Compliments of Steve's Accordion Shop (330) 332-1111
It is now more than a score of years since the accordion
was first used in orchestra, but it is only in the past few that it is
noticeably being accepted by leaders on a par with other instruments.
Some years ago when playing with a large orchestra, I
found that the leader generally didn't want to use the accordion as part
of the rhythm section. It was spotted for eight or sixteen measures
here and there or used for a solo. The remainder of the time it was
not used at all. Today the accordion is considered of real importance
in the rhythm section by leaders and fellow musicians as well. You
will notice, in these days of television, that the accordionist plays right
on through a program with his fellow musicians.
To be a successful orchestra accordionist is the aim of
countless students. The work is not only financially rewarding, but
extremely interesting. Many of these aspiring musicians, however,
think that as soon as they are able to play a few popular numbers well,
they are all set for orchestra work. Needless to say, they are over-optimistic.
Here are two vital questions to ask yourself before looking
for an orchestra job.
Can I read accurately at sight?
Have I mastered technique?
The value and necessity of sight reading cannot be over-emphasized.
Orchestra rehearsals are held for the benefit of the ensemble, not for
individual study. The accordionist must be able to play at sight,
any piece of music that is handed to him. The fact that he must most
often work from a piano or violin score makes his lot a particularly difficult
one. By all means he must be able to read bass clef.
Technique is a broad subject, Briefly, it includes playing
rapidly without errors, and at the same time, playing cleanly. It
is a common fault when playing fast, to slur and even skip notes.
Each note, no matter what its time value, should be played distinctly.
The proper manipulation of the bellows is a technique
in itself. Just what "proper" manipulation means cannot be explained
in a few words. It is a subject for long, careful study. But
I do want to call attention to its importance, for it plays a big part
in effective syncopation.
A thorough knowledge of harmony is a valuable asset to
any musician who really wants to get to the top. But I consider that
an undertaking of practical harmony an absolute necessity for an orchestra
accordionist. That is, he must at least learn the formation of chords
in all different keys.
The size and style of the orchestra you are working with
somewhat influences your manner of playing. But it is necessary to
use musical intelligence at all times. Listen to your own instrument.
If it rides over the rest of the orchestra too noticeably, subdue it.
Watch your leader. You can quickly tell whether or not he likes the
way you are handling your part. If he doesn't seem pleased, try for
a different effect at once. Few orchestra leaders really understand
the use of an accordion, and it is the responsibility of the accordionist
to make them like it. The accordionist cannot expect suggestions
from the leader as to what should be done; he must figure it out for himself.
Remember the importance of rhythm whether you are playing
with a group of five or fifty. At times you may be the entire rhythm
section or just a small part of it, but in either case you can upset the
whole ensemble by failing to keep the same tempo throughout a dance selection.
When I play a straight chorus, I fill in a lot of harmony
with the melody, so that I have full chords. When playing a hot chorus,
I try to play around the original melody, always keeping in mind the harmonic
structure for each measure.
Working with a small orchestra of five or six men is more
difficult than with a larger group. The accordion should then bang
out trumpet effects in full chords to cut through the melodic section.
When there is brass, the accordion can substitute for that section by using
full register in the right hand.
One more bit of advice; and this is especially directed
to orchestra men playing club engagements. Conserve your energy.
Learn to produce the music with the smallest amount of air. If you
have mastered the technique of bellowing, you can do so. Pulling
laboriously not only looks bad, but is physically tiring. To be really
successful your music must have the same pep when you play "Bye Bye Blues"
that it had at the beginning of the evening.
[Editor's Note: There has been no attempt
with this article to correct Mr. Magnante's original text grammar or political
correctness for any parts of this document. - Joe Natoli]