Joe Natoli’s lineage, I believe, is also from the RCM in Toronto under Joseph Macerollo, same teacher as Michael Bridge. I also think I spotted Michael Bridge on the ATG board as well.
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ATG Exams
- Thread starter breezybellows
- Start date
mrkeelermr
Member
Breezy, thank you for sharing! I had no idea such an exam/syllabus existed. Wasn’t aware of the ATG festival either; Kansas City is only a couple hours drive from me so I’m strongly considering checking it out!
If you can excuse my ignorance (started learning ~6mo ago), I’m full of questions and hope you or anyone else can enlighten me:
- The ATG syllabus is a list and does not include sheet music for pieces/exercises, correct?
- If so, where can one purchase sheet music for the pieces? I imagine arrangements I make myself wouldn’t be acceptable since their difficulty would probably not correspond with the level of the exam. I’d love to find a good book of collected pieces I can work on if anyone can recommend one.
- Do you need to be an ATG member to take the exams?
- Are the exams “on demand”, annual, quarterly…?
- Did you start at level 1 and test up from there, or did you start at level 3?
While I’m not sure yet if the exams are for me I do like the idea of a graduated approach to give me challenges appropriate for my current level of ability, wherever that may fall in the ATG level spectrum.
Anyway, thanks again for sharing, and good luck on your exam! If work/life permit I will attend the ATG festival and perhaps run into you there.
wirralaccordion
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Rosie C: As has been said that link is very interesting and it allows you to know what level to enter at and also to teach yourself ( which is I guess what most of us do anyway ). Is Trinity College anything to do with what used to be the London College of Music founded by Lloyd Webber ( not Andrew but one the earlier Lloyd Webbers )?
breezybellows
Well-known member
This is the first time I'm planning to go. The event schedule is on the website. They have workshops, concerts and competitions as well.
Yes. The syllabus only lists the songs/exercises and the names of the books. Depending on the level you plan to take, you might need to buy 2-3 books.
The syllabus also mentions the publishers from where you can buy these books. Sounds books are available in Amazon. Ernest Deffner music has a lot of these books. They never answer the phone but I was able to order the books from their website.
Although I'm talking level 3 (free bass), I'm ordering for three different levels. My older daughter is taking level 1 and my younger daughter is taking the prep level (both for stradella). Between the three of us, we had to order five books (in addition to the ones we already had).
breezybellows
Well-known member
I don't know if you need to be an atg member to take the exam. They have a member discount to buy the syllabus but you'll still be able to buy the syllabus without a membership. So I assume you should be able to take the exams as well.
From what I know, the exams are annual during the festival. I hear that they have plans to have a remote option in the future but I don't know when that would be available.
I am talking level 3 directly. I haven't taken a lower level previously. I have about four months to prepare. I'm optimistic about getting ready for level 3 in that time. If I get ready sooner, I might give level 4 a shot (not holding my breath on it).
Let me know if you decide to go to the festival. Would love to meet in person.
For those interested, the syllabus is for sale. $30 for members $50 for non-members:
Membership costs $65/year for adluts.
Membership costs $65/year for adluts.
wirralaccordion
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That's a bit rich, having to pay $30 for a list of sheet music titles! At least with the Trinity College London that Rosie mentioned you don't have to pay for the list. And what's worse is that, if the Trinity College London list is anything to go by, the pieces are only included in collections/albums meaning that you have to buy a whole book to get the only need one.For those interested, the syllabus is for sale. $30 for members $50 for non-members:
Membership costs $65/year for adluts.
I can see both sides. On one hand, it took someone's time and expertise to make it. On the other hand, I don't know of any other educational institutions that charges for their syllabus.
Walker
🪗
When I was young I enjoyed practicing and playing music for Scottish traditional accordion competitions. There was no such thing as graded exams in traditional accordion back in those days. The only graded exam I ever did was in the theory of music; I completed the ABRSM Music Theory Grade 5 exam and it was a great learning experience. Grade 5 theory was also a requirement for musicians to be able to access the practical instrument exams at the higher grades (grade 6 up to grade 8). However, as accordion (traditional or classical) wasn't offered at the ABRSM (and still isn't) there was no route available to me.
Later on the Royal Conservatoire of Scotland offered graded exams in Scottish traditional music (for accordion, fiddle and clarsach). However, for some reason they only go up to Grade 5!
For the more classical-minded accordionist there were other graded exam options available in the UK through various institutions; the British College of Accordionists, Victoria College of Music, Trinity College London and London College of Music Exams (LCME offers exams in traditional Scottish & traditional Irish music for many instruments including the accordion, and a separate classical Accordion syllabus).
I guess all the options are a good thing. For me however, I'm happy enjoying traditional music in it's natural habitat - playing music for enjoyment at home or for dances and other occasions etc.
Since the Covid lockdown I started teaching myself free bass accordion and I now really enjoy playing it. I love the polyphony and it sounds totally different to stradella bass. It's refreshing to be able to play historic keyboard music pretty much note-for-note with minimal adaptations. I like building a repertoire of pieces and writing new music with free bass. The exam approach might be fun, but I'm not feeling the urge to do it just now. Who knows... maybe one day.
Later on the Royal Conservatoire of Scotland offered graded exams in Scottish traditional music (for accordion, fiddle and clarsach). However, for some reason they only go up to Grade 5!
For the more classical-minded accordionist there were other graded exam options available in the UK through various institutions; the British College of Accordionists, Victoria College of Music, Trinity College London and London College of Music Exams (LCME offers exams in traditional Scottish & traditional Irish music for many instruments including the accordion, and a separate classical Accordion syllabus).
I guess all the options are a good thing. For me however, I'm happy enjoying traditional music in it's natural habitat - playing music for enjoyment at home or for dances and other occasions etc.
Since the Covid lockdown I started teaching myself free bass accordion and I now really enjoy playing it. I love the polyphony and it sounds totally different to stradella bass. It's refreshing to be able to play historic keyboard music pretty much note-for-note with minimal adaptations. I like building a repertoire of pieces and writing new music with free bass. The exam approach might be fun, but I'm not feeling the urge to do it just now. Who knows... maybe one day.
Cool! For those of us that have never seen the word “clarsach,” it’s a harp, and it’s old.
Alans
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yes the rcm is only interested in money these days.their examination programs run the school. Years ago they had a great community school where I enjoyed studying-other instrument. But they’ve pretty much abandoned the community and are only interested in charging a fortune for their piano exams. They’re really not a very nice organization.
I don't think there's a connection. But it does seem a good exam system. Be aware that in a year or so I'll likely be posting my three exam pieces here and asking for feedback in lieu of a teacher!
Alans
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I’ve never been to ATG but I have Dallas and AAA. If you attend the convention you have to become a member for a year. ATG tries to offer their members something somewhat worth the membership fee. I was a member for one year and got the discount for the syllabus. The ATG has for its members a zoom workshop every two weeks. It’s mostly pedagogical stuff. For some reason they are having a free zoom talk about accordion education next week so I signed up. But the annual fee when you don’t live in the U.S. for what you get is just not worth it. Both the AAA and the ATG have been around for at least seventy years. And their conventions are always two weeks apart in varied parts of the country. Why after all of these years and what has happened with the lack of enthusiasm for the accordion over the decades are there two organizations with boards etc, I can only surmise it is because there is bad blood between the two of them which goes back to the days of Cain and Abel. At least ATG spent years working on their curriculum which is yes very costly, but it’s the first new accordion curriculum on the continent in at least twenty years. They also promised all of their exam material would be easily available but as some people on this site know that’s just not the truth. The largest distributor is totally inaccessible and their pieces are in almost every level of the exams. I mentioned this to the person who headed the curriculum dev. and she told me she called the dealer and he promised everything would be available-and guess what-he never responds to anyone else’s requests. The person who called him is very famous so.. It’s like a phantom company. So if you need the pieces that they only carry-good luck. The Dallas convention is a lot of fun and because it consists of workshops for three days you get to know people
which is nice because the final night is a banquet. The AAA convention was one of the worst experiences of my life. Most of the participants have been attending for decades and they’re cliqiuish and not welcoming in the least. AAA also has a competition and on the day awards are given out you see everyone gets a statue even if they just showed up and tried. My sense was that the AAA is dominated by a dynasty - sort of an accordion mafia family. It’s so blatantly vulgar.
The thing is all of the conventions are intended for people who can afford them. They are always in major cities but outside the major city so if you don’t have a car-too bad. The conventions also always take place in the most lavish and wasteful hotels. I guess when people go away they expect the best. I am a hugely passionate student of the accordion and if I could afford it I would attend ATG this summer because the performers are exceptional. Are either groups necessary-no,AAA does nothing except commission new works which would be too difficult for anyone to play-and they’re just not inclusive events. Also a lot,most of their in-person events during the year take place in Connecticut because that’s where they live. If I could afford it I would attend Dallas this year because there is such a huge educational component to it which the other two don’t come close to offering. The evening performances are all excellent and ATG hosts them in a beautiful concert hall. I have no idea what AAA does all year and I read their newsletters which are published online. If you want to hear top players-all three are good, if you want to participate in an accordion orchestra all three offer that. If you want a full learning experience it’s Dallas. If you want to take exams only ATG offers that. I have no idea why AAA exists and think they must have been bequeathed enormous amounts of money at some point. None of the three have but a small handful of participants barely under forty participating. They’re old people’s organizations-which is fine as I’m getting up their too-but I just don’t know what purpose they serve nor how they will survive. Sadly,my sense is they exist to serve the people who run them.
which is nice because the final night is a banquet. The AAA convention was one of the worst experiences of my life. Most of the participants have been attending for decades and they’re cliqiuish and not welcoming in the least. AAA also has a competition and on the day awards are given out you see everyone gets a statue even if they just showed up and tried. My sense was that the AAA is dominated by a dynasty - sort of an accordion mafia family. It’s so blatantly vulgar.
The thing is all of the conventions are intended for people who can afford them. They are always in major cities but outside the major city so if you don’t have a car-too bad. The conventions also always take place in the most lavish and wasteful hotels. I guess when people go away they expect the best. I am a hugely passionate student of the accordion and if I could afford it I would attend ATG this summer because the performers are exceptional. Are either groups necessary-no,AAA does nothing except commission new works which would be too difficult for anyone to play-and they’re just not inclusive events. Also a lot,most of their in-person events during the year take place in Connecticut because that’s where they live. If I could afford it I would attend Dallas this year because there is such a huge educational component to it which the other two don’t come close to offering. The evening performances are all excellent and ATG hosts them in a beautiful concert hall. I have no idea what AAA does all year and I read their newsletters which are published online. If you want to hear top players-all three are good, if you want to participate in an accordion orchestra all three offer that. If you want a full learning experience it’s Dallas. If you want to take exams only ATG offers that. I have no idea why AAA exists and think they must have been bequeathed enormous amounts of money at some point. None of the three have but a small handful of participants barely under forty participating. They’re old people’s organizations-which is fine as I’m getting up their too-but I just don’t know what purpose they serve nor how they will survive. Sadly,my sense is they exist to serve the people who run them.
Wow, heavy points of view, thanks for sharing! It's always cool to hear about first hand experiences that people actually had. I've had my fill of clique-ish accordion clubs... the one here in Montreal was enough to fill me up with the desire to not return, so based on that AAA is nothing that I would be interested in, it seems.
Alans
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Jerry I’ve heard from Joe and someone I knew a long time ago that there was some sort of accordion convention in Toronto maybe in the late seventies. Do you remember this? I think the AAA decided to use Toronto that year.
There was a convention/competition around ‘76 or ‘77. Joseph Macerollo and Glenn Sawich were 2 of the 3 people that my dad and I were invited to listen to rehearse for it. It was held at the RCM in Toronto, that is the only one that I can remember. After that time I was near that point in my life where accordion and I would part ways for a few decades. I cannot recall what they were practicing, but the technique was world class and the music so eclectic, it was way above my head at the time.
Alans
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This is the convention I had heard about. I contacted Glen Sawich about leading an accordion orchestra here and he was very interested. Apparently he has a huge repertoire of music and years of doing this. Project fell through as it is completely unaffordable to find a place to meet here-even a church basement is too expensive.
Glen still teaches but at a school where you have to enrol for a year and the fee is way more expensive then I can afford.
Joe’s teaching at the university depends on enrolment and it’s been a few years since anyone has started a degree there. He told me he has regulars from around the world-one from Australia who flies in a couple of times a year for a week of lessons. It’s nice to be so rich.
I apologize for interrupting this topic with a personal aside. It’s five in the morning and I’m dazed.
Glen still teaches but at a school where you have to enrol for a year and the fee is way more expensive then I can afford.
Joe’s teaching at the university depends on enrolment and it’s been a few years since anyone has started a degree there. He told me he has regulars from around the world-one from Australia who flies in a couple of times a year for a week of lessons. It’s nice to be so rich.
I apologize for interrupting this topic with a personal aside. It’s five in the morning and I’m dazed.
EdBouchard
Member
Just saw this thread. Wasn’t previously aware of the ATG syllabus for exam levels. It does seem absurd that ATG charges non-members $50 USD and members $30 USD for a list of tunes, et al. I guess someone(s) in the organization see a need to fundraise. Ah well!
Nevertheless, I am most glad to learn they are promoting free bass with their syllabus. In the 1950s, when my teacher encouraged me to enter contests playing transcriptions of violin concerto movements, no one I knew ever even mentioned free bass. Although, I did hear Vince Geraci play his special-made Bell accordion with the tiers of short ‘piano’ keyboards on the bass side. So there were some that were made.
Didn’t Hohner and Giulietti independently introduce their first commercially available free bass accordions in the mid-1960s?
I personally became most interested in free bass when attempting to learn tunes in the Palmer-Hughes transcriptions in The Music of JS Bach for accordion. You could get the bass line Bach intended by hitting switches. You were limited to those selections in those keys, but they sounded great. I wanted more.
After investigating the free bass options in the 1960s (including a specially made Kuehl, Geraci’s, and an early version of the quint free bass, I opted for the Moshino free bass. But I didn’t like the tonal balance between the bass and treble sides. My speculation is the accordion makers thought in terms of the stradella. Don’t know why but the free bass sounded harsh to me.
Maybe I wasn’t alone in that judgement. There is a Frederic Lips YouTube video where he talks (in Russia with English captions) about how he and Mogens Ellegaard worked with accordion makers to improve the free bass tonal qualities, this sometime in the 1990s I believe.
At any rate, Lips and Ellegaard may have solved the problem. A free bass accordion is now a magnificent, versatile instrument. It has totally different sound characteristics from a piano. But basically all JS Bach compositions for keyboard (except maybe for organ foot pedal parts), and many, many compositions written for piano by other composers can be played on accordion. It’s such a new instrument. Lots of possibilities for musicians to explore.
Accordion is still not accepted as a major in most music schools in the US. Of those schools that do in Canada, European countries, Russia, (China, Japan, Korea, elsewhere?), it seems jazz accordion is probably still not accepted as an area of study. That’s unfortunate! For those who go to music school, usually required will be 4 semesters of music theory and 4 semesters of musicianship (e.g. ear training, dictation, etc.) Accordion players could profit from that kind of study too.
There are online now some fine resources for music theory et al for piano and organ. Accordion players would likely profit from them too.
Nevertheless, I am most glad to learn they are promoting free bass with their syllabus. In the 1950s, when my teacher encouraged me to enter contests playing transcriptions of violin concerto movements, no one I knew ever even mentioned free bass. Although, I did hear Vince Geraci play his special-made Bell accordion with the tiers of short ‘piano’ keyboards on the bass side. So there were some that were made.
Didn’t Hohner and Giulietti independently introduce their first commercially available free bass accordions in the mid-1960s?
I personally became most interested in free bass when attempting to learn tunes in the Palmer-Hughes transcriptions in The Music of JS Bach for accordion. You could get the bass line Bach intended by hitting switches. You were limited to those selections in those keys, but they sounded great. I wanted more.
After investigating the free bass options in the 1960s (including a specially made Kuehl, Geraci’s, and an early version of the quint free bass, I opted for the Moshino free bass. But I didn’t like the tonal balance between the bass and treble sides. My speculation is the accordion makers thought in terms of the stradella. Don’t know why but the free bass sounded harsh to me.
Maybe I wasn’t alone in that judgement. There is a Frederic Lips YouTube video where he talks (in Russia with English captions) about how he and Mogens Ellegaard worked with accordion makers to improve the free bass tonal qualities, this sometime in the 1990s I believe.
At any rate, Lips and Ellegaard may have solved the problem. A free bass accordion is now a magnificent, versatile instrument. It has totally different sound characteristics from a piano. But basically all JS Bach compositions for keyboard (except maybe for organ foot pedal parts), and many, many compositions written for piano by other composers can be played on accordion. It’s such a new instrument. Lots of possibilities for musicians to explore.
Accordion is still not accepted as a major in most music schools in the US. Of those schools that do in Canada, European countries, Russia, (China, Japan, Korea, elsewhere?), it seems jazz accordion is probably still not accepted as an area of study. That’s unfortunate! For those who go to music school, usually required will be 4 semesters of music theory and 4 semesters of musicianship (e.g. ear training, dictation, etc.) Accordion players could profit from that kind of study too.
There are online now some fine resources for music theory et al for piano and organ. Accordion players would likely profit from them too.
I have a free bass Morino model that has its treble reeds in wax and its bass reeds on leather, and that has L on the treble in déclassement but just the bass octave in the bass with elongated reed chambers making for some approximation of a cassotto effect.
If I use LM on the bass side, the tone quality is very brassy and direct while it is quite more civilized on the treble side. I use that distinction in accordion orchestra, playing some parts with the left rather than the right hand.
So while I can second your observation to some degree with my instrument, I make use of it for either getting this fanfare-like sound with LM or a single-reed L registration that can hold its own against various treble registrations.
Check out the rough sketch of BWV934 I recently posted for various combinations of free bass and treble registers. Yes, I'll follow up eventually with something more serious.
EdBouchard
Member
Wonderful Dak! I didn’t get a chance to try the free bass Hohner Morino back then, but did briefly try out a very similar Giulietti. I guess you helped out the tone quality with some great microphones, reverb, and the like. Still it’s quite beautiful in mid and upper registers. I did like the tone of the Giulietti, but couldn’t afford it at the time.
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