Tutors are called in Spanish usually métodos. Since the bandoneon was nearly forgotten during many years, it is hard to find métodos for the bandoneon today. I hope this will change in the near future. If you find one, please be sure it is suitable for your instrument. The methods found in Germany are thought for the 144 voice Einheitsbandonion while those from Argentina are based on the 142 voice version. In case you are not sure about the differences, please refer to the Keyboard section. I do not know about tutors for unisonoric instruments.

The first tutors were probably introduced by Heinrich Band and which were hold in German. The first translated publication is known to be Carl Ullrich's Neueste practische Schule für 64, 70, 88, 100 und 130 töniges Bandonion in deutscher und englischer Schrift published by Verlag F. W. Wolff, Mainz in 1877. and which was translated by Alfred Band into French in 1895. The other popular Self-Instructor for Bandonion by Otto Luther appeared first in 1890, then in 1892 in two languages (not Spanish) at Verlag Julius Heinrich Zimmermann in Leipzig, the same as his Table of Fingering. Since this tutor came together with many instruments of different manufacturers, it is clear that it reached many countries in the world.

At the Rio de la Plata there were no printed tutors available at that time. Instead the accordion and other primitive harmonica instruments were available since about 1850 in these countries. The repertory was limited to folk music including waltzes, polkas and mazurkas, particularly influenced by the tutors coming with the instruments and which contained music of the country of origin. The composition Tango No 1 of 1883 by Jorge Machado, a colored virtuoso on his instrument, is perhaps the first hint for the use of a harmonica instrument in tango music. A tutor for accordion in Spanish is known from 1886: Método teórico-práctico de acordeón by Emilio Yerba y Piqué, at Romero, Madrid and Hug, Basel.

On the other hand it is known that an auto didactic teaching by mail ``correspondencia'' was offered by the colored Sebastián Ramos Mejía at his facultad de bandoneón in Montevideo in 1890 like Arturo Bernstein's instituto or Jesús Pérez academia de bandoneón in Buenos Aires. This mail service was used by many later famous bandoneonists.
It served the new generation of tango musicians to develop during the last decade of the 19th century a technical basis. Among these musicians were Sebastián Vázques, Domingo Repetto, Antonio Chiappe and the legendary Sebastián Ramos Mejia. Arturo Bernstein (El Alemán, * Petrópolis, Brazil 17-Nov-1882, + Buenos Aires 20-Sep-1935), son of German immigrants with a solid musical education, developed the educational basis for the bandoneon near the beginning of the century. A prominent pupil, Carlos Marcucci (Bs.As. 30-Oct-1903 - 31-May-1957) and Félix Lípesker were who prepared from his material, the first printed edition in Spanish.

Tutor Editions

There existed even more tutors created by Sebastián Ramos Mejía, Antonio Ríos, Edgardo Pedroza.

(German, Spanish, English)
last update: 2018-08-07
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