Klaus Paier DAS AKKORDEON BUCH
Ein Lehrbuch für Anfänger und Fortgeschrittene mit vielfältigen Kompositionen bis hin zur Jazzstilistik und Improvisation
A textbook for beginners and advanced players with a broad range of compositions including jazz stylistics and improvisation
Klaus Paier THE ACCORDION BOOK
Start Vorwort Introduction
The bellows is the soul of the accordion and it gives the instrument its unique sound and expressive character. Although  the accordion can be played on two manuals at the same time, there is only one bellows for shaping the sound. In this  book, I would like to show how the lack of clarity in articulation and phrasing which are often heard can be eliminated from  the accordion's sound. A transparent and differentiated style of playing can only be achieved through good coordination of  the fingers and the bellows complemented by appropriate arrangements. In many accordion instruction books, no special  attention is given to the bellows at the beginning, and if at all, this only comes much later. In my textbook, the bellows is  used intentionally for shaping the sound from the very first note. With very little effort, this generates good, rhythmic and  precise playing right from the start.    Rudolf Pillich (1921 - 2007), my teacher and mentor for many years, developed this concept for teaching beginning in  1950. During his 40-year teaching career, he was very successful in both implementing and developing it further, most  recently in Carinthia at the State Conservatorium in Klagenfurt. It would be a shame if Pillich's outstanding ideas - in my  opinion almost on the order of scientific research (Introduction to Accordion Playing, The Villach School) - were to be  forgotten. Consequently, it was an even more important concern to me to rework them and include them in my book.  The Accordion Book consists of 3 volumes, each with an audio CD included. From the first steps in learning on to an  intermediate level of difficulty, various styles of music are introduced in a manner which builds systematically - from  folkloric, classic and contemporary music to jazz stylistics and improvisation. The differences between a piano and button  accordion are shown and explained using fingering charts. However, it was necessary to make a selection with regard to  the notation of fingering: "piano keyboard" is the right hand, "standard bass" and freebass "quint converter (lowest note is  A)" are the left hand. But in the end, all of the pieces can be played with any system.  I hope that with my book, I am able to make a positive contribution to contemporary accordion playing and I wish all  accordionists great success.
Klaus Paier