maugeinCrosio1920
11/03/2024
Good evening. What title are you looking for? Sincerely
maugeinCrosio1920
11/03/2024
securities
Norval
13/03/2024
I'm thinking of some of Renaud's songs (Mistral gagnant) or others
sylvieb
15/03/2024
Hello Norval. How cool. You know Renaud? Tu es francais ? :)
1
Reply
DRIGONGILBERT
14/03/2024
Hello, search on P.A. in Artistes: Editions Paul Beuscher and you'll find what you're looking for. There's plenty to do!
Hello
Who knows the pa4x korg ?
Is there any songbook or style built from songs variety
Or correct midi files to convert to style
Thanks in advance for your answers
Who knows the pa4x korg ?
Is there any songbook or style built from songs variety
Or correct midi files to convert to style
Thanks in advance for your answers
0
Reply
Thanks to those who reminded me that accordionist only takes one N, and here we receive a variety of scores of accordionist. This being the case, the search should not take into account this little mistake and send the score anyway.
To go to the end of the thing, with 2 N we receive a catalog of Piaf's scores with accordionist in title ! Sincerely to all. Jacqui
To go to the end of the thing, with 2 N we receive a catalog of Piaf's scores with accordionist in title ! Sincerely to all. Jacqui
0
Reply
I AM A NEW MEMBER I PLAY CHROMATIC ACCORDION SINCE I AM 12 YEARS OLD I AM NOW 41 YEARS OLD BUT I HAD A BREAK OF 10 YEARS. I HAVE A LOT OF MUSIC TO SHARE WITH YOU BUT I DON'T KNOW HOW TO DO IT. IF SOMEONE COULD EXPLAIN IT TO ME IT WOULD BE GREAT.
2
Replies
Cindou11
22/02/2019
Hello,
First of all, welcome among us ♫♫Before anything, make sure that the score you want to drop, is not already on the site.
Once this is verified, simple:- Click on : Scores- Click on : Add a score ...- There, try to use the already existing composers ...- Fill in the title ...- Click on send / then at the bottom no it is not thereAnd .... choose the file in your computer / then send
You can, and it is recommended, read the rules on which everything is explained ... Make PDF format .... Etc ...
Here: https://www.partitions-accordeon.com/topic/title=important--r%C3%88glement-%C3%A0-lire-d%C3%A8s-le-d%C3%A9part-merci-de-votre-attention./id=18724
First of all, welcome among us ♫♫Before anything, make sure that the score you want to drop, is not already on the site.
Once this is verified, simple:- Click on : Scores- Click on : Add a score ...- There, try to use the already existing composers ...- Fill in the title ...- Click on send / then at the bottom no it is not thereAnd .... choose the file in your computer / then send
You can, and it is recommended, read the rules on which everything is explained ... Make PDF format .... Etc ...
Here: https://www.partitions-accordeon.com/topic/title=important--r%C3%88glement-%C3%A0-lire-d%C3%A8s-le-d%C3%A9part-merci-de-votre-attention./id=18724
Norval
07/05/2024
Hello, I would be interested in variety scores, do you have any recent variety?
Thank you
Thank you
Hello to all you musicians,
I would like to know if some of you use or know the BK7M from Roland and if it is easy to use for a novice in the musical accompaniment equipment, its performances and its quality. I have been surfing the internet but have not found enough details except on the vendor sites.
I bought a FR3X accordion at the beginning of the year and despite its numerous accompaniment possibilities (left hand)
I would like to try an arranger.
I play alone a lot of musette and a little variety and I animate small private and public parties.
Could I find a second hand one because I have a small budget (300€) and what are the worries I could have if it's a second hand one, wear of parts etc..
I thank you in advance for taking the trouble to advise me.
Sincerely, musically
Christine
I would like to know if some of you use or know the BK7M from Roland and if it is easy to use for a novice in the musical accompaniment equipment, its performances and its quality. I have been surfing the internet but have not found enough details except on the vendor sites.
I bought a FR3X accordion at the beginning of the year and despite its numerous accompaniment possibilities (left hand)
I would like to try an arranger.
I play alone a lot of musette and a little variety and I animate small private and public parties.
Could I find a second hand one because I have a small budget (300€) and what are the worries I could have if it's a second hand one, wear of parts etc..
I thank you in advance for taking the trouble to advise me.
Sincerely, musically
Christine
4
Replies
Cavag31
04/12/2016
Hello,
I am always surprised to find this type of question on "Accordion Scores"...
I've mentioned it several times: for Roland accordions and the BK7M among others, there is a great site:
http://accordeon-roland.superforum.fr/
You will find there for example a user's guide for the FRX3 written by two members of the forum and much more usable than the one from Roland!
Noten: personally, I can't help you; I have an FR1Xb, but no nBK7M. I have seen it demoed in a store, and at home by an nforum user who came to show it to me.
Note: read the user's charter before (take the trouble to introduce yourself before asking a question, it's better...).
On the other hand, I doubt you'll find one at 300 €...
Musically
Cavag31
I am always surprised to find this type of question on "Accordion Scores"...
I've mentioned it several times: for Roland accordions and the BK7M among others, there is a great site:
http://accordeon-roland.superforum.fr/
You will find there for example a user's guide for the FRX3 written by two members of the forum and much more usable than the one from Roland!
Noten: personally, I can't help you; I have an FR1Xb, but no nBK7M. I have seen it demoed in a store, and at home by an nforum user who came to show it to me.
Note: read the user's charter before (take the trouble to introduce yourself before asking a question, it's better...).
On the other hand, I doubt you'll find one at 300 €...
Musically
Cavag31
pontiac
04/12/2016
Hello,
I have a BK7M that I use with a FR3 but more often with a Cava Odyssey 3.
The reason? The BK7m is easy to use with a lot of fun, many styles etc. MP3 and all other forms of files it offers a good choice for the price. You can find it at 450/500 Euros (LBC) or Audiofanzine http://fr.audiofanzine.com/expandeur/roland/bk-7m/
The instrumental score is not exceptional: guitar, accordion, violin, in short, lacks realism, so the Odyssey sounds better without being a Digit.
Cavag31 is right the site he gives is still the most appropriate for Roland instruments.
Musically
I have a BK7M that I use with a FR3 but more often with a Cava Odyssey 3.
The reason? The BK7m is easy to use with a lot of fun, many styles etc. MP3 and all other forms of files it offers a good choice for the price. You can find it at 450/500 Euros (LBC) or Audiofanzine http://fr.audiofanzine.com/expandeur/roland/bk-7m/
The instrumental score is not exceptional: guitar, accordion, violin, in short, lacks realism, so the Odyssey sounds better without being a Digit.
Cavag31 is right the site he gives is still the most appropriate for Roland instruments.
Musically
robinson 82
05/12/2016
Hello:
Cocote 03 I saw that you registered on the Roland accordion forum on the advice of Cava 31 whom I greet in passing
.you will have a mine of information on the FR accordions and on the B.K.7M and other arrangers
I confirm that the BK 7 is very easy to connect to a Roland accordion and that you can do many things with it.
good dayRobinson
Cocote 03 I saw that you registered on the Roland accordion forum on the advice of Cava 31 whom I greet in passing
.you will have a mine of information on the FR accordions and on the B.K.7M and other arrangers
I confirm that the BK 7 is very easy to connect to a Roland accordion and that you can do many things with it.
good dayRobinson
cocott03
05/12/2016
Hello to you,
Thank you all for your advice.
Indeed the superforum of roland is rich in infos a little too pro for me who is novice in this kind of material.
At my time it did not exist it was necessary to have musicians drummer, guitarist etc.
I discover now all that.
I also know the site sud claviers on which I had surfed for the demos of the accordion FR and I also saw the demo of the BK7. Actually I would like to know if I would be able to use it before investing. I live in the Allier region of France and I'm going to check with my music teacher to see if he knows anyone who has one.
Thank you again for everything and for your forum, I find all the scores I'm looking for it's really great this sharing. I will do my best to post some myself.
Musically yours.
Christine
Thank you all for your advice.
Indeed the superforum of roland is rich in infos a little too pro for me who is novice in this kind of material.
At my time it did not exist it was necessary to have musicians drummer, guitarist etc.
I discover now all that.
I also know the site sud claviers on which I had surfed for the demos of the accordion FR and I also saw the demo of the BK7. Actually I would like to know if I would be able to use it before investing. I live in the Allier region of France and I'm going to check with my music teacher to see if he knows anyone who has one.
Thank you again for everything and for your forum, I find all the scores I'm looking for it's really great this sharing. I will do my best to post some myself.
Musically yours.
Christine
Hello to all,
I have taken up the chromatic accordion after 40 years...
I would like to buy the arabesque or the super variet by PIGINI.
Does anyone play these models?
I would like a double box of reasoning but with a weight that does not exceed 10K500. and not more than 43 cm. This limits me ==> I wonder if I should go for a 96 bass but I'm afraid to be limited for the classic...
Do you have an opinion to give me.
Thanks in advance
Michelle
I have taken up the chromatic accordion after 40 years...
I would like to buy the arabesque or the super variet by PIGINI.
Does anyone play these models?
I would like a double box of reasoning but with a weight that does not exceed 10K500. and not more than 43 cm. This limits me ==> I wonder if I should go for a 96 bass but I'm afraid to be limited for the classic...
Do you have an opinion to give me.
Thanks in advance
Michelle
3
Replies
Cavag31
07/07/2016
Hello,
I play on a Cavagnolo that currently corresponds to the "Compact" scale, I think.
2 voices in resonance box: bassoon and piccolo (good for classical, but it exists in 2 bassoons in resonance box), and 108 basses (intermediate between 96 and 120); American tuning of course.
Mine is 44 cm (see current range) for 11,5 kg (with 108 basses, it is given for 11,4).
Good choice !
Cavag31
I play on a Cavagnolo that currently corresponds to the "Compact" scale, I think.
2 voices in resonance box: bassoon and piccolo (good for classical, but it exists in 2 bassoons in resonance box), and 108 basses (intermediate between 96 and 120); American tuning of course.
Mine is 44 cm (see current range) for 11,5 kg (with 108 basses, it is given for 11,4).
Good choice !
Cavag31
sylvie27
09/08/2016
Hello, I just bought a pigini junior + with resonance box, not too heavy and correct size, I play on it since 15 days, and I find it great before I had a borsini with full register right hand and finally I used only half, and it was heavy; I must get used to the new sound but I do not regret; I could play 1h30 today and no tendonitis in the left shoulder Yes!!! take your time to buy, you have to try and think well about the use, good luck sylvie
Cavag31
19/08/2016
Michelleetguy,
It would be nice to know if our information (Sylvie27 and I) was useful...
Cavag31
It would be nice to know if our information (Sylvie27 and I) was useful...
Cavag31
HELLO MUSICIAN FRIENDS
Tony Muréna has recorded a lot, especially in his last period when, like many others, he devoted himself to the interpretation of variety songs or fashionable tunes. It was necessary to forget everything that recalled the war and therefore also the music of that period; in short, the swing era was over. We have privileged here this golden age of swing musette: that is to say the years 1939-1947, plus some later titles where Muréna still has beautiful accents. If many of these songs have already been re-released on CD, they were most often scattered on various compilations, most of the time mixed with typical or commercial songs, without any indication of date or personnel, and in these times where one product drives out the other, most of these discs are not available anymore (1). Here is for the first time in 3 CDs, and in chronological order, almost all of Tony Muréna's best tracks, (with precise references and indication of personnel when identified), showing his immense talent. THE BEGINNINGS Born in Italy in 1916, Antonio Muréna did not know his father, who died on the field of honor (fallen on the Chemin des Dames). Like many Italians, he arrived in France with his mother, who remarried in 1923 to a fellow countryman, shortly after the First World War. They settled in Nogent-sur-Marne and then in Joinville. An uncle gave his first accordion to the young Tony, who showed a serious aptitude for music and studied with passion and persistence. The autodidact benefits from the advice of the great Médard Ferrero. At the age of twelve, he already performed at his first balls. Then, launched by his cousin Louis Ferrari (1910-1988), also an accordionist, he started in cabarets and guinguettes. He lost his mother and then his stepfather and found himself alone with his sister and three half-sisters. To make boil the pot he puts the double bites, puts himself in the bandoneon and quickly integrates the best orchestras of tango (Rafael Canaro, Eduardo Bianco...). We are in 1932, Muréna is only 16 years old ! His quintet is sufficiently famous to be part of the replacements of the holder of the Balajo. Having to go on tour, Muréna proposes to Jo Privat to replace him at the Balajo; the latter will remain there 50 years! Muréna plays at La Silhouette, La Boule noire, La Java, Le Pré Catelan, Ciro's... The guitarists Didi Duprat, Lucien Gallopin, one or the other of the Ferré, are then its accompanists. SWING MUSETTE It is in France that the first full-fledged jazz accordion develops. Roger Etlens is said to have been one of the first to play jazz on the accordion, followed by Louis Richardet and Charley Bazin. But these precursors did not record much and it is Viseur who will be the first great jazz accordionist, followed immediately by Muréna. In the absence of the American models, who left for the United States after the declaration of war, the pioneers of the French swing accordion developed a style mixing American jazz, French musette and gypsy swing. Viseur, Muréna, and then Jo Privat, renovated the musette genre in depth by eliminating the accordion's vibrating register, introducing more sophisticated harmonies, and embarking on the adventure of what is called im-provisation. According to Mrs. Muréna's testimony (2), whenever they had a moment, Gus (Viseur) and Tony (Muréna) would play together just for them. We have a glimpse of what this could give, with about ten titles recorded around 1948 by the two companions (Matelo Ferret would be on guitar and the double bass player is not identified). These recordings, not very well known, were released under the name of Accordion's Club (cf. here "?Home Trainer?", the magnificent version of "?Body and Soul?", the super acceleration of tempo on "?On The Sunny Side of The Street?" which swings to death, and "?After You've Gone?) They will also play with the whole team of the Hot Club de France, where Muréna joins in 1941, and meet in boeufs, after the concerts, and more regularly thereafter at the Mirliton, a dance hall that Muréna buys in 1949 on the side of the place Clichy, and where all the accordionists come, at least those who like the beautiful chords. Still according to Mrs Muréna, Django and Tony liked to play together... What a pity that no sound trace has reached us! "... We were in Les Sables d'Olonne when Tony learned that Django had died. Tony collapsed. That's the only time I saw my husband cry..." (3) MURÉNA, VEDETTE DES DISQUES ODÉON In 1939, shortly before the declaration of war, Tony met Emile Prud'homme (who was to become his brother-in-law), who had just recorded for the prestigious Odéon record label. He introduced Tony to the artistic director of the label, Edouard Dory, who was truly enthusiastic about his sparkling playing. On May 11, 1939, two swings are recorded, "?Madam's?" co-composed by Muréna with P. Fontaine and "?all is not lost?", a light swing by Louis Richardet. Jacques Petitsigne is on double bass, Matelo and Sarane on guitars, the latter illustrating himself by two remarkably constructed choruses and of course Tony on accordion, who combines in his phrasing beautiful and elegant. From the beginning of the 1940s, Muréna gave a new dimension to the accordion, surrounding himself with the best jazz musicians of the time: the drummers Georges Marion, Jacques Irsa, Roger Paraboschi, Pierre Fouad, the double bassists Jean Merlin, Jacques Petitsigne, René Larguier or Pascal Groffe, the clarinettists Pierre Gossez, Francis Camus, Lucas, Pierre Delhoumeau or Hubert Rostaing, the pianists Michel Ramos or Boris Sarbek, the guitarists Didi Duprat, René Duchaussoir, Lucien Gallopin... Between 1939 and 1943, Muréna drew largely from the gypsy source and more exactly from the gypsy source, by joining, just like Viseur (and a little later Privat) the talents of the Ferret brothers: Baro, Matelo and Sarane. In 1941, Tony becomes the star of the Odeon records and puts 22 titles in the can that year; the accordionist has perhaps never played so brilliantly. If his style is less fiery, less flamboyant than Viseur's, his touch is more sentimental and airy (cf. "?Le paradis perdu?", a magnificent ballad where Muréna combines finesse and feeling, this beautiful version of "?Yeux noirs?" with a long guitar chorus probably by Sarane, or these nervous swings like "?Le jitterbug?", "?Playmates?", "?Express 113?"or "China Town", an "American" jazz theme that the needs of the French production will rename "Chinatown", the opportunity for Muréna to launch some beautiful rockets), these last titles almost all interpreted with a septet with a very Goodmanian spirit: piano, drums and clarinet (excellent chorus of Pierre Delhoumeau). The accordionist treats the instrument like a real orchestra, taking advantage of all its resources: finesse of play, phrasing of a rare elegance, sense of exposition of a theme, constant inspiration. Stylist as there are few, he is never in the clichés: originality, spirit of creation and freshness are at the appointment. For Marcel Azzola, "?when Tony plays, we forget that it is the accordion, he is an authentic genius? Muréna is also the author of some fabulous compositions such as "Swing promenade", "Pacific" (a kind of blues that starts a bit like Django Reinhardt's "Rythm Futur", with an acceleration of the tempo illuminated by a sparkling guitar chorus, probably due to Baro Ferret, and rockets sent by Tony), "Ciro's", on which his suppleness and relaxed phrasing are marvellous, "Milk Bar", one of his most famous swings."one of his most accomplished swings or "?Pré catelan?", a swing recorded on May 30, 1942, a day when grace was undoubtedly upon him, since he also recorded "?Indifference? and "?Passion?", two masterpieces of great melodic beauty, co-composed with Joseph Colombo, charged with sensitivity and emotion, illuminated by Baro's chorus and which have not ceased to be played and replayed since. Muréna is thus, with Viseur and Privat, the singer of the waltz in minor which, imbued with a certain spleen, imposes itself as the masterpiece of jazz musette. MYSTERY AND GUMDROP !
Tony Muréna has recorded a lot, especially in his last period when, like many others, he devoted himself to the interpretation of variety songs or fashionable tunes. It was necessary to forget everything that recalled the war and therefore also the music of that period; in short, the swing era was over. We have privileged here this golden age of swing musette: that is to say the years 1939-1947, plus some later titles where Muréna still has beautiful accents. If many of these songs have already been re-released on CD, they were most often scattered on various compilations, most of the time mixed with typical or commercial songs, without any indication of date or personnel, and in these times where one product drives out the other, most of these discs are not available anymore (1). Here is for the first time in 3 CDs, and in chronological order, almost all of Tony Muréna's best tracks, (with precise references and indication of personnel when identified), showing his immense talent. THE BEGINNINGS Born in Italy in 1916, Antonio Muréna did not know his father, who died on the field of honor (fallen on the Chemin des Dames). Like many Italians, he arrived in France with his mother, who remarried in 1923 to a fellow countryman, shortly after the First World War. They settled in Nogent-sur-Marne and then in Joinville. An uncle gave his first accordion to the young Tony, who showed a serious aptitude for music and studied with passion and persistence. The autodidact benefits from the advice of the great Médard Ferrero. At the age of twelve, he already performed at his first balls. Then, launched by his cousin Louis Ferrari (1910-1988), also an accordionist, he started in cabarets and guinguettes. He lost his mother and then his stepfather and found himself alone with his sister and three half-sisters. To make boil the pot he puts the double bites, puts himself in the bandoneon and quickly integrates the best orchestras of tango (Rafael Canaro, Eduardo Bianco...). We are in 1932, Muréna is only 16 years old ! His quintet is sufficiently famous to be part of the replacements of the holder of the Balajo. Having to go on tour, Muréna proposes to Jo Privat to replace him at the Balajo; the latter will remain there 50 years! Muréna plays at La Silhouette, La Boule noire, La Java, Le Pré Catelan, Ciro's... The guitarists Didi Duprat, Lucien Gallopin, one or the other of the Ferré, are then its accompanists. SWING MUSETTE It is in France that the first full-fledged jazz accordion develops. Roger Etlens is said to have been one of the first to play jazz on the accordion, followed by Louis Richardet and Charley Bazin. But these precursors did not record much and it is Viseur who will be the first great jazz accordionist, followed immediately by Muréna. In the absence of the American models, who left for the United States after the declaration of war, the pioneers of the French swing accordion developed a style mixing American jazz, French musette and gypsy swing. Viseur, Muréna, and then Jo Privat, renovated the musette genre in depth by eliminating the accordion's vibrating register, introducing more sophisticated harmonies, and embarking on the adventure of what is called im-provisation. According to Mrs. Muréna's testimony (2), whenever they had a moment, Gus (Viseur) and Tony (Muréna) would play together just for them. We have a glimpse of what this could give, with about ten titles recorded around 1948 by the two companions (Matelo Ferret would be on guitar and the double bass player is not identified). These recordings, not very well known, were released under the name of Accordion's Club (cf. here "?Home Trainer?", the magnificent version of "?Body and Soul?", the super acceleration of tempo on "?On The Sunny Side of The Street?" which swings to death, and "?After You've Gone?) They will also play with the whole team of the Hot Club de France, where Muréna joins in 1941, and meet in boeufs, after the concerts, and more regularly thereafter at the Mirliton, a dance hall that Muréna buys in 1949 on the side of the place Clichy, and where all the accordionists come, at least those who like the beautiful chords. Still according to Mrs Muréna, Django and Tony liked to play together... What a pity that no sound trace has reached us! "... We were in Les Sables d'Olonne when Tony learned that Django had died. Tony collapsed. That's the only time I saw my husband cry..." (3) MURÉNA, VEDETTE DES DISQUES ODÉON In 1939, shortly before the declaration of war, Tony met Emile Prud'homme (who was to become his brother-in-law), who had just recorded for the prestigious Odéon record label. He introduced Tony to the artistic director of the label, Edouard Dory, who was truly enthusiastic about his sparkling playing. On May 11, 1939, two swings are recorded, "?Madam's?" co-composed by Muréna with P. Fontaine and "?all is not lost?", a light swing by Louis Richardet. Jacques Petitsigne is on double bass, Matelo and Sarane on guitars, the latter illustrating himself by two remarkably constructed choruses and of course Tony on accordion, who combines in his phrasing beautiful and elegant. From the beginning of the 1940s, Muréna gave a new dimension to the accordion, surrounding himself with the best jazz musicians of the time: the drummers Georges Marion, Jacques Irsa, Roger Paraboschi, Pierre Fouad, the double bassists Jean Merlin, Jacques Petitsigne, René Larguier or Pascal Groffe, the clarinettists Pierre Gossez, Francis Camus, Lucas, Pierre Delhoumeau or Hubert Rostaing, the pianists Michel Ramos or Boris Sarbek, the guitarists Didi Duprat, René Duchaussoir, Lucien Gallopin... Between 1939 and 1943, Muréna drew largely from the gypsy source and more exactly from the gypsy source, by joining, just like Viseur (and a little later Privat) the talents of the Ferret brothers: Baro, Matelo and Sarane. In 1941, Tony becomes the star of the Odeon records and puts 22 titles in the can that year; the accordionist has perhaps never played so brilliantly. If his style is less fiery, less flamboyant than Viseur's, his touch is more sentimental and airy (cf. "?Le paradis perdu?", a magnificent ballad where Muréna combines finesse and feeling, this beautiful version of "?Yeux noirs?" with a long guitar chorus probably by Sarane, or these nervous swings like "?Le jitterbug?", "?Playmates?", "?Express 113?"or "China Town", an "American" jazz theme that the needs of the French production will rename "Chinatown", the opportunity for Muréna to launch some beautiful rockets), these last titles almost all interpreted with a septet with a very Goodmanian spirit: piano, drums and clarinet (excellent chorus of Pierre Delhoumeau). The accordionist treats the instrument like a real orchestra, taking advantage of all its resources: finesse of play, phrasing of a rare elegance, sense of exposition of a theme, constant inspiration. Stylist as there are few, he is never in the clichés: originality, spirit of creation and freshness are at the appointment. For Marcel Azzola, "?when Tony plays, we forget that it is the accordion, he is an authentic genius? Muréna is also the author of some fabulous compositions such as "Swing promenade", "Pacific" (a kind of blues that starts a bit like Django Reinhardt's "Rythm Futur", with an acceleration of the tempo illuminated by a sparkling guitar chorus, probably due to Baro Ferret, and rockets sent by Tony), "Ciro's", on which his suppleness and relaxed phrasing are marvellous, "Milk Bar", one of his most famous swings."one of his most accomplished swings or "?Pré catelan?", a swing recorded on May 30, 1942, a day when grace was undoubtedly upon him, since he also recorded "?Indifference? and "?Passion?", two masterpieces of great melodic beauty, co-composed with Joseph Colombo, charged with sensitivity and emotion, illuminated by Baro's chorus and which have not ceased to be played and replayed since. Muréna is thus, with Viseur and Privat, the singer of the waltz in minor which, imbued with a certain spleen, imposes itself as the masterpiece of jazz musette. MYSTERY AND GUMDROP !
0
Reply
Hello musician friends
I've noticed that for some time now, only accordion scores have been entering our favorite site in large numbers, and those of us who also love the accordion would like a little novelty in the variety register.
Hoping I haven't hurt anyone's feelings, thank you for thinking of us ....... (pianists, saxophonists and others ....).
Kind regards,
Daniel
I've noticed that for some time now, only accordion scores have been entering our favorite site in large numbers, and those of us who also love the accordion would like a little novelty in the variety register.
Hoping I haven't hurt anyone's feelings, thank you for thinking of us ....... (pianists, saxophonists and others ....).
Kind regards,
Daniel
9
Replies
Unknown
24/02/2013
hi Daniel
"remember!!!
there was talk a "while back" (I think at my instigation, no doubt nonsensical, the proof) of expanding to other instruments by creating an additional section, what a HORROR!!!!
An outcry from all the great X...... (read great posteurs) of the time, not always accordionists by the way, who screamed sacrilege before going to play elsewhere ;) look for the error !!!!
Brassens sings "ya des gens qui n'aiment pas que ..."
A vast question, Cindou11 is quite right, active members mainly own accordion scores, logically, often from the traditional musette domain, logically, and recent scores of "varied music" or variety are not running around.
But nothing prevents anyone from making specific requests, and you know perfectly well how to get in touch with me for targeted requests (and even to transpose for tenor sax if need be lol).
I'm always afraid of being too visible on P-A, and I wouldn't mind opening up to other styles, but it's not my tastes that come first, fortunately ;)
and what are the risks of asking? if you don't get the answers you want, it'll be like before, no worse!
good music
JJ
"remember!!!
there was talk a "while back" (I think at my instigation, no doubt nonsensical, the proof) of expanding to other instruments by creating an additional section, what a HORROR!!!!
An outcry from all the great X...... (read great posteurs) of the time, not always accordionists by the way, who screamed sacrilege before going to play elsewhere ;) look for the error !!!!
Brassens sings "ya des gens qui n'aiment pas que ..."
A vast question, Cindou11 is quite right, active members mainly own accordion scores, logically, often from the traditional musette domain, logically, and recent scores of "varied music" or variety are not running around.
But nothing prevents anyone from making specific requests, and you know perfectly well how to get in touch with me for targeted requests (and even to transpose for tenor sax if need be lol).
I'm always afraid of being too visible on P-A, and I wouldn't mind opening up to other styles, but it's not my tastes that come first, fortunately ;)
and what are the risks of asking? if you don't get the answers you want, it'll be like before, no worse!
good music
JJ
cariste
24/02/2013
Bonjour à vous , je suis d'accord avec daniel 77 ,où sont donc passés tous ces membres qui nous mettaient des partitions plutôt
It's true that there have been changes for several months now, but I hope that we'll eventually find our way around...
Best regards......
It's true that there have been changes for several months now, but I hope that we'll eventually find our way around...
Best regards......
daniel77
24/02/2013
Hello everyone!
Due to the positive feedback, I will share my alto and tenor sax scores with anyone interested.
Thank you and have a good evening.
Isabelle (wife of Daniel 77)
Due to the positive feedback, I will share my alto and tenor sax scores with anyone interested.
Thank you and have a good evening.
Isabelle (wife of Daniel 77)
Hello everyone
I am keyboard and choir oriented ...
It is true that the requests are more and more accordion oriented! But if someone is looking for a piece and I have vocals + piano, I'll post the piece anyway ...
Every musician (in general) knows how to read a score ... and for transpo, you learn to do it with the instrument (Bb or other).
I'm going to scan more of my scores (more keyboard than choral, which are often re-harmonized) ...
Bonne Musique à TOUS
jmimi
I am keyboard and choir oriented ...
It is true that the requests are more and more accordion oriented! But if someone is looking for a piece and I have vocals + piano, I'll post the piece anyway ...
Every musician (in general) knows how to read a score ... and for transpo, you learn to do it with the instrument (Bb or other).
I'm going to scan more of my scores (more keyboard than choral, which are often re-harmonized) ...
Bonne Musique à TOUS
jmimi
slade
25/02/2013
Hi,Are you for or against new categories?
daniel77
25/02/2013
bonjour SLADE une nouvelle catégorie de partition? de genre tu veut dire pour d'autre instrument de musique ou ne section variété à oui sa serait sympa et je pense que sa amènerais surement nous d'autres musicos ne crois pas tu. en tout cas merci de penser un peut a tout le monde
good music and many pleasant moments in music to everyone and all musical levels without exception
good music and many pleasant moments in music to everyone and all musical levels without exception
slade
25/02/2013
Okay, rolling!
I'll do it!
I'll do it!
yvesg21
25/02/2013
Good evening daniel77,
I have nothing against the piano, nor the sax (I like it a lot, especially in jazz!) but this site is called partitions-accordéon!
so don't be surprised to find lots of accordion scores.
Have a nice evening!
Best regards
Yves
I have nothing against the piano, nor the sax (I like it a lot, especially in jazz!) but this site is called partitions-accordéon!
so don't be surprised to find lots of accordion scores.
Have a nice evening!
Best regards
Yves
slade
25/02/2013
Ok so before we do it a referendum is in order...
I'll make a topic for that.
I'll make a topic for that.
Hello,
Could someone tell me where I can find CDs, videos (Youtube), etc... of pieces played on the accordion, standard bass, without accompaniment (music of all styles, variety, musette, modern, classical...)?
Thanks in advance for your advice!
Could someone tell me where I can find CDs, videos (Youtube), etc... of pieces played on the accordion, standard bass, without accompaniment (music of all styles, variety, musette, modern, classical...)?
Thanks in advance for your advice!
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