PROGRESSIVE IDEAS FOR POP PLAYING FOR ACCORDION by acordeón

progressive ideas FOR ''POP'' PLAYING FOR ACCORDION

no. 8039 t price $1.75 090

. . G~

TECHNICAL STUDIES hy

PROLIFIC WRITER OF OUTSTANDING ACCORDION STUDIES

MODERN TECHNIQUE

HANON -'GAVIANI This new 118 page Hanon contains not only the us 11al 60 exercises but also sorr.e extra new original rrB.terial for the left hand consisting of many new rhythmical figures, which are of great value to the accordionist. It is this new material which will enable both hands to play new musical patterns. Truly some of the best material ever written. Must be seen and examined io be appreciated. Medium to Advanced

The finest fastest selling and most thorough book ever published on accordion technique, Both professional and amateur accordionist desiring to further the study of the accordion will find this material of untold value. Most valuable for developing the muscles, improving the rhythm and strengthening the fingers. A must for all aspiring to become a virtuoso, Advanced

No. 7903

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No. 8038

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The TECHNIQUE BUILDER

f~c~ ..1-MDA. . . •' fO

~to ~ ·1~f:. :<.....1

.!E

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This interesting study contains every conceivable form of right hand technique in well planned progression. These exercises will give flexibility and independence to the fingers, strengthen the hand and wrist, and also control muscular action.

,.,..

No. 7946

$1° 25

TOPS IN TECHNIQUE .A n excellent advanced study for those seeking real perfection of Technique. Contains the nee_. essary difficult exercises to achieve this goal.

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progressive ideas FOR "POP" PLAYING FOR ACCORDION

FOREWORD

This study, PROGRESSIVE IDEAS FOR POP PLAYING FOR ACCORDION is especially designed to benefit the advanced student who is about to embark on a professional career, or one who has the ability to read and play music in the modern idiom, or any student who is desirous of creating a style of his own and develop his talents in the matter of improvisation. Students such as these may, to coin a term, be called "In-betweens" - those who have learned the general technical problems but who seek suggestions and ideas in the ultra modern idiom, in order to increase their knowledge of accordion technique - especially in the field of popular music. The student who has more so-called "feel", but has less technique, will find that, by transposing the exercises in this book to various keys, his technique will gradually improve and his playing become more enhanced. Anthony Mecca, an accomplished performer and instructor, who is thoroughly experienced in the execution of modern music has, herein, divulged some of his secrets and ideas in laying a solid foundation to the art of improvising and creating original introductions, modulations, turn-arounds, endings, etc. In conclusion, we wish to state that we strongly and sincerely recommend this study for the advanced student, the embryonic professional or, for that matter, any aspiring accordionist with a certain amou.nt of training ability - one who desires to become proficient in mastering the modern idiom.

0. PAGANI & BRO. INC. PUBLISHERS

ABOUT TONY MECCA .. . . . . . . . .

Anthony Mecca, native of Waterbury, Conn., came by his l ove :for the accordion through his brother Dominick who was his first in structor when a mere youngster.

Decision to make the accordion his career, brought him t o New York where he furthered and completed his studies with Joe Bivia no , well known accordion virtuoso and instructor.

After his discharge from the army in 1946, Tony Mecca turned his attention to professional playing and soon was in great demand for icadio and television work and recordings. He has worked under s uch famous conductors as Leonard Bernstein, Alfredo Antonini and Raymond Scott and has recorded for practically all well known record companies.

It is this background of study and experience that enables him

t:o write this important and authoritative accordion work, which will soon be followed by other works in the popular field.

THE PUBLISHERS

INTRODUCTIONS An INTRODUCTION generally "sets the scene" for what is to follow, in regard to the key and rhythm of the composition. It may be any reasonable number of measures in length but usually consists. of four or eight measures. It must be definite in formulating the pattern of the composition itself. Occasionally, when called for, a "pick - up" is inserted in the final measure of the intr oduction. Introductions usually end on the dominant 7th (V7) chord*, because this chord is the most logical and strongest one to lead into the subsequent strain; however, variations of this chord, such as the dominant 9th, the flatted 9th, etc., may be used as a substitute. Any plausible harmonic progression leading to V7 is permissible. Each basic progression, given here, is followed by applications in the same and other keys. Basic Progression I

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•A complete list of do"ininant and secondary 7th cltords, based on the degrees of the major and minor scales, will be found on page-35. 8039-44

6 Fast

Basic Progression Ebm 7

Simple Var.lation Slow

Dm 7

Dbm7

Cm 7

-3

F.7

Medium

Medium Bounce

Basic Progression

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Basic Progression

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Slow or Bounce

Bounce

Basic Progression

Cmaj.7

Dm7

Ern7

Simple Variation Slow or Bounce

3 8039 -44

Dm7

Em7

TURN - AROUNDS TURN-AROUND is another name for a first (repeat) ending; however, it is also used wherever the melody of the given composition ends on the tonic chord. In a thirty-two measure strain, this :sometimes occurs in measures seven and eight and (or) in measures fifteen and sixteen. In places such as these, rhythmic, melodic and harmonic variance provides especial interest. The most commonly used tum-around is the progression I-VI-II-V7 . The roots of these chords construct a theme with which all musicians, especially those connected with dance bands, are quite familiar. Example

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The above progression may be used instead of the following easier ones.

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Harmonic variations of the above example.

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10 The following are a few exercises in single - note and chord styles, in "Various tempos. These are .based on the theme mentioned on the previous page, and include harmonic variations of the theme. Basic (Exam pile 1)

(a)

Transposed

Basic(Example

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Dm 7

(a)

Slow

. -{b) Bounce (Pick-up)

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8039-44

Basic (Example 3\

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Basic( Example 4)

Basic (Example Bb 11Ai~

(a) Slow

Ab 95 + G13

(b) Bounce

(b) Transposed

(r)

Transposed 1

Basic(Example 6) Em7

(b) Bounce

(a) Transposed

8039-44

Basic (Example Cma.i7

(b) Bounce

5 2

(b) Transposed

NOTE: The following turn-arounds furnish additional material for introductions. 1. In -a slow ballad, a two-measure -introduction may be sufficient. 2.

A four-mellsure introduction may be formed by combining two of the examples, or by repeating one example. 3. A slow, "double-time" two- measure turn-around may be used for a four-measure introduction, in a fast tempo; or as a four-measure turn-around in a sixty-four measure show tune.

3(a) Extended to four measures. 21

8039-44

ENDINGS The ENDING of a composition, consisting of a reasonable number of measures in length, must be definite. By using similar material as that used for the introduction or turn-arounds, the ending can lend effectiveness to the arrangement.

One-Measure

Endings

These end1ings are to be used for tunes in which the melody ends on the down-beat of the last measure. This simple progression does not interfere with the melody note, which is held throughout the chord progression. Transposed to key of P. Example 1.

Transposed to key of B~

Example 2.

Transposed to key of E~

The following progression is in the nature of a short "tag". Transposed to key of G.

The following examples are similar to Example 1, except for the delayed chor'd"Progressions. Example 3. Transposed to key of F.

Similar to Example 3.

8039-44

Transposed to key of A~

Two - Measure Endings. These endings are to be used for tunes in which the melody ends on the down -beat of the measure next to the last one. Transposed to key of F.

Example 1.

Eb9

~ -

2 3

Transposed to key of B~

sb6

Transposed to key of

----------

Ab9

Bbm7Eb9 f6

c6add9

Transposed to key of

sb 6 -

Example 3.

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Transposed to key of A~ A~ 2

Transposed to key of E ~

Eb6

B~ 9 Ebm 7 Ab· sb6

8039-44

Transposed to key of F.

Example 2.

Eb 6

Db9

Eb6

Eq9

Eb6 E q9Eb6add9

_N6

16 Transposed to key of D b.

Example 4.

nb6

Transposed to key of G. Q6 Am9 Ab11 +

Ebm9DqiJ+ nb6 add9

a6actct9

Transposed to key of F.

Transposed to key of

Bb.

Bbmaj.9£b9 Ab13B qJJ + Bb6add9

Fmaj.9Bb9£b13Qb11+ p6add9

------------3

Example 6.

ct>

Cma/th

Ab. Ab 6 Eq 9 Aq9+

Transposed to key of

8039-44

Transposed to key of Eb. E"6 B~9 Eq9+

Example 7.

Abmaj.7

17 Transposed to key of D ~

Transposed to key of G.

nb6 Eq7 Ebm7nb1+nb6add9

Bb7 Arr? Ab11+ ab6addY

,.---------__.J_.

Transposed to key of F.

Ab7 Dbma/

Transposed to key of

sb6

nb7 Gbma.;7Bq11+Bb6add9

Example 9.

Transposed to key of

EP.

b11+ Eq11+

Transposed to key of

8 b6

8039-44

BP.

Example 10.

ab11 + f6add9

Deceptive Endings In a deceptive ending, instead of playing the usual tonic chord against the melody, an unexpected chord is struck-giving the impression of a suspension, which resolves to the tonic chord. The latter may be slightly altered, such as: maj.6, maj.7,etc. Transposed to key of F. Example 1. nbme.i7 G~maj 7 Abme/ Dbme.i7

Transposed to key of

sb.

Transposed tokey of Eb.

Gbme.i7 cbmaj?

sbmaj?

cb ma/ rbmaj7

Example 2.

Transposed to key

of nb.

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Harmonic Extension Endings In the following exercises, the usual two-measure ending is extended to four measures. Example 1.

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nb 13u1 +)

*This effect is sometimes used-ending on an unexpected chord. 8039-44

C maj.9(G ~ maj.7)

CmaJ..7

Transposed to key of G.

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Transposed to key of Bl> 6

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Replacement Endings

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Example 1. Original two-measure ending. Dm7 G13(9-)

(a)

- -

- - - "I

: Any of the one : : measure endmgs : :may be used here. : I

Replacement Melody and Harmony Occassionally, the original melody is abandoned before its last note is sounded and is replaced by a more "final-sounding" melody. The most important feature of an ending is the feebng of finality. Example 2 Dm 7

Fm7

...

This may be used as a substitute for Example 1, given above.

Replacement of Melody and Harmony in the Final Three Measures of a Given

M~lody

(Where the tune has a two.:.measure ending) Example 3. Dm7

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(a)

B~13

3 8039-44

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MODULATIONS A MODU.iA TION is comparable to a tum-around except that, instead of returning to the key proper, it modulates to a different key. The usual modulation is two or four measures in length; it may, however, consist of any reasonable number of measures. The simplest modulation is the one based on a nearby position of the dominant 7th (V7) chord of the new key. The following are all based on two-measure endings. Cmaj. to Ebmaj.

Key of C maj.

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Cmaj. to Gmaj.

b Key of E maj.

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Key of

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B bmaj. to nb ma1j.

abmaj. to Gmaj.

Key of Bbmaj.

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c maj.

Key of

abmaj. to Cmaj.

Key of Bbmaj.

Key of ab maj.

When modulating to a minor key, the procedure is the same as that used when modulating to a major key. Cmaj. to abmin. Key of C maj. V7of new key

abmaj. to Cmin.

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Modulations Based on II7 and V7 of the New Key. This modulation is extremely interesting and practical, as well as being quite popular. Thorough acquaintance with this form of modulation is very important. C maj. to Eb maj. Key of

C maj.

new key j_

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Key of Ebmaj I

C maj. to G maj.

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Key of

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ebmaj. to Ab maj. Key of B b maj.

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When modulating to a minor key, the procedure is the same as that used when modulating to a major key. Cmaj. to B bmin. Key of C maj.

V; of

new key

Key of

Bbmaj. to Cmin. Key of Bb maj.

B II min. f

8039-44

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Key of j

C min.

Modulations Based on the Preceding Chord Progressions. C maj. to E bmaj.

Slow

Cm~j. to Eb maj. Bounce

Cmaj. to Ebmaj.

Bounce

Cmaj. to Ebmaj.

Fast

Cmaj. Âˇto Gmaj.

Slow

*This cho1rd-one half-step above the new key, instead of the arrangements.

v7 chord-is commonly

used in modern

8039-44

11 11 1

Eb maj. to Bb maj. Slow

C maj.

F maj.

Fast

-eM

Abmaj.

Db maj.

Fast

C maj. to B bmaj. Bounce

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G maj. to F maj. Bounce

B bIDSJ.· t 0 G ID8J.~ Slow

8039-44

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B b maj.

Cmaj.

to C

maj. 5 t

Abmaj.

B~ maJ..

sbmaj . to Cmin. Slow Bounce

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Deceptive Modulations

In this type of modulation. a turn-around is played in the old key just as though the next chorus (or strain) were to be in the same key. The new key appears by surprise on the down-beat - a truly smooth. melodic "lead-in . ., (New key instead of expected key of

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The follow ing effect, similar to the one given in Ex. 1 (a). is frequently used by name singers on popular records. This is a surprise (sudden) modulation into a key a minor 3rd higher than the original key.

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Another surprise modulation into a key a major 3rd lower than the original key may be used, as follows: (Example l ) (a) I

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8039-44

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27 The following modulation is often used for a subtle change to the key one half-step above the original key. The common-tone modulation is especially helpful to a smger as a lead into the new key . One-measure ending. Common tone

C maj.

Two-Measure Endings.

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tone

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Eb maj.

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Ab maj.

V7 of

maj.

Variation of the above.

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""JI JI

......

:I ::II Cl. "1711i"::JI -v --~....._

::i.:

_J_ _. .bl. 17.

...!::h _JI

..JI

.......

•

Jr:.

-Ji!I"

...... .....:____.,""'

-h:t..

~-fl L

nb maj.

Db maj. _.. IT ~

~ -.--.--.-

-t.l::Ji..

.LL

~-1..!:'.:.h .JLV

t.~

28 Another simple method of modulation is to play a certain figure in the old key- then transpose it, without preparation, to a new key, as follows: to ob maj. Bounce

Cmaj.

C maj.

to Bounce

Eb maj.

to Bounce

Ebmaj.

C maj.

(Single Note Style)

C maj.

B maj.

Db maj.

Accidentals may be used in place of signatures.

C maj.

Adapted from introduction shown on page_.

8039-44

- 11111-

MELODIC IMPROVISATION A question often asked by some student is: "How can I learn just what to play when the harmonization calls for F7 or, for that matter, any other chord?" The .'\nswer is given here, as follows: Using only the chordal tones of F7 (for example), even in an interesting rhythmic style, would sound rather academic-like someone practicing arpeggios. The best jazz musicians play melodic figures consisting of a combination of the chordal and passing tones. (The latter are also- known as auxiliary or neighboring tones and embellishment.) The melodic figures, or melodies, are usually so flexible' that they can be sui1table for any number of chord progressions. It is not of vital importance that these "improvised melodies" be original; they frequently are more plausable when they are developed from some familiar material, especially from a part of the orig inal t:une itself.

*Excerpt from ''Flight to Mecca" (Notes marked x indicate passing (auxiliary) notes. They may be either diatonic or

)(

(9) (11) (7)

chromatic~

(7) (9)

One way, in which to develop the above style, is to transpose the passage to various keys, as follows: Transposed to key of C maj.

C(maj.7)

Em7

r rrf1trLJ !f ref~ Another way to practice the above is by means of rhythmic figuration, as follows: One beat earlier.

Cm7

'1: Two beats earlier.

ft: r r r r 1r ~r r r r =r r1cr gr r' =" F7

Cm7

ete.

F7 ete.

One beat later.

Cm7

*"Flight to Mecca" will be found on page.39. 8039-44

Âˇo

. m7

'.30

The following exercises should be practiced in various keys and rhythmical patterns. They may also be practiced in various tempos. Âˇr Exercise 1. C' Gm 5 4

etc.

Ex. 2

etc.

#i Ex. 2 may also be harmonized as follows:

~x. 2 (b}

Ex. 2(a)

, r

c l

Dm 1

, r

c l

.5 4

Ex. 3

etc.

Ex.4

B~ 2 1

8039-44

Jl *Excerpt from nBoppin' the Blues." Ex.5

cb7 t

Ex.5(a) Reharmonization of Ex.5

nb7

f7 I

D~7

Bli I

Gb cb7

I I

ab cb7 I I l

Excerpt from ffFlight to Mecca"

Ex.6(a) Following an three other ways of harmonizing Ex.6.

i.k1

.f I

l I

l l

Ex.6(b)

&li~i &

Ex.6(c)

i.kz

l l

II II

*ffBoppin' the Blues" will be found on page 43 8039-44

sb rI

Ex.7

I'r

Cm l

c I

l l

11~

sb 4

Excerpt from" Flight to Mecca~' G7

s....._

Excerpt from "Flight to Mecca."

Ex.10(a)

Following are two more ways of harmonizing Ex. 10.

~~7

~~m

I r, r, ,

l i

l II

F7 rI

Excerpt from.. Flight to Mecca:'

cb7 3

1 3 1

B~ 2

1 2 4

L-

Ex.11(a) Following are two_ more ways of harmonizing Ex. 11.

~I ,E~'.il ~m

8039-44

l i

F7 l i

l l

l i

l l

r.I

3.3

E.x.12(a)

ti._ ..L

7;,_

ITJ ~

Following are two more ways of harmonizing Ex. 12. Dm G7

-¥

± I ± 1 t

J_ J_

Ex.12(b)

z -1. ·-.. z z

± ± ± ±

-¥

± ± ±

Ex.13

,.i EJ(.15(b)

Ex.16

8039-44

Ex.14

harmonizi~g

Ex.15(a) Following are two more ways of

,~i

I I l

nr l

G 1

D7 1

Ex: 15.

Ab7

Am7

l l

Ex.17(a)

Another way of harmonizing Ex. 17.

~·~1-+~--1-/~1~,~/-+--1--1--1--+---+--+-~---L--~ l II Gm

I I

Ex.18 1

1 2

Ex.18(a) Another way of harmonizing Ex. 18.

~·~1~1 ~G~1~~~1~~+--D-,~~~~j~~~/~-1~~~~1--__.r---1~-1-~~+---<r-----1'-------1~~r---~ l I 7

I I

Ex.19

ti_

~lil""lPZ rT. :::!"'.I

-¥

:::;;;;;;;::7/L :I:!'!': ~

< "iJ"

l:l::X• I I rT Z:li"Y

-...-

-:;;; :"""'

--.

3.i.1--tl "P"'

:i 3

4 JI£

f fl-

_l_

~tt::.:

I I

..-..r:tI...-. ~

.... -

1 4

3 _2_

.......

~ ~ ---~--- .....

I i"

,___ __.! L

B~ 1 :i

-.- --~

IA I"":

8039-44

1 2

Ex.20

Ex.21

I I

COMPLETE LIST OF 7th CHORDS BASED ON THE DEGREES OF THE MAJOR AND MINOR SCALES Major Scales C major

I Cmaj.7

I Em7

Dm7

11 ·

Fmaj.7

inversion

11°

inversion

'3'd

I G7

Am7

Brn7-5

··~

•!jl

a!!

ali

.~~

inversion ~

Practice all the following chords in their inversions. VI v IV

Am7

Bm7

Cmaj.7

Em7

III

IGmaj.7

III

D major

§a

§.

§0

ll'

G major

VII

Inversions of the above Chords.

&'". tr' '2nd

III

Dmai 7

IEm7

II F#m7

III

IGmaj.7

Bm7

Dmaj.7

II II II

VII

F m7-5 VII

A major

&*' I E major

Amaj.7 I

&*#1 I

E maj.7

8039-44

Bm 7 II

F#m7

c#m7 III

Io#m7

VII

u !m7·5

plm7

Amaj. 7

!m7

VII

n#m7-5

36 B major II

c{1

III

n#m7

Emaj.7

III

p# major II

Fl~maj.7

o#m7

p#7

F major

Bmal

c#7

n#m7

E#m7-5

~ Fmaj.7

::JI

Gm7

-a=Bb .7 ~

11l8J.

Cm7

Dm7

Eb major III

o#7

A#m 7

sbmaj.7

I ma/

Dm7

Gm7

VII

Eh7

Fm7

III

nb major

-l~~~

-.:i

;u-

:::"!:D'

""11"

...... ~

nhmal

ab major

Ebm7

B 8089-44

obmaj7

Abm7

Fm7

III

0 bID8J..1

VII

III

Jtt7 v

sbm7

Am7-5

Dm7-5

nbmal

Cm7

Ab major

VII

8 b7

Gm7

Cm 7

Em7-5

Fm7

Bbm7

s# m7-5

Ab ma/

Abma/

VII

III

F#mai-7

Am7

--c:Y

:-,,; o~

Bb major

l1 :Qz

III

VII

A#m 7-5

o#m7

E#m7

n#m 7

c#ma/

c# major II

VII

Gm 7 -5

VII

Cm7-5

VII

cb maj.7

Db7

Ebm7

Fm7Â·5

37 cb major

III

Dbm7

Ebm7

Fbmaj.7

Gb7

~~ I p ,

Cbrnaj.7

Ill

•

Bm7-5

Am7+7

ll Abm7

VII

Bl,m7-5

Minor (harmonic) Scales

A (harmonic) minor

Cmaj.7+5

VII

111

Dm7

Fmaj.7

G#o

Inversions of the above Chords. 1st

' ' '

inversion

1o!J

It!§!

L§

1~~

I;§

#JI:

inversion

fit• 3rd

ii' 2nd

i!jl

ftr'

inversion

1JI

13!

Em7+7

F#m7-5

III

Gmaj.7+5

Am7

Ill

• B7

Cmaj.7

B (harmonic) minor

&ft

•

Bm1+7

F# (harmonic) minor

&*DI 1111 8039-44

Practice all the following chords in their inversions.

E (harmonic) minor

F# 7 + 7

C#m1-5

B G#m7-6

ill

Dmaj.7+5

Em7

F#7

ill

ffl

AmaJ.7-+ 5

Bm7

III

c#1

VII

·~ ][)#0

VII

j:l l

Gmaj.7

A#o

'VI I

i Dmaj.7

I~~ E#O

cl (harmonic)

minor

F#m7

E m&J..7+5

n#m7-5

c•m7+7

Ill

D (harmonic) minor

~•7

Em7-5

Fmai.7+5

III

G (harmonic) minor

.111

Gm7+7

n Am7-5

VII

n ii

o#7

Amai.7

s#O

Gm7

11 sbmai-7+5

sbma/

Cm7+7

III

0 Dm7-5

Ebmaj.7+5

F (harmonic) minor

••

Fm7+7

III

Gm7-5

Cm7

Eb m&J..7

F#o

Fm 7

~07

Abmajf

Bqo

VII

·1

gft

Ab maJ..7+5

B~m7

nbma;?

Eqo

VII

B~m7+7

. {I

I Cm7-5

Ill

§0

E~m7+7

Fm7-6

qll

nbma/+5

Ebm7

III

'F1(harmonic) minor

-a

obmaif+5

n Abm1

• 8 b1

§H

0 bID8J..1

A-o

ft cbmal

VII

ab (harmonic) minor II

VII

C (harmonic) minor II

VII

Ill

VII

D-o

~(harmonic) minor

~· 8039-44

.A~m7+7

B~m 7-5

III

•

cbID8J..1+s

•I

D~m1

II Fbmal

VII

,1 G-o

.39

FLIGHT TO MECCA Bounce tempo

ANTHONY MECCA

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8039-44

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8039-44

0- 4,- -!-

I "1 '"'~ 7

t Cl:"T•TT \

....

-v

8039-44

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~·

=t 7

=!-....-

_, ~

-ilf ~ y

; -=

::a:

J/IL. .1""".

"""i7

---

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--. .

--- 2--. :a

JI"": :::;;;;;;;::

:F:F :r

..L

ML-

a..· n· r-

~ --- ~:h:--7: .¥. ~ :r

:.lo

~ '

..... -T

La• ~

...

:::2': JI""'

..J

::;;;;;;;.,..

PfIA: ~

--= =!~

BOPPIN' THE BLUES ANTHONY MECCA

Bounce tempo

Bb6

t 3

â&#x20AC;¢

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