Faluen-—Hughes , ACCORDION COURSE InstructionBOOK 2 “Fabwer—ughes ACCORDION COURSE by Bill Palmer and Bill Hughes This book belongs to. My teacher is. I began this boo! ° © Copyright MCMLII by Abad Musin co. Allsights reserved. Prinedin USA. Kok ACF 0/00 32FOREWORD The purpose of this Course is to: 1. Create and maintain interest while promoting thorough understanding and good musicianship. 2. Effectively bridge the gap between the beginner and intermediate stages as smoothly as possible. 3. Sustain the student's interest by offering a selecti of material high in entertainment as well as musical value. NOTE TO TEACHERS The student beginning Book Two of the PALMER-HUGHES Accor- dion Course should be equipped @ 120 bass accordion. This will allow the student to use the review section of Book Two to orient himself to the larger sized instrument. Since no new notes are introduced for the first 16 pages of Book Two, the student will find it very advantageous to use this period to become accustomed to handling the new instrument, without concerning himself with the problems of locating new notes. To use the 12 bass accordion beyond page 33 is impossible, since the student must begin the use of the minor chord at this point. The student who waits until this point to equip himself with the larger instrument will of course be required to review the first part of the book before proceeding onward. Che PublishersSE ee ET Treble Keyboard of 120 Bass Accordion . | Bass Keyboard of 120 Bass Accordion . | Review of Right Hand .... Review of Note Values Review of Grand Staff ... Treble Study ........ Review of Left Hand Drink to Me Only With Thine Eyes . Repeat Signs - Camptown Races - Alternating the Basses ‘The Big Parade The Caissons Go Rolling Along. Come to the Sea Marine's Hymn . Low Notes and High Notes Recognizing Keys by Black Key Groups .. A Higher C Position Speed Drill #1 . Echo Waltz ....... Expression Marks Accent Marks .. Vive L'Amour (1st Part) .. Vive L'Amour (2nd Part) .... ing Review . Note Re wanane 10 2 2 4 16 "7 "7 18 18 =-20 -20 21 ‘She ‘Sharps, Flats and Naturals ‘Over the Waves . Cresson and Deoresugndo The Octave Sign Introducing Eighth Notes ‘Speed Drill #2 Golden Slippers The Major Scale Key Signatures Chiapanecas Introducing Dotted Quarter Notes Country Gardens Introducing Minor Chords Minka . The Merry Widow The Glissando ‘Speed Drill #3, Introducing the Seventh Chord . La Donna e Mobile County Fair Arabian Enchantment The Hold Sign (Fermata) Introducing High A, B, C The Two Octave C Scale Speed Drill #4 .. Arkansas Traveler Danube Waves Matching Test Certificate of Progress ll Be Comin’ Round the Mountain ReteeeereeieeseseeesessesResenTREBLE KEYBOARD Of the 120 Bass Accordion TREBLE CLEF SIGN MEANS PLAY ON TREBLE KEYBOARD. TREBLE KEYBOARD OF THE 12 BASS ACCORDIONBASS KEYBOARD Of the 120 Bass Accordion BASS CLEF SIGN MEANS PLAY ON BASS KEYBOARD AIR BUTTON BASS KEYBOARD OF THE 12 BASS ACCORDION MAJOR CHORD ROW BASS (FUNDAMENTAL) ROW The selections in this book are to be played with full register in the bass, or with any other appropriate bass shift the teacher may recommend.REVIEW OF THE RIGHT HAND ee TREBLE KEYBOARD OF 120 BASS ACCORDION - - - - - - -, 1 T Pee KEYBOARD OF 12 BASS ACCORDION ' ae REVIEW OF RE VALUES 2-QUARTER REST -ONE COUNT = =HALF REST - TWO COUNTS "WHOLE REST -REST A FULL MEASURE OR FOUR COUNTS. RIGHT HAND FID | REVIEW OF NOTE VALUES | 1 A QUARTER NOTE @ gets ONE count. | | A HALF NOTE 6, gets TWO counts. | A DOTTED HALF voted. gets THREE counts. | [A WHOLE NOTE © gets FOUR counts. | THE GRAND STAFF: THE TIME SIGNATURE: Es Tar] [BAR [ Upper number indicates |] gy | Bt MINE} LINE {- FOU te ~ ft er number indicates - 2 | UARTER NOTEL-kMeasuretMeasure Sone count ————TREBLE STUDY: : PLAY and COUNT: 12 3 1. 2 3 — REVIEW OF THE LEFT HAND CM CM = Notes Written Above The c a volun) Middle Line Are Chordspx— ff —F— SP ne Notes Written Below The 2— ——H s \ ie M ine Are Basse: | Sag le Line Are Basses WS 4 [EBB 40 \ A808 a oS? OKO LEFT HAND FINGERING @ OlX O ¢ ¢MCM oO O O oO Oo y+ ee oe oe a ) FINGERING: 3 2 3 O ® @lC wa 3 5@ 2526 G GMGM La &) = — = A GjO SO O80° So) AOC OF PMFM : Oo = — a Res] THE REMAINING BASSES COVERED IN BOOK KE’ ONE WILL BE REVIEWED IN THESELECTIONS REE BOA TO FOLLOW.DRINK TO ME ONLY WITH THINE EYES Moderately slow ENGLISH AIR 3 - == 5 CLARINET Mf *TIED NOTES. *A curved line —— joining two notes on the same line or space is called a TIE. TIED notes are HELD DOWN for the time value of both notes, NOT REPEATED.CAMPTOWN RACES Moderately fast ‘ “Stephen C. Foster Camp-town la-dies [sing this song doo-dah! doo- dah! IANDONEON M o Camp-town race-track’s| five miles long 2 2 5 Gon-na run all | night! Gon-na run all | day! 2 = Camp-town la-dies |sing this song All the doo-dah | day! 2 2 M meee mars ae ss ee The double dots inside the double bars indicate that everything between the double bars must be REPEATED. REPEAT SIGNSALTERNATING THE BASSES WIHIE IBNG: IPAMIR AMIDE (March) March time Palmer-Hughes 3D.C.al Fine M D.C. al Fine: abbreviation for "DA CAPO al Fine”. Repeat from the very beginning of the selection and play to the word FINE (end)." THE CAISSONS GO ROLLING ALONG o ,ACCENTS: Every measure of music should have a slight ACCENT on the | first count. This is produced by applying more pressure to the | bellows. This is especially true of pieces of a rhythmic nature, | such as marches, polkas, waltzes, etc.COME TO THE SEA AY (VIENI SUL MAR) NY A curved line —— placed over two or more different notes is called a SLUR. SLURS divide the music into PHRASES (musical sentences) and indicate that the notes are to be CONNECTED SMOOTHLY.MARINE'S HYMN Cimeans “comman time” - (the same as time) Acie An 135 4 ED sanvonzos15Some notes sound Low, some sound High. Can you tell the difference? Play and Listen The Highest notes are those p — Written Highest on the staff : Treble Higher still Chords sound Higher M Basses are Lowest RECOGNIZING KEYS BY BLACK KEY GROUPS Notice that the treble keyboard has groups of TWO BLACK KEYS and groups of THREE BLACK KEYS. 3 8 Cc 18 There are three C’s on your treble keyboard. Fach C is to the LEFT of the TWO BLACK KEY GROUP! Find all the C’s on your keyboard! What note is to the LEFT of the THREE BLACK KEY group? . How many of these notes are on your accordion? . . Find them all on your keyboard! What note is to the RIGHT of the TWO BLACK KEY group? . . What note is to the RIGHT of the THREE BLACK KEY group? . What two notes are in the MIDDLE of the THREE BL ACK group?. . FIND ALL OF THESE NOTES ON YOUR KEYBOARD.cert te Cuz h@ Slee @ NI SPEED DRILL NO. 1 From this point on we will have speed drills. They should be practiced daily. These are very famous exercises. They were written by C. L. Hanon, and are used by the finest musicians in the world to develop speed and tec hnique. Start all speed drills very slowly, then gradually increase speed. Be sure that each note is clear and distinct18 Moderately slow Franz Behr oF ee (adapted) ) BANDONEON “EXPRESSION” MARKS: J (forte)s LOUD P(piano)-SOFT mf (mezzo-forte) - moderately loudM M For class work, the class may be divided into two groups, Group A and Group B. Measures marked “A” are played by group “A”; measures marked “B” are played by group “B”. Measures marked “AB” are played by both groups.fk 3 ae ee Wi ~~ a cinsron VIVE L? AMOUR SOLO PART: (HOORAY FOR LOVE!) COLLEGE SONG p05 5 4 ene ir (first time 1'2.(second time 4 only) 2 only) ag 5 ¥ACCENT MARK “Notes marked WITH ACCENT MARKS receive special emphasis. This is produced by applying greater pressure to the bellowsa VIVE L’AMOUR (SECOND PART) a 2 COLLEGE SONG @ ou SF 1. first time oply ''2-second time only’ NOTE READING REVIEW Lines: -_ __ Spaces: i = 7 ; SS ——— | ee ° oo = Cf G B DF D F A C E G PLAY all of the following notes, saying the name of each note ALOUD, then write the name under each note: 138 135 14 1 BE CAREFUL! Watch for traps! feos: 1 jo 3 B35 4 32 4” SHE’LL BE COMIN’ ROUND THE MOUNTAIN | cas *DOUBLE NOTES Lively 2, | _ 2 7 SE f age + © She'll be |com-in’ ‘round the|moun-tain when she|comes, HONK! HONK! She'll be Bano. J* M 2 as eel +. EIEe = a = =| 3 ——s = - 5 5 4 5 oa ’round thé} moun-tain when she | comes, HONK! HONK! She'll be ee the |moun-tain, She'll be |com-in’ *round the |moun-tain, She'll be com - in’ ‘round the moun-tain when she comes. nm HONK! M mee ene eS EXTRA VERSES: 2. She’ll be drivin’ six white horses when she comes, WHOA! HOSS! (etc.) 3. We will all go out to meet her when she comes, HI BABE! 4. She'll be wearin’ her red flannels when she comes, SCRATCH! SCRATCH! 5. We will kill the old red rooster when she comes, CHOP! CHOP! 6. We will all have chicken dumplin’s when she comes, YUM! YUM! 7. She will have to sleep with Gran’ma when she comes, (snore-whistle). 8. She'll be comin’ ’round the mountain when she comes, HONK! HONK! * == A two note chord, sometimes called “double notes”. Strike the two keys TOGETHER.# SHARPS, bFLATS, and { NATURALS The distance from any treble key to the very next key. right or left, black or white, is a HALF STEP. TWO half steps make a WHOLE STEP. ube] [HALE] [HALF] [HALP step} | s' STEP. Th j is /A\_h\ \ /\ WHOLE | ONE STEPS |BET A SHARP(#)RAISES the note a half step. Play the next key to the RIGHT. A FLAT(b)LOWERS the note a half step. Play the next key to the LEFT. A NATURAL (§) CANCELS a previous $ orb, \ natural is ALWAYS a WHITE KEY Locate the following notes on the Keyboard: bo bo be ao—to SoBANDONEON _M —— 2S et SEES == M _ yy * - ci BS 7 Z = 4 ———= (Crescendo) gradually LOUDER. ===— (Decrescendo) gradually SOFTER.* 8va (OCTAVE SIGN). All notes under this sign should be played one octave (eight notes) higher.)$INTRODUCING EIGHTH NOTES 7 These are EIGHTH NoTES 0 JQ When one eighth ncte appears alone, it looks like this: ) or 9 When two or more eighth notes appear together, they look like this: dda | AN EIGHTH NOTE is HALF as long as a quarter note. Play TWO EIGHTH NOTES to ONE COUNT. IMPORTANT! After you master the above exercise, practice it with ALTERNATING BASSES. SPEED DRILL NO. 2 5 4 Sera kersea aoe 227 GOLDEN SLIPPERS Moderately fast J. A. BLAND jeceues 7% aut wm] S Oey them|gold-en slip-pers!| Oh, — them|gold-en slip-pers!|Gold-en slippers I’m| M M fe ee yo © == re gon-na wear, be-cause they look so| neat. Oh, them|gold-en slippers!}Oh, them| M M gold-en slippers jGold-en slippers I'm) gon-na wear to. Jwalk the golden |streat, M M7 THE MAJOR SCALE A major scale is a series of EIGHT notes in ALPHABETICAL ORDER. You have already played the C MAJOR SCALE: E oI G A tH} B f / STEP } WHOLE||WHOLE | | HALF WHOLE || WHOLE || HALF STEP || STEP | | STEP STEP || STEP || STEP | WHOLE | Notice that the scale above can be divided into two parts, each having the same pattern: WHOLE STEP- WHOLE STEP — HALF STEP. We call these parts TETRACHORDS. [st Tetrachora 2d Tetrachord ———, t = 2S = a = WHOLE STEP The two tetrachords are separated by a WHOLE STEP. A MAJOR SCALE may be built starting on ANY NOTE, black or white. Using the TETRACHORD pattern, write a MAJOR SCALE, starting on G: (Ist Tetrachord ———_,_ —>—— 2nd Tetrachord —————, WHOLE / STEP. WHOLE] [WHOLE] | HALF WHOLE] [WHOLE | | HALF STEP. STEP. STEP, STEP. STEP STEP Write a MAJOR SCALE, starting on F: e CHECK: Are the notes in alphabetical order?KEY SIGNATURES 29 The KEY of C MAJOR: A piece based on the C MAJOR SCALE is in the KEY OF C MAJOR. Since there are no sharps or flats in the C scale, any sharps or flats occuring in a piece in the KEY OF C MAJOR are called ACCIDENTALS. 1 pane The KEY of G MAJOR: A piece based on the G MAJOR SCALE is in the KEY OF G MAJOR. Since F is sharp in the G scale,every F will be sharp in the key of G major. Instead of making all the F’s sharp in the piece, the sharp is indicated at the beginning, in the KEY SIGNATURE-Sharps or flats shown in the KEY SIGNATURE are effective throughout the piece. Key Signature: piFH) The KEY of F MAJOR: A piece based on the F MAJOR SCALE is in the KEY OF F MAJOR. The key signature is ONE FLAT (Bb). If sharps, flats, or naturals not shown in the key signature occur in the piece, they are called ACCIDENTALS ACCIDENTALS are effective only for the measures in which they appear The three scales shown above should be practiced every day Students who do this should have little difficulty playing selections written in C MAJOR, G MAJOR, and F MAJOR30 Key of F MAJOR] Key Signature ONE FLAT (Bb), Play all “B’s” Flat, throughout. ] Brightly 2 @ nf BANDONEON ee eas eee ese oeS CHIAPANECAS MEXICAN HAND-CLAPPING SONG TRADITIONAL lye"NATURAL] [2. (and time only) 1 | 1, 2 1 > >32 INTRODUCING DOTTED QUARTER NOTES A DOT increases the length of a note ONE-HALF! d. = J d= 3 COUNTS oe: = Je) 1% COUNTS PREPARATORY DRILL: The only difference in 2 zee - —— the following three measures and those : directly above them isthe way they are written. They should sound the SAME.COUNTRY GARDENS Key of C MAJOR Key signature No SHARPS, No FLATS ENGLISH FOLK DANCE \ Moderately fas 5 543 3 2 213 34 5 41 2 & 38 24 oF a @a M M M M 13 3 5 45 432 se 5 2 M meee Oe es OEE eS * f-P = Forte the first time, piano the second time. ee“INTRODUCING MINOR CHORDS lesnoe nia The row of buttons just after the major chord ~ FO © _ row iscalled the MINOR CHORD ROW. Oxo MINOR CHORDS are indicated by a small Oo S © oO oO “mm” over the note. OK @zZO 22 22 see 52 @®850 fa SS pate] O%G E50 ork 3 68 a2862 0% @852 Ole 08 685° @ oO Moderately Slow TRADITIONAL 2 Ree ne feeeseeoeee Dar Tw BANDONEON 3g (f ALTERNATING BASSES WITH MINOR CHORDS M mTHE MERRY WIDOW Key of F MAJOR WALTZ Key signature ONE FLAT (BS) 7 FRANZ LEHAR y Slow Waltz time nn 12s eet ae ees 2 M + Gliss: Abbreviation for the word “GLISSANDO”, which means “SLIDING” Using the nail of the third finger, slide over all of the white keys between the two notes indicated.36 SPEED DRILL NO. 3 5 (eee ge peta eee eee Sea 2 ae The row of buttons just after the minor chord row is called the SEVENTH CHORD ROW. SEVENTH - O CHORDS are indicated by the figure “7” over the Ol pe note nee “x ose®o OK a® ®2 elo One® a®@ OBE qBO Ope SO © O O ® @2820 On8 A® OC HLOd C@egO ORO O™~= 1 A DONNA E MOBILE ignature | Mode fa G. VERDIKeyor Key Signature (VARSOUVIANA) Moderately fast FOLK DANCE a 12 a et ers (2 & wu39ARABIAN ENCHANTMENT (SCHEHERAZADE) Key of Key signature: Moderately slow RIMSKY-KORSAKOFF eel 2 3 @ cane4 SE 7 HOLD SIGN (Fermata): This sign indicates that the time value of the note is lengthened (approximately twice its usual value}.42 INTRODUCING A, B, and C ABOVE THE STAFF ov To write notes above and below the staff, we use short ADDED LINES, called LEGER LINES. The Two Octave C Scale: This scale should be practiced DAILY. oe ie ee ee SPEED DRILL NO. 4 coKey of Key Signature: Lively 43 ARKANSAS TRAVELER SQUARE DANCE 45432 1 D.C.al FineWaltz Time 1 Dp sanboxeon |To next strain iz. 312 38 Ifa. sva | Fine TTR womGRADE_ MATCHING TEST Hold Sign (Fermata) Tied Notes Slurred Notes Repeat Signs Accent Mark Quarter Rest Whole Rest Half Rest Same as 4/4 Time Key Signature of G Major Key Signature of F Major Raises a note 1/2 Step Lowers a note 1/2 Step Cancels a Sharp or Flat Loud Soft Pattern of a tetrachord Crescendo (Gradually Louder) Decrescendo (Gradually Softer) Gradually Slower Sliding Shift markings Eighth Notes Gets one and one-half Counts Play one Octave Higher Than Written |. Ritard . Glissando — 2. 3. 4. 5. 6, Common Time 7. 8. 9. 0. Whole Step- Whole Step - Half Step 15. One Sharp (F#) 16. oN w= 1. J 19. 20. = 21. One Fiat (Bp) 22. 4 23, ——— 24, 2 25. = _. {Score 4 Points for each correct answer. Passing Grade is 80.)Certificate of Promotion This Certifies that has mastered and perfected Book 2 of the Palmer-Bughes Accordion Course and is hereby promoted into i Book 3 of the Palmer-Buyhes Accordion Course ¢ Teacher,| ACCORDION PUBLICATIONS eed SRC CHC E MOI mCran iC ACE Riese CELUI eee TLRS COT which enables the teacher to present a flexible program FORMU CCU Re Er eS UTC 8 Palmer-Hughes Palmer-Hughes PREP ACCORDION COURSE ACCORDION COURSE The Palmer ages Prep Acron Course 500% 1A This comprehensive mead of muse in Connsthesame mata asthe aeargon ROOK TB Stun tonnes tobe the leader Ina Course, but develops more sony. Der BOOK 2A corion eduction, Designed {0 provide a Sine or younger ttets od those wo BOOK 28 thorugh musi background, bis Course en puter a swe pce, te feather can row BOOK 3A soles the bese fo poess fan 86 tae into consideration the age and sity BOOK 38 anced stage of musa sil poplaty Gf each stent and ove (ft win one BOOKA withthe eather senancd by he scope of Unie teaching progam. Most important, BOOK 4B Supplementary mateal ralbleths the you cansuth fam enecouse tte ther —— BAND BOOK tester an ofr a flenblepopam to ft any tine! SCORE Teneedf ech tdent. You can SWITCH fi ACCORDION ‘COURSE . ~ — rccoroonStne: Se / Ga / / w — / nee . = fA. / Se a Sa’ ee : 4 4B teed Publishing Co, Ine. « P.O. Box 10003 il iil 3081 16320 Roscoe Ble. « Van Nuys, CA 91410-0003, ‘winwallredpub.com foo