VonRichter

Hi again Christian. Unfortunately, I don't have mine with me at the moment so I can't give you the exact range. I am sure you can find this information onlline if you look carefully. Keep in mind that the "audible" range depends on the combination of "stops". I have noticed that the range is not always exactly the same on all models. If you are talking about squeeze-boxes in general, besides the standard full-size piano-accordion, then you are facing a bazillion different instruments with all sorts of range variations. You cannot write as if for a piano. Some things to keep in mind: *The piano-accordion is a portable reed organ *Only the right hand plays piano-style keys (although double-keyboard models do exist, they are very rare) *The keys are much smaller than a piano, so you can play larger intervals with ease. *The number of simultaneous notes that the right hand can play depends. Usually the limit is five (one for each finger) however, since the keys are so small, it is easy to take two adjacent white or black keys with the thumb, or more rarely another finger. Taking both a white AND black key with the thumb is only practical on models with very low black keys. *The entire right hand can be used for clusters of more than 5 notes. This is a very effective sound on the accordion. *The action of the keys is considerably faster than the piano, so absurdly fast figures are both practical and idiomatic of accordion style. *Grace notes are very effective and common. *Glissandos (using the thumb, middle fingers, etc) are easy and effective. *Broken octaves or other large intervals are effective. The speed at which these become impratical depends on the skill of the player. *The bellows control dynamics for BOTH halves simultaneously... for example, you cannot do a crescendo with the piano half while the chord half stays the same. *The octave stops can be defeated for a very sweet, pure single-reed sound, excellent for soft dynamic levels. The basic model has 3 stops, low, middle and high. Any combination of these can be used. Fancier models have more options. *Using, say, just the low reed, then the high reed on another passage has the effect of a large pitch range. When all stops are going, our ears hear it as one sound. *The chord side (left hand) is difficult to conoceptualize unless you have an accordion in your hands. I reccomending picking a used instrument up (make sure all the keys work) for cheap and experimenting with that. There is probably a diagram somewhere with a chart of what each button does. If it seems complicated, keep in mind that the SAME pattern is repeated for each row of buttons, except the pitch is transposed. *You cannot write just anything you want for the chord side. There is no substitute for having an accordion at hand to determine which changes and simultaneous buttons are possible. Some close leaps that are easy on the piano are tough on the accordion, or impossible. *Chord substitutions are your best friend when writing for the left side. Sometimes you cannot get to the next chord, but you may be able to change at least the BASS note while sustaining the chord. If anything, you can come up with some very interesting harmonies by just experimenting with the left side. Dissonances and so are are very mild on the chord side, so you can get away with layering these under other instruments playing the "normal" voicing. *Left-side chords involving just the bass notes are effective, especially drone 5ths. *Some players (especially those playing in an ensemble.) use only the piano side, or at least use it far more often than the chord side. *The louder the dynamic, the less notes that can be played on a bellow movement. *Good players are adept at changing bellow directions so quickly it's barely noticeable (important for loooooong mood drones), but in a sustained crescendo, this break is likely to sound crappy, so keep air limits in mind. Like a brass player, it will run out, but unlike a brass player, it can take a full breath instantly. *Remember to milk the bellows for all they are worth! The dynamic capabilities of the accordion are it's chief asset. *The bellow themselves are often used for note attacks. In this technique, the notes remain depressed, while the player jerks the bellows. Another similar effect is to shake the bellows so rapidly that a tremelo results. This tremelo can even crescendo or decresendo to a small extent. *A series of silence-to-loudest crescendos, at each chord change, that each cut off instantly into silence at the loud point, are very effective. I hope some of this was helpful.

Dvorak's thematic material in this piece is top-notch. My favorite being the main theme of the finale, and the folky jig right after. This piece is definetely overplayed and abused. It's not a very "meaty" piece, relying more on extended tunes and dynamite themes. It's too bad it gets programmed over and over at concerts. Most players I know are sick of it. This leads to boring performances. It's still a classic.

Mahler's music is PLENTY subtle. The problem lies with conductors like Bernstein who are anything but. Unfortunately, most conductors have been heavily influenced by Bernsteins Mahler, so all we get are bloated, horribly slow-paced, unbalanced overblown interpretations. Mahler is also poorly classified as a "mega romantic". His music can get sentimental at times, but his actual compositional procedures have a distinctly classical-era flavor. Notice the stark clarity of the voice leading and counterpoint througout much his work.

This work is original in many ways. The famous hugely spaced chords at the end are anything but questionable. They are *supposed* to be unusual. The preceding music is intentionally dense, and the silence becomes deafening when it finally appears. It's actually quite a thrill for many.

Christian, I play a bit of accordion, what questions did you have in mind?

I love Mahler's sixth... I love Tchaikovsky's 6th... Comparing them is silly, they are very different music. However, if I had to pick one to survive the apocalypse, it would be Tchaikovsky's 6th, which I consider one of the highest achievements of the human race. Call me crazy if you like. But before you do, go out and try to equal the development section of the first movement. Try to compose music with even a tiny fraction of that blood-boiling intensity. That is the music of a master at his absolute peak, flaming with explosive emotions, yet (for once) in complete control of his craft. The sad truth is that Tchaikovsky's many detractors are merely jealous. Tchaikovsky steadily improved over his career. He always had the inspiration, but with the sixth, he finally mastered form and motivic development. The result is a piece that belongs with a select few at the top.

Mahler's 1st is a masterpiece. First of all, find a good performance. There are many misguided interpretations of this piece, which completely destroy the nail-bitingly delicate sections. There are very unique, dreamy, sustained sections that hang by a thread. Other conductors screw up the tempos, or botch the finale. The finale is difficult to conduct, because of the "pulling" rhythms and tempos. These types of passages are extremely rare in music, and the finale exploits them quite extremely. This piece is also misunderstood by many. If you listen to the piece carefully over a period of time, Mahler's superhuman motivic integration will unfold, in fact nearly every theme and most of the accompaniment figures are tied together in inspired ways. The piece is not patchwork. This impression comes from a superficial "surface" listen, and poor conducting. The piece is in fact flawless regarding form and integration. That Mahler manages to deliver such colorful and varied stylistic bits while holding onto a complex interconnection is no mean feat. Another aspect of the piece is raw inspiration... the kind that just comes from that other place we can't define. Take the "development" of the first movement, with the extended floating anticipation slide figure, which finally, almost painfully, states the entire theme. The wind bits, the bass drum thump with the cuckoos answering, the chord changes, and finally the quiet fanfare peeks out. This is music you have to get lost in to appreciate. Or the second movement... after the exposition comes a sort of short development... this powerful bit alone is more than most composers manage in their entire careers. The descending chords at the end of the section are incredible. The famous third movement needs no introduction. However, I will point out that hearing this movement on speakers is a sad substitute for hearing it live. Now... the finale... one of the greatest finales in all of music. So many conductors butcher this, but in the right hands, Mahler's genius is jaw-dropping. First of all, the theme itself is timeless and thrilling, the psychotic figurations in the violins are just way to donkey kicking for their own good. After a breathless ride, electrifying (and spine-chilling) "big chord" comes after the first three notes of the main theme call... then Mahler one-ups this later by jerking to another chord. You know those moments in great music when your stomach goes out? Where tears can burst out? These two bits of this finale are certainly among those. The fanfare that ends the piece continues on this sublime course. So many "big finishes" of symphonies sound hollow... not this one, this is inspired, soul-stirring stuff. A couple of structural notes that people often miss: The entire piece is built on the "cuckoo" call. The symphony begins and ends with them, and several of the themes begin with the interval, or feature it. The awesome descending brass fanfare near the end of the finale is also the introduction theme of the entire piece, which is a series of descending cuckoos. Amazingly, most listeners never realize this seemingly obvious fact. Many Mahler pieces rely on "thematic intensification" for their effect (for example, the schrezo of the 5th). To ignore these is to miss out on a good percentage of Mahlers "meat". Other composers have used these types of structers, but Mahler does it in a more concealed, ingenious fashion. The "cuckoo" also makes makes an obviously intentional cameo in the first movement of Mahler's second. It comes with massive effect after the repeated dissonant chords. Most heavy listeners of Mahler have found that in fact Mahler obsessively shares motivic ideas between all of his works, to the point where it is almost like he really composed one big symphony. Overall, the first is an extremely original, inspired piece. It's a shame so few people really get to appreciate and embrace it. My brother and I have a special place in our hearts for this piece. We used to listen to a favorite recording cranked up in the dark. I hope anyone reading this will give it a chance to find a place in their hearts as well.