This author collection of compositions is the result of my composer’s experiment. A question is inevitably raised - why are etudes the prominent form in it? First of all, it is the result of the need which I encoun- ter in my everyday pedagogical work. One of the primary tasks we try to solve in the initial phase of work (elementary music school) is work on technique. The development of students’ technical ap- paratus is essential so that playing the accordion would be free and relaxed. Technology of interpretation must be in the service of music. In order to achieve this we all know that a lot of energy and will must be put to these ends. Due attention must be paid to the development of technical predispositions. We frequently hear comments that some students play «easily and without any burden», that they have no tech- nical difficulties and that music stands first for them. That is exactly why the work on the development of tech- nique requires much effort, persistence, knowledge, but also the means which will help achieve that technology becomes no obstacle. Searching for these very means, etudes were created intended for specific individual stu- dents. In practice they yielded desired results, so I started giving them as tasks to other students as well, and now I am presenting them to you.
We frequently hear comments that some students play «easily and without any burden», that they have no tech- nical difficulties and that music stands first for them. That is exactly why the work on the development of tech- nique requires much effort, persistence, knowledge, but also the means which will help achieve that technology becomes no obstacle. Searching for these very means, etudes were created intended for specific individual stu- dents. In practice they yielded desired results, so I started giving them as tasks to other students as well, and now I am presenting them to you.
The raising of the art of playing music on the accordion to an academic level should be the task of every student and teacher. In accordance with contemporary tendencies in the world of accordion, I have tried to put both types of the instrument in an equal position (button and piano accordion). In this Coursebook, there is a diverse music material which offers the teacher the opportunity to select the compositions for a successful mastering of the curriculum. The last part of this book, Small Viroso, has been enriched and expanded in this edition. It isintended primarily to students for additional lessons. I want to emphasize that it is not compulsory for a student to pass through literarily all compositions to make us believe that he or she has mastered the given music material. In the teaching process, special attention should be paid to bellows and how to drive it. The use of bellows in the art of performance on the accordion is adequate to the use of bow in string instruments. The performing of music on the instrument is not the quality one without a good driving of bellows. In the sheet music for the right hand, two fingerings have been given above the musical text for the button accordion (both the scheme of the right manual and the fingering have been given for the instruments with B-griff) and below it for the piano accordion. In my opinion, the most rational fingering has been given, although it should not be considered as the only one which is correct. Regarding the button accordion, the suggested fingering surely enables a correct setting of the right hand on the manual and it contains the most contemporary tendencies which exist and are developed in Europe and Russia. I am hankfl o professor Raki Danijela for her assisance in making of his corsebook. Dr. Zoran Rakic, PhD
Starting from the assumption that the students have mastered the basic requirements predicted by the curriculum in the 1st grade, this coursebook for the second grade students presents a logical continuation. It is not necessary for the students to pass through all compositions to make us believe that they have mastered the given music material. By sticking to the principle of double fingering, both students and teachers can master the compositions in an easy way. It is necessary to emphasize that the oGered fingering is not the only correct one, and that is why I want to direct all dear colleagues towards the wide field of research in this area, with a necessary caution, so that the students would always put their hands on the manuals correctly. Besides the fingering, alt the compositions have the tempo markings, basic dynamic markings, registers and bellows markings. Certain changes are possible regarding registers as well, but exclusively to those from the same group. The bellows markings are, in my opinion, the most rational ones, although some changes are still possible, of course with sticking to the basic principles of work on a phrase. The selection of compositions which can be found in this coursebook continues the tradition of the “songful accordion”, which, in my opinion, becomes one of the key factor of love towards music, and, above everything, of joy and pleasure of performing music on the accordion. The richness of polyphonic melodies, and, above everything the quality of their performance, should create the basis for young talents and be the initial point for academic performing the music on the instrument. I am thankful to professor Poznic Danijela for her great assistance in making of this course-book.