Contents of the Book

First cycle | Second cycle | Third cycle | Fourth cycle | Fifth cycle | Sixth cycle | Seventh cycle

Extract from the book

Air valve

Pressing the valve with the thumb, open or close the bellows, accompanying this movement with the legs, everything very slowly. Doing it this way, you will not listen to the air that takes place when this action is made quickly. (Drawing 1). In lessons Nº 1, and until Nº 24, make it whenever you arrive at the double bar of compass. It is advised, in the first lessons, long notes in slow movements, observing that the emitted sound does not have vibrations. When it is executed closing, make pressure only with the thumb and not with the palm of the hand.

Position of the body in the chair

The back will have to be supported in the endorsement of the chair. The legs will have to stay in right angle, never with fall towards ahead. The feet in form more or less similar to when the needles of the clock mark ten past ten. (Drawings 2 and 3)

Position and state of the arms

The arms fallen and mainly relaxed, almost stuck to the body, doing angle with the elbow and without any tension.

Position of the hands

The wrists flexible and without tensions. The thumb of each hand supported on the superior end of the strap and without doing forced pressure. This aid to the necessary relaxation of the other fingers, that, when they press the keys, opening or closing, is necessary to accompany this movement with the legs.

Movement of the legs

The legs will have to accompany the movement by the instrument being opened and closed, treating that the going and coming does not cause vibrations in the sound. Do not mark the musical times with the feet. (Drawing N 3)

Position of the instrument

On the legs and almost beaten to the body, never near the knees; thus it will avoid the fall forwards of the instrument.
Accompanying the movement with the legs will also help avoiding its fall towards the flanks of the legs.
Although it is very common to see this and also supporting the instrument on a leg, none of these two positions are recommendable. (Drawing N 3)


Héctor J. Mele I knew him several years ago in
the Old Warehouse of Edmundo Rivero
and there I knew that we were colleagues.
As of that moment I followed its works
to the front of the Orchestra of Tango of Avellaneda,
and now I finish knowing its original method
for the study of the Bandoneón.
Sincerely I must congratulate it by this novel system, that will be without a doubt some helpful and a valuable contribution for which they begin in this way.

Dear Héctor, much luck
it wishes you:
Leopoldo Federico

I always believed, that the high quality of the sound
of the Bandoneón it had been the magical reason
of seduction of this wonderful instrument.
Therefore the appearance of this new method
for his study, it is reason for celebration
for those who we loved it.

I congratulate to Héctor J. Mele by its interesting one
and valuable work, and him desire the best luck
in its future spreading.

Raúl Garello

Sure progressive, complete and
of great musical level.
It is a recommendable method
for the studious bandoneonista
that he yearns for a correct formation
from the beginning to the professionalism.
My admiration by so excellent work.

Néstor Marconi

It is for my an honour and pleasure,
to the present give my opinion on Method.
I consider that this it is a totally serious work
and simultaneously beneficial for those who begin in the study of a beautiful instrument
The Bandoneón

Luck wishes your friend you:

Julio Pane

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