Palmer Hughes

[mtj]

I have all 10 and I played through all of them (sort of). I personally like the series. A method book can't be everything to everyone. Ph assumes you know nothing about music and so it teaches notes, rhythms, notation etc. I already could read music and play piano at an intermediate level so a lot of it is superfluous for me. Also while it has scales they are spread out among the books so that isn't too helpful for technique development. As JerryPH commented you do need to supplement.

I skipped most of the technique stuff and skipped a lot of the pieces I didn't like. I didn't learn the stuff to recital quality and I'm certainly not a book 10 level player but I play well enough to entertain myself most of the time. Some of the pieces in the later books were too hard like Star and Stripes Forever and Scheherazade so I didn't get very far with them. I suspect each book is supposed to take a year. I made it though (such as it was) in about three years.

The problems I had with PH is
a) it's written for children so a lot of songs are not for adults (Mexican Hat Dance, visualize my eyes rolling)
b) it's from like 70 years ago and so is missing a lot of good accordion stuff (I feel if it were written recently I suspect it would include Libertango and perhaps other Piazolla classics, maybe it would have other classics like Bumble Boogie).
c) I'm not sure how well translating the orchestral pieces work like Romanian Rhapsody #1 by Enesco or Scheherazade.

Overall I like the pieces in the book many of them I play regularly because they have some great arrangements (i.e. La Cumparsita).

 

[JudyKimp]

I learned on Palmer Hughes beginning when I was 8 years old - of course I was taking lessons with a teacher. I remember enjoying it very much, but unfortunately I quit when I was 11. I was already pretty much done with Book 5 by then. I went back to the books now that I picked myself up an accordion last year (unfortunately, I sold mine when I was in college) and I re-bought the series. I'm totally loving it - trying to catch up with 11 year old me at 64 years old. I'm getting toward the end of book 4. I have bought some other books, for when I'm recovered from my injuries, and have caught up my technique with the PH series. I've bought an Italian song book, and some polka books - I had thought of playing the Oktoberfest at my church this year, but sadly my injury put me out of that idea. I am now recovering - I did also order from amazon, and have yet to really look at yet - "The Mighty Accordion" as I have heard a lot about that. That is supposed to address a lot of LH technique, so maybe that would be what you are looking for. Maybe others on this forum could comment on if it lives up to it's rep addressing LH technique, because I have stated, I have yet to look at it. Cheers, and good luck.

 

[JudyKimp]

This guy, I think does almost every book in the PH series - and he mostly puts the sheet music up on the screen while playing it. Pretty cool!!!

 

[JudyKimp]

I have all 10 and I played through all of them (sort of). I personally like the series. A method book can't be everything to everyone. Ph assumes you know nothing about music and so it teaches notes, rhythms, notation etc. I already could read music and play piano at an intermediate level so a lot of it is superfluous for me. Also while it has scales they are spread out among the books so that isn't too helpful for technique development. As JerryPH commented you do need to supplement.

I skipped most of the technique stuff and skipped a lot of the pieces I didn't like. I didn't learn the stuff to recital quality and I'm certainly not a book 10 level player but I play well enough to entertain myself most of the time. Some of the pieces in the later books were too hard like Star and Stripes Forever and Scheherazade so I didn't get very far with them. I suspect each book is supposed to take a year. I made it though (such as it was) in about three years.

The problems I had with PH is
a) it's written for children so a lot of songs are not for adults (Mexican Hat Dance, visualize my eyes rolling)
b) it's from like 70 years ago and so is missing a lot of good accordion stuff (I feel if it were written recently I suspect it would include Libertango and perhaps other Piazolla classics, maybe it would have other classics like Bumble Boogie).
c) I'm not sure how well translating the orchestral pieces work like Romanian Rhapsody #1 by Enesco or Scheherazade.

Overall I like the pieces in the book many of them I play regularly because they have some great arrangements (i.e. La Cumparsita).

I kind of like the Mexican Hat Dance, but maybe that's just nostalgia for me. The last piece in book four is a pretty challenging arrangement of "La
Cucharacha", which my husband is enjoying. It goes from G major to C major, to F major, and then back to C major, I believe to end it. It also jumps around the whole keyboard from ledger lines above the staff, to mid range, to ledger lines below the staff. Keeps you on your toes. So, it's kind of nice to have a familiar tune when you are dealing with those challenges.

 

[JudyKimp]

I believe an instructor absolutely makes a difference. In the 1960s, I began instruction with Sedlon books 1A,1B, and 2-A, then was switched to Palmer Hughes. When I began taking music courses in college, I discovered that I knew more basic theory than long-time piano students and almost every instrumental major. P-H seamlessly ties theory and technique together. Because yes, the Stradella bass system, but also because my instructor reinforced bass patterns throughout my years with her. Simple example: The first speed drill in Book 2, P-H is from Hanon; they continue to use them through the series. My instructor assigned playing those drills in different keys; playing the treble patterns in the bass; and adding chords to them. Those "auxiliary" assignments were effective because of my instructor's initiative and experience.
;-D

Currently I enjoy working with a very enthusiastic adult novice. Some of their motivation comes from having enjoyed Oktoberfest and Irish festivals. (They've been to some great ones!) I suggested that nearly half of P-H book 1 (more if you consider the 1-A/1-B combo) are Oktoberfest tunes! How many "popular" accordionists are pulling out that repertoire in the next few weeks? How many of us still remember Vegetables on Parade when someone requests Village Tavern/Too Fat Polka?
;-D

John,
About two years ago, someone gave me the complete Sedlon instructional series (and several of their supplemental books). Looking back through P-H vs Sedlon courses now, I see very different approaches, with Sedlon connecting students to playing for friends and family in a time where all broadcast entertainment was radio (and possibly not in every home). As the original Sedlon series expands, early tunes are repeated, adding new chromatic, rhythmic, treble improvisations, and bass runs. They're an interesting complement to Palmer Hughes, mostly for rhythmic and improvisational patterns.
D

Also - remember "Dreaming" is "Du, Du Liegst Mir Im Herzen"!

 

[Accordionna]

Also - remember "Dreaming" is "Du, Du Liegst Mir Im Herzen"!

Book 1 introduces "Songs I didn't know were for Oktoberfest" when I first learned them~ Dreaming, No Place Like Home, My Bonnie, and Vegetables on Parade (and Can Can slides into the queue just for kicks).

 

[JeffJetton]

Book 1 introduces "Songs I didn't know were for Oktoberfest" when I first learned them~ Dreaming, No Place Like Home, My Bonnie, and Vegetables on Parade (and Can Can slides into the queue just for kicks).

Yup, "Vegetables on Parade" is of course based on the Village Polka (which later got turned into the "Too Fat Polka").

And "There's No Place Like Home" is adapted from "Black Hawk Waltz".

Edited to add: Also, "Riding on the Range" from Book 3 is probably based on "St. Paul Waltz", which itself was adapted from a Polish folktune called "Pawel Walc". Parts of an old Eddy Arnold song called "Cattle Call" also came from Pawel Walc, which might be where the cowboy connection came in.

 

[JudyKimp]

Yup, "Vegetables on Parade" is of course based on the Village Polka (which later got turned into the "Too Fat Polka").

And "There's No Place Like Home" is adapted from "Black Hawk Waltz".

Edited to add: Also, "Riding on the Range" from Book 3 is probably based on "St. Paul Waltz", which itself was adapted from a Polish folktune called "Pawel Walc". Parts of an old Eddy Arnold song called "Cattle Call" also came from Pawel Walc, which might be where the cowboy connection came in.

Yes, definitely recalls "Cattle Call" - was having fun with that when I came back last year - my husband recognized it as "Cattle Call".

 

[Accordionna]

Yup, "Vegetables on Parade" is of course based on the Village Polka (which later got turned into the "Too Fat Polka").

And "There's No Place Like Home" is adapted from "Black Hawk Waltz".

Edited to add: Also, "Riding on the Range" from Book 3 is probably based on "St. Paul Waltz", which itself was adapted from a Polish folktune called "Pawel Walc". Parts of an old Eddy Arnold song called "Cattle Call" also came from Pawel Walc, which might be where the cowboy connection came in.

I remember hearing Cattle Call as a popular song as a child before I played accordion. Thanks for putting on the lookout for Pawel Walz!

 

[Sunshinexxx]

I'm loving this B-system CBA player's recordings of complete P-H books. A Russian musician who lives in Malta. He posts videos of individual selections and also posts videos of all the pieces in one book together. I think he's done 'em all aside from Book 10 of which I see only a couple of individual pieces.

A fantastic accordionist and muti-instrumentalist, often accompanies himself on several other instruments using video magic. A lot of wonderful non-P-H accordion videos there too.

Book 9 in one video:




Book 7 in one video:

Yes, I follow him. I started watching the other younger chap to hear what the tunes should sound like but Yuri, the older one , has passion playing it and it's a delight to watch. Also he goes in great detail: he shows the exercises in between the tunes. Without his videos I'd be bored ( like the young chap comes across ) and discouraged working through the books.

 

[Sunshinexxx]

Also the PH system has an extra book for LH bass development that focuses only on bass exercises.

 

[Tom]

Yes, I follow him. I started watching the other younger chap to hear what the tunes should sound like but Yuri, the older one , has passion playing it and it's a delight to watch. Also he goes in great detail: he shows the exercises in between the tunes. Without his videos I'd be bored ( like the young chap comes across ) and discouraged working through the books.

Hi Sunshine!

My 2 cents which you are free to ignore!

I personally found the PH too boring to do. I believe one can become a good accordionist by following many routes, including teacher, books, messing around etc. I identify 2 things which I believe are the most valuable for the quickest way to your accordion playing goals.

1. Having a passion for playing the accordion. The passionate person wants to play their accordion as much as possible and finds peace and great joy in playing. The unpassionite person sees playing, practicing, etc. as a chore and their accordion gathers dust in the attic or is relieved of duty on Craigslist.

2. Playing songs with another person. I mean playing actual songs (tunes, pieces, whatever you call them). I don’t mean playing exercises, noodling, or playing parts of songs. The other person could be playing an instrument or just listening, no problem.

The bigger question is, what constitutes a “good accordordionist.”? I believe that is a personal preference and if you can somehow apply your passion to songs that lead you in that direction you will be fine. For me being a good accordionist means I can play music which brings happiness and smiles from MY audience. For others it may mean developing the ability to play technically difficult songs at 1000 beats per minute. Identifying your own goal is difficult, yet necessary and sufficient to becoming a “good accordionist” in your own mind which to ME is the goal.

I wish you the best of luck and happiness in your journey. , Tom

 

[EuroFolker]

Embarrassingly, it has taken me a whole year to (mostly) master P&H Course Book 1 and Recital Book 1.

Although I have slowly gone through them while doing another accordion course, P&H being the fun and easy, "take a break from study" material.

Now that I can play them relatively well, some of the pieces towards the end of the Recital book started to sound really good when "orchestrated" with FR4x sets, and amplified through big speakers.

I am about to start the next 2 P&H books, and looking forward to it.

 

[Alans]

We all work at our own pace and that is fine. If need be,take your time with the books-it’s not a race to finish all of them.
I believe Calgary has a long-standing accordion club.Enjoy!

 

[mazzle_dazzle]

I took accordion lessons as a kid, starting with Book 1 of the Palmer-Hughes series in 1995 and finishing Book 10 in 2003. During this time, I also worked on other material.

These books are good to learn from, and from what I recall, I typically spent 2 to 3 weeks on each song. Book 1 is pretty easy, and I think most older kids or adults will only need about a month to complete it. Books 2 and 3 will take a bit longer for those new to music. I suggest taking your time with them to really grasp the musical concepts and ensure you can play all the songs well before moving on to the next book.

Once you reach Book 5 or finish it, you could consider stopping the Palmer-Hughes series if you wish. At that point, I believe you'd be able to play most songs from sheet music.

The length of progression depends on how many quality practice hours you put in each week. In the beginning, when songs are short and not too difficult, 30 minutes a day is good. By the time you get to Books 4-5, you may need to practice for 90 minutes a day.