Samples Play Accordion Vol. 1 Copyright 2012 by AMA Musikverlag

Foreword 3 PrefaceGeleitwort byvon Lydie Lydie Auvray Auvray

Y en aa quiqui disentdisent queque c’est c’est pas pas bon bon Qu’ils préfèrentpréfèrent lala ﬂûteflûte ou ou l‘ l‘violon violon Ils prétendent mêmemême que que c’est c’est couillon couillon J’m’en fous,fous, jeje jouejoue d’l’accordéond’l’accordéon

Copyright 2012 by AMA MusikverlagEt même sisi cece n’estn’est paspas d’bon d’bon ton ton Je n’vaisn’vais quandquand mêmemême pas pas me me mettre mettre au au basson basson Moi jeje vousvous disdis „vive„vive l’accordéon“ l’accordéon“ Bien sûrsûr jeje nene parleparle qu’enqu’en mon mon nom nom

Play Accordion Vol. 1 MancheSome say, sagen, it’s not es seibeautiful nicht schön, SieThey bevorzugen prefer the Flöte flute oder or Geigethe violin SieThey behaupten even say sogar, it’s silly es sei- blöde SamplesMirDoesn’t ist es matter egal, ich to me:spiel I AkkordeonPLAY ACCORDEON UndAnd selbsteven ifwenn it’s “just es nicht not done”zum guten Ton gehört IchI won’t werde switch nicht to auf the Fagott bassoon umsteigen IchI tell sage you euch, – long es lebelive thedas accordionAkkordeon … AberBut I’m natürlich only speaking spreche ichfor nurmyself für mich

fromaus JavaJava en – onon byvon Lydie Lydie Auvray Auvray 1995 1995

SeitFor the 18 past Jahren, 18 years so lange– in fact, gibt as longes meine my band Band “die „die (undThis wenigermethod book junge) is interesting Akkordeonisten for accordionists und solche, because it Auvrettes“,Auvrettes” has versuche been playing ich –das I have Image tried des to improve Akkordeons the diehas musices werden pieces möchten, in a wide variety freuen. of styles. And it is a well aufzupolieren.image of the accordion: Aufzuzeigen, to show thatdass it es is notnicht the dieses old- ver- Esthought-out ist für Akkordeonisten accordion method interessant, book which weilis fun es to viele play, altete,fashioned, biedere, fuddy-duddy, volkstümelnde folksy instrument Instrument which ist, many wofür Stückeas well. Beginningaus ganz studentsunterschiedlichen can play short Richtungen pieces from the esthink viele it is.halten. I am happy Ich freue when mich,young peoplewenn jungecome to Men- me, beinhaltet.very start and Und don’t es have ist toeine work gut through aufgebaute frustrating Akkor- finger schenbuy my zu music mir andkommen, say that theymeine can’t Noten wait to kaufen unpack und their deonschule,exercises in the die beginning Spaß machen stages. Plus, wird. ear Sehrtraining früh and kön- accordion and play my pieces. Sometimes they ask me to creativity are encouraged from the very start. sagen, sie hätten wieder Lust gekriegt, ihr Instru- nen die Schüler kleine Stücke spielen und nicht nur recommend a good accordion method book, one which has I wish Peter Haas much success and all accordionists who ment auszupacken und meine Stücke nachzuspielen. frustrierende Fingerübungen. Bemerkenswert ist more repertoire than just polkas and waltzes. learn from this book great fun. OftNow kommt I can finally auch recommend die Nachfrage such anach method einer book. guten auch, dass Gehör und Kreativität gefördert werden. AkkordeonschuleAccordionists young alsand Buch, old – and mit folks der whoman might andere just Ich wünsche Peter Haas viel Lydie Erfolg Auvray und allen Käu- Stückewant to becomeals die ewigenaccordionists Schneewalzer – have reason und to beCo. happy lernen fern viel Vergnügen mit „Spiel Akkordeon“. könnte.now. Jetzt kann ich eine solche Schule empfehlen. Über das Buch von Peter Haas können sich viele junge Lydie Auvray

When a book like this is written, it is largely due to the help of a lot of friends. For photos I thank Yolanda Cvitak, Dr. Ute Hoffmann, Angelika Scheidhauer and Hans-Peter Zimmer as well as Rita Steffen-Frisch from the Spritztier Agency. Lisa Liebetrau helped as “model” for the photos of how to hold the Copyrightinstrument. Angelika 2012 Scheidhauer loaned by her 4 reed AMAItalian Musikverlag accordion for the recordings. Dieter Plinke offered much important help in the early stages; he also let us photograph instruments from his accordion museum. The Berlin trombonistPlay Marliese Sondermann Accordion tested the Vol. 1 manuscript for its suitability for self-study. The wonderful and cooperative accordionist Lydie Auvray gave me courage and purpose for the final spurt and the Berlin accordion teacher – and tango and jazz specialist – Melanie Ziesche gave me important tips which have made their Samplesway into the final version.

Karin Stuhrmann of the AMA Publishers offered much welcome and detailed feedback in regards to the form and contents of the manuscript. Her vision and ideas were absolutely essential in the conception and development of this book.

To all of you: many, many thanks!

Peter M. Haas

AlsWhen das writing Buch Spielthis book, Akkordeon I had twoentstand, goals: habe ich versucht zwei Dinge unter einen Hut zu bringen: –first, zum to einen devise ein an anregendesinteresting world music book and second, to construct a systematic accordion method book suitable to be used with or without a teacher, a method which would enable a step-by-step development towards a wholistic sense of musicianship. Many enthusiastic letters – and many sold books later – have let me know that this concept is successful. For the new edition I have changed one thing in particular: the fingerings for the left hand have been altered to conform with Copyrightcurrent pedagogical 2012 standards. Two practice by pieces AMA have also been added. Musikverlag Other than that, everything has been left as it was. The AMA publishers and I are always interested in feedback from readers. In fact, the number of letters posted to my website is quite astonishing … go have a look! But first and foremost: welcome to the club of accordionists – I wish you much fun and success! Play Accordion Vol. 1 Peter M. Haas [email protected] Sampleshttp://www.peter-m-haas.de

Working with this book

Small accordion button symbols help to organize the The more you can depend upon your hearing, the information: more flexible you are. Occasionally you will find a small hearing quiz, which is meant to motivate This button points to interesting tips and you. background information.

The jumping kangaroo shows you ideas about Beware! Here you find important advice about testing things out for yourself, such as playing what “not” to do. improvised melodies. Don’t worry; the exercises are prepared in such a way that you will not be stretched too far! This star points to helpful little tips. In case you are learning without an accordion teacher, you will occasionally encounter situations in which it is difficult to play with both hands Almost all the music pieces are also on the CD. together. “Beware – slippery!” means: don’t Sometimes you have the chance to play along be bashful in asking for help ideally another with the CD … use the opportunity! accordionist.

Preface by Lydie Auvray...... 3 Now the barrel organ gets going...... 40 Thanks...... 4 L’Aventure – third version...... 41 Foreword...... 5 Melodies that everyone knows – 2...... 42 CD-Index...... 9 I’d like to have a little violin...... 42 What size accordion is best for me?...... 10 Hansel and Gretel...... 42 Copyright 2012 by AMAJingle BellsMusikverlag...... 43 Chapter 1...... 1 1 Handling the bellows...... 44 Getting to know the accordion...... 12 L’Aventure...... 44 Fastening the instrument...... 12 The bellow release button...... 13 Chapter 2...... 45 The bass tone ...... C 13 New keys and new buttons...... 46 The bass tone C – shortPlay notes...... Accordion14 New keys and Vol. notes for the right1 hand...... 46 Notation for fingering...... 14 The D major chord...... 46 The bass tone C and its neighbors...... 15 The circus march in G major...... 47 The bass tones and their corresponding major chords....16 Things worth knowing about registers...... 48 Alternating between bass tones and chords...... Samples16 Squirrel’s evening song – second version...... 49 How to hold the accordion...... 18 New key position and new chord buttons...... 50 The first accompaniments...... 19 A new position for the right hand...... 50 L’Aventure...... 19 The minor chords...... 50 The very first waltz...... 20 L’Aventure in D minor...... 51 A circus march...... 21 The left hand learns to spring...... 51 Finding orientation on the keys...... 22 Hearing quiz: D minor...... 52 The registers...... 22 A new symbol: the quarter rest...... 53 Keys and pitch names – “white keys”...... 22 A waltz in D minor...... 53 The staff...... 22 Montmartre...... 54 The notes in the treble clef...... 23 Keys and pitch names – “black keys”...... 55 The very first waltz...... 23 Whole and half steps...... 55 The measure and the rhythmic values...... 24 Sharps and naturals...... 55 L’Aventure...... 26 The flat...... 56 A circus march...... 27 Naming the notes...... 56 Legato and staccato...... 28 Key signatures...... 56 Little legato exercise...... 28 Seventh chords...... 56 Melodies that everyone knows – 1...... 29 Exercises for the left hand...... 57 I’d like to have a little violin...... 29 La Petite...... 57 Someone fell into the well...... 29 New finger position...... 58 Hansel and Gretel...... 30 Song for Theo...... 58 Jingle Bells...... 30 Hearing quiz: C major and C minor...... 59 Dynamics...... 31 New techniques for the right hand...... 60 Loud and soft...... 31 Changing positions...... 60 A sentimental ballad floats over the courtyard...... 32 A clown unpacks his suitcase...... 60 Squirrel’s evening song...... 33 The half rest...... 61 Some gymnastics for the fingers...... 33 When sailors sway to and fro...... 61 Hearing quiz: intervals...... 34 New melody range for the right hand...... 62 Right and left hand together...... 35 New bass buttons – the E row...... 62 L’Aventure – second version...... 35 An afternoon on the Quai d’Orsay...... 63 A sentimental ballade floats by again...... 36 Things worth knowing about the insides of an accordion..64 The very first waltz – second version...... 37 Going home in the evening...... 65 A little barrel organ melody...... 38 Fingering: how to use the thumb...... 66 The very first waltz – third version...... 39 The repeat symbol...... 66

Autumn wind...... 67 Tango fever in A minor...... 102 Changing positions – 2...... 68 A little klezmer melody...... 103 The carousel...... 68 The alternate bass – more variety with a new An unusual position for the right hand...... 69 bass technique...... 104 “Guinness” – Melody from Ireland...... 69 Alternate bass fingering for major chords...... 104 Listen: five notes in C major which you already know....70 Circus march with alternate bass...... 104 Fingering – crossing under and over...... 70 Miniature Csárdás...... 105 Going up and down the scale...... 71 Alternate bass fingering for seventh chords...... 106 The A minor scale...... 72 When sailors sway to and fro - with alternate bass....106 CopyrightBallad for Micha 2012– up and down in byA minor ...... AMA72 Alternate Musikverlag bass fingering for minor chords...... 107 Accidentals...... 73 Montmartre...... 107 Key signatures...... 73 Exercise in fingering 4-note chords...... 108 5 tones and a chord...... 73 Things worth knowing about Yiddish songs and Eighth notes – more notes for each beat...... 74 klezmer music...... 109 Tic Tac – for the Playright hand alone ...... Accordion74 Shalom AleichemVol...... 1 110 Tic Tac – with a simplified left hand...... 75 Bigger leaps for the left hand...... 111 Tic Tac – final version...... 76 Night show ‘29...... 111 The buggy rolls through the countryside...... 77 The 6/8 bar...... 112 The carousel – second version, a little faster!...... Samples78 Playing two notes at once...... 112 The dotted quarter note or the 3/8 note...... 79 Amore mio … on the beach of the Grand Canal.....113 Paris-Moscow Waltz: does it sound Russian or French?..79 Exercise for the left hand...... 114 Melodies that everyone knows – 3...... 80 A sentimental ballad floats over the courtyard...... 114 Jingle Bells...... 80 Notation for dynamics...... 115 Sur le pont d’Avignon...... 81 New positions for the right hand...... 116 Kalinka...... 81 Two melodies together in one staff...... 116 Accompanying with chord symbols...... 82 Lydie...... 117 A waltz for inspector Maigret...... 83 Accompaniment for “Yolanda’s Peasant Dance”...... 118 Finger training for the right hand...... 84 Hand positions for “Yolanda’s Peasant Dance”...... 119 Grace notes: a little ornamentation...... 84 Yolanda’s Peasant Dance...... 119 Barrel organ piece...... 85 Changing positions in the right hand...... 120 Things worth knowing about the history of the Musette waltz in C major...... 120 accordion...... 86 D’accord!...... 121 Position of the right hand...... 87 Things worth knowing about chanson and musette...122 Stout beer: Melody from Ireland...... 87 Melodies for the bass...... 123 New positions and bass buttons...... 88 Chant...... 123 New positions and bass buttons – the B and E rows...88 Fingering exercises...... 124 bb Fingering – silent change...... 88 Day by day blues...... 124 From A minor to F minor and back...... 89 The counter basses...... 126 Transposing a melody...... 90 Counter basses and major chords...... 126 A waltz for inspector Maigret – now in C minor...... 91 Someone fell into the well...... 127 Some words about improvising and chords...... 92 Stepping up and down the scale...... 128 Improv No. 1...... 92 A ball in old Berlin...... 129 Improv No. 2...... 94 Caribbean joke...... 130 Improv No. 3...... 96 Rock the boogie!!!...... 131 A theme and an “accordion solo”...... 96 Triplets...... 132 Constructing triad chords on your own...... 98 Tic Tac Three...... 132 Mango Tango...... 133 Chapter 3...... 99 More about chords:...... 134 Notes for the left hand...... 100 1. An extension of “D’accord!”...... 134 The notes in the bass clef and their importance in playing 2. Accompanying with chords for “D’accord!”...... 136 the accordion...... 100 3. Triads and their inversions...... 137 A small reading exercise – the very first waltz...... 101 4. Getting to know the hand positions for the inversions..138 The eighth rest...... 102 The seventh chord in the right hand...... 139

5. New fingerings for “D’accord!”...... 140 Chords with foreign bass tones...... 159 6. Connecting chordal inversions...... 142 Choral for Johann Sebastian...... 159 F major and D minor...... 160 Chapter 4...... 144 Dandy’s Swing...... 160 Getting to know the keys and key signatures...... 145 Tumbalalayka...... 162 The order of the keys...... 145 The buggy rolls through the countryside...... 164 G major and E minor...... 146 B major and G minor...... 165 ...... b ...... Sol Majeur 146 A waltz for the B b major scale 165 Musette 1001...... 147 Hava Nagila...... 166 CopyrightIrish ballad...... 2012 by AMA148 … and againMusikverlag a big leap...... 168 D major and B minor...... 149 Triads in the right hand...... 168 Up and down the scale in D major...... 149 Moscow nights...... 1 69 New navigation symbols: “Segno” and “Coda”...... 150 E major and C minor...... 170 b Viene la noche en Buenos Aires...... 150 Up and down the scale in E major...... 170 ...... b ...... New button rows – PlayB and F # Accordion152 The minstrel’s Vol. buggy rolls into1 the next village 171 Mon amant de St. Jean...... 152 Sixteenth notes...... 172 C major and A minor...... 154 Footsteps from Bratzlaw...... 173 … and again a big leap...... 154 Autumn Bird...... 174 Hit the road, Joe!...... Samples155 Greetings from Romania ...... 175 Things worth knowing about Argentinian tango.....156 Musette 2001...... 176 The “Guinness” Jig...... 157 Ways of notating accordion music...... 178 Diminished chords...... 158 Index...... 180

DeTher Basstonbass tone C Cu ndand se itsine neighbors Nachbarn

InOther der basssenkrechten tones are Reihein the verticalüber und row unter next Cto beﬁndenC. The neighbors sich andere on theBasstöne. upper side are G Dieand D,oberen the first Nachbarn neighbor heißen on the G lower und sideD, der is F. untere Nachbar ist der Ton F.

AlleAll bass Basstöne tones are werden named im with Knopfnamen a capital letter. durch einen Großbuchstaben bezeichnet.

LegePosition die your Hand hand so, sodass that der the Ringﬁnger ring finger (4) (4) auf is ondem the KnopfC button, C liegt, the D D Copyright 2012derlittle bykleine finger Finger (5) AMAon (5)the aufF button dem Knopfand Musikverlagthe F, fingers die Finger (3) and(3) (2)und on (2) the auf G 2 G denand DKnöpfen buttons G (see und the D diagram (siehe Skizzeto the right).rechts). G C SpielePlay the dann following die folgende melody Melodiewith short, mit detached kurzen, tones deutlichen (only the Bass- final 3 tönentone is (nurlong): der Schlusston jeder Zeile ist lang): F Play Accordion Vol. 1 C 4

F Samples 5

C F C F G D G

45 3 2

G D G D C G C

32 43

C F C F G D G

4 5

G D G D C

2.3 SpielePlay the die melody Melodie a few einige times Mal, until bis you du have den the Eindruck feeling that hast, you’ve du machst got it right. es richtig. Restart Starte the CD die track CD (Trackaus der 2; Pause 01:22) (Trackand listen 2; 01:22)to the exercise! und höre dir die Übung auf der CD an! StimmtDoes it soundder Klang similar? überein? WennIf not: nicht:press Pause Setze and die practice CD auf until Pause you und are probiere,satisfied. bis du zufrieden bist. WennIf yes: pressja: Setze Pause die and CD go auf to thePause next und exercise. gehe zur nächsten Übung.

The$IE+LANGREGISTER Registers BehindHinter derthe keysTastatur you willbeﬁnden see the sich manual die Registerschalterregister switches. zurThese Auswahl control der the Klangmöglichkeiten. accordion’s sound range. Sind If esthere zwei are oder two dreior three switches,Schalter, thenist dein the Instrumentaccordion has „zweichörig“. two reed ranks. Ein An „dreichöriges“ accordion with Instrument three reed ranks (vgl. hasSeite at 48least und five Track register 15 switchesauf der (SeeCD) page hat48 and mindestens listen to CDfünf Track Schalter. 15). FürFor thedie firstersten pieces Stücke you nimmstshould pickdu amthe besten“Tremolo” das register.„Tremolo“-Register; Usually it looks meistens like the istpicture es so to wie the in right. der CopyrightZeichnung rechts gekennzeichnet.2012 by AMA Musikverlag 4ASTENUND4ONNAMENnKeys and pitch names – “white 7EIE4ASTENkeys” Die Töne der weißen Tasten werden durch Buchstaben bezeichnet, Play AccordiondieThe mit sequence einer Unregelmäßigkeitof the tones playedVol. vonwith cthe aufwärts white1 keysdem is Alphabetdesignated, folgen, nämlich:starting with c – thed – letter e – f “c”, – g by– aletters – h. Derof the achte alphabet: Ton heißtc – d –wieder e – f – „c“g – a C und– b. Thedie Namen ascending wiederholen sequence designated sich, daher by nenntthese letters man dieseconsists Tonreihe of seven auchtones. Stammtonreihe. The eighth tone Dais again sich “c”:die theTonnamen start of a immernew sequence, wiederholen, or scale. b dieWhenSamples Töne the mitascending gleichem sequence Namen is extendedaber in ihrer with Tonhöhea new set ofkenntlich seven tones, A gemachtthese have werden the same müssen, name as schreibt the first man set, hochbut sound gestellte an octave Striche higher. hinter den Tonbuchstaben, z. B. c’ = eingestrichenes c, c’’ = zweigestriche- G nes c usw. F TheDieser distance Bereich from von one einem note Tonor sequence zum nächsten to the next gleichen one with the E sameNamens, name z. is B.called c’ – “octave”.c’’ heißt Oktave. JedesEvery Akkordeonaccordion has hat a rangemindestens of at least den two Tonumfang octaves. von zwei Oktaven: D vom c’ bis zum c’’’. Wie viele Tasten darunter und darüber vorhan- C den sind, hängt von der Größe deines Akkordeons ab.

b Dadurch,The keyboard dass ofdie an Tastatur accordion gekippt ist,is held liegen vertically die dunklen, and the lowest,tiefen Töne A deepestoben, zu tones deinem are close Kinn to hin. your Wenn chin. du G Wheneverbeim Spielen you die are Handplaying abwärts a melody Richtung or sequenceFußboden of bewegst,notes and wird your jederhand Musikermoves F downsagen, towards die Melodie the floor, geht the aufwärts. listener Nichtwill note E thatverwirren the melody lassen! is going up! Don’t let this confuse you! D C $AS.OTENSYSTEM The staff Um die Noten aufzuschreiben, benötigt man ein System aus fünf Linien, das so In order to write notes, a system of five genannte Notensystem. Die Töne werden horizontal lines is used; this is called the auf den Linien und in ihren Zwischenräumen notiert. Je höher die staff. The individual tones are notated on or between these lines. The Noten im System liegen, desto höher ist auch ihre Tonhöhe. Am higher the tone is placed optically, the higher it sounds. A clef stands Anfang des Systems steht immer ein Notenschlüssel, in diesem Fall at the beginning of each staff. In this diagram you see a treble clef, also der Violin- oder G-Schlüssel, der das Notensystem „aufschließt“. Er called a G-clef, so-called because it curves around the second line from ist historisch aus einem verschnörkelten „g“ entstanden, das anzeigte, the bottom, where the tone “G” is notated. wo der Ton g’ zu ﬁnden ist. the staff &

treble clef

SometimesOft holen Melodienthe first note mit of einem a melody oder begin mehreren starts Tönenbefore the gewissermaßen downbeat of the Schwung, first full bevor measure, der erstewhich vollständigeis often accom- paniedTakt mit by derthe bass.Bassbegleitung Musicians oftenbeginnt. call thisMusiker an upbeat nennen or a daspickup. Auftakt. It frequently lends the melody firm sense of energy. “AnMit afternoon„Nachmittag on the am Quai Quai d’Orsay” …“ hast is yourdu zum first ersten piece inMal which ein Stück,the melody das neben is structured der Hauptmelodie with main part, (am a contrastingAnfang middleund Ende) part andeinen a returnZwischenteil to the melody besitzt. of Die the doppeltenmain part. ATaktstriche double bar zeigen, line shows dass where hier einthese neuer parts Teil begin beginnt. and end.

Copyright25 2012 by AMA Musikverlag Peter M. Haas MainHauptteil part (First (1. Melodie) melody) 345 1 œ3 2 œ œ œ ˙ œ &43 œ Œ œ œ Œ œ AuftaktUpbeat Play Accordion Vol. 1 D dm dm D dm dm D dm dm D dm dm

œ œ ˙ œ & œ œ Samples˙. œ Œ œ Œ œ

A am am A am am D dm dm D dm dm D dm dm

œ œ œ ˙ œ œ œ & œ Œ œ œ œ œ œ

D dm dm D dm dm D dm dm A am am A am am

MiddleZwischenteil part (Second (2. Melodie) melody) ˙. ˙. œ œ œ œ œ œ &

D dm dm D dm dm G gm gm G gm gm

˙ œ œ œ œ œ œ œ ˙. & ˙.

D dm dm D dm dm E e7 e7 E e7 e7 A a7 a7

Main part œ UpbeatAuftakt tozum the Hauptteil (First(1. Melodie) melody) œ œ & Œ œ œ Œ œ œ Œ œ œ

A a7 a7 D dm dm D dm dm D dm dm

˙ œ œ œ ˙. ˙ & œ œ œ œ

D dm dm A am am A am am D dm dm D

TheDer Walternateechselb bassass – – A bw moreechsl varietyung d urwithch nea newue Basstechn bass techniqueik BeimWith theWechselbass alternate bass, pendelt you derchange Bass back zwischen and forth Grundbass between the(hier primary G) und bass dem tone oberen (here G)Nachbar-Basston and the neighboring (hier bassD) hintone und her,(here während D), while der continuing Akkord selbstto play sich the nichtsame chord.ändert:

4 AlternateWechselb ass-bass & 4 ﬁngeringsFingersatz forfür 2 majorDurakk chordsorde D G DerThe Akkord chord stays bleibt the gleich same. Copyright? 4 œ 2012œ byœ AMAœ GrundbassPrimary Musikverlag bass 4 g 4 DurakkordMajor chord 3 3 œ œ G œ œ WechselbassAlternate bass 2 4 GDPlay GDAccordion Vol. 1 The bass tone alternates back and forth. Der Basston wechselt hin und zurück Samples DieThe beidennext two nächsten pieces are Stücke in 4/4 sind meter. im 4/4-Takt.Alternate bass Auch is also im used3/4-Takt in 3/4 wird meter; diese you Basstechnik will learn more gerne about benutzt; this on das page lernst106. du auf Seite 106 kennen.

CircusZirkusm marcharsch –– withMit Walternateechselb assbass

47 Peter M. Haas # 4 œ œ. œ. œ w w & 4 œ. œ. œ. . . œ. G œ. œ. œ. œ. œ. œ. œ. œ. ? # 4 œ. œ œ. œ œ. œ œ. œ 4 3 2 . . . . G D

# œ œ. œ. œ w w & œ. œ. œ. . . œ. . . . . D ? # œ œ œ œ œ. œ. œ. œ. œ œ œ œ . œ. . œ. œ. . œ. . A D

© 2012 by AMA Musikverlag 152 SPIELPlay AKKORDEON Accordion # New button rows – B and F # f 7 # f m # # Now we are beyond the limits of the 48-bass accordion. The rows B and F lie beyond the f 6 # b7 E row. (with the serrated bass button!) F bm b e7 B em e a7 E am a d7 A dm d g7 Copyright 2012 by AMA MusikverlagD gm g c7 G cm c f7 C fm f b b 7 F b b m Play Accordion Vol. 1 b b e b7 b B e bm eb Samples Eb Mon amant de St. Jean

A dear friend in Paris sang this melody to us and found the text to this traditional Parisian chanson: “How to keep from losing one’s head when embraced by bold arms – for sweet words of love are always believable, when they are spoken with the eyes …”

This is the only piece in this book which requires at least 72 (60) basses.

74 Traditional

# 1 & # 43 Œ œ œ œ œ œ œ œ œ ˙. œ œ œ Je ne sais pour - quoi al - ler dan - ser à Saint BmHm # & # Œ ˙. œ œ œ œ œ ˙ œ œ œ œ œ Jean au mu - set - te Mais quand un gars a Em BmHm

# 4 3 1 2 1 & # ˙. œ œ ˙ œ œ œ œ œ ˙ œ ˙. pris un bai - ser. J’ai fris - son - né# j’e - tais chip - pée. Em F 7 HBmm

# 4 & # Œ œ œ œ ˙ œ Œ œ œ œ œ œ œ œ Com - ment ne pas perd - re la tê - te, ser - HBmm