Master the Accordion Workshops PH Book 2 ‐ Session 11...

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

1

Palmer&HughesBook2–Session11

InstructionandCompanionMaterial

PresentersSheliaLee&MarkRopel

MastertheAccordionWorkshops

Sponsoredby

5013(c)Non­Profit

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

2

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

3

Session11Duringoneofyourpracticesessionseachweek–pleaseGRABatleastoneormoredrillsANDoneormoreScales.Thisway–youwon’thavetodoallthedrillseverypractice–butwillHITthematleastonceeachweek.

ReviewofDrillso Full“AllWhite”block&Arpeggios(1+3+5+1)o Full“AllMAJOR”block&Arpeggioso C,G,F,D,A,&BbScale–FullOctaveso MajorthenMinorChords–AllWhite.Blocktheminrhythmic

pattern.RolltheminrhythmicpatternSong#11­PHBook2–GoldenSlippersCompanionSongs:

1. ISawMommyKissingSantaClaus2. PufftheMagicDragon3. Ramblin’Rose4. Smile

LearnChromaticScaleMoreEighthNotes&DoubleNotesLearnMorePhrasing(detachedandlegato)MoreLeadLineMusic

Let’sGetStarted: Step1.PlayFirst

Perform3favoritesongstowarmup PlayatperformancespeedwithNOSTOPSFORBOO‐BOOs

Step2.Theory–ReviewofKeySignatureandAccidentals

TechniqueDrill#6ReviewPLUSNewTechniqueDrill#11• StartSlowandEven• Playeachsectiontwice–LegatoandDetached• Watchforkeysignature&accidentals(#’s&b’snotinthekey

signature ReviewotherTechniqueDrillsateachpracticesession

Review8thNotesandSpeedDrill#2fromPH2

• Practice8thNoteexerciseandSpeedDrill#2–Legato&Detached

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

4

& # # 44 œ œ œ œ1 2 3

œ œ œ œ œ œ œ œ3 1 2

œ œ œ œ1 2 1

œ œ œ œ4 œ œ œ œ œ œ œ œ4 1

& # # # # #8 œ œ œ œ2 1 4 3 œ œ œ œ œ œ œ œ2

œ œ œ œ2 1 3 2

œ œ œ œ3 1

œ œ œ œ2 3 5 1

& # # #14

œ œ œ œ1

œ œ œ œ œ œ œ œ3 1 1 œ œ œ œ3 1 œ œ œ œ3 4 3 œ œ œ œ

& # # # nnnbb20 œ œ œ œ5 œ œ œ œ œ œ œ œ œ œ œ œ3 1 3 œ œ œ œ4 œ œ œ œ2 1 2 1 œ œ œ œ

2 3 5 1

& bb27

œ œ œ œ4

œ œ œ œ1

œ œ œ œ4

œ œ œ œ3 2 1

œ œ œ œ3

œ œ œ œ2 1 2 1

œ œ œ œ3

& bb34

œ œ œ œ2 2 1G

œ œ œ œ2 1 2

œ œ œ œ1 3

œ œ œ œ1 2

œ œ œ œ1 2 4

œ œ œ œ3 1 2 3 œ œ œ œ4 3 2 1

Technique Drill #6

© 2010 So Good Productions

Shelia LeeD Drill

A Drill

Bb Drill

Speed, Technique, and Reading Drill

Based on the D Major Scale

Based on the A Major Scale

Based on the Bb Major Scale

(RULE: if one note in the measure is marked with a # or b -

all notes after in that measure will also be # or b)

SqueezeSqueeze

All Fs & Cs will be Sharp

All Fs, Cs, & Gs will be sharp

All Bs & Es will be Flat

Squeeze

When the key changes

in a song - you will see

the old key naturaled

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

5

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

6

Step3.NewSongTechnique­Block/Absorb/Vertical

o GoldenSlippers Shift–Useamiddletostartthesongandseehowyouusetherestattheendofline2toshifttoamiddleandlowshift.(hittheshiftjustlikeitwasaNOTEonthe4thcount!)

Block/Absorb/Vertical

• NoticethatsomesectionshaveNOphrases(playdetached)andothersarelegato(withslurline)

• WatchforPhraseEndings–LiftyourHand• Dynamics‐mf(mezzoforte–MediumLoud)tostartandf(forte–Loud)inlastsection

Vertical• Watchfor8thnotealignmentbetweenRH&LH

• AlternateBasses

StartatLast4Measures• Playdetached(noslur)(Middleandbottomreedshift)

• Noticelastmeasurehasonly3counts(allowsforyoutorepeatandusethepickupnoteascount4)

• Ifyourepeat–shiftbacktomiddlereed(toshifteasily–holdlastnoteonlyfor2countsandshiftoncount3WITHthetogetherbass&chord)

KeepBackingupin4Measuresections

• Blockhandpositions• Continuetoplaytotheend

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

7

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

8

& 44 œ œ œb œ1 2 3

œ œ œ œ œb œ œ œ3 1 2

œ œ œ œ1 2 1

&5

œ œ œb œb4 œ œ œ œ œb œ œ œ4 1 œ œ œ œ

2 1 3 2

& œ œ œ œ œ œ# œ œ#1 3 4 3 œb œ œ# œn

4 3 2 1

& #12

œ œ œ œ3 3 1

œ œ œ œ2 3 5 1

& #14

œ# œ œb œn2 1 2 3

œ# œ œb œ2 1 2 3

œ œb œn œb1 2 3 4

œ œb œn œb1 2 3 4

œn œ# œ œb1 2 3 4

œn œ# œ œb1 2 3 4

& #20

œ œ# œ œb1 3 1 3

œ œn œ# œ1 2 3 1

œb œn œb œn2 1 2 1 w2

Technique Drill #11

© 2010 So Good Productions

Shelia Lee

Speed, Technique, and Reading Drill

Chromatic Scale:

RULE: if one note in the measure is marked with

a # or b - all notes after in that measure will also be # or b

A progression of HALF STEPS

Accidental - any sharp, flat

or natural that is marked and

NOT in key signature

RULE: A Measure bar CANCELS

accidentals

Full Chromatic Scale C to C

(E# - same as F)

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

9

Step4.Read2NewSongs(Sight­Read)

o ISawMommyKissingSantaClaus PlayLefthandFirst–watchforEm,andB7(aboveE)alternateswithF#‐thebassabove

BLOCK(KeyofC)–Doublenotehandpositions• Blockouthandmoves• Spotalltheaccidentals• Legato­Liftattheendofeachphrase

Vertical• Watchwherecountshit–veryfew8thnotesandonlyonedottedQuarterNote

Then–playbothhands–withNOSTOPS

o PufftheMagicDragon

BLOCK(KeyofF)• PlayLefthandFirst–watchrepeatingpatternofF‐Am‐Bb–HINT–placeyourLHwristhalfwaybetweenBb&Am–“reachupandreachdown”

• BASSHINT–whenmovingacrosslargegapsinbasses–SLIDEyourfingersoverthebassrowandCOUNT–don’tblindlyjump!

• Blockrighthandpositions

Vertical• Watchwherecountshit–veryfew8thnotesandonlyafewdottedQuarterNotes

• Watchfor8threst–pretenditisanote!

Then–playbothhands–withNOSTOPS

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

10

&

?

44

44.˙ œ

I saw

œ œœ

œCM

A

œ œ œ œMom my kiss ing

œ œœ œA m

..˙̇ œœSan ta

œ œ œ œEm

..˙̇ ŒClaus,

œ œœ

œA m

- - -

&

?

5

œ œ œ œun der neath the

œ œœ

œCM

œ œ œ œmis tle toe last

œ œœ

œw

night.

œœ œ œG 7

˙ Œ œShe

œœ œ œ

- - - -

&

?

9

œ œ œ œ#did n't see me

œœ œ œ

..˙̇ œ œcreep down the

œœ œ œ

œœ œœ œœ## œœstairs to have a

œ œ œ œCM C dim

˙̇ Œ œpeek, she

œ œœ

œCM

-

&

?

13

œ œ œœ# œœthought that I was

œœ

œœD 7

œœ# œœ## œœ œœ#tucked up in my

œœ

œœ

œ œ œ œbed room fast a

œ œœ

œG 7

..˙̇ œsleep. Then

œ œœ

œ- -

I Saw Mommy Kissing Santa Claus

© 2010 So Good Productions

arr. by Shelia Lee

Words & Music by

Tommie Connor

51214

2

2

1 2

1

5 2 1 1 2 5

42

14 4

2

3

1

2

14

2

4

2

4

2 54

2

3

1

3

11

1

2

2

1 3 1 3 2

1

5

If the double notes prove too hard,

Play top note ONLY.

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

11

&

?.˙ œ

I saw

œ œœ

œCM

B

œ œ œ œMom my tick le

œ œœ œA m

..˙̇ œœSant ta

œ œ œ œEm

..˙̇ ŒClaus,

œ œœ

œA m

œ œ .œ jœun der neath his

œ œœ

œCM- - - - -

&

?

22

œ œ œ œbeard so snow y

œ œœ

œC 7

wwhite.

œ œ œ œFM A 7

˙ ‰ œ# œ œOh,what a

œœ œ

œ ŒDM

œœ œœ œœ œœlaugh it would have

œ œ œ œFM

-

&

?

26 ..˙̇# œ#been, if

œ œœ#

œB 7

œ œ œ œ œDad dy had on ly

œ œœ œCM A 7

˙ œ œseen Mom my

œœ

œ œD m

G 7

œ œ œ œkiss ing San ta

œ œœ

œCM

- - - - -

&

?

..

..

30 ˙ ˙Claus last

œœ

œ œD 7 G 7

1.wnight.

œ œœ

œCM

˙ Ó

˙̇ ˙̇G 7

2.wnight.

œ œœ

œCM

œ œ œŒ

œœ œœœœ Œ

CM G 7 CM

I Saw Mommy Kissing Santa Claus 2

1 5

2 1 2 3

14

1

4132145

33

1

4-12

5

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

12

&

?

b

b

44

44

..

..

œ ‰ jœ œ œPuff the mag ic

œ œ œ œFM

A

˙ ˙drag on

œ œœ

œA m

˙ œ œlived by the

œ œœ

œBbM.˙ œ

sea and

œ œ œ œFM

- -

&

?

b

b

5

œ œ œ œfrol icked in the

œ œœ

œBbMœ œ œ œ œau tumn mist in a

œ œœ

œFMD m

œ œ œ œland called Ho nah

œ œœ

œG 7

wlee.

œœ œ œC 7

- - - -

&

?

b

b

9

.œ jœ œ œLit tle Jack ie

œ œ œ œFM

˙ ˙Pa per

œ œœ

œA m

œ œ œ œloved that ras cal

œ œœ

œBbM.˙ œ

Puff and

œ œ œ œFM

- - - -

&

?

b

b

13

œ œ œ œbrought him strings and

œ œœ

œBbMœ œ .œ jœ

seal ing wax and

œ œœ

œFMD m

œ œ œ œo ther fan cy

œ œ œ œG 7C 7

˙ ˙stuff Oh!

œ œ ˙̇FMC 7

- -

Puff, The Magic Dragon

© 2010 So Good Productions

arr. by Shelia Lee

Words Leonard Lipton

Music Peter Yarrow

2. Together they would travel on a boat with billowed sail

Jackie kept a lookout perched on puff’s gigantic tail,

Noble kings and princes would bow whene’er they came,

Pirate ships would lower their flag when puff roared out his name.

3. A dragon lives forever but not so little boys

Painted wings and giant rings make way for other toys.

One grey night it happened, jackie paper came no more

And puff that mighty dragon, he ceased his fearless roar.

4. His head was bent in sorrow, green scales fell like rain,

Puff no longer went to play along the cherry lane.

Without his life-long friend, puff could not be brave,

So puff that mighty dragon sadly slipped into his cave.

4 1 3

2 1 2 4

3

2 2 4

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

13

&

?

b

b

œ ‰ jœ œ œPuff the mag ic

œ œ œ œFM

B

˙ ˙drag on

œ œœ

œA m

˙ œ œlived by the

œ œœ

œBbM.˙ œ

sea and

œ œ œ œFM

- -

&

?

b

b

21

œ œ œ œfrol icked in the

œ œœ

œBbMœ œ œ œ œau tumnmist in a

œ œœ

œFMD m

œ œ œ œlandcalled Ho nah

œ œœ

œG 7

wlee.

œœ œ œC 7

- - - -

&

?

b

b

25

œ ‰ jœ œ œPuff the mag ic

œ œ œ œFM

˙ ˙drag on

œ œœ

œA m

˙ œ œlived by the

œ œœ

œBbM.˙ œ

sea and

œ œ œ œFM

-

&

?

b

b

..

..

29

œ œ œ œfrol icked in the

œ œœ

œBbMœ œ œ œ œau tumn mist in a

œ œœ

œFMD m

1, 2, 3.

œ œ œ œland called Ho nah

œ œ œ œG 7 C 7

˙ ˙lee. Oh!

œ œ ˙̇FMC 7

- -

&

?

b

b

334.

˙ ˙land called

œ œœ

œG 7

˙ ˙Ho nah

œœ œ œC 7

wlee.

œ œ œ œFM

œ Œ Ó

œœ Œ Ó- -

You'll Never Walk Alone2

3

1 2 4

3

1 2 4

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

14

Step4.Read2NewSongs(LeadLineStyle)

o Ramblin’Rose&Smile LeadLine–Reviewthebasses(GuitarCues)

• NC–Means–NoChord–playnobasses• AlternateallbassesandalternateFIRSTwhenplaying7thchords

• F/A–means–playFMchordandinsteadofFbass–playtheletterfollowingtheSLASHasthebass–inthiscase–itistheCounterbassofF

• Fdim­fornowDON’Talternateondiminishedchords

• WhenchordcuesarenotatedinameasurewherethereisNORightHandNotes–atleastHoldtheBass&Chordforthevaluenoted.Thentrytoaddthechordintherighthand

SightReadingRules• Afterreviewinglefthand–blockhandpositionmoves

• Lookfor“goofy”countsthatcouldmesswiththelefthand“placement”orcounts

• Playwithoutstoppingforboo­boos

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

15

& 44 ˙ ˙Ramb lin'

wrose

G 7

˙ œ œramb lin'

wrose

C

˙ œ œwhy you

&6 ˙ ˙

ram ble

D 7 ˙ œ œno one

wknows

G 7 ˙ œ œwild and

C 7 ˙ ˙wind blown

F

&11

˙ œ œthat's how

˙ ˙you've grown

C

˙ œ œwho can

˙ ˙cling to

D m

œ œ œ œa ramb lin'

G 7

&16

wrose?

C

œ Œ œ œRam blin'

wrose

G 7A

˙ œ œramb lin'

&20

wrose

C

˙ œ œwhy I

˙ ˙want you

D 7 ˙ œ œheav en

wknows

G 7

&25 ˙ œ œ

tho' I

C 7 ˙ ˙love you

F

˙ œ œwith a

˙ ˙love true,

C

˙ œ œwho can

&30

˙ ˙cling to

D m

œ œ œ œa reamb lin'

G 7 wrose.

C œ Œ Ó

Ramblin' Rose

© 2010 So Good Productions

arr. by Shelia Lee

NC

NC - No Chord

means do not play any

Bass or Chord

NC

NC

Noel Sherman &

Joe Sherman

51 3 2-12 5

3 1

1 3 2 1 2 1-3

2 5

1 5

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

16

& b 44 ˙ œ œSmile,

Light

though

up

your

your

F

œ œ œ œheart

face

is

with

ach

glad

ing.

ness.

˙ œ œSmile,

Hide

e

ev

ven

'ry

œ œ œ œthough

trace

it's

of

break

sad

ing.

ness,

& b5

˙ œ œWhenAl

therethough

area

F/A

˙ œ œclouds

tearin

maythebe

F dim

˙ œ œsky,

eyou'llver

getso

G m

˙# œ œby.

near.If

That'syouthe

D 7

& b9

˙ œ œsmile

time

through

you

your

must

G m œ œ œ œfear

keep

and

on

sor

try

row,

ing,

˙ œ œbsmile

smile,

and

what's

may

the

Bbm œ œ œ œbe

use

to

of

mor

cry

row,

ing.

Eb

& b13

˙ œ œyou'll

You'll

see

find

the

that

F

œ œ œ œsun

life

come

is

shin

still

ing

worth

.˙ œthrough

while,

for

if

G m

& b ..16 1.

.˙ Œyou.

C 7

!

G m C 7 2.

˙ ˙you'll just

C 7

wsmile.

F

.˙ Œ

Smile

© 2010 So Good Productions

arr. by Shelia Lee

Charles Chaplin, Geoffrey

Parsons& John Turner

53 3

2 1 2 2 1

3 3

1 2 3 1

5 5 3

MastertheAccordionWorkshops PHBook2‐Session11

HAPi*1547S.RicheyRd.,Pasadena,TX77550*281‐780‐8656*slee@shelialee.com

17

Step5.CoolDownSectiono Play3EasyTones–canbesame3youstartedwitho EndonesongwithaGlissandotoaMajorChord(1­3­5)o EndAnotherwithaRollOverorRollingArpeggioso AddabasssoloatphraseendingortheendwithaArpeggio

MusicNotebookYouhave46SongsinyourEASYTUNEsectionofyourRingBinderandyoushouldbepracticingthemALLforyourFUTUREWARMUPorCOOLDOWNTUNES.

1. QueSera,Sera2. DeColores3. Du,DuLiegstMirImHerzen4. CamptownRaces5. WhentheSaintsGoMarchingIn6. CavallitoBlanco7. ThisLandisYourLand8. Jambalaya9. BigParade10. InHeaventhereisNoBeer11. WearingoftheGreen12. RockyTop13. YouAreMySunshine14. CaissonsGoRollingAlong15. WhiteChristmas16. VieniSulMar17. WingsofaDove18. Hofbrauhaus19. TheWildColonialBoy20. I’mAYankeeDoodleDandy21. BlueChristmas22. JingleBells(ALL)23. OhMyPaPa24. BambooFlute

25. MarinesHymn26. AmazingGrace27. ElPaso28. TheLittleCafébytheHarbour29. DeepintheHeartofTexas30. MacktheKnife31. You’llNeverWalkAlone32. JesusLovesMe33. ViveL’Amour34. Sugartime35. Edelweiss36. Rockin’AroundChristmasTree37. Don’tBeCruel38. NorwegianWood39. AwayinaManger40. WeWishYouaMerryChristmas41. OvertheWaves42. ISawMommyKissingSantaClaus43. PufftheMagicDragon44. Ramblin’Rose45. Smile46. GoldenSlippers

CONGRATULATIONS!

YouhavenowcompletedSession#11Remembertofollowthesestepsforeachofyourpracticesessions:

1. WarmUp‐Starteachpracticesessionwithyourfavorite3songs2. TechniqueBuilder–doadrillor2–likeascale,speeddrill,chordstructure

(Chordsonly–accompaniment)ofsong,etc.3. WorkonNewSongs–practiceassignedsongs.Startwithsection4. SightReading‐Whileyouarenowyourmostalert–readanewsong(sight‐

read)–startwithchordstructurefirst5. CoolDown–withyourfavorite3songs–canbethesame3youwarmedup

with