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M ore Cafe Accordion by Dan Newton
CD contents 1
Ampersand
11
Northwind/Glaston bury Tor
2
Violetera
12
Los Pastres
3
La Vie Musette
13
Polka Deux Chevaux
4
Elizabeta
14
Rev l’Automne
5
El Camino a mi Corazon
15
Julius et Margare Margarett
6
Samba Oleek
16
Foxy Cumbia
7
Joseph Joseph
17
Manouche Cafe (Cafe Gitane)
8
Latin Quarter
18
Gathering Gatherin g Moonbeams
9
Polka du Bas Berry
19
Little French Bistro
10
Fandango do Ribatejo
1 2 3 4 5 6 7 8 9 0 © 2011 BY MEL BAY PUBLICATIONS, PUBLICATIONS, INC., PACIFIC, MO 63069. ALL RIGHTS RESERVED. INTERNATIONAL INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A. No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.
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Table of Contents Note on the Tunes ..................................................................................................................................................3 Ampersand ..............................................................................................................................................................6 Violetera ..................................................................................................................................................................9 La Vie Musette ......................................................................................................................................................10 Elizabeta ................................................................................................................................................................12 El Camino a mi Corazon ......................................................................................................................................13 Samba Oleek ........................................................................................................................................................14 Joseph Joseph ........................................................................................................................................................15 Latin Quarter ........................................................................................................................................................16 Polka du Bas Berry ..............................................................................................................................................18 Fandango do Ribatejo ..........................................................................................................................................19 Northwind..............................................................................................................................................................20 Glastonbury Tor ....................................................................................................................................................21 Los Pastres ............................................................................................................................................................23 Polka Deux Chevaux ............................................................................................................................................24 Rev l’Automne......................................................................................................................................................26 Julius et Margaret..................................................................................................................................................28 Foxy Cumbia ........................................................................................................................................................29 Manouche Cafe (Cafe Gitane) ..............................................................................................................................30 Gathering Moonbeams..........................................................................................................................................32 Little French Bistro ..............................................................................................................................................33 About the Author ..................................................................................................................................................34
2
Notes on the Tunes The tunes in this book are ones which I usually play in an ensemble situation, and that is reflected in the CD and the arrangements. I have provided you with the main melody and chords in print. The recording can help guide you through the “solos” or improvised sections, which always follow the same chord progressions that accompany the melody. I haven’t put as much emphasis on left hand parts because of the ensemble nature of these tunes. When I have a good bass, guitar, and percussion group to play with, I find playing the left hand constantly just clutters up the music. If you let the left hand rest you create a little more space in the sound, and can concentrate more on creative playing and improvising with the right hand. 1 - Ampersand (Dan Newton) This was commissioned to accompany a sculpture of the same title at the Walker Art Center’s Sculpture Garden in Minneapolis. The 3 sections have 3 very different feels. The A is straight 3/4 with a circus-like feel. The B has almost more of a 6/8 than 3/4 feel, with a Latin sound. The left hand plays quarter note triads in the bass. The C is back to 3/4, but slightly more syncopated and moody. 2 - Violetera (Jose Padilla) This is my adaptation of a famous tango, and not a literal interpretation. The recording provided in this book has 2 accordions, and both parts are included in the sheet music. Dancers seem to love this tune! 3 - La Vie Musette (Dan Newton) This is a quick, musette-style waltz that should have a very light touch to it, especially in the left hand. There is a bit of a “2 against 3” feel to the opening measures and the B and C are notey enough to suggest slight variations to the tune rather than full-out improvisations. These variations include changing octaves, reed settings, and filling in chords with the right hand behind the melody. The triplets in the C section can cause hand fatigue, but they are fun to play when it works! La Vie Musette, “the musette life”, would include being seen every day and evening at the sidewalk cafe, drinking coffee and/or wine, playing music and having intense conversations about art, love, and politics. All this, with no visible means of support.
4 - Elizabeta (Dan Newton) Cumbia played on solo accordion without any percussion can end up sounding almost like polka. The trick is the bass pattern in the left hand. A measure could be described as “bass-chordalternate-alternate” (e.g. E-minor chord-BB) If you have a great rhythm section with you, you can play a straight alternating bass pattern, or better yet, leave the left hand alone and let the rhythm section do their thing! 5 - El Camino a Mi Corazon (Dan Newton) This was inspired by some beautiful Mexican melodies I heard at the Lark in the Morning Music Gathering. Nothing too tricky about this, other than a couple spots where it feels like one hand is playing in 3 and the other in 2. Don’t play it too fast! 6 - Samba Oleek (Dan Newton) A mellow, Brazilian-influenced tune named after a jar of hot sauce. A light and syncopated approach to the left hand will help express the samba feel. I use the bassoon reed for the A, single clarinet for the B, and bandoneon, or octave setting for the C. 7 - Joseph, Joseph (Trad. PD) A well-known old melody that has been recorded by a number of French Musette and Gypsy ensembles, sometimes with lyrics in Yiddish, German, Italian, or English. It works well as a ballad, tango, cumbia, hora, or as in this case, a swing tune. It lends itself well to improvisation. The key change for the last time through the melody kicks up the intensity for the big finish. 8 - Latin Quarter (Dan Newton) When played slow with an ensemble, as in the recording provided, I usually don’t play the bass until the final, major key section. If I play this tune solo, I pick up the tempo a bit and try to keep the left hand fairly light, with a quick, staccato approach to the buttons. 9 - Polka du Bas Berry (Trad. French) I learned this from a group of French bagpipers at Lark in the Morning, and do my best to imitate the sound of the pipes by droning on the left hand at the start. It’s tough to keep a 3
smooth drone going, especially during a change in bellows direction. Try to make that change at a logical spot in the melodic phrase, and it won’t sound so “wobbly”. The variation in the C part is a series of C major triad ascending arpeggios. (C-E-G-E-G-C-G-C-E) 10 - Fandango do Ribatejo (Trad. Portuguese) This traditional fandango sounds like a very fast waltz, but has more of a 6/4 feel than a 3/4. The minor section is nice for improvisation. This recording was used for a Suave Products TV commercial in 2006. 11 - Northwind (Dan Newton) This is one of the first tunes I wrote, and there’s nothing very tricky about it. On the recording it appears in a medley with Glastonbury Tor. 12 - Glastonbury Tor (Dan Newton) This tune is named for a mystical spot in England. It is a bit of an oddity for this collection because it is not really a dance tune, but it could find its way into an English Country Dance repertoire. You might notice, also, that there is no accordion on the recording. The main melody is played on piano, and it adapts easily to accordion. 13 - Los Pastres (Trad. French) There are 3 accordions on the recording, one playing melody, one harmony, and one plays an octave melody. I have written some of the harmony parts out, and noted the bass runs that mirror the melody. I use a slight “bounce” with the bellows to emphasize the 3/4 rhythm. 14 - Polka Deux Chevaux (Dan Newton) I modeled this tune after the French polkas, which often sound a bit like marches. Repeated triplets must be easy on a chromatic button accordion, the kind that most French players use, because they are a common feature of French polkas. They are not so easy on piano accordion, but I find the best technique is to lead with the middle finger (3-2-1). A wet musette sounds nice for this type of tune. 15 - Rev l’Automne (Dan Newton) The title means Autumn Dream, as this tune was composed on a muggy summer afternoon while I was imagining how nice the upcoming fall weather would be. Each section has its own internal ABA form. I start the arpeggios in the A section by playing the Eb and D notes both with the pinky (5) finger, sliding from one key to the next. The C section should have a bit more of a syncopated or jazzy feel than the other sections. 16 - Julius et Margaret (Dan Newton) This tune imitates the French style of tango, in both melody and rhythm. The A is played with a straight, marchy 4/4 feel. I often play the bass and chord buttons on the left hand at the same time, 4 beats per measure. The B becomes slightly lazier, with a “habenera” rhythm. The melody is played mostly with intervals of 3rds. The title refers to Groucho Marx, who dances a hilarious tango with Thelma Todd in “Monkey Business”, and to his long-time foil Margaret Dumont. Don’t take this tune too seriously.
17 - Foxy Cumbia (Trad.) This is a cumbia from the “Chicken Scratch” tradition of the Tohono O’odham people of Arizona and New Mexico. They play German and Spanish-influenced polkas, waltzes, schottisches and cumbias. Chicken Scratch, or Waila music, is played on the diatonic button accordion with guitar and saxophone accompaniment. Many of the tunes have two only chords, and the melodies are often arpeggios of those chords. Use the same bass patterns as mentioned in #4, Elizabeta. 18 - Manouche Cafe (Dan Newton) Use a syncopated approach to the melody, as if there were almost always a dotted 8th note followed by a 16th note, but not quite! The C section is based on American jazz standard chord changes, and is fun for soloing. 19 - Gathering Moonbeams (Dan Newton) This swing tune is based on standard 1-6-2-5 chord changes. The melody is very straight forward, and the changes are good for a “dixie” chorus at the end. 20 - Little French Bistro (Dan Newton) Another slightly syncopated waltz, like #18, with a swing feel in the third section. The chord changes are typical of the Gypsy-influenced musettes. The short intro is the same as the last 8 bars of the A section. 4
5
Ampersand TRACK
1 A
Dan Newton
D
D/F
## 3 . œ m œ . œ œ œ œ œ œ œ . . œ œ œ ˙˙ œ œ . & 4. J J Em
## & ˙.
## & ˙
Em
A7
Em
D
œœ œ œœ œ˙ œ.. œ J
~ ~
œ
˙˙
Œ
A7
fiDœ . œ œœ œ œ œ œ œ œ . . œ œ œ œ œ œ . œ œœ n œ J J A7
A m7
˙˙
## œ œœ œ˙˙ .. œ.. œ J & Em
nœ#œ ˙
m œ œ j œ œ œ . . œ œ œ ‰œœœ œ ˙˙ J J œ
A7
## m œ ˙˙ & œ
œ œ Œ œœ ˙
Cm
#
D7
G
Em
Em
A7
D
œ œ œ œ n œ œ . œœ # œ ˙ . œ œ œ j œ œ œ œ ˙œ œnœ œ 3
D Bm m œœœ ˙
j œ œ. j œ œ œ . œ œ œ œ œ œœ œ œœœ 3
D D7
G
##1.œ œœœœ. 2.œ œ œ B n# œ#œnœœ j œœ œœœœœœ œ . œœ œ. œ &
&
# ˙
D7
D7
G
œ œœ œœ œœ œœ œœ œ œ œœ œœ œbœ œœ œ bœ œœ œœ œœ œ ˙˙
6
D7
œ œ œ#œnœœœœ
This page has been left blank to avoid awkward page turns.
8
La Vie Musette TRACK
Dan Newton
3 A Gm
b3 b & 4 œœœ#œœœœ.. ˙ 3
Gm
D7
Cm
Gm
Cm
D7
œ œ˙
3
œœœœœœ œ œ œœœ œ
4th time to
Gm 2.
C
D7 œœœœœœœ œ œ # œ n œ Œœ#œ n œ
œœ.. œ œœ#œœ ˙ .
œ ˙.
˙
D7 3
3
Gm 1.
j œ œœœ œ. œ œœ œ
œœœ˙
œ œ˙
b & b œœœ œœœ#œœœœ˙ œœ b b &
D7
3
B
Em Am D7 G œ # œœœ#œœ œœœ œœ œ œ #œ œ œ#œœ œœœ#œœœ œœœœœœ & G
3
3
3
3
D7 G Em # œœœœœœ œœœœœœ œœœœœœ œœœ#œœœ œœœ œœ #œ & 3
3
to
D7 2.
A
√
œbœ œœ 1. œ # œ œ œ œ.. œœœ#œœ œ & œ œ#œœ œœœ#œœœ œœœœœœœ Am
D7
3
G
3
3
3
C
b
œ œ œ œ œ # œ œ œ œ œ ‰œ œ œ œ œ œ œ œ œ œ ‰œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ ‰ ‰ ‰ œ œ ‰ J & J J J J J J J
&
G
#Am˙˙ ..
Bm
D7
˙˙ ..
D7
œ œœ œ œ ‰œ J
œ œ œ œ œ œ œ œ œ œ œ ‰J ‰J ‰J œ 10
B m
œ œ œ œ œœ œ ‰œ œ œ ‰J œ ‰œ J J
Elizabeta TRACK
Cumbia Dan Newton
4
B Em Em A Em œ œ œœ#œ œœœ # 4 œœœ œ œ œ œ œ œ œ # œ œ . œ œœ œ œ ‰ œ œ œ . #œ œœœœœœœ & 4
B7
Em
D
G
D/F
#
Em
C
B7
# œœœœœ œ j œœœœœ œ #œ œœœœœ˙ œœœœœœœœ. œ #œ œœœœœ & Em
#
D
G
D/F
#
Em
C
Em 1.
B7
Em 2.
& œœœœœœœœœœœ œœœœœœ#œœœœœœœœœœœ.. œ‰œ Jœœ B B7
Em
B7
Em
B7
Em
# . ‰ j j œ. j œœœœbœœ ‰ j œ œ. œœœœ & . œœœ œ.œœœœœ ‰œ œ œ œ œœ œ œ 3
Em 1.
Em 2.
3rd time to
C
C
# œœœ œœœ œ#œ œ#œ œœœœœœ Œ œ œ œœ # # . . œ œœ œ œ œ œ Œ œ #œ . œ œ & œœ. œ B7
B7
Em
B7 Em Am œœ œœ œœœ œ œ œ œ œ œ œ # œœ œ œ#œ œ œ œ œ œ œ œ # œ œ œœŒ œœ œœŒ œœ œŒ œœ & œ
Em
B7
Em
# œœœ Œ œœœœœœœ#œ œ#œ œœœ˙ œœœœ#w œ Œ œ œ œ & œ œ oE E
œœ œœŒ
Am
3 times
to
A
Em B7 1, 2. 3. œ œ œ œ œ œ œ œ # œœ œ œ œ œœ Œ œœ ˙˙ ˙˙ .. Œ.. ˙˙ ‰œœœ # œ # œ # ˙ œ Œ œ Œ œ œ œ # ˙ & œ œ
12
Samba Oleek
TRACK
6
Dan Newton
A Dm % w 4 . &4.
&
G7
C
Dm œ œ œ œœœœ œw
Em G7
. ˙ &
A dim
Dm
œ ˙ b˙
˙
FMaj7 b œ œœ œœœ#œœ˙ . &
G6
C
˙
2.
& b˙ w
C
&
˙
˙ C dim
w
bw
C
#
C dim
w
C/E
Cm/E
œ w
b
Dm
œœœœœœœœ b ˙
w
Fm
œœœœ
G7
Gm7
œw
œ ˙.
.. ˙ .
C
Dm
œœ#œœœœœ œœœœœœœ #œ
w
First time only
bw
˙ & .. œ œœœœœ
˙.
Dm
.. w
# C m
Fm
G7
B
œ ˙ b˙
w œ œ œ & œœœœœ
Fm
C
F
C6
F
œœw œ œ œœœœ
œœœœœœœ œw
1.
G7
Dm
G7
C7
C
Am
œœœœœœœ œw
Dsus
Dm
˙.
CMaj7 ( E
G
œ ˙.
C
b
Dm
œ ˙ b˙ Em7
œ œœœœœ ˙
E
b
˙ b˙
..
Dm
b˙
Dm
Fm6 )
œ œœœœœ
G7
œœœœœ œ œœ œ œœœœœ
Dm
œ œœœœœ 14
G7
œ
˙.
C
w
˙
b˙
..
Latin Quarter TRACK
Waltz ©Dan Newton
8 A
% 3 j .. ˙ . & 4 œœ œ b nœ œ Am
E7
E7
œ . œ#œœœœ ˙
Am
& œœœ#œ ˙ . Dm
& œœ#œœœœ˙ .
œ œœœ œ ˙ . Am
œœœœœœ E
˙. œ œœ#œœ œ
œ œœœ œ ˙ . o B
C
œœ#œœœœ ˙ E
o
œœ œœœ ˙ . #œ
G
Dm/B
& ˙
B
œ . ˙ œ œ#œœ œ Am
E7
1.
Am
œœœ#œ ˙ .
Em
œœ#œœœœ˙ .
œœœ#œ ˙ .
A7 B
& œœ#œ œ #˙ .
2.
E7
.. ˙ œ œœ#œœ œ
œœ#œ ˙ .
Dm
to
Am
E
Am
& œ œ œ œ œœœœ œ# œœœœ ˙ . E7/G
#
Am
F
E
j œ œ. œ
œ œ˙ B
B E7
œ œ j œ ‰œ œ #œœœœ #œ E7/G
#
Am
œ œ œ œ œ#œ œ œ œ œ œ œ œ#œ ˙ . œ œ œ œ œ #œ & C Am F œ ˙ œ œ œ œ œœ # œ œ œ œ & nœœœ G7
Dm
16
œ Dmœœœ #E˙ .
œœœ
#
#
œœ œ œ œ œœ œœœ œœ œ œ œ œœ œ # œ # œ œ œ œ & #œ #œ E7
&
E7/G
Am
F
E7
E7/G
Am
o
Am F Dm 7 E7 œ œ œ #œ œ œ œ œœœ œ œ œ œœœœ œ#œœœœ
A7
Dm
Am
### . ˙ . j ‰œ #œœœœ .
˙.
B
C A
2nd time D.S.
& ˙. o
Am /C
### ˙ & œ
Bm
E
œ˙
### œ œ. j œ˙ & AMaj7 # ## ˙ . &
Dm
œœ#œœœœ˙ E7
œ œ ˙
œœ œœœ ˙ . #œ A
#
œœ œœœ˙ . #œ Bm 7
.
œ nœ ˙ . œ#œœ œ A
j ˙. ‰œ œ œ œ #œ D
œ œ. œ J œ˙
œœ œnœœ #œ œ œ#œœœœ
j ˙. ‰œ n œ #œœ œ A
# F
Bm
E7
œ œ #œ œ œ ˙ œ#œœ
A
### & œ
A/C
œ . œ#œœœœ ˙ Bm
A7
### œ œ œ ˙ . &
AMaj7
Dm
˙. ˙.
2.
.. ˙ . œ œ#œ œ œ 17
1.
œ ˙.
A
˙. ˙.
Ó
Œ
Polka du Bas Ber r y TRACK
9
French Traditional
G # 2 œœ A . Gœ œ œ œ œ œ œ œDœ . œ œ œœ œ œ œ œœ & 4 œ
G 1.
G 2.
# œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œœ. œ œ . & œ D
B G
# . œ œ œœœœ œœœœ œ œ œ œ œbœ œ œ œ œœœœ œœ & . D
G
Bass: G B C C s
C C D G . œ œ œ # œ œ œ # œ œœœœœ n. œ . œ œœ . . œ œ œœœœ & Bass: G B C C s
G7 C œ œ œ œ œœœœ œ œœ œ œœœœœ œ & œ œ œœœœ
C
C
D
1. 2. œœœœœ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ & G7
18
Fandango do Ribatejo TRACK
10 Portugal Traditional G
G
D7
G
1. 2. œœœœœ # 3 œ A . m œ œ œ œ œ œ œ # œ œ œ . œœœ œ œ . œ & 4œ . œœ 3
B
G
G
D7
1. 2. œ œ œ œœ # . œœœœ œ œ œ œ œœœœ œ .. œ œ#œ œ & . œ 3
3
C
A
A
E7
A
1. 2. œœœœœ ### .m œ œ œ œ œ œ œ # œ œ œ œœ œ œ œ .. œ & . œ œ 3
D
A
A 1.
E
A 2.
œ œ œœœœœ. œ œ ### . œœœœ œ œ œ œ œ œ œ . & . œœœœ œ 3
E
3
Em
Em 1.
B
Em 2.
# . œœœœœ œ œ #œ œ#œœœœœ œ œ œ . œ œ œ #œ . & .
F
Em Em
Em
to
A
# . œœœœ œ œ œœ#œœ œ#œœœœœ 1.œ œ œ . 2.œ œ . & . œ B7
3
19
Glastonbur y Tor
TRACK
11 A
©Daniel Newton, 1984
Gm
F
Gm
B
b
F
G sus Gm
Gm
& b 22 .. œ œœœ œœ œœœœœ œœ œ œœœœœ ˙ B
Gm
C
Gm
B
b
œ œœ..
D sus
Cm
œ œœ œœœ bœ œ ˙ œ œ œ œ œ œ & b œœœ
Gm
F
Gm
F/A
B
b
F
œ œœ
Gm
& b œ œ œ œœ œœœœœ œœ œ œœœœœ ˙ C
G
C
G
B
b
œœ œœœ œ œ œ œ œ œ œ œ ˙ & b œœnœœ D
B
b
F
Gm
D
Gm
& b .. œ œ œ œœ œœœœœ œœ œœœ œ œ ˙
21
G sus
G
œœ
D sus
C
D
D
œ œœ F
1.
2.
œ œ .. œ œ ..
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22
Polka Deux Chevaux TRACK
13
Dan Newton
# 4 œœœD7˙ . & 4 Intro
3
œœ b œœœ # œ b nœœœ
3
œœœw
A G
œ˙
œœœ#œœœœœœ 3
œœœ#œœœœœœœœœœœ. œ J
# œœ œ œœœœœ#œœœœœœD7œœ œ œ˙ & œ œœ 3
3
3
G # œœœ#œ œœœœœœœœœœœœ œœ#œ œœœœœœ œ œœœœœ#œ œœœœ œ œ œ œ # & œ œœ 3
3
C
&
# #œœœœ #˙
3
G œœœœœœœœGœœ œœœ D7 œ #œ œœ œœ œœœ œœœnœœ œ œ œ
C
G
3rd time to
C
G D7 1. 2. œ œ œ œ œ œ œ # œ œœœœ#œœœœœ œ œ œ œ . . œœ #œ & œœœœ œœœœœœ C
D œ ## . œ nœ#œ œœ m m œ œ œ œ œœ # n œ # œ œ œ œ œ œ œ # œ#œœ œ œœ & . œ œ#œœœ
B A7
D
3
A7
3
A7 1.
#
D
F 7
Bm
A
œœnœœœ œ ## œ n œ # œ œ œ œ œ # œ œ œ œœ # n œ # œ œ # œ œœœ˙ & œ œ#œœœ 3
3
3
24
..
G
Em
D
A7
D
## 2.œ œœœœœœœœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œœ œ œ œœ œ œ œ & 3
G
3
3
Em
3
3
D
3
3
A7
3
3
3
D
to
A
## œœœœœœœœœœ œœœœœœ œ#œnœ œœ œœœœ˙ œ œœœ œ & 3
3
3
B7
3
3
3
3
C G
n# œœœœ
3
Em
B7
Em
# œ œ & #œ #œnœœœœ œœœ#œœœœœ œ œœ œ œ œ # œ œ#œœ œ œ œ œ œ œ B7
Em
B7
Em
# œ œ & #œ #œnœœœœ œœœ#œœœœœ œ œœœ#œ œ œ œbœ œ#œœ √ B7
Em
B7
Em
B7
Em
A7
D7
# œ œ & #œ #œnœœœœ œœœ#œœœœœ œ œœ œ œ œ # œ œ#œœ œ œ œ œ œ œ # œ œ œœœ & #œ #œnœœœœ œœœ#œœœœœ # œ œ#œœ#œœœœ œ œœœœ 3
3
&
# ˙ .
3
œœœ˙ .
œ œ#œnœ œ#œ œ œœ # œ
25
to
3
œœœœ
A
œ
J ulius et Mar gar et TRACK
15
Tango Dan Newton
A Fm
G7
Cm
Fm
bb 4 j œœœœ œœœ.œœ b & 4œ œœœœœœ˙ ‰œnœ w G7
Cm
C7
b œœœnœ. & bb ‰œ œœw J
Fm
b
A 7
G7
j œœœœ ˙ ‰œ œœ˙˙
B
˙˙ œ œ œ œ & Jœœ J
j nœœœœ ‰œ œœ
G7
Cm
No Ch ord
œ nœ œœ œœ œœ œ œ nnn œ
nœœœœœœ ˙˙ ˙ ˙
G7
˙˙ œ œ œ œ &J œ œ J Dm
˙˙ ˙
Cm
C œ œ œ ˙˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ J J J
Dm
G
j œœbœœœœœœœ˙ ‰œ œ
Cm
b & bb w
j œœœœ ‰œ œœœœœœ˙
3
œ œ œ œ œœ œ œ ‰ J œœ
Am
3
3
œ œ œ œœ œ ˙˙ .. œ œ œ œ œ œ œ œ Œ J
G7
C
F
œ œ œ ˙˙ b œ œ b œ n œ œ œ œ œ œ œ J J Œœ
C7
3
œ œ œ œ œœœœ Dm œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œœ œ œ. œ˙ J J Œ & J G7
C
D7
˙ œœ œœœœ œ & ‰J C
G7
C
G7
˙
No Chord
No Chord
C
2nd time to
B
1st ending
A
B
2nd ending
G7
3. œ œ œ œœœœbœœœ œ œ œœœœœ œ œ Œ#U˙˙˙ bœ 1.
2.
3
Form: A
B
B
3rd ending
28
Foxy Cumbia TRACK
16
Traditional Chicken Scratch
G D7 G A D7 œ œ œ œ œ œœ # 4 œœ œ . œ œ œ œ œ œ œ œ œ œ œ œ . œ & 4 œœ œœ œ
D7
G
# œœ œœœœœ 1. œœœœœ œœœœ œœœœ. 2. œœ œ . œœ & œ œœ D7
G
B
&
#D7œœ
G
D7
G
œœœœœœœœ œ œœ œ œ œ œ œ # œ œ œ œ œ œ ‰ œ œ œ œ œ œ œœ œ J
# œœœœœœœœD7œœ œœ œœ œœ œœ #œ Gœœœœœœœœ œ œ œ œ œ & 3 times
G C D7 œ œ œ œ œœœ . .. œ # œœœœœœ œ œ œ œ œ œ # .. œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ Œ œŒ &
G œ œ œ . # œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ Œ œ œ œŒ & D7
œ œ œ œœ œ J
œ œ œ œœ œ Œ .. J 3 times
Left Hand Patterns:
?
œœœ œ œœ œ œ chord
bass
œ œ Œ œ Œ œ œ œ chord
chord
bass
bass
bass
bass
29
bass
chord
bass
bass
A7/E
Dm
B
b
A7
& bœ œœ#œ œ œ œœœœœœ œœœœœœ #œ œœ œœ œ Dm/D
& b
/C
#
/C
/B6
Dm/B
/A
A7
œ œ œ#œœœœ œ œ # œ œ œ œ œ œ#œœœœœ #œ #œœœ Dm
B
b
A7
& bœ œœ#œ œ œ œœœœœœ œœœœœœ #œ œœ œœ œ C Dm
& b
F
2.
F
œœ#œ .. œ œ œœ œ œ ‰ ‰ œ J J #œœœ œœ œ œ ˙.
Gm 7
& b
1.
˙.
C7
& b ˙ . C7
C7
˙.
A
o
b˙ .
Gm7
œœ D7/F
#
F
A7
C7
& b œ œœœ ˙
ø
œ œœœ n˙
Gm 7
C7
Dm
œœ ˙ .
b
˙.
F
#o
˙
#o
C7
œ ˙.
˙.
F
œ
œœ œ
Gm
Gm7
œœœ D7
œb œbœ œ œ ˙ œ F
1.
2.
œœ œ œ œ .. ˙ 31
G
Gm7
F
œ ˙
˙ ˙.
Am7
œœ˙ .
œ ˙. B m
˙.
F
F
˙ œ œœœ ˙
œ œ œ #˙ b &
Gm7
C7
#o
œ to
A
A
D.S.
œ œ œ ‰J œ#œ
Gather ing Moonbeams TRACK
18
©Dan Newton
F
Dm
& b 22 œ œ nœ .. ˙
Gm
C
F
œœœ. œœœœ œœœ ˙ G m7
F 1.
œœœ œœœ œ œœ ˙ œ œ œ œœ & b œœ Gm
F
w b & 2.
C7
B
Am
b
F
D7
C
E7 Am
B
o
E7
B
o
E7
Am
˙
Am
D7
œœœœ G m7
Dm
Œœ œ œœ œœœ Œœ œœœœœ ˙
Am
Dm
C7
.. ‰œ œ œ œ J F
#o
˙
F7
E7
b˙
œœœ
G7
C7
œœœ Œ œ œ œ œœœ œœœ bœ œ œ bœ œ˙ b &
F
& b ˙
F
Dm
Gm
C7
œœ œ œœœ. œœœ
F
Dm
œœœ. œœœœ œ œ ˙ Dm
Gm
C7
F
œ œ ˙ œœ œ œ œ œ œœ & b
32
Gm
b
B m
˙
F
C7
C
Œ œ œ nœ
About the Author Dan “Daddy Squeeze” Newton is a Nebraska native who currently resides in St Paul, MN. He spends his time entertaining audiences of all ages at both concerts and dances in a wide variety of venues. Dan also does studio work and has produced over 20 albums of accordionoriented music. He has appeared on recordings by The Proclaimers, Son Volt, Prudence Johnson, Garrison Keillor, Peter Ostroushko, Pat Donohue, and many others. Dan has been a frequent guest on Garrison Keillor’s A Prairie Home Companion, and has performed solo, or with the Cafe Accordion Orchestra across the US and in Europe. This is his second book for Mel Bay Publications. Dan Newton / Elizabeth Rowan Daddy Squeeze Music PO Box 50622 Minneapolis, MN 55405 651-488-1174 www.daddysqueeze.com
[email protected]
34
NOTES
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