Stradella Bass Accordion: #9b “Vecchio giro di Francia” Chords
"Vecchio giro di Francia" Wriitten by Francesco Kramer Gorni (1913-1995) (known professionally as "Gorni Kramer") As in my previous videos, I use the Five-Finger Stradella- Bass System, the fingering system that was taught to me by Clarence Edgar Roberts (1906-1983). NOTE: The dot ( . ) after the chord indicates that the chord is repeated. VERSE 1: | G . . . Dm . G7 . C . . . Cm . F7 . G/B Eo7/Bb Am7 D7 G Em Dbm7 F#7 Bm7 . F#7 . Bm7 E7 Am7 D7 | VERSE 2: | G . . . Dm . G7 . C . . . Cm . F7 . G Em7 Am7 D7 Bm7o5 . E7 . A7 . Am7 D7* G . | END: D7* . Bm7o5 . E7 . A7 . Am7 D7 G . . | Format: Desired chord = bass/counter-bass (finger) + chord button (finger) *Go7 (Bbo7) = Bb bass (pinkie) + Eo7 (thumb) Am7 = A counter-bass (ring) + CM (index) Am7 = A bass (pointer) + CM (pinkie) D7 = D counter-bass (pinkie) + Ao7 (thumb) Em7 = E counter-bass (ring) + GM (index) E7 = E counter-bass (pinkie) + Bo7 (thumb) Bm7 = B counter-bass (ring) + DM (index) Bm7o5 = B counter-bass (ring) + Dm (index) Dbm7 = Db counter-bass (ring) + EM (index) F#7 = F# counter-bass (pinkie) + C#o7 (thumb) *NOTE: Technically speaking, there are ONLY 3 "diminished seventh" chords: Co7, Dbo7 (C#o7), & Do7. ALL of the remaining diminished seventh chords, formed on other root tones, are essentially nothing more than "inversions" of the 3 chords noted above. (Alternate Chords; for "richer" or "sweeter" sound) Cm9 = C bass (ring) + Cm (pointer) + Gm (index) Dm9 = D bass (ring) + Dm (pointer) + Am (index) GM9 = G bass (ring) + GM (pointer) + DM (index) CM9 = C bass (ring) + CM (pointer) + GM (index) G9 = G bass (ring) + G7 (pointer) + Dm (index) F9 = F bass (ring) + F7 (pointer) + Cm (index) NOTE: The way in which I approach the Stradella 120-Bass system solves a few problems for the beginner. First, my approach demonstrates that ALL five fingers can be used by the left hand—if, indeed, the student’s hand is large enough. Most adults will have hands large enough to make most five-finger movements. Second, my approach is easier than the traditional approach. Surface travel over the buttons is easier, and most really ridiculous “jumps” are eliminated. Granted, the student might struggle with this system at first, but at some point—when it clicks—he or she will become quite pleased that the system is indeed within reach, so to speak. Third, the way in which I play chords with the left hand provides, arguably, the most “harmonic support” possible. That is, if I play a chord that comprises FOUR or FIVE tones—as opposed to only THREE tones—I can play a simple melody with the right hand without losing any clarity in that melody. This is especially true for one playing an accordion with “high-quality” reeds. And, as I mention in a few of the videos, with this system, you can play most “dominant seventh” and “diminished seventh” chords without suffering the omission of “the fifth.” Fourth, as most beginners know little about making and using “large,” or “richer,” chords with the right hand (as most professionals do), the left-hands chords, as I play them, will provide a sufficient harmony, at least until the student learns to play larger chords in the right hand.
"Vecchio giro di Francia" Wriitten by Francesco Kramer Gorni (1913-1995) (known professionally as "Gorni Kramer") As in my previous videos, I use the Five-Finger Stradella- Bass System, the fingering system that was taught to me by Clarence Edgar Roberts (1906-1983). NOTE: The dot ( . ) after the chord indicates that the chord is repeated. VERSE 1: | G . . . Dm . G7 . C . . . Cm . F7 . G/B Eo7/Bb Am7 D7 G Em Dbm7 F#7 Bm7 . F#7 . Bm7 E7 Am7 D7 | VERSE 2: | G . . . Dm . G7 . C . . . Cm . F7 . G Em7 Am7 D7 Bm7o5 . E7 . A7 . Am7 D7* G . | END: D7* . Bm7o5 . E7 . A7 . Am7 D7 G . . | Format: Desired chord = bass/counter-bass (finger) + chord button (finger) *Go7 (Bbo7) = Bb bass (pinkie) + Eo7 (thumb) Am7 = A counter-bass (ring) + CM (index) Am7 = A bass (pointer) + CM (pinkie) D7 = D counter-bass (pinkie) + Ao7 (thumb) Em7 = E counter-bass (ring) + GM (index) E7 = E counter-bass (pinkie) + Bo7 (thumb) Bm7 = B counter-bass (ring) + DM (index) Bm7o5 = B counter-bass (ring) + Dm (index) Dbm7 = Db counter-bass (ring) + EM (index) F#7 = F# counter-bass (pinkie) + C#o7 (thumb) *NOTE: Technically speaking, there are ONLY 3 "diminished seventh" chords: Co7, Dbo7 (C#o7), & Do7. ALL of the remaining diminished seventh chords, formed on other root tones, are essentially nothing more than "inversions" of the 3 chords noted above. (Alternate Chords; for "richer" or "sweeter" sound) Cm9 = C bass (ring) + Cm (pointer) + Gm (index) Dm9 = D bass (ring) + Dm (pointer) + Am (index) GM9 = G bass (ring) + GM (pointer) + DM (index) CM9 = C bass (ring) + CM (pointer) + GM (index) G9 = G bass (ring) + G7 (pointer) + Dm (index) F9 = F bass (ring) + F7 (pointer) + Cm (index) NOTE: The way in which I approach the Stradella 120-Bass system solves a few problems for the beginner. First, my approach demonstrates that ALL five fingers can be used by the left hand—if, indeed, the student’s hand is large enough. Most adults will have hands large enough to make most five-finger movements. Second, my approach is easier than the traditional approach. Surface travel over the buttons is easier, and most really ridiculous “jumps” are eliminated. Granted, the student might struggle with this system at first, but at some point—when it clicks—he or she will become quite pleased that the system is indeed within reach, so to speak. Third, the way in which I play chords with the left hand provides, arguably, the most “harmonic support” possible. That is, if I play a chord that comprises FOUR or FIVE tones—as opposed to only THREE tones—I can play a simple melody with the right hand without losing any clarity in that melody. This is especially true for one playing an accordion with “high-quality” reeds. And, as I mention in a few of the videos, with this system, you can play most “dominant seventh” and “diminished seventh” chords without suffering the omission of “the fifth.” Fourth, as most beginners know little about making and using “large,” or “richer,” chords with the right hand (as most professionals do), the left-hands chords, as I play them, will provide a sufficient harmony, at least until the student learns to play larger chords in the right hand.