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A Accordions Defense
Published: 2012-04-22
By: Lars Ek

A accordions Defense.

Everything that happens on the Tellus speed a purpose. Nothing happens by chance.
Plus and minus, good and evil, Gin and Jang combine to create what we call development.
All genres are included in this, so even the accordion.
In Sweden, the Swedish domestic accordion music is raped by the Russian accordion repertoire.
Instead of developing our own Swedish music, we take by lack of wisdom
the Russian music and repertoire with deep bass.
On an academic level it sounds better with Russian music.
In the Swedish home the folk music is still strong with Swedish accordion music.
Outside most of the Swedish liquor are poor Russians and Rapes gameplay his accordion with begging hands and eyes. More and more Russians with the title of professor come to the North. Accordion teachers have a Russian model which stops up the indigenous folk music. Who will win in this cultural exchange?
Have the communism failed politically, to get a foot hold in the ordinary honest people who play the accordion?

Is it lack of wisdom or shortcut to success?

It is difficult to learn to play the accordion, several systems available which complicates the picture of an instrument.
Today we take advantage of the technological developments that are trying to give the accordion a new identity. Via computers and midi system distorted the instrument to the one-man orchestra with many instruments sounded by a key pressure. Calling this accordion is misleading and false advertising.
The heart of the accordion is the metal parts that vibrate with the emotional frequencies. There we can choose between tremolo and straight tune atmosphere. The tone is strong and attracts attention.
We can influence the power of the tune expressed through the bellows and the sensitivity via fingertip. Any changes to the instrument from the origin of innovation are industrial forces that want to increase sales of our ignorance.
All other classic instrument will never change because the practitioners are wise and proud. They changes to the repertoire to adapt the time-to-instrument.
We all that still play and enjoy the authentic accordion music should be proud that we can in trust administer the gift that we inherited from our kinsfolk.
Stand up for the authenticity of the accordion, say no to any move and let the future children to enjoy an authentic-sounding accordion.

My heart is a true reed-block.

With love for the accordion.

Lars Ek


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