NORTHWEST ACCORDION NEWS - · PDF fileNorthwest Accordion News fall Quarter 2011 1 Is your membership renewal due? Check your mailing label. Amembership application/renewal form is

NORTHWEST ACCORDIONNEWS

Wine Festival The Great Accordion Myth Uncovered Improvising Duets: Comping for All Seasons Leavenworth International Accordion Celebration! News about Cory Pesaturo, Alicia Baker and Stas Venglevski!

VOL. 21 NO. 3Northwest Accordion Society Fall Quarter 2011

Northwest Accordion News

fall Quarter 2011 1

Is your membership renewal due? Check your mailing label. A membership application/renewal form is included on the last page. Send your renewals or change of address to:

Northwest Accordion Society 5102 NE 121st Ave. #12Vancouver, WA 98682

NORTHWEST ACCORDION SOCIETY

The Northwest Accordion News is a quarterly newsletter published by the Northwest Accordion Society for and by its members. The purpose of the NWAS News is to unite the membership by providing news of its members, and articles that instruct, encourage, and promote the playing of the accordion.

NWAS PUBLICATION PRIORITIES Advertising Original Compositions News from Our Members Instructive/Technical Articles Summaries from Regional Socials and Events Coming Events

Articles will be printed if received prior to the publishing deadline. Should space be an issue, articles will be printed in the order in which they are submitted. All decisions regarding publication will be made by the editors of the NWAS News.

To submit articles for publication, mail them to the Vancouver, WA address listed. It is preferred that articles be submitted via e-mail as attached WORD documents or on a disc. Typed, paper copy needs to be dark and clear to allow scanning and to minimize errors.

Photographs sent for publication will be returned if they are accompanied with a SASE of correct size and adequate postage. Photographs may be sent electronically or on disc.

To reprint articles or photographs from magazines and newspapers, written permission from the publisher is required. Please submit the necessary “permission to print” with material sent.

Views in the articles and information printed are those of the contributors and not necessarily those of the Northwest Accordion Society or its advertisers.

Inquiries, questions, suggestions, etc.Contact Doris Osgood, 3224 B St.,

Forest Grove, OR 97116. (503) 357-0417. E-mail: [email protected]

NWAS News DeadlinesFebruary 1, May 1, August 1, November 1

Northwest Accordion News StaffDoris Osgood............................................(503) 357-0417 [email protected] Ames .............................................(360) 254-5245 [email protected] Halverson (Advertising) ..............(503) 484-5064 [email protected]

NW Accordion Society Offi cers Bonnie Birch, President/Treasurer ................................. (206) 622-4786Doris Osgood, Vice President/Communications ............. (503) 357-0417Judith Ames, Secretary/Technology ............................... (360) 254-5245

Advisory BoardRick Hatley, ..................................................................... (253) 288-0442Shirlee Holmes .............................................................. (206) 282-4934Dick Myking .................................................................... (253) 537-0136Birgit Teuwen .................................................................. (206) 368-9720Cooksie (Kaserzon) Kramer ........................................... (425) 828-9104Brenda Bard ................................................................... (425) 822-4404Jim Tobler ....................................................................... (425) 745-4872

Membership:Doris Osgood.................................................................. (503) 357-0417 [email protected] Ames ................................................................... (360) 254-5245 [email protected]

Mail letters & articles to:Northwest Accordion Society

5102 NE 121st Ave. #12, Vancouver, WA 98682

Or e-mail to: [email protected]

ADVERTISINGFull page $110.00Half page $55.00Quarter $30.00Business card $10.00

Prices are PER ISSUE. US Funds

Photo-ready Advertising (with accompanying check) for this publication may be sent to:

Northwest Accordion Society6453 SE Nathan Ct., Hillsboro, OR 97123

or e-mail [email protected]


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Letter from the Editors

Greetings!Summer was slow to arrive here in the Pacifi c

Northwest. We are fi nally getting some dry weather in the 80’s.

Leavenworth International Accordion Celebration was a great success! Did you attend it or one or more of the other Accordion Celebrations, Competitions or Camps? We love to hear from you! You may send us your articles and photos by email ([email protected]) or through the mail (our mailing address is on the back).

You may now receive your NWAS electronically - please let us know if you’d like to have the PDF version (you get it sooner and often pictures are in COLOR!)

Once again, we have a PACKED issue! Enjoy!Judith ([email protected])

Quarterly Update

Dear Members,I feel a bit guilty sitting here in Forest Grove with

temperatures between 70 – 80 degrees. It’s been beautiful! My relatives in Nebraska, Oklahoma, and Arkansas are stewing in their own juice as I write. Summer’s slipping away; school resumes soon and with that comes the Oktoberfest season.

Thank you for your concern for my husband and me. I injured my back in the late spring and have been dealing with the diagnosis and treatment all summer. I feel much more comfortable and must be careful not to reinjure myself. Gary has improved considerably. We appreciate your thoughtfulness.

Judith and I will do the “paste up” for the Autumn issue of the NWAS News next week. I am especially pleased that Jim O’Brien, Ph. D Professor Emeritus from the University of Arizona, has written his notes complete with examples from his workshop on play-ing duets. We are thrilled with his gracious gift to the publication. You may be acquainted with his arrange-ments from the internet. Dr. O’Brien has the authority and expertise to provide some valuable instruction.

Occasionally articles appear in newspapers or magazines that are of interest to our membership. I’ve had reasonably good experiences with requesting permission to reprint. After waiting for several weeks, I received word that there would be a very large fee to reprint an article; I was disappointed!

This issue also includes an original composi-tion by Wally Lazar. Wally is an NWAS member from Canada and has generously shared several composi-tions with us. Wine Festival seems to fi t the season; we are grateful to Wally Lazar for allowing the NWAS News to print his music.

I’ve mentioned it before, but I must confess that writing “remembrance” articles about friends in the ac-cordion community is one task that I really don’t enjoy. The articles are important to communicate the infor-mation but also to give honor to the friend that we’ve lost. Mike Belitz was a fi ne accordionist and a lovely person. We hope that many aspiring accordionists will follow in his footsteps and build upon the music he provided. Mike was respected and loved; he will be missed.

The Northwest Accordion Society thanks all of you who volunteered and worked to make the Interna-tional Accordion Celebration at success. Bonnie Birch planned for many months to pull the event together. Work has begun for next year’s music festival. Mark your calendars today; LIAC will be June 14 – 17,

Table of Contents2 Letter from the Editors2 Quarterly Update3 Letters to the Editor3 Remembering Dieter Nachmann4 Wine Festival7 Congratulations, Cory Pesaturo7 Stas Venglevski Featured9 17th Leavenworth International Accordion Celebration10 Photos from LIAC 201113 Leavenworth International Accordion Celebration Sponsors14 Seattle Accordion Social16 NWAS Welcomes New Members:17 Leavenworth International Accordion Celebration Competition Awards 201118 Pietka Scholarship Recipient18 Keeping Up With Alicia Baker20 Kimberley International Oldtime Accordion Championships22 Tacoma Accordion Social 23 Something Special in Sequim27 Remembering Mike Belitz28 Peter Soave to Premiere New Accordion Concerto by Max Simoncic31 Improvising Duets: Comping for All Seasons35 Castelfi daro Changes With The Times36 The Great Accordion Myth Uncovered 38 Accordian Lesson Memories39 By the Way – 40 Accordion Events Calendar42 Entertainers in the Northwest


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2012.This issue has important information and adver-

tising to note. We are grateful to our faithful adver-tisers and encourage you to take advantage of the goods and services they provide. Be sure to let them know that you saw their advertisement in the NWAS News. Special thanks to our new advertising editor, Colleen Halverson. We appreciate all that she’s done to ensure that our publication is in the black.

Finally, enjoy the Oktoberfest season. The accor-dion is visible in the autumn. Support and encourage the accordionists when you encounter them. This is an important time for all of us amateur players also. The Oktoberfests can’t manage without all of us; we lend “color” to their events. It’s fun too. Have a won-derful autumn. It’s my favorite time of year!Doris [email protected]

Letters to the EditorDear NWAS,

The Leavenworth Festival was deluxe.Cindy Martin, Seattle, WA

Dear NWAS,Thank you so much for placing my mother’s Memorial

piece in the NWAS magazine.Best Regards, Adrianna Wells, Seattle, WA

Dear NWAS,Thank you for such a great time in Leavenworth.

Loved the workshops. It was so much fun.Kathleen Falco, Athol, ID

Dear NWAS,Thank you for the marvelous job you do with our NWAS news. Dick Myking, Seattle, WA

Dear NWAS, Renewing my membership for yet another year. Hope

to have more time for the accordion as I am retiring from education after teaching 7th grade for 37 years.Kathy Breece, Bothell, WA

Remembering Dieter Nachmann

Dieter Peter Nachmann, whose charm and sense of humor marked a kaleidoscopic life with legions of loving friends, died of cancer on Friday, July 22, 2011, in Portland, Ore. He was a bartender, herb salesman, wine distributor, marketing consul-tant, father, gastronome, punster, and musician.

Born in Traunstein, Germany, on June 9, 1946, Dieter was the only child of Bernhard Nachmann and Paula Rohofsky. The family moved to Cleve-land, Ohio, in early 1948 and then to Denver Colo., where Dieter attended St. John's grade school and Mullen High School. He enrolled at the University of Colorado's Engineering School in Boulder.

Dieter moved to the Pacifi c Northwest in the mid-1970s. He was co-operator of a tavern in Trout Lake, Wash., where, according to an eyewitness, "he subjected regular customers to his accordion, and gave them lessons in classical music - and they loved it!" He later worked at the Rams Head at Timberline Lodge, where he was a bartender, wine steward and entertainer.

He frequently played accordion with the late Walter Aeppli. Calling themselves the "Edelweiss Irregulars," they played together for 30 years.

In 1978 he joined a wine distributorship in Portland as a salesman. Dieter went on to form his own company designing labels and marketing plans for small companies. He often spoke of his concept of "property mismanagement," his way of describing his "vast real estate holdings."

He married Sandra Johansen in 1987. Their son Karl was born that same year.

Dieter is survived by his son, Karl, of White Salmon, Wash., an aunt, Kathi Nachmann, and a cousin, Sonja Schmidt, both of Denver.

A celebration of his life was held at Timberline Lodge on Aug. 28.

WANTED: Articles, music, photos, drawings, cartoons, ad-vertisements! This is YOUR publication. Email submissions to judith@ameshomeplace. com or mail to: NWAS, 5102 121st Ave. Unit 12, Vancouver, WA 98682.


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Congratulations, Cory Pesaturo

July 12, 2011, the Boston Globe reported that Cory Pesaturo took top honors at the International VII Primus Ikaalinen Accordion Competition at the Sata-Häme Soi Festival in Finland. The 24-year old was the fi rst American to compete in the event which was broadcast on Finnish national TV to 1.1 million viewers and streamed live on the internet! The tight competition culminated in an exciting musical duel between Cory Pesaturo and Giorgio Albanese as they played ’Libertango’ by Astor Piazzolla. Results:1. Cory Pesaturo, USA2. Giorgio Albanese, Italy3. Matthias Matzke, Germany

Cory compared the show to “American Idol”. He said that he was surprised to win an acoustic competi-tion. He placed fi rst in New Zealand two years ago in the digital accordion category; most of his music is made on the Roland virtual accordion. As it happened, Cory had planned to play his beloved Sonola acoustic accordion in competition but wasn’t allowed to take it on board the airplane. Not wanting to risk shipping the instrument, he left it home in Cumberland, RI. There wasn’t much time to borrow an instrument and to become acquainted with it before his performance. The results demonstrated his ability to adapt and displayed his mastery of the instrument. Cory is on a campaign to “make the dowdy old squeezebox hip again”, says writer Mark Shanahan. But, Cory said that, “I won’t be truly successful until Jay Leno calls!”

Cory Pesaturo, an internationally known musi-cian, studied at New England Conservatory, where he was the fi rst person ever to graduate with accordion as his major instrument. He is a dazzling improviser, whose specialty area is jazz. He performed as early as the age of 12 at the White House for President Bill Clinton.

Stas Venglevski Featured

Well known concert artist, Stas Venglevski, performed "In Croce" for bayan and cello on June 10, 2011 at the University of Chicago in honor of composer Sofi a Gubaidulina's receiving an honorary doctorate from the University of Chicago. The cellist on the program was Gwen Krosnick. It was the fi rst time the University of Chicago awarded a doctorate to someone in the fi eld of music.

Stas Venglevski's artistry, dazzling technical command, and sensitivity have brought him increas-ing acclaim as a virtuoso of the bayan. A two-time fi rst prize winner of bayan competition in the Republic of Moldova, Stas is a graduate of the Russian Academy of Music in Moscow where he received his Masters Degree in Music under the tutelage of the famed Rus-sian bayanist, Friedrich Lips. In 1992 he immigrated to the United States.

Stas' repertoire includes his original composi-tions, a broad range of classical, contemporary and ethnic music. He has toured extensively as a solo-ist throughout the former Soviet Union, Canada, Europe, and the United States including numerous performances with Doc Severinsen, Steve Allen and with Garrison Keillor on the Prairie Home Companion Show. Additionally, he has performed with symphony orchestras throughout the United States. He per-formed the world premiere of Concerto No. 2 by An-thony Galla-Rini and also the world premiere of Bayan and Beyond, composed for Stas by Dan Lawitts.

He is a regular participant of the Milwaukee Symphony Orchestra's Arts in Community Education Program (ACE); has done television commercials and performed in theater productions; produced numer-ous recordings including transcription of Tchaikovsky's Nutcracker Suite for bayan as well as one of original compositions. He has published several books of original compositions.

Stas also performs as a member of the A Sta_Sera Duo where he combines talents with accordion-ist, John Simkus, known primarily for his smooth jazz renditions. Their musical partnership has resulted in a unique repertoire and as a duo they have toured the United States and Europe extensively and collabo-rated on a CD of original compositions, Seasonings.

For further information: [email protected].

“Accordions don’t play Lady of Spain, people do.” - Paul Harvey


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17th Leavenworth International Accordion Celebration

By Doris Osgood

My husband grimaces as we load the car each year to travel to Leavenworth. He says that his next wife is going to play piccolo! “ Demenagement”, the French would call it. This year’s travel was very pleasant, I’m glad to report. The mountains surround-ing Leavenworth were still snow capped and the rivers were running full. We were greeted with a stunning sight. It really was a slice of Bavaria 400 miles from our home.

My perspective of the event is from the gazebo in the heart of town. I hate to use so many superla-tives, but I really believe that the free entertainment at the gazebo and at the grange was the best we’ve had. Our volunteer entertainers were prepared and punctual. The new sound system at the gazebo was a wonderful improvement too. Bo Davis, our able sound person, worked his magic for many hours and made the best of all of the different situations on stage. All of the professional entertainers that were part of the concert schedule plus other professional players donated their talent to the free entertainment venues too. Mario Pedone, Alicia Baker, and Vincen-zo Abbracciante dazzled the audiences. Our friend, Gary Blair was in town “on holiday” and also per-formed at the gazebo. The affable Scot with the fast fi ngers draws and holds and audience; he’s always a crowd favorite.

The grange building was used a bit differently this year. The workshops were generally held in the morning upstairs and free entertainment was held in the afternoons on Friday and Saturday. The work-shops and demonstrations were well attended. Free accordion lessons were conducted on both days too. Barbara Lofquist shared that at one point on Friday af-ternoon 25 people were waiting for a lesson with one of the instructors. Dick Myking, Eloise Adaire, Barb Lofquist, Cooksie Kramer, and John Giuliani got a workout! Some had feared that our performers were spread thin between the gazebo and the grange; ev-erybody worked hard, without question. However we encountered a whole different audience at the west end of town. Some of our patrons, eating ice cream and box lunches, were unaware of events at the east end of town. It was amazing really. The grange gave people a comfortable place to hear and see the accordion in a more intimate way. Not only that, the music was great! Friday’s program included Paul Fedorowicz, Bonnie Birch, Einar Tapio, and Bev Fess. Saturday the Northwest Accordionaires performed for

a full house followed with soloist David Locke and but-ton box master, Max Kyllonen. I was emcee for the Saturday afternoon concert at the grange and enjoyed myself thoroughly.

The festhalle was buzzing with activity from morn-ing to well into the night. The accordion vendors had many patrons and our staff of volunteers sold buttons, shirts, and concert tickets. The competitions en-gaged the main auditorium of the festhalle Friday and Saturday. Shortly before LIAC was to happen, we learned that Jelena Milojevic, one of our adjudicators and concert artists, was involved in a serious car ac-cident and would be unable to fulfi ll her commitment to LIAC. Thankfully, she was expected to fully recover from her injuries. Tom Demski was able to step in and serve as an adjudicator with Mario Pedone. Rod Miller worked with the adjudication team and plans to head the competition piece of the music festival next year too. Ken Kohnhorst of Leavenworth served as emcee during the competitions.

Thursday evening’s concert began as planned with Steve Albini. He ably demonstrated the Roland V accordion and also accompanied several vocal selections. With Jelena’s absence, Alicia Baker was willing and able to step in and play a wonderful pro-gram. She played both the acoustic accordion and the Roland. In her hour, she demonstrated many music styles and also demonstrated her amazing skill and poise. She called her program “My Favorites”. Those included some of her original compositions and arrangements along with other great arrangements like Joe Spano’s “Rhumba Cubani”, a lightning fast “Flight of the Bumblebee”, Eileen Hagen’s version of “Tico Tico”, a tasty “Rhapsody in Blue”, and my hus-band’s favorite, “Scherzo” by Dom Frontiere.

Friday evening saw long lines waiting for tickets. The fi rst performer was Mario Pedone. He was an audience favorite from the fi rst note! Mario has an uncanny ability to adjust his program as he sizes up the audience. The long standing ovation was indi-cation that nobody was ready for him to leave the stage. However, another outstanding program was coming. The Spokane Accordion Ensemble under the direction of Patricia Bartell delivered a memorable program. The thirteen musicians were well pre-pared and delivered a fantastic “Night at the Movies”. Their selections included music from Henry Mancini’s repertoire, My Fair Lady, Phantom of the Opera, Fid-dler on the Roof, Sound of Music and many others. An unexpected surprise came with the music. Rick Webber, mild mannered dulcimer player by day, made numerous costume changes to take on the appropri-ate movie character to introduce each movie. Part of the fun was wondering what Rick would show up with


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next! A highlight of this segment of the evening was a memorable solo by Patricia Bartell, Patricia’s young students participating in the Sound of Music segment, and a performance by the Portatas doing the “Orange Blossom Special”. It was a long evening, but nobody wanted to leave; it was too much fun.

Saturday night’s concert began with an Old Time Palooza. Toby Hanson, Rod Miller, Jim and Shirley O’Brien, Max Kyllonen, Kory Tideman, the Bonnie Birch Trio along with Lionel Kramer on drums and John Giuliani on string bass delivered a program that many people thought was worth the trip to Leav-enworth! Each played solo then the group played together as a fi nale; the audience loved the old time music style played well. The featured soloist for the evening was Vincenzo Abbriacante from a small town not far from Rome, Italy. Gary Blair shared that he’d heard Vincenzo play as a 15 year old in a European competition and described him as “brilliant” then. Vincenzo is only in his early 20’s now and “brilliant” can still sum up his musicianship. John and Lionel re-mained on stage to perform with Vincenzo. He played some original compositions and unique arrangements – one included a bellows shake that seemed endless – another bent tones on the accordion like I’ve never experienced. His last segment was a jazz set. He concluded with the “A Train” to the audience’s delight.

Saturday at noon time is always a unique time in Leavenworth. The accordion parade made its way from the festhalle to the gazebo. The crowds in town love it. I’m happy to report that the tourists were plentiful and reminiscent of prerecession crowds. The parade is short and sweet; FUN STUFF. Parade-meister, Rod Miller delivered an outstanding band of players. He’d made arrangements with some vocal-ists in town to help with the singing of Edelweiss when the band reached the gazebo. Gary Blair continued playing as the parade marched away and the large crowd remained. I’ve emceed this for many years and the crowds for the post parade program were huge; it was really encouraging.

By Sunday noon, the T-shirts and pins were sold out and the awards were presented. My last shift at the gazebo started at 11 AM. We had wonder-ful audiences. I couldn’t help but notice the number of young families with small children. The children were especially interested in the accordion players on stage. We had some GREAT STUFF too: The Northwest Accordionaires started the program fol-lowed by Eileen Webber, Rod Miller, Einar Tapio, Alicia Baker, John Schirr and the O’Briens. Jim and Shirley O’Brien concluded the program at the gazebo with “Auf Wiedersehen” and I declared the 17th inter-national accordion celebration in Leavenworth to be

concluded. For the 2nd year, the Northwest Accordion Society worked to present the accordion celebration in Leavenworth. The months of planning and hard work paid off. I believe that I can claim that LIAC 2011 was a success!

People from all corners of the country came together to promote the accordion; they donated their money, their time, and their talents. For our army of volunteers it was a labor of love. We are grateful to them all. Special thanks to our LIAC chairman, Bon-nie Birch, web master, Ken Kohnhorst, parademeister ,Rod Miller, volunteer coordinator Frank Bruchner, and festhalle commander, Steve Berg for their long hours.

Plans are in the works for next year’s accordion celebration. We have come to expect a unique music festival experience. We look to building on this year’s outstanding competition, workshops and concerts. LIAC is in the black! Mark your calendars today: June 14 – 17, 2012. We look forward to seeing you there for the love of the accordion.

Photos from LIAC 2011Courtesy of Ed Lofquist

NW Accordionaires at Grange

Dick Myking with students in Grange Workshop


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Barb Lofquist with students in Lower Grange Workshop

Gary Blair performs at the Gazebo

The Accords

Happy Wanderers

Rod Miller and Toby Hanson

Terri Ranstad

Bonnie Birch

Tom Cordoni

Freda Schartz and Linda Marks


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Accordions assembled at the Gazebo.

There was dancing at the Gazebo.

Accordion Parade Participants

Accordion Parade Approaches

Accordion Parade

Patricia Bartell John Giuliani & Student at Grange WorkshopMore photos on Page 16



Leavenworth International Accordion Celebration Sponsorswww.accordioncelebration.org

Virtuoso Sponsors - $2,000 or moreCity of Leavenworth

Leavenworth Chamber of CommerceNorthwest Accordion Society

Projekt Bayern

Major Sponsors - $500 or more City of Leavenworth

Leavenworth Chamber of CommerceNorthwest Accordion Society

Projekt Bayern

Business Sponsors Borsini Accordions (Co-Sponsoring Vincenzo Abbracciante)

John Giuliani Sr. memorial fund (Sponsoring youth competition)Andreas Keller (Co-Sponsoring Leavenworth Open)

Petosa Accordions (Sponsoring the Popular Open Category)Gino Picini (Co-Sponsoring Mario Pedone)

Tempo Trend Accordions (Co-Sponsoring Jelena Milojevic)

Accordion Players, Accordion Clubs, Friends of the AccordionAccordion Club of Roseburg, OREloise AdairKatherine AllenSteve and Jeannie BergBonnie BirchFrank Bruckner and Gale LewisLeland CadeRobert CoeVern ColeBonnie Combs (in memory of Gary)Eugene DedaKathleen FalcoPaul A. FrancisColleen HalversonShirley Holmes

Hugo Accordion BandNWAS Socials in Forest Grove, ORNWAS Socials in Seattle, WAAndy MirkovichRod MillerAndy MirkovichDrs. Jim & Shirley O’BrienTerry RanstadAnn RobbinsMarjorie RombauerRobynne SnowBrad SummersTualatin Valley Accordionists, Forest Grove, ORRick & Eileen WebberVera WendelMike Zaro

We truly appreciate all of the sponsors who helped to make LIAC 2011 a great success! Please give patron-age to our business sponsors and help us express our apprecia on!


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Seattle Accordion SocialBy Marjorie Rombauer & Dick Myking

May 9, 2011This evening at the Gypsy Trader Café began

with students of the host, Paul Fedorowicz.

David Delashmit was next, a newcomer to the Social. He played the accordion backwards, with tre-ble on the left and bass on the right (“I’m left-handed,” he explained). He usually plays with the Bicycle Tree Band, so he noted that some harmonies and other ac-companiment were missing. The numbers, unfamiliar to me, included “Tears of a Ruby Geisha “ (he made up the name), a song adapted from a Norwegian band arrangement, “Lovers by the Desert Water Hole,” and a waltz. He promised that next time he plays he will play the accordion “inside out.” Watch for a report on that!

Kendra Loebs began with Italian numbers, Santa Lucia and Cielito Lindo, and then played an Hungar-ian Dance with good expression. She concluded with “Fascination.” Overall a smooth performance after some initial nervousness. Devon Marcher followed with a song whose name he didn’t know but then played a number whose name we all know – “Drink to Me Only With Your Eyes.” Another smooth perfor-mance.

Jamie Maschler’s student Jon Scherer played three numbers, “Amalie” (sp?), “Dark Eyes,” (with an interesting bass chord introduction), and a rock and roll number. This was his fi rst appearance at the So-

Then there was group playing. Devon was joined by Paul, Russell Bates and Jim Hunt to play four nicely harmonized short numbers with -- Offenbach’s Barcarolle, a number whose name I couldn’t remem-ber, “Little Brown Jug,” and “Carnival of Venice.” Next was a quartet composed of Emily Johnson, Mari Becker, Juliana Bohn and Cindy Martin, playing “Do, Re, Mi,” from “Sound of Music.” Then Juliana and Cindy, with bassist Seth, played a number whose name I didn’t hear, but the lyrics included, “Darling, darling, darling . . . I don’t know trouble no more.”



June 13, 2011Reported by Dick Myking

Opening our evening program was Hans Rainer and Kory Tideman playing 5-row button boxes. One difference in their instruments, Hans explained, is that Kory’s has minor bass chords while Hans’ accordion does not. Their program consisted of quite a nice va-riety of selections that started with a lively polka with Hans singing the lyrics. Then, a Swiss Laendler which is like a waltz. Third was a Ric-Soc Schottische. Any-

where outside of Switzerland this would be a polka. Now, Kory played guitar.

Hans Jr. has a son who put out a CD called “Happy Hans – 3rd Generation,” From this they played “Wenn Ist Schmert Im Zillertal” and later, a polka “Die Fischeim Von Boden See.” From the Swiss Family Band on U-Tube they played “Edelweiss Is Blooming” and “Fun Time with the Family” to which Hans sang and yodeled. These last two names were more about the subject of the songs than actual titles.

Someone requested “Sugartime” as in Sugar in the morning, Sugar in the evening, Sugar at Supper-time, etc.. At one point the tune changed to “you Are My Sunshine,” then back again. The audience sang the whole song! This was a very fun part of the eve-ning program.

Following our Austrian music was a longtime favorite performer, Jon Persson. He began his seg-ment playing on Birgit Ages’ Tonaveri piano accordion. “La Comparsita” was Jon’s opener, well known to most of us. Just a tiny note of apology at this point is in order. My notes probably are a little like those of Colombo, the TV detective, but I’m very likely not as clever with mine as he was with his. From here on some of the things I say may be questionable, so if you fi nd your forehead wrinkling here and there, don’t be surprised. In the process of analyzing what the players are doing as they play, my comments may not be entirely correct.

Proceeding with Jon Persson’s performance, he continued by playing the very beautiful Viennese song “Vienna City of My Dreams” followed by the Swed-ish polka “The Old Fella from Guntland.” Now, it was time for a change, so Jon played an Art Van Damme arrangement of “Once In A While” which had some nicely improvised parts. Because of his amazing versatility, Jon can even play jazz without losing his audience for even a moment.

To maintain his captive listeners’ keen interest Jon switched to his “Russian Typewriter” the bayan. J. S. Bach’s “Air on A “G” String” caused many to sit back and just enjoy the intricacies of melodies and countless melodies as Jon himself had arranged them. The free-bass of this instrument made this mu-sic more playable.

There was a request from someone to play something Finnish. Jon feigned thinking they were skim to fi nish, but the point was clarifi ed, so he said he would play “Birch Tree Waltz” (not Bonnie Birch Tree Waltz). The next piece was a toccata, a compo-sition for piano, organ or harpsichord. This one was for pipe organ by Widor. The “Russian Sailors Dance,” a closer Jon has used on previous occasions, provid-ed excitement right up to the end with both treble and

cial also – a good beginning.Then there was an interlude with Paul Fedorow-

icz and John Giuliani on the bass.The program concluded with a new duo – Einor

Tapio and Marchette Dubois. Marchatte fi rst played alone, a Macedonian number with intricate rhythm. Then together they played a number that made me want to dance, Skansen Tösan by Eric Öst, and then another fast one by Öst, Bacon and Eggs. Then it was Einar’s turn to solo, and he played a very fast set of variations on the” Carnival of Venice.” The duo returned with “The Lady and the Waltz,” with focus on expression. They concluded with Grieg’s “Norwegian Dance No. 2.” I hope we will be hearing them again at a future Social.

It was an entertaining evening, full of variety.


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NWAS Welcomes New Members:Colleen Allender, Richland, WAMabel Becker, Livingston, TXJohn Crescenzo, Rockford, ILEthel Harris, Victor, MTCarol Jeanne, Milwaukie, ORLinda John, Gig Harbor, WASharmon Kenyon, Fortuna, CAJill Patten, Gresham, ORRichard Peterson, Port Orchard, WARuss Rossi, Portland, ORIrene Ulm, Corvallis, OR

Remember, you are welcome to give gift member-ships! The membership form is on the last page of this publication!

bass solos with fast-moving-moving modulations.Host and hostess for the evening, Philip Ages

and Birgit Teuwen, the core of the Folk Voice Band, were next. This was not the fi rst time this duo has had to follow Jon Persson on the program of an ac-cordion social. A couple major interruptions kept me from writing the full slate these two people played. They perform quite a variety of folk songs from vari-ous European countries. Birgit plays most of their music by memorizing nearly 100% of it. Philip, on the other instruments, plays and sings, as most of their songs have lyrics. He changes instruments very often. A few of the selections were “Marion Berry”, a Finn-ish family waltz. On this, Philip, played button box. Next was “Sdrando”, a selection I only have a name for. Philip, playing recorder now joined Birgit doing a French-Italian mazurka “St. Andien.” Because of a dif-fi cult language mix, he didn’t attempt singing it. Then he switched to the mandolin as they played “Ballo Indodici” from Italy. On all their music Birgit played her Tonaveri. Here is where Colombo could have helped me with my notes.

Our last performer this evening was David Locke playing a Diamond piano accordion. If you have ever listened to a David Locke CD you would know that hearing his music is sheer pleasure. Tonight was no exception. He played from one piece to another, barely giving us a name each time, and once or twice we were guessing. “Blue Bijou” started things off and he continued with “Open the Eyes of My Heart”, a fast waltz, “Soul of the Poet’, “All the Things You are”, to “Begin the Beguine”, “Kareoka Carioca Waltz” and “My Prayer.” We had been serenaded. David plays very often in nursing homes and rehabilitation centers. You can only imagine the great pleasure he gives the residents with music like that ! Our evening was now complete.The July Social was cancelled.

More photos from LIAC 2011

Mario Pedone at Festhalle

Spokane Accordion Ensemble Concert

Portatos at Festhalle

Alicia Baker performing at LIAC 2011



Leavenworth International Accordion CelebrationCompetition Awards 2011

Variety I1. Einar Tapio2. Al Aman3. Louis Traverso

Variety II1. Eileen Webber2. Terry Ranstad3. Doris Osgood

Variety III1. Eric Oscar

Variety V1. Amelia Bauer

Variety VI1. Michael Barbarossa2. Kassie Patterson tie Gabriel Soileu3. Robert Degeode

Variety VII1. Naomi Harris2. Jason Borzosh 3. Emil Haroldsen

HM Roman SemirrachnorHM Anthony Kuzmenkov

Light Classical II1. Kassie Patterson2. Gabriel Soileu

Light Classical III1. Emil Haroldsen

Leavenworth Open1. Eileen Webber2. Gary Malner3. Eric Oscar

Popular Open1. Jamie Maschler2. Eileen Webber3. Gary Malner

Light Classical Open1. Jamie Maschler2. Yevgeniy Nosov

Old Time Duets1. Bev Fess - Kassie Patterson2. Linda Little - Jim Hamilton / tie

Don Struble – Eric Oscar

Old Time Diatonic1. Eric Oscar2. Eileen Webber3. John Schirr

Old Time Band1. Across the Miles2. Happy Wanderers3. Portatas

Original Compostion1. Gary Malner


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Keeping Up With Alicia Baker

Alicia Baker, Happy Hans champ 2011, seems to be in perpetual motion! She’s had a very busy summer. She played a wonderful con-cert at Leavenworth this year on short notice. As “product specialist/performer” for Roland virtual accordions, Alicia conducted demonstrations in Leavenworth, Petosa Accordions, and KIOTAC. Though she doesn’t consider herself a “sales person type”, she feels the demonstrations have introduced the accordion to new audiences and she sees the instrument’s gaining popularity.

Alicia’s summer activities continued as she went to the annual Lutheran Bible Camp. There she was assistant director of a junior choir. Camp has been an in important part of her life; she played the accordion in the talent show as she has each year since she was very young.

KIOTAC is always a highlight. Her parents and grandparents joined her. She played a con-cert on Monday night and was free to play daily at the platzl. Normally her competition schedule keeps her tethered during the week. She was especially pleased to include a vocal aria during her concert in Kimberley and was accompanied by Michael Bridge. She’s looking to produce a CD of her singing accompanying herself on the ac-cordion! She and Michael are planning to record another duet CD. The duo has been asked to play a duet concert at Kimberley next year; every-body loves their playing together.

Mid July she was off to the AAA convention. This was her fi rst experience with playing for an East Coast audience. She played a 20 minute set in the Friday night gala on the Roland demon-strating as many musical genres as possible. Her program included a vocal aria and her version of “Skinny’s Polka”.

Alicia’s busy summer will conclude with per-forming at Cotati. She says that a couple more Roland trips could follow. Shortly after a little R and R she will return to school at Oregon State University. October 13, she will play the third movement of Nicholai's Accordion Concerto in B fl at with the OSU Symphony. (La Selles Stewart Center, Corvallis, OR)

Alicia’s bringing accordion to the musical mainstream; this is exciting for all of us.

Pietka Scholarship RecipientWhy I Like The AccordionBy Filumena Sweet age 8

The accordion is really fun because I get to learn music and that will make a difference in my entire life. I can also READ music that will help too. So, now I can plan another instrument with less diffi culty.

My favorite part of the accordion is perform-ing. I have done a lot of performances, but still my best one was at my old school’s talent show.

Why I like especially my accordion is it’s re-ally fancy and pretty. It’s red with pearly keys. It has three rhinestones on the 120 basses. One rhinestone marks C.




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Kimberley International Oldtime Accordion Championships2 Years in a Row! - Alicia Baker Wins!

Congratulations to Alicia Baker on her stellar performance and winning the Happy Hans Open!

2011 WinnersPopular 4 – (71 + Over) 1. Einar Tapio la Conner, Wa2. Lela Bourne Kelowna, BC3. Margaret Schuler Southey, SK

Popular 3 – (51-70) 1. Gregory Gordon portland, OR 2. Hannu Lambert Mission, BC3. Rod Miller Kelowna, BC

Popular 2 – (13-48) 1. Emmanuel Gasser - St Charles, On2. Logan Stephens - Polson, Mt3. Daniel Layton - Coaldale, Mt

Popular 1 – (12+under) 1. Luke Persson - Windermere, BC2. Shauna Jensen - Medicine Hat, AB3. Naomi Harris - Spokane, WA

Lt Classical Ii (16 + Over) 1. Michael Bridge - Calgary, AB2. Gregory Gordon - Portland, OR3. Hannu Lambert - Mission, BC

Lt Classical I (15+under) 1. Emmanuel Gasser - St Charles, ON2. Logan Stephens - Polson, MT3. Daniel Layton - Coaldale, AB

Jazz Open – 1. Michael Bridge - Calgary, AB2. William Lynch - Calgary, AB3. Gregory Gordon - Portland, OR

Bands – Open 1. The International Connection2. The Leduc Connection3. Bellows And Bass

Diatonic – Open . Eileen Webber Spokane, Wa2. George Jaegli - Leduc, AB3. Wolfgang Redies - Dawson Creek, BC



Duets Junior – (15 + Under) Our Place Restaurant ($250/200/100) 1. William Lynch / Kassie Patterson2. Emmanuel Gasser / Gabriel Soileau3. Shauna Jensen / Luke Persson

Duets Senior – (16+over) 1. Rod Miller / Einar Tapio2. Margaret Schuler / Irvin Armbruster3. Jamar Jensen / Danielle Lynch

Primary (10+under) 1. Shauna Jensen - Medicine Hat, AB2. Wesley Tews - Coaldale, AB3. Ola Kawa - Edmonton, AB

Elementary (12+under)) 1. Marshall Hartin coaldale, AB2. Luke Persson windermere, BC3. Madison Hartin coaldale, AB

Junior (15 + Under) 1. Emmanuel Gasser st Charles, ON2. Daniel Layton coaldale, AB3. Sonya Hungerford milwaukie, OR

Intermediate – 19+ Under 1. Michael Bridge Calgary, AB2. Jamar Jensen medicine Hat, AB3. Emmanuel Gasser st Charles, ON

Senior – (20-60) 1. Jim Klippert -Calgary, AB2. Julie Lussier-houle - Cardston, AB

Bronze – (61-64) – Trickle Creek Gallery 1. Greg Gordon Portland, OR2. Eileen Webber - Spokane, WA3. Clara Anderson - Salmon Arm, BC

Silver – (65-71) 1. Don Hollis - Trail, BC2. Al Aman - Missoula, MT3. Ginger Purdy - Caldwell, ID

Golden – (72-75) 1. Anne Dietrich - Mendham, SK2. Paul Kobasiuk - Edmonton, Ab3. George Jaegli - Leduc, Ab

Diamond – (76-78) 1. Lela Bourne - Kelowna, BC2. Margaret Schuler - Southey, SK3. Jay Gartel - Kelowna, BC

Platinum – 79+ Over 1. Phil Selinger - Calgary, AB2. John Stadnyk - Edmonton, Ab

Happy Hans Open 1. Alicia Baker - Milwaukie, Or2. Michael Bridge - Calgary, AB3. Austin Kawa - Edmonton, Ab

Junior Showmanship – (19 +under) Michael Bridge Calgary, AB

Senior Showmanship – (20 + Over) Rod Miller Kelowna, BC

Band Showmanship – OpenThe International Connection

Youngest Competitor – Wesley Tews Coaldale, AB 8 Years Old

Mazoff Improv Prize William Lynch Calgary, AB

Sharon Hann Memorial Emmanuel Gasser

Olaf Sveen Memorial AwardWilliam Lynch

Special Award Bill Baerg

After a long summer hiatus, the Seattle Socials will resume on September 12. The social will be at the West Seattle Senior Center. There are always great soloists and groups. Cooksie Kramer will have some of her young accordionists there. Be sure at-tend and to give those young players encour-agement.


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Castiglione Accordions

Tacoma Accordion Social By Elise Adair

MayOur May meeting was held at Trinity Lutheran

Church on the 12th. The church put on a spaghetti dinner for

everyone and the accordionists entertained. During the dinner we had four players, our fi rst was Randall Tron then David Emter on his chromatic accordion. Third was Eloise Adair then Michael Barbarossa. At 7 p.m. our program began with Tom Demski playing several Italian pieces. He got the most applause when did a lot of bellow shake playing "Malaguena".

Our last player was new to most of us, David Lang. He did an excellent job playing jazz. We had a very good attendance and I think every one had a good time.

In June so many have graduations or vacations so our next meeting will be in July beginning with a picnic.

JulyWe planned to have a picnic in July but it was so

cool in the picnic area under the trees we ate indoors. More people arrived for our program and we had 52

altogether. Eloise Adair was fi rst to play. She played "Marriage of Figaro" and "Beautiful Days". Next Michael Barbarossa played "Sheboygan Polka", "Weeping Willow Waltz" and "Billboard March". Dennis Perry didn't bring his accordion so he played mine. He played some patriotic son, "Battle Cry of Freedom", This Is My Country", "I've Got a Wife" and "You're a Grand Old Flag".

Next we had a 13 year old guitarist Nolan Garrett play and sing for us. He played "Folsom Prison Blues", "Knockin' on Heavens Door" and "House of the Rising Sun" Then Dorene Fox played "Harbor Lights", "La Violetera" and "Yankee Doodle Dandy". Phil Cappetto was next playing "Ode to Joy", "Scherazade", and "Le Vie en Rose". We had another singer, Diane Crews sang "Blue Skies". Our last player was Toby Hanson. He played "Detour", "Crazy", "Just Because", "Right or Wrong" "Waltz Across Texas" "Domino" "Achtung Los" "Last Date", "Life in the Finnish Woods" and "Jamte Gubben".



Piano and Piano Accordion Lessons on the Eastside

1. Cooksie (Kaserzon) Kramer ABCA. LBCA (London). Music Examiner & Registered Teacher with Royal Schools and Trinity College London has limited vacancies for Piano and or Piano Accordion Lessons from Beginners to Master Classes. Please phone 425 828 9104 or email [email protected].

2. Would you like to play in an Accordion Orchestra? Junior to Advanced. No charge – original Music arrangements. Fun Social get together.

Call Cooksie 425 828 9104 Email [email protected].

Something Special in Sequim

The time has come for me to once again write about the Sequim Accordion Social. Accordion music enthusiasts keep on coming and fi lling up all of our chairs! In July, we counted over 90 people. What a great crowd for a relatively small town.

We continue to hold our socials at the Sequim Senior Activities Center. Many people generously bring snacks for our break, so we never lack for goodies. We have been fortunate to have accom-plished accordionists agree to be featured players at our socials to the delight of our audience. We have been fortunate to have featured performers at each of our socials. Rod Miller came in September of 2010, Einar Tapio in November, Bonnie Birch in February and Toby Hanson in March. We truly appreciate all that they have done to promote the accordion with our group in Sequim. Members of our community, who are largely retired, have frequently told me how much they enjoy the music and our special guests. Steve and I are glad that we have so many wonderful accordion friends who are willing to come and play at our gath-ering.

On July 10th, our featured player was Paul La Marche who lives right here in Sunny Sequim. An accomplished accordionist, Paul was born and raised

in Milwaukie, Wisconsin. He began playing the accor-dion at age 7 and by age 13 he was teaching accor-dion and had his own band. He told us that he was offered a full-time teaching job for $400 per month---good money for the 1950’s. Life took him in a differ-ent direction, so he joined the Air Force. Later, after attending college, he became an aerospace engineer for Boeing. The accordion took a back seat while he pursued his working career (a familiar fate for many of us). He didn’t play very much during those years. He said he wished he could play like he did when he was a youngster. We couldn’t tell any difference! After retirement, he heard about our socials and came to one. He played some duets with Elsie Laresser dur-ing past socials and now, after having recuperated from shoulder surgery, we were pleased he agreed to play for us.

Paul played a varied program, appealing to our many retirees of Germanic heritage. Paul started by playing 3 great marches: Alte Kamaraden, Parade of the Gnomes, and Wien Bleibt Wien. Next we heard 3 beautiful waltzes: Sonnenstrahlen, As Time Goes By, and Memories of Paris. Also, our dance loving at-tendees were able to get up and waltz to the pieces. He fi nished the fi rst half of his program with Tico Tico. Paul effortlessly played a Roland accordion for his program. Later, after our coffee break, Paul played 2 dance-provoking Slovenian Melodies: Slovenian Polka and Homecoming Waltz. He ended with Once in a While, Twilight Time and for the fi nale, Unforget-table. Thank You, Paul for an entertaining afternoon of music and dance.

We had many other players at our July Social. One of our most devoted players is Ellen Fulhart. She diligently practices pieces to play at each of our socials and she loves to be the fi rst accordionist to play. This time, she was joined by her Grandson, Robert, who accompanied her with his guitar. They started with Blowin’ in the Wind and Are You Lone-some Tonight?, and one more. Later after our break, they returned with Robert playing his shrunken guitar that he called a ukulele! They then played Blue Ha-waii, Que Sera Sera, Whispering and the Whiffenpoof Song. Ellen always adds sparkle to the socials with her creative presentations.

Steve, Ilse Osier and Jeannie (me) played next. The three of us have begun playing together for the local dance group and on other occasions. We call ourselves the Tyrolean Trio: Jeannie and Ilse play accordion and Steve plays the baritone horn. Today we played 2 marches, Mein Regiment and Radetsky March and our favorite polka, Red Raven Polka. We thoroughly enjoy playing together.


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Playing solo, Ilse Osier performed Trail Ride Polka, Belle of the Ball and Mainstreet Schottische. As much as she enjoys playing for us, the audience enjoys her more! We look forward to having her as a featured player next year.

Helen Bucher came to play her lovely sing-a-longs. Helen types up the words on her manual typewriter and brings copies along so everyone can sing. To celebrate the 4th of July, she played America the Beautiful and This is my Country, followed by Sen-timental Journey and Mairzy Doats while members of the audience sang along. We are happy that Helen keeps us singing with those nice classic melodies.

After the break, local favorites Hermann and Elsie Laresser began to play. We missed them this past winter as they have become Snowbirds with a second home in Arizona. With Elsie on her chromatic button accordion and Hermann on his electric guitar, they played Primrose Waltz. Hermann then switched to his zither which is a real treat for the audience. Elsie and Hermann then played Waldandachl and Sommerfreuden. We look forward to listening to them as our featured players in November. Also, back for the summer is Susan Kidd whom we have missed. After Hermann and Elsie were fi nished playing, Susan and Elsie played several beautiful duets for us! They played Achtung Los, If I Were a Rich Man and The Can-Can. We look forward to listening to Susan again before she heads south for the winter. Helen Bucher then joined Elsie and Hermann to play Old Piano Roll Blues and Elmer’s Tune.

We have enjoyed other accordionists and groups over the past months. Ted Janossey and Nordic Spirit from Olympia and Paul Bria from Oregon have delighted us with their music and enthusiasm. Paul and Judy surprised us by showing up a month early for our social in July. At least we had a nice visit! We look forward to having Paul play for us again as he did last year.

The enthusiasm and support our socials receive from accordion players and lovers have made them a resounding success. We meet on the second Sun-days of odd numbered months at the Sequim Senior Activities Center from 1 to 4 PM. In September, we have Dick Myking from Tacoma scheduled to play as our featured player. We hope to see you then!! Oh, and bring a friend!

Frank Marocco7063 Whitaker Ave

Lake BalboaCA 91406

www.frankmarocco.com140 accordion arrangementsIntermediate and Advanced

The Chester Pietka Scholarships are available for young accordionists. Young people ages 18 and under, taking lessons from a recognized teacher, or wishing to do so, may submit a written request for scholarship funds for the purpose of taking lessons. Requests are to be submitted to the Portland Accordion Ensemble, 3224 B St., Forest Grove, OR 97116 or e-mail [email protected].

In addition to giving personal information, students are to share their interest and their goals for playing the accordion. These scholarships are open to the young people within the Pacifi c Northwest, not just the greater Portland area.

Leavenworth International Accordion Celebration 2012

A Music Festival for the entire family Join us in Leavenworth, Washington

June 14 – 17, 2012For the love of the accordion

Have you hugged your accordion today? Dust it off and make some music! Fall is Oktoberfest time! Play to your heart’s content!




fall Quarter 201126

To purchase sheet music, contact: Mrs. T. Morelli

[email protected]

The Works of Joe Morelli – Accordionist, Teacher

TARGET: FOCUS – Exploring Practise $24 .00 CDN

Arrangements by Joe Morelli Abschied Von Der Heimat (M/E) $5.50 Anema E Core – Trio (E/M) $14.00 Beautiful Dreamer (E) $3.00 Borrasque – Waltz (M) $5.50 Besame Mucho (M/D) $5.50 Kom Mädel, Tanz-Waltz(M) $5.50 Che Sera, Sera (E) $3.50 Don’t Fence Me In (E/M) $5.50 Elana, Waltz (M/E) $5.50 Eccentricity – Swing Waltz (D/M) $6.50 My Father – Ethnic Waltz (E) $3.50 Glory of Love (M) $4.00 It Had to Be You (E/M) $4.00 Kentucky Waltz (M/E) $5.00 La Mer (E) $3.30 La Vie En Rose (E) $3.50 Moon River (E) $4.00 Münchner Kindl – Waltz (M/E) $5.50 Mademoiselle de Paris (Quartet)............................ $15.00 New York, New York (M/D) $5.50 Never on Sunday (M) $5.50 Paulette- study: bass harmony (D) $3.50 Papirossen (Russian) (E) $3.50 Please Release Me (M) $4.00 Quisaz, Quisaz (M) $4.50 Satin Doll (M/D) $5.50 Save the Last Waltz for Me (E) $3.50 Send me the Pillow that You Dream On (M/D) ………………………………….. $5.00 Sentimental Journey (D/M) $5.50 Silent Night (modern harmony) (E/M) $3.50 Skihutte – Schottische (M/E) $4.50 Sunrise, Sunset (M/D) $5.50 Some Day my Prince Will Come (M/E) $4.50 Somewhere Over the Rainbow (D) $6.00 Tango of the Roses (M/D) $6.00 Tennesse Waltz (E/M) $5.00 Tennesse Waltz Duet) (M) $8.00 Tie a Yellow Ribbon Round… (E/M) $5.50 Toselli’s Serenade (M/E) $4.50 Two Shades of Blue (E) $4.00

Original Compositions by Joe Morelli Waltz, Opus 24 (E) $4.00 Minuet in G (E/M) $4.00 Lullaby for Thea (M/E) $4.00 Quarter Round (M/E) $4.00 Gavotte (M) $5.00 Etude No. 1 (M) $4.00 Nelda’s Dream (D/M) $5.50 Dixieland Rag (E/M) $4.00 Mama Helena (D) $6.50 Tango Yasmine (D) $6.50 Valse Capriccio, concert waltz (D) $6.00 Samba Baby (D) $6.00 Carnival in Rio, Samba (D/M) $6.00 The Butterfly, Concert Waltz (D) $6.50 River Cinnabar, Waltz ballade(M/D) $5.00 Cassie’s Caper, Schottische (M/D) $5.00 Dance Lady Dance, Schottische (M/D) $5.00 Polkas Firefly (D/M) $5.50 Moth in the Closet (D/M) $5.75 Happy Birthday (D/M) $5.50 Peppermint Kirsch (D) $5.75 Hops & Barley (D) $5.75 Strip the Triplets (D) $5.50 Topsy Turvey (D/M) $5.50 Waltzes Swiss Fondue (M/D) $5.75 Eiswein (M/D) $5.50 Red Hearts-White Lace, (Valentine Waltz) (M/D) …. $5.75 A Linden Blossom Fell (M) $5.75 Duets Tussy Polka, complete (D) $11.00 Each, 1st or 2nd accordion $5.50 Kitty Whiskers, polka complete (M) $10.00 Each, 1st or 2nd accordion $5.50 Silver Slippers, Schottische (M) $10.00 Each part $5.00 The Bavarian Mouse Ball, Waltz (M) $10.00 Each Part $5.00 Cuckoo ‘Round the Clock, polka $7.00 -complete, no separate parts (M/D)

Original Compositions by Joe Morelli Accordion Rag (E/M) $4.00 Barn Burner - Polka (M) $6.00 Café Italiano Bright Waltz (M) $6.00 Café Rendezvous Waltz (M) $6.00 Cajun Spice (M/E) $5.50 The Chase – Etude (M) $3.50 Dreams of a Dance – Waltz (M) $5.50 February Blues – Rag (D) $6.00 Frühling – Ethnic Waltz (M/D) $6.00 Holiday in Mexico – Waltz (M/E) $5.50 Holiday in Rome – Fox Trot (M) $5.50 Hills of Kananaskis – Ethnic Waltz (M) $5.50 Hop Scotch – Schottische, Solo (M) $5.50 Hop Scotch – Schottische, Duet (M) $11.00 Images (M) $5.50 My Isle of Emerald Green (M) $6.00 Minuet in F, Solo (D/M) $5.50 Minuet in F, Duet (D/M) $11.00 Minuet in A (D/M) $5.50 Out West (M) $5.50 Postcard from Zurich- Ethnic Waltz (M) $5.50 Pequino – Cha Cha (M) $4.00 Paris After Dark 11 pg. (D) $15.00 Samba Paradiso (D/M) $6.00 Schottische for Three (D/M) $5.50 Swede Dreams – Mazurka (D/M) $5.50 Très Bien – Waltz Musette (D/M) $6.00 Vienna Dreams, Ethnic Waltz (M) $5.50 Village Fest, Schottische (M/D) $5.50 Wedding Bells, Schottische (M/D) $5.50 Approximate degree of difficulty: (D) Difficult (M) Medium difficult (E) Easy



Remembering Mike BelitzSeptember 4, 1943 – May 19, 2011

By Doris Osgood Over the years, Mike entered competitions in Leavenworth and Kimberley. He won both the Happy Hans and the Leavenworth Open. At Kimberley he initiated the jazz competition which continues. He col-laborated with other gifted old time players too. I loved hearing Lynn and Lyle Schafer play with Mike; it was wonderful! He competed in the duet category with Jim Howerton in Kimberley. Another memorable duet com-petition in Kimberley coupled Mike with Janet Todd. Mike often joined other great old time players from Montana to produce the best dance music you’ve ever heard.

After some years of competing in Leavenworth, Mike was asked to adjudicate. I was quaking in my boots… The Mike Belitz was going to evaluate the likes of me. It was a daunting thought. As it turned out, no adjudicator had been more gracious or more help-ful. He continued to teach and mentor young players and had patience with them and with older players like me. He wrote and arranged music for competitions also. He inspired many players over the years includ-ing his own children, Mike Jr. and Lisa, who became excellent musicians too.

Seventeen years ago, a friend and I made our fi rst trip to Leavenworth for the accordion celebration there. I’d just picked up the accordion for the fi rst time in many years and was not acquainted with the old time style expected. On our fi rst night in town Tom Collins, the great accordionist and gentleman from Montana, introduced us to his friend, Mike.

First impressions aren’t always accurate, but mine really wasn’t that far off. Everything about Mike Belitz seemed almost larger than life. The fi rst thing that one would notice was his deep baritone voice; it had an amplifi ed quality about it. He was tall and strong. When he played his fi rst notes on the accor-dion, all I could think of was, “It’s so BIG”. His hands were big, he never used fewer than 5 note chords, his volume was forte and beyond, and he fi lled the room. I’d never heard anyone play like that. He was a polka master player from Montana.

Odie Odenbrett, Mike Belitz, Al AmanMike and Odie played together for several years as a duet in

southern California covering the Military Offi cers and NCO Club circuit featuring matched Scandalli Accordions. Much of Mike’s

two part arranging came out of that experience.

The accordion had been an important part of his life and he’d played professionally in California. Al Aman shared that Mike was a businessman in the Bitterroot Valley of Montana. He was the owner and chief engineer of American Technology, a high tech electronics fi rm in Stevensville, MT. In time his busi-ness declined and he ultimately returned to California. During his time in Montana, he was instrumental in starting the Five Valley Accordion Association and initiating the scholarship program through that group.

Michael J. Belitz died May 19, 2011, in Torrence, CA. He was 67 years old. The Northwest Accordion Society extends sincere sympathy to Mike ’s wife, Donna and to his two children. Donations may be made to the Five Valley Accordion Association Schol-arship Fund in his memory - 478 Tushapaw, Victor, MT 59875.

The three photos provided Val Konie.


fall Quarter 201128

Peter Soave to Premiere New Accordion Concerto by Max Simoncic

by Rita Davidson

Accordionist Peter Soave will present the World Premiere of a new accordion concerto by Max Simoncic with the Stockton Symphony Orchestra under the direc-tion of Peter Jaffe on Thurs-day, November 10, 2011 at 8:00 PM and Saturday, No-vember 12, 2011 at 6:00 PM at the Atherton Auditorium, San Joaquin Delta College.

The Commission Sponsor and Guest Artist Sponsor: Thomas & Virginia Chen. "Meet the Maestro” pre-con-cert talks begin 45 minutes prior to each performance.

Recognized worldwide as the foremost master of the bandoneon and concert accordion, Peter Soave has established himself as the leading soloist of his generation. The hallmark of his performances is his unique combination of commanding stage presence

and the excitement of his vibrant virtuosity.Of Italian descent, Peter Soave's earliest memo-

ries are of music played on an accordion. By age three, he was certain of his life's work. He began music studies at fi ve, and quickly gravitated towards classical music. At sixteen, he entered international competitions and swept fi rst place four times, confi rm-ing his reputation as a virtuoso of the highest order: Grand Prix in Neu Isenberg, West Germany; Klingen-thal Wettbewerb in East Germany; Coupe Mondiale in Folkstone, England; and the Trophée Mondiale in Arrezano, Italy.

In 1987, Peter Soave was the inaugural recipi-ent of "Voce d'Oro," the international award honoring those who have given prominence to the accordion in the world of modern music. Deeply inspired by the music of Argentinean composer Astor Piazzolla, Mr. Soave's impassioned musicianship motivated him to include the characteristic bandoneon in his perfor-mances.

Peter's engagements include performances as a soloist and with orchestras and chamber ensembles throughout North and South America, Asia, Middle East, Europe, and Russia. He has appeared with the San Francisco Symphony, the Hollywood Bowl

Murl Allen Sanders is pleased to announce his fabulous new Christmas CD:

MURL’S HOLIDAY FAVORITESSolo accordion and band performances including“White Christmas”, “Silver Bells”, “God Rest Ye Merry, Gentlemen” and 9 other beloved holiday favorites.

Makes a great gift! Buy your copy today!By check only $18.00 by mail (includes shipping and handling)P.O. Box 30553, Seattle, WA 98113Credit card purchases available online at CDBaby.comDIGITAL DOWNLOADS Available at CDBaby and iTtunesDon’t forget to purchase Murl’s other CD’s and Accordion Songbook!

E-mail [email protected] mail P.O. Box 30553 Seattle, WA 98113

Phone 206-781-8196Website www.murlallensanders.com



AUTUMN ACCORDION SOCIALFOREST GROVE, OR

Sunday, October 23, 20111:30 PM – 5:00 PM

Forest Grove Senior and Community Center

2037 Douglas StreetForest Grove, OR

Admission: adults $5.00Hosted by Doris Osgood

For the Northwest Accordion Society

Listeners Always Welcome!

You are invited to bring your accordion and your friends to an afternoon of accordion mu-

sic. We sign in to play and perform in the order in which we register. Young players are always guaranteed a slot and could change the order. Remember, we have no featured performers and that guests have come for the program.

Play 2 of your favorite selections or one lengthy piece. There will be a 50/50 drawing benefi ting

our scholarship fund, light refreshments, and visiting. Remember to join us, just for the fun of it! For information contact Doris Osgood at

503-357-0417. [email protected]

Accordion Socials in Forest Grove are always the 4th Sundays in April and October.

Orchestra, Detroit Symphony, Phoenix Symphony, Brooklyn Philharmonic, Zagreb Philharmonic, Windsor Symphony, Flint Symphony, San Salvador Philhar-monic, Belgrade Philharmonic, Lubbock Symphony, Bellevue Philharmonic, Walla Walla Symphony, Orquesta Sinfónica de Puerto Rico, Williamsport Sym-phony, Orquesta Sinfónica Gran Mariscal de Aya-cucho and The Zagreb Soloists.

He collaborated with conductors such as James Levine, Neeme Jarvi, Thomas Wilkins, Robert Spano, Leone Mageira, Hermann Michael, Duilio Dobrin, and Guillermo Figueroa. For the only North America appearance in 1999 of the "Three Tenors," Soave performed as the featured bandoneonist. He has also appeared on ABC's "Good Morning America."

In 2007, Peter premiered Astor Piazzolla's orato-rio "El Pueblo Joven", written for symphony orchestra, voice recitative, soprano, bandoneon, choir, and per-cussion, with the Radio Romania Chamber Orchestra, Romania.

Numerous compositions have been written for him by the Venezuela's foremost composer, Aldemaro Romero: "Piazzollana-Homage à Piazzolla" for ban-doneon and full orchestra; "Suite de Castelfi dardo" for bandoneon and string orchestra; "Soavecito" for accordion and string orchestra; and "Tango Furioso" for bandoneon and string quartet. Romero's "Five Paleontological Mysteries," for accordion and string quartet, received its American premiere in Detroit in February 2008 and its European premiere in Italy in July 2008.

Peter's recordings include a solo album "Pride and Passion," "Five Tango Sensations" with The Ruc-ner String Quartet, a double CD "Undertango 2," and "Peter Soave & Symphony Orchestra," featuring the music of Astor Piazzolla and Carmine Coppola. His recording awards include the Detroit Music Award for Best Classical Recording in 2001 and Best Classical Instrumentalist in 2003.

Eager to harmonize nature and music, Peter founded the Peter Soave Music Academy (www.petersoavemusicacademy.com -- coming soon) in the Dolomite Mountains in Italy in 2010, welcoming music lovers to convene and share.

Slovenian-born and Stockton-based, Max Simon-cic has had compositions commissioned, performed, and recorded by orchestras and ensembles across the globe. As in past Symphony milestone years, he helps celebrate the anniversary with a magnifi cent premiere.

The Stockton Symphony is the third oldest, continuously performing orchestra in California, sur-passed in longevity only by the San Francisco Sym-

phony and the Los Angeles Philharmonic.The Stockton Symphony, celebrating its 85th sea-

son, is currently conducted by Maestro Peter Jaffe, now in his sixteenth season. Under his tenure the orchestra has continued sustained growth in artistic excellence, introduced and developed several vibrant educational programs, and gained national recogni-tion through composer residencies, the release of a commercial recording, and world premieres.

For further information about Peter Soave: [email protected]


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Improvising Duets:Comping for All Seasons

By Jim O’Brien, Ph.D

“Will you comp me?” When someone asks you to comp him or her, what do they expect you to do? The dictionary tells us “comping” is “the action of playing a musical accompaniment, esp. in jazz or blues. More broadly, “comping,” mean providing a duet to someone else’s solo, whatever the style.

How do you provide an appropriate musical ac-companiment for an accordionist who is playing the main melody line? Or, how do you “comp” when you are accompanying a singer, even perhaps yourself? Music theory and analysis provide the fi rst part of the answer. The second part of the answer depends on your sensitivity and musicality.

Since so much effective comping depends on ear, not eye, here are some guidelines to begin the process.

Get your face out of the music Get rid of the music and your music stand Trust your ears, not your eyes Don’t merely play. Entertain! Make eye contact with the audience, not a

printed piece of musicThe accordion is one of the few instruments where

performers can develop close and meaningful eye con-tact with their audience. Try doing that while playing a fl ute, violin, harp, trombone, tuba or even the piano. As accordionists, we have a real advantage to share our love of the instrument by frequently addressing the audience with our eyes.

To the above list, I would add (but not insist upon) these further guidelines:

Stand, don’t sit Know your songs solidly by memory Be aware of all the chords in every song Leave the fake book and lead sheets at homeWhat are some musical techniques for adding a

second part? One of the simplest techniques is harmonizing the

melody with the interval of the 3rd. This means that if the melody moves e to f, you harmonize with c to d. The interval of a 3rd means the distance of the 3 pitches, within the scale used (i.e. c to e . . .(c d e)). Thirds are the basis of harmony for much of our music and the term applied for this is “tertian” harmony. An entire song can be harmonized with 3rds, such as this simple comping of “Lightly Row”, showing the right hand part for the solo as well as the comp.

Thirds can also be added above the main melody. Using a profusion of 3rds for comping, however, results in an accompaniment that lacks variety and is almost too sweet. Thirds can be inverted for some of the song. This inversion is a 6th. (I.e. e to c above . . . (e f g a b c)).

This comping may not match the harmony (CM=c e g, G7=g b d f) indicated for the two parts but adjustments can be made by discretely using the interval of the 5th sparingly as the countermelody moves from 3rds to 6ths and back, as seen in measures 2 and 3. This is called a “horn 5th” since it duplicates the sound of two horns playing their natural overtone series:

Generally, the interval of the 5th is avoided in counter-melodies of traditional music, unless used in this manner.

A similar manner for comping is adding a descant. A descant is a simple countermelody, typically above the main melody:

Any comping that uses only one of these techniques will soon become boring to the player as well as her/his listeners. These techniques can be spiced up with judicious use of non-harmonic tones, pitches that are not in the chord for a given measure. There are a variety of non-harmonic tones that composers use, but basic ones include the auxiliary (neighbor) tone (it is a neigh-bor above or below a chord tone), the passing tone (it passes between two chord tones) and the appoggiatura (it is “crushed” into a chord tone from a strong beat). The fi rst two typically occur on unimportant beats while the latter occurs on a strong beat. All return to a chord


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tone when they are resolved:

To all of these techniques can be added ornaments, such as the trill, turn or even a mordent. The trill is a rapid oscillation of a note with the pitch above (usually), beginning on the actual beat. The turn, as it’s name implies, means the main note is followed by the note above, returning to the chord pitch, followed by the note below, returning to the chord pitch, all within the rhythm allotted. A mordent, which is a little “bite”, is simply a fast half-turn, usually with the pitch below. All of these ornaments begin on the beat, not before. (This is open to much conjecture by musicologists, depending on what era of music history is discussed. What is stated here is just a general and practical use, which should work for most comping.)

This example shows the notation for the turn, trill and mordent, respectively,

while this example shows their actual realization:

The examples here are basic, occurring over 4 measures of a simple folk tune. This does not imply all should be used in such a sort selection, but, rather, judiciously spaced throughout a longer composition to provide a tasteful “comp”. These techniques are orna-mental, not fundamental. A few are good but too many result in musical clutter, obscuring the main melody and performer. Before continuing, the reader is advised to fl ip to the end of this article and peruse the list of songs, which can be harmonized with two chords. In the key of C major, that means CM and G7. Try some of these simple techniques and ornaments while singing some of these songs. Do it by ear, not eye. If you change

to another key, such as F major, remember to interpret your chords and ornaments in the new key (i.e. FM = f a c, C7 = c e g bb.) The techniques work in minor keys as well, as long as you interpret the melody pitches and the harmony in the minor key.

Here is a chart of the pitches in the two principle chords (I or tonic and V7 or dominant 7th) in common keys for accordionists:

C major I =c e g V7 =g b d fG major I =g b d V7 =d f# a cD major I =d f# a V7 =a c# e gF major I =f a c V7 =c e g bb

Bb major I =bb d f V7 =f a c eb

c minor i =c eb g V7 =g b d fg minor i =g bb d V7 =d f# a cd minor i =d f a V7 =a c# e gf minor i =f ab c V7 =c e g bb

bb minor i =bb d f V7 =f a c eb

It is very important to always be aware of pitches in each chord as you comp by ear, using some of the techniques and devices described above.

Block chords provide another avenue to support a main melody. A simple version of block chords in the right hand might be:

However, the chords can also be placed in different registers and inverted. In addition, they can be arpeg-giated (broken chords) and enhanced with passing tones as well. Imitating a rhythmic fi gure from the main melody also provides musical variety:

Additional pitches, such as adding a 6th to a ba-sic triad, can always enhance block chords. For the F chord (f a c), a 6th would be “d”. Substitute chords have been included in the following example, am (a c e) substituting for FM as well as gm7 (g bb d f) and dm7 (d f a c) for BbM (bb d f) There are a variety of chords



which can be substituted for the basic chords (I, IV and V7) but only a few are provided here. The reader is ad-vised to consult a text on jazz chords to discover more.

The addition of a countermelody in the second example above provides a means to comp. Countermelodies have melodic interest but not as much as the main melody, since they would outshine what the main accordion is playing. When considering how to build a countermelody, it is well to remember a countermelody can move three ways against the main melody:

Parallel motion (moving the same direction as the melody)

Contrary motion (moving the opposite direction as the melody)

Oblique motion (remaining on a given pitch while the main melody moves)

The following excerpt shows each of these tech-niques:

The following excerpt uses all three types of motion, based on many of the techniques already discussed:

Finally, we should add that a countermelody can be used to fi ll time in the main melody where the rhythm holds, a call-response technique, such as in this ex-ample:

Some songs have a natural pattern where two parts or sections of the melody become partners to one another, as in this example:

Looking for accordionist to play with a few times a month

Playing easier / intermediate music German / Scandinavian old time

dance music + standards Meet once to check compatibility

Terry George Rudd 503 235 [email protected]

Member Rose City Accordion Club, NWAS


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These songs, of course, become duets in their own right, but can be enhanced in the comped part by techniques described in this article.

What are the keys to successful comping? The techniques and ideas suggested in this article will start you on the path to success. There are numerous other techniques as well, but the main thing is never trying to outplay the soloist. Provide solid support. It’s even good to drop the bass at times, realizing the bass power of two instruments can easily overshadow the melody and countermelody. Just think how many bass players there are in an orchestra compared to the number of violins.

Set the playing dynamics from pp to ff, always play-ing one level under the person you’re comping. Less is better. This is true, even with reeds. Use thin sets, not the master. Use taste more than power and your comping will be successful.

Good luck with the process. There are two lists to get you started. First, some simple songs with two chords and a second list using three chords.

Songs with Two Chords (Usually I and V7)A horse with no name Anyone else but you Achy Breaky Heart Alouette Blow the Man DownBuffalo Gals

Lightly RowCan CanCarnival of VeniceClementineDeep In the Heart of TexasDid You Ever See a LassieDon’t Let the Stars Get InDown at the StationDown By the RiversideDown in the ValleyDrunken sailor Eleanor Rigby Eensy, Weensy SpiderFarmer in the DellFiddler on the RoofFire on the mountain Found a PeanutGo tell Aunt Rhody Gonna Get Along Without You Now Jambalaya London Bridge is falling down Mary had a little lamb Oh my darling Clementine Row row row your boat Skip to my Lou Songbird Tom Dooley Songs with Three Chords (I, IV and V7)

All Shook Up Amazing Grace Away In a Man-ger

Battle Hymn of the Republic

Be-bop-a-Lula Billy Boy

Blowin’ In the Wind

Blue Suede Shoes Camptown Rac-es

Chantilly Lace Clementine Don’t Be CruelEency Weency Spider

Ever’body’s Talkin’ At Me

Folsom Prison blues

For He's a Jolly Good Fellow

Frankie and Johnny Goodnight, La-dies

Great balls of fi re

Guantanamera Hail, Hail, the Gang’s All Here

Hang On Sloopy Happy Birthday Hava NagilahHave I told you lately that I love you

He's Got the Whole World

He ' s go t t he whole world in his hand

Hound Dog How Much Is That Doggie in the Win-dow?

I Walk the Line

In the sweet bye and bye

Jamaica Farewell Jambalaya

Jingle Bells Kum Ba Yah My Lord

La Bamba

La Cucaracha Little Brown Jug Liza Jane London Bridge Long Tall Sally Louie, LouieL o v e M a k e s the World Go ‘Round

Marianne Mary Had a Little Lamb

Mex i can Ha t Dance

Michael Row the Boat Ashore

Moonlight Bay



My Bonnie Nobody knows the trouble

O sole mio

Oh Dear, What Can the Matter Be

Oh Susanna Old MacDonald

Old Time religion Ring of fi re Rock around the clock

Row, Row, Row Your Boat

She'll be coming round the mountain

Skip to My Lou

Sur Le Pon t D'Avignon

Surfi ng USA T h e R a i n I n Spain

Tom Dooley Twist and shout What shall we do with the drunken sailor

When the saints Whole lotta love (Led Zeppelin)

Wild thing

You are my sun-shine

(This session was presented as a workshop at the Leavenworth International Accordion Celebration on June 17, 2011, by Jim and Shirley O’Brien. If you have questions or want clarifi cation, please contact them via email: James P. O’Brien, Ph.D. Professor Emeritus, UA School of Music, [email protected]: Shirley J. O’Brien, Ed. D, Professor Emerita, UA CALS, [email protected]) Many of James O’Brien’s duets are available at http://www.musicforaccordion.com/index.cfm

Castelfi daro Changes With The TimesBy Doris Osgood

Castelfi dardo, Italy continues the tradition of ac-cordion building. It was the home of dozens of ac-cordion factories employing 10,000 skilled workers during its peak in 1953. Today the town has about 27 factories with 300 workers; Castelfi dardo is optimistic and is fi nding its niche in the world economy.

Beniamino Guiolacchi, director of the Interna-tional Accordion Museum in Castelfi dardo , acknowl-edged that the rising production costs shifted the competitive edge to manufacturers in Asia in recent years. “The accordion now accounts for about 15% of Castelfi dardo’s output, said Paolo Picchio, president of Consorzio Music Marche Accordions, a consortium of manufacturers and Promoters. But the other 85% still has accordions to thank.” Precision and skills necessary to make accordions – which require the as-sembly of about 6,000 pieces, were easily transferred to other industries. In the past 30 years, Castelfi dardo has excelled in areas like mechanics and woodwork-ing. The legacy of the ingenious Paolo Soprani was “taking artisanal activity and applying modern indus-trial strategies to increase business.”

The community takes pride in the fact that its accordion industry has been stable for the past fi ve

years in large part to their attention to detail and quality. Pigini is the largest accordion maker in Castelfi dardo and is proud of making nearly every component in house. Pigini like the remaining facto-ries builds a variety of models. The instruments are tailored for the distinctive sounds characteristic of different countries. There are different systems for both right and left hands. There are dozens of varia-tions on how buttonboards, keys and bass systems are mounted. There is no template for building accor-dions. The industry prides itself in its quality rather than quantity and the hundreds of people that travel their regularly for the specifi c purpose of purchasing a fi ne instrument is testament to that. Francesca Pigini, whose grandfather started the business in 1946, spoke of “the pleasure to work and collaborate with artists and people who make music a big part of their lives.”

There is some concern that younger generations are rejecting the years of training and technique re-quired to make accordions. One expert suggests that fi nancial incentives might be the way to draw young technicians back to the trade. He feels that there will be work available for those that choose to enter the fi eld. The other concern for this industry and for many others is the global economic crisis. Marco Tiranti, and accordion tuner and restorer says, “small may be beautiful, but the global market synergy may be the only way to survive.”

The source of information for this piece was an article written by Elisabetta Povoledo entitled “An Accordion Epicenter Shrinks and Thrives” published July 1, 2011 in the New York Times.

The Tualatin Valley Accordionists begin another season September 3. They meet the 1st Saturday monthly at the

Forest Grove Library 10 AM - 1 PM.


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The Great Accordion Myth Uncovered By Joe Petosa, Jr.

The purpose of this article is to explain in detail the myth about the most frequently asked question when buying an accordion. “What does the accordion weigh”? This article would be completely pointless if accordions were sold by the pound. The truth is all ac-cordions with the same musical features will be similar in weight give or take only a pound or two. Many accor-dions have shed a few pounds due to pre-manufactured components being substituted for plastic or metal in lieu of the traditional high quality sound of unique woods. The types of material accordions are made from are an important function of balance and playability. The only way to substantially reduce scale weight is to compro-mise musical ability or physical size. But there are more important things to consider than weight alone. So let us begin to understand what really makes an accordion lighter or heavier.

Firstly the accordion can be made smaller (lighter) or larger (heavier) by changing the number of playing notes and or reed sets. The less notes and/or reed sets, the smaller an accordion can be made. The other alternative to obtain a smaller size accordion while maintaining the same amount of notes is by reducing the individual key width and spacing of the bass but-tons. This design is for smaller statured adults or more commonly, children. The most prevalent misconception is that less bass buttons means a smaller and lighter accordion. This couldn’t be further from the truth. There are full size 41 note accordions with 72 basses identical in size and weight to a 120 bass. Accordions are avail-able with less than 39 notes but maintain 120 basses. So let’s understand what and why you should know in order to make an informed and appropriate decision

Changes on the bass side are unlike the treble side. There is not much difference between a 48 bass and 120 bass accordions other than the number of buttons and the spacing. The standard stradella bass system offers a 12 note musical range using either 4 or 5 sets of reeds with a respective 3 or 4 octave musical range. The bass reeds are called: Bass, Tenor, Alto, Contralto and Soprano (the soprano set adds an additional approx. 4.5 oz of weight). Whether 4 or 5 sets of reeds and 48 or 120 basses, the bass mechanics are nearly identical with twelve bass fulcrum rods and valves along with twelve chord fulcrum rods and valves running the length of the bass box. The difference is the number of additional buttons, which play a duplicate note. The purpose and advantage of more buttons is to ergonomically improve the player’s ability to access different bass buttons (the same note), but without having to make huge jumps,

thus making it easier to articulate. In essence, the more bass buttons, the more ac-

cessible and effi cient the fi ngering. The additional weight per chord button is an amazing .009 oz. The scale weight difference between a 120 and 60 bass accordion, ev-erything else being equal, is a mere 6 oz!

Understand the right hand note range and the overall keyboard length measurement from key end to key end determine the size of an accordion. This is why we see keyboard measurements described in specifi ca-tions, as 19 ¼”, 18”, 17”, etc. If you divide the keyboard measurement (i.e. 18”) by 24 (the number of white keys on standard 41 key accordion), you will obtain the width measurement of each white key, less the amount of space between the keys. The spacing between keys will vary depending on the quality of the accordion. The least amount of space the better. Also check out the lateral movement of the keys. See how far one can be moved side to side. A well made keyboard will not allow one key to move laterally and touch another. The bass side is designed to accompany the musical range of the right hand. Therefore, the less keyboard note range the less bass buttons necessary. Standard Right and Left combinations are 41 treble and 120 bass (shown as 120/41), 37 treble and 96 bass (shown as 96/37), 34 treble and 72 bass (shown as 72/34) and 26 treble and 48 or 12 bass (shown as, you got it, 48/26). Don’t be afraid of having too many bass buttons, they don’t add weight, or make the accordion larger. Besides, when the accordion is on, how do you know how many are there? How many can you see?

The second principal to understand is the accor-dion is something you wear, like a dress, suit or pair of shoes. One thing we all do before buying clothing is to try the items on to make sure they fi t right and feel comfortable. Most of us will try on a few different items to see which one fi ts best. And of course a tailor made suit fi ts the best. Additional labor and skill is taken to ensure a proper fi t. Accordions are made in the same way. Some have taken additional labor and skill for a better balance. Why would you buy an accordion without trying it and or comparing it with others? Like clothing, accordions fi t differently and every accordion will fi t an individual differently. Accordions should be compared to see which one feels the most comfortable to you. A cor-rectly fi tting instrument can help improve your learning and performance ability. The idea that accordions with the same keyboard length, reed sets and playing notes are alike is absolutely untrue.

The most critical aspects in choosing the right ac-cordion are; Fit, Balance and Compression. You will soon learn this is more important than the “scale weight. (This is referred to as the “playable weight”.)



FIT is the fi rst step. In order to have complete con-trol of your accordion, it must properly fi t your stature. Always try an accordion when seated. The length of the keyboard should begin just below your collarbone, and end slightly resting on the inside of your right thigh (this prevents movement when closing your bellows). Second, the accordion must remain stationary. It is important that your accordion be secure and not move while playing. With the correct fi t, the accordion is locked in place with your shoulder straps and wedged with 60% of the weight on your lap and 40% on the shoulders. We know what it feels like to have a large accordion on...it is overwhelming. But too small can be just as diffi cult to play. If it is too short, then the accordion is not able to rest on your lap; therefore, 100% of the weight is pressed on the shoulders making it feel heavier. This also allows for too much movement and constant re-adjusting of the position of the accordion. Having to keep adjusting your straps to re-position the accordion back to that comfortable spot adds additional physical effort. If, over a period of playing time, the accordion starts to feel heavier, then all the extra effort takes away from conserving your physical energy in playing

Try a back strap as well. The most important purpose of the back strap is to hold the shoulder straps together allowing no movement of the accordion. If a back strap is too low, this takes weight off the shoulders by making the straps loose on top. This allows your straps to slide and move. Keeping the back strap higher or diagonally (high on the left straps across to a lower position on the right) secures the shoulder straps from sliding; this, in turn, keeps the accordion stationary. When the straps stay in place, your accordion will stay in place. No extra energy is expended fi ghting your straps. Once you fi nd the proper size accordion that “fi ts”, we can move on to understanding the next elements that are also important in obtaining the perfect accordion for you.

Balance is a crucial and intricate part of an ac-cordion. For example: using a 10-pound dumbbell or object with a similar weight. Hold the object in your hand against your chest. You’re holding 10 lbs. Now, fully ex-tend your arm in front of you. Does the weight feel the same or a lot heavier? Even though the scale told us it is 10lbs, it feels much heavier. Did the scale lie? Of course not, it’s called leverage. The further weight gets away for the center point, being you, the heavier weight feels. Another example: what would be more diffi cult to carry, a 10” X 10” X 10” carton (40 inch circumference) weighing 10 pounds or a 5’ X 5’ X 5’ carton (20 foot circumference) weighing 5 pounds? If you weren’t told the dimensions, you would choose the 5 lb carton because it is lighter. But, knowing the physical size, the 5 lb. carton would be very diffi cult to carry due to its large diameter. Where

weight is located is more important than the weight itself. Did you ever try to bench press when one side of the bar has more weight than the other, making it more dif-fi cult to press up because you were also compensating for the imbalance of the bar. It’s much easier to press up with an equal amount of weight on both sides. Hav-ing bellows, the accordion is an instrument which is in constant motion. When weight is evenly balanced, the more control you have. The more control you have, the less weight you feel.

The fi t and balance help overcome several relevant weight issues. If you are not able to physically pick the accordion up off the fl oor, then you need to actually fi nd the accordion that you can pick up. You would need to deal with the musical limitation based on your physical limitation. You might consider starting an exercise pro-gram in order to pick up the accordion you would like to play. If you take your playing seriously, then consider that all athletes, amateur and professional work out to help physically support their activity and to avoid injury. The accordion is a physical instrument and you should consider physical exercise in order to maintain your play-ing ability and help avoid some long-term injuries. Let’s assume you can pick your accordion up onto your lap without diffi culty. Most complaints of weight come from playing after an extended period of time. This proves the point that it’s not the physical weight (you can pick it up, right?) but it’s the playable weight that you should be concerned with.

Compression of the accordion refers to the control of airfl ow utilized by the bellows. The most common thought is that if your accordion leaks then there is a problem with the bellows. 90% of air leaks come from the keyboard and/or bass valves not properly seated. This article concerns new instruments without any ini-tial problems and/or used accordions in need of repair. The main facet of compression is to show how much air is required to make the reeds respond. What is the “expression” range of the accordion? Play a simple musical phrase with a single reed selected. How little bellow movement is required to make each note play equally and in pitch. Play the same phrase softly and then with power “forte” to see how much expression can be obtained. Think of a rating scale between 1 – 10 with 1 being the least amount of air and 10 being the hardest playing of the bellows prior to the reeds choking (stop-ping the reed from playing due too to much air pressure from the bellows). Do you sense a lot of expression or very little? An accordion with better expression is easier to play because it has more control. Try the same mu-sical phrase on a few accordions using the identical register and consistent volume. Does one take less bellow movement in and out to accomplish the same


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phrase? Remember, the accordion is a live breathing instrument, an extension of your own heart and lungs. Vocalists learn how to control their airfl ow in order that it is effi cient and they don’t run out of breath when holding a phrase. Learning proper bellows technique is a must, but the accordion should also assist you. The more air the accordion requires to play or “follow your expres-sion”, the more physical energy used. The more physical energy employed, the more you will experience muscle fatigue and then the accordion becomes (feels) heavier. The weight hasn’t changed, but it sure feels like it has. The reed & reed leather quality has an important role as to the compression of an accordion. The better the quality, Hand-fi nished versus Machine, Handmade ver-sus Hand-fi nished can dictate how much air is needed to make the reed play. We won’t go into detail about reeds, which could be next, but suffi ced to say that reed and equally reed leather quality play an important part in playable weight. (Note, the three basic categories of reeds do not necessarily mean that one class is better than the next. There are several qualities within each category. Meaning, some machine reeds can be better than some hand-fi nished and some hand-fi nished can be better than some handmade. Don’t always be skewered by only referring to one of the three categories.

So, it’s not the weight of the accordion, but the fi t, balance and compression which will play a much more important role in how much an accordion weighs. You could compare your quest to fi nding a balanced energy effi cient accordion that you can manage comfortably, play for hours, feels an extension of your body and al-lows you to express your musical ideas freely. I hope that this discussion clarifi es the essential elements you should consider in choosing the right instrument for you. Be guided by professional advice, but ultimately the choice should be yours.

Written by Joe Petosa

Accordion Lesson MemoriesBy Mary Jane Garlick

I couldn’t take piano lessons because of apart-ment living upstairs and not enough money to pay movers so my parents rented an accordion and started me with lessons from Mr. Schuman on Satur-days in Ann Arbor Michigan in 1955.

After a year and a half or so they purchased a 120 bass nice red Lira accordion and I started tak-ing lessons on Friday evening. I became very excited about going up on Liberty Ave for my lessons be-cause Mr. Schuman’s studio was above The Pretzel Bell restaurant in Ann Arbor. After my lesson I would wrestle my big instrument down the stairs and wait to be picked up. Friday evenings was prime time to watch the people coming to and going from The Pretzel Bell—the Bell was a favorite of Ann Arborites and Univ. of Michigan students. You did have to be 21 to get in so I had never been inside. I was so excited to see one of my favorite student teachers one night. I was in 6th grade and she was such a relief from the older, strict, not much fun teacher, Mrs. Goudy. I don’t remember if I embarrassed her by waving, but I did talk to her on Monday morning about seeing her that Friday night. As a young student I really didn’t think of teachers and student teachers as normal people; it was so fun to see her out with friends at a restaurant. I know that the patrons couldn’t hear our accordion playing (I also played in an accordion band up there twice a month) over their talking, eating and drinking but it sure was fun watching them as I waited for my ride on Friday night—I was always looking for other student teachers to show up.

Now I’ve begun playing again after more than 50 years; I don’t go to a studio above a restaurant but to Dick Myking’s home in Parkland. We’re both retired from public school teaching and know that teachers are defi nitely normal people who have hobbies, go to stores & restaurants and forget about our schedules. I don’t see student teachers at the Myking’s but I often have to stop from drooling over the smells of the wonderful food coming from Marlene’s dinner prepa-rations. Reminds me of home and lessons above The Pretzel Bell!

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By the Way – from Doris Osgood

Congratulations: Eileen Webber of Spokane is the winner of this year’s Leavenworth Open at the Leav-enworth International Accordion Celebration. She is a soloist, is the concert master for the Spokane Accor-dion Ensemble, and plays with the Happy Wanderers. Alicia Baker is the Happy Hans winner from the Kim-berley International Old Time Accordion Competition for the 2nd year. Her presentations/demonstrations for the Roland Company have taken her to many festivals and competitions. Alicia has had a busy performance schedule this summer. Way to go, ladies!

Tony Lovello, known widely as “The Liberace of the Accordion” and “King of the Bellow Shake,” was the featured guest artist and special honoree at ACCOR-DIONS NOW! 2011.

The idea for a New England accordion festival was inspired by Tony's performance at the fi rst concert co-sponsored by the New Hampshire Accordion As-sociation [NHAA] and Accordion Connection LLC. The success of that inaugural event coupled Lovello’s personal guidance, have made ACCORDIONS NOW an annual success. The fourth annual ACCORDIONS NOW! Music Festival was held August 12-13 at the beautiful Nashua Courtyard Marriot, in Nashua, New Hampshire.

Corky Bennett is excited to host The Great Ameri-can PolkaFest at Circus Circus in Reno October 24- 25, 2011. This is going to be an outstanding 2-day event reasonably priced. The 1st 100 resevervations get preferred seating! 1-855-266-9847. The hotel is offering a fantastic special rate.

Held in Orlando, Florida in conjunction with the 71st Accordionists & Teachers Guild, International (ATG) Festival Competition and Festival, the Ro-land USA V-Accordion Festival featured 10 of the USA’s top young Roland accordionists.

After two extremely close competitions just one mark separated the top three places in the USA National Roland V-Accordion Festival Final. Danielle Renzi from New England narrowly placed 1st . Gregory Fainshtein was awarded a special recognition of his performance with an Honored Performance Prize for his second place. Danielle’s prize included a new V-Accordion and trip to Rome to compete in the Interna-tional V-Accordion Festival. The Junior division was also closely contested, with the winner being Daniel Pavlotsky and 2nd place was Olivia Luey who received an Honored Performance Prize.

In July, I experienced one of those “milestone” birth-days. For some time I’d thought that I needed a stand or table to hold my accordion. Lifting my instrument off the fl oor THOUSANDS of times in my life has exacerbated a back injury. When asked what I’d like for my birthday, I told my son of my special need and gave him the dimensions for the table. After the lovely gourmet dinner he’d prepared for my birthday, he and my grandchildren ceremoniously presented my gifts. My grandchildren, ages 7 and 5, could hardly contain themselves. My husband and I were visiting their Idaho Falls home and they’d kept the “surprise” secret for two days. My expectations were exceeded. I am the proud owner of a solid oak side table, 12” by 26”, with Queen Anne legs, and an upholstered top. It’s gorgeous! Not only that, it’s functional. I have it right beside my chair in the music room and slide the ac-cordion to my lap when I wish to play. There’s abso-lutely no lifting. My birthday table has allowed me to continue playing a bit and I’m glad for that.

After a long summer hiatus, the socials will resume in September in Seattle. The social will be at the West Seattle Senior Center. There are always great soloists and groups. Cooksie Kramer will have some of her young accordionists there. Be sure attend and to give those young players encouragement.

American Heroes of the Accordion will be a special concert near Seattle in October. Noting the musicians listed, we can be assured of a variety of accordion music presented by some of the fi nest accordionists in the United States. The specifi cs are listed on the ad in this publication.

The American Accordionists' Association (AAA) website has been updated with a new look and style including new information. You can fi nd out about both past and future AAA events, concerts, meetings, and reports. The next AAA event is the Valtaro Cel-ebration honoring Peter Spagnoli on September 10, 2011 at the Magnanini Farm Winery in Walkill, New YorkFor further information: [email protected]

Ignacio Morales, 15, of Dallas, won the June 2011 Big Squeeze Accordion Contest. He fi rst began learning the accordion at the age of 3. His father gave him his own accordion when he 10 after he learned 10 songs! Ignacia is a student at Booker T. Washington High School for the Performing and Visual Arts. The Big Squeeze Contest, organized by Texas Folklife, is open to Texas accordionists 21 years of age and younger, and includes many genres of accordion-based music,like Cajun, German, Czech, Polish, Tejano, Conjunto, and Norteño, Western, and


fall Quarter 201140

Zydeco.

As the Big Squeeze 2011 Grand Prize winner, Ignacio received a prize package valued at $4500, including a $1,000 cash prize, a brand new Hohner accordion and recording time at the historic Hacienda Records in Corpus Christi, as well as promotional support from SugarHill Records, Hohner, Inc., Hacienda Records and Texas Folklife, and other professional opportuni-ties.

Remember to submit your articles and other informa-tion to our magazine address: NWAS News 5102 NE 121st Ave Unit 12, Vancouver, WA 98682

Check the web site, www.nwasnews.com for current events and updates.

Accordion Events CalendarBy Doris Osgood

[email protected]

NORTHWEST ACCORDION SOCIETY SOCIALS SEATTLE, WA2nd Monday monthly: Resume Sept. 12 at the West Seattle Senior Center. Oct. 10, Nov. 14, Dec. 12, Jan. 9 Contact: Bonnie Birch 206-622-4786. Social hour 6:30 PM. Music 7:30 PM – 9:30 PM.

NORTHWEST ACCORDION SOCIETY SOCIALSTACOMA, WA2nd Thursday monthly: Sept. 8, Oct. 13, Nov. 10, Dec. 8, Jan. 12 Lutheran Church 121st & Park Ave. across from PLU Library 7:00 – 9:30 PM contact: Dick Myking 253-537-0136

NORTHWEST ACCORDION SOCIETY SOCIALSFOREST GROVE, OR4th Sundays April and October. Forest Grove Community Center, 2037 Douglas St. Forest Grove, OR. 1:30 PM – 5:00 PM. Contact: Doris Osgood 503-357-0417. [email protected] October 23, 2011.

ACCORDION CLUB OF CENTRAL OREGONBEND, OR2ND Saturday Monthly, 1:30 PM Cougar Springs Senior Liv-ing Facility Redmond, OR Contacts: Lillian Jones, 541-536-1531 [email protected] or Karl Kment, 541-548-0495 [email protected]

ACCORDION JAM IN SANDYSANDY, OR4th Saturday monthly noon – 4 PM meet at Shorty’s Corner Café 2 miles East of Sandy, OR on Hwy 26. Bring accordi-on, music, stand, and snack to share. Coffee provided. All players welcome. Contact Andy Jorgensen 503-668-3917 or 503-975-2380.

ACCORDION CLUB OF ROSEBURGROSEBURG, OR3rd Monday monthly 6:30 PM 553 Little Valley Rd. Rose-burg, OR Pres. Karen Cordell 553 Little Valley Rd. Roseburg, OR 97471 541-784-1911 [email protected]

ACCORDION CLUB OF VANCOUVERVANCOUVER, B.C.www.meetup.com/Accordion-Club-of-Vancouvercontact: Haike Kingma, [email protected]

ACCORDION INTERNATIONAL MUSIC SOCIETYSANTA BARBARA, CA2nd Sunday monthly 1 – 3 PM Vale Verde Retirement The-atre 900 Calle de los Amigos, Santa Barbara, CAAIMS P.O. Box 4511 Santa Barbara, CA 93140Info: Heinz Trick 805-685-2260www.santabarbaraaccordions.com

BROOKINGS ACCORDION CLUBBROOKINGS, OR4th Sat. monthly 2-4 PM, Evergreen Federal S&L, 850

Bell & ReedACCORDIONWOODWIND

* * * REPAIRTUNINGSALES

RENTALSINSTRUCTION

* * *www.bellandreed.com

tel (206) 696-9054115 Prefontaine Pl S (401)

Seattle, WA 98104by appointment

KIMBERLEY OLD TIME

ACCORDION COMPETITION

KIMBERLEY, BC

July 9-14 , 2012 [email protected],

1-888-4KIOTAC

or 250-427-7318

Steve Albini at Festhalle



Chetco Ave. Brookings, OR, Pres. Cami Meccia 541-469-8079

EMERALD VALLEY ACCORDION CLUBEUGENE, OR1st Monday monthly: 7:00 – 9:30 PM Veterans’ Memorial Bldg. 1626 Willamette St. Secretary Linda Gunn 541-726-6330 [email protected] V.P. Lou Marzano Social time 6 PM, business 6:45 PM

FAIRBANKS ACCORDION CLUBFAIRBANKS, AKMondays weekly 6 – 8 PM Pioneers Home, open to all free reed instruments. Contact: Christine Upton 907-457-3392

FIVE VALLEY ACCORDION ASSOCIATION MONTANA 5VAA Jams are 1- 5 Pm Pres. Helen Brady [email protected]. 11 Eagles, Hamilton, MTSept 25 High Spirits, Florence, MTOct. 9 Jokers Wild, Missoula, MTOct. 23 Eagles, Hamilton, MTNov. 13 High Spirits, Florence, MTNov. 27 Jokers Wild, Missoula, MTDec. 11 High Spirits, Florence, MTJan. 8 Eagles, Hamilton (dinner/election)Feb. 12 Jokers Wild, Missoula, MT

Montana – NW Accordion AssociationContact Ralph Salomon 406- 675-0178 all NWAA Jams 2 – 6 PMSept. 18 Eagles, Kalispel, MTOct. 2 Elks, Polson, MTOct. 16 Eagles, Kalispel, MT

Montana – Great Falls Accordion PlayersJams are 1 PM – 5 PMSept. 11 ElksOct. 15 MooseNov. 13 EaglesDec. 11 ElksJan 15 Moose Contact Pat Sharp for info: 406-452-4546

HUGO’S ACCORDION BANDMT. VERNON, WA2nd and 4th Monday monthly 6:00- 9:00 PMPres. Lois Yale 360-766-8713 lobo@fi dalgo.net9247 Marshall Rd. Bow, WA 98232

HOUSTON BAY AREA ACCORDION CLUBHOUSTON, TX2ND Wednesday monthly 5 – 9 PM Joe Brikha, Pres [email protected] www.bayareaaccordionclub.com

MEDFORD ACCORDION CLUBMEDFORD, OR4th Monday monthly 7 - 9 PM: Central Point Senior Center 123 N. 2nd St, Central Point, OR Jeannette Dewey, Pres. 1029 SE Rogue Dr. Grants Pass, OR 97526 541-471-7455

OKANAGAN ACCORDION CLUBKELOWNA, BC

Tuesdays weekly Sept. – May, Senior Center on RichterInfo contact: Rod Miller 250-317-9088

ROGUE RIVER ACCORDION CLUBROGUE RIVER, OR1st and 3rd Wednesdays monthly. 7 PM Council Chambers Rogue River City Hall, 133 Broadway St. Rogue River, OR. Pres. Margot Turrell 206 Creekside Grants Pass, OR 97526 541-479-9409 [email protected]

ROSE CITY ACCORDION CLUBPORTLAND, OR3rd Saturday monthly. 1 – 5 PM Milwaukie Public Safety Bldg, SE 32nd & Harrison, Milwaukie, OR.* meeting in September 4th Sat.(Sept.24) Pres. Steve Knapke 503-612-8381 email: [email protected]

SEQUIM ACCORDION SOCIALSEQUIM, WA2nd Sunday, Odd numbered months, 1:00 – 4:00 PM Se-quim Senior Center next meeting September 11 contact: Jeannie Berg- [email protected]

SIERRA NEVADA ACCORDIONSRENO, NVJohn Covarelli, Pres. 775-848-3777, [email protected]

SPOKANE ACCORDION ENSEMBLESPOKANE, WA weekly rehearsals 6- 9 PM Helen Eldenburg, Pres. 509-448-1899, Patricia Bartell, director [email protected]

SPOKANE AND INLAND NORTHWEST ACC. CLUBSPOKANE, WA4th Monday monthly, 1520 W. 3rd and Maple in Spokane, at the Global Credit Union Bldg. Exit #280 off I-90. 6 – 9 PM, $3. at the door. Contact: Griff Bryan Ziegler, [email protected] , *208-651-2536 new contact number

TUALATIN VALLEY ACCORDIONISTS FOREST GROVE, OR1st Sat. monthly 10 AM – 1 PM Forest Grove Library Pacifi c Ave. Contact: Paul and Judy Bria 503-591-0504 [email protected]

VICTORIA ACCORDION CLUBVICTORIA, B.C. CANADA1st Sunday Monthly 2:30 PM, Victoria Edelweiss Club108 Niagra St., James Bay District Victoria, BCContact: John 250-386-7282 or 250-477-3098

BUTTON BOX CAMPS JULY AND SEPTcontact Joe Smiell, 863 Portal Ave., Oakland, CA 94610510-832-6938

ALICIA BAKER with the Oregon State University Sym-phony – October 13, 2011, La Selles Steward Center, Corvallis, OR


fall Quarter 201142

COTATI ACCORDION FESTIVALCotati, CA August 20 - 21, 2011www.cotatifest.comACCORDION EXTRAVAGANZA FESTIVALEDMONTON, ALBERTA September 23 – 25, 2011Featured performers: Anthony Rolando, Valerie Vaccio, Len Gedicainfo: 780-929-8836 [email protected] MONDIALEOctober 2 – 6, 2011 Shanghai, ChinaACCORDION HEROES IN CONCERTOctober 4, 2011, 7 PM North Creek Presbyterian Church 621 164th St SE Mill Creek, WA 425-743-2386www.petosa.com/accordionheroes

GREAT AMERICAN POLKAFEST, RENO, NVOctober 24 – 25, 2011 noon to 9 PM, Circus Circus, Mandalay Ballroom. 1-855-266-9847

INTERNATIONAL ACCORDION CONVENTIONLas Vegas, NV, Oct. 31 – Nov. 3, 2011 Gold Coast Hotel and Casino http://accordioninfo.com/convention/ 1-800-472-1695 [email protected] ACCORDION CAMP- SILVER FALLS CONFER-ENCE CENTER June 10 - 15, 2012 near Sublimity, OR. Camp treasurer: Marlene Meissner 503-463-9909 [email protected] LEAVENWORTH INTERNATIONAL ACCORDION CELEBRATION June 14 - 17, 2012 Leavenworth, WA. www.accordioncelebration.org www.nwasnews.com KIMBERLEY OLD TIME ACCORDION COMPETITION KIMBERLEY, BCJuly 9-14, 2012, [email protected], 1-888-4KIOTAC or 250-427-7318 www.kiotac.caVICTORIA ACCORDION FESTIVALVictoria, British Columbia July , 2011www.bcaccordion.ca 1-778-433-8700FAIRBANKS SUMMER ARTS FESTIVALJuly, 2012 on the campus of U. of Alaska Fairbanks. www.fsaf.org contact 907-474-8869ACCORDION CELEBRATION – Historic Wallace Wallace, ID August , 2012 www.wallaceIdahoChamber.comOKTOBERFESTS IN THE NORTHWEST:45th Annual Oktoberfest Mt. Angel, ORSept. 15 – 18, 2011 www.oktoberfest.orgOaks Park Oktoberfest Portland, ORSept. 23 – 25, 2011Oktoberfest Northwest Puyallup, WA Fair and Events Center October7 – 9, 2011 www.oktoberfestnw.comOktoberfest Leavenworth, WASept 30, Oct 1,7,8,14,15, 2011www.leavenworthoktoberfest.com

Entertainers in the NorthwestSubmit your public performance schedules to Doris Osgood 3224 B St

Forest Grove, OR 97116 [email protected] USA

Oct. 7 – 8 Northwest Oktoberfest Puyallup Fairgrounds. www.alpinerusa.com with Joe Domitrowich

Juan Barco – BandContact: 23091 23rd Ave. W. Brier, WA 98036425-775-8150; cell 206-356-1878

Corky BennettGreat American Polkafest October 24 – 25, 2011Circus Circus, Mandalay Ballroom Reno, NVnoon – 9 PM 1-855-266-9847website: www.corkybennett.comemail: [email protected]

Bonnie Birchwebsite: bonniebirch.com For scheduling information: write 1107 1st Ave. #1003 Seattle, WA 98101. 206-622-4786, email: [email protected]

Chuck BergerAccordion Repair and Public PerformanceFor information call: [email protected]

Frank CalapristiWinter schedule at King Ludwig’s, Wed, Thurs. Sun. nights; tour groups as needed For scheduling information write PO Box 1057 Leavenworth, WA 98826 [email protected]

Gary DahlFor scheduling information write 509 Valley Ave. NE #5 Puyallup, WA 98372Phone/fax [email protected]; www.accordions.com/garydahl; www.beltuna.com

Tom Demski (Mr. Flash)For scheduling information write: 518 9th St. SW Puyallup, WA 98371 [email protected]

Folk Voice BandFor scheduling: Birgit Ages 206-368-9720 [email protected]; http://folkvoiceband.com

Happy Hans’ Music Hans Rainer, Jr. Sept. 23 – 24 Spokane OktoberfestSept 30, Oct. 1,7,8,14,15 Leavenworth OktoberfestOct. 9 Bruno’s European Rest Tacoma 3 – 6 PMOct. 16 Berliner Pub 6:30 – 10:30 PM Renton, WAOct. 21 Oktoberfest Lake Wilderness Lodge 6:30 – 9:30 PM Maple Valley, WAOct. 22 Oktoberfest German House 7:30 – 11:30 PM Seattle, WANov. 5 Berliner Pub 6:30 – 9:30 PM Renton, WA



Nov. 12 German House Frohsinn Concert 8:00 PM – 12 AM Seattle, WADec. 3 German House Arion Evening 8:00 PM – 12 AM Seattle, WADec. 31 German House 8:00 PM – 12:30 AM Seattle, WAFor scheduling information write Hans Rainer, JR 24613 231st Ave. SE Maple Valley, WA 98038 425-413-6562 [email protected] WWW.HAPPYHANSMUSIC.COM

Little Bohemian BandCheck web site for details.For scheduling contact: Gene Sadowsky 541-990-3109 email:[email protected] www.littlebohemianband.com 802 NW Quarry Rd. Albany, OR 97321

Greg MeierFri - Sat evenings Mt. Angel Sausage Co. Restaurant 105 N. Garfi eld St Mt. Angel, OR – except during O’fest seasonSept 15 – 18 Mt. Angel OktoberfestSept 23 – 25 Oaks Park OktoberfestSept 30 – Oct. 2 Prost Oktoberfest Oct. 6 – 10 Gordon Biersch Brewery Oktoberfest Honolulu, HawaiiOct.14 – 16 Leavenworth OktoberfestOct. 22 Oktoberfest Ocean Shores, WAOct. 23 Austrian Club Kennedy School PortlandNov. 18 or 19 Winefest Liedertafel HarmonieFor scheduling information write: 38572 Park Ave. Sandy, OR 97055 503-668-7002. Fax 503-668-1058 [email protected]

Andy MirkovichAugust 13, 2011 Historic Wallace, Idaho Accordion CelebrationOct. 7 Oktoberfest Party 7 – 10 PM Whistle Stop Renton, WAOct. 8. Polka Mass then dinner/dance 5 – 9 PM St Martin of Tours Fife, WAOct. 21 Oktoberfest Dinner 6 – 9 PM St Dunstans Seattle, WA Full schedule private engagementsMaster Classes by appointment: 425-451-1256

Ken OlendorfBallard Elks weekly, Sundays 7 – 10 PMWeekly “casuals”For scheduling information write 532 - 28th Ave. Seattle, WA 98122 206-325-9245

Murl Allen SandersAugust 21 Cotati Accordion Festival solo performance Cotati, CAOct. 4, 7 PM American Heroes in Concert N. Creek Presbyterian Church 621 164th St SE Mill Creek, WA Full schedule private engagements, music projects and teaching.

For scheduling information write: [email protected] PO Box 30553 Seattle, WA 98113, 206-781-8196

Lyle Schaefer For scheduling information write: 11704 15th Ave. E Edgefi eld, WA 98372 253-927-7760

Sam’s Variety GemsSam Pecorilla: home 541-847-2282, cell 541-321-9088

Smilin’ Scandinavians For scheduling information contact: Toby Hanson11123 216th St. E Graham, WA 98338 253-875-8580 [email protected]://smilinscandivanians.com

Dennis SchadduckChina Jade Restaurant 87th & Greenwood Ave. NSeattle Sunday nights.

Joe SzaboFri – Sat. 6:30 – 9:30 PM Nonna Emilia’s RistoranteAloha, ORFor scheduling information: 13484 SW Devonshire Dr. Beaverton, OR 97005 503-641-2313

Syl’s Ya Sure Ya Betcha Band (WA)Syl’s Arizona Dance Band and Polka BandSept. 18 Bruno’s European Café 2 – 7 PM TacomaOct. 1 Sons of Norway Bothel 8 – 11:30 PMOct. 7 – 8 Oktoberfest- Deming Logging ShowOct. 25 – Nov 29 Arizona Schedule (Jan.- April, Nov. Arizona Schedule, 480-357-2585)For scheduling: Sylvia Jorgensen, WA contact: 253-845-9321, cell [email protected], www.fjordsong.com

SVEA TrioSvea Trio with the accordions. Richard Svensson and Bjarne Jacobsen206-523-3245, [email protected] www.winwins.com/sveatrio/

NW AccordionairesContact: Cooksie Kramer 425-828-9104

Most of our professional players keep their current and updated performance schedules on their web sites. Advance scheduling is diffi cult and often fl uid. Consult the contact information and web addresses for up to date information. Support them when you can.

NWAS DeadlinesFebruary 1

May 1August 1

November 1


fall Quarter 201144

Northwest Accordion Society

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NORTHWEST ACCORDION NEWS - · PDF fileNorthwest Accordion News fall Quarter 2011 1 Is your membership renewal due? Check your mailing label. Amembership application/renewal form is