Texas Folklife Accordion Performance
Transcription
Texas Folklife Accordion Performance
Texas Folklife Accordion Performance Sheet Music Collection Beer Barrel Polka (El Barilito) (Key of C) Cielito Lindo (Key of C) Deep in the Heart of Texas (Key of F) Yellow Rose of Texas (Key of C) El Rancho Grande (Key of G) German Waltz Medley (Key of C) Jole Blon (Key of D) Lili Marlene (Key of C) That’s Amore (Key of C) The Wedding Tarantella (Key of Am) Waltz Across Texas (Key of G) Jambalaya (Key of C) Practice Hints 2 4 6 7 8 10 12 13 14 16 18 19 20 **## ## **## **## ## **## ** ** **## Many thanks to all the assistance received in putting this collection together. Mario Pedone created the background music and organized the written music. Shelia Lee finalized the written music with the help of Debra Peters. Debra created the tablature collection and June Gentry assisted with the inscriptions and words. Dr. Daniel Kott and many accordionists assisted with the proofing of the arrangements and accompaniments. This is truly a product of and for the accordionists in Texas. The performance will be organized like a large jam session. The pre‐recorded background music will begin and you will join in. Remember – there will be SO MANY accordion players – no one will hear any of your personal mistakes! ** Performance at the NAA Accordion Convention in March – will be selected from these ## Performance at the Accordion King & Queen Concert in June – will be selected from these More will be performed if time permits For information concerning the music, background music, or any other accordion question – please contact Shelia Lee, slee@shelialee.com. Music and mp3 files available at www.shelialee.com/naa2009 Texas Folklife 1317 S. Congress Ave. Austin, TX 78704 512-441-YALL (9255) FAX: 512-441-9222 info@texasfolklife.org or call Sarah at 512-441-9255. 1 2 3 Cielito Lindo arranged by Mario Pedone and Shelia Lee Intro j & 43 ‰ œ œ œ œ œ Accordion 2 G7 . & ˙˙ . 6 1 2 3 ˙ ˙ 41 & ˙˙ 31 œ. œ œ C œ œ œ. œ œ. G7 Œ 3 % .. œ œ. 2 3 2 1 51 &œ œ œ ˙ 3 G7 &Œ 21 52 œœ 41 ˙. C œ 2 & œœ. œœ . œœ . &Œ 42 31 26 31 œœ œœ œ œ. œ œ. 51 42 Œ œœ G7 Œ œ. 3 3 œ 42 œœ 1 C œœœ˙ 21 ˙˙ .. ˙ ˙ 2 31 œ œ œ. 3 œœ œœ Œ ˙ œ. Œ G7 41 2 51 œœ 4 3 4 C œ œ. œ 3 œ œ œ œ. 3 œ. 1 3 2 1 œ 21 œœ œœ . 2 41 42 œœ . Œ œ. œ G7 42 œ 2 ˙˙ œ œœ œ˙ 3 Œ 31 œœ 2 C .. œœœ˙ 3 Œ ˙ 42 541 œœœ œœœ œœœ . . . œœ 2 3 2 1 Copy Right 2009 So Good Productions ˙˙ .. Dm 1 2 3 2 1 3 œœ 31 2 Verse C F 31 ˙ ˙ 52 C 16 ˙˙ 41 œ œ 41 1 ˙. ˙. 51 31 Dm 11 4 C œ œ œ œ œ 2 œ 1 2 3 4 Chorus C ˙. & .. ˙ . ˙˙ 51 36 ˙ &˙ œ œ œ œ. œ œ. 51 2 1 46 51 &œ œ &Œ 1 CODA C 54 œ. œœ G7 2 œ. œœ . 4 œ. 2 3 G7 Œ 3 2 1 2 3 31 œœ œœ 2 œ œ. ‰ Œ J 4 œœ 1C 1 2 3 2 1 œ œœœ˙ 21 œœ 3 D.S. al Coda .. 1 C œ œ œ # œ œ. œ. œ. 3 3 œœ . 21 ˙˙ .. œ œ œ ˙ 4 3 42 2 C 2 3 œ œ œ 31 œ 31 œ 3 2 Dm 2 ˙. ˙. 41 ˙˙ .. ˙ ˙ 41 Œ 2 œ ˙˙ .. 31 G7 3 21 ˙ ˙ 52 œ. &œ Dm 31 C 3 41 F œœ 41 Cielito Lindo pg 2 G7 G7 321 œœœ . ˙. j œœ ‰ Œ œ. C 521 Œ Performance Note: Perform the song with all repeats completely 3 times - then take the Coda ending. Copy Right 2009 So Good Productions 5 6 7 8 9 German Waltz Medley 9 Measures Intro & 43 Accordion C œ 2 & 2 3 2 œ. œ. œ. C . &œ 20 26 & 2 œœ G7 42 Œ 521 38 œ. & 5 ˙˙ œ œ ˙ œ 3 œ. 4 Œ œ ˙. 3 521 œ. . œ. œ. 2 Œ C œ 3 œ. œœ ˙ 3 G ˙ 1 ˙˙ .. ˙. œ5. Œ 1 œ œ. ˙. b b ˙˙ .. Gdim ˙. b ˙˙ .. 521 F œ 4 œ. Œ œ. Œ 2 521 10 1 œœ. œœ ‰ Œ œ J 2 531 œ. œ 2 G7 ˙. 1 ˙. 5321 Copy Right 2009 So Good Productions ˙˙ 42 2 C7 ˙˙˙ .. . 5 3 . . œ Œ .. œ œ . 2 531 œ 1 G ˙ 1 ˙ 3 4 œ. œ5 1 œ ˙ ˙ œ. ˙˙ .. 42 2 G7 œ. Œ 5 œ5 1 4 œ. œœ J 1 œ. 2 5 G 2 1 ˙˙ .. ˙. œ. 4 œ. œ. œ . 1 ˙˙ 21 Œ ˙ 1 œ. ˙˙ .. & ˙. 32 œ 421 D7 14 % œ4 œ5 œ4 ˙3 .. ˙˙ .. ˙. 5 &˙ 8 ! arranged by Mario Pedone and Shelia Lee In Munchen Haufbrau Haus C G7 ˙ 2 ˙˙ .. 21 3 œ. ˙ Œ œ. œ 1 44 & 3 C 50 & œ5 œ4 ˙ ˙ œ 56 œ œ3. œ2. & 4 œ ˙ . .œ œ. œ. œ. œ ˙ œ œ œ œ 2 3 & .. ˙ ˙ 68 Œ 31 & œ œœ œ 74 œœ 21 53 42 1 2 3 &œ œ œ G7 & ˙˙˙ ... 80 421 F & ˙˙ ... ˙ 86 1 92 531 C 3 ˙˙ F 2 3 1 C ˙. Œ C ˙˙ .. ˙. C 5 G7 ˙˙ .. ˙. ˙˙ ... ˙ 421 ˙. 3 3 4 .. œ. 3 Dm 1 œ G7 Œ 321 œœœ . Copy Right 2009 So Good Productions 11 ˙ œ 5 F 4 C 531 421 ˙˙˙ ... C7 ‰ j œ œ œ œ. œ. . . . 2 ˙. C ˙˙ .. ˙. G7 3 2 521 2C 2 4 Œ ˙˙ œœœœ œ 3 4 3 2 C œ œ œ 3 ˙ Œ ˙˙ G7 2 œ œ œ 421 2 œ5 2 ˙. ‰ j ˙. œ. œ. œ. œ. œ. ˙˙ .. 1 ˙ 1 21 œ œ5 1 œ 2 Œ 2 ˙. 1 ˙ C7 2 œ 3 C 4 ˙ ˙˙ C 1 Dm 521 5 Œ œ % 21 C Œ .. ˙ . G7 3 ˙4 3 D.S. œœœœ œ ˙˙ œ œ 4 ˙ 3 4 3 2 3 ˙˙ .. 4 5 1 2 31 5 2 4 C 2 & . ˙ 1 œ œ. œ. 1 Du Du Liegst Mir Im Herzen C 62 œ5 1 1 G7 œ3 German Waltz Medley pg 2 G7 ˙2 C7 2 4 œ4 C 1 2 3 G7 2 œ 3 œ œ 5 j œœ ‰ Œ œœ . C 5321 4 1 œ œ Œ 4 12 13 14 15 16 17 18 19 Practice Hints: 1. Review the song for key signature and fingering. 2. Look for the sections and the way sections tend to repeat the chord patterns. 3. Start by playing just the chords – then break the chords up rhythmically 4. Learn a small section at a time – slowly – then match that section to the recordings 5. If you get lost while playing with the recording – just wait until the next section. Even the background music will play the melody for the first few measure of a new section. 6. These arrangements are as true to the original as possible – but as in any arrangement – there are small chord and melody note differences from what you might have played before. For your personal performances – please feel free to make the changes – but for this performance – please stay as close as you can. 7. For the more advanced accordionists – we would like for you to “play off” the melody line – please go for fills and adlibs – this will leave the melody for the intermediate player to excell on. 8. AND remember – with this many accordion players – NO ONE will hear if you mess up – just don’t LOOK GUILTY – Smile and keep going…….. Please practice with the pre‐recorded background music as well as recording of the solo line being played with the background. This will help if you play by ear or need help understanding the layout, style or speed. There is also a tablature version of each song in separate collection (Tablature Collection). Especially written so button box and those that play with the I‐V‐IV methods can join in too. The selections are to learned and possibly memorized (but you can bring a stand and read if need be). There will be NO rehearsal – you are to be comfortable with the songs, even if you just play the chords and know the repeats and layout of the songs. Please feel free to use these arrangements with the beautiful background music for your personal practice and public performances. We just ask that you keep the copyright information in place if you pass the selections on. Better yet – please re‐ visit the website and get this collection for your friends and look into getting more collections we are planning for the future. AND we do take “requests”. Norman Seaton with the National Accordion Association and Nancy Bless with the Texas Folklife Organization have been so supportive in the promotion of this STATE‐ WIDE effort to promote accordion playing and we hope this will be an ongoing relationship. Thank You Shelia Lee slee@shelialee.com 20