The Chromatic Button Accordion

 Introduction – an Approach to Learning the Chromatic Button Accordion

 Chapter 1 – The Direction Problem

 The Verticals

 Exercise 1

 Exercise 2

 Chapter 2 – The Intervals on the Vertical

 2.1 The Minor Third

 2.2 The Tritone

 2.3 The Major Sixth

 2.4 The Octave

 Chapter 3 – The Vertical Range Exercises

 3.1 Range Exercises with Individual Tones

 3.2 Range Exercises with Minor Thirds

 3.3 Range Exercises with Tritones

 3.4 Range Exercises with Major Sixths

 3.5 Range Exercises with Perfect Octaves

 3.6 Exercises

 Explanation of the Symbols

 Chapter 4 – The Chromatics

 4.1 The Diagonal and the Direct Path

 4.2 The Horizontal and the Indirect Path

 4.3 The Bridge

 4.4 Range Exercises

 4.4.1 Chromatically ascending and descending

 4.4.2 Minor Thirds chromatically ascending

 4.4.3 Tritones chromatically ascending

 4.4.4 Major Sixths chromatically ascending

 4.4.5 Perfect Octaves chromatically ascending

 4.5 The Linear Chromatic Scale

 4.5.1 Exercises, Chromatic In Parallel Motion

 4.5.2 Exercises, Chromatic In Contrary Motion

 4.6 Simultaneous and Successive Exercises in Identified Intervals

 4.6.1 Exercises in Minor Thirds

 4.6.2 Exercises in Tritones

 4.6.3 Exercises in Major Sixths

 4.6.4 Exercises in Perfect Octaves

 Chapter 5 – Four Other Intervals that Proceed Outward from C

 On the Direct Path from the First Row to the Second Row

 Major Third

 Perfect Fifth

 Minor Seventh

 Minor Ninth

 Formula 1 (Motto: to find something new, build upon something familiar)

 Exercises

 1. Vertical Range Exercises, Ascending and Descending

 2. Chromatic Range Exercises

 3. Interval Exercises – simultaneous chromatics

 4. Interval Exercises – successive chromatics

 Lessons 1 – 4

 Playing the chains

 Summary

 Chapter 6 – The Five Remaining Intervals

 Major Second

 Perfect Fourth

 Minor Sixth

 Major Seventh

 Major Ninth

 The Direct Path and the Auxiliary Row

 Formula 2

 The relationships in the arrangement of the keys

 The transformation from the indirect to the direct path

 Chapter 7 – The Study of All of the Intervals on the Indirect Path

 The Interception Process

 Exercises 1 and 2: Connecting the Indirect and Direct Paths

 Formula 3

 Exercise 3: To Prepare for Fingering Variations A and B

 Formula 4

 Application of Fingering Variations A and B Using Examples

 Chapter 8 – Chromatic Variations for the Preceding on Intervals

 Building the Thirds

 Building the Fourths

 Chapter 9 – The Chords and Their Structure

 9.1 Triads

 Exercises for Triads

 9.2 Tetrachords

 Exercises for Tetrachords

 9.3 Pentachords

 Examples of Pentachords

 Chapter 10 – The Major Scales and their Three Basic Fingerings

 10.1 The Ascending Constellations

 Example: Sonata in D Minor by Domenico Scarlatti

 10.2 The Descending Constellations.

 10.3 Overview of the Basic Fingerings

 10.3.1a First basic fingering, ascending

 10.3.1b First basic fingering, descending

 10.3.2a Third basic fingering, ascending

 10.3.2b Third basic fingering, descending

 10.3.3a Second basic fingering, ascending

 10.3.3b Second basic fingering, descending

 10.4 Basic exercises

 Chapter 11 – The Primary Five–Note Exercises In Major Keys

 Chapter 12 – The Primary Five–Note Exercises In Minor Keys

 Chapter 13 – Conclusion: Recognize – Think – Do

 “After–Thoughts” by Klaus–Ernst Behne

 Appendix – Notes

 Elsbeth Moser

 Acknowledgements on the Translation

 Key Pages for Orientation to the Instrument

 Keyboard Diagrams

 Naming Conventions for Notes, Intervals, and Chords

 Cross Reference to Graphics for Intervals and Chords

 Chapter 3 – Positioning the Left Hand

 Cross Reference to Chapters between Editions

 Index