The chromatic button accordion

Introduction – an Approach to Learning the Chromatic Button Accordion Chapter 1 – The Direction Problem The Verticals Exercise 1 Exercise 2 Chapter 2 – The Intervals on the Vertical 2.1 The Minor Third 2.2 The Tritone 2.3 The Major Sixth 2.4 The Octave Chapter 3 – The Vertical Range Exercises 3.1 Range Exercises with Individual Tones 3.2 Range Exercises with Minor Thirds 3.3 Range Exercises with Tritones 3.4 Range Exercises with Major Sixths 3.5 Range Exercises with Perfect Octaves 3.6 Exercises Explanation of the Symbols Chapter 4 – The Chromatics 4.1 The Diagonal and the Direct Path 4.2 The Horizontal and the Indirect Path 4.3 The Bridge 4.4 Range Exercises 4.4.1 Chromatically ascending and descending 4.4.2 Minor Thirds chromatically ascending 4.4.3 Tritones chromatically ascending 4.4.4 Major Sixths chromatically ascending 4.4.5 Perfect Octaves chromatically ascending 4.5 The Linear Chromatic Scale 4.5.1 Exercises, Chromatic In Parallel Motion 4.5.2 Exercises, Chromatic In Contrary Motion 4.6 Simultaneous and Successive Exercises in Identified Intervals 4.6.1 Exercises in Minor Thirds 4.6.2 Exercises in Tritones 4.6.3 Exercises in Major Sixths 4.6.4 Exercises in Perfect Octaves Chapter 5 – Four Other Intervals that Proceed Outward from C On the Direct Path from the First Row to the Second Row Major Third Perfect Fifth Minor Seventh Minor Ninth Formula 1 (Motto: to find something new, build upon something familiar) Exercises 1. Vertical Range Exercises, Ascending and Descending 2. Chromatic Range Exercises 3. Interval Exercises – simultaneous chromatics 4. Interval Exercises – successive chromatics Lessons 1 – 4 Playing the chains Summary Chapter 6 – The Five Remaining Intervals Major Second Perfect Fourth Minor Sixth Major Seventh Major Ninth The Direct Path and the Auxiliary Row Formula 2 The relationships in the arrangement of the keys The transformation from the indirect to the direct path Chapter 7 – The Study of All of the Intervals on the Indirect Path The Interception Process Exercises 1 and 2: Connecting the Indirect and Direct Paths Formula 3 Exercise 3: To Prepare for Fingering Variations A and B Formula 4 Application of Fingering Variations A and B Using Examples Chapter 8 – Chromatic Variations for the Preceding on Intervals Building the Thirds Building the Fourths Chapter 9 – The Chords and Their Structure 9.1 Triads Exercises for Triads 9.2 Tetrachords Exercises for Tetrachords 9.3 Pentachords Examples of Pentachords Chapter 10 – The Major Scales and their Three Basic Fingerings 10.1 The Ascending Constellations Example: Sonata in D Minor by Domenico Scarlatti 10.2 The Descending Constellations. 10.3 Overview of the Basic Fingerings 10.3.1a First basic fingering, ascending 10.3.1b First basic fingering, descending 10.3.2a Third basic fingering, ascending 10.3.2b Third basic fingering, descending 10.3.3a Second basic fingering, ascending 10.3.3b Second basic fingering, descending 10.4 Basic exercises Chapter 11 – The Primary Five–Note Exercises In Major Keys Chapter 12 – The Primary Five–Note Exercises In Minor Keys Chapter 13 – Conclusion: Recognize – Think – Do “After–Thoughts” by Klaus–Ernst Behne Appendix – Notes Elsbeth Moser Acknowledgements on the Translation Key Pages for Orientation to the Instrument Keyboard Diagrams Naming Conventions for Notes, Intervals, and Chords Cross Reference to Graphics for Intervals and Chords Chapter 3 – Positioning the Left Hand Cross Reference to Chapters between Editions Index