BA2 - UNIT NINE (of TEN)
CROSS-PLAYING & HARMONIC-MATCHING
(For Tunes in Key of Treble Outside-row)
SLIDES (Condensed) with COMMENTS
CROSS-PLAYING & HARMONIC-MATCHING
(For Tunes in Key of Treble Outside-row)
SLIDES (Condensed) with COMMENTS
Web Slide 2-9-1 Zoom Slides 1 & 2
2-9-2 Slide 3
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BA2 -
Winter 2022 Outline In Unit 9, the focus is on the diatonic set of button notes on the treble out-side row, and harmonically matching them to chords from the outside row of the bass-end. |
2-9-3 Slide 4
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Winter 2022
Schedule |
2-9-4 Slide 5
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Unit 9
Topics (& Tunes) Although we intend to cover treble outside-row cross-playing & bass-end three-chord matching in some detail in topics 5 & 6, we will (for easier initial learning) conclude this introductory treatment of cross-playing & chord-matching by limiting these actions to those cases with the most problematic dissonance. |
2-9-5 (Topic 1) Slides 6 to 8
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Review 1
Explanation of why Bass-end chord matching with inside treble row diatonic button notes is "GREAT". In each matching case for the three chords, the button-notes in the row corresponds to the button-notes in the chord. |
2-9-6 Slides 9 to 11
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Demonstration
of the bass-end chord matching to the treble inside-row button notes in the tune "Edelweiss". To me, it sounds "great"! |
2-9-7 Slides 12 to 16
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Review 2
Explanation of why Bass-end chord matching with outside treble row diatonic button notes is merely "good". The problem is we have only two chords for matching purposes, and thus some notes (on the pull) do not have a great matching, merely "good" (somtimes merely "fair"), |
2-9-8 Slide 17
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Demonstration
of the bass-end chord matching to the treble inside-row button notes in the tune "Red River Valley". To me, while (as a whole) it may not sound "great", it does sound "good". |
2-9-9 (Topic 2) Slides 18 to 20
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We want the bass-end chord & treble button-note matchings to be "great" for the whole of the diatonic outside row.
The problem notes are shown in the yellow columns in the diagram at left. The outside-row notes 4*, 5*, 8* & 9* are pull notes, whereas the needed chord o3 is a push chord. |
2-9-10 Slides 21 to 23
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Here is our special challenge:
We need a way of matching these problematic outside-row notes to the o3 chord. Which leads us to cross-playing from the outside to the inside treble row. |
2-9-11 Slides 24 to 29
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But first, let us consider the benefits of such cross-playing.
These are four of the benefits. In topic 4 we'll review (a) which was covered earlier. In toics 5 to 7 we'll explore (b) Benefits (c) & (d) are deferred. |
2-9-12 Slides 30 to 33
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A brief review diversion:
Cross-playing to obtain a missing note. |
2-9-13 Slide 34
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Demonstration of cross-playing benefit (a).
We cross-play to the inside row for button-note i8*, a note that is part of the inside-row diatonic set, but is an accidental note relative to, and not located with, the outside-row diatonic set. So, we have to reach to the inside row for it. |
2-9-14 Slide 35
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Restatement of the harmonic matching challenge.
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2-9-15 Slides 36 to 39
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Cross-playing
Our cross-playing is based on the equivalence of notes. o4* = i3 same note o5* = i4 same note Although not mentioned on the slide, the treble inside i4 note is also harmonically matched to the chord ib1; this matching is revisited in BA3 course. |
2-9-16 (Start of Topic 3) Slides 40 to 42
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Demonstration Tune
Playing i3 instead of o4* on lines 1 & 4 Playing i4 instead of o5* on lines 2 & 3 |
2-9-17 Slides 43 to 45
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This slide extends the equivalence to higher octaves:
o8* = i6 same note o9* = i7 same note |
2-9-18 Slides 46 to 48
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Demonstration Tune
Playing i4 instead of o5* on lines 1, 2 & 3 Playing i6 instead of o8* on line 4 |
2-9-19 Slides 49 to 51
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Chord matching to select notes in the key of the outside row.
Here the bass-end chord o3 can be harmonically matched with treble notes i3, i4, i6, i7, i9 and i10. For a G-C accordion: Cross-playing to the inside row for treble notes C & E permits harmonic matching with the bass-end chord C |
2-9-20 Slides 52 & 53
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Demonstration (vi):
Note the harmony of sound when the chords and notes are played together. Each enhances the other. |
2-9-21 Slide 54
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Demonstration (vii):
Note the harmony of sound when the chords and notes are played together. Each enhances the other. |
2-9-22 Slide 55
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Demonstration (viii):
Note the harmony of sound when the chords and notes are played together. Each enhances the other. |
2-9-23 (Start of Topic 4) Slides 56 to 58
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Limited Cross-playing
Cross-playing is not always needed. Many notes are held for such a short time that using bass-end chord button o1* (instead of treble cross-playing with bass-end chord o3) is fine. |
2-9-24 (Topic 5) Slides 59 to 61
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Demonstration (ix)
Limited cross-playing In this verse there are two instances of the 4* note, and three of the 5* note, that are held for only half a beat interval, perhaps making cross-playing unnecessary. The two highlighted notes on the 4th line are held for longer than a beat interval, and thus could benefit from cross-playing & the chord o3. |
2-9-25 (Start of Topic 5) Slide 62
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More Tunes For Home Practice.
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2-9-26 Slide 63
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Home Practice (i)
Four Strong Winds Cross-playing can also be beneficial for a succession of two or more short notes (as on the first line at left, using the i4 note matched with the o3 chord). This also applies to the i6 notes on the fourth line. |
2-9-27 Slide 64
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Home Practice (ii)
Streets of Laredo |
2-9-28 Slide 65
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Home Practice (iii)
Loch Lomond |
2-9-29 Slide 66
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Home Practice (iv)
Farewell to Nova Scotia |
2-9-29extra Slide 67
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This is the outside-row version of Edelweiss, with full cross-playing and use of the o3 chord.
Our earlier featured tune (i) was the inside-row version. |
2-8-30 Slides 68 & 69
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A look back
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2-8-31 (Start of Topic 7) Slide 70
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A (tentative) look ahead
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2-8-32 (End of Unit 8) Zoom Slide 71
