Take your accordions and give it a try!
And it's FREE.
It is intended for those who have weaknesses in reading notes and the theoretical bases (Rhythms, scales and modes...).
Help at 0685301367. Patrick MOSCOVITZ
Sincerely
If it is a MIDI system, it should work. It is necessary to try.
If not, for the visual understanding, with the Belgian basses, you have to straighten "in your head" the alignment of the keys.
But this is just for learning and reference. Then, it is necessary to go into the scales to know well the tones and the weaves.
I remain at your disposal for more details.
Good music,
Patrick
Here is the bass diagram of my 120 chromatic accordion.
... in color
I have simplified the name of some keys
The musical theory is thus not respected...
If I have made mistakes
If you have any suggestions for improving the scheme
Thank you for sharing this with me...
ps to view the pdf :
http://www.pdfxviewer.com/
ps to assemble the pdf :
http://www.unitypdf.com/
At the request of JOJEELJA here are the diagrams of a keyboard called
\Charleroi" keyboard with the C in the 2nd row as well as the schematics of the Belgian type basses
Good end of the evening.
Jodi
How to link
Rem - Reb 7 - C7M -Fa 7 in the left hand without moving on the keyboard
I share my practice with you,
it allows - on a 3/3 keyboard - to avoid moving the hand on the
keyboard and thus the break in the sequence of the basses:
D minor is played normally
finger 4 and 2 (or 3 if you want to add the mimic finger 2 to get a chord
of Rem 7/9).
D flat 7ème can
be obtained by placing finger 4 on the bass of C # (second row in
above the A bass) and the thumb on the C # 7 chord (this is not the most
simple, only the habit can help to play the right chord but we manage).
The Do 7 M is quite
classically on a 3/3 keyboard by placing finger 3 on the bass C (3ème
row above the bass E and the 7M chord is obtained by placing finger 2
on the E minor chord.
Finally, FA 7 is done by placing
finger 3 on the bass of F (just below the bass of C: 3ème
row above the A bass), the tuning of F7 is normally done with the
finger 5 (the mark is quite easy: you would have to bend the finger to
to make a C7 chord, so the position is quite natural, even if everything is
depends on the morphology of each person).
It is then quite simple to follow with a Bb 7M chord with the Bb bass on the 3ème row with finger 4 and the Re
minor with finger 2.
Here is my little
"I must not be the only one to use it, but I do it all the time.
to those who would be interested.
Kind regards,
Joël
Nothing is easier to find on a standard MG Basses keyboard! If necessary, use a diagram of the MG keyboard.
- the #'s for a major scale : you start from the fundamental bass C and while going up you count... G=1, RE=2, A=3... F#=6...
- the flats for a major scale : you always start from the fundamental bass C and while going down, you count... FA=1, SIb=2... REb=5...
For minor scales, same thing but starting from the complementary bass A. By going up the sharps, by going down the flats. Normally, it gives F#m=3#, Fm=4flats...Gm=2...
It also works by reversing the problem... I have 3 sharp notes in my quilting... 1, 2, 3... I am in the key of A or F#m depending on whether I start from C or A!
Sincerely
