Fakebook chord interpretations

[Leighton]

I'm looking for resources on how to interpret the chord symbols from a fakebook.
I realize that a lot of it is going to depend upon the style and rhythm of the melody but I'm sure there must be some useful general tips that can at least set me in the right direction.

I'm a beginner at the CBA but a long time musician with a good handle on music theory and I've been watching a lot of videos to see what people do with the stradella bass lines. The videos are great but knowing what to notate with the combinations of chord/root notes would help my practicing and recall.

I have a klezmer fakebook that I've been learning the melodies and I'd like to be playing the bass parts too.

thanks,
Leighton

 

[BobM]

Im a beginner at the CBA but a long time musician with a good handle on music theory and Ive been watching a lot of videos to see what people do with the stradella bass lines. The videos are great but knowing what to notate with the combinations of chord/root notes would help my practicing and recall.

Coming from a similar position, I learnt to play the LH on its own, spending a lot of time learning the standard rhythms with their variations until they become automatic. It also helps to get a few fingerings for the major scale, as this is good for joining chords together and opening the part out.

How far have you got with basic rhythms, for example are you able to play a 2/4 Bass Chord Bass Chord part yet?

BobM

 

[Leighton]

I've only progressed as far as the oom-pah (root-chord) for 4/4 and oom-pah-pah (root-chord-chord) for 3/4time.
These gleaned from simple exercise melodies.

For fakebook stuff at present I'm merely holding the chord button.

I'me sure variations will come in time.

 

[Jackflash]

There are quite a few books on the subject. I just purchased The Mighty accordion by David DiGiuseppe. It focuses strictly on left hand technique and chord solutions (for stradella) for the types of chords your talking about. I haven't worked through it yet but it looks fun!

 

[Glenn]

I think that this is where working through a teaching method really pays. Bit by bit you will be introduced to bass "licks" that at first appear awkward but ultimately become natural and second nature.

 

[BobM]

If I were to write a Stradella chord book, I'd concentrate on their context as much as the chords themselves. i.e. This is a typical Klezmer sequence, or a pop ballad "walk down" bass/chord line, variations on dominant chords. intro's etc etc.

Just having a list of chords, or chord exercises without knowing or understanding their context is just adding to the confusion that newcomers can feel. The "TMA" book needs a companion, TMA 2, to show how to use what's been learnt, and how to place it in a context, or it becomes just confusing "stuff".

BobM.

 

[Soulsaver]

If I were to write a Stradella chord book, Id concentrate on their context as much as the chords themselves. i.e. This is a typical Klezmer sequence, or a pop ballad walk down bass/chord line, variations on dominant chords. intros etc etc.


BobM.

Yep I agree. Tango variations like Habanero etc However I suspect someone in music publishing authority thinks most people would find it boring... and/or the target audience too small. I even think TMA is a bit of a con to get sales 9or at least not lose sales - Ive heard a few people say they didnt realise they were buying (on line) a bass only book, and may not have bought it informed...

 

[Leighton]

Thanks folks for your advice. On yours and other's recommendations I just purchased a copy of Mighty Accordion.
And I get the idea of context. It's almost as if you can tell a style of accordion just from hearing the bass line.
cheers.

 

[BobM]

I even think TMA is a bit of a con to get sales 9or at least not lose sales - Ive heard a few people say they didnt realise they were buying (on line) a bass only book, and may not have bought it informed...

I agree that TMA is not a good name for the book. The Mighty Stradella would have been clearer but in fairness, its strap line is The Complete Guide to Mastering Left Hand Bass/Chord Patterns.

BobM.

 

[PNWaccord]

A book I've found very helpful is Frank Marocco's "Rhythm Patterns for the Left Hand." It has waltz, jazz, mazurka, foxtrot, walking bass line, beguine, samba, tango, etc., rhythms demonstrated on sheet music and also has a CD with musical examples. The only problem is that I'm not sure it's still available. Maybe on e-Bay?

Lorretta

 

[BobM]

A book Ive found very helpful is Frank Maroccos Rhythm Patterns for the Left Hand. It has waltz, jazz, mazurka, foxtrot, walking bass line, beguine, samba, tango, etc., rhythms demonstrated on sheet music and also has a CD with musical examples. The only problem is that Im not sure its still available. Maybe on e-Bay?

Lorretta

Theres a .pdf version floating around on the net, I remember seeing it a while back.

BobM.

 

[losthobos]

Should anyone find a link to this book please post....looks like the holy grail i've been searching for years..thankyou...if not is there any chance of you scanning/photographing please Loretta

 

[Jackflash]

All I could find was a few pages scanned for this squeezbox clubs homework. I would also be interested in this book! http://www.zisman.ca/squeezebox/Music/Marocco-1.pdf

You used to be able to buy the books directly from Frank Maroccos website. The e-commerce section is really screwy now. It may be worth contacting the website to see if the book/cd is still available.


Another book I found that looks interesting for chords/jazz:

http://www.ebay.com/itm/Jazz-Theory-and-Improvisation-Studies-for-Accordion-PDF-/381102733010

 

[BobM]

http://www.ebay.com/itm/Jazz-Theory-and-Improvisation-Studies-for-Accordion-PDF-/381102733010

I had this book and moved it on. Its very dense and I thought that it might better suit people with a more formal accordion background.

Theres a place for a book like The Mighty Accordion, but instead of pages of exercises, more emphasis on putting bass/chords into real world examples; say, Autumn Leaves etc etc. There wouldnt be any issues with copyright if the sequences were in the style of..

 

[Jackflash]

http://www.ebay.com/itm/Jazz-Theory-and-Improvisation-Studies-for-Accordion-PDF-/381102733010

I had this book and moved it on. Its very dense and I thought that it might better suit people with a more formal accordion background.

Theres a place for a book like The Mighty Accordion, but instead of pages of exercises, more emphasis on putting bass/chords into real world examples; say, Autumn Leaves etc etc. There wouldnt be any issues with copyright if the sequences were in the style of..[/quote]

Good info Bob. The fact that the imrov studies book is 100+ pages had me wondering what it was all about. I agree with the sentiment that theory is great but it needs to be practiced in real music applications. Like phrasing for comping, bass lines, voice leading jazz chords etc.

Ive been studying youtube videos of the great players like Galliano et al and its almost impossible to see the LEFT (correction) hand technique let alone hear it. It seems like they always mic the accordion without paying attention to the bass side of things.

 

[losthobos]

Hope this is of help...Autumn Leaves a la Frank Marocco....kindly given to me by Simon King

Am7 - A bass (counter F) C chord (fingers 3/5) , A bass A minor
D9 - D bass A minor (4/2)
G nat 7 - G bass B minor (5/2)
C nat 7 - C bass E minor (5/2)
F sharp minor 7 flat 5 - F sharp bass (counter D) A minor
B7
Em7 ( Em6 = E, E min + E dim) (4/3/2)
E7 (bass run E,Fsharp< G sharp to E7

and please if anyone sources the Rhythm Pattern book please don't forget me. I use 'head sheets' at mo and add chords/runs as i see fit to add to aural pattern but not sure if correct half the time.....it's a great exercise trying to make things sound swet and worth the hard effort involved...sure thats what Frankie boy had to do back in the day

 

[BobM]

I work with a few pianists and have been able to discuss with them at length how they view these (accordion) LH combinations; and without getting into a long post, these are voicings that they wouldn't use, many being too closely voiced, a CM9 chord being a good example, C bass, C+G chords.

I like to use a (LH) bass note and a single chord, but have been using polychords, e.g. for the CM9 the C bass and chord on the LH and an inversion of the G chord on the right, which gives a more open sound. There are also many cracking LH and RH combinations that can be working into tunes, especially for final chords, I'm working on a list at the moment..

The great jazz guitarist Joe Pass, taught that there where only 4 actual types of chord, Maj, Min, 7th and Dim, (how convenient is that ?) and everything else was a version of these 4. A chord may be written as 13th because it has a 6th in the melody line, it's still only a 7th, a 9th chord is still a dominant chord, and might sound better with the 9th in the RH.

The chord sounds that I think really work on the Stradella surprisingly come from the "singer songwriter" area, and very often the chords are simple but with the interest created by the use of bass inversions, walk downs, pedals etc. ABBA and Elton John songs are rich like this, and this style is often used in the trad field, younger Melodeon players seem to use them a lot.

BobM

 

[losthobos]

Sure Bob, Harry Hussey a huge influence on me only uses basic chords on left hand and fills out with right, just posted for benefit of others as many roads lead to nirvana...
Would still love to see patterns book though for ballroom dance patterns (or any similar info)

 

[BobM]

Sure Bob, Harry Hussey a huge influence on me only uses basic chords on left hand and fills out with right, just posted for benefit of others as many roads lead to nirvana...
Would still love to see patterns book though for ballroom dance patterns (or any similar info)

Certainly, just posting my thoughts on this topic, cos Im a bit of a nerd when it comes to the Stradella. David Lange has an interesting way of using the LH, he shuffles between hands when hes comping.

I play a New Years Day gig with HH, if you speak to him, please give him my regards, Bob Martin trombone.

 

[Jackflash]

I completely agree with the closed voicing of the stradella combos. It would be nearly impossible to do an open Bill Evans style voicing without incorporating the right hand. (interesting idea.) I have the Ernie Felice book and it focuses heavily on right hand chords while voice leading or playing melody. Something I need tons of work on!

Does anyone play jazz on the free bass?