This exercise album was published in Buenos Aires by
as the first book containing original compositions for the bandoneon
and taking into account the particular posibilities of the instrument
as there are articulation, expression and sound.
The keyboards of the right and left hand are treated separately to achieve
an independant handling of the voices fullfilling the suppression of the
left hand which is used in popular music to play the accompaniment
chords. The technique is also different, since the deep bass notes play
an important role in many works.
In Noche de luna, Aire se zamba 1 and 2, Estudio inicial,
Aire de danza and Canción, the emphasis is on the legato
and the correct use of the aire valve for a good performance and the
fingering is defined for a fluid phrase. For the rest of the works,
particularly for the movements vivace, allegro and vivo you
have to care the pure sound and discard the hurting staccato and
avoid the muscle force to produce the sound.
The teacher have to insist in the correct manage of the valve, the phrasing depends on it, and try to get efects with pulsation, difficult but not impossible to achieve.
|Marcha||aire marcial (giocoso)|
|Vals triste||allegretto cantabile|
|Danza antigua||tempo di Gavotta|
|Aire de Mazurca||allegretto con fuoco|
|Marcha||tempo di marcia|
|Aire de Danza||allegretto ma non troppo|
|Pequeño Preludio||allegro giocoso|
|El Pequeño Virtuoso||allegretto con moto|
|Canción Folklórica||allegretto cantabile|
|Noche de Luna||adagio|
|Aire de Zamba (1)||allegretto ma non troppo|
|Aire de Zamba (2)||allegretto cantabile|
|Estudio Final||allegro molto|