The Ernie Felice Advanced Accordion method

THE

Ernie Felice ADVANCED ACCORDION METHOD r

..

~ ·.

New Approach to Modern Accordion Playing

"Scales in Block Chords"

PAULA MUSIC CO. 11805 REDBANK ST. SUN VALLEY, CALIF.

THE

Ernie Felice ADVANCED ACCORDION METHOD

* A New Approach to Modern Accordion Playing Scales in Block Chords 11

11

EDITOR AND CO-AUTHOR HENRY MANCINI

* PAULA MUSIC CO. -11805 REDBANK ST. SUN VALLEY, CALIF.

Copyright 1952 - PAULA MUSIC CO. -11805 Redbank St., Sun Valley, California International Copyright Secured Printed in U.S.A.

PREFACE The Accordion as we know it today is generally considered a black sheep so far as jazz is concerned, because little has been done to bring the instrument up to date.

However, during the past few years, a new style of playing has been gaining prominence with accordionists and the general public. This style is that of Ernie Felice. His work on records, radio, pictures, TV, and in night clubs, has established him as the foremost exponent of the modern accordion. In this book, the fundamentals of his style have been set down, step by step.

It must be understood, however, that the studies in this book will also help the classical student, both in technique and conception.

RIGHT HAND TECHNIQUE One of the most important phases of the right hand technique is the independence of the fingers. The following exercises, practised faithfully daily with a metronome, will achieve this independence. These may prove irritating to the ear and nerves, but the final results will prove worthwhile. The whole notes are struck and held down firmly. Stop and rest when the hand becomes tired.

The hand must be as relaxed as possible. Never any tightness in the forearm, wrist or hand. The fingertips do most of the work.

M.M. J:72

(Repeat several Times)

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Smooth movement of the thumb in block chord playing is very important. It should never be raised in passing from one chord to the next. A sliding movement should be used.

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BELLOWS EXERCISE Make the accent exactly when marked, not before and not after. Don't use too much· bellows - just a slight pull or push.

Too much bellows will make accent too long. You will find that bellow accents are used in practically all of the following exercises. Play each measure twice, then progress to next exercise. ~

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In order to insure clean execution of scales, the passingunder of the thumb must be smooth and sure. The following exercises are designed to insure smooth movement of the thumb.

M.M.

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SCALES Each scale is to be played in the following manner: (1)

J J JJ >J J J J

(2)

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JJ J• J.._..

(5)

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(4)

start at M.M.

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11

MINOR SCALES Each major scale has a relative minor scale with the same key signature. However, the starting note is one and one-half tones lower. There are two forms of the minor scale, melodic and harmonic. Both forms shall be shown in each key. Each set of scales is to be played in the following manner:

melodic

(1)

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harmonic

(4)

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JJ J . . ,

(2)

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RAISES NOTE A FULL STEP}

8

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CHORDS A knowledge of chords is indispensable to the student. Modern playing, improvisation, and playing fro:m chord symbols, demands that the player know his chords. The following will serve as a handy reference chart. Most of these chords are impractical to play as they are shown here. Practical voicings are shown in the following chapter. A large "M" stands for major. small "m" for minor and "DOM" for dominant. '

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_____.

ALTERED CHORDS An altered chord is one in which one or several notes are chromatically altered by accidentals (sharps or flats) foreign to the key. To augment a tone is to raise it one-half step. To diminish it is to lower it one-half step.

Because of space limitations we will show the altered chords only in the key of C. They can be transposed to any key desired.

Chord symbals are marked above each chord.

G 7(f,9)

B dim DIM 7th Chord

II

H

~,

DOM 7th

DIM 9th

II

II

G 7 (~9) DOM 7th

Aug 9th

II

II

Fi

Au~

5th

II

II

1i

DQM 7th

AU~

5th

I

II

Aug 5th

Aug 9th

II

II

~i

DOM 7th

Aug 5th

DiM 9th

II

Dim Qth

II

II

i

II

Dim 5th

Aug 9th

II

II DOM 7th

Dim 9th Add Dim 13th

~ ~*

DOM 7th

Dim 5th

II

II

II

Dim 9th

Aug 11th

DOM 7th

Dim 5th

Dim 9th

II

II

II

~

II

11

II

{f

I

G7b9(add 13) DOM 7th

Dim 9th add 13th

II

II

G 7 ~ 9 add dim 13

~;

11

a7 d~5 P9)

DOM 9th

11

II

Aug 11th

G 13<#11) DOM 13th

II

i

G 9th<# 11)

G7th (P9#11) DOM 7th

<b 9)

G7 (~ 5)

G7 (t15f9) DOM 7th

II

~-&-

G9 (~5) DQM 9th

11 G7#5

G7#5(#9) DOM 7th

II

G7(h)

G9 <Us> DOM 9th

l

Aug 11th

II

#I

II

VOICING OF CHORDS Many of the chords listed are impractical to play as written.

They also lack depth and fullness. By re-voicing (re-arranging) the tones, we make the chords both easy to play and pleasant to the ear. Only the single note basses are used in these examples.

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A

D 7 aug 5 <U°9)

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ARPEGGIOS The following exercises are to be practised in the same manner as the preliminary scale exercises, beginning on page 1.

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MAJOR TRIAD (C) M.M. 1 2

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6 iOR TRIAD with ADDED ..th ( C ) •

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J 3rd Inversion

DOMINANT 7th (G7)

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to tJJJJJSJJ JJJJ JJJJ1JJUJJJJJ Jj JJ

e

ijl

1st inversion

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2nd In version

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3rd Inversion

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J

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DIMINISHED 7th (C dim)

6s~tlJ1lioJJJJrfiJJ JJH1 crcrJJJJ•JJJU~JJJSI _•I 1st Inversion

f o rtlhhJJJ JJJ J J JJ J cPrc Fl 'FE[r r;Cr J;J J J , J

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In the playing of arpeggios, the passing-under of the thumb is as important as it is in scale playing. Hard practice on the following exercises will reward the student with smooth and even arpeggios.

1

f

5 4 3 2

e

1 1

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18

BLOCK CHORDS The following chapter will serve to introduce something new in accordian playing; Block Chords. In this style, the melody is harmonized in four parts, usually within the octave. This is done in the same manner as an arranger would write for a four-man sax or brass section in close position.

4 3

4 3 2

4 3

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Although the following studies are in four parts, a fifth part may be added for those with larger hands. This part is merely the melody played an octave lower with the thumb.

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5 4

3

3

1,s,l; ~-

5 4 3 2

I~ I

It is very important that this style be played as smooth and relaxed as possible. Refrain from jerking the bellows. Keep a constant even flow of air going through the reeds. As the music line goes up on the staff, you may increase volume, as music line comes down on the staff, decrease volume, but always keep dynamics smooth.

19

SCALES IN BLOCK CHORDS

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(Increase tempo gradually)

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II

PART 2 Now we come to something new for most students. The second half of this book will be devoted entirely to modern rhythmic playing. Up to now, accordion methods have given no hints or tips to the student interested in playing popular music.

On the following pages you will be shown what goes to make up this style of playing. One thing must be pointed out before we start, however, jazz is not always written the way it is meant to be played. Personal style enters into the picture. This is illustrated by the fact that the very same written notes can be made to sound like two different tunes when played by two different soloists.

For this reason it is a must that the student listen to bands and soloists on records or in person if possible, to get an idea of how certain figures are played. We can only show you how it looks on paper. The actual life of the music must come from within the player.

28

One of the most frequent questions raised concerning modem notation is how to play a group of eighth notes.

Except when they are marked with accents above each note, or in faster tempos, they are played approximately thus:

* .,

I II

Arrangers take this for granted and rarely write them as in Ex. 2. However, we will write them as close to the way they are played as is possible. Another way to play the same figure is to put the accent on the weak note:

The following exercise will acquaint you with the dotted eighth and sixteenth figure. Chord symbals will be used to acquaint you with them also.

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120

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Ddim

C6

C6

-

29

One of the basic of all syncopated beats is the Charleston.

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This figure is one of the most frequently used in modern music.

It gives a definite lift to the

melody. Two variations of this are the figures:

r @-

II

II

In order to give drive and punch in faster tempos, the syncopated note is usually accented.

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Another very popular figure is the so-called back-beat. This usually starts on an eighth note or rest, and is followed by a series of quarter notes-Thus making each quarter syncopated.

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or

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There are two basic ways to play this. One attacks each note sharply making a break between each note, and the other is to push each note with no break in between: or

II II P r F F p II One point of interest is the last eighth note in the bar. (Ex. 1 & 2) This note, if the figure were to continue, would be tied over to the next bar, thus:

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However, in moderate and faster tempos, where the rhythm of the figure is more important than the melody, it is written in this manner.

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1

This is also true of the figure:

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which is many times written:

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At times when a strong entrance is needed, a device related to the back beat is used.

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This is called a kick beat. It gives great impact to entrances or accented beats. A variation of this figure is this:

(2)

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The difference being that the kick beat is held in Ex. 1 and bitten off in Ex. 2.

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Another important figure that is used very often is this:

II There are several ways to play this. However, most of them have in common: The last note of the figure is usually slurred and not accented. t~is

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In other ~ords, the half note is not accented. In places where rythmic punch is not required, it can be played:

I The quarter note is cut off as if it were an eighth note.

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In slower tempos, a very popular figure is the syncopated eighth note triplet.

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This figure gives a slow melody a little push that makes it more interesting to both the player and the listener. You will usually find this figure in a song that can be played in thirds. Our exercise this time will be in thirds·instead of block chords.

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A trick that is very important to the player is the glissando. This :is done by quickly slid:ng the fingers over the keys between two notes or two block chords.

4

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The question of where to start or end the gliss arises. Since the notes of a glissando are very fast, it really doesn't matter where you star or stop it. However, to get the s~'ee ping effect going up and the falling off effect going down, it is aa,,;sable to make it at least an octave and more where possible.

For those with strong hands it is go,od to slide the whole chord.

However, for those who find this difficult, just the thumb nail will turn the trick going down, and the little fir.gernail going up. This device of sliding to or from a note is very p-0pular in dance bands where whole sections do it together. Listening to the top bands will give you a perfect idea of how this should soJnd.

37

Another trick that the player should be familiar with is the

this effect is to tremelo the two outside notes of the chord, while the two middle notes are sustained. The chord is hit first then the trem begins. This device is used chiefly on slow numbers where there are a lot of sustained notes. However, it can also be used in up-tempo rhythm numbers, as you will see in the later exercises. ( Written) trem.

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(Played)

II

II

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So far, we have treated the accordion as a solo instrument. Many times, in group playing, the accordion is called on to furnish a background for the soloist or singer. This section will give the student some idea of what can be done in such a case.

In ballads, sometimes just a single note counter-figure, played with a high-stop, will create a beautiful mood. In most cases the block style can be applied. The following exercise has the melody lead, which is being played or sung by someone else. Note that when the voice melody moves the accordion is sustained, and vice versa.

II

(In these exercises the teacher can play the solo part while the student plays the background.)

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In rhythm songs, the accordion must act as the brass section does in a big band. The same type of figure are used. It is very important that the player remember that he is only playing a background. Many a friendship has been strained by the supporting player over-blowing the soloist. We will again show an exercise using the soloist on the top line. Note that the basses are used with the right hand as part of the figure.

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