the accordion has this whole additional unused axis of use which is the angle of the arms and if you raised the point of control from the back of the hand up to the wrist and coupled an arm angle linkage between the forearm holder and a diaphragm in between the bellows and the reed blocks then you could independently control dynamics between the bass and the treble side, dynamical control being one of the saddest losses from piano.
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i fucking love this instrument it is so goddamn dramatic, i love how it breathes and i want it to behave like a woodwind a little more
@jonny this guy uses the breathing sound (air release) as percussion https://youtu.be/W1P-HzhbtK4
@jonny I've wanted to learn the accordion for years and honestly the only thing stopping me is that I'm stupid and lazy.
@au_hasard the accordion is a BIG FRIEND to the stupid and lazy because it is a big toot toot box and it is so overpowered with the bass system being basically a casio keyboard demo machine level easy to play chord that you can go from zero to a honk honk waltz in like 30 minutes by pressing three buttons that are right next to each other
@au_hasard shallow skill ramp to making good sound, but i can also tell high skill cap to make it sound even more very good
that might actually be a thing that magnetometers and wristbands could do against a motorized diaphragm, since the linkage design would have to be on a rail and it would be basically be like playing iron lung headgear
i don't want to motorize the old book lung but if it would mean being able to play debussy again i would take it
the accordion has this absolutely wonderful near-harmonic musette twang that makes the thing feel dense and devastating when you let a bunch of reeds loose at once. like this recording is terrible but this bangs irl when i play it at 1bpm, it has this sort of ski-edge grinding to it that the piano can't quite do
(1:00)
https://youtu.be/cqhrKfpHXc0?t=60
but then as it progresses you can see that the instrument can't really do what the piano does that's so necessary for that piece. the climb up from 1:20 through 1:38 needs to be a teetering, plinkity plankety discovery flounce, where you are taking a series of shallow breaths before you let go into the spinning ice.
ppl hate on the lang lang recording for dwelling so long on that section but that's how i have always played it, it's my favorite part of the piece except obviously the penultimate lilt back down to earth. being able to have the left hand as quiet as humanly possible with the sostenuto while the right hand plays as fragile as glass, tone by tone above it is the whole thing
https://youtu.be/fZrm9h3JRGs?t=90
@jonny I fully expect you to end up inventing something like the marble machine https://vimeo.com/157743578
Wintergatan - Marble Machine
Vimeo
