Learning from National Music Associations: The Fourteen Things

By Esther A. Lanting  

My eye was drawn to an article with the title “The Fourteen Things” by Frank Gabriel Campos. It didn’t matter that it was published in the International Trumpet Guild Journal (Oct. 2016, pg. 59) and I’m an accordionist. I was still asking, “What fourteen things?” so I dove in. 

The author was speaking and expanding on the most efficient way to develop and maintain technique through specific daily exercises and drills. Campos’s late teacher, John James Haynie, wrote a book titled Development and Maintenance of Technique for All Brass Instruments in Treble Clef (Charles Collins, 197-?). Campos said that book became the technique Bible at University of North Texas. In it, Campos identified 14 core exercises and drills that naturally move a musician in the right direction. As so often happens when I read articles for instruments and musicians other than accordionists, I found worthwhile applications for the accordionist in seven of Campos’s points.

While some of the exercises below are certainly heavily weighted toward brass instruments, they could help an accordionist play cleaner, steadier, and more consistently. I will list below those which could carry over to accordionists and omit those that apply solely to brass instruments. 

1. Do some physical exercise.

   • A daily routine of even 10-15 minutes of exercise (any kind – from walking steps, to yoga, to going to a gym) brings numerous benefits. Keep it simple.

2. Do some breathing exercises. 

   • Who doesn’t want to begin practice in a state of calm centeredness? 

3. Hold a steady pianissimo on any key/chord for 60 seconds. Do the same with fortissimo as bellows will allow. Learn to switch bellow direction as cleanly as possible to extend the time of the fortissimo. 

   • Holding a steady sound with the bellows is an essential skill for accordionists. 

4. Play a half-step and whole-step trill with a clear, steady sound. Start slow, gradually increase speed. 

5. Practice a two-octave glissando ascending and descending. Aim for clear, controlled sound.

   • This was mostly brass related, but then I asked myself how often I actually practice glissandos unless there is one in a composition I am playing. What good thing would happen if I incorporated this as a regular practice principle? 

6. Focus on a key a day. Play all major/minor scales. Rotate playing legato, non-legato, staccato.

   • Campos suggests that playing scales each day improves aural and improvisational skills. 

7. Play four two-octave chromatic scales with the intent of maintaining the same speed and consistent sound throughout. 

Campos ends his article with other sensible practice reminders. He says, “When practicing . . .”

1. Immediately go to half speed if you play something poorly twice. 

2. Rest as long as you play.

3. Articulate it like you would sing it. 

4. Always strive for a clear and resonant sound. 

5. Get the metronome out and use it.

6. Practice playing softly. 

7. Don’t let twelve hours go by without doing something to improve your playing. 

There are no instant changes; improvement happens slowly over time if we keep at it.