Will Holzhauser

All right. Well, here's some very high notes with special overtones. If you shake the bellows, you can make it shimmer like that. You can do these bending notes like I showed you before. There's sort of nice clusters you can get. I'm letting her hand flop around on the keyboard like a fish. There's rhythmic things you can do with the bellows.

Sometimes when I play for my daughter's class, I'll do a train effect. The kids like that.

Sometimes when I play for my daughter's class, I'll do a train effect. The kids like that.

Sometimes when I play for my daughter's class, I'll do a train effect. The kids like that.

Anyway, so yeah, and that's done by shaking the bellows back and forth. So yeah, there are all kinds of things. You can do, you know, you can use the breath, the breathing sound. And you just heard the bellows kind of squeezing, flopping together. So yeah, there's a whole bunch of... The effects you can get.

Anyway, so yeah, and that's done by shaking the bellows back and forth. So yeah, there are all kinds of things. You can do, you know, you can use the breath, the breathing sound. And you just heard the bellows kind of squeezing, flopping together. So yeah, there's a whole bunch of... The effects you can get.

Anyway, so yeah, and that's done by shaking the bellows back and forth. So yeah, there are all kinds of things. You can do, you know, you can use the breath, the breathing sound. And you just heard the bellows kind of squeezing, flopping together. So yeah, there's a whole bunch of... The effects you can get.

Okay.

Okay.

Okay.

Well, one of the kinds of work that I've really enjoyed doing as an accordionist in New York over the last 20 years or so is accompanying singers. And I've had great pleasure to accompany some singers that do French repertoire from the chanson tradition, which of course just means song. But it's, for example, the most famous exponent of the chanson tradition is Edith Piaf.

Well, one of the kinds of work that I've really enjoyed doing as an accordionist in New York over the last 20 years or so is accompanying singers. And I've had great pleasure to accompany some singers that do French repertoire from the chanson tradition, which of course just means song. But it's, for example, the most famous exponent of the chanson tradition is Edith Piaf.

Well, one of the kinds of work that I've really enjoyed doing as an accordionist in New York over the last 20 years or so is accompanying singers. And I've had great pleasure to accompany some singers that do French repertoire from the chanson tradition, which of course just means song. But it's, for example, the most famous exponent of the chanson tradition is Edith Piaf.

And for a while I was playing with a great singer from France named Michel Hermon. And I was the only accompanist. It was really fun because it was just vocals and accordion. So I was the entire backdrop. And he was very good at coaching me in harmonizing. developing these accompaniments. He said a song, one of these songs is like a movie.

And for a while I was playing with a great singer from France named Michel Hermon. And I was the only accompanist. It was really fun because it was just vocals and accordion. So I was the entire backdrop. And he was very good at coaching me in harmonizing. developing these accompaniments. He said a song, one of these songs is like a movie.

And for a while I was playing with a great singer from France named Michel Hermon. And I was the only accompanist. It was really fun because it was just vocals and accordion. So I was the entire backdrop. And he was very good at coaching me in harmonizing. developing these accompaniments. He said a song, one of these songs is like a movie.

So this verse is one scene and you need to create a backdrop. Maybe it's like a sunny day or something. Then the next verse or the next part of the song is totally different, create a different backdrop. So to me, learning about that tradition, which is a little different from the musette tradition. The musette tradition is more the waltzes, the dances, the dance music.

So this verse is one scene and you need to create a backdrop. Maybe it's like a sunny day or something. Then the next verse or the next part of the song is totally different, create a different backdrop. So to me, learning about that tradition, which is a little different from the musette tradition. The musette tradition is more the waltzes, the dances, the dance music.

So this verse is one scene and you need to create a backdrop. Maybe it's like a sunny day or something. Then the next verse or the next part of the song is totally different, create a different backdrop. So to me, learning about that tradition, which is a little different from the musette tradition. The musette tradition is more the waltzes, the dances, the dance music.

Thank you.