northwest accordion news - Northwest Accordion Society News

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NORTHWEST ACCORDION
NEWS
 Wine Festival
 The Great Accordion Myth Uncovered
 Improvising Duets: Comping for All Seasons
 Leavenworth International Accordion Celebration!
 News about Cory Pesaturo, Alicia Baker and Stas Venglevski!
Northwest Accordion Society
VOL. 21 NO. 3
Fall Quarter 2011
Northwest Accordion News
Northwest Accordion News Staff
Doris Osgood............................................(503) 357-0417
dorisosgood@frontier.com
Judith Ames .............................................(360) 254-5245
judith@ameshomeplace.com
Colleen Halverson (Advertising) ..............(503) 484-5064
cmhalverson1@comcast.net
NW Accordion Society Officers
Bonnie Birch, President/Treasurer ................................. (206) 622-4786
Doris Osgood, Vice President/Communications............. (503) 357-0417
Judith Ames, Secretary/Technology ............................... (360) 254-5245
Advisory Board
Rick Hatley,..................................................................... (253) 288-0442
Shirlee Holmes .............................................................. (206) 282-4934
Dick Myking .................................................................... (253) 537-0136
Birgit Teuwen .................................................................. (206) 368-9720
Cooksie (Kaserzon) Kramer ........................................... (425) 828-9104
Brenda Bard ................................................................... (425) 822-4404
Jim Tobler ....................................................................... (425) 745-4872
Membership:
Doris Osgood.................................................................. (503) 357-0417
Judith Ames ................................................................... (360) 254-5245
judith@ameshomeplace.com
Mail letters & articles to:
5102 NE 121st Ave. #12,
Vancouver, WA 98682
Or e-mail to: judith@ameshomeplace.com
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NWAS PUBLICATION PRIORITIES
Advertising
Original Compositions
News from Our Members
Instructive/Technical Articles
Summaries from Regional Socials and
Events
 Coming Events
Articles will be printed if received prior to the
publishing deadline. Should space be an issue,
articles will be printed in the order in which they are
submitted. All decisions regarding publication will be
made by the editors of the NWAS News.
To submit articles for publication, mail them to
the Vancouver, WA address listed. It is preferred
that articles be submitted via e-mail as attached
WORD documents or on a disc. Typed, paper copy
needs to be dark and clear to allow scanning and to
minimize errors.
Photographs sent for publication will be returned
if they are accompanied with a SASE of correct size
and adequate postage. Photographs may be sent
electronically or on disc.
To reprint articles or photographs from
magazines and newspapers, written permission
from the publisher is required. Please submit the
necessary “permission to print” with material sent.
Views in the articles and information printed are
those of the contributors and not necessarily those of
the Northwest Accordion Society or its advertisers.
ADVERTISING
Full page
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Quarter
Business card
$110.00
$55.00
$30.00
$10.00
NWAS News Deadlines
Prices are PER ISSUE. US Funds
February 1, May 1, August 1, November 1
Photo-ready Advertising (with accompanying check)
for this publication may be sent to:
6453 SE Nathan Ct., Hillsboro, OR 97123
or e-mail cmhalverson1@comcast.net
Inquiries, questions, suggestions, etc.
NORTHWEST ACCORDION SOCIETY
The Northwest Accordion News is a quarterly
newsletter published by the Northwest Accordion
Society for and by its members. The purpose of
the NWAS News is to unite the membership by
providing news of its members, and articles that
instruct, encourage, and promote the playing of
the accordion.
Contact Doris Osgood, 3224 B St.,
Forest Grove, OR 97116. (503) 357-0417.
E-mail: dorisosgood@frontier.com
Is your membership renewal due?
Check your mailing label. A membership
application/renewal form is included on
the last page. Send your renewals or
change of address to:
5102 NE 121st Ave. #12
Vancouver, WA 98682
fall Quarter 2011
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Table of Contents
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Letter from the Editors
Quarterly Update
Letters to the Editor
Remembering Dieter Nachmann
Wine Festival
Congratulations, Cory Pesaturo
Stas Venglevski Featured
17th Leavenworth International
Accordion Celebration
Photos from LIAC 2011
Leavenworth International Accordion
Celebration Sponsors
Seattle Accordion Social
NWAS Welcomes New Members:
Celebration Competition Awards 2011
Pietka Scholarship Recipient
Keeping Up With Alicia Baker
Kimberley International Oldtime Accordion
Championships
Tacoma Accordion Social
Something Special in Sequim
Remembering Mike Belitz
Peter Soave to Premiere New
Accordion Concerto by Max Simoncic
Improvising Duets: Comping for All Seasons
Castelfidaro Changes With The Times
The Great Accordion Myth Uncovered
Accordian Lesson Memories
By the Way –
Accordion Events Calendar
Entertainers in the Northwest
Letter from the Editors
Greetings!
Summer was slow to arrive here in the Pacific
Northwest. We are finally getting some dry weather in
the 80’s.
Leavenworth International Accordion Celebration
was a great success! Did you attend it or one or more
of the other Accordion Celebrations, Competitions
or Camps? We love to hear from you! You may
send us your articles and photos by email (judith@
ameshomepalce.com) or through the mail (our mailing
address is on the back).
You may now receive your NWAS electronically please let us know if you’d like to have the PDF version
(you get it sooner and often pictures are in COLOR!)
Once again, we have a PACKED issue! Enjoy!
Judith (judith@ameshomeplace.com)
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Quarterly Update
Dear Members,
I feel a bit guilty sitting here in Forest Grove with
temperatures between 70 – 80 degrees. It’s been
beautiful! My relatives in Nebraska, Oklahoma, and
Arkansas are stewing in their own juice as I write.
Summer’s slipping away; school resumes soon and
with that comes the Oktoberfest season.
Thank you for your concern for my husband and
me. I injured my back in the late spring and have been
dealing with the diagnosis and treatment all summer.
I feel much more comfortable and must be careful not
to reinjure myself. Gary has improved considerably.
We appreciate your thoughtfulness.
Judith and I will do the “paste up” for the Autumn
issue of the NWAS News next week. I am especially
pleased that Jim O’Brien, Ph. D Professor Emeritus
from the University of Arizona, has written his notes
complete with examples from his workshop on playing duets. We are thrilled with his gracious gift to the
publication. You may be acquainted with his arrangements from the internet. Dr. O’Brien has the authority
and expertise to provide some valuable instruction.
Occasionally articles appear in newspapers or
magazines that are of interest to our membership.
I’ve had reasonably good experiences with requesting
permission to reprint. After waiting for several weeks,
I received word that there would be a very large fee to
reprint an article; I was disappointed!
This issue also includes an original composition by Wally Lazar. Wally is an NWAS member from
Canada and has generously shared several compositions with us. Wine Festival seems to fit the season;
we are grateful to Wally Lazar for allowing the NWAS
News to print his music.
I’ve mentioned it before, but I must confess that
writing “remembrance” articles about friends in the accordion community is one task that I really don’t enjoy.
The articles are important to communicate the information but also to give honor to the friend that we’ve
lost. Mike Belitz was a fine accordionist and a lovely
person. We hope that many aspiring accordionists will
follow in his footsteps and build upon the music he
provided. Mike was respected and loved; he will be
missed.
The Northwest Accordion Society thanks all of
you who volunteered and worked to make the International Accordion Celebration at success. Bonnie Birch
planned for many months to pull the event together.
Work has begun for next year’s music festival. Mark
your calendars today; LIAC will be June 14 – 17,
fall Quarter 2011
Remembering Dieter Nachmann
2012.
This issue has important information and advertising to note. We are grateful to our faithful advertisers and encourage you to take advantage of the
goods and services they provide. Be sure to let them
know that you saw their advertisement in the NWAS
News. Special thanks to our new advertising editor,
Colleen Halverson. We appreciate all that she’s done
to ensure that our publication is in the black.
Finally, enjoy the Oktoberfest season. The accordion is visible in the autumn. Support and encourage
the accordionists when you encounter them. This is
an important time for all of us amateur players also.
The Oktoberfests can’t manage without all of us; we
lend “color” to their events. It’s fun too. Have a wonderful autumn. It’s my favorite time of year!
Doris Osgood
Letters to the Editor
Dear NWAS,
The Leavenworth Festival was deluxe.
Cindy Martin, Seattle, WA
Dear NWAS,
Thank you so much for placing my mother’s Memorial
piece in the NWAS magazine.
Best Regards, Adrianna Wells, Seattle, WA
Dear NWAS,
Thank you for such a great time in Leavenworth.
Loved the workshops. It was so much fun.
Kathleen Falco, Athol, ID
Dear NWAS,
Thank you for the marvelous job you do with our NWAS
news.
Dick Myking, Seattle, WA
Dieter Peter Nachmann, whose charm and
sense of humor marked a kaleidoscopic life with
legions of loving friends, died of cancer on Friday,
July 22, 2011, in Portland, Ore. He was a bartender,
herb salesman, wine distributor, marketing consultant, father, gastronome, punster, and musician.
Born in Traunstein, Germany, on June 9, 1946,
Dieter was the only child of Bernhard Nachmann
and Paula Rohofsky. The family moved to Cleveland, Ohio, in early 1948 and then to Denver Colo.,
where Dieter attended St. John's grade school and
Mullen High School. He enrolled at the University of
Colorado's Engineering School in Boulder.
Dieter moved to the Pacific Northwest in the
mid-1970s. He was co-operator of a tavern in Trout
Lake, Wash., where, according to an eyewitness,
"he subjected regular customers to his accordion,
and gave them lessons in classical music - and
they loved it!" He later worked at the Rams Head at
Timberline Lodge, where he was a bartender, wine
steward and entertainer.
He frequently played accordion with the late
Walter Aeppli. Calling themselves the "Edelweiss
Irregulars," they played together for 30 years.
In 1978 he joined a wine distributorship in
Portland as a salesman. Dieter went on to form his
own company designing labels and marketing plans
for small companies. He often spoke of his concept
of "property mismanagement," his way of describing
his "vast real estate holdings."
He married Sandra Johansen in 1987. Their
son Karl was born that same year.
Dieter is survived by his son, Karl, of White
Salmon, Wash., an aunt, Kathi Nachmann, and a
cousin, Sonja Schmidt, both of Denver.
A celebration of his life was held at Timberline
Lodge on Aug. 28.
Dear NWAS,
Renewing my membership for yet another year. Hope
to have more time for the accordion as I am retiring from
education after teaching 7th grade for 37 years.
Kathy Breece, Bothell, WA
WANTED: Articles, music, photos, drawings, cartoons, advertisements! This is YOUR publication. Email submissions
to judith@ameshomeplace. com or mail to: NWAS, 5102
121st Ave. Unit 12, Vancouver, WA 98682.
fall Quarter 2011
3
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Congratulations, Cory Pesaturo
July 12, 2011, the Boston Globe reported that
Cory Pesaturo took top honors at the International
VII Primus Ikaalinen Accordion Competition at the
Sata-Häme Soi Festival in Finland. The 24-year old
was the first American to compete in the event which
was broadcast on Finnish national TV to 1.1 million
viewers and streamed live on the internet! The tight
competition culminated in an exciting musical duel
between Cory Pesaturo and Giorgio Albanese as they
played ’Libertango’ by Astor Piazzolla.
Results:
1. Cory Pesaturo, USA
2. Giorgio Albanese, Italy
3. Matthias Matzke, Germany
Stas Venglevski Featured
Well known concert artist, Stas Venglevski,
performed "In Croce" for bayan and cello on June
10, 2011 at the University of Chicago in honor of
composer Sofia Gubaidulina's receiving an honorary
doctorate from the University of Chicago. The cellist
on the program was Gwen Krosnick. It was the first
time the University of Chicago awarded a doctorate to
someone in the field of music.
Stas Venglevski's artistry, dazzling technical
command, and sensitivity have brought him increasing acclaim as a virtuoso of the bayan. A two-time first
prize winner of bayan competition in the Republic of
Moldova, Stas is a graduate of the Russian Academy
of Music in Moscow where he received his Masters
Degree in Music under the tutelage of the famed Russian bayanist, Friedrich Lips. In 1992 he immigrated
to the United States.
Stas' repertoire includes his original compositions, a broad range of classical, contemporary and
ethnic music. He has toured extensively as a soloist throughout the former Soviet Union, Canada,
Europe, and the United States including numerous
performances with Doc Severinsen, Steve Allen and
with Garrison Keillor on the Prairie Home Companion
Show. Additionally, he has performed with symphony
orchestras throughout the United States. He performed the world premiere of Concerto No. 2 by Anthony Galla-Rini and also the world premiere of Bayan
and Beyond, composed for Stas by Dan Lawitts.
He is a regular participant of the Milwaukee
Symphony Orchestra's Arts in Community Education
Program (ACE); has done television commercials and
performed in theater productions; produced numerous recordings including transcription of Tchaikovsky's
Nutcracker Suite for bayan as well as one of original
compositions. He has published several books of
original compositions.
Stas also performs as a member of the A Sta_
Sera Duo where he combines talents with accordionist, John Simkus, known primarily for his smooth jazz
renditions. Their musical partnership has resulted in a
unique repertoire and as a duo they have toured the
United States and Europe extensively and collaborated on a CD of original compositions, Seasonings.
For further information: stasvenglevski@sbcglobal.net.
Cory compared the show to “American Idol”. He
said that he was surprised to win an acoustic competition. He placed first in New Zealand two years ago
in the digital accordion category; most of his music is
made on the Roland virtual accordion. As it happened,
Cory had planned to play his beloved Sonola acoustic
accordion in competition but wasn’t allowed to take
it on board the airplane. Not wanting to risk shipping
the instrument, he left it home in Cumberland, RI.
There wasn’t much time to borrow an instrument and
to become acquainted with it before his performance.
The results demonstrated his ability to adapt and
displayed his mastery of the instrument. Cory is on
a campaign to “make the dowdy old squeezebox hip
again”, says writer Mark Shanahan. But, Cory said
that, “I won’t be truly successful until Jay Leno calls!”
Cory Pesaturo, an internationally known musician, studied at New England Conservatory, where he
was the first person ever to graduate with accordion
as his major instrument. He is a dazzling improviser,
whose specialty area is jazz. He performed as early
“Accordions don’t play Lady of Spain, people do.” as the age of 12 at the White House for President Bill
Paul Harvey
Clinton.
fall Quarter 2011
7
8
fall Quarter 2011
17th Leavenworth International
a full house followed with soloist David Locke and button box master, Max Kyllonen. I was emcee for the
Saturday afternoon concert at the grange and enjoyed
By Doris Osgood
myself thoroughly.
The festhalle was buzzing with activity from mornMy husband grimaces as we load the car each
ing to well into the night. The accordion vendors had
year to travel to Leavenworth. He says that his next
many patrons and our staff of volunteers sold buttons,
wife is going to play piccolo! “ Demenagement”, the
shirts, and concert tickets. The competitions enFrench would call it. This year’s travel was very
gaged the main auditorium of the festhalle Friday and
pleasant, I’m glad to report. The mountains surroundSaturday. Shortly before LIAC was to happen, we
ing Leavenworth were still snow capped and the rivers
learned that Jelena Milojevic, one of our adjudicators
were running full. We were greeted with a stunning
and concert artists, was involved in a serious car acsight. It really was a slice of Bavaria 400 miles from
cident and would be unable to fulfill her commitment
our home.
to LIAC. Thankfully, she was expected to fully recover
My perspective of the event is from the gazebo
from her injuries. Tom Demski was able to step in
in the heart of town. I hate to use so many superlaand serve as an adjudicator with Mario Pedone. Rod
tives, but I really believe that the free entertainment
Miller worked with the adjudication team and plans to
at the gazebo and at the grange was the best we’ve
head the competition piece of the music festival next
had. Our volunteer entertainers were prepared and
year too. Ken Kohnhorst of Leavenworth served as
punctual. The new sound system at the gazebo was
emcee during the competitions.
a wonderful improvement too. Bo Davis, our able
Thursday evening’s concert began as planned
sound person, worked his magic for many hours
with Steve Albini. He ably demonstrated the Roland
and made the best of all of the different situations on
V accordion and also accompanied several vocal
stage. All of the professional entertainers that were
selections. With Jelena’s absence, Alicia Baker was
part of the concert schedule plus other professional
willing and able to step in and play a wonderful proplayers donated their talent to the free entertainment
gram. She played both the acoustic accordion and
venues too. Mario Pedone, Alicia Baker, and Vincenthe Roland. In her hour, she demonstrated many
zo Abbracciante dazzled the audiences. Our friend,
music styles and also demonstrated her amazing skill
Gary Blair was in town “on holiday” and also perand poise. She called her program “My Favorites”.
formed at the gazebo. The affable Scot with the fast
Those included some of her original compositions and
fingers draws and holds and audience; he’s always a
arrangements along with other great arrangements
crowd favorite.
like Joe Spano’s “Rhumba Cubani”, a lightning fast
The grange building was used a bit differently
“Flight of the Bumblebee”, Eileen Hagen’s version of
this year. The workshops were generally held in the
“Tico Tico”, a tasty “Rhapsody in Blue”, and my husmorning upstairs and free entertainment was held in
band’s favorite, “Scherzo” by Dom Frontiere.
the afternoons on Friday and Saturday. The workFriday evening saw long lines waiting for tickets.
shops and demonstrations were well attended. Free
The first performer was Mario Pedone. He was an
accordion lessons were conducted on both days too.
audience favorite from the first note! Mario has an
Barbara Lofquist shared that at one point on Friday afuncanny ability to adjust his program as he sizes up
ternoon 25 people were waiting for a lesson with one
the audience. The long standing ovation was indiof the instructors. Dick Myking, Eloise Adaire, Barb
cation that nobody was ready for him to leave the
Lofquist, Cooksie Kramer, and John Giuliani got a
stage. However, another outstanding program was
workout! Some had feared that our performers were
coming. The Spokane Accordion Ensemble under
spread thin between the gazebo and the grange; evthe direction of Patricia Bartell delivered a memorable
erybody worked hard, without question. However we
program. The thirteen musicians were well preencountered a whole different audience at the west
pared and delivered a fantastic “Night at the Movies”.
end of town. Some of our patrons, eating ice cream
Their selections included music from Henry Mancini’s
and box lunches, were unaware of events at the
repertoire, My Fair Lady, Phantom of the Opera, Fideast end of town. It was amazing really. The grange
dler on the Roof, Sound of Music and many others.
gave people a comfortable place to hear and see the
An unexpected surprise came with the music. Rick
accordion in a more intimate way. Not only that, the
Webber, mild mannered dulcimer player by day, made
music was great! Friday’s program included Paul
numerous costume changes to take on the appropriFedorowicz, Bonnie Birch, Einar Tapio, and Bev Fess.
ate movie character to introduce each movie. Part of
Saturday the Northwest Accordionaires performed for
the fun was wondering what Rick would show up with
fall Quarter 2011
9
next! A highlight of this segment of the evening was
nd
a memorable solo by Patricia Bartell, Patricia’s young concluded. For the 2 year, the Northwest Accordion
students participating in the Sound of Music segment, Society worked to present the accordion celebration in
and a performance by the Portatas doing the “Orange Leavenworth. The months of planning and hard work
paid off. I believe that I can claim that LIAC 2011 was
Blossom Special”. It was a long evening, but nobody
a success!
wanted to leave; it was too much fun.
People from all corners of the country came
Saturday night’s concert began with an Old Time
together to promote the accordion; they donated their
Palooza. Toby Hanson, Rod Miller, Jim and Shirley
money, their time, and their talents. For our army of
O’Brien, Max Kyllonen, Kory Tideman, the Bonnie
volunteers it was a labor of love. We are grateful to
Birch Trio along with Lionel Kramer on drums and
them all. Special thanks to our LIAC chairman, BonJohn Giuliani on string bass delivered a program
nie Birch, web master, Ken Kohnhorst, parademeister
that many people thought was worth the trip to Leav,Rod Miller, volunteer coordinator Frank Bruchner, and
enworth! Each played solo then the group played
festhalle commander, Steve Berg for their long hours.
together as a finale; the audience loved the old time
Plans are in the works for next year’s accordion
music style played well. The featured soloist for the
celebration.
We have come to expect a unique music
evening was Vincenzo Abbriacante from a small town
festival
experience.
We look to building on this year’s
not far from Rome, Italy. Gary Blair shared that he’d
outstanding competition, workshops and concerts.
heard Vincenzo play as a 15 year old in a European
LIAC is in the black! Mark your calendars today: June
competition and described him as “brilliant” then.
14 – 17, 2012. We look forward to seeing you there
Vincenzo is only in his early 20’s now and “brilliant”
can still sum up his musicianship. John and Lionel re- for the love of the accordion.
mained on stage to perform with Vincenzo. He played
Photos from LIAC 2011
some original compositions and unique arrangements
Courtesy of Ed Lofquist
– one included a bellows shake that seemed endless
– another bent tones on the accordion like I’ve never
experienced. His last segment was a jazz set. He
concluded with the “A Train” to the audience’s delight.
Saturday at noon time is always a unique time in
Leavenworth. The accordion parade made its way
from the festhalle to the gazebo. The crowds in town
love it. I’m happy to report that the tourists were
plentiful and reminiscent of prerecession crowds. The
parade is short and sweet; FUN STUFF. Parademeister, Rod Miller delivered an outstanding band of
players. He’d made arrangements with some vocalists in town to help with the singing of Edelweiss when
NW Accordionaires at Grange
the band reached the gazebo. Gary Blair continued
playing as the parade marched away and the large
crowd remained. I’ve emceed this for many years and
the crowds for the post parade program were huge; it
was really encouraging.
By Sunday noon, the T-shirts and pins were sold
out and the awards were presented. My last shift
at the gazebo started at 11 AM. We had wonderful audiences. I couldn’t help but notice the number
of young families with small children. The children
were especially interested in the accordion players
on stage. We had some GREAT STUFF too: The
Northwest Accordionaires started the program followed by Eileen Webber, Rod Miller, Einar Tapio,
Dick Myking with students in Grange Workshop
Alicia Baker, John Schirr and the O’Briens. Jim and
Shirley O’Brien concluded the program at the gazebo
with “Auf Wiedersehen” and I declared the 17th international accordion celebration in Leavenworth to be
10
fall Quarter 2011
Tom Cordoni
Barb Lofquist with students in Lower Grange Workshop
Terri Ranstad
Gary Blair performs at the Gazebo
The Accords
Freda Schartz and Linda Marks
Happy Wanderers
Bonnie Birch
Rod Miller and Toby Hanson
fall Quarter 2011
11
Accordions assembled at the Gazebo.
There was dancing at the Gazebo.
Accordion Parade Participants
Accordion Parade Approaches
Accordion Parade
Patricia Bartell
12
John Giuliani & Student at Grange Workshop
More photos on Page 16
fall Quarter 2011
Leavenworth International Accordion Celebration Sponsors
www.accordioncelebration.org
Virtuoso Sponsors - $2,000 or more
City of Leavenworth
Leavenworth Chamber of Commerce
Projekt Bayern
Major Sponsors - $500 or more
City of Leavenworth
Leavenworth Chamber of Commerce
Projekt Bayern
Business Sponsors
Borsini Accordions (Co-Sponsoring Vincenzo Abbracciante)
John Giuliani Sr. memorial fund (Sponsoring youth competition)
Andreas Keller (Co-Sponsoring Leavenworth Open)
Petosa Accordions (Sponsoring the Popular Open Category)
Gino Picini (Co-Sponsoring Mario Pedone)
Tempo Trend Accordions (Co-Sponsoring Jelena Milojevic)
Accordion Players, Accordion Clubs, Friends of the Accordion
Accordion Club of Roseburg, OR
Eloise Adair
Katherine Allen
Steve and Jeannie Berg
Bonnie Birch
Frank Bruckner and Gale Lewis
Leland Cade
Robert Coe
Vern Cole
Bonnie Combs (in memory of Gary)
Eugene Deda
Kathleen Falco
Paul A. Francis
Colleen Halverson
Shirley Holmes
Hugo Accordion Band
NWAS Socials in Forest Grove, OR
NWAS Socials in Seattle, WA
Andy Mirkovich
Rod Miller
Andy Mirkovich
Drs. Jim & Shirley O’Brien
Terry Ranstad
Ann Robbins
Marjorie Rombauer
Robynne Snow
Brad Summers
Tualatin Valley Accordionists, Forest Grove,
OR
Rick & Eileen Webber
Vera Wendel
Mike Zaro
We truly appreciate all of the sponsors who helped to make LIAC 2011 a great success! Please give patronage to our business sponsors and help us express our appreciaƟon!
fall Quarter 2011
13
Seattle Accordion Social
By Marjorie Rombauer & Dick Myking
May 9, 2011
This evening at the Gypsy Trader Café began
with students of the host, Paul Fedorowicz.
Kendra Loebs began with Italian numbers, Santa
Lucia and Cielito Lindo, and then played an Hungarian Dance with good expression. She concluded with
“Fascination.” Overall a smooth performance after
some initial nervousness. Devon Marcher followed
with a song whose name he didn’t know but then
played a number whose name we all know – “Drink
to Me Only With Your Eyes.” Another smooth performance.
David Delashmit was next, a newcomer to the
Social. He played the accordion backwards, with treble on the left and bass on the right (“I’m left-handed,”
he explained). He usually plays with the Bicycle Tree
Band, so he noted that some harmonies and other accompaniment were missing. The numbers, unfamiliar
to me, included “Tears of a Ruby Geisha “ (he made
up the name), a song adapted from a Norwegian band
arrangement, “Lovers by the Desert Water Hole,” and
a waltz. He promised that next time he plays he will
play the accordion “inside out.” Watch for a report on
that!
Then there was group playing. Devon was joined
by Paul, Russell Bates and Jim Hunt to play four
nicely harmonized short numbers with -- Offenbach’s
Barcarolle, a number whose name I couldn’t remember, “Little Brown Jug,” and “Carnival of Venice.” Next
was a quartet composed of Emily Johnson, Mari
Becker, Juliana Bohn and Cindy Martin, playing
“Do, Re, Mi,” from “Sound of Music.” Then Juliana
Jamie Maschler’s student Jon Scherer played
and Cindy, with bassist Seth, played a number
three numbers, “Amalie” (sp?), “Dark Eyes,” (with an
whose name I didn’t hear, but the lyrics included,
interesting bass chord introduction), and a rock and
“Darling, darling, darling . . . I don’t know trouble no
roll number. This was his first appearance at the Somore.”
14
fall Quarter 2011
cial also – a good beginning.
Then there was an interlude with Paul Fedorowicz and John Giuliani on the bass.
The program concluded with a new duo – Einor
Tapio and Marchette Dubois. Marchatte first played
alone, a Macedonian number with intricate rhythm.
Then together they played a number that made me
want to dance, Skansen Tösan by Eric Öst, and then
another fast one by Öst, Bacon and Eggs. Then it
was Einar’s turn to solo, and he played a very fast
set of variations on the” Carnival of Venice.” The duo
returned with “The Lady and the Waltz,” with focus on
expression. They concluded with Grieg’s “Norwegian
Dance No. 2.” I hope we will be hearing them again at
a future Social.
It was an entertaining evening, full of variety.
June 13, 2011
Reported by Dick Myking
where outside of Switzerland this would be a polka.
Now, Kory played guitar.
Hans Jr. has a son who put out a CD called
“Happy Hans – 3rd Generation,” From this they played
“Wenn Ist Schmert Im Zillertal” and later, a polka “Die
Fischeim Von Boden See.” From the Swiss Family
Band on U-Tube they played “Edelweiss Is Blooming”
and “Fun Time with the Family” to which Hans sang
and yodeled. These last two names were more about
the subject of the songs than actual titles.
Someone requested “Sugartime” as in Sugar in
the morning, Sugar in the evening, Sugar at Suppertime, etc.. At one point the tune changed to “you Are
My Sunshine,” then back again. The audience sang
the whole song! This was a very fun part of the evening program.
Following our Austrian music was a longtime
favorite performer, Jon Persson. He began his segment playing on Birgit Ages’ Tonaveri piano accordion.
“La Comparsita” was Jon’s opener, well known to
most of us. Just a tiny note of apology at this point is
in order. My notes probably are a little like those of
Colombo, the TV detective, but I’m very likely not as
clever with mine as he was with his. From here on
some of the things I say may be questionable, so if
you find your forehead wrinkling here and there, don’t
be surprised. In the process of analyzing what the
players are doing as they play, my comments may not
be entirely correct.
Proceeding with Jon Persson’s performance, he
continued by playing the very beautiful Viennese song
“Vienna City of My Dreams” followed by the Swedish polka “The Old Fella from Guntland.” Now, it was
time for a change, so Jon played an Art Van Damme
arrangement of “Once In A While” which had some
nicely improvised parts. Because of his amazing
versatility, Jon can even play jazz without losing his
audience for even a moment.
To maintain his captive listeners’ keen interest
Jon switched to his “Russian Typewriter” the bayan.
J. S. Bach’s “Air on A “G” String” caused many to sit
back and just enjoy the intricacies of melodies and
countless melodies as Jon himself had arranged
them. The free-bass of this instrument made this music more playable.
There was a request from someone to play
something Finnish. Jon feigned thinking they were
skim to finish, but the point was clarified, so he said
he would play “Birch Tree Waltz” (not Bonnie Birch
Tree Waltz). The next piece was a toccata, a composition for piano, organ or harpsichord. This one was
for pipe organ by Widor. The “Russian Sailors Dance,”
a closer Jon has used on previous occasions, provided excitement right up to the end with both treble and
Opening our evening program was Hans Rainer
and Kory Tideman playing 5-row button boxes. One
difference in their instruments, Hans explained, is that
Kory’s has minor bass chords while Hans’ accordion
does not. Their program consisted of quite a nice variety of selections that started with a lively polka with
Hans singing the lyrics. Then, a Swiss Laendler which
is like a waltz. Third was a Ric-Soc Schottische. Anyfall Quarter 2011
15
bass solos with fast-moving-moving modulations.
Host and hostess for the evening, Philip Ages
and Birgit Teuwen, the core of the Folk Voice Band,
were next. This was not the first time this duo has
had to follow Jon Persson on the program of an accordion social. A couple major interruptions kept me
from writing the full slate these two people played.
They perform quite a variety of folk songs from various European countries. Birgit plays most of their
music by memorizing nearly 100% of it. Philip, on the
other instruments, plays and sings, as most of their
songs have lyrics. He changes instruments very often.
A few of the selections were “Marion Berry”, a Finnish family waltz. On this, Philip, played button box.
Next was “Sdrando”, a selection I only have a name
for. Philip, playing recorder now joined Birgit doing a
French-Italian mazurka “St. Andien.” Because of a difficult language mix, he didn’t attempt singing it. Then
he switched to the mandolin as they played “Ballo
Indodici” from Italy. On all their music Birgit played her
Tonaveri. Here is where Colombo could have helped
me with my notes.
Our last performer this evening was David Locke
playing a Diamond piano accordion. If you have ever
listened to a David Locke CD you would know that
hearing his music is sheer pleasure. Tonight was
no exception. He played from one piece to another,
barely giving us a name each time, and once or twice
we were guessing. “Blue Bijou” started things off and
he continued with “Open the Eyes of My Heart”, a fast
waltz, “Soul of the Poet’, “All the Things You are”, to
“Begin the Beguine”, “Kareoka Carioca Waltz” and
“My Prayer.” We had been serenaded. David plays
very often in nursing homes and rehabilitation centers.
You can only imagine the great pleasure he gives the
residents with music like that ! Our evening was now
complete.
The July Social was cancelled.
More photos from LIAC 2011
Mario Pedone at Festhalle
Spokane Accordion Ensemble Concert
Portatos at Festhalle
NWAS Welcomes New Members:
Colleen Allender, Richland, WA
Mabel Becker, Livingston, TX
John Crescenzo, Rockford, IL
Ethel Harris, Victor, MT
Carol Jeanne, Milwaukie, OR
Linda John, Gig Harbor, WA
Sharmon Kenyon, Fortuna, CA
Jill Patten, Gresham, OR
Richard Peterson, Port Orchard, WA
Russ Rossi, Portland, OR
Irene Ulm, Corvallis, OR
Remember, you are welcome to give gift memberships! The membership form is on the last page of
this publication!
16
fall Quarter 2011
Alicia Baker performing at LIAC 2011
Leavenworth International Accordion Celebration
Competition Awards 2011
Leavenworth Open
1.
Eileen Webber
2.
Gary Malner
3.
Eric Oscar
Variety I
1.
Einar Tapio
2.
Al Aman
3.
Louis Traverso
Popular Open
1.
Jamie Maschler
2.
Eileen Webber
3.
Gary Malner
Variety II
1.
Eileen Webber
2.
Terry Ranstad
3.
Doris Osgood
Light Classical Open
1.
Jamie Maschler
2.
Yevgeniy Nosov
Variety III
1.
Eric Oscar
Old Time Duets
1.
Bev Fess - Kassie Patterson
2.
Linda Little - Jim Hamilton / tie
Don Struble – Eric Oscar
Old Time Diatonic
1.
Eric Oscar
2.
Eileen Webber
3.
John Schirr
Old Time Band
1.
Across the Miles
2.
Happy Wanderers
3.
Portatas
Original Compostion
1.
Gary Malner
Variety V
1.
Amelia Bauer
Variety VI
1.
Michael Barbarossa
2.
Kassie Patterson tie Gabriel Soileu
3.
Robert Degeode
Variety VII
1.
Naomi Harris
2.
Jason Borzosh
3.
Emil Haroldsen
HM Roman Semirrachnor
HM Anthony Kuzmenkov
Light Classical II
1.
Kassie Patterson
2.
Gabriel Soileu
Light Classical III
1.
Emil Haroldsen
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fall Quarter 2011
17
Pietka Scholarship Recipient
Why I Like The Accordion
By Filumena Sweet age 8
The accordion is really fun because I get to
learn music and that will make a difference in my
entire life. I can also READ music that will help
too. So, now I can plan another instrument with
less difficulty.
My favorite part of the accordion is performing. I have done a lot of performances, but still
my best one was at my old school’s talent show.
Why I like especially my accordion is it’s really fancy and pretty. It’s red with pearly keys. It
has three rhinestones on the 120 basses. One
rhinestone marks C.
18
Keeping Up With Alicia Baker
Alicia Baker, Happy Hans champ 2011,
seems to be in perpetual motion! She’s had a
very busy summer. She played a wonderful concert at Leavenworth this year on short notice. As
“product specialist/performer” for Roland virtual
accordions, Alicia conducted demonstrations in
Leavenworth, Petosa Accordions, and KIOTAC.
Though she doesn’t consider herself a “sales
person type”, she feels the demonstrations have
introduced the accordion to new audiences and
she sees the instrument’s gaining popularity.
Alicia’s summer activities continued as she
went to the annual Lutheran Bible Camp. There
she was assistant director of a junior choir. Camp
has been an in important part of her life; she
played the accordion in the talent show as she
has each year since she was very young.
KIOTAC is always a highlight. Her parents
and grandparents joined her. She played a concert on Monday night and was free to play daily
at the platzl. Normally her competition schedule
keeps her tethered during the week. She was
especially pleased to include a vocal aria during
her concert in Kimberley and was accompanied
by Michael Bridge. She’s looking to produce a CD
of her singing accompanying herself on the accordion! She and Michael are planning to record
another duet CD. The duo has been asked to
play a duet concert at Kimberley next year; everybody loves their playing together.
Mid July she was off to the AAA convention.
This was her first experience with playing for an
East Coast audience. She played a 20 minute
set in the Friday night gala on the Roland demonstrating as many musical genres as possible. Her
program included a vocal aria and her version of
“Skinny’s Polka”.
Alicia’s busy summer will conclude with performing at Cotati. She says that a couple more
Roland trips could follow. Shortly after a little R
and R she will return to school at Oregon State
University. October 13, she will play the third
movement of Nicholai's Accordion Concerto in B
flat with the OSU Symphony. (La Selles Stewart
Center, Corvallis, OR)
Alicia’s bringing accordion to the musical
mainstream; this is exciting for all of us.
fall Quarter 2011
fall Quarter 2011
19
Kimberley International Oldtime Accordion Championships
2 Years in a Row! - Alicia Baker Wins!
Congratulations to Alicia Baker on her stellar performance and winning the Happy Hans Open!
2011 Winners
Popular 4 – (71 + Over)
1. Einar Tapio la Conner, Wa
2. Lela Bourne Kelowna, BC
3. Margaret Schuler Southey, SK
Popular 3 – (51-70)
1. Gregory Gordon portland, OR
2. Hannu Lambert Mission, BC
3. Rod Miller Kelowna, BC
Popular 2 – (13-48)
1. Emmanuel Gasser - St Charles, On
2. Logan Stephens - Polson, Mt
3. Daniel Layton - Coaldale, Mt
Popular 1 – (12+under)
1. Luke Persson - Windermere, BC
2. Shauna Jensen - Medicine Hat, AB
3. Naomi Harris - Spokane, WA
20
Lt Classical Ii (16 + Over)
1. Michael Bridge - Calgary, AB
2. Gregory Gordon - Portland, OR
3. Hannu Lambert - Mission, BC
Lt Classical I (15+under)
1. Emmanuel Gasser - St Charles, ON
2. Logan Stephens - Polson, MT
3. Daniel Layton - Coaldale, AB
Jazz Open –
2. William Lynch - Calgary, AB
3. Gregory Gordon - Portland, OR
Bands – Open
1. The International Connection
2. The Leduc Connection
3. Bellows And Bass
Diatonic – Open
. Eileen Webber Spokane, Wa
2. George Jaegli - Leduc, AB
3. Wolfgang Redies - Dawson Creek, BC
fall Quarter 2011
Duets Junior – (15 + Under) Our Place Restaurant
($250/200/100)
1. William Lynch / Kassie Patterson
2. Emmanuel Gasser / Gabriel Soileau
3. Shauna Jensen / Luke Persson
Duets Senior – (16+over)
1. Rod Miller / Einar Tapio
2. Margaret Schuler / Irvin Armbruster
3. Jamar Jensen / Danielle Lynch
Primary (10+under)
1. Shauna Jensen - Medicine Hat, AB
2. Wesley Tews - Coaldale, AB
3. Ola Kawa - Edmonton, AB
Elementary (12+under))
1. Marshall Hartin coaldale, AB
2. Luke Persson windermere, BC
3. Madison Hartin coaldale, AB
Junior (15 + Under)
1. Emmanuel Gasser st Charles, ON
2. Daniel Layton coaldale, AB
3. Sonya Hungerford milwaukie, OR
Intermediate – 19+ Under
1. Michael Bridge Calgary, AB
2. Jamar Jensen medicine Hat, AB
3. Emmanuel Gasser st Charles, ON
Platinum – 79+ Over
1. Phil Selinger - Calgary, AB
2. John Stadnyk - Edmonton, Ab
Happy Hans Open
1. Alicia Baker - Milwaukie, Or
3. Austin Kawa - Edmonton, Ab
Junior Showmanship – (19 +under)
Michael Bridge Calgary, AB
Senior Showmanship – (20 + Over)
Rod Miller Kelowna, BC
Band Showmanship – Open
The International Connection
Youngest Competitor –
Wesley Tews Coaldale, AB 8 Years Old
Mazoff Improv Prize
William Lynch Calgary, AB
Sharon Hann Memorial
Emmanuel Gasser
Olaf Sveen Memorial Award
William Lynch
Special Award
Bill Baerg
Senior – (20-60)
1. Jim Klippert -Calgary, AB
2. Julie Lussier-houle - Cardston, AB
Bronze – (61-64) – Trickle Creek Gallery
1. Greg Gordon Portland, OR
2. Eileen Webber - Spokane, WA
3. Clara Anderson - Salmon Arm, BC
After a long summer
hiatus, the Seattle
Socials will resume
on September 12.
The social will be
at the West Seattle
Senior Center. There
are always great
soloists and groups.
Cooksie Kramer will
have some of her
young accordionists
there. Be sure attend and to give those
young players encouragement.
Silver – (65-71)
1. Don Hollis - Trail, BC
2. Al Aman - Missoula, MT
3. Ginger Purdy - Caldwell, ID
Golden – (72-75)
1. Anne Dietrich - Mendham, SK
2. Paul Kobasiuk - Edmonton, Ab
3. George Jaegli - Leduc, Ab
Diamond – (76-78)
1. Lela Bourne - Kelowna, BC
2. Margaret Schuler - Southey, SK
3. Jay Gartel - Kelowna, BC
fall Quarter 2011
21
Tacoma Accordion Social
By Elise Adair
May
Our May meeting was held at Trinity Lutheran
Church on the 12th.
The church put on a spaghetti dinner for
everyone and the accordionists entertained. During
the dinner we had four players, our first was Randall
Tron then David Emter on his chromatic accordion.
Third was Eloise Adair then Michael Barbarossa. At
7 p.m. our program began with Tom Demski playing
several Italian pieces. He got the most applause when
did a lot of bellow shake playing "Malaguena".
Our last player was new to most of us, David
Lang. He did an excellent job playing jazz. We had
a very good attendance and I think every one had a
good time.
In June so many have graduations or vacations
so our next meeting will be in July beginning with a
picnic.
July
We planned to have a picnic in July but it was so
cool in the picnic area under the trees we ate indoors.
More people arrived for our program and we had 52
altogether. Eloise Adair was first to play. She played
"Marriage of Figaro" and "Beautiful Days". Next
Michael Barbarossa played "Sheboygan Polka",
"Weeping Willow Waltz" and "Billboard March".
Dennis Perry didn't bring his accordion so he played
mine. He played some patriotic son, "Battle Cry of
Freedom", This Is My Country", "I've Got a Wife" and
"You're a Grand Old Flag".
Next we had a 13 year old guitarist Nolan
Garrett play and sing for us. He played "Folsom
Prison Blues", "Knockin' on Heavens Door" and
"House of the Rising Sun" Then Dorene Fox played
"Harbor Lights", "La Violetera" and "Yankee Doodle
Dandy". Phil Cappetto was next playing "Ode to
Joy", "Scherazade", and "Le Vie en Rose". We had
another singer, Diane Crews sang "Blue Skies". Our
last player was Toby Hanson. He played "Detour",
"Crazy", "Just Because", "Right or Wrong" "Waltz
Across Texas" "Domino" "Achtung Los" "Last Date",
"Life in the Finnish Woods" and "Jamte Gubben".
Castiglione Accordions
We are one of the principle people
in selling the new “Virtual Roland
Reedless” Accordions
Please visit our web site, www.
castiglioneaccordions.com
Click on Roland and then look
and listen to the Audio-Visual
demonstration of the instrument.
Importers and Exporters
Featuring Castiglione, Beltuna,
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johncast@bignet.net
http://www.castiglioneaccordions.com
Phone: (586) 755-6050
Fax (586) 755-6339
22
fall Quarter 2011
Something Special in Sequim
The time has come for me to once again write
about the Sequim Accordion Social. Accordion music
enthusiasts keep on coming and filling up all of our
chairs! In July, we counted over 90 people. What a
great crowd for a relatively small town.
We continue to hold our socials at the Sequim
Senior Activities Center. Many people generously
bring snacks for our break, so we never lack for
goodies. We have been fortunate to have accomplished accordionists agree to be featured players at
our socials to the delight of our audience. We have
been fortunate to have featured performers at each of
our socials. Rod Miller came in September of 2010,
Einar Tapio in November, Bonnie Birch in February
and Toby Hanson in March. We truly appreciate all
that they have done to promote the accordion with our
group in Sequim. Members of our community, who are
largely retired, have frequently told me how much they
enjoy the music and our special guests. Steve and I
are glad that we have so many wonderful accordion
friends who are willing to come and play at our gathering.
On July 10th, our featured player was Paul La
Marche who lives right here in Sunny Sequim. An
accomplished accordionist, Paul was born and raised
Piano and Piano Accordion
Lessons on the Eastside
1. Cooksie (Kaserzon) Kramer ABCA.
LBCA (London). Music Examiner &
Registered Teacher with Royal Schools
and Trinity College London has limited
vacancies for Piano and or Piano
Accordion Lessons from Beginners to
Master Classes. Please phone 425 828
9104 or email lionel.kramer@comcast.
net.
2. Would you like to play in an Accordion
Orchestra? Junior to Advanced. No
charge – original Music arrangements.
Fun Social get together.
Call Cooksie 425 828 9104
Email lionel.kramer@comcast.net.
in Milwaukie, Wisconsin. He began playing the accordion at age 7 and by age 13 he was teaching accordion and had his own band. He told us that he was
offered a full-time teaching job for $400 per month--good money for the 1950’s. Life took him in a different direction, so he joined the Air Force. Later, after
attending college, he became an aerospace engineer
for Boeing. The accordion took a back seat while he
pursued his working career (a familiar fate for many
of us). He didn’t play very much during those years.
He said he wished he could play like he did when he
was a youngster. We couldn’t tell any difference! After
retirement, he heard about our socials and came to
one. He played some duets with Elsie Laresser during past socials and now, after having recuperated
from shoulder surgery, we were pleased he agreed to
play for us.
Paul played a varied program, appealing to our
many retirees of Germanic heritage. Paul started by
playing 3 great marches: Alte Kamaraden, Parade of
the Gnomes, and Wien Bleibt Wien. Next we heard 3
beautiful waltzes: Sonnenstrahlen, As Time Goes By,
and Memories of Paris. Also, our dance loving attendees were able to get up and waltz to the pieces.
He finished the first half of his program with Tico Tico.
Paul effortlessly played a Roland accordion for his
program. Later, after our coffee break, Paul played
2 dance-provoking Slovenian Melodies: Slovenian
Polka and Homecoming Waltz. He ended with Once
in a While, Twilight Time and for the finale, Unforgettable. Thank You, Paul for an entertaining afternoon of
music and dance.
We had many other players at our July Social.
One of our most devoted players is Ellen Fulhart.
She diligently practices pieces to play at each of our
socials and she loves to be the first accordionist to
play. This time, she was joined by her Grandson,
Robert, who accompanied her with his guitar. They
started with Blowin’ in the Wind and Are You Lonesome Tonight?, and one more. Later after our break,
they returned with Robert playing his shrunken guitar
that he called a ukulele! They then played Blue Hawaii, Que Sera Sera, Whispering and the Whiffenpoof
Song. Ellen always adds sparkle to the socials with
her creative presentations.
Steve, Ilse Osier and Jeannie (me) played next.
The three of us have begun playing together for the
local dance group and on other occasions. We call
ourselves the Tyrolean Trio: Jeannie and Ilse play
accordion and Steve plays the baritone horn. Today
we played 2 marches, Mein Regiment and Radetsky
March and our favorite polka, Red Raven Polka. We
thoroughly enjoy playing together.
fall Quarter 2011
23
Playing solo, Ilse Osier performed Trail Ride
Polka, Belle of the Ball and Mainstreet Schottische.
As much as she enjoys playing for us, the audience
enjoys her more! We look forward to having her as a
featured player next year.
Helen Bucher came to play her lovely singa-longs. Helen types up the words on her manual
typewriter and brings copies along so everyone can
sing. To celebrate the 4th of July, she played America
the Beautiful and This is my Country, followed by Sentimental Journey and Mairzy Doats while members of
the audience sang along. We are happy that Helen
keeps us singing with those nice classic melodies.
After the break, local favorites Hermann and
Elsie Laresser began to play. We missed them this
past winter as they have become Snowbirds with a
second home in Arizona. With Elsie on her chromatic
button accordion and Hermann on his electric guitar,
they played Primrose Waltz. Hermann then switched
to his zither which is a real treat for the audience.
Elsie and Hermann then played Waldandachl and
Sommerfreuden. We look forward to listening to them
as our featured players in November. Also, back for
the summer is Susan Kidd whom we have missed.
After Hermann and Elsie were finished playing, Susan
and Elsie played several beautiful duets for us! They
played Achtung Los, If I Were a Rich Man and The
Can-Can. We look forward to listening to Susan again
before she heads south for the winter. Helen Bucher
then joined Elsie and Hermann to play Old Piano Roll
Blues and Elmer’s Tune.
We have enjoyed other accordionists and groups
over the past months. Ted Janossey and Nordic
Spirit from Olympia and Paul Bria from Oregon have
delighted us with their music and enthusiasm. Paul
and Judy surprised us by showing up a month early
for our social in July. At least we had a nice visit! We
look forward to having Paul play for us again as he
did last year.
The enthusiasm and support our socials receive
from accordion players and lovers have made them a
resounding success. We meet on the second Sundays of odd numbered months at the Sequim Senior
Activities Center from 1 to 4 PM. In September, we
have Dick Myking from Tacoma scheduled to play as
our featured player. We hope to see you then!! Oh,
and bring a friend!
Celebration 2012
A Music Festival for the entire family
Join us in Leavenworth, Washington
June 14 – 17, 2012
For the love of the accordion
The Chester Pietka Scholarships are
available for young accordionists. Young people
ages 18 and under, taking lessons from a
recognized teacher, or wishing to do so, may
submit a written request for scholarship funds for
the purpose of taking lessons. Requests are to be
submitted to the Portland Accordion Ensemble,
3224 B St., Forest Grove, OR 97116 or e-mail
dorisosgood@frontier.com.
In addition to giving personal information,
students are to share their interest and their goals
for playing the accordion. These scholarships
are open to the young people within the Pacific
Northwest, not just the greater Portland area.
Have you hugged your accordion today? Dust it off
and make some music! Fall is Oktoberfest time! Play
to your heart’s content!
24
fall Quarter 2011
Frank Marocco
7063 Whitaker Ave
Lake Balboa
CA 91406
www.frankmarocco.com
140 accordion arrangements
Intermediate and Advanced
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fall Quarter 2011
25
The Works of
Joe Morelli –
Accordionist,
Teacher
TARGET: FOCUS –
Exploring Practise
$24 .00 CDN
26
Arrangements by Joe Morelli
Original Compositions by Joe Morelli
Original Compositions by Joe Morelli
Abschied Von Der Heimat (M/E)
$5.50
Anema E Core – Trio (E/M)
$14.00
Beautiful Dreamer (E)
$3.00
Borrasque – Waltz (M)
$5.50
Besame Mucho (M/D)
$5.50
Kom Mädel, Tanz-Waltz(M)
$5.50
Che Sera, Sera (E)
$3.50
Don’t Fence Me In (E/M)
$5.50
Elana, Waltz (M/E)
$5.50
Eccentricity – Swing Waltz (D/M) $6.50
My Father – Ethnic Waltz (E)
$3.50
Glory of Love (M)
$4.00
It Had to Be You (E/M)
$4.00
Kentucky Waltz (M/E)
$5.00
La Mer (E)
$3.30
La Vie En Rose (E)
$3.50
Moon River (E)
$4.00
Münchner Kindl – Waltz (M/E)
$5.50
Mademoiselle de Paris
(Quartet)............................
$15.00
New York, New York (M/D)
$5.50
Never on Sunday (M)
$5.50
Paulette- study: bass harmony (D) $3.50
Papirossen (Russian) (E)
$3.50
Please Release Me (M)
$4.00
Quisaz, Quisaz (M)
$4.50
Satin Doll (M/D)
$5.50
Save the Last Waltz for Me (E)
$3.50
Send me the Pillow that You Dream On
(M/D) …………………………………..
$5.00
Sentimental Journey (D/M)
$5.50
Silent Night (modern harmony) (E/M) $3.50
Skihutte – Schottische (M/E)
$4.50
Sunrise, Sunset (M/D)
$5.50
Some Day my Prince Will Come (M/E)
$4.50
Somewhere Over the Rainbow (D) $6.00
Tango of the Roses (M/D)
$6.00
Tennesse Waltz (E/M)
$5.00
Tennesse Waltz Duet) (M)
$8.00
Tie a Yellow Ribbon Round… (E/M) $5.50
Toselli’s Serenade (M/E)
$4.50
Two Shades of Blue (E)
$4.00
Waltz, Opus 24 (E)
$4.00
Minuet in G (E/M)
$4.00
Lullaby for Thea (M/E)
$4.00
Quarter Round (M/E)
$4.00
Gavotte (M)
$5.00
Etude No. 1 (M)
$4.00
Nelda’s Dream (D/M)
$5.50
Dixieland Rag (E/M)
$4.00
Mama Helena (D)
$6.50
Tango Yasmine (D)
$6.50
Valse Capriccio, concert waltz (D) $6.00
Samba Baby (D)
$6.00
Carnival in Rio, Samba (D/M)
$6.00
The Butterfly, Concert Waltz (D)
$6.50
River Cinnabar, Waltz ballade(M/D) $5.00
Cassie’s Caper, Schottische (M/D)
$5.00
Dance Lady Dance, Schottische (M/D) $5.00
Polkas
Firefly (D/M)
$5.50
Moth in the Closet (D/M)
$5.75
Happy Birthday (D/M)
$5.50
Peppermint Kirsch (D)
$5.75
Hops & Barley (D)
$5.75
Strip the Triplets (D)
$5.50
Topsy Turvey (D/M)
$5.50
Waltzes
Swiss Fondue (M/D)
$5.75
Eiswein (M/D)
$5.50
Red Hearts-White Lace,
(Valentine Waltz) (M/D) ….
$5.75
A Linden Blossom Fell (M)
$5.75
Duets
Tussy Polka, complete (D)
$11.00
Each, 1st or 2nd accordion
$5.50
Kitty Whiskers, polka complete (M) $10.00
$5.50
Each, 1st or 2nd accordion
Silver Slippers, Schottische (M)
$10.00
Each part
$5.00
The Bavarian Mouse Ball, Waltz (M) $10.00
Each Part
$5.00
Cuckoo ‘Round the Clock, polka
$7.00
-complete, no separate parts (M/D)
Accordion Rag (E/M)
$4.00
Barn Burner - Polka (M)
$6.00
Café Italiano Bright Waltz (M)
$6.00
Café Rendezvous Waltz (M)
$6.00
Cajun Spice (M/E)
$5.50
The Chase – Etude (M)
$3.50
Dreams of a Dance – Waltz (M)
$5.50
February Blues – Rag (D)
$6.00
Frühling – Ethnic Waltz (M/D)
$6.00
Holiday in Mexico – Waltz (M/E)
$5.50
Holiday in Rome – Fox Trot (M)
$5.50
Hills of Kananaskis – Ethnic Waltz (M) $5.50
Hop Scotch – Schottische, Solo (M) $5.50
Hop Scotch – Schottische, Duet (M) $11.00
Images (M)
$5.50
My Isle of Emerald Green (M)
$6.00
Minuet in F, Solo (D/M)
$5.50
Minuet in F, Duet (D/M)
$11.00
Minuet in A (D/M)
$5.50
Out West (M)
$5.50
Postcard from Zurich- Ethnic Waltz (M) $5.50
Pequino – Cha Cha (M)
$4.00
Paris After Dark 11 pg. (D)
$15.00
Samba Paradiso (D/M)
$6.00
Schottische for Three (D/M)
$5.50
Swede Dreams – Mazurka (D/M) $5.50
Très Bien – Waltz Musette (D/M) $6.00
Vienna Dreams, Ethnic Waltz (M) $5.50
Village Fest, Schottische (M/D)
$5.50
Wedding Bells, Schottische (M/D) $5.50
fall Quarter 2011
Approximate degree of difficulty:
(D) Difficult
(M) Medium difficult
(E) Easy
To purchase sheet
music, contact:
Mrs. T. Morelli
morellit@telus.net
Remembering Mike Belitz
September 4, 1943 – May 19, 2011
By Doris Osgood
Seventeen years ago, a friend and I made our
first trip to Leavenworth for the accordion celebration
there. I’d just picked up the accordion for the first
time in many years and was not acquainted with the
old time style expected. On our first night in town Tom
Collins, the great accordionist and gentleman from
Montana, introduced us to his friend, Mike.
First impressions aren’t always accurate, but
mine really wasn’t that far off. Everything about Mike
Belitz seemed almost larger than life. The first thing
that one would notice was his deep baritone voice;
it had an amplified quality about it. He was tall and
strong. When he played his first notes on the accordion, all I could think of was, “It’s so BIG”. His hands
were big, he never used fewer than 5 note chords, his
volume was forte and beyond, and he filled the room.
I’d never heard anyone play like that. He was a polka
master player from Montana.
Odie Odenbrett, Mike Belitz, Al Aman
Mike and Odie played together for several years as a duet in
southern California covering the Military Officers and NCO Club
circuit featuring matched Scandalli Accordions. Much of Mike’s
two part arranging came out of that experience.
Over the years, Mike entered competitions in
Leavenworth and Kimberley. He won both the Happy
Hans and the Leavenworth Open. At Kimberley he
initiated the jazz competition which continues. He collaborated with other gifted old time players too. I loved
hearing Lynn and Lyle Schafer play with Mike; it was
wonderful! He competed in the duet category with Jim
Howerton in Kimberley. Another memorable duet competition in Kimberley coupled Mike with Janet Todd.
Mike often joined other great old time players from
Montana to produce the best dance music you’ve ever
heard.
After some years of competing in Leavenworth,
Mike was asked to adjudicate. I was quaking in my
boots… The Mike Belitz was going to evaluate the
likes of me. It was a daunting thought. As it turned out,
no adjudicator had been more gracious or more helpful. He continued to teach and mentor young players
and had patience with them and with older players like
me. He wrote and arranged music for competitions
also. He inspired many players over the years including his own children, Mike Jr. and Lisa, who became
excellent musicians too.
The accordion had been an important part of his
life and he’d played professionally in California. Al
Aman shared that Mike was a businessman in the
Bitterroot Valley of Montana. He was the owner and
chief engineer of American Technology, a high tech
electronics firm in Stevensville, MT. In time his business declined and he ultimately returned to California.
During his time in Montana, he was instrumental in
starting the Five Valley Accordion Association and
initiating the scholarship program through that group.
Michael J. Belitz died May 19, 2011, in Torrence,
CA. He was 67 years old. The Northwest Accordion
Society extends sincere sympathy to Mike’s wife,
Donna and to his two children. Donations may be
made to the Five Valley Accordion Association Scholarship Fund in his memory - 478 Tushapaw, Victor,
MT 59875.
fall Quarter 2011
The three photos provided Val Konie.
27
Peter Soave to Premiere New
Accordion Concerto by Max Simoncic
by Rita Davidson
Accordionist Peter
Soave will present the World
Premiere of a new accordion
concerto by Max Simoncic
with the Stockton Symphony
Orchestra under the direction of Peter Jaffe on Thursday, November 10, 2011 at
8:00 PM and Saturday, November 12, 2011 at 6:00 PM
at the Atherton Auditorium,
San Joaquin Delta College.
The Commission Sponsor and Guest Artist Sponsor:
Thomas & Virginia Chen. "Meet the Maestro” pre-concert talks begin 45 minutes prior to each performance.
Recognized worldwide as the foremost master of
the bandoneon and concert accordion, Peter Soave
has established himself as the leading soloist of his
generation. The hallmark of his performances is his
unique combination of commanding stage presence
and the excitement of his vibrant virtuosity.
Of Italian descent, Peter Soave's earliest memories are of music played on an accordion. By age
three, he was certain of his life's work. He began
music studies at five, and quickly gravitated towards
classical music. At sixteen, he entered international
competitions and swept first place four times, confirming his reputation as a virtuoso of the highest order:
Grand Prix in Neu Isenberg, West Germany; Klingenthal Wettbewerb in East Germany; Coupe Mondiale
in Folkstone, England; and the Trophée Mondiale in
Arrezano, Italy.
In 1987, Peter Soave was the inaugural recipient of "Voce d'Oro," the international award honoring
those who have given prominence to the accordion
in the world of modern music. Deeply inspired by the
music of Argentinean composer Astor Piazzolla, Mr.
Soave's impassioned musicianship motivated him to
include the characteristic bandoneon in his performances.
Peter's engagements include performances as a
soloist and with orchestras and chamber ensembles
throughout North and South America, Asia, Middle
East, Europe, and Russia. He has appeared with
the San Francisco Symphony, the Hollywood Bowl
Murl Allen Sanders is pleased to announce his fabulous new
Christmas CD:
MURL’S HOLIDAY FAVORITES
Solo accordion and band performances including
“White Christmas”, “Silver Bells”, “God Rest Ye Merry, Gentlemen” and 9 other beloved
holiday favorites.
Makes a great gift! Buy your copy today!
By check only $18.00 by mail (includes shipping and handling)
P.O. Box 30553, Seattle, WA 98113
Credit card purchases available online at CDBaby.com
DIGITAL DOWNLOADS Available at CDBaby and iTtunes
Don’t forget to purchase Murl’s other CD’s and Accordion Songbook!
E-mail murl@murlallensanders.com
Snail mail P.O. Box 30553 Seattle, WA 98113
Phone 206-781-8196
Website www.murlallensanders.com
28
fall Quarter 2011
Orchestra, Detroit Symphony, Phoenix Symphony,
Brooklyn Philharmonic, Zagreb Philharmonic, Windsor
Symphony, Flint Symphony, San Salvador Philharmonic, Belgrade Philharmonic, Lubbock Symphony,
Bellevue Philharmonic, Walla Walla Symphony,
Orquesta Sinfónica de Puerto Rico, Williamsport Symphony, Orquesta Sinfónica Gran Mariscal de Ayacucho and The Zagreb Soloists.
He collaborated with conductors such as James
Levine, Neeme Jarvi, Thomas Wilkins, Robert Spano,
Leone Mageira, Hermann Michael, Duilio Dobrin,
and Guillermo Figueroa. For the only North America
appearance in 1999 of the "Three Tenors," Soave
performed as the featured bandoneonist. He has also
appeared on ABC's "Good Morning America."
In 2007, Peter premiered Astor Piazzolla's oratorio "El Pueblo Joven", written for symphony orchestra,
voice recitative, soprano, bandoneon, choir, and percussion, with the Radio Romania Chamber Orchestra,
Romania.
Numerous compositions have been written for
him by the Venezuela's foremost composer, Aldemaro
Romero: "Piazzollana-Homage à Piazzolla" for bandoneon and full orchestra; "Suite de Castelfidardo"
for bandoneon and string orchestra; "Soavecito" for
accordion and string orchestra; and "Tango Furioso"
for bandoneon and string quartet. Romero's "Five
Paleontological Mysteries," for accordion and string
quartet, received its American premiere in Detroit in
February 2008 and its European premiere in Italy in
July 2008.
Peter's recordings include a solo album "Pride
and Passion," "Five Tango Sensations" with The Rucner String Quartet, a double CD "Undertango 2," and
"Peter Soave & Symphony Orchestra," featuring the
music of Astor Piazzolla and Carmine Coppola. His
recording awards include the Detroit Music Award for
Best Classical Recording in 2001 and Best Classical
Instrumentalist in 2003.
Eager to harmonize nature and music, Peter
founded the Peter Soave Music Academy (www.
petersoavemusicacademy.com -- coming soon) in the
Dolomite Mountains in Italy in 2010, welcoming music
lovers to convene and share.
Slovenian-born and Stockton-based, Max Simoncic has had compositions commissioned, performed,
and recorded by orchestras and ensembles across
the globe. As in past Symphony milestone years, he
helps celebrate the anniversary with a magnificent
premiere.
The Stockton Symphony is the third oldest,
continuously performing orchestra in California, surpassed in longevity only by the San Francisco Sym-
AUTUMN
ACCORDION SOCIAL
FOREST GROVE, OR
Sunday, October 23, 2011
1:30 PM – 5:00 PM
Forest Grove Senior and Community
Center
2037 Douglas Street
Forest Grove, OR
Admission: adults $5.00
Hosted by Doris Osgood
For the Northwest Accordion Society
Listeners Always Welcome!
You are invited to bring your accordion and
your friends to an afternoon of accordion music. We sign in to play and perform in the order
in which we register. Young players are always
guaranteed a slot and could change the order.
Remember, we have no featured performers
and that guests have come for the program.
Play 2 of your favorite selections or one lengthy
piece. There will be a 50/50 drawing benefiting
our scholarship fund, light refreshments, and
visiting. Remember to join us, just for the fun
of it! For information contact Doris Osgood at
503-357-0417.
Accordion Socials in Forest Grove are always
the 4th Sundays in April and October.
phony and the Los Angeles Philharmonic.
The Stockton Symphony, celebrating its 85th season, is currently conducted by Maestro Peter Jaffe,
now in his sixteenth season. Under his tenure the
orchestra has continued sustained growth in artistic
excellence, introduced and developed several vibrant
educational programs, and gained national recognition through composer residencies, the release of a
commercial recording, and world premieres.
For further information about Peter Soave: info@
petersoave.com
fall Quarter 2011
29
30
fall Quarter 2011
Improvising Duets:
Comping for All Seasons
By Jim O’Brien, Ph.D
“Will you comp me?” When someone asks you to
comp him or her, what do they expect you to do? The
dictionary tells us “comping” is “the action of playing a
musical accompaniment, esp. in jazz or blues. More
broadly, “comping,” mean providing a duet to someone
else’s solo, whatever the style.
How do you provide an appropriate musical accompaniment for an accordionist who is playing the
main melody line? Or, how do you “comp” when you
are accompanying a singer, even perhaps yourself?
Music theory and analysis provide the first part of the
answer. The second part of the answer depends on
your sensitivity and musicality.
Since so much effective comping depends on ear,
not eye, here are some guidelines to begin the process.
 Get your face out of the music
 Get rid of the music and your music stand
 Trust your ears, not your eyes
 Don’t merely play. Entertain!
 Make eye contact with the audience, not a
printed piece of music
The accordion is one of the few instruments where
performers can develop close and meaningful eye contact with their audience. Try doing that while playing
a flute, violin, harp, trombone, tuba or even the piano.
As accordionists, we have a real advantage to share
our love of the instrument by frequently addressing the
audience with our eyes.
To the above list, I would add (but not insist upon)
these further guidelines:
 Stand, don’t sit
 Know your songs solidly by memory
 Be aware of all the chords in every song
 Leave the fake book and lead sheets at home
What are some musical techniques for adding a
second part?
One of the simplest techniques is harmonizing the
melody with the interval of the 3rd. This means that if the
melody moves e to f, you harmonize with c to d. The
interval of a 3rd means the distance of the 3 pitches,
within the scale used (i.e. c to e . . .(c d e)). Thirds are
the basis of harmony for much of our music and the term
applied for this is “tertian” harmony. An entire song can
be harmonized with 3rds, such as this simple comping
of “Lightly Row”, showing the right hand part for the solo
as well as the comp.
Thirds can also be added above the main melody.
Using a profusion of 3rds for comping, however, results
in an accompaniment that lacks variety and is almost
too sweet. Thirds can be inverted for some of the song.
This inversion is a 6th. (I.e. e to c above . . . (e f g a b c)).
This comping may not match the harmony (CM=c e g,
G7=g b d f) indicated for the two parts but adjustments
can be made by discretely using the interval of the 5th
sparingly as the countermelody moves from 3rds to 6ths
and back, as seen in measures 2 and 3. This is called
a “horn 5th” since it duplicates the sound of two horns
playing their natural overtone series:
Generally, the interval of the 5th is avoided in countermelodies of traditional music, unless used in this manner.
A similar manner for comping is adding a descant.
A descant is a simple countermelody, typically above
the main melody:
Any comping that uses only one of these techniques
will soon become boring to the player as well as her/
his listeners. These techniques can be spiced up with
judicious use of non-harmonic tones, pitches that are not
in the chord for a given measure. There are a variety
of non-harmonic tones that composers use, but basic
ones include the auxiliary (neighbor) tone (it is a neighbor above or below a chord tone), the passing tone (it
passes between two chord tones) and the appoggiatura
(it is “crushed” into a chord tone from a strong beat).
The first two typically occur on unimportant beats while
the latter occurs on a strong beat. All return to a chord
fall Quarter 2011
31
tone when they are resolved:
to another key, such as F major, remember to interpret
your chords and ornaments in the new key (i.e. FM = f
a c, C7 = c e g bb.) The techniques work in minor keys
as well, as long as you interpret the melody pitches and
the harmony in the minor key.
Here is a chart of the pitches in the two principle
chords (I or tonic and V7 or dominant 7th) in common
keys for accordionists:
To all of these techniques can be added ornaments,
such as the trill, turn or even a mordent. The trill is a
rapid oscillation of a note with the pitch above (usually),
beginning on the actual beat. The turn, as it’s name
implies, means the main note is followed by the note
above, returning to the chord pitch, followed by the note
below, returning to the chord pitch, all within the rhythm
allotted. A mordent, which is a little “bite”, is simply a
fast half-turn, usually with the pitch below. All of these
ornaments begin on the beat, not before. (This is open
to much conjecture by musicologists, depending on what
era of music history is discussed. What is stated here
is just a general and practical use, which should work
for most comping.)
This example shows the notation for the turn, trill
and mordent, respectively,
while this example shows their actual realization:
The examples here are basic, occurring over 4
measures of a simple folk tune. This does not imply
all should be used in such a sort selection, but, rather,
judiciously spaced throughout a longer composition to
provide a tasteful “comp”. These techniques are ornamental, not fundamental. A few are good but too many
result in musical clutter, obscuring the main melody and
performer.
Before continuing, the reader is advised to flip to the
end of this article and peruse the list of songs, which
can be harmonized with two chords. In the key of C
major, that means CM and G7. Try some of these
simple techniques and ornaments while singing some
of these songs. Do it by ear, not eye. If you change
32
C major
G major
D major
F major
Bb major
c minor
g minor
d minor
f minor
bb minor
I =c e g
I =g b d
I =d f# a
I =f a c
I =bb db f
i =c e g
i =g bb d
i =d fba
i =f a c
i =bb d f
V7 =g b# d f
V7 =d f # a c
V7 =a c e gb
V7 =c e g b
V7 =f a c eb
V7 =g b# d f
V7 =d f a c
V7 =a c# e gb
V7 =c e g bb
V7 =f a c e
It is very important to always be aware of pitches
in each chord as you comp by ear, using some of the
techniques and devices described above.
Block chords provide another avenue to support a
main melody. A simple version of block chords in the
right hand might be:
However, the chords can also be placed in different
registers and inverted. In addition, they can be arpeggiated (broken chords) and enhanced with passing tones
as well. Imitating a rhythmic figure from the main melody
also provides musical variety:
Additional pitches, such as adding a 6th to a basic triad, can always enhance block chords. For the
F chord (f a c), a 6th would be “d”. Substitute chords
have been included in the following example, am (a c
e) substituting for FM as well as gm7 (g bb d f) and dm7
(d f a c) for BbM (bb d f) There are a variety of chords
fall Quarter 2011
which can be substituted for the basic chords (I, IV and
V7) but only a few are provided here. The reader is advised to consult a text on jazz chords to discover more.
The addition of a countermelody in the
second example above provides a means to
comp. Countermelodies have melodic interest
but not as much as the main melody, since
they would outshine what the main accordion
is playing. When considering how to build
a countermelody, it is well to remember a
countermelody can move three ways against
the main melody:
 Parallel motion (moving the same direction as
the melody)
 Contrary motion (moving the opposite direction
as the melody)
 Oblique motion (remaining on a given pitch while
the main melody moves)
The following excerpt shows each of these techniques:



Looking for accordionist to play
with a few times a month
Playing easier / intermediate music
German / Scandinavian old time
dance music + standards
Meet once to check compatibility
The following excerpt uses all three types of motion,
based on many of the techniques already discussed:
Finally, we should add that a countermelody can be
used to fill time in the main melody where the rhythm
holds, a call-response technique, such as in this example:
Some songs have a natural pattern where two
parts or sections of the melody become partners to one
another, as in this example:
Terry George Rudd 503 235 0517
Rudd-family@comcast.net
Member Rose City Accordion Club, NWAS
fall Quarter 2011
33
These songs, of course, become duets in their
own right, but can be enhanced in the comped part by
techniques described in this article.
What are the keys to successful comping? The
techniques and ideas suggested in this article will start
you on the path to success. There are numerous other
techniques as well, but the main thing is never trying to
outplay the soloist. Provide solid support. It’s even good
to drop the bass at times, realizing the bass power of
two instruments can easily overshadow the melody and
countermelody. Just think how many bass players there
are in an orchestra compared to the number of violins.
Set the playing dynamics from pp to ff, always playing one level under the person you’re comping. Less
is better. This is true, even with reeds. Use thin sets,
not the master. Use taste more than power and your
comping will be successful.
Good luck with the process. There are two lists
to get you started. First, some simple songs with two
chords and a second list using three chords.
Lightly Row
Can Can
Carnival of Venice
Clementine
Deep In the Heart of Texas
Did You Ever See a Lassie
Don’t Let the Stars Get In
Down at the Station
Down By the Riverside
Down in the Valley
Drunken sailor
Eleanor Rigby
Eensy, Weensy Spider
Farmer in the Dell
Fiddler on the Roof
Fire on the mountain
Found a Peanut
Go tell Aunt Rhody
Gonna Get Along Without You Now
Jambalaya
London Bridge is falling down
Mary had a little lamb
Oh my darling Clementine
Row row row your boat
Skip to my Lou
Songbird
Tom Dooley
Songs with Three Chords (I, IV and V7)
All Shook Up
Amazing Grace
Battle Hymn of
the Republic
Blowin’ In the
Wind
Chantilly Lace
Eency Weency
Spider
For He's a Jolly
Good Fellow
Great balls of
fire
Hang On Sloopy
Have I told you
lately that I love
you
Hound Dog
Be-bop-a-Lula
In the sweet bye
and bye
Jingle Bells
Songs with Two Chords (Usually I and V7)
La Cucaracha
A horse with no name
London Bridge
Love Makes
Anyone else but you
the World Go
Achy Breaky Heart
‘Round
Alouette
Mexican Hat
Blow the Man Down
Dance
Buffalo Gals
34
fall Quarter 2011
Blue Suede Shoes
Clementine
Ever’body’s Talkin’
At Me
Frankie and Johnny
Guantanamera
Happy Birthday
He's Got the Whole
World
How Much Is That
Doggie in the Window?
Jamaica Farewell
Kum Ba Yah My
Lord
Little Brown Jug
Long Tall Sally
Marianne
Michael Row the
Boat Ashore
Away In a Manger
Billy Boy
Camptown Races
Don’t Be Cruel
Folsom Prison
blues
Goodnight, Ladies
Hail, Hail, the
Gang’s All Here
Hava Nagilah
He's got the
whole world in
his hand
I Walk the Line
Jambalaya
La Bamba
Liza Jane
Louie, Louie
Mary Had a Little
Lamb
Moonlight Bay
Castelfidaro Changes With The Times
By Doris Osgood
Castelfidardo, Italy continues the tradition of accordion building. It was the home of dozens of accordion factories employing 10,000 skilled workers
during its peak in 1953. Today the town has about 27
factories with 300 workers; Castelfidardo is optimistic
and is finding its niche in the world economy.
Beniamino Guiolacchi, director of the International Accordion Museum in Castelfidardo , acknowledged that the rising production costs shifted the
competitive edge to manufacturers in Asia in recent
years. “The accordion now accounts for about 15% of
Castelfidardo’s output, said Paolo Picchio, president
of Consorzio Music Marche Accordions, a consortium
of manufacturers and Promoters. But the other 85%
still has accordions to thank.” Precision and skills
necessary to make accordions – which require the assembly of about 6,000 pieces, were easily transferred
to other industries. In the past 30 years, Castelfidardo
has excelled in areas like mechanics and woodworking. The legacy of the ingenious Paolo Soprani was
“taking artisanal activity and applying modern industrial strategies to increase business.”
The community takes pride in the fact that its
accordion industry has been stable for the past five
My Bonnie
Oh Dear, What
Can the Matter
Be
Old Time religion
Row, Row, Row
Your Boat
Sur Le Pont
D'Avignon
Tom Dooley
When the saints
You are my sunshine
Nobody knows the
trouble
Oh Susanna
Ring of fire
She'll be coming
round the mountain
Surfing USA
Twist and shout
Whole lotta love
(Led Zeppelin)
O sole mio
Old MacDonald
Rock around the
clock
Skip to My Lou
years in large part to their attention to detail and
quality. Pigini is the largest accordion maker in
Castelfidardo and is proud of making nearly every
component in house. Pigini like the remaining factories builds a variety of models. The instruments are
tailored for the distinctive sounds characteristic of
different countries. There are different systems for
both right and left hands. There are dozens of variations on how buttonboards, keys and bass systems
are mounted. There is no template for building accordions. The industry prides itself in its quality rather
than quantity and the hundreds of people that travel
their regularly for the specific purpose of purchasing
a fine instrument is testament to that. Francesca
Pigini, whose grandfather started the business in
1946, spoke of “the pleasure to work and collaborate
with artists and people who make music a big part of
their lives.”
There is some concern that younger generations
are rejecting the years of training and technique required to make accordions. One expert suggests that
financial incentives might be the way to draw young
technicians back to the trade. He feels that there will
be work available for those that choose to enter the
field. The other concern for this industry and for many
others is the global economic crisis. Marco Tiranti,
and accordion tuner and restorer says, “small may be
beautiful, but the global market synergy may be the
only way to survive.”
The source of information for this piece was an article written by
Elisabetta Povoledo entitled “An Accordion Epicenter Shrinks
and Thrives” published July 1, 2011 in the New York Times.
The Rain In
Spain
What shall we do
with the drunken
sailor
Wild thing
(This session was presented as a workshop at the
Leavenworth International Accordion Celebration on
June 17, 2011, by Jim and Shirley O’Brien. If you have
questions or want clarification, please contact them via
email: James P. O’Brien, Ph.D. Professor Emeritus,
UA School of Music, jobrien@u.arizona.edu: Shirley J.
The Tualatin Valley Accordionists begin another season
O’Brien, Ed. D, Professor Emerita, UA CALS, sobrien@
September 3. They meet the 1st Saturday monthly at the
cals.arizona.edu) Many of James O’Brien’s duets are
Forest Grove Library 10 AM - 1 PM.
available at http://www.musicforaccordion.com/index.
cfm
fall Quarter 2011
35
The Great Accordion Myth Uncovered
By Joe Petosa, Jr.
The purpose of this article is to explain in detail
the myth about the most frequently asked question
when buying an accordion. “What does the accordion
weigh”? This article would be completely pointless if
accordions were sold by the pound. The truth is all accordions with the same musical features will be similar
in weight give or take only a pound or two. Many accordions have shed a few pounds due to pre-manufactured
components being substituted for plastic or metal in lieu
of the traditional high quality sound of unique woods.
The types of material accordions are made from are an
important function of balance and playability. The only
way to substantially reduce scale weight is to compromise musical ability or physical size. But there are more
important things to consider than weight alone. So let
us begin to understand what really makes an accordion
lighter or heavier.
Firstly the accordion can be made smaller (lighter)
or larger (heavier) by changing the number of playing
notes and or reed sets. The less notes and/or reed
sets, the smaller an accordion can be made. The other
alternative to obtain a smaller size accordion while
maintaining the same amount of notes is by reducing
the individual key width and spacing of the bass buttons. This design is for smaller statured adults or more
commonly, children. The most prevalent misconception
is that less bass buttons means a smaller and lighter
accordion. This couldn’t be further from the truth. There
are full size 41 note accordions with 72 basses identical
in size and weight to a 120 bass. Accordions are available with less than 39 notes but maintain 120 basses.
So let’s understand what and why you should know in
order to make an informed and appropriate decision
Changes on the bass side are unlike the treble side.
There is not much difference between a 48 bass and
120 bass accordions other than the number of buttons
and the spacing. The standard stradella bass system
offers a 12 note musical range using either 4 or 5 sets
of reeds with a respective 3 or 4 octave musical range.
The bass reeds are called: Bass, Tenor, Alto, Contralto
and Soprano (the soprano set adds an additional approx.
4.5 oz of weight). Whether 4 or 5 sets of reeds and 48 or
120 basses, the bass mechanics are nearly identical with
twelve bass fulcrum rods and valves along with twelve
chord fulcrum rods and valves running the length of the
bass box. The difference is the number of additional
buttons, which play a duplicate note. The purpose and
advantage of more buttons is to ergonomically improve
the player’s ability to access different bass buttons (the
same note), but without having to make huge jumps,
36
thus making it easier to articulate.
In essence, the more bass buttons, the more accessible and efficient the fingering. The additional weight
per chord button is an amazing .009 oz. The scale weight
difference between a 120 and 60 bass accordion, everything else being equal, is a mere 6 oz!
Understand the right hand note range and the
overall keyboard length measurement from key end to
key end determine the size of an accordion. This is why
we see keyboard measurements described in specifications, as 19 ¼”, 18”, 17”, etc. If you divide the keyboard
measurement (i.e. 18”) by 24 (the number of white
keys on standard 41 key accordion), you will obtain the
width measurement of each white key, less the amount
of space between the keys. The spacing between keys
will vary depending on the quality of the accordion. The
least amount of space the better. Also check out the
lateral movement of the keys. See how far one can be
moved side to side. A well made keyboard will not allow
one key to move laterally and touch another. The bass
side is designed to accompany the musical range of the
right hand. Therefore, the less keyboard note range the
less bass buttons necessary. Standard Right and Left
combinations are 41 treble and 120 bass (shown as
120/41), 37 treble and 96 bass (shown as 96/37), 34
treble and 72 bass (shown as 72/34) and 26 treble and
48 or 12 bass (shown as, you got it, 48/26). Don’t be
afraid of having too many bass buttons, they don’t add
weight, or make the accordion larger. Besides, when the
accordion is on, how do you know how many are there?
How many can you see?
The second principal to understand is the accordion is something you wear, like a dress, suit or pair
of shoes. One thing we all do before buying clothing is
to try the items on to make sure they fit right and feel
comfortable. Most of us will try on a few different items
to see which one fits best. And of course a tailor made
suit fits the best. Additional labor and skill is taken to
ensure a proper fit. Accordions are made in the same
way. Some have taken additional labor and skill for a
better balance. Why would you buy an accordion without
trying it and or comparing it with others? Like clothing,
accordions fit differently and every accordion will fit an
individual differently. Accordions should be compared to
see which one feels the most comfortable to you. A correctly fitting instrument can help improve your learning
and performance ability. The idea that accordions with
the same keyboard length, reed sets and playing notes
are alike is absolutely untrue.
The most critical aspects in choosing the right accordion are; Fit, Balance and Compression. You will
soon learn this is more important than the “scale weight.
(This is referred to as the “playable weight”.)
fall Quarter 2011
FIT is the first step. In order to have complete control of your accordion, it must properly fit your stature.
Always try an accordion when seated. The length of
the keyboard should begin just below your collarbone,
and end slightly resting on the inside of your right thigh
(this prevents movement when closing your bellows).
Second, the accordion must remain stationary. It is
important that your accordion be secure and not move
while playing. With the correct fit, the accordion is locked
in place with your shoulder straps and wedged with 60%
of the weight on your lap and 40% on the shoulders. We
know what it feels like to have a large accordion on...
it is overwhelming. But too small can be just as difficult
to play. If it is too short, then the accordion is not able
to rest on your lap; therefore, 100% of the weight is
pressed on the shoulders making it feel heavier. This
also allows for too much movement and constant readjusting of the position of the accordion. Having to keep
adjusting your straps to re-position the accordion back
to that comfortable spot adds additional physical effort.
If, over a period of playing time, the accordion starts to
feel heavier, then all the extra effort takes away from
conserving your physical energy in playing
Try a back strap as well. The most important purpose
of the back strap is to hold the shoulder straps together
allowing no movement of the accordion. If a back strap
is too low, this takes weight off the shoulders by making
the straps loose on top. This allows your straps to slide
and move. Keeping the back strap higher or diagonally
(high on the left straps across to a lower position on the
right) secures the shoulder straps from sliding; this, in
turn, keeps the accordion stationary. When the straps
stay in place, your accordion will stay in place. No extra
energy is expended fighting your straps. Once you find
the proper size accordion that “fits”, we can move on to
understanding the next elements that are also important
in obtaining the perfect accordion for you.
Balance is a crucial and intricate part of an accordion. For example: using a 10-pound dumbbell or
object with a similar weight. Hold the object in your hand
against your chest. You’re holding 10 lbs. Now, fully extend your arm in front of you. Does the weight feel the
same or a lot heavier? Even though the scale told us it is
10lbs, it feels much heavier. Did the scale lie? Of course
not, it’s called leverage. The further weight gets away
for the center point, being you, the heavier weight feels.
Another example: what would be more difficult to carry, a
10” X 10” X 10” carton (40 inch circumference) weighing
10 pounds or a 5’ X 5’ X 5’ carton (20 foot circumference)
weighing 5 pounds? If you weren’t told the dimensions,
you would choose the 5 lb carton because it is lighter.
But, knowing the physical size, the 5 lb. carton would
be very difficult to carry due to its large diameter. Where
weight is located is more important than the weight itself.
Did you ever try to bench press when one side of the
bar has more weight than the other, making it more difficult to press up because you were also compensating
for the imbalance of the bar. It’s much easier to press
up with an equal amount of weight on both sides. Having bellows, the accordion is an instrument which is in
constant motion. When weight is evenly balanced, the
more control you have. The more control you have, the
less weight you feel.
The fit and balance help overcome several relevant
weight issues. If you are not able to physically pick the
accordion up off the floor, then you need to actually find
the accordion that you can pick up. You would need to
deal with the musical limitation based on your physical
limitation. You might consider starting an exercise program in order to pick up the accordion you would like to
play. If you take your playing seriously, then consider
that all athletes, amateur and professional work out to
help physically support their activity and to avoid injury.
The accordion is a physical instrument and you should
consider physical exercise in order to maintain your playing ability and help avoid some long-term injuries. Let’s
assume you can pick your accordion up onto your lap
without difficulty. Most complaints of weight come from
playing after an extended period of time. This proves
the point that it’s not the physical weight (you can pick
it up, right?) but it’s the playable weight that you should
be concerned with.
Compression of the accordion refers to the control
of airflow utilized by the bellows. The most common
thought is that if your accordion leaks then there is a
problem with the bellows. 90% of air leaks come from
the keyboard and/or bass valves not properly seated.
This article concerns new instruments without any initial problems and/or used accordions in need of repair.
The main facet of compression is to show how much
air is required to make the reeds respond. What is the
“expression” range of the accordion? Play a simple
musical phrase with a single reed selected. How little
bellow movement is required to make each note play
equally and in pitch. Play the same phrase softly and
then with power “forte” to see how much expression can
be obtained. Think of a rating scale between 1 – 10 with
1 being the least amount of air and 10 being the hardest
playing of the bellows prior to the reeds choking (stopping the reed from playing due too to much air pressure
from the bellows). Do you sense a lot of expression or
very little? An accordion with better expression is easier
to play because it has more control. Try the same musical phrase on a few accordions using the identical
register and consistent volume. Does one take less
bellow movement in and out to accomplish the same
fall Quarter 2011
37
phrase? Remember, the accordion is a live breathing
instrument, an extension of your own heart and lungs.
Vocalists learn how to control their airflow in order that it
is efficient and they don’t run out of breath when holding
a phrase. Learning proper bellows technique is a must,
but the accordion should also assist you. The more air
the accordion requires to play or “follow your expression”, the more physical energy used. The more physical
energy employed, the more you will experience muscle
fatigue and then the accordion becomes (feels) heavier.
The weight hasn’t changed, but it sure feels like it has.
The reed & reed leather quality has an important role
as to the compression of an accordion. The better the
quality, Hand-finished versus Machine, Handmade versus Hand-finished can dictate how much air is needed
to make the reed play. We won’t go into detail about
reeds, which could be next, but sufficed to say that reed
and equally reed leather quality play an important part
in playable weight. (Note, the three basic categories of
reeds do not necessarily mean that one class is better
than the next. There are several qualities within each
category. Meaning, some machine reeds can be better
than some hand-finished and some hand-finished can be
better than some handmade. Don’t always be skewered
by only referring to one of the three categories.
So, it’s not the weight of the accordion, but the fit,
balance and compression which will play a much more
important role in how much an accordion weighs. You
could compare your quest to finding a balanced energy
efficient accordion that you can manage comfortably,
play for hours, feels an extension of your body and allows you to express your musical ideas freely. I hope
that this discussion clarifies the essential elements you
should consider in choosing the right instrument for
you. Be guided by professional advice, but ultimately
the choice should be yours.
Written by Joe Petosa
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38
Accordion Lesson Memories
By Mary Jane Garlick
I couldn’t take piano lessons because of apartment living upstairs and not enough money to pay
movers so my parents rented an accordion and
started me with lessons from Mr. Schuman on Saturdays in Ann Arbor Michigan in 1955.
After a year and a half or so they purchased a
120 bass nice red Lira accordion and I started taking lessons on Friday evening. I became very excited
about going up on Liberty Ave for my lessons because Mr. Schuman’s studio was above The Pretzel
Bell restaurant in Ann Arbor. After my lesson I would
wrestle my big instrument down the stairs and wait
to be picked up. Friday evenings was prime time
to watch the people coming to and going from The
Pretzel Bell—the Bell was a favorite of Ann Arborites
and Univ. of Michigan students. You did have to be 21
to get in so I had never been inside. I was so excited
to see one of my favorite student teachers one night.
I was in 6th grade and she was such a relief from the
older, strict, not much fun teacher, Mrs. Goudy. I don’t
remember if I embarrassed her by waving, but I did
talk to her on Monday morning about seeing her that
Friday night. As a young student I really didn’t think
of teachers and student teachers as normal people; it
was so fun to see her out with friends at a restaurant.
I know that the patrons couldn’t hear our accordion
playing (I also played in an accordion band up there
twice a month) over their talking, eating and drinking
but it sure was fun watching them as I waited for my
ride on Friday night—I was always looking for other
student teachers to show up.
Now I’ve begun playing again after more than 50
years; I don’t go to a studio above a restaurant but to
Dick Myking’s home in Parkland. We’re both retired
from public school teaching and know that teachers
are definitely normal people who have hobbies, go to
stores & restaurants and forget about our schedules.
I don’t see student teachers at the Myking’s but I
often have to stop from drooling over the smells of the
wonderful food coming from Marlene’s dinner preparations. Reminds me of home and lessons above The
Pretzel Bell!
Are your dues due? Check the mailing label. We
truly appreciate those who renew without reminders. It saves us postage. Send your renewal to:
NWAS, 5102 NE 121st Ave. Unit 12, Vancouver,
WA 98682
fall Quarter 2011
By the Way –
from Doris Osgood
Congratulations: Eileen Webber of Spokane is the
winner of this year’s Leavenworth Open at the Leavenworth International Accordion Celebration. She is a
soloist, is the concert master for the Spokane Accordion Ensemble, and plays with the Happy Wanderers.
Alicia Baker is the Happy Hans winner from the Kimberley International Old Time Accordion Competition
for the 2nd year. Her presentations/demonstrations for
the Roland Company have taken her to many festivals
and competitions. Alicia has had a busy performance
schedule this summer. Way to go, ladies!
Tony Lovello, known widely as “The Liberace of the
Accordion” and “King of the Bellow Shake,” was the
featured guest artist and special honoree at ACCORDIONS NOW! 2011.
The idea for a New England accordion festival was
inspired by Tony's performance at the first concert
co-sponsored by the New Hampshire Accordion Association [NHAA] and Accordion Connection LLC.
The success of that inaugural event coupled Lovello’s
personal guidance, have made ACCORDIONS NOW
an annual success. The fourth annual ACCORDIONS
NOW! Music Festival was held August 12-13 at the
beautiful Nashua Courtyard Marriot, in Nashua, New
Hampshire.
Corky Bennett is excited to host The Great American PolkaFest at Circus Circus in Reno October 2425, 2011. This is going to be an outstanding 2-day
event reasonably priced.
The 1st 100 resevervations get preferred seating!
1-855-266-9847. The hotel is offering a
fantastic special rate.
Held in Orlando, Florida in conjunction with the 71st
Accordionists & Teachers Guild, International
(ATG) Festival Competition and Festival, the Roland USA V-Accordion Festival featured 10 of the
USA’s top young Roland accordionists.
In July, I experienced one of those “milestone” birthdays. For some time I’d thought that I needed a stand
or table to hold my accordion. Lifting my instrument
off the floor THOUSANDS of times in my life has
exacerbated a back injury. When asked what I’d like
for my birthday, I told my son of my special need and
gave him the dimensions for the table. After the lovely
gourmet dinner he’d prepared for my birthday, he and
my grandchildren ceremoniously presented my gifts.
My grandchildren, ages 7 and 5, could hardly contain
themselves. My husband and I were visiting their
Idaho Falls home and they’d kept the “surprise” secret
for two days. My expectations were exceeded. I am
the proud owner of a solid oak side table, 12” by 26”,
with Queen Anne legs, and an upholstered top. It’s
gorgeous! Not only that, it’s functional. I have it right
beside my chair in the music room and slide the accordion to my lap when I wish to play. There’s absolutely no lifting. My birthday table has allowed me to
continue playing a bit and I’m glad for that.
After a long summer hiatus, the socials will resume
in September in Seattle. The social will be at the
West Seattle Senior Center. There are always great
soloists and groups. Cooksie Kramer will have some
of her young accordionists there. Be sure attend and
to give those young players encouragement.
American Heroes of the Accordion will be a special
concert near Seattle in October. Noting the musicians
listed, we can be assured of a variety of accordion
music presented by some of the finest accordionists in
the United States. The specifics are listed on the ad
in this publication.
The American Accordionists' Association (AAA)
website has been updated with a new look and style
including new information. You can find out about
both past and future AAA events, concerts, meetings,
and reports. The next AAA event is the Valtaro Celebration honoring Peter Spagnoli on September 10,
2011 at the Magnanini Farm Winery in Walkill, New
York
For further information: aaa1938@aol.com
After two extremely close competitions just one mark
Ignacio Morales, 15, of Dallas, won the June 2011
separated the top three places in the USA National
Big Squeeze Accordion Contest. He first began
Roland V-Accordion Festival Final. Danielle Renzi
st
learning the accordion at the age of 3. His father gave
from New England narrowly placed 1 . Gregory
him his own accordion when he 10 after he learned 10
Fainshtein was awarded a special recognition of his
songs! Ignacia is a student at Booker T. Washington
performance with an Honored Performance Prize for
High School for the Performing and Visual Arts.
his second place. Danielle’s prize included a new VAccordion and trip to Rome to compete in the Interna- The Big Squeeze Contest, organized by Texas
Folklife, is open to Texas accordionists 21 years
tional V-Accordion Festival. The Junior division was
of age and younger, and includes many genres of
also closely contested, with the winner being Daniel
nd
Pavlotsky and 2 place was Olivia Luey who received accordion-based music,like Cajun, German, Czech,
Polish, Tejano, Conjunto, and Norteño, Western, and
an Honored Performance Prize.
fall Quarter 2011
39
Zydeco.
Accordion Events Calendar
As the Big Squeeze 2011 Grand Prize winner, Ignacio
received a prize package valued at $4500, including
a $1,000 cash prize, a brand new Hohner accordion
and recording time at the historic Hacienda Records
in Corpus Christi, as well as promotional support from
SugarHill Records, Hohner, Inc., Hacienda Records
and Texas Folklife, and other professional opportunities.
Remember to submit your articles and other information to our magazine address: NWAS News 5102 NE
121st Ave Unit 12, Vancouver, WA 98682
Check the web site, www.nwasnews.com for current
events and updates.
By Doris Osgood
NORTHWEST ACCORDION SOCIETY SOCIALS
SEATTLE, WA
2nd Monday monthly: Resume Sept. 12 at the West Seattle
Senior Center. Oct. 10, Nov. 14, Dec. 12, Jan. 9 Contact:
Bonnie Birch 206-622-4786. Social hour 6:30 PM. Music
7:30 PM – 9:30 PM.
TACOMA, WA
2nd Thursday monthly: Sept. 8, Oct. 13, Nov. 10, Dec. 8,
Jan. 12 Lutheran Church 121st & Park Ave. across from
PLU Library
7:00 – 9:30 PM contact: Dick Myking 253-537-0136
FOREST GROVE, OR
4th Sundays April and October. Forest Grove Community
Center, 2037 Douglas St. Forest Grove, OR. 1:30 PM –
5:00 PM. Contact: Doris Osgood 503-357-0417.
dorisosgood@frontier.com October 23, 2011.
ACCORDION CLUB OF CENTRAL OREGON
BEND, OR
2ND Saturday Monthly, 1:30 PM Cougar Springs Senior Living Facility Redmond, OR Contacts: Lillian Jones, 541-5361531 lajones716@yahoo.com or Karl Kment, 541-548-0495
kgkment@aol.com
ACCORDION JAM IN SANDY
SANDY, OR
4th Saturday monthly noon – 4 PM meet at Shorty’s Corner
Café 2 miles East of Sandy, OR on Hwy 26. Bring accordion, music, stand, and snack to share. Coffee provided. All
players welcome. Contact Andy Jorgensen 503-668-3917
or 503-975-2380.
Steve Albini at Festhalle
Bell & Reed
ACCORDION
WOODWIND
* * *
REPAIR
TUNING
SALES
RENTALS
INSTRUCTION
* * *
www.bellandreed.com
tel (206) 696-9054
115 Prefontaine Pl S (401)
Seattle, WA 98104
by appointment
40
KIMBERLEY
OLD TIME
ACCORDION
COMPETITION
KIMBERLEY, BC
July 9-14 , 2012
info@kiotac.ca,
1-888-4KIOTAC
or 250-427-7318
ACCORDION CLUB OF ROSEBURG
ROSEBURG, OR
3rd Monday monthly 6:30 PM 553 Little Valley Rd. Roseburg, OR
Pres. Karen Cordell 553 Little Valley Rd. Roseburg, OR
97471 541-784-1911 beltunagirl@aol.com
ACCORDION CLUB OF VANCOUVER
VANCOUVER, B.C.
www.meetup.com/Accordion-Club-of-Vancouver
contact: Haike Kingma, haike@telus.net
ACCORDION INTERNATIONAL MUSIC SOCIETY
SANTA BARBARA, CA
2nd Sunday monthly 1 – 3 PM Vale Verde Retirement Theatre 900 Calle de los Amigos, Santa Barbara, CA
AIMS P.O. Box 4511 Santa Barbara, CA 93140
Info: Heinz Trick 805-685-2260
www.santabarbaraaccordions.com
BROOKINGS ACCORDION CLUB
BROOKINGS, OR
4th Sat. monthly 2-4 PM, Evergreen Federal S&L, 850
fall Quarter 2011
Chetco Ave. Brookings, OR, Pres. Cami Meccia 541-4698079
EMERALD VALLEY ACCORDION CLUB
EUGENE, OR
1st Monday monthly: 7:00 – 9:30 PM Veterans’ Memorial
Bldg. 1626 Willamette St. Secretary Linda Gunn 541-7266330 cordiagunn@gmail.com V.P. Lou Marzano Social
time 6 PM, business 6:45 PM
FAIRBANKS ACCORDION CLUB
FAIRBANKS, AK
Mondays weekly 6 – 8 PM Pioneers Home, open to all free
reed instruments. Contact: Christine Upton 907-457-3392
FIVE VALLEY ACCORDION ASSOCIATION MONTANA
5VAA Jams are 1- 5 Pm
Pres. Helen Brady 370-8452
accordion.club@yahoo.com
Sept. 11 Eagles, Hamilton, MT
Sept 25 High Spirits, Florence, MT
Oct. 9 Jokers Wild, Missoula, MT
Oct. 23 Eagles, Hamilton, MT
Nov. 13 High Spirits, Florence, MT
Nov. 27 Jokers Wild, Missoula, MT
Dec. 11 High Spirits, Florence, MT
Jan. 8 Eagles, Hamilton (dinner/election)
Feb. 12 Jokers Wild, Missoula, MT
Montana – NW Accordion Association
Contact Ralph Salomon 406- 675-0178
all NWAA Jams 2 – 6 PM
Sept. 18 Eagles, Kalispel, MT
Oct. 2 Elks, Polson, MT
Oct. 16 Eagles, Kalispel, MT
Tuesdays weekly Sept. – May, Senior Center on Richter
Info contact: Rod Miller 250-317-9088
ROGUE RIVER ACCORDION CLUB
ROGUE RIVER, OR
1st and 3rd Wednesdays monthly. 7 PM Council Chambers
Rogue River City Hall, 133 Broadway St. Rogue River, OR.
Pres. Margot Turrell 206 Creekside Grants Pass, OR 97526
541-479-9409 yodelady@rascals.org
ROSE CITY ACCORDION CLUB
PORTLAND, OR
3rd Saturday monthly. 1 – 5 PM Milwaukie Public Safety
Bldg, SE 32nd & Harrison, Milwaukie, OR.
* meeting in September 4th Sat.(Sept.24)
Pres. Steve Knapke 503-612-8381 email: squeezebox21@
comcast.net
www.rosecityaccordionclub.org
SEQUIM ACCORDION SOCIAL
SEQUIM, WA
2nd Sunday, Odd numbered months, 1:00 – 4:00 PM Sequim Senior Center next meeting September 11 contact:
Jeannie Berg- jeannieberg@yahoo.com
SIERRA NEVADA ACCORDIONS
RENO, NV
John Covarelli, Pres. 775-848-3777, sqeezebox2@gmail.
com
SPOKANE ACCORDION ENSEMBLE
SPOKANE, WA
weekly rehearsals 6- 9 PM Helen Eldenburg, Pres. 509448-1899, Patricia Bartell, director 509-998-5422
420patricia@gmail.com
Montana – Great Falls Accordion Players
Jams are 1 PM – 5 PM
Sept. 11 Elks
Oct. 15 Moose
Nov. 13 Eagles
Dec. 11 Elks
Jan 15 Moose
Contact Pat Sharp for info: 406-452-4546
SPOKANE AND INLAND NORTHWEST ACC. CLUB
SPOKANE, WA
4th Monday monthly, 1520 W. 3rd and Maple in Spokane,
at the Global Credit Union Bldg. Exit #280 off I-90. 6 – 9
PM, $3. at the door. Contact: Griff Bryan Ziegler, griffbz@
roadrunner.com , *208-651-2536 new contact number
TUALATIN VALLEY ACCORDIONISTS
FOREST GROVE, OR
1st Sat. monthly 10 AM – 1 PM Forest Grove Library Pacific
Ave. Contact: Paul and Judy Bria 503-591-0504 pjbria@
aol.com
HUGO’S ACCORDION BAND
MT. VERNON, WA
2nd and 4th Monday monthly 6:00- 9:00 PM
Pres. Lois Yale 360-766-8713 lobo@fidalgo.net
9247 Marshall Rd. Bow, WA 98232
HOUSTON BAY AREA ACCORDION CLUB
HOUSTON, TX
2ND Wednesday monthly 5 – 9 PM Joe Brikha, Pres
JoeBrikha@gmail.com www.bayareaaccordionclub.com
MEDFORD ACCORDION CLUB
MEDFORD, OR
4th Monday monthly 7 - 9 PM: Central Point Senior Center
123 N. 2nd St, Central Point, OR Jeannette Dewey, Pres.
1029 SE Rogue Dr. Grants Pass, OR 97526 541-471-7455
VICTORIA ACCORDION CLUB
VICTORIA, B.C. CANADA
1st Sunday Monthly 2:30 PM, Victoria Edelweiss Club
108 Niagra St., James Bay District Victoria, BC
Contact: John 250-386-7282 or 250-477-3098
BUTTON BOX CAMPS JULY AND SEPT
contact Joe Smiell, 863 Portal Ave., Oakland, CA 94610
510-832-6938
ALICIA BAKER with the Oregon State University Symphony – October 13, 2011, La Selles Steward Center,
Corvallis, OR
OKANAGAN ACCORDION CLUB
KELOWNA, BC
fall Quarter 2011
41
COTATI ACCORDION FESTIVAL
Cotati, CA August 20 - 21, 2011
www.cotatifest.com
Entertainers in the Northwest
Submit your public performance schedules to Doris Osgood 3224 B St
Forest Grove, OR 97116 dorisosgood@frontier.com
ACCORDION EXTRAVAGANZA FESTIVAL
EDMONTON, ALBERTA September 23 – 25, 2011
Featured performers: Anthony Rolando, Valerie Vaccio,
Len Gedica
info: 780-929-8836 ckap@telusplanet.com
www.edmontonaccordion.com
COUPE MONDIALE
October 2 – 6, 2011 Shanghai, China
Alpiners USA
Oct. 7 – 8 Northwest Oktoberfest Puyallup
Fairgrounds. www.alpinerusa.com with Joe
Domitrowich
Juan Barco – Band
Contact: 23091 23rd Ave. W. Brier, WA 98036
425-775-8150; cell 206-356-1878
Corky Bennett
ACCORDION HEROES IN CONCERT
October 4, 2011, 7 PM North Creek Presbyterian Church
621 164th St SE Mill Creek, WA 425-743-2386
www.petosa.com/accordionheroes
GREAT AMERICAN POLKAFEST, RENO, NV
October 24 – 25, 2011 noon to 9 PM, Circus Circus,
Mandalay Ballroom. 1-855-266-9847
INTERNATIONAL ACCORDION CONVENTION
Las Vegas, NV, Oct. 31 – Nov. 3, 2011 Gold Coast Hotel
and Casino
http://accordioninfo.com/convention/ 1-800-472-1695 lasvegas@accordioninfo.com
RCAC ACCORDION CAMP- SILVER FALLS CONFERENCE CENTER June 10 - 15, 2012 near Sublimity, OR.
Camp treasurer: Marlene Meissner 503-463-9909 marlenem26@msn.com
LEAVENWORTH INTERNATIONAL ACCORDION
CELEBRATION June 14 - 17, 2012 Leavenworth, WA.
www.accordioncelebration.org www.nwasnews.com
KIMBERLEY OLD TIME ACCORDION COMPETITION
KIMBERLEY, BC
July 9-14, 2012, info@kiotac.ca, 1-888-4KIOTAC or
250-427-7318 www.kiotac.ca
VICTORIA ACCORDION FESTIVAL
Victoria, British Columbia July , 2011
www.bcaccordion.ca 1-778-433-8700
FAIRBANKS SUMMER ARTS FESTIVAL
July, 2012 on the campus of U. of Alaska Fairbanks.
www.fsaf.org contact 907-474-8869
Great American Polkafest October 24 – 25, 2011
Circus Circus, Mandalay Ballroom Reno, NV
noon – 9 PM 1-855-266-9847
website: www.corkybennett.com
email: corky@corkybennett.com
775-287-2050
Bonnie Birch
website: bonniebirch.com
For scheduling information: write 1107 1st Ave.
#1003 Seattle, WA 98101.
206-622-4786, email: bonniebirch@msn.com
Chuck Berger
Accordion Repair and Public Performance
For information call: 503-254-0996
midimanchas@yahoo.com
Frank Calapristi
Winter schedule at King Ludwig’s, Wed, Thurs. Sun.
nights; tour groups as needed
For scheduling information write PO Box 1057
Leavenworth, WA 98826 509-548-0155
fcalapristi@msn.com
Gary Dahl
For scheduling information write 509 Valley Ave. NE
#5 Puyallup, WA 98372
Phone/fax 253-770-9492
garydahlmusic@msn.com; www.accordions.com/
garydahl; www.beltuna.com
Tom Demski (Mr. Flash)
For scheduling information write: 518 9th St. SW
Puyallup, WA 98371 253-840-9277
tomdemski@yahoo.com
ACCORDION CELEBRATION – Historic Wallace
Wallace, ID August , 2012
www.wallaceIdahoChamber.com
Folk Voice Band
OKTOBERFESTS IN THE NORTHWEST:
45th Annual Oktoberfest Mt. Angel, OR
Sept. 15 – 18, 2011 www.oktoberfest.org
Happy Hans’ Music Hans Rainer, Jr.
Oaks Park Oktoberfest Portland, OR
Sept. 23 – 25, 2011
Oktoberfest Northwest Puyallup, WA Fair and Events
Center October7 – 9, 2011 www.oktoberfestnw.com
Oktoberfest Leavenworth, WA
Sept 30, Oct 1,7,8,14,15, 2011
www.leavenworthoktoberfest.com
42
For scheduling: Birgit Ages 206-368-9720 folkvoice@
folkvoiceband.com; http://folkvoiceband.com
Sept. 23 – 24 Spokane Oktoberfest
Sept 30, Oct. 1,7,8,14,15 Leavenworth Oktoberfest
Oct. 9 Bruno’s European Rest Tacoma 3 – 6 PM
Oct. 16 Berliner Pub 6:30 – 10:30 PM Renton, WA
Oct. 21 Oktoberfest Lake Wilderness Lodge 6:30 –
9:30 PM Maple Valley, WA
Oct. 22 Oktoberfest German House 7:30 – 11:30 PM
Seattle, WA
Nov. 5 Berliner Pub 6:30 – 9:30 PM Renton, WA
fall Quarter 2011
Nov. 12 German House Frohsinn Concert 8:00 PM –
12 AM Seattle, WA
Dec. 3 German House Arion Evening 8:00 PM – 12
AM Seattle, WA
Dec. 31 German House 8:00 PM – 12:30 AM Seattle,
WA
For scheduling information write Hans Rainer, JR
24613 231st Ave. SE Maple Valley, WA 98038
425-413-6562 happyhans@comcast.net WWW.
HAPPYHANSMUSIC.COM
Little Bohemian Band
For scheduling information write: murlsanders@
cs.com PO Box 30553 Seattle, WA 98113, 206-7818196
Lyle Schaefer
For scheduling information write: 11704 15th Ave. E
Edgefield, WA 98372 253-927-7760
Sam’s Variety Gems
Sam Pecorilla: home 541-847-2282, cell 541-3219088
Smilin’ Scandinavians
Check web site for details.
For scheduling contact: Gene Sadowsky
541-990-3109
email:littlebohemianband@comcast.net www.
littlebohemianband.com 802 NW Quarry Rd. Albany,
OR 97321
Greg Meier
Fri - Sat evenings Mt. Angel Sausage Co. Restaurant
105 N. Garfield St Mt. Angel, OR – except during
O’fest season
Sept 15 – 18 Mt. Angel Oktoberfest
Sept 23 – 25 Oaks Park Oktoberfest
Sept 30 – Oct. 2 Prost Oktoberfest
Oct. 6 – 10 Gordon Biersch Brewery Oktoberfest
Honolulu, Hawaii
Oct.14 – 16 Leavenworth Oktoberfest
Oct. 22 Oktoberfest Ocean Shores, WA
Oct. 23 Austrian Club Kennedy School Portland
Nov. 18 or 19 Winefest Liedertafel Harmonie
For scheduling information write: 38572 Park Ave.
Sandy, OR 97055 503-668-7002. Fax 503-668-1058
gsmeier@yahoo.com
Andy Mirkovich
August 13, 2011 Historic Wallace, Idaho
Oct. 7 Oktoberfest Party 7 – 10 PM Whistle Stop
Renton, WA
Oct. 8. Polka Mass then dinner/dance 5 – 9 PM St
Martin of Tours Fife, WA
Oct. 21 Oktoberfest Dinner 6 – 9 PM St Dunstans
Seattle, WA
Full schedule private engagements
Master Classes by appointment: 425-451-1256
Ken Olendorf
Ballard Elks weekly, Sundays 7 – 10 PM
Weekly “casuals”
For scheduling information write
532 - 28th Ave. Seattle, WA 98122 206-325-9245
For scheduling information contact: Toby Hanson
11123 216th St. E Graham, WA 98338 253-875-8580
toby@smilinscandinavians.com
http://smilinscandivanians.com
Dennis Schadduck
China Jade Restaurant 87th & Greenwood Ave. N
Seattle Sunday nights.
Joe Szabo
Fri – Sat. 6:30 – 9:30 PM Nonna Emilia’s Ristorante
Aloha, OR
For scheduling information: 13484 SW Devonshire Dr.
Beaverton, OR 97005 503-641-2313
Syl’s Ya Sure Ya Betcha Band (WA)
Syl’s Arizona Dance Band and Polka Band
Sept. 18 Bruno’s European Café 2 – 7 PM Tacoma
Oct. 1 Sons of Norway Bothel 8 – 11:30 PM
Oct. 7 – 8 Oktoberfest- Deming Logging Show
Oct. 25 – Nov 29 Arizona Schedule
(Jan.- April, Nov. Arizona Schedule, 480-357-2585)
For scheduling: Sylvia Jorgensen, WA contact: 253845-9321, cell 253-678-7682
squeezeboxsyl@yahoo.com, www.fjordsong.com
SVEA Trio
Svea Trio with the accordions. Richard Svensson and
Bjarne Jacobsen
206-523-3245, svea3t@winwins.com
www.
winwins.com/sveatrio/
NW Accordionaires
Contact: Cooksie Kramer 425-828-9104
Most of our professional players keep their current and
updated performance schedules on their web sites.
Advance scheduling is difficult and often fluid. Consult
the contact information and web addresses for up to date
information. Support them when you can.
Murl Allen Sanders
August 21 Cotati Accordion Festival solo performance
Cotati, CA
Oct. 4, 7 PM American Heroes in Concert N. Creek
Presbyterian Church 621 164th St SE Mill Creek, WA
Full schedule private engagements, music projects
and teaching.
fall Quarter 2011
NWAS Deadlines
February 1
May 1
August 1
November 1
43
5102 NE 121st Ave. Unit 12
Vancouver, WA 98682
www.nwasnews.com
Membership Application
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Membership Type:
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44
fall Quarter 2011
5102 NE 121st Ave., Unit 12
Vancouver, WA 98682-6164
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Your membership renewal date is specified on the mailing label. Please assist our volunteer
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To avoid delay and extra cost, send address changes to the above address, or email as soon
as possible. There is a $5 charge to resend undeliverable issues.
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We encourage all individuals interested in supporting, playing, and/or promoting the
accordion to become members.
Membership forms are inside the back cover.
NORTHWEST ACCORDION SOCIETY
Membership
5102 NE 121st Ave., Unit 12, Vancouver, WA 98682-6164
www.nwasnews.com