Melody
with accompaniment
Chord Arpeggios
This section is primarily meant for advanced players with knowledge of technical subjects such as the use of 4 fingers, pressure points, dynamics, bellows and finger articulation, etc.. At this level I use repertoire examples from the 'Hexameron du Concertiniste' by Giulio Regondi.
About the Hexameron du
Concertiniste
Giulio Regondi's " Hexameron du Concertiniste, Six Etudes de Concert
pour le Concertina" were first published in 1853 by Wessel & Co. of London.
These 6 solo compositions for treble concertina are a showcase of the the
instrument's technical and musical capabilities.
Regondi is responsible for most of the instrument's advanced playing techniques.
Compared to his contemporaries, he was in a class by himself. His educational
works Rudimenti del Concertinista (1844), and the New Method for the
Concertina (1857) both meant as elementary methods, show a profound
understanding of the musical and technical possibilities of the instrument,
unlike comparable works by his contemporaries, which often show limited musical
and technical insight. In their hands the concertina was a limited musical
instrument. The reintroduction of the concertina in classical music is based on
Regondi's playing techniques.
The 'Hexameron' represent the highest standard of concertina technique, and is
therefore mandatory repertoire for concertina students at
conservatory/university level.
Hexameron no.1, in G major
In this section we'll discuss the (8) openings measures of the first
Hexameron, which consists of a legato melody in the upper voice with an
accompany of legato arpeggio chords in the lower voice. Playing legato always
requires special attention to fingering, because even the slightest interruption
of legato is audible.
When playing legato, you should never use the same finger for two adjacent notes,
since this will inevitably leave an audible gap between them. Legato means
connected, in an even, smooth and gliding manner. This is not possible when
the finger playing note A has to be lifted up, moved and pushed down again to
play note B. The action required to play two notes with the same finger
automatically means the two notes will be separated. The only way to play legato
is by using different fingers for adjacent notes. Therefore the most important
rule regarding legato fingering is:
Never use the same finger for two adjacent notes
The following example shows the first measure of the 1st Hexameron. I have put in the fingering for the left hand only. The technical problem in this measure is the B and A# in the lower voice. It is not possible to play both notes with finger 3, for reasons explained. The left hand already plays one note (D) in the upper voice and has to play three adjacent notes (G B A#) in the lower voice, which all need to be played with another finger in order to play them legato. The only option is to play this measure using all 4 fingers.
You will need to have finger 4 over the A# when you begin playing. If you start with your little finger on the finger rest, you'll be too late. The same fingering is required in measure 5.
Dynamics, Articulation
Because Regondi wants it to be played 'Dolce', the first melody note (D)
should be played with bellows attack rather than finger attack, which will be
too strong.
The melodic accent in these opening measures are on the 1st and 7th beat (D and
A). Your melodic direction is towards the A. With stable pressure points, you
can play the D with bellows attack, and make a crescendo right from the
beginning all the way to the A. Make sure you play every phrase with bellows
attack.
Rhythm
If you combine the rhythm of both upper and lower melody, you will notice that
this section consists of a continuous string of 16th notes. Make sure you keep
the 16th notes even, especially when playing finger 4. The change between the
right hand (notes G D) and left hand should not noticeable, either rhythmically
or in legato.
Bellows phrasing
Never change bellows direction while holding a note or playing a legato
phrase. Changing the bellows have the same effects as lifting up your finger, it
leaves an audible interruption of the tone or phrase. Depending on the tempo,
the bellows can be changed either on the F#, just before the 7th beat, or on the
G, just before the 1st beat of the second measure. This piece should be played
with periodical bellows movement.
In measure 4 the D and G are part of both voices. However, as far as articulation is concerned, they belong to the upper voice. They should be played like the other 16th notes in the melody.
Listen to the openings measures of Regondi's first hexameron
for solo concertina, composed in 1853.
The instrument you hear is a brass reeded Wheatstone from that same year.
Sound file
Technical advise
Make sure you keep your wrists low ( keep your thumb slightly bend),
otherwise you'll create tension in your hand which will make it impossible to
use your little finger.
before you start practicing a new piece, take the time to mark the fingering
first. If you solve fingering problems before you start it can save you a lot of
time and frustration later.