My name is Alex Govier, a professional musician on accordion, piano and organ for over 50 years.

On this website I am sharing stuff to

  • Improve your technique
  • Help you get to know your instrument better
  • Play more easily and more confidently
  • Try new accordion bass methods
  • Integrate bass and treble sounds in different ways
  • Learn how to make better music
  • Gain popularity with general music listeners and not just fellow accordionists. 


Simply because I would like more general appreciation of this wonderful instrument.

Because by playing a little more thoughtfully we can reach new audiences and get more recognition. 

Find when there is new stuff on this website by joining our new Facebook Community


Here you can also

  • interact with this website on Facebook
  • Ask questions
  • Request more detail on an accordion subject
  • Suggest a new subject
  • Tell us your own ideas and more.

The Accordionwise Friends link

You can find my personal playing sites on



How Well Do You Know Your Accordion?

Answering these questions will not only test your knowledge but quite likely help you get around your accordion easier and faster.


Answers are provided on obscure jumbled links way way below. Unfortunately at present I have concentrated on the usefulness of these to your thought processes, rather than wasting time and effort on web technology.


Sorry about that, after this entirely free site makes me a multi-millionaire I may well reconsider this.


If you have a biro and a piece of paper you can note your answers the old fashioned way and keep your score manually, or maybe you would like to use a quill pen on a piece of rare vellum, it is up to you.


However I have taken the trouble to make sure you can return from the answer section to the next question automatically. Answers will be added at the end of compilation in case you are an early visitor. They are not here yet, sorry.



How well Do you Know Your Stradella Bass Notes?

Section one: Where are the standard Full tone apart Next door notes?



  1. If button 1 is C, on what number will you find D
  2. If button 1 is Bb on what number will you find C
  3. If button 1 is F on what number will you find G
  4. If button 1 is D on what number will you you find E

Actually that is only one question since the same distance of a tone (one note name changing step made of two half steps) between notes is involved, so this would apply to C sharp and D sharp, Db and Eb and more.


But here is a slightly different one, thinking downwards a full tone instead. These are separate questions with different answers in some cases!


The main difficulty below is working out where these notes belong in the counterbass, or which keynote are they associated with, as the major third up from the keynote.

  1. If button 4 is D where will you find C
  2. If button 3 is F where will you find Eb
  3. If button 4 is C where will you find Bb
  4. If button 3 is E where will you find D
  5. If button 2 is A what note is 1 (much too easy, we just changed to the very common accordion interval of a fourth, four notes)
  6. If button is 3 is Ab what note number is Eb (similar)



Section Two: And Finding them from different places



A clue to the reason for this is that it is partly a reminder that the same distances between notes are achieved within the counterbass row as within the basic bass note row.


A fact that I find it easy to forget when searching for a distance on counterbass which would be totally obvious where it was if I was on the standard bass row!


This is beginning to boggle the mind somewhat and I apologise.

  1. If 1 is C where will I find Bb
  2. If 5 is D where is C
  3. If 3 is D what is 5
  4. If 1 is B what is 4
  5. If 1 is A what is 3
  6. If 1 is D what is 5
  7. If 3 is E what is 1



Section Three: Semitones, major thirds and more obscure distances



Continuing with more obscure distances like semitones, minor thirds and even diminished 5ths, sometimes used as augmented fourths, (eg C to F sharp, a feature of C diminished chord, though you will have to fill it in yourself in the right hand. A weird happening that turns out to be useful in other ways).


Some of these take some working out, while others are stupidly easy once you realise that the proportions within the counterbass row is exactly the same as in the basic row.

  1. If 1 is G where is F sharp
  2. If 3 is D where is G sharp (diminished 5th)
  3. If 1 is D where is E
  4. If 6 is C what is D
  5. If 2 is A what is 5
  6. If 6 is A where is C natural
  7. If 8 is D where is F natural
  8. If 1 is G what is 8
  9. If 4 is G what is 5



A reminder here of this diagram found elsewhere on this site will be useful for clearing up some, but not all(!) of these answers.