BA2 - UNIT SIX (of TEN)
Rhythmic Bass Taps for Tunes with Half-Interval Notes
ZOOM SLIDES (Compressed) with COMMENTS
Rhythmic Bass Taps for Tunes with Half-Interval Notes
ZOOM SLIDES (Compressed) with COMMENTS
2-6-1
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2-6-2
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Zoom Slides 2 to 10
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2-6-3
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Zoom Slide 11- 13
Winter BA2 schedule. |
2-6-4
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Zoom Slides 14 & 15
Unit 6 Topics |
2-6-5 (Topic 1)
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Zoom Slide 16
The "imagined" is the built-in beat-rhythm that most accordion players feel when they play melodies. It helps them maintain a steady pace throughout the song-melody. |
2-6-6 (Topic 1)
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Zoom Slides 17 & 18
For many many tunes: the outside bass buttons 1 & 2 adequately match the outside treble row, and the outside bass buttons 3 & 4 adequately match the inside treble row. |
2-6-7 (Topic 1)
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Zoom Slide 19
We can use a simple bass-tapping notation for a rhythmic effect, using B for bass-note & C for chord, applicable (in many cases) to tunes on either triple row. "Harmonic" tapping notation is (usually) somewhat different for the two treble rows, and will not be included in Units 6 to 8 of BA2. |
2-6-8 (Topic 1)
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Zoom Slide 20
Bars & bar lines Cut-time is our name for "two beats per bar". |
2-6-9 (Topic 1)
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Zoom Slides 21 & 22
Waltz-time indicates "three beats per bar" and can be represented by the "Bass Chord Chord" (or B C C, if you prefer) tapping pattern. Common-time indicates "four beats per bar" and can be represented by B C C C or B C B C etc. |
2-6-10 - Topic 1
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Zoom Slides 23 & 24
Beat pattern (iii) - [BC] C C C - can be used if the bass-note by itself is too harsh. Combining the bass-note and chord [B C] can yield a "more pleasant" sound. |
2-6-11 (Topic 2)
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Zoom Slides 25 to 27
A brief summary: Our button accordions are folk instruments. We play just for the pure fun of it. Bass-tapping doesn't have to be perfect. Perhaps, a case of the "perfect" being the enemy of the "good". |
2-6-12 (Topic 2)
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Slides 28 to 30
Just a suggestion . . . Master bass-tapping one step at a time, starting with 1. the melody 2. bass-note tapping 3. chord tapping 4. bass & chord together 5. alternating bass & chord It's also OK to ignore this suggestion. |
2-6-13 (Topic 3)
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Slides 31 & 32
Our first featured tune is Frère Jacques Each pair of two notes in lines 3 & 4 takes up one beat-interval, and thus receives one tap. But where to tap? Let's have a closer look. |
2-6-14 (Topic 3)
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Zoom Slide 33
How long is a tap? It depends
For purposes of this Unit, let's assume a tap that lasts for one-half of a beat interval. |
2-6-15 (Topic 3)
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Zoom Slide 34
Our first option (and my preference in this tune) is to tap with the first note in each beat interval. The tap & first note are each half a beat interval in length. |
2-6-16 (Topic 3)
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Slides 35 & 36
The second option considered is to put the half-beat tap right in the middle of the beat interval. But this can be problematic when the two notes in the beat interval are in opposite bellows directions (one on a push and the other on a pull). |
2-6-17 (Topic 3)
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Slide 37
This is the third option, and in some tunes might be my preference. However, the choice is yours. |
2-6-18 (Topic 3)
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Slide 38
Frère Jacques Cut time (2 beats/bar) Buttons 2 to 5 (either row) There are 4 pairs of half-interval notes (out of 32 beat intervals). Tapping pattern: B C |
2-6-19 (Topic 3)
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Slide 39
Count your blessings Cut-time (2 beats / bar) Buttons 3 to 6 on either row. Each of the first two bars on each line contains two pairs of half-interval notes. Tapping pattern: B C |
2-6-20 (Topic 4)
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Slide 40
Star of Logy Bay Waltz time (3 beats/bar) Buttons 2* to 7 (either row) There are 3 pairs of half-interval notes (out of 48 beat intervals). Tapping pattern: B C C |
2-6-21 (Topic 5)
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Slide 41
Galway Bay Common time (4 beats/bar) Buttons 2 to 5 plus o3, (and perhaps o1) to be played on the inside treble row. There are 18 pairs of half-interval notes (out of 32 beat intervals). Tapping pattern: B C C C |
2-6-22 (Topic 5)
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Slide 42
I'll fly away Common-time (4 beats/bar) Buttons 5 to 8* (either row) There are two pairs of half-interval notes in line 1, and single pairs in lines 2, 3 & 4. Tapping pattern: B C B C |
2-6-23 (Topic 6)
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Slide 43
List of additional (home) practice tunes, with suggested tapping patterns. |
2-6-24 (Topic 6)
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Slide 44
A BA1 review selection Mary had a little lamb (B C C C tapping pattern) |
2-6-25 (Topic 6)
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Slide 45
Extension of BA1 review Edelweiss This is an alternate to the simple bass tap - perhaps for accordions with some-what harsh bass notes. Bass taps [BC] C C Use treble buttons 4 to 7* on either row. |
2-6-26 (Topic 6)
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Slide 46
Mussels in the corner Cut-time (2 beats / bar) Buttons 3 to 6 on either row. Eleven (of the 16) beat intervals shown contain pairs of half-interval notes. Tapping pattern: B C |
2-6-27 (Topic 6)
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Slide 47
Black velvet band Waltz-time (3 beats/bar) Buttons 2 to 5 plus o3* Play on inside row. Only one beat interval with a pair of half-interval notes (3rd line) Tapping pattern B C C |
2-6-28 (Topic 6)
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Slide 48
On top of old Smokey Waltz-time (3 beats/bar) Buttons 3 to 6 on either row. Only one beat interval with a pair of half-interval notes (start of 4th line) Tapping pattern B C C C |
2-6-29 (Topic 6)
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Slide 49
Dirty Old Town Common time (4 beats/bar) Buttons 5 to 9* (either row, but sounds better on outside on my accordion.) There are 5 pairs of half-interval notes (out of 64 beat intervals). Tapping pattern: B C C C |
2-6-30 (Topic 6)
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Slide 50
Waltzing Matilda Common-time (4 beats/bar) Play on inside treble row Buttons 2 to 6 plus o3* Thirteen (of the 32) beat intervals shown contain pairs of half-interval notes. Tapping pattern B C C C |
2-6-31 (Topic 7)
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Slides 51 & 52
Reminder of the half-hour individualized sessions on every second Tuesday & Wednesday |
2-6-32 (Topic 8)
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Slides 53 & 54
Unit 7: Rhythmic bass-taps for tunes with paired "mixed-interval" notes, such as ;5 "6* or "4* ;5 where each pair takes up two beat intervals. |
2-6-33 Zoom Slide 55
