In your own community you have probably encountered the difficulty where other musicians have refused to permit the accordion into their swing bands.

This situation is a result of old-fashioned principles beyond which novice musicians have not yet been able to see, especially in the hinterlands where trends appear and take shape long after they are accepted in larger circles.

You are probably not the only accordionist feeling this restriction.  There are undoubtedly two or three more persons in your locality with similar experiences.  The fact that you are not alone in this situation makes it more fortunate for you, as I shall illustrate.

Instead of fretting because you have no opportunity to find practical use for the accordion, contact the other accordionists and organize your own ensemble, independent of the various jam bands or swing groups in the town.  Instead of feeling that an accordion band might be inferior to a regular orchestra, consider the many advantages it actually has over the conventional dance band.

You will discover that patrons will prefer the soft, relaxed rhythmic "lift" accordions offer.  You will also find that the variety of tones on the accordion will relieve the monotony usually found in a five-piece instrumental group.  You will notice that where young musicians usually falter on pitch and true tone, accordion music is mechanized to true pitch and if the right tone is struck, a true pitch will be produced.  You will find that while a five-piece band is limited in tones of a trumpet, clarinet, sax and rhythm, the accordion can produce the same music plus ten other instrumental tones.  But commercially, you will discover that the distinctiveness of your music will win more engagements in your community, for you have no competition, while ordinary bands can be obtained in almost any quantity!

In organizing the group, bear in mind that you need not restrict yourself to five musicians, but I have found this combination suitable for any type of music.  Treat it as a regular band by obtaining three melody (accordions) and two rhythm (bass and guitar) instruments.  The rhythm instruments do not necessarily have to be guitar and bass.  You might alternate by obtaining a piano or drums.

But most important, take care in selecting your accordions, for in a tight spot the accordions can be used for rhythm as well as for melody.

When you have selected your men, make certain they can read music freely and be sure that they know one another's style of performance.

In setting up the band for a dance engagement, I would suggest for the best results:

GUITAR                      BASS
 

2ND ACCORDION  --  lST ACCORDION  --  3RD ACCORDION

This set-up has many advantages.  Notice that the musicians are not in a straight line, because it would result in rhythm and music becoming unbalanced.

Note also, that the bass and guitar are not immediately behind the three accordionists.  Playing directly in front of the spaces between permits the tone to come forward and not rebound from the backs of any of the musicians.  You need not follow this design, but when you make your setup, bear "balance" and "tone room" in mind.

ARRANGING FOR SWING ACCORDIONS

Although music publishers are at present preparing arrangements specially written for small accordion Bands, they have not yet reached the market in large enough quantities to furnish a full library.  Consequently, you will have to devise your own arrangements for the most part.

To obtain the most effective music from accordions, do not follow arrangements designed for bands transposed to accordion, but spend some time writing your own.  You will find that, in the long run, you will benefit to a very large extent.  Arranging practice is always helpful and will make you eligible to work in a field that has proved lucrative to many musicians.  Acquiring the knack of arranging doubles your value, for not only do you become an interpreter of music as a player, but you become a creator as an arranger.  If you intend pursuing music as a career, or even a hobby, why limit your musical ability to only one phase?  Real rewards are waiting for the person whose talents include arranging in addition to his virtuosity.  When you are arranging for two or more accordions, bear in mind that they become an ensemble.  Therefore take full advantage of your equipment and remember that Harmony is essential for greatest results.  Therefore, most of the arrangements should have three and fourway parts.

I have found it best to have only lead accordion playing bass notes.  Two or three accordions playing bass simultaneously makes for a bad blend.  A good formula to follow in the beginning is to arrange the first chorus legitimately in order to "lay out" the melody.

The second chorus should be scored in unison; varying the melody in close harmony and changing your tone colors as you begin to accept swing and rhythm.

The third or last chorus should be orchestrated with a strong ensemble lift.

Then, when you have outlined your scores, start thinking where you want solo portions.  Also, supply appropriate rhythmic accompaniments during the solo spots.  Make certain your solo notes are contrasted to the accompaniment.  In other words, when the solo is taken at a high pitch, be sure the other two accordions' sustaining tones are voiced in low pitch.

In arranging for an accordion group, strive for orchestral tones.  The accordion affords so many more tone varieties that it is simple to orchestrate your music without the arrangements becoming monotonous.  If you want the guitar to take off on a solo at some time or other, it is suggested that the accordion accompaniment be devised so that two of them play rhythm brass figures, so that the rhythmic pattern of the arrangement does not drop, while the third accordion plays sustaining sax tones.  In setting your rhythm, it is well to keep the bass and guitar moving four in a bar.

When you have set your rhythmic design, start planning your accordion parts.  In special take-off choruses, there are several effective patterns to follow, but bear in mind that your group is competing with orchestras.  Therefore, keep close to the orchestral design for your foundation.  While your lst accordion plays lead of "take-off" solos, have your 3rd accordionist playing brass figures in rhythmic designs, while your 2nd accordionist supplies a foundation by playing low, sustaining notes.
Don't be afraid to go a little off the beaten path in the beginning, for the more unusual the harmony and arrangement, the more notice you will receive.