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The initial period of training a button accordion player. Setting up the gaming machine.
A lot depends on the correct setting of the gaming machine at the initial stage of training - both the formation of a professional musician and the education of an…

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The initial period of training a button accordion player. Setting up the gaming machine.

A lot depends on the correct setting of the gaming machine at the initial stage of training – both the formation of a professional musician and the education of an amateur musician.
There are several fundamental components that allow you to find the only right solution to the problem, that is, the position of the instrument, the landing, the position of the hands relative to the keyboards (left and right), wrist freedom should be convenient for a person playing the button accordion.Correct landing of an accordion player requires a certain position of all parts of the body.
You need to sit on the front half of the hard chair; the height of the chair corresponds to the growth of the musician. An accordion player has three main points of support: support on a chair, support with his feet on the floor, support in the lower back. In this case, the body should be straightened (which should allow the accordion belts to be correctly sized to fit on the student’s body)
The instrument should stand steadily parallel to the button accordion’s body, while adhering to it. The button accordion is located on the left thigh, for all button players the fingerboard should rest on the hip, which is quite natural, since only in this case when playing the squeeze button accordion acquires the necessary stability. Two shoulder straps are adjusted in accordance with the physique of the performer. Excessively tight belts can cause the button accordion to hang on them more than to stand on its knees. Practice shows that the most acceptable fit for the shoulder straps should be considered one in which you can freely draw your palm between the body of the button accordion and the performer. In recent years, the belt connecting the shoulder straps at the lumbar level is becoming more widespread. This innovation has different points of view: it is really more convenient for someone when the “back is fixed”, since the belts now acquire the necessary stability and do not fall off the shoulders. For some, the back strap fetters the movement of the case, it is inconvenient for a person to relieve tension through the case (since it is too tight), which occurs during the performance of a work. The working belt of the left hand is adjusted so that the hand can move freely along the keyboard. However, when expanding and compressing the fur, the left wrist should feel the belt well. And the lower part of the palm should be the main point of support for guiding the fur to squeeze, since if you lean on the whole palm or its upper part, it turns out that the fur goes to squeeze through its upper part, which is unacceptable, as this leads to a rough change furs (of course, there are a lot of exceptions, for example, when playing a “rebound”, you have to move the brush support from the lower half to the upper).

A lot has been written about the setting of hands, nevertheless, in practice, we often encounter an uncomfortable position of the hands, leading to clamps.
The setting of hands should be formed in the process of mastering the whole complex of musical and performing skills: in working on scales, arpeggios, as well as on sketches, plays. And of course, the setting of each hand has its own individual characteristics.
The main criterion for the correct setting of hands is the natural naturalness and expediency of movements. If we lower our hands in free fall along the body, then the fingers will acquire a natural bent shape. Such their position does not cause the slightest tension in the area of ​​the carpal apparatus. Bending our arms at the elbow, we find our starting position for playing the button accordion. It is very important to understand here that – raising your hand to the keyboard – it’s important not to hold the hand, not to strain your shoulder, not to push the elbow forward or vice versa. If all these nuances are met, then the hand on the keyboard will look very natural, and the performer will be comfortable.

The left hand, of course, has some differences in the setting, however, the feeling of freedom of the bent fingers, hand, forearm and shoulder should be the same for both hands. The shoulder and forearm create good conditions for the fingers to touch the keyboard, they should help the fingers and hands to work with minimal cost.
It is important to pay attention to the fact that the right hand does not hang limply, but is a natural extension of the forearm. The back of the hand and forearm form an almost even line. The elbow does not prevent the brush from moving gently in different directions.
The forearm with necessary movements helps the work of the carpal apparatus. but basically the brush works qualitatively, giving inertial waves to the forearm. The shoulder joint of the button accordion is usually less active. Sometimes we can use “tonic” changes in the positions of the shoulder joint of the left hand, playing, for example, a long tremolo with fur. Raising and lowering the elbow, we thereby connect new muscle groups to work and give others time to relax.
The thumb of the left hand is located horizontally on the body, the thumb of the right hand is also horizontally behind the bar or on the keyboard, directly taking part in the game.

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