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He also had an ear for good harmonies and was always seeking better and fresh chord sequences. My wee brother, Alan, received a guitar, and whilst I was trying to knock out a tune on the wee accordion, in the living room at 3 Paradise Place, Kintillo, Bill spent hours in the kitchen, trying to work out chords on the guitar with Alan. To this day, we always pause, and smile when we reach that note, in memory of out Uncle Bill! On one occasion they stayed up till 4a. In the third part there was tricky section, and Bill would not go to bed until he had mastered it, and of course, Willie had to stay up with him!

On the night of the dance, when it came to playing that particular tune, Bill came up to a very tired Willie, and suggested they play another ,easier, tune instead!. As Willie says, the dancers would not have noticed the difference, but Bill himself would have! When he died my Grandfather, Will Powrie left me a box of reel to reel tapes, which featured him playing alongside my Uncle Bill. Since our reel to reel tape recorder, given to my father by Ian, had long since been taken to the tip, I never played these tapes, until I recently moved house, and came across the box.

Borrowing an old reel to reel tape recorder from my friend Stu, I discovered a musical treasure trove of both Bill and Wull playing together. Bill would ,on a regular basis, send a tape to Jim Denham, who would listen to it, and return it to Bill. The box also contained tapes addressed to Jim Cameron in Kirriemuir.

At the beginning of The Bankhead Tapes you will hear Bill introduce the music, and at the end , send his best wishes to Jim and his family from all the Powries at Bankhead. Bill would practice for hours in his room at Bankhead, as the acoustics were particularly good , and it was from there that these tapes would regularly cross the ocean to give pleasure to Jim Denholm. He did not receive the same pubic adulation of his more famous brother, but was highly regarded by his fellow professionals.

On side 2, of The Bankhead Tapes , you will also hear several duets with his Father Wull, playing a Double Ray melodeon, with Bill playing the accompaniment, to provide some lovely harmonies, on some rare old tunes. The accompaniment on these tracks contrasts favourably with some old 78 recordings, where the accompaniment to the box, was often someone vamping on the piano, in the same key throughout, to emulate the drones on the bagpipes!

On one part of the tape not reproduced here , Mickie Ainsworth drops in and plays two tunes: Dark Island and Pennies from Heaven, demonstrating his virtuosity on the piano accordion. Bill was brought up to the sound of music being played around the house and in the bothy. His early influences were his father Will Powrie, who played a melodeon , and also Jimmy Shand, who was a great friend of the family. They would often play together. As neither Will or Jimmy were great readers of music , in the early days, my Auntie Mary would often play a piece of written music for them, till they got the hang of it , and played it by ear!

One day whilst on the dodgems at the Shows in Perth, Bill heard a continental piece of music being played on a button key coming from the kiosk. When the ride was over, he asked the operator who was playing.

On the farm at Bankhead, they had a sheepdog called Flo. As soon as Bill struck up the first two notes of the Cuckoo Waltz Track 13 —another Starr tune- Flo would howl like a wolf! Leila wrote to tell me that the tears just ran down her cheeks, as she was transported back all these years to Bankhead, and Bill playing one of his favourite tunes in the kitchen.

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Bill was indeed a perfectionist and on the tapes from which The Bankhead Tapes has been extracted, you can hear him practice, over and over again, in order to achieve a result with which he was happy. 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 So I offer the following challenge to Patricia and her fellow modern music mavens: compete with everyone else. Let your music stand against all the rest and let the chips fall where they may. As pasture patties draw fl ies, good music draws listeners. As Darwin might say, let the best music prevail. Call Cooksie Kramer spring Quarter. 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 Alicia has found her most tangible success with the accordion. 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 instrument. Aside from competitive events, Alicia has performed solo accordion concerts at many notable festivals. Vocally, Alicia thrived as an opera student all throughout college, as she discovered a new passion. Alicia performed two solo vocal recitals in fulfi llment of her vocal performance degree.

In terms of awards, she was the vocal scholarship recipient of the Brookings Friends of Music Annual Scholarship Competition, in addition to winning the NATS competition for classical voice in her age division in More recently, Alicia was selected as a fi nalist in Classical Singer s National Vocal Competition. On the piano, Alicia performed two solo piano recitals in fulfi llment of her piano performance degree, and accompanied many musicians and singing groups to fund her college education.

She loves the art of collaborative piano, and will always enjoy working 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. She plans to continue composing, and hopes to become a published composer someday. As a recent college graduate, Alicia can now begin 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 accordion 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 technology, companies like Roland can help the accordion to reach even wider audiences - which is a really 8 spring Quarter 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 playing 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 appreciated my instrument. In particular, I met a Columbian fl amenco guitarist who wanted to help me say something new, as well as a lawyer turned piano man who shares my love of Brazilian music. 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.

Our highlight of was organizing 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 accordion, then I m a happy girl.

The accordion has provided me with a special opportunity to be a unique kind of musician in the music 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. 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. 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 accordion 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. Can you relate? As most know, the Northwest Accordion Society organizes and manages 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 competitors choose to play old time music exclusively, the two selections will be from different dance styles. The time limitations remain the same. Chairs will be available on stage for competitors. The music played will be audience friendly. Different ethnic styles, pop standards, Bavarian etc.

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 performance sheet may be seen on the NWAS web site. Contact Doris Osgood at or 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- spring Quarter ment. The parade generally begins about 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. As most know, the parade is short and sweet! There is a photo op for the tourists and our friends at the gazebo. 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. 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 for details concerning the method through which you may donate funds.

Web site: Be sure to check the accordion celebration 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. Always enjoy it from cover to cover! 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 convinced 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! I no longer can play my accordion. I have really enjoyed this magazine for many years. Accordion Society in the Northwest and beyond. The contestant playing order is determined by a random drawing prior to beginning the competition.

Entry applications must be postmarked no later than May 28, 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. Listed in Publications as a concert performer, promoting oneself as a professional, receiving money through contracts to perform, etc.

Categories with 3 entries or less are subject to review. 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. 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. The printed sheet music is provided to the judges. This category is open to amateur and professional accordionists. 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. When competing in more than one category, the music selected must be different for each category. 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. 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 spring Quarter. The Adjudicators Guide will also be posted on 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. 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 final. 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.

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. 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.

Only a Page Turner is allowed on stage to assist the competitor during the performance. A Medley is considered as 1 selection but max time of the category must not be exceeded. The term, bursary, is more widely used in Canada; for those in the United States the bursary is likened to a scholarship. Be age 18 or under on June Participate in at least one individual competition category or evaluation 3. Bursaries will be given during the awards ceremony 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.

Notify either Doris Osgood or Rod Miller by or telephone when the letter was posted or ed to confirm that the letter was received. Doris Osgood Rod Miller Thank you for your support! June , Mark your Calendars! We want to be clear about some basics for the competition. Any player, professional or amateur, is eligible to play in any Open category.

  • Table of contents?
  • Highlights.
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  • Editor's Note.

In the Variety categories, only amateurs may play. Below is some clarifi cation about music styles and the competition categories. One Old Time selection is required. The competitor may play 2 other selections from genres such as jazz, popular, and light classical. 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. 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 selection 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.

Competitors may choose to play old time music exclusively; in that event a different dance style will be required for the 2 nd 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 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. 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 obtained.

All evaluations will be done at the Grange. Professional players are allowed in all Open categories along with duets, bands, and diatonic categories. Competitors are not required to play for the entire time segment but must play the required music for each category. 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.

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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. Remember to join us, just for the fun of it! If modern classical accordion music sounds strange to you, chalk it up to three things: time, recent exposure to artists from different parts of the world, and the infl uences on composers who have written for the accordion -- 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 first 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 classical 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 stigmatized, 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, different, capable of creating warm personal music, and not sounding so much electronic as much of today s heavily 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, actually 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 to , with accordion schools across the country, plenty of students and professionals were playing high quality music, including classical music.

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But as commercial ventures, schools tended to be conservative in their choice of music for students. Popular music, ballads, polkas, Latin, and mostly transcriptions of established and popular classical music from earlier eras: Mozart, Bach, Beethoven, Liszt. But none of this music spring Quarter. You couldn t really play it entirely as it was originally written.

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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 guration 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 or so to , 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 subjective and emotional, the fantastic, the grand and terrible. Johannes Brahms lived in the middle of this period, but his ideal of music embodied both the Classical and Romantic camps. He resisted the sensationalism 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 triumphant music was also an age of madness and suicide. In , 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 , 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 composers from Eastern Europe and Russia writing new music for the accordion from the 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 , giving expression to the inner state of a person s mind and Do you have a MurlStrap? Best back strap I have ever had. Lenny Feldmann Snail mail P. 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. Composers 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.

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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? He has many students and directs the Jimmy Blair Accordion Orchestra. Recently Gary has played for fund raising events. 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 accordion 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 accordionist. In , Carl moved to Los Angeles and soon established himself as the premier session accordionist in the music business. Because of Carl Fortina, we have heard more accordion work in films and television, and it was he that we heard making those sounds. Carl s contribution to getting the accordion heard by the public did not end with his own performing 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 Studios. One of his fi rst hires was Frank Marocco, who has earned his own place in fi lm and television musical 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.

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 late , Frank began intensive study with the great jazz accordionist Frank Morocco which quickly evolved into a very close friendship. Unfortunately, this relationship ended far too soon with Frank Morocco s untimely passing on March 3, 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 excellent 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 Vibrato Jazz and Grill.

In May of , he was invited to play in the spot that Frank Marocco had been scheduled for as a featured performer at the Accordion competition in Kiev, Accofestival 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. In this CD you will defi nitely hear the infl uences of Frank Marocco, however Frank Petrilli plays his own style which includes more focus on Latin grooves 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.

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, B St.

These scholarships are open to the young people within the Pacifi c Northwest, not just the greater Portland area. The competition was held b y the Japan Accordion Association.

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Some of the competitors came as far from as Slovenia to compete in this competition. Just a thought - perhaps 'Irish style' refers to the look of the box, rather than being a sequitur to the 'tuned wet' bit? Young ace Stockport box-player Ed Beasant used to have a Ranco when I first met him about 7 years ago - I haven't seen it recently, so don't know if he still has it. I expect Rees may know of Edwin's Ranco, and may have some comment to add. I noticed some of the new wood-look three row Rancos on various Conjunto forums These now seem to be listed on the Polverini web site - before you click, I apologise for the other boxes listed there I hope those boxes sound better than they look.

Of course my taste may run to the conservative side, I have enough trouble tolerating the red celluloid on my Double Ray, keep wanting to strip it like Martin Quinn did to his I've been advised not to though by my tuner he's afraid the acetone might get in and ruin all his good work. I would never think of doing that to a Paolo It's a hohner but I've put a lot of money into the keyboard and tuning so if I messed it up I'd be sick. Box had a good, solid feel to it - wouldn't say it's a top line model - had a mass production feel to it - but it was marked as an Italian box - contact me if you want to have a listen to it - Ted.

The access and use of this website and forum featuring these terms and conditions constitutes your acceptance of these terms and conditions. SMF 2. Re: Ranco button accordion on ebay?