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Next in importance is that your accordion have a smooth,
flexible, rapid action, as nearly noiseless as possible. Thirdly, the
response (air tightness) is of vital importance in obtaining shading
and dynamics in your playing.
Poor instruments with rasping, cutting tone, sluggish,
heavy action, and lack of responsiveness (usually caused by air leaking
around the reeds or a bellows leak) have given our beloved accordion in
some circles a name that it will take some time to live down. Often the
novice must start with a cheap instrument to obtain the fundamentals of
accordion playing, but I advise that, as soon as possible, a fine-toned,
reliable instrument be obtained. It will help your progress musically
and make your services more in demand. A fine instrument
it a
good investment, and its trade in or resale value is always comparative
to the amount you invest in it. Remember, the three "vitals" of an
accordion are, in turn, TONE, ACTION, RESPONSIVENESS.
It is not the purpose of this booklet to
promote any particular music, study books, or makes of accordion. Many
have asked me to write a strictly modern Accordion Method, right up to
date, with advice on radio, solo, orchestral and accompanist playing.
My time is so occupied with engagements and rehearsals that this is
impossible. However, if you address me personally, I will gladly advise
privately just what books I use and recommend. There are many that are
deserving of praise.
Importance of Good Teacher and Study
Books
In the more populous districts there is
usually a good accordion teacher, and I strongly recommend that you
obtain his services. No matter what your natural talent may be, your way
will be made smoother and easier, and your progress greater under the
guidance of an experienced teacher. Bad playing habits will thus be
nipped in the bud and months of effort necessary to undo some of these
wrong impressions, will be saved for progressive study. I doff my hat to
the many fine teachers who are bearing the brunt today in bringing the
accordion and its playing to the front, They are the real heroes in the
struggle to artistry and increased earning power. I can tell you that it
pays to play the accordion it well. But, by all means-OBTAIN THE SERVICES
OF A GOOD TEACHER.
It is not the purpose of this booklet to
promote any particular music, study books, or makes of accordion. Many
have asked me to write a strictly modern Accordion Method, right up to
date, with advice on radio, solo, orchestral and accompanist playing.
My time is so occupied with engagements and rehearsals that this is
impossible. However, if you address me personally, I will glady advise
privately just what books I use and recommend. There are many that are
deserving of praise.
Uses of the Accordion
Great artists of the accordion, such as
Pietro and Frosini, have used the instrument mostly as a solo
instrument. In all fairness, I must give credit to my dear, departed
friend Mario Perry, for the part he played in bringing out the
possibilities of our instrument for orchestral and recording work. About
15 years ago he used the accordion very effectively in recording with
the Palace Trio, composed (I'm told) of that great saxophone artist Rudy Wiedoeft, Victor Arden, famous radio pianist and conductor, and Mario
Perry accordionist. He had natural ability in fitting the accordion
into instrumental combinations, in addition to his ability as soloist. I
feel that proper printed credit has never been given to Mario for his
pioneer work on the accordion with the above trio and for his years as Paul
Whiteman's accordionist, prior to his fatal accident in Hollywood
during the filming of "The King of Jazz." Had fate spared him, he would
have gone to still greater heights as soloist and accompanist. Pardon me
for digressing, but I believe in giving credit where credit is due.
You perhaps have noticed in my radio
playing I do many single reed obligates with orchestra, playing
variations such as are usually allotted to the clarinet or flute. This
has brought our instrument more into the limelight. In the past few
years I have also accompanied, with accordion alone, many opera and
concert singers, also nationally known instrumental soloists, who
expressed themselves as amazed and gratified at the completeness of the
accordion as an accompanying instrument, a few, in fact, stating that
they preferred my accompaniment to that of the piano. Most of my guest
artist appearances on the radio of late have been as soloist, and I have
attempted with success some of the major works originally written for
piano. My radio leaders are giving me more and more important passages,
choruses, etc., to play, proving their increasing appreciation of the
accordion.
You will pardon me, I hope, for
mentioning an instance at the Chicago Convention of the Music
industries, in 1935, where I appeared as soloist at the banquet
before piano manufacturers and dealers from all over the country. My
numbers included Rachmaninoff's "Prelude in C# Minor" and
Rimsky-Korsakov's "Flight of the Bumble Bee," as well as a selection
from "Carnival of Venice," all of which were of serious mein, and
adapted for the accordion by myself. The famous pianist and symphony
conductor, Rudolph Ganz, was speaker of the evening. He grasped my hand
twice as I stepped from the platform, and after I had played "Flight of
the Bumble Bee" a second time, he said, "This Bumble Bee
tonight was one of the liveliest little animals I have ever heard. It is
one of my repertoire, and if I am to play it like he did, I shall have
to spend many hours of my forthcoming vacation in practicing it." Thus,
a great musician, and a group of artists, music lovers, and dealers from
every corner of the United States, acknowledged our instrument. I am
told that is was with some hesitancy that the parties in charge of the
program agreed to have an accordion on their rather serious and
high-brow program, but the fact that the applause accorded me was so
overwhelming that I had to play six numbers, one of them twice, before
retiring, speaks for itself. Here, in an evening, outstanding people in
the world of serious music, acknowledged that our accordion has a
rightful place along with such immortal instruments as the violin,
cello, and the piano. I had to fly to Chicago one morning and fly I the
next, to make this appearance, but the recognition given our chosen
instrument was worth the trouble, and I shall recall this as one of
memorable instances of my career.
Recently, I have been approached by one
of the best known liked radio impresarios, who has been so enthused
with the interested response to my radio activities that he offered to
manage my career to make it possible for me to greatly increase my
earnings. He says he thinks "Magnante has something beyond that to
which he has already striven." I predict that the day will come when
accordion at will be touted around our country in recital the same as
famous violin cellists, pianists and vocalists are today. Truly, my
friends, the accordion has gone far since the days of its first
appearance on street corners, ferry boats, et al.
My reason for writing so much of my own
activities is to try enthuse my readers to strive long, patiently and
enthusiastically, to train the heights to which our accordion is so
surely destined as a musical instrument.
Periods of
Study
To a student of 13 or less, I recommend
about three hours of practice, with at least half-hour rest periods after each hour.
Students of greater age may study two hours steadily, with one hour
intermission. This may be divided thus: two hours in forenoon two in
afternoon. Four hours daily is a good average study program
The first work should be mechanical
studies, "setting tip exercises for both right and left hands. The beginner should
practice mechanical studies for at least 5 to 10 minutes daily. Later a
half hour to hour should be given to these studies. Lift the fingers
high in playing "setting up exercises," in order to get the maximum
benefit from study, both right and left hands.
After this limbering up of the fingers,
scales and arpeggios should be studied for at least
5% of the total
practice period. After this, you are ready to proceed with your actual
progressive lesson for both hands. Finally, you should work on whatever
musical selection is allotted for your weekly study.
I practiced as much as eight hours daily
for some time, and study several hours daily whenever my engagements
permit.
The Accordion in the
Orchestra
The major requirement in orchestra playing is sight
reading. A half
hour daily should be devoted to the study of sight
reading. A plan is to use a metronome to give rhythm while you read the
music. Begin in slow tempo, remembering also to read the bass notes. Or
the first requirements of your leader will be that you stand up and take
a chorus. There are many different styles employed in a chorus. There is
the so called hot style, used during a number which has a moderate or
fast tempo, and
it
is done best by the weaving single notes around the
melody . . . improvising a counter melody blending with the theme. When
the melody is held for a measure or then is the time to put in a hot
lick or any sort of modern figuration the player's finger tips. This
improvisation naturally comes easiest to some than to others... much may
be gained by listening to a hot accordionist and trying to emulate him.
Melodic
Style (in Orchestra)
This style is simplest and most effective
of all. Here the melody is played as written. The different tonal
possibilities are shown to the last effect. With the right hand vibrato,
the proper phrasing, expression, and thorough control of the bellows,
effects to rival the finest violin are possible. I always have my
accordions tuned with less vibrato than usually used . . . the tone is
found richer, mellower, nearer to perfect pitch.
A good routine in 32 bar choruses is to
play the first sixteen bars with full chords, rest eight bars, and
finish the remaining eight with all chords. Another routine is to allow
the orchestra the first sixteen bars, and the accordion to take the next
eight bars in melodic or chord styles . . . the orchestra plays the last
eight bars. In taking an entire chorus, I suggest full chords far the
first sixteen bars, single notes played legato for the next eight, and
finish with full chords.
Legato and Staccato Playing
It is more difficult to Play legato than
staccato because each tone rust be given its precise value. Passing the
thumb under the fourth finger, it is necessary to hold the finger down
until the thumb has passed entirely under and is beginning to press the
key of the following , note. In passing the fourth finger over, as in
descending scales, the thumb must be held down until the finger his
passed entirely over the thumb and is beginning to press the following
note. You will facilitate the passage of the fourth finger over to the
next note, by lending the first thumb joint.
In playing actual legato it is necessary
to touch the keys more firmly than while playing staccato. Holding the
palm of the hand nearer the toys automatically gives the necessary
weight for the legato It is vital that the legato key pressure be
equalized. In legato playing, the fingers should barely be lifted from
the keys. In staccato, it is the direct opposite ... the palm of the
hand is held higher ... less than half the pressure used for legato is
necessary on the keys . . . the weight of the falling finger alone is
required. Complete laxity of the wrist and fingers is vital also.
Legato Chord Style (In Orchestra)
This style is interesting though
difficult . . . sounds at its best in slow tempo numbers. Many find
difficulty in passing from one chord to another. To overcome this and
assure a perfect legato, the right hand is held very low over the
keyboard. The way to play legato with as full chords as possible when
making a jump of many tones, is to glissando up or down to it, whichever
the case demands. Never play full chords in low register . . . they
sound scrambled, muddy. Middle and high registers are best for legato
chord effects.
The rhythmic chord style is another
effect used successfully in taking solo choruses . . . playable in
tempos moderate or fast. Just the opposite to legato, this style is very
staccato . . . the wrist becomes flexible to obtain a clean cut effect.
The time to employ a rhythmic figure is where the melody stops for a bar
or two. Listening attentively to orchestras playing ensemble or the
final chorus of a snappy number will give good ideas as to rhythmic
playing.
Finale
It is not expected that all my readers,
especially professional accordionists, will agree with me. There are
usually several right ways to do anything musically. I have merely tried
to set down in an unbiased and straightforward manner precisely what my
experience has taught me. I could go on and on, but time calls, and
space does not permit. Some day, I hope to have enough leisure time to
write my version of a complete and modern method for the accordion, with
information and studies to surmount the increasingly difficult passages
and conditions under which the modern accordionist doing solo, radio,
orchestral and accompanying playing must perform, If my efforts herein
have made the way a trifle brighter and easier for even one of the
struggling young accordionists, I shall consider that these hours have
not been spent in vain.
Repairing and Tuning
If your accordion becomes out of playing
condition or need tuning, I suggest that you send it to an experienced,
competent and not attempt this yourself, as lasting damage may be
done to instrument. A personal letter to me as to what person or concern
to be recommended, will receive
prompt reply. However, it is not my purpose to recommend any particular
person or firm.
Before closing, I wish to acknowledge the
cooperation and advice of Mr. Geo. M. Bundy in my efforts as a writer on
the subject of accordion. With deep appreciation for your close reading
of these paragraphs, and regretting that I could not have gone to even
greater depths in the study of our loved instrument, I remain
Gratefully yours,
Charles Magnante
Who is This Chap Magnante?
Born December 7, 1905 in New York City.
His Dad played accordion and little Charlie liked to fool around with
it. Dad valued his instrument, however, and decided he'd better get one
for Charlie . . . he did ... a semi-tone accordion. Under his Father's
guidance . . , at 14 . . . Charles was soon making his own way, playing
in dance halls and theatres. At 16 his solo work so impressed vaudeville
agents that he was offered a tour at a nice figure. He was wise enough
to remain at home and study further, however, as he had heard of other
young players becoming "professional" too quickly . . . regretting it
later.
When Radio Station WEAF was first opened,
he was invited to play over the air, . . gratis . . . then to Roxy's
Gang, Frank Harling had written a jazz concerto, featuring the
accordion, which included a very difficult cadenza. Several
accordionists had tried out but stumbled over the cadenza. Magnante was
offered the chance . . . practiced it until he could play it in his
sleep . . . got the engagement. This led to an engagement at the Roxy
Theatre with the Rosy Jazzmanians and in the Roxy Grand Orchestra, This
was the first time that an accordion had been used in a symphony
orchestra , . . 110 musicians . . . under Erno Rapes, He became a
regular member of Roxy's Gang on WEAF.
Later he played on many of the finer
radio hours and at the Victor under exclusive artist contract. His work
with B. A. Rolfe on the Lucky Strike program did much to establish the
accordion as a regular orchestral instrument. Prior thereto, it was used
almost entirely as a solo instrument. He is conceded to be the most
finished accordionist before the public, according to Major Bowes and
the announcers of the NBC and CBS air lanes. Soloist and guest
artist on Show Boat, Hammerstein's Theatre of the Air, Texaco, Manhattan
Merry-Go-Round, Melodiana, Waltz Time, and many other of the finer
network programs, as we go to press.
He has written many of the most popular
solos for accordion, including "Accordiana," has arranged a number of
original bass studies, plays piano, and also arranges for orchestra.
Several impresarios have lately shown considerable interest in Magnante
as a concert artist, believing he has possibilities beyond his present
field of effort.
Geo. M. Bundy
Note: Charles Magnante
died the 30th of December, 1986. |
