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I Just Called To Say I Love You

photo of red telephone booth under blue sky

No New Year’s Day to celebrate
No chocolate covered candy hearts to give away
No first of spring, no song to sing
In fact, here’s just another ordinary day
No April rain, no flowers bloom
No wedding Saturday within the month of June
But what it is, is something true
Made up of these three words that I must say to you
I just called to say I love you
I just called to say how much I care
I just called to say I love you
And I mean it from the bottom of my heart
No summer’s high, no warm July
No harvest moon to light one tender August night
No autumn breeze, no falling leaves
Not even time for birds to fly to southern skies
No Libra sun, no Halloween
No giving thanks to all the Christmas joy you bring
But what it is, though old, so new
To fill your heart like no three words could ever do
I just called to say I love you
I just called to say how much I care, I do
I just called to say I love you
And I mean it from the bottom of my heart
I just called to say I love you
I just called to say how much I care, I do
I just called to say I love you
And I mean it from the bottom of my heart
Of my heart
Of my heart (baby, of my heart)

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My Girl

I’ve got sunshine on a cloudy day
When it’s cold outside
I’ve got the month of May
I guess you’d say
What can make me feel this way
My girl, my girl, my girl
Talkin’ ’bout my girl
My girl
I’ve got so much honey
The bees envy me
I’ve got a sweeter song
Than the birds in the trees
Well, I guess you’d say
What can make me feel this way
My girl, my girl, my girl
Talkin’ ’bout my girl
My girl
Ohh ohh
Hey hey hey
Hey hey hey
Oh yeah
I don’t need no money, fortune, or fame
I’ve got all the riches baby one man can claim
Well I guess you’d say
What can make me feel this way
My girl, my girl, my girl
Talkin’ ’bout my girl, my girl, talkin’ ’bout my girl
I’ve got sunshine on a cloudy day with my girl
I’ve even got the month of May with my girl
Talkin’ ’bout, talkin’ ’bout, talkin’ ’bout

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How I Got Started Playing Rock on the Accordion

“I don’t want people who want to dance. I want people who HAVE to dance.” –George Balanchine (Co-founder of the New York City Ballet)


So, yeah, it was pretty much like that for me from the start. Even when I was a kid in grade school being asked to play (or nominated to play by my sainted mother) at an assembly I would start rocking it a little bit, you know? I remember one time one of the Franciscan Nuns kind of stepped in and made me stop playing my very upbeat version of “My Bonnie,” because my classmates were enjoying it a little too much! (It’s not really a party until the cops are called, right?). This was when The Fab Four had started their epic climb to greatness–around 1964 or 65.


Anyway, I came to find out many years later that The Beatles actually had recorded a rocking version of “My Bonnie” when they were the backup band for Tony Sheridan! So, after The Beatles broke up we started getting all these bootlegs, and “previously unreleased” tracks and everything. I’m clerking in the record store (Riera’s Records in Danville, California) at the time for my godfather and we get this shipment of new releases including the aforementioned Tony Sheridan album “featuring” The Beatles. And I say to myself, “Well, THIS is interesting.” And there it is in the track listing—My Bonnie! So I break it open and give it a spin on the old turntable. Now, obviously I must say their version was vastly superior to my 5th Grade efforts. But there was something there in those Beatle’s grooves of vinyl that I connected with and recognized as a little bit similar to what I had produced and certainly a different rendition of the song from what a listener usually expects in the song–more of an easy-going waltz. And I was thrilled at the recognition because the fog of the naysayers had lifted, in a way. And I became more determined than ever to play the music I wanted to play on the instrument I wanted to rock out on.

So, think back to your own experiences. Try to Remember, as the old song goes, and if you remember, then follow! Follow your heart. Maybe it was a certain song that featured our beloved instrument (Think “We Can Work It Out” by The Beatles, or “Paper in Fire” by John Mellencamp). Maybe it was a certain artist (Think Bruce Hornsby) who utilized the accordion to great, rocking effect. Then, make YOUR move. There are terrific rockers inside you. Let. them. out.

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Don’t Worry Baby

https://www.youtube.com/watch?v=09mesUQxOtc&t=5s

This Beach Boys tune written by the great Brian Wilson remains one of my all-time favorites to play. Thinking of this song, I remember a breezy day in the early 80s. I stopped by Columbo and Sons Accordions in the North Beach district in San Francisco. At that time North Beach was still mostly Italian with a lot of accordion fans in the neighborhood. I was looking for what would later become known as a digital orchestral accordion. Alas, the digital world had not caught up to me yet.

However, Mr. Columbo did have some very outstanding instruments with full amplification which he generously allowed me to try out. First shot, right out of the box, I played this tune, “Don’t Worry Baby.” And before I had gotten through the first verse he had bolted out of his chair and opened the windows onto the street. Then, about six or seven neighbors came into the store with smiling faces, asking about the song. That was a great day.

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Memorizing and the Power of “Yet”

Memorization is a crucial skill for many music studies. Whether you need to remember the names of notes, the Circle of Fifths, spelling chords, musical formulas, or lines of song lyrics, memorizing can help you improve your performance and understanding of music. However, memorizing can also be challenging and frustrating for some people. If you find it difficult to memorize any of these things, try not to say “I cannot memorize this.” Instead, say “I have not memorized this yet.” This will help you approach the task with a more positive attitude and give you the motivation to keep trying until you succeed.
According to a study by Stanford University, having a growth mindset, which means believing that your abilities can improve with effort and practice, can enhance your learning and achievement1 Therefore, changing your self-talk from “I cannot” to “I have not yet” can make a big difference in your memorization skills and musical progress.
Sometimes, a musician will write out the lyrics of a song over and over with the chord symbols directly above the words. A few repetitions like this can fix it in their memory. One example of a musician who practices this technique is Taylor Swift, who writes catchy pop songs with simple chords. She does this to memorize the lyrics and the melody quickly, so she can perform them confidently on stage. Writing out the lyrics and chords repeatedly also helps her improve her songwriting skills and creativity. By doing this, she can write songs that resonate with millions of fans around the world.
One technique to help you memorize a text is to use a cover-up method. Use a sheet of paper or a 3 x 5 card to cover a page. Then slide the paper or card down, a line at a time, as you memorize. Keep going back to the beginning. This method will help you catch mistakes. By covering up the text, you force yourself to remember what you have played and test your memory. This can also improve your understanding of the phrases and holding the song in your memory.
Practicing retrieving information from memory is a useful learning strategy. Memories that are retrieved are strengthened, and unclear information can be embellished with additional details, further increasing comprehension and connecting ideas to other concepts. Retrieval practice helps students “use it or lose it,” just like practicing a language or an instrument. Struggling is a good thing for learning (what scientists call a “desirable difficulty”). Retrieval practice improves students’ understanding of their own learning process (what scientists call “metacognition”)1234.
Dr. Paul Revin’s quote is in line with the benefits of practicing retrieving information from memory. Retrieval practice is far more beneficial for learning than re-studying that information for the same length of time. It’s not what you think you know; it’s what you can prove you know5.
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Uptown Girl

Uptown girl
She’s been living in her uptown world
I bet she’s never had a backstreet guy
I bet her momma never told her why
I’m gonna try for an uptown girl
She’s been living in her white-bred world
As long as anyone with hot blood can
And now she’s looking for a downtown man
That’s what I am
And when she knows what
She wants from her time
And when she wakes up
And makes up her mind
She’ll see I’m not so tough
Just because
I’m in love with an uptown girl
You know I’ve seen her in her uptown world
She’s getting tired of her high-class toys
And all her presents from her uptown boys
She’s got a choice
Oh, oh, oh, oh
Oh, oh, oh, oh
Oh, oh, oh, oh
Oh, oh, oh, oh
Uptown girl
You know I can’t afford to buy her pearls
But maybe someday when my ship comes in
She’ll understand what kind of guy I’ve been
And then I’ll win
And when she’s walking
She’s looking so fine
And when she’s talking
She’ll say that she’s mine
She’ll say I’m not so tough
Just because
I’m in love
With an uptown girl
She’s been living in her white-bred world
As long as anyone with hot blood can
And now she’s looking for a downtown man
That’s what I am
Oh, oh, oh, oh
Oh, oh, oh, oh
Oh, oh, oh, oh
Oh, oh, oh, oh
Uptown girl
She’s my uptown girl
You know I’m in love
With an uptown girl
My uptown girl
You know I’m in love
With an uptown girl
My uptown girl
You know I’m in love
With an uptown girl
My uptown girl
You know I’m in love
With an uptown girl

 

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Swingin’ My Love

And when I go away
I know my heart can stay with my love
It’s understood
It’s in the hands of my love
And my love does it good
Whoa-whoa-whoa-whoa
Whoa-whoa-whoa-whoa
My love does it good
And when the cupboard’s bare
I’ll still find something there with my love
It’s understood
It’s everywhere with my love
And my love does it good
Whoa-whoa-whoa-whoa
Whoa-whoa-whoa-whoa
My love does it good
Whoa-whoa, I love, oh-whoa, my love
Only my love holds the other key to me
Oh-whoa, my love, oh-oh, my love
Only my love does it good to me
Whoa-whoa-whoa-whoa
Whoa-whoa-whoa-whoa
My love does it good
Don’t ever ask me why
I never say goodbye to my love
It’s understood
It’s everywhere with my love
And my love does it good
Whoa-whoa-whoa-whoa
Whoa-whoa-whoa-whoa
My love does it good
Whoa-whoa, I love, oh-whoa, my love
Only my love does it good to me
Whoa-whoa-whoa-whoa-whoa-
Whoa-whoa-whoa-whoa
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Going Against an Established Rehearsal Agenda

red and white piano instrument on brown wooden table
What happens when you go against an established rehearsal agenda that has worked so well for you in the past?
This is the question that I have faced at many points in my career. Whether it is due to a change in my mood, a shift in a client’s request, or a personal desire to explore new sounds and songs, going against an established agenda can be both challenging and rewarding.
I would like to share some of the benefits and the risks of going against an established rehearsal agenda, as well as some tips on how to do it successfully.
The Benefits
One of the main benefits of going against an established rehearsal agenda is that it can help you grow as a musician and as a person. By challenging yourself to try something new, you can learn new skills, gain new perspectives, and discover new possibilities. You can also demonstrate your creativity, initiative, and adaptability to your fellow musicians (bandmates) and clients, which can enhance your reputation and credibility.
Another benefit of going against an established rehearsal agenda is that it can help you find more fulfillment and satisfaction in your music. By pursuing your passions, interests, and values, you can align your music with your purpose and meaning. You can also enjoy more variety, excitement, and autonomy in your music, which does boost your motivation and engagement. I have found this one to be the main reason I do it sometimes. But until today, although I knew there WAS a flipside to this coin, I had not figured out WHAT that flipside is…
The RISKS
Going against an established rehearsal agenda ALWAYS comes with some risks. One of the main risks is that it can cause conflict and resistance from others who are used to your status quo. You may face criticism, opposition, or even hostility from your inner self, or your peers, who may not understand or appreciate your new approach. You also have to deal with uncertainty, ambiguity, and complexity that come with breaking away from the familiar and predictable. Having taken a while to establish my regular rehearsal agenda, it always gives me a much-needed sense of stability to stick to it.
Another risk of going against an established rehearsal agenda is that it can lead to failure or disappointment. By venturing into uncharted territory, you encounter unexpected challenges, obstacles, and setbacks that may derail your plans or goals. You can also realize that your new agenda is not as feasible, desirable, or rewarding as you thought. You may have to face the consequences of losing time (most valuable), money (still pretty valuable) or credibility with your peers. Not good.
Tips for going against an established rehearsal agenda successfully
Here are some things to consider:
  • Do your homework. Before you decide to go against an established rehearsal agenda, make sure you have clarity about the situation, the reasons behind it, and available alternatives . Gather some information to support your new agenda and to anticipate challenges or objections.
  • Communicate effectively. Once you have decided to go against your regular rehearsal agenda, communicate your desired results, and goals clearly and persuasively to your stakeholders–which includes yourself. Explain the benefits and risks of your the new agenda and how it aligns with your purpose. Listen to feedback and address any concerns constructively.
  • Be flexible and resilient. As you begin the new agenda, adapt and adjust to changing circumstances. Remain open to learning from mistakes and failures and use them as opportunities to improve and innovate. Be persistent and optimistic in pursuing your new agenda and celebrate your achievements along the way.
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Let’s Stay Together

clear glass candle holder
I’m, I’m so in love with you
Whatever you want to do
Is all right with me
‘Cause you make me feel so brand new
And I want to spend my life with you
Let me say that since, baby
Since we’ve been together
Ooh
Loving you forever
Is what I need
Let me be the one you come running to
I’ll never be untrue
Ooh baby
Let’s, let’s stay together (Together)
Loving you whether, whether
Times are good or bad, happy or sad
Ooh, ooh, yeah
Whether times are good or bad, happy or sad
Why, somebody, why people break-up
Oh, turn around and make-up?
I just can’t deceive
You’d never do that to me (Would you, baby?)
Stayin’ around you is all I see
(Here’s what I want us to do)
Let’s, we oughta stay together (Together)
Loving you whether, whether
Times are good or bad, happy or sad, come on
Let’s, let’s stay together
Loving you whether, whether
Times are good or bad, happy or sad
Let’s Stay Together
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Recital Coming Up? Do These…

If you find yourself stressing at hearing the word “recital” it’s time to do something about it. If you have rehearsed regularly there is absolutely no need to panic. If you haven’t, a cool head is the first requirement and always your best friend.

Recitals, you must realize, are not conspiracies directed at you by your instructors or distant supervisors of your instructors. Nor are they organized attempts to trip you up or catch you off your guard.
Rather, the purpose of a recital is to determine, whether, over an extended period of time, you learned something which you did not previously know.

You always know sometime ahead that your recital is coming; but you may, like an ostrich with its head in the sand, pretend not to notice.

Beware.

Time is too short, but the chances are you will try to do more than you can and become even more stressed out…

So, about a week before the recital, pull your material together. Put your notes in the order of your repertoire and review effectively. Most of the time you need only remind yourself of the main themes to the selections. Your teacher would not give you much more than you can handle. Maybe a little more in order to get you to stretch your limits, but not much more. Relax and take action.

Stand back. See and hear what you still need to know. Go to work filling in any remaining little blanks. DO NOT WASTE YOUR PRECIOUS TIME GOING OVER ANYTHING YOU ALREADY KNOW
WELL.

Get to bed early the night before a recital. Not only should your mind be clear; you must be as physically alert as possible and not worn out by insufficient sleep. Can you imagine an athletic team practicing all night because the next day’s game was going to be difficult?

If you happen to fall ill on the day of your recital, say so. You will do better to play at the next recital, and you don’t help anybody trying to do your best when you do not feel well. On the other hand, if you are in the grip of fear, fight it out! (And don’t pretend
to have a headache.) You must face your fear sometime, just as new college students must get over homesickness, and the sooner the better.

It is best to get to your recital a little ahead of time. Be sure to bring all the equipment you need. Don’t count on borrowing it. Forget about the other musicians on the program. Don’t keep checking up on the progress of others and the state of mind of
your friends. You will have enough time to talk to them after the recital.

Recitals are as much a part of your music learning as your lessons. They give all of us at least a couple of unpleasant hours; but if you
will look at them and see what they really are (a super opportunity to improve) you will become much more relaxed.

Rocky’s Reminder: When they call your name, know your number.

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