjust this trap. For example, if you go ahead like this, the base trap is going tighter. If you go to this direction to your face, the base trap is open. Position of the accordion and legs. The bottom of the accordion keyboard must be positioned inside the right leg. This will keep the accordion fixed when you squeeze, close the bellows, and if not, we'll slide. This is actually wrong. When the accordon is sliding. The left leg should be held a little bit more forward than the right, something like this. The accordion should be positioned above the left knee, not the bellows. This is wrong actually if you position the bellows on the left knee. You have to position the accordion. The bellow should be free to open like this, like you show. Right hand position, it's very important to have your arm in this position. Take a look. Well, straight and raised elbow and this curve or also like this, never touch this edge. If the straps are not adjusted properly, as I mentioned before, and your accordon is too far to your right side, it will hard to maintain the proper arm position. About the finger, fingers should be positioned on the keyboard, all five fingers. Use the tips, not the nails. Fingers should be curved like holding a tennis ball. Left hand position. So the elbow is like this. This is wrong. This is wrong, something like this in this angle. Slide your arm into the dstrap until the fingers can reach the second row, like this. This is like a measure of how far you have to go. So the second row actually is the measure. Use the finger tips with a curved posture. It's great to have your nails trimmed. For example, what is wrong? If your fingers are too flat and you can touch with one fingers, two, three button, something like this. See? So that's why you have to use only the finger tips, right? Mmm Bellows. The bellows are the soul of the accordion. For a nice and quality sound, you must have great bellows control without any shaking or strench movements. The below should be open it like a book, let me show you. This is actually good. E says how the bellow should be opened, and you have to close on the same way. What is wrong, actually, if you close like this? Like extra tips. For the first practicing hours, my advice is to use a mirror or selfie camera in front of you just to pay attention to the base, to the right hand position to everything. If you have a smaller accordion, 12, 32 bass, 48, 60 bass like this, and a short keyboard, and you are an adult, you need to adjust the both straps to be longer. If it's possible, position the accordion on your knees like this to have better support. 7. 2.1 How the Fingering are Numbered: And how the fingering are numbered. This is important to mention because fingering is numbered differently than another instrument. For example, on guitar or violin, the index finger is numbered as a one. If you have experience with guitar, violin or other instruments, this information will be very important for you. Additionally, in every sheet music provided in this course, fingering will be written above the music notes. So for example, the thumb is number one, the index is number two. This is middle finger, three, four, and the pink is five. Same on the left hand. One, two, three, four, five. 8. 2.2 Playing whole, half, dotted half, quarters (exercises): The accordion keyboard looks like this one on a piano, smaller. On the keyboard, we have white and black keys. There are a few sizes of accordions, as I mentioned before. As a reference, we are going to start with the key seat which is before these two black keys. Dobla kiss, and you're going to find length this very quickly. So position your hand correctly as I explained in the previous video. Your fingers should be not too round or not too flat. First, you need to apply a little bit pressure of the bellows by pulling or pushing them, depending on the direction, and then press the kiss. It's very, very important to keep this position all the time when you're pressing, playing the kiss. Let me show you. So for example, we are making some pressure, and then we are pressing. You can try also with me. And then let's try to squeeze, making pressure. Okay. Fingers should be independent. For example, when pressing the second finger, try to do not raise the third or the fourth or the fifth finger. Keep them close to the keyboard. I call this, for example, flying fingers, and it's wrong. The fourth and fifth fingers are naturally weak fourth and fifth and may be difficult at the beginning to keep these two fingers close to the keyboard. So the most important thing is that you need to try all the time to maintain a good position and be conscious of any mistakes trying to fix them. Okay, before to start, pay attention that you have to start from C Tb like nose. This is C, position your arm, position your fingers, and don't forget. First, you have to make some pressure to the bellows, and then you have to press, for example, pressure sound. Pressure sound. Pressure sound. We are starting with whole note exercise. Before to start this exercise for the right hand, I have to mention that we're going to play the first songs with clarinet switcher. In my accordon it's second, but depends in some accordon on different position. In my accordance, it's written clarinet. If it's not written clarinet in your accordion, try to find one.in the middle. Also like a good switcher is soprn This is by the way plan Oring switcher. We can use this switch in the beginning because the bellos is better for opening open and close when we play with these switches. And also the sound is very light. I'm starting with the first exercise. We're starting with node C. So remember, where is C before these two black notes. Position your first finger like this, pay attention to the elbow, wrist and everything. Okay, and what important, try to count. If you cannot count, you can stop with your food. But I'm gonna try to count. And if you can't count with me and play. Okay, starting four counts each. Three, four. One, two, three, four, one, two, three, two, three, one, two, three, four second row. One, two, one, two, three, one, two, three, four, one, two, three, one, two, three, four. Also, it's very important when to change the direction of the bellow. If you realize I'm changing in every line, the first line, I have opened the bellows, and the next line I have changed to another direction. I close the bellow. But that depends of your accordon. If you have smaller accordon with not good compression, it's very, very important to open close in short. Direction. For example, you can start like this one, two, three, four, then change. One, two, change three, four, or at least in two measures, 2 bars, two measures. One, two, three, four, one, two, three, four, change four What need to know what is wrong, actually, what you never two. To change the direction when you hold the note. One, two, three, one, two, three. This is very wrong because you break the sound like this. Exercise Number two. Now, again, we have four notes, four counts note. But now we have some jumps. Pay attention to the finger numbers if you still have issues to read the note. Try to play with me. Now I'm gonna try to open into measures to open too close. Again, I'm playing with clarine. Three, four. One, two, three, four, one, two, three, four. One, two, four, one, two, three second row one, one, two, three, four, one, two, three, four, when you play the exercises, try to be smooth and don't make breaks between the bars. When you play a note, don't focus only on that note. Always look a little bit ahead. For example, at least in the beginning of the next bar, always try to plan your next note or move. Half notes exercises. Exercise number one. Now we have half notes, which means you have one note is two counts. One, two, three, four. Okay, again, we're starting with C. Mostly we're going to start with C first songs, first exercise. Two black nodes, C, position your thumb. Pay attention to your wrist. Maybe I'm going to mention many times in this course. Your wrist, your elbow, your fingers have to be positioned like this. Try to do not have flying fingers. Okay, let's start. Three, four. One, three, one, two, three, two, three, two, 331, two, three, four. If you want, let's go a little bit slower. Now, one, two, three, four, one, two, three, one, two, three, four, and, et cetera. About the bellows, for example, here I change the bellows in every measure, but I can do in two. So this depends a lot of your bellows. Exercise number two. Again, we have half notes, two counts, two counts, no. But now we have some jumps. We are not having some order. Pay attention to my fingers and pay attention to the nodes and also to the temple. Let's start. By the way, we're starting again from C Three, four. Second roll. Change the direction. One, two, three, four. As you mentioned, the last note is four count. This is a little bit different in this exercise. I'm going to play one more time. Last two measures. One, two, three, four. Hold four counts. One, two, four. He. Dotted half note exercises. So these notes actually is having three counts one, two, three, one, two, three. We're going to count now in three. Again, we're starting from CPP. Remember, two black dose here. Position your arm, wrist, everything, bellows, Legs, and we can start. Two, three, one, two, three, one one, two, three. Here I change the bellows in every line. Fnac, I'm making different types of bellows just to show you that everything is possible. You have to be flexible with the bellows. And also depends what type of accordion you have. If you want, also, you can change in every 23. But try at least to have less change. Maybe you can change in two in three. But for example, I'm here changing in whole. Dotted notes, exercise number two. Now we have some jumps here. I mean jumps because we don't have order like the previous. Again, we're starting from C. So let's start. Two, three, one, two, three, one, two, three, two, one, two, three, second line one. Two, three, one, one, two, three, one, two, three. See? My bell last night was very good. Quarter notes, exercise. Exercise number one. Again, we're starting from C. Now each note is having one count. So these black notes actually represent one count. Again, starting from C, attention to the fingers to the hand to the bellows, first make pressure, then play. Three, four. One. Change the bellows. Four. Exercise number two. Don't forget to look a little bit ahead because now we have faster nose, you have to look a little bit ahead. If you want, you can slow the temple. Exercise number two, starting from C, three, four. Two counts in the end. Because this exercise was a little bit longer, you can break it. So for example, you can play first two measures, then go to the next to the next and then connect. If you're a little bit advanced, you can go first line and then practice only the second line. And in the end, you can connect. So no rush with this exercise, it's a little bit trick. In this second exercise, the finger numbers are not written on purpose. When you practice this exercise without the written numbers, you will learn these five nodes faster and better memorize which fingers places which note. For example, C will be played with your first finger, deal with your second and then so on. This approach will also help you to develop some independence. Try to practice this exercise a little bit more than others. And 9. 3.1 Bass Keyboard and the Bass Method We Will Use: This is the base chart. For now, you have to memorize only two rows. Let me show you. The second, I'm starting from the bellow side. I'm counting from the bello side. It's called the fundamental base roll or just the base role. And always, you have to use the fourth finger, this one more time. This role, it's called fundamental or base. And also, you have to memorize from now the third row from the bellow site. Which is called majored row. And always, always, you have to use the middle third finger. So fourth on the base on the fundamental and third, which is next to the major row. Before starting the exercises, I need to quickly explain which base method I'm going to use. I use the 43 fingers method for playing the bass instead of 32 method. Some of you might already be playing with the 32 fingers method, or maybe you have watched some YouTube idles, tutorials for 32 metal before buying this course. The 32 method, mostly is used in America, while the 43 method is used through Europe, Russia and China. Why to use 43 method, four and three, fourth on base or fundamental mental base and three on major fourth throw. The most important reason is that the 43 method allows the left wrist to be in better angle for playing and maneuvering the base buttons, especially in more advanced positions. Let me show you for three, two, Look the angle with 32 and with 43. Another important advantage is that you will control the bellows much better when the four tree method. You have to remember this. If you have good bellos control, leads to a nice and quality rich sound. 10. 3.2 Left hand (bass) exercises: Eft hand exercises. Before to start, you have to find one node, one base, which is totally different than everything else that every other base. If you have a use mirror, maybe where is it? You can find this base. C. But if you don't use, maybe just search like this. And when you find something different like a scratch, like a hole, this is actually C, the C fundamental base, somewhere in the middle. So no worry if you cannot find very quickly this base, after few hours practicing or days, you're going to find after that, very quickly this base. I'm finding what easy. So this is base C. The exercise number one is starting with base C. Also, what you need to know about this exercise. The capital C written in this exercise, that means the fundamental basis, the second row. Going to be played with going to be written with capital letters. So I'm starting the first measure. You have to play this exercise short. We have only four fingers, only this fundamental base. Let me show, three, four, three, four. Next measure is G. Where is G? Just you have to slide like this above. See, the same finger, and you're gonna find G base, which is above. I'm playing now second measure. Four. Third measure, back to the C. Also with four finger. One, two, three, four, G, one, two, three, four, second row, 12, three. Careful now. Now we have F. Where is F one button below. So with the same finger, you're sliding down. F. A short. One, three, three, four. Back to the s. Three, four. And the last measure when we need to hold four counts. We have F. Let me go in a little bit faster tempo, the same exercise. Starting from the beginning. One, two, second, J. Short. Second line. One, ten, three, four, one, two, three. Hold. One, two, four. I'm going to repeat one more time. Capital letter means second row, your fundamental base. Exercise number two. Now we're gonna play major chords. Where is major chord, third row, but how you can find? First, you have to find this C basin which having cold, scratch, whatever, with your fourth and next to the fourth, its third finger. That's CM, which is actually C major basin. So, look, I'm going to repeat finding first, C base with your fourth, and the next one is C major. Always, we're going to play with the third finger, with your middle finger. In the sheet music, by the way, it's written like the CM, which means C major, capital C, capital M. Let's play the exercise. Three, four, one, two, three, let's go up to G. Also with third finger, G major chord. Three, four, back to the C three. Three G. Short. Forget to play short. Then second line. Four. Then we have F, which is below down. Also with C. So I'm just lining my finger. And in the end, you have two counts, no. Three Exercise number three. Now we have one combo, fundamental bass, capital letter in the sheet music, on the C, for example, and major chord in the sheet music is written with capital C and capital M. We're going to play in the bass with our third finger. Let's start. Three, four, base chord. Fingers. Now we have G, right? Going up. Time going down. Don't forget to play short notes and don't forget to make pressure to the bells. Otherwise, there is no sound. Okay. Last roll, last measure. Let's go to the next row. Three, four, F, which is down. C. Now you have to play together. Okay, because this is very important. Exercise. I'm going to repeat one more t in a little bit faster tempo. Three, four. Three, four G. Change the babels 11. 4.1 Whole note with quarter note bass: It's time to start to play together. What we have in the right side, we have whole notes for counts in the bass, we have quarter, not one count. So now I'm going to start to play in some regular tempo. Then I'm going to explain separate hands, right, left. And this is by the way, the best way how to learn something together. To break it, right, left, and then put together. But first, just to know how it sounds, I'm going to play together. By the way, I'm using again, clarinet switcher. Starting with C, pay attention to the hands to the wrists, to the bellows, and you can start. Three, four. Hold it one, four. Okay, now I'm going to show you how to play on the same exercise right hand slowly, then left hand slowly. You have C. Don't forget what is C. We have four counts. If you want, we can do it slow. Three, four, one, two, change the ball. One, two, four. Don't forget to have constant pressure to the battles when you open and when you close. Let's go to the left. Now, let me show you the left. We are starting with C. We have base cord cord, cord or fingers, four, three, three, three. Three, four, C major first. G. Look a little bit ahead to the ship Yes. Playing short left. By the way, about the base, you can in line according, I find this switcher lesson the most beautiful for me. Action but feel free to use whatever you want. It's not something some problem. Same exercise but slow. No. Four. Exercise number two. I'm going to play in regular tempo, and then I can slow, separate left hand. Three, four. Tent Change direction of the bello four. Let me show you now the separate hands. Let's start with the right hand. Pay attention to the finger numbers. Three, four, one, two, one, two, three, 123 second line one, Let's go with the left. We have C major. Four measures. Three, four. Second measure together. Now I'm gonna play slow. Wait second. Remember this, it's very important to practice slow and then gradually increase the speed. 12. 4.2 Half notes with quarter note bass: Now we have half notes on the right side and left hand, we have quarters. I'm gonna play in regular tempo. So don't forget this is very important about the bellows. When you open, the gravity actually is helping to open the bellows to make nice and rich sound. But when you close, you have to close the bellow consistent. So what is wrong, for example? See, this shaking section is not very good. So you have to push very consistent all the time, like this. No without some shakings. This is good ballos. If you are making like this, this is actually bad. I'm gonna play the right hand on it. In a little bit slower time you can follow me. Three, four. One, two, three. Second, one, two, three, four, one, one, four. C, my bellows, my sound is equal. Let's go now to the left hand. So you have C major. Then our psycho J, which is top and hold four counts. Four. So see I'm closing. If you finish like this, for example, with open and bellow, this is really wrong to close the bellows like this. Or. So you have here one air button. Okay? The error button actually is helping to close the bellows like this. Okay. Now I'm gonna play together, where is log three, four. Second one. Four. 13. 4.3 Quarter notes with quarter bass note: Now we have quarter nose on the right hand, quarter nose on the left. The quarters actually the black nose written in the Sheet music. I'm gonna play in regular time. Exercise number two. Second row. Okay. Let me go with the right hand. Slow. Three, four. Hold here, one, two, four, second row one. Four. Okay, let's go to the left hand. We have C major, three, four. Tap tap based I need to hold Second row four, one, two, three, four, p. Short bass. Let's try it together. I'm going to play slow. Follow me. Three, four. You can change the balls here. Maybe this exercise can be a little bit difficult actually about the rhythm. So you can separate this exercise. You can practice only the first line, maybe separate hands, right, left, right, left, then put together, only first line. When you're done with the first line, then go to the second line, then focus to the second line. And in the end, you can put together first and second line together. 14. 5.1 How to practice songs: How to practice songs. This is one short guide like introduction, how to because after this lesson, we're going to have songs. So first of all, you have to break down the song, what that means. Hand separately. Practice the right hand, the melody, and left hand, bass and chord separately before combining them. Section, divide the song into manageable section, focus on mastering one section at a time before moving to the next. Start slow. Slow tempo. This is very important. Begin practicing at slower tempo than the original than the regular tempo. That allows for a better control. Also, then you have to gradually increase the tempo. Gradually increase the tempo as you become more comfortable with the piece. Focus on the technique. Finger position. As I mentioned before, try to don't have flying fingers and pay close attention to the proper finger preposition and transition between the nodes. By the way, if you realize I wrote a lot of numbers in the sheet music. Bellows control, practice smooth and even bellos control movement, ensuring consistent volume and expression. Count to develop a strong sense of rhythm or use a metro. You can count loud, one, two, three, four, or maybe. Tap with your foot. But of course, try to not be very loud, louder than playing. Repetition, repeat difficult passages multiple times to build muscle memory. Practice mindfully. Focus practice. Avoid mindless repetition. Focus on specific goals for each practice session. Break, take regular breaks to avoid tiredness and maintain focus. Use visual. This is for the sheet music, visual and oral signs. In the ship music, follow the ship music closely, paying attention to markings and instruction, and always look ahead to the next measure. This is very important. Always, you have to planning the next move, ear training. Practice playing by ear to develop a deeper connection with the music and stay consistent in the end. Regular practice, encourage daily practice. Even it is for a short time to build consistency. 15. 5.2 My first song: My first song. Okay, for example, this song, we can play with different switcher. I'm suggesting here Bandanon. If you don't have Bandanon, try to use some sound which you sound deep low. Okay, I'm gonna play the whole song in regular tempo. We're starting now with five. Till now, we have starting always with C. But now we are starting now with June 5. I'm gonna play the whole song. What I did about the bells, I changed in every two. Two I open it to two measures, I close the bells. Now I'm going to explain just the right hand. I'm gonna play in slow tempo. You have half notes, two counts notes, one, two. And in the end, you have four counts notes whole note, follow, and you can count it really important to count if you want to have nice rhythm, nice sense of rhythm. If it's difficult to count loud like me, one, two, you can tap with your food. By the way, when you put together, it's easier to count because the base actually it's counting for you. Okay, three, four, starting with G. 01. One, two, three G to the second line. One third line. One, two, three. By the way, if you really realize the third line is literally seen like the first. One, two, three last row. One, four. Let's go to the left now. So you have this type of pattern. Base. Play short. Then you have G. G. G second line. Again, G then Third line. This is same as I mentioned with the first line. G. Last line C Hold. Okay. Now let me try to play together. Where slow? By the way, if it's difficult to practice the whole song together, slow, you can make a section. For example, first line only together, then go to the second or maybe first and second line, together, then third and four. I'm gonna play now the whole song, super slow. Three, four. Change the bellows. Third line, which you say like first first 16. 5.3 Ode to Joy: It's time for Mozart, Old to joy. Now I'm going to back to my clarinet. By the way, you can experiment with a lot of features. For me, this song, for example, sound best with clarinet feature. Okay, we are starting with middle finger, third from E. I'm gonna play in regular tempo first. I'm gonna explain now the writing. Slow. We have middle finger, third on E. You can follow me and play slow. Three, four. Four second line. This is like the beginning. This is different. Okay, Linn. We have C major. G G. Second line is repeating. Just in the end, you have this G major. And see hold. Now let me play with both hands. Super si. Don't forget to the bellows, to create nice bellows, especially when you close, consistent pressure. Like this, not with shaking. Otherwise, you're going to have beds out. Three, four, three, What a melody. Very nice. Okay, it's very important. If you have if you have now will be wonderful. If you cannot, I have exercised a little bit further. So the right hand is great to be smooth. Connected. Left to be short. Okay. So you have to make in dependant hand here if you can. Right hand long. Smooth, left hand short. If you cannot from now, no worries. I have exercise which go to help a little bit further about this. 17. 5.4 Mary had a little lamb: Mary had a little lamp. Again, I'm gonna play with clarinet. 1.in the middle is clarinet. Okay. What you have in the right hand. Let me explain the right hand. Starting with E. Like the previous song. E third finger. You have to hold here. Hold H 14. Let me explain the left. You have C major. But replying. Now I'm going to play super slow bulkis. Allow me, three, four. Second line. Okay, now, for example, I finish with the bellos like this, so you don't need to close the bellos like this. Have the air button. Don't forget this. 18. 5.5 Lightly row: If roll. I'm gonna play the whole song first in regular time, starting with Gino with my five finger. Three, four. Second line, third line. And let me explain the right hand. By the way, don't forget about the elbow. To hands nice. So if you have this position, the flow is totally different than this. Okay, starting with G, fifth finger, you can count with me or tap with your foot. Three, four, 1311 second life. So Last line. Hold for counts. One. Let's go to the left hand. Okay. C major. Same pattern all the time for till now I'm playing the same pattern. Bass, in Cool. Then we have G. Be careful now. I'm going to change a little bit. In third measure, I'm changing the pattern. I have C. Go to the G directly. Back to the C. Same line. Second line is totally same. C, G. In the third measure we're having this. C G. Back to the C. Third line. G G C. See. Now again, S one, one, and finish with the C like this. Let me do it now. Slow the whole s. So you can pay more attention to this. Change G second line, which is This is different. Third line. P Last line, which is almost same like the second line. The same bass pattern now. Same. Because this song it's a little bit difficult. I advise you to do it in section. Maybe first line, maybe only second, first and second, third and fourth depends. 19. 5.6 Jingle Bells: Now we have Jinko bells. I'm gonna play regular tempo together. Jingobll song is starting on the right hand with E. Middle finger, third finger on E. You have this. You can count with me, three, four. Four, repeat. Then smell. Then you have F. Tap. Hold here. This is pit Wiping from the first line. 3434 four. Okay, let me explain the left hand. Now you can pay a little bit more attention to the left hand because we have some new things here, new bases. We have C major. Then careful here. C, going down to the F for a while, back to the C. Second line, F, which is below C, C. Now careful here. We have here one new base, D. Where is D? Lo carefully, this is C. Two buttons above is D. Actually above G is the base D. This is new base. Maybe you have to practice this jump a little bit carefully. C. If it's difficult to reach this jump directly like this. Maybe you can go like this with sliding. S slide slowly and find D. After that, we have G. Third line. For a while back to the four line together. Okay, let me play together in slow dance. Three, four. Careful hinge DT is like the first line, by the way. It's repeating. Fourth line, which is similar to the second line. About the bellows, you can open in two measures to open to close. I'm using also the clarinet here switch. 20. 6.1 Dotted half note exercise: Oh Now we are starting with new section about dotted half note. We're going to have different type of notes here and also different base pattern, different rhythm. So in the beginning theory of the music lesson, I mentioned about dotted half notes. Dotted half note when you put that dot, and that means that you have three counts one, two, three. So each measure here gonna have three counts. I'm going to play this exercise together in regular time. In the base, we have this written now. Four. Two, three, four, three, three, or like a counting one, two, three, one, two, three, which is also well known like a waltz. By the way, if you can from now, it's very good to play the bass like this, like a waltz. See, this is what typical waltz rhythm. So what I'm doing, actually the bass I'm connecting bass with my chord. If you can from now, just play short. A little bit later, we're gonna try again with this type of bass. I'm gonna play the same notes, the same exercise with regular time. But I If you finish like this, hold the balance like this with the hair button. Let me explain the right hand slowly. We are starting with C. Three counts, each note. One, two, three, one. We have order here E Third line. 102 repeat. Let's go to the left. As I mentioned before, try to play the bass like this. Then we have death. Second line. C. S S F jumping to the G. Be careful here. Jumping Sing do it together a little bit slower, of course. One, two, three, start. 21. 6.2 The waltz: Now we have one song, which is called the Waltz. One, two, three. Repeat first slide. Second one. I'm going to explain now the right hand. By the way, in this song, we have something new that you need to know about the theory. You have double dose. This is actually repeating sign. So from the double dots, you are repeating to another double dot. And also the was in your left. Let me explain to h repeat for sake of life. Ast line is literally same like the first. The bass. We have. So this is the rhythm that you have to follow in the bass. If you can. If you cannot. Even this, it's okay. Try it together. Super stow. One, two, three, three. Maybe this can be a little bit trickier for you. I know it's a little bit difficult. So you have to change the note in the third count one, two, three. It's a little bit tricky written, but you can do it. Repeat sign. About the bellows. I have changed the bellows in my two, and I closed the bellos to the next two measures. 22. 6.3 Ukrainian folk song: I'm gonna play the Ukrainian folk song in regular Tempo. Let's change the switcher, for example. This song for me, for example, sound the best with organ. This is mostly taste what kind of switcher you're going to use. Maybe later a little bit, you can do different type of switcher, depends on the character, depends on the style. But I'm going to explain a little bit more ahead about this. Now let's play with organ, this song. Maybe a little bit difficult to play here smooth on the right hand. No worries. You can play. If it's easier like this, it's not wrong. Okay. I could play the regular tempo. One, two, three. Let me explain the right hand now, starting with with my thumb. One, two, three, one, two, 121 to change the ballot. 11. What you have in the left? And by the way, as I mentioned, also, this is type of waltz. So three fourths time signature actually was. If it's easier, I'm going to repeat it one more time. Play like this. But what you should do? F. Second, C G. Let me do it together now. Super slow. One, two, three. So a. 23. 6.4 Allegro: This song, also, I'm going to play with some deep switcher. Is gonna use now organ. I'm gonna play in regular tempo? One, two, three, another one. Oh let me explain to the right hand what you have. Starting with G, three counts notes. Dotted half note. One, two, three. One, two, three, Third line? This is seemed like the first line. Line hold it. What is new in this song? What's the new lesson here? You have one curve line, which is called tie. When you have that tie, this tie actually is connecting to null. That means that you don't need to repeat this node one, two, three, one, two, This is wrong. So you have to hold three plus three. You have to hold six like this. Or holding above the ball this is super, very important. Don't change the direction of your bellows when you have tight notes. So when you hold some note, we are opening the bellows or we're going to close the bello. Try to do not change. Otherwise, look what can happen. See you break the sound. Ahh, this is wrong. Okay, let me now explain the left hand. You have C, You can play because also this is waltz. You can play like this. We have mostly C G, C G. There is no F here in this. Let me do it now together, super slow. One, two, three. Smooth writing is possible. Would you see like this first? Last life. Uh, 24. 7. When the saints: When the sends come marching in very popular song. I'm gonna use here clarinet. By the way, if you have also wins good switcher for this. Wolin is two dots in the middle. Also, it's very good switcher for playing, according. I'm gonna do it actually with wiling. Let's try with wowing to listen that sound. Okay. I'm gonna play the whole something regular tempo. What a beautiful music. What you need to pay attention here? You have tie. In the second measure you have tie, what was tie when we're connecting the notes and we're holding without break. So for example, 12345 were going to have. Also, the new lesson that you need to pay attention here in this song is the incomplete measure. For example, the first measure is starting is incomplete. Don't have four counts because here the time sin is four, four. We're not going to start one, two, three, four, but the melod the note is starting from the second count. And the count which is missing, you're going to find in the last plus measure. So we'll be something like this. One See. Okay, we're starting with town. Then we have three, four, five, one one one I'm closing the bellows because I finished my d. Maybe you're going to have some troubles about the bellows here because there is a lot of time. So no worries. If you have better acordon maybe you can handle. But if you have small aquadon, here is not problem if you change not very good the bellows. Here, we can make. Something like this, for example, about the bells, if you have smaller cordon. Maybe change here in the middle of the bells. Here, it's okay. Okay, let's go with the left hand a little bit. We have this type of base now. Be careful. We have different pattern. Four, three, four, three, four, three. Please, quick please, quick please, please. Quick. We have C. Then second line, we have also C. Then G, G G, G, then we have C. I measure 11, we have only here and only on 12. And then go back to the C, let me do it together. One I because this song is a little bit difficult. My advice is to practice more right hand. And then when you're done with the right hand, put together and practice section by section part by part, measure by measure. And like this, for example. Especially here. Then just repeat the same one until it's not perfect. 25. 8.1 London bridge is failing down: Now we are learning new node. So what we have to D F, G, which was five. Now we're learning new node A, A is here. So somewhere in the three black nodes after two black, it's A. That means because we're learning new node, now we're going to change the position of the fingers, for example. We're not going to have from now like the rule that C should be one or G will be five. Now we're going to have different positions. We're going to stretch, we're going to jump, maybe we're going to swap the fingers from this song. So the first song from this section, from this chapter is London Bridges falling down. We are starting from G with the fourth finger. See, this is a little bit tricky. Till now we have G five fingers, but now we're going to start with four. Let me play first in regular tempo. To let me now explain a little bit, the right hand what we have here slowly. We have G fourth finger. One, two, three, GG, second line. This is same from the beginning. Now careful here. From here, you have to stretch D two, and G five Let me do it one more time. G here five. In the left, we have this pattern, four, three, four, three, base four, base, core, In this song, we have C and G O. Let me do it now. Slow. Hold hands. Say line Careful here scratch Pi on ill So you have to be careful with this song because if you pay too much attention just to the numbers, to the fingers, maybe you can play wrong noes. So in this song, also, you have to pay attention to the nose, not only to the fingers. 26. 8.2 Carnival in Venice: I'm gonna play in regular tempo this song. We have waltz written. Starting with incomplete measure. One, two, three, By the way, I have played this song with Deep switcher Van Donnell, in this case. Let me explain the right hand slowly. One, two, three, starting with G, fourth finger. Rest. Rest. Rest. We have to stretch here. So what we have stretch a little bit. You have to adjust here the fingers. Also, you have a lot of rest quarter rest on the right hand, so pay attention, be careful about coordination, right lefthand. Let me do it the left hand, though. We have waltz beating. Right. Right. In the whole song, you have C, G. Four, three, three, four, three, three, pop rhythm. Let's go together super slow. One, two, three, West stretch. Most of meals with Airbus 27. 8.3 Oh Susanna: Okay. Oh, Susanna. I'm gonna play this song with Banderon with Deep switcher. A little bit difficult so is this. So be careful about the right hand to the coordination. Just follow my instructions. We're starting with incomplete measure. That means about the counting one, two, starting with C. What I did here, five, I changed to four. See, I swapped the finger. This is very common in accordion plane. Changing the fee the finger, shopping. We can stretch here. One, two, three, s repeat repeat sign. You have here first ending that number and the top means that you have to repeat from the double dots. And then when you go, you have to skip the first end and go directly to the second end. So we have here first ending, first time only, and second time only. Let me play and you will understand better like this. Then we're repeating switch Second ending now. We need to stretch now, and we have F. One, two, one Pay attention in this measure. We have G then. Stretch here. Look what position you have G with second. D with to one, this is repetition. What's the beginning? It's repeating to last line. Here, my advice is to practice many, many times the right hair, right hand, especially the first part. Then when you're done with the first, then go to the second part. The second part, this is actually new. And after that, the first time the first part it's repeating. I'm explaining now the left hand of Oh, Susan. We have this type of base three, four, three, four, three What do you have here? C? What words? The above G. So we have C, John, then G, G like this. Four, three, three. Rest. See G Then you need to repeat from the double dose, playing the base, playing the base. And when you're to the measure seven, from the seven, you're going directly to the nine. So now, as I mentioned when I play the right hand words kiping measure eight. So we have I'm going to play from seven measure seven, second line. Go to the second ending. Then when we have F major together, four and third. So be careful here. So S. Jump. This is by the way from the beginning. Rest. Rest. This is repeated by the way. Jump Rest, S I'm gonna play now super slow, both hands. Sweet. Croll here, jump on the base Here, you have to be careful in this measure. Last pace. Sweet. First ending vis from the second jump in the second ending. And one debas It's repeating Db here. Please be patient with this song. It's a little bit difficult, but I'm pretty sure that you can do it. 28. 9.1 Staccato touch: The staccato touch. What is staccato, actually? When you have in the sheet music dot above or ballo a note, that indicates that that note is to be played staccato. What means staccato, when we play short? The note. This short articulation is called staccato. Tap app, ppp. Look at my wrist, how is jumping. Pop ppp ppp. I'm using mostly my wrist. Also, you can make from the agar. But Tapp taps maybe a little difficult from now. But now. But you can do it like this. With a free stu, it's much easier. P p but 29. 9.2 Staccato exercise: Now we have staccato exercise. By the way, in this exercise, the fingers number are not written on purpose. Why? Because I want to work a little bit on your creativity of and also on your independence. If everything is written, you're going to be very addictive to the course to the sheet music with written fingers. So you have to be a little bit creative and independent to create your own fingers. By the way, it so very difficult. Just follow my instruction and and you're going to understand how to play what kind of fingers to put here. Okay, as I mentioned before, in staccata notes, we're using the risk and playing short notes. Let me play in the right hand first. Pop pop, pop pop pop pop pop. Second line. Pop pop pop pop pop pop pop pop pop pop. Hold heads. In the bass, we have Sing Sing. Second line is the same. Just in the end, we have this. Let's do it together. So mostly here, actually, we're playing the bolt heads short. Look 525 Let me do it slowly. This measure can be tricky. Oh 30. 9.3 Introducing new note “B” and Old MacDonald song: And now we're going to learn new note, note. So let's make one short review. D, E, G, A. And this note, after three black notes is B. Baby. So in this song, Old McDonald, we're gonna have for first time B. Also, we're gonna have different positions. For example, careful now. G will be third. D will be one, B will be five. Okay, let me play in regular tempo first. P, p, p. Also, like a new lesson in this songy, this is this imitation. We are playing kinds of bass solo now. Look. Pop, pop pop. P. Then right. Pop, pop. Let me play the right and explain slowly the right hand of McDonald's. As I mentioned, third finger on G D one, B five. So you have to position like this. Three, four. Compress the distance. Look. B, B G. Repeating. You have to stretch a little bit here. Four. Rest. Rest, rest, rest, rest. Stretch here, rest, rest, rest, rest. Last le By the way, even if it's not written, this almost should be Scat. Short articulation. Let's go to the left. We have G. No. A. M. M. Careful now. C, C, GH then D up. Jimmy You need to repeat because we have doublets. Second line. Rest, rest, rest. Rest. Rest, rest, rest, rest. Jim the third line. This is same like the first line. Jim, Jimmy. Let's go together slowly. Three, four. And that's a little bit pop. Something very important. Mostly, we are looking to the ship music, paying attention to the ship music. Not like this or I don't know. But when you have some jumps, for example, here or here, it's okay in this in this level to look down only when you have jump, for example, Sheep music? Pop. Now you can look to the keyboard. He 31. 9.4 Legato touch: The legato touch. The legato touch is opposite of the staccato touch. What was staccato? When we bounce like this. The nodes. Legato means smoothly connected. The nodes are connected to each other and played without any interruption or rest between them. So the previous key is released only when we start to press the next one. So that there is no interruption in sound. Legato is usually indicated by a slur or phrase mark. It can be also indicated by the words legato or Sempra legato. In accordant plane, Bellos control is crucial when we're performing legato. You need to find the perfect gap for changing the bellos direction. Otherwise, you risk interruption, the smooth sound. 32. 9.5 Legato exercise: Okay, now we have one Llegara exercise, but I'm gonna play in regular time. Okay, let me explain the right hand now. So this sign, actually, this slur actually is also phrase mark. So when we are playing smell And here, we have to make one short. Yeah, actually, we have to release here the sound. Why? Because like this, we are making some music sentence. For example, this is one sentence. Second sentence. Like this expression will be very good. Let's go to the second now. F, G G two, three, four, third line. Laughing is very basic. See. Like this, this I like bass fourth We have CG, C G, and in the third line, we have F major. Okay, let me play slow. Gap. So see, I'm changing the bellows when I'm making the gap. A major. Change the bellos Here, try to have nice coordination, right to be smooth, left to be sure. If you have issues to do that, you have to make super slow. And with a lot of attention to the left. 33. 9.6 Polka: Going to play now one polka, I'm going to use the clarinet. We have here combo of staccato and legato touch. Let me play in regular tempo first. Right here, we have short articulation, first. By the way, now we are going back to the first position. C will be first finger, G will be 50. Okay. One talegato Smooth. Cube third line. Third line is literally same like the first. One TTT. One hop, hop, hop. Okay, let me play the left. Left, it's easy here. Then Jim we have CG, CG, there is no any other. Let me do it with both hands super slow. One, two. Short. Smooth. We can change the bellows by the way. Third line, which is literally saying like first. Short. Change the bellows. Now short. Rest. He 34. 9.7 My Bonnie: My bonny with famous song, I'm gonna play with clarinet in regular temp. Let me explain the right hand. We are starting with one stretch. And also incomplete measure. So the counting will be like this one, two, three, stretch here. On line 23 Rest, rest, third line. Like this, and. Let me do it one more time. I'm playing turbine. Look what we have seen. Now, we're compressing this distance, putting the thumb to D, and G four. D That's it. Also, the left is a little bit complicated, but you can do it. We have wild Bet three, four, M. Starting with F. Okay, this is new base. B flat. Be flet is below F. Sounds like this. So C, F, then it's coming B flat. Let's start one more time from the beginning. M B flat Back to the M. Jump into the gym. Second line. M B flat M jumps third line. Be let. This is a little bit tricky. You have to jump to the gym. Maybe you can work a little bit slow. So be flat. Slide to the gym. Last line. B J. I'm gonna play super slow with both hands. Scratch me up. Stretch retep distance we fly and continue very similar to the third line. We jump on the base. Okay, this is a little bit difficult song. You have to work super slow section by section. Many, many times right hand, maybe many, many times left hand, then put together, but super slow section by section, part by part, measure by measure. Don't forget that you have a lot of stretches, stretches, everything is mentioned, the sheet music. But also, you have a lot of tie notes. Pay also attention to the thy notes. 35. 10.1 Introducing note “C” (second octave) and C major scale: Introducing new note. Actually, it's a new note, but it's repeating. This is very interesting. We have C here. And now, again, C, but it sounds one octave hard. This is, by the way, one octave. So what we have seen S's repeating, but in different octave and it's written in the sheet music, different. You have example. Okay, now we're going to play the C major scale. What we have C Tap Now what we are doing, putting the tamp under the third finger like this. See? Then continue with two. Let's go back fine. One now over like this. Let me do it one more time. Mother. Try to play smooth. Okay. Okay, this al is very important and try to practice this al many times dai. And 36. 10.2 The Can Can: Can can Right hand, starting with C. Now in this song, we're going to have the eight notes included, starting with C. Four counts. One, two, three, one, two, three, four. We're changing the position because after that, we have A. One, two. Change one, Careful now we have jump actually the C major scale. By the way, as I mentioned before, when you have some very big jump, feel free to look to your keyboard like this. Third line, which is same like the first change. Change. Let's go with the left. I'm closing my balls using my air, but we have C major. The base here is easy, but a lot of different patterns. Four, three, three, three. What do you have here? Four, three, four, three, and then 43, three, three. Second. We have G base, G chord, G base, and then different patterns. So you have to pay attention a lot to the patterns of the base. Then G Third. Then we have G four, three, four, three, four, three, three, S one, one G, and DNC. Let me go now slow. Tree, four. Change the fingers repeating. Change the About the touch will be very good if you can play the right hand smooth. Left hand to be short. L atom Stack up. 37. 11. The most common mistakes that accordion students make: Congratulations. The last song that we played was the end of the first level of this course, the beginner course. Now we are going further ahead. Now I'm going to explain the most common four mistakes that students are doing at this level. Incorrect hand position. Hand positioning. Beginners often struggle with proper hand positioning. The left hand can become too tense, leading to poor control over the base buttons and the bats. The right hand might not maintain great elbow position and curved finger position, making it harder to press the keys correctly. Solution, emphasize the importance of relax yet control hand positioning. Try to be conscious about your position, and time by time, use a mirror. Inconsistent bellows control. Many beginners have difficulty controlling the bellows smoothly, resulting in uneven sound production, specifically when they open the bellows, the sound is very okay because the gravity actually is helping. But when you close the bellows, the sound is not very smooth and consistent. They shake the sound like this, for example. Look. Why See? This is where you try to have consistent sound solution. The bellows actually is the soul of the accordion and the breed it's very important to have nice and gently sound. Independent hands. Many beginners struggle with hand independence. For example, when they need to play smoothly with the right hand or to the left hand, the articulation, the touch, actually, often affects the opposite hand. Let me give you one example with my body. For example, in the right hand, we have smooth. Smooth. In the left hand, we have pain and what a lot of beginners are doing. For example, the de left hand is reflecting to the right hand like this. See, this is not very good. See, actually, in the right hand very often, beginners can imitate the left hand. So what is actually solution? You have to practice super, super, very slow, paying close attention to that hand that you're struggling with. And you have to fix like this. Smooth riding and short left. Number four, playing too fast. Beginners might attempt to play pieces to full speed too soon, which can lead to mistakes and frustration. Start at slow tempo before gradually increasing the speed. This way, the song will be smooth and you will gain confidence. So don't forget gradually increase the speed. 38. 12.1 Introducing the second octave: Introducing the second octave. So till now, these notes. We have used so far. And this is actually the first octave. I believe that you learn the notes, how to play, how to read these eight notes. Now it's time to go to the second octave. In the sheet music, you have written the notes of the second octave. Try to learn at least the first five notes. By the way, these notes are repetition of the words, their sounds higher. This is actually the second opt of. See if the sound is same. Let's repeating. 39. 12.2 Exercise for the second octave: Now we have one short exercise for the second octa. So in the following exercise, please check the notes in the sheet music that we have and pay attention that are playing the correctly in the keyboard. Make sure that you're using the correct fingering. We are starting with C. Careful T, not this, but we're going to use now the second op. Starting with thumb with the first finger, three, four. G. Then we have f4f careful we have to jump. It's okay if you look down. This is C. C BGF F four. 40. 12.3 The Echo waltz & Dynamic signs: A few words about dynamic. Dynamics in accordon playing refer to the variation in volume and intensity used to express emotion and musicality. To create dynamics, control the bellos pressure. See, this is very important for the dynamic. For softer sounds, gentle pressure is applied, while stronger pressure produce louder sound. This is soft. Look if I press harder. Became louder. Additionally, using specific registers can and change the dynamic contrast adding deep or brightness to the sound, for example. So in this song, I will explain how you can make and create dynamics. For example, the sign, F Forte means loud. As I mentioned before, forte the loud sound we're making with bigger pressure to the bells. Then we have P, which means piano, which is soft. And then we have MF, which is Mensa forte, which represent medium loudness. Okay. Also like the second lesson in this song, will be these new five notes. CG and also like a third lesson in this song, we're gonna jump a lot. And don't forget when you jump, feel free to look to the keyboard. For this song, I'm going to use the bandonon like a switcher. I'm gonna play first in regular tempo the whole song. We are starting with loud forte. Soft Media. Loud soft So loud. So media. See, all these contrast making to express the music better and better. Let me explain now the right hand. We have jumps and follow the fingers here also is very important. Then we have same notes, but one octave. Then we have C. It's repeating starting from G again. Then Imitation. Third line, D. Repeating but one of below now, like a first line. Imitation. See. Because this song is a little bit difficult, I'm suggesting to practice maybe only first line. And then maybe you can put the left hand. Only first line then practice. Then go to the second line. So step by step because it's a little bit difficult soon. I'm gonna play the left hand. We have Waltz in Papa. Changing everything. Measure. Seine. We have J M Yep. Fourth light June Okay, let me try to play with both hands, super slow. We have forte first, and also don't forget that the whole song it's smooth, Legato, but also you have some gaps that you make that you should make. Loud first. Second line. Soft Loud. Soft 41. 13.1 Que Sera, Sera: Now, one very famous song, K sera Serra whatever will be will be. I'm gonna play in regular tempo. Also, here we have some dynamic. We are starting MF Mesa forte, which is medium. And somewhere in the chorus in the middle part, I'm going to go louder forte. Also, this song should be sound legato smooth playing. I let me explain the right hand. Here, you have to be careful. You have a lot of stretches, a lot of change to the fingers. If all of my fingers, I'm going to explain everything pretty slow, starting from C with thumb. One now we have to stretch You have to. You have to hold here. By the way, this song is very good to work on chapters section by section. So you can repeat one more time this part. Please stretch. Now we have to jump literally from here, third finger and putting here. Careful now, G B. This is new node here. This is B. This is C, so this is B actually. Look. What we have? Now, like my homework, you can repeat from the beginning till measure 17, only right. And then when this part is done, you can go ahead. I'm gonna play now from 17. Pay attention to this stretch one fourth. This is CC one octave. Distance. One This is also important. Look at the stretch. Stretch, stretch, and then second finger here. Let me repeat one more time. Two, three, two Stretch? 23. Okay. Also very important. Now, practice just the second part. The second part is starting from measure 17. The one Here you have stretch. Stretch. We call one. Left hand. Lhand is not very difficult. We have C, G, and one place, two places. F. We have Walz written. In the end, you have G. Then the second one you have GGG or only G, and back to the C. Third line. Fourth line CH Ping. Slow. W So my advice now to repeat one of them from the very beginning and then go ahead. Now I'm gonna continue from 17. Now you can go also louder because here we have sign F fourth. Be careful here. 42. 13.2 She’ll be Coming Round the Mountain: She'll be coming round the mountain. In this song, we have two new lessons. First lesson, we have accent how we're making exen. Tap, tap, tap, tap. When we applying sharp pressure to the Bose, exen is happening. Pop, pop pop pop pop pop pop pop. Like a second lesson in this song. For first time, we're gonna start playing double nose. In the second line, we have something like this. And in the end, we have pop. Okay, this song should be very lively. I don't need to be smooth. And also, you have to play in forte dynamics loud. We playing regular tempo. I'm going to explain now the right hand, starting from G with the second finger. We have incomplete measures, so I'm going to start to count like this one, two, four, two, four, here we have one stretch. I'm here on CT second line. Careful now we have rotation like this. A second finger. Third line. A little bit stretch here. Careful. Left hand. Left hand here is easy. We have this bass pattern. Four, three, four, three, bass chord, bass chord. Whole song, starting with Ch line. Second line, S. Then we have J. Perfect perfect peter. Let me play now together. Slow. As I mentioned, we're starting from G. One, two, three, two, excellent. So when you said the F major 43. 14. Right hand exercises (hanons): Now we have some Hanas. They're actually right hand exercises. And also, in this exercise, I'm going to show you how you can practice with metronome. Okay, what is actually Henan. The following exercise are called Henans. We're written by composer Hennan. The surname is Hennan and are used by the finest musician worldwide to develop speed and technique. They're like gymnastic for the fingers, like making yoga to the fingers. You should practice these henons daily as a warmup, you know, three, 5 minutes before your regular practice. Be sure in this exercise every node to be clear. Okay, I'm going to show you now. You can find online metronome maybe application in your phone, but I have metronome like this. For example, you have to select quarternes for example, in this quarter note because in the sheet music, the nodes are written in quarters, one count node. Also, I'm going to use like a tempo 100 BPM per minus. Two, three, four, two, three, four, two, three, four. Okay. And you can start. So this measure actually can help to improve your sense for rhythm. I'm gonna play the same exercise in slow time. So we have C. Now here we have one stretch, one j. C, C, it's not D, but it's C. It's E, actual C D. The same pattern we are doing from D. Stretch. Oh stretch. Like this, you're going to the B. The B actually going to be your last. You can learn, by the way, this exercise by memory, by your heart. This is very good to improve your ear. This is the last. And when finishing playing these four counts, then you go back, how you can go back, starting from G, G. The second node is E. And here you have one stretch, G five, four, and you are doing from each note. This is the last. So A will be the last. And hold here. So you can start slowly. And gradually, every new day, every new practice increase the speed. If you can reach at least 120 tempo, the metro will be good. Hanna number two, I'm gonna also use the metro. Two, three, four, one, two, three, four. Gonna play first in regular tempo. Then I'm going to explain slow. B. One, four. Had a number two. I'm going to explain how to play slowly. So you have also stretch here, and then we have eight. So this actually we're making in each note. A G G follow also the fingers, Britton. Then same from E. Same from F. Same from G. And the last one is B. Going back, starting from G D B. Follow the fingers also, like a skim. This is action loss. Learning slow temper and then gradually increase the speed. Also about the bellows. It's very important to do not break that phrase. For example, this is one phrase. Pay attention to do not change the direction of the bello, for example, here. See, it's not very good for the sound. You can change when you finish the phrase. Change. Change Ex. 44. 15.1 Playing eights notes: Playing eight notes. An eighth note is actually actually half half of a bit. So we are using numbers and the word N to count eight nodes like this one, N, two, and three, and four N. Actually I'm going to repeat this is very important. Eight nodes is half bit or actually 28 nodes are making one quarter. Or in the sheet music, it's explained very well. So for example, we have whole note, which is four counts. One, two, three, four. Then we have half notes. One whole note is making two half notes. One, two, three, four, then we have these black notes quarters. Each node is having one count, one and then it's humming eight notes. Eight notes, I'm going to repeat one more time, half count one M and four M. Eight notes can be written in group using a beam. The sheet music is explained very well. Be Beam notes or individually using a flag or tail. Now we have two exercises for eight notes. Example, exercise number one is like this. It's very important now to count with the word. I'm gonna play three and four, N one, two, three, four, one, two, and three, and four and second line one and two and 414 and 12, three, four. In the book that you're going to receive the sheet music, you have to example how the eight nos can be written. Exercise number two for eight ns. I'm going to play first the right hand, then I'm going to put together. Count with me three and four N one, two, three, four, one and two, and three and four, and one and two, and three, and four and second line one and two, and three, and four, and one and two, and three and four, and one and two, and three and four, and one and two, and three and rest. Okay, let me try together. Now be careful what we have. In the base, we have one quarter on the right side. In this one base, we're going to have two notes here. Listen, three N, four N. See, this is very important to understand. I'm gonna repeat in the bass we have one note. Two nodes are going on the right side, Duke. But because we're playing the left hand shorter, imagine that here you are playing one eighth note. Now, second, measure. And and measure and and second and and and 45. 15.2 Milica has long eyelashes: Now I'm going to play one folk song. Like a lesson in this song, we have eight notes, and also one sign, eight Va, which means all notes below this sign, you should play one octave higher. For example, if it's written here. These notes, for example, you should play here, one octave higher. Let me play the whole song in regular tempo. One and two N. Because we have eight notes, we're using N one and two, N. Now we're jumping here because we have this sign that I explained, A, B A. Then we have to play here a lot of Right hand slow, starting from C. One, two. Let us C major scale. And now jump in here. And Jump Okay. Left hand. We are starting from C. And and and and then we have G together. Second line is literally the same. Let's go to the third then G C G together. And the fourth line is also same. Let's go now to the playing together, but super slow. Follow me and count one and two, and jump to the second octave. And third life, first octave Second octave 46. 16.1 Dotted quarter notes: The dotted parter note. How many counts is having dotted parter notes? Dotted parter nodes, we have 1.5 bits or 1.5 counts. Should be something like this one and two. One and two. Let me play and Q. But this is not complete. Usually, after every dotted quaterne we have eight nodes. So these two nodes are going like a como, for example, one, two, and one and two, and Okay. This is very also interesting and important. A quarter note tied to an eighth note has the same value as a dotted quarter note. So they are just written different, but they are actually sound same. For example, in the sheet music, we have this example. I'm going to play directly with both hands. And this is example with tie nodes. And now, actually, we have with dots dotted quarter notes, but they're actually sounds just written in different way. I'm going to play the second measure. So what is important to know when you play together about the coordination right left? When we press this base, the note is playing after this base. Listen? And we have this t Now we have two lines. Actually, this is one exercise just written in different way. I'm going to play directly with both hands. Pay attention to my counting and to my combo to my coordination, where I'm pressing the left, where I'm pressing the right hand. Three, and four and G major, F major and and now I'm going to play the second line, which is literally same. Just I'm going to repeat one more time. Now we have the same notes, but now they're written with dot, dot plus eight notes. We don't have tie here. One N, N. So this actually leads alone. The eight nodes don't have accompaniment on the base. One more time, three and four, and, and and so this is example for dotted quarter note. Pay attention to this exercise. Listen. If you cannot follow me, just listen very carefully and then play by memories, even use your ear will be totally fine. 47. 16.2 Country gardens: Country Gardens, one popular English folk song. This song I'm going to play with Bandara with Deep switcher. We're starting with forte, loud. And then we have to repeat the first line. Second time, we're repeating, but soft, we're going soft. I'm going to play the whole song, and I'm going to explain what I'm doing later. Three, four. Now, so. What we have here in the last line, you have two signs. The first one actually is crescendo. Crescendo is gradually louder when we are making pressure to the bellows and making the sound gradually louder. The second one like this is opposite, which is decrescendo. Gradually softer. So we have gradually louder tempo. And then we have one DC alpine. This is something also very new. This Alfine means that you have to repeat from the very beginning, literally from the very beginning and finish on the sign. Fine. Fine actually is the end. Now I'm going to play the whole song a little bit faster, which is like original tempo. The previous was a little bit slower. The original tempo should be latest. I in from the very beginning because we have this al fin. So all these signs, crescendo decrescendo, forte, meta forte, gonna help about your musicality. Remember, it's not everything about playing correct sheet music. You have to focus now from this moment to your musicality, to the sound to the dynamics. Actually. Let me play slowly the right hand. Starting from C with fifth finger. I'm gonna count. Also, in this song, we have a lot, quarter with a dot and eight notes. Three and four, and one. And one three and four, and now you have to repeat. Because we have double dots, I'm gonna play now the second row second line. Eight nodes three and four, and. Same. And careful here. Same finger, but starting from a. Actually, we're jumping. Line two, and one and one and two and four line Which You have to repeat this line and then start from the very beginning and finish to the sign fin. Left hand, we have S We're repeating. See. Join. You have to repeat the whole line. The second line. J Jo. Careful join. Rest third line. Last line. Jump to the Now let me play together. Awesome. But slowly. Three and four, and one and we have to repeat second time. Soft. Like i major Now, you have to repeat from the first line. Repeat. Practice this song section by section. Be patient. 48. 17.1 Whole and half step, accidentals (sharps, flats and naturals): Okay, accidentals, sharps, flats and natural. But before that, I have to explain about hole and how step. The distance from any travel key to the very next, right or left, black or white is ah step. The step make a whole step. For example, what is how step? This distance from, for example, to this direction or the closer, the closer, the next key is half step. For example, this is H step. This is half steps Halstep. Pay attention here. Here, we have natural ho step. Even these nodes are too wide. We have natural hostep. In the C major scale, I'm going to explain now how it's going about hole or Halste. We have whole step because two half are making who step. A hole Hold now we have half. Then we have ho ho ho. And now we have here how Sharp, you can see the sign for sharp in the sheet music. Sharp raises the note a half step. In the accordion keyword, moving in the direction to your feet down actually. So, for example, if this is ChaltepT note is C sharp. For example, this is D. Go down half step will be D sharp. This is F. If you have sharp sign, we have to play disnal because this is F sharp. G, half step, if you have sin sharp, this will be G sharp. This is very important. This is, for example, E. And if you have sharp, what do you think where are we going? This actually F node will be E sharp. Flat, flat, you can see the sign in the music, looks like B. The flat lowers the node a half step, and you are going to this direction to your face, actually the keyboard to the left side. For example, this is node B. In this note, if you have B flat sin, will be you have to play Dine. This is A. If you have sine flat, you have to play D node. A flat. GM. In G, if you have node, if you have sine flat, you have to play Dine, which is G flat. Okay. Now in the sheet music, you have two exercises. Your homework will be to locate the following notes on the keyboard, just to locate them. Try to locate before watching this video. And if you have troubles, just watch after, and you will share if you have some mistakes or everything is correct. So the first note, this ChR the second note is F Shar, the exercise. Then we have Ashar, this node, then we have Dhar the second octal. Then we are having flats. E flat is this node, then we have A flat, this node, second line. B flat, is this node, then we have Dflat which is this. Now be careful. We have B sharp. B sharp is disnal. Actually, C is B sharp. Then we have E sharp. E sharp, as I mentioned before, is disnal. Then we have C sharp. And C natural. This is C natural sign. Natural actually cancel a previous shark or flap. A natural is always a white key. And we have one more exercise. The last row. I'm gonna play this. G Shar F sharp, then we have natural Sharp One more time. Sharp. Maybe this note is not written sharp but because it's in the same measure, it's staying. Again, you have to play sharp. Then we have new measure, and in this new measure, we have to play white note F natural. 49. 17.2 g major scale and key signature: Now I'm going to teach you how to play G major scale. G major scale, of course, starting from G. We're gonna start from here. By the way, their fingers are literally same like C major scale. We have B switch like this. I'm putting my thumb under my turn. And now we have here F Shar. Careful going back. Turn above O thumb. I play one more time. F Shar. So you have to remember this. I G major scale, we have F sharp. 50. 17.3 Lullaby - j.Brahms: I'm gonna play very famous tune by Johanne Bros classical tune. Let me teach you how to play the right hand. We have here D with our second finger, and we have incomplete measures, so we're gonna count like this one and two, and one and two, three, and one and two, and we can make here gap because the slur is ending and one and be careful because this is G Major song. I'm gonna repeat one more time because this is G Major song. We have F sharp. It's written in the very, very beginning of the song. In the top, you have one sign sharp. And that means that every F will be F sharp. End of the slur. Yeah. Second line and two and three. This is like a first part. I'm gonna repeat one more time. I'm going to explain now about the fingers what we have two. This is important. G F shot. We have to stretch here. Two. We have stretch here. Q three, we have big jump to G. Now, we have to stretch 5-4. Q three, two, and three, two, and three, two, and three is repeated, two, and three and two gap 104 figure on. Left hand of the same song. We have G Major. Try to play like a wt. And we have De Ji Ji De Ji play together now. Super slow. Repeating. 51. 17.4 F major scale: Now I'm going to teach you how to play F major scale. F major scale is starting from node F with Tum first finger. In this scale, we have a little bit different fingers than C and G scale. And we have one flat. B flat. Let me play first. Now be careful. You have to put tamp under your form. Finishing on four and then same thing back. Now, four like this. What is very important here? You must adjust your wrist if you want to make easier that rotation. Look Look my wrist. My whole elbow is going down. Look my elbow. What is wrong if you fix your elbow and wrist like this and trying to make this possible. Also, when you go back, it is wrong, if you didn't adjust, that is very difficult. So you have to make this otherwise not gonna be smooth. So what you need to remember here, we have Bflet like a sign and starting from F and finishing on F. 52. 17.5 Happy birthday: Happy birthday song. I'm pretty sure that you have some friend or relative who is having birthday soon. So when we go to learn this song, feel free to send to your friends or relative like a birthday gift a video how you're playing this song. Let me play person regular tempo. Explaining the right hand of happy birthday song. This song is on key of F Major, so we have this one and two, and one. N. Okay, Kim, we have F nature. Like a waltz you can play. Nancy. C one and C, have to jump and F to count. Okay? You play together, super slow. To end 53. 18.1 Minor bass chord: Minor chords. Now I'm going to teach you how to play minor chords. So first and to, you have to know that minor chords, it has a darker, more melancholic sound if you compare to a major chord. For example, this is major. Is very sharp. How to say bright sound, and this is minor, which is more romantic, melancholic sound. On most sheet music, minor chord battles are labeled with a small and they are located next to the major chord. For example, this is major chord. The third row, if I'm starting to count from the bellows, this is major. And the next row, it's actually minor. Minor quart role. Always, you have to play with your second finger. I'm going to repeat one notary. This was fundamental base, major, then we have minor P the second finger, always. Now we have one short minor base chords exercise, starting with C minor. So we're going to play base C with C minor, second finger. Remember, minor always we are playing with second finger. One, two, three, F minor minor Second role, we have C minor F minor below. Careful we have G major, capital M was for major, small and for minor. G and C. Practice this exercise. 54. 18.2 Minka (Ukrainian folk song): Minko one Ukrainian folk song. This song, we have minor chores. Let me explain the right hand. By the way, this song, I decided to play with bassoon. For me, it's having very nice sound on this register. Starting from sync with a second finger. And we have one, two, 34 Second. Try to play the melody eg. Left hand. We have C minor. Short days. G major, four, three, three, four, three, three, two, second line. Gj C Together, slow tempo. And 55. 18.3 Drunken sailor : Drunken sailor, very popular Seshantiso. I'm gonna play regular tempo. Drunken sailor right hand, starting with fifth finger on eight. I'm gonna play with Bandanon Deep switcher. We have three, four, one and one and switch to second finger. Same, no. Second. Careful now. This quarter with a dot third line. Though change to psycho. And Drunken sailor left him. We are starting with D minor. C, G D minor with second finger. Or Sorry. Okay. Let me play now together. I slow tempo. One and two, and three, and four and one and major and change. Car This part is like a variation. It is very similar to the first. Dog. Third line. Kevin Dob. Change the 56. 19.1 Major alternating bass: Alternating basses, major alternating bass. Alternating bass chords are fundamental technique for accordionist, providing rhythmic structure and a rich harmonic foundation to accompany melodies. This pattern is very common in various styles such as folk tunes, polkas and waltzes. So far, we have played this bass pattern. C, root base, fundamental with forefinger and major third and major with third finger. I have to mention that this is not wrong or incorrect, it's a simple pattern. First, we are going to learn how to alternate the major art. This base pattern for a major art is follow. Step one, press C base. The fundamental base with fourth finger. Step two, play the major chord button with the third finger. Step one, step two. Step three, alternate, cross G base node, fundament G base node with second finger. At step four, return to the C major chord with the third finger. Let me go a little bit faster. Base, C base, C major, cross to the G with second and back to the third C. Actually, we're making triangles. C, Cjor J C major, four, three, two, three major alternating base exercises. Exercise number one. We have C major alternative. Lay short. Now we have G. O G, also we're going to use the same fingers. Cross into W one more time. Se back. Second exercise, starting with C. One more time F three, cross C. Jump to Exercise number three. Now we have Waltz B. We're going to alternate now in Waltz written. Then G and 57. 19.2 Playing old songs with alternating major bass chord: Now we're gonna play old songs, but we're gonna add alternating major bass chord. I'm going to start with OT Joy, the Mozart song. So the original is not original, but the beginner version was like this. Now we're going to change the bass to this. So from this we're gonna alternate. I believe that you know this song very well. Let's alternate the bass. I'm gonna play in regular tempo tempt practice the left hand. And do it super slow. With a more attention, the left hand another one old song, but now with alternating bass waltz, the waltz song. So instead of this, we're going to play the bass now. Dang. I'm gonna play regular tempo. Repeat. So what do you have? First, we need to practice super slow and then gradually create the speeds. So practice first like this. 58. 19.3 Minor alternating bass: Minor alternating base. The base pattern for a minor alternating chord is followed. Step one, press C base node, root with fore finger. Step two, play the C minor chord. With second finger. Step three, alternate, cross to the G base node with the third finger. Step four, return to the C minor chord using second finger. So C base, C minor, second, G, third, C minor, three. Ten. C, C minor, C minor. We have this triangle. C, C minor, G base, C minor two, four, two, three, Now we have three exercises for minor major combo, alternative base. Starting with exercise number one. We have C minor. F minor, same fingers, C minor. Exercise number two. Now careful here. We have G major alternative three And exercise number three, we have Walt bit. G major. And holding C. 59. 19.4 Playing old songs with alternating minor bass chord (Minka): Now we're gonna play Minka the Ukrainian folk song, but with alternating basses. I'm going to use again, the Basu. Regular tempo. Let me play slope. We have alternating minors. G major, alternate second line 60. 19.5 Playing old songs with alternating minor bass chord (Drunken sailor): Drunken sailor, but with alternating bass. I'm gonna play a little bit faster then I'm going to slow the tempo. Slower. So the base. Then C. If this something, you have two bases, D minor, four, two, three, two, and C major. Four, three, three. If it's difficult to start directly together, practice just the left hand and then put together. I'm going to slow the tempo. The Okay, something very important if you have issues, if it's difficult to play this song with alternating bass, play with regular, and then gradually, if you can add the alternating bass in the song. Don't forget that we're doing mostly mostly for fun, like a hobby and you don't need to have headaches. Just gradually if you can later, add the alternating bass. 61. 21. Seventh chords exercises: Seven quarts. The row of buttons just after the minor chord row is called the seventh quart row. Seven quart are indicated but by the number seven or the note. Seven chords should always be played with the second finger. It's very common. This is like, like a tip that you should know. For the base progression, seventh chord usually is going down. For example, if you have a seven, the next base will be D major, minor or seven. This is very common. After a seven, you have D. After D seven, you have G, so one button below. So let me explain one word and where seven. We have C base, C root, C major, C minor, and the next one. The second finger is seven. One more time. Base, major, minor the next one. Seven. If it is difficult to play the seven quart, you can play the major chord instead. However, seven quart sounds better, of course. But if it's too difficult, students gradually can add seven chords into their practicing. Seven chords exercise. Exercise number one. We have C major C minor for C seven, which is next. And finishing F. Exercise number two, starting with E. Remember, E in most of the accordion is having some mark. Seven A seven The seven, the base is going down. G seven and C major. If you realize after every seven, the chord progression, the base is going down step by step. Exercise number three. Now we have alternating seventh chord. We are alternating same life minor using the third finger from the top. C seven alternative. One, two, three, seven. Now we have Beflet minor, alternate minor. Let's repeat one and distort exercise. Beflet minor four. 62. 22.1 Bella Ciao: Bella Chao, I'm gonna play regular tempo. Plea legatosPt connection. Bella how right hand, starting from E. Then we have A, one stretch here. One, two Rest it same melody. Rest. Second line. We have here in five. Switch to four, switch to third. One, two, three, rest. Switching like this. Bella how left hand, starting with A minor. So how you can find A minor? E, you have marking E in most of the coordinates. And A is below. We have alternating A minor. One, two, three, four, 34. And we go with A minor. Second row, again, A minor. Again, A minor. Now going to the D, which is below. Also alternative to go back to A minor third line A minor. Now we have B seven, which is above. Prep. As I mentioned before, if it's difficult to play E seven, just play E major, like this. But of course, it sounds better, and it's much better, much, much, much better if you play E seven. Prep Bella how together, slow ten. One. Rest. Rest. Second line. Try to practice one more time this. You have to practice like this step by step, section by section. I got to repeat one more time this part. B first melody. Be careful here. You have to stretch a little bit and reach in. Change the finger, change the finger. Now we have the minor. Base first third line base major. 63. 22.2 The Wellerman: The Wallab where famous song. His song, I'm gonna use Bandon on, a little bit deep switcher. Regular tempo? I'm going to play now Bilerman the right hand. We have here one B flat. So this is actually the minors heal and we have B flat like a sign. Every B will be flat. B flat. Starting from a fifth finger. One, two, three, and we have switching here like this. Okay, this is really important. Look how I'm switching. Five, three, two, and then third finger on BletTo stretch to the first position. Stay on five now. It's good if you repeat one more time these two lines. And see screech scoochful third line. This is with a dot. Fourth line. This is repetition of the third. Two N. So also it's great to practice just third and fourth few more times. Weilerman leftm we are starting with D minor alternating this. 3n4n. Okay. What kind of D. Second line. Hey, so Third line, Beflet. This is where jump. You have to be careful. Maybe you should practice only this. Be flat. First, you can do it super slow, let me. One more time. See you can slide step step by step. And then when it's okay with sliding, then you can direct it with jumping. This is major alternating major alternating joiner jump again to be flat. A seven. This is really big jump, also. You have to practice and pay more attention to this jump. Together, slowed. Will be good if you repeat these two lines a few times, four, five, six times. When you're done, then you can go to the next part. Beflet major. Beflet Also repeat the third and fourth line many, many times. And then in the end, you can put together the whole song and gradually increase the speed, of course. 64. 22.3 La Valse d'Amélie: Lavaliem W for Emily, very famous French song from one movie. Because it's French music, we're gonna use here some sharp sound. In my case, willy, for example, it sounds the best. Regular tempo. B Right hand, starting from E thumb. One, Careful now. We have tie notes, one, two, three, one, two, three, and this is very tricky. This type of rhythm you have in the whole song, I'm going to play one more time and come with one. One and two, and three, and one and two, and three, and so this note, you have to press in N. And one and two, and three, and it's repeating one and two, and three and one and two, and three. Also, here, you have to be careful. Second one. Second line two and three, and one and two, and 31 and two, and three. Same rhythm one and two, and three. And you have jump here. Be careful. Feel free to look down your keyboard. One and two, and three, one and two, and three, and one, two, and three, and one and two, and three, and one, and, and now you are repeating from the very beginning from the third measure when you have doubled those. After that, we are going to the second part, which is kind of body asia. One and two, and three, and D one and two, and three and one and two, and three and It's repeating. Last line. Careful. I'll be careful here. Two and two and two now we are going to the next part. This is second page. Third finger on the one, two, three, one, two, three, one, two, one. One, two, and one, and last, which is like a repetition of the beginning. One, two, three, one, two, three, one, two, three, one, two, three, And here we have one tar dando, which means gradually slower. One, two, three. See, I slow the to. The left hand is very easy. We have a few chords wholesome. So we are starting with the minor waltz Rhythm. Try to play the bass like this. Ha starting with D mayor then A minor. Then back to D minor. F major C And after that, it's repeating. D. And this is the same in the whole song. I'm gonna slow the tempo now. I'm gonna play together. One, two, three, and careful here, one, two, one, two, three. And this is very important. If you understand this coordination right left in this part, you're gonna stand the rest because may be different nodes, but the pattern the rhythms literally the same. Look, one and and one and left right Also here, pay attention to measure six, one, and and and actually the same. Okay. Then it's repeating. Try to learn this part first. Practice only this part. When you're done, then you can go ahead. The next part is a little bit easier than the preverse starting from D. Same rhythm. One and three It's repeating. The hooking fourth finger on F on C, sorry, F major in the left. One, two, three, slipping. You have to jump to the third part. Careful here. One, two, and switch the first like this one, two, one, one, two, and And the last row seem like the beginning. So practice part by part. This is very important. If you're realizing the sheet music, in some measures, I have put double lines like this. That means that from that note, it's starting another part. So practice first part, few times, second part, few times. Third part is a little bit difficult. Pay more attention to the third part. And also, you have a lot of jumps. Feel free to look to the keyword when you make some muscle memories after that you don't need to look. But even if you look, it's not big deal. 65. 23.1 Introducing counter bass and exercises: Counter base. So the first row from the bellows, the first row is called counter base row. The counter base actually is trends, major third, higher than the fundamental base. For example, how you can have what I mean trenes. For example, this is C. You can count. You can calculate here. For example, C and three nodes one, two, three. C three nodes major third higher than the fundamental base. For example, this is C, and three nos major third will be E. That means that E is the counter baase of C. Counter base is indicated by a line under the note or under the finger number. So this is very important. If you don't know if it's counter baase or fundamental base, if you saw underline, that means that this is counter baase. In chord progressions, counter baase is often used when the next base is going down. For example, consider this base melody. Also another popular bass melody using country base is this. See? This is F Shar, which is country base of this. So this melody, actually, this type of bass appears in the song, Can you feel The Lofty Nightblb by Elton Joe. Joe, let me play a little bit. What I did. A counter based exercise. First line, we have C major. Then we have E. Es counter baase of C. We're going to use fourth finger for counter base rope. Just need this stretch. Second line. We have B. B is the counter baase of G. You have underline. Stretch little bit base third line. We have F major. A is counter baase of F. Counter baase always we're going to play with fourth finger and you need to stretch, for example, base, cord, stretch, and back to the major. Oh 66. 23.2 C major (both hands): C major both hands, let me remind you first how was the right hand? Only one October please. Back. O Let me go now to the left. Okay, of course, starting with C with fourth finger. We're gonna use only these two base rows. So the first, which is counter base near to the bellows, and the second, which is fundamental. Starting with fourth finger. C. Then we have D which is above G. Pay attention to this connection. Next note is E. Lo with fourth finger. One more time. E counter base next to the seal. Next not this step with five. So first and toe, you have to learn and repeat this many times. One more time. Try to play good. Next, we have G with third. And this can be a little bit tricky. You have to stretch to A, G here, a coders of F. The next one is B, Conderss of G and C. So the next four nodes will be G, five, A, b31 more time, three. Let me now now when you complete this, this part and the next one, you have to connect and practice only in this way. Then repeat one more time. So when you're done with this scale, then you can go to opposite to going down. C, fourth, actually, we're using the same fingers. Four, three, B, A, five, G third. Repeat the four nose. And the next is F with five. And you can practice only this. Then just practice this. And don't forget to look to the notes. So everything is written very well in the sheet music. If you have underline in the finger, that means that you have to use Canterbs the first. Now I'm going to play one more time. Try to play Super Sco. Now go down. Now, I'm gonna play with both hands together. But before playing together, you have to be very sure with the left hand. So until you have to be very sure about left hand and then put together. When you play together, you have to do it very, very slow. W a lot of attention to the left hand. So you can practice on in this way. Maybe one more time. Then practically, just going down. One more time. Try to be smooth like that. And when you are done like this, then you can go without any break. This is really good exercise for coordination, and like this, you can learn where nice the base, like counter basis and the fundamental basis. 67. 24.1 Diminished bass chord: Diminish bass chord. The last row of the buttons of the chord is called diminish quart. You have to use with the second finger. It's not very common, but still you can find in a lot of songs. The diminish quart is indicated by a small D above the note or in another books you can find with DIM dim above the note. 68. 24.2 Fascination : Fascination. This song you can play with Wolens, Richard. I'm gonna play first in regular them. Right hand fascination. You are started like this. This is very interesting fingering. B2c1, two, three, five. So you have this. B three, four. You have to hold because you have died. It's repeating. Second line, one, two, three, one. Now, you are using the same fingers but from C shared. This is measure eight. This is measure six, and this is like a first part. I'm gonna play one more time from eight. All the singers here. Measure 16. It's repeating like the we beginning. Hold here. Now, be careful here. Something new about fingering. Another option that you can use if you want to stretch more, you can do it like this. See, the first option is like this. A lot of two, one, two, one. So this is measure 24. Four, instead of putting one, three, and stretch. And also, you have to adjust the wrist, of course. Put my wrist. One more time, these friends. Wretch, look, look the brisk how's going. Last roll. Sharply, This song, you have to play spoot and you have very nice dynamic. And usually what you need to understand about dynamic. When you are making this race you have to make some small crescendo. See, make more pressure to the bell. And especially in the second line, you have very nice dynamic. Like crescendo, decrescendo, like making way. Re Okay, also about the bellows, this song can be very tricky. You have to find very nice place for changing the bellows direction. If you have smaller accordion, just be quick that change of the direction, you have to change very quick. We have C major. Alter the last one is the Manish. For the students who don't have the manage quart, just play C major. Instead of the manage Play C major. Second line, D D minor altering. Third line. Now you have to jump to M the manage GSA. Okay. So if you don't have this the Management, you need to continue with the minor. So instead of this G seven played minor minor. By the way, without the Manish court, it's easier version. If you want to play easier version, don't use the Manish. I'm going ahead. I'll see the man. Careful now. Four, three, four. This is like a short bass solo while you're holding the here. Jam That's it. Let me explain now super slow with both heads. Starting with B. Maybe you can change the s here. Please Okay, let me play one more time this. This is not. By the way, when you practice, practice like this, practice till measure 16. And then repeat one more time. Don't go ahead until first part is done. Also, another option is to start on this phrase. Look like this. How the D. So you can change in these kinds of places. Because the phrase is starting here. The manage one. If you don't have the manage, I will repeat one more time. Plate just C major. This is the loudest part. So don't forget about this. First option was like this. The second Bass solo. Then you need to repeat the second part from here. Remember that this practice with section section by section. 69. 25. Major scales in two octaves (C, G, D, F, Bb): Major scales in two octaves. Learning new skills will improve your technique and help you learn new songs more easily. Now we're going to start with C major into Optum. We can play only. Now careful. I was if, for example, if you're playing one octave, you should have finish on five here. But because we're going to the second octave, instead of five, we're gonna put here one like this. Four, one, and then discontinue like the beginning. Of course, we're finishing on five. Going back. Same fingers. Five, four, three, two, one, three, two, one, and now four. Just remember on B, we are using four and then one. G major in two Octos. First of all, you need to understand and remember that. In G, we have one chart, which is F sharp. Actually, the last note on the scale. Starting from the beginning. By the way, in G major, we are using the same fingers like C major. One, two, three, one, two, three, four, one. Four. Then instead of finishing with five, because it's two of us, we are going to one. It's repeating. Cap sharp. Don't forget this harp. Let me go one more time in this direction. Going back with same fingers. Four. You need to understand here. Far is fourth finger? G one. Same fingers. D major scale. In D major, we have two sharps, F sharp with third finger and C sharp. In C sharp, we're gonna use the fourth finger. By the way, the fingers are literally same like C major and like G major. Starting from D, of course. Two. Three, four, and then put in one, one, two, three, one, three, four, five, going back five, four, 31, 3 yards. For a shard. A little bit faster. 345 Try to remember this position four. And don't forget after four, you have to adjust a little bit the risk. See? If you're like this, very difficult. Work? No, so F major. In F major, we have one flat. B flat. F major is having different fingers than previous CG and D major. In F major, we're never going to use the pink in the fifth. The fingers for F major are this. One, two, three, four, and then put in one, one, two, three, the new octave, of course, starting with one. T one, two, three, four C. We are finishing on four, not on five. Five, four, three, two, one, four, three, two, one. Here is three, three, two, one, 421. Try to remember here the Beflet we are playing with four fingers. The third finger is here, and after third, we are changing to one. Four, three, four. B flat major. In B flat major, we have two flats, B flat and E flat. Okay, B flat major is having totally different fingers. You have to be careful. With this scale, starting with two, remember. This is what interesting. Two, one, two, three, then one. Now four. So second time Beflet we're starting with four. One, two, three, one, 24. Going back. Three, four. In this kale, also, we're not having we're not using the pink in the fifth finger. Again, by the way, beef, we have four. Four. Three. This is important. Four. Three. Minor scales. In modern music theory, each major scale is having relative minor scale. Relative keys share the same key signature and the same nodes, but start on different pitch, different nodes. For example, both C major and A minor have no accidentals, no sharps, no flats. So the relative minor of C major is A minor. And the C major is relative of A minor. The relative minor key always starts on the six tone of its relative major scale. For example, this is C, A A minor gonna start of the six node one, five, six. Or if you want, you can count in opposite direction three, one, two, Tus a C major scale is The A minor scale gonna start on A, of course. So the six or three nodes in this direction. Three. For example, it's much easier if you count like third in this direction. So the A minor scale will be A A Okay. There are three types of minor scales, natural, harmonic and melodic minor scales. In this course, we are going to learn to play the natural and harmonic scale because they are the most common in music genres such as classical, jazz, folk, and others. 70. 26. Minor scale: A minor scale, natural, which is relative with C major. No sharps, no flats, starting, of course, from A. We are having the same fingers here like C major. One. Also, we have A minor, as I mentioned before, we have a minor harmonic. Also relative with C major, just in harmonic way. The seven step. Water. Seven. It's raised to G sharp. So we'll do the following. Same bigger, by the way. This harmonic way is very common in the music. You can find lots of genre. Especially in classical music. 71. 27. Chords (Inversions) and Arpeggios (Broken chords): Chord and arpegius. A chord is a group of notes played together simultaneously while an arpeggio, also known as a broken chord involves playing the notes of a chord individually in succession. Understanding both chords and arpeggios is essential for accompanying a voice or another insig. And practicing them can greatly enhance your technique. We will start with C major and explore different course position inversions. Examples of arpeggios and coursing inversion will be provided for C major, G major, and A minor. C major, course, and arpegus. First, we have this one which is like a root C major. C one, E, third, G five. First, we have broken pecho. Together. So actually, these three nodes, we're gonna play like circle, like a triangle. We start root C. Then we're going to start from E. But again, we're gonna use the same nodes. Now we are starting from E. Then we have G and C five. This is actually the first inversion. Be careful here. In the first inversion, we're using G. Second finger. Then we have the third option, which is second inversion. We're starting from G, C, third, E five. Again, C major, different positions. And then one more. This is actually the same from here. The root, we're playing now in second Octave. Going back, starting with five. Then five. Here, be careful. We are using second finger. And the root option. Let me do it a little bit faster. Follow the sheet music. No. See gGoing back, starting with five all the time. Five, C. And the last. Three. Now we have the G major cod. This is the G major chord. G and D. G is one, B, turn, D, five. Follow the exercise. First, we have fruit with one, three, five. Putting together. Then we have B, first inversion, B, one, T two, G five. The second inversion starting from D. So again, we're making that circle. No from deep. And the last. Keep going back. Your seal this is different. Okay, let me plan a little bit faster. And the loss. And they would it last? Now we're going to learn A minor chord with inversion and our pages. This is a minor chord. A thumb, C, third, E five. So this is the root. This is the first inversion starting from C. Remember this in first inversion, always you're gonna have the fingers. The second inversion. And then this is repetition of the route. Going back. And the last piece. Let me play a little bit faster. Going back. And we lost. So playing this rvegochord also gonna help a lot about developing your technique. 72. 28. Additional content 1 (Ear training) – exercises: Ear training. What is ear training? ER training is the process of developing the ability to identify and understanding music by listening. For accordionist, this means recognizing nodes, intervals, chords, and rhythms without needing to look to achieve music. Why is important for accordion players? ER training helps musicians learn music faster, improve improvisation skill and play with more expression. For accordion players, ear training can be particularly useful for learning folk music. Or other styles where sheet music may not always be available. Interval is the distance between two notes. Songs are made actually of melodies, which are created using intervals. First, you have to pay attention in which direction are intervals going. For example, higher. Even if the position is going down, this is actually higher because on the sheet music and in the singing is higher. This is higher. And lower. Because this is beginner lesson, I will show you only some major intervals in C major. Let's learn some intervals. First interval is second. This interval you can find in happy birthday song. O M The second interval is third. Example, for this interval, you can find in the song when the sends go marching in. Oh. Or like an extra, also, I can tell you the minor third which you have in Minko. The next interval is fourth. Example, for this interval, you can fight in the song. Here comes the bid or Try to sing these intervals. The next interval is fifth. This interval you can fight in the song twinkle, twinkle. Cit star then we have sixth. Six. This interval you can find in song, my bony. Might. Try to think it's more important. Next, it's seven. It's a hard to find example for this. I know only this song from Norah Jones. I wait until I saw the sound. And the last is Octa. Actually, the same. Eight notes. Example, for this interval, you can find the song rainbow. Try practice these intervals on your accordia. Listen for them in songs, analyze, and find them. And most importantly, sing the interval. You can sing like nah nah, nah, nah. This will train your ear and be extremely health. The next thing that you have to pay attention about ear training is the chords. Actually, the color, major, minor. The next thing that will train your ear is recognizing major or minor chords. Major chord it's more bright and happy sound. While minor is more melancholy and set sound. First start with playing different chords and different types if it's easier in your bass keyboard. My my Try to analyze the color and try to recognize difference between minor and major. Like a homework, for example, when you listen some songs on TV, YouTube and similar, try to recognize the color of the chords in the songs. If it's major, minor, understanding this difference will be very helpful mostly for your left hand because we play the chords in the bass part, but also for the right hand too. 73. 29. Additional content 2 - How to Practice a Difficult Song: A Practical Guide: How to practice if some song is too difficult for you? Like example, I'm gonna take acusa. First, a toy, you have to listen carefully what I'm speaking in the video, how I'm playing, and then you have to start learning the right hand. And you can count. Of course, this is helping a lot. Super slow, you should start. It's like a one phrase. When you are done with this, then you can go to the next phrase, the second line. And then try to connect first and second line. Like this, but, of course, super slow. Then you can go to the third line only righthand. If you have some difficult jump, try to focus only to this jump. It's very nice and very helpful if you look to the keyboard when you have jump. And when you're gonna make muscle memories after that is very easy even if you're not looking. Then go to the fourth line and then try to connect third and fourth line, but super slow. And in the end, you can play the whole right hand on the right hand, maybe one day, only right hand. You have to be very patient. When you're done with the right hand, then you can focus to the left hand. Also, the same method you can use for the left hand. Super slow. If you find some jump, for example, in this song, critical jump can be on the third line when we have a minor to the C. You should practice this super slow. Mm. And your focus should be very, very strong, like a laser focus, you know, focusing only on death. Nothing else you need to care about. Only. If it's difficult to reach this jump, you can practice like this with sliding. Carefully, gently slide to the sea. Then one more. Slide. Then you can start to practice with jumps, but like this slowly. Think a little bit. And then you can practice directly without any rest. So 100% focus on the issues on the difficult things. How to put together both hands when you have some difficult song. Try to set some goal, for example, you can say to yourself, I'm gonna alert today only first two rows, and you are focusing only these two rows. First of all, you have to do it only first slide, for example, which is one sentence, one phrase, super small. Change the base. Now you have to do it one more time. Repeat many, many times until it's done done. When you're done with this sentence with this first line, you can go to the second. Repeat the second line five, ten times depends. Then try to connect first with second line. Repeat five, ten times, 15 times maybe until it's done. And then when you are done with the first and second, then you can go ahead. Maybe you can practice now on the third. Super safe If you find some issues, for example, here practice only this with a lot of attention. When this part is okay, go ahead. This can be tricky, for example. After many, many repetition of this third line, you can go to the next. And in the end, you can practice the whole song, but super, super slow. You can use metronome. You can count depend what is the best option for you. But remember, super slow. 74. 29.1 Additional content 3 - Different type of accordion sheet music 1: Different type of accordion sheet music. The travel clef, which correspond to the right side of the accordion is the same in every notation. I will mention in this video. The left hand, the base, make some accordion sheet music to look different specifically with the base chords. So the fundamental and the counter baaseRmember, fundamental is the second row. The counter baase is the first. I'm starting to count from the bellows. These two rows will always be written in this way. You can take a look in this video. But about the cords, there are a few different types of ports of the accordion major major. And the major last. You will find a letter number or abbreviation next to a chord node that defines the nature of the chord. The way the chords are written in this base creates different styles. So number one, I'm going to start with this. Cords are written with single node with the letters. I use C C major, C actually, base, like example, C M. There will be C major. Capital C, small M, C minor. C seven with number seven, so letter C and number seven. This is C seven and C DM diminished the last. Okay, I have here one example that I want to show. So this is actually I'm talking about this style of left hand. See? You have single note, but also some letters, cit C, capital M major. By the way, this is the way how I wrote the book, the sheet music in this course. And for me, this is one popular method of writing the bass because it's easy to understand if you're wary beginner, and it's very popular. A lot of people are doing this way. This is G seven. You already know this method. I'm going to go to the next one. Second, B, Chords are written with single note with a letters, but only the type of the chord, not which base. For example, you're not going to have C M, but you're going to have only M. It's major, small M, it's minor seven quart, D, this is important. Only one D is diminished quart. This is also where This method is very common. In a lot of sheet music you can find, especially if you heard about this accordion method, Palmer Hughes, very popular American method book. I guess a lot of Accordion people, accordion players are starting with this method. Super popular, still one of the top method Au accordion. So in this sheet music, you have, as I mentioned, single note in the bass. Let me find some good example. Yeah, for example, song, Ladonna Mobil, famous song by Verdi, use perdi. Look, single note. But in this method, you must know that this is actually F. Yes, you have M, which means major, F major. But you don't know if it's F, if you don't know well the base clef. So about this method, you have to know where nice the base clef. So this is seven, but if you don't know that this note is C, you're not gonna be sure that this is C seven. This is F major, C seven, C seven. This is, for example, A seven. So a lot of accordion players because this method, this type of bass is a little bit difficult. You can write some letters, for example, like this until you didn't learn properly. This is, for example, D. You can put some letters in. If you find this type of sheet music, you can put some letters like this, for example, same. Okay. Let's go ahead. 75. 29.2 Additional content 3 - Different type of accordion sheet music part 2: Now we have one interesting German notation. CQorts are written as a group of notes. So we're not going to have anymore in this method, single note, but we have in this method chords. They are written as a group of notes on the bass stuff, like piano chords. This is well known like German notation. In this notation, C, single C is fundamental base. C chord. Careful small C. Actually, it's major. This is very interesting. Small C in German notation, it's major chord. Then we have small C, small M, C minor. C seven like this, seven and C careful about this. Diminish V. Okay, let me show you. I have one example. This is one Slovenian Serbian accordion method book. These two countries in the whole Balkan, I will say because I'm from Balkan. We're using this method. So there is no single bass, but three notes like a piano chords. And this is, for example, A minor. You are not playing three notes, but you are pressing this minor chord, which corresponds to these three notes. W when you press this button, actually, inside, sounds like playing three chords like minor. And usually under the chords, under this base, you can find some letters, some abbreviation. This is A minor on a plane. Then this is E major. Capital E is fundamental base, our fourth finger. Small E is the major chord. See, piano chords like piano chords we have here. Okay. Now let me show you some another things about German notation. Something popular about German notation are this is a little bit also about the right hand, not only the left, the German sharp and flat. So this is the sign for the sharp, and this is the sign for the flat. You already know this. So for example, is this word I they are using instead of of the sharp and S instead of flat, for example. This is C sharp. But in German notation, you can find mostly for the left hand. Ts. This is s or C sharp. Gs is G sharp. About flats, these are flats. About flats, you have s. They are using the word S, as I mentioned, Cs, and guess, which is G flat. I'm going to repeat one more time. Fs pis, gis this As. They are actually sharps. In the structure in that word you have Cs guess ps S. In the structure of this word you have S, they are flats, actually. Okay. You have some exception. This is very important also. In German notation, H is B. I know sounds a little bit silly, but that's it, you must know this. I mean, if you find sometimes in your if you find some German notation, this going to help a lot to understand that H actually is B. B is B flat, and this is about flat. S is actually E flat, S is A flat. Try to remember this is very important. Okay, let's go watch it. 76. 29.3 Additional content 3 - Different type of accordion sheet music part 3: Russian Ukrainian, Belarus, the Soviet Union countries, they use this notation. Chords are written also like German chords are written like a quartz. The bass actually is written like a chart. Similar to piano chords and to the German notation. But in this notation, you're going to find some crylic letter. For example, this Cyrilq letter corresponds to major. Capital M is minor. This is very interesting and a little bit confusing. In another notation that I mentioned before, small M everywhere. It's minor, but here, capital M, it's minor. Seven number seven, and this kyrilq letter is diminished chord, men on Russia. Let me show you some example Okay, one popular tango. So this is actually a major chord. This is Bikilic. This is D minor. This is E with a seven. But but by the way, like a help. In this notation, you're going to have some tiny dots somewhere. For example, this is D minor. D, D A A, C, D. So M here will be minor. This bikiRls major. Let me find another example. Oh, you have this letter, which is counter baase. Yes, this is counter baase where interest. Okay, let's go ahead. Now we have one example of the bass sheet music where there is no bass clef, only a treble clef, with some chords indicate by letter above the travel notes. So in this notation, you need to know the rhythm of the song in order to play. Let me show you some example. Look, only treble clef, the right side, the keyboard. But you have you have bass written like this with some letters. G minor, C minor, G seven, C minor. So in order to play this notation, this type of accordion sheet music, you must know what rhythm. For example, the daisiest way to find what rhythm is this to listen to the song in YouTube and to realize if it's I don't know, waltz, polka, Tango, for example, or the other way to look to the T signage. This is 34. 34, usually it's 99% is waltz. So what is the written for waltz? Or you can just play simple with no alternating But to sounds better, you can alternate. Let me play a little with this nice song. And some words about contra base. Accordion contra based notes are often underline. With a small dash to distinguish them from the base note. In the German notation, by the way, this was the German notation. The counter baase is often not underlined, but indicates only with letter. A, B, however, it will be easy to recognize if it's counter baase or fundamental base in the German notation. In Russian Ukrainian based notation, the counter baase is indicated with the letter B, I already mentioned this in this song. See? This is counter base. Conclusion. First, you need to identify the type of according notation once you do, understanding the base becomes easy. 77. 29.4 Additional content 3 - Where and how to find accordion sheet music part 1: Where and how to find Accordion Sheet music. Pat Accordion Sheet music. If you want a hard copy, just visit some local music shop near you. Or also you can order old books from Amazon or Ebay at a very affordable price. Some of the most famous Accordion books are available use use on Amazon, but even you think they're not very expensive. For example, a lot of a lot of students are buying books from Amazon or Ebas and after a few days, you have in your home hard copy. And this is the way how you are respecting maybe the work of some composer or arranger. Then another option if you don't like hard copy, for example, if you prefer online, like eBook, simply just type the song you want to find on Google. Google will list option for purchasing. This is how the Google actually algorithm works. For example, this is nice specialized size site for Accord Accordion scores. I think it's French not sure, but of course there is English menu. Take a look. A lot of sheet music and all four accordons duo. And I think they work with some subscription. If you subscribe monthly, yearly, you can download a lot of nice sheet music. This is the plans, by the way. Free Accordion Sheet music. I know you have been waiting for this all the time. Now I'm going to suggest some great website for the Accordion Sheet music, and I will also show you how I search for sheet music. Additionally, I will explain how you can play a song on the Accordion using piano sheet music if there is no specific accordion sheet music available. Mostly, I'm using this sheet music, selyldwordpress.com. It's a wonderful site created by a talented lady from Texas, USA. Unfortunately, she passed away during the pandemic corona time. The sites offers a lot of popular, a lot of popular commercial sheet music. There is a playlist section with different categories and also you can find a lot of nice duets. You have French, Italian, Latin, country music, Irish, what else, Scottish, British, patriotic, everything. Open something. For example, Danny boy was for three acordos the type of the sheet music that she's using, especially for the bass single note with chord letters like CM FM AM, this is minor, I already explained. Also in this side, there is accordion block song directory. You can find a lot of sheet music, a lot, a lot popular, nice sheet music. Also, I love this section Christmas music. See, level one and two, level two and five, amazing sight. 78. 29.5 Additional content 3 - Where and how to find accordion sheet music part 2: Also, I'm using this site, go to acoron.com. Sorry, go to accordon.com, Russian site, but you can translate using Google directly to English. This site is mostly from you can find a lot of niche music, but from some Accordon composers. But also, of course, another composer with arrangements for Accordion. And a lot of Russian Ukrainian composers and accordon players. But but nice, nice sheet music. Of course, mostly Russian edition of Accordion sheet music. Okay, let's go ahead. Don QuadrochO side from one Australian guy. Also very nice, popular popular commercial sheet music. And for some songs, you have YouTube version recorded on YouTube. The only bad thing in this side the sheet music are pretty small, and you have only treble clef with written chords above like this. And you have to create actually the rhythm. You don't know what rhythm. This is probably waltz 34. Other side that I'm using is from ArigoTomasi. Here you have one section sheet music, and here you have a lot of free sheet music. In this side, it's very important to know because this is a jazz site in jazz type of sheet chords, you can find this minus, minus, by the way, means minor. You already have here small M, which is minor. But if you are following the letters from the top, you have to know that minus means minor. By the way, all these sheet music I will provide to have available. Then eight notes. No.com. This site have a lot of different instruments, but I just opened up for accord and a lot of a lot of popular sheet music. See, a lot of pages. A little bit tricky written accordion for some sheet music, you have to be able to create the rhythm. Here, the rhythm is written like this, single note, but also you have letters above. 81 a daily. This is typical accordion site. A few sections. And different type of accordion sheet music you can find here. Here, for example, this sheet music is like the single notes with letters like this, capital M without chords letters like CG, FD, et cetera. And this one like the las frescors.com with also a site for a lot of different instruments, but now I already select for accordion only. See you have different instruments, but I select for accordion. Open something. So information about the Ranger, going to use the Option view. Mostly in the first page, you have some information for the Ranger and here. In this sign you can find different type of accordion sheet music. Here, for example, I opened this popular Russian song. You have piano chords, but with written chords like this A seven, D minor, which is very good. That's it. 79. 29.6 Additional content 3 - How to search song or accordion sheet music on google: How to search in Google some specific song, or maybe you want to discover some new sites for accordion. For example, I will try to show you with this popular song for accordon this tango, actually, Kupacita. So you should write on Google something like this, using this keyword, Sheet music for accordon free, and it's good to put this PDF. Let's see what Google going to suggest. This is good size by the way, but you have to pay some monthly fees. You have here a Compacita. Let me check. But for example, maybe you're not going to like this arrangement or maybe the key. This is in G G Myers song, maybe you don't like. Maybe you're going to try to search for another arrangement. This is by the way arrangement from Don Quatrj. What can I suggest, for example? I mentioned before, Russian if you understand a little bit Russian Ukrainian, you can find thousand, thousand more sheet music than in Englih. So what can you do? For example, you can write also a compasita, but this you have to translate. You can use Google translate for that. Look, and just copy this noted, even if you don't understand and you don't need to understand, just copy this. Put here. Lo now, a lot of a lot of accordion sheet music for this song. Let's open this. Yes. By the way, this is accordion with buttons. This is a piano accordion. It's good to know these keywords also. Look, you have a lot of the way, like this, you are discovering new sites. This is also nice Russian site. Maybe you can use you can translate like this. Accordion Ban. And you can find here in this site for composers and everything. Let's see what else you have. Okay. Another good site for accordion, but in Russian. And if you have troubles to read this Kivlik, just translate directly. Se? This is Dant. This is the Russian word Kacha which means Danad. Okay, maybe also if you use this word Noia cordon and spa, you can find another good sites for accordion. Aba I think this is Belarus. Look, for example, I understand a little bit to Russia, and for me, it seems easier. But if you don't understand, just use translate option. And look, for example. I just discovered now new site for accordon that maybe you can use when you search for accordon sheet music. You have, for example, here, polyphonic music, large scale works, folk treatment, variat works. Okay, let's go to here. Yeah, this is good, famous song. Unload the file. And now you have nice sheet music of this song, Blochko. Just remember, use the Google Translate. This is crucial. If you search on Russia, noted a Accordona. So always you can search in English, but I will mention again in English, most of the sites are you need to pay some money. In Russian still, there is a lot of available free. Just you have to use Google Translate, these keywords, and you can find thousand different sites, thousand different muse. 80. 29.7 Additional content 3 - How to play piano music on accordion: How you can play some piano sheet music if there is no available accordion sheet music for that. For example, I select two examples. Can you feel the love tonight by Elton John? So in a lot of piano sheet music, you can find some letters like this, which represents the chords that you have to play in the bass, and you have to know somehow the rhythm. So we're gonna use the letters like a bass and play the treble like a right side. So, for example, And somehow you have to imitate the piano chords. For example, I know this song very well I know how the two sounds. So first of all, you have to listen the piano version and then somehow imitate the piano left hand and put in your bass. So this is, for example, good bass pattern, good bass for this song. Right. It's a little bit simple. But of course, this song is for piano, and this is the closer way how can shoot sound on the accordion. But, for example, look, sometimes in some places, you're not going to have these letters, and you have to be able to read this base lab very well. And somehow you have able to recognize what is actually the chords. What chords are represent these notes in the bass line on the piano. For example, GBD, these chords actually is G major. Then you have F sharp AD. This is F Sharp counter base of D with D major like this. Then you have E counter base EGC. C major, but with Ecrabse. And also, you have to do it the same rhythm. For example, here is written long note. Also, you have to hold. You're not gonna make this. Just hold. Okay. That was about the song. Let's take another arrangement. Okay, here we have a little bit different similar arrangement, but I'm going to use a little bit on the accordion. For example, also here you have letters like chords written above the sheet music. So you can play, for example, by the way, the song is Carol of the bells, popular Christmas music. So you can hold. Look, you have long nose, which means you have to hold. So you can put the minor. But if you want to sound a little bit more authentic tenting. You can do it like how it's written for the piano. You have D and A, two fundamental bass. Thinking I'm not gonna play, for example, in these two lines. Chords, but I'm gonna play how it's written literally like on the piano. Look, A bass A bass. No chords. And because here you don't have chords like here, I'm going to start to play some bass solo. So I'm going to imitate the left hand of the piano. And, for example, because here you have letters from here, you can put some chords. By the way, the most important is to listen the original version for piano, to be creative. And, of course, use the years What sounds the best for you. This is really important when you play piano arrangements on accordion. And in the end, sometimes some songs just doesn't sound well for accordion. But mostly, yes, a lot of piano arrangements you can play in accordion, especially if you have written the chords like this. But of course, I will mention again, you have to be able to recognize the rhythm, how you can copy that left hand on the piano in your bass. 81. 30. Thank you: Congratulations. You reached the end of this course, and I couldn't be prouder of you for completing it. Thank you so much for trusting me and choosing this course. But remember, this is not the end of your journey. I will continue to add bonus videos to help your growth even further. So stay tuned. If you have any questions or need additional work, don't hesitate to reach me out. I'm here to help. Wishing you all the best on your Accordion journey, and I hope to see you again in future courses.