BA1 - UNIT EIGHT (of TEN)
"Drone-like" Accompaniment, Tapping Beats,
and Bar Notation
SLIDES (Condensed) with COMMENTS
"Drone-like" Accompaniment, Tapping Beats,
and Bar Notation
SLIDES (Condensed) with COMMENTS
Web Slide 1-8-1 Zoom Slides 1 & 2
1-8-2 Slide 3
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Five Units for winter of 2022
We have arrived at Unit 8. "Drone-like" accompaniment, tapping beats, and bar notation |
1-8-3 Slide 4 & 5
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In Unit 7, we attempted to use our accordions to simulate Great Highland Bagpipes. We did this by playing a melody on the outside treble row while holding a (nearly) continuous bass-note, a drone, using bass-buttons ob2 (push) and ob4* (pull). The treble & bass note combinations were acceptably consonant on the push. However, many treble & bass drone combinations were dissonant on the pull.
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1-8-4 Slides 6 to 10
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Today, in Unit 8, we will introduce "drone-like" accompaniment, for greater consonance on the pull.
In Unit 8, we'll also cover tapping beats, and develop a bar notation as a guide to bass-end rhythmic accompaniment. Topic 8 is optional, covered if time permits; otherwise deferred. |
1-8-5 (Start of Topic 1) Slides 11 to 13
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In Unit 7 our "drone" was a single bass-note, that required the use of two buttons (ob2 on bellows push, and ob4* on pull).
In Unit 8 our "drone-like" background requires only one bass-note button, but provides two bass-notes (one on push and the other on pull). -If playing melody on inside row, use ob4 & ob4* (same button). -If playing melody on outside row, use ob2 & ob2* (same button) |
1-8-6b Slide 14
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Mary had a little lamb.
Out first "drone-like" tune using a "drone-like" bass-note background. For this exercise, play melody on inside treble row and use bass-notes ob4 & ob4* If you did want to play it on the outside treble row you would use bass-notes ob2 & ob2* |
1-8-7 Slides 15 & 16
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Positives & Negatives
Compared with the drone accompanied tunes in Unit 7, there are three positives. However, there are also two or three negatives. The third negative doesn't always apply; some tunes may not lend themselves to a bass-note beat. |
1-8-8 (Start of Topic 2) Slides 17 & 18
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"Drone-like" chordal accompaniment.
Instead of a single bass-note, we'll now explore the use of a bass-end chord for "drone-like" accompaniment. If melody is on inside row, press & hold chord button ob3 throughout. If melody is on outside row, use chord button ob1 throughout. |
1-8-9 Slides 19
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Amazing Grace
Out first "drone-like" tune playing a bass-end chord as background. For this exercise, use outside treble row and chord button ob1 (push and pull). |
1-8-10 Slides 20 & 21
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Positives & Negatives
Compared with the "drone" tunes in Unit 7, and our earlier bass-note "drone-like" tune, there are 3 positives. However, there are still two or three negatives. Again, the third negative doesn't always apply; some tunes may not lend themselves to a chord beat. |
1-8-11 (Start of Topic 3) Slides 22 & 23
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Next we will tap a bass-note button to create a "beating" sound.
For many tunes, bass-end tapping provides just the background you need, and is focus of Units 8 to 10. For others, tapping can contribute one of the components of a back-ground sound, as will be covered later. |
1-8-12 Slides 24 to 26
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Our first bass-note tapping tune
We'll start with "Mary had a little lamb" - not because it is a children's tune, but because it is a classic tune and fun to play. In fact, it is so much fun, it was also included earlier as a "drone-like" exercise tune using a bass-note button. - Featured tune (i) |
1-8-13 Slides 27 to 29
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Picturing musical sound.
Here we have four beat intervals, matched with the three notes for the phrase "lit-tle lamb". The first two notes are each held for one beat-interval. The third note is held for two beat-intervals. Use bass buttons ob2 (for outside treble row) or ob4, (for inside treble row). |
1-8-14 Slides 30 to 32
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How long is a tap?
For faster tunes, the beat interval is shorter (in real time), and a quick tap may occupy each full beat interval. For slower tunes, the beat interval is longer (in real time), and a short tap may only occupy a fraction of the full beat interval, perhaps one-half of it (or even less). |
1-8-15 Slide 33
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Time to play
"Mary had a little lamb" One line at a time. |
1-8-16 Slides 34 & 35
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Again there are positives and negatives.
But ... we are making progress. |
1-8-17 (Start of Topic 4) Slides 36 & 37
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Next we will tap a bass-end chord button
Here we are doing solo chordal tapping as an exercise, using the next finger up from the one you used for tapping the bass-note. Later, we'll alternate it with bass-note tapping for a more complete sound. This will be continued in Units 9 & 10. |
1-8-18 Slides 38 & 39
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Chord tapping as a solo exercise.
Play "You are my sun-shine", accompanied by solo chord tapping, with one tap for each beat interval. If playing on inside treble row, tap bass-end chord button ob3. In on outside treble row, tap bass-end chord button ob1. |
1-8-19 Slides 40 & 41
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Again, positives and negatives.
Both positives are significant. We will have to deal with the negatives. For example, if we want the beat to be more pronounced, we could choose the higher octave for the melody. |
1-8-20 (Topic 5) Slide 42
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Alternate B-C Tapping:
One response to the metronome complaint. Setting the stage for bars and bar lines. |
1-8-21 Slide 43
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Featured Tune (v)
Twinkle, twinkle little star Included, not because it is a children's tune, but because it is a classic! |
11-8-22 Slides 44 & 45
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Positive:
Alternate tapping sounds better . . . less like a metronome. Negative: Although this tune is fairly simple, most tunes would require this extra (bass-note & chord) line showing were the taps are to be placed. |
1-8-23 (Topic 6) Slides 46 to 49
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Bars and bar lines.
This method of grouping the melody notes makes it easier to follow the button-notes in our accordion notation. However, its main function is to guide the bass accompaniment, particularly the series of bass-note and chord taps. |
1-8-24 Slides 50 & 51
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Featured tune (v)
Twinkle, twinkle little star It is clear from the bar lines that there are two beat-intervals in each bar. Two beats per bar is often referred to as "cut-time", with a bass-end beat pattern | B C | |
1-8-25 (Topic 7) Slides 52 & 53
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Mull of Kintyre
by Sir Paul McCartney Melody on outside row, treble buttons 5 to 8 Drone-like bass-note using bass-end button ob2. |
1-8-26 Slides 54
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All people that on earth do dwell
Words: William Kethe Music: Louis Bourgeois (in the mid 1500's) Melody on outside row treble buttons 5 to 8 Drone-like chord using bass-end button ob1 |
1-8-27 Slide 55
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I Walk The Line
by Johnny Cash Melody on outside row treble buttons 5 to 9 Tapping accompaniment on bass-note button ob2. |
1-8-28 Slide 56
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Blowing In The Wind
by Bob Dylan Melody on inside row treble buttons 3 to 5 Tapping accompaniment on chord button ob3. |
1-8-29 Slide 57
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Red River Valley
Traditional Melody on outside row treble buttons 5 to 8 Tapping accompaniment alternating between bass-note button ob2 and chord button ob1. |
1-8-30 Slide 58
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Long, Long Ago
by Thomas H. Bayly in 1833 Melody on inside row treble buttons 2 to 5 Tapping accompaniment alternating between bass-note button ob4 and chord button ob3. |
1-8-Opt1 (Start of Optional Topic 8) Slide 59
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Our focus in the 2nd half of BA1 is on tapping accompaniment, alternating between the bass-note and chord.
This optional topic takes a different approach with a drone-like bass-note combined with chordal tapping. This approach will be further developed in the third mini-course BA3. |
1-8-Opt2 Slide 60
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We featured the tune "Mary had a little lamb"
- in Topic 1, using bass-note taps, and - in Topic 4, using chord taps. Here we combine the two, using the same tune. |
1-8-31 Slides 61 & 62
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Just a reminder of our individualized Zoom sessions.
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1-8-32 Slides 63 to 65
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Looking ahead to Unit 9, with bass-note and chord tapping for tunes in waltz-time (3 beats per bar).
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1-8-33 Slide 66
