1

EASY GRAPHIC-METHOD

for the BRITISH CHROMATIC" ACCORDEON

with 10. 19 or 21 keys,

A n easy w a y to play direct from the printed page, without drudgery, and without learning music.

BY

C STEWART FORBES

3 / -N E T T .

Printed in Gt. Britain

a- 1l

i jl

THE

^ EASY GRAPHIC-METHOD

for the BRITISH CHROMATIC" ACCORDEON

with 19. 21 or 2 3 keys.

D E V I S E D BY

C S. FORBES

2

H O W T O H O L D T H E A C C O R D E O N

( 1 ) T H U M B - S T R A P M O D E L S . Sit d o w n on a c h a i r ; cross the left leg over the right, and rest the Melody side of the Accordeon on your left leg. P a s s the thumb of the right hand through the thumb strap. P a s s the left hand through the strap at the Bass side, just enough to reach the B a s s K e y s comfortably, and yet within easy reach of the A i r - V a l v e K e y .

H a v i n g settled yourself in an easy and comfortable position, your first action is to press the A i r - V a l v e K e y and draw out the bellows to about half their ful l extent. [.f^^

D o not allow the Be l lows to touch the clothing.

(2) S I N G L E - S T R A P M O D E L S . P a s s the shoulder strap round the right shoulder, not over the head. A l l other directions, just as above.

(3) D O U B L E S H O U L D E R - S T R A P M O D E L S . One strap goes over the right shoulder, and the other over the left shoulder. I f the Accordeon has to be played while standing, shoulder-straps are to be recommended. T h e y maintain the melody fingerboard more rigidly on the chest, and allow free right-hand action. Thumb-s t raps are unnecessary w i t h this method of suspension.

C A R E O F T H E A C C O R D E O N

D a m p is the chief enemy of the Accordeon. K e e p it a w a y from contact w i t h moisture, and deal promptly w i t h accidental dampness, if it occurs. W i p e the Accordeon after playing, and keep it as free f rom dust as you can. T h e place where the Accordeon is kept should be cool and dry.

Special care is required in winter. T o carry the A c c o r d e o n out of a w a r m room or hall , into a m u c h lower temperature, is unwise , because the w a r m , moist air inside the instrument condenses into drops of moisture, w h i c h very seriously affect the Reeds in course of time.

Never open or close the Bel lows unless the a i r -valve is open or a k e y depressed.

If repairs of any k i n d are needed, get them done by a specialist.

The i l l u S v . ation shows you a modern "Br i t i sh Chromat ic" 21-key 8-bass Accordeon, as seen by the eye of the player.

T H E MODERN CHROMATIC ACCORDEON

A n y make of "Br i t i sh Chromatic" Accordeon can be used with the F O R B E S G R A P H I C - M E T H O D , whether with 19 keys, 21 keys or 23 keys. T h e larger kinds of Accordeon, with 3 rows of treble keys, |Tiay also be used with t h i s . , M E T H O D .

It is well to note, however, that the instrument for which the M E T H O D ' i s s l l p i a l l y intended is the B L A C K - D O T D O U B L E -R A Y Accordeon, made by the world's leading Accordeon makers, Messrs H O H N E R , and obtainable from any good musicseller.

T h e choice of this Accordeon was made after exhaustive comparison of all the best-known makes and types. T h e arrangement of the Bass keys is the finest, and easiest.

Many arrangements of the Basses are in existence, and it w a s essential taselect one of them, because of the impossibility of writ­ing separate Bass Indicators for all the different arrangements to be found in 8-bass Accordeons. T h e one selected was the B L A C K -D O T D O U B L E - R A Y , which meets every requirement of the up-to-date Accordeonist. It is fitted throughout with separate steel reeds. T h e mechanical construction is the very best. T h e " touch" is beautifully free and light, and every reed, both in Bass and Treble sections, may be relied on to " speak" instantly, at the lightest touch of the finger. >'Vr

T h e buttons themselves are properly spaced, and with surfaces roomy enough to allow of neat "d6ubling" in fast passages.

T h e 8 Basses afford a surprising wealth of accompaniment chords, and are very well worth mastering, as this G R A P H I C -M E T H O D wil l prove. . .

T h e player should resolve, therefore, to acquire a B L A C K - D O T D O U B L E - R A Y Accordeon as soon as he conveniently can. A collection of favourite Accordeon tunes, written in the G R A P H I C - M E T H O D is already available.

Form an Accordeon Club.

THE ' ^ ^ m 4 * GRAPHIC-METHOD

for the BRITISH 21-key 8-bass ACCORDEOH

There is very little to learn. Go easily and carefully through the instructions - their meaning is very plain. Y o u haven't to worry about "sharps" or " f l a t s " or "c le f s " or "key-signatures;" no drudgery of scales and exercises without tune or meaning you just read over a page or so, pick up your Accordeon, and that very same hour you wil l find you can play from the printed page.

Y o u have eleven keys in the outer row of your instrument. Look at this diagram :

Y o u see there are eleven lines. These correspond to the eleven keys on your outer row. (The sixth (or middle) line is more distinct than the others, and in the D O U B L E - R A Y Accordeon the sixth,or middle, key is black.)

No. 1 key on your Acco^d€on is the one nearest your chin. No. 11 is the one furthest from the chin.

Similarly, No. 1 line on the Graph is the one nearest your chin (as the book lies on the table in front of you) and No. 11 is the one furth­est from the chin.

Again we have a picture of the Accordeon as held in playing position. T h i s time, you wil l ob­serve, the spaces between the lines are used. T h e y denote the inner row of keys. No. 1 of the inner row is No. 1 space on the Graph. No. 10 key of the inner row (the one furthest from your chin) is No. 10 space on the Graph.

it will at once be seen that if I write a "note" on any of the lines or spaces, you can play that note. Y o u count which key it represents, and see whether it is a space or a line, and place your finger on the corresponding key in the inner or outer row. Suppose it is the sixth outer key you have to play : -

6th from chin on outer row T I • i • i i 1 hat I S how it looks, and you place your finger on the

middle key of the outer row. But you don't know yet whether to press or draw the bellows.

T h e S H A P E of the note tells you.

Here you have a picture of the Accordeon as held in play­ing position on your knee. Y o u wil l see that the nearest key (No. 1) corresponds to No. 1 line on the Graph.

Press Draw

If written with the stem downwards, • like the letter " p , " you pre* s the bellows.

i f written with the stem upwa rds, J h ke the letter " d , " you draw the bellows.

Nothing could be simpler.

HOW OUTER ROW NOTES A R E SHOWN

11 Outer K e y s = 11 Lines

Outer R o w is written on L I N E S

HOW INNER ROW NOTES A R E SHOWN

10 Inner K e y s = 10 Spaces

jox Baas Indicators

This Line is

E X E R C I S E No. 1. Inner row

5th 6th

Inner R o w is written on S P A C E S

E X E R C I S E No. 1.

for Bass Indicators

Now take your Accordeon, and play your first exercise. T h e keys shown in the Graph are the 5th and 6th of the inner row, and you press the bellows for both notes.

( The notes are written in the spaces and with stems down, like the letter " p . " )

Press Press

E X E R C I S E No. 2.

A n d now you are ready to try a bit of a real tune. Here you have the first two " b a r s " of an old favourite. Y o u use the inner row only, and start on the 5th key, press.

Only three keys are needed-the 5th, 6th and 7th. W a t c h your press and (Jraw.

Dun - can

E X E R C I S E No. 2. Using Inner row only Gray cam here tae

Press Press Draw Press Draw Press Draw-

For Exerc ise No. 3 let us take the same two " b a r s " of "Duncan Gray," in four different positions on your keyboard.

E X E R C I S E No. 3.

Using Both Rows Using Outer Row only

Duncan Gray cam here tae woo Duncan Gray cam here tae woo_

Using Both Rows "Draw" notes only

Duncan Gray cam here tae woo_

Using Both Rows All "Press" except one

Duncan Gray cam here tae woo.

m Press Draw Dr Draw Draw Draw Draw Draw Draw • Press Draw

Press Press Press Press Press

Now take a pencil and copy out Exerc ise No. 3. Y o u wil l learn quickly the importance of the " u p " and " d o w n " stem positions if you write them out a few times. T h e n play over your own writing ten or twenty times, until you are completely familiar with the idea of press and draw

Also, ask yourself why the final note in each section is a plain white note, while the other s ix are all black.

Wri te out Exerc ise No. 3 here in pencil

S C A L E S O N B R I T I S H C H R O M A T I C A C C O R D E O N , tuned B / C

Nos. 5, 10 and 12 are very little used by Accordeonists

1 K E Y E

0-^

2 F 3 FHor Gt>

4 G

i » — ^

S G J } or Al> i j , J — 1

S A

..WL • ^

'

—

T H E "LENGTHS" OF T H E NOTES 9

HOW "TIME" IS SHOWN

Y o u don't have to be told that tunes are made up of notes of various lengths. W h a t you don't yet know is how these "lengths " are put down on paper. Wel l , there is no difficulty about it

T h i s G R A P H I C - M E T H O D builds up your knowledge of "note -va lues" by giving you examples selected from tunes familiar to you. Y o u know the comparative lengths; you know the differences between them but you don't know what they look like when written.

Ordinary notes are used in the G R A P H I C ' M E T H O D , but not so many of them as in ordinary music.

TIME AND ITS DIVISIONS

Tunes are divided into "sections" or "par ts " . Parts are divided into "bars" , and " b a r s " contain a f ixed number of "beats" . A single upright line drawn across the Graph is a Bar. A double upright line shows where a Part begins and ends. T w o dots placed beside a Double Bar show that the Part has to be repeated. ( A " P a r t " may contain 8 or 16 bars.)

T H E NOTES

Only four Notes are in common use in Accordeon music. T h e y can easily be understood if you compare them with money values, thus ; T h e longest one (the minim) J is equal to Twopence Next longest (the crotchet) J is equal to Penny Next (the quaver) • >s equal to Halfpenny Shortest (the semiquaver) is equal to Farthing

In ordinary music, two other notes are frequently written the Semibreve (equal to two minims, or "fourpence") and the demisemiquaver (equal to half a semiquaver, or "half a farthing.")

T h e Semibreve is not employed in this G R A P H I C - M E T H O D , because it has no stem, and therefore cannot indicate press or draw. T h e demisemiquaver is rarely met with, but is given in the following Tables of Values so that you may know it when you see it.

Minim Crotchet

Quaver Semiquaver

Demisemiquaver

Also written in groups like this

7 J-} } } } } }

V e r y soon you wil l be quite used to the different values, and to the fact that the values in any one bar, added together, make up the same value as in every other bar in the piece. Look again at the bit of " D u n c a n G r a y . " T h e first bar contains four crotchets (four notes at a penny each) and the second bar has two " penny" notes and one " twopenny" note--total fourpence each bar.

TIME SIGNS

n ^ ^ & 1 m m m m . 4 - , J . 1—' J

Common T i m e Sign Wal tz T i m e Sign S ix -E ight T i m e Sign Reel T i m e Sign 4 crotchets to the bar : 3 crotchets to the bar : 2 dotted crotchets to the bar : Same as Common Time ,

8 bars in the Part 16 bars to a Part 16 bars to a Part but played more rapidly.

11

T w o - F o u r T i m e Sign 2 crotchets to the bar :

16 bars to a Part.

Nine-Eight T i m e Sign 3 dotted crotchets to the bar;

8 bars to a Part.

It wil l be seen that T i m e is made very easy for students of the G R A P H I C - M E T H O D , because three separate devices are employed to help his eye to measure out the lengths of the notes :

1. ) T h e bars themselves are all of equal length, and 2. ) T h e y are divided by the Bass Indicators into two, three, four or six "beats ," all of equal size on the paper, and 3. ) Sol-fa notation, equally spaced out, is given above every bar.

A n d every tune used in the Tutor is chosen for its familiar character; you are bound to know them all, and should grasp the meaning of the notes very readily.

R E S T S

Where no melody has to be played, and consequently no notes are written in the Graph, we have to make up the Bars with signs called Rests. These are written in the form of small Notes, placed in a sloping position across the middle line of the Graph, thus : -

R E S T S

Rests Crotchet Quaver Semi-Rests Rests quaver

Rests

T h e stems of the Rests may be upwards or downwards, to indicate whether the bellows have to be drawn or pressed. There may be Bass Notes to play, although no Melody Notes are needed, and these Bass Notes may be on the press or the draw

12 Annie Laurie Transcribed by C. S. F O R B E S

Note: Two rests are used see bars 2 and 6 These are "draw"

In Bar No. 8. you have to play two notes together, with the right hand.

•A A Id' : - .d'

Bass Notes Bass Chords

A Id' : - .d'

|A

: 1 :- .n In : r .d

lA

: n . r

: a I : a : d Max-wel l ton braes are bon - nie

I d : d I Where ear

: - .n In : r

: a I ^ ly fa ' s

: d the s

: f

: a l a dew

d' : - .d' I r '

A n d it's

: - . r '

IC D D ID : A : D A lA : a I

there that A n

I -

; a : d id : d nie L a u - rie Gi 'ed me

: a l a : a her prom - ise

a true

: a l a : d Gi'ed

a me

: s : - .d' I r ' : r ' n' In' : - .r' : - .t I I .t :d' .1 :n

a I a her prom

In

a ise

: - . r

ID ID ID : C : D ID a : a I a : : c I : d

true W h i c h ne'er for-got w i l c be

: c la A n d for

c : c id : d bon - nie A n - nie

a : a |d L a u - rie 1

d .d : - .n In : r . , d d

D ID : A c : d la : a a : a

lay me down and dee

wad

13

T H E BASSES

T h e proper use of the Bass Chords has been greatly neglected by Accordeonists. T h e reason is simple. There has been no recognised standard Bass arrangement in the Accordeons themselves. Makers put in what Basses they, liked, with the result that no Tutor could possibly provide for their use by the learner.

T h e F O R B E S G R A P H I C - M E T H O D aims to teach the proper use of the 8 bass keys provided on the D O U B L E - R A Y Accordeon, and when correctly played, the resulting harmonies are astonishing. T h e Accordeon sounds like an Organ, as you can prove for yourself.

For certain quick tunes, no Basses are written. There are two reasons for this. 1st, they are fiddle tunes, and the Accordeon is sup­posed to resemble the violin. 2nd, the key in which they are written does not allow of harmonious bass accompaniment throughout the whole piece. So the basses are left out, because no bass is better than an occasional unbalanced grunt, as every musically-minded Accord­eonist wil l agree.

T h e fullest Bass Accompaniment is obtained when using the natural key of the outside row.

T h e "Bass Indicators" are written beneath the Melody Graph. T h e y are the first four letters of the alphabet A a , Bb, C c , D d . See " A n n i e L a u r i e " on page 13.

Here you see the eight Bass Buttons, lettered with their respective Bass Indicators. T h e Accordeon is again supposed to be seen in playing position on the knee, and " a " is the button nearest your chin on the outside row of Basses. " A " is the n e x t ; then follows " b , " and finally " B . " T h e inner row of Basses starts with " c , " then follow " C " " d " and " D . "

A l l you have to do is to place your finger on the button indicated by the letter below the Melody Graph. The Melody Note gives you the Press or Draw of the Bellows. It will be found that the Melody Note and the Bass Chord are in correct musical harmony.

T a k e it gently to begin with, because the left hand is a very unruly member with most people. It is quite untrained, and needs coaxing at the start. Practice, Practice, Practice and again practice, must be the motto for a while, until the fingers of the left hand automatic­ally go to the buttons called for by the Bass Indicators.

A s a general rule, basses should be crisply played, both for musical effect and to save wind. Don't be discouraged if you find it a bit hard at f i rs t ; the reward is worth the trouble. Y o u have only to hear an accordeonist play, say, " A n n i e L a u r i e " without basses, and follow up by playing it again with the correct basses, to realise the enormous gain in musical effect.

14 HARMONISING W I T H T H E T R E B L E K E Y S

T h e playing of harmonised notes in the treble (that is, with the right hand) along with accompaniment on the Basses adds immensely to the effect of the performance.

This is fully provided for in the F O R B E S G R A P H I C - M E T H O D as adapted to the 21-key 8-bass Double-Ray Accordeon. V e r y fine effects are obtainable.

A Treble Chord (or harmony) consists generally of only two notes. Three, and eyen four notes can be fingered at once by the right hand, as the following example shows, but for practical playing it is seldom necessary to write more than two notes for a Right H a n d Chord.

W h e n a Treble Chord has to be played, the notes forming the Chord are joined to the same stem, thus : -

G O D S A V E T H E K I N G 4 - note chord played by 2 fingers

A A

- 3rd Finger • 1 St Finger •

a a d and you have to press (or draw) both notes exactly together. If Bass Notes are called for by the Bass Indicators, printed directly beneath the Treble Chord, the left hand has to play them.

Beautiful effects result from causing the alto notes of the treble chord to move while the Melody note remains constant. For example :-

Y o u have to hold the "tied crotchet" (7th outside row) for two beats, while the alto part (6th inside followed by 6th outside) plays two notes of one beat each. Bass Fundamental " A " and Bass Chord " a " are held down by the left hand.

T h i s device is frequently employed in slow tunes of the more advanced type, and yields very pleasing harmonies.

A dot placed after a note J -or D O T T E D NOTES 15

makes it half as long again. It amounts to this, that the dotted note borrows a halfpenny from the penny note following it, making it three-halfpence and a halfpenny instead of two single pennies.

" T R I P L E T S " (4 beats to the bar) SLURS

Beats

A " s l u r " with the figure 3 placed over or under a group of 3 quavers or semiquavers indicates that the group has to be played in the time of two quavers or semiquavers. These groups are called "triplets." Examples wil l be found in the tunes.

" G R A C E " N O T E S GRACE NOTES are written small, with a line through the stem

I 1

Tune "GLOOMY WINTER"

GROUPING "PRESS" or "DRAW" NOTES

Grace Notes (or " c u r l s " as accordeonists call them) are ornaments. They are not counted in with the real notes. when making up a bar. T h e y are extra, so to speak. If this sounds difficult, just listen to somebody whistling a tune. H e uses dozens of "grace notes" without inter­fering with the " t ime" of the piece. T h e y are written as shown in the Graph.

m Quavers grouped Quavers singly

Singly

1 8 semiquavers

In writing tunes, it wi l l be seen that sometimes groups are " t i e d " together, and sometimes written separately. T h i s does not change their values. It is done simply because grouped notes are easier to read. Y o u see at once, by the position of the stems, that they are all " d r a w " notes or "press" notes

T h e same, grouped ^

2 quavers, 1 crotchet ! semiquavers 2 quavers, I crotchet

_ T H E T I E Where two notes are joined together by a " t i e " ^ ^ ^ ^ ^ it indicates that they are contmuous. , . that is, the second note is not sound­

ed again, it merely prolongs the first note. See "Poor Old Joe." for an example. In that example you wil l observe Basses have to be sound­ed while a long melody note is being held continuously.

T H E PAUSE O

Do not confuse the effect of a " t ie " with that of the "pause." In playing the " t i e d " notes you keep strictly to the time of the piece; the notes tied together receive their value and no more. T h e Pause, however, tells you to dwell on a note beyond its real length, which amounts to slowing down the time for that bar. T h i s wil l be easily understood when examples are studied in the tunes.

R E P E A T S

Four different methods of indicating Repeats are employed in the Graphic Method, as in ordinary musical notation.

First, there is the Double Dot beside a Double Bar, which tells you to repeat the Part from the preceding Double Bar.

Second, there is the sign (called Segno) at the beginning of a tune. Where this is seen, you wil l later on find another Segno and the letters D. S. (meaning D a l Segno . . . "Repeat from the first Sign " ) and you have to play the piece over again from the at the beginning.

In this case, the word Fine appears just before the second •% to show that this is where you " f i n i s h " when you have repeated the piece. (Fine is Italian for E n d . )

Third , the figures 1 and 2, or 1st and 2nd written above a bar or bars, show that when you reach the bar (or bars) marked 1, you play them and go back to the last Double Bar and repeat the Part, but on this Repeat you don't play the bar or bars marked 1. Y o u omit them and play the bar or bars marked 2. T h i s is called "1st t ime" and "2nd t ime" and wants careful watching. Examples are given in the tunes.

D. C. is another Repeat Mark , very much like D a l Segno in meaning. It is D a Capo (written D. C.) at the end of a piece, and means vou have to go back to the beginning and repeat from there to F ine , which wil l usually be found at the end of the first Part of the piece

-Repeat the passage

i from the Double Dots ; Repeat from Fine

to Fine

P lay these Bars the first time - O n the Repeat omit T"

:and play these Bars instead Repeat from D a C a p o '

•to Fit F i r

The Wind that shakes the Barley Reel 17 Arr. C. S. F O R B E S

1 l i s : s .1 is .n : r .d' | 1 : 1 .s I I .t :d ' .1 I s : s .1 Is . n : r .d | f' .n ' : r ' . d' I I .t :d'

•—w 1 m m m m 0 0-

r ' I n' : n ' .d' i f : f ' . r ' | n' : n ' . d ' II . t :d' . r ' | n' :n ' .d' If ; f ' . r ' j.s' . n ' : r ' . d' I I :d ' . r '

t

n' : n ' .d' I f : f . r ' | n' : n ' .d' II . t : d' . r ' | n' . s ' : n ' .d' I f : f ' . r ' j s' . . n ' : r ' .d' I I .t :d'

I ^ u - r3 n I .

The Little Brown Jug Arr. C. S. F O R B E S

U 1 1 n . s : s .s f . 1 : 1 . 1 , 1 t ,t .t : 1 . t

— 1 1

d' . r ' : n '

s, n . s : s . s

M r r r r _ J 4 4 ^ U J — 4 d d -i #1-

d ^ . y Y—t—

A

! a : a

D :

d : d A :

a : a a A :

a : a

) Y /. . A

a : a

f .1 : 1 . 1 I t . t : 1 .t I d' d' C H O R U S

II ^ :n

— ^ — i — i —

J ' ^ ^ —

- J ) : ^ !)

- • I d i d-S = ? f f f = = J J 1

D : A : ^ — F

A D : A - F — F — F

A A : A D D : D d : d a : a a d : a a a : a d d : d

18 I ,1 .t f ;f . f

-.1 :f

.t . f

.r' . t ;3' s .s :s t ,t .t

f ,f . f

I A : A I C :A I A : A D : D I A

: a :d' .. :n :i .s

: a : a

I A D :A ii

: a i;

: 1, :t, : - . r :n

Robin Adair Is, ,d . - : 1 , ,d . - : t , , r . - | d Is, :1, :t.

Arr. C. S. F O R B E S

: - . r :n 1

3 I I i A : D : D I C A : A :D : A :D : D I C - A : A

II a : d :a l a l s , , d . - : l . , d . - : t , , r . - i d

: d : a : n - .s,

: d

:n . s : a l a : f . r I d

a : a .1, :s.

V - c - m-^ 1 m—m ' V-

'^J' i ) * ' - r 1 p 1 • " 1 * 1 * — F s

1 • (• m 1

— —m _ p ^ .

r l _ A _

l a :D :A I A :A :A D D : D : D I C D : A I

d

f m : a

: f .n : r .d I d ' ^ ' "^.r :n

a : a : a I d

s , , d . - :1. , d . - :t, , r .- I d

: d I d :a

I t i l_C_

l a : C

: d

A :A :D :A lA

: d

South of the Grampians 19

Strathspey Arr. C. S. F O R B E S

d . , r : n . ,f Is , n . - :s d' . ,s :1 .,s Id' .,s : d ' , n ' . - d . , r : n . ,f Is , n . - : s , n ' . - f . n ' . r ' : n ' , r ' . d It . 1 . s : f . n . r

m B B IB : B IB : B : B IB : B I B : B

b

d . , r

: b l b : b : b l b : b l b : b ;b l b

n . ,f l s , n . - : s I d ' ., s :1 . , s Id' . ,s : d ' , n ' . - |f' .,n':f',i.- Is ' . , n ' : d ' , n ' . - | f ' . n ' . r ' : n ' . r ' . d ' I t , r ' . - : r'

-TT. 1-^ r- p i

J * ' ' 1? r *~ •

I r bj ^ 1 1 B : B IB

^ ^ ^ ^ ^ B : B IB : B B : I B : B : IB :

|b : b lb : b : b l b : b b : l b : b : lb : 1

d' . , s ' : n ' . , s ' l d ' , s ' . - : n' j d' . , s ' : n ' . , s ' I d ' . n \ s ' : 1 ' . t ' . d " | d' . , s ' : n ' . , s ' Id ' . , s ' : d " .,t' j 1' . s ' > f ' : n ' . r ' . d ' It , r ' . - : r ' . ,n

b : b I

d' . , s ' : n ' . , s ' l d ' , s ' . - : n d' . , s ' : n ' . , s ' I d ' . n ' . s ' : s ' . 1 ' a ' J d " . t ' ^ l ' - . s ' . f ' . n ' l f a ' . f ' : n ' . s ' . n ' |1 ' . s ' . f ' : n ' . r ' . d ' I t . l . s : f . i " i

b : b I

20

.d' t . ,d' :r ' . t Id' . 1 : s . 1 n : r

.n I r . , n : f . r I I . d -.d . d I s, : t ,

Id Is, In,

Poor Old Joe Words and Music by

S T E P H E N C . F O S T E R Transcribed by C. S. F O R B E S

I d : n ., f Is s , s 1 1 .d ' : t . 1 Is

i e

A : B IC D -.C D D : A l A D l A

a : l e d : a d a : a l a

: n . , f I s : . s , s I 1 . s : f . n I r

a : a a ! a : a a I d : d d l a : a a

d : n . , f Is : . s , s | 1 .d ' : t . 1 I s : . d'

51

ic D : D I A I A : C D l A

I a : a a ! a : a a | d

It . , d ' : r ' .t Id' .1 : s . 1 | n

d I a : a a I a : a a I a :

Id n . s : . s I n . s :

a I d

. s , s | l .d'

: d I a

: t . 1 Is . d '

m m

: B C D : C D l A : A I l A

a : I c d : a d

, d ' : r ' .t Id' . 1 : s . 1

I C D : C D

I c d : a d

a l a

r .„ d I d

: a 1 l a

I'A

a I a D. S.

:- .f I n . , s : d ' . . r ' l n '

John Brown's Body

.t Id ' .,t :d' . , 1 I s I d'

CHORUS ONLY

1

21

Transcribed by C. S. FORBES

I n {.s„ :/„ .s„) 1

I A : : A : : A : A : : A : lA : : C D : : D I D : D A : : A : l A : A : C : A a : a

Glo - ry I l a : : a : a Glory ! H a l - le - lu

.f I n . ,s :d' . , r ' | n'

l a : j a h !

Id'

d Glo

: d : I d : : d : a ry ! Glo r y ! H a l - le - lu

: a

:d' : r ' Id' : t

I a : j a h !

I -

i A : ; A lA : C : C IC : C D : D ID : :A L-

Glo : a l a : c

ry I Glory ! H a l - le - lu : c : Ic : : a : d : : d : la : : a

j a h ! H i s soul is m a r c h - ing a : a o n !

la

March time (I Press :PresslPress:Drau;l Press :Press IPress[:S| . , { ,

Tramp! Tramp! Tramp! The Boys are Marching (or G O D S A V E I R E L A N D ) Transcribed by C. S.

n, . ,s , :d . , r Id : d .,t, I 1, .,t, :d . , 1 , 1 s , :s , .,f, I n, .,s, :d . , r In . , n : r . ,d I r |-

FORBES

:s . .f }

-e-^—^—^—^ •7« « h-1 ^

1 * . P p. d> h ^ n r f — F — F —

' \ ^ — T n r ^ T i n

A : 1 :A

f

A : 1 : - r - r ^ ^ —

A : 1 : 1 \

D : lA : A : lA :

^ i -

A -.k k\k : D a 1 a : : a l a : : a l a : a 1 : d 1 : a : a la : a l a : a a l a : d

In, . ,s, :d . , r l d :d .,t.

1

1, . , t , :d . ,1,1s, : n . , r

lA : a l a : a I : d

d .,t, :d ., 1 It, . ,d : r . , n

m C : D lA :A

(BASSES) d :f, lm„ :s„ I n : n |n . , r : d . , l , I s,

A : D IC : A A :A lA : D A A lA : d l a : a | a : d l a : a | a : a |a : d

22

r : r In . ,r :d . , n I r (Basses)

:S| . J i n, . ,S i :d . .r Id :d .,t, 1, . . d d 1, is, : n . . r d .,t, :d . , 1 , It, . . S i H , . , r I d ., s,,.],, s. m. Id,, :

a 1 I 2 :

A : A l A : C I : D A : C lA : C D : D lA : C B C : D lA : A A A : C A C I A :

a : a ia : a a : a l a : c l |a : a l a : a | d : d l a : c |c : d i d

West End Hornpipe Note:

n .d : n . s Id'

n .d : n . s Id' : d 11 .d! : r ' .n ' I f :f' | nf .s' : n ' .d' Ir' . f : r ' .d'

• : a l a t .d' : r ' .n ' I f

m : a l a : a

n' . s ' :n ' .d' Ir ' . f : r ' .t m I D

: a I d' :d' I' 't/'d'

d n' . f

These Basses are 3 draw, 2 press

Arr . C. S. F O R B E S

t : s la : s . f

i a

s' .n ' d Id : d d' .n' Is' . n ' : d . n '

i I A A : A I A

: a i f ' . r ' :t

l a . r ' If' r'

: a :t . r '

: a l a : a s' .n ' :d' . n ' Is' . n' :d' .n ' Is

: a : s n .d : n . s Id'

: a l a t .d' : r ' . n ' I f

i d * * i A :

: a n' . s' :n '

I a .d' Ir' . f

: a : r ' .t

l a :d' \d'd-^ Ii

: d I d : d : a l a : a

i : a I

A IA

: d l a

23

The Scholar Hornpipe (Played on outside Row)

Irish Hornpipe Arr. C. S. F O R B E S

(.s

r> •

d' . ,n' : s ' . . n ' l f . , n ' : r ' . . f

r * 5 -

n' . ,d' : s . ,f In . , f :s . , t a

^

1 .,f : n . .f I r . ,n :f . , f ' 1 n' . , d ' : r ' . , t Id' .,t :1 . , s

A : 1 :

w—

A D : 1 :

r ~ »

D : 1 :

a : a l a :

n' .,d' : s . , f In . ,f :s . , ta

^

a : a l a I

1 . , f : n . , f ir . , n : f . . f

T

d : d I d : d : a l a : a

d' . ,n ' : s . . n ' l f . ,n ' : r ' . . f

a : a l a :

n' .,d' : s . , f In . ,f :s . , ta

^

a : a l a I

1 . , f : n . , f ir . , n : f . . f

T

1 2 n' . . f ' : r ' ..t l d ' , d ' . - : d ' || n' . . f : r ' . . t I d ' . , r ' : n ' . , f '

• b - =

A : 1 : A : 1 D ^i - f fc j 1

1 : D : A IA :

4 u a

II D : A IA :

: a la : s' : n ' .,d' Id' . , n ' : s ' . , n '

ir p . p r P

: a l a : d' . , n ' : s ' . , n 1 1 ' . , s ' - .f . , n ' f . , n ' :

d k f . . r ' It

1 : a . , r ' : f ' . , r '

d : a la : ta . , r ' : f ' . , r ' Is . , f ' : n ' . , r '

II a : a l a : 1 s' . , fe ' :s ' . ,n' Id' . , n ' : s ' . , n '

' I F - ' ^ ' r / . r r r • 1 1—— •—'

A : 1 :

y L - d

A :A 1 : D : :

1 •

A : A ID :

- d ^ L j

A : 1 :

1 : a l a a : a 1 : 1 ji

: a l a : | a : a I d

1 l o : a la :

I d ' . , n ' : s ' . , n ' | l ' . , s ' : f ' . , n ' |f ' . , n ' : f ' . , n ' I f . ,1' :s ' . , f | n' . , d : r ' .,t Id' . , r ' : n ' . , f ||f . , n ' : f . , . s ' I I ' . s ' . f : n ' . r ' . d ' 1 1 . 1 .s : f . n Id, ||

I M 1 A : A 1 D : IA : D : A 1 :

^ L i :

D : IA : A : IA

I a : a I : | -.d I : a | a : a I : || : d I : a | : d la ||

24

The British Grenadiers

Arr. C. S. FORBES

( U S ,

d .-s, Id : r n : - I r : n . f s : d In . r :d, .t, A : - Id : s

U _ 1 4 -p J m m 4 • p p

A : I A : A : C IA : C : ID : A : IA :D

d :.<; Id : r

a : a l a :

n : f . n I r : n .f

a' : a la :

s : d 1 n . r :d .t,

a : i d : a

d : - 1 - : n .f

a :

s : - . 1

l a : d

. I s : f ^

—~ M r r — -0 — 1 -p — • « m • — 0 - 9 *—• 1 •— m

• ^ L 1

C :D ID -.A A : C IA : C : ID : A ; 1 : D C : D IC :C a : a la : a

d n : - .f Ls : t a , 1

a : a l a :

: 1 1 s .f : n . r

a : id :

d : - ' \

a : 1 : 1

d : s id : r

a : d l a : d

n : f . n I r : n .f

-i •1 J V - b— 1 * : P -

) •

• - J ^ J J -p p p J 1 p p

/ 0 ^ — t — I * ' 0

D : IC :A D : D ID : D C A :B IA D : C D A :C IC : A A : C ID :D a : la :

s :d In . r : d .t,

d : d 1 :

d : - 1 - 1

a : l a :

! a : a Ic : a a : a la : d

_ f • m -

C : C ID : A A : - 1 - II a :c I d : a 1 - II

T O USERS OF T H E 10-KEY ACCORDEON

W i t h a 10-key instrument, you are limited to a smaller choice of tunes,but you can benefit by the G R A P H I C - M E T H O D a l l the same. Look through the tunes, and play the ones written on the spaces only, or on the lines only. These you can play perfectly. The first key

of your instrument (the one nearest your chin) can be used as either No. 1 L I N E or No. 1 S P A C E on the Graph.

Test this by playing over the first two examples of " D u n c a n G r a y " on page 6. Y o u wil l see you can play them, using first the spaces and then the lines. It follows, therefore, that any tune written wholly on lines or wholly in spaces can be played on your instrument.

But you can go no further, and your Basses, of which there are only two, are best left alone. T w o monotonous chords are worse than none at all, and you are recommended to use the Bass Chord only to end the piece.

T H E 19-KEY ACCORDEON

Y o u r instrument has two Melody K e y s fewer than the B lack-Dot Double-Ray, but can be used with this G R A P H I C - M E T H O D with satisfactory result*. Y o u have 10 keys in the outer row, and 9 in the inner.

Therefore you have to ignore the top line and top space in the Graphs that is. No. 11 line and No. 10 space. T h e buttons represented by these positions are not on your instrument.

Y o u r Accordeon has probably only 4 basses, instead • of 8, which sorely narrows down the accompaniment. II Y o u r Outer Pair of Basses are A a and the Inner Pair

Bb. V e r y little variety is possible with so scanty a Bass 19-key Accordeons are played equipment. from the 11-line Graph, ignoring the 11th. line and 10th. space.

26

G E N E R A L HINTS Just to begin with, the novice wil l find it confusing to distinguish the Press notes from the Draw, and also the Space notes (or inner

row) from the Line notes (or outer row).

A beginner said to us that for the first week he " w a s aye playin' up the wrang dreel ."

It is usually found that after a bit of practice the learner does not have to think about press and draw. If he is playing a Press note and sees that the next note has its stem the other way, he draws the bellows without ^Unking about it he changes the bellows action when the stem- direction changes

Again, in accustoming the fingers to the positions of the buttons on the keyboard, at first the novice wil l laboriously count No. 1 line (or space) until he gets to the required note on the diagram, and then count the buttons on his instrument till he reaches the correct button.

That stage only lasts an hour or two. Y o u have three places on the diagrams from which to r e c k o n . . . the No. 1 line, the middle line No. 6, and the top line No. 11. It is perfectly easy to say " O h , that's the key just below the middle one " instead of counting 1, 2, 3, 4, 5 . Or, "the the key just above the middle k e y " instead of counting up to No. 7

Same with the spaces. Y o u have the inner two keys just above and below the central l ine; these are valuable jumping-off places for counting. T h e No. 10 space, being the button nearest your knee, gives you another easv start for counting 8th, 9th and 10th buttons.

V e r y soon you find it unnecessary to count at all. Y o u look at the Graph and put your finger on the proper button straight away.

O n the Double-Ray B lack-Dot Accordeons the middle button of the outer row is black, as wil l be seen in the illustrations, all the other keys being white. T h i s idea helps the learner in the early stages.

DON'T BURDEN YOUR MEMORY

Don't burden your memory with all the instructions about time and rests and pauses and repeats and so on. Just refer to them when you meet with anything you don't understand in the tunes themselves . . . you won't forget them when you see exactly what they mean and what they are for, in actual playing. A l l the tunes are quite well k n o w n to you already . .. every note and pause and rest and repeat is familiar to you by ear, and soon wil l be equally familiar to the eye.

LADIES' ACCORDEONS T h e ever-increasing number of lady accordeonists has created a demand for Accordeons finished in colours. White pearl, gold and

silver enamellings, and heliotrope, lilac and other beautiful colourings are now obtainable for ladies' use. T h e Double-Ray Black-Dot Accordeon can be had in these attractive colour-schemes.

27

ACCORDEON CLUBS

T h e student of the F O R B E S Graphic-Method is strongly urged to practise along with another learner. Progress wil l be much more rapid for both of them, and if they enlist a few more novices and form a little Accordeon Clu)b, they wil l derive mutual benefit by compar­ing progress and setting up friendly rivalry in the mastering of the Tunes .

If possible, someone already acquainted with ordinary musical notation should be brought in to the c i rc le . . he or she wil l explain and illustrate any difficulties.

Valuable assistance in the forming of Accordeon Clubs of this kind wil l be given by Messrs. Hohner, who have vast experience of the work, and give their help free. T h e y keep the Club in touch with new publications as they are issued, and help in promoting little con­certs and so on. Their address in Britain i s : -

Messrs. Hohner Accordeon Club Centre, 9. Farringdon Road, London, E . C . I .

PART-WRITING FOR ACCORDEON ORCHESTRAS T h e F O R B E S Graphic-Method is particularly well adapted for writing Three-Par t or Four-Par t work. Trios and Quartettes are very

effective when well played on the Accordeon; they sound as if a string quartette were playing. For a Quartette, for instance, four separate parts would be given to four (or more) accordeonists. E a c h practises his or her own part

from the Graph, and the quartette meets regularly for combined practice until the piece is mastered by all. A Leader or Conductor must be elected.

T h i s is a quite new development in Accordeon-playing, and is one that deserves to be encouraged by all who have at heart the foster­ing of fireside music for the people.

Four-Part and Three-Part works wil l be published separately from time to time. T h e y are unsuitable for inclusion in the ordinary Collection of Graphic-Music published in book form.

GRAPHIC SHORTHAND

A useful and accurate "shorthand" method of writing down a tune for yourself is provided by the Graphic-Method, instead of drawing the 11 lines and using lines and spaces, you write the note (of the proper length) with a line through it if an Outer R o w key, and plain if an Inner R o w key, and with the stem U p to show D raw , and D o w n to show Press. T h e first two bars of "Go d Save the K i n g " would be done like th is : - i

which compare with the Graph on page 14. and so on.

6 6 7 6 6 7

T h e first note s a y s : "Crotchet, 6th line, press." T h e th ird : "Crotchet, 7th line, draw.

Formation of Accordeon Clubs Made Easy

by the large and comprehensive selection of specially written music now available for the

Double-Ray Accordeon and the repertoire is being continuously enlarged.

With this specialh preiyared system of music it is as easv as A. B. C, for the merest novice without any knowledge of music to t>lay the Douhle'Ray Accordeon, either Solo or in a band.

The Piano-Accordeon is tuned in the same pitch as the Double-Ray Accordeon, and although the technique of playing is different, both instruments harmonise perfectly. Thus a Piano-Accordeon section can be joined to a Double-Ray Accordeon Club. If you are interested in forming an Accordeon Club, write for particulars to-

T H E HOHNER ACCORDEON CLUB CENTRE, 9, FARRINGDON ROAD, LONDON, E.C.:

T H E FORBES G R A P H I C - S Y S T E M The following books are now obtainable in this easy

and effective notation:

Book 1. Favourite Melodies—Scottish, English and Irish Book 2. Scottish Melodies Book 3. English Melodies Book 4. Irish Melodies Book 5. Student Songs and Scottish Dances (with duet

for 2 accordions)

Book 6. Marches, Jigs, Strathspeys

Price 2/- each

I N D E X

Page

How to hold the Accordeon , _ 2

Care of the Accordeon . . _

The Modern Chromatic Accordeon _ 3

The British 21 - key 8 - bass Accordeon _ 4

How Outer Row & Inner Row Notes are shown 5

Exercise No. 1. _

Exercises No. 2. & 3. - _ _ 6

Scales on British Chromatic Accordeon _ 7

The Lengths of the Notes _ _ _ 9

Time Signs _ - _ - 10

Rests _ _ . _ _ 11

Annie Laurie _ _ _ _ 12

The Basses _ _ _ _ 13

Harmonising with the Treble Keys. _ 14

Dotted Notes, Slurs, Grace Notes, _ _ 15

Grouping "Press" or "Draw" Notes, the Tie ' '

The Pause, Repeats _ _ _ 16

Page

The Wind that shakes the Barley _ 17

The Little Brown Jug > - "

Robin Adair ^ _ _ 18

South of the Grampians _ _ 19

Poor Old Joe _ _ _ 20

John Brown's Body _ _ 21

Tramp! Tramp! Tramp I _ _ "

West End Hornpipe _ _ 22

The Scholar Hornpipe _ _ 23

The British Grenadiers _ _ 24

The 10 - key Accordeon _ _ 25

The 19 - key Accordeon _ _

General Hints _ _ _ 26

Ladies' Accordeons _ _ 27

Accordeon Clubs _ _ _

Part - writing for Accordeon Orchestras

Graphic Shorthand - _ _