Way. . .

. . . Way before I discovered the joys of jazz/rock fusion, my musical tastes took a turn that was probably pretty natural considering that the accordion pretty much started it all. My friend Joe - he of the red American Flyer and the hill at the elementary school in my neighborhood where we would sit (yes, on our bicycles) and discuss everything from soup to nuts and solve the problems of the world. . . well, at least our little world - had pretty eclectic tastes and what just the kind of personality I needed to gravitate toward at that time in my life. One of those tastes that rubbed off onto me was for a folk trio who had already been making music successfully for a number of years and of whom I knew some (Puff the Magic Dragon was a childhood anthem), Peter, Paul and Mary. And as is the case with much music that I loved in my early days, I couldn't then explain to you what attracted me to it, although now you would be sorry if you asked me to explain, I was enthralled by the simplicity, the intertwining harmonies and the contrast of the three voices when Peter, Paul and Mary performed.




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That polarizing musical instrument. . .

. . . the accordion.

I did become exposed to a gamut of music during my accordion education playing Polish folk music (but of course), American folk and pop music, tin pan alley standards, classical, English drinking songs and even rock and roll- envision that on the accordion. When you began accordion lessons at the Maryland Accordion Institute, you were issued a twelve bass piano accordion. What that is, is a small accordion with a 25-key piano keyboard on the right (from the performer's perspective) and twelve buttons on the left. The piano accordion is designed to be a complete musical ensemble. The right hand plays melody while the left plays bass notes and complete major chords on the first and second row of buttons respectively. Of course the bellows are between the two halves

After completing the basic course, I don't recall if that was measured in weeks or an instruction book, you were encouraged to purchase a full-size accordion which was casually called a "hundred and twenty bass" accordion, appropriately named for the one hundred and twenty buttons on the left side. The buttons are arranged in diagonal rows consisting of, in order from left to right, a 'counter bass' note (the third of the root bass note which is next to the right, major chord, minor chord, seventh chord and last, diminished chord. The keyboard on the right being larger, of course, has 41 keys.

So you see it is a complex instrument, mastery of which equips one very well with a fair amount of music theory knowledge. And you can see how the 120 bass instrument provides the player much more versatility and range in what can be played.





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You Couldn't Play The Music. . .

. . . so you made up your own. . .

That's what the father of another accordion student said to me at the conclusion of accordion practice on the night I chose as my solo, a song that I made up. . . I mean. . . an original composition. In fact, it was my very first original composition, to the best of my knowledge.

The piece was entitled THE NEW YORK STRANGERS. It was essentially, half blues and half folk song. Literally. It was not verse- chorus-verse-chorus, or verse-chorus-bridge-verse-chorus. It was first-part-second-part (repeat). It had lyrics. Very simple lyrics which I, unfortunately (and embarrassingly) do remember so will not repeat here. It was inspired by. . . nothing in particular but the need to write an original composition. Well, isn't that ENOUGH?

And the comment from the other student's parent seems quite ruthless in print. It was, in fact, delivered quite humorously (and kiddingly) by a man who had quite a fine sense of humor with no offense intended and none, indeed, taken.

In retrospect, quite possibly (make that DEFINITELY) the best part of the entire experience, and the finest nuance of the memory, is the look of pride on my very own father's face as I received congratulations from several listeners that evening.


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