“Prelude No. 17 in A Flat Major” is a famous composition, originally by Johann Sebastian Bach (1685-1750). This is the twenty-second piece of a collection of baroque and classical polyphonic music pieces, which have been specially arranged for the accordion.
Daniel Sabotinov is currently an accordionist, composer, arranger and educator residing in Larnaca, Cyprus. He received a BA degree from the Music Academy of Plovdiv, Bulgaria with a major in accordion performance and teaching and later achieved a Masters of Education degree from The University of New Jersey, USA. He is an accordion teacher in the government music schools of Larnaca, Famagusta and Limassol. Mr. Sabotinov’s students have been consistent winners in National and State competitions, with many having achieved professional status.
He is the founder of the first accordion orchestra in Cyprus which participated in the 70th World Accordion Competition “Coupe Mondiale” 2017, in Osimo, Italy. Their hard work and talent was recognized as they were rewarded with a third place finish in their category.
Daniel has written other music books, including “Cypriot and Greek Songs for Choir”, which has been authorized by the Ministry of Education in Cyprus.
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*A note from the author*
This is my first collection of baroque and classical polyphonic music pieces, which have been specially arranged for the accordion. The main motivation to compile these arrangements came from my students who were so inspired when playing such polyphonic style of music on the accordion. From the other side, polyphonic music is ideally suited for the specific sound capabilities of the accordion. All the compositions have been adapted for Stradella Bass System; however, they could ideally be played on Free Bass as well. When writing the letter names of the notes on the bass part, I decided to use the ‘German’ way, where B-flat is named ‘B’ and B-natural is named ‘H’. In fact, this musical cryptogram (B-A-C-H) was used by Johann Sebastian Bach himself, by his contemporaries and by many later composers.
The choice of registers is a personal one intended to give color and variety, and should be used as a guide. Alternatively, students could try to perform the pieces as a duet with the accordion playing the right hand and a cello, bassoon or similar range instrument playing the left.
I believe this collection will excite and challenge beginners through to intermediate players of all ages. When I started to write the book, I found that I enjoyed it a lot and after receiving great feedback from my students and colleagues, I decided to continue with a second one, due to be released in the near future.
I hope you enjoy “Polyphonic Music for Accordion” Book 1.
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