Results 1 – 6 of 6 Luigi Anzaghi: Complete Method For Accordion (Accordion / Instrumental Tutor) by Anzaghi, Luigi and a great selection of related books. Sheet music for Luigi Anzaghi: Complete Method For Accordion: buy online. Arrangement: Accordion solo (ACDN). Published by Ricordi. Author: Anzaghi, Luigi. This book has been written for general use and is suitable for beginners and players up to intermediate standard, although material has also been included.

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Post by Pat S. The Accordionists Forum An accordion forum open to all Skip to content. Board index General Discussion Accordion Chat. Anzaghi complete method for accordion! Talk about anything accordion related here.

Anzaghi, Luigi Oreste – 50 Technical Exercises (Accordion)

I just took delivery of it, and I’m very impressed. This one is out and out accordion technique plus loads of pieces.

Again this is just me I have heard some awesome players that use this Italian style fingering. It never occurred to me that the thumb was an issue with PA but you live and learn. I cannot play any type of piano keyboard as those raised black keys frighten the life out of me.

I started off CBA with this system and it took me a long time to reduce my thumb usage. The CBA method sort of overlooks the little finger, and whilst that may suit some, it never fitted in with my 4 row accordions.

A great book for some, but possibly not for everyone. It’s the only method book I threw away. I’ve got all of the others. Last edited by QuaverRest on Sun Nov 30, 8: I’m just starting into Anzaghi thanks pentaprism! Anzaghi stresses the importance of not developing bad habits, but it sounds like there may be a thumb issue here? Any advice would be greatly appreciated. I had been trying to play C system CBA for a while just by picking the box up and listening to records. Fingering was whatever I could manage as I hadn’t seen anybody else play one.

I soon realised that I would need to find a book somewhere, and bought the Anzaghi method as it was the only one in the shop. From memory it did what most CBA method books did and encouraged a single fingering across all 5 rows covering the major and minor keys in all keys.

That’s absolutely fine for most of the styles around, so what was my problem? The style I played was French musette, with a 4 row instrument, where the playing style at the time I was learning required prolific use of staccato, plus the requirement to learn 3 different fingerings so that most of the notes could be played on the outside 3 rows.

French musette was essentially a folk style it isn’t now comprised of simple tunes mainly for the entertainment of dancers. Also, the way the older musette pieces were written, most of them could be played using three fingers, with the thumb being used as a sort of stabiliser whilst you did all the fancy button rattles and arpeggios with your 1st, 2nd, and 3rd fingers, using the pinky as and when required. That’s just the way the French method books were, but from the late s onward they have succumbed to the Italian “thumbs on” tuition methods as per Michel Lorin, Manu Maugain, and most notably Richard Galliano.


The new style of French musette concentrates on fast legato runs, coupled with jazzy progressions and embellishments, so the more modern learning methods are perhaps more appropriate. I personally prefer the older style and that’s why I decided to abandon the Anzaghi method. It wasn’t right for me, as I found that the CBA fingering made too much use of the thumb. Many Italian CBA players have probably never seen any other books other than Anzaghi’s and they can play just about anything you throw at them.

An old Scottish CBA teacher once told me that learning the Ferrero method, which I did, was like going into a boxing match with one hand tied behind your back. I certainly had to learn how to adapt to not using the thumb, but I believe it made me a better player by forcing me to use the pinky and stay on the outside 3 rows. However, following a bad hand injury I now have had to adapt my fingering slightly and now make more use of my thumb.

Basically if the Anzaghi method is suiting you then keep with it as if you change to another you’ll lose months if not years re-learning the whole shebang. Last edited by BobM on Sun Nov 30, 8: There are known knowns. These are things we know that we know. There are known unknowns. That xnzaghi to say, there are things that we know we don’t know.

But there are also unknown unknowns. There are things we don’t know we don’t know. There are some CBA players that don’t use the thumb at all and are awesome.

Anyway I recommend you continue with Anzhagi it is a great book the very beginning of most tutors are 5 finger exercises any way and when you get a chance get a copy of Lucien and Richard Gallianos book, Methode Complete D’Accordeon” check it out – you wont be sorry and then use both – Myself I like Gallianos fingering better. Warning I have never completed a tutor in my life every so often I go in and pick them up again, but I mostly use them for scale references. The music is essentially of quite a simple nature, and doesn’t require the technique of a virtuoso to play well.

Diatonic players or the vast majority of them do not use their thumb for treble fingering at all, and some diatonic accordions even have a right thumb strap. The music started to get a bit more complex when swing and jazz arrived in Europe, but a core of the old die-hard musette players kept those influences to a minimum and continued turning out more traditional fare.


Musette was primarily a dance genre and when the dancers wanted to dance the latest American styles the accordionists had to oblige.

Gradually the waltzes began to contain elements of swing in them, and eventually the repertoire had to include all of those beguines, boleros, and other influences from both North and South America. That was the beginning of the end of the old traditional musette, and enter the revised fingerings to cope with all these new smooth legato passages contained in these “foreign” tunes.

Some of the older guys merely upped their game and kept the old fingering, but discovered that conservative use of the thumb gave them a bit more scope. Method books, like the one written by Andre Astier and Joss Baselli, started to appear.

Their book condoned use of the thumb on the outside row, and to play scales and chords. The authors were very popular recording artistes and made frequent TV appearances. Their playing technique was flawless, and inspired more people to experiment with getting that thumb onto the buttons. Anzagni, as soon as the thumb had done its bit it was returned smartly to the side of the treble keyboard.

Another playing style started to be popular about that time and involved use of the heel of the right hand on the side of the keyboard with the thumb sticking out in front like a crane waiting for instruction to swoop down and move a button. It looked very awkward, but quite a few players used it.

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These days most players unashamedly get all five fingers onto the keyboard without bothering whether some old teacher is going to give them grief about thumb usage. I personally believe that far too much is made of thumb vs no thumb, as there are great players out there who use whatever system they can manage. Players like Gus Viseur, Jo Privat, Raymond Boisserie, Louis Corchia, Jacky Noguez a “crane” style player and many others, used whatever fingering suited their hand morphology, and I think the answer is if it feels right for you then stick with it.

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