1 Accordion: Book One

Iarts o an Accordion
2 Accordion: Book One 3 Accordion: Book One
1able o contents
Introduction....................................................................................................
Iarts o an Accordion......................................................................................
Lesson 1: 1he keyboard, and introduction to Sight Reading - c Scale .............
Lesson 2: Keyboard Drills: G Scale, I Scale.....................................................
Lesson 3: 1he buttons, an introduction ..........................................................
Lesson 4: circle o chords--Button drills: c-chords, G-chords, I-chords......
Lesson 5: Simbiadek, right hand.....................................................................
Lesson 6: Simbiadek, with chords...................................................................
Lesson : Listen children, Hear the Shepherd, melody ...................................
Lesson 8: Listen children, with chords ...........................................................
Lesson 9: Yahshua, my Sovereign King, right hand .......................................
Lesson 10: Yahshua, my Sovereign King, with chords.....................................
Lesson 11: Introducing minor chords: (Relative minor o c) ...........................
Lesson 12: Relative minor o G.......................................................................
Lesson 13: Relative minor o I: (and
th
chords) .............................................
Lesson 14: We Are Little children, with A-minor, and ths ...........................
Lesson 15: Introducing Key o D: the D-scale.................................................
Lesson 16: David the King..............................................................................
Lesson 1: Introducing the Key o A...............................................................
Lesson 18: Sunnower -Variation A .................................................................
Lesson 19: Ireparation Ior Wisdom ............................................................
: Wisdom........................................................................................
Lesson 20: Ireparation Ior 1iny Iurry Spider ..............................................
: 1iny Iurry Spider..........................................................................
Lesson 21: Wisdom Duet................................................................................
Lesson 22: Ireparation Ior Busy Beavers .....................................................
: Busy Beavers.................................................................................
Lesson 23: Ireparation Ior Autumn Leaves..................................................
: Autumn Leaves.............................................................................
Lesson 24: Busy Beavers Duet.........................................................................
Lesson 25: Ireparation Ior 1he Sun.............................................................
2 Accordion: Book One 3 Accordion: Book One
: 1he Sun........................................................................................
Lesson 26: Ireparation Ior Spring cleaning.................................................
: Spring cleaning............................................................................
Lesson 2: Autumn Leaves Duet.....................................................................
Lesson 28: Ireparation Ior Hold Your Horses .............................................
: Hold Your Horses.........................................................................
Lesson 29: Ireparation Ior clockwork .........................................................
: clockwork ....................................................................................
Lesson 30: Ireparation Ior ]ig On A Rolling Sea .........................................
: ]ig On A Rolling Sea ....................................................................
Lesson 31: Ireparation Ior mud Iuddle.......................................................
: mud Iuddle..................................................................................
Lesson 32: Ireparation Ior Leap Like calves ................................................
: Leap Like calves ...........................................................................
Lesson 33: Ireparation Ior As 1he mountains .............................................
: As 1he mountains ........................................................................
Lesson 34: Ireparation Ior Sing 1o Our King Variation ..............................
: Sing 1o Our King-Variation.........................................................
Lesson 35: Ireparation Ior Stony creek .......................................................
: Stony creek ..................................................................................
Lesson 36: Ireparation Ior come Let Us Gather..........................................
: come Let Us Gather .....................................................................
Lesson 3: Ireparation Ior majestic View ....................................................
: majestic View...............................................................................
Lesson 38: Ireparation Ior Late Summer Rain .............................................
: Late Summer Rain ........................................................................
Lesson 39: Hora Aggadati...............................................................................
Lesson 40: 1he chords 1hat Surround I ........................................................
: Away Went 1he Leaves ................................................................
Lesson 41: 1he chords 1hat Surround Dm.....................................................
: We Will Go Out With joy, Right Hand.......................................
: We Will Go Out With ]oy, Both Hand .......................................
4 Accordion: Book One 5 Accordion: Book One
Introduction
Isnt it incredible that young children o our
or nve years o age can speak their own language
with such ease and nuency How easily they
pick up new words and phrases and add them
to the extensive vocabulary they have already
learned and stored. 1hey can even use them
over and over in the most creative and diverse
ways. Diicult dialects and accents are
copied identically
with complete
ease. children
in Sus, Irance,
or example,
can understand
and speak up
to three or our
dierent lan-
guages without
even having
studied them.
1he children are
totally unaware
that they have per-
ormed such a great
eat. Irom the time
every child is born they
are immersed in the sounds
created by the people around them. Simply by
participating in daily lie, every child is sure to
learn how to speak their mother tongue. 1he
only variable in the process o acquiring these
skills is the speed at which each child learns.
In the same way, to varying degrees and
at varying speeds (according to a childs giting)
musicality can be nurtured in every child, given
the right conditions. 1his is what we want to
establish in our 4-6 year olds. 1hey need a oun-
dation so solidly paced within them during these
years, that as they grow older it will never depart
rom them. Hence, they must learn the discipline
o music and have an upright spirit to accompany
it. Iitch, singing in tune and in key, keeping the
beat, learning various rhythms, simple dance
steps, etc., are all a part o teaching our children
the wonderul language o music that will set us
apart as a people.
INVIRONmINT
In the same way that a
childs environment
is nlled with the
stimulation that
causes them
to speak, so
their environ-
ment should
be nlled with
the music and
instruments that
you want the child
to learn. We have
the perect environ-
ment: Our children
are surrounded by mu-
sic. Our music is a natural
and essential part o our daily
lie in our worship. Our minchot,
gatherings, and celebrations are a natural source
o motivation and exposure to our music and
culture as a distinct people. Since our children
are around advanced musicians, they are con-
tinually encouraged to achieve the standard o
skil and the spirit o the music that we want. In
communities where there is a lack o spiritually-
mature skilled musicians, it may be helpul to
have recordings o more experienced musicians
made available or our children to listen to. As
more and more children in each household learn
the dierent instruments and music that we have
written ourselves, it would be only natural or
4 Accordion: Book One 5 Accordion: Book One
younger children to ollow suit. 1hey learn rom
imitating and by example-so it is important
to have good examples to ollow. Repetition is
also important. Ilaying the tapes over and over
or listening to another child practicing over and
over is excellent, so long as they are practicing
correctly. In the right environment, a child can
absorb all you want him to learn. 1his is the
beginning o their training.
PRIPARING THI CHILD'8 HIART
In order or our children to play music
with the right spirit (the spirit that King Da-
vid had) their hearts must be upright (not up
wrong). A child must know that they are being
raised as priests to serve in our Iathers house,
His temple, to worship Him with music. So,
beore a child can begin having lessons on any
instrument the childs spirit must be under con-
trol. He needs to desire to be obedient and to
be pleasing to his parents. In order to be able to
learn, his attention must be gained. He should
be able to sit still and to concentrate or at least
a short period o time. A normal lesson would
be between 20 and 30 minutes. Since learning
an instrument requires a new type o discipline
or the child, it would be developed sunciently
beore beginning.
THI PARINT8' ROLI
1he parents have many more hours to
spend with the child than the music teacher.
1hey must understand the teachers instructions
and each time he practices, the parent should
have at least the essential elements that the child
is practicing. Without reinorcement rom the
parents the childs progress on an instrument will
be immeasurably impaired.
PO8ITIVI AND PATIINT PIR8IVIRANCI
1he accordion is a dincult instrument.
consider the labor beore letting the child have
accordion lessons. He must learn to coordinate
the bellows, the keyboard and the buttons. He
will also learn to read music in this course o
study.
Once begun, dont let the child quit his
lessons. Dont give in to him when he says, ac-
cordion is too hard. I want to play the drum.
You can encourage your child in the little prog-
ress he makes. I he enjoys your input, then he
will be diligent. He needs to love to learn. In-
couragement and an attitude o joy will go a long
ways.
I you cant have him spend hour daily,
practicing, then have him do one drill or exercise
or 10 minutes. Diligence is essential.
One sister in the Body never considered
hersel gited as a child. She practiced diligently
and became very skilled. She can read almost
any music set in ront o her, and she plays many
instruments. Shes a nrm believer in diligent
practice.
1his book will give the pupil a chance to
practice some o the songs that we actually use in
celebration. 1his will encourage the child great-
ly, knowing that hes adding to his repertoire
many o our dance songs.

Beginning with the introduction o the key
o A, many o the exercises in preparation or the
violin book songs are harmonies. 1he student can
play these harmonies with the violin students.
1he harmonies give the accordion student a
chance to play with others.
6 Accordion: Book One 7 Accordion: Book One
PROPIR ACCORDION PO8TURI

Sit upright, not slouched when playing. Ilay sitting down so that at least one oot is planted
nrmly on the noor, not on tiptoe or dangling in the air. Sit on a lower chair or use a ootrest i need
be. When standing maintain a nrm upright posture, no slouching or hunching. Be sure shoulder
straps are the correct size, well padded, in good condition and properly adjusted - i they are loose
and slipping o your shoulders you will get shoulder pain rom unconsciously shrugging them back
into place.
Iroper physical care is VIRY important with an accordion. Ihysical injuries may be sustained
not only during the exercise, but also beore or ater completing the exercise.
Whenever liting the accordion, use a nat back and lit with the legs. While an accordion may
only weigh 20-30 lbs., that amount o weight is suncient to cause back or neck injury i perormed
when the body is out o alignment. Whenever the body is out o alignment, there is greater possibil-
ity or injury. Alternate which hand carries the accordion. 1his will help your body to stay in proper
alignment.
make sure the student is practicing these things during practice and instruction time.
6 Accordion: Book One 7 Accordion: Book One
Iesson 1
THI KIYBOARD
1his is the keyboard. 1he average accordion has 41 keys, some more, some less. Iook at the
pattern on the keyboard. Irom let to right you have a set o 3 black keys then 2 black keys, 3 again
then 2. Do you see other patterns Notice the keys alternate white, black, white, black, white oops.
White white 1his is called a hal step. Irom B to c is a hal step. Also rom I to I.
Irom c to c, eight steps, is called an Octave. Irom D to D is an octave. In act, i you move
eight steps away rom any note on the keyboard it is an octave.
In this picture you see a hand on the
keyboard. Do you see how the nngers are
lettered Your thumb belongs on your home
key, c: Your pointer on D. I you learn to
keep your nngers in their proper places you
will have learned good keyboard technique:
In this picture we see a hand, with numbers on
it. 1hese numbers will be used or the student to know
which nngers are used to play certain keys. When you see
a piece o notation that has numbers written under it, you
will know to play those notes with specinc nngers. 1his is
VIRY important. When the student practice make sure
they ollow these techniques. It will teach the student how
to nuidly move their hand along the keyboard.
middle c
8 Accordion: Book One 9 Accordion: Book One
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8IGHT-RIADING - INTRODUCTION
1he Sta
1his is the musical sta. It has nve lines and our spaces, and a cle sign.
1he our spaces.
1he nve lines.
1he cle sign.
Additional lines and spaces may be created by adding Iedger Iines. Iines set above or below
the sta.
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Ledger lines above the staff.
Ledger lines below the staff.
Spaces above the staff.
Spaces below the staff.
1he notes are named ater the nrst seven letters o the alphabet: A,B,c,D,I,I,G. Notes can
be written right on the lines, or in the spaces. 1hese examples show how the notes are written on
the sta. We will learn to read these notes later on.
Introduction
1his is a basic explanation o how to read music. 1his material should be covered more explic-
itly in the rhythm classes the children participate in.
8 Accordion: Book One 9 Accordion: Book One
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A

A
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G

B
NOTI8 WRITTIN ON LINI8
NOTI8 WRITTIN IN 8PACI8
ACCIDINTAL8 AND KIY 8IGNATURI8
#
~ sharp- Raises the note a hal step (semitone).
B ~ nat- Iowers the note a hal step (semitone).
n ~ Natural- Iowers a sharp note or raises a nat note a hal step (semitone).
A sharp, nat, or natural that is not placed in the key signature, but is placed beore a note is
called an accidental. An accidental alters the pitch o its note, and all the repetitions o that note
within the same measure, unless it is canceled by another accidental.
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One or more sharps
or nats next to the cle
indicate that those notes
are always sharp or nat
throughout the sta, unless
altered by accidentals.
10 Accordion: Book One 11 Accordion: Book One
C - 8CALI
1he proper nngering up and down the c-scale: 1he nngers are numbered in illustration 1-B.
1-I has the numbers o the nngers that belong on each note. make a tunnel with your 3
rd
nnger so
that your thumb(=1) can pass underneath. When you go
down the scale, down to your thumb, the 3
rd
nnger can hop
over the thumb, providing you with just enough nngers
to complete the scale. Iractice until you can play the scale
smoothly.
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1 2 3 1 2 3 4 5 4 3 2 1 3 2 1
Accordion 5

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[Title]
[Composer]
~ 4 beats
Count- 1-2-3-4
Count 1-2 3-4
~ 2 beats
~ 1 beat
~ 1/2 beat
~ 1/4 beat
1 2 3 4
1 & 2 & 3 & 4 &
1 e & ah 2 e & ah 3 e & ah 4 e & ah
music notes, when arranged on a sta, all
have a value in time. 1he whole note is worth 4
beats. 1he hal note 2 beats. 1he quarter beat 1
beat. 1he eight note 1/2 beat, this means there
are 2 eight notes in a beat. 1 s 2 s 3 s 4 s.
1he sixteenth note is even shorter: 1/4 o a beat:
1 e s ah 2 e s ah 3 e s ah 4 e s ah. All o this
written on the sta lines will tell you how the
song sounds:
1he rest symbols mark a time where you
play no sound rom the instrument, but you still
have to keep track o it in time.
1his will all come together with the
rhythm class the students will be taking. Iearn-
ing how to watch the notes as you play them is
the essence o sight reading.
NOTI VALUI8
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Accordion
Accordion 1
Accordion 2
Accordion 3
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[Title]
[Composer]
~
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Rests

Do not move on to the next lesson until the student has mastered each lesson. When the stu-
dent has mastered the c - Scale you will know he is ready to move to lesson 2...
10 Accordion: Book One 11 Accordion: Book One
Iesson 2
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[Title]
[Composer]
G - 8CALI
1 2 3 1 2 3 4 5 4 3 2 1 3 2 1
We do not use a sharp sign here because there is one
already in the key signature.
In this scale you will notice that
there is a black key played. 1he di-
erent scales use dierent numbers o
black and white keys. When you see
a sharp or nat sign in the key signa-
ture you will know that those notes
should always be played nat or sharp.
On an accordion it is very nice be-
cause all o your nat and sharp notes
will be played on black keys. Other
instruments this is not as easy to see.
I - 8CALI
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1 2 3 4 2 3 4 5 4 3 2 4 3 2 1
1his scale has a dierent nn-
gering than the other two. You will
have to practice this one careully.
Once again master these scales
with the appropriate nngering. 1his
will be invaluable to you as a musician
in the body.
Some o our most common
songs are based on these three scales.
master them:
Watch this one. It has a different ngering!
12 Accordion: Book One 13 Accordion: Book One
DRILL IN C - 8CALI
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Accordion

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2-E(1)
[Composer]
GITTING UP IN THI mORNING
Watch the beats and follow your ngering.
Count 1-2-3-4 1-2-3-4 1-2 3-4 1-2 3-4 1 - 2 - 3 - 4
1 - 2 - 3 - 4 1 - 2 - 3-4 1 - 2 3-4 1 - 2 - 3 - 4 1-2-3-4
IINGIR 1 1 2 2 3 3 4 4 4 4
5 5 5 5 4 3 2 3 2 1 1 2 3 4 5
mORNING WALK
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Count 1 - 2 - 3 - 4 1 - 2 - 3 - 4 1 - 2 3-4 1 - 2 3 - 4
1 - 2 - 3 - 4 1 - 2 - 3 - 4 1 - 2 3 - 4 1 - 2 - 3 - 4
IINGIR 1 2 3 4 5 4 3 2 1 2 1 2
1 2 3 4 5 5 5 5 5 4 3 2 1 1 1 1
DRILL IN G - 8CALI
IVINING WALK
Count 1 - 2 3 - 4 1 - 2 - 3 - 4 1 - 2 3 - 4 1 - 2 - 3 - 4 1 - 2 3 - 4 1 - 2 3 - 4
1 - 2 - 3 - 4 1 - 2 - 3 - 4 1 - 2 - 3 - 4 1 - 2 - 3 - 4 1 - 2 3 - 4 1 - 2 - 3 - 4
IINGIR 1 1 2 2 2 2 3 3 2 1 2
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3 1 1 1 1 2 3 4 5 4 3 2 1 3 2 1
This drill introduces a new nger crossing. To play the F# in measure 4 cross over with your index nger.
12 Accordion: Book One 13 Accordion: Book One
Iesson 3
THI BUTTON8
counter Bass
main or Bass Note
major chord
minor chord
Seventh chord
Diminished chord
BILLOW8
K
N
I
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C
H
I
N
I you look closely at the above illustration, you will notice 6 vertical rows. Starting rom the top,
counter-bass row, in case you want to do a scale with the buttons. 1he main note row, which is the
bass note o the chord you want to make. 1he third row is the rest o the notes o the chord, (major
chords). 1he ourth row is the minor row, the nth row are the seventh chords. And the sixth row are
the diminished chords, which tend to be used in most modern music in the world. most o the time
we will use the majors, minors, and the seventh chords.
1. With your teachers help, nnd the c bass note. It would have either a cut stone in it or an
indentation. Iet your teacher help you put your 3
rd
nnger o your let hand on the c low-note. Iut
your index nnger on the major button, next to and slightly up on a slant. 1he slant makes the
buttons easy to use. Iush both together. You have your ull c-chord:.
2. Now alternately press the low note and the major button, making a rhythm. move your third
nnger up vertically to the next low note button. make your index nnger be in the same position, the
next row, slightly to an upward slant, as you did beore with the c-chord. Ilay both together. You
have a complete G-chord:
3. Iress these two buttons in an alternate ashion to produce a rhythm. You have the nrst two
chords o Simbiadek:
4. Iind c Iow-note once again with your 3
rd
nnger. Iass over it and down vertically to the I-Iow
note. Iind with your index nnger the same row o majors, next to the I-low note, slightly up at a
slant. Ilay them together. You have a complete I-chord:
5. Alternately press both the low note and the major chord button to make a rhythm. You have
all the chords in Simbiadek:. Iractice with your teacher to switch chords easily. Iractice this at home.
14 Accordion: Book One 15 Accordion: Book One
Iesson 4
THI CIRCLI OI CHORD8
c
G
D
A
I
B
I
Am
Im
Bm
cm
Gm
Dm
Iook at the order o buttons on your accordion. Reer to the illustration in Iesson 3. I you took
the circle o chords and straightened it out in a line, you would have the order o buttons on the
accordion. 1here is a very good reason that the buttons are in this order. Say, or instance, that you
wanted to play Simbiadek. 1his song is in the key o c. 1he arrangement o buttons that matches
the circle o chords makes all the chords easily ound.
mark with an arrow, on your copy o the circle o 5ths and 4ths, c at the top o your circle.
circle I, and G along with the c. most likely, you will nnd all o these chords in a song in the key
o c with major chords. (Reer to the 3
rd
lesson.) counter-clockwise to the let is the subdominant
chord. 1he main chord being in the middle. 1he chord to the right, in a clockwise direction is the
dominant chord.
1.
Bb
I
#
Ib
c
#
G
#
I
#
m
c
#
m
G
#
m
Ibm
Bbm
Im
14 Accordion: Book One 15 Accordion: Book One
Next, mark the G with an arrow. 1he c to the let becomes your subdominant chord, and the D,
becomes your dominant chord. circle all three together. 1hese chords are most likely to be in your
song with major chords.
2.
3.
mark the D with an arrow, and continue on around the circle, identiying the major chords that
are most likely to appear in the song, in the key marked with an arrow.
BUTTON DRILL
Iractice these drills. You will see the name o the bass note to play and an X. 1he X represents
the major chord.
THI8I ARI THI CHORD8 TO 8ImI HA DIK.
THI8I ARI THI CHORD8 TO LI8TIN CHILDRIN.
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G x G x C x C x
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C x x F x x C x x F x x
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C x x F x x G x x G x x
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16 Accordion: Book One 17 Accordion: Book One
Iesson 5
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8ImI HA DIK - RIGHT HAND
1his is the melody or Simi Ha Dek. Using what you have learned in the previous exercises, read
this melody line. 1his will be done with the right hand. Iay attention to your nngering on this
song. 1his is the verse.
A song usually has two parts to it. A verse, and a chorus. 1he chorus is oten time repeated sev-
eral times throughout the song, wheras verses are not used that way.
In instrumental pieces there are not dierent words that make-up dierent verses, however the
pattern still applies. 1his the second part o the song Simi Ha Dek. 1he chorus.
Ior an advanced practice o this song, practice it in dierent octaves:
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LOWIR OCTAVI
UPPIR OCTAVI
Due to the scaling of the accordion, you cannot play the whole melody on the upper octave. You can only play the verse in
the upper octave. This can be used to add diversity to the song.
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Finger 5 5 4 3 3 5 5 4 3 3 4 4 3 2 2 3 4 3 2 1
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Finger 2 5 3 3 2 1 3 2 2 5 4 3 4 5
2 5 3 3 2 1 3 2 2 5 4 3 2 1
16 Accordion: Book One 17 Accordion: Book One
Iesson 6
8ImI HA DIK WITH CHORD8
As you start this lesson. Keep this in mind. Our chords will all on the beat: Do you remember
Iesson 4 Our Bass Note and major chord buttons bounce back and orth on the beat. Beat 1 is the
Bass Note. Beat 2 is the major chord. You may hear musicians talk about boom-chuck. 1his is the
oundation o a steady rhythm or dance music.
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18 Accordion: Book One 19 Accordion: Book One
Iesson
1his drill is to prepare you or playing the song Iisten children. You will need to use rest signs
and eighth notes.
DRILL WITH IIGHTH AND RI8T8
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LI8TIN CHILDRIN
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Iesson 8
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C x x F x x

C x x F x x

C x x x
LI8TIN CHILDRIN
1he xs are the major chord button. 1hese you will play twice. 1hey will hold the value o an
eighth note. 1he nrst note (c, I or G) is the Bass Note.