You're right on target. A lot of old timers knew this too, and even if they had only one accordion, they would alternate tunes by key all night long so the listener would not get bored.
I find that key not only affects the mood of the song, but the mood of the musician (of course it puts the fiddler in a bad mood when you start changing accordions). But for me it puts me in a great mood to move to a higher key.
When Leo Abshire and I played together we would always start the dance on a C accordion and switch to D about half way through. You could tell a difference in the crowd- more excitement.
David,can you explain how you guys changed from C to D in the same song? That sounds interesting?
I guess I'm still hung up on changing from a minor to a major key. A minor is the minor key for C. so play a tune in Am then play a tune in C. For example, play "The Mardi Gras Song" (A minor) then go into "Jambalya" (key of C)- all from Larry MIller's book.
Sorry if I have missed the point of your question..... Ed
It wasn't me that said that, but to answer your question anyway, I think what was meant was that during the course of the dance a switch was made from one accordion to another, not during a particular song (e.g., play 10 songs with a C accordion, then play the next 10 on a D).
However, I know of cases where a key change was made in the middle of a song. One scenario involves a quick accordion switch, perhaps while another instrument is soloing. Another scenario is when a dual key accordion is being used - i.e., a Randy Falcon accordion, in the hands of Wayne Toups: push down the 3 stops for one key, and pull up the 3 stops for the other key and off you go.
Long time ago I have been watching a concert of Emmylou Harris. She announced the concert as an
"An evening in G" and nobody complained.
If you love the music it doesn't matter.
I have heard the same thing from classical performers. However don't forget
Hank William's "Kawliga" did the same thing in that it changed from a minor to a major key and really has an effect. It really gives a lift to the music.
Also .. an additional observation ..
The thing with Kawliga is that it did not change
to a relative minor key, such as going from
"C" to "Am", but instead just changed to a minor
key (such as going from "C" to "Cm")
which is probably impossible to do on a
I love that tune, very effective technique indeed
Thanks for all the explanations guys.
i play in many keys, in the band repertoire
on the c accordion they would be
A [really A7 - the band plays in A
but of course my 3rd and 7th are flatted,
a very bluesy key]
and most of them on both C and Bflat accordion
and some on G, Bflat or F rows of my 3 rows
so it makes for a lot of key variation
then i'm playing zydeco, it;s not quite
as stuck on the first and second positions