THE 2017 CAF IS PROUD TO HOST
Accordion Jazz 101
Workshop presented by Paul Betken
PAUL BETKEN'S MUSICAL BIOGRAPHY
Held in the SOCIAL HALL behind the Church of the Oaks corner of W. Sierra and Page St.
(about ½ block from the polka tent)
Both Days August 19 & 20, 2017
12:15 PM - 1:30 PM
Paul Betken, as host/instructor conducts an accordion-centric music workshop in the fundamental and practical aspects of jazz accordion performance. As a consummate jazz accordionist, Paul shares his opinions, observations and comments on being a professional jazz accordionist with more than 50 years experience in concert performance.
This workshop has been successfully crafted and delivered on several occasions at other major accordion festivals. The workshop promises to be informative and entertaining for all musical skill levels from the novice to the professional. Non-accordionists will learn more about the role that the accordion plays as an instrument used in the musical genre' called jazz.
This informal presentation of jazz accordion topics covers a wide range of interests, including jazz accordion history, the variety of playing styles and philosophies of outstanding jazz accordionists such as Art Van Damme, Leon Sash, Frank Morocco, Matt Mathews, Tommy Gumina and others. While Paul shares jazz accordion teaching philosophy and sources, he concentrates on the basics needed in jazz performance skills, how-to-practice tips, hand and mind coordination and development, the use of lead sheet music, the art of chord voicing, scales and inversions and his own personal technique of "full chord sound."
Paul offers methods for memorization, guidance on arranging song lists, and suggestions on how to perform jazz accordion with other jazz musicians. A nod to music fundamentals, and harmonic theories of improvisation enhances basic tools needed for the complete jazz performer and enthusiast.
A major segment of the workshop is devoted to jazz accordion performance of several jazz classics. Paul has selected specific songs from the great American Songbook to demonstrate his unique accordion arrangements. These examples and techniques are explained and demonstrated using iPad accompaniment which allows him to be creative and improvisational as well. All of his jazz accordion arrangements (10 songs) are in a booklet format and CD of Paul's stylized demonstrations on how they should be played--the booklet and CD will be available for purchase. In addition, three separate handouts are available to anyone attending the workshop. They cover melodic chord progressions, transposing songs, and a list of 10 brilliant jazz solos and what you can learn from them.
"Accordion Jazz 101" is offered for the first time on both days during the Cotati Accordion Festival! It's the newest addition to the festival. No need to reserve your seat. This introductory workshop-demonstration serves players wanting to experience the art of playing jazz accordion and wanting to learn the elements of what makes a great jazz accordionist. All attendees are encouraged to ask questions and offer their own insights where appropriate. The major outcomes of attending the workshop include generating greater audience enthusiasm for the accordion, and for the jazz accordionist, these workshops teach you how perform better as a jazz accordionist.
CAF Accepting Nominations
for 2017 Honorary Director
Please give us your suggestions ...
The Honorary Director is someone who has been instrumental in bringing life and love into the accordion community while making a meaningful contribution to the enjoyment and advancement of this instrument we love so well.
Your recommendation should arrive in the form of an email.
Please do not send duplicate emails with the same recommended nominee.
Deadline for submissions May 1, 2017
The CAF Board will review your recommendations and choose the
Honorary Director by June 1, 2017.
Accordion Apocalypse Stage
MANY festival goers say this is their FAVORITE spot!
Stage is located right inside the South Entrance to the Festival
Saturday, August 19th
|10 am||Skyler Fell and Friends|
|11 am||Kalei Yamanoha|
|12 noon||the North Beach Dreamer|
|1 pm||Hernandez Hideaway|
|2 pm||Eight Dice Cloth|
|3 pm||Echo-Spirit - The Assi Rose & Yaela Elyashiv Jazz & World Music Combo|
|4 pm||Nathan Rivera & Jessie Andra|
|5 pm||Intuitive Compass|
|6 pm||Lucky Ol Bones|
Sunday, August 20th
|10 am||Basil Trollop & Friends
|11:30 am||Amber Lee Baker|
|12:00 noon||Nathan Rivera & Jessie Andra|
|1 pm||Penny Opry|
|2 pm||Eight Dice Cloth|
|3 pm||Bellows Shakes|
|4 pm||Echo-Spirit - The Assi Rose & Yaela Elyashiv Jazz & World Music Combo|
|5 pm||Intuitive Compass|
|6 pm||Gun Street Girls|
Accordion Teachers Weigh In ...
STUDENT STAGE FOR 2017
By Sheri Mignano Crawford, Student Stage Coordinator
(Sheri is seen here with 2016 participants.)
Talent! We all talk about it. We all want to think we have it or that our kids exhibit it. And we all still wonder about its origins—where does it come from? Teachers are often credited. But can anyone really teach it? Students are often congratulated when it is exhibited at an astonishing young age. Mozart is certainly a perfect example. The truth is, talent has always involved hard work, an investment of time, and frankly speaking, money. Beyond that, the crucial element is to find a good teacher—the right one for the student accordionist. The perfect pairing of student to teacher can make the difference.
It requires an extra effort for students to find a teacher whose primary (never mind exclusive) instrument is the accordion. Students may not find the accordion offered in public school curriculum or even readily available to rent or buy. Besides those obstacles, for a few decades, the accordion was so maligned; and it was often considered an illegitimate musical instrument, classified as a folk instrument similar to a mandolin. Students want to be cool and the accordion has not always projected that image. It is a physically demanding musical instrument that may require strength to even carry it to a music lesson.
Guido Boccaleoni, at 14 years of age, went on to teach generations of accordionists.
Yet, here it is in all its beautiful manifestations! A world-class instrument that many people still play, many enjoy listening to, and a few excel at its virtuosic capacity. For more than a century after its introduction on the West Coast, virtually every town in the San Francisco bay area sprouted accordion studios. Some accordion teachers such as the teenager Guido Boccaleoni taught his teenaged peers to play. Today’s teachers have maintained the studio tradition. We are fortunate to have accordion instructors with music degrees and credentials. These teachers maintain a private lesson schedule and take their responsibilities very seriously. Among that list are Bart Beninco, Bruno Cerri, David Chelini, Lin Lee, Lindy Mantova, Dan Cooper, Joan Traverso, and Marjorie Konrad. Some of these teachers contributed to this article and were eager to participate. All of them are deeply committed to teaching and are concerned about the future of teaching accordion.
Most teachers who replied seem to be in agreement that “teacher preparation” is essential to a student’s success. Today’s teachers come well-equipped for the challenges. Bruno Cerri assesses physical and emotional parameters such as “control over the bellows” “fluency in scales” and evidence of “personal satisfaction in playing.” Many teachers reply on periodic recitals to demonstrate a level of achievement; many agreed that “informal performances” with family, friends, or though church and social functions can be beneficial to a student’s continued progress, and ultimate success. While technique books and lesson plans organize a student in the direction of “consistent improvement”, teachers may also assess their students’ progress by observing their level of enthusiasm. Marjorie Konrad and others pointed to “steady growth” as a good indicator as to whether the student will continue with the instrument into adulthood.
Another seasoned teacher, Lindy Mantova, measures a student’s future success and progress using “sheet music literacy” as criteria. Is the student playing at the expected “level of their ability”? To be able to read bass and treble clefs with ease can create the fork in the road. When young accordionists choose to play by ear, and rely on using rote procedural memory, and do not study the accordion literature, they may quickly head in the direction of being an adult “hobbyist.” This is a perfectly fine choice and provides a lifetime of fun, pure entertainment, and pleasure; however it imposes certain limitations on potential development and musical versatility. Dave Chelini notes that “self-confidence and knowledge gained through performance could propel them to a higher level.” But even if they don’t take that path, adults can still have a lifetime of enjoyment. Some students may become “closet accordionists” and that’s fine too as long as they find pleasure in what they are doing and can enjoy their musical abilities.
Joan Traverso’s “Cadet Band” with trophies
When I grew up taking accordion lessons, there were competitions, annual reviews, enormous summer festival stages, required recitals, and mandatory participation in accordion bands with the arrangement divided into several distinct parts. The pressure was on to perform or else! Today, competitions are not as actively promoted or supported. One organization holds its annual convention with these activities on the agenda. The ATG (Accordionists and Teachers Guild) still holds competitions (age-related, junior, adult hobbyist, semi-professional, digital, virtuoso, jazz categories etc.) with a required payment for the applicant’s acceptance. Winning can mean you are a ‘champion” but without enough entries in certain categories, it would seem that ‘competition’ does not factor into modern accordion conventions as much as they used to.
Without as many open competitions, where does that leave a young accordionist? The Cotati Accordion Festival Board of Directors debuted its “Student Stage” in 2015. It encourages all accordion students to feel comfortable in a performance venue. This student stage is an opportunity for anyone studying the accordion up to age 18 and/or still in high school. Students are required to prepare and to present several songs in a recital format. The festival encourages teachers to prepare students and provide a recommendation with a list of pieces. All students whose status of enrollment is verified by a teacher may submit an application to perform on the new Cotati Accordion Festival’s Student Stage. Our hope is to minimize the stress, create a warm, welcoming ambiance with supportive teachers, parents, friends, family, and festival attendees.
Church of the Oaks stage
Please send application, teacher’s letter and proposed playlist to Student Stage Coordinator
Sheri Mignano Crawford, P.O. Box 2704 Petaluma, CA 94953-2704
A post-script to my festival readers:
Many of the teachers interviewed for this article are of retirement age. Will there be accordion teachers or students attending the Cotati Accordion Festival in 2040 when (we hope) it celebrates its 50th anniversary? If the answer comes from the current teachers, then it is a positive YES! After a lifetime of devotion to teaching the accordion, it is even more crucial for those who are fond of the instrument’s compact versatility to actively support the continuation of this legacy. Invest in the future by sponsoring the Student Stage. Contact the Student Stage Coordinator Sheri Mignano Crawford about how your business can play an active role in the “Future Stars of the Accordion.”
NO DOGS IN PARK