Pour la difficulté relative, voir ma réponse à votre autre commentaire. J'ai choisi C#/D pour trois raisons, je crois. 1. J'aimais bcp plus le jeu d'accordéon de Jackie Daly et cie. que celui de Joe Burke et cie. Ça allait mieux avec le violon, à mon avis. 2. J'ai joué dans un groupe en Australie avec un musicien très talentueux qui avait un D/G (c'est tout ce qu'il a pu trouver là-bas) et son jeu se ressemblait plus à ce qu'on peut faire sur un C#/D. 3. Avant d'acheter un accordéon j'ai emprunté un si/do d'un copain. Je l'ai essayé d'abord en si/do et puis en utilisant les doigtés do#/ré. Ce dernier système me paraissait plus naturel. Aussi, d'avoir ré comme tonique de la rangée principale m'aidait à me retrouver - c'était comme la corde de ré au violon ou la note la plus basse en tin whistle. Je ne regrette pas mon choix. Mais si/do, c'est très bien. C'est comme choisir entre apprendre une langue plutôt qu'une autre. Les deux permettent de bien communiquer, une fois qu'on les maîtrise un peu...

Si vous êtes habitué à jouer du mélodéon (une rangée), apprendre à jouer en ré sur un si/do sera un choc assez brutal. Si/do, c'est super comme système, mais il faut vraiment travailler très fort au début. Pleins de gens qui essaient de faire la transition à l'âge mûr (plutôt que commencer jeune) jettent l'éponge assez rapidement. En do#/ré, la courbe d'apprentissage est moins abrupte au début. Mais en fin de compte, les deux systèmes sont géniaux. Bonne chance!

Salut. L'accordéon est en do#/ré. Pour cette pièce je joue presque tout sur la rangée de ré.

Je ne sais pas trop quoi te dire, Robert. Je compatis, évidemment. Mais le but cette vidéo était simplement d'essayer de montrer les différences entre les deux systèmes, pas de faire un plaidoyer en faveur d'apprendre les deux dès le début. Je te conseille de rester avec le système qui te convient le mieux et de ne pas te casser la tête s'il y a des tounes qui s'avèrent archi-difficiles à jouer. Il y en a tant d'autres qui ne le sont pas ! 🙂

@@Stiamh Cé l'affaire que j'aimes tellement la musique Irlandaise. Sur l'accordéon à une rangée (plus facile) mais ça ne sonne pas pareil. Je n'ai jamais eu de cours, malheureusement, ça m'aurait montré où plasser mes doigts. Et cé ça ma bête noire, je m'enfarge dans mes doigts. Merci d'avoir répondu mon ami.

@@Stiamh Je viens de trouver un truc formidable, et le plus drôle, ça marche. Je regarde les vidéos de Steve Jones, et je mets les doigts au mêmes endroits que lui. Yé bon ce gars là :)

If you only ever wanted to play in a small handful of keys, that might be feasible. But semitone-apart accordions such as the ones I play can be played in any key (with varying levels of difficulty, but still, they can). So if, for example, you optimized the intervals for D & G and related minors, other intervals in more distant keys would sound totally unacceptable. Before equal temperament and its predecessors (e.g. Bach's "well temperament") were developed, harpsichord players had to retune their instrument to play in different keys. Equal temperament did away with that problem, at the price of the harsh chords that I demonstrate.

@@Stiamh Ah, I get it. Thank you for your response. Just as a side note: I heard some old organs here have also tunings like Werckmeister, were not only one key is possible, but the more different from the key C the more unacceptable it is. However, it seems that they can play with at least 3 flats before it really gets unbearable.

Argh there yerself sailor!

@Stiamh aye! Yer music makes me feel as jolly as a Roger! 🚢🏝☠️🌊

No doubt, no doubt. Point taken.

Les deux sont bons. Sur le si/do, la tonalité de sol est un peu plus facile que sur le do#/ré. Mais jouer en ré est plus facile et intuitif sur le do#/ré, à mon avis. Je crois en effet que la courbe d'apprentissage est un plus raide sur le si/do, pour les premiers mois ou les premières années. Je vous conseille de faire le même choix que les interprètes dont le style vous plaît le plus. Ou de choisir selon les possibilités de cours dans votre coin. J'ai tenté d'expliquer un peu les différences entre les deux systèmes dans cette vidéo : kzbin.info/www/bejne/hpi9gpacgs6sd8k (sous-titres en français disponibles). Bon courage !

@@Stiamh Un gros merci!

Thank you, Jackdaw, for taking the time to write such a nice message. All the very best.

Thanks for your comment. For the speech, you could try using the subtitles. For this video I haven't uploaded subtitles, so you'll have to go with the automatic ones provided by KZbin, which get lots of things wrong. I will try to find time to do proper subtitles.

On any semitone-apart accordion there is no need for substitution - all 12 notes of the chromatic scale are available. In this video I show you how to find any "accidental" (meaning in this case any note that is not on the D row) on a C#/D. kzbin.info/www/bejne/g2mZh5mMr7iSa9Usi=tuK2k9NPXUEm73th&t=170 On a C#/D, C natural is right next to the C# on the D row, but on the outside row, diagonally a shade nearer the chin, and in the same bellows direction (pull). On a D/D# it will be on the inner row, right next to the C# on the D row, but diagonally a shade nearer the knee, also in the pull direction.

Ché pas pourquoi mais je la trouve plus belle en Do# Ré. Probablement le "fingering" qui n'est pa pareil comme en Si Do. Merci beaucoup Steve.✌✌

Et pourtant, c'est la première chose qu'un.e accordéoniste va remarquer. Ça et le fait qu'il joue à l'envers, c'est à dire que l'accordéon n'est pas modifié pour un gaucher. Alors les aiguës sont près de son menton et les graves près de son genou.

You're very welcome, Jerry. If you followed this fingering pattern on your BC, you'd be playing the tune in G. Mind you I would find that confusing! Best, Steve.

Now reconnected!

There are lots of ways to operate the bellows but this was a good starting point for me. Glad if it helps you.

You are most welcome, and thanks for the appreciative comment.

That's a very good suggestion, John. I shall endeavour to be a little more consistent in that regard... Glad you found the clip useful.

Thanks @@Stiamh It's a bit churlish of me to ask for more when you've already been so generous.

@@Rustygulley-r3r Not at all, dear boy. 🙂🙏

kzbin.info/www/bejne/eXu7pn94fZlnecU

I totally understand. Playing the basses lighter or shorter might help, but in the end the air button is your saviour.

@@Stiamh thank you - that is good advice. In my keenness to get the basses added to the tune I often forget that the treble is what carries it and where most my attention should be. I am learning that the art of the basses in Irish button accordion is minimalism. Tony McMahon was a fine example.

Salut Manuel. Welcome aboard the C#/D ship. I wish you fair weather and good sailing!

@@Stiamh Salut Steve, I still have a question. Normally I play on GC, but for the C# D I have to look out for scores with 2# or 3# you mainly play by ear but I need to see a score first. And right now I only have a One row In D and that does seem much more difficult to me than a two row C# D where I will have to pull and push a bit less. My next step into the world of C# D is still an unknown world. I have plenty of books for GC but none yet for C# D and am still searching in terms of music, from David Munnelly I was advised to learn the "The Blackhaired Lass but on my One Row D that is too confusing for me I am looking for something simpler. So looking out for scores with 2# or 3# or am I wrong? Manuel

@manueldelen8361 If you are playing a one-row in D, then you need to look out for tunes with 2#. The third # is G#, which you won't have on a one-row in D. By the way there are a lot of tunes in G, which has only 1# in the key signature, that you can play on a one-row. These are tunes that don't have any Cs in the tune. Out on the Ocean is one example. Another would be the Lilting Banshee, which is in a mode of A rather than G, but you can get all the notes on your one-row. And lots of others! If you need a simple tune for one-row as well as C#/D, I'd recommend The Wind that Shakes the Barley. My next video project for my students... hope to get it done in the next few days.

@@Stiamh Hello, I am very happy with your recomandations . The only thing I'm still in doubt about is to switch completely to C# D I think the switch is such that it's difficult to play and GC and C# D it's one or the other in my opinion? Or am I wrong? Anyway thanks for your response

@@detsmeets5444 HI, sorry I missed this comment. I really don't know how easy it is to master two such different systems, because I haven't tried. Some people manage to do it. The trick might be to keep the two repertoires completely separate. Good luck, and if you do decide to use both systems, let us know about your experience. 👍

You could change your CF accordion to DG but I would advise against it. It is not a good idea to tune reeds up by a whole tone. A semitone is about the limit, I am told. More and the reeds will be weakened or ruined. Fitting a set of DG reeds would be possible but expensive. I think you would do better just to buy a DG box and possibly sell your CF. You will get good answers to this question, and your other question about music tablature, in the forums at melodeon.net. Mind you few British players seem to use tablature. It's more of a thing in France.

Hello Jeff. You are very welcome, and welcome back to the two-row fold (if and when you make it back). I've never owned a Castagnari but my general impression is that they sound rather more "polite", more refined, and less edgy, than Saltarelles. And they are very beautifully made. For the sound, it's a matter of taste. From my point of view, what's special about the early Irish Bouëbes is that the inner row of buttons operated the top row of pallets (flappers), so you get a lovely bright sound on that row. Ideal for C#/D, perhaps not for D/C#. But I believe they changed over to a more conventional mechanism in recent years which, if true, is a great shame.

Hiya Patrick! I could have saved myself a lot of trouble (and money) had I stuck with my first Bouëbe and never bought another box! 🙂In the end I bought this one instead of buying back Karli's. It's a bit older and it seems to be a very good one.

@@StiamhGreat work, Steve, as always! Happy New Year!