Melody with accompaniment
Chord Arpeggios

          This section is primarily meant for advanced players with knowledge of technical subjects such
          as the use of 4 fingers, pressure points, dynamics, bellows and finger articulation, etc.. At this
          level I use repertoire examples from the 'Hexameron du Concertiniste' by Giulio Regondi.

          About the Hexameron du Concertiniste
          Giulio Regondi's  " Hexameron du Concertiniste, Six Etudes de Concert pour le Concertina" were first
          published in 1853 by Wessel & Co. of London. These 6 solo compositions for treble concertina 
          are a showcase of the instrument's technical and musical capabilities.
          Regondi is responsible for most of the instrument's advanced playing techniques. Compared to
          his contemporaries, he was in a class by himself. His educational works Rudimenti del Concertinista
          (1844), and the New Method for the Concertina (1857) both meant as elementary methods, show a
          profound  understanding of the musical and technical possibilities of the instrument, unlike
          comparable works by his contemporaries, which often show limited musical and technical insight.
          In their hands the concertina was a limited musical instrument. The reintroduction of the
          concertina in classical music is based on Regondi's playing techniques. 
          The 'Hexameron' represent the highest standard of concertina technique, and is therefore
          mandatory repertoire for concertina students at conservatory/university level.

          Hexameron no.1, in G major
          In this section we'll discuss the (8) openings measures of the first Hexameron, which consists
          of a legato melody in the upper voice with an accompany of  legato arpeggio chords in the
          lower voice. Playing legato always requires special attention to fingering, because even the slightest
          interruption of legato is audible.

          When playing legato, you should never use the same finger for two adjacent notes, since this will
          inevitably  leave an audible gap between them. Legato means connected, in an even, smooth and gliding
          manner. This is not possible when the finger playing note A has to be lifted up, moved and pushed
          down again to play note B. The action required to play two notes with the same finger automatically
          means the two notes will be separated.
          The only way to play legato is by using different fingers for adjacent notes. Therefore the most
          important rule regarding legato fingering is:  Never use the same finger for two adjacent notes.

          The following example shows the first measure of the 1st Hexameron. I have put in the fingering
          for the left hand only. The technical problem in this measure is the B and A# in the lower voice.
          It is not possible to play both notes with finger 3, for reasons explained. The left hand already plays
          one note (D) in the upper voice and has to play three adjacent notes (G B A#) in the lower voice,
          which all need to be played with another finger in order to play them legato. The only option is to
          play this measure using all 4 fingers.

          You will need to have finger 4 over the A# when you begin playing. If you start with your little
          finger on the finger rest, you'll be too late. The same fingering is required in measure 5.

          Dynamics, Articulation
          Because Regondi wants it to be played 'Dolce', the first melody note (D) should be played with
          bellows attack rather than finger attack, which will be too strong.
          The melodic accent in these opening measures are on the 1st and 7th beat (D and A). Your melodic
          direction is towards the A.  With stable pressure points, you can play the D with bellows attack,
          and make a crescendo right from the beginning all the way to the A. Make sure you play every phrase
          with bellows attack.

          Rhythm
          If you combine the rhythm of both upper and lower melody, you will notice that this section
          consists of  a continuous string of 16th notes. Make sure you keep the 16th notes even, especially
          when playing finger 4. 
          The change between the right hand (notes G D) and left hand should not noticeable, either
          rhythmically or in legato. 

          Bellows phrasing
          Never change bellows direction while holding a note or playing a legato phrase. Changing the
          bellows have the same effects as lifting up your finger, it leaves an audible interruption of the
          tone or phrase. Depending on the tempo, the bellows can be changed either on the F#, just
          before the 7th beat, or on the G, just before the 1st beat of the second measure. This piece
          should be played with periodical bellows movement.

          In measure 4 the D and G are part of both voices. However, as far as articulation is concerned,
          they belong to the upper voice. They should be played like the other 16th notes in the melody.

          Listen to the openings measures of Regondi's first hexameron for solo concertina, composed in
          1853.The instrument you hear is a brass reeded Wheatstone from that same year.
                                                                                                     Sound file

          Technical advise
          Make sure you keep your wrists low ( keep your thumb slightly bend), otherwise you'll create
          tension in your hand which will make it impossible to use your little finger. 
          before you start practicing a new piece, take the time to mark the fingering first. If you solve
          fingering problems before you start it can save you a lot of time and frustration later.