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Accompanist Assist

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Waldo

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I have spent most of my learning time trying to emulate the songs I like. Having recently met a guitarist who is willing to play (and mentor musically) with me, I have realized I am woefully deficient in backing other players and singers especially. I am aware that when backing a singer, I should not play the melody as the singer may go elsewhere (musically, not another studio) in the tune than where I go, confusing the song as a result.

I want to improve my backing skills, so I am seeking a web site, DVD or Youtube link that demonstrates various rhythms and chord progressions (?) that are suitable for backing on accordion (no guitar stuff). An example of what I mean is the standard polka "oom-pa, oom-pa". Or, as a variant, "oom-pa-pa, omm-pa-pa". Simple stuff, playable by either hand, that is like what a rhythm guitar player might do. Could be as simple as a single chord for a beat and then a single (or 3rds) note (s) for three beats, and repeat...or chord, note, chord, note, etc. I am vary much interested in the rhythms, so something audio would be desired so I can hear it. I don't want a bunch of songs being played, only the backing track. The kind of thing I might play in a jamb circle without pissing off the violins (yuck, yuck).
It'd be ideal if the demonstration was played on a C system CBA, but I'm sure that would be asking a lot (read: a miracle). I will consider any and all suggestions.

Press on....
Waldo
 
ahh

if you can listen and learn, simply get ahold of the album
once over lightly
Jo Stafford and Art Van Damme
and study it

Art sets the standard for the sensitive accordionist's thoughtful
backing of a Vocalist in this classic opus

one can also listen to nearly ANY song he cut live or in studio
where he gives the other members of his quintet or pickup band
their "turn" and pay attention to how quickly, now naturally,
how seamlessly, he drops his fingers and squeeze into a supporting role

Jo stafford and art van damme - Search Videos

www.bing.com www.bing.com
 
Thanks for this recommendation Ventura! I wasn’t really aware of Jo Stafford. This album has the Art Van Damme Quintet and he’s not allowed to play a million block chords per second. He really accompanies with both chords and fill lines and does get to cut loose a little.

When he’s fancy free and gets to wander, it’s just the Gypsy in his soul.

A little scratchy but here we go:

Side One:



Side 2:

 
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Accompaniment is a pretty big subject, and one not that's very well-addressed in most instructional materials. Some thoughts off the top of my head though:

  • If it's just you and a singer, you're still the entire backing band and can use your left hand accordingly.
  • If there are other instruments, you'll usually want to omit some or all of the left hand, since its role is being filled by other people and you are a polite and tasteful musical partner. :-) In almost all "jam" situations, I'm pretty much right-hand only.
  • The way you would accompany is going to also change based on the idioms of whatever style of music you're playing. You're not going to accompany "Hernando's Hideaway" the same way you'd accompany "Wagon Wheel".
  • That said, developing a deep knowledge of chords in the right hand is going to be crucial no matter what. Know your inversions and eventually get to where you can select the inversion that provides the smoothest movement between chords.
  • But bear in mind that you don't have to play the entire chord. The situation may call for just root-fifth voicings, or just thirds, and so on.
  • From there, explore what non-chord notes you can add in here and there for interest/flavor. This will then lead to fills and solos, etc.
But the real key, as @Ventura points out, is listening. You can be specifically taught tips and tricks and theory, but at the end of the day what you play will be based on the library of music in your head, the shelves of which are stocked by listening to others.

And not just accordionists either. Hammond organ fills a similar role as the accordion, and you can learn a lot by listening to how that's used in rock and pop songs. Same with string arrangements, synth riffs and "pads", and even backing vocals.
 
Ventura said:
ahh

if you can listen and learn, simply get ahold of the album
once over lightly
Jo Stafford and Art Van Damme
and study it

Art sets the standard for the sensitive accordionist's thoughtful
backing of a Vocalist in this classic opus

one can also listen to nearly ANY song he cut live or in studio
where he gives the other members of his quintet or pickup band
their "turn" and pay attention to how quickly, now naturally,
how seamlessly, he drops his fingers and squeeze into a supporting role

Jo stafford and art van damme - Search Videos

www.bing.com www.bing.com
Click to expand...
Couldn't agree more! I picked up this CD probably 25 years ago and just loved it. Very sensitive backing.

You could also look up Richard Noel videos on YouTube. He is extremely good about comping other musicians and singers.
 
the (4) quintet or pickup musicians would be reading FROM
charts AVD wrote

when running people through the charts ahead of time,
he would have his master set open, but only to easily
refer to it for guiding them as he ran them through their paces
(measure x note x beat x take it from there)
 
colinm said:
Is Art making this up on the fly or is he playing from sheet music?
Click to expand...

I suspect a combination of both. There are arranged parts that he's playing in coordination with the vibraphonist and guitarist which, whether notated or just memorized, were certainly worked out ahead of time. (A style that I suspect was heavily influenced by George Shearing, by the way--another great one to listen to.)

But the little fills and solos are, I assume, largely ad-libbed, which is the expectation in jazz music.
 
When I play jazz it's usually with a backing band, so I leave the left hand out of it entirely, unless I think a low drone note would be nice, such as towards the end of a ballad. On the right hand I often use dry or dry-ish registers for soloing (bassoon, bandon), but turn on the musette when backing in a "string section" vein, or for French songs. There's nothing as sweet as playing a quiet sustained line on musette behind a singer or soloist performing a bossa nova standard.
 
You must know the chord progression of a song to back it up first. Some music genres such as jazz and latin music are harder to do (they have complex chord progressions). To make suitable and interesting oom-pah patterns for songs, you may experiment (invent yourself) by working on some easier songs.

Maybe an advanced teacher may show you some smart moves I think.

Another approach is to play over or below thirds of same pattern as the melody (on the right hand) that suits in some places if you can find.

Anyways you must find an empty place musically to play for accordion in a group of instruments, must still suit with the original chord progression of the songs. Your play may be the same with others sometimes but not all the time. You must take a unique role for an ideal backup.
 
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Thank you'all for the responses. Lots of work in my future. The AVD stuff will be a big help, albeit somewhat beyond my skill level.
I get the chord progression need, but find I'm playing the chords as if i'm leading the song and eclipsing the guitar. When listening to other players, they often do a "hit.....pause....hit....pause" type pattern similar to bass side technique where the buttons are "hot" and burn the fingers. It's examples of these rhythm patterns that I'd like to find demonstrations of.
JJ: As usual your insights are useful. I've spent a lot of time getting inversions down and find them to be well worth the effort. They make the addition of variety while staying in the Key and following the progression easy. My guitar associate likes them, too. He doesn't use/know them so when I back with them it reduces the monotony of the melody without detracting from the tune. Perhaps if I play them as I have been but do the "hit....pause" thing on 1 & 3, or 2 & 4 (assuming a 4/4 time).
I'm reminded of the old adage (as far as I know, I made it up!) that, "the heart of the accordion is in the reeds, but the sole in in the bellows".
I definitely need more sole in my play. Any recommendations (audio/visual) on bellows technique? Again, preferably in an instructional format vs. culling out of a recording.
Wish I had a local teacher for CBA, but alas.......

Press on....
Waldo
 
I love accompanying singers and small ensembles because you have so many creative possibilities. I don't go in with any prepared parts, as it is more fun to carve out spaces and support whatever is needed in any moment -- could be an echo of a phrase, supporting harmonies in a frequency range not being filled by other players, rhythmic comping, sustained drones or any combination that sounds good--you can be the "mortar" that ties everything together without drawing any attention to yourself. I enjoy solo playing as well because I have total control of the direction of a tune, but it is really freeing to not be in charge of providing everything--the rhythm, melody and harmony--all the time, which lets you dig into things like inner voicings, extended chords, complimentary rhythmic accents. etc.

I highly recommend playing live with others as much as you can as it helps develop those skills to respond to the music going on. Play along to recordings and try out lots of possibilities without the fear of screwing up.
 
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