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NORTHWEST ACCORDIONNEWS

Joey Fitness for the Accordion Player? Accordion Club of Central Oregon Daniel Desiderio Conducts Final Concert A Crucial Part of Mastering the Accordion - The Bellows

VOL. 21 NO. 1Northwest Accordion Society Spring Quarter 2011

Northwest Accordion News

Spring Quarter 2011 1

Is your membership renewal due? Check your mailing label. A membership application/renewal form is included on the last page. Send your renewals or change of address to:

Northwest Accordion Society 5102 NE 121st Ave. #12Vancouver, WA 98682

Northwest Accordion News StaffDoris Osgood .................................................... (503) 357-0417 [email protected]

Judith Ames ...................................................... (360) 254-5245 [email protected]

Colleen Halverson (Advertising) ..................... (503) 484-5064 [email protected]

NW Accordion Society Offi cers Bonnie Birch, President/Treasurer ..............................................(206) 622-4786Doris Osgood, Vice President/Communications .........................(503) 357-0417Judith Ames, Secretary/Technology ............................................(360) 254-5245

Advisory BoardRick Hatley, .................................................................................(253) 288-0442Shirlee Holmes ...........................................................................(206) 282-4934Dick Myking ...............................................................................(253) 537-0136Birgit Teuwen ..............................................................................(206) 368-9720Cooksie (Kaserzon) Kramer .......................................................(425) 828-9104Brenda Bard ................................................................................(425) 822-4404Jim Tobler ...................................................................................(425) 745-4872

Membership:Doris Osgood ..............................................................................(503) 357-0417 [email protected] Ames ................................................................................(360) 254-5245 [email protected]

NORTHWEST ACCORDION SOCIETY

The Northwest Accordion News is a quarterly newsletter published by the Northwest Accordion Society for and by its members. The purpose of the NWAS News is to unite the membership by providing news of its members, and articles that instruct, encourage, and promote the playing of the accordion.

NWAS PUBLICATION PRIORITIES Advertising Original Compositions News from Our Members Instructive/Technical Articles Summaries from Regional Socials and Events Coming Events

Articles will be printed if received prior to the publishing deadline. Should space be an issue, articles will be printed in the order in which they are submitted. All decisions regarding publication will be made by the editors of the NWAS News.

To submit articles for publication, mail them to the Vancouver, WA address listed. It is preferred that articles be submitted via e-mail as attached WORD documents or on a disc. Typed, paper copy needs to be dark and clear to allow scanning and to minimize errors.

Photographs sent for publication will be returned if they are accompanied with a SASE of correct size and adequate postage. Photographs may be sent electronically or on disc.

To reprint articles or photographs from magazines and newspapers, written permission from the publisher is required. Please submit the necessary “permission to print” with material sent.

Views in the articles and information printed are those of the contributors and not necessarily those of the Northwest Accordion Society or its advertisers.

Inquiries, questions, suggestions, etc.Contact Doris Osgood, 3224 B St., Forest

Grove, OR 97116. (503) 357-0417. E-mail: [email protected]

NWAS News Deadlines: February 1, May 1, August 1, November 1

Mail letters & articles to:Northwest Accordion Society

5102 NE 121st Ave. #12, Vancouver, WA 98682

Or e-mail to: [email protected]

ADVERTISINGFull page $110.00Half page $55.00Quarter $30.00Business card $10.00

Prices are PER ISSUE. US Funds

Photo-ready Advertising (with accompanying check) for this publication may be sent to:Northwest Accordion Society

6453 SE Nathan Ct., Hillsboro, OR 97123or e-mail [email protected]


spring Quarter 20112

Letter from the Editors

Greetings!Spring is here!!! My violets, snowdrops, and

crocus are blooming! Practices are underway for Easter celebrations! Accordionists are preparing for the wonderful competitions and other opportunities to play! What are you preparing for? Let us know!

Would you like to receive your NWAS news electronically (i.e. a link to a PDF)? This is now possible! If you are interested, please send me an e-mail - [email protected] and I will send you a link to this issue. You may opt to have the NWAS News delivered to you electronically (you’ll get it FIRST!) or hard copy. I’m waiting to hear from you!

We are also exploring expanding the Paypal capabilities so you can pay your dues online! [email protected]

Quarterly UpdateDear Members,

The work is on in earnest for the coming events of the summer. First, the Day of the Accordion did in-deed take place February 27. The hiatus lasted only a few days before interested people in Seattle deter-mined to go ahead. I intend to travel to Seattle next week for the DOTA; I always look forward to it. There will be a report of the event in our summer issue.

Aside from the regional socials, the accordion camp presented by the Rose City Accordion Club is the offi cial beginning of the summer playing sea-son. Campers will gather the fi rst week in June at the conference center at Silver Falls State Park near Silverton, OR. Instructors include Bev Fess, Murl Al-len Sanders, Gordon Kohl, and Maestro Ilmar Kuljus. Shortly after camp, the destination will be Leaven-worth, WA.

The International Accordion Celebration in Leav-enworth is shaping up very nicely. Chairman Bonnie Birch has been working hard on the event. As I write this evening, the funding for the event is beginning to be realized. Donors large and small are investing in the celebration of the accordion. The offi cial LIAC web site has the information for the music festival and up-dates will be taking place regularly. Be sure to check it out: www.accordioncelebration.org

In this issue you will fi nd the other accordion events of the summer scheduled for the Pacifi c Northwest. Note the Kimberley Olde Time Accordion Competitions and Accordions by the Sea in British Columbia, Canada. Kimberley is the highlight for many players in the northwest. Our Alicia Baker of Mil-waukie, OR will be one of the entertainers there this year. Accordions by the Sea is becoming a destina-tion also. They’ve had outstanding performances and have a large number of really accomplished players in Victoria, BC upon which to build a fi ne event. The summer looks to be fun once again.

The Northwest Accordion Society wishes to thank Joe Cerrito for his permission to print his original composition, Joey. In addition, we have permission from Frank Marocco to print his arrangement of Joe’s piece. Ron Ostromecki of Erie, PA provided the fi ne engraving of the music. The music in our quarterly newsletter has come to set this publication apart from others. We thank Joe, Frank, and Ron for making this issue special.

We will have a change in our editorial staff for the Northwest Accordion News. Our advertising editor, Geoff Levear will retire after this issue. I cannot tell you how valuable his work has been on our behalf.

Table of Contents2 Letter from the Editors2 Quarterly Update3 Letters to the Editors7 Leavenworth International Accordion Celebration8 Shave and a Haircut, Two Bits 8 Ask A Teacher9 Fitness for the Accordion Player?10 Seattle Accordion Social16 Coupe Mondiale16 Accordion Club Of Central Oregon Newsletter18 Daniel Desiderio Conducts Final Concert with Accordion Pops Orchestra18 World Champion Accordionist21 Dr. William Schimmel and Dr.Ulla Soukko at Lincoln Center22 Tacoma Accordion Socials23 By the Way – 24 NWAS Welcomes New Members:24 ‘Music For All’ TV Pedagogy by Frédéric Deschamps – France, French Speaking Countries25 World Accordion Day to be Held on May 6th25 David Delameter at Puyallup Fair28 A Crucial Part of Mastering the Accordion The Bellows30 Leavenworth International Accordion Celebration Sponsors31 The Pianist Who Doubles32 Accordion Events Calendar



Letters to the Editors

Dear NWAS,My name is Ed Danielson and am currently a

NW Accordion Society member. I’m not sure if I sent a change of address notifi cation so thought it best to do so.

I am also a member (new) at the Bend Accordion Club that meets here in Redmond, OR. Enjoy

having the accordion out of the case once again

Sincerely, Ed Danielson, Redmond, OR

We need your articles, advertising, pictures, etc. for NWAS News BY:

February 1May 1

August 1November 1

Dear NWAS,You have my permission to publish “Shave and a

Haircut Two Bits” in Northwest Accordion News. En-closed is my article and photograph for use. [You will fi nd this fun article in this issue! Editor...]

I thoroughly enjoy each edition of Northwest Accor-dion News and the way it keeps me informed of events in the Northwest.

I would like to Ask A teacher the proper care and storage of an accordion. I have a black Tonaveri ac-cordion that shows oil from my skin. How can I clean it and protect it? What about storage and care for my accordion?

Thank you,Dorene Fox, Bremerton, WA

Dear NWAS, Here are my dues for the upcoming year. Thank

you for all of your hard work and dedication!

Jeannie & Steve Berg, Sequim, WA

He has devoted many hours to his job and we are grateful. When we put out a plea for someone to fi ll Geoff’s shoes, Colleen Halverson of Hillsboro, OR ac-cepted the challenge. Note Colleen’s contact informa-tion for future reference. She will begin working on our summer issue.

This brings to mind that a very small volunteer staff produces our publication. Judith and I log many hours’ work to create our magazine. We are so grate-ful for those who regularly contribute material. The NWAS News doesn’t have a reporting staff; that re-sponsibility is YOURS! If information or reports aren’t listed it’s because we had no knowledge of them. You can help with that along with noting the due date for your membership. Sending in your membership with-out reminder saves a lot of time and money. Thanks for keeping current.

Finally, we thank our advertisers. This issue has a number of important and new advertisements. Take advantage of the accordion related goods and servic-es listed along with the details for events. Please let people know where you saw the information.

Make your plans today to participate in as many events as you can. Gasoline is becoming costly and we can’t participate in everything, though many of us try. Start saving today! You won’t want to miss this summer’s great accordion events.Doris [email protected]

Composer – Joe Cerrito

It took a little time tracking down Joe Cerrito! He spends winters in Sarasota, FL; inquiries sent to his Rhode Island address took considerable time reaching him. Joe Cerrito is a highly respected accordionist. Besides training on the accordion with Joe Biviano and Bob Wilbur, he had an ex-tensive music education in the U.S. Army playing both the accordion and horn in the 1st Army Band in New York City. His music credits include having worked with music legends like Steve Allen, Sarah Vaughan, Dick Contino, Myron Floren, Tony Dan-non, Frank Marocco and Harry Belafonte. Joe even played with the orchestra in the movie, “True Lies.” He has also had extensive experience playing for commercials.

Best known as a jazz accordionist and improv specialist, he is also a fi ne composer and has compiled some jazz exercise books and modern ar-rangements with a CD. He continues to perform for parties, strolls in restaurants, and plays concerts at accordion clubs. We are grateful for his permission to reprint his original composition, “Joey”, in this issue of the NWAS News. Not only do we have this fi ne composition, Frank Marocco has also permit-ted us to use his arrangement of the piece.



Joey

Tango

by Joe Cerrito arr. by Frank Marocco

Published with kind permission of Messrs. Cerrito and Marocco

Sempre Legato m 7 M

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Engraving by R. R. Ostromecki

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To Coda D.S. al Coda

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Leavenworth International Accordion Celebration

June 16 – 19, 2011www.accordioncelebration.org

By Doris Osgood

A little more than a year ago, the Northwest Ac-cordion Society had to decide the fate of the accordion celebration in Leavenworth. Rather than al-

low it to evaporate and remain as only a fond memory, the NWAS took a leap of faith to rescue the festival from the brink. With a bit of desperation in my com-munications, I wrote to all of our accordion friends and clubs requesting funds to keep the event going. The accordion community responded in a great way. People volunteered their time and their money; the accordion celebration was a success. We thank you all for that.

June is nearly here! The concert performers have been confi rmed for this year. We have an international roster of gifted, talented accordionists. Each special-izes in a different playing style and will showcase the accordion in many different music styles. As you will note their credentials on the web site created for this event, we will host Vincenzo Abbracciante, Jena Milo-jevec, Mario Pedone, Steve Albini, and the Spokane Accordion Ensemble.

The workshops at the celebration in Leavenworth have been worth the trip. Workshops are being deter-mined as I write and their subjects should be appear-ing on the web site soon. In addition to the learning opportunities there will be performance opportunities too. We will provide entertainment in the heart of town at the gazebo. The grange is going to become a new concert venue. The grange was the site for most workshops, lessons, and evaluations. This year we will have concerts on Friday and Saturday afternoons that will be free to the public. It’s an intimate setting and provides an opportunity to reach visitors outside of the accordion community.

Besides the learning opportunities, I’ve always felt that the competition is the heart of the event. I’d encourage you to participate in the competitions and/or evaluation. Teachers, please encourage your students to participate. Because they haven’t any intention of becoming professional accordionists,

some people have decided not to undergo the pres-sure of competitive playing. I really believe that the competition is another piece of the learning opportu-nity. We are all striving to become better players. The preparation, performance, encouragement from fellow participants, and constructive comments from the adjudicators is meaningful. Let’s take advantage of that. Remember friends, “meaningful stress” is a good thing!

We are very happy to report that the Leavenworth International Accordion Celebration was in the black last year and we are beginning this celebration with some money in the bank. There isn’t quite enough to fund the event, particularly the competition. The competitions cost money… we aren’t able to gener-ate income from them. The adjudicators, awards, and incentives are costly. In order to build on what was begun last year, we are looking to receive donations for the purpose of supporting the competition piece exclusively. Already we’ve received gifts from accor-dion friends and clubs. Those donors are listed on the offi cial celebration web site. The NWAS web site: www.nwasnews.com has complete details about the donation process. We are able to offer the PayPal method but will gladly receive your checks at: NWAS 5102 NE 121st Ave. Unit 12 Vancouver, WA 98682-6164 Indicate that the funds are for Leavenworth when you post the check.

The Northwest Accordion Society will be hosting the gazebo in the heart of town again this year. This is always a special part of our music festival. It’s free! Visitors wander about and many come back again and again. We will be looking for gazebo performers again this year. The offi cial roster will be prepared and be ready by May 1. We will have that posted on the NWAS web site: www.nwasnews.com There will be a link from the accordion celebration site. Bonnie Birch and I will assign your playing slots when you contact us. You can view the available times on the web.

Our celebration committee chairman, Bonnie Birch, has been working on this year’s event since we left last year! Festhalle Commander, Steve Berg is setting things in motion for mailings and public-ity. There are shirts to order plus posters and pins to make. There is much to do. You can be part of the celebration too. Volunteers will be needed for many positions. Check out the web site for volunteer op-portunities, competition forms, and ticket information. Ken Kohnhorst, our Webmaster in Leavenworth, will be updating the site frequently. Remember, the offi cial festival web site is: www.accordioncelebration.org

Make your plans and your reservations today. Join us in Leavenworth June 16 – 19, 2011 for the love of the accordion.



Shave and a Haircut, Two Bits By Dorene Fox

The way to end a Scandinavian schottische is with the musical lyrics, "Shave and a haircut, two bits." John Skierski is the owner and resident barber of John's Barber Shop in Bremerton, Washington. This lyric is apropos to him. When no customers are in the shop and no one is looking, he pulls out his Petosa midi ac-cordion to practice. He says that after fi fteen years he has mastered, Mary Had a Little Lamb. Actually, John is very profi cient in many styles of music.

I asked him, "Well, John, how did you start on the accordion?" He said that his father was a minister in Aruba when he was a boy. At the age of fourteen, he bought his fi rst accordion and played it without lessons.

Twenty years later, he took lessons from Tony Faccuto in Seattle, but this became a lengthy commute. When he heard of Ernie Howerton, an accordion teacher in the Bremerton area, he decided to study with him and stayed fi fteen years.

John played in a church orchestra for about four years. This was an enlightening experience for him, teaching him how to become an integral part of a whole unit. This really increased his learning capacity. John also plays popular songs and especially enjoys Southern gospel music.

He was friends with Joe Petosa, Sr, Gary Combs and Ernie Howerton. He met and enjoyed Galla Rini also.

John treasures these departed friends and the musical inspiration they imparted to him. Besides his barbershop, he does quality woodworking in his spare time.

John has a keen sense of humor and tells true stories and jokes. Once when he was playing music in his barbershop and his case was open, a customer dropped in $1.00. "What's that for he asked?" "For NOT playing your accordion," replied the customer. In good humor John laughed.

Then there was the case of the guy who left his accordion unlocked in his car. He went back but it was too late. Someone already left another accordion in his car. Then someone asked him "How do you know what you're doing with all those buttons?" John replied, "You gotta be smart". So, how do you do it came the reply. With that, we'll bid adieu to John. Keep up the good humor and accordion playing also John. We all need it.

Ask A TeacherBy Cooksie Kramer A.B.C.A – L.B.C.Amember of Atg, Aaa,

Abrsm (London).

1. I have been approached by many people who want to know my thoughts on taking lessons as an Adult.

Some have played Music as children – then stopped for various reasons – some have never played and are reluctant or even embarrassed to start at this later stage in their lives – also fi nd it diffi cult to fi t lessons in with their work schedules and their families.

The most important factor is – that they want to enjoy Music. I believe it is never too late, once having had a student in his 80’s who was so excited by the challenge and he did great!

Firstly fi nd a good willing teacher. Establish a high-quality relationship. Start with a lesson per week for a few weeks to work on a program at whatever lev-el you are capable - always adding scales and basic theory especially if this has never been done before.

Then I suggest one lesson every 2 weeks – which is less pressure and leaves more time for your normal lifestyle and other recreations.

Discuss your musical preferences with your teacher – be it Classics, Jazz or Pop. Playing with a group is also important.

Learning an instrument at any age can be an exciting fun experience without any pressure. Taking a “tea break during your lesson with a little chat is a good idea.

Please feel free to email me with your questions to Ask A Teacher. [email protected].



Fitness for the Accordion Player?

Dear Young and Young-at-heart Accordionists,

If you play a large, heavy 20 to 30 pound accor-dion you should begin a physical fi tness program right away. It should include stretching as warm-up and some light workout with light to medium weights. You can ask a doctor, physical therapist, yoga instructor, weight trainer etc. for tips on which exercises will be best for you.

I personally stretch about 30 minutes 4 to 5 times per week. I often practice accordion for short 20 to 30 minute sessions with two-pound velcro strap-on weights around my biceps to build strength. I have also used two-pound hand weights on occasion to strengthen my arms and upper body.

If I were truly wise, I would go to a gym and enlist the services of a weight trainer for larger weight train-ing to make sure my back and upper body are strong enough for extended times of accordion playing. As it is, I do what I can at home with small weights, which is better than nothing.

Even if you play a small accordion or button box this kind of exercise and weight-training program will benefi t you. Accordion-playing in general places tremendous stress on the back, neck, arms and upper body. The physical act of playing puts the body into all sorts of completely unnatural positions with changing centers of gravity and torque.

Conservative accordionists sit down while play-ing which alleviates some, but not all, of the stress of playing. I generally stand up while playing but always have a comfortable stool available when I need a break from standing.

The other valuable tool for an active accordion performer is a good backstrap. I use a custom made wide backstrap that goes across my lower back and attaches with velcro to the accordion strap on the right and is sewn onto the left strap. There are many other types of strap available at accordion stores like Petosa or Arralde. You can also google on accordi-ons.com. Try them all and see what works for you. My strap is about 4 inches wide, foam-fi lled and adjust-able length to accommodate whatever kind of coat, sweater or shirt I happen to be wearing.

I am open to suggestions from other players about other ways to stay in shape for many hours of happy accordion playing.

Enjoy making music with your accordion!Sincerely,Murl Allen Sanders

SPRING ACCORDION SOCIAL FOREST GROVE, OR

Sunday, April 10, 20111:30 PM – 5:00 PM

Forest Grove Senior and Community Center

2037 Douglas StreetForest Grove, OR

Admission: adults $5.00Hosted by Doris Osgood

For the Northwest Accordion Society

Listeners Always Welcome!

You are invited to bring your accordion and your friends to an afternoon of accordion mu-sic. We sign in to play and perform in the order in which we register. Young players are always guaranteed a slot and could change the order. Remember, we have no featured performers and that guests have come for the program. Play 2 of your favorite selections or one lengthy piece.

There will be a 50/50 drawing benefi ting our scholarship fund, light refreshments, and visiting.

Remember to join us, just for the fun of it!

For information contact Doris Osgood at 503-357-0417.

[email protected]

Accordion Socials in Forest Grove are always the 4th Sundays in April and October. Except

this spring!



Seattle Accordion SocialBy Marjorie Rombauer

November 11, 2010 Tonight was Jim Tobler’s retirement night – his

last night in charge. The program was great. He has provided great programs for us and entertained us for many years. Again tonight he entertained us with an inspired performance. We give him many huge “Thank yous.”

Jim Tobler and Bonnie Birch

The program began with Birgit and Phil Ages and John Giuliani, on the bass, playing a variety of music. The program initially refl ected that they have been playing at an Italian café because they began with an Italian mazurka and tarantella and “Oh, Marie,” with Phil singing. Then on to other parts of Europe with a Bavarian number and a German folk

song (“Happy is the Life of a Gypsy”) with Phil singing and members of the audience joining for several short choruses. They fi nished with a tango, the Finnish national anthem, Birgit said. (This is not a full report of their performance because I lost some of my notes.)

Lyle Schaefer was scheduled to play this eve-ning too. Bonnie Birch fi lled in with an impromptu program while waiting for him to appear, but he didn’t. She played several pieces from minor to major (num-bers tend to be from major to minor), then several major numbers. Nick joined her to sing “Moonglow” and then to play a German song on his nose whistle (to Bonnie’s, “Oh, no!” In a more sentimental vein, they played and sang “Where is Your Heart” and “Me and My Shadow,”one of the most extended gifts of his vocal talents. Bonnie concluded with two Brazil-ian compositions. John Giuliani joined her with his bass for a jazzy “Sentimental Journey” and two other songs. An impromptu, excellent program.

Then it was Jim Tobler’s turn. He had planned to play a duet with Lyle Schaefer, but with Lyle miss-ing, Jim played it alone – the polka that everyone remembers as the number that Lyle and brother Lynn played for the Kimberly championship – Achtung Los Polka. Of course, Jim played it very well. The pro-gram that followed was inspired. With all the years that Jim acted as program scheduler, room arranger, ticket seller, and cleanup man, it was easy to forget that he is also an accomplished accordionist, but we were reminded of his talent by his performance



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tonight. He played “Cajun Spice,” one of his own compositions (with the treble harmony on top as in real Cajun music); Scott Joplin’s tango from the move “Sting”; a French samba; LeRoy Anderson’s “Ser-enata”; a ‘60s rock number; another tango; another of his own compositions (the “Breezing Along” polka); a rhumba (“Siboney”); LeRoy Anderson’s “Blue Tango”; the bossa nova, “Meditation,” and “Tangerine.” Thanks to Jim for his long service for our socials and for shar-ing his music.

December 13, 2010This was our fi rst night at a new venue – the

Gypsy Trader Café at 3510 Stoneway North in Seat-tle. It has a relaxed atmosphere and a nice-sized, low stage. The organizer was also new, Paul Fedorowicz. The fi rst two performers, two of Paul’s students, were also new to our social. My pictures for the occasion were disappointing, since the setting was not accom-modating to my amateur style of photography. I’ll work on it.

Cindy Martin played fi rst, “Sleep, Holy Child” and “Jingle Bells.” She said she was nervous, perhaps justifi ably so since she was just fi nishing Book 1 of the Palmer-Hughes series in her study of the accor-dion. She was followed by Russell Bates, who has been studying with Paul for two years and is nearing the end of Book 4 of the Palmer-Hughes series. He played his own arrangements of “Santa Lucia,” “Fas-cination,” “White Christmas” and “The Star Spangled

Cindy Martin

Russell Bates



Banner.” He has only recently become an accordion enthusiast and spends his spare time searching the internet for unusual accordion music and using a com-puter program to engrave music. It was refreshing to have newcomers to the accordion world playing for our social.

Bonnie Birch was next to entertain us. Like Jim Tobler, she has spent much time in recent years doing all things necessary to keep our socials happening, as well as sharing her wonderful music with us. She began her program with Ferde Grofé’s “On the Trail” as a lead-in to LeRoy Anderson’s “Sleigh Ride.” She shared some Victor Herbert music from the operetta “Babes in Toyland” – “Toyland” and “March of the Toy Soldiers.” Then music from the “Nutcracker Suite” and fi nal cascades of notes in the “Starburst Polka.”

It was our good luck to have Jon Persson in Seattle again to play his bayan for us. He began with J.S. Bach’s beautiful “Air on G String.”Then La Cumparsita, a tango that lends itself to embellish-ments, and Jon’s improvisations were unusual and exciting. He concluded with a toccata from an or-gan symphony by a French composer whose name escaped me. It began with delicate treble notes, increasing in volume with bass added, and continued in what seemed like perpetual motion.

The Ethnic Underground, under Paul Fedoro-wicz’ direction, entertained us for the second hour of the social. Paul was joined by violinist/fi ddler Dave Swayne and bass player Ken Strong for an excit-ing variety of Jewish, Klezmer, Christmas, Latin and popular music as well as originals by Paul. All pro-vided a beautiful blend of the instruments. They be-gan with a lively Frailich #3, followed by an unusual arrangement of “We Three Kings of Orient Are.” As with many of their numbers, the violin provided a nice overlay of harmony. “My Favorite Things” followed, and then “Pizza Tarantella,” with the violin carrying the melody the fi rst time around. After the Charlie Brown tune, “Christmas Time is Here,” they played “Tango of the Roses” and then a series of original numbers by Paul, beginning with the fi rst public performance of “October’s Girl.” The next number, “Koziko,” writ-

ten on Halloween, was lively, percussive, and closely harmonized, followed by “Leo’s Tune,” in Klezmer style. They also played “Alone at Christmas,” the only Christmas song Paul has written. Then the dramatic “Black Orpheus,” from the fi lm of the same name made in Brazil in 1959. Next, Come Essere Certo, written in honor of an Italian. They followed with another debut of a Fedorowicz number, “Stella’s Mandolin,” written for an aunt. The next number was a Fedorowicz tango, “Oddysseus’ Despair,” and they concluded with Besame Mucho, expressive and jazzy. A great program.

January 10, 2011Our second social at the new venue, the Gypsy

Trader Café, began with one of our long-time favor-ite players, Dick Myking, who regularly comes from Tacoma to attend our socials. Tonight he began with old time numbers, waltz and polka, but then surprised us with a masterful performance of a Pietro Frosini variety number, “Bubbles.” It’s long and diffi cult, full of lovely melody and distinctive runs, and Dick played it

very well. The second

performer was a fi rst-timer, and he came from a long way away to play for us – Modes-tino Musico from Florence, Italy. He played three num-bers. The fi rst was Choriko, with rapid treble passages and thrilling rhythm. The second number,

Alouette, also had great rhythm. The third number, “Spleen,” was a dramatic contrast in the beginning – slow, contemplative, almost mournful – but then jazzy. Modestino is an accomplished professional whose

Looking for accordionist to play with a few times a month

Playing easier / intermediate music German / Scandinavian old time

dance music + standards Meet once to check compatibility

Terry George Rudd 503 235 [email protected]

Member Rose City Accordion Club, NWAS



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Castiglione Accordions

usual venues are Eastern Europe and Italy, and it was thrilling to hear him play.

Then another long-time favorite, Einar Tapio, played a more extended, fast-paced program. I ex-pect Einar to play Finnish and other northern Europe-an music, but he surprised me tonight by going south to Brazil and playing a samba, Tico-tico/Festival, com-posed by Z. de Areau and Y. Derbenko in 1917. Next was the lovely waltz, “Caprice,” by Y. Horner, and a traditional Estonian polka, Iltu-Tiltu. The following number, “Sabre Dance” by Khatschaturian was a dra-matic contrast. He concluded with two polkas, Sirkko-jen Tannssi and the fast, always exciting Säkkijäven, a traditional Finnish polka, which he played faster and faster and faster with his famous fl ying fi ngers.

The Folk Voice duo, Birgit and Phil Ages, were joined by John Giuliani on the bass for an entertain-ing program. They began with two numbers dedicat-ed to John’s father, John Giuliani, Sr., whose recent passing has saddened all of us. They played “My Marie,” with Phil singing, and an unnamed Tarantella. They then played what Birgit calls the Polish national anthem, Satumaa, a tango, and then a lovely waltz with Phil playing the fl ute. They played the “Beer Bar-rel Polka” and a Finnish dance and concluded with a lively KakkiKolpakkoa Neit, with Phil playing his ampli-fi ed mandolin, always a lively sound.

Next, Jamie Maschler was a newcomer to the social, but I heard her play in the Leavenworth com-petitions and knew that we had another special perfor-mance coming. She didn’t disappoint as she played the extended and diffi cult “Variations on a Theme by Paganini.” It was a fl awless performance. Jamie stands when she plays and in a casual manner effort-lessly shifts from standing on leg to the other, which adds to the sense that her playing is also effortless.

Her bellows shaking is fantastic and seem-ingly equally effortless. After that master-piece, she was joined by a guitar-ist, Harold

Belskus. He plays a guitar that he has electronically altered to produce a rich, resonant baritone sound and provides rhythm with palm beats on the guitar. They played three numbers by A Cedar Suede, La formentota, Kona and “Eastern Dream.” I am not familiar with the composer or with the style of music, but it was fascinating. There were haunting melodies,



repetitive passages, and passages up and down the keyboard, echoed on the guitar and then played to-gether. A great performance. The evening concluded with Benjamin Gowan, playing Brazilian and Jewish music, another enjoyable variety of accordion music. He was later joined by Denny Stern, who played a small drum, using a padded stick on the top and a plain stick on the bottom. I did not get their playlist, but I can report that their music and singing/speak-ing was very interesting to hear. Much of the music featured delicate, separate and distinct notes or sepa-rated notes followed by sustained notes. Benjamin has played for us several times before and is always entertaining.

Ben Gowan and Denny Stern

Jon Persson

John Guiliani Jr.

Einar Tapio

Philip and Birgit Ages



Frank Marocco7063 Whitaker Ave

Lake BalboaCA 91406

www.frankmarocco.com140 accordion arrangementsIntermediate and Advanced

14 CDs & 5 DVD’s

Accordion Club Of Central Oregon NewsletterJanuary 2011

The January meeting was a great way to kick off the New Year with seven accordion players participating. The audience was sparse, but enthusiastic. As has become tra-dition for our meetings, we started off with a “jam session” playing familiar tunes such as “You are my Sunshine” and other oldies but goodies.

LORENA BLEVIN volunteered to be the fi rst soloist with a nice rendition of “Have I Told You Lately That I Love You” and a favorite hymn, “Draw Me Nearer”. Next was JOANN BRAUN who has become a regular participant, playing a delightful arrangement of “Tea For Two” followed by “Could I Have This Dance”. LINDA CLOUDAS, proudly showing off her new Classic Antique Petosa by playing “Irish Jig” followed by “O Solo Mio”. Nicely done, Linda.

An inspiration to us all was 92 year old PHYLLIS LONG playing Magnante’s diffi cult arrangement of “Dark Eyes”. Wow, those chords are hard to reach! Then, she amazed us with a beautiful “Nocturn”. Beautiful job, Phyl-lis. Next up was a newcomer, ED DANIELSON playing 2 Swedish tunes; “Styrmans Valsen” (Pilot’s Waltz) and “Backes Polska” (Swedish Polka). Like a lot of us, Ed has recently dusted off his accordion and started playing again. Great job, Ed. Happy to have you with us. LILLIAN JONES changed the mood a bit with Joe Morelli’s “Tango of Roses” followed by “Variation Waltz” written and ar-ranged for accordion by Giovanni and Frank Bortoli.

Closing our solo segment was KARL KMENT who always amazes and inspires us with his arrangements and technically diffi cult tunes. First was a medley of “Til There Was You” & “And I Love You So”, followed by a very upbeat and impressive “Snow Train Shuffl e”.

The “Jam Session” continued and we all hated to call it a day. We were all given copies of a duet of “The Vil-lage Blacksmith” as “homework” for next month’s meeting on February 12th. We are meeting at Cougar Springs in Redmond the second Saturday of every month at 1:30 p.m. Come a little early if you want to participate. We always welcome visitors from other Accordion Clubs. Contact Karl at 541-548-0495 or Lillian at 541-536-1531. Hope we will see you there!

Coupe Mondiale

The seminar ‘Coupe Mondiale and the De-velopment of Accordion’ in China was success-fully held during December on 18th and 19th in Shanghai, with up to 50 people present. CAA President Ziqiang Zhang, Vice President Xiaop-ing Wang (and Secretary General), Prof Li Cong (picture right), Guoli Yang, Luping Bai and Ning Du, as well as 20 executive directors attended the forum. Presidents of accordion associations in Shandong, Hubei, Shanxi, Hebei, Guizhou, Yun-nan, Jilin, Heilongjiang, and Gansu provinces also attended.

It was decided at the meeting that the 64th Shanghai Coupe Mondiale, which takes place from October 1st to 7th, should be given full sup-port, and the CAA should take the opportunity of this event to further develop the accordion in China. Competition entries for the 2011 Coupe Mondiale close on August 20th. The following was agreed:

1) The year 2011 will be named “The Year of Chinese Accordion”.

2) A series of Coupe Mondiale-related events will be conducted throughout the country in order to promote the 64th Coupe Mondiale. There will also be other performances, solicited articles and local competitions to celebrate World Accordion Day and the 64th Coupe Mondiale.

3) Over 20 accordion teams from all over the country will be selected, and invited to perform accordion shows in various forms during the Coupe Mondiale.

4) Accordion teachers and students will be encouraged to watch and appreciate the competitions and concerts of the 64th Coupe Mondiale.

Although the 64th Shanghai Coupe Mondiale will only last for fi ve days, the CAA still hopes that it will have a huge infl uence in the whole country and over the whole of the year, in line with the goals of the CIA and the Coupe Mondiale.

Would you like to receive this electronically? You’d get it in COLOR and get it sooner! Please email [email protected] if you would like to give this a try!



Daniel Desiderio Conducts Final Con-cert with Accordion Pops Orchestra

By Rita Davidson

Accordionist/conductor Daniel J. Desiderio, who is retiring, conducts his fi nal concert, "A Memorial Trib-ute to Charles Nunzio (1912-2010), with the Accor-dion Pops Orchestra for the benefi t of the Alzheimer's Association on May 1st. The orchestra is honored to dedicate this concert to the late Charles Nunzio, world famous accordionist, teacher, composer, and arranger who passed away in October 2010 at the age of 97.

World renowned jazz artist, Eddie Monteiro, who studied with Charles Nunzio, will be the featured per-former. Alfred Terzo will become the new conductor of the APO.

Daniel J. Desiderio is one of the country’s fore-most accordionists. Well known in the accordion fi eld for his compositions and arrangements, Mr. Desiderio has recorded on the Ampco and Cormark labels. He has performed in concerts throughout Europe and America, appearing at London’s Royal Festival Hall, Copenhagen’s Radio House, Munich’s Congress Hall, New York’s Carnegie Hall and Town Hall, Philadel-phia's Academy of Music and Kimmel Center, and the White House.

Mr. Desiderio began his formal musical training at the age of 9 under the late Arnold Crowe of Philadel-phia and later Pietro Deiro, Sr, the "Daddy of the Ac-cordion." He also studied arranging and composition with Dr. William Happich of the University of Pennsyl-vania. He began his concert career at age 17. During his four year military service, he was featured soloist with the Air Force Band and Symphony Orchestra in Washington, DC, performing around the world under the direction of Col. George S. Howard.

He is a former member of the Board of Directors of the American Accordionists' Association, one of the founders of the Pennsylvania Accordion Teachers Association, and a member of the Accordion Teach-ers Association of New Jersey which has become the MAMTG.

In addition to serving as conductor of the Ac-

cordion Pops Orchestra, Mr. Desiderio continues to perform in concerts and private affairs in the Philadel-phia area. He also operates a music studio in Media, Pennsylvania where he teaches accordion and piano students.

The origin of the APA can be traced to 1970, when it was organized by the Accordion Teachers' Association of New Jersey. Over the next ten years it performed at various community functions throughout the state under the direction of its fi rst conductor, Dr. Jacob Neupauer of Philadelphia.

In 1980 the orchestra members took a leave of absence, but four years later the membership was reorganized under the direction of the late Eugene Ettore of Livingston, New Jersey. In 1985, Daniel Desiderio was invited to act as a guest conductor of the orchestra and a few years later the A.T.A. of NJ appointed him as conductor in residence.

The name of the orchestra was formally changed to the Accordion Pops Orchestra and its membership was expanded beyond the original members from New Jersey to include performers from Connecticut, Massachusetts, Pennsylvania, New York, Delaware, Maryland, and Rhode Island.

The largest professional accordion orchestra of its kind on the East Coast, the group consists entirely of accordions plus percussion instruments. In addi-tion, the orchestra often accompanies guest soloists including pianists and vocal artists.

Most of the twenty-fi ve plus members of the or-chestra are professional musicians or teachers. Many are soloists in their own right. The orchestra performs a repertoire of light classical, Broadway, big band and popular music. It has entertained audiences at concert halls, county fairs, festivals, schools, and playhouses at many locations primarily in New Jersey, Pennsylva-nia, and New York.

World Champion AccordionistGrayson Masefi eld From New Zealand

St. Mark's Lutheran Church24th & Grand Blvd.

Spokane, WASaturday March 26, 2011 7:30 p.m.

Grayson has performed in France, Spain, Germany, UK, Portugal, Italy, Finland, China, New Zealand and the United States

Tickets $10.00 at the Door



Some of the Guest Artists from 2010



“TARGET:FOCUS – the Art of Exploring Practice for the Accordionist”

“I say that his book should be in the hands of not only every teacher of the instrument, but also accordionists in general, let alone the beginners.” – Anthony Galla Rini

Many decades of performing & teaching accordion come together in this valuable book designed to help students and seasoned artists alike to really know their instrument, use their practice time to its best advantage, and explore their connection with the accordion and its music. In addition to the book, a vast selection of Joe Morelli’s music is available in printed form. If you are interested in a brochure outlining various original compositions & arrangements of well known standards, contact information is below.

The Author, Joseph Morelli (1929 – 2009) Composer, Arranger, Teacher

To order “TARGET:FOCUS – the Art of Exploring Practice for the Accordionist” ($24.00 Cdn) and /or a brochure of original compositions and arrangements by Joe Morelli, contact Mrs. T. Morelli: [email protected]. Target:Focus is also available at Petosa Accordions, Seattle Wash, ($19.95 in USA) www.petosa.com

Dr. William Schimmel and Dr. Ulla Soukko at Lincoln Center

By Rita Davidson

Acclaimed accordionist Dr. William Schimmel and distinguished fl utist, singer and storyteller Dr. Ulla Soukko performed to a packed house on December 9th at the David Rubenstein Atrium at Lincoln Center, New York.

The concert was part of a Thursday evening se-ries sponsored by Target and was designed to present an unusual variety of presentations in a setting differ-ent from the usual concert hall varieties.

The concert entitled, Ulla-La, focused in on Ro-mantic Ballads from various countries worldwide, but it also included vocals, instrumentals, Latin numbers, Finnish folk music, songs of love and loss, cabaret pieces as well as Peruvian inspired improvisations. The concert was designed for all ages.

Drs. William Schimmel and Suokko have per-formed these concerts as part of Lincoln Center's Meet the Artists Program as well as The Midori Foun-dation in special versions designed for younger audi-ences.

In October, they toured the Washington DC area performing in various embassies. They are currently working on a DVD. Other Schimmel CD's and his accordion compositions are available on the William Schimmel website.

Both William Schimmel and Dr. Soukko are graduates of The Juilliard School with Doctor of Musi-cal Arts degrees.

For further information email: [email protected] William Schimmel website for his music and CD's.

Are your dues due? Please check your mailing label. We appreciate it when you renew without a reminder (or two.) Coming soon... paying your dues via the web!



Tacoma Accordion SocialsBy Eloise Adair

NovemberOur November meeting was on Veterans Day

so we had many patriotic songs. We had 61 in attendance even though it was raining. Before our program began Harvey Qually played the piano and then Dick Myking started our accordion music with military hymns. Louis Traverso was next to play. He did an excellent job on "AI's Polka", "Ciella Contata" and "Please Don't Talk About Me". John Lucas has been taking lessons from me since February and it was his fi rst time to play for us. He played "American Eagle March" and then I joined him and we played "Let's Dance the Polka". then I played "Czardas"

We had another duet called Polka Motion which was David Emter on the accordion and Sally Irish on the key board for backup. They played "Simms", "Only a Shadow" and "Battle Hymn of Republic".

Michael Barbarossa was next playing "Bella Bocca Polka", "Beautiful Dreamer" and "Themes from Hungarian Rhapsody". Mimi Emerson was next and she played "June Waltz" and "Nidelven" We then took a break and we had so many goodies some did not fi t on the table.

After the break we didn't have a lot of players so Dick Myking played again. He played "Saturday Waltz", "Balen I Karlstad", "Frank' a Polka", "I Don't Know Why" and "Five Foot Two". Then Rick Hatley joined Dick and they played "European Waltz" and "Halsa Dem Darhemma". Rick did a solo on "Just Because" and "Snow Waltz". We were also lucky to have Diane Crews sing "Sweetheart Tree" for us.

DecemberDecember 9th was a very rainy day but we had

49 at our monthly social. Harvey Qually provided piano melodies during the Social gathering time. He is a talented musician also playing accordion and the banjo which he plays with the Banjo Band. Our fi rst accordionist was Michael Barbarossa playing "Jingle Bells", "Let it Snow, Let it Snow", "Comedians Dance", "Blue Christmas" and "Up on the House Top". Next we had a duet - Linda and Richard Bishop playing "Holly Jolly Christmas”, “Christmas Celebration" and "Chipmunk Song".

Next we had Lyle Schaefer playing "White Christmas", "A Christmas Song" by Mel Torme which is better known as "Chestnuts Roasting on an Open Fire". Then he played "I Saw Mommy Kissing Santa

Claus" and "I'll Be Home For Christmas". Rick Hatley then played an Italian Christmas carol - "Pastorale" , followed by "O,Holy Night" and "Ave Maria". Lyle then joined him and they played a duet of "Silent Night".

We then had an intermission when everyone enjoyed the goodies we had to eat. Dick Myking played several Scandinavian selections during the break. Our program of Christmas music began again and Dick Myking played "Winter Wonderland" and "Hark the Herald Angels Sing" Next Lynn Swanson played "Here Comes Santa Claus", "Jingle Bells" and "Joy to the World". Diane Crews then sang "Winter Wonderland". Tom Demski closed our program with a nice arrangement of "Jingle Bells", "a Mazurka" and "Winter Wonderland".

JanuaryWe had snow early this week but we were

lucky by Thursday the 13th of January it rained in the morning but not in the evening when we had our meeting. We had 46 in attendance. Harvey Qually played the piano before the program started. Lyle Schaefer brought a friend John Faver and his son Taylor Faver and they began the program. Lyle and John played accordions and Taylor played the piano. They played "Greetings from Joe Mastie" "Frise" "Oscar's Birthday" 2 Swiss Selections and a Swiss Schottische. Our next performers were Linda and Richard Bishop. Richard played the accordion and Linda played the guitar and Richard played the accordion and together they played "Cha Cha Cha" , "Arrivedarci, Roma" and "When I'm Sixty Four".

Michael Barbarossa was up next playing "Rain Rain Polka", "Bach's Song" and "The Star Spangled Banner". We then had another duet, David Emter on the accordion and Sally Irish on the keyboard playing "Old Timers Waltz", "Send Me The Pillow", "When My Blue Moon Turns to Gold" and "Lee and Annes". Edith Barrett was up next.

She played "Pretzels", " Spring in San Remo" and Happy Birthday for Gene Adair. We then had a break with goodies. After the break Lynn Swanson played "Telephone Polka" and "Valiekewen Merimes".

Since Mozart was born in January Eloise Adair played "Marriage of Figaro" and "Polka Brilante". Diane Crews sang for us "Everyday with You Girl". Lyle Schaefer played a couple pieces, "Sunny" and "Girl From Ipanema". Our last performer was Tom Demski. He played "Bel Viso" , "Dark Eyes" and "Cumana".



By the Way – From Doris Osgood

Have you had the opportunity to watch a performance by the L. A. Philharmonic conducted by Gustavo Dudamel? Thanks to public broadcasting, I caught a performance in December. I’d seen Gustavo on previous broadcasts from his native, Venezuela. The concert’s rhythmic Latin music was interesting and beautiful; Gustavo (I feel like I’m on a fi rst name basis…) is a dynamic, charismatic music direc-tor. What especially caught my attention was the camera view directly in front of the conductor toward the orchestra. About 3 rows back amid the violins, sat the accordi-onist!! The accordion was one of the instruments of that great ensemble of players. AWESOME.

It is with great regret that I have to announce that Geoff Levear will retire from his work on the Northwest Accor-dion News after completing this issue. Geoff has been an important part of our small staff. He’s spent a lot of time recruiting advertisers and maintaining contact with the vendors in the accordion business. His work has kept our publication in the black and we will be forever grateful for that. He will be missed.

Saying “good-by” to one hard working lover of the accordi-on means saying “hello” to another! We want to welcome Colleen Halverson to our NWAS News staff. Colleen will assume the job of “advertising editor” beginning with the summer issue of this publication.

Both the Cirque du Soleil and the U.S. Air Force “Stroll-ing Strings” are seeking accordionists!! This appeal circulated 2 or 3 years ago; it’s time to do it again! The Air Force accordionist must meet the fi tness requirements for any military recruit, be able to obtain security clear-ance and must be under age 35. (Six weeks in boot camp is required!) The Cirque de Soleil is a unique performing company in Las Vegas. The accordionist would join the group for the grand opening in September at the MGM Grand. Applications are being taken for the position, which is contracted for two years. Contact: [email protected].

I could retire if I had a dollar for every time an accordion friend commented that we accordion players are forever “singing for the choir”. We play for each other and often don’t get beyond that. While this is true and a bit unset-tling at times, I heard a quotation by Dr. Martin Luther King Jr. last month that came by way of an interview with Harry Belafonte on public radio. According to Belafonte, Dr. King once said, “If you stop preaching to the choir, the choir stops singing.” I believe that he has it right! By encouraging one another we keep the music going and keep the accordion alive.

The Rocky Mountain Accordion Celebration in Philips-burg, MT was successful last year. We had reports that the entertainment was outstanding and that the event was very well attended this summer. Regrettably, no one is able to take the leadership in Philipsburg for 2011. Though people

LOVE going to Philipsburg, there are no players that actual-ly live in Philipsburg. The manpower just isn’t there to have an event next year. We are hopeful that someone will give RMAC new life after a year’s rest.

The Rose City Accordion Club will host the annual RCAC Accordion Camp at Silver Falls State Park Conference Center, OR again in June 5 – 10, 2011. Enjoy ensemble playing, workshops, comfortable lodges, maid service, and delicious meals. Instruction will be given by Ilmar Kuljus - music director, Murl Allen Sanders - guest conductor, and workshop instructors – Gordon Kohl and Beverley Fess. Space is limited so reserve your space soon. www.rosec-ityaccordionclub.org

Leading US jazz accordionist Frank Marocco's 80th birthday was celebrated in style on Saturday, January 15, 2011 at the annual Frank Marocco Accordion Event in Mesa, Arizona. Special guest artist Eddie Monteiro put on a dazzling display; Eddie and Frank’s playing together were amazing! Stas Venglevski, Vladimir Mollov, Gabe Hall-Rodriguez, Amy Jo Sawyer, and John Simkus contributed thrilling performances. No less than 60 accordionists, under the di-rection of Frank Marocco, performed a special program on Sunday evening, January 16. Present were Elke Ehrenholz, of Victoria Accordions, and her family, from Castelfi daro, Italy, among many other accordion friends. Joan and Dan Grauman organized the event.

Frank Marocco was born January 2, 1931. He is a composer and arranger; we appreciate his arrangement of Joe Cerrito’s music in this issue. Frank is one of the most recorded accordionists in the world, having contributed to over 500 movie soundtracks in addition to numerous audio recordings made under his own name.

The Day of the Accordion in Seattle was reported to be on hiatus in our last issue. Well…it was a dormant event for only a few days! The Day of the Accordion will hap-pen February 27. We will have gone to the printer before that so we couldn’t provide publicity in the publication. As always, I intend to be there and look forward to a fun day.

Be sure to check the offi cial web site for the Leavenworth International Accordion Celebration: www.accordioncel-ebration.org Ken Kohnhorst of Leavenworth is our Web-master for the music festival site. He is making regular up-dates as the event draws closer. Be sure to check it out for



The Chester Pietka Scholarships are available for young accordionists. Young people ages 18 and under, taking lessons from a recognized teacher, or wishing to do so, may submit a written request for scholarship funds for the purpose of taking lessons. Requests are to be submitted to the Portland Accordion Ensemble, 3224 B St., Forest Grove, OR 97116 or e-mail [email protected].

In addition to giving personal information, students are to share their interest and their goals for playing the accordion. These scholarships are open to the young people within the Pacifi c Northwest, not just the greater Portland area.

‘Music For All’ TV Pedagogy by Fré-déric Deschamps – France, French

Speaking CountriesBy Harley Jones

From September 2011, the ‘Armony TV’ network will air ‘Music For All’ on Channel 17 of DTT free view-ing for France, Canada, Switzerland, Belgium, etc.. ‘Armony TV’ is opening its programming to the teach-ing of the accordion.

This 26-minute weekly program titled ‘Music for All’ to be led by Frédéric Deschamps, will air every Wednesday afternoon from 3:30 p.m. to 4 p.m., and then broadcast again an hour and a half later, from 5.30 p.m. to 6 p.m. on the same day, allowing all ac-cordionists to assimilate the fi rst showing, apply the lesson material, and then re-watch the show to check that the information has been absorbed correctly.

This is a really nice initiative for our instrument, which will give audio-visual teaching sequences for all French speaking accordionists as developed by Fré-déric Deschamps. The broadcasting begins in Sep-tember 2011 and is a unique and innovative addition to our instrument.

The accordion is not the only instrument. This will also apply to other instruments such as guitar, piano, drums and harmonica, respectively released on Mon-day, Tuesday, Thursday and Friday of each week, with Frédéric Deschamps being the program director.

Further information about this exciting accordion project will be released in the coming weeks.

details concerning competitions, concerts, tickets, volunteer opportunities, and other information. Don’t forget, June 16 – 19, 2011 is fast approaching. Make your plans today to join us. Take the plunge and participate in the competition or the evaluation categories. It’s a valuable learning experi-ence/opportunity.

For twenty years I’ve hosted the accordion socials in For-est Grove on the 4th Sundays in April and October. I was surprised to discover that the 4th Sunday in April is Easter Sunday this year. We will not meet on Easter! The spring accordion social in Forest Grove will be April 10, 2011. After this we will resume our usual 4th Sunday routine.

Remember to submit your articles and other information to our magazine address: NWAS News 5102 NE 121st Ave Unit 12, Vancouver, WA 98682

Check the web site, www.nwasnews.com for current events and updates.

NWAS Welcomes New Members:Bob Holbrook, Anacortes, WAJohnny Vukonich, Cashmere, WALeta Bunnell, Canby, ORPaul A. La Marche, Sequim, WAMackenzie Baertlein, Spokane, WALinda Cloudas, Bend, ORWilliam Seiple, Gig Harbor, WAJoseph Geldmacher, Des Moines, WALee Sandretzky, Burien, WAPeter Bartkus, Rockford, ILDavid A. Parker, Seattle, WACorky Bennett, Reno, NV

Remember, you are welcome to give gift member-ships! The membership form is on the last page of this publication!



Bell & ReedACCORDIONWOODWIND

* * * REPAIRTUNINGSALES

RENTALSINSTRUCTION

* * *www.bellandreed.com

tel (206) 696-9054115 Prefontaine Pl S (401)

Seattle, WA 98104by appointment

World Accordion Day to be Held on May 6th

By Harley Jones

Festival, concert and competition organizers, accordion orchestras, all performers. What are YOU doing for World Accordion Day 2011 to promote the accordion in your area and country?

World Accordion Day is on May 6th, which is the day the accordion was patented in 1829.

World Accordion Day fi rst started in 2009 and has been a huge success, generating enormous positive publicity for the accordion. A key part of this event is the World Accordion Day website.

Every association, group, orchestra, performer and teacher, is asked to actively support this event by encouraging national and local accordion activities to happen in their country on this day or the weekend either side of Accordion Day if that should be more convenient.

Everyone can register their World Accordion Day activity on the website and send a report of their event after, for that website. This site is already a very valuable resource for the media reporting World Ac-cordion Day.

CIA President Raymond Bodell stated “No event is too big or too small. ALL accordion events cel-ebrating World Accordion Day are welcome. This is a promotion for the accordion in which every accordion enthusiast can participate and help bring our accor-dion world together as well as strongly promote the accordion to your population.”

Therefore, I urge you to make plans now for next May and encourage broad support from all levels of accordionists for this exciting new project. Let all ac-cordionists work together to make strong promotion to our populations with World Accordion Day.”

David Delameter performed in the education building at the Puyallup Fair September 13. This was his 2nd year to participate. His program included patriotic and gospel songs. For his playing, he was awarded a green ribbon. David’s goal is to play in public more often and he looks forward to purchasing a better quality accordion too. His journey is like so many of us. He started playing in the ‘50’s when he was 10 and only recently picked it up again.

David Delameter at Puyallup Fair

Do you have a favorite accordion memory? A fa-vorite accordion teacher? A favorite performer? We’d love to have your articles to include in the Northwest Accordion News!

Email your articles to: [email protected] or mail them to:NWAS, 5102 NE 121st Ave., Van-couver, WA 98682.



Northwest Accordion Society Scholarship Application

Scholarship Category: Age 15 and under___ Age 16 to 25___

STUDENT INFORMATIONName ____________________________________Age ________Address ______________________________________________Phone (___)_________________E-mail _____________________

TEACHER INFORMATIONName ____________________________________Age ________Address ______________________________________________Phone (___)_________________E-mail _____________________

Scholarship awards are $150 for age 15 and under and $200 for age 16-25. Applicant must be actively studying with a recognized accordion teacher and must reside in the Northwest which includes Alaska, Washington, Idaho, Oregon, West-ern Montana, Northern California and Western British Columbia. Applicants can apply annually. Recipients can re-apply after two years of fi rst award.

APPLICATION REQUIREMENTS:(1) Submit written recommendation by teacher(2) Submit written statement of reasons for applying(3) Submit a tape of 3 pieces with a copy of music

Submit application and materials to:NWAS Scholarship Committee, 3653 W. Commodore Way, Seattle, WA 98199

Phone: (206) 282-4934

DEADLINE April 1st



A Crucial Part of Mastering the Accordion - The Bellows

Presented By Andy Mirkovich

While you can spend a great deal of practice time working on perfecting playing techniques in the right and left hand, it is also good to spend some quality time practicing your bellows control.

Imagine if you will a singer who has a beautiful voice, a wonderful sense of pitch and great technical skill but doesn’t have good breath control. Imagine a violinist with can produce a lovely rich tone perfectly on pitch, great fi ngering technique, a lovely vibrato but doesn’t have good control of the bow.

As breath is to a singer or the musician who plays a wind instrument, or the bow is to a violinist, a violist or a cellist, so is the bellows to an accordionist.

The better your bellows control the more you are capable of producing a smoother melody line, contrast-ing dynamics, more effective accents and a myriad of tonal colors.

All of the above are crucial ingredients that make up what we like to call “playing with feeling”. In the absence of the above a player produces something that sounds “mechanical”. If you have it within yourself to play with feeling, you will only be able to perform with a level of feeling and expression that is commensurate with your ability to control the bellows.

An audience is more appreciative of a performance with feeling and expression than one that is mechanical. The more profoundly a performer can touch an audience with feeling, the more successful he or she will be with their performance.

I don’t mean to imply that playing with feeling and expression is all you now need to know in order to give a superb performance. Given that you have solid tech-nical skills and a good sense of musicality, there are other important factors as well such as choosing the right material for your audience and communicating with your audience on a warm and personal level.

The level of success that you can enjoy and the level of joy that you can bring to your audience will be enhanced by your ability to play with feeling and your ability to play with feeling will be directly correlated to your ability to control your bellows. The two are insepa-rable.

Here are some things that you can do to improve the physical control of your bellows.

Start with your shoulder straps and your bass strap. Don’t do anything else until your straps are properly adjusted to provide maximum control of your bellows. If you don’t have padded shoulder straps, buy them.

Shoulder straps need to be adjusted so that whether

you push or pull there is no slippage of your accordion either to the right or the left. If you have slippage it is impossible to attain the smoothest bellow changes be-cause there will always be a gap in the air supply to your reeds in direct relationship to the amount of slippage in either direction.

For many, a back strap is a possible solution. For some body shapes, back straps may be the only solu-tion. If possible I prefer proper strap adjustment without a back strap. Either way, adjust straps so that the left hand inside the bass strap is at a 90 degree angle to your body when the bellows are closed.

Bass straps are most effective in controlling the bellows when they are loose enough that you can move from the top to the bottom of your bass key board without restriction and at the same time tight enough so that your bellows respond without any delay whatsoever when you change bellows direction.

If you do not have a padded bass strap, buy one. You will immediately fi nd it so much easier to execute bellow changes and move up and down the bass key-board.

The majority of us were taught early on to open and close our bellows as if the bellows were “hinged” at the bottom. Doing it only that way dramatically limits your ability to control your bellows.

There are actually four “hinges” that can be used: the bottom, top, front and back of your bellows. Depend-ing on where your hand and the bellows are positioned, use the one that is the most convenient at that moment. The most convenient will be the easiest to execute. The easiest will provide the smoothest bellows change. The smoothest bellows change will provide the smoothest sound.

Everything I have shared with you in this segment will be for naught if your accordion does not have good compression. The tighter the better. You can have the greatest bellows control known to mankind but if your accordion is leaking air anywhere you are just not going to be able to reap the benefi ts of good bellows control. So if your accordion needs to be serviced in this regard, do it.

The bellows makes the accordion quite unique musically and we do well to exploit this attribute to the fullest extent possible.



No other instrument can take a note let alone a sustained number of notes and bring them from ppp to fff and everywhere in between with such dexterity and agility as can the accordion. The organ foot control is so clumsy in this regard that compared to the accordion it is simply no contest. The bellows provide vast opportuni-ties to massage a note or chord. Ignore that opportunity and you forfeit one of the most appealing features of your instrument.

Play any notes or chords as softly as you can. Then play them just as loud as you possibly can. If you are not using that full range at the appropriate times in your playing, you are short changing yourself and your audi-ence. Try hitting an accent with your bellows as hard as you can and feel and hear what it can sound like.

Any piece should NEVER be played at the same volume level from beginning to end. Each and every section, and yes, even every phrase should NEVER be played at the same volume level. Any piece, section or phrase played at the same level of volume is a piece, section or phrase that is played without a semblance of feeling attached to it.

Every single note and chord in the right hand and the left is important and needs to be recognized as such. While being respectful of the composer and the music, use your bellows to both caress and highlight each and every note in a special way that is unique to you. If you hear something that you fi nd more appealing than your way, blend it into your own style. Use your bellows to project through music your feelings and emotions to an audience that will be more receptive than you can imagine.

Finally, I want to conclude this article with another crucial part of musical performance, bellows changes.

Being able to make a smooth bellows change is a tremendous asset to any accordionist. Ideally, unless you are shaking the bellows, it is best if your audience never hears a bellows change. Each and every inappro-priate change of bellows detracts from a performance.

The very best spot to change bellows is in between musical phrases. Every musical phrase is separated one from the other and in that separation space there is ample opportunity to change bellows and fl awlessly maintain a smooth musical fl ow.

The very worst spot to change bellows is when your bellows are about to be fully extended or about to be fully shut and you have no other alternative but to change bellows direction irregardless of what is hap-pening musically.

Do not be concerned in the least about how fre-quently you change bellows directions. Change bellows at the easiest and most opportune periods of separation anytime before you reach full extension or full closure of the bellows. The closer to full bellows extension, the

harder it is to make a smooth change in direction. The closer to the middle the better when you change bel-lows direction.

I was taught not to change bellows on a held note? How about you?

Later I discovered that changing on a held note can be done advantageously. If you are going to play a repeated note, instead of lifting your fi nger and hitting the key again, you can hold down the note while you change bellows. The note sounds repeated exactly as it would if you hit it with your fi nger except now you have made a bellows change and no one will ever know the difference.

As a general rule, you will be able to make smoother bellows changes if when the left hand is above your C bass you change direction by pushing or pulling the top portion of your bellows and when you are below C bass, push and pull the bottom portion of your bellows.

Like any other facet of performing, bellows changes takes practice and a lot of it. The goal is to be able to play an entire piece without ever making a bellows change that is heard by you or your audience. Make the easiest spot to change your fi rst option and then go from there.

When you become really good at controlling your bellows you will perform musically in a continuum of lyrical smoothness along with both a level of tender sensitivity and dynamic expression that will set you apart from the rest of the fi eld.

In my next series of workshops I am going to add a BELLOWS workshop. You will be able to bring your accordion in and have a hands on experience with more detail than there was space for here. I will look forward to that opportunity.

I hope that each of you who reads this article will fi nd it helpful. I welcome and encourage any feedback by regular or email.

Andy Mirkovich2257 Sahalee Drive WestSammamish, WA [email protected]

Leavenworth Gazebo Performers Wanted!

The offi cial roster for Gazebo Performers will be prepared and ready by May 1. This will be posted on the www.nwasnews.com website. You can view available times on the web.

Contact Doris Osgood ([email protected] or call 503-357-0417) or Bonnie Birch ([email protected] or 206-622-4786) to volunteer.



Leavenworth International Accordion Celebration Sponsorswww.accordioncelebra on.org

Virtuoso Sponsors - $2,000 or more

Leavenworth Chamber of CommerceNorthwest Accordion Society

Major Sponsors - $500 or more

Gino Picini (sponsoring Mario Pedone) Business Sponsors

Accordion Players, Accordion Clubs, Friends of the AccordionSteve and Jeannie BergRobert CoeJohn Giuliani Sr. memorial fundColleen HalversonHugo Accordion BandNWAS Accordion Socials in Forest Grove, OR

Andy MirkovichDrs. Jim and Shirley O’BrienTerry RanstadAnn RobbinsRichard Webber

We’re star ng over for 2011! - the 18th Annual Leavenworth Accordion Celebra on

For all categories of sponsorships, we will list the donor name plus their website address on this webpage and in our quarterly newsle er.

For sponsors dona ng $25 or more, we will list their name and website address on our fes val fl yer. This fl yer will be available at all informa on booths at the fes val and will contain the fes val schedule plus a list of donors.

Virtuoso sponsors and Major sponsors will receive a prominent posi on on our website, magazine, fes val fl yer, and informa on booths. In addi on, they will be thanked on stage at the Festhalle, grange, and gazebo at appropriate mes.

If you are interested in dona ng, please send your check (made payable to Northwest Accordion Society) to NWAS/LIAC, 5102 NE 121st Ave. Unit 12, Vancouver, WA 98682.

You may now contribute through the website - www.nwasnews.com using Visa, MasterCard,American Express, Discover, or your Bank Card. This is processed through PayPal (you do not have to have a PayPal ac-count to do this). Minimum dona on of $10 via PayPal.

Business and club dona ons via PayPal - please email your business name, contact name, address, website address, phone number, etc. to [email protected].



The Pianist Who DoublesBy Pietro Deiro

Reprinted from Metronome magazine, January 1934

During the past few months I have received many letters from professional pianists who have decided to purchase an accordion and wish to know more bout the instrument before investing in it. I am always pleased when I am called upon for information before a purchase has been consummated because I feel that I can then be of assistance. Unfortunately I am frequently called upon to give an opinion on a post-purchase but is then too late to assist the purchaser.

Many pianists have been misinformed about the piano accordion and told that while learning they may begin on a small instrument and later change to a larger one. They have not been told, however, that within a few weeks or perhaps a month, they will discover that it they aim to do professional orchestra work they will have to exchange the small instrument for a standard one and take a loss thereby.

What is termed a “standard size’ piano accordion is one having 120 basses. The modern piano accordi-on of today is equipped with right and left hand regis-ter switches as well as indicators to show in which the register the accordion will play.

After I have explained the above facts to some pianists I am asked why the smaller accordions are made. They are for children or for adults who do not aspire to do professional playing but merely wish to amuse themselves. I am also asked why these facts are not more clearly explained to the prospective pur-chaser. That is a question I cannot answer but I do know that if professional players fully understood the facts they would, in the fi rst place, purchase the size of instrument they will eventually have to use.

In this way their profess is not retarded by wast-ing time on a small instrument. As the left hand keyboard of an accordion is entirely out of the range of vision of the player it must be played by a sense of touch and this is accomplished by gauging the dis-tance from one button to another. When the distance has been learned on one instrument it will take the player some time to become accustomed to a new keyboard should he decide to change. The moral for professional players therefore is to originally purchase the type of instrument to be eventually played.

A recent letter from a pianist interested me very much. The writer stated that he had must purchased an accordion and was fascinated by it. He was great-ly encouraged by the progress he had made in a sort time in playing of the right hand keyboard but felt that there was something decided wrong about his bass

accompaniment. I knew this pianist to be an excellent musician and rather than to have him become dis-couraged in the early stages of his accordion playing I sent for him and asked him to play for me.

I marveled at the technique of his right hand as transferred from the piano to the accordion in a relatively short period. His left hand accompaniment work was just as he had described, all wrong. Upon analyzing it I found what was causing all the trouble. After he played a bass button he allowed the fi nger to remain on the button and this produced a very draggy accompaniment, which drowned out the music being produced by the right hand. When he did remove the fi nger he raised it high in the air and lost time between the playing of one button to the next. Let us remem-ber that the fi ngers should always remain very close to the button keyboard. When playing straight bass and chord accompaniment the buttons should be pressed with a quick action and immediately released. This can be done without waving the fi ngers high in the air.

The pianist I have mentioned happened to be using the correct fi ngers but I might mention that a very common cause for draggy bass accompaniment is incorrect fi ngering. The third fi nger should always be used for the bass buttons (whether counter-bass or fundamental bass) and the second fi nger should be used to play the chord buttons. A draggy accompani-ment is often caused by the use of the fourth fi nger on the bass button and the third on the chord while the second fi nger is used to reach the next bass. In this way the buttons are not released quickly enough to produced a staccato effect. According to the fi rst named system of fi ngering it is imperative that the but-ton be released immediately because the fi nger must be in readiness to play the next bass.

Not long ago another pianist came to me for advice. He had just purchased an accordion and had quickly mastered both right and left hand technique but found a stumbling block in the manipulation of the bellows. He had the appearance of a very strong hus-ky chap but stated that he was thoroughly exhausted after he played for a half hour. I had the gentleman put the accordion on and it did not take long to fi nd out why he was tired. In the fi rst place he held the accordion in a position, which made the correct ma-nipulation of the bellows impossible, and the result was that he was using about fi ve times the amount of energy necessary for this playing. When the accordi-on is in the correct position, the bellows may be easily manipulated. It is essential that the straps be of the proper length if one is to maintain the correct position.



He second fault of this player was he pulled the bellows more than necessary. Only a slight amount of air needs to pass through the reeds and when too much air is given the tone produced is a choked sound.

When opening the bellows the outward action should be from the top while the bottom remains in a practically closed position. The closing action is from the top similar to a fan. The closing action is always a little more diffi cult than the opening and therefore calls for extra practice and concentration. I obtain the best results in the closing action by placing my palm close against the back of the box and letting the fi ngers bend over the bass keyboard. When my hand is in this position I can easily shift to any part of the bass keyboard.

Some accordionists, particularly those who are former dance pianists, accent the bass accompani-ment too much. Let us remember that when two keys are struck on the piano, two tones respond according-ly and when a strong accent is required the keys must be struck harder. When a bass button is pushed on the accordion fi e individual reeds respond and nine in-dividual reeds respond in the pushing of a chord but-ton. This is done mechanically within the instrument and is not necessary therefore to put so much pres-sure on the playing of the buttons. Nothings sounds so unpleasant as to hear an accordion selection being played when the bass accompaniment entirely clouds the melodic line as played by the right hand.

Perhaps the readers may be interested in some exercises I prescribed for an accordionist who could not obtain a light staccato touch for bass accompani-ment. Exercise A has a triplet of sixteenth notes to be played by the left hand against one-eighth note for the right hand. I suggest that one begin the practice of the exercise slowly and the gradually increase the tempo until it can be played rapidly and distinctively. Concentrate particularly on the bass work and re-member to strike the button and release it immediate-ly yet permit the fi nger to remain close to the button. If this exercise is practiced faithfully I can assure the accordionist he will never encounter further diffi culty in playing bass accompaniment in staccato fashion.

Some pianists have taken a skeptical attitude and have doubted that the higher types of classical music could be arranged for the accordion without sacrifi cing much of the original. Probably one of the best known and most popular of the classics is Rachmaninoff’s Prelude in C sharp Minor. I believe that it will interest those who are ambitious and want to prove that the accordion can produce the fi nest of classical music.

Accordion Events CalendarBy Doris Osgood

[email protected]

NORTHWEST ACCORDION SOCIETY SOCIALS SEATTLE, WA2nd Monday monthly: March 14 Gypsy Café/Pub 3510 Stone Way N. Seattle 98103 April 11 Senior Center of West Seattle, 4217 Oregon St. Seattle, WA 98116 May 9 Gypsy Café June 13 Senior Center *note changing sites. Contact: Bonnie Birch 206-622-4786. Social hour 6:30 PM. Music 7:30 PM – 9:30 PM.

NORTHWEST ACCORDION SOCIETY SOCIALSTACOMA, WA2nd Thursday monthly: March 10, April 14, May 12, June 9 Lutheran Church 121st & Park Ave. across from PLU Library 7:00 – 9:30 PM contact: Dick Myking 253-537-0136

NORTHWEST ACCORDION SOCIETY SOCIALSFOREST GROVE, OR4th Sundays April and October. Forest Grove Community Center, 2037 Douglas St. Forest Grove, OR. 1:30 PM – 5:00 PM. Contact: Doris Osgood 503-357-0417. [email protected] April 10, October 23, 2001.*note the change for April.

ACCORDION CLUB OF CENTRAL OREGONBEND, OR2ND Saturday Monthly, 1:30 PM Cougar Springs Senior Liv-ing Facility Redmond, OR Contacts: Lillian Jones, 541-536-1531 [email protected] or Karl Kment, 541-548-0495 [email protected]

ACCORDION JAM IN SANDYSANDY, OR4th Saturday monthly noon – 4 PM meet at Shorty’s Corner Café 2 miles East of Sandy, OR on Hwy 26. Bring accordi-on, music, stand, and snack to share. Coffee provided. All players welcome. Contact Andy Jorgensen 503-668-3917 or 503-975-2380.

ACCORDION CLUB OF ROSEBURGROSEBURG, OR3rd Monday monthly 6:30 PM Green Community Church3777 Carnes Rd. Roseburg, OR 97470Pres. Karen Cordell 553 Little Valley Rd. Roseburg, OR 97471 541-784-1911 [email protected]

ACCORDION CLUB OF VANCOUVERVANCOUVER, B.C.www.meetup.com/Accordion-Club-of-Vancouvercontact: Haike Kingma, [email protected]

ACCORDION INTERNATIONAL MUSIC SOCIETYSANTA BARBARA, CA2nd Sunday monthly 1 – 3 PM Vale Verde Retirement The-atre 900 Calle de los Amigos, Santa Barbara, CAAIMS P.O. Box 4511 Santa Barbara, CA 93140Info: Heinz Trick 805-685-2260www.santabarbaraaccordions.com



BROOKINGS ACCORDION CLUBBROOKINGS, OR4th Sat. monthly 2-4 PM, Evergreen Federal S&L, 850 Chetco Ave. Brookings, OR, Pres. Cami Meccia 541-469-8079

EMERALD VALLEY ACCORDION CLUBEUGENE, OR1st Monday monthly: 7:00 – 9:30 PM Veterans’ Memorial Bldg. 1626 Willamette St. Secretary Linda Gunn 541-726-6330 [email protected] V.P. Lou Marzano Social time 6 PM, business 6:45 PM

FAIRBANKS ACCORDION CLUBFAIRBANKS, AKMondays weekly 6 – 8 PM Pioneers Home, open to all free reed instruments. Contact: Christine Upton 907-457-3392

FIVE VALLEY ACCORDION ASSOCIATION MONTANA 5VAA Jams are 1- 5 p.m. Bill Kindzerski Pres. 363-3680fi [email protected]

Montana – NW Accordion AssociationContact Ralph Salomon 675-0178 all NWAA Jams 2 – 6 PM

Montana – Great Falls Accordion Players Contact Pat Sharp for info: 406-452-4546

HUGO’S ACCORDION BANDMT. VERNON, WA2nd and 4th Monday monthly 6:00- 9:00 PMPres. Lois Yale 360-766-8713 lobo@fi dalgo.net9247 Marshall Rd. Bow, WA 98232

HOUSTON BAY AREA ACCORDION CLUBHOUSTON, TX2ND Wednesday monthly 5 – 9 PM Joe Brikha, Pres [email protected] www.bayareaaccordionclub.com

MEDFORD ACCORDION CLUBMEDFORD, OR4th Monday monthly 7 - 9 PM: Central Point Senior Center 123 N. 2nd St, Central Point, OR Jeannette Dewey, Pres. 1029 SE Rogue Dr. Grants Pass, OR 97526 541-471-7455

OKANAGAN ACCORDION CLUBKELOWNA, BCTuesdays weekly Sept. – May, Senior Center on RichterInfo contact: Rod Miller 250-317-9088

PORTLAND ACCORDION ENSEMBLEPORTLAND, OR3rd Monday monthly. 6 – 8 PM., 4331 NE Tillamook, Port-land, OR 97213. Phone/Fax 503-284-6586.

ROGUE RIVER ACCORDION CLUBROGUE RIVER, OR1st and 3rd Wednesdays monthly. 7 PM Council Chambers Rogue River City Hall, 133 Broadway St. Rogue River, OR. Pres. Margot Turrell 206 Creekside Grants Pass, OR 97526 541-479-9409 [email protected]

ROSE CITY ACCORDION CLUBPORTLAND, OR3rd Saturday monthly. 1 – 5 PM Milwaukie Public Safety Bldg, SE 32nd & Harrison, Milwaukie, OR.* meeting in September 4th Sat. Pres Steve Knapke 503-521-9140 email: [email protected] www.rcac.us

SEQUIM ACCORDION SOCIALSEQUIM, WA2nd Sunday, Odd numbered months, 1 PM Sequim Senior Center contact: Jeannie Berg- [email protected]

SIERRA NEVADA ACCORDIONSRENO, NVJohn Covarelli, Pres. 775-848-3777, [email protected]

SPOKANE ACCORDION ENSEMBLESPOKANE, WA weekly rehearsals 6- 9 PM Helen Eldenburg, Pres. 509-448-1899, Patricia Bartell, director [email protected]

SPOKANE AND INLAND NORTHWEST ACC. CLUBSPOKANE, WA4th Monday monthly, 1520 W. 3rd and Maple in Spokane, at the Global Credit Union Bldg. Exit #280 off I-90. 6 – 9 PM, $3. at the door. Contact: Griff Bryan Ziegler, [email protected] , 208-457-1775

TUALATIN VALLEY ACCORDIONISTS FOREST GROVE, OR1st Sat. monthly 10 AM – 1 PM Forest Grove Library Pacifi c Ave. Contact: Paul and Judy Bria 503-591-0504 [email protected]

VICTORIA ACCORDION CLUBVICTORIA, B.C. CANADA1st Sunday Monthly 2:30 PM, Victoria Edelweiss Club108 Niagra St., James Bay District Victoria, BCContact: John 250-386-7282 or 250-477-3098

BUTTON BOX CAMPS JULY AND SEPTcontact Joe Smiell, 863 Portal Ave., Oakland, CA 94610510-832-6938

GRAYSON MASEFIELD IN CONCERTSaturday, March 16, 2011, 7:30 PM St. Mark’s Lutheran Church 24th and Grand Blvd Spokane, WA admission: $10. at the door

GREAT AMERICAN SQUEEZE OFF ACCORDION FESTSIVAL, Reno, NV April 4 – 5, 2011 Silver Legacy Resort, featuring Dick Contino, Mario Pedone, and Corky Bennett. Contact Corky for information: Also check out: www.thegreatamericanaccordionist.com

RCAC ACCORDION CAMP- SILVER FALLS CONFER-ENCE CENTER June 5 - 10, 2011 near Sublimity, OR. Camp treasurer: Marlene Meissner 503-463-9909 [email protected]



LEAVENWORTH INTERNATIONAL ACCORDION CEL-EBRATION June 16 - 19, 2011 Leavenworth, WA. Info: www.nwasnews.com

KIMBERLEY OLD TIME ACCORDION COMPETITION KIMBERLEY, BCJuly 4- 9 , 2011, [email protected], 1-888-4KIOTAC or 250-427-7318

ACCORDIONS BY THE SEAVictoria, British Columbia July 14 - 17, 2011Competition, Concerts, Workshopswww.accordionsbythesea.com 250-884-4595

FAIRBANKS SUMMER ARTS FESTIVALJuly, 2011 on the campus of U. of Alaska Fairbanks. www.fsaf.org contact Elaine Andaloro 907-457-7870

71st ANNUAL ATG FESTIVALGalla Rini CompetitionJuly 19 – 23, 2011 Orlando, FLdetails available soon @ www.accordions.com/atg

ACCORDION CELEBRATION Wallace, ID August, 2011

COTATI ACCORDION FESTIVALCotati, CA August, 2011www.cotatifest.com

ACCORDION EXTRAVAGANZA FESTIVALEDMONTON, ALBERTA September 2011info: 780-462-8345, [email protected] COUPE MONDIALEOctober 2 – 6, 2011 Shanghai, China

INTERNATIONAL ACCORDION CONVENTIONLas Vegas, NV, Gold Coast Hotel and Casino http://accordioninfo.com/convention/ 1-800-472-1695 [email protected]

Entertainers in the NorthwestSubmit your public performance schedules to Doris Osgood 3224 B St

Forest Grove, OR 97116 [email protected]

Juan Barco – BandContact: 23091 23rd Ave. W. Brier, WA 98036425-775-8150; cell 206-356-1878

Corky BennettGreat American Squeeze Off Accordion Festival April 4 – 5, Reno, NV Silver Legacy Resort website: www.corkybennett.comemail: [email protected]

Bonnie Birchwebsite: bonniebirch.com For scheduling information: write 1107 1st Ave. #1003 Seattle, WA 98101. 206-622-4786, email: [email protected]

Chuck BergerAccordion Repair and Public PerformanceFor information call: [email protected]

Frank CalapristiWinter schedule at King Ludwig’s, Wed, Thurs. Sun. nights; tour groups as needed For scheduling information write PO Box 1057 Leavenworth, WA 98826 [email protected]

Gary DahlFor scheduling information write 509 Valley Ave. NE #5 Puyallup, WA 98372Phone/fax [email protected]; www.accordions.com/garydahl; www.beltuna.com

Tom Demski (Mr. Flash)For scheduling information write: 518 9th St. SW Puyallup, WA 98371 [email protected]

Folk Voice BandFor scheduling: Birgit Ages 206-368-9720 [email protected]; http://folkvoiceband.com

Happy Hans’ Music Hans Rainer, Jr. March 19 German House 8 PM – 12 AM Seattle, WAApril 9 German House 8 PM – 12 AM Seattle, WAApril 30 Lakewood Elks Lodge, Lakewood, WA 7:30 – 11:30 PMAug. 6 Benson Barn, North Bend, WA 1 – 5 PMFor scheduling information write Hans Rainer, Jr. 24613 231st Ave. SE Maple Valley, WA 98038 425-413-6562 [email protected] WWW.HAPPYHANSMUSIC.COM

Hello Accordion Friends!The American Accordionists’ Association is pleased

to announce the 2011 International Accordion Orchestra Competition scheduled for July 13-17, 2011 in Charles-ton, South Carolina.

As a renowned Accordion Orchestra leader, we are writing to be sure that you have all the details about the competition in the hopes that you will join us in Charles-ton for this great event. Considerable cash prizes are planned for this competition.

Please go to www.americord.com for more informa-tion. Feel free to contact me at [email protected] or Linda Reed at [email protected] if you need more information, or if we can help you making arrange-ments for your group.

Looking forward to seeing you in Charleston! Sincerely,Mary Tokarski, 2011 Festival ChairpersonAmerican Accordionists’ Association



Little Bohemian BandJune 3,4, 2011 Black Bear Casino Carlton, MNCheck web site for details.For scheduling contact: Gene Sadowsky 541-990-3109 email:[email protected] www.littlebohemianband.com 802 NW Quarry Rd. Albany, OR 97321

Greg MeierGlockenspiel Restaurant Friday and Saturday nights 190 E Charles St Mt. Angel, OR 97362 503-845-6222Rheinlander Restaurant 55th/Sandy Blvd Portland, week nights 5 – 9 PMFeb. 5 – 6, 2011 Wurstfest, Mt. Angel, ORApril 16, 2011 Liedertafel Harmonie Spring Concert Deutsches Haus SE Division Portland, OR For scheduling information write: 38572 Park Ave. Sandy, OR 97055 503-668-7002. Fax 503-668-1058 [email protected]

Andy MirkovichApril 11 NWAS Social in W. Seattle Full schedule private engagementsMaster Classes by appointment: 425-451-1256

Ken OlendorfBallard Elks weekly, Sundays 7 – 10 PMWeekly “casuals”For scheduling information write 532 - 28th Ave. Seattle, WA 98122 206-325-9245

Murl Allen SandersMarch 26, April 30 7 – 11 PM Capri Ristorante Italiano 15121 Main St. Mill Creek, WA 98012 425-357-8500 www.capriristoranteitaliano.comApril 1, 7 and 9:30 PM – solo performance – Lakeside Bistro 11425 Rainer Ave. S. Seattle, WA 206-772-6891June 5 – 9 Accordion Camp, Silver Falls Conference Center, Silver Falls State Park, ORAugust 20 or 21 Cotati Accordion Festival Cotati, CAFull schedule private engagements; new music projectsFor scheduling information write: [email protected] PO Box 30553 Seattle, WA 98113, 206-781-8196

Lyle SchaeferFor scheduling information write: 11704 15th Ave. E Edgefi eld, WA 98372 253-927-7760

Sam’s Variety GemsSam Pecorilla: home 541-847-2282, cell 541-321-9088

Smilin’ Scandinavians For scheduling information contact: Toby Hanson11123 216th St. E Graham, WA 98338 253-875-8580 [email protected]://smilinscandivanians.com

Dennis SchadduckChina Jade Restaurant 87th & Greenwood Ave. NSeattle Sunday nights.

Joe SzaboFri – Sat. 6:30 – 9:30 PM Nonna Emilia’s RistoranteAloha, ORFor scheduling information: 13484 SW Devonshire Dr. Beaverton, OR 97005 503-641-2313

Syl’s Ya Sure Ya Betcha Band (WA)Syl’s Arizona Dance Band and Polka BandFull Arizona Schedule March and April. Schedule for May – December will be posted soon. (Jan.- April, Nov. Arizona Schedule, 480-357-2585)For scheduling: Sylvia Jorgensen, WA contact: 253-845-9321, cell [email protected], www.fjordsong.com

SVEA TrioSvea Trio with the accordions. Richard Svensson and Bjarne Jacobsen206-523-3245, [email protected]/sveatrio/

NW AccordionairesContact: Cooksie Kramer 425-828-9104

Most of our professional players keep their current and updated performance schedules on their web sites. Advance scheduling is diffi cult and often fl uid. Consult the contact information and web addresses for up to date information. Support them when you can.

The Accordion on the left is an Alessandrini Pro 9 41 treble 120 bass, 4 treble, 5 bass reeds, hand-made reeds, musette tuned, sennheiser mics, fl ower ornamentation on case, about 26 lbs comes with a soft case $3500. The accordion on the right is a Verde 39 treble 96 bass, 4 treble 4 bass reeds, handmade reeds, musette tuned, sennheiser mics, black case with sparkles throughout, about 21 pounds, 18 in key-board comes with a soft case $3500.

Call for more info: Jeannie Berg 360-683-5620 or [email protected]

Accordions for sale



Northwest Accordion Society

5102 NE 121st Ave. Unit 12Vancouver, WA 98682

www.nwasnews.com

Membership ApplicationAll funds in U.S. Currency

Membership Type:

Regular MembershipNorth America U.S. - $20.00Canada - $25 (U.S. Funds)Outside North America$35 (U.S. Funds)

New Membership

Student MembershipAge 18 and UnderU.S. $15/yearCanada $20/year (US funds)

Renewal

Patron Membership$35/year U.S. funds

Gift Membership from:

Name:

(Please Print)

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I would like to receive the _____Electronic version (PDF) _____Hard copy

Please mail to: Northwest Accordion Society, 5102 NE 121st Ave. Unit 12, Vancouver, WA 98682. Include SASE (Self Addressed STAMPED Envelope) for membership card

All funds in U.S. Currency

(206) 632-2700

Northwest Accordion Society5102 NE 121st Ave., Unit 12Vancouver, WA 98682-6164

CHANGE SERVICE REQUESTED

Current MembersYour membership renewal date is specifi ed on the mailing label. Please assist our volunteer staff by sending in your renewal form before that date.

Change of AddressTo avoid delay and extra cost, send address changes to the above address, or email as soon as possible. There is a $5 charge to resend undeliverable issues.

New MembersWe encourage all individuals interested in supporting, playing, and/or promoting the

accordion to become members.

Membership forms are inside the back cover.

NORTHWEST ACCORDION SOCIETY Membership

5102 NE 121st Ave., Unit 12, Vancouver, WA 98682-6164www.nwasnews.com

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