Palmer & Hughes: Book 3 - Session 2

MastertheAccordionWorkshops
PHBook3Session2
Palmer&Hughes
Book3Session2
InstructionandCompanionMaterial
Presenters
SheliaLee&MarkRopel
Sponsoredby
5013(c)NonProfit
1
HAPi*1547S.RicheyRd.,Pasadena,TX77550*2817808656*slee@shelialee.com
PHBook3Session2
Session2
ReviewofBK3SKILLS:
DuringyourpracticesessionseachweekpleaseGRABatleastoneormoredrillsANDoneor
moreScales.ThiswayyouwonthavetodoallthedrillseverypracticebutwillHITthemat
leastonceeachweek.
ReviewofDrills
o FullAllWhiteblock&Arpeggios(1+3+5+1)
o FullAllMAJORblock&Arpeggios
o C,G,F,D,A,&BbScaleFullOctaves
o MajorthenMinorChordsAllWhite.Blocktheminrhythmicpattern.Rollthem
inrhythmicpattern
o LeftHandMajorScale&BassSoloExercises
Song#2PHBook3RidingontheRange
CompanionSongs:
1. HoundDog
2. DontbeCruel
3. WaltzingMatilda
4. HereComesSantaClaus
IntrotoChordChard
Scalesin6ths
BassStylesIntro
MoreCountingExercises
LetsGetStarted:
Step1.PlayFirst
Perform3favoritesongstowarmup
PlayatperformancespeedwithNOSTOPSFORBOOBOOs
Step2.TheoryReviewofChordStructures
LearntoReadandUseChordChart
PracticeMovingbetweenChords
2
PHBook3Session2
Step2.ChordPractice
o PlayALLWHITEBlock&RollChords(CMScale)
SayNameofeachChordasyouplayit
o CMDmEmFMGMAmB(halfDim)
NOWSAYtheNUMBERforeachChord
o Iiiiiietc(Seechartbelow)
o PlayALLWHITEBlock&RollChords(DMScale)
StartonDM(playchordsusingKeyofDScale)
SayNameofeachChordasyouplayit
o DMEmF#mGMAMBmC(halfDim)
NOWSAYtheNUMBERforeachChord
o Iiiiiietc(Seechartbelow)
o NoticethattheMajorandMinorchordsfallinthesameposition
ThiswillbetrueforALLKEYS!
CHORDNUMERICNAMES
LEARNBasicTriadsinMajorKeys
ThemostlikelychordstoshowupinakeyarethechordsthatarebuildontheFIRST,
FOURTH,andFIFTHtonesofthescale.Theeasiestwaytoidentifythesetriadsisby
numberingthemusingRomanNumeralsfromItovii.Youcanfindallthebasictriadsthat
areusuallyusedinakeybybuildingonetriad,inthekey,oneachnoteofthescale(eachscale
degree).
CapitalRomannumeralsareusedforMajorChords(I,IV,V)
SmallRomannumeralsforMinorChords(ii,iii,vi)
SmallRomannumeralswithasmallcircle(degreessigno)usedfordiminishedchords
(viio)
iii
I
ii
IV
vi
viio
V
!
""!
ManyfolksongsandothersimpletunescanbeaccompaniedusingonlytheI,IV,andV(orV7)
chordsofakey,afactgreatlyappreciatedbymanybeginningmusicians.
3
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PHBook3Session2
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4
PHBook3Session2
Step3.NewSongTechniqueBlock/Absorb/Vertical
o DontBeCruel&HoundDog
KeyofC
Middle&LowerReedshift
Absorb
PlayCMajorScaleRHANDLH
PlayFMajorScaleRHandLH
PlayGMajorScaleRHandLH
RuntheBassSolos
Block
PlayChordsONLY(Put5onC)
BlockoutHandpositions
Dynamicsyoushouldcrescendointothephraseand
diminuendotowardtheend
Vertical
DoCountingExerciseOneTwoTeThreeFour
Noticeall7thchordsalternatefirst
NowUseSightReadingRulesandPlay
Playslowlynostops
CreateaUniqueEnding
5
PHBook3Session2
Don't Be Cruel
4
& 4 .
?4
4
& .
11
to a heart that's true.

CM
G7
&
16
ba - bay its just
you
FM
I'm
G7
.
CM
If
I don't want no oth - er love

FM
G7
- -
think -ing of.
sit -ting home all a - lone.

C7
a least, please tel - e - phone. Don't be cruel,

Dm
CM
FM
you can't come a - round
& w
?
You know I can be found

CM
Otis Blackwood
arr. by Shelia Lee
-
CM
(c) 2012 So Good Productions
6
&
20
Don't stop think - ing

CM
Don't be Cruel
of me
28
&w
?
32
&
Dm
should we
FM
35
&
?
ba - bay
G7
FM
cruel
to a heart that's
G7
be
part?
G7
my
cross
way
come
C7
you know what I want you to

CM
heart.
-
CM
say
don't be
.
.
true
why
CM
-
I
on o - ver here and love me
don't make me feel this
&
24
PHBook3Session2
real - ly
FM
love
you
7
PHBook3Session2
Hound Dog
Jerry Leiber & Mike Stoller
arr. by Shelia Lee
b ..
& 44 J
?4
4
You ain't noth in but a
& J
?
&w
..
noth in but
&w
12
well
cry in all the time
hound
dog
FM
cry in all the
FM
you ain't nev er caught a rab bit and you ain't no friend of
G7
b J b .
mine.
CM
b w
b b
time
CM
hound dog
CM
You aint
14
When they said you was high classed

CM
FM
well that was just a
8
&w
lie.
&w
20
lie.
CM
&w
24
1.
PHBook3Session2
Hound Dog
16
mine.
CM
b b
When they said you was
high classed
well that was just a
FM
FM
b b
Well
you ain't nev er caught a reb bit and you

G7
b J
You ain't
.. w
noth in but a
2.
mine.
CM
..
ain't no friend of
FM
9
PHBook3Session2
Step2.TheoryExercise
o Scalesin6ths
PlaySlowlywatchoptionsforfingering
Repeatandplay8thnotesforeachtone
C Major Scale In 6ths
C on Bottom
3
1
& 44
&
4
1
C on Top
2
1
&
&
4
1
5
1
3
1
4
1
3
1
4
1
4
1
3
1
5
1
4
1
4
1
5
2
5
1
10
PHBook3Session2
o RidingtheRange
KeyofC
Absorb
PlayCMajorScaleRHANDLH
PlayFMajorScaleRHandLH
PlayGMajorScaleRHandLH
RuntheBassSolos
Block
PlayChordsONLY(Put5onC)
Vertical
Noticeall7thchordsalternatefirst
Buildthesongbackwards
Playslowlynostops
CreateaUniqueEnding
11
PHBook3Session2
o WaltzingMatilda
KeyofG
o HereComesSantaClaus
KeyofF
Absorb
PlayGMajorScaleRHANDLH
PlayDMajorScaleRHandLH
PlayCMajorScaleRHandLH
Block
PlayChordsONLY(Put5onG)
Vertical
Noticethebasspattern
NowUseSightReadingRulesandPlay
Playslowlynostops
CreateaUniqueEnding
Youcanliltthe8thnotes(longshort)
ShotgunBass
Spotitwillusuallyalwaysbestepupfromthe
currentbassnoted
UseyourknowledgeofCHROMATICBasslocation
LocatetheCOUNTERBASSfirst
THENcurl2ndfingeralongthe3rdfingerandhitthe
diminishedchordnoted.
12
Waltzing Matilda
#4
& 4
PHBook3Session2
A.B. Paterson, Marie Cowan
arr. by Shelia Lee
Once a jol - ly swag-man camp'd by a bil - la - bong un - der the shade of a

Down came a jum-buck to drink at the wa-ter hole Up jumped the swag man and
DM
D7
CM
GM
GM
Em
? # 44

4
#

&
cool - li - bah tree and he sang as he watch'd and wait - ed til his bil - ly boiled
grabbed him with glee and he sang as he stowed him a - way in his tuck - er bag
D 7 GM
DM
GM
CM
GM
Em
?#
7
#
&
?#
?#
#
You'll come a walt-ing Ma - til - da with me.

D7
GM
GM
#
&
11
?#
you'll come a waltz - ing Ma - til - da with me and he sang as he watched and
DM
CM
GM
GM
&
14
Waltz-ing Ma-til - da Waltz-ing Ma -til - da

CM
GM
GM
wait - ed till his bil - ly boiled

CM
Em
you'll come a waltz - ing Ma - til - da with me.

GM
D7
GM
13
PHBook3Session2
Gene Autry and
Oakley Haleman
arr. by Shelia Lee
Here Comes Santa Claus
4
1
4
& b 4 .. w
Here comes San-taClaus! Here comes SantaClaus!

Right downSan-taClaus Lane!
C7
FM
? 4 ..
b4
&b
?b
5 n 5-2
w
Vix - en and Blit -zen and all his rein - deer are pull - ing on the reins.
C7
FM
1
4
w
&b
Bellsareringing, chil-dren singing,

all is merry
- and bright.
D7
C7
B bM F*dim/B
Gm
FM
FM
? b n*
b
&
w
14
1.
?b
with 2nd finger and then take 3rd finger

directly across to B - counterbass of G
Hangyourstockingsand
B bM
n -
F dim/B
..
.
2.
..
2 4 -2
*"Shotgun" Bass position: Locate F dim chord

say your prayrs.'cause San - ta Clauscomesto -night.
D7
C 7 FM
Gm
FM
F7
San-taClauscomes to - night.
C 7 FM
Gm
2010 So Good Productions
14
PHBook3Session2
Step5.CoolDownSection
o Play3EasyTonescanbesame3youstartedwith
o Endeachsongwithauniqueending
o AddabasssoloatphraseendingortheendwithaArpeggio
CONGRATULATIONS!LookatwhatyouhaveLEARNED!
Remembertofollowthesestepsforeachofyourpracticesessions:
1. WarmUpStarteachpracticesessionwithyourfavorite3songs
2. TechniqueBuilderdoadrillor2
3. WorkonNewSongspracticeassignedsongs
4. SightReadingreadanewsongor2(sightread)
5. CoolDownwithyourfavorite3songs
MusicNotebook
Youwillhaveover40SongsinyourEASYTUNEsectionofyourRingBinderandyoushouldbe
practicingthemALLforyourFUTUREWARMUPorCOOLDOWNTUNES.
NewSelectionsFromPH3
WilliamTellOverture
HappyWanderer
JingleBellRock
WalkLikeAMan
HoundDog
DontBeCruel
RidingontheRange
HereComesSantaClaus
WaltzingMatilda
15

Palmer & Hughes: Book 3 - Session 2

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MastertheAccordionWorkshops

to a heart that's true.

ba - bay its just

I don't want no oth - er love

think -ing of.

sit -ting home all a - lone.

a least, please tel - e - phone. Don't be cruel,

you can't come a - round

You know I can be found

(c) 2012 So Good Productions

Don't stop think - ing

you know what I want you to

on o - ver here and love me

don't make me feel this

You ain't noth in but a

cry in all the time

cry in all the

When they said you was high classed

well that was just a

(c) 2012 So Good Productions

well that was just a

you ain't nev er caught a reb bit and you

C Major Scale In 6ths

Once a jol - ly swag-man camp'd by a bil - la - bong un - der the shade of a

You'll come a walt-ing Ma - til - da with me.

Waltz-ing Ma-til - da Waltz-ing Ma -til - da

wait - ed till his bil - ly boiled

you'll come a waltz - ing Ma - til - da with me.

(c) 2012 So Good Productions

Here Comes Santa Claus

Here comes San-taClaus! Here comes SantaClaus!

Bellsareringing, chil-dren singing,

with 2nd finger and then take 3rd finger

*"Shotgun" Bass position: Locate F dim chord

2010 So Good Productions

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