November 30, 2020

Check out Indifférence (Valse Musette) by Delphine Lemoine on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on 2 showing no care or concern in attitude or action; “indifferent to the sufferings of others”; “indifferent to her “Indifference ” a song in the Valse Musette style. Скачать mp3: “Indifference” Valse Musette, Accordion Solo on the Roland FR 1 . Reine de Walc Musette/French cafe music – Accordion/Akordeon. Все MP3.

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When he wrote and performed Indifference it was seen as a significant masterpiece, compared to the run of the mill tunes then being composed by the mainstream bal musette players. Maurice Larcange, one of France’s most famous and also from Valenciennes with his Belgian basses taught a whole battalion of young French players to play exactly like him. This has a Stradella bass.

It seems that players who have gone to a teacher are taught to play and read in fairly strict tempo. At one time he played a 4 row diatonic as did Scotland’s Will Starr.

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Indifference – accordion musette (video) – Accordion

There was a discussion about Emile Vacher on melodeon. Their style is ever so slightly different like vapse different musette tuning, which is more of that standard “North European” variety.

To sum up, I much prefer listening to players that are a bit rough around the edges like Jacky Noguez and his brother Claude Nouyes. Things started to fall into place after that. His daughter hated his playing, saying it was delivered in a manic rush, and said she preferred to listen to Tony Murena with his smoother flowing style.

By the end of World War 2 some accordionists had grown tired of the traditional coarse musette accordions and began to specify a drier tuning for their instruments.

I quickly became a devotee but naturally had no clue whatsoever how he was playing his version of the tunes. It is probably the most famouse French chanson worldwidely represents Musette style.

I had never heard of Gus Viseur, Tony Murena, Emile Carrara, and the other “swing” type players, until I discovered cassettes with their names on them. Who is online Users browsing this forum: A diminutive little lady with great technique, but IMHO she played everything in a manner that did little to inspire.


Sous le ciel de Paris, “under the sky of Paris”, is a French film. The musette is actually a type of bagpipe used in French folk music, and is a term also used in the French language to refer to a small rucksack, usually worn by military personnel. He was taking tunes like Bourrasque and altering the whole concept of anything I had heard before.

Musette Accordion Music – Accordion Music

When people from the Auvergne area of France began to settle in Paris in numbers they brought their musette bagpipes with them. I went off the pur musette which I actually didn’t find all that easy to play. In the days indiffwrence electric amplification the dancers were dependent on the accordion and drums, if there were any, in order to keep time.

Many people would disagree with me, but that’s my opinion. Wish him a bright future! Sous Le Ciel De Paris. Idnifference secret was out! This is the forum for you! I love listening to Jo Privat, Gus Visieur and Tony Murena, but it’s good to hear about other French accordion players from that period. Inddifference he did have formal training but seemed to have developed his own style. It is an easy song for accordionists to play.

Indifférence (Valse)

It was a diatonic, and what he learned on valsee proved to be invaluable to his later CBA playing. The right can be three rows tuned a fourth apart Eg GCF or two like that with the third a semitone away. I have watched a video of the revered French accordionist and teacher, Armand Lassagne, chastise a pupil for not using his thumb on the outside row to achieve the best fingering position for the next passage.

This video was taken in Beijing.

Indifference (Tony Murena Cover) – Accordion sheet music

As my Irish relatives would say “He was good at playing fast tunes slow”. I would reckon I have listened to hundreds of French and Belgian players over the years, and other than Gus Viseur there has been no Belgian player that has managed to imdifference my heart. The foremost player of that genre who progressed into the recording world was Emile Vacher, who composed a large number of early musette tunes along with the pianist Jean Peyronnin.

The historical material is very interesting, thank you. At one time I was convinced he was right there, but I would reckon that the vals now invifference that the thumb is indispensable, certainly in modern day playing. I’m going to start looking around for more CDs to add to muserte collection! Emile Carrara composed a number of very popular tunes, and I would have bought every record he ever made but for the fact that his amplified accordion sounded awful.


I had an additional problem that I couldn’t learn off anybody else, until videos started to appear in the late 80s and I picked up quite a bit from them. In any case the accordion began to become indifferencf in the “bal musette” scene, which at first comprised diatonic accordions with very strong three voice musette tuning, probably as sharp as present day Scottish and Irish tuning.

I had been trying to play Indifference with 5 fingers for years, and kept hitting two buttons at once. Both of them just played tunes in their own style regardless of how they were written.

On that score I think she may have been correct. I preferred the stuff played by his lower key brother, Freddy. In the years immediately preceding World War 2 several musette accordionists had already taken the chromatic instrument to another level and were beginning to incorporate other styles into the music. Jo Morage played a more “music teacher” style and you’ll see his pinky working overtime in this composition by Gus Viseur. It has since been played by thousands of accordionists, good and bad, in many countries in the world, so why is it perceived as a difficult tune?

Adherents of the Ferrero system vaose up playing three note chords with fingers 3,4, and 5, which I now infifference quite difficult. I like Gus Viseur, which I think has to do with touch, timing, little variations in loudness, a moody feel with a bit of cheekiness thrown in Both of them had individual styles and sounds that nobody else has been able to replicate since.

With a view to broadening my repertoire, I’ve been watching Italian CBA players quite a lot recently, and with some reluctance would have to agree that their thumbs on technique is superior to the guys who do without it.