Maybe "seconding" is the wrong term, but I'd like some advice on how to chord a 3 chord song (push songs and pull songs) in the background, like when I'm singing or someone else is taking a lead. Assume a C accordion, not that it makes a difference in positioning.

This may take a while, since I'm not sure I'm stating my case very well. I am sure we'll eventually get there, though.

Best to all, Jamey Hall

What I attempt to do, when I am singing, is play the bass side to where it correspondence to the changes of the melody. Yeah, so it is just C & G, but if you practice and listen to your self sing, you should be able to keep the pitch pretty close and make the changes at the right place. Then I try a few single button arpeggios that elaborate on the sung verse.
Try listening to Mexican conjunto and you will get the idea. Dirk Powell does this in his first video when Christine sings the refrain to High Point 2-step. Again, this is step 1.
JB

It helps if you also play guitar. Then, you know where the chord changes are. The problem you have with a 3 chord tune is ( you do understand the we're using a 1-4-5 chord progression? 1= C, 4= F, 5= G ), you don't have the "F" chord on the bass side. I either play through it or, it it just doesn't sound good at all, I skip the "F" run.
Jude

What about trying to play the F chord with the right hand, with the F and A at buttons 4 and 5 on the pull?

I know the 1-4-5 chord structure, and that it is C-F-G for a C (push) song, and G-C-D for a pull. I know also that I can play only the bass buttons for G and C. I'm pretty sure I can play the few appropriate notes available on the right hand for F and/or D. But at those points, should I omit the bass buttons altogether?
What do most players do?

I can generally spot the chord changes, but it would help if I could sing the songs, I spot the changes better when singing. But that goes to another problem: not speaking Cajun French. I'm understanding more and more of it, because a lot of phrases turn up again and again. Still, it is frustrating to absolutely LOVE a song, and not be able to sing it. But like I said, that's a separate problem.

Back to the original question: If you're chording in the background, what do you hit with the right hand pull on G,D, &/or F respectively (I assume you can do about anything on C by pushing), and what do you do with the left hand on D &/or F?

Thanks, Jamey

ahum, hum?
- & if you can't sing: priez pour un miracle, mon frère ! - nout

Playing behind another instrument's lead or during the vocal? If that's what you mean, rhythm and dynamics are key, and less is almost always more. The goal is to enhance the other musicians without drawing attention to what you're playing, in my opinion.

As a starting point, to "chord" along with a C two-step, try playing 5 67 67 67, 5 67 67 67 (etc) with the I chord, 5 6'7' 6'7' 6'7', 5 6'7 6'7' 6'7' (etc) with the V chord, and 4' 5'8' 5'8' 5'8', 4 5'8' 5'8' 5'8' (etc) with the IV chord.

So you call it "comping"? Not only do I want to have something to do behind another instrument or my own vocal, I also figured it would be a good way to learn to play a new song.

On the piano key accordion, I'll listen to a song, and either play along with it by first chording with it to get the chord structure, or singing it and doing the same. Or I can hum the melody; whatever it takes to get the chord changes. Once I have the chord structure, I can play notes within the chords to get the lead parts. I figure to use the same approach to learning a new song on the Cajun accordion: learn to chord it, then gradually fill in notes within those chords.

Does that make sense? Anyone else do that?

Comping is just the term I learned over the years - probably musician slang for "accompanying."

Best wishes on your journey learning the Cajun accordion.

Since I am not really fast on the accordion, for the singing breaks I just rough out the melody. Perhaps one or two notes of the measure with a run thrown in at the end of the phrase. The bass remains the same.

Maz seems to do a good job of accompanying his own singing on accordion in his youtube vids. Maz, do you want to weigh in here?

When the other musicians are playing/singing, aren't you supposed to drop your thumb out of the thumbstrap and reach for a good bottle of beer?

Of course! What a silly question.

Beer often improves the perception of the music being played and seems to greatly enhance ones skill level. At least in the short term.

Isn't the "beer advantage" the main reason to play accordion?

Look at that poor guitar player, working like a dog through the whole dang song!

The squeezebox is a much better choice if you ask me.

Sorry boys, I'd rather take a puff than a sip any day - but I reckon the principal is about the same.

My general rule of thumb is: don't ingest anything that makes you play ping-pong worse. But hey, that's just me.

Best to all, Jamey Hall