Category Archives: For Beginners

Location to find “Into to” information and simple tunes for scratch beginners.

Where is that DARN C BASS!

18 Saturday Jun 2016

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Can’t find the C Bass?

The hardest thing for beginner accordion players – is FINDING THE C BASS on a 48, 60, 72, 96 or 120 bass accordion! Some students even sit and watch their left hand in a full length mirror!

We know it is located in the MIDDLE (Vertically)!

  • SO start with your wrist in the middle of the bass strap
  • Reach beyond your basses to the front edge of the Counterbass ROW
  • Line your fingers up vertically (all of them 2 – 3 – 4 – 5)
  • Run all your fingers UP AND DOWN the Counterbass row
  • THEN move back one row and run ALL YOUR FINGERS up and down
  • WITHIN moving up or down 1 button – ONE of your fingers will FEEL the C Button!

HINT – by reaching all the way to the inside of the Counterbass row – You are also positioning your WRIST DEPTH through the bass strap CORRECTLY!!!

  • When you pull back to the bass row – DO NOT pull wrist out – you will curl your fingers!!! YEAH!!!
  • Your finger attack position on the bass buttons – should be STRAIGHT DOWN – just like if you had long fingernails – the fingernails would GO INTO THE BUTTON HOLE!

Some people JUST CAN’T FEEL the hole or the rhinestone that marks C Bass!

Does your C bass have the diamond in it? Or does not?

If you have diamond(s) – Some times the diamonds are TOO SMOOTH to feel – though they ride higher – so take tweezers and dig around the diamond and remove it. Be sure and HOLD the button in position with needle nose pliers. This will leave a depression – that might be easier to feel. DO NOT USE fingernail polish remover to remove the glue – that will melt the button.

AND if you don’t have diamond(s) – you can add diamonds – to the buttons that already have depressions (get pointed back ones) or to buttons with no depression – get flat back stones)

I would first use only tacky glue to affix the diamonds – to make sure that they will make the buttons easier to feel. Then permanently affix them.

OR if you only have a hole and you don’t want to add a diamond – you can “melt” the edges. You will need a needle nose pliers. Hold the the button in place – so it won’t push into the machine. Take a paper clip – heat it from a flame like a lighter or gas stove and gently – on its side – push it into the side of the hole in the button. This should BUBBLE up the plastic of the button enough to create a raised “pimple”. Do the same for the opposite side of the hole. A dremel (engraving drill) helps too!

If you need to mark your E Bass (4 above C) or your Ab Bass (4 below C ) Do the same with the hot paperclip. This time just push it straight in to create a pimple in the middle. A dremel (engraving drill) helps too!

Some of the newer accordions – have a HARDER plastic for the buttons – They won’t melt!!! SOO you will have to HOLD the button with the pliers and use a medal file and scrape lines vertically and horizontally on the button. A dremel (engraving drill) helps too!

From there – it is just practice and patience – you will learn to “hone” in on it – just like a Radar Beacon!!!

Hope this helped.

Arrangements by Dundy

29 Sunday May 2016

Posted by in Accordion Duets/Trios/Ensembles, For Beginners, New Solo Selections

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Dundy Aipoalani has arranged some level 2 & 3 Solos!!

Thank you Dundy – these are great arrangements. He has a Roland Fr8x – so some even have the settings on the top of the song!!!

Please enjoy. This was really nice of him to share his arrangements

  • The colored notes in the print out – remind you of the key signature!!
  • AND if you have a difficult time with his bass styles – just play straight basses using his cues.
  • The dotted curved lines in the bass line are just to remind the player that the chord will remain the same for the rest of the measure.
  • Yesterday – Beatles 1965 (Solo/Duet/Trio) Solo level 3 – Duet Level 2.5
    • The melody is written in two part harmony. Separate these for 1st & 2nd (instant duet) – then add a bass player on the bass line – and you have a trio!
  • Piano man 2 verses with lyrics – Billy Joel 1973 – Solo Level 4

    • the bass style is: Hold the bass – then tap each chord and release the bass when you have played the 2nd chord. The Intro is a KILLER – but the other runs can be done!
  • I Love Paris arr. Dundy – Solo Level 2.5
    • the bass style is: no holding of bass under the chord – just hold it longer
  • Aloha ‘Oe – Farewell to Thee Solo level 2.5
    • the bass style is: Play the bass – hold it down and ADD the CHORD then release them together
  • Pearly Shells – Solo Level 3.5
    • the bass style is: Play the bass on the count then add the chord and re-hit the bass on the and of 2 or 4.
  • Tiny Bubbles – Don Ho 1966 Solo Level 2.5
    • This has a really cool bouncy bass line!!!

Dundy also has many more and some great Christmas Music – I will post later.

He – Level 2

02 Wednesday Mar 2016

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He – The Righteous Brothers reached #18 in 1966

I remember running to the record store to buy the 45 – as soon as I heard this song – first of all I love the Righteous Brothers and secondly – I loved the fact that I could finally play a POP song at CHURCH!!

I wrote this as easy as I could – you advanced players can add more chords and ad-libs on your own. Level 2 (The basses jump around so much!!)

He – Level 2

About the Song:

The music was written by Jack Richards, with lyrics by Richard Mullan. The song was originally published by Avas Music Publishing, Inc.

Best selling records were made by Al Hibbler (reaching #4 on the Billboard charts) and The McGuire Sisters (reaching #10 on the Billboard charts) in 1955. A later version by The Righteous Brothers reached #18 in 1966. Andy Williams released a version on his 1960 album, The Village of St. Bernadette. Diana Ross & The Supremes covered the song for In Loving Memory, a 1968 gospel compilation featuring Motown Records artists.

12 Bass Accordion Solos

22 Monday Feb 2016

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12 Bass Accordion Solos

I have received several requests for solos that can be played ONLY on a 12 Bass Accordion. WELL – there are TONS of songs – and this list is FROM SONGS ALREADY on this Accordion Blog!!!

You can find more on this blog by searching for Level 1-2 Solos.

Hints to Find Good Solos:

  1. Look for songs that have only 2 or 3 chord changes
  2. If you see a 7th chord – PLAY MAJOR instead
  3. If you see a Minor or Dim. chord – Play the Bass only (don’t play the chords)
  4. If there is only 1 or 2 measures that hit a bass you do not have – substitute the chord in your RIGHT HAND – and play NO BASS for that measure!
  5. You can play most songs in the Keys of C or G or F and sometimes D

Bob Butchart just sent me his arrangements of these – more double notes and other keys!! Thanks Bob.

Country Song Lyrics with Chord Cues

29 Friday Jan 2016

Posted by in For Beginners, Monthly Assignments, New Exercises

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Country Song Lyrics with Chord (Bass) Cues

I used to FREAK OUT – when another musician would hand me a lyric sheet with the Chords cued. I had no idea what to play – THEN A LIGHT BULB WENT ON – this is easier than playing the melody – ALL I HAVE TO DO IS PLAY THE CHORDS!!! YEAH!!!

Check Out this Link – http://www.classic-country-song-lyrics.com/

There is more than just Country music here – there is even a large list of Buddy Holly, Elvis Presley, Everly Brothers, Willie Nelson, and Gospel.

Let’s start with an Easy One – Rocky Top

Link – http://www.classic-country-song-lyrics.com/rockytoplyricsandchords.html

G                      C      G               Em              D7           G
Wish that I was on old Rocky Top down in the Tennessee hills
–                        C             G             Em       D7           G
Ain’t no smoggy smoke on Rocky Top ain’t no telephone bills
–                  C          G             Em               D7           G
Once I had a man on Rocky Top half bear the other half cat
–             C            G          Em                  D7               G
Wild as a mink but sweet as soda pop I still dream about that

Em                     D7          F                              C
Rocky Top you’ll always be home sweet home to me
–            G                              F     G                       F     G
Good ole Rocky Top Rocky Top Tennessee Rocky Top Tennessee

  1. The letters above the lyrics are the chords you are supposed to play. If there is no symbol after the letter – then you play the MAJOR chord. AND that chord will continue to be the background until it tells you to change. I had to use a “-” to keep the chords in position – it just means to KEEP playing the last chord notated.
  2. Listen to the song and establish the beat (4/4 or 3/4?) – Lynn Anderson
  3. Sometimes the singer does not sing in the key of the music – so it is hard to play along.
  4. WATCH the lyrics as you listen and listen for the chord changes. (Ear Training 101!)
  5. It doesn’t matter if you sing or not – you can “sing the words in your head” as you now HOLD the LEFT HAND BASSES
  6. NOW – find the beat and play “bass chord bass chord” (don’t forget to alternate and add a few bass solos)
  7. Right Hand Chords – Have you found the KEY? It is usually the first and last Chord. If these are different – the LAST CHORD WINS! SO this is KEY OF G!
  8. MY RULE – Key of G – Put your PINKY ON G! Go to your CHORD POSITIONS ALL KEYS CHART – and find the G Row. Now practice all the chords that are located in the song – GM – CM – Em – D7 are all on the G ROW – the then find FM. You will only move up or down 1 note!!!
  9. NOW – change the chords in the pattern of the lyric sheet – You are now ACCOMPANYING or COMPING – a singer! or participating in a JAM! Don’t forget to play the chords – Block, or Rocking, or Rolling (Search for that exercise!)
  10. NOW – you can cheat – and see what it SHOULD look like with the melody! –
  11. Link – Rocky Top (new chords)

Now I will tell you – WAY BACK WHEN the song first came out – I LISTENED to the recording and I wrote out a version – that I have been playing since 1970!! (45 years!) and I had NO IDEA that those Em chords were in there!!! SOO I have re-written my arrangement! I learned something today!!!! COOL!

I have now started to CHECK all the lyric sheets for the songs that I am writing for this blog – that I am writing “BY EAR” – so I don’t miss these subtle chord changes.

Now let’s try these and repeat the #1 – #9 above:

Now – I gave you the sheet music to Rocky Top and On the Road Again – the rest – is ON YOU!!! Have fun – this is the ONLY WAY to make yourself LEARN YOUR CHORDS and be able to play the chords “ON THE FLY”

How Great Thou Art

26 Tuesday Jan 2016

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How Great Thou Art

“How Great Thou Art” was ranked second (after “Amazing Grace”) on a list of the favorite hymns of all time in a survey by Today’s Christian magazine in 2001. This is probably one of the most requested Sacred Songs of all times. I play this at just about every Senior Event.

I wrote a simple Solo (Level 1.5) – and then a trio (Level 2)

 

About the Song:

“How Great Thou Art” is a Christian hymn based on a Swedish traditional melody and a poem written by Carl Gustav Boberg (1859–1940) in Sweden in 1885. It was translated into German and then into Russian and became a hymn. It was translated into English from the Russian by English missionary Stuart K. Hine, who also added two original verses of his own.

The composition was set to a Russian melody. It was popularized by George Beverly Shea and Cliff Barrows during the Billy Graham crusades. It was voted the United Kingdom’s favorite hymn by BBC’s Songs of Praise.

Notably, all English versions (a Johnny Cash live performance excluded) are in a slow, partly almost reciting manner, totally different from the uptempo style of the Swedish original.

Gaither Sacred Tunes

26 Tuesday Jan 2016

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Bill & Gloria Gaither Sacred Songs

Something you might not have known about me, but my late husband was a Minister – so can you see ME – The Minister’s WIFE!!!! HOLY COW!!!

I would play the organ at church and everyone would just LAUGH at me. Because with my accordion training – I could play ALL the notes with my right hand – I never used the OTHER keyboard. I was too busy watching my FEET and trying to hit the pedals!! AND I worked real HARD – I would get so sweaty – so I would use my FREE LEFT HAND to FAN myself!! That was a sight! AND this was a HOLY-ROLLER CHURCH!!! I was raised Baptist – but my husband was Pentecostal. This was the late 70’s and early 80’s – when Praise and Worship Teams were first starting and we did all the Gaither Tunes!!! So here are a few.

All of these – you can play the Solo version or on a few – grab a friend and play as a Duet or add the 3rd part and have a trio. I play these at nursing homes and Senior Club Meetings – They LOVE THEM!!! Not just for Church or Funerals. AND YES – I SAID FUNERALS!

About: William J. “Bill” Gaither (born March 28, 1936) is an American singer and songwriter of southern gospel and Contemporary Christian music. Besides having written numerous popular Christian songs with his wife, Gloria, he is also known for performing as part of the Bill Gaither Trio, and the Gaither Vocal Band. In the 1990s, his career (as well as the careers of other southern gospel artists) gained a resurgence as the popularity of the Gaither Homecoming series grew.

Grammy Awards

  • 1973: Best Inspirational Performance for “Let’s Just Praise The Lord”; Bill Gaither Trio
  • 1975: Best Inspirational Performance for “Jesus, We Just Want To Thank You”; Bill Gaither Trio
  • 1991: Best Southern Gospel Album for Homecoming; Gaither Vocal Band
  • 1999: Best Southern, Country, Or Bluegrass Gospel Album for Kennedy Center Homecoming
  • 2001: Best Southern, Country, or Bluegrass Gospel Album for A Billy Graham Music Homecoming
  • 2008: Best Southern, Country, Or Bluegrass Gospel Album for Lovin’ Life; Gaither Vocal Band

Strangers in the Night (Solo/Trio)

05 Tuesday Jan 2016

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Strangers in the Night 1966 #1  &  Won 3 Grammys

Doo be doo be doo!!! See you already are humming the tune!!! Here is another trio – written very simple – well there are a few harder runs! but I can call this a Level 2.5.

You can goose the arrangement up a little – the left hand can play a latin bass style!

NOTES FOR PERFORMANCE:

  1. =80 – same speed as the 2nd half of Those Were the Days
  2. Key of F
  3. Start at Letter D
    1. Every note – represents the notes in the chord needed – so everyone is UNISON in the rhythm.
    2. It is hard to play legato on repeated notes – so hold the note to it’s fullest!
    3. Key here is G Major (F#)
    4. Measure 61 has first counter melody and rhythm going on.
    5. Ends with a Ritardando – last 2 measures – the 3rd part has a run that will continue to slow down.
  4. 2 before Letter C – 1st part
    1. Chromatic runs (can play 1st note only for 2 counts UNTIL IT IS LEARNED)
    2. Letter C – I got bored and added a little FLAVOR to the melody
  5. Beginning – Same as letter D – all unison rhythm
    1. Letter C – 2nd & 3rds – holding chords – this is meant to HELP add POWER to the section – so PLEASE Crescendo and Diminuendo into and out of the 2 measure phrases

About the Song:

“Strangers in the Night” is a popular song credited to Bert Kaempfert with English lyrics by Charles Singleton and Eddie Snyder. Kaempfert originally used it under the title “Beddy Bye” as part of the instrumental score for the movie A Man Could Get Killed.

Reaching number one on both the Billboard Hot 100 chart and the Easy Listening chart, it was the title song for Sinatra’s 1966 album Strangers in the Night, which became his most commercially successful album. The song also reached number one on the UK Singles Chart.

Sinatra’s recording won him 3 Grammys in 1967

  1. Grammy Award for Best Male Pop Vocal Performance
  2. Grammy Award for Record of the Year
  3. Grammy Award for Best Arrangement Accompanying a Vocalist or Instrumentalist for Ernie Freeman at the Grammy Awards of 1967. Hal Blaine was the drummer on the record and Glen Campbell played rhythm guitar.

Theme from “A Summer Place”

05 Tuesday Jan 2016

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Theme from “A Summer Place” 1960

Here is another one of those songs – YOU HEAR THE INTRO and you know what the song is. I am old enough to remember seeing this movie on “Saturday Night at the Movies” – when network TV – started putting movies on TV!!! I was in LOVE with Sandra Dee and Tab Hunter!!!

1960 Grammy for Record of the Year!

Another Simple Trio – level 1.5

NOTES FOR PERFORMANCE:

  1. =60 – means 1 count per second
  2. Key of C
  3. LOOK at the Dynamics for the entire song
    1. Section #29 – marked solid – but 1st can still crescendo into and diminuendo out of phrases
  4. Measure #45
    1. 3rd has all the Chomp Chomps and the LH – very “dribble” very staccato
    2. 3rd Left hand – HOLD the bass only to learn – then add the chords later
    3. Notice how the basses repeat (except for the bridge at #29)
    4. 2nd & 3rd are Chomp Chomps until #61
    5. 2nds – practice your little runs – they are like arpeggios (They are all the same!)
  5. Measure #29 – Bridge
    1. Rhythm changes for 2nd & 3rds – 3 note chords for 3rds

About the Song:

The 1960 instrumental hit “Theme from A Summer Place“, composed by Max Steiner, was used in the film as a secondary musical theme (not the main title theme) for scenes featuring Molly and Johnny. The version used in the film was recorded by Hugo Winterhalter. It was later arranged and recorded by Percy Faith and performed by his orchestra, enriching and improving on the original.

In 1960, the Percy Faith version reached Number One on the Billboard Hot 100 chart for nine consecutive weeks, a record at that time. The theme has been covered in instrumental or vocal versions by numerous other artists, including The Lettermen, Andy Williams, Cliff Richard, Julie London, Billy Vaughn, Joanie Sommers and The Ventures, and has been featured in many other films and television programs.

Those Were the Days (Solo & Ensemble)

05 Tuesday Jan 2016

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Those Were the Days – as sung by Mary Hopkin’s in 1968

This is really an old Russian Folk Tune that English words were later added. AND – I can’t get through one Octoberfest season without performing it!!!

AND I wrote this at Level 1.5 !!! 1st – is the Solo Version

NOTES ABOUT PERFORMANCE:

  1. =80 Half Note & =80 Quarter Note – Quarter note gets 1 count and half note gets 1 count
    1. The beat will be the same between the sections.
    2. Key of Am
  2. Start at measure 9
    1. Full Half Notes – little lift so you CAN ACCENT
    2. Every note – represents the notes in the chord needed – so everyone is UNISON in the rhythm.
    3. Do not play “dribble” – staccato – play weighted but detached
    4. Measure 25 & 26 should be accented like before
  3. Beginning
    1. Because the original recording from 1968 – had a choir and orchestra just holding notes – that is what I did.
    2. If there are enough players – 2nd & 3rd can divide the double notes up – one take top and one take bottom – and give a nice LIFT at the end of each whole note or the end of the tie.
    3. 1st – You are the singer – so play smoothly. TAKE A BIG breath after each 2 measure phrase. AND crescendo into and diminuendo out of the phrase.
  4. Notice the beginning is rather soft – and everyone BLOWS AND GOES for 2nd half

About the Song

“Those Were the Days” is a song credited to Gene Raskin, who put English lyrics to the Russian romance song “Dorogoi dlinnoyu” (“Дорогой длинною”, lit. “By the long road”), composed by Boris Fomin (1900–1948) with words by the poet Konstantin Podrevskii. It deals with reminiscence upon youth and romantic idealism.

Georgian singer Tamara Tsereteli (1900–1968) and Russian singer Alexander Vertinsky made what were probably the earliest recordings of the song, in 1925 and in 1926 respectively.

The song is featured in the 1953 British/French movie Innocents in Paris, in which it was sung with its original Russian lyrics, but is best remembered in English-speaking countries for Mary Hopkin’s 1968 recording, which was a chart-topping hit in much of the Northern Hemisphere.