Intermediate
BUTTON ACCORDION NOTATION
(Continued from Basic Accordion Notation)
BUTTON ACCORDION NOTATION
(Continued from Basic Accordion Notation)
5. More Accordion Notation
We have seen that the basic button-accordion notation shows
In this intermediate treatment, we will indicate
We have seen that the basic button-accordion notation shows
- the notes to be played by their accordion button numbers.
- the relative duration of each note by simple punctuation marks before the button number, where, for example, the number of dots shows the number of beat intervals to hold for.
- musical phrases in the lyrics are normally marked by forward-slash symbols.
In this intermediate treatment, we will indicate
- relative loudness, where necessary, by using larger bold fonts for louder and italics for quieter. Often, instead of being shown, this is left to the wishes of the accordion player.
- the basic rhythmic beat grouping, using separated vertical (bar) lines, helpful for playing left-hand bass and chords.
- notes that are to be played together smoothly (as a unit), by underlining. Again, this is often (actually, usually) left to the wishes of the accordion player.
6. Loud and Quiet Notes
Some notes are intended to be played louder than usual, and some quieter than usual. This is often left to the discretion of the player, especially when it is done for rhythmic purposes. However, when necessary,
Some notes are intended to be played louder than usual, and some quieter than usual. This is often left to the discretion of the player, especially when it is done for rhythmic purposes. However, when necessary,
- louder notes can be indicated by a larger font (such as 7* ).
- quieter notes are indicated by a plain italics font (such as 9* ) .
7. Bars - Where Beat Intervals are Grouped.
Up to this point, our notation has focused on playing the treble (right-side) buttons, giving us melody and melodic rhythm. Now we need a notation that will guide the playing of the left-side (bass and chord) buttons, to accent the "beat". We will use the bar (or measure) notation, where groups of beat intervals are separated by vertical bar lines for this purpose. Unless otherwise indicated, each bar in a tune contains an equal number of uniform beat intervals. For example,
The bars can help the accordion player use the left-side buttons to establish an underlying or basic rhythm, commonly called the "beat". The first beat in a bar is normally given a greater emphasis than the other beats. Possibilities include:
In general it is not a good idea to hold the bass or chord button for too long, as you tend to run out of air-flow. Thus short taps using the first option above (sometimes augmented by the second) may be better.
Up to this point, our notation has focused on playing the treble (right-side) buttons, giving us melody and melodic rhythm. Now we need a notation that will guide the playing of the left-side (bass and chord) buttons, to accent the "beat". We will use the bar (or measure) notation, where groups of beat intervals are separated by vertical bar lines for this purpose. Unless otherwise indicated, each bar in a tune contains an equal number of uniform beat intervals. For example,
- if the time signature is 3/4, indicating three beat intervals in each bar, the groupings might look like | .3 .4 .5 | .:6 | .:7* | .6* .5* .5 | .:5* | .:5 | with three dots in each bar.
- if the time signature is 4/4, the groupings might look like | .4 .4 .4* .5 | :4* .4 .3* | where there are four dots, indicating four uniform beat intervals, in each bar.
- if a note is to be held for more than the designated duration, the button number will be followed by the tilde symbol, such as | .:6~ | .5* :4 | where button 6 in the first bar is held for more than three beats, but the tune returns to three beat intervals in the next bar. Unless otherwise indicated, the player decides how much longer to hold button 6.
- if a note is carried over from one bar to another, it could be written as | .:5~ | ~: .4 | showing that button 5 is held for a total count of 5 beats (three in the first bar and two in the second bar) and then button 4 is played for one beat interval.
The bars can help the accordion player use the left-side buttons to establish an underlying or basic rhythm, commonly called the "beat". The first beat in a bar is normally given a greater emphasis than the other beats. Possibilities include:
- Playing the bass button on the first beat, followed by the chord button on the second beat, and so on, appropriately matching the bass and chord buttons to the key being played.
- Playing the first button louder than the second button which follows it.
In general it is not a good idea to hold the bass or chord button for too long, as you tend to run out of air-flow. Thus short taps using the first option above (sometimes augmented by the second) may be better.
- In 2/2 time or 2/4 time, the left-hand rhythm is commonly | Bass-Chord | Bass-Chord | Bass-Chord |, where each Bass note is given the same emphasis.
- In 3/4 time, the left hand often follows the rhythmic pattern | Bass-Chord-Chord | in each bar.
- In 4/4 time, the left-hand rhythmic pattern is commonly | Bass-Chord-Bass-Chord |, where the first Bass is given greater emphasis than the second Bass, which is given greater emphasis than the chord. An alternate pattern is | Bass-Chord-Chord-Chord.
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An ASIDE:
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Bars (or measures) are even more important for an ensemble of multiple instruments (as in a band or an orchestra). Here the beats in each bar, with their different emphases, help to keep the instruments playing together, so that notes that are intended to be played together by different instruments, actually are.
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8. Bar Example 1 - Morning Has Broken
Each bar (between the vertical bar lines "|" ) is a counting region, where we play the BASS and CHORD buttons. Because these button locations vary with accordion type and musical key(s), we cannot be more specific in the Accordion Notation. See the About (Button) Layout page (from the drop-down menu at top) for assistance with this.
Each bar (between the vertical bar lines "|" ) is a counting region, where we play the BASS and CHORD buttons. Because these button locations vary with accordion type and musical key(s), we cannot be more specific in the Accordion Notation. See the About (Button) Layout page (from the drop-down menu at top) for assistance with this.
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The Haley Westenra youTube video at right is in the key of C for verses 1 & 2, then in D for verse 3, returning to C for a final singing of verse 1.
It follows a 1 - 2 - 3 (waltz) pattern, which can be illustrated as follows for the first line: Sing Play R.H. Count Tap L.H. "Mor-" .3 1 BASS "-ning" .4 2 CHORD "has" .5 3 CHORD Sing Hold R.H. Count Tap L.H. "bro-" .:6 1 BASS 2 CHORD 3 CHORD Sing Hold R.H. Count Tap L.H. "-ken" .:7* 1 BASS 2 CHORD 3 CHORD Sing Play R.H. Count Tap L.H. "like" .6* 1 BASS "the" .5* 2 CHORD "first" .5 3 CHORD Sing Hold R.H. Count Tap L.H. "mor-" .:5* 1 BASS 2 CHORD 3 CHORD Sing Hold R.H. Count Tap L.H. "-ning" .:5 1 BASS 2 CHORD 3 CHORD |
Morning Has Broken (Time signature: 3/4) | .3 .4 .5 | .:6 | .:7* | .6* .5* .5 | .:5* | .:5 | Mor-ning has bro - ken, like the first mor - ning, | .3 .4 .5 | .:5 | .:5* | .5 .4 .3 | .:3*~|~ .: | Black-bird has spo - ken, like the first bird. | .5 .4 .5 | .:6 | .:5* | .5 .4 .3* | .:3 | .:3* | Praise for the sing - ing, praise for the mor - ning, | .4 .3* .4 | .:5 | .:5* | .3* .4 .3* | .:3~|~.: | Praise for them spring - ing fresh from the world. Note that at the end of the second line, you sing "bird" while playing .:3*~ for a count of three, and then continue to hold this note ( 3* ) for an additional count of three ( ~.: ). There is a similar carry-over of the .:3~ note at the end of the fourth line. |
Continue with the remaining lines, following the same uniform 1-2-3 counting and BASS-CHORD-CHORD tapping rhythm for each bar in the song. Don't be discouraged if it feels "impossible" at first to do different things with the two hands ... keep trying and your brain and fingers will eventually get into it.
Remember that the left hand is providing a beat rhythm, so don't hold the left hand notes too long, just tap (perhaps, as though you were a slow one-handed drummer). Apart from not sounding quite right, "holding" the left hand notes too long can cause you to quickly run out of air, closing, or dangerously extending, the bellows to its limits.
Remember that the left hand is providing a beat rhythm, so don't hold the left hand notes too long, just tap (perhaps, as though you were a slow one-handed drummer). Apart from not sounding quite right, "holding" the left hand notes too long can cause you to quickly run out of air, closing, or dangerously extending, the bellows to its limits.
9. Bar Example 2 - Happy Birthday
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The Birthday song (sung at right in key of F) has a standard time signature of 3/4, that is with a counting pattern of 1-2-3, 1-2-3, 1-2-3 and so on (as in a waltz) with an emphasis usually on the first of the three counts.
Note that a bar can have its first count(s) on one line and its final count(s) on the next one, as is the case for this song. Try playing this with both hands, with the right doing the melody and the left providing the following underlying rhythm. Quiet | Bass-Chord-Chord | Bass-Chord- -Chord | Bass-Chord-Chord | Bass-Chord- -Chord | Bass-Chord-Chord | Bass-Chord- -Chord | Bass-Chord-Chord | Bass-Chord~ Because these button locations vary with accordion type and musical key(s), we cannot be more specific in the Accordion Notation. See the About (Button) Layout page (from the drop-down menu at top) for assistance with this. |
Happy Birthday
"5 "5 | .5* .5 .6 | :6* Hap-py birth-day to you, "5 "5 | .5* .5 .7* | :6 Hap-py birth-day to you, "5 "5 | .8 .7 .6 | .6* .5*~ Hap-py birth-day dear [NAME], "8* "8* | .7 .6 .7* | :6~ Hap-py birth-day to you. |