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Seeking: Hints on Swing Music, Tito Guidotti (1938)

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AccordionUprising

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Im seeking a copy of Hints on Swing Music for the Accordion, a sheet-music style promotional pamphlet by Tito Guidotti (of Tito And His Swingtette) from the Excelsior Accordion Company in 1938.

I think its the source of an article by Tito on Swing Music that Ive read but dont have an original citation for. I found photos of this Excelsior item online but its no longer available. Does anybody have a copy who could share the text with me? Any form of copy/scan would be most welcome.

Im writing about jazz accordion and in the fragment I have Tito discusses how jazz orchestras werent allowing accordions so he recommends forming small ensembles yourself. Interesting stuff.

Heres the thumbnails I saw online:
http://d2ydh70d4b5xgv.cloudfront.ne...-vintage-33a0d9c04399348dd80544f83d71c231.jpg>
1938-excelsior-accordion-promo-catalog-brochure-tito-and-his-swingette-vintage-33a0d9c04399348dd80544f83d71c231.jpg


http://d2ydh70d4b5xgv.cloudfront.ne...-vintage-20a8980af8588d29b4402dee06167da7.jpg>
1938-excelsior-accordion-promo-catalog-brochure-tito-and-his-swingette-vintage-20a8980af8588d29b4402dee06167da7.jpg


http://d2ydh70d4b5xgv.cloudfront.ne...-vintage-e63ca5b97fe3937875f91eefec5e17f7.jpg>
1938-excelsior-accordion-promo-catalog-brochure-tito-and-his-swingette-vintage-e63ca5b97fe3937875f91eefec5e17f7.jpg



Many thanks,

PS. Its my birthday so this would be a very thoughtful gift!


The text that I have (may be from a different source) is below:

Source is listed as:
Compliments of Steves Accordion Shop (330) 332-1111
[Dead link: http://janpress.freeservers.com/LCtito4.htm#_jmp0_ [Dead link]


Swing Music
by Tito Guidotti (1948)

In your own community you have probably encountered the difficulty where other musicians have refused to permit the accordion into their swing bands.
This situation is a result of old-fashioned principles beyond which novice musicians have not yet been able to see, especially in the hinterlands where trends appear and take shape long after they are accepted in larger circles.

You are probably not the only accordionist feeling this restriction. There are undoubtedly two or three more persons in your locality with similar experiences. The fact that you are not alone in this situation makes it more fortunate for you, as I shall illustrate.

Instead of fretting because you have no opportunity to find practical use for the accordion, contact the other accordionists and organize your own ensemble, independent of the various jam bands or swing groups in the town. Instead of feeling that an accordion band might be inferior to a regular orchestra, consider the many advantages it actually has over the conventional dance band.

You will discover that patrons will prefer the soft, relaxed rhythmic lift accordions offer. You will also find that the variety of tones on the accordion will relieve the monotony usually found in a five-piece instrumental group. You will notice that where young musicians usually falter on pitch and true tone, accordion music is mechanized to true pitch and if the right tone is struck, a true pitch will be produced. You will find that while a five-piece band is limited in tones of a trumpet, clarinet, sax and rhythm, the accordion can produce the same music plus ten other instrumental tones. But commercially, you will discover that the distinctiveness of your music will win more engagements in your community, for you have no competition, while ordinary bands can be obtained in almost any quantity!

In organizing the group, bear in mind that you need not restrict yourself to five musicians, but I have found this combination suitable for any type of music. Treat it as a regular band by obtaining three melody (accordions) and two rhythm (bass and guitar) instruments. The rhythm instruments do not necessarily have to be guitar and bass. You might alternate by obtaining a piano or drums.

But most important, take care in selecting your accordions, for in a tight spot the accordions can be used for rhythm as well as for melody.

When you have selected your men, make certain they can read music freely and be sure that they know one anothers style of performance.

In setting up the band for a dance engagement, I would suggest for the best results:

GUITAR BASS


2ND ACCORDION -- lST ACCORDION -- 3RD ACCORDION

This set-up has many advantages. Notice that the musicians are not in a straight line, because it would result in rhythm and music becoming unbalanced.

Note also, that the bass and guitar are not immediately behind the three accordionists. Playing directly in front of the spaces between permits the tone to come forward and not rebound from the backs of any of the musicians. You need not follow this design, but when you make your setup, bear balance and tone room in mind.

ARRANGING FOR SWING ACCORDIONS

Although music publishers are at present preparing arrangements specially written for small accordion Bands, they have not yet reached the market in large enough quantities to furnish a full library. Consequently, you will have to devise your own arrangements for the most part.

To obtain the most effective music from accordions, do not follow arrangements designed for bands transposed to accordion, but spend some time writing your own. You will find that, in the long run, you will benefit to a very large extent. Arranging practice is always helpful and will make you eligible to work in a field that has proved lucrative to many musicians. Acquiring the knack of arranging doubles your value, for not only do you become an interpreter of music as a player, but you become a creator as an arranger. If you intend pursuing music as a career, or even a hobby, why limit your musical ability to only one phase? Real rewards are waiting for the person whose talents include arranging in addition to his virtuosity. When you are arranging for two or more accordions, bear in mind that they become an ensemble. Therefore take full advantage of your equipment and remember that Harmony is essential for greatest results. Therefore, most of the arrangements should have three and fourway parts.

I have found it best to have only lead accordion playing bass notes. Two or three accordions playing bass simultaneously makes for a bad blend. A good formula to follow in the beginning is to arrange the first chorus legitimately in order to lay out the melody.

The second chorus should be scored in unison; varying the melody in close harmony and changing your tone colors as you begin to accept swing and rhythm.

The third or last chorus should be orchestrated with a strong ensemble lift.

Then, when you have outlined your scores, start thinking where you want solo portions. Also, supply appropriate rhythmic accompaniments during the solo spots. Make certain your solo notes are contrasted to the accompaniment. In other words, when the solo is taken at a high pitch, be sure the other two accordions sustaining tones are voiced in low pitch.

In arranging for an accordion group, strive for orchestral tones. The accordion affords so many more tone varieties that it is simple to orchestrate your music without the arrangements becoming monotonous. If you want the guitar to take off on a solo at some time or other, it is suggested that the accordion accompaniment be devised so that two of them play rhythm brass figures, so that the rhythmic pattern of the arrangement does not drop, while the third accordion plays sustaining sax tones. In setting your rhythm, it is well to keep the bass and guitar moving four in a bar.

When you have set your rhythmic design, start planning your accordion parts. In special take-off choruses, there are several effective patterns to follow, but bear in mind that your group is competing with orchestras. Therefore, keep close to the orchestral design for your foundation. While your lst accordion plays lead of take-off solos, have your 3rd accordionist playing brass figures in rhythmic designs, while your 2nd accordionist supplies a foundation by playing low, sustaining notes.
Dont be afraid to go a little off the beaten path in the beginning, for the more unusual the harmony and arrangement, the more notice you will receive.
 
What a great article and such a great insight into that musical world.
 
Yes; I'd like to reply to you post here but you have a business name but no personal name to respond to.
Now I must respect your initiative to compile a history of the jazz accordion as we know it today.
For anyone wishing to comply ( it's a must to have read or have a copy of ) - " The Golden Age Of The Accordion" by Ronold Flynn, Edward Davison & Edward Chavez -as this is a must published start for a new contemplation.
I do have a bit of augumentation of this publication as I have played the box for 62 years, Played professionally for 54 years, and sold and repaired them for 40+ years.
If you care - contact me at -
<EMAIL email="jimmyd413@gmail.com">jimmyd413@gmail.com</EMAIL>
"THE FISARMONICA SHOP"
Chicopee, MA USA
413-592-5672

Musically Yours: JIM D
 
(Sorry to keep editing this post)

Thanks Jim,

I'll drop you an email. I look forward to learning a bit more about Tito.

The Golden Age of the Accordion book is a great resource.

I’m writing a chapter about jazz accordion as part of my history of the instrument in North America, trying to point people to some of the interesting players. I’m editing chapters now and then seeking knowledgable readers to look over them. I want to catch as many of my errors as I can before publishing.

Outline of my jazz accordion chapter:

Jazzing the Accordion
Early Jazz 20s-30s
African American Accordion Jazz: Roots and Rarity
WIlliam Henry Peyton and his Accordiana Dance Band: the earliest New Orleans players in the 1880’s -1900.
Creole Musical Three, 1926
Cornell Smelser: "Accordion Joe"
Mario Perry with Paul Whiteman, & Rudy Wiedoeft's Palace Trio

Taking Jazz Accordion to the Territories
Doris Peavey and Peavey's Jazz Bandits
Charlie Creath: Jazz-o-Mania on the Mississippi
Ira "Buster" Moten: squeezin' with Basie
The Cellar Boys and their mysterious Charles Melrose
J.C. Woodards: Lonely Minstrel of the Circus / The Greatest Jazz Accordionist in the South
Tracing African American Jazz Accordion
Accordions Can't Swing?
Organize Your Own Ensemble: Tito Guidotti's Swingtette

International jazz? Europe: Finnish, French, Dutch
French Musette
Gus Viseur, Jo Privat and Jazz Manouche, "Gypsy Swing" Accordion
Johnny Meyer
Mat Mathews?
Tito Burns and the Beatle's look

Later Jazz 40s-60s
Julie Gardner: the Accordionist behind Charlie Parker
“Trio punches out all the way.” Cleveland Nickerson and the Music Masters
Van Damme
Alice Hall
Leon Sash
Gordon "Gordie" Fleming
West Coast: Accordion Cool
Joe Mooney
Ernie Felice
Pete Jolly
Polytones: Tommy Gumina and Buddy DeFranco

Review of the Squeeze Me, CD compilation?
 
AccordionUprising] International jazz? Europe: Finnish said:
Just one thing: are you leaving out accordionists who played Brazilian jazz and Bossa Nova in the international section?

Some great exponents there! Although they weren't usually exclusive Jazz/Bossa players... And I guess you can't include everything hahaha!
 
Wonderful stuff.....keep it coming.....I've a couple of old booklets from this era....one on swing rhythm for the accordion and one on be bop effects....moving house at mo so can't photo and post images and scanning def beyond my capabilities....will update...
 
Ganza said:
AccordionUprising said:
International jazz? Europe: Finnish, French, Dutch

Just one thing: are you leaving out accordionists who played Brazilian jazz and Bossa Nova in the international section?

Some great exponents there! Although they werent usually exclusive Jazz/Bossa players... And I guess you cant include everything hahaha!
[/quote][/quote]

You raise a good point. I decided to limit my book to North America generally in order to finish it. Some of the European jazzers are tempting to include because theyre well-known here. I may have to make judgements based on who had influence on North American players. Very arbitrary and unsatisfying.

I do hope for a sequel about more modern players around the world. Id have to become much better educated about Brazilian music. The influence of Latin-American accordionists on jazz musicians in North America honestly never occurred to me. Oh no, the research has no end! So much to learn. Really I just want to read a book about jazz accordion, not pretend Ill ever be qualified to write one.
 
Hey, well I think you're onto a great book at any rate and can't wait to read it!!! Happy researching!
 
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