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Accordion of 21-st century

Richard Galliano - French touch

Walshe Essential Guide to Accordion and Harmonica Events

«Harmonica forever!»

Modest Mussorgsky «Pictures at an Exhibition»

«Skomorokhi»: Music of the 20'th Century

Richard Galliano - 15 Titres Originaux

Pietro Frosini - Mariposita (Bolero)

Eugeny Derbenko - Cabman

Melodies Which Are Always With You

Concert musette for accordion

Richard Galliano quartet «New Musette»

Astor Piazzolla - Soundtracks

Boris Kovac and Ladaaba Orchestra «Ballads at the End of Time», «La Danza Apocalypsa Balcanica»

Yury Kazakov «The portrait of the great Bayanist»

A Gotan Project DJ set Espiracion

Accordion in Jazz

Astor Piazzolla - Concerto para Quinteto

Accordion in concert - Part I

Accordion Reader Trilogy

L. Desyatnikov - Tracing Astor

Russian music of the 19 - 20-th centuries

Igor Tsvetkov - Two Pieces for Russian Folk Orchestra

Popular Latin American tunes for chromatic or piano accordion

Terem-Quartet meets friends

Richard Galliano - Viaggio

Richard Galliano & Michel Portal – Concerts

Valery Kovtun - «Tango»

Richard Galliano – New York Tango

Friedrich Lips - Pictures at an Exhibition

Astor Piazzolla - Fugata

Dmitry Manchuk & Miroslav Leliukh - Musical Fantasy

Art Van Damme - Deep Purple

Richard Galliano - Fou Rire

George Gershwin - Rhapsody in Blue (for piano and accordion orchestra)

Andrew Petrov - Marathon in the Fall

Luciano Fancelli - Acquarelli Cubani

Happy Skvett - Kulturprisen

M. Kazhlaev - Scerzo

Michael van Delft - Angel Rocks a Stone Away

Jacques Reuaux, Claude Francois - My Way - Great Frank Sinatra song arranged for accordion orchestra - Parts

Richard Galliano - Tango pour Claude

''Resurrecion'' tango-quartet - Obsessed by the Sun

Richard Galliano - La Valse a Margaux

Bogdan Precz - Fusion

Jazz Accordion Book - Vol. I

Jazz Theory And Improvisation Studies for Accordion

Che, bandoneon - 10 essential tango arrangements - Vol. 1

Astor Piazzolla - Tangus Dei

Richard Galliano - Opale Concerto - Score

Accordion orchestra of 3-d municipal music school (Kishinev, Moldova)

Lithuanian Accordion Quintet "Concertino" (video live concert)

Pablo Ziegler - Bajo Cero

Pavel Smirov Orchestra - Accordion virtuosos from St. Petersburg

Albin Repnikov - Concerto ¹3 for accordion, chamber orchestra and percussions - Score

Pavel Smirov Orchestra - My Saint Petersburg

M. Blanter - In The Gardens

Astor Piazzolla - Yo Soy Maria

Lithuanian Accordion Quintet «Concertino» - Compositions from the repertoire of the ensemble - Vol. 2

B. Martjanov - Moldova Fantasy

«Milonga» Instrumental Trio – Compositions from the repertoire of the ensemble - Vol. 2

«Milonga» Instrumental Trio – Compositions from the repertoire of the ensemble - Vol. 1

«Milonga» Instrumental Trio – Compositions from the repertoire of the ensemble - Vol. 3

Jacques Reuaux, Claude Francois - My Way - Great Frank Sinatra song arranged for accordion orchestra - Score

Anatoly Lyadov - Musical Snuffbox

Yu. Peshkov - Black Eyes - Russian romance arranged as a concert piece

Charlie Shavers - Breeze in a Waste

Christine Boll – Partita Piccola

Teddy Randazzo, Bobby Weinstein - Going Out of My Head - Great Frank Sinatra song arranged for accordion orchestra - Score and Parts

Victor Vlasov - Bossa Nova

Pietro Frosini - Carnival of Venice

Victor Vlasov - I Like this Rhythm

Thomas Fundora & Morris Albert - Feelings

Mikis Theodorakis - Quarter of Angels

George Hammel - Pantoufle de Vair (concert polka for accordion)

Volodymyr Zubytsky - Omaggio ad Astor Piazzolla

In the Footlights

The Beatles Potpourri

Jacob Gade - Tango Jalousie

Lasse Pihlajamaa - Harmonikkasävellyksiä

Eddy Flecijn – Capriccio

Pascual Marquina - Spanish Gipsy Dance

Popular Waltzes

Libertango tango hits

Moon Serenade

History of Musicals

Astor Piazzolla – 10 tangos

From Bach till Offenbach

Richard Rodgers and Lorenz Hart - Blue Moon

Beny Rehmann - Schiffsfeger-Polka

Francisco Canaro - Tango

Gerhard Winkler - Toulouse

Albert Vossen - Merry-go-round

Gerhard Winkler - Serenade Napolitano

Les Rid - The Last Waltz

Yann Tiersen - Le Moulin

Yann Tiersen - Naomi

Bert Kaempfert - Strangers in The Night

Luiz Bonfa - Manha de Carnival

Cajun of Luisiana State (for banjo and accordions)

George Boulanger - Da Capo

Eugene Derbenko - Rythm of Time

I. Panitski - Snowball Tree

A. Murena and J. Colombo - Indifference

Hubert Giraud - Sous le Ciel de Paris

Toto Cutugno - Soli

Fermo Marchetti - Fascination

Victor Vlasov - Boogie-Woogie

J McHugh - Black Birds (Black spiritual arranged for accordion)

S. Scott - Jungle

Tikhon Khrennikov - Moscow Windows (jazz song arranged for accordion duo)

Paul Norrback - Happy Moments

Charlie Chaplin - Limelight (waltz arranged for accordion)

Victor Vlasov - Silent Films

Victor Vlasov - Good Afternoon

Victor Vlasov - Cartoon

20 Tiny Fingers - English folk song

A. Joys - Autumn Dream

Jazz-Legato - Lerov Andersson (for accordion duo)

Vladimir Popolzin - In The Saloon

S. Scott - Ballade

Victor Vlasov – Jazz Miniatures

Victor Vlasov - Disco (from Jazz Miniatures Book)

Victor Vlasov - Let us Swing (from Jazz Miniatures Book)

Victor Vlasov - Siamese (from Jazz Miniatures Book)

Victor Vlasov - This Rythm (from Jazz Miniatures Book)

Victor Vlasov - Step (from Jazz Miniatures Book)

Unto Jutila - French Visit

Renzo Ruggieri - Carnevale

Jimmy Giordanengo - La Huette

Albert Vossen - Fliegende Blatter

Vittorio Monti - Czardas

Victor Vlasov - Mood (for solo accordion)

Victor Vlasov - Syncopes

Unto Jutila - Samba

Pietro Frosini - Jolly Caballero

Karl Noack - Parade of Dwarves (for ensemble or orchestra)

Valery Kovtun - Brilliant Waltz (for solo accordion)

Pintin Castellanos - La Punalada

Finish Polka

Anne Dudley - Jeeves and Wooster

Astor Piazzolla - Four Seasons in Buenos Aires - Score

Astor Piazzolla - Four Seasons in Buenos Aires - Parts

Luciano Fancelli - 10 km. al Finestrino

Luciano Fancelli - Pupazzetti

Georgy Mushel - Toccata

Albin Repnikov - Capriccio

Paolo Pizzigoni - Light and Shadow

Grigoras Dinicu - Hora Stacatto

Eduardo di Capua - O Sole Mio!

Ernesto Lecuona - Malaguena from «Andalucia» Suite

Andre Astier - Grande Valse De Concert

Andre Astier - Divertissement

Andre Astier - Fantaisie En Mi Mineur

Andre Astier, Marcel Azzola - Systeme «A»

Andre Astier, Maurice Larcange - Accordeon Steeple

Andre Astier, Yvette Horner - Polka Satellite

Volodymyr Zubytsky - Ti Amo, Pesaro

Joaquin Rodrigo - Concierto de Aranjuez, Adagio

Antonio Vivaldi - Concerto f-moll from The Four Seasons

Arnstein Johansen - Cornelli (polka)

Medard Ferrero - Averse

Polka Favorites

Latin Favorites

Joey Miskulin - Accordion Styles and Techniques (DVD)

Paris Musette - Freddy Balta and his Accordion

Teach Yourself To Play Accordion

Waltz Favorites

Metodo Per Fisarmonica (Accordion)

Latin American Dances

Richard Galliano - Opale Concerto - Parts

Vladimir Chernikov - Lonely Harmonica - Yablochko

Niccolo Paganini - Caprice No. 24 in A minor

Andrew Lloyd Webber - Memory

John A. Dallas - Helen Waltz

Maurice Larcange & Michel Mercier - Javaccordeon

Franck Angelis - Valse du Cloun

Franck Angelis - Impasse

Ole Schmidt - Toccata no. 1

Astor Piazzolla - Contrabajissimo - Score

Yann Tiersen - La Noyee

Jack Fina - Bumblebee Boogie

Vl. Zolotarev - Conteplating The Dionisian Frescoes of St. Ferapontov Monastery

Heitor Villa-Lobos - Dance of The White Indian

Filippo Marino - Cristina

Tony Murena & Louis Peguri - Joyeux Vagabond

Pietro Frosini - Spic and Span

Hans Brehme - Divertimento in F

Pietro Frosini - Accordion Jitters

Astor Piazzolla - Concerto Aconcagua for bandoneon, chamber orchestra and percussions - Score

Oscar Peterson - Laurentide Waltz (from The “Canadiana” suite)

Con Conrad & Herb Magidson - Midnight in Paris (bolero)

Samuel Barber - Adagio from String Quartet No. 1

Pietro Frosini - Love Smiles

Albin Repnikov - Concertino

Victor Vlasov - The Fest In Moldavanka

Art Van Damme - Boogie-Woogie

Albert Vossen - Brusseles Laces

Yann Tiersen - Les Quatre Pieces

Frank Marocco - Appassionato

Che, bandoneon - 10 essential tango arrangements - Vol. 2

Astor Piazzolla - Cite Tango

Astor Piazzolla - Meditango

Astor Piazzolla - Un dia de paz

Astor Piazzolla - Libertango

Astor Piazzolla - Tres Tangos

Astor Piazzolla - Ave Maria

Astor Piazzolla - Concierto de Nacar - Score

Astor Piazzolla - Tangata del Alba

Accordion in Concert - Part II

Astor Piazzolla - Double Concerto - Score

Argentinian Tango and Folk Tunes for Accordion: 36 Traditional Pieces

Jean Francaix - Concerto for accordion and orchestra

Isang Yun - Concertino for accordion and string quartet

Darius Milhaud - Suite Anglaise

Astor Piazzolla - Adios Nonino for accordion orchestra and piano

Klezmer and Sephardic Tunes

Astor Piazzolla - Concerto Aconcagua for bandoneon, chamber orchestra and percussions - Parts

Astor Piazzolla - Cuatro Estaciones Portenas - Score

Astor Piazzolla - Cuatro Estaciones Portenas - Parts

Carlos Gardel - Soledad y Volver - Score

Carlos Gardel - Soledad y Volver - Parts

Angel Villoldo - El Choclo

Mariano Mores - Tanguera

Julian Plaza - Nocturna

Hector Stamponi - Un Momento

Julio Pane - Un vals para Martita

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Jbanov, Roman: Accordion Festival, Bucharest - Romania (festival review)
Mar., 1, 2007
Review by: Roman Jbanov

Accordion Festival, Bucharest - Romania

The first accordion festival in Bucharest, known also as "The sleepless nights of the accordion" took place from September 7th to 9th in the ARCUB Arts Center, and on September 10th in Ploiesti. This event was the initiative of Romanian accordionist Emy Dragoï, with Richard Galliano [picture left].

The year 2006 is the year of the French in Romania. In partnership with the French Embassy, the founders of this festival, Emy Dragoï and the association 'Acordeon Armony Music' decided to invite great artistes from France. The Balkan music has also its charm filled of nostalgic feelings supplemented by the great virtuosity.

Accordionist Ion Bica Dragoi, the father of Emy, opened the festival accompanied by a traditional group and with his small son who was highly appreciated by the crowd. They chose to perform a repertoire in memory of the accordionists Farimita Lambru, Marcel Budala and Ilie Budala. Then the trio of David Rolland on the diatonic accordion played music in the Cajun style of Louisiana. The cousin of Emy also made a performance with a program of traditional Balkan music.

In the second part of the concert a recital by Roman Jbanov, (picture left) from the Ukraine, on a bayan accordion, played transcriptions of classical music by Buxtehude, Scarlatti, Moussorgski, Rossini and pieces by the French composer Franck Angelis and Russians Viatcheslav Semionov, Evgenii Derbienko and Viktor Novikov.

The following day, the audiences heard the French musette style with performances by Alexandra Paris. Roman Jbanov introduced original Russian pieces. Maestro Juan Jose Mosalini played the bandoneon accompanied with the guitar by Argentenian Leonardo Sanchez [picture left]. Their repertoire was the tango with compositions of Astor Piazzola, but also of own compositions of Mosalini and others.

The third day Emy Dragoï performed in the first part of the 'Etno-Fonia Swing' jazz and swing manouche, accompanied by the National Academy of Bucharest, and on the piano by Petrica Andrei, Christophe Lartilleux on the guitar, Albert Gheorghe on percussion, Kuba on double bass, with the contributions of various jazz singers: Irina Sarbu, Iitssor Raluca and Teodora Enache. The program was very varied. Richard Galliano charmed the room with his compositions and his individual style [picture bottom].

The final concert took place on September 10th in the Philharmonic Théatre of Ploiesti. Almost all this festival was recorded by the Romanian television TVR and will be available their internet site: www.tvr.ro.

The aim of this festival was to promote the accordion and related instruments. Emy Dragoï carried this out with a great artistic and musical quality with the assistance of her friends and her family. Maybe a 2nd edition of this festival will take place next year...

Sommers, Joan Cochran: Maestro Anthony Galla-Rini--A Personal Reflection (essay)
Mar., 1, 2007
Essay:
The following essay was originally published in the September/October 2006 edition of Accordion World magazine (editor: David Keen) and is presented here by the permission of Accordion World.
(See our review of Accordion World Magazine).Maestro Anthony Galla-Rini
18th January 1904 - 30th July 2006A Personal Reflection by Joan Cochran Sommers (USA)

Anthony Galla-Rini came to Kansas City, Missouri, USA to give solo concerts several times during his concert career. My teacher, Cecil Cochran, sponsored him every time, whether it was for a solo recital or for the many days of group rehearsals and workshops that he also presented. When I was 14 years of age, arrangements were made for some of Mr. Cochran's students to play a solo for Galla-Rini, who was a very handsome, well-dressed gentleman whom everyone thought was really an Italian Hollywood idol who could play this fantastic music on the accordion. Naturally, we were absolutely terrified and, in fact, my younger brother was so scared that he began fiddling with an open window and it fell on his fingers, making him just that much more anxious and far less able to play well. However, in spite of the surrounding excitement and general angst among both parents and students, I performed one of his recent arrangements for him and apparently he was pleased. From that early performance for Anthony Galla-Rini, however. I received the invitation to travel to New York City to be a member of his master class session he was holding. The invitation was only valid if I would learn about 15 solos that he assigned for me to learn in the next few months. I turned 15, began to learn all of them and was given a scholarship that covered my travel expenses so my mother and I took our first airplane ride and flew to the big city of N.Y. Needless to say, the experience had a great influence on me. It was my real introduction to Anthony Galla-Rini as a teacher, one who became my lifelong friend and mentor as well. Tony came to Kansas City for several summers and would stay for a period of three weeks, perhaps, while he rehearsed our accordion orchestra, although they were often called bands in those days. He would send many of his arrangements but would also include a few from Europe that he had obtained on a recent tour or from his overseas friends. Our orchestra would practice the parts and then Tony would come to Kansas City and really put us through the wringer. It was indeed a wringer since, at that time, no one had air conditioning and the summers were hot and humid! We worked many hours a day, day after day after day, until we were ready to perform in Chicago during the NAME Convention period, sometimes sponsored by Galla-Rini in Kimball Hall and other times sponsored by either the Titano or Giulietti Accordion Company during their trade-show concerts. It was an exciting time and on each of these concerts, Tony would premiere the newest of his hundreds of accordion orchestra arrangements, always conducting from memory with great dignity, a trait that never diminished or faltered even at the age of 100 when he needed to sit while conducting. None of us in the orchestra, or those in the large audience, could ever forget the first time we played his arrangement of the Finale to Tschaikovsky's Fourth Symphony. That arrangement, along with the Dance of the Buffoons by Rimsky-Korsakov, probably became the absolute favourite competition piece performed by all accordion orchestras in the United States for a very long time.

During these same concerts, Anthony would play several solos, always new and always with at least one selection that no one else would ever have attempted because of the intricate technical passages required in the left hand. What others always thought impossible, Tony would attempt and prove that there was always more the accordionist's left hand could do. At that time, he could only switch to move between the various octaves, there were no free basses for a few years yet.

But switch he did and he made his students learn to do so as well. In his workshops, he gave us page after page of melodic exercises in which we were required to mark the correct switches, and fingerings, in order to stay in the exact pitches written on the music. He always thought the left hand should be equal to that of the right hand and did everything in his power as a teacher to help his students to achieve that. To this very day, I have stacks of the numerous exercises he wrote out for us to practice.

Anthony Galla-Rini did not focus only on left-hand technique: he also taught right-hand technique, but always with a hint of a music theory teacher's viewpoint, I think. We did not just play exercises, we learned theoretically what it was we were playing. Galla-Rini was a real teacher and introduced us to the books that served as his resources for his own volumes of "treatises" on various musical topics with multitudinous subject matters, often far above our comprehension at that precise moment. Those early lessons have continued to be valuable throughout the many years of my own and many others' teaching careers.

During one long period of time, Anthony Galla-Rini served as the Chief Examiner for the Accordion Institute of America's yearly Syllabus Examinations in Kansas City. Students, including myself, were given the usual examinations regarding repertoire performance, aural tests of all sorts, and written music theory. It was a grand occasion when Tony would set up his "testing room" where he would hold examinations for several days at a time and he would rejoice as much as the candidates when they passed each successive syllabus level. He was a strict adjudicator but one who often gave second chances when needed! And during the evening hours of relaxation, while enjoying a dinner, a fine wine, and friendly conversation, he was full of fun, tales of his work in the movies with famous stars or directors, with musical wit as well as the latest news from his colleagues throughout the accordion world. There was another example of Anthony Galla-Rini's personal character, also, when it came to paying the restaurant bill for the evening: Tony always remembered when it was his time to pay or at least share the costs. Yes, he was a true gentleman in addition to being a great musician and these were during times when I am sure he, as the case with most musicians without a weekly salary, needed to watch his pennies. Regardless of all the work he did and of all the thousands of arrangements he made that were published, Tony had to work hard for his money and he did so his whole life.

There are many musicians born with absolute or perfect pitch, but none who could have surpassed or even approached the accuracy exhibited by Tony Galla-Rini! He could hear everything: there simply was no way to fool him. Of course, he also knew every note of every piece, solo or orchestral, so he knew what he was supposed to be hearing. His arrangements were never equalled in his day because of his total devotion to writing them as the composer would have written them originally, as if for the accordion in the first place. His tremendous knowledge of music theory and harmony, coupled with his own genius as a composer, arranger, and performer, simply made him better than all others. He omitted nothing; if the composer wrote it, he put it in. If there were cuts made, because of time limits or lack of suitability, he always seemed to make the correct ones! While other arrangements might sound thin, without the inside middle voices, or perhaps even with wrong notes, Anthony Galla-Rini's were always correctly analysed in the first place. And in the second place, he knew how to put it on manuscript. He knew how to use the abilities of the accordionist and he knew the possibilities of the instrument. His accuracy in doing so was simply superb and without fault to the very end. Even in his very advanced age of 99 and even 100, he continued to write those very distinguishable, recognisable and readily readable notes on the page without mistakes, truly another of his remarkable qualities!

His understanding of how the left-hand mechanisms worked caused him to merely open up the instrument, cut off the offending 5th of the dominant and diminished seventh stradella chord buttons. Galla-Rini was thereby again paying homage to the rules of harmony and, in so doing, allowed all accordionists far greater opportunities for use of the stradella chords. He was an innovator but it was always for the benefit of the music. Switches on an accordion were placed there to be used, not just to decorate or sell the instrument. Tony used them and he made his students use them properly. I have already alluded to this uncanny ability of his left hand to play tremendously difficult passages and play them in the correct octave. He was just as obsessed with teaching his students the need for understanding correct pitches or octaves in the right hand and how the switches should be used. Middle C was not allowed to move willy-nilly over the keyboard unless the correct switch accompanied the move. It was during these many sessions that I, personally, began to be fascinated with orchestral scores, particularly, and how to understand the different qualities of timbre and their relationships to the accordion. He opened my eyes to the works of so many composers, including those of the familiar traditional keyboard repertoire, but perhaps most especially to those of the great orchestral works.

Anthony Galla-Rini was a demanding person, not only of others but also, especially of himself. He expected the best from himself and from his students. There was friendliness and kindness, but always with a firm understanding that he was indeed the master. This was perhaps a throwback to an earlier era, but most certainly warranted in the instance of this great man who came to be known as The Maestro in his later years at his many music camps. Even then he exhibited the elegance required of and demanded by such a title so lovingly bestowed upon him.

Literally hundreds and hundreds of players have shared the genius of Anthony Galla-Rini through the playing of his vast numbers of arrangements for solo and orchestra. While some of those were made in response to the dictates of a certain period of time, many others will remain in the repertoire and libraries of accordionists, valuable for both teaching and performance, for students and professionals. His two concerti were perhaps his finest efforts at composition, an art he thoroughly understood. Anthony Galla-Rini also knew intimately each and every instrument for which he wrote and because of this, he composed every note for every instrument; the orchestrations were not left to anyone else. His Concerto No. 1 in g minor is undoubtedly the most performed of any accordion concerto, at least in the United States, if not in the world.

His wife, Dina, came from a famous accordion family and was a person who doted on her husband; she sat and listened to every note, every day, wherever and whenever. After she died and Tony remarried, his second wife, Dolly, was the same; she also travelled with him and listened to everything he did with great admiration. I considered it a great privilege to share many good times with both Dina and Dolly and to have had them as my very good friends.

I, like hundreds of other accordionists, have many wonderful memories of Anthony Galla-Rini and they will never be forgotten. The world will never forget him since he was a giant in the history of the accordion in so many different ways. From his early years as a child performer growing up in vaudeville and continuing on through practically his last days on earth at the age of 102, his story is well known through the hundreds of articles written about his life and his many accomplishments. But my memories include not only those I have read about but, also, the ones I had the inordinate privilege of sharing as a student, friend and, eventually, a colleague. God blessed us all with the presence and life of Anthony Galla-Rini. He was a good human being and a great musician! May his legacy live on forever.

Copyright 2006
ACCORDION WORLD
Robinson, Les: Does My Accordion Sound OK to You? (essay)
Mar., 1, 2007
Essay:
The following essay was originally published in the July/August 2006 edition of Accordion World magazine (editor: David Keen) and is presented here by the permission of Accordion World.
(See our review of Accordion World Magazine).Does My Accordion Sound OK to You?Part one in a series by Les Robinson

When I began repairing accordions professionally many years ago, my main interest was in tuning. It is difficult to give an exact date, but at that time motorcycles were mostly made in Birmingham and it was possible to buy a loaf that tasted like bread. Late sixties, I would say.

I soon realised that just getting reeds to the correct pitch is not the whole story. For a tuning to be effective and stable there are many checks to be made and deficiencies put right. Every component contributing to the output of sound should be at its best. Those faults which do not influence the pitch of the reeds but can sabotage their performance should also be sorted out. For example, when an accordion has been in use for some time, dust, fluff, slivers of wood, the occasional digestive biscuit etc builds up behind the keys and buttons. Some of this collection can find its way inside the accordion and choke reeds, especially the smaller reeds at the knee end of the treble keyboard where gravity has taken most of the debris. Or it will become embedded in the leather faces of the key palettes, spoiling their airtightness. Airtightness, or compression, has an important bearing on the instrument's performance.

With the above in mind, and because I prefer to work on a clean instrument anyway, on all accordions reconditioned in my workshop for resale every moving part, treble and bass, is serviced before the reedwork is even started, tuning being the final task.

Tuning has its basis in mathematics, hence its academic appeal, but tuners do not need math's [sic] to exercise their craft. The earliest tuner 1 have heard of was the Greek, Pythagoras of right-angled triangle fame who, around 550 B.C. invented the Monochord while sitting in his bath, perhaps.

I mentioned Pythagoras and his Monochord. I have had many requests about this but decided to tell you about them anyway. The Monochord, then, consists of a taut string stretched between two fixed posts which are mounted on a sounding board or box. A movable bridge allows the effective length of the string to be varied and some important relationships can be demonstrated. Consider an example, if the open string (i.e. no bridge) is A440, then if the bridge is placed at the half-way point we find that A880 (an octave higher) is produced on each side. With the bridge at the two-thirds point, E660 is produced on the long side and E1320 on the short side. And at the three-quarters point D587 is on the long side and D1760 on the short side.

Guitar players will see this immediately, violin players even sooner. And if you can prise little Johnny away from his GSCE maths homework to assess the evidence he will tell you that the pitch of the note varies inversely as the length of the string. If you have a table of standard pitches to hand, (doesn't everyone?) you can see that the numbers quoted for E and D are not quite the same as those given by the Monochord. The reason? Your table will show the frequencies of the twelve-note scale in "equal temperament" which is the tuning system in general use in the Western world. It was perfected in 1691 by Andreas Werkmeister and adopted pdq by musicians because in this system all keys sound equally concordant. Johann Sebastian Bach celebrated the fact with his "Well Tempered Clavier" comprising 48 preludes and fugues using all 12 major and all 12 minor keys.

When a note is raised in pitch by an octave its frequency, measured in Hertz, is doubled, i.e. multiplied by 2. In the equal temperament system the octave is uniformly divided into 12 semitone intervals. Uniformity is achieved by using a multiplier, the twelfth root of 2 which is approximately 1.0594631.

To show how this works we can construct a short table of standard musical frequencies, starting at A440. You may be able to use your computer for this task, but a pocket or desk calculator is more than adequate. Start by feeding in 1.0594631 and make this a constant multiplier. On mine I need to press "multiply" twice for this feature. Next feed in 440 and press "equals" to display 466. 16376 (B flat). Press "equals" again to display 493.8833(B) and again for 523.25113(C). Continue until the octave is completed and beyond if you wish.

You ladies may prefer to dance backwards, in which case press "divide" twice at step 2 before inputting 440. This will give decreasing frequencies down to A220 and beyond.

Without really trying, you have also built a compound interest table. We deposited £440 in a savings account offering just under 6% interest per annum and we left it intact for 12 years. Then we built a discount table which showed that our £440 will be worth £220 in 12 years time if inflation is just under 6%p.a. each year. Next time - how these numbers are used to tune your piano.

Copyright 2006
ACCORDION WORLD
Frosini, Pietro : Jolly Caballero (cd review)
Mar., 1, 2007
CD Review: Pietro Frosini: Jolly Caballero

total time: 77:06
label: AV Norild Forlag AS
review date: May 2006

Order from:
The Classical Free-Reed, Inc. Online Gift StorePietro Frosini
Jolly Caballero   SelectionsSwedish Italian MazurkaPensieri Algeri WaltzHot Fingers NoveltyLa Mariposita BoleroBel Viso PolkaFrosini Symphonic MarchDizzy Accordion NoveltyOlive Blossoms WaltzLove Smiles TangoBel Fiore TarantellaCoquette PolkaGauchos on ParadeRag in DmCordinella NoveltyVisione D'Amore WaltzLuna D'ArgentoBeautiful Heaven WaltzI Hate to Love You (traditional)Valse Caprice No. 1Serenata PrimaverileVieni Amore
Rantanen, Matti: ZOLO--Finnish Works for Accordion (cd review)
Mar., 1, 2007
CD Review: ZOLO--Finnish Works for Accordion

total time: 70:40
recorded: August 2003
review date: April 2006 ZOLO
Finnish Works for Accordion   SelectionsEinojuhani Rautavaara (b. 1928)
Fiddlers op.1    Pelimannit op. 1 (1952/1992)*Närböläisten braa speliKopsin JonasJacob KönniKlockar Sarnuel DikströmPirun polska (Devil's polska)Hypyt (Village hop)
Otto Romanowski (b 1952) Hiding, for accordion and tape      (harmonikalle ja nauhalle) (1994)
Harri Vuori (b. 1957) The Hour of the Wolf      Suden hetki (2000)
Jukka Tiensuu (b. 19481) Zolo (2002)
Tapia Tuamela (b. 1958) Feux Follet      Virvatulia (1996)
Pehr Henrik Nordgren (b, 1944) In Patches op. 41 (1978)
Einafuhani Rautavaara (b. 1928)*
Icons      Ikonit (1955/1997) The Death of the Mother of God (Jurnalanjäidin kuolema)Two Village Saints (Kaski maalaispyhimtstä)The Black Madonna of Blakernaya (Blakernajan musta Jumalanäiti)The Baptism of Christ (Kristuksen kaste)The Holy Woman at the Sepulchre (Pyhät naiset haudalla)The Archangel Michael Fighting the Antichrist
(Arkienkeli Mikael kukistaa Antikristuksen)
* arranged by Matti Rantanen
Owen Murray
Feb., 27, 2007
On  January 15th, an evening concert with Owen Murray is scheduled including a performance of ‘Seven words’ for bayan, violoncello and chamber orchestra.
Friedrich Lips will perform Gubaidulina's concert ‘Under the sign of Scorpio’, with the BBC SymphonyOrchestra - V.Gergie, conductor, at the Barbican Centre, London on January 14th, at 8pm. On the following two days,Friedrich Lips will also have a master class at the Royal Academy of Music in London, which will be dedicated first of all to the works of Sofia Gubaidulina who may also attend this event.
Royal Academy of Music
Marylebone Road
London NW1 5HT
Tel. 0044 (0)207 873 7373
Tel. 0044 (O)207 873 7381 (direct line)
Fax 0044 (O)207 873 7374
e-mail This email address is being protected from spam bots, you need Javascript enabled to view it "> This email address is being protected from spam bots, you need Javascript enabled to view it
Egidio Spadaccini (Sussex)
Feb., 27, 2007
Egidio Spadaccini
Egidio Spadaccini
(A star accordion performer at the monthly Guildford Accordion Club)
Egidio was honoured recently to be selected to perform in the Horsham Bandstand from those musicians
who had played earlier in the day in the Forum in Horsham's first Folk/Arts Festival.
The Horsham Festival was held to raise awareness of the proposal to make
the old Town Hall into a Community Arts Centre.
Red Hot & Blonde
Feb., 27, 2007
Red Hot & Blondeare a unique and dynamic trio who inject jazz, razamatazz and crazy comedy into their toe-tapping tunes. Since forming Red Hot & Blonde in 1999, 
Lynda Styne, AndyEastwood & Janet Beale
 have been very much in demand for corporate functions and parties,
and they released their debut album Running Wild in 2002.
Gary is to the Accordion what David Beckham is to Football !
Feb., 27, 2007
Meet the modest dad-of-two from Renfrew whose talents have made him one of the worlds’ most famous musiciansFOR a man who has been immortalised as a musical legend, rubbed shoulders with Royalty and film stars and headlined festivals across the globe, Gary Blair is a shockingly modest man.“I suppose you just never see yourself as one of the very best, even when people you admire are telling you so,” he said, sitting in his home, cluttered by gleaming trophies.“The cast of my hand has been placed in a wall in Italy with the 60 greatest accordionists of all time and two years ago I was one of three players in the world to receive an honour from the world governing body.“But every single time I receive an award I’m gobsmacked – honestly shocked.”
Please click the link below to view Gary's online photo album!  
Whether he believes it or not, Gary is a world class accordion player, known for his talent in more countries than he’d care to mention.He practices, teaches and plays with the nine valued instruments in his collection, including a custom made £6,500 accordion which was given to him as a present from an Italian manufacturer.The globe-trotting father of two, who lives in Renfrew, caught the bug at the tender age of eight, as he watched his famous dad, Jimmy, perform weekly on popular Scottish TV show Jigtime back in the 60s.As Jimmy Blair and the Scotia Players strutted their stuff on the box in the corner of the living room, Gary’s young mind was plotting dreams of his own.At 46 years old, he now admits there’s little else for him to achieve with his beloved accordion in his arms.He enrolled in his father’s music school and practiced nightly before entering his first major competitions as a teenager.At 13 he was playing at clubhouses on Paisley Road West for visiting high-spirited highlanders who “were quick to tell you if you weren’t good enough or had done something wrong” after pubs had closed at night.With the double whammy of contrasting learning curves Gary was quick to rise from the local scene and gain recognition at a national level.By 17 he was crowned the UK accordion champion with medals in the classic, traditional and polka sections, and lifted the sought-after Bell Trophy.A blossoming career in teaching music to young students put an end to Gary’s competing days.He joked: “It just didn’t look right to have a teacher and his pupils entering into competitions, so I backed out before I got beat!“Anyway, it was taking a year just to learn the classical pieces by heart before paying them in competition so it was good to free up time to learn some more continental classics.“Accordionists usually give up competing by their early 20s anyway, so I just stopped a little sooner.”As his reputation grew, so did the prestige of the shows Gary was invited to. However, as he has found out throughout his glittering career, some events are best left well alone.He said: “My band was invited over to the Cannes Film Festival in France to play a promotional gig for a Scottish movie that was being shown but it turned out to be a nightmare.“All the big actors where there but if you weren’t a film director in that industry, they just weren’t interested.“The only good thing about that trip was the fact that we were paid in bottles of whisky. They gave us six bottles each but we weren’t allowed to bring it back into the United Kingdom at that time so we gave bottles to the taxi driver, chamber maid, receptionist and obviously had a couple ourselves – it was a lot of fun.“After that I did the Scottish BAFTA awards for a couple of years and then the British BAFTA awards came to Scotland as well.“Princess Anne and the entire casts from EastEnders, Coronation Street, Emmerdale and all those other soaps were all in the audience but it never matters to me if there’s one person or 25,000 people there, I just enjoy playing.”Major tours of America, Germany, Holland, Italy, Belgium, Iceland, Dubai, four T In The Park festival shows and a New Year special at George Square, Glasgow, in front of 25,000 frozen revellers have all cemented Gary’s position as one of the world’s greatest accordion players.But it’s the memories of the globe’s biggest accordion music gathering in Quebec, Canada, which he recalls as his favourite times playing live.He added: “Headlining in Las Vegas with a guy from the Jay Leno show trying to take the mickey out of me, or collecting my small envelope of cash at T In The Park, in line between the likes of Oasis and Travis who are getting suitcases of cash stand out as funny moments in my career.“But playing at the Montemangey Festival in Quebec is truly a great, great honour.“The world’s finest players are lucky to be asked to play once and I have somehow managed to get an invite twice – a third time would be incredible.”The jovial dad has vowed to continue playing live and teaching the accordion to young upstarts, including his own son, also Gary, who has already started picking up trophies at national level.
Marcosignori , Gary Blair and Danille Ravaglia.
As well as having his hand print cast in stone in the birthplace of the accordion, Italy, Gary also proudly boasts a prestigious “Honoured Friend to the Accordion” salver awarded by the world governing body CIA.He is only one of three players ever to receive such an award.“At one show I did, the promoter put in the programme that ‘Gary Blair is to the accordion what David Beckham is to football,” he recalled.“I thought it was a lot of nonsense myself!”http://entertainment.webshots.com/photo/160981246/1160987744057278017JuzlxS
Club Accord February 2007 Newsletter
Feb., 27, 2007
Our first guest of 2007 was John Romero from Eastbourne, who certainly livened up the evening with some very interesting music. It was a complete change from the normal sounds that we hear at the club. He showed us just what wonderful things the accordion is capable of nowadays, a complete orchestra, all on its own.The evening began with Tracey playing some nice Jigs and Polkas and then "Carte Postale." This led straight into our guest John, who began by playing his acoustic accordion with some fine pieces including "Lolita"- a Spanish waltz "Mariouska" and three French waltz pieces, "Under Paris Skies" and "Under the Bridges of Paris," rounded off with "The Maigret Theme" (this medley being his own arrangement). John then explained all about his marvellous personalised midi accordion, a completely new concept of equipping out an accordion by using optical sensing electronics within the accordion. This special midi rig allows not only for initial and after touch but the ability to change the tonal characteristics of the notes played from the keyboard. It was interesting to know that none of his music was pre-recorded. He entertained us with pieces in a Mantovani style with versions of "Limelight," "Charmaine" and "Edelweiss" and other easy listening standards such as Richard Clayderman's "Ballade Pour Adelaine."He also delved into Eighties pop classics such as Jean Michel Jarre's "Oxygene" and back to Latin standards like "Return to Me" and "I will wait for you," yet another complete contrast finished the first half with "Bridge over the River Kwai." Now midi is not everyone's cup of tea, but its good to hear a variety.During the interval Alf played two nice tunes and was followed by Neil who played a Scottish Hornpipe, a Strathspey and a March. Terry charmed us with "Radetzky March","Amapola" and "I'll Stay with You." Andy was next with "A Hundred Pipers" and a folk song. Finally it was the turn of Ingrid and Richard to play "Libainlea"and "La Cumparsita."John began the second half using "organ" sounds with a few singalongs including a Flannagan and Allen song "Underneath the Arches" which the audience enjoyed singing along to. Then came a beautiful modern piece - "The Wind Beneath my Wings." A rendition of "River Dance" followed. This started with "Lament for Matthew" a piece he wrote himself and led to the main" The Lord of the Dance Theme" Also included in the second set was a truly amazing version of "The Dr Who Theme" and the night was finished off with a major arrangement of "The Dark Isle." Bravo!! It was an extremely entertaining evening!!Being a professional organist/keyboard player, John understands the full capabilities of midi, splitting keyboards into several parts with the lower or upper parts playing single notes of one instrument and chords or single notes of other instruments underneath or above. He also made use of organ/keyboard specialities such as pre-programmed musical patterns based on the chords, or keys you press. This included with rhythmic drum patterns provides endless possibilities, well worth the very highly expensive setup. I doubt that other superb accordionists who are also aufay with an organ/keyboard to the same extent as John could obtain such an excellent use of the full midi possibilities of his setup.Next month we are at a different venue for one month only. Just 1.5 miles down the road, the DDS&S Club at Bromsgrove, with free parking at the back, pay parking at the front. Go in the club up 6 steps and turn left into the large concert room - please come and sit close up! We have another great Entertainer in the Jersey Professional - Steve Roxton who entertains most nights of the week at various hotels in and around St. Helier. Don't forget to bring your accordions along to entertain the "crowd" during the interval, or at the start of the evening.
Gary Blair at The San Benedetto Belbo Festival Italy June 25th-26th
Feb., 27, 2007
 
Gary Blair pictured during his recent visit to Italy and The San Benedetto Belbo Festival.
 
Please click the link below to view Gary's photo album!  
 
Gary's report is printed below!
 
I was booked by Cooperfisa Accordions to perform at two concerts in and around Verona Italy.
On arrival at Turin airport I was once again greeted with the familiar news that my accordion and luggage were
still in London and weren't due to arrive until the following night!
 My dear friend Romeo Aichino (Cooperfisa) made a detour back to Vercelli and to the Cooperfisa factory and after a guided tour of this magnificent accordion factory we went to the local superstore (Bennets) to purchase some necessary clothing. 
We then headed into the hills (a four hour drive from Vercelli) above Verona to a place called '' Erbrezzo'' where the
 "15th Festa Nazionale Della Fisarmonica" was due to take place the next day.
 Any hope of a long peaceful lie in bed were dashed at 6 am when the local photographer decided it
was time to start proceedings as he opened up both car doors and commenced to play accordion music at a decibel level that "Black Sabbath" would have been most proud of!!
I was really delighted to find out that my dear old friend Gervasio Marcosignori was the president of the music jury and that he, like me, would be playing at the concert on saturday night. (I sadly missed his performance as we had to travel back to Vercelli).
 The other members of the Judges panel were Tiziano Chapelli, Vanio Testi, Cesare Tronel and the Ukrainian accordionist Eugena Cercassova.  Cooperfisa were very kind in lending me a brand new accordion prototype model called a '' Superballo '' which I simply loved to play.
 The whole festival was just superb with some amazing performances by students from as far away as Croatia.
Next day we had a two hour car journey to a festival in San Benedetto Belbo, again well up in the hills. 
 This festival was packed to the gunnels with talent and I was once again delighted to meet up with my good friend Mauro Carra whom I first met at the LondonAccordion Festival back in 2001. We both performed on the same stage (I'm glad that I was on before this musical genius!!)
to a very enthusiastic audience who would clap and cheer showing their appreciation throughout our performances.
All in all it was quite a tiring weekend which I would gladly do again and again.
I have to thank all of the staff at Cooperfisa, Vercelli especially
'' My Family''Romeo, Paolo and the simply wonderful Emiliana, for their outstanding kind hospitality and friendship.
 
Gary Blair
The Accordion Profile Magazine
Feb., 27, 2007
It is reasonably priced at just £20 for a year including P&P for UK readers and £30 for overseas subscriptions.(single copies are £2 each plus P&P). The monthly magazine arrives just like clockwork on or around the first of every month and is always a good read, giving up to date gig/concert diary,international news, colourful and well presented advertisements,CD and sheet music reviews,accordion history,collectors corner, club-concerts-schools-orchestras monthly news,artist contact information,club directory,private sales/wanted and many full colour pages including a glossy front cover. If you would like to receive a free sample (back issue) along with a subscription form please email your full name and address including post/zip code to:- This email address is being protected from spam bots, you need Javascript enabled to view it "> This email address is being protected from spam bots, you need Javascript enabled to view it
Accordion World Magazine
Feb., 27, 2007
"The Accordion World Magazine" edited by David Keen (pictured) is published every other month. If you are in the UK and would like to receive a free "back issue & subscription form", please email your name & address to:- This email address is being protected from spam bots, you need Javascript enabled to view it "> This email address is being protected from spam bots, you need Javascript enabled to view it
Watford Accordion School of Music
Feb., 27, 2007
Accordionist Jacob Hilton (16years old - recently won the Junior Section of the National Composer's Competition held at Caister & Grade 8 Practical & Theory with Merit) & on Keyboard is Charllote Gamble (recently passed Accordion Grade 5 Practical with Merit & Grade 5 Theory with Distinction).
 
Stockport Nov/Dec Newsletter
Feb., 27, 2007
Rob Howard
                Hi & G’Day,
             On November 22nd, our Club Night concert features the legendary
Pearl Fawcett-Adriano, one of this country’s most brilliant professional
accordionists.  Admission is £5, there are no advance tickets, and we are
anticipating yet another great night for the accordion.  All are welcome. 
And, yes, we do need players for supporting spots.
           Pearl Fawcett-Adriano has achieved international recognition as
an outstanding accordion virtuoso, and she has done much to raise the
standing of the accordion as a 'musical' instrument, both in Britain and
abroad.  Pearl (as Pearl Fawcett) won every major national competition run
by the British Association of Accordionists, and then became Junior and
Senior World Champion in successive years.
          Pearl's vast repertoire ranges from the classics to light music,
French musette and continental, and no matter what kind of music she plays,
her marvellous technique and control of the instrument ensures that the
music is interpreted to the full.  Specialising on the acoustic/electronic
accordion, she brings a completely new dimension to the instrument, and she
has such a command of this instrument that she utilises it to its full
orchestral and musical extent.  Her subtle use of the expression pedal,
split-second changes of registers and perfect bellows control produce a
musical tapestry of multicoloured sounds and effects.
            Pearl has appeared on radio and television many times, and many
of you will remember her regular weekly spot playing French musette solos on
the BBC Radio 2 Charlie Chester Show on Sunday afternoons.  I also remember
watching Pearl play on BBC television’s The Good Old Days, before TV was
taken over by ‘celebrity’ shows and soaps.
           Pearl was the first to teach accordion at a Conservatoire of
Music in Great Britain, and she was the first to give accordion recitals of
classical music at a British Conservatoire, and also on TV.  She was the
first British accordionist and the first Western female accordionist to do a
solo concert tour of the former USSR.  She has many superb recordings
available.
           Stockport Accordion Club is now based at Woodley Methodist
Church, Chapel St, left off the main A560 Hyde-Stockport Road.  From the
M60, take J25, follow the Bredbury signs, and then turn left at the traffic
lights just after MacDonalds/Morrisons.   Woodley Methodist Church is on the
left, next to the Health Centre, not far after the Waggon & Horses pub and
opposite a road named Smithy Green.  The 330 Bus from Hyde or Stockport
stops at the Precinct and is only a few minutes away.  There are two car
parks available.
           At our first band practice at Woodley we were visited by a
photographer from the Stockport Express and by Simon, a presenter from local
radio station Pure Radio, whose frequency is FM107.8.  Peter Whiteley and I
were interviewed, and some of the SAC Band’s music was recorded for
broadcast on Simon’s afternoon show the following day.
           On October 18th, our first Club Night concert at the new venue
starred John Kirkpatrick & Chris Parkinson a.k.a. The Sultans of Squeeze.  
Their programme included Under Paris Skies, El Choclo, The African Waltz,
Genevieve (harmonica/3 row accordion duet) and Squeezebox, The Who’s 1975
chart hit song, and English folk songs and dance tunes.  John and Chris used
different combinations of instruments, with some startling results, most
notably on The Liberty Bell, the old Sousa tune played on bass accordion and
bass concertina.  No wonder that the Monty Python team used to say “And now
for something completely different”!!  All in all, a great show from two
very talented musicians.
           Our club trip to the North Staffs AC 21stBirthday Concert on Sept
29th was a most enjoyable evening.  And what an amazing ‘accordion’ cake -
looked much too good to eat!
           People often ask about local accordion dealers, and within the
Greater Manchester area there are two shops.  The Accordion Shop (a.k.a.
Electronic Accordions Ltd), 54 Drake St, Rochdale; tel 01706 658 283.  This
shop promotes Cooperativa and the Roland V Accordion, but also stocks other
makes, and pianos.  Hobgoblin, based at Johnny Roadhouse Music on Oxford
Road, M/C, sells all sorts of piano and button accordions, including
melodeons, plus other instruments; tel (0161) 273 1000.  Support your local
dealers!
           Seamus Shannon is playing at St Richard’s Social Club, Sutcliffe
Avenue, Longsight, on Tuesday afternoon, November 21st, from 1pm to 3pm. 
Johnny Coleclough and I will be there, so if you fancy seeing, hearing and
meeting our old friend Seamus, please join us.
           On Friday December 8th, at 8pm, we perform our annual charity
Stockport AC Band & Orchestra concert at Broken Cross Club (formerly Henbury
& Broken Cross Institute), Macclesfield.  This is always a good night out,
and all money raised goes to the East Cheshire Hospice, so it’s in a very
worthy cause.  Contact John Jones on 01625 618 691.
          Justin Ryan has left the club – for the time being, at least – and
has gone to New Zealand to train as an airline pilot.  So, if in the future
you are flying away on holiday and hear the sound of an accordion playing in
the captain’s cabin, it’ll probably be Justin!
         The NAO North West Area Championships take place on Sunday December
3rd at the Marine Hall, Fleetwood.  This is the festival we used to organise
at Stockport Town Hall.
         The club’s Christmas party takes place on December 20th, at our new
home.  Due to catering and space, the party is only for playing members,
families and club officials.
         The first Club Night concert in 2007 will be on Wednesday January
10th, and the guest will be the fabulous Julie Best.  What a fantastic start
to the New Year!
          Looking a little further into next year, Foster & Allen are
playing at the Plaza in Stockport on Tuesday April 3rd, at 7.30pm; booking
number - 0161 477 7779.
          I hope to see you at our new home at Woodley Methodist Church for
the debut of Pearl Fawcett-Adriano on November 22nd – this will be quite an
occasion.  If you can’t make it, may I be the first to wish you and yours a
very happy Christmas & New Year (“Get out of here,” I can hear you
saying!!).  In the meantime, keep on squeezin’.

                                    Rob Howard (0161) 480 8858; Email: This email address is being protected from spam bots, you need Javascript enabled to view it "> This email address is being protected from spam bots, you need Javascript enabled to view it
Tameside Junior Accordion Band
Feb., 27, 2007
Tameside Junior Accordion Band
Hello UKAO,
 
Our new website can be found at:  www.accordionsuk.com   
 
Best Wishes, Betty Pollard -   0161 339 9250 
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NEW BEGINNERS CLASS.  Names are now being taken for children aged 7 to  15yrs who would like to learn the accordion and play in a band.  Instruments and tuition are free. Weekly subs of £1.25 covers the cost of the hire of the venue, music and small items.  Fund raising by members and Parents, donations from the public and grants from various bodies fund the band.  
Practice venue: Waterloo Community Centre (in the park) Store Street, off Oldham Road, Ashton-u-Lyne. Meet every Tuesday 6.00pm to 7.00pm Beginners 7.00pm to 8.45pm Band practice.   New beginners class will start November on Thursdays from 6.00pm  Telephone for more info 0161 339 9250 or email This email address is being protected from spam bots, you need Javascript enabled to view it " href="http://www.ukaccordions.com/mailto:"> This email address is being protected from spam bots, you need Javascript enabled to view it "> This email address is being protected from spam bots, you need Javascript enabled to view it   Check out our web site www.accordionsuk.com
South East Cornwall A/C Newsletter
Feb., 27, 2007
South East Cornwall Accordion Club
If anyone is heading to Cornwall for holidays we meet every first Saturday of each month except January, from 2pm - 5/5.30pm. We meet at the Guides HQ in the grounds of Liskeard Community School and College which is situated next door to the police station and behind the Vetinary Surgery at Liskeard.
Best Wishes from Chris & Brenda Webster
Our latest newsletter is printed below:
South East Cornwall Accordion Club Newsletter Aug/Sep 2006
It is good to be attending the accordion club’s monthly meetings again. I would like to take this opportunity to thank Maureen Harvey for putting together the June newsletter for me as my hand and arm was still in plaster and I was unable to type, even worse, my computer was also out of action. We have now had the computer replaced and without the weight of the plaster cast I’m able to continue as normal and also drive to the club meetings. I would also like to thank everyone in the club who sent their best wishes to Chris whilst he was in hospital. He is still recuperating at home but is very much better than he’s been in a long while.
To those of you who are attending St Audries Bay Accordion Week in Somerset, have a good time. Chris and I will see you there. To those not attending St Audries Bay, we’ll see you at the next Club meeting on Saturday, 5th August 2006 at 2pm. Annual General MeetingOur August meeting commences with our AGM. Where necessary new officers and committee members are appointed and any changes in the running order etc., of our club can be made – everyone can have their say. If you would like to try something new during the afternoon meetings don’t be afraid to put your view forward, this is where we can improve the meetings and go from strength to strength. Once everything has been discussed and decided upon, we will carry on as normal with our afternoon meeting. If you would like to be on the Committee or be one of the officers, please let Jim McMullin, Chairman; or Maureen Harvey, Secretary know before the meeting takes place. Equally, if you would like to step down from your role, contact Jim (01752 401763) or Maureen (01579 382151). Next MeetingThe next Club Meeting will take place on Saturday 5th August at 2pm prompt in the Guide Hall, Liskeard School and Community College Grounds. The afternoon programme will be: 1. AGM2. Playing together (bring along the music     given at the July meeting)3.  Play-a-round 14.  Refreshments and Raffle5.  Play-a-round 2 – Something Russian6   Playing together – new music for this meeting to be placed in your folder.Alexander Korbakov In Cornwall (SE Cornwall Accordion Club)  - Jim McMullinAlexander Korbakov, the virtuoso accordionist from St Petersburg, Russia began his 2006 UK tour by visiting our club for a Master Class and Concert.He arrived in typical Cornish weather, blue skies and warm sunshine and at the meeting was greeted by a club member, Albert Ridgeley, who gave a welcome in Russian. Jim McMullin, the Club Chairman, then presented Alexander with a book of Cornish Folk Tunes called Racca 2 from the Club and also gave him a copy of his own composition “Korbakov In Cornwall”, a mixture of Cornish and Russian tunes. Jim then played it to everyone and Alexander seemed delighted.Members of the Master class were from the SE Cornwall Accordion Club, the Kernow Kordions and the Atlantic Accordionaires. The music selected was “Pizzicato Polka” by Johanne Strauss II. Everyone had the music well in advance of the class so had almost “cracked it” by the time Alexander began. He spent his time showing us how to phrase the music, how to handle the dynamics and generally how to make the notes sound like music from Vienna.After a buffet tea supplied by club members, Alexander began his hour-long concert. He devoted the first half entirely to classical pieces played on his new “professional” accordion. Everyone was spellbound. His pieces include Prelude and Fugue (G min) by J.S. Bach; Trisch Trasch Polka by J. Strauss; Ave Maria by G. Caccini; Winter from the Four Seasons by A. Vivaldi and The Sabre Dance by A Khachaturian.After the classical pieces Alexander changed into his Russian costume and began with a stunning performance on his vintage Saratov concertina. All the pieces were pure Russian Folk tunes. He then went back to his Russian built “Jupiter” accordion and played, among others, The Steppe is All Around by V. Belov; Fiddle Faddle by L. Anderson; and Kalinka, a folk tune.After a standing ovation he gave us his usual encore – The Flight of the Bumble Bee and we all left the meeting feeling really happy!In the evening some of us went to a pub for a meal with Alexander and Mr & Mrs Sherman. Alexander likes Real Ale by the way! We waved them on their way at about 8.30pm and wished them well for the rest of their UK tour. – Jim.John Leslies Folk/Accordion Week – St Audries Bay, SomersetSaturday 2nd – Sat 9th September – This is an opportunity to have excellent, concentrated tuition at all levels of playing by John Leslie (Accordions of London) and his team with the option of playing folk and/or accordion music as you wish during the day and enjoy listening to Harry Hussey in the bar area or doing your own entertainment during the evening. The cost for this week is: Half board including tuition £255/week or £37/day; Self-catering from £270/week (excluding tuition fee); touring pitch just £17/day. Details: Mary Randle Tel: 01984 632515.Eastbourne Autumn Accordion Festival and Winter Accordion Festival I have been forwarded details of a relatively new Accordion Festival that takes place twice a year at Eastbourne. Fri 13th – Mon 16th October 2006 and Fri 16th – Mon 19th Feb 2007. Cost for each festival is £189 per person with a deposit of £69 pp. I have been informed that this is a very good accordion festival with plenty to do throughout the day and evening. Please see attached flyer for information. OUR NEW BABY – Jim ClarkeAfter celebrating our 50th.Wedding Anniversary on Jan.28th. 2006 with a trip to Tenerife, we decided that we would like to have another baby in the house.The conventional way could be out of the question, but of course there is always I.V.F. where it seems - according to the National Newspapers - possible at almost any age!Anyway, we decided to adopt a baby, and the one we chose was born on 12th.Feb.2006.  She was welcomed into our home when she was 8 weeks old. Our new baby has beautiful brown eyes and a dark complexion ranging from light brown to very dark brown. Her origins lie in the Bradford district of Yorkshire in the valley of Aire, where her ancestors were hunters of most anything that run on four legs - especially otters.Of course that’s all in the past, but I hope she has inherited strong swimming genes as it may come in useful living at Westward Ho! If I can train her she may be O.K. for the 2012 Olympics!Like all youngsters she likes playing with her toys, and at present her favourite seems to be a small lamb with a squeak inside. She’s quite musical too as she howls and wags her tail when Pat plays the accordion and hides when I get the trombone out.Touch wood we have not had one bad night with her but we are quite knack………(whoops).. tired by the evenings!Oh! I nearly forgot - we call her Molly -- Molly Clarke. What do you do on a dull, drizzly Saturday in May? – Jim McMullinWell, you go to Brixham and play your accordion in the Fish Market!Some time ago Mark and I were invited to join the Cober Valley Accordion Band on their long journey to play at the Brixham Heritage Festival on Saturday 27th May.The coach picked up Mark at Bodmin (an hour late due to the Bank Holiday traffic) and Barbara and I were picked up at the B&Q car park, Coypool at 11.45am.We arrived in a damp and quite cool Brixham at 1 o’clock and by the time chairs were found and everyone set up we began playing at 1.45. Soon a large crowd gathered to hear, for the first time, an accordion band. They applauded everything and were left wanting more at 2.45 when we ended our first ‘spot’. Mark, Barbara and I then had time to ‘do the town’ and get lunch. We found, on the recommendation of one of the spectators, a fish and chip restaurant run by a Pakistani family and so we went there. Our fish and chips were excellent, eaten overlooking the huge marina. When we had finished we were entertained by a team of Morris dancers from Oxford whose accordion players said they were itching to play in with us!At 4.30 we were due to play the second half of our programme. We had to follow a very, very loud Rock Band and I think a sigh of relief went up when we started again.The band was so popular that they have been invited to play next year and Mark and I have been asked to join them again!The journey home was much easier as the fog had lifted and the holidaymakers must have completed their journeys. We were home by 7.30pm, but those from Helston still had another 3 hours to go. It was a long day for them as they left at 8am. - JimInsurance for Accordion – Brenda WebsterHave you got your accordion insured or thinking about it? I’ve always had my accordions insured under our Household Insurance as separate, named items, which worked out fine until I bought my Giulietti. When Chris telephoned the insurance company, (Abbey National General Insurance) to add it to the policy, he was told by a young lady after speaking to various underwriters in the company that we must be professionals to have musical instruments of this value. You all know new accordions don’t cost pennies. Anyway they decided there and then over the phone to not only not cover my new Giulietti but also cancel within 7 days the other accordions covered on the policy. Being a little shocked at their reaction and wondering what to do, I phoned a friend who is a professional musician with his own band etc. He told me not to worry and put me in touch with Brass Band Insurance Services (BBIS). The cost of insurance is just £1.05 per £100 cover and applies to any type of instrument except electronic or “pop” group instruments used in dance bands or “pop” groups of which a separate policy is available. This worked out a lot cheaper than what I had been paying, and covers my accordions for loss or damage by any accident or misfortune and the company will schedule the cost of (i) repair if an item is partially damaged or (ii) replacement as new if an item is totally lost or destroyed. This is covered anywhere in or in transit between the British Isles, Europe, Madeira, Canary Islands, Mediterranean Islands, Morocco, Algeria, Tunisia, Libya, Egypt, Israel, Lebanon, Jordan, Syria and Turkey. It goes without saying that our previous insurers lost a long standing customer, their attitude made us look elsewhere for all insurance covers and guess what – we’ve saved ourselves some money as well!  I know a couple of club members have asked for details of insurance for accordions and are now also covered by BBIS. The details if you are interested are: Brass Band Insurance Services, Bryan James & Co. Ltd., 312 High Street, Harlington, Hayes, Middlesex UB3 5BT. Tel: 020-8759 0825.Diary of Coming Events 200615th-22nd July Accordion Week, St Audries Bay, Somerset. Contact: Mary Randle, Tel: 01984 6325155th Aug Club Meeting and AGM2nd Sept Club Meeting2nd-9th Sept John Leslie’s Accordion & Folk Autumn Break, St Audries Bay, Somerset -Contact: Mary Randle, Tel: 01984 632515 (incl. Tuition groups from absolute beginners to advance except for Folk Section).7th Oct Club MeetingFri 13th – Mon 16th October 2006 – Eastbourne  Autumn Accordion Festival28th Oct – Club Social Evening at Pelynt with Harry Hussey4th Nov Club Meeting2nd – 6th Nov Accordion International Festival, Caister2nd Dec Club Meeting Christmas PartyFOR SALEWEST TONE THUNDER II BASS GUITARExcellent condition £200 or nearest offerFor more details contact:Marianne Willcocks       Tel: 01579 343538
Gary Blair plays American Express
Feb., 27, 2007
Watch Gary Blair performing his arrangement of  " American Express" - Please Click Here!http://www.youtube.com/watch?v=SFaMVDWw5VY
Jason Webley - Accordionist Extraordinaire!
Feb., 27, 2007
Jason Webley
Hello UKAO Friends and Music Lovers..
 
I am forwarding details to you of these upcoming and exciting concerts in London for JASON WEBLEY... Accordionist Extraordinaire!
 
You'd be mad to miss him!...
 "It's his voice – a sandpaper baritone swelling at once with desolation and intoxicated goofiness – that keeps'em coming back." - Seattle Times 
"Insightful and earnest songs bring you to tears. Make you sob like your mother died. Then, with his genius showing like toilet paper on the shoe of a priest,Webley turns his music into a drunken bar fight." - Pop Culture Press
 
 
March 4 - London, UK - Favela Chic - 91-93 Great Eastern St - 9 pm

March 7 - London, UK - Green Note - 106 Parkway
 
 
...see you there!
 Rima Staines
Jason Webley 2007 European Tour:
Feb 26 - Montpelier, FR
Feb 27 - Bordeaux, FR
Feb 28 - Paris, FR
March 1 - Paris, FR
March 2 - Southampton, UK
March 3 - Exeter, UK
March 4 - London, UK
March 6 - Lampeter, UK
March 7 - London, UK
March 8 - Manchester, UK
March 9 - Brighton, UK
March 10 - Copsdale, UK
More complete details about these dates.
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Jun., 21, 2018
Dear collegues, see our latest updates: Hector Villa-Lobos, Samuel Barber, Astor Piazzolla, Pietro Frosini, Hans Brehme, Oscar Peterson, Art Van Damme, Jack Fina, Luiz Bonfa, Yann Tiersen etc. Accordionist.Net is extending its special offer “50+” until end of the summer.

Besides some very special tango arrangements for bandoneon (accordion) and strings published:
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Feb., 22, 2018
Dear accordionists, see our latest updates on Accordionist.Net: H. Villa-Lobos, Samuel Barber, Astor Piazzolla, Pietro Frosini, Hans Brehme, A. Piazzolla, Oscar Peterson etc.

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