Invented in 1829, the accordion came to be embraced by people in North America early on….
Soon, up in the mountains and down in the bayous….
in big cities and in small towns….
in the country and in the deserts of the West, as well as deep into Mexico,
on the Great Lakes and the Great Plains…
in the northern states and Canadian provinces….
and through the Northwest Passage to the Pacific Ocean….
the accordion thrived…
it entertained, delighted, inspired and brought folks together, to dance and sing….
Some of the first to become proficient on the accordion were French educated Creoles from the South, just a few years after the instrument was invented.
Creole musicians were very well schooled in music and provided entertainment at elite “house concerts” and parties in Louisiana.
Young people were eager to make some noise with the accordion. Although it was expensive, it was new and it was radical. With its bellows providing the “lung power”, the accordion impressed women, who saw that they could participate and make music with this rather tiny, relatively light weight and very expressive instrument.
Because it was loud enough for sound to be carried above the “din”, the accordion was heard in music that emanated from front porches, weddings, social gatherings, dances and as entertainment in theaters and taverns for over 150 years..
The piano accordion evolved from the smaller bisonoric diatonic accordion, into a completely different, unisonoric musical instrument. The piano keyboard was added as was the innovative Stradella bass section which used preset chords.
The accordion grew larger, but the changes empowered players of other types of keyboards to find it easier and faster to learn the instrument.
The piano accordion was played by artists who were immigrants….
….And it was played by artists who were sons and daughters of immigrants
The accordion was popular in live stage productions in Vaudeville
The accordion was heard in early recordings of Gospel, Blues and Boogie Woogie………
The Death of Amede Ardoin
In the transitional years from the Great Depression forward into the war years, the piano accordion was widely used because dances were an important source of entertainment. By the mid 1940’s, so many immigrant Catholics wanted their children to play the songs of their homeland on the accordion, and the Roman Catholic Church forgave the instrument its “tavern” reputation and gave it a special status allowing it to be used in church services. Because of this, the accordion was suddenly deemed respectable and “pent up demand” fed the market for instrument sales and lessons.
The accordion, with Anita Carter, was used by Mother Maybelle Carter and the Carter Sisters, in what would have been strictly a “string band” in previous years.
The first woman to play Bluegrass, professionally, was an accordion player….
Pee Wee King reinvented what was known as “Hillbilly Music”, founding a new genre of music known as “Country & Western” music. His Western Swing Band was the first to wear the spangly “Nudie Suit” that came to be associated with Country music.
The piano accordion became synonymous with smoothness and proficiency. The big band scene had died off, but small combos in swanky clubs became a new kind of venue.
Around 1960, the bubble burst for the accordion in America and the instrument’s sales plummeted to a fraction of what they had been a decade before. Publishers of accordion music had failed to provide new music for young people to play on their accordions because they didn’t want to pay songwriters for current hit tunes to be reformatted for the piano accordion. In the 1950’s, they were part of the establishment that didn’t trust or support rock ‘n roll or any aesthetic associated with it. They preferred to push the same European style tunes to a changing demographic. As young people advanced in proficiency, classical music was the promoted path. Because of this short sighted business model, during the fifteen years that the instrument was extraordinarily popular, the piano accordion became misidentified as being a European instrument.
In America in the 1960’s, ‘The Times They Were A-Changing’ and the immigrant’s children had grown up. Americana music was taking them in a different direction and young people needed to participate. The Civil Rights movement had inflamed the cities and the South. The war in Viet Nam and the draft angered America and its students. Women were agitating for equality and rights. Much of the music of the 1960’s were songs about life and death issues that were impacting young people during that era. It had a message and an edge– the accordion establishment was afraid of it and the musicians who created it. In spite of the history of the accordion in North America, the establishment wanted to make sure that the accordion was not going to be a part of any undercurrent or rebellion, as it had been in Argentina. They deliberately chose not to cultivate, especially, outspoken African Americans as legitimate players of the piano accordion in current music, or women, who were routed into teaching the instrument. They stopped marketing and promoting the instrument to them, because, with white males defecting from the ranks of accordion players in favor of the guitar in significant numbers. they were afraid that the future of the instrument could be left in the hands of African Americans and women.
Curiously, accordion players became afraid to sing with their instrument in that era, which they had freely done in the 1940’s. So, young people could not see how the piano accordion could be used to make their music, and found no one inspiring that could play or sing with it their way. There was nothing new coming out of the accordion community and no one to emulate. Young people saw the piano accordion as part of something that they loathed and their strong feelings were transferred to the instrument. So, instead of finding this very expressive instrument worthy, talented musicians simply went on their way and found other instruments with which to express their angst through their music.
The establishment chose to wait it out, banking on the return to sensibility when the war was over and rock music died out, and women, well, were just done trying to be men. In the rest of the world, the accordion didn’t receive this treatment and actually thrived alongside, both the electric and acoustic guitar. It’s not the fault of the guitar for existing that the accordion became almost extinct, but rather, fear and censorship.
When the well seems to run dry, go to the source–New Orleans.
New Orleans is not afraid of the music or the musicians that create it. That is why it is the epicenter for the development of major new genres of music.
Zydeco music emerged in the 1960’s from New Orleans where the piano accordion was put to good use by Clifton Chenier and His Red Hot Louisiana Band.
Without a doubt, The Beatles were the “eight hundred pound gorilla” in the room during the 1960’s.
2012 was the “Comeback Year” for the piano accordion.
The piano accordion continues to participate in Americana music, today.
Not the end…….
By Christa T. for Accordion Americana As a performer, if you want to be noticed–play the accordion, but read this first. (Please note that I am not creating a list of ‘rules’, but, rather, ‘talking points’. Use what you can, but it’s expected that there may be some point that you don’t agree with, or have found that it works differently for you. This article is protected by copyright and can only be used with my permission.)
1) Safeguard your instrument.
- It is expensive and not a toy.
- It is your property so don’t allow anyone to touch it, put it on and try to play it without your permission.
- Set your boundaries and stick to them.
- Treat your accordion like it’s your best friend, your child, or your pet by not leaving it outside in the rain, in a hot car, or alone.
- On a gig, carry it with you when you take a break.
- Remember that you are responsible if anything happens to your instrument.
2) Stand up when you perform so that the audience can see you.
- You are more likely to interact with them, move more freely, play more expressively, make eye contact and be more entertaining. Seated accordionists have a tendency to look down and away from the audience, which makes the performer seem remote and aloof, and your audience could feel shut out. Your intention should be to ‘engage’ the audience in your performance and establish an emotional connection.
- If you are unable to stand, perhaps your piano accordion is too heavy for you. You could exercise to build strength or get a smaller or lighter accordion. Accordions built today with new age materials, weigh substantially less than in the past. A disproportionately large accordion can be distracting. It should fit your body, be comfortable and have enough bass keys for you.
- Perhaps getting more thickly padded shoulder straps for your instrument may help to distribute the weight and may also help If you have shoulder strap slippage.
- A back strap will keep straps from slipping off of your shoulders, but if you need assistance or must go through some gymnastics to secure it, then it may look like you are having a problem with it. Having someone help you with your back strap, backstage, will mean that you will be walking onto the stage with your accordion already on. You may not be able to see equipment and electrical lying around and could trip and fall. And that may be a problem.
- If you ask yourself, “What do other musicians do?”, the answer is: they walk confidently onto the stage, put their instrument on, perform while standing, then easily remove their instrument and leave the stage when finished. Just as any professional musician would do with any instrument, you should strive to do the same with your accordion, without any problem.
Jenny Conlee of The Decemberists
3) Practice with a purpose. There is much to be said about how to practice.
- Practice systematically every day for an hour.
- No matter what type of instrument you have, practice the bass section of your accordion. Other musicians don’t ignore half of their instrument! Knowing the bass is essential to give your music dimension and depth, so, know them and don’t be afraid to use them.
- Practice your bellows action so it is as smooth as possible. Work with your accordion teacher on phrasing, or when to inhale, and exhale (much like a singer does) with the bellows.
- Have a list of songs, about 6 at a time. Systematically play each, one after the other, every day for a week. At the end of the week, the best one drops off (assuming you know the piece well enough) and is put on a different list of songs that you already know. At some point, perhaps once per week you will revisit those songs and refresh your memory. Another song that you plan to learn is placed on your practice list, to replace the song that you removed from the list. This system will guarantee that you are always working on new songs, yet not forgetting the songs that you took time to learn. Or come up with your own system. It’s all about managing your time and effort, and you shouldn’t waste either.
- Work with a metronome to check that your speed and timing are consistent.
- Practice your performance by beginning with a quick introduction, getting into the piece quickly, taking your time with it to play it well, then end it smoothly. Why do you need an introduction? So you can settle into the song and draw the listener in. It gives you a chance to get the right tempo and reminds you if you are in the right key.
- The piece should be arranged and appropriate for the accordion, for you and for the setting.
- Do not just “wing it”. Put a great deal of thought and care into how you present yourself. Dress to fit the setting and for your performance. Strive to perform each piece from memory, not sheet music or an Ipad. As a musician, you are not just playing music, you are interpreting it and giving a performance.
- Time each piece so you know how long you will need for your performance. Really great performers spend copious amounts of time on preparation, so that it is second nature after awhile.
4) Choose music that is special. Song choice is important to your audience and affects their perception of you.
- Don’t feel you have to “play everything”, then perform passably or even badly; or comply with requests to “play a polka” if you are unwilling to learn to play them well–they are a very demanding genre.
- Choose a musical genre that you love, dedicate yourself to those songs, and get proficient at playing that type of music. Develop a clearly thought out vision with goals and objectives and decide what you are trying to accomplish, as a musician. Depending on that vision, selecting from multiple genres might be a good objective. Whatever you decide to do is up to you.
- If you can’t find any songs you care about, compose your own music. Take time to arrange and practice your songs so you can perform them well and subject them to the same care and high standards as you would had they been written by a well-known composer.
5) Be sensitive to how the accordion is presented to others.
- By not being well presented, any musical instrument can be annoying. Getting together with fifteen other accordionists (or fifteen of any one instrument, for that matter) is fine if you have a club and want to share ideas. But, please recognize that more than two at a time in public, especially in unison, is too intense for most audiences. To those maniacs that think it is fun, as a group, to use accordions to assault diners with obnoxious performances, I am sure that these events are counterproductive. This approach does not teach people to care about the accordion. In fact, it’s easy to predict that a negative impression of this instrument will be formed or reinforced by such shenanigans.
- Referring to it as a “squeezebox” is inaccurate because the accordion is a musical instrument, not a silly noisemaker.
- By using the accordion as a prop or as a lame joke, the image of the accordion is seriously diminished.
Substitute ‘guitar’ for ‘accordion’, and suddenly it’s not funny.
- This doesn’t imply you can’t strive to be humorous and entertaining. But, take the accordion or whatever instrument you play, seriously, and have some respect for your time and effort. Think of it this way: if you owned a business and produced a product for sale, it would be a bad business strategy to teach people that your product was a joke. People will not buy your product. If you are a musician/singer/songwriter, you want your audience to “buy” into your music, support you and respect you. They won’t if you treat yourself and your instrument as though it is a joke. If you are making fun of the accordion, you are not promoting it, effectively. Perception begins with you because you are the one in control at that moment. Reach higher, and set grander goals for yourself as an artist. Sell your audience on the concept that you are special and have something special to show them on an instrument that is special. But, before you can accomplish that objective, you have to believe it, yourself.
- Know who you are and who your audience will be. The more you understand, the better you can anticipate and plan your performance.
•By showing pride in yourself, your performance and your instrument of choice, your audience will respect you and recognize that you care about them.
Tink Lloyd of the Grand Slambovian’s Circus of Dreams
6) Try to mainstream the accordion by starting a band where the accordion isn’t the usual instrument and you are the only accordionist in the group.
- It can be an unexpected delight to both the audience and to the other musicians in the group.
- By treating the accordion as though it’s just like any other instrument, ironically, enhances how special and how cool it is. This, more than anything else, promotes the accordion.
- Here is an exquisite song, Silver Line by Americana Singer/Songwriter Ray Tarantino, accompanied, beautifully, by Joe First, Accordionist:
- To be a good accordionist, you don’t have to be the fastest or the loudest player, although that may be a part of what you do. But, keep in mind that music is not an athletic event, and musicians are artists.
- A good musician is one who is sensitive and knows when to alternate between using restraint and showmanship, when to blend in and when to stand out.
- A musician is always attempting to emotionally connect with the listener and also to make any artistic judgement as to what the music needs at that moment.
7) Find your voice!
- Sing with the accordion, and learn harmony. Singing with the accordion is seen more now than in the recent past. Sheryl Crow gave a fantastic performance accompanying herself with the accordion, when she sang her hit song, “Strong Enough”.
Although she does nothing with the bass section of her instrument, what I particularly love about Sheryl Crowe’s method of playing is that she is a ‘partner’ with her accordion, harmonizing with it and giving it equal time to be heard along with her voice. She could have simply left the accordion in the background, blandly structuring chords to support her voice. Instead, she chose to use a more dynamic approach, which gives her song fullness and warmth and it allows the accordion to have a real presence in her music.
Aaron Weiss of Mewithoutyou
8) Be visible.
- Leave your comfort zone and go out and busk! “Busking” is giving a live performance in a public place. You should check with your city about any ordinances that prohibit busking and where it is permitted. If you get out of your comfort zone you will become more comfortable, confident and perform better each time.
- Live performance is a great way to “test market” your sound, your songs, your image and your ability to relate to an audience. It gives you a chance to assess their reaction to you and what you do. It also helps you to get over your apprehension about appearing in front of others. After a very short while, you are “over it”. You realize that nothing bad will happen to you. People may laugh….but, guess what? You haven’t melted and run away.
- To those that try to heckle you with their demands because they think they can, just smile, and ignore them (or if they cross your boundaries, either call the police or call it a day.) Performing helps you “build a backbone”, develop patience and character and helps you to learn who you are as a creative individual. Joey Cook presented a totally different image for accordion players when she busked for quite some time. Then she tried out for American Idol in 2015, as a vocalist, and rose to be one the top seven finalists! Even after several years, people remember how noticeable she was. Good for you, Joey! Rock on!
- Look for opportunities to perform in front of others. Some hospitals and nursing facilities look for live performers to entertain their patients. Seniors at your local Senior Center may enjoy a performance from you.
- Join a musical “meet up” group where there are people who play a variety of musical instruments.
- Take advantage of “open mic” nights that are locally held at restaurants, coffee shops and theatres in your area.
- Listen to others as well as perform. Look for those who are positive, empowering and who enjoy being creative with their music and performance. Good people generate good energy and they can get everyone excited about being there.
- Don’t be afraid to reach out to others for inspiration or collaboration. Also, competition can be interesting. When two collaborate on a song, one can challenge the other to solo to see what you both can create, individually.
- If available, there is nothing better than an old-fashioned talent contest that will require one to focus and rise to the challenge.
- In addition to hiring an accordion teacher, take a class about performance to enhance your professionalism.
- Even if you don’t become a professional entertainer or musician, what you learn by being visible is “portable” and can be transferred to other pursuits in your life. It can make you a stronger person and less likely to feel intimidated by uncertainty or by others.
9) Never give up.
- If something does not work for you on the accordion, revisit and find out what or how it can work on this instrument. It may be the smallest of details that you haven’t considered that might be bogging you down.
- Ask your accordion teacher or other musicians for their opinion about your song choice and delivery and how you may improve on your instrument.
- Listen to others that are more experienced than you are.
- Model yourself after someone you admire. Your idol doesn’t need to be an accordion player. Art Van Damme, the great Jazz accordionist, admired Benny Goodman, the big band leader and clarinetist. Art successfully learned Goodman’s techniques and applied them to the accordion.
- Do not listen to anyone who recommends that you change to another instrument. They are not well-intended and do not have your interests at heart.
10) Pass on your knowledge to other people.
- Try to engage their interest by showing them a different kind of music than has been associated with this instrument. The accordion was removed from mainstream American music at a critical time in pop music history. Someone decided that the accordion should not be involved with American music , when it really could have been. As a result, it was left out of the music scene for decades.
- For performing accordionists that seek publicity, keep in mind that information control is everything. What is said or written about you and your efforts instantly forms an image and an opinion in the minds of the public. It can get people motivated to come out and hear you play. That’s the point of publicity. Or it can completely turn them off, so that they simply stay home. Don’t allow anyone to define you, your music, or your instrument of choice because they don’t know any better. Don’t allow them to tell the “same old, same old” story all over again, and reinforce stereotypes at your expense. So, to protect yourself, don’t make any reference to accordion humor, any mention of a certain big band leader who was an accordion player from long ago , the word “polka” unless they are your specialty, or anything that is detrimental. Move the article forward and away from the stupid accordion jokes, and the distant past of the accordion. All of these are a waste of your time and a ‘road to nowhere’ for you. Tell the writer what you expect them to say about you by providing a bio that outlines interesting points that will help them find an angle for your write up. Insist that they focus on your music and you as an artist. You deserve the best publicity that you can get, so be involved and be prepared to established the ground rules. If you aren’t sure, write your own promotional material.
If you are living in America, doesn’t it make sense to promote the music that is rooted in America, and not just play the music of the rest of the world? By the way, those folks perform their own music, brilliantly. Like us, their music represents who they are as a people and has evolved from their shared experience. It is their identity. They have lived it, and they own it. But, after four hundred years, America has developed its own identity, and surrounding us is music that reflects that fact.
People in the U.S. don’t seem to realize that the accordion is not new to American music. It has been a part of our pioneer experience and has been in America since the mid 1800’s. It has been played, not only in the mountains and the bayous, but by folks in the city and in the country, on the prairie and in the desert, for a long, long time. It was played solo and with orchestras, at weddings, dances and social gatherings for over 150 years. Because it was portable, the accordion was used when pianos and organs were too heavy or delicate to transport. Accordions continued to participate throughout the 20th Century and into the 21st, along with pianos and organs, fiddles and guitars. It was used in the early Blues, the Boogie Woogie, Gospel and every American genre of music. The accordion is a critical piece of our music history and we should be proud of that connection, celebrate it and hold the accordion in high regard because of it.
- But, the accordion must participate in current music to survive. So, please, take your accordion–whatever type you prefer– go and find your audience, and make the most out of any opportunity!