NORTHWEST ACCORDION NEWS - nwasnews.comnwasnews.com/news/14Spring-NWAS.pdf · NORTHWEST ACCORDION NEWS ... Enjoy, Ravenna, a musette style waltz. reaches you. Again, DOTA will be

NORTHWEST ACCORDIONNEWS

Ravenna Remembering Carl Fortini Beyond the Diminished Row Accordion Event Reports from Around the World Leavenworth International Accordion Celebration

VOL. 24 NO. 1Northwest Accordion Society Spring Quarter 2014

Northwest Accordion News

spring Quarter 2014 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 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 DeadlinesFebruary 1, May 1, August 1, November 1

Northwest Accordion News StaffDoris Osgood................................... (503) 357-0417 [email protected] Ames .................................... (360) 904-1524 [email protected] 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) 288-0442Dick Myking .................................................................... (253) 537-0136Birgit Ages ...................................................................... (206) 368-9720Cooksie (Kaserzon) Kramer ........................................... (425) 828-9104

Membership:Doris Osgood.................................................................. (503) 357-0417 [email protected] Ames ................................................................... (360) 904-1524 [email protected]

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 20142

Letter from the EditorsGreetings!

We had a beautiful fall and winter season. Even so we are in a drought (too little rain). There is no drought of accordion music and events though! The Day of the Accordion, will be “past news” by the time this goes to print. We will have reports and pictures in the Summer issue!

Our deadlines are Feb. 1, May 1, August 1 and November 1. We mail the issues in March, June, Sep-tember and December.

Please check your mailing labels for your renewal due date. Thank you!Judith Ames([email protected])

Quarterly UpdateTable of Contents2 Letter from the Editors2 Quarterly Update3 Composer – Steve Gordon4 Ravenna7 Corralling Chaos8 Alicia Baker: 2014 and Beyond!9 Jamie Maschler11 Needs, Requirements and Deadlines12 Letters to the Editor13 Competition Rules: 2014 Leavenworth International Accordion Celebration14 Bursaries Offered15 Music Styles for Leavenworth 201416 Divisions and Requirements for Competition17 Some Thoughts on Perceptions of Contempo- rary Classical Music for the Accordion19 Gary Blair on the Go20 Remembering Carl Fortina 21 Frank Petrilli22 Naomi Harris Wins in Japan22 Naomi’s Experience in Japan23 Ask a Teacher23 Oregon Accordionist Teleshev Cheered At Global Festival24 Dick Skultin Shares His Thoughts25 Seattle Social Report26 Welcome New Members27 Spokane Symphony News Flash!29 Spokane Accordion Ensemble29 Hugo Accordion Band turns 20!30 Thoughts on Music and Performance30 Tacoma Accordion Social 31 Stretch32 By the Way 34 Beyond the Diminished Row36 Accordion Events Calendar38 Entertainers in the Northwest

Dear Members,

I’m taking the opportunity to write during a VERY quiet day in Forest Grove. There are no cars on the road and few people outside. I have 12” of snow and hip high drifts in the backyard. It’s an unusual snow event for Oregon. Everything has come to a halt!

Patricia Bartell’s article, Bringing Structure to Abstract Chaos, in our winter issue has generated much discussion and interest. I’ve had comments from many members but only a few put some thoughts to paper. It’s pretty exciting, actually. The discussion revolves around music and that’s as it should be, in my opinion. The accordion has been maligned for many years and not considered a legitimate instrument in some circles in the United States. When the discussion is on music, we’ve elevated our own thoughts about the instrument.

When my younger son was in high school, he’d begun playing with the jazz band. He loved it. As you know, a trombone player may have 22 measures of rest before a brief measure of “glory” in many classical/traditional pieces. Jazz allowed a lot more playing and the music was never the same. I listened to a lot of jazz to educate myself a bit… it was painful for my “traditional ears”. Over time I developed an appreciation for many jazz styles. I’m still a fan in progress, but I’m enjoying the style much more. New music requires exposure and purposeful listening. Over time, we will learn to appreciate whatever may be “new” for the style that it is.

Preparations are coming together for the International Accordion Celebration in Leavenworth. We’ve had email from young people in the Czech Republic who plan to join us! The schedule will not be set until early spring. We do know who will adjudicate, perform, and teach. Juggling all of their responsibilities and performances for the schedule is very tricky. Bonnie Birch is masterful at laying that out. Check www.accordioncelebration.org in the coming days for all information regarding LIAC including competition. There are some adjustments to the requirements in competition; be sure to note those changes. Consider taking on the “meaningful” stress of preparing for competition. Bursaries are offered again this year to young players age 18 and younger. The specifi cs are on the web site also.

Also, special performances are scheduled for the Seattle Socials in West Seattle this spring. The roster is found in this issue; you won’t want to miss hearing some very fi ne accordionists. The Day of the Accordion will have happened by the time this issue



Deadline for submitting articles, pictures, advertisements, etc.

February 1 (Spring)May 1 (Summer)

August 1(Fall)November 1 (Winter)

Donations for LIACYou may send a check to:

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

ORGo to www.accordioncelebration.org and click on the donation button to donate by PayPal

Thank you for your support!

Leavenworth Accordion CelebrationJune 19 - 22, 2014

Composer – Steve Gordon

In this issue of the NWAS News, you will fi nd an original composition by Dr. Steve Gordon. Today, Steve resides in Beaverton, Oregon and spends much of his day as a physician practicing internal medicine.

Steve began playing the accordion at age seven; one year after his parents purchased an accordion for his brother. The two had an accordion act, perform-ing at retirement centers and a San Francisco military base. Steve continued to play through high school, playing Refl ections for accordion and school orches-tra. During college Christmas breaks, he played the accordion, clarinet and saxophone at Harvey’s, South Lake Tahoe. He also spent three summers playing in a traveling circus band between the west coast and Chicago. Steve put his accordion aside for fi fteen years and played the clarinet in an orchestra. He renewed his interest with the accordion and later stud-ied with Eileen Hagen in Portland. Steve was one of fi ve fi nalists invited to play in the 2010 Roland States V Accordion Festival in Los Angeles.

Dr. Gordon has many musical interests. He is a master on the clarinet and has been called upon to play in orchestras in the greater Portland area. Steve organized and leads the Portland Columbia Accordion Ensemble and plays his acoustic accordion with the group; he also enjoys the challenge of his Roland accordion. Arranging and composing have also come under his radar.

The Northwest Accordion Society is grateful t hat Steve Gordon has shared the music he composed for his granddaughter. Enjoy, Ravenna, a musette style waltz.

reaches you. Again, DOTA will be at the Crossroads Mall in Bellevue, Washington. Free lessons will be available from Dick Myking and Cooksie Kramer during the afternoon.

This issue has information for many activities and festivals coming this summer. It’s time to make your plans; the contact information is found on the ads and fl iers for those. Gasoline prices are fi ckle. Start saving today for your summer transportation fund!

The Northwest Accordion Society is grateful to Dr. Steve Gordon for sharing his original composition for our spring issue. Ron Ostromecki worked his magic again to make the print music beautiful. Thank you both.

Friends, accordions play music!! Let’s all work on playing the music styles that we love and work to play them well. YOU may be the only accordionist that your friends and neighbors will see “live”. Let’s strive to play our best.

Doris [email protected]

Congratulations!

First-time Grandfather, Joe Petosa!

Baby girl born February 14, 2014!

Please check your mailing label for your dues due date! We appreciate timely membership renewals!



To Coda

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Engraving by R. R. Ostromecki



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Corralling ChaosBy Gary Osgood

The esteemed and charming editor of this publi-cation has asked me to comment on Patricia Bartell’s recent article entitled “Bringing Structure to Abstract Chaos.” I heartily agreed and offer the following com-ments for your consideration. Some time ago I read a book or two on chaos theory. If I understood any of it, I have forgotten it save for the part about Mandelbrot’s fractalism. The art work that resulted from his method was impressive. Google it sometime; you’ll be in for a treat.

On to Patricia’s article. Apart from the fact that “Abstract Chaos” is redundant, I found the article engaging, enlightening, challenging and thought-pro-voking; a down-right splendid article of which Patricia should be proud. Modern music would benefi t if more musicians would champion its cause as does Patricia. That notwithstanding, I fear that expanding the appeal of modern music will not be easy.

Having not heard “modern” accordion music, I nevertheless deem myself qualifi ed to make some ob-servations. I like the music of Bela Bartok and Charles Ives, for example. But there are other “modern” com-posers, who shall remain nameless, for which I have no use. Some abandon tonality, regular rhythms and add sounds they claim to be musical. Perhaps some will try to fi t the accordion in that mold. To them I say “go ahead and good luck.” The average accordion fan is “an old dog” who isn’t interested in learning new tricks.

Patricia claims that with enough listening, one will learn to appreciate modern music. Don’t bet on it. While it is true that modern music is challenging and satisfying to the performer, what matters is its effect on the listener. For many, that is less than positive. It is a personal matter. Patricia would do well to re-member the Latin maxim De gustibus non est dispu-tandum, which is translated literally as “In matters of taste, there can be no disputes” or as I more succinct-ly put it, “One likes what one likes.” Massive amounts of experience and persuasion seldom win converts. For example, I have been eating Doris’ desiccated pork chops for 45 years and I wouldn’t trade a train-load of them for one can of Stagg Chili.

I have had the distinct pleasure of working at the Portland Opera for the last ten years. (I am compos-ing this while listening to the orchestra.) Aside from working with so many nice people, as well as pro-fessional musicians, I am able to hear fantastically-played music. But guess what? Most of it has been around for at least a century. Why do you suppose

that is? It’s because it sells! Mozart operas sell out quickly. Modern music makers don’t compare; you have to work hard to sell John Adams. Why? Because people like what people like. That’s the way it is, has been and will be. Modern music has a tough row to hoe.

Lest Patricia catch me being a liar, I admit to hav-ing changed my taste. It happened a long time ago; about when I shaved the fi rst whisker off my chin. Popular music was being challenged by a new musi-cian. His name was Elvis Presley. I did not like him or his music; it was different from what I was “comfort-able” with. The girls were crazy about Elvis which proved my thoughts that girls were crazy. Every time I turned on the radio, I heard a new song from the newcomer. And then, one day, it happened. I heard Elvis’ latest offering, “Good Luck Charm” and I hoisted the white fl ag! Surrender! I said to myself, “Self, this guy has it. He’s as good or better than girls say he is.” He went on to become “The King.” Now, I am proud to say that there will never be an equal of “Are You Lonesome Tonight?”

Soon after Elvis came The Beatles. I didn’t like them. Still don’t. Their sartorial preferences were offensive. However, their music was ubiquitous, and I heard enough of it that they earned my respect for being gifted and talented creators of tunes. Their fame was justly earned. The only song that I remember is “When I’m 64.”

So I offer the following challenge to Patricia and her fellow modern music mavens: compete with ev-eryone else. Let your music stand against all the rest and let the chips fall where they may. As pasture pat-ties draw fl ies, good music draws listeners. As Darwin might say, “let the best music prevail.”

Calling all Accordion Players, Amateur and Professional,

to join our NW accordion orchestra.

Call Cooksie Kramer 425-828-9104



Alicia Baker: 2014 and Beyond!By Rita Barnea

(Reprinted with permission)

Alicia Baker has been a passionate musician

since she sang her fi rst solo at age 3. She began studying the piano at age 4, the accordion at age 6 and vocally at age 14. Alicia recently graduated from Oregon State University, and now holds a Bachelor of Arts degree in Music Education, Piano Performance, and Vocal Performance.

Alicia has found her most tangible success with the accordion. She has won several International competitions, including the Happy Hans award at the Kimberley International Old-Time Accordion Champi-onships and the Leavenworth Open. Alicia also won 3rd place at the Coupe Mondiale accordion world championships in Victoria, BC in August 2013. In 2009, she won the privilege of representing the USA at the Roland International V-Accordion Competition in Rome. This turned out to be the beginning of her current relationship with Roland; one that continues to provide opportunities to share her love for the instru-ment.

Aside from competitive events, Alicia has per-formed solo accordion concerts at many notable festivals. These include the American Accordion Asso-ciation Convention, Cotati Accordion Festival, the Ac-cordionists and Teachers Guild International Festival, KIOTAC, Leavenworth Old-Time Accordion Festival, the NAMM show. In 2011, she was privileged to join the Corvallis symphony as the soloist for Nikolai Chai-kin’s Accordion “Concerto in B-fl at Major”.

Vocally, Alicia thrived as an opera student all throughout college, as she discovered a new passion. Her college operatic performance experience included the role of “Queen of the Night” in OSU’s production of Mozart’s “The Magic Flute” in April 2012, as well as multiple roles in various scenes throughout four terms

of Opera Workshop at OSU. Alicia performed two solo vocal recitals in fulfi llment of her vocal performance degree. In terms of awards, she was the vocal schol-arship recipient of the Brookings Friends of Music An-nual Scholarship Competition, in addition to winning the NATS competition for classical voice in her age division in 2012. More recently, Alicia was selected as a fi nalist in Classical Singer’s National Vocal Competi-tion.

On the piano, Alicia performed two solo piano recitals in fulfi llment of her piano performance de-gree, and accompanied many musicians and singing groups to fund her college education. She loves the art of collaborative piano, and will always enjoy work-ing as an accompanist.

In addition to her three instruments, Alicia also discovered a passion for musical composition. She’s composed many solo accordion pieces, a few piano solo pieces, and two works for choir. Alicia won the KRAFT composition competition held at OSU in 2011, and was honored to have her composition “The Unseen”, written for choir, cello, and piano, performed by the OSU Chamber Choir. She plans to continue composing, and hopes to become a published com-poser someday.

As a recent college graduate, Alicia can now be-gin fulfi lling her dreams, which include promoting and sharing her love of accordion to younger generations, as well as performing on all of her instruments. She currently works for Roland Corporation, where she enjoys sharing her love and knowledge of music with others.

When I asked Alicia about her feelings about the accordion, she said, “I’m thrilled that the accordion seems to be making a comeback in the music scene, and in a whole new way. It seems to have been welcomed into some modern musical genres, and is powering through to some more mainstream musical groups.

My hopes for the accordion is that it can break out of its stereotypical polka association, and reach a more wide-spread audience. However, don’t get me wrong, I of course love the polka - I just want ac-cordion music to reach as many people as possible. Personally, my favorite accordion genre of music is French musette and jazz. I would love to try to fuse these styles together with some original musical thoughts of my own, to try to make another direction where the accordion can fl ourish on today’s music scene.

I also think that with the forward motion of tech-nology, companies like Roland can help the accordion to reach even wider audiences - which is a really



Jamie Maschler

Jovino Santos Neto, Seattle’s resident Grammy-nominated Brazilian maestro, showed me how to make music, versus just playing accordion. “Play only what you hear,” he would often remind me. Then it doesn’t matter what type of music you play—you will always have your voice.

I have been play-ing accordion for 21 years. Five years ago, I moved from Denver to Seattle and was fortunate enough to fi nd an arts school and community that appreci-ated my instrument. In particular, I met a Columbian fl amenco guitarist who wanted to help me say some-thing new, as well as a lawyer turned piano man who shares my love of Brazilian music.

Harold Belskus and I are A Cedar Suede. Touring as a septet that features accordion, horn section, and auxiliary percussion, we play original songs that we like to call Latin Mediterranean Gypsy Jazz. You can fi nd us as November in Petosa’s 2014 accordion artist calendar alongside Beirut, The Lumineers, Krist No-voselic of Nirvana, Troye Kinnett and other National traveling bands. Our highlight of 2013 was organizing

a Red Cross Philippines Relief fund-raiser concert and auction, a DIY event that raised over $4,000. We hope to produce more events like it in the future! We are currently in the studio: look for our newest album around the end of this year. www.ace-darsuede.com

With the lawyer and a diverse troupe of highly accomplished personnel, I have been play-ing Brazilian-style accordion around the Northwest in a band called En Canto (“Song & Voice,” in Por-tuguese). We play forro, a musical tradition from the northeastern part of Brazil that reminds me, in spirit, of American Jazz, and that has always maintained the accordion as its core instrument. If you play accor-dion and haven’t heard this music, I encourage you to you-tube it. En Canto has been invited to the Choro Jazz Festival in Jericoacoara, Brazil (the kite surfi ng capital of the world) to host the forro jam sessions after workshops and concerts. We also play frequently in Seattle as a septet, including a regular monthly gig every fi rst Saturday at the Royal Room: 5000 Rainier Ave S, Seattle, WA 98118. www.encantobrtazil.com

Winter 2014! Can you relate?

exciting thought. The ability to play the music that is most relevant with today’s generation can help to change the image of the accordion in young people’s minds. It doesn’t matter so much to me what style of accordion music is getting the most attention - as long as good players are spreading a positive image of ac-cordion, then I’m a happy girl.

The accordion has provided me with a special opportunity to be a unique kind of musician in the mu-sic world. I love being able to play so many different styles of music on one instrument - I think accordion is one of the most versatile instruments. Also, because there aren’t as many accordionists as say pianists or guitarists, it helps me to set myself a part from the average musician. I love playing such an amazing and unique instrument.”

For further information:[email protected]





Needs, Requirements and DeadlinesLeavenworth International Accordion Celebration

June 19 – 22, 2014www.accordioncelebration.org

It’s time to begin your preparations for the Leaven- worth International Accordion Celebration, June 19 – 22, 2014 in Leavenworth, Washington. As most know, the Northwest Accordion Society organizes and man-ages the music festival. The event has competitions, workshops, concerts, free entertainment, a parade, and after hours music in the restaurants. To prepare, review the following things.

Competition: There have been some adjustments to the music requirements for the Variety and Band Categories. Old Time music is not required in those classes, but it is certainly appropriate. Should com-petitors choose to play old time music exclusively, the two selections will be from different dance styles. The time limitations remain the same. Should a competi-tor need special equipment such as a music stand or stool, he/she is responsible for bringing those things. Chairs will be available on stage for competitors. All entries must be post marked no later than May 28, 2014. Awards for competition will be given Sunday morning during LIAC.

Gazebo/Grange: As in the past, the NWAS will pro-vide free entertainment in the heart of Leavenworth – outdoors at the gazebo and at the grange building at the west end of town. The music played will be au-dience friendly. Different ethnic styles, pop standards, Bavarian etc. – are appropriate. Ethnic/Bavarian style costume is most welcome and encouraged. At the gazebo, there are chairs. Bring your own music stands, clothes pins and any other special equipment. Most performance slots are for 15 minutes. Be on time and ready to play. Late arrivals or those taking several minutes to set up cannot have time added to their performance slot. We must work with the sound system provided. The city has restrictions on decibel level also. The NWAS has no control over these things. Sign-up for performance slots will begin the fi rst week in May. Players cannot sign up on line. The sign-up sheet can be viewed only. The perfor-mance sheet may be seen on the NWAS web site. www.nwasnews.com Contact Doris Osgood at 503-357-0417 or [email protected] to schedule.

Volunteers Needed: The accordion celebration requires an army of volunteers!! Frank Bruckner, our volunteer coordinator, needs workers at several venues to provide information, sell tickets, shirts, and pins. Contact Frank soon to receive your work assign-

ment. [email protected]

Parade: On Saturday during LIAC, we will have a walking parade of accordions from the festhalle to the gazebo. The parade generally begins about 12:30 PM or so; the time will be determined in the early spring. The schedule of events found on the web site will include that. Everyone is welcome to participate. There have been one or two horse drawn carts in the past that can accommodate a few players. The music played is generally in the key of C: Happy Wanderer, Beer Barrel Polka, Edelweiss, Wooden Heart. As most know, the parade is short and sweet! There is a photo op for the tourists and our friends at the ga-zebo.

Donations: The money received for LIAC has been managed well and some of the accordion celebration events generate money. However each year there are increased costs for basic things – insurance, room rental, sound systems etc. The competition piece of LIAC does NOT generate money. In fact, it costs a considerable amount to provide cash prizes and medals. Competition is an essential element in the celebration, we feel. Encouraging our young players with the opportunity for a bursary helps them focus on hard work. To maintain the competition and the bursary program we ask those who love accordion to donate money for that purpose. Check www.accor-dioncelebration.org for details concerning the method through which you may donate funds.

Web site: Be sure to check the accordion celebra-tion web site for details concerning ticket purchases and workshops. There may be adjustments to the schedule and program as the event draws near. Be informed of changes and updates by viewing the web site.

Thank you in advance for considering the needs, requirements, and deadlines for the Leavenworth International Accordion Celebration. We expect a memorable event. Our success depends upon your participation. Plan on joining us there.

Ron Ostromecki is the BEST!



Letters to the Editor

Dear NWAS,Thanks for reminding me about my need to pay for

a renewal. Always enjoy it from cover to cover!Karen Halgren, Anacortes, WA

Dear NWAS,For long I have intended to let you know how

much I appreciate you sending me the Northwest Accordion News. I always read every single word, wishing I could participate. I regret that none of the present opportunities existed when I was younger. At any rate, I do thank you.

One of my younger cousins returned to the accordion at age 64, having had a few lessons as a second grader. He met with me for a year then I con-vinced him to invest in lessons and he is working with a woman in her 70’s who still uses good ol’ Palmer-Hughes. At any rate, he has made fantastic progress and we still get together to play once a month. I have really enjoyed watching him work hard and do so well, which is not easy at age 64 when his fi ngers are big and ...

God bless you with a Holy Advent, what is left, and a Joyous Christmastide!Marcia Hobart,ALG, Forest Grove, ORDear NWAS,

I so appreciate all the time & work that goes into each publication. Thank you!Diane Young, Kennewick, WADear NWAS,

Please cancel my subscription. I no longer can play my accordion. I have really enjoyed this magazine for many years.Norma Lambson Moe, Bellingham, WADear NWAS,Love the magazine. :-)Bev Spurgeon, Milwaukie, ORDear NWAS,

Thanks for all the work you do on this publication.Helen Bucher, Sequim, WADear Staff,

As always, Thanks for the super job you are doing for the N.W. Accordion Society in the Northwest and beyond.Joe Kupferling, Seattle, WA



Competition Rules: 2014Leavenworth International

Accordion Celebration1. Contestants may enter as many categories as

they qualify for – SEE DIVISIONS AND RE-QUIREMENTS

2. The contestant playing order is determined by a random drawing prior to beginning the competi-tion.

3. Entry applications must be postmarked no later than May 28, 2014. The LIAC Committee reserves the right to accept late entries at its discretion. Late entries, if allowed, will play fi rst in order of appearance in any category entered.

4. For this competition, the term “PROFESSIONAL” is anyone who is currently active in a career playing the accordion; i.e. Listed in Publications as a concert performer, promoting oneself as a professional, receiving money through contracts to perform, etc. Those considered Professional musicians may participate in the Leavenworth Open, Bands, Duet I, March Open, Diatonic and Classical Open only. Any competitor deemed a professional by the LIAC Committee may ask the committee o reex-amine their status; however the fi nding of the LIAC Committee shall be fi nal.

5. The LIAC Committee reserves the right to limit entries in any category. Categories with 3 entries or less are subject to review.

6. Digital, electronic, amplifi ed and MIDI accordions are not accepted in any division. If any of these systems are installed only the acoustic accordion will be allowed. (*see rule 13 for exception)

7. Competitors must provide proof of age upon request by the LIAC Committee.

8. For the purpose of this competition, “Old Time” refers to the manner and style in which the selection was written or is being played, not to the selection’s age or ethnic origin. Old-time music is fi ttingly described as the style and tempo predominantly and successfully used for executing the polka, schottische, and waltz throughout a broad cross-section of North American and European communities during the past few centuries. All cultural styles are equally acceptable as long as the selection is played in the manner used by the culture of origin. With this as a guide, the decision of the adjudicators is fi nal.

9. CLASSICAL/CONTEMPORARY describes the category of music which follows the original form

and intent of the composer; repeats may be omitted to fi t the time requirement. The printed sheet music is provided to the judges.

10. LIGHT CLASSICAL MUSIC is based on a classical piece or theme but is reinterpreted to have entertainment value; it does not have to follow the format of the original composition.

11. LEAVENWORTH OPEN: If a person has won the Leavenworth Open for two consecutive years, they must sit out one year before competing in the Leavenworth Open agai n. This same rule applies to the CLASSICAL OPEN and the MARCH OPEN.

12. DIATONIC DIVISION: Diatonic accordions of all types/styles are allowed but only “old-time” music selections permitted. This category is open to amateur and professional accordionists.

13. BAND DIVISION: This must be a group of three or more musicians with a predominant acoustic accordion lead. The lead accordion may be amplifi ed* but not electronic and must lead at least 2/3 of the time. There are no age limits and professionals can participate. Support instruments will be judged on the quality of harmony with the lead instrument. Support instruments may be amplifi ed to achieve a loudness level consistent with the lead accordion. Bands are not limited to one accordion. Vocalists may be substituted for instruments.

14. When competing in more than one category, the music selected must be different for each category.

15. Contestants may restart a selection within 15 measures of its beginning without penalty. If restarting the full time limit is allowed as if no playing had yet taken place. Only one restart allowed without a scoring penalty.

16. The adjudication (judging) process begins with the on-stage presence of the contestant and is concluded with the preparation of remarks and scores by the adjudicators, which are given to the LIAC Committee. Adjudication for all categories will be based on the following: appropriateness of music, interpretation (appropriate style), tone projection and balance, stage presence and appearance, phrasing and articulation, dynamics and shading, technique and accuracy, tempos and rhythm, bellows technique and control and level of complexity. For defi nitive information on the adjudication, an “Adjudicators Guide” is included in Competitors’ Packets which are



provided to all competitors at the Celebration. The “Adjudicators Guide” will also be posted on www.nwasnews.com.

17. Discussions with adjudicators about a contestant’s performance must be delayed until after the day’s competition is completed to avoid interference with the adjudication process. Good Sportsmanship is expected. This courtesy to the adjudicators is essential and a contestant may be disqualifi ed by the LIAC Committee for violation of this procedure. If in doubt ask the LIAC Committee. Score sheets and adjudicators remarks are available to contestants at the end of the Celebration. Pick up score sheets at the registration table following Sunday’s awards presentation. The decision of the judges is fi nal.

18. The contestants must present a pleasing appearance to the audience. Good grooming and dress is expected of the accordion player. Tank tops, T-shirts, shorts and jeans are considered substandard attire unless part of the ethnic costume dress.

19. Please take care that all still camera and video pictures taken to avoid interference with competitors, adjudicators and audience. Be courteous to all and limit fl ash photography of contestants to times when active playing is not being done.

20. The decision of the LIAC Committee shall be fi nal regarding all of the above rules, except for scoring, which shall be the responsibility of the adjudicators (judges).

21. Only a Page Turner is allowed on stage to assist the competitor during the performance.

22. A Medley is considered as 1 selection but max time of the category must not be exceeded.

Bursaries Offered

For the 3rd year, The Leavenworth International Ac-cordion Celebration committee is pleased to announce that bursaries will be available for young competitors. The term, “bursary”, is more widely used in Canada; for those in the United States the “bursary” is likened to a scholarship. To receive a bursary amounting to $100 (US) a young person must:

1. Be age 18 or under on June 20

2. Participate in at least one individual competition category or evaluation

3. Submit a handwritten letter via postal service, electronic scan/email or FAX stating their goals, interest, and plans for studying and playing the accordion plus their reason for qualifying for the cash gift

4. Bursaries will be given during the awards ceremo-ny on Sunday morning at LIAC; no awards will be given to an individual without the submission of a hand written letter posted as directed below

5. Submissions will be addressed to the Leaven-worth International Accordion Celebration Commit-tee. Mail letters to:

Doris Osgood 3224 B Street Forest Grove, OR 97116

Scanned letters may be sent [email protected] or [email protected]

Fax: 778-754-1062

Letters must be post marked on or before May 30, 2014.

! Notify either Doris Osgood or Rod Miller by email or telephone when the letter was posted or emailed to confi rm that the letter was received.

Doris Osgood 503-357-0417Rod Miller 778-754-1062

Donations for LIAC BursariesYou may send a check to:

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

ORGo to www.accordioncelebration.org and click on the donation button to donate by PayPal

Thank you for your support!

June 19 - 22, 2014Mark your Calendars!



Music Styles for Leavenworth 2014

The MARCH category has been reinstated to LIAC. One march will be played; the music may come from any country. Since “Old Time” refers to dance music, the march has been removed from that defi nition for our purposes. This category requires 1 music selec-tion which will not exceed 4 minutes performance time. This is an “open” category; amateurs and professionals of any age may participate. The March is not considered as an Old Time selection for this competition.

CLASSICAL MUSIC is played only in the Classical categories; LIGHT CLASSICAL music may be played in the Leavenworth Open, Duet, Band, and Varieties divisions.

The DUET category requires one Old Time selec-tion plus another piece from any other music genre. Competitors may choose to play old time music exclusively; in that event a different dance style will be required for the 2nd piece. Note that there are two Duet divisions: Duet 2 is for amateur competitors ages 17 and under.

The BAND category is an open division. Note the regulations regarding this category. Two selections will be played from any style. The selections will not be of the same style.

The VARIETY category is for amateur players only. The competitor will play 2 selections from any genre: old time, popular, jazz, and light classical, ballad etc. Should a player choose to play 2 old time selections, they must be of different dance styles. March and classical are not accepted in this category.

We also have a category called EVALUATION. This category will have a panel of qualifi ed accordionist reviewing the performance. The purpose is to give the player an opportunity to have their playing evaluated in a constructive and helpful manner without having to compete. This category does not have monetary awards but the award is in the helpful comments ob-tained. All evaluations will be done at the Grange.

Professional players are allowed in all Open cat-egories along with duets, bands, and diatonic cat-egories. They may also participate in the EVALU-ATION category.Competitors are not required to play for the entire time segment but must play the required music for each category.

It’s time to begin thinking about competing at Leav-enworth next June. We want to be clear about some basics for the competition. Any player, professional or amateur, is eligible to play in any “Open” category. In the “Variety” categories, only amateurs may play. Below is some clarifi cation about music styles and the competition categories.

For the purpose of this competition, “Old Time” refers to the manner and style in which the selection was written or is being played, not to the selection’s age or ethnic origin. Old-time music is fi ttingly described as the style and tempo predominantly and successfully used for executing the polka, schottische, and waltz throughout a broad cross-section of North American and European communities during the past few centuries. All cultural styles are equally acceptable as long as the selection is played in the manner used by the culture of origin. With this as a guide, the decision of the adjudicators is fi nal.

CLASSICAL/CONTEMPORARY describes the category of music which follows the original form and intent of the composer; repeats may be omitted to fi t the time requirement. The printed sheet music is provided to the judges.

LIGHT CLASSICAL MUSIC is based on a classical piece or theme but is reinterpreted to have entertainment value; it does not have to follow the format of the original composition.

DIATONIC DIVISION: Diatonic accordions of all types/styles are allowed but only “old-time” music selections permitted. This category is open to amateur and professional accordionists.Digital, electronic, amplifi ed and MIDI accordions are not accepted in any division. If any of these systems are in-stalled only the acoustic accordion will be allowed.

The LEAVENWORTH OPEN requires the competitor to play three selections. One Old Time selection is required. The competitor may play 2 other selections from genres such as jazz, popular, and light classi-cal. Serious classical music is not appropriate. If the competitor chooses to play additional old time music for the category, the music must be selected from the 2 remaining old time dance styles. Old Time music is defi ned in rule #8. The competitor will present 3 pieces and will confi ne the presentation to 12 minutes or less.



Divisions and Requirements for Competition2014 Leavenworth International Accordion Celebration

*Open Categories - Open to both Professionals and Amateurs*

Category Age (if any) Category Code FeeLeavenworth Open All LV-O $35Classical Open All CL-O $20March All M-O $20Accordion Duets - 1 18 & over AD-1 $20 (per entrant)Diatonic All DI-O $20Bands All BA-1 $15 (per band member)

*Amateur Categories - Amateurs only*

Category Age Category Code FeeVariety 1 70+ V-1 $20Variety 2 60 - 69 V-2 $20Variety 3 19 - 59 V-3 $20Variety 4 13 - 18 V-4 $10Variety 5 11 - 12 V-5 $10Variety 6 10 & under V-6 $10Accordion Duets - 2 17 & under AD-2 $10 (per entrant)Classical 15 & under CL-A $10

*Non-competitive - Evaluation - Open to both Professionals and Amateurs*

Evaluation All (non-competitive) E-O (@ GRANGE) $15

*SEE RULES AND NOTES FOR IMPORTANT EXPLANATIONS*

Leavenworth Open - 3 selections - 1 must be Old Time - max time: 12 minutes

Classical Open - 1 selection - max time: 8 minutes

March - 1 selection - max time: 4 minutes

Diatonic - 2 selections - both must be Old Time - max time: 8 minutes

Accordion Duets - 18 & over - 2 selections - 1 must be Old Time - max time: 8 minutes

Accordion Duets - 17 & under - 2 selections - 1 must be Old Time - max time: 8 minutes

Band Competition - 2 selections any style - max time: 10 minutes.

Variety (1 - 6) - 2 selections – any style or 1 medley - max time: 8 minutes

Classical - 15 & under - 1 selection - max time: 8 minutes

Evaluation - non-competitive - 1 or 2 selections may be played - will take place at the Grange.



SPRING ACCORDION SOCIAL FOREST GROVE, OR

Andy Mirkovich featured performer

Sunday, April 27, 20141:30 PM – 5:00 PM

Forest Grove Senior and Community Center

2037 Douglas StreetForest Grove, OR

Admission: adults $5.00Hosted by Doris Osgood

And the Tualatin Valley Accordionists For the Northwest Accordion Society

Listeners Always Welcome!You are invited to bring your accordion and your friends to an afternoon of accordion music. 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. Prepare knowing that our 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.

Some Thoughts on Perceptions of Contemporary Classical Music

for the AccordionBy Ray Kujawa

If modern classical accordion music sounds strange to you, chalk it up to three things: time, recent expo-sure to artists from different parts of the world, and the infl uences on composers who have written for the ac-cordion -- the German expressionism of the early 20th century and the New German School of the Romantic era before that.

Some modern classical accordion music can sound pretty strange to the ears of American accordionists when we fi rst come into contact with it. Considering that few accordionists in America will have had any exposure to 20th century classical music, it’s no wonder we’ve made ourselves almost immune to contemporary clas-sical music. I see lovers of accordion music in America as falling heavily into two groups: the WWII generation, and younger folks not old enough to be Baby Boomers. The latter group grew up with rock and roll and rock infl ected pop music.

Older folks’ musical tastes were well established before rock music came along. Then the accordion fell out of popularity and became somewhat stigma-tized, after having been the most popular instrument in America. Accordion schools closed down all over America, guitar and drum schools opened. Now after a few decades of the accordion ‘being in its case,’ young people perceive the accordion as sounding fresh, differ-ent, capable of creating warm personal music, and not sounding so much electronic as much of today’s heav-ily processed popular music is. It’s heard now in sound tracks, commercials, pop groups, jazz groups at home and overseas. Everywhere the charm of the accordion is being rediscovered.

But we’re also discovering that the rest of the world never put down the their accordions. People all over the world were making all kinds of music with the accordion: musette in France, folk music, Latin music and Nuevo Tango, jazz music, and yes, even classical music, actu-ally written originally for performance on the accordion.

It seems the rest of the world passed us up in some ways. During the golden years of the accordion (1938 to 1960), with accordion schools across the country, plenty of students and professionals were playing high quality music, including classical music. But as com-mercial ventures, schools tended to be conservative in their choice of music for students. Popular music, ballads, polkas, Latin, and mostly transcriptions of es-tablished and popular classical music from earlier eras: Mozart, Bach, Beethoven, Liszt. But none of this music



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was originally written specifi cally for the accordion. You couldn’t really play it entirely as it was originally written. Among Bach ‘s “keyboard” music, could you play any of his Well Tempered Clavier or manualiter Organ music on the accordion? The stradella bass side confi gura-tion makes playing pieces with independent baselines all but impossible. The free bass convertor mechanism that enabled this wasn’t perfected until the 50’s, and that was in Russia.

Even though in the 50’s, when dozens of “accordion conservatories” were set up in America, it was rare for any accordionist to be accepted into an established conservatory or post-secondary musical school. That there were few professors who could teach the accordion should come as no surprise. Without a strong presence in mainstream conservatories, contemporary modern music for the accordion will fi lter only very slowly into the public consciousness.

A major turning point occurred in the history of Western classical music in the Romantic period (1815 or so to 1915), which was centered in Germany. Early in the 19th century, composers wanted to capture the spirit embodied in the Romantic literature of the time. Some turned away from Classical notions of beauty and logic that dominated the 18th century. Some wanted to shatter old boundaries and forms. They preferred the subjec-tive and emotional, the fantastic, the grand and terrible.

Johannes Brahms (1833-1897) lived in the middle of this period, but his ideal of music embodied both the Classical and Romantic camps. He resisted the sensa-tionalism of Liszt, and the ideas of Wagner that music needed to be ‘buttressed’ by visual and literary arts for it to advance. For Brahms, much of Romantic music was ‘like going over to the dark side,’ and Romanticism could be very dark. The musical revolution that Brahms resisted came to be called the New German School. Jan Swafford, in his excellent biography of Brahms, writes, “The German Romantic era of magical poetry and trium-phant music was also an age of madness and suicide.” In 1897, the last year Brahms was alive, “Europe was falling toward unimaginable catastrophe, and the arts toward the corollary of Romanticism: the ferment and fever called Modernism.”

Around 1910, German expressionism picked up where the New German School left off. At around the same time, Impressionism was taking off in France. Between the two early 20th century infl uences, I think you could make a good case that many of the compos-ers from Eastern Europe and Russia writing new music for the accordion from the 1940’s on were infl uenced more by this than from elsewhere. Webster’s New World Dictionary of music describes expressionism: “Modern aesthetic movement, beginning around 1910, giving expression to the inner state of a person’s mind and



emotion (term originated in painting). Expressionism refl ects extreme and anxious moods characteristic of modern life, in an idiom that frequently uses atonally constructed melodies and spasmodic, restless rhythms; it is quite often covertly autobiographical.”

A great deal of classical music we love did come from the Romantic era. Standards of taste and music composition did not alter overnight. Counterbalancing the urges of composers in the heart of the Romantic period, which was also a relatively peaceful period of history in Europe, there was a rising middle class. Com-posers and artists who had to live by selling their work had to temper extreme temptations to anarchy. Those temptations took a long time to work themselves out. Over the long haul, music did change, and some would argue not necessarily for the better. But does observing a cultural trend in one direction make the progression of an art in this direction inevitable, or will the pendulum swing the other way? I think the pendulum has been swinging the other way for some time. Music is art, created by humans for other humans. It doesn’t follow a pattern unless someone comes under an infl uence that thinks music has to serve some higher purpose other than music. But being art, music is an end in itself. It needs serve no higher purpose. Making music serve another purpose is to demean music, to make it political. In that I’m with Brahms. And anyway, predictions are often proven wrong. Who in the history of music could have predicted a Mahler? A Copland? A Lauridsen? References:Jacobson, Marion, “Squeeze This: A Cultural History of the Accordion in America,” 2012Slonimsky, Nicola, ed. Kassel, Richard, “Webster’s New World Dictionary of Music,” 1998Lips, Friedrich, “The Art of Bayan Playing,” 1991, English edn. 2000Swafford, Jan, “Johannes Brahms, a Biography,” 1997, Vintage Books edn. 1999Aristotle, “Nicomachean Ethics”

Gary Blair on the Go

Gary Blair has been hovering close to home. He has many students and directs the Jimmy Blair Accordion Orchestra.

Recently Gary has played for fund raising events.



Remembering Carl Fortina

The accordion community mourns the loss of accor-dionist Carl Fortina who passed away February 1st at age 84. Carl was a native San Franciscan who made his performing debut at age 5. By the time he was 18, he had the two best accordion jobs in San Francisco. Carl attended college with two San Francisco Club members; they founded the accor-dion department and major (though short lived) at their college. One went on to be a school principal (playing accordion on the side) and the other went on the road as a career ac-cordionist. In 1949, Carl moved to Los Angeles and soon established himself as the premier session ac-cordionist in the music business.

Because of Carl Fortina, we have heard more accordion work in fi lms and television, and it was he that we heard making those sounds. Carl played on more than 550 motion picture scores and over 35,000 television shows and we can hear him on such sound tracks as How The West Was Won, The Godfather , Camelot, Breakfast at Tiffany’s, Gunsmoke, the Andy Griffi th Show and Star Trek – just to scratch the surface. Carl’s contribution to getting the accor-dion heard by the public did not end with his own per-forming – he developed a reference book for fi lm and television composers, arrangers and orchestrators for the very purpose of utilizing the accordion more in fi lm and television. He effected more work not only for himself, but others to follow.

Carl withdrew from the performing spotlight to become a musician contractor for Paramount Stu-dios. One of his fi rst hires was Frank Marocco, who has earned his own place in fi lm and television musi-cal history. So the next time you watch Raiders of the Lost Ark, or c atch a re-run of Bonanza listen for an accordion in the background and remember Carl Fortina. - Compiled from original sources by Randy Hicks

Seattle Monday Night Accordion Socials – 2014 dates

Date/Time: 2nd Monday of the month music: 7:30 - 9:30 p.m. - - be there early

All Socials are held at the Senior Center of West Seattle in 2014

Senior Center of West Seattle (SC-WS)4217 S.W. Oregon Street Seattle, WA 98116 Phone: (206) 932-4044Cost: $5 Contact: John Giuliani (425) 255-2121 contact: Birgit Ages (206) 368-9720 backup: Bonnie Birch (206) 622-4786 February 10th Laurie Anders Kory Tideman (maybe Happy Hans)Folk Voice DuoRound Robin, please bring your accordion, Lets Jam

March 10th Bonnie BirchLouis TraversoDick FinnellAndy Mirkovich

April–14th Cost $ 10.- Special Guest Frank Petrilli Ron Long from Orchestra RTW Ray Harris Special Guest Artist from Los Angeles, CaliforniaFrank Petrilli - Protégé of Frank Morocco

May 12th Norwegian Theme Einar Tapio, Brenda Beard Richard & BjarneHarold Nygard

June –9th Cooksie Kramer The Northwest Accordionaires Band

Special Events 2014Upcoming Events:Feb 22, 2014 (Sat) - Day of the Accordion at Crossroads Bellevue, 15600 NE 8th St. Bellevue, WA

June 19 - 22, 2014 - Leavenworth International Accordion Celebrationwww.accordioncelebration.org

“All Socials are followed by a Round Robin at the end, please bring your accordion, Let’s Jam”



Frank Petrilli

Frank Petrilli was born and still lives in Los An-geles, California. He started playing the accordion at age 7 and by age 16 was playing professionally. As the popularity of the accordion declined in the US, Frank switched to playing Hammond B# Organ and the saxophone for about 15 years. In 2006, he re-turned to the accordion and started playing with the César Mateus Latin Jazz Band at many jazz venues throughout the Los Angeles area.

In late 2006, Frank began intensive study with the great jazz accordionist Frank Morocco which quickly evolved into a very close friendship. By virtue of their close relationship and mutual love of jazz, Frank Petrilli became Frank Morocco’s protégé and Frank Morocco often commented that Frank Petrilli was like the son he never had. Unfortunately, this relationship ended far too soon with Frank Moroc-co’s untimely passing on March 3, 2012. Later that year at the end of summer, Frank performed at the Fif Castelfidardo festival which is one of the most prestigious festivals in Europe.

As Frank Petrilli’s reputation grew as an ex-cellent player in the jazz community, he began performing frequently in the Los Angeles area with renowned artists such as guitarist John Chiodini. With these artists, Frank has been regularly featured at top venues such as “Herb Albert’s” club called Vi-brato Jazz and Grill. Frank also performed at many of the major accordion festivals and clubs in the US including the 2011 AAA Festival in Charleston, SC, the San Francisco Accordion Club (several times), and the Cotati Accordion festival in the summer of 2013.

In October of 2011, Frank appeared on the TV series Mad Men. In May of 2012, he was invited to play in the spot that Frank Marocco had been scheduled for as a featured performer at the Accor-dion competition in Kiev, “Accofestival 2012.” Frank was also one of the judges for the jazz portion of the competition. Immediately following the competition in Kiev, he performed at the Frank Marocco Memorial Concert in Castelfi dardo, Italy with many other stars of the accordion world. Frank’s debut CD, “Totally Frank,” produced by Elke Ahrenholz of “Artist Signed Records”, was recorded in Italy during this trip. Ac-companying Frank on this CD were three celebrated Italian musicians, Felice Del Gaudio, Mas Ferri and Fabio Zeppetella. In this CD you will defi nitely hear the infl uences of Frank Marocco, however Frank Petrilli plays his own style which includes more fo-cus on Latin grooves.

2014 will be a busy one for Frank as he will be performing in April, via the invitation of Joe Petosa, at the Northwest Accordion Society in Seattle. In May, he will be playing for the Michigan Accordion Society, and in July Frank will be one of the headlin-ers of the ATG Festival in San Francisco. In Septem-ber, Frank will perform for the Washington Metropoli-tan Accordion Society. Of course, Frank will continue to play locally in Los Angeles as the “Frank Petrilli quartet at numerous jazz venues.

As the booking agent and artistic director of the Vibrato Jazz Club, Pat Senator wrote, “Like his mentor, Petrilli gives new life to the accordion with impeccable phrasing and a smooth, fl uid style. You will enjoy the music stylings of Frank’s accordion, both in concert and on his CD, and can expect some very good music coming from him in the future.

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 Doris Osgood, 3224 B St., Forest Grove, OR 97116 or e-mail [email protected].

In addition to giving personal information, students are to share their age, 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.



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Naomi’s Experience in Japan

Hello , I am Naomi Harris and recently I won the junior division at the Japan Accordion Association International Competition.

I had an amazing experience; it was a lot of fun. When I fi rst arrived I was a bit nervous and did

not know what to expect, but the people at the Japa-nese Accordion Association were so nice and welcom-ing that it did not take long for me to feel comfortable and ready to play.

The best part of the whole experience was that my grandma was able to attend and cheer me on!

The competition was great, there were a lot of re-ally good accordionists in my category, and it was fun to hear their pieces.

After I played I knew that I did pretty good but I truly had no idea who would win. To my surprise, it was me!

It was an awesome experience and I really thank all of the people from the Japan Accordion Associa-tion for putting the completion together. I am really looking forward to going back and attending their next international competition!

Naomi Harris Wins in Japan

Spokane’s own Naomi Harris attended the 6th JAA International Accordion Competition held in Tokyo on December 13, 2013; she placed 1st in the Junior Category. The competition was held b y the Japan Ac-cordion Association. Among the judges were Stefan Hussong from Germany, Coba from Japan who is a past CMA winner, and Waka Shibasaki from Japan who studied and taught in Germany for over 10 years before she came back to Japan. Some of the competi-tors came as far from as Slovenia to compete in this competition.



Ask a TeacherBy Cooksie Kramer A.B.C.A – L.B.C.A

Member of ATG, AAA, ABRSM (London).

A lot is being written and discussed about Con-temporary Music. What is your “take” on this subject?

Listen – Read – Learn & try. Keep an open mind. There is a wealth of information on this subject on the Internet.

Don’t only focus on Music for the Accordion. The accordion is an amazing versatile instrument. We transcribe Music regularly from instrument to instru-ment. If you have important basic theory and practical training go through all the grades from early music to Modern.

Incidentally so many accordion players at World com-petitions e.g. Coupe Mondiale play Baroque – Scar-latti – Bach - Pachabel – Vivaldi – There is so much incredible music out there – Play what you enjoy – don’t play what you fi nd distasteful. “Feel” like an artist - what moves you internally. On watching the Grammy Awards recently I went from “yes” to defi nitely “no” as well as “maybe”.

I highly recommend a book called “Classical Music” General Editor John Burrows. It’s very informative covering Early Music 1000 – 1600 to Modern Contem-porary Music 1900 and so on.

Quick Story - I have a student of 8 years old who after his fi rst lesson brought me his original composition. I played it and, wow, the discords. I asked him if he liked them and he said “yes”.

Recommended listening Warsaw Concerto for Piano Richard AddinsellFull of Consonants, Dissonants, Concords, and Discords – Brilliantly amazing.

I am always available for questions please feel free to phone me at 425 828 9104 or email [email protected].

Oregon Accordionist Teleshev Cheered At Global Festival

Oregon Public Broadcasting,October 20, 2013

By April Baer An Oregon accordionist took part in a global

competition over the weekend that drew contend-ers from eleven coun-tries.

Teleshev says he knew some of the other contenders at the Roland International V-Accordi-on Festival - “very strong competition”.

Eugene’s Sergei Teleshev is known to Or-egon audiences as one-third of Trio Voronezh, a group known for modern compositions and tradi-tional Russian instruments.

But when Teleshev won the Roland U.S. V-Accordion Festival competition in September, he was playing a digital accordion.

The contest aims to introduce and promote the latest electronic models. Teleshev was play-ing a digital accordion he’d had less than a week.

He explained, “(I had) four days to prepare the program using that new instrument, since I had a really busy concert schedule. But I did that and fi nally I won.”

The instrument lets Teleshev play his usual style, but it also allows him to explore his classi-cal repertoire with over a thousand digital sounds.

The World title went to a German accordion-ist, Matthias Matzke, but Teleshev receives a prize for most online votes on the festival’s web-cast.

He’s on the road with Trio Voronezh til mid-November.

Have you recently attended an accordion event?Did you take pictures?

Please send your photos and articles to:[email protected]

or mail hard copies to:NWAS, 5102 NE 121st Ave., Vancouver, WA 98682

This is YOUR Newsletter!



Dick Skultin Shares His Thoughts

I read the article by Patricia Bartell in the Winter Quarter issue of the Northwest Accordion News and I fi nd it to be a very powerful statement about the evolvement of music in general and the development and advancement of the accordion and its music as it explores its way in this evolvement. I have to agree with almost everything she says and I applaud her participation and effort to promote this viewpoint.

I recently had the good fortune to hear and see on National Public Television a performance by the New York Philharmonic which included a marvelous conductor and Yo Yo Ma as cello soloist which per-formed a new composition. The orchestra included an accordionist sitting next to Yo Yo Ma and a host of percussion related instruments I have never seen before. Incidentally, the composition included a bel-lows shake synchronized with the bow technique of Yo Yo Ma! To be brief, it was a composition exactly in line with what Patricia wrote about. It concluded with a gradual resolution of instrumental melodies blend-ing into increasing dissonance and an accompanying decrescendo until the dying ending sound was a pure and softly rendered noise! Brilliantly performed!!

However, I do take issue with some aspects of the article. Scarlatti, Beethoven, Mozart, Brahms, Wagner, Shostakovich, Copeland, et all (the classics) have not passed from the music scene “like powdered wigs” and are not lying in a musical graveyard. Nor have most of the other musical genre that have come forth and developed upon the musical scene and have entertained audiences and musicians throughout history. Included are the thousands of music styles produced by the peoples of the world, the songs, melodies, waltzes, marches, polkas, dances, etc. mu-sical drama, musical comedy, jazz, bluegrass, zydeco, country western, rock and the list goes on and on. Within all genre there has also been development, for instance in jazz there was development from ragtime, through Dixieland swing, bebop, fusion, and all of the forms of modern jazz, which here is an abbreviated list.

Why have they not been laid to rest? Because they all still have their enthusiastic audiences. There are large audiences who still delight in hearing Beethoven, a spirited march, a musical comedy, blue grass, and a Dixieland band. In the U.S. one should be aware of how popular country western is. Do not think it still consists of hillbilly three chord songs. It too is evolving and has borrowed from the other genre, such as rock. And it is most important to real-ize that most people are very particular about their

musical preferences; in fact, too many reject certain kinds of music, and many are not interested in partak-ing in a music appreciation course!

Patricia makes and emphasizes the point “music always has a story to tell” which means that music in and of itself and by itself will tell a story. I fi nd this to be quite a stretch of an imaginative roman-tic approach to music. To be blunt: A story requires WORDS. Happily, so much music is accompanied by words either spoken or suggested. It provides the unsophisticated listener extra interest and attraction to the music, as well as extra fulfi llment to the so-phisticated. Peg o’ My Heart, That Old Black Magic, Lucille, In my Merry Oldsmobile, Beer Barrel Polka, Opera librettos, movie musicals, etc. etc. Even con-sidering such music as the Grand Canyon Suite, An American in Paris, The Blue Danube Waltz, the 1812 Overture, the composer has expressed in some way what the music represents, sometimes merely through the title. One’s imagination is stimulated.

Otherwise, music by itself only stimulates emo-tion and the body response to whatever that emotion. Place music behind words as in opera or any musical story it enhances the expression of the emotion or action. Even in a motion picture, background music is sometimes used to enhance and punctuation the action or words. Music, by itself, can express happi-ness, delight, celebration, love, desire, playfulness, solemnity, sorry, sadness, anxiety, agitation, and the list goes on. Moreover, it can elicit the desire to make motion rhythmically – the desire to dance, one of the most powerful of music’s elicitations.

(Dr. Skultin’s comments on music were in the form of a letter to Doris Osgood. His last paragraph was a personal note. He went on to encourage our efforts in Leavenworth.)

I say again that the Leavenworth International Accordion Celebration should try to attract as many accordion enthusiasts as possible; there are all kinds of audiences, the more the merrier!



Seattle Social ReportNovember 11, 2013(Marjorie Rombauer reporting)

This night we were at the Swedish Cultural Cen-ter, where we heard an excellent program. This was our last time for a monthly Social at the Center, as the plan hereafter is for Socials to be held regularly at the West Seattle Senior Center.

Louis Tra-verso, who missed a previous scheduled perfor-mance because of illness, was back to play an entertaining pro-gram. He began with “Anytime,” followed by the polka medley that won fi rst place for him at the Leav-enworth festival.

After a schottische and a march, he played, in an-swer to requests, “America the Beautiful” and “I Saw Mommy Kissing Santa Claus.” He concluded with some wonderful old timers, “Whispering,” “There’s No Tomorrow,” and “Please Don’t Talk About Me When I’m Gone.”

Harold Nygaard was next, but he brought a surprise – along with his accordion, he brought an-other perform-er, a violinist, Juanita Holmes. To-gether they played “Swiss Lullaby,” segueing into another lovely waltz, “My Anne Waltz.” Next, another surprise – bossa novas, with Juanita singing and Har-old playing a great chording accompaniment – “Lady From Ipanema” and “Wave.” Her voice blended beau-tifully with the combined violin and accordion sound. Next they played a schottische, “Mona,” with a catchy melody and lots of fancy fi nger work for Harold. They concluded with a waltz, “Beautiful Country.”

Then another surprise – Mike Mirkovich, not Andy. Mike is a nephew of Andy and a recent high school graduate. Formerly a student of the piano,

he has been studying the accordion with Andy, and it shows – both in talent and performance style. He began with a number in prefect Andy style. He continued with “It Had To Be You,” “Mak-ing Whoopy,”

and “Mack the Knife” (a favorite of his on the piano as well as on the accordion) He concluded with “New York, New York,” complete with Andy’s fi nal stamp of the foot. I hope we will have many more performances from this promising young accordionist.

Next, the irrepressible Lenny Luzi played his accordion with Stan Johan-son play-ing an electronic bass, and Kenny Liu play-ing a gui-tar. Lenny enjoys playing the accordion, and he shows it. The trio played many Italian numbers with gusto, but I didn’t recognize some of them and couldn’t think of the names of the ones I did recognize, except the fi nal one – “Volare..” And somewhere near the middle of the program they played “Que Sera, Sera (Whatever Will Be,Will Be),” not Italian, but one of my favorites. Lenny and his group have played for our Social only a few times, but I hope they can come back again and again in the future.

A Round Robin completed the program, with Phil and Birgit Ages, Bonnie Birch, Lenny Luzi, Mike Mirkovich, John Giuliani and Alan Bridg-eford (a newcomer) participating. Each played a solo and the group then played several numbers together in a fi nal jam.



Welcome New Members

(Thomas Tilton), Alpenfolk, Leavenworth, WAVince Crocker, Bellingham, WAKatie Eberhart, Bend, ORJoe Glode, Portland, ORJack Jones, Beaverton, ORLouise Kowalski, Fairbanks, AKNancy Milner, Portland, ORWayne Tiusanen, Canby, ORRemember, you are welcome to give gift mem-

berships! The membership form is on the last page of this publication.

You may request hard copy, PDF (electronic), or both. You may also pay for more than one year at a time, if you like.

December 10, 2013(At the last minute this evening I decided not to

attend the Social because icy rain or snow had been forecast, which might have made a diffi cult return drive to my home on a hill. I made no arrangement for a substitute to take notes, so the following brief description is based on a summary by Birgit Ages.)

The Social was held at the West Seattle Senior Center, the fi rst of programs as we resume regular monthly scheduling at the Senior Center.

Toby Hanson was the fi rst performer this eve-ning, and he played a really nice pro-gram. He told the story of when the singing of “Silent Night” was heard in the

trenches at the beginning of World War I: The soldiers on both sides stopped fi ghting until the song ended. Birgit and Phil Ages played a mix of German and Scandina-vian Christmas tunes with Lori Ann Reinhall singing as a guest musician.

Then a young player, Alan Bridgeford played a few numbers. Alan played for us the fi rst time in November jam, and I hope we will have the privilege of hearing him play again and again as he pro-gresses in his studies.

The program ended with a very successful jam session led by Bon-

nie Birch, playing Christmas numbers such as “Jingle Bells” and “Rudolph the Red Nosed Reindeer.”

January 13, 2014Lee Wright reporting

David Locke opened our program with several selections he played on his 1964 Diamond accordion. He explained that this accordion has 43 treble keys (as opposed to the usual 41), a mute switch, and one additional bass reed (6 vs. 5) for this type of accor-dion. The additional reed gave the sound a different dimension, especially when used with his amplifi er. David started with the lively samba “Brazil”, followed by the “Chiquita Banana” song and “Doce de Coco”. He then played “La Mangave”, a musette, on his non-musette accordion. It sounded great! He fi nished up with “A Small Hotel”, “The New Carioca” and “Carin-hoso”. David always brings something new to these programs and it is fun to listen to him.

Up next was Amy Denio, a local player from West Seattle. She is multi-talented, playing the sax and clari-net, although not tonight, and has recently been touring Europe with her music. She said she is self- taught with the accordion and composed much of her own material. She sings along with her playing and also composes music for modern dance. Amy started off with a moving tune called “Downy Cheek Tango” followed by “Root Dance”, a Balkan song starting in 7/8 time, mov-



ing to 10/4 time. Very interesting. She next played an Armenian waltz called “Ararat” composed by the Armenian Navy Band (she thinks the “band” is actu-ally one guy named Odo). Her next song was one of her own compositions called “Ballintubber Abbey”, inspired by an inscription on a gravestone she saw in western Ireland, which read “so many songs to sing” for a local musician who died too young. She offered to take requests, but said she doesn’t know any “nor-mal” music. Amy’s fi nal song was “Hanana”, a gallop-ing horse song in 4/4 time moving to 12/4 time. Her music was different from much of the music we hear at the socials and a lot of fun to listen to.

Lyle Schaefer performed last with his great sounding Honer accordion. He started with a medley which included “Ain’t Mis-behavin’”, “So What’s New”, “Tangerine”, “Love”, and “I Can’t Give You Anything But Love, Baby”. This was followed by a Swiss Waltz and “Rosemarie”. Next came “Swiss Schottische #78”, A Swiss laendler and a slower Swiss laendler. Other songs included “I Don’t Care”, “Con Tessa”, and “An Affair to Remember”. Lyle fi nished up with some great polka tunes: Vern Meisner’s “Sneaky Pete”, “Scott Joplin Polka”, and “Achtun Los Polka”. He also played multiple requests. Lyle’s performances are always entertaining and this was no exception.

The fi nal event of the evening was a “Play Along”, for simplicity all in the key of C. Players were: Bon-nie Birch, Birgit and Phil Ages, John Giuliani, Einar Tapio, Lou Traverso, Lyle Schaefer, and Ray Harris. Ray, like many of us, had taken a leave from the accordion, but is now back. Each player did a brief solo: John - “Take Me Out To The Ballgame”, Bonnie - music from “Rigoletto”, Birgit - “ Muss I Denn” (Wooden Heart), Phil - Italian dance tune “Corenta”, Einar - French waltz, Ray- Anema E Core. A young visiting player, Alan Bridgeport, also played “Edel-weiss” for us. Group songs included “Tick Tock Polka”, “La Paloma”, “That’s Amore”, “All of Me”, and Nick whistled (at least it wasn’t the nose fl ute). A great musical accordion evening.

Spokane Symphony News Flash!

The Spokane Symphony, 70-piece professional orchestra, presents critically acclaimed performances featuring some of the world’s most respected soloists. Included in this year’s 2014-2015 concert Classics Series, Patricia Bartell has been asked to be the 2015 guest to perform an Àstor Piazzolla Concerto with the Spokane Symphony.

Although Patricia is no stranger with the Spokane Symphony, having fi rst appeared in 2012 as a solo performer prior to one of their Splash concerts and recently with the Spokane String Quartet, - this marks a unique and special highlight for her and the full Symphony.

The Symphony cheered when it was announced they would be accompanying an accordion soloist in 2015 and it would be Patricia Bartell. Because of Bartell’s involvement with Trophée Mondial and other accordion events with symphony members (including Tango Volcado) they all have great respect for the accordion. But it took some time because of the old “stereotype.” One member of the symphony said, “Like most of you, up until about 14 years ago I regarded the accordion as among the most humorous of instruments known to man (right up there with bagpipes and bassoons). And then I went to Patricia Bartell’s senior recital at Whitworth College. Yes, she was an accordion major. And her recital was an education for me. Patricia is a true artist, and someone I am very proud to call a Whitworth graduate!”

After performing Galliano’s Concerto with Bartell in 2013 (with the Spokane String Quartet), Concertmaster for the Spokane Symphony, violinist Mateusz Wolski, told many amazed audience members who had not heard the accordion in such capacity, “it’s not the accordion, it’s the artist behind the instrument.”

Bartell will walk out on stage with Conductor & Music Director Eckart Preu in the beautiful Martin Woldson Theater – and showcase the beauty of the instrument we all love – the accordion.

May 9, 2015 8:00PM & May 10, 2015 3:00PMMartin Woldson Theater at The Fox



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Spokane Accordion Ensemble Submitted by: Cheryl A. McGinley, Secretary

The November Classics and Classical concerts went well and we had a lot of fun performing them. We found a new venue at Trinity Lutheran Church in Coeur d’Alene and a new enthusiastic audience. The acoustics were the best we have ever played with, and we are looking forward to playing and recording there this next season. Our emcee, Rick Webber, dressed as the various classical composers, for the pieces we played, and gave the audience a brief history of these composers. His presentations were very entertaining, as well as informative. Our conductor, Beverley Fess, was her usual energetic, precise, hard working self who inspires us to do our best and have fun in the process. She and our president, Eileen Webber performed a duet of Jolly Caballero at St. Mark’s which we all enjoyed. Sam Thomas played two solos at Trinity Lutheran, one of them on a Roland digital accordion. Henry Peden arranged the score for The Phantom of the Opera, which we played at both venues. Henry is a very talented musician, who has arranged several pieces for the ensemble. He is a joy to work with and has a great sense of humour. We recorded this concert the second night we played at St. Mark’s in Spokane, and are now working on producing a CD. You can hear us playing Mozart’s Serenade on You Tube or on our Facebook page under our listing as Spokane Accordion Ensemble. After our holiday break we started back to work preparing our Americana Concert which we will be playing at the 2014 Leavenworth Accordion Festival; please check their website for date and time. We look forward to seeing you there. Questions or comments can be sent to Eileen Webber: [email protected] and/or to Beverley Fess: [email protected]

Hugo Accordion Band turns 20!

Hugo’s Accordion Band turns 20 years old this year. Summer of 1994 all former members of the Hugo Helmers Accordion Marching Band in Mount Vernon had their fi rst reunion since 1960 when it was disbanded due to Hugo Helmer’s health. Former ac-cordion players had put their accordions away in clos-ets and now they had a reason to star playing them again. The reunion gave all of us the encouragement and enthusiasm to keep playing and our fi rs perfor-mance was the “Festival of Trees” in Mt. Vernon. Kjell Holmes from San Diego, a former member of the band, made sure we had all the music we played dur-ing your youth.

Today the band has 17 active members, seven of which are charter members and the other members have joined our band along the way. Recently three new members have joined the band, sister accordi-onists Rozella Stround and Rita Everett who have moved to Mount Vernon and Ione Bard from Lake Stevens. All three bring experience and enthusiasm to our practices and performances.

The band has recently recorded a CD at a re-cording studio in Bellingham of German Oktoberfest Music from their many performances during the month of October. CD’s can be purchased through Duane Stowe, HAB President (info in the back under Accor-dion Events Calendar) $10/CD plus shipping.

Spring IS Coming!

Dust off your accordion and get ready to play at one or more Accordion Events!



Tacoma Accordion Social

12 December 2013

We had a very nice program for our Christmas meeting. Richard and Linda Bishop were up fi rst. They played “The Chipmunk Song”, “Lights on Temple Square”, “Christmas Celebration” and “Mele Kalikimaka”. Our next performer was Michael Barbarossa playing “Silver Bells”, “Christmas for Cowboys” and “Rockin’ Around the Christmas Tree”. Then he played a couple polkas for Rick Hatley, “Ohio Polka” and “Pennsylvania Polka”. Our third player was Bob Westlund playing “Pretty Paper”, “Roragen”, “Blue Christmas” and “Silver Bells”.

Sheila Findlay played next and she played songs I know, “What Child Is This”, “White Christmas” and a “Christmas Medley”. Then we had a duet, Dennis Perry and Dick Myking. They played “Hark the Herald Angels Sing”, “Blue Christmas” and “0 Come All Ye Faithful”. It was good to see Lyle Schaefer as sometime he works on Thursdays. He played “Snow Waltz”, “I Saw Mommy Kissing Santa Claus”, “Rudolf the Red Nose Reindeer” “Brazil” “Sunner Strollen” and “Just Because”.

Then we got to hear Dennis Perry play solo. He began with Stan Boreson’s version of “Snowbird”. Then he played “Caroling, Caroling”, and “Away in a Manger”. It was time to hear Diane Crews sing. She did a great job on “Let it Snow”. We still had a little time so we had another duet, Lyle Schaefer and Dennis Perry played “Frosty the Snowman” and “Winter Wonderland”.

9 January 2014

Shelia Findlay and Dennis Perry said they would warm up so we started a little early. They played ducts starting with “Lokkeren Vals”,”Wben I Grow Too Old To Dream”, “Ball In Karlstad Schottische” and Liechtensteiner Polka”. Richard and Linda Bishop were up next and they played “Seven Days and Seven Nights without You”, “When I Am 64”,”Mexicali Rose” and “Freight Train”. Lyle Schaefer was our next performer. He played “Tonight”, “Old Man River”, “Tangerine”, “All of Me”, “I Can’t Give You Anything But Love”, “Quick Step Polka”, “Mr. Ed’s Polka”, “Do-Re-Mi”, “Sneaky Pete Polka”, “I Could Have Danced All Night”, “Oklahoma”, “Alabama Jubilee”, “Those Were the Days”, “Come to the Cabaret”, ‘Hello Dolly”, Hurry Up We Got To Go Waltz” written by Lyle and then he played “Spagetti Rag”. Continued on page 35

Thoughts on Music and PerformanceBy Karl Kment

Doris Osgood’s comments on “contemporary” compositions presented in some recent competitions as well as Patricia Bartell’s scholarly explanation of these presentations, seem to offer an avenue for open discussion.

Having taught classes on topics such as bring-ing life to musical expression as well as improvisation at the Rose City Accordion Club accordion camps as well as other venues, I feel compelled to offer some observations.

Music historians and scholars have defi ned music as “organized noise”. How this noise is organized manifests itself in many forms, depending on who, when, where and shy such composition took place. We are quite aware of different forms and type of classical music as well as the endless variations on so-call contemporary music.

When performance is considered, it is important to realize that there are two entities in play: (1) The presenter (performer) and (2) The listener (audience). The musical journey that the performer implies is hopefully understood by the listener. If there are de-fi ciencies in the presentation or in the comprehension capabilities of the audience, the intended “journey” becomes nothing more than a “dead-end alley”.

The responsibility of the presenter is obviously critical in that they are the initiator of the process. Within the process the performer is tasked with two basic elements to consider. These are (1) trust and (2) taste.

1. If who you are and how you project in the pre-sentation are combined with an interesting perform ace, there may be little need to use gadgetry or other distractions. You must learn to trust that you, by virtue of your own humanness, can make a musical impact on the audience.

2. Taste is having an intuitive feeling for what is aesthetically correct. Put aside ego, and when you perform with imagination and good taste, there will have developed a fi ne and distinct balance between you, the composition, and your audience.

In conclusion, let us be good students, anxious to explore the myriad aspects that present themselves to us continually as we make “noise”. If you wish to perform La Cumparsita as a Strauss-like waltz, do it well, with taste and trust.



StretchBy Cheryl A. McGinley

I had the honor and privilege of meeting Kim Jacobs several years ago, at about the same time I started taking accordion lessons. I had recently retired and moved to a new community where I fi nally had the time to engage in those interests which full time work did not allow. Kim is a local yoga instructor, whose focus is in reaching out to any and all, no matter their degree of fi tness. She teaches the importance of stretching to maintain mobility, balance and fl uidity of movement for a more active and healthy life. Yoga taught me that tightness in muscles and movement is the result of loss of elasticity in the fascia, the sheath that covers each muscle, allowing muscles to move smoothly across each other. It is the tissue underlying our skin that holds us together. If we become less active, through injury, illness, or sedentary activities it loses elasticity and tightens up, restricting our movements and often causing pain. The fascia has many pain transmitting nerves, much more so than your muscles; quite often the pain which you percieve as coming from a sore muscle is actually from the fascia, telling you it is too tight and thus painful. I started out pretty stiff as most people do, and was pleasantly surprised at the progress I made with consistent practice; kind of like playing the accordion! Unfortunately I fell off of a roof a year ago and wound up being injured with very limited mobility for several months. I experienced the fascia tightening which in turn made it diffi cult to walk and play my accordion. All of my joints lost fl exibility and mobility, and it hurt to do the simplest of movements, which I could so easily do before. Once my doctors cleared me for physical therapy I called Kim and asked for help. She put me on a joint freeing exercise program which was all about very gentle stretching. It was not an overnight cure, but I began experiencing some relief within the fi rst two days. My doctor was impressed and I am now down to seeing her once a month instead of weekly. My accordion teacher recently commented that it was good to see me back to my old self and capable of playing more strongly and fl uidly. My long lost twin brother, Frank Bruckner, the volunteer coordinator for LIAC and an accordionist with The Spokane Accordion Ensemble, is another who

benefi ts from Kim’s stretching exercises. Frank had chronic back and shoulder pain, the result of prior employment. After learning three easy stretches, which he does daily, he no longer has those pains. He will enthusiastically tell you that his relief was immediate, and that it only takes him 15 to 20 minutes a day to do his stretching, while he watches television. Kim agreed to work with me designing an easy set of stretches specifi cally for accordionists. These can be done sitting and or standing as part of your warm up to play, and are well worth the time. The stretches free up my fi ngers, hands, wrists, arms, shoulders, back and neck. I mentally review my practice goals for the day while I do mine. After my practice I also do a few counter stretches for my back, shoulders and hands. Kim is bringing this program to Leavenworth this year where she will teach a workshop. I would encourage accordionists of all levels and ages to attend. It is benefi cial to not only your accordion playing but to maintaining mobility and health. Cheryl is a member of The Spokane Accordion Ensemble and a chromatic / free bass student of Beverley Fess. She can be reached at: [email protected] if you have any questions.

Cheryl and Frank

We want more accordionists! In 2013, Oregon’s Alpenfest, Wallowa County’s Swiss-Bavarian festival, introduced “Accordions at Alpenfest” to an appreciative crowd and expanded its Main Street strolling accordionists’ program to the delight of visitors. We aim to bring the accordion to greater prominence at the 2014 edition of our festival, and we want you to be part of it!

Payment and publicity available



By the Way From Doris Osgood

Congratulations, Naomi Harris! Naomi placed 1st

in the junior division in international competition in Japan in December. We’ve watched Naomi grow into a lovely young woman and a fi ne accordionist; it’s exciting for all of us to see her progress and we are proud of her accomplishment. Naomi studies with Patricia Bartell in Spokane.

Accordionist and band leader Frank Stanger scored the fi rst sweep at the Polka Hall of Fame music awards by taking Album, Band, Music and New Song of the Year awards for 2013. The 26th annual awards ceremony was presented by the National Cleveland-Style Polka Hall of Fame and Museum on Saturday, November 30, 2013, at Euclid Auditorium in Euclid, Ohio. Band leaders Eddie Adamic, Jim Kozel and Frankie Zeitz were inducted for their lifetime achievements in polka music.

From Dr. Jim O’Brien: “I was particularly interested in the Luigi Rangan article. I studied with him my junior and senior year in high school. We lived up the Columbia River at Mosier. Every other Friday, I would take the afternoon off from school (with approval) and get on the Greyhound bus for Portland, walk up to the Fine Arts Building next to Olds and King, and have a session with Luigi. He was the best. Then I’d ride back to Mosier with my brother, who was a student at Portland State. Luigi really had a knack for arrangements and nice harmony. I learned lots from him. Glad to see you featured him in an article . . .and that you knew him. Sorry he is gone, but what a full, squeezing life!”

Accordion categories were squeezed out of the Grammy’s but the accordion still had a presence in the groups that were honored with awards. The group, La Santa Cecilia, with accordionist Jose Carlos, won the category – Best Latin/Rock/Urban/ Alternative!! Louisiana’s, Terrace Simien, of Zydeco Experience, won Best Regional Roots music album. Clifton Chenier received a Lifetime Achievement Award posthumously. During “prime time broadcasting”, the Beatles were also awarded a Lifetime Achievement Award!

From Dr. Steve Gordon: “I got good news the other day about “Ravenna” (the original musette that I wrote). I had been approached a few months ago by movie director Frank Pavich asking if he could use it in a documentary he was fi nishing up called Jodorowsky’s Dune. I said fi ne and signed the

appropriate releases etc. The movie was fi nished and it is winning awards at fi lm festivals around the world. Sony Pictures has picked it up and will be releasing it to theaters in the US in March 2014. (I suspect it will play at art theaters). So we will be able to hear “Ravenna” in a movie in the theaters with me in the credits at the end! I haven’t seen it and don’t know how it is used. If you google Jodorowsky’s Dune you can see descriptions and reviews about the movie.”

It is with regret that the Mesa Event will conclude after this year’s gathering in February. With the coordination and planning by Dan and Joan Grauman, Frank Marocco lured people from all over the world to Mesa, Arizona for an accordion camp during the winter. The learning opportunities for campers were unmatched. Frank was very ill 3 years ago and was unable to participate. He died shortly after. The Graumans brought the campers together last year and it was concluded that 2014 would be the last. It will be a special tribute in memory of Frank. Stas Venglevski stepped in 3 years ago at Frank’s request. He will be teaching and performing for his 3rd year at camp. Dr. Joan Sommers will also be there. She will be celebrating her 80th birthday. Summer Sunshine, a new release featuring 14 original compositions by Stas Venglevski with Dr. Sommers on accordion and Stas on bayan, honors Dr. Sommers’ 80 years. I just listened to the recording and I must report that it is excellent! The compositions are very interesting and the musicianship and recording are masterful. It’s a fi tting tribute to Dr. Joan Sommers.

There was an excellent article in the Atlantic about the resurgence of the accordion. I’ve pursued permission to reprint and hope to have that article in the summer issue. The contact person at the Atlantic was very prompt in responding to my request but had to hand the request off to someone in the western division. I can reprint up to 200 words without charge, but there may be a fee to reprint the entire article. If the fee is too much, I will attempt to paraphrase… but the original will be much better. Stay tuned. Copyright is an interesting tightrope walk. We do our best to do things properly.

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.



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Beyond the Diminished RowBy John Martin

We all know that accordionists can play major, minor, 7th, and diminished chords on the left hand. And, for most songs, these chords are all we need.

But did you know that you can create other interesting and useful chords with your left hand? Or, that you can change the sound of a chord without changing the chord itself? Learning these techniques can add variety, color, and interest to your playing. It is really easy to do once you understand how it is done and give it a little practice.

If you are playing from music with guitar chords, a lead sheet, or a fake book, you will often see unusual chord symbols written above the melody line. While these chords can usually be simplifi ed so we can use what we have available to us on the left hand, there are times when the special chords indicated on the score are im-portant to the harmony of the song. At times like these it’s important to be able to play what is written.

Playing a 6th Chord

For example, the score may call for a C6 (C 6th) chord. Since you only have major, minor, 7th and diminished rows of buttons on your accordion, how do you play a 6th chord?

As you will remember, a C6 chord is simply a C major chord with the 6th note of the scale added. So a C6 chord is composed of 4 notes: C-E-G-A. Here are 2 different ways to play a C6 on the left had by using a combina-tion of buttons:

Method 1: The easiest way is to play a CM (C major chord) with your 2nd fi nger, and reach down with your 4th fi nger for the A in the counter bass. (A is the counter bass of F.) This gives you the 4 notes of a 6th chord with the 6th note emphasized. The C-E-G notes are provided by the CM chord and the A-note comes from the counter bass. (Because the A-note is from one of the two bass rows it will normally sound stronger than the other notes.)

This same general pattern also works for Cm6 chords (C minor 6th.); simply substitute a Cm chord (C-minor) for the CM.

Method 2: You can also play a C6 chord by playing an A-minor chord with your 2nd fi nger and reaching down with your 5th fi nger for the C bass. This gives you a C6 with the tonic note of the C major scale (the C) empha-sized.

Emphasizing Notes Within a Chord

Playing bass and counter bass notes with chords can also change the sound of the chord without changing the chord itself.

Emphasize the Tonic: For example, playing a C with a CM gives you a C major chord with a strong tonic note; the C. This is what we normally play and it sounds comfortable to our ears.

Emphasizing the 3rd: Playing a CM with an E counter bass creates a C major chord with the 3rd note of the scale (the E) emphasized.

Emphasizing the Dominant: The 5th note of a scale is the dominant note. Playing a CM with a G bass (2nd fi nger on the G and 3rd fi nger on the CM) still gives you a C major chord, but now the 5th note of the C major scale (the dominate G) is emphasized.

Try playing these three C major chords and see how different they sound.

Now let’s try these techniques in a song. Here are the fi rst two lines of music from the song, If. This score was taken from a fake book.



One could play the fi rst two lines of this song simply playing the primary chords as follows: F, C, Cm, B♭ major, B♭ minor, F, B♭ minor, and C7. This would sound fi ne and would be easy to do. But, see how much better it sounds when we apply what we have just learned. As you try this exercise, just press and hold the chords. Don’t try to create any rhythms using the bass.

F: A straightforward FM chord—easy!

Next a CM chord (2nd fi nger) and an E counter bass (3rd fi nger). This is a C major chord with the 3rd note of the scale (E) emphasized.

Next is a Cm chord (2nd fi nger) and an E♭ bass with the 5th fi nger. This is a C minor chord with the 3rd note of the C minor scale emphasized. (Beginning to see a pattern here?)

The next note is a bit complicated, but if we follow the established pattern it can be simplifi ed. Play a B♭ major chord (2nd fi nger) with the D counter bass (3rd fi nger.) Again we have a C major chord with the 3rd note emphasized. (One could also choose to play a B♭6, which would work as well.)

The B♭ minor (2nd fi nger) with a D♭ bass (5th fi nger) will work for the next one. The other option is to play the B♭ minor 6. B♭ minor with the 2nd fi nger and G (the counter bass of E♭) with the 4th fi nger. Either one works. Pick the one that sounds good to you.

The FM with a C bass creates another major chord with the 3rd emphasized.

The B♭ minor 6 is easily done by playing a B♭ minor chord (2nd fi nger) and reaching down for the G counter bass with your 4th fi nger.

Then we fi nish the second line with a standard C7 chord.

As you can see, there are a lot more interesting chords that you can make with left hand button combinations. I hope that this little exercise gets you interested in exploring chords beyond the diminished row.

Bob Westlund was our next player. He played “Could I Have This Dance”, “City Lights”, “Seven Spanish Angels” and “Clara Waltz”.

Then Dennis Perry played solo starting with “Borghild Reinlaender”, “Jamboree”, “I’ve Got a Wife” which he sang. Then Lyle joined him playing “Lokkeren Vals”. Our last player was Tom Demski who hasn’t played for us for a long time. He did an excellent job on “Dark Eyes”, “Mazurka” and “Granada.”

Tacoma Accordion Social continued from page 30

Come join the fun at Leavenworth International Accordion Celebration - June 29 - 22, 2014



Accordion Events CalendarBy Doris Osgood

[email protected]

NORTHWEST ACCORDION SOCIETY SOCIALS SEATTLE, WA2nd Monday monthly: West Seattle Senior Center March 10, April 14, May 12, June 9 Contact: John Giuliani 425-255-2121 or Birgit Ages 206-368-9720 Back up contact: Bonnie Birch 206-622-4786. Music 7:30 PM – 9:30 PM.

NORTHWEST ACCORDION SOCIETY SOCIALSTACOMA, WA2nd Thursday monthly: March13, April 10, May 8, June 12, 13 Lutheran Church 121st & Park Ave. across from PLU Library 7:00 – 9:30 PMcontact: 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.April 27 and October 26, 2014

ACCORDION CLUB OF CENTRAL OREGONBEND, OR2ND Saturday Monthly, noon – 2 PM Aspen Ridge Retirement Home 1010 NW Purcell Blvd, Bend Members provide entertainment one Sunday monthly also. Contacts: Lillian Jones, 541-536-1531 [email protected] or Karl Kment, 541-548-0495 [email protected]

ACCORDION CLUB OF ROSEBURGROSEBURG, OR3rd Monday monthly 6:30, 553 Little Valley Rd. RoseburgPres. 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 Theatre 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 541-469-807

EASTSIDE JAZZBellevue, WA3rd Tuesday monthly, Courtyard Marriott Hotel, 7:30 PM beginning January 2012. Contact: Cooksie Kramer 425-828-9104

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 PmMarch 9 Rustic Inn, FlorenceMarch 23 American Legion, MissoulaApril 13 Eagles, HamiltonApril 27 Rustic Inn, FlorenceMay 11 Jokers Wild, MissoulaMay 23 – 25 Campout – PolsonJune 8 Rustic Hut, FlorencePres. Helen Brady [email protected] – NW Accordion AssociationMarch 2 Elks, PolsonMarch 16 Eagles, KalispellApril 6 Elks, PolsonMay 4 Elks, PolsonMay 18 Eagles, KalispellMay 23 – 25 Campout PolsonJune 1 Elks, PolsonJune 15 Eagles, KalispellContact: Ralph Salomon 406-675-0178 all NWAA Jams 2 – 5:30 PMMontana – Great Falls Accordion PlayersJams are 1 PM – 5 PMContact Pat Sharp for info: 406-452-4546

GEM STATE ACCORDION CLUBIDAHOCaldwell Library Community Rm Caldwell, ID 3rd Saturday monthly 1 – 4 PM



for information contact: Dianne Lansing [email protected]

HUGO’S ACCORDION BANDMT. VERNON, WA2nd and 4th Monday monthly 2:00 - 4:00 PMPresident, Duane Stowe 16580 Peterson Rd Burlington, WA 98233 360-757-4826 [email protected]

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, Lela Bourne [email protected]

ROGUE RIVER ACCORDION CLUBROGUE RIVER, OR2nd Friday monthly. 4 – 6 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. Pres. Wayne Tiusanen [email protected]

SEQUIM ACCORDION SOCIALSEQUIM, WA2nd Sunday, Odd numbered months, 1:00 – 4:00 PM Sequim Senior Center 921 E. Hammond St; next meeting January 11 contact: Jeannie Berg- [email protected] 360-683-5620

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

SPOKANE ACCORDION ENSEMBLEweekly rehearsals 6- 9 PM Eileen Webber, Pres. 509-290-6858 [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

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]

YUMA ACCORDION CLUBYuma, AZevery Tuesday, November - March at the Yuma Food Bank at 2404 E 24th Street, Yuma, AZPresident, Coreen Bergholm @ [email protected] or Ginger Purdy @ [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 SEPTfor information contact: Joseph Smiell Jr. 812 Bantry Way Benica, CA 94510 - camps held at Heildman Lodge, Norden, CA near Donner Pass DAY OF THE ACCORDIONFebruary 22, 2014, Crossroads Center Bellevue, WA

RCAC ACCORDION CAMP- SILVER FALLS CONFERENCE CENTER June 8 – 13, 2014 near Sublimity, OR. Camp treasurer: Marlene Meissner 503-463-9909 [email protected]

LEAVENWORTH INTERNATIONAL ACCORDION CELEBRATION June 19- 22, 2014 Leavenworth, WA. www.accordioncelebration.org www.nwasnews.com

ATG FESTIVAL July 23 – 26, 2014Crowne Plaza San Francisco, WA featuring Stas Venglevski and Frank PetrilliFAIRBANKS SUMMER ARTS FESTIVALJuly , 2014 on the campus of U. of Alaska Fairbanks. www.fsaf.org contact 907-474-8869

ACCORDION CELEBRATION – Historic Wallace Wallace, ID August , 2014 www.wallaceIdahoChamber.com

COTATI ACCORDION FESTIVALCotati, CA August 16 - 17 , 2014 www.cotatifest.com 707-664-04444Continued on page 39



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

Forest Grove, OR 97116 [email protected]

Alpiners USA www.alpinerusa.com with Joe Domitrowich

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

Corky BennettWednesdays at Polo Lounge, Fridays w/ 9th St. Band Reno Senior Center, Saturdays at Bavarian Worldwebsite: 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]

Michael BridgeCalgary, Alberta, Canadawww.michaelbridgemusic.com/[email protected] Fest June 22, 2 – 5 PM Confederation Park Hall 2212 13th St NW Calgary, Alberta

Charlie Brown*abridged/edited schedule listed hereMarch 17 Willow Gardens, PuyallupMarch 21 Lakeshore RetirementMarch 28 Clearbrook Inn, SilverdaleApril 1 Claremont Senior Living, BremertonApril 2 Cedar Ridge, Bonnie LakeApril 3 Vineyard Place, OregonApril 5 Rock Creek, OregonApril 11 Retsil Veterans’ HomeMay 1 Canterbury Manor, BremertonMay 4 – 9 El Dorado Hotel, Reno, NVMay 15 Life Manor, TacomaMay 20 Macadam Court, TukwilaMay 26 Willow Gardens, PuyallupContact: [email protected] hm 253-857-6557 cell 253-376-5487

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 BandFeb. 22 DOTA Crossroads Mall Bellevue, WAApril 4 Cedar Valley Grange Lynnwood, WA 8:30 – 11 PMApril 11 Third Place Books Mt Lake Terrace 7:30 – 9:30 PMApril 20 Sons of Norway Tacoma 8 – 10 PMMay 4 Breakfast Swedish Club Seattle, WA 10 – 11:30 AMFor scheduling: Birgit Ages 206-368-9720 [email protected]; http://folkvoiceband.com

Happy Hans’ Music Hans Rainer, Jr. March 8, 22 Berliner Pub Renton, WA 6 – 10 PMApril 5, 19 Berliner Pub Renton, WA 6 – 10 PMApril 12 Arion Concert German House 8 – 11 PMMay 10, 31 Berliner Pub Renton, WA 6 – 10 PMJune 14 Berliner Pub Renton, WA 6 – 10 PMFor scheduling information write Hans Rainer, JR 24613 231st Ave. SE Maple Valley, WA 98038 425-413-6562 [email protected] WWW.HAPPYHANSMUSIC.COM

Lynn HaldemanLeader of Haldeman’s OOM-PAH BoysDer Rheinlander Restaurant Portland, ORWed, Thurs, Sat, Sun. 5 PM – 9 PMContact: Lynn Haldeman 1200 NE 199th Ave. Portland, OR 97230 503-328-6099 [email protected]

Greg MeierFor scheduling information write: 38572 Park Ave. Sandy, OR 97055 503-668-7002. Fax 503-668-1058 [email protected]

Andy MirkovichApril 27 NWAS Social, Forest Grove, ORFull schedule private engagementsMaster Classes by appointment: 425-451-1256

Murl Allen SandersFull schedule private engagements, regular performances in synagogue and church, composing, and teaching.www.murlallensanders.com For scheduling information write: [email protected] PO Box 30553 Seattle, WA 98113, 206-781-8196

Lyle Schaefer For scheduling information write: 9028-60th Ave East, Puyallup, WA 98371-6299 253-848-0778



[email protected]. Sam’s Variety Gems

Sam Pecorilla: home 541-847-2282, cell 541-321-9088

Smilin’ ScandinaviansApril 19 Bothell Sons of Norway 8 – 11 PMMay 17 Bothell Sons of Norway 8 – 11 PMFor scheduling information contact: Toby Hanson11123 216th St. E Graham, WA 98338 253-875-8580 [email protected]://smilinscandivanians.com

Joe SzaboFri – Sat. 6:30 – 9:30 PM Nonna Emilia’s RistoranteAloha, ORFor scheduling information: 13484 SW Devonshire Dr. Beaverton, OR 97005 [email protected]

Syl’s Ya Sure Ya Betcha Band (WA)Syl’s Arizona Dance Band and Polka BandFull schedule in Mesa and Apache Junction, AZNovember - April(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- Richard Svensson and Bjarne Jacobsen206-523-3245, [email protected] www.winwins.com/sveatrio/

Trio VoronezhWith Sergei Teleshevhttp://triovoronezh.com/TrioVoronezh/Concerts.htmlFeb. 9 Ridgeview H.S. Redmond, OR 2 PM and 6:30 PMMarch 1 Smith River, CA Lucky 7 CasinoMarch 6 – 7 Evanston, WYMarch 13 Cody, WYMarch 14 Gardiner, MTMarch 15 Pondera, MTMarch 16 Hobson, MTMarch 17 Fort Benton, MTMarch 22 Eureka, MTMarch 26 Ronan, MTMarch 28 Libby, MTMarch 29 Worley, ID and New Castle, WYMarch 30 Cheyenne, WYMarch 31 Fort Morgan, COApril 1 Johnson City, KSApril 3 Joplin, MOApril 5 Warsaw, INApril 6 La Porte, INApril 8 St James INApril 10 Devil’s Lake, ND

Diane Youngwww.accordionmusictricities.com

For scheduling information: [email protected]

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.

Hotel, Las VegasUSA: 1-800-472-1695 outside USA: [email protected]

VICTORIA ACCORDION FESTIVALVictoria, British Columbia July 18 - 20, 2014www.bcaccordion.ca 1-778-433-8700

ALPENFEST Alpenfest Sept. 25 - 28 2014 Wallowa County, OR, Oregon’s Little Switzerland Enterprise, P.O. Box 301 Joseph, OR 97846 Details: oregonalpenfest.com or 541-432-0209. Cell 541-398-1096ACCORDION EXTRAVAGANZA EDMONTON, ALBERTA September 2014www.edmontonaccordion.com

67th COUPE MONDIALE October 27 – November 2, 2014 Salzburg, Austria

Leavenworth International Accordion CelebrationJune 19 - 22, 2014

Music Festival for the WHOLE Family!

Accordion Events continued from page 37



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NORTHWEST ACCORDION NEWS - nwasnews.comnwasnews.com/news/14Spring-NWAS.pdf · NORTHWEST ACCORDION NEWS ... Enjoy, Ravenna, a musette style waltz. reaches you. Again, DOTA will be