THE ARTISTRY SERIES

This series came into being in response to the demand of the young student-musician who wishes for some opportunity to study the solos of the many jazz greats. From it he can naturally gain technically. And at the same time have more pleasurable hours of practice than those afforded by the antiquated scale-book studies. Also, with the inclusion of the basic melody and its chord symbols, he is given an opportunity for theoretical study. Thus, many new doors are opened.

It is hoped that in this series we are fulfilling this wish and that he, in his climb to musical success, will enjoy many profitable hours through its usage.

FOREWORD

 I hope that this book will be able to show the many interested accordionists that the accordion can be a very successful jazz instrument, and that it is an instrument in which many interwoven lines or parts may be played; therefore the possibilites are unlimited.

One of the important factors in playing these solos is that you do not use the basses (left hand) for continuous rhythmic accompaniment; instead, they are used as a bass line (part) generally consisting of roots, played mainly in the counter and fundamental rows. The rhythm must be felt and implied. If more rhythm is desired I would suggest playing those arrangements with rhythm instruments such as bass and drums.

When improvising, the occasional use of roots with your left hand will help you feel the chord changes and also give you a rhythmic lift. Try to think of your right hand as being a horn or horns. A great deal of the time I consider my right hand as a single horn playing just one line. Incidentally, when you are playing a series of chords with your right hand, sustaining the basses can be very effective.

You should never open or close the bellows while sustaining a whole note or in the middle of a phrase. The bellows may be compared to the lungs of a wind instrumentalist. At the end of each phrase a breath is taken and the direction of the bellows is reversed.

I believe you will find new ideas and freedom to be gained by playing the accordion in this manner.

-Pete Jolly

ABOUT PETE JOLLY

Pete Jolly’s study of the accordion commenced three years after he was born; June 5, 1932, in New Haven, Conn. Along with his father’s instruction and that of Joe Biviano of the New York Accordion Center, Pete widened his musical interests to take in the piano.

Pete now records exclusively for R. C. A. Victor. Is a featured member of the Shorty Rogers Giants and is generally recognized as one of the leading exponents of modern jazz on both piano and accordion.

The publisher

FOREWORD

This study, PROGRESSIVE IDEAS FOR POP PLAYING FOR ACCORDION is especially designed to benefit the advanced student who is about to embark on a professional career, or one who has the ability to read and play music in the modern idiom, or any student who is desirous of creating a style of his own and develop his talents in the matter of improvisation. Students such as these may, to coin a term, be called «In-betweens» – those who have learned the general technical problems but who seek suggestions and ideas in the ultra modern idiom, in order to increase their knowledge of accordion technique – especially in the field of popular music.

The student who has more so-called «feel», but has less technique , will find that , by transposing the exercises in this book to various keys, his technique will gradually improve and his playing become more enhanced.

Anthony Mecca, an accomplished performer and instructor, who is thoroughly experienced in the execution of modern music has, herein, divulged some of his secrets and ideas in laying a solid foundation to the art of improvising and creating original introductions, modulations, turn-arounds, endings, etc.

In conclusion, we wish to state that we strongly and sincerely recommend this study for the advanced student, the embryonic professional or, for that matter, any aspiring accordionist with a certain amount of training ability – one who desires to become proficient in mastering the modern idiom.

PAGANI & BRO. INC. PUBLISHERS

ABOUT TONY MECCA . . . . . . .

Anthony Mecca, native of Waterbury, Conn., came by his love for the accordion through his brother Dominick who was his first instructor when a mere youngster.

Decision to make the accordion his career, brought him to New York where he furthered and completed his studies with Joe Biviano, well known accordion virtuoso and instructor.
After his discharge from the army in 1946, Tony Mecca turned his attention to professional playing and soon was in great demand for radio and television work and recordings. He has worked under such famous conductors as Leonard Bernstein, Alfredo Antonini and Raymond Scott and has recorded for practically all well known record companies.

It is this back ground of study and experience that enables him to write this important and authoritative accordion work, which will soon be followed by other works in the popular field.

THE PUBLISHERS

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