master the accordion workshops ph book 2 ‐ session 8...

MastertheAccordionWorkshops PHBook2‐Session8

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*[email protected]

1

Palmer&HughesBook2–Session8

InstructionandCompanionMaterial

PresentersSheliaLee&MarkRopel

MastertheAccordionWorkshops

Sponsoredby

5013(c)NonProfit



2

Session8REVIEWofpriordrillswillbelistedhere–soatleastduringoneofyourpracticesessionseachweek–pleaseGRABatleastoneormoredrillsANDoneormoreScales.Thisway–youwon’thavetodoallthedrillseverypractice–butwillHITthematleastonceeachweek.

ReviewofDrillso OctaveDrill&Full“AllWhite”block&Arpeggios(1+3+5+1)o C,G,F,D,A,&BbScale–FullOctaveso MajorChords–AllWhite.Blocktheminrhythmicpattern.Rollthem

inrhythmicpatterno MinorChords–Fullblock&Arpeggioso Glissandos–EndawarmupsongwithaGlissando!o AddaCoolEndingorBassSoloSOMEWHERE!

Song#8PHBook2–ViveL’Amour(&Duet)CompanionSongs:

1. DeepintheHeartofTexas2. MacktheKnife3. You’llNeverWalkAlone4. JesusLovesMe(Introto7thChords)

LearnBellowAccents&7th&DimChordsinLH

Let’sGetStarted:

Step1.PlayFirst Perform3favoritesongstowarmup PlayatperformancespeedwithNOSTOPSFORBOO‐BOOs

Step2.Theory–LHBassTechnique

DrillPage–Introto7thChordsinyourlefthand

• FINGERINGCHANGE‐forthe7thChord

• Use4thFingerfortheBassandthe2ndFingerforthechord

• Most7thchordsAlternateFIRST



3

?43 .. ..œ

œ œ

3 2 2

CMA

œœ œ

3 2 2

C m

œœ œ

4 2 2

C 7

œœ œ

4 2 2

C 7

? .. .. 44œ

œ œCMB

œœ œ

4 2 2

G 7

œœ œ

3 2 2

CM

œœ œ

4 2 2

G 7

?44 .. ..œ

œ

œ

œ

3 2 3 2

CMC

œœ

œ

œ

3 2 3 2

œœ

œ

œ

4 2 3 2

G 7

œœ

œ

œ

4 2 3 2

? .. ..œœ

œ

œ

3 2 3 2

CMD

œœ

œ

œ

3 2 3 2

œ

œœ

œ

3 2 4 2

G 7

œ

œœ

œ

3 2 4 2

? .. ..œœ

œ

œ

3 2 3 2

CME

œ

œ

œ

œ

3 2 4 2

D 7

œ

œœ

œ

3 2 4 2

G 7

œ

œœ

œ

3 2 4 2

C 7

7th Chord Bass Drill

© 2010 So Good Productions

7 - stands for 7th Chord

Alternating Basses

7th Chords USUALLY Alternate FIRST.

Rotate LH to put 4th finger on the Bass

AND then 2nd finger on the 7th chord



4

&

?

44

44

œ œ œ œJe

4

sus

2

loves me!

œ œœ

œCM

œ œ ˙This I know,

4

œ œœ

œœ œ œ œ

For

2

the Bi ble

œ œ œ œFM

œ œ ˙tells me so.

1

œ œœ

œCM

- -

&

?

5

œ œ œ œLit

4

tle ones to

œ œœ

œCM

œ œ ˙Him be long;

œ œœ

œœ œ œ œ

They

5

are weak,

4

but

1

œ œ œ œFMCM

œ œ ˙He is strong.

1

œ œ œ œCMG 7

- -

&

?

˙ œ œYes,

2

Je

1

sus

2

œ œœ

œCM

9

œ .˙loves

3

me!

5

œ œ œ œFM

˙ œ œYes,

3

Je

2

sus

1

œ œœ

œCM

œ .˙loves

3

me!

1

œ œœ

œG 7

- -

&

?

13

˙ œ œYes,

2

Je

1

sus

2

œ œœ

œCM

œ ˙ œloves

3

me!

5

The

3

œ œ œ œFM

œ œ œ œBi

2

ble

1

tells

3

me

2

œ œ œ œCMG 7

wso.

1

wwCM

- -

Jesus Loves Me


arr. by Shelia Lee

William Batchelder Bradbury

Tune added to Poem by

Anna Barlett Warnerin 1862Key of C

-1

Intro to Bass 7th Chords



5

Step2.Theory–BellowAccentsTechnique

Accents–awristPOP‐NOTPRESSUREonthebellows

OutBellows–withasnugbassstrap–POPyourWRISTDOWN–keepskinin‐touchwiththebassmachinesideplate–andwithaquickPOPDOWNWARDofyourwristatthebeginningofthenote.

InBellows–withasnugbassstrap–POPyourWRISTUPWARD

(withaslightmovementtotheback)–keepskinin‐touchwiththebassmachinesideplate–andwithaquickPOPUPWARDofwristatthebeginningofthenote.

DONOTRAISEorLOWERthevolumeofthenoteorthesection

IFYOUUSEa“changeinPRESSURE”–youwillPROLONGthe“POPof

theAccent”andthisisNOTWANTED.

Thereare2kindsofaccents–“>”isagentleaccentand“∧ “isaheavyaccent.

AccentsareplayedattheEXACTbeginningofthenote–withthe

PullorPushofthebellowsremainingthesamespeed.



6

&?

44

44

œ> œ œ> œ5

!

fœ̂ œ ˙̂

!

œ>

œ œ>

œ

!

pœ^

œ ˙^2

!

&?

5

œ>

œ œ>

œ1

œ œ œ œFM

dim.f œ^

œ ˙^3

œ œœ

œCM

œ>

œ œ>

œ2

œ œœ

œGM

w^1

œ œœ

œCMcresc.

œ̂ Œ œœœ^ Œ

3 5

œœ Œ œœ Œf~~~~~~~~~~~

&?

10 œ̆ œ. œ̆ œ.5

!

fœ̈ œ. ˙̈

!

œ¨

œ. œ¨

œ.!

pœ¨

œ. ˙¨2

!

&?

14

œ. œ. œ. œ.1

œ œ œ œFMf dim.

œ¨

œ. ˙¨3

œ œœ

œCM

œ¨

œ. œ¨

œ.2

œ œœ

œGM

w¨1

œ œœ

œCMcresc.

œ̈ Œ œœœ¨ Œ

3 5

œœ Œ œœ Œf~~~~~~~~~~~

Accent Drill


Shelia Lee

Hold the notes for the entire

value of the note. Accented notes

and not-accented notes should have

the SAME VALUE.

Light Accent Heavy Accent

Glissando AFTER the last chord

Now play the quater notes Staccato

AND still play the SAME style accents

The two sections should sound DIFFERENT!

Gradually Softer Gradually Louder



7

&

?

44

44

Œ œœœ Œ œœœ

œ œ œ œFM

Œ œœœb Œ œœœ

œb œbœ

œBbM

Œ œœœb Œ œœœ

œ œœ

œC 7

Œ œœœ Œ œœœ

œ œ œ œFM

Deep in the Heart of Texas


arr. by Shelia Lee

Key of F

Chords Only

Introducing C7th Chord

IIV

IV7

7th - ADD the 7th tone of scale -

down 1/2 step (or flatted)

Step2.Theory–MoreChordBuildingTechnique LearnhowtoplaychordsCLOSETOGETHER–withonlyanoteor

twochangeinposition.

o DeepintheHeartofTexas KeyofFplaytheFMajorScale

• 3chordsinKeyofF–FM,BbM&C7• BuiltontheFirst(I),Fourth(IV),&Fifth(V)toneoftheFMScale

PlaytheCMajorScale–findthe7thtoneofscaleandlowerit½step(maketheBaBb)–thisistheONEnotethatturnstheCMchordintoaC7th(V7)chord

ChordPositionKeyofF–Put5thfingeronFandlocatenotesoftheGMchord(1‐2‐5fingering)

Use“ChordOnly”arrangementtolearnpositionforthechordsbuiltonthe1st,4th,&5th

PlaytheChordsand“Sing”DeepintheHeartofTexas



8

&?

b

b

44

44

..

..œ

!

q = 180

˙ ˙starsCoy

atotes

œ œ œ œ

/C

FM

œ>

Œ Œ œnightwail,

area

œ œ œ- œ-

˙ ˙big

longandthe

œ œ œ œFM

- -

&

?

b

b

4

œ> Œ Œ Œ

bright,trail,

œ œ œ- œ-

/ b

Œ œ œ œdeep in the

œ œ œ œFM

.˙ œheart of

œ œ œ œ

œ .˙Tex as.

œ œœ

œC 7

-

&?

b

b

8

˙ Œ œTheThe

œ œ œ- œ

˙ ˙prairab

riebits

œ œœ

œC 7

œ>

Œ Œ œskyrush,

isa

œ œ œ- œn -

˙ ˙wideround

andthe

œ œœ

œC 7

-- -

&

?

b

b

12

œ> Œ Ó

high,brush,

œ œ œ- œn -


œ œœ

œC 7

.˙ œheart of

œ œœ

œœ .˙

Tex as.

œ œ œ œFM

-

Deep in the Heart of Texas

Don Swander


arr. by Shelia Lee

3 2

4 2

3 4 4 2

1 2 4

4 2 1

1 2 4

4



9

&

?

b

b

16

˙ Œ œThe

œ œ œ- œ-

˙ ˙sagecow

inboys

œ œ œ œFM

B

œ>

Œ Œ œbloomcry,

is"Ki

œ œ œ- œ-

˙ ˙likeyip

perpee

œ œ œ œFM

- - ---

&?

b

b

20

œ> Œ Ó

fume,yi."

œ œ œ- œ-


œ œ œ œFM

.˙ œheart of

œ œ œ œ

œ .˙Tex as.

œ œœ

œC 7

-

&?

b

b

24

˙ Œ œReThe

œ œ œ- œ

˙ ˙mindsdog

megies

œ œœ

œC 7

œ> Œ Œ œof,

bawl,theand

œ œ œ- œn -

˙ ˙one

bawl,I

and

œ œœ

œC 7

--

&

?

b

b

28

œ> Œ Ó

love,bawl,

œ œ œ- œn -


œ œœ

œC 7

.˙ œheart of

œ œœ

œ

&?

b

b

..

..

31 1.

œ .˙Tex as.

œ œ œ œFM

œ Œ Œ œThe

œ œ œ- œ-

2.

œ .˙Tex as.

œ œ-œ œ-

œ Œ œ̂ Œ

œœ Œ œœ ŒFM

- -

~ ~ ~ ~ ~

Deep in the Heart of Texas2

2 43 2



10

Step3.NewSongTechniqueBlock/Absorb/Vertical

o ViveL’Amour MoreDynamics(ExpressionMarks)(howloudorsofttoplay)

Shift–Useamiddlereedonyouraccordion

Block• LookforRHhandposition–Onlysmallhandmoves

• LookattheLHBasses–NoAlternating!• Watchhowthefirstandsecondendingworks

Absorb• PlaybothhandsusingRHchordsonly–rhythmically

Vertical• WatchforalignmentbetweenRH&LH• Insertasmallbasssoloatend• ANDGlissandotoHighCattheend

Startwithlast8measureso PracticetheAccentExerciseo UseOutBellowfor2Measureso UseInBellowsfor2Measures

Backup8MeasuresandRepeatstepsabove

PlaycompleteSolo• EndwithaBASSSOLO&GlissandotoaChord

DuetPart‐PlaywithaDuetPartner–orevena3rdplayer–playingjustchords.



11



12



13

Step2.Note&ChordReadingTechnique

PHBk2–NoteReadingReview SAYthenames–Playthenotes LINE‐LINE‐LINEandSPACE‐SPACE‐SPACE EXACTLYHOWchordsareformed!

Step4.Read3NewSongs(SightRead)

o You’llNeverWalkAlone BLOCK(KeyofC)

SightReadingRules–reviewLHChords

• WatchforFdimandEMandPLAYALL7thChords

Measure3031–PlayCounterbassoftheBassNoted

Then–playbothhands–withNOSTOPS

o MacktheKnife BLOCK/ABSORB/VERTICAL

UsetheChordsOnlymethodandplaysongwithchordsonly.

• Put5onC(CMChord–CEG)• LocateDm&Am• LocatetheG7Chord(GBDF)

ThereareNOPHRASEmarkingssoplayallnotesdetached

NOTICEalltheaccents

AddaCOOLENDING



14

&

?

44

44

Œ Œ œ œWhen you

!

˙ œ œwalk through a

wwCM

˙ œ œstorm hold your

ww

˙ ˙head up

wwGM

.˙ œhigh And

ww

&

?

6

˙ œ œdon't be a

wwFM

˙ œ œfraid of the

wwCM

wdark.

wwGM

˙ œ œAt the

wwG m

˙ œ œend of the

ww

D m

-

&

?

11

˙ œ œstorm is a

wwbbBbM

˙ ˙gold en

wwFM

˙ œ œsky And the

ww

D m

˙b œ œsweet sil ver

˙̇bb ˙̇BbM FM

˙ œ œsong of a

˙̇ ˙̇G m FM

- -

You'll Never Walk Alone

Rodges & Hamerstein II


from Carousel

arr. by Shelia Lee

1

21

1

F dim chord is played

just like the 7th Chord

Just Back one more button

(Last row)



15

&

?

16

wlark.

wwEM

˙ ˙Walk

wwC 7

˙ œ œon through the

wwFM

18 .˙ œwind, Walk

wwF dim

˙ œ œon through the

wwCM

&

?

21 ˙ œ œrain, Tho' your

wwF m

˙ ˙dreams be

wwCM

˙ ˙tossed and

wwEm

wblown.

wwFM

˙ ˙Walk

wwG 7

&

?

26 ˙ ˙on, walk

wwCM

˙ ˙on with

wwEM

˙ œ œhope in your

wwFM

˙ œ œheart And You'll

ww

D 7

˙ ˙Nev er

˙̇-̇

CM

˙ ˙Walk A

˙̇ ˙# -FM

- -

&

?

32 wLone.

wwEm

˙ ˙You'll

wwG 7

˙ ˙Nev er

˙̇ ˙̇CM EM

˙ ˙Walk A

˙̇ ˙̇FM G 7

wlone.

wwCM

www

- -

You'll Never Walk Alone2

1 2 2

5 3 2 1 2-1

1

5 3 2 1 2



16

&

?

44

44

..

..

Œ Œ œ œ1 2

!

h=100

˙ >̇œ œ

œœCM

˙ œ œ

œ œœ

œ˙ >̇

œœ

œœD m

˙ œ œ1 2

œœ

œœ

&

?

6

˙ >̇3

œœ œ œG 7

˙ œ œ5 4

œœ œ œ

w>œ œ

œœCM

˙ œ œ1 3

œ œœ

œ

˙ ˙5

œ œœ

œA m

&

?

11 ˙ œ œ

œ œœ

œ

˙ ˙4 1

œœ

œœD m

˙ œ œ2 3

œœ

œœ

˙ ˙5 1

œœ œ œG 7

˙ œ œ5 4

œœ œ œ

&

?

..

..

16 1.

w3

œ œœ

œCM

˙ œ œ1 2

œ œœ

œ

2.

w

œ œœ

œCM

œ Œ Óœœ Œ Ó

Mack the Knife


from "The Threepenny Opera" arr. by Shelia Lee

Kurt Weill, Marc Blitzstein7th Chord Alternates FIRST



17

Step5.CoolDownSectiono Play3EasyTones–canbesame3youstartedwitho EndonesongwithOctaveDoubleNoteso EndonesongwiththeMajorChord(135)o EndonesongwithaGlissandoo EndAnotherwithaRollOverorRollingArpeggioso AddabasssoloatphraseendingortheendwithaArpeggio

MusicNotebookWhenthesongsfromSession8arelearned–movethemtoyourEASYTUNEsectionofyourRingBinderandtheycanbeusedforFUTUREWARMUPorCOOLDOWNTUNES.

1. QueSera,Sera2. DeColores3. Du,DuLiegstMirImHerzen4. CamptownRaces5. WhentheSaintsGoMarchingIn6. CavallitoBlanco7. ThisLandisYourLand8. Jambalaya9. BigParade10. InHeaventhereisNoBeer11. WearingoftheGreen12. RockyTop13. YouAreMySunshine14. CaissonsGoRollingAlong15. WhiteChristmas16. VieniSulMar17. WingsofaDove

18. Hofbrauhaus19. TheWildColonialBoy20. I’mAYankeeDoodleDandy21. BlueChristmas22. JingleBells(ALL)23. OhMyPaPa24. BambooFlute25. MarinesHymn26. AmazingGrace27. ElPaso28. TheLittleCafébytheHarbour29. DeepintheHeartofTexas30. MacktheKnife31. You’llNeverWalkAlone32. JesusLovesMe33. ViveL’Amour

CONGRATULATIONS!YouhavenowcompletedSession#8Remembertofollowthesestepsforeachofyourpracticesessions:

1. WarmUp‐Starteachpracticesessionwithyourfavorite3songs–nomatterhowsimple

2. TechniqueBuilder–doadrillor2–likeascale,speeddrill,chordstructureofsong,etc.

3. WorkonNewSongs–practiceassignedsongs.Startwithlast4measuresorlastsection

4. SightReading‐Whileyouarenowyourmostalert–readanewsong(sight‐read)–startwithchordstructurefirst

5. CoolDown–withyourfavorite3songs–canbethesame3youwarmedupwith

master the accordion workshops ph book 2 ‐ session 8...

Documents