reaching for the gold - accordion...

Dedication &Determination

RULE NUMBER ONEWhat every accordionist must know

MUSIC THEORYThe framework of all music.

GOLF & ACCORDIONThere’s more in common than you might think!

SPRING 2016 • ISSUE 2accordionlife.com

Reaching for the Gold

http://www.accordionlife.com

I’m so excIted we are here with our second issue of Accordion Life Today! Thank you for your amazing response to our first publication. We’ve packed a variety of fun things for you to read and “do” in this edition.

I do want to let you know, our team here at Accordion Life – is like no other team. They are dedicated to help bring the accordion back in a way that is fun, exciting and new. They have numerous talents that they contribute in many ways. I definitely couldn’t do this without them! They’re amazing!

Totally loved your feedback from the question I asked in the last issue, “What do you love about the accordion?” The question I’d now like to know about you is this: “What Is your favorIte pIece to play on the accordIon?” I know this will be a hard question since you’re probably like me and I like to play LOTS of different pieces!

Let me know your answer by emailing it to: [email protected] and we’ll be sharing your answer in the next issue.

Look forward to talking to you again in the next issue June 20, 2016.

Kindly,

~Patricia Bartell

SEND YOUR RESPONSE TO: [email protected]

DEADLINE FOR SUBMISSIONS IS MAY 20, 2016

PH

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BY

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FROM THE EDITOR

Patricia BartellEDITOR IN CHIEF

Accordion Life Today | Spring 2016 | accordionlife.com2

mailto:[email protected]

mailto:submissions%40accordionlife.com?subject=Accordion%20Life%20Today%20Submission

ACCORDION LIFE

CONTENTSSPRING 2016 • ISSUE 2ACCORDIONLIFE.COM

Reader AnswersThank you for all your answers to the question “What Do You Love Most About The Accordion?”

Then & Now After taking a break from playing the accordion as a child, Diane Guffin shares about her unexpected return.

HOHNER | It’s a LifestyleAn exciting peek at the new colors of the Anacleto Collection.

RULE NUMBER ONE | Deschamps’ TechniqueFrédéric Deschamps talks about ‘Rule Number One’ of playing the Accordion and gives practical exercises to better your mastery over the bellows.

Music Theory with Mel CollyerA look at the interworkings of Music Theory.

Practice Tips from the ProsWorld champion Petar Maric shares his tips for improving your practice and music.

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THE COVERHOLDEN TUBBS PHOTOGRAPHED BY YEV NOSOV

To receive the next issue FREE direct to your email, visit:

AccordionLife.com/Magazine

Just For Fun

The Commonalities of Golfing & Playing the AccordionWhat do they have in common and what lessons from sports in general can we apply to the accordion?

Now on AccordionLife.comLearn about what the Team of AccordionLife.com does for you. Take a peek at the new and upcoming courses!

Dedication & Determination15-year-old Holden Tubbs has dedicated himself to the accordion. Four years later ...

Free Sheet Music: Oh Marie

Return of the PortatosA long time ago, in a galaxy far, far away ...

The Wanderlust’s KitchenBeverly Smick takes us on tour to France, for a delicious traditional meal.

3Accordion Life Today | Spring 2016 | accordionlife.com

accordionlife.com

http://AccordionLife.com/Magazine%20

AccordionLife.com

ACCORDION LIFE

Editor/Design Director

Copy Editor

Assistant

Photographer

Staff Writers

Spanish/English Translator

Corrie Sams

Ann Kienholz Jurcevich

Johanna Wilson

Yev Nosov

Patricia Bartell, Corrie Sams

Ricardo Hernandez

Patricia BartellEDITOR IN CHIEF

© 2015 BY ACCORDION LIFE. ALL RIGHTS RESERVEDACCORDIONLIFE.COM • [email protected]

Playing the accordion while sitting down burns

Playing the accordion while marching and doing choreography like The Portatos Modernized

Accordion Band (See Page 26) burns

184 Calories

563 Calories

per hour.

per hour!

Questions, comments, and submissions may be sent to [email protected].

Deadlines for submissions to Accordion Life Today are as follows:

Spring IssueFebruary 20th

Summer IssueMay 20th

Fall IssueAugust 20th

Winter IssueNovember 20th



mailto:submissions%40accordionlife.com?subject=Accordion%20Life%20Today%20Submission


Thank you for all the wonderful answers you sent infor the question in our last issue!

What Do You Love Most About the

Accordion?

READERANSWERS

“THE THING I LOVE the most about the accordion, which immediately caught my attention when I was eight years old, is its sound. Whenever I listen to accordion playing, something happens inside me. Over the years, I’ve discovered two additional things I really love about this wonderful instrument: its versatility, as one can play any musical style and it will sound wonderful, and its complexity, because learning a new song is always a big challenge, and I like challenges.”Salomon Salcedo

“I LOVE THE ACCORDION because it allows me to surprise people. Not only do people love it when they hear and see an instrument they have barely heard of, but also their faces light up when I play pieces they know and that the whole family loves, I feel a sense of pride and accomplishment because they had experienced a little picture of why I love music.” Johanna Wilson


So Much To Love About Accordion!

You could be featured here! Check out the letter from Patricia Bartell on Page 2 and send in your response to [email protected]

Answers to this issue’s question will be featured in the Summer issue of Accordion Life Today!

“WHAT I LOVE about the accordion is its versatility. Like the guitar and the piano, you can play an accompanying bass line, and the sound is addictive. Two years ago I started playing a diatonic GCF Hohner accordion and became obsessed with it. I play zydeco and Americana style music. It is very hard to find any information or instructional content about the triple-row accordion, especially traditional styles like zydeco. So I’ve learnt almost everything by ear. Your magazine looks great, and I can’t wait to see Joel Guzman’s future lessons. I was fortunate

enough to have two lessons with him as a beginner. He is possibly

the best triple-row player in the world. I am grateful for your effort with this publication.”Daniel

“EVERYONE IS BORN with a talent. Most people never find theirs; however some do. I have found mine -- it’s playing the accordion. The satisfaction for me is to know that the audience is thrilled to watch and listen to the music. When I strap the accordion on my chest and play, the notes come from my head; go to my heart; pass through my chest and come out of the accordion. The music is truly “from my heart.” Went I play the accordion it brings back good memories for the older folks. The adults are suddenly smiling because the tunes bring back good memories, and they start tapping their foot, clapping, singing and dancing. Young adults my age are stunned by the sound of the accordion and the charming melodies, and the children are fascinated by how fast my fingers move and how I know which keys to press. Everyone enjoys hearing the accordion. Of course it is a talent, but you still must put in the time to learn and practice for many hours. The pay off for you and the audience is priceless. I never get tired of playing. Wherever I go, my accordion goes with me. It’s my best friend. My love of the accordion has just started. I love its mystifying affect that it has on everyone who hears it. I love being a part of the accordion-playing family. Some say its best days are in the past, but I respond by saying that the accordion is making a roaring comeback and I am part of it. My implied mission is to make the accordion a ‘cool’ instrument to play, it’s already ‘cool’ to listen to.”Vince Demor

“IT’S HARD TO PICK just one thing that I love about the

accordion. If I were to limit myself to just one thing that I love most, it would

be the expressiveness of the instrument. The accordion is special in that you literally hug it to

play. It is unique in the fact that it becomes part of you in a physical sense -- an extension of the musician as it is so connected to you. This allows so much expression in the music. The tension, sensitivity and emotion that can be portrayed by proper control of the bellows is amazing. In a very real sense, it has often become my voice as I express the different challenges and joys I have experienced in life.”Corrie Sams ■

ACCORDION VERSATILE

THE COMPLEXITY

ENJOYMENT

EXPRESSIVE

THE

BEAUTIFUL

SATISFYING

COOL

SENSITIVITY

MUSIC FROM THE HEART

JOY

LOVE

THE SOUNDPORTABILITY

MUSICAL

ACCOMPLISHMENT“I LIKE THE VERSATILITY of

the accordion. I like its immortality. But most

of all: its sound, especially musette.” Tim Tyree



I watched Patricia’s hand glide up and down the keyboard, flipping from one register to another

in her examination. My childhood accordion responded with such painful noises that I knew this would be a lost cause. I just had to make one last attempt at finding someone who could repair the damage sustained from a wet basement 12 years earlier. Twice before I had heard the verdict, “beyond repair.” Shifting out of the straps, she placed it on the floor and with a reassuring smile said it would take a lot of work, but she was fairly confident it could be restored.

At age 51, I had no intentions of studying music again. I was 15 when Mr. Filippini passed away, and that had ended my accordion music lessons

that I’d started at age 9. It had been a lifetime ... at the time. In my 36-year hiatus I’d pull the accordion out around Christmas time and play a few familiar carols, then forget about it again until the next year.

Whether it was the anticipation of being able to play my own accordion once again or my relief of not having to tell my Mother that it would be gutted and hung from my rec-room wall, who knows? But somehow I left the studio that day with sheet music in my hand. I hadn’t “read” music in three decades -- but four months, eight lessons and countless rehearsal hours later, Able To Play Music’s ‘Vivace’ accordion orchestra took 2nd place at the Coupe Mondial ... and I was hooked!

As I already said, I had no intention of “learning” to play the accordion again. After all, I’d just retired from a stressful career, and my plans were to simply play -- Meaning golfing, sailing, boating, travel ... not so much the accordion.

Barely three years have passed since I first set foot in the Able To Play Music studio and I am surprised at my growth. I never would have believed in such a short time, I would be playing the level of music I am today. I have talented and patient teachers to thank. What also amazes me is how much more I am enjoying the learning process as an adult. In my youth I was a determined, hard-working student, but I did not appreciate the physiological benefits of music study. Today, when I’m

Whether it was the anticipation of being able to play my own accordion once again or my relief of not having to tell my Mother that it would be gutted

and hung from my rec-room wall, who knows?

ThenNow

&

My Journey Back to Playing Accordion

BY DIANE GUFFIN


challenging my musical limits with a new piece of music, I feel a sense of accomplishment with even the smallest improvements. There really is joy in the journey.

And who knew that learning accordion would open up so many social opportunities? My new best friends are scattered geographically, but we find ways to get together to practice ensemble music, sip a little wine and have a ton of fun. With the help of our drummer (my wife), our group, the

Portobellows, were awarded first place in a competition last summer.

My accordion and I made many public appearances last year, including my best friends’ wedding, a New Year’s celebration and the clubhouse with my ladies golf league. It traveled with me to Belize, Costa Rica and the Philippines. If it’s not obvious yet, I am having a blast and it keeps getting better. Thanks to Skype, I’m taking lessons when I am far from the studio, and practicing with my ensemble friends. I am drawn

to festivals and a “camp” in Oregon with workshops, orchestra rehearsals and concerts in a beautiful state park setting.

It took months for the studio to repair the extensive internal damage, but I was reunited with my childhood accordion. The feeling was like reconnecting with an old friend I hadn’t seen in years. And so it is to be learning music again. Not only am I learning new techniques, new forms of music and making wonderful new friends, I am also rediscovering how good it feels to learn new things about myself. Who says you can’t be a kid again?! ■

Not only am I learning new techniques, new forms of music and making wonderful new friends, I am also rediscovering how good it feels to learn new things about myself.

“You are never too old to set another

goal or to dream a new

dream.”C.S. Lewis

(1890-1963), British Author


It’s a Lifestylewith Gilbert Reyes

The New Colors of The Anacleto

To learn more, visit: anacletoaccordions.com


anacletoaccordions.com

Deschamps’ Technique

BY FRÉDÉRIC DESCHAMPS

The New Year brings with it new beginnings and endings. Let’s start 2016 with good resolutions. Here’s a new set of pedagogical tools that are concise and effective, with the goal of advancing while having fun.

RULE NUMBER ONE

Regardless of my students’ age or level, I often tell them as a joke, “Rule Number One to play the accordion: first pull the bellows, then play.” Everyone smiles, but no one does anything. It may seem evident, but pulling the bellows is the first action before even choosing what note to play. We are so concerned about the fact that playing the accordion is complicated, and that there are so many things to think about at the same time. This is true. But let’s put things in order. It is not that there are so many ‘things to think about,’ but that we need to think in a certain order. That is where there is difficulty.

VIRTUES AND INCONVENIENCE

The positive results of Rule Number One: pulling the bellows before playing

• Proper airflow of the mechanics of your instrument valves.

• Natural tension of your keys.• Natural surface game.• Minimization of the tension in your fingers.• Immediate output of sound.

See now the inconvenience caused by omitting Rule Number One.

• Keys are soft and not responsive.• Your fingers flatten at the bottom of your keyboard.• The strength of the fingers is at its maximum.• The sound is wheezing and asthmatic.

Not pulling before you play, for example, is like a singer who does not take a breath before singing … or like trying to start the engine of a car and shift to first gear at the same time. Of course it is easy to understand and accept certain basic rules – but to be able to apply them is another matter. Reflex, reflection, and all these beautiful phrases that we will share together must be integrated into your musical toolbox. I’ll try to help you understand a few simple exercises which should develop sensations your body will naturally incorporate into your relationship with the instrument.

MASTER CLASS IN SHANGHAI


We always make the error of wanting to solve everything at the same time, which is totally impossible. Adults especially! You always feel you do not have the time, and you want to play better without necessarily analyzing problems … it is human. :) The first little exercise that I propose today was taught to me by our late André Thépaz de Chambéry. It is the typical exercise practiced by all mono wind instruments: the wiring of a sound. Since our instrument is polyphonic, you are welcome to adapt accordingly.

THE CONTROL OF THE SOUND

In my way of teaching, I like to have students practice exercises that seem simple but yield much fruit in the future when least expected. Let me explain:

1. Press the first key of your right keyboard without pulling the bellows. Nothing should happen. A sound escaped from your instrument? This means your bellows were not controlled. Repeat and be sure to control the stillness of your bellows.

2. Gradually pull your bellows. A sound should appear in a very progressive manner.

3. Press a second key on your right keyboard. Make the second sound appear as discreetly as possible, without an accent. Look at your bellows and note the evolution of the opening speed.

4. Then press a third and then a fourth note, then a lower left hand button of your choice.

What do you notice?

A SIMPLE SOUND

1. Pull your bellows, then press a button with a sharp sound, in a strong medium volume. Watch your bellows and note the speed of the opening.

2. While continuing to look carefully at your bellows, play a second note on the right hand keyboard without speeding up the opening of your bellows. Your bellows now open consistently.

3. Gently push a third then fourth key on the right hand keyboard, then a bass on the left, always by controlling your bellows to accelerate their opening speed.

What do you notice?

Let me know online at AccordionLife.com or via email at [email protected].

See you in the next issue of Accordion Life Today!

Frédéric Deschamps Frédéric Deschamps ■

RIGHT: CONTROL OF THE MOBILITY OF THE BELLOWS BY

USING THE LEFT ARM.

LEFT: OBSERVING THE BELLOWS’ OPENING SPEED.

CONTROL OF THE SOUND


AccordionLife.com


When I was asked to write about music theory for Accordion Life Today, I was very excited. Then I went home and thought OH MY GOSH. Where

do I begin? Well, I am Margaret Collyer, better known around the Able To Play Music studio as “Mel” (there is a long story to the short name).

I played accordion for a short time when I was only big enough to hold a 12 bass. Soon after starting lessons in Chicago, my father’s job changed and we began traveling to new places every 12 to 24 months. As a result lessons ceased until we returned and I began again throughout my high school years. After high school I reached that awkward period of life – between my parent’s allowance and my old-age pension. So lessons ended ... or so I thought. I have known

Patricia for over a decade and have studied with her most of this time. I also have played trumpet, tuba, and piano. I studied piano in college with a teacher who at the time was the keyboardist for the Spokane Symphony.

THE THEORY ASSIGNMENTA few years after beginning my lessons with Patricia she handed me a book called Music Theory and said “this should be fun.” At first I thought she had a serious problem with her sense of humor. However, I soon realized, just by playing, I had learned a lot about theory without even knowing it. These books were helping me put together what I had learned in an organized form. I have found the process very much fun and hope I can help some of you enjoy a deeper appreciation of your interest in music.

Music Theory with Mel Collyer

The Interworkings of Music Theory


The most important advice about practicing any piece is that you do it in slow tempo. Put everything in perfect order with full concentration,

and afterward you will have more confidence

on stage. After you have slowly practiced every

difficult part of your program, play it from the beginning to the end like

you would in concert. Doing this will condition you fully and you will take habit of the full program.

The fingers: keep them as close as possible to the keyboard, and don’t lose time letting them go out of the keyboard. Your fingers need to stay closed, and the only movement allowed is when they play. Move your body in the shape of the music, and you will look more beautiful and be internally connected to your music.

Global suggestion for any musician: live the same off stage as you would on stage. Have a happy life off the stage in every area and the audience will recognize that when you’re on stage. ■

WHAT IS MUSIC?To begin I would like to discuss music in a generalized manner. I have my ideas on what I believe music is. I have also determined that what is music to my ears may not be pleasing to someone else. Likewise I cannot say I appreciate all that I hear. I have never had to define music before, and this led me to think about what music is and possibly what it is not. I don’t recall from Sunday School on which day music appeared in the creation scenario. I used to think that it would have been the sixth day, as man arrived on the scene. But then I can’t explain the beautiful sounds of birds, or wind blowing through the aspen trees. Is that music or is it just sound?

THE DEFINITIONA classic dictionary definition states that music is not all sound but rather sound produced by the HUMAN voice or instruments that is beautiful, with form, harmony and emotion. In this definition, the uplifting lilt of a meadowlark (or other favorite songbird) is not music. If that is not music, why not? So much of early human “music” mimics the sounds of nature. Even modern music mimics the sounds of nature. Consider Gershwin’s An American in Paris. He even brought to America French taxi horns to be used in the production.

Another example where music defies its own definition is John Cage’s composition titled 4’33”. In this piece there are three movements where the performer(s) comes to the stage and gestures when the piece begins and when each subsequent

movement begins and ends. The only sounds heard are the ambient sounds of the audience. This is silence as music. Silence has a very definite role in music, but is a completely silent score still

music? I am not going to answer these questions but discuss the tools that enable you to answer for yourself. To me, music theory is a system that allows us to do that by breaking down the components of music for a better understanding of music’s evolution.

IN THE NEXT ISSUEMost students of music are learning components of music without even knowing it. The basics begin with the concept of notes, pitch, rhythm and symbols by which we communicate these aspects to one another. Specifically, next time we will look at notes. What makes a note a note, and how does that relate to tone or pitch? How does pitch relate to the quality of the sound or timbre? Eventually we will place notes in the context of frequency or rhythm, and how silence is communicated in this framework we call music. ■

PETAR MARIC | SERBIA | 2010 WORLD CHAMPION

Practice Tipsfrom the Pros

“Put everything in perfect order with full concentration ....”

Most students of music are learning components of music

without even knowing it.


Across2. The country that the featured recipe is from4. The study of music8. The free song in this issue9. What creates the sound of the accordion11. A free reed instrument

Down1. A sport featured in this issue that has similarities to playing accordion3. The type of accordion that Holden Tubbs plays4. The right hand keyboard of the accordion5. The left hand keyboard of the accordion6. A mixture of sounds put together in a pleasing way7. The heart and life of the accordion10. Type of accordion widely used in Conjunto and Norteño Music

Just forFunAcross: France, Theory, Oh Marie, Reed, Accordion Down: Golf, Chromatic, Treble, Bass, Music, Bellows, Diatonic


You are probably asking yourself what learning to play golf and learning to play the accordion

could possibly have in common. Well, I have been attempting both for many years and, in my humble opinion, there are many similarities. Actually, I see parallels between the accordion and many sports (both individual and team). So, continue reading even if you have never played golf. For the sake of this article, that is the sport I have chosen to use as a comparison to playing the accordion. The premise behind this article is that you want to learn or improve your level of play, whether it be the accordion and/or golf.

When I first started learning golf, I was struck by the fact that the smallest

of adjustments in holding a club or swinging translates to big changes in the end result. The same goes for the accordion. How you touch the buttons or keys and how you pull the bellows have huge influences on the sound produced. The obvious similarity is that you need a golf bag to hold your clubs and a case or bag to hold and transport your accordion. But, the similarities do not stop there. Both require dedication, discipline, practice, honesty and patience.

DEDICATIONLet’s face it, to learn anything requires dedication. If you are serious about wanting to learn any musical instrument or sport, you must be devoted to that effort. The pros make golf look so

easy, but golf is very difficult. Pros spend hours practicing one type of shot, and they are always consulting their instructors so they can continue to improve. The accordion is not easy either. I think of it as patting my head and rubbing my stomach at the same time. You need to dedicate yourself to the time and effort. The process never stops; because, you can always get better. It is a lifelong process, if you are dedicated enough and continue to want to improve.

DISCIPLINEThis leads me to discipline. Both of these activities require discipline. You need to carve out the time to practice. And you have to develop the focus necessary to practice in some of the

THE COMMONALITIES OF

Golfing and Playing the AccordionBY MARCIA LYDIKSEN

What every accordionist should know from a golfer.


most tedious and unexciting ways. Freeing your mind of extraneous intrusions, so you can concentrate, is an art by itself. Disciplined practice develops muscle memory (yes, your fingers have muscles), so that your body responds automatically. What you are doing becomes a reflex. Whether it is a particular golf swing or jumping from one note to another requires repetition of the movement involved. When you need to employ that swing or jump, you will perform it smoothly. A golfer’s swing needs to be fluid. When that swing becomes jerky, the ball does something you really had not intended. The same happens when playing the accordion. Whether changing bellow direction or making difficult jumps from notes to chords or from notes to notes, it needs to be seamless. DISSECTIONWhen learning a piece of music, practice the right and left hands separately. Master each before playing both hands together. And only do two or four measures at a time. There are practice techniques for mastering particularly difficult

sections, but those techniques are worthy of their own article. Dissect the music into small bits before putting measures together. The same applies to golf. An instructor will dissect your swing, posture, etc. Mastery of each component is necessary before you put it all together into a rhythmic swing. I know this sounds tedious, but it is worth it. You save yourself time in the long run.

VISUALIZATIONWhen preparing to play a piece of music, take time to visualize the music, your target notes, phrases and dynamics. Play the piece in your mind. Golfers do the same when they approach a tee box or shot. First they envision how they want to play the hole, and then visualize each shot as they play that hole. Different strategies can be used when playing music or golf. No two musicians

play a piece identically, and no two golfers play a hole exactly the same. You play according to rules, but there is room for interpretation. This is what makes music so interesting.

HONESTYThe accordion and golf require honesty. Shaving a stroke or

two off the score you write on the scorecard accomplishes nothing in

the long run. You are only kidding yourself. Honestly critiquing how

you have played a song is key to improving. Some golfers video their

swing, and likewise recording a song you are learning reveals

everything. The video and the recording do not

lie; they allow you to

review the process while not participating in it. There can be a painful honesty in reviewing your efforts this way.When your instructor offers constructive criticism, he or she is honestly appraising your effort. Repeatedly playing the same mistakes repeatedly only ingrains the errors more.

PATIENCEBe patient with yourself. Unless you are a golf or accordion savant, becoming a pro does not happen overnight. You can be serious about wanting to learn, but you can take yourself too seriously. Progress is not always linear. Sometimes you reach plateaus. But then comes another breakthrough. This leads to another point I want to make. As you devote time to practicing diligently and honestly, you develop another “sense.” Golfers develop the skill to hear and feel how they hit a ball. Without watching the flight of the ball, they can tell if they have hit a ball “thin” or “fat” or nailed the “sweet spot” on the club. A musician develops the ability to really hear and feel how he or she played a piece. But this ability only develops after dedicated, disciplined, honest practice and play.

THE REWARD“Gee,” you say to yourself. “All this time and effort do not sound fun.” Well, the reward is worth it. There is nothing like hitting a golf ball true and sweet. The feel, sound and result are so rewarding. When you play a song truly to your satisfaction, it makes all the effort worth it. It is much more fun to play decently than to bumble your way through.

Music and sports are to be enjoyed. So, go have fun! ■

When you play a song truly to your satisfaction, it makes all the effort worth it.


NOW ON

AccordionLife.com

WHAT IS ACCORDION LIFE?This is your #1 headquarters for online accordion education

Your sheet music library

Your online video training courses

Your collection of accordion articles

Your new friends

Your Accordion Life!

WHY ARE WE YOUR TEACHERS? BECAUSE ...

You deserve the best education and tools available from qualified and experienced teachers.

Depending on where you live, accordion teachers may be as scarce as hen’s teeth.

From the start, you want to know you’re doing it right … and not having to start over later since your time is valuable.

The accordion must come alive for you -- it is not just an inanimate object. We help you experience the magic of music.

You need professional expertise beyond YouTube.

When you play, you want to sound like an artist, not just a “good music student.” You want to play with purpose, emotion, and intensity, and make every note count. And YES, this is even for beginners - you don’t have to wait 10+ years to learn how to do this.

WHO ARE WE? We’re YOUR accordion teachers.



When you’re ready to take a lesson, it needs to be when you’re available and when it’s convenient for you.

When you want to review a previous lesson it always will be there waiting for you whether it’s on your computer, tablet or your smart phone.

You pick and choose what you want to learn based on your goals.

Our HD videos have multiple camera angles giving you an up close and personal view of what we’re doing. No more guessing what key or button we are pressing.

It’s much cheaper than most private lessons and you’re getting top-notch education without breaking the bank.

We create courses using professional equipment and cutting-edge technology so you get the best that’s available for your learning style.

We write monthly articles to help further your knowledge of music and the accordion.

We digitize music so you can hear what your music is supposed to sound like using a digital player. You can slow your music down, speed it up or even loop the same two measures to practice along with it.

We’re constantly uploading new sheet music as PDF files so you can expand your library of music.

We created a community platform for you to meet, connect and share with other accordion enthusiasts on the Forum and through the News Feed.

Every month, we create video tutorials for songs of different genres so you can learn to play some of your favorite pieces.

WHY ONLINE COURSES?

THIS IS WHAT WE DO ON ACCORDION LIFE FOR YOU

ACCORDIONLIFE.COM


AccordionLife.com

ACCORDIONLIFE.COM

WHY CHOOSE US?

We’re young, educated and have a passion to help and teach you the accordion in fresh new ways.

We’ll give you the confidence you need about the process of learning, and we’re available for questions through the forums. Every lesson in each course also has a place for you to ask questions and get feedback.

We give you a variety of music – Tangos, Polkas, Classical, Blues, Swing, Musette and more.

We’re not your stereotypical teachers. We don’t use old school methods of training, nor do we teach you with an austere face and a monotone voice that has no personality. You’ll have fun learning and find our humor refreshing and maybe even slightly corny.

We’re constantly learningn ourselves. Music is a lifelong journey – you never quite reach the top because there’s always something more to learn. So what we learn, we pass on to you, so your money won’t be screaming bloody murder as it’s leaving your pocket.

HOW IT WORKS

Visit accordionlife.com to become a premium member. As soon as you confirm your account inside the email we send you, the homepage will show a completely different menu giving you access to all the courses, sheet music, articles, etc. ■

To join the family and sign up, visit

accordionlife.com


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HOW TO PLAY BEER BARREL POLKA (LEVEL 3)The famous polka that will have your foot tappin’, your friends clappin’, and your eyes smilin’. Yev Nosov demonstrates, measure by measure, how to play this fun piece. You’ll have this song in your repertoire in no time!

HOW TO PLAY UNDER PARIS SKIES (LEVEL 3) Imagine a romantic night under the skies of Paris -- wine, music, and the love of your life. Step-by-step instructions with Yev Nosov help you learn the famous French waltz: Under Paris Skies -- definitely a piece to have in your repertoire for entertaining friends and loved ones.

CORE CURRICULUM SERIES FOR PIANO ACCORDION (LEVEL 2)This Level 2 course of the Piano Accordion Series follows the Level 1 course already available on AccordionLife.com. It is full of fun pieces with many musical elements for you to learn. You’ll also be introduced to a lot of left hand action!

HAPPY BIRTHDAY TANGO STYLE! (LEVEL 3)It’s all well and good to know how to play Happy Birthday - but why stop there? Up the style and class of a well-known favorite by learning to play it Tango Style! Learn with Yev Nosov as he takes you step-by-step through this fun Tango Version.

NEVER ON SUNDAY (LEVEL 5)Bring this fun hit song from the 1960s to life on your own accordion! Step-by-step video instructions with Yev Nosov make it fun and easy. ■

NEWLY RELEASED COURSES

Learn more at AccordionLife.com

COMING SOON!


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WHEN AND HOW DID YOU START YOUR MUSICAL JOURNEY?

I started my musical journey by taking piano lessons when I was around eight years old. I continued until I was eleven, but I wasn’t very motivated and I barely practiced.

WHAT DREW YOU TO WANT TO PLAY THE ACCORDION?I think the accordion’s uniqueness is what mainly attracted me to the instrument. It just looked and sounded so different from anything I had seen or heard. I first heard about the accordion when I was at the music studio for piano lessons. I found out that there were accordion lessons in the building, and I was instantly interested in taking them. After that, the only thing I had to do was convince my parents to let me start lessons.

Four years later ... going international.

INTERVIEW BY THE ACCORDION LIFE TEAMPHOTOS BY YEV NOSOV


WHAT WERE YOUR FIRST LESSONS ON THE ACCORDION LIKE? WHAT TYPE OF ACCORDION DID YOU START ON? My first accordion lessons were very exciting because I quickly became familiar with the instrument and began learning a few simple songs, all with the help of the Simply Music Program. I started out with a tiny, red Hohner Bravo 48 bass piano accordion, which lasted a year before I grew out of it. (See photo on next page)

NOW YOU PLAY THE CHROMATIC BUTTON ACCORDION. HOW DID THIS HAPPEN AND WHY?After the Bravo 48, I switched to a Bravo 72, which I played for a while. At that point, I became very interested in classical accordion and the free bass system, so I asked my teacher if I could start working with a chromatic button accordion with free bass, and she said yes.

TELL US ABOUT THE LEFT HAND OF YOUR INSTRUMENT.Free bass is really fun to work with because it adds so many more possibilities to my playing. I had kind of a rough start with it, though, because my left had wasn’t very developed, and I still hadn’t familiarized myself with C-system. WHAT WAS YOUR FIRST FREE BASS SONG?Technically, my first free bass song was an excerpt from a Scarlatti sonata, but it was more to help me strengthen my left hand and familiarize myself with the system, and I never competed with it or performed it for anyone. The first free bass song I competed with was the first movement of Impasse by Franck Angelis. It was pretty difficult for me to learn, especially because I had only been playing four-page songs prior, and this one was ten, but I still managed to win 2nd place with it in the Leavenworth Classical Open.

WHAT HAVE BEEN SOME OF YOUR HIGHLIGHTS WITH THE ACCORDION?The accordion has really opened up lots of opportunities. I’ve played at school events and in local farmers’ markets as well as some concerts in Spokane.

WHY DO YOU ENJOY COMPETING?I honestly find competing to be quite nerve-wracking, but at the same time, it’s really fun to perform what you’ve been working on for the previous year. I think the best part of competitions is the feeling of complete relief after I play.

WHAT MOTIVATES YOU TO STAY WITH THE ACCORDION?I have to deal with burnout with any activity I pursue long term. Accordion is no exception. But the reason I stick with it is because I love music and I love performing. MOST YOUNG PEOPLE WOULD RATHER STAY HOME AND PLAY VIDEO GAMES, BUT YOU WERE RECENTLY IN SPOKANE FOR FIVE DAYS ON HOLIDAY BREAK, DOING WHAT AND WHY?Staying home and playing video games is my specialty, but I do once in a while have to do other things. During those five days, I was working with my teacher, Patricia Bartell, on learning to micromanage my music and play with control to prepare for competitions. I found it really helpful, and it will definitely help me practice better and more thoughtfully.

The accordion has really opened up lots of opportunities.


WHAT WAS YOUR MAIN TAKEAWAY FROM YOUR FIVE DAY INTENSIVE TRAINING?My main takeaway from the five day training was learning to “micromanage” my songs -- essentially learning how to control each part of my songs and play them to perfection. WHAT ARE YOUR GOALS THIS YEAR?This year I’m planning to compete in the Leavenworth and Victoria International Accordion Competitions as well as Trophee Mondial in Portugal and perhaps a competition in China.

WHAT ADVICE WOULD YOU GIVE TO A YOUNG STUDENT STARTING OUT?

If I could go back in time and give myself advice, I would tell myself to take everything more seriously and practice better, but I’m sure we all would, given the chance. To any young student starting out, I would say that you’re going to

learn a lot, and your perspective will constantly be expanding, but you should always remember to

play music in your own unique way and make your own path. ■

Free sheet musIc

Every issue of Accordion Life Today will

includes sheet music for your enjoyment!

OH MARIE

The Neopolitan song, Marie, Ah, Marie known as Oh Marie in English, was composed in 1889 by Eduardo Di Capua. It has been recorded in both classical and popular styles by many artists over the years. The swing version of Oh Marie was the first success of crooner Dean Martin. We hope you enjoy the arrangement on the next page!

Sign up to get the next issue delivered to your email FREE!

Want More?Find more sheet music at

AccordionLife.comand in

Future Issues of Accordion Life Today

from the team of AccordionLife.com


photo:Holden Tubbs

(2012)



AccordionLife.com

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he ominous sound of the drum echoed across the chilly parking lot. Boom, boom, ba-da-da … Boom,

boom, ba-da-da. Passersby stopped to watch as The Portatos practiced a medley of Star Wars themes. The first months of 2016 had the Portatos gearing up in preparation for a very special project. With the deadline fast approaching, it was crunch time. Individual musical parts had to be memorized, costumes had to be prepared and ready, and there were a million details to have just right.

We bumped the practice schedule up to two times per week. Each practice lasted two hours or more. With the help of our director, Patricia Bartell, we designed the choreography and practiced it without our accordions until we knew what to do. Introducing the playing of the accordions with the choreography is always the fun part -- talk about multi-tasking!

On the 16th of February, all was ready. The Portatos invaded the Bing Crosby Theater of Spokane, setting up equipment and preparing for the big day. Multiple cameras were put in place throughout the auditorium; sound recording devices were placed in readiness; the girls prepared their hair. Volunteers were in place helping at every moment. At 4:00p.m. on the dot, sound check began.

Lights. Cameras. Action! We were rolling! The music of Star Wars washed out over the auditorium as the cameras caught the action. After three takes, we called it good. It was such a rewarding feeling knowing we accomplished what we set out to do. By the end of that week, the audition video had been submitted to America’s Got Talent.

BY CORRIE SAMS | PHOTO BY PATRICIA BARTELL

To see The Portatos perform Star Wars, visit:

www.Portatos.com

A long time ago in a galaxy far, far away ...THE PORTATOS filmed a video.

RETURN PORTATOSOFTHE


www.Portatos.com

DINING IN Paris is always a memorable experience. Whether it is the simplest baguette and fromage or an exquisitely prepared duck breast with truffles, the flavors will linger in your mind long after you return home. For me, it was the Ratatouille topped by a perfectly poached egg that I enjoyed at the Louise Café. Although I can never duplicate the savory dish I had there, I do hope you enjoy this version.

The Wanderlust's Kitchen

2 medium eggplants, cut into 1” cubes

1 Tbl. coarse Kosher salt

4 medium zucchini, cut into 1” cubes

1 large bell pepper, cut into 1” pieces

5 Tbl. olive oil, divided

1 large onion, chopped coarsely

3 garlic cloves, minced

2-28 oz. cans plum tomatoes, drained, juices reserved and coarsely chopped

¼ c. chopped fresh parsley

3 Tbl. chopped fresh basil

1 Tbl. chopped fresh thyme

Salt

Pepper

8 eggs, poached or fried, sunny-side up (optional)

with Beverly Smick

Ratatouille• DES

TINATION •

• 2016 •FranceA traditional French Provençal dish.

AR

T BY

FR

EEPI

K.C

OM

Sprinkle 1 Tbl. kosher salt on eggplant, toss to distribute and let sit for 1 hour in a colander. Rinse and firmly pat dry with layers of paper towel to remove excess moisture. Pre-heat oven to 500° F. Line a sheet pan(s) with foil. Toss eggplant, zucchini and bell pepper with 3 Tbl. oil and arrange in a single layer on prepared pan(s). Roast until browned and tender, about 35 minutes, stirring occasionally. Heat the remaining 2 Tbl. oil in heavy pot. Add onions and garlic and cook over medium low heat until tender, about 10 minutes. Add eggplant/zucchini/pepper mixture, stir and add the drained tomatoes. Heat through, add fresh herbs, salt and pepper to taste. If mixture is too dry, add some of the reserved tomato juice. Serve individually in a shallow bowl or plate, and top with a poached or sunny-side up egg.

Bon appétit! ■


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