Gráfico do sistema de baixo stradella

Sistema de baixo Stradella.
O Stradella Bass System (às vezes chamado de baixo padrão) é um layout de botões equipado no lado de baixo de muitas acordeões, que usa colunas de botões dispostos em um círculo de quintas; isso coloca os principais acordes principais de uma tecla (I, IV e V) em três colunas adjacentes. Em um layout típico, como na foto, cada coluna contém, em ordem:
O gráfico a seguir mostra um layout comum de Stradella de 120 botões.
Cada nota de baixo e cada tom de um acorde geralmente soam simultaneamente em múltiplas oitavas. Acordeões maiores oferecem algum controle sobre a vozagem com chaves de registro. [1]
Em acordeões modernos, cada botão de acorde soa três afinações individuais. Os primeiros acordeões soaram quatro notas para o sétimo e diminuíram os acordes. Os modernos sistemas Stradella omitem o quinto destes dois acordes, [1] permitindo maior versatilidade. Por exemplo, um acorde de sétima aumentada pode ser criado usando o botão de acorde de sétima dominante e adicionando um 5º aumentado do manual do lado direito ou de um dos botões de baixo ou contrabaixo.
Na maioria dos layouts russos, a sétima linha de acordes diminuída é movida por um botão, de forma que o acorde de sétima diminuta de C é onde o acorde de sétima diminuta de F estaria em um layout padrão de Stradella; isso é feito para alcançar uma melhor acessibilidade com o dedo indicador.
Ao nomear os botões de acordes, os acordes maiores geralmente são sufixados com "M", por exemplo, "CM", para distingui-los das notas graves.
Na notação de pessoal, as notas abaixo do centro da equipe do baixo-clave são notas graves, e as notas acima do centro do bastão geralmente indicam botões de acordes, rotulados como necessários com "M", "m", "7" ou "d "ou" dim ".
Dentro desta convenção, a oitava escrita para notas graves é arbitrária, já que o sistema Stradella não possui botões para oitavas superiores e inferiores.
Como soou, com uma possível oitava expressando:
As notas graves a serem reproduzidas na linha do terço maior (contra-ataque) são indicadas por linhas "tenuto" reaproveitadas abaixo das notas (como na nota de baixo E no exemplo acima) ou nomes ou números de notas sublinhados.
As linhas de baixo de uma única nota são frequentemente rotuladas como "B. S." (solo de baixo ou bassi soli), especialmente quando se estendem acima do meio da pauta.
Tal como acontece com o piano, os dedos são numerados de 2 a 5, começando com o dedo indicador, espelhando o dedilhado da mão direita. Como regra, o polegar, numerado 1, não é usado.
Os padrões podem ser reproduzidos de forma idêntica em qualquer tecla desejada, alterando apenas a posição inicial; Isso ocorre porque, diferentemente de um teclado de piano, o layout do Stradella não distingue entre "naturais" e "sharps".
Baixo e acordes.
4-3 é um dedilhado recomendado para uma nota de baixo e seu maior acorde correspondente (por exemplo, C-CM-C-CM). [2] Para graves alternados com a raiz e quinto, 4-3-2-3 pode ser usado para acordes maiores (por exemplo, C-CM-G-CM), 4-2-3-2 para acordes menores e outros tipos de acordes (por exemplo, C-C7-G-C7).
Escalas, corridas e outras linhas de baixo são reproduzidas nos botões de nota de baixo, a linha ou linhas mais próximas do fole (linha de raiz, linha de terços opcional, linha de terços secundários opcional).
Escalas principais.
A escala maior pode ser dedilhada sem esticar a mão, tocando "do re mi fá sol la ti do" em qualquer tecla como r4r2t4r5 / r3t5t3r4 (r = linha de raiz, t = terceira linha) ou , com movimento mínimo do dedo indicador, r3 r2t3r4 / r2t4t2r3.
Escalas menores.
Um dedilhado recomendado para menor harmônico: [3]
Melódico menor (diferente ascendente e descendente):
Registre as chaves.
Acordeões maiores e mais caros podem ter até sete comutadores de registro no lado do baixo de Stradella, controlando as oitavas e a voz das notas de baixo e acordes, semelhantes em conceito aos comutadores de registro de agudos. [1] Acordeões menores ou mais simples podem não ter interruptores de graves ou um único comutador que alterna entre duas configurações.
Com o registro Soprano ou Alto selecionado, os botões graves duplicam exatamente as notas individuais dos acordes, sem as usuais baixas oitavas.
Um acordeão com dois interruptores de registro no lado do baixo pode fornecer registros Tenor e Master, enquanto acordeões com switches adicionais podem ter subconjuntos maiores tomados mais ou menos do meio da tabela acima. [4]

Gráfico do sistema de baixos de Stradella
Bem-vindo ao "smorgasbord acordeão". Aqui você encontrará algumas informações úteis relacionadas ao acordeão. Você pode, por exemplo, baixar gratuitamente um gráfico de combinação de acordes!
Se o seu computador não conseguir abrir os documentos PDF em destaque, instale o Adobe Acrobat Reader da Adobe (software gratuito).
O acordeão alternativo de Nydana:
Uma proposta de baixo de acordeão mais recente:
Luva de acordeão de Nydana:
Uma alternativa à notação tradicional - perfeita para o acordeão de botões cromáticos:
Tipos de Acordeão.
Existem muitos tipos de acordeões. Os mais comuns são acordeões de piano e acordeões de botões cromáticos. Os acordeões de botões cromáticos vêm principalmente em duas versões diferentes: sistema B e sistema C. Há também o acordeão de Kravtsov, menos conhecido; e hoje em dia raramente usado Acordeão Uniforme (ou Reuther).
O baixo mais comum é o baixo Stradella padrão com seus acordes predefinidos. Acordos tradicionais franceses, belgas e russos podem diferir em seus respectivos arranjos de Stradella. Há também algo chamado free-bass, no qual não há acordes predefinidos.
Abreviações que serão usadas aqui:
Carta de Combinação de Acordes de Nydana.
Este documento mostra o layout do Stradella e como combinar botões de acordes para produzir vários tipos de acordes. Um interessante artigo de Stephen Keen, encontrado no site do acordeon de Hans Palm, foi a fonte de inspiração para este gráfico de combinação de acordes. A combinação de acordes da mão esquerda pode ser útil quando você quiser deixar sua mão direita livre para executar linhas melódicas rápidas enquanto fornece todos os tipos de acordes com a mão esquerda. Os acordes que você obtém com essas combinações estão corretos a partir de um ponto da teoria musical, mas a voz de cada acorde - ou seja, em que oitava cada nota é colocada - é predeterminada no seu acordeão quando um interruptor de registro específico for selecionado.
Deve ser lembrado que em muitos casos pode ser melhor tocar acordes simples com a mão esquerda e adicionar notas na mão direita para obter a harmonia desejada - dessa forma você tem mais controle sobre a voz dos acordes. Por exemplo, um acorde Cmaj7 é formado se você combinar um simples acorde C esquerdo com o sétimo maior (B) em sua mão direita. Se você quer jogar C13, você pode jogar C7 com sua mão esquerda e Dm com sua mão direita. Você pode jogar C7 + jogando C7 em sua mão esquerda, enquanto preenche o +5 (G #) em sua mão direita. Isso é possível porque o quinto está faltando no botão de acorde C7 da mão esquerda. Da mesma forma, você pode preencher um -5 (Gb) em sua mão direita e obter um C7-. Os acordes C7 + e C7- geralmente podem funcionar como um substituto para C + e C - respectivamente. Para um bom substituto de Csus4, tente C11, C7sus2 ou C9sus4.
Os acordes produzidos pelos botões de acordes geralmente são compostos de notas tiradas de um intervalo de duas oitavas. Isso faz com que seja um tanto irrelevante falar de inversões de acordes particulares - ou de voz entre os acordes. Se um botão de acorde C estiver soando as seguintes notas: GCEGCE, então você realmente tem todas as três inversões escondidas lá: CEG, GCE e EGC.
Você não pode ativar as notas em um acorde predefinido individualmente. No entanto, se o seu acordeão baixo apresenta um registro alto, onde os botões fundamentais e de contra-som soam apenas as mesmas palhetas que os botões de acordes usam, então vários acordes podem ser formados usando apenas os botões de baixo. Uma melodia pode então ser tocada nesses acordes, na sua mão direita. Se acontecer de você ter um CBA (e mãos grandes o suficiente), você pode até mesmo ser capaz de gerenciar notas de melodia e baixo com a mão direita. Assim, é possível reproduzir um Csus4 pressionando os botões graves F e G, enquanto reproduz um C inferior (e possivelmente uma linha de melodia) na mão direita.
No caso em que os botões de baixo estão soando apenas as mesmas palhetas dos botões de acordes, algumas combinações de acordes adicionais (não mencionadas no gráfico) são realmente possíveis. Por exemplo, se você combinar o botão de acorde em C maior com os botões de baixo para D e A, você obterá as notas correspondentes a C6 [9].
O diagrama superior no gráfico mostra o layout completo do Stradella. Depois, há também um diagrama que mostra apenas os botões graves e suas relações intervalares. Por exemplo, para reproduzir o equivalente a uma escala maior nos botões de baixo, use a seguinte sequência: 1 2 3 4 5 6 M7 1 (os intervalos 1, 4 e 5 são intervalos perfeitos; 2, 3 e 6 são intervalos maiores).
Em relação à tabela de combinações de acordes PDF abaixo: imprima as duas páginas em cada face de uma única folha de papel (se a sua impressora permitir) ou imprima em duas folhas separadas e coloque-as de volta em uma capa plástica transparente para fácil consulta sempre você toca o acordeão.
Aqui está um layout de Stradella ampliado:
Acordeão de Piano vs. Acordeão de Botão Cromático.
Este documento tenta comparar, de forma objetiva, os prós e contras do respectivo sistema. Ele também permite que você dê pontos a qualquer sistema para descobrir qual é o melhor para suas necessidades.
CBA-C versus CBA-B.
Caso você tenha decidido começar a tocar o acordeão de botão cromático (CBA), pode ser difícil escolher entre o sistema C e o sistema B (também pode ser chamado de C-griff e B-griff ou C-grip e B-grip). O sistema C é utilizado, por exemplo, na França, na Itália e na Suécia, sendo também por vezes referido como "sistema internacional". Na Finlândia eles também tocam o sistema C, mas as linhas foram deslocadas para que a nota E seja encontrada na primeira linha. O sistema B é usado, por exemplo, na Rússia e na Noruega.
O sistema C é fortemente associado ao musette francês, enquanto o sistema B é preferido para a música balcânica.
Ao comparar estes dois sistemas, também pode ser interessante considerar os sistemas de baixos livres associados a cada tipo.
Recursos do sistema C.
O sistema C parece um pouco mais como um acordeão de piano quando você o toca. As diagonais, ao longo das quais os dedos se alinham naturalmente, apresentam segundos principais. Isso torna a música diatônica bastante confortável de tocar. Normalmente, você pode colocar todos os dedos disponíveis nos botões que devem ser tocados e, assim, conseguir um "fluxo de legato" muito bom - muito parecido com o acordeão de piano - desde que você saiba como empregar as linhas duplicadas com eficiência.
Um enfeite musical muito comum é o chamado turno. Por exemplo, poderia ser assim: C - & gt; D - & gt; C - & gt; B - & gt; C. Este padrão particular é muito confortável no sistema-C.
As formas básicas para acordes menores e maiores são confortáveis, especialmente ao adicionar a raiz (nota mais baixa) na parte superior do acorde, como C_Eb_G_C, desde que as linhas duplicadas sejam às vezes empregadas.
O sistema C geralmente é bem adequado para música e harmonia melódica / diatônica. A escala C diatonic major, por exemplo, tem na maior parte etapas inteiras, e somente duas meias etapas entre E e F, e B e C, respectivamente. Uma escala como essa terá um bom fluxo ao longo dos botões ao usar todas as cinco linhas.
As filas duplicadas são colocadas confortavelmente e, portanto, muito convenientes para interruptores fáceis no legato, sem ter que cruzar o dedo indicador sobre o polegar, por exemplo.
O polegar se move muito naturalmente em passos cromáticos ao longo das diagonais. O polegar talvez também seja mais provável de ser empregado do que no sistema B.
Recursos do sistema B.
As diagonais de botões que estão alinhadas com os dedos são organizadas cromaticamente, e isso pode ser útil para quem gosta de tocar música balcânica; ou, para música tecnicamente desafiadora que contém muitas passagens cromáticas.
O sistema B torna um pouco mais fácil manter três linhas (ver D_F # _A_D nas três primeiras linhas de um CBA-C). O sistema B também é conveniente caso você não queira usar o seu polegar.
Alcançar a próxima nota mais alta a meio passo, especialmente com o dedo mindinho, é talvez um pouco mais conveniente do que no sistema C (onde você se distancia rapidamente).
O sistema B permite o deslizamento de um semitom (uma técnica usada freqüentemente em rock e blues) da mesma maneira que você faz no piano (e além disso, você não está limitado a deslizar somente dos botões que correspondem ao piano). chaves pretas).
Existem, no entanto, outras técnicas para alcançar a mesma coisa em um CBA-C que podem ser igualmente eficazes. Um típico órgão de Hammond ou lampejo de blues de piano às vezes requer o deslizamento simultâneo de duas notas, ambas com um semitom. Por exemplo, para ir de C_Eb_F # para C_E_G no CBA-C, tente colocar o polegar, o dedo anelar e o dedo mindinho em C_Eb_F #, respectivamente. Mantenha o polegar na mesma posição, mas deslize todos os outros dedos para baixo, de modo que o indicador e o dedo médio fiquem em E e G, respectivamente. Essa técnica pode ser executada em qualquer chave. By the way, a mudança de acordes em questão também pode ser feito no baixo Stradella.
De um modo geral, o CBA-B pode fazer slides simples dois semitons para baixo ou um semitom para cima. Por outro lado, o CBA-C pode facilmente deslizar dois semitons para cima ou um semitom para baixo. Deslizar um semitom pode ser usado extensivamente também.
Às vezes, as linhas duplicadas exigirão que você cruze o dedo indicador sobre o polegar, da mesma maneira que faz no piano, para tocar algumas notas legato. Neste caso particular, a mão é movida mais para cima do que no sistema C, uma vez que os botões duplicados são posicionados um pouco mais acima ao longo da linha de botões.
Outra conseqüência de como os botões duplicados são posicionados é que, ao alternar entre um botão e sua duplicata, a mesma nota aparece repetidamente, parece mais fácil e mais confortável no sistema B; embora seja preciso lembrar que essa técnica não pode ser usada na terceira linha de um CBA de cinco linhas, simplesmente porque a terceira linha não possui linha duplicada. Em geral, no entanto, técnicas mais comumente usadas, que envolvem dedos alternados, normalmente seriam usadas.
Free Bass Systems Compared.
Por que o baixo livre? Free-bass dá ao acordeão um som diferente - um som que é adequado para todos os tipos de música, mas funciona particularmente bem com música clássica, jazz e pop. Free-bass permite tocar partituras escritas para piano. Você pode tocar melodias em sua mão esquerda que se estendem por várias oitavas. Os acordes podem ser reproduzidos em diferentes inversões.
O baixo livre às vezes também é chamado baixo melódico porque você pode tocar uma melodia no baixo sem experimentar as quebras de oitava que às vezes você usa com um baixo Stradella (embora se deva lembrar que geralmente há múltiplas oitavas tocando quando você toca um baixo Stradella, que o efeito de tornar essas oitavas menos aparentes).
A maioria dos acordeões que apresentam graves livres são os chamados acordeões de conversão, o que significa que você pode alternar, com a ajuda de interruptores de registro, entre o layout usual de Stradella e um layout de graves livre.
É difícil jogar o baixo livre? Não precisa ser mais difícil de jogar do que a Stradella; mas para obter um som mais completo, tanto a mão esquerda quanto a direita precisam estar muito ativas. Ser capaz de ler partituras é desejável, mas você também pode aprender a improvisar partes de baixo a partir de símbolos de acordes se você não gosta de ler clave de fá.
Saltos longos na mão esquerda podem ser evitados (a menos que você queira imitar uma Stradella tocando um acompanhamento de passos). Além disso, as passagens cromáticas, em um baixo livre cromático, também são muito fáceis.
Existem vários sistemas de graves livres em uso (apenas os mais comuns são mencionados aqui). Você tem layouts cromáticos que são semelhantes ao lado direito de um acordeão de botões cromáticos. Esses layouts tornaram-se mais ou menos a norma e são relativamente fáceis de aprender e de jogar. Vamos chamar esses FB-C, FB-S, FB-N e FB-R, respectivamente (onde FB significa Free Bass). Então nós também temos o Quint Free Bass, que poderíamos chamar de FB-Q. É apresentado em quintas, em vez de ter notas arranjadas cromaticamente.
Aqui estão algumas das características que os sistemas de graves livres cromáticos têm em comum:
Não é necessário manter o controle de qualquer quebra de oitava (cf. FB-Q) Bom para progressões de acordes da mão esquerda Pode potencialmente ter um alcance de quase até cinco oitavas sem alternar registros.
O FB-C é o baixo livre cromático mais utilizado. Você o encontra em CBA-C e PA (exceto na Rússia, onde um PA normalmente terá FB-B). É uma versão espelhada do lado direito de um CBA-C. O FB-S é basicamente um FB-C que é deslocado um passo mais próximo do fole. Notas baixas estão mais perto do seu queixo. O FB-C possui os seguintes recursos:
Passos cromáticos fáceis e confortáveis ​​Seus dedos mais fortes trabalham as notas graves mais baixas, e notas mais altas são adicionadas ocasionalmente com os dedos menos fortes, como o dedo mínimo. As notas graves consomem mais ar e, se você segurar a mão mais acima no instrumento, pode produzir mais facilmente um maior fluxo de ar e ter melhor controle do fole Quando você lê a música, tanto a mão esquerda quanto a mão direita se movem para baixo quando os símbolos de nota se movem para cima Os acordes geralmente são confortáveis.
O FB-N às vezes é usado com o CBA-B (principalmente na Noruega) e é uma versão espelhada do layout do lado direito. Tem os seguintes recursos:
Seus dedos mais fortes trabalham as notas graves mais baixas, e notas mais altas são adicionadas ocasionalmente com os dedos menos fortes, como o dedo mindinho. As notas graves consomem mais ar e, se você segurar a mão mais acima no instrumento, pode produzir mais facilmente maior fluxo de ar e melhor controle do fole Quando você lê a música, tanto a mão esquerda quanto a direita se movem para baixo quando os símbolos de notas se movem para cima Bom para usar apenas três linhas (menos necessidade de usar qualquer linha duplicada)
FB-R (R para Reversed, ou Russo) é o baixo livre cromático que possui as notas sonoras mais baixas mais próximas do solo. O alcance disponível pode influenciar a altura em que o instrumento sua mão é normalmente segura. As notas mais baixas podem ser um pouco mais difíceis de controlar porque seus botões estão no fundo e serão operadas pelos dedos menos fortes. É mais difícil alcançar intervalos como 10ºs. O FB-R possui os seguintes recursos:
Ter notas baixas perto do chão é, por algumas pessoas, mais natural, especialmente se você toca piano Acordes consomem mais ar do que notas simples, então para estes pode ser bom tê-los mais acima no instrumento, para melhor fole controle Seus dedos mais fortes podem ser usados ​​para corridas enquanto o dedinho toca uma nota de baixo Passagens cromáticas fáceis e confortáveis ​​Bom para usar apenas três linhas (menos necessidade de usar qualquer linha duplicada)
FB-Q (Quint) tem as linhas de contrabaixo e contra-stradella duplicadas duas vezes, com oitavas cada vez mais altas em direção à faixa de baixo. Tem um alcance máximo de quase três oitavas sem comutar registros. Tem os seguintes recursos:
Fácil de adaptar se você já toca Stradella Você pode alcançar notas distantes umas das outras (em termos de pitch) dentro do mesmo sistema uniforme.
Ao tocar um baixo livre cromático, a mão pode se sentir um pouco apertada se não for posicionada corretamente. Se isso acontecer, coloque seus dedos nos botões que você está prestes a tocar, deslize a palma da sua mão o máximo que puder. Deve parecer que você tem que esticar um pouco para alcançar os botões mais adiante na placa do botão. Sempre preste muita atenção para onde a palma da mão é colocada de modo que a mão possa ser relaxada. Para poder colocar sempre a palma da mão numa posição perfeita, recomenda-se usar uma luva de baixo atrito.
Conversor de graves.
Um acordeão conversor tem um Stradella e um arranjo de baixo livre. Alguns dos interruptores de registradores em um acordeão de conversor irão ativar os vários modos de graves livres. O documento abaixo mostra um típico layout de baixo do conversor com um baixo livre cromático do sistema C (que é mais ou menos o sistema padrão tanto no CBA-C como nos acordeões de piano). Observe, no entanto, que a maneira como as linhas de baixo de Stradella e as linhas dispostas cromaticamente estão posicionadas em relação umas às outras, pode variar entre diferentes acordeões. Embora o baixo conversor seja extremamente versátil, deve-se ter em mente que um acordeão comum, que possui apenas um baixo Stradella, pode ser otimizado para o som Stradella.
Organizando Chaves de Registro.
A ordem em que os registros se alinham em cada lado do acordeão talvez deva seguir um padrão comum. Aqui está uma proposta que estaria de acordo com o que você vê em muitos acordeões já:
Coloque o interruptor de som mais escuro na posição superior (mais próxima do queixo), em ambos os lados do acordeão. Deixe os outros interruptores seguirem em sucessão, do escuro para o claro, em direção ao chão. A suposição feita aqui é que a escuridão relativa ou brilho é percebida como a média das palhetas individuais.
Para o lado de baixo em um acordeão de conversor, qualquer comutador dedicado exclusivamente a baixo livre deve aparecer mais próximo do queixo, seguido pelo resto dos comutadores.
Observe que nem sempre é possível ter todos os comutadores concebíveis disponíveis em um acordeão, já que isso exigiria muitos comutadores de registro. Além disso, as sugestões abaixo não levam em consideração o uso de chaves de registro duplicadas.
L = baixo, M = médio, H = alto.
LMH & rArr; L, LM, LH, LMH, M, MH, H.
Escolhendo o tipo certo de acordeão.
Olá, sou Dan Lindgren, o editor deste site. Talvez você tenha procurado este site porque queria saber mais sobre vários tipos de acordeão e seus layouts de teclado? Caso ainda não tenha decidido o que escolher, permita-me contar-lhe minhas próprias experiências.
Eu comecei com acordeões de piano desde que eu já tinha alguma experiência tocando piano. Então eu comprei um CBA-C barato e tentei por um tempo. Várias fontes confiáveis ​​na internet (e na vida real) apontaram para as vantagens do CBA-B, então eu consegui me apossar de um desses também, só para poder comparar.
No começo, foi estranho migrar para os botões, e houve momentos em que me senti tão frustrado que queria desistir da CBA. Mas, lentamente, começou a fazer sentido. Concentrei-me principalmente na CBA-B durante alguns anos e funcionou relativamente bem.
Então eu peguei CBA-C novamente para ver como seria, agora que eu tinha mais experiência com botões. Durante esta transição eu fiquei totalmente perplexo e me encontrei incapaz de jogar o tipo C ou B por algum tempo! Para ajudar a mim mesmo, imaginei a linha C # como uma espécie de "pivot" e concluí que as outras duas linhas (contendo C e D, respectivamente) simplesmente mudam de lugar quando você muda de CBA-B para CBA-C, ou vice-versa.
Depois de ter experimentado o CBA-C por um tempo prolongado, decidi que este era o tipo de acordeão que eu mais gostava - e ainda é o que eu uso hoje.
Para o lado do baixo, eu queria algo além do habitual Stradella bass. Eu tentei baixo cromático gratuito e notei que era possível fazer coisas que o Stradella não conseguia fazer. O Stradella, por sua vez, poderia fazer coisas que aquele free-bass não poderia (acho que é por isso que temos acordeões de conversores).
Por um grande número de anos eu examinei vários layouts de baixo que outros tinham inventado, e eu também criei vários layouts alternativos. Estou agora, mais do que nunca, convencido de que os novos layouts de baixo que apresento neste site representam uma mistura muito boa das melhores qualidades de Stradella e baixo livre.
Então, como é o acordeão ideal para mim? Eu prefiro um pequeno acordeão que não pesa mais de 7 kg (15 lbs). Aqui está uma lista de outros detalhes sobre o meu acordeão preferido:
CBA-C de 5 filas com D (!) Na primeira fileira RH e com meu próprio design de baixo. Os botões RH e C podem ter marcas táteis, mas apenas na segunda e quarta filas. Apenas duas vozes no lado direito (fagote e clarinete), com três chaves de registro comuns (sem chave de palma principal). Faixa RH: pelo menos 44 notas (de D a A) e nenhum botão falso.
Felizmente eu quase já tenho esse tipo de acordeão, já que tenho um acordeão modificado (e muito barato) que difere principalmente das minhas especificações, pois ele tem um layout comum de RH no sistema C, dois registradores de graves e 96 botões de LH.
Se você quer saber por que eu gostaria de ter D na primeira fila, aqui estão as razões:
Se as três linhas no meio forem as linhas primárias, algumas notas serão mais fáceis de alcançar com o polegar ou o dedo mínimo na primeira linha. O cotovelo será ligeiramente abaixado ao jogar as três linhas primárias no meio. O layout RH agora se torna uma combinação perfeita para os vários layouts LH que eu linko no topo desta página.

Acordeão / mão esquerda.
O sistema de baixo Stradella (também chamado de baixo padrão às vezes) é um tipo de layout de botão que você encontra no lado esquerdo (ou baixo) de quase todos os acordeões. Usa colunas de botões dispostos em um círculo de quintas.
Cada coluna diagonal tem, na ordem dos botões mais internos para os mais externos:
O terço maior acima (ou menor sexto abaixo, dependendo de qual nota) a raiz ("contrabaixo") A nota principal O acorde maior da nota principal O acorde menor da nota fundamental O acorde de sétima dominante da nota base O acorde diminuto da sétima nota.
Pequenos acordeões às vezes carecem de algumas dessas linhas, mas para os fins deste guia, vamos supor que você tenha o complemento total de botões.
Este é um gráfico de como um layout baixo padrão de 120 botões será:
Dica: considere a possibilidade de imprimir este gráfico e consultá-lo ao continuar com este guia. Você pode achar útil ter uma representação visual das instruções descritas.
O "C" do meio geralmente tem um solavanco ou um buraco para você se sentir, para facilitar a localização dos botões da esquerda sem olhar para eles. Os planos A e E também terão algum tipo de marcação às vezes.
Colunas horizontais são organizadas em uma ordem diferente: cada coluna sobe um quinto à medida que você sobe no quadro de baixo. Portanto, um "G" estaria acima do "C" do meio, e um "F" estaria abaixo do "C" do meio, um "D" estaria acima do "G" e assim por diante.
A maioria dos acordeões em tamanho real tem 120 ou, menos comumente, 96 botões. Todas as notas em uma oitava são abrangidas por ambos os sistemas, para que você possa tocar em qualquer tecla.
Ao tocar com os botões de baixo, você usa todos os dedos, mas o polegar, que deve ficar na placa ao lado do acordeão.
A maioria dos acordeões também tem um botão de ar na lateral do instrumento que não toca nenhuma nota, mas em vez disso permite que o ar entre e saia do instrumento.
Se você tiver um instrumento grande o suficiente, provavelmente haverá um ou mais botões próximos à linha mais interna de botões (próximo ao fole). Ao pressioná-los, você pode controlar quais palhetas no manual do lado esquerdo estão soando para criar diferentes timbres apropriados para a música que você está tocando, semelhante aos interruptores na mão direita.
Nas próximas páginas, aprenderemos o básico de tocar um acompanhamento simples ou uma melodia nos baixos. Basta usar a navegação abaixo para voltar ou avançar.

Acordeão / Versão Impressa.
Você não verá essa mensagem ou qualquer elemento que não faça parte do conteúdo do livro ao imprimir ou visualizar essa página.
O acordeão é um instrumento musical em forma de caixa portátil da família de aeroplanos de bordo livre acionada por fole de mão, coloquialmente conhecido como uma caixa de pressão. Uma pessoa que toca o acordeão é chamada de acordeonista.
O instrumento é tocado comprimindo ou expandindo seu fole, enquanto pressiona botões ou teclas, fazendo com que válvulas chamadas paletes se abram, permitindo que o ar flua através de tiras de metal chamadas palhetas que vibram para produzir som dentro do corpo, que então escapa pelas grades.
Existem três tipos principais de acordeão: o acordeão de botão diatônico, o acordeão de botão cromático (às vezes chamado de bayan) e o acordeão de piano cromático unisorico.
Embora o acordeão tenha, em alguns círculos, a reputação de ser instrumentos baratos, capazes de tocar apenas polcas e música folclórica, nem sempre é esse o caso! Um acordeão de tamanho normal e bem conservado nas mãos certas pode tocar quase qualquer tipo de música, desde música clássica como Bach e Chopin até o jazz e pop, e muito convincentemente também. De fato, muitos conservatórios e universidades européias o consideram um instrumento de concerto sério, e permitem que ele seja estudado no mesmo nível que um instrumento de piano ou corda.
Atualmente, este livro trata apenas do acordeon de piano, embora haja muitas semelhanças em função de instrumentos similares, de modo que as habilidades de tocar, como os Bellows, Stradella Bass e Register Switches, serão transferidas para outros instrumentos.
Nem todas as partes serão introduzidas no início, apenas o suficiente para começar a tocar músicas.
O acordeão é uma das várias invenções européias do início do século XIX que usavam palhetas livres dirigidas por um fole; notáveis ​​entre eles eram:
O Aeoline, pelo alemão Bernhard Eschenbach (e seu primo, Caspar Schlimbach), 1810. Era um piano com registro aeoline adicionado. Aeoline Harmonika e Pysharmonika são nomes muito parecidos na época. Aeoline e Aura primeiro usam sem foles ou teclado. Esses originais acabaram evoluindo na Harmonica A Mão Physhamonika Anton Haeckel 1818 Tipo de mão mencionado no jornal de música 1821. A flutina, de Pichenot Jeune, ca. 1831 A concertina, patenteada em duas formas (talvez independentemente): Carl Friedrich Uhlig, 1834. Sir Charles Wheatstone, exemplos construídos depois de 1829, mas não patenteados até 1844.
Um instrumento chamado acordeão foi patenteado pela primeira vez em 1829 por Cyrill Demian em Viena. (Curiosamente, a patente original mostra o nome "eoline" riscado e substituído por "acordeão" em caligrafia diferente). O instrumento de Demian tinha pouca semelhança com instrumentos modernos: só tinha um teclado de mão esquerda; a mão direita simplesmente operava o fole. Uma das principais características para as quais Damian procurou a patente foi o som de um acorde inteiro, pressionando uma tecla. Seu instrumento também podia tocar dois acordes diferentes com a mesma tecla: um para cada direção do fole (pressionar, desenhar); isso é chamado de ação bisonorica.
Naquela época em Viena, as gaitas de boca com "Kanzellen" (câmaras) já estavam disponíveis há muitos anos, junto com instrumentos maiores acionados por foles manuais. O arranjo de chave diatônica também já estava em uso em instrumentos soprados pela boca. A patente de Demian cobria assim um instrumento de acompanhamento: um acordeão tocado com a mão esquerda, oposto ao modo como as harmonicas de mão cromáticas contemporâneas eram tocadas, pequenas e leves o suficiente para os viajantes levarem consigo e usarem para acompanhar o canto. A patente também descreveu instrumentos com seções de graves e agudos, embora Demian preferisse o instrumento somente de baixo devido às vantagens de custo e peso.
O músico Adolph Müller descreveu uma grande variedade de instrumentos em seu "Schule für Accordion" de 1833. Na época, Viena e Londres tinham um relacionamento musical próximo, com músicos frequentemente se apresentando em ambas as cidades no mesmo ano, então é possível que Wheatstone tenha conhecimento desse tipo de instrumento e possa tê-los usado para colocar suas ideias de arranjos-chave. em prática.
Jeune's flutina resembles Wheatstone's concertina in internal construction and tone colour, but it appears to complement Demian's accordion functionally. The flutina is a one-sided bisonoric melody-only instrument whose keys are operated with the right hand while the bellows is operated with the left. When the two instruments are combined, the result is quite similar to diatonic button accordions still manufactured today.
Further innovations followed and continue to the present: Various keyboard systems have been developed; voicings (the combination of multiple tones at different octaves) have been developed, with mechanisms to switch between different voices during performance; different methods of internal construction to improve tone, stability and durability, and so on.
Introducing the Piano Accordion Edit.
This module currently draws heavily on text from the Wikipedia Accordion article.
The piano accordion is the instrument most often indicated by the term "accordion", but it is one of the most recent inventions among accordion types, appearing late in the 19th century and not accepted worldwide until the early 20th century. It has a right-hand keyboard similar to a piano. This is great news for you if you ever took piano lessons!
The left hand keyboard is usually configured in the Stradella system, a combination of chords and single notes, arranged in a uniform series by harmonic relationship. This is the system we'll be focusing on throughout this book.
Occasionally, a free bass left hand is used, which has a series of single buttons in an arrangement similar to the chromatic button accordion. The free bass system facilitates the playing of bass melodies and counterpoint over a melodic span greater than one octave. It also allows for chord inversion and invention of chords not present in the Stradella system, although the Stradella system also allows creation of extra chords and inversions using simultaneous multiple chord buttons.
Converter bass systems allow an instrument to be readily converted from a Stradella system to a free-bass system with a switch.
As with any instrument, technique varies between those who play the accordion. Technique is what makes accordionists stand out between one another. Bad technique will logically create a bad player. Though there are no rules "set in stone" on what should and shouldn't be done, the following techniques and positions are accepted by the general public of accordionists. Consider it "accordion common-sense".
Since your left arm is moving horizontally and vertically, and your right hand is moving vertically, body position is very important. The main goal is to be comfortable yet exercise as much control as possible over the motions of the instrument. Some players prefer sitting, while others like to stand (although this can be easily tiring, especially with a big instrument).
When playing the accordion, the shoulder straps should be fairly tight so that the instrument doesn't shift around as you reach for notes. Don't slouch - it looks ugly and causes you to lose control. Your left arm should be between the bellow-strap and the board; tighten that strap (usually via a notch on top of the bellows mechanism, very rarely Velcro might be used) so that it won't cut off your arm circulation, but not so loose that your hand slips as you change directions with the bellows.
Resist the temptation to bend your right wrist and play with your elbow close to the side of your body. Instead, try to hold your entire arm, from the elbow to the wrist, more or less parallel with the keyboard. Though this may seem awkward at first, in the long run it will help you achieve better accuracy because the circulation to your hand is unimpeded. Note that none of this applies to the left arm.
If playing standing up, stand with good posture and adjust the shoulder straps so that the bottom of the accordion is more or less parallel with the floor and the back of the keyboard portion is against your chest. This will help keep it from shifting too much while you play.
If playing seated, adjust the straps so that the instrument rests lightly on your left leg but doesn't hang loosely from your body. The bottom of the keyboard should be between the legs, and not moved too far to one side. You might need to move your right leg out of the way a little bit so the right hand can reach the bottom keys on the accordion unimpeded. Sit up straight in your chair - don't lean backwards against the back of the chair or slump; it looks bad and can result in poorer accuracy.
You might want to consider investing in a backstrap , a small hook-and-eye device that connects the two shoulder straps from behind when you're wearing the instrument. It's useful for bigger instruments because it stops the straps from slipping off your shoulders.
The bellows are the engine for making the sound in an accordion. They are the lungs of the instrument - depending on how hard the bellows are pulled, the sound will be softer or louder. A well-maintained accordion can have a good dynamic range from pianissimo to around a forte . When totally stationary, the instrument is silent. With accordions that also have inbuilt electronic synthesizers, the electronic sound will continue as long as keys are depressed (but this is beyond the scope of this book).
The bellows should be operated with your left hand. Bellows can be somewhat fragile, so don't pull them too hard or too far out. When pulling or pushing, avoid jerky motions and move them cleanly.
Eventually you'll need to change direction and move the bellows back in to keep playing. This can be a bit tricky to do correctly. When changing direction, try to move smoothly yet quickly so avoid a break in the melody or make the dynamics change suddenly. Resist the temptation to jerk the accordion. It's advisable not to pull the bellows out too far, because it's uncomfortable for the left hand to be extended like that and it affects accuracy.
If you're finding you have to move your bellows a lot, check to see if they aren't leaking by letting the bellows fall open on your lap without touching them or depressing any keys. If they move quickly (or you hear a "whoosh" noise), there's likely a leak, which means the instrument consumes more air than is necessary. (If they just creep out slowly, that's okay. Most accordions naturally let out very small amounts of air.) Find a reputable accordion repairman and have it fixed - you can't play properly with leaking bellows!
The top of the keyboard where the bellows join should be roughly in the centre of the body. Too far either side of that interferes with the comfort and the ability to play properly.
Many accordions have a reputation for being manufactured exceedingly well, and with proper maintenance and preventative measures, it can last decades. Aside from the cost of repairs, you might have difficulty finding someone skilled enough to repair the instrument! A little bit of care goes a long way.
When lifting up and putting down your accordion, always be careful; hold the instrument with both hands (by the straps, if they are sturdy). Dropping an accordion even from a small height can be disastrous. When transporting the instrument, it is advisable to lock the bellows straps on the top and bottom (usually found on all but the oldest accordions) so the bellows don't come out. Be careful not to push in the bass buttons when carrying your accordion; it can damage the bass mechanisms. Always store your accordion in a case if you can. This helps keep it away from humidity and other things that might damage the instrument. Try to keep it out of too much heat, cold, or humidity. The reeds inside the accordion might bend out of tune if there's too much humidity.
If you can't store the accordion in a case, then always place it on a hard flat surface (like a table), with the keyboard facing up perpendicular to the floor. (The bass side of the instrument usually little protrusions at the corners so you and put it down safely.) Make sure to always store it the right way up. An accordion is constructed with leather flaps (valves) that seal the back pressure from the reed that is not sounding in the current direction of bellows movement. Storing the instrument upright allows the valves to be preserved. Storing in other orientations will cause one set of valves to be bent under gravity, ruining the tone and needing more early refurbishment. Avoid extreme temperatures. If you would be uncomfortable in the room, so would your accordion. Parts of your accordion are held together by wax or glue joints that can melt in heat. Don't leave the instrument near a ventilator, heater, or near a sunny window, and especially don't leave it in the trunk of a car, because the temperature is uncontrollable and unstable. Also, the accordion may suffer from jolts while in the trunk, especially if not stored the correct way up. If you've just taken the accordion in from from the cold, take it out of its case and let it "warm up" before playing for at least half an hour. Moisture may collect on the reeds from the sudden temperature change, and you want to give it time to dissipate or else the water might harm the reeds. Avoid moisture. Do not play your accordion in the rain, or take it to the beach. The salty air can cause the reeds to rust rapidly. Don't store in an attic or basement. Be aware that older accordions found in attics may contain harmful mould in the bellows. When played, the mould is propelled towards the player's face.
A chromatic button accordion is a type of button accordion where the right side keyboard has rows of buttons arranged chromatically. They have three to five (rarely, some Serbian accordions have six) diagonal rows. Each row can play successive chromatic notes.
Chromatic accordions are most popular in Europe and in Russia. In Russia, this instrument is usually called a "bayan" (in Russian: баян).
There are two main types of button accordions. In both types, the further away from the top of the keyboard you go, the higher the notes; the closer to the top, the lower.
Both systems are mirrors of each other, as you can see by the chart to the left. In the "C system" accordion, the middle "C" is on the row furthest to the right. In the "B system", the "C" is located on the third row from the right. The B system is primarily played in Eastern Europe, Russia, and Norway, while the C system is found mostly in Western Europe, with exceptions.
Most chromatic accordions have two extra rows located to the left of the main rows. They play the same notes as the same buttons of the 1st and 2nd rows. This can be helpful when playing a difficult melody, because you do not have to change fingerings when playing in a different key, but only move your hand to the left a row or two and play with the same fingering.
Chromatic accordions have a much larger range than their piano equivalents (they generally go a seventh higher and up to an octave lower). Also, it is possible to use the same fingering for playing almost any melody in any key - whereas on the keyboard, you have to learn twelve individual fingerings; one for each of the twelve keys. Because the notes are positioned much closer together, large leaps and stretches are easier (you can easily stretch two octaves, compared to about a tenth or twelfth on a piano accordion). For these reasons, many professionals prefer playing button instruments. However, depending on where you live, they may be hard to find (in Australasia and North America, they are particularly rare, and even then usually only available in "C system"). Note that this book does not currently cover playing on the button accordion.
A diatonic button accordion is a type of button accordion where the right keyboard only has the notes of diatonic scales in a small number of keys. The left, or bass side, usually contains the main chords of the instrument's key and their root notes.
Because diatonic accordions have only a few keys they can play in, and usually cannot play accidentals, they are very restricted in what they can play. Usually they can only play folk music and classical music that doesn't contain many accidentals or changes of key signature.
The right hand of a piano accordion is played the same way as you would play a piano, with usually the same fingerings. You can use all fingers, including the thumb, to play on this keyboard.
On a standard, full-sized, the range of the keyboard goes from the "F" below the middle "C", all the way up to the third "A" above middle "C" (41 notes). Some large instruments have 44 or even 45 keys, going from an "E" or "F" to a high "C".
The Stradella bass system (also called the standard bass sometimes) is a type of button layout you find on the left (or bass) side of almost all accordions. It uses columns of buttons arranged in a circle of fifths.
Each diagonal column has, in order from the innermost to outermost buttons:
The major third above (or minor sixth below, depending on which note) the root ("counter-bass") The root note The root note's major chord The root note's minor chord The root note's dominant seventh chord The root note's diminished seventh chord.
Small accordions sometimes lack some of these rows, but for the purposes of this guide, we'll assume you have the full complement of buttons.
This is a chart of how a standard, 120-button bass layout will look like:
Tip: Consider printing out this chart and referring to it as you continue with this guide. You might find it helpful to have a visual representation of the directions described.
The middle "C" usually has a bump or hole in it for you to feel, to make it easier to find your way around the left buttons without looking at them. The A flat and E will also have some sort of marking sometimes.
Horizontal columns are arranged in a different order: every column goes up a fifth as you move up the bass board. So a "G" would be above middle "C", and a "F" would be below the middle "C", a "D" would be above the "G", and so on.
Most full-size accordion basses have either 120, or, less commonly, 96 buttons. All notes in an octave are covered by both systems, so you can play in any key.
When playing with the bass buttons, you use all fingers but your thumb, which should stay on the board on the side of the accordion.
Most accordions also have an air button on the side of the instrument that doesn't play any notes, but instead lets air in and out of the instrument.
If you have a large enough instrument, chances are there will be one or more switches next to the innermost row of buttons (near to the bellows). By pressing these, you can control which reeds in the left hand manual are sounding to create different timbres appropriate for the music you're playing, similar to the switches on the right hand.
In the next few pages, we'll learn the basics of playing either a simple accompaniment or melody on the basses. Just use the navigation below to go backward or forward.
The free-bass is a type of keyboard system that is found on some accordions. Unlike the Stradella-bass system, all of the buttons on a free-bass keyboard play single notes, not chords. The free-bass also has a bigger range of notes than the Stradella system, and it is more difficult to play out a tune with it. Due to this, the free bass system is used more often to play serious classical music with less transcription involved.
Most bass systems can switch between the Stradella and free-bass systems, while some accordions have free-bass only or auxiliary free-bass rows in addition to the Stradella buttons (sometimes called a bassetti ).
There are two common free-bass systems: one is the chromatic free bass , where the notes move in a chromatic pattern upwards or downwards (see chart at right). The other is the quint bass system, which has a note system similar to the Stradella bass layout, but spread over several octaves. The former system gives you around five octaves of range in the left hand, and the latter about three without a register change. Usually, only big and expensive accordions have free-bass and it is still a relatively new concept; chances are the instrument you have, or are looking to buy, does not have it. As a beginning accordionist, you should not be too worried about it. Small bassetti accordion models are available, having a reduction in their range (or scope) for the novice and younger performer.
The study of free bass is currently beyond the scope of this module, although it may be covered at a later date. Knowing the free-bass system is not essential to becoming a professional accordionist; many pieces can be played just as well on the Stradella system, although free bass is useful for complex pieces like piano music or three/four voice counterpoint (which can frequently be played note-for-note without any transcription even necessary).
Picking Up The Accordion Edit.
You may lift the accordion by the straps, but do not carry the accordion by the straps. If the strap breaks, your accordion will fall. While falling will not damage your accordion, the sudden stop after it hits the ground may. You put it on like a reverse backpack. The treble keyboard (the one that looks like a piano) will be played with your right hand. The bass keyboard (the one with rows of buttons) will be played with your left hand.
A Word About Notes Edit.
An octave goes from a C note to the next C note and contains 8 notes: C, D, E, F, G, A, B, C. Since you only have five fingers, you will only be able to play five notes without moving your hand. (Don't worry, our first lesson won't require you to do that.) If you happen to have more than five fingers, congratulations! Many great musicians have made use of their extra digits to play pieces that would be difficult or even impossible for those with only five.
Fingering Edit.
For the time being, each finger on your hand will strike one and only one key in a given song. Later in the course, you will learn how to smoothly move your hands across the keys to play a greater range of notes.
To help you play these early songs accurately, each note in the song will be numbered. Starting with your right hand, count from your thumb to your pinkie. Your thumb will be "1", and your pinkie will be "5". Any "1" note will be played by your thumb, and "5" note by your pinkie, and any "3" note by your middle finger.
We'll do the same thing on your left hand. Your thumb will be a "1" and your pinkie will be a "5".
Note: More advanced musicians do not refer to notes this way. Starting from the "1" note, the notes would be C, D, E, F, and G. After you get more practice, we'll phase out the use of this numbering system. Our main concern right now is to get your fingers moving and making music!
Look on the treble keyboard (right hand) for the first grouping of two black keys. Place your thumb on the white key to the left of the first black key. The remaining fingers should be placed on the adjacent white keys.
Look on the bass keyboard (left hand). You want to place your "4" finger on C. (Some people prefer to use "3".) The C key will have a jewel, bump, or indentation on it so you can feel it, instead of looking for it. If you have a large accordion, you may have a few keys like this. The one in the middle is usually C. Don't feel daunted by the number of keys on the bass keyboard! Most songs we will be playing will only use a few that will be easy to reach.

Accordion.
8 пользователей находятся здесь.
МОДЕРАТОРЫ.
Captain_Quark Founder, Hobbyist FishWheels Mostly Intermediate RobbiWood Moderates things о команде модераторов »
Bem vindo ao Reddit,
a primeira página da internet.
e inscreva-se em uma das milhares de comunidades.
Ато архивированный пост. Вы не можете голосовать или комментировать.
отправлено & # 32; 3 года назад автор banjofish Educator.
Quer adicionar à discussão?
[–]lp000 Musette (CBA-C) Amateur 3 очка 4 очка 5 очков & # 32; 3 года назад * (5 дочерних комментарев)
[–]lp000 Musette (CBA-C) Amateur 1 очко 2 очка 3 очка & # 32; 3 года назад * (2 дочерних комментария)
[–]franknagaijr Performer, Manager, Cba-B Roland 0 очков 1 очко 2 очка & # 32; 3 dias atrás (0 dia atrás)
[–]franknagaijr Performer, Manager, Cba-B Roland 2 horas 3 horas 4 horas & # 32; 3 года назад (1 дочерний комментарий)
помощь правила сайта центр поддержки вики реддикет mod orientações связаться с нами.
приложенияи инструменты Reddit para iPhone Reddit para Android móvel кнопки site.
Использование данного сайта означает, что вы принимаете & # 32; пользовательского соглашения & # 32; и & # 32; Политика конфиденциальности. &cópia de; 2018 reddit инкорпорейтед. Все права защищены.
REDDIT e o logotipo ALIEN são marcas registradas da reddit inc.
& pi; Rendered by PID 117424 on app-241 at 2018-02-24 13:56:35.284736+00:00 running 7dd586d country code: UA.

Stradella bass system.
The Stradella Bass System (sometimes called standard bass ) is a buttonboard layout equipped on the bass side of many accordions, which uses columns of buttons arranged in a circle of fifths; this places the principal major chords of a key (I, IV and V) in three adjacent columns. In a typical layout, as pictured, each column contains, in order:
Layout [ edit ]
The following chart shows a common 120-button Stradella layout.
Each bass note, and each pitch in a chord, is usually sounded simultaneously in multiple octaves. Larger accordions offer some control over the voicing with register switches. [1]
In modern accordions, each chord button sounds three individual pitches. Early accordions sounded four pitches for the seventh and diminished chords. [2] Modern Stradella systems omit the 5th from these two chords, [1] allowing for more versatility. For example, an augmented seventh chord can be created by using the dominant seventh chord button and adding an augmented 5th from the right-hand manual or from one of the bass or counterbass buttons.
In most Russian layouts the diminished seventh chord row is moved by one button, [3] so that the C diminished seventh chord is where the F diminished seventh chord would be in a standard Stradella layout; this is done in order to achieve a better reachability with the forefinger.
As the buttons are on the front face and cannot be seen by the player, an aid to navigation is provided by a small depression, hole or bump on the central C button in the root row, often supplemented by similar or different tactile marks on other selected root-bass buttons, such as the A ♭ and E four buttons away in either direction. [4]
Notation [ edit ]
When naming chord buttons, major chords are often suffixed with "M", for example "CM", to distinguish them from bass notes.
In staff notation, notes below the center of the bass-clef staff are bass notes, and notes above the center of the staff usually indicate chord buttons, labeled as necessary with "M", "m", "7", or "d" or "dim". (Repeated chords are usually only labeled on the first instance.)
Within this convention, the written octave for bass notes is arbitrary, as the Stradella system does not have buttons for higher and lower octaves.
As sounded, with one possible octave voicing:
Bass notes to be played on the major third (counterbass) row are indicated by repurposed "tenuto" lines below the notes (as in the E bass note in the example above), or underlined note names or numbers.
Single-note bass lines are often labeled "B. S." (bass solo or bassi soli ), especially when they extend above the middle of the staff.
Fingering [ edit ]
As with the piano, fingers are numbered 2 to 5, starting with the index finger, mirroring right-hand fingering. As a rule, the thumb, numbered 1, is not used.
Patterns can be played identically in any desired key, changing only the starting position; this is because unlike a piano keyboard, the Stradella layout does not distinguish between "white notes" and "black notes". Layouts with 16 or more columns are sufficient to play in any of the 12 keys of the circle of fifths.
Bass and chords [ edit ]
4–3 is a recommended fingering for a bass note and its corresponding major chord (e. g. C–CM–C–CM). [5] For alternate bass with the root and fifth, 4–3–2–3 can be used for major chords (e. g. C–CM–G–CM), 4–2–3–2 for minor and other types of chords (e. g. C–C7–G–C7).
Scales [ edit ]
Scales, runs, and other bass lines are played on the bass note buttons, the row or rows closest to the bellows (root row, optional thirds row, optional minor thirds row).
Major scales [ edit ]
The major scale can be fingered without stretching the hand, playing in any key as r4 r2 t 4 r5 / r3 t 5 t 3 r4 (r = root row, t = thirds row) or, with minimal movement of the index finger, r3 r2 t 3 r4 / r2 t 4 t 2 r3.
Minor scales [ edit ]
Melodic minor (different ascending and descending):
Register switches [ edit ]
Larger and more expensive accordions may have as many as seven register switches on the bass side, controlling which reed ranks play and thus the octaves and voicing of the bass notes and chords, similar in concept to the treble register switches on the keyboard side. [1] Smaller or simpler accordions may have no bass switches, or a single switch that toggles between two settings.
With the soprano or alto register selected, bass buttons exactly duplicate individual notes from the chords, without the usual added lower (tenor and bass) octaves.
An accordion with one or two register switches on the bass side might provide tenor and master registers, while accordions with additional switches might have larger subsets. [7]
Common configurations [ edit ]
See also [ edit ]
Array system, same circle of fifths system for an mbira Alternate bass Free-bass system.
Notas [edit]
^ a b c B is often referred to as "low A"; enharmonic equivalents play the same reeds. ^ a b 140-bass accordions may come with either an extra minor 3rd note row, located above the regular major 3rd row and the root note, or an augmented 7th chord row.
References [ edit ]
^ a b c d Balestrieri, Donald (1979). "Registers of the Standard Stradella Keyboard". Accordions Worldwide . Retrieved 24 August 2014 . & # 160; ^ Sommers, Joan Cochran (August 4, 2006). "Some Recollections of Time Spent in the Presence of Anthony Galla-Rini". U. S. National Accordion News . Retrieved 23 February 2018 . His understanding of how the left hand mechanisms worked caused him to merely open up the instrument, cut off the offending 5th of the dominant and diminished seventh stradella chord buttons. & # 160; ^ "Bayan - Russian button accordion - баян" . Retrieved 24 February 2018 . The diminished seventh chord row is shifted, so that the diminished seventh G chord is where one would expect the diminished seventh C chord in the Stradella bass system. & # 160; ^ "Accordion Anatomy". Western New York Accordion Club . Retrieved 19 March 2017 . & # 160; ^ Zucco, Frank (1985). Mel Bay's Deluxe Accordion Method . Pacific, Mo.: Mel Bay Publications. ISBN 978-0871667823. & # 160; ^ Dahl, Gary (2004). Mel Bay's Master Accordion Scale Book With Jazz Scale Studies . Pacific, Mo.: Mel Bay Publications. ISBN 978-078666708-6. & # 160; ^ "Accordion Anatomy". Western New York Accordion Club . See diagram "Bass Reed Switches" . Retrieved 30 May 2015 . & # 160;
1. Accordion – Accordions are a family of box-shaped musical instruments of the bellows-driven free-reed aerophone type, colloquially referred to as a squeezebox. A person who plays the accordion is called an accordionist, the concertina and bandoneón are related, the harmonium and American reed organ are in the same family. The instrument is played by compressing or expanding the bellows while pressing buttons or keys, causing pallets to open and these vibrate to produce sound inside the body. Valves on opposing reeds of each note are used to make the instruments reeds sound louder without air leaking from each reed block. The performer normally plays the melody on buttons or keys on the manual. The accordion is widely spread across the world, nevertheless, in Europe and North America, some popular music acts also make use of the instrument. Additionally, the accordion is used in cajun, zydeco, jazz music. The piano accordion is the official city instrument of San Francisco, the oldest name for this group of instruments is harmonika, from the Greek harmonikos, meaning harmonic, musical. Today, native versions of the accordion are more common. These names refer to the type of accordion patented by Cyrill Demian, accordions have many configurations and types. Similar to a bow, the production of sound in an accordion is in direct proportion to the motion of the player. The bellows is located between the right - and left-hand manuals, and is made from pleated layers of cloth and cardboard, with added leather and metal. It is used to pressure and vacuum, driving air across the internal reeds and producing sound by their vibration. These boxes house reed chambers for the right - and left-hand manuals, each side has grilles in order to facilitate the transmission of air in and out of the instrument, and to allow the sound to better project. The grille for the manual is usually larger and is often shaped for decorative purposes. The right-hand manual is used for playing the melody and the left-hand manual for playing the accompaniment. The manual mechanism of the instrument either enables the air flow, or disables it, the different types have varying components. All instruments have reed ranks of some format, the most typical accordion is the piano accordion, which is used for many musical genres.
2. Button (control) – A push-button or simply button is a simple switch mechanism for controlling some aspect of a machine or a process. Buttons are typically out of hard material, usually plastic or metal. The surface is flat or shaped to accommodate the human finger or hand. Buttons are most often biased switches, although many un-biased buttons still require a spring to return to their un-pushed state, different people use different terms for the pushing of the button, such as press, depress, mash, hit, and punch. The push-button has been utilized in calculators, push-button telephones, kitchen appliances, in industrial and commercial applications, push buttons can be connected together by a mechanical linkage so that the act of pushing one button causes the other button to be released. In this way, a button can force a start button to be released. This method of linkage is used in simple manual operations in which the machine or process has no electrical circuits for control, to avoid the operator from pushing the wrong button in error, pushbuttons are often color-coded to associate them with their function. Commonly used colors are red for stopping the machine or process, red pushbuttons can also have large heads for easy operation and to facilitate the stopping of a machine. These pushbuttons are called emergency stop buttons and for increased safety are mandated by the code in many jurisdictions. This large mushroom shape can also be found in buttons for use with operators who need to wear gloves for their work and could not actuate a regular flush-mounted push button. As an aid for operators and users in industrial or commercial applications, typically this light is included into the center of the pushbutton and a lens replaces the pushbutton hard center disk. The source of the energy to illuminate the light is not directly tied to the contacts on the back of the pushbutton, in popular culture, the phrase the button refers to a button that a military or government leader could press to launch nuclear weapons. Spring Return Button by Sándor Kabai, The Wolfram Demonstrations Project.
3. Circle of fifths – In music theory, the circle of fifths is the relationship among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys. More specifically, it is a representation of relationships among the 12 pitch classes of the chromatic scale in pitch class space. The term fifth defines an interval or mathematical ratio which is the closest and most consonant non-octave interval, the circle of fifths is a sequence of pitches or key tonalities, represented as a circle, in which the next pitch is found seven semitones higher than the last. Musicians and composers use the circle of fifths to understand and describe the relationships among some selection of those pitches. The circles design is helpful in composing and harmonizing melodies, building chords, at the top of the circle, the key of C Major has no sharps or flats. Starting from the apex and proceeding clockwise by ascending fifths, the key of G has one sharp, the key of D has 2 sharps, and so on. Similarly, proceeding counterclockwise from the apex by descending fifths, the key of F has one flat, the key of B♭ has 2 flats, at the bottom of the circle, the sharp and flat keys overlap, showing pairs of enharmonically equivalent key signatures. Starting at any pitch, ascending by the interval of a tempered fifth, one passes all twelve tones clockwise. To pass the twelve tones counterclockwise, it is necessary to ascend by perfect fourths, (To the ear, the sequence of fourths gives an impression of settling, or resolution. Pitches within the scale are related not only by the number of semitones between them within the chromatic scale, but also related harmonically within the circle of fifths. Moving counterclockwise the direction of the circle of fifths gives the circle of fourths, typically the circle of fifths is used in the analysis of classical music, whereas the circle of fourths is used in the analysis of jazz music, but this distinction is not exclusive. The circle is used to represent the relationship between diatonic scales. Here, the letters on the circle are taken to represent the major scale with that note as tonic, the numbers on the inside of the circle show how many sharps or flats the key signature for this scale has. Thus a major scale built on A has 3 sharps in its key signature, the major scale built on F has 1 flat. For minor scales, rotate the letters counter-clockwise by 3, so that, a minor has 0 sharps or flats and E minor has 1 sharp. When notating the key signatures, the order of sharps that are found at the beginning of the line follows the circle of fifths from F through B. The order is F, C, G, D, A, E, B, if there is only one sharp, such as in the key of G major, then the one sharp is F sharp. If there are two sharps, the two are F and C, and they appear in order in the key signature.
4. Major third – In classical music from Western culture, a third is a musical interval encompassing three staff positions, and the major third is a third spanning four semitones. Along with the third, the major third is one of two commonly occurring thirds. It is qualified as major because it is the larger of the two, the major third spans four semitones, the third three. The major third may be derived from the series as the interval between the fourth and fifth harmonics. The major scale is so named because of the presence of this interval between its tonic and mediant scale degrees, the major chord also takes its name from the presence of this interval built on the chords root. The older concept of a made a dissonantly wide major third with the ratio 81,64. The septimal major third is 9,7, the major third is 14,11. A helpful way to recognize a third is to hum the first two notes of Kumbaya or of When the Saints Go Marching In. A descending major third is heard at the starts of Goodnight, Ladies and Swing Low, in equal temperament three major thirds in a row are equal to an octave. This is sometimes called the circle of thirds, in just intonation, however, three 5,4 major thirds are less than an octave. For example, three 5,4 major thirds from C is B♯, the difference between this just-tuned B♯ and C, like that between G♯ and A♭, is called a diesis, about 41 cents. The major third is classed as an imperfect consonance and is considered one of the most consonant intervals after the unison, octave, perfect fifth, a diminished fourth is enharmonically equivalent to a major third. For example, B–D♯ is a third, but if the same pitches are spelled B and E♭. B–E♭ occurs in the C harmonic minor scale, the major third is used in guitar tunings. For the standard tuning, only the interval between the 3rd and 2nd strings is a third, each of the intervals between the other pairs of consecutive strings is a perfect fourth. In an alternative tuning, the tuning, each of the intervals are major thirds. Decade, compound just major third Ear training List of meantone intervals Doubling the cube, 21/3 = 3√2.
5. Root (chord) – In music theory, the concept of root is the idea that a chord can be represented and named by one of its notes. It is linked to harmonic thinking—to the idea that vertical aggregates of notes can form a single unit and it is in this sense that one speaks of a C chord or a chord on C—a chord built from C and of which the note C is the root. When a C chord is referred to in Classical music or popular music without a reference to what type of chord it is, it is assumed a C major triad, which contains the notes C, E and G. The root needs not be the note, the lowest note of the chord, the concept of root is linked to that of the inversion of chords. In this concept, chords can be inverted while still retaining their root, in tertian harmonic theory, that is in a theory where chords can be considered stacks of third intervals, the root of a chord is the note on which the subsequent thirds are stacked. For instance, the root of a such as C Major is C. Regardless of whether a chord is in position or in an inversion. Four-note seventh chords have four possible positions, five-note ninth chords know five positions, etc. but the root position always is that of the stack of thirds, and the root is the lowest note of this stack. With chord types, such as chords with added sixths or chords over pedal points, more than one possible chordal analysis may be possible. For example, in a piece of music, the notes C, E, G, A, sounded as a chord. Deciding which note is the root of this chord could be determined by considering context, and its low note considered as the root, or as an inversion of the same, second, fourth, sixth, etc. in which cases the upper note is the root. Johannes Lippius, in his Disputatio musica tertia and Synopsis musicae novae, is the first to use the triad, he also uses the term root. Thomas Campion, A New Way of Making Fowre Parts in Conterpoint, London, c1618, notes that chords are in first inversions, the bass is not. a true base. Campion’s true base is the root of the chord, full recognition of the relationship between the triad and its inversions is generally credited to Jean-Philippe Rameau’s Traité d’harmonie. The concept of root has some basis in the properties of harmonic sounds. When two notes or more notes from the series are played at the same time, people sometimes perceive the fundamental note of the series. This property has been used in building for the production of low notes by resultant tones. Andreas Werckmeister’s Harmonologia describes the major triad in root position and in first inversion in terms of the harmonic series, but this description cannot be extended to the minor triad.
6. Major chord – In music theory, a major chord is a chord that has a root note, a major third above this root, and a perfect fifth above this root note. When a chord has these three notes alone, it is called a major triad, in Western classical music from 1600 to 1820 and in Western pop, folk and rock music, a major chord is usually played as a triad. The major triad, along with the triad, is one of the basic building blocks of tonal music. It is considered consonant, stable, or not requiring resolution, in Western music, a minor chord, in comparison, sounds darker than a major chord. Major triads with notes, such as major seventh chord, are also called major chords. Major seventh chords are used in jazz and occasionally in rock music, in jazz, major chords may also have other chord tones added, such as the ninth and the thirteenth scale degrees. A minor chord differs from a chord in having a minor third above the root instead of a major third. A minor chord can also be described as a third with a major third on top, in contrast to a major chord. They both contain fifths, because a major third plus a minor third equals a perfect fifth, an augmented chord is like a major chord, but with a raised fifth. An C augmented chord consists of the notes C, E and G♯. Augmented chords are used in jazz, play An example of a major chord is the C major chord, which consists of the notes C, E and G. In harmonic analysis or on a sheet, a C major chord is usually notated C. A root position C major chord contains C, E and G, a first inversion C Major chord contains E as its lowest note, followed by a G and C above the E. A second inversion C major chord contains G as its lowest note, the additional notes above the bass note can be in any order and the chord still retains its inversion identity. For example, a C major chord which went from lowest to highest note E, followed by C and G above the E, in this table, the chord names are in the leftmost column. The chords are given in root position, for a given chord name, the following three columns indicate the individual notes that make up this chord. Thus in the first row, the chord is C major, most pianos and electric pianos and synthesizer keyboards are tuned to equal temperament. In equal temperament, each semitone is the distance apart. Another tuning system that is used is just intonation, in just intonation, a major chord is tuned to the frequency ratio 4,5,6.
7. Minor chord – In music theory, a minor chord is a chord having a root, a minor third, and a perfect fifth. When a chord has these three notes alone, it is called a minor triad, some minor triads with additional notes, such as the minor seventh chord, may also be called minor chords. Hence it can be represented by the integer notation, a major chord differs from a minor chord in having a major third above the root instead of a minor third. It can also be described as a third with a minor third on top, in contrast to a minor chord. They both contain fifths, because a major third plus a minor third equals a fifth, a diminished chord is a minor chord with a lowered fifth. Play An example of a chord is the C minor chord. The minor chord, along with the chord, is one of the basic building blocks of tonal music. In Western music, a chord, in comparison, sounds darker than a major chord but is still considered highly consonant, stable. A unique particularity of the chord is that this is the only chord of three notes in which the three notes have one harmonic – hearable and with a not too high row – in common. This harmonic, common to the three notes, is situated 2 octaves above the note of the chord. This is the harmonic of the root of the chord, the fifth of the middle note, and the fourth of the high note, In the example C, E♭, G. This is the first occurrence of a triad in the harmonic series. This may be found on iii, vi, ♭vi, ♭iii, in 12-TET, or twelve-tone equal temperament, a minor chord has 3 semitones between the root and third,4 between the third and fifth, and 7 between the root and fifth. It is represented by the integer notation 0,3,7, the 12-TET fifth is only two cents narrower than the just perfect fifth, but the 12-TET minor third is noticeably narrower than the just minor third. The 12-TET minor third more closely approximates the 19-limit minor third 16,19 Play with only 2 cents error. In the 16th through 18th centuries, prior to 12-TET, the third in meantone temperament was 310 cents Play. Other just minor chord tunings include the supertonic triad in just intonation the false minor triad, Play,16,19,24 Play,12,14,18 Play, more tunings of the minor chord are also available in various equal temperaments other than 12-TET. Rather than directly from the series, Sorge derived the minor chord from joining two major triads, for example the A minor triad being the confluence of the F and C major triads.
8. Seventh chord – A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chords root. When not otherwise specified, a seventh chord usually means a dominant seventh chord, However, a variety of sevenths may be added to a variety of triads, resulting in many different types of seventh chords. In its earliest usage, the seventh was introduced solely as an embellishing or nonchord tone, the seventh destabilized the triad, and allowed the composer to emphasize movement in a given direction. Additionally, the acceptance of equal temperament during the 19th century reduced the dissonance of some earlier forms of sevenths. When the triad type and seventh type are identical, the name is shortened, for instance, a major/major seventh is generally referred to as a major seventh. This rule is not valid for augmented chords, since the chord is not commonly used. Additionally, half-diminished stands for diminished/minor, and dominant stands for major/minor, when the type is not specified at all, the triad is assumed to be major, and the seventh is understood as a minor seventh. For symbols used for seventh chords, see also Popular music symbols#Seventh chords, the most common chords are tertian, constructed using a sequence of major thirds and/or minor thirds. Since there are 3 third intervals in a chord and each can be major or minor, there are 8 possible combinations, however. The augmented augmented seventh chord, defined by a root, a third, an augmented fifth. The reason is that the seventh interval is enharmonically equivalent to one entire octave and is hence perfectly consonant with the chord root. The seven commonly used chords are, Seventh chords can also be constructed using augmented or diminished thirds and these chords are not tertian and can be used in non-tertian harmony. In just intonation, for example, there is the harmonic seventh, a dominant seventh chord, or major-minor seventh chord is a chord composed of a root, major third, perfect fifth, and minor seventh. It can be viewed as a major triad with an additional minor seventh. It is denoted using popular music symbols by adding a superscript 7 after the letter designating the chord root, the dominant seventh is found almost as often as the dominant triad. The chord can be represented by the integer notation, of all the seventh chords, perhaps the most important is the dominant seventh. It was the first seventh chord to appear regularly in classical music, the name comes from the fact that the flat seventh occurs naturally in the chord built upon the dominant of a given major diatonic scale. Take for example the C major scale, The note G is the dominant degree of C major—its fifth note.
9. Diminished seventh chord – The diminished seventh chord is commonly used in the harmony of both Western classical music and also in jazz and popular music of the twentieth and twenty-first centuries. Classical composers of the eighteenth and nineteenth centuries imaginatively exploited the chords dramatic, a diminished seventh chord is a four note chord that comprises a diminished triad plus the interval of a diminished seventh above the root. Thus it is, or enharmonically, of any scale, for example, C diminished-seventh would be. It occurs as a seventh chord in harmonic minor and can be represented by the integer notation. Because of this it can also be viewed as four notes all stacked in intervals of a minor third, the diminished seventh contains two diminished fifths, which often resolve inwards. The most common form of the seventh chord is that rooted on the leading tone, for example, in the key of C. So its other constituents are the second, fourth, and flatted sixth scale degrees and these notes occur naturally in the harmonic minor scale. But this chord appears in major keys, especially after the time of Bach. Because these chords have no leading tone in relation to the chords to which they resolve and they are therefore referred to commonly as non-dominant diminished seventh chords or common tone diminished seventh chords. The chord, plays no role in. jazz, the passing chord is used widely in Brazilian music such as choro, samba and bossa nova. The diminished seventh chord normally possesses a dominant function, and this is most straightforwardly shown when the root of a dominant seventh chord is omitted, the remaining third, fifth and seventh of that chord form a diminished triad, to which a diminished seventh can be added. The diminished scale may be conceived of as two interlocking diminished seventh chords, which may be rearranged into the alpha chord, the sharpened subdominant with added diminished seventh chord is another common use of the chord. In the key of C, this is F♯dim7, which may be used for a strikingly fearful effect and it is also a common chord in jazz and ragtime music. It may be used as a dominant substitute, the diminished chord may also resolve through lowering two of the bottom three voices producing a supertonic seventh chord that may lead to a conventional dominant cadence. Music theorists have struggled over the centuries to explain the meaning, currently, two approaches are generally used. The less complex method treats the leading tone as the root of the chord, and the chord members as the third, fifth, and seventh of the chord. The other method is to analyze the chord as a dominant ninth. A viio7 chord in the minor key occurs naturally in the minor scale and is equivalent to the dominant 7♭9 chord without its root.
10. Bass clef – A clef is a musical symbol used to indicate the pitch of written notes. Placed on one of the lines at the beginning of the stave, it indicates the name and this line serves as a reference point by which the names of the notes on any other line or space of the stave may be determined. Only one clef that references a note in a rather than on a line has ever been used. There are three types of clef used in music notation, F, C, and G. Each type of clef assigns a different reference note to the line on which it is placed, once one of these clefs has been placed on one of the lines of the stave, the other lines and spaces can be read in relation to it. The use of three different clefs makes it possible to music for all instruments and voices, even though they may have very different tessituras. The use of different clefs for various instruments and voices allows each part to be written comfortably on the stave with a minimum of ledger lines, to facilitate writing for different tessituras, any of the clefs may theoretically be placed on any of the lines of the stave. The further down on the stave a clef is placed, the higher the tessitura it is for, conversely, the higher up the clef, since there are five lines on the stave, and three clefs, it might seem that there would be fifteen possible clefs. Six of these, however, are redundant clefs, each of these clefs has a different name based on the tessitura for which it is best suited. In modern music, only four clefs are used regularly, the treble clef, the bass clef, the alto clef, of these, the treble and bass clefs are by far the most common. Here follows a complete list of the clefs, along with a list of instruments, each clef is shown in its proper position on the stave, followed by its reference note. An obelisk after the name of a clef indicates that that clef is no longer in common use, where the G-clef is placed on the second line of the stave, it is called the treble clef. This is the most common used today, and the only G-clef still in use. For this reason, the terms G-clef and treble clef are often seen as synonymous, the treble clef was historically used to mark a treble, or pre-pubescent, voice part. Treble clef is the upper stave of the grand stave used for harp and it is also sometimes used, along with tenor clef, for the highest notes played by bass-clef instruments such as the cello, double bass, bassoon, and trombone. The viola also sometimes uses treble clef for very high notes, treble clef is used for the soprano, mezzo-soprano, alto, contralto and tenor voices. The tenor voice sounds an octave lower, and is written using an octave clef or double-treble clef. In the seventeenth and eighteenth centuries, a special clef was used for violin music, for this reason it is known as the French clef or French violin clef although it was more commonly used for flute music.
11. Octave – In music, an octave or perfect octave is the interval between one musical pitch and another with half or double its frequency. It is defined by ANSI as the unit of level when the base of the logarithm is two. The octave relationship is a phenomenon that has been referred to as the basic miracle of music. The most important musical scales are written using eight notes. For example, the C major scale is typically written C D E F G A B C, two notes separated by an octave have the same letter name and are of the same pitch class. Three commonly cited examples of melodies featuring the perfect octave as their opening interval are Singin in the Rain, Somewhere Over the Rainbow, the interval between the first and second harmonics of the harmonic series is an octave. The octave has occasionally referred to as a diapason. To emphasize that it is one of the intervals, the octave is designated P8. The octave above or below a note is sometimes abbreviated 8a or 8va, 8va bassa. For example, if one note has a frequency of 440 Hz, the note one octave above is at 880 Hz, the ratio of frequencies of two notes an octave apart is therefore 2,1. Further octaves of a note occur at 2n times the frequency of that note, such as 2,4,8,16, etc. and the reciprocal of that series. For example,55 Hz and 440 Hz are one and two away from 110 Hz because they are 1⁄2 and 4 times the frequency, respectively. After the unison, the octave is the simplest interval in music, the human ear tends to hear both notes as being essentially the same, due to closely related harmonics. Notes separated by a ring together, adding a pleasing sound to music. For this reason, notes an octave apart are given the note name in the Western system of music notation—the name of a note an octave above A is also A. The conceptualization of pitch as having two dimensions, pitch height and pitch class, inherently include octave circularity, thus all C♯s, or all 1s, in any octave are part of the same pitch class. Octave equivalency is a part of most advanced cultures, but is far from universal in primitive. The languages in which the oldest extant written documents on tuning are written, leon Crickmore recently proposed that The octave may not have been thought of as a unit in its own right, but rather by analogy like the first day of a new seven-day week.
12. Tenuto – Tenuto is a direction used in musical notation. The precise meaning of tenuto is contextual, it can either hold the note in question its full length. In other words, the mark may alter either the dynamic or the duration of a note. Either way, the marking indicates that a note should receive emphasis, the marks meaning may be affected when it appears in conjunction with other articulations. When it appears with a dot, it means non legato or detached. When it appears with an accent mark, because the accent indicates dynamics, Tenuto can be notated three ways, The word tenuto written above the passage to be played tenuto. Written above the note or passage to be played tenuto, a horizontal line, roughly the length of a notehead, placed immediately above or below the note to be played tenuto. Modern musical symbols David Fallows, Tenuto, grove Music Online ed. L. Macy.
13. Alternate bass – In music, alternate bass is a performance technique on many instruments where the bass alternates between two notes, most often the root and the fifth of a triad or chord. The perfect fifth is often, but not always, played below the root, the alternation between the root note and the fifth scale degree below it creates the characteristic sound of the alternate bass. On the guitar and bass guitar this is accomplished with the right hand alternating between two or more strings, often the two on the guitar. On the Stradella bass system commonly found on accordions, the left-hand bass-note buttons are arranged according to the circle of fifths, the bass button for the fifth is directly above the bass button for the root.
14. Major scale – The major scale or Ionian scale is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales, like many musical scales it is made up of seven notes, the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note. In Carnatic music, it is known as Dheerasankarabharanam, and in Hindustani classical music it is known as Bilaval, a major scale is a diatonic scale. The sequence of intervals between the notes of a scale is, whole, whole, half, whole, whole, whole, half where whole stands for a whole tone. A major scale may be seen as two tetrachords separated by a whole tone. Each tetrachord consists of two whole tones followed by a semitone, whole, whole, half, seven sharps or flats make major keys that may be more conveniently spelled with five flats or sharps. The term major scale is used in the names of some other scales whose first, third. The harmonic major scale has a minor sixth and it differs from the harmonic minor scale only by raising the third degree. The melodic major scale is the mode of the jazz minor scale. It is the Ionian scale with a sixth and minor seventh. The combined scale that goes as Ionian ascending and as melodic major descending is also called melodic major, the double harmonic major scale has a minor second and a minor sixth. It is the mode of the Hungarian minor scale. Ionian mode Major and minor Listen to and download harmonised Major scale piano MP3s The major scale for guitar in one position, with derivation.
15. Harmonic minor – This includes the natural minor, harmonic minor, and melodic minor scales. A minor scale differs from a scale in that the third degree in a major scale is a major third above the first degree. In other words, the degree in a major scale is one semitone higher than in a minor scale. The natural minor scale, also known as Aeolian scale, taken by itself, when a major scale and a natural minor scale have the same key signature, they are relative keys. A natural minor scale has the notes as its relative major scale. The functional fusion of minor, harmonic minor, and melodic minor scales. A harmonic minor scale differs from a minor scale in that the seventh note is raised one semitone both ascending and descending. Melodic minor scales raise both the sixth and seventh notes one semitone when ascending, and descends like the minor scale. In this case the scale is called A-minor, and this minor scale has no accidentals. A-minor is called the minor of C. Every major key has a minor, which starts on the sixth scale degree or step. For instance, the degree of F major is D. The relative natural minor of a major key always shares the notes, for example, F major consists of F, G, A, B♭, C, D, and E, while D natural minor consists of D, E, F, G, A, B♭. The natural minor scale can also be represented by the notation,12 ♭345 ♭6 ♭78 Each degree of the scale and their difference from the major scale is shown. Thus a number without a sharp or flat represents a major interval, a number with a flat represents a minor interval, and a number with a sharp represents an augmented interval. In this example, the mean, 1=unison, 2=major second, ♭3=minor third, 4=perfect fourth, 5=perfect fifth, ♭6=minor sixth, ♭7=minor seventh. In rock and popular examples of songs in Minor Keys include The Moody Blues Nights in White Satin, Blondies Call Me. The notes of the minor scale are the same as the natural minor except that the seventh degree is raised by one semitone.
16. Melodic minor – This includes the natural minor, harmonic minor, and melodic minor scales. A minor scale differs from a scale in that the third degree in a major scale is a major third above the first degree. In other words, the degree in a major scale is one semitone higher than in a minor scale. The natural minor scale, also known as Aeolian scale, taken by itself, when a major scale and a natural minor scale have the same key signature, they are relative keys. A natural minor scale has the notes as its relative major scale. The functional fusion of minor, harmonic minor, and melodic minor scales. A harmonic minor scale differs from a minor scale in that the seventh note is raised one semitone both ascending and descending. Melodic minor scales raise both the sixth and seventh notes one semitone when ascending, and descends like the minor scale. In this case the scale is called A-minor, and this minor scale has no accidentals. A-minor is called the minor of C. Every major key has a minor, which starts on the sixth scale degree or step. For instance, the degree of F major is D. The relative natural minor of a major key always shares the notes, for example, F major consists of F, G, A, B♭, C, D, and E, while D natural minor consists of D, E, F, G, A, B♭. The natural minor scale can also be represented by the notation,12 ♭345 ♭6 ♭78 Each degree of the scale and their difference from the major scale is shown. Thus a number without a sharp or flat represents a major interval, a number with a flat represents a minor interval, and a number with a sharp represents an augmented interval. In this example, the mean, 1=unison, 2=major second, ♭3=minor third, 4=perfect fourth, 5=perfect fifth, ♭6=minor sixth, ♭7=minor seventh. In rock and popular examples of songs in Minor Keys include The Moody Blues Nights in White Satin, Blondies Call Me. The notes of the minor scale are the same as the natural minor except that the seventh degree is raised by one semitone.
17. Accordion reed ranks and switches – A reed rank inside accordions refers to a single full set of the reeds that are the means to achieve the instruments sound range. These reed ranks are located in the reed chamber, most accordions to this date typically have between 2 and 4 reed ranks on the treble side and between 3 and 5 reed ranks on the bass side. These can usually be selected individually or combined in ways to provide a range of different timbres. More of the top-line expensive accordions may contain 5 or 6 reed blocks on the side for different tunings. How many reeds an accordion has is specified by the number of treble ranks, for example, a 4/5 accordion has 4 reeds on the treble side and 5 on the bass side. A 3/4 accordion has 3 reeds on the sides and 4 on the bass side. Reed ranks are classified by either organ foot-length stops or instrument names, visually, they each have a fixed dot in a three-level icon as displayed in the photo on the right and tables below. These icons display when more than one reed-rank is in use, the pitch of a single bank of reeds is traditionally defined in a similar manner to the organ stops of a pipe organ. A bank that sounds at unison pitch when keys are depressed is called 8′ pitch, alluding to the length of the organ pipe in that rank. For the same reason, a stop that sounds an octave higher is at 4′ pitch, most reed registers are normally in relative octave tuning, but rarely, some instruments have a reed bank tuned to a perfect fifth relative to the 8′ stop. This is an arrangement to stops for a pipe organ. On accordions with two 8′ ranks, one is tuned a fraction of a higher than the other ranks. This causes beats when the two 8′ ranks sound together, creating a distinctive tremolo timbre, tunings where the difference between the two is small and the beats are less noticeable are referred to as dry, whereas those where the difference is large are referred to as wet. Accordions with three 8′ ranks have the third tuned the same distance below the center, doubling the effect of the beats when all three play, register switches select combinations of reed ranks to produce contrasting timbres. Most accordions have automatic or preset switches, similar to selection on an electronic keyboard. These switches control which reed ranks are enabled or disabled, some switches enable a single reed rank, in general, the formula for the number of potential switch combinations is one less than 2 to the number of unique reed blocks that are within the accordion. For example, if an accordion has 3 reed blocks, there are potentially 23-1 =7 combinations, unlike individual organ stops, only one combination is active at any given time. These allow for changes to the register while the right hand is playing the melody.
18. Soprano – A soprano is a type of classical female singing voice and has the highest vocal range of all voice types. The sopranos vocal range is from approximately middle C =261 Hz to high A =880 Hz in choral music, in four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody. The soprano voice type is divided into the coloratura, soubrette, lyric, spinto. The lyric soprano is the most common female singing voice, the word soprano comes from the Italian word sopra, as the soprano is the highest pitch human voice, often given to the leading female roles in operas. The term soprano is also based on the Latin word superius which, like soprano, the word superius was especially used in choral and other multi-part vocal music between the 13th and 16th centuries. The soprano has the highest vocal range of all voice types, a soprano and a mezzo-soprano have a similar range, but their tessituras will lie in different parts of that range. The low extreme for sopranos is roughly A3 or B♭3, within opera, the lowest demanded note for sopranos is F3. Often low notes in higher voices will project less, lack timbre, however, rarely is a soprano simply unable to sing a low note in a song within a soprano role. The high extreme, at a minimum, for non-coloratura sopranos is soprano C, a couple of roles have optional E♭6s, as well. In the coloratura repertoire several roles call for E♭6 on up to F6, in rare cases, some coloratura roles go as high as G6 or G♯6, such as Mozarts concert aria Popoli di Tessaglia. Or the title role of Jules Massenets opera Esclarmonde, while not necessarily within the tessitura, a good soprano will be able to sing her top notes full-throated, with timbre and dynamic control. In opera, the tessitura, vocal weight, and timbre of voices, a singers tessitura is where the voice has the best timbre, easy volume, and most comfort. Within the soprano voice type category are five generally recognized subcategories, coloratura soprano, soubrette, lyric soprano, spinto soprano, the coloratura soprano may be a lyric coloratura or a dramatic coloratura. The lyric coloratura soprano is a very agile light voice with a high upper extension capable of fast vocal coloratura, Light coloraturas have a range of approximately middle C to high F with some coloratura sopranos being able to sing somewhat higher or lower. Dramatic coloraturas have a range of approximately low B to high F with some coloratura sopranos being able to sing higher or lower. In classical music and opera, a soubrette soprano refers to both a type and a particular type of opera role. A soubrette voice is light with a bright, sweet timbre, a tessitura in the mid-range, the soubrette voice is not a weak voice, for it must carry over an orchestra without a microphone like all voices in opera. The voice, however, has a lighter weight than other soprano voices with a brighter timbre.
19. Scientific pitch notation – Scientific pitch notation is a method of specifying musical pitch by combining a musical note name and a number identifying the pitchs octave. Although scientific pitch notation was designed as a companion to scientific pitch. Scientific pitch is a pitch standard—a system which defines the specific frequencies of particular pitches, SPN concerns only how pitch names are notated, that is, how they are designated in printed and written text, and does not inherently specify actual frequencies. Thus the use of SPN to distinguish octaves does not depend on the standard used. The octave number increases by 1 upon an ascension from B to C, thus A4 refers to the first A above C4. In describing musical pitches, enharmonic spellings can give rise to anomalies where C♭4 is a lower frequency than B♯3, scientific pitch notation is often used to specify the range of an instrument. It is also translated into staff notation, as needed. For example, a d′ played on a B♭ trumpet is actually a C4 in scientific pitch notation, scientific pitch notation avoids possible confusion between various derivatives of Helmholtz notation which use similar symbols to refer to different notes. For example, c in Helmholtz notation refers to the C below middle C, with scientific pitch notation, middle C is always C4, and C4 is never any note but middle C. C7 is much easier to distinguish visually from C8, than is, for example, c′′′′ from c′′′′′. Although pitch notation is intended to describe audible sounds, it can also be used to specify the frequency of non-audible phenomena, for example, some MIDI software uses C5 to represent middle C. This differentiation is unnecessary and can result in confusion and this creates a linear pitch space in which an octave spans 12 semitones, where each semitone is the distance between adjacent keys of the piano keyboard. Distance in this space corresponds to musical pitch distance in a scale,2 semitones being a whole step,1 semitone being a half step. An equal-tempered semitone can also be subdivided further into 100 cents, each cent is 1⁄100 semitone or 1⁄1200 octave. This measure of pitch allows the expression of microtones not found on standard piano keyboards, the table below gives notation for pitches based on standard piano key frequencies, in other words, standard concert pitch and twelve-tone equal temperament). When a piano is tuned to just intonation, C4 refers to the key on the keyboard. Mathematically, given the number n of semitones above middle C, given the MIDI number m, the frequency is 440 ⋅2 /12 Hz. Scientific pitch is a pitch standard, first proposed in 1713 by French physicist Joseph Sauveur.
20. Contralto – A contralto is a type of classical female singing voice whose vocal range is the lowest female voice type. The contralto voice type is divided into the coloratura, lyric. Contralto is primarily meaningful only in reference to classical and operatic singing, the term contralto is only applied to female singers, men singing in a similar range are called countertenors. A true contralto is often regarded as the rarest of the female voices, some vocal theorists have found that the vocal folds are thicker than those present in other female voices. Studies have used cameras to photograph visible differences which are found in countertenors. The contralto has the lowest vocal range of the voice types. The contralto voice range is between tenor and mezzo-soprano, although tenors and baritones are usually male singers, some women can sing as low and are called female tenors or female baritones. With the exception of very rare female singers, such terms are usually informal, more formal terminology would be contralto profundo and contralto basso or oktavistka but these are not traditionally named among the fach system. Some of the rare contraltos that can sing the female equivalent of tenor and baritone include Zarah Leander, Ruby Helder, within the contralto voice type category are three generally recognized subcategories, coloratura contralto, lyric contralto, and dramatic contralto. Given its deviations from the norms, this voice type is quite rare. The lyric contralto voice is lighter than a dramatic contralto but not capable of the ornamentation and this class of contralto, lighter in timbre than the others, is the most common today and usually ranges from the E below middle C to the second G above middle C. The dramatic contralto is the deepest, darkest, and heaviest contralto voice, usually having a heavier tone, singers in this class are rare. True operatic contraltos are rare, and the operatic literature contains few roles written specifically for them, a common saying among contraltos is that they may play only witches, bitches, or britches. Examples of contralto roles in the operatic repertoire include the following. * indicates a role that may also be sung by a mezzo-soprano, category of contraltos List of operatic contraltos Fach, the German system for classifying voices Voice classification in non-classical music List of contraltos in non-classical music Coffin, Berton. Coloratura, Lyric and Dramatic Soprano, Vol.1, vocal Workouts for the Contemporary Singer. Media related to Contralto vocalists at Wikimedia Commons The dictionary definition of Contralto at Wiktionary.
21. Tenor – Tenor is a type of classical male singing voice whose vocal range is one of the highest of the male voice types. The tenors vocal range lies between C3, the C one octave below middle C, and A4, the A above middle C, in solo work, this range extends up to C5, or tenor high C. The low extreme for tenors is roughly A♭2, at the highest extreme, some tenors can sing up to two Fs above middle C. The tenor voice type is divided into the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor. The name tenor derives from the Latin word tenere, which means to hold, in medieval and Renaissance polyphony between about 1250 and 1500, the tenor was the structurally fundamental voice, vocal or instrumental. All other voices were normally calculated in relation to the tenor, until the late 16th century introduction of the contratenor singers, the tenor was usually the highest voice, assuming the role of providing a foundation. It was also in the 18th century that tenor came to signify the male voice that sang such parts, thus, for earlier repertoire, a line marked tenor indicated the parts role, and not the required voice type. Indeed, even as late as the century, partbooks labelled tenor might contain parts for a range of voice types. The vocal range of the tenor is one of the highest of the voice types. Within opera, the lowest note in the tenor repertoire is probably A♭2 in Rossinis rarely performed La donna del lago in the role of Rodrigo di Dhu. Within more frequently performed repertoire, Mime and Herod both call for an A2, a few tenor roles in the standard repertoire call for a tenor C. Some of the few top Cs in the operatic repertoire are either optional or interpolated by tradition. However, the highest demanded note in the standard operatic repertoire is D5. Some operatic roles for tenors require a darker timbre and fewer high notes, in the leggero repertoire, the highest note is F5, therefore, very few tenors can, given the raising of concert pitch since its composition, have this role in their repertoire without transposition. Within the tenor voice type category are seven generally recognized subcategories, leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, Also known as the tenore di grazia, the leggero tenor is essentially the male equivalent of a lyric coloratura. This voice is light, agile, and capable of executing difficult passages of fioritura, the typical leggero tenor possesses a range spanning from approximately C3 to E♭5, with a few being able to sing up to F5 or higher in full voice. In some cases, the chest register of the leggero tenor may extend below C3, voices of this type are utilized frequently in the operas of Rossini, Donizetti, Bellini and in music dating from the Baroque period. Leggero tenor roles in operas, The lyric tenor is a warm voice with a bright, full timbre that is strong but not heavy.
22. Bass (voice type) – A bass is a type of classical male singing voice and has the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a range extending from around the second E below middle C to the E above middle C. Its tessitura, or comfortable range, is defined by the outermost lines of the bass clef. Categories of bass voices vary according to style and classification system. Italians favour subdividing basses into the basso cantante, basso buffo, the American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass. The German fach system offers further distinctions, Spielbaß, Schwerer Spielbaß, Charakterbaß, rare is the performer who embodies a single fach without also touching repertoire from another category. Cultural influence and individual variation create a variation in range. Many British composers such as Benjamin Britten have written parts for bass that center far higher than the bass tessitura as implied by the clef, the Harvard Dictionary of Music defines the range as being from the E below low C to middle C. The bass has the lowest vocal range of all voice types, the low extreme for basses is generally C2. However, several extreme bass singers, referred to as basso profondos, within opera, the lowest note in the standard bass repertoire is D2, sung by the character Osmin in Mozarts Die Entführung aus dem Serail, but few roles fall below F2. The high extreme, a few roles in the standard repertoire call for a high F♯ or G. In the operatic repertoire, the highest notes are a G♯4 and, in the aria Fra lombre e glorrori in Handels serenata Aci. Basso cantante is a higher, more lyrical voice and it is produced using a more Italianate vocal production, and possesses a faster vibrato, than its closest Germanic/Anglo-Saxon equivalent, the bass-baritone. Hoher Bass or high bass or often a dramatic bass-baritone, jugendlicher Bass denotes the role of a young man sung by a bass, regardless of the age of the singer. They are usually the blustering antagonist of the hero/heroine or the fool in bel canto operas. English equivalent, dramatic bass Basso profondo is the lowest bass voice type, steane in Voices, Singers & Critics, the basso profondo voice derives from a method of tone-production that eliminates the more Italian quick vibrato. In its place is a kind of tonal solidity, a front, which may nevertheless prove susceptible to the other kind of vibrato. Dramatic basso profondo is a basso profondo voice.
23. Mbira – The mbira is an African musical instrument consisting of a wooden board with attached staggered metal tines, played by holding the instrument in the hands and plucking the tines with the thumbs. The mbira is usually classified as part of the lamellaphone family, members of this broad family of instruments are known by a wide variety of names. In the Anglo world it is called a thumb piano. In Eastern and Southern Africa, there are kinds of mbira, often accompanied by the hosho. The mbira was reported to be used in Okpuje, Nsukka area of the eastern part of Nigeria in the early 1900s. It is a common musical instrument of the Democratic Republic of Congo. It is also often an important instrument to be played at ceremonies, weddings. Commercially produced mbiras were exported from South Africa by ethnomusicologist Hugh Tracey from the 1950s onward, various kinds of plucked idiophones and lamellaphones have existed in Africa for thousands of years. The tines were originally made of bamboo but over the metal keys have been developed. These metal-tined instruments traveled all across the continent and differentiated in their physical form, lamellophones are instruments which have little tines, or lamellae, which are played by plucking. Unlike stringed instruments or air-column instruments like flutes, the overtones of a plucked lamella are inharmonic, the inharmonic overtones are strongest in the attack and die out rather quickly, leaving an almost pure tone. The note arrangement of most mbira, with the notes in the scale ascending on the tines from the center outward in an alternating right-left fashion, Mbira music, like much of the sub-Saharan African music traditions is based on cross-rhythm. The following example is from the part of the traditional mbira piece Nhema Musasa. The left hand plays the bass line, while the right hand plays the upper melody. The composite melody is an embellishment of the 3,2 cross-rhythm, tunings vary from family to family, referring to relative interval relationships and not to absolute pitches. The most common tuning is Nyamaropa, similar to the western Mixolydian mode, the seven tunings that Garikayi uses are, Bangiza, Nyabango, Nhemamusasa, Chakwi, Taireva, Mahororo, and Mavembe. The closest to what is commonly named Nyamaropa is his Nhemamusasa tuning, many players, including griot clans — West African storytellers and musicians — have their own idiosyncratic tunings. Most of the time the instrument is played solo and tuning is not as critical as when playing with other musicians, but the tuning can be changed by adjusting the length of the metal tines inward or outward.
24. Free-bass system – The quint free-bass system invented by Bill Palmer – later patented by Titano, has extra bass rows to extend the existing bass arrangement of the stradella system. The quint version and chromatic-button versions were available in models with a control to switch from standard Stradella to free-bass. A piano-like layout exists that mirrors the right-hand keyboard of a piano accordion and this system is popular in Asian piano accordions, especially in Azeri garmon. Other less popular arrangements also exist, including the Moschino and the Kuehl, by the year 1900, the Stradella bass system had principally reached its current construction with 120 buttons over 6 rows. The problem was solved in the early 1900s by adding three rows of chromatically ordered single notes next to the standard bass, in 1900 in Moscow Russian master Bakanov made a garmon with piano keyboards for both right and left hands. From 1906 the brothers Kiselevs factory in Tula began to produce bayans with the three-row free-bass left keyboard. In the United States, the virtuoso John Serry Sr. designed and it incorporated dual key boards for the soloists left hand based upon two sets of reeds which were tuned in octaves. This provided the soloist with a range of tones which exceeded three and one half octaves. An orchestra was put together, touring Germany to introduce the new concept, the company also supplied sheet music for this new type of accordion. Although these were popular, it was not until later when the instrument became more widespread. In Northern Europe, free-bass accordionist Mogens Ellegaard helped popularize the instrument, in an interview he describes how the free-bass accordion was still practically non-existent in his childhood, but how composers in his native Denmark began to write works for him since 1958. In 1968 he arranged the manufacture of accordions with nothing but free-bass layouts to accommodate newcomers, in some Russian, Canadian and European music conservatoires, free bass accordion is considered a serious instrument for study and there is now a large modern repertoire for it. In the United States, free bass instruments are less well known despite attempts to popularize them by Palmer and Hughes. Included among this group was John Serry, Sr. whose Concerto For Free Bass Accordion was completed during the 1960s.
25. Enharmonic – Thus, the enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord. For example, in equal temperament, the notes C♯. Namely, they are the key on a keyboard, and thus they are identical in pitch, although they have different names and different roles in harmony. In other words, if two notes have the pitch but are represented by different letter names and accidentals, they are enharmonic. Enharmonic intervals are intervals with the sound that are spelled differently…, of course. Enharmonic equivalence is peculiar to post-tonal theory, much music since at least the 18th century, however, exploits enharmonic equivalence for purposes of modulation and this requires that enharmonic equivalents in fact be equivalent. Some key signatures have an enharmonic equivalent that represents a scale identical in sound, the number of sharps and flats of two enharmonically equivalent keys sum to twelve. For example, the key of B major, with 5 sharps, is equivalent to the key of C♭ major with 7 flats. Keys past 7 sharps or flats exist only theoretically and not in practice, the enharmonic keys are six pairs, three major and three minor, B major/C♭ major, G♯ minor/A♭ minor, F♯ major/G♭ major, D♯ minor/E♭ minor, C♯ major/D♭ major and A♯ minor/B♭ minor. There are practically no works composed in keys that require double sharps or double flats in the key signature, in practice, musicians learn and practice 15 major and 15 minor keys, three more than 12 due to the enharmonic spellings. Enharmonic equivalents can also used to improve the readability of a line of music, for example, a sequence of notes is more easily read as ascending or descending if the noteheads are on different positions on the staff. Doing so may reduce the number of accidentals that must be used. Thus, in the key of B♭ major, the sequence B♭-B♮-B♭ is more easily using the enharmonic spelling C♭ instead of B♮. For example the intervals of a sixth on C, on B♯. The most common enharmonic intervals are the fourth and diminished fifth, or tritone. Enharmonic equivalence is not to be confused with octave equivalence, nor are enharmonic intervals to be confused with inverted or compound intervals. In principle, the musical use of the word enharmonic to mean identical tones is correct only in equal temperament. In other tuning systems, however, enharmonic associations can be perceived by listeners, in Pythagorean tuning, all pitches are generated from a series of justly tuned perfect fifths, each with a frequency ratio of 3 to 2.
26. International Standard Book Number – The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker.
27. Bayan (accordion) – The bayan is a type of chromatic button accordion developed in Russia in the early 20th century and named after the 11th-century bard Boyan. The bayan differs from western chromatic button accordions in some details of construction, Reeds are broader, Reeds are often attached in large groups to a common plate, the plates are screwed to the reed block. The melody-side keyboard is attached near the middle of the body, Reeds are generally not tuned with tremolo. Register switches may be operated with the chin on some larger models, the diminished chord row is shifted, so that the diminished G chord is where one would expect the diminished C chord in the Stradella bass system. Converter switches that go from standard preset chords to free bass are common on the larger instruments, newer instruments may feature a register where every tone played actually produces a perfect fifth. The differences in internal construction give the bayan a different tone color from Western instruments, because of their range and purity of tone, bayans are often the instrument of choice for accordion virtuosi who perform classical and contemporary classical music. Two Soviet composers of note who wrote compositions for bayan are Vladislav Zolotaryov, Russian Bayan virtuoso Stas Venglevski has premiered contemporary works by Yehuda Yannay, Anthony Galla-Rini and William Susman. In his work Drang, John Palmer has pushed the possibilities of the bayan to the limits of virtuosity. Ukrainian folk music Russian folk music Cherkasky, L. Ukrainski narodni muzychni instrumenty.
28. Button accordion – A button accordion is a type of accordion on which the melody-side keyboard consists of a series of buttons rather than piano-style keys of a piano accordion. The first button accordion is credited to Franz Walther in 1850, a wide variation in keyboard systems, tuning, action and construction of these instruments exists. The two main examples of this are the chromatic button accordion and the button accordion. The diatonic button accordion generally has two or three rows of buttons, each row tuned to a certain key and they are usually seen in music genres such as Irish, British, Cajun, and Norteño music. Most diatonic accordions are bisonoric, meaning that a button produces two different notes by pushing or pulling the bellows, accidentals are either not included or provided on additional helper buttons. The chromatic button accordion is unisonoric, meaning that each button produces one note and this accordion also has 3-5 rows of buttons, but unlike the diatonic button accordion, it can be freely played in any key, usually with identical fingering patterns. This type of accordion is very popular in French music, there are four main components of any accordion, the reeds, bellows, buttons or keys, and the switches. Lastly, the control the timbre or voice of the instrument. List of All Ireland button accordion champions Garmon, Bayan Melodeon Piano accordion Squeezebox Steirische Harmonika Bandoneon.
29. Cajun accordion – A Cajun accordion also known as a squeezebox is single-row diatonic button accordion used for playing Cajun music. Many different accordions were developed in Europe throughout the 19th century, accordions were brought to Acadiana in the 1890s and became popular by the early 1900s, eventually becoming a staple of Cajun music. Many of the German factories producing diatonic accordions for the United States market were destroyed during World War II, since the end of World War II, there has been a surge in the number of Cajun accordion makers in Louisiana, as well as several in Texas. The Cajun accordion is generally defined as a diatonic accordion, as compared to multiple-row instruments commonly used in Irish, Italian, polka. The Cajun accordion has multiple reeds for every button and the number of reeds sounding is controlled by four stops or knobs. The standard amount of buttons is ten, with a button each in the left hand for the root note and chord as well as the dominant fifth ditto. The root is played on the push and the fifth is played on the pull of the bellows, Louisiana constructed accordions are usually built in small backyard shops like Marc Savoys Acadian brand and Larry Millers Bon Cajun brand. Clarence junior Martin of Lafayette Louisiana is a Master Craftsman who also builds accordions in his shop, the most common tuning utilized is the key of C, although the key of D is also relatively common. Some rarer accordions are constructed to in the key of B flat, Cajun accordions are traditionally tuned to a Just Intonation. Although the instrument is called a Cajun accordion, both zydeco and creole musicians play the Cajun accordion with a zydeco and creole sound respectively, each musician below is considered important in influencing accordion technique and image. You Can Play Cajun Accordion, Designed For Beginners, Cajun Music a Reflection of a People.
30. Chromatic button accordion – A chromatic button accordion is a type of button accordion where the melody-side keyboard consists of rows of buttons arranged chromatically. The bass-side keyboard is usually the Stradella system or one of the various free-bass systems, included among chromatic button accordions are the Russian bayan and Schrammel accordion. There can be 3 to 5 rows of treble buttons. In a 5 row chromatic, two additional rows repeat the first 2 rows to facilitate options in fingering, comparing the layout to the piano accordion, the advantages of a chromatic button accordion are the greater range and better fingering options. On the other hand, some fingering positions require twisting of the wrist, throughout the former Yugoslavia a 6-row chromatic button layout is used based on the B system. It is referred to as dugmetara, bandoneon Diatonic button accordion Piano accordion Isomorphic keyboard.
31. Diatonic button accordion – A melodeon or diatonic button accordion is a member of the free-reed aerophone family of musical instruments. It is a type of accordion on which the melody-side keyboard contains one or more rows of buttons. The buttons on the keyboard are most commonly arranged in pairs, with one button of a pair sounding the fundamental of a chord. Diatonic button accordions are popular in countries, and used mainly for playing popular music and traditional folk music. Various terms for the button accordion are used in different parts of the English-speaking world. In Britain and Australia, the melodeon is commonly used, regardless of whether the instrument has one. In Ireland, melodeon is reserved for instruments with a row of melody buttons. In North America, both one-row and multi-row instruments are simply called accordions. To simplify matters and avoid ambiguity, in the remainder of this article the term diatonic button accordion, or DBA, France, the term accordéon diatonique is used, mélodéon is sometimes used for one-row instruments. In Italy, a button accordion is a fisarmonica diatonica or organetto. The usual German terms are Handharmonika or Knopfakkordeon, the Dutch term is trekharmonika and trekzak. In Portugal it is called concertina, not to be confused with the English concertina, the Slovenian term is diatonična harmonika and more frequently frajtonarca The Brazilian Portuguese term is Acordeão Diatônico or Gaita-ponto. The Basque term is akordeoi diatonikoa, soinu txikia or trikitixa, the following definitions will assist understanding of this article. In this respect, these instruments operate like a harmonica, other single-action or bisonoric members of the free-reed family include the German concertina, the Anglo-German concertina, the bandoneon, and the Chemnitzer concertina. There are varieties of diatonic button accordion that are double-action, such as the garmon, because each button produces two notes, the diatonic scale can be covered in four buttons on a melody row. When the bellows are pressed, every button produces a note from the triad of the home key, in this case. The remaining notes of the scale are produced when the bellows are drawn or pulled. Since there are seven notes in the scale, and since each button produces two notes, the note pairings on the buttons change in each octave.
32. Flutina – The flutina is an early precursor to the diatonic button accordion, having one or two rows of treble buttons, which are configured to have the tonic of the scale, on the draw of the bellows. There is usually no bass keyboard, the left hand operates an air valve, a rocker switch, called a bascule dharmonie is in the front of the keyboard. g. Tonic notes C/g, and Dominant G/d, without any major or minor thirds, many of these Flutina accordions were imported into the United States and were common photographers studio props. This imparted a touch of culture to the sitter, hence the many tintype, ambrotype, etc. images of men and women, with their hands poised over Flutinas, many of the images date from the 1850s through the American Civil War period. The internal construction of the flutina resembles the English Wheatstone concertina more than the banks used in regular accordion construction. Thus, it has a concertina-like sound, underneath the pallet/keyboard face, there is a rectangular, wooden board, reed pan, with reed chambers, made with airtight, leather covered, thin wooden dividers. These dividers are between the reeds, for the diatonic scale notes, the brass reed tongues are mounted on reed shoes, with each tongue nailed on with a single metal pin. These reed shoes are inserted into dovetail-shaped slots into the top side of the pan, the face of the pallet/keyboard actually slides out to reveal the inset reed pan, reminiscent of the construction of a pencil box, or a Japanese puzzle box. The accordion bellows has a short throw, with most instruments having only four folds. Larger versions had 5 to 7 folds in the bellows, the term flutina is actually a more specific English name for a version of the accordéon diatonique, accordéon mélodique, clavier mélodique, or even accordéon romantique. Instrument makers of the 19th century often invented many distinct names for all new versions of the same instrument. In addition, English musical instrument dealers would switch the brass reeds out of the French instruments, then, these English dealers would stamp their own company name inside the instrument, or the stamp of the specific store that was selling the accordion. This was a practice in the 19th century and has continued to be used by many reputable, as well as disreputable. This feature was supposed to give a more flute-like tone to the reeds, whether the French makers ever used the name Flutina is not known. The earliest version was known as the Clavier Melodique, circa 1831 and it was made by Pichenot Jeune, and was probably one of the first accordions capable of playing a melody. The first recorded factory was that of Napoleon Fourneux in Paris, the Accordion of Cyril Demian described in his Austrian patent application, had 5 pallets with 10 chords available. It all depended on which direction the player moved the bellows, one key pressed down had 2 chords, one chord on the press and the other chord, on the draw. Demian also produced some Accordions with a single note per button on the draw or, one of his models, had single notes and two rows of keys, first row the diatonic scale, the second row played the accidentals.
33. Garmon – The garmon is a kind of Russian button accordion, a free-reed wind instrument. Examples of unisonoric type are livenka and Khromka, bisonoric garmons are, e. g. Tula accordion and talyanka The garmon is an important musical instrument for Caucasian and Volgian folk and popular music. Mostly spread and favorite and often used in music Garmon is very popular in Slovenia, 75% performers and ensembles are consisted of young singers. Music is very beautiful, but also modern contemporary played with Garmon, some artists are popular and well-liked in Europe, harmoniousness and musical style of Slovenia differs from Russian Garmon. There are over 300 popular ensembles in Slovenia, one ensemble often consists of singers and accordionman, mostly young. Although reduced and expanded versions are available, the standard arrangement is as follows,25 treble buttons in two rows, Three diatonic octaves plus three accidentals. 25 bass buttons in three rows, Two rows of eight buttons, with notes and chords, one free-bass row. The treble keyboard is arranged so that a scale may be played by alternating between the two rows, the low and high octaves have identical fingering, while the middle octave differs. The three accidental notes are arranged so as to mirror the position of the chords that contain them. One free bass accidental note is included, since the introduction of the accordion from Germany to Russia in the 1830s, Russian masters invented a lot of different types of local garmons during the 19th and 20th centuries. Tula garmon was the first Russian accordion, which began to be manufactured since the 1830s and it had five or seven buttons on the right keyboard, and like in the most Western diatonic accordions it produced different sounds on pull and push. So Tula garmon had two full diatonic octaves, the left bass keyboard had two buttons. Tula garmon was a base for all the Russian diatonic bisonoric garmoshkas Khromka was invented in 1870 in Tula on the design of Russian musician Nikolay Beloborodov. It was a unisonoric diatonic accordion but on the keyboard there was also two or three chromatic buttons, usually g1♯, d2♯, f2♯, so hence the name khromka came as it was virtually chromatic. It became the most popular and widespread button accordion in Russia, Vyatka garmon first appeared on the factories of Vyatka governorate in the middle of the 19th century. It was chromatic unisonoric, it had a keyboard on the right side. Vyatka garmon was a prototype for many different types of accordions in the Volga region. Also after it there were made Russian diatonic and chromatic accordions, Elets royal garmon, Beloborodovs royal garmon, saratov garmon is a diatonic bisonoric garmoshka with a ringing bells which utter sounds after each pressure on the accompaniment keys.
34. Khromka – Khromka is a type of Russian garmon. It is the most widespread variant in Russia and in the former USSR, nearly all Russian garmons made since the mid of the 20th century are khromkas. Since 1830s when first Russian diatonic accordions began being produced in Tula many regional variations appeared, one of them were one-row accordions from Vyatka and from Livny. Their important feature was that it was unisonoric, while all other European types including Russian ones were bisonoric, from those types under the probable influence of two-row bisonoric German accordions the first khromkas were made in 1890s. At first they were one of many types and were competing with other traditional variants, but everything has changed since the October Revolution. The new Soviet government began to follow a policy of education of masses. Garmon, as one of the most widespread folk instrument, was recognized as the most important, the main reasons of the choice of khromka were, unisonoric, simplicity and at the same time great musical potential. This unification and centralisation allowed mass production of garmons, only in two factories of Moscow and Leningrad production of garmons grew from 15,000 in 1930 to 100,000 in 1932. 1959 was the year when nearly half a million khromkas were made in the USSR. But since 1960 their production became falling in the favour of chromatic bayans which then seemed to be more preferable than diatonic khromkas, since the fall of the USSR and the economic collapse of the country most factories have become bankrupt. Today only two still exist in Tula and Shuya, producing just several thousand khromkas a year. In general khromkas are very similar to Western diatonic accordions but in ways they differ greatly. On the right there are 25 buttons in two rows. Each button produces one note either on pressing or drawing the bellows. Khromkas can be set with one to five voices per note, the outer row buttons correspond to the notes on the staff line while the inner row buttons - to the note between the lines. The three top buttons, one of the row and two of the outer row, are accidentals. In professional models with 27 buttons two additional buttons are C# and A#. The buttons 3-25 are notes of a diatonic scale arranged in a zigzag way, the left side differs even more.
35. Piano accordion – A piano accordion is an accordion equipped with a right-hand keyboard similar to a piano or organ. Its acoustic mechanism is more that of an organ than a piano and it may be equipped with any of the available systems for the left-hand manual. In comparison with a keyboard, the keys are more rounded, smaller. These go vertically down the side, pointing inward, toward the bellows, the bass piano accordion is a variation of a piano accordion without bass buttons and with the piano keyboard in an octave lower. They typically have around 3 octaves, the first accordion to feature a piano keyboard was probably the instrument introduced in 1852 by Bouton of Paris. Another source claimed the first piano accordion was introduced in 1854 at the Allegemeine Deutsche Industrieausstellung in Munich and it was showcased by the instrument builder Mattäus Bauer and quickly became a serious competitor to button accordions. The first chromatic piano-like accordions in Russia were built in 1871 by Nikolay Ivanovich Beloborodov, the piano keyboard layout was also promoted by the fame of Vaudeville performers Guido Deiro and his brother Pietro who premiered the instrument on stage, recordings and radio. After the Deiros success, popular chromatic button accordionist Pietro Frosini chose to disguise his accordions buttons to look like a piano keyboard so as not to appear old-fashioned, the piano accordion is also predominant in Italy, New Zealand, Australia and South Africa. List of All-Ireland piano accordion champions Button accordion Bandoneon Squeezebox Piano accordion at DMOZ Piano Accordion - Videos And Links.
36. Steirische Harmonika – The name Steirische Harmonika literally translates from German as Styrian accordion, but the use of the adjective steirische stems from the Viennese dialect, where it refers to folk music in general. There is no connection to the state of Steiermark, or Styria as it is traditionally called in English. The Steirische Harmonika has melody side on the right, and a side on the left. On the melody side, there are three to five rows of buttons where each row has its own key, accordions with five rows are not much used, but most manufacturers do produce quite a few. On the compression of the bellows, the buttons of one row play the tones from the tonic, and on the expansion of the bellows. The button which plays the same tone on both the expansion and compression of the bellows is called the Gleichton, often melodies require playing buttons from different rows because they cannot be decomposed into tones from the tonic and dominant seventh of a given key. For each row on the right hand side, there are two associated buttons on the outer row of the bass side, one for the root. On compression, they play the tonic, and on expansion, the function of the inner row, however, varies by manufacturer. Technical Steirische Accordion playing is very advanced especially in Bavaria, Austria and Slovenia, notes on the Steirische Harmonika are laid out to make it easy to play music with the tonality characteristic of alpine folk music, but make it difficult to play according to modern musical notation. To help aid playing the Steirische Harmonika, the Verlag Helbling publishers patented in 1916 a tablature and it has come to be replaced by a notation called Griffschrift, which was invented by a music teacher from Bärnbach in Styria named Max Rosenzopf. The notation appears similar to modern notation but maps tones to positions on the staff differently, in 1975 Rosenzopf founded the Verlag Preissler publishing company and printed the first book using the Griffschrift to teach reading notes. Now all notes for the Steirische Harmonika are printed using this notation, die Entwicklung der Harmonikaerzeugung in Österreich. Script for key layout and displaying chords Key layouts Questions and a list of builders of Steirischen Harmonikas List with web links - makers of Steirischen Harmonikas.
37. Trikiti – The trikiti, trikitixa or eskusoinu txiki is a two-row Basque diatonic button accordion with right-hand rows keyed a fifth apart and twelve unisonoric bass buttons. In 1890, a trikiti appears in a picture taken in Altsasu, the diatonic button accordion itself was devised in Vienna in 1829, expanding thereafter all over Europe. That playing pattern remained unchanged up to the 1980s, when Kepa Junkera, both performers remain nowadays key figures of trikiti accordion. There have been influences of Tejano artists like Flaco Jiménez and other international players, other renowned players include Alaitz Telletxea, Iñaki Malbadi, Maixa Lizarribar, Xabi Aburruzaga, Iker Goenaga and Carles Belda. Currently traditional style ensembles consist of a pair playing trikiti, tambourine, players typically use a highly ornamented and swift style, along with staccato triplets.
38. Concertina – A concertina is a free-reed musical instrument, like the various accordions and the harmonica. It has a bellows, and buttons typically on both ends of it, when pressed, the buttons travel in the same direction as the bellows, unlike accordion buttons, which travel perpendicularly to the bellows. The concertina was developed in England and Germany, most likely independently, the English version was invented in 1829 by Sir Charles Wheatstone, while Carl Friedrich Uhlig announced the German version five years later, in 1834. Various forms of concertina are used for music, for the traditional musics of Ireland, England, and South Africa. Because the concertina was developed nearly contemporaneously in England and Germany, systems can be divided into English, Anglo-German. To a player proficient in one of these systems, a concertina of a different system may be quite unfamiliar, the English concertina and the Duet concertina bear similarities in history and construction. Both systems generally play a scale, and are unisonoric. Both these English-developed instruments are smaller than German concertinas, and tend to be hexagonal, though occasionally having 8,10, the English system alternates the notes of the scale between two hands, enabling rapid melodies. The Duet system places the low notes on the hand and high on the right. The English concertina is credited to Sir Charles Wheatstone, who first patented such a design in 1829 in Great Britain, Wheatstone was also the first to patent a Duet concertina, in 1844. The German concertinas, developed within Germany itself for its market and diaspora. They are generally bisonoric, use a different style of long plate reeds, unlike the English and Anglo, they sometimes have more than one reed per note, creating a vibrato effect. Various German concertina systems share common features and core button layout. In the United States, particularly in the Midwest where there are many German and Central European descendants, a related variant is the Carlsfelder concertina of C. F. Zimmerman, unveiled in 1849. and at the 1851 London Industrial Exposition. The bandoneon is a German concertina system with an original bisonoric layout devised by Heinrich Band, though the typical bandoneon is bisonoric, the 1920s saw the development of unisonoric variants such as the Ernst Kusserow and Charles Peguri systems, both introduced around 1925. Bandoneons typically have more than one reed per button, dry-tuned with the reeds an octave apart, Ástor Piazzolla was one of the most famous exponents of this instrument. The Anglo or Anglo-German concertina is, historically, a hybrid between the English and German concertinas, the button layouts are generally the same as the original 20-button German concertinas designed by Uhlig in 1834, and in a bisonoric system. Within a few years of its invention, the German concertina was an import in England, Ireland.
39. Anglo concertina – A concertina is a free-reed musical instrument, like the various accordions and the harmonica. It has a bellows, and buttons typically on both ends of it, when pressed, the buttons travel in the same direction as the bellows, unlike accordion buttons, which travel perpendicularly to the bellows. The concertina was developed in England and Germany, most likely independently, the English version was invented in 1829 by Sir Charles Wheatstone, while Carl Friedrich Uhlig announced the German version five years later, in 1834. Various forms of concertina are used for music, for the traditional musics of Ireland, England, and South Africa. Because the concertina was developed nearly contemporaneously in England and Germany, systems can be divided into English, Anglo-German. To a player proficient in one of these systems, a concertina of a different system may be quite unfamiliar, the English concertina and the Duet concertina bear similarities in history and construction. Both systems generally play a scale, and are unisonoric. Both these English-developed instruments are smaller than German concertinas, and tend to be hexagonal, though occasionally having 8,10, the English system alternates the notes of the scale between two hands, enabling rapid melodies. The Duet system places the low notes on the hand and high on the right. The English concertina is credited to Sir Charles Wheatstone, who first patented such a design in 1829 in Great Britain, Wheatstone was also the first to patent a Duet concertina, in 1844. The German concertinas, developed within Germany itself for its market and diaspora. They are generally bisonoric, use a different style of long plate reeds, unlike the English and Anglo, they sometimes have more than one reed per note, creating a vibrato effect. Various German concertina systems share common features and core button layout. In the United States, particularly in the Midwest where there are many German and Central European descendants, a related variant is the Carlsfelder concertina of C. F. Zimmerman, unveiled in 1849. and at the 1851 London Industrial Exposition. The bandoneon is a German concertina system with an original bisonoric layout devised by Heinrich Band, though the typical bandoneon is bisonoric, the 1920s saw the development of unisonoric variants such as the Ernst Kusserow and Charles Peguri systems, both introduced around 1925. Bandoneons typically have more than one reed per button, dry-tuned with the reeds an octave apart, Ástor Piazzolla was one of the most famous exponents of this instrument. The Anglo or Anglo-German concertina is, historically, a hybrid between the English and German concertinas, the button layouts are generally the same as the original 20-button German concertinas designed by Uhlig in 1834, and in a bisonoric system. Within a few years of its invention, the German concertina was an import in England, Ireland.
40. Bandoneon – The bandoneon is a type of concertina particularly popular in Argentina, Uruguay, and Lithuania. It is an instrument in most tango ensembles from the traditional orquesta típica of the 1910s onwards. Around 1870, German and Italian emigrants and sailors brought the instrument to Argentina, where it was adopted into the nascent genre of tango music, by 1910 bandoneons were being produced expressly for the Argentine and Uruguayan markets, with 25,000 shipping to Argentina in 1930 alone. However, declining popularity and the disruption of German manufacturing in World War II led to an end of bandoneon mass-production, original instruments are displayed in German museums, such as the Bandoneon Museum der Familie Preuss in Lichtenberg and the collection of the family Steinhart in Kirchzarten, Freiburg. Bandoneons were historically produced primarily in Germany, and were never produced in Argentina itself despite their popularity, as a result, by the 2000s, vintage bandoneons had become rare and expensive, limiting prospective bandeonists. As a concertina, the buttons travel parallel with the bellows. Unlike a piano accordion, but similar to a melodeon or Anglo concertina, a given bandoneon button produces different notes on the push and this means that each keyboard actually has two layouts, one for opening notes, and one for closing notes. Since the right and left hand layouts are different, a musician must learn four different keyboard layouts to play the instrument. These include the Ernst Kusserow and Charles Peguri systems, both introduced around 1925, the Argentinian bandleader, composer, arranger, and tango performer Aníbal Troilo was a leading 20th century proponent of the bandoneon. Ástor Piazzolla played and arranged in Troilos orquesta from 1939 to 1944, piazzollas Fugata from 1969 showcases the instrument, which plays the initial fugue subject on the 1st statement, then moves on to the outright tango after the introduction.
41. Chemnitzer concertina – A Chemnitzer concertina is a musical instrument of the hand-held bellows-driven free-reed category, sometimes called squeezeboxes. The Chemnitzer concertina is most closely related to the bandoneón, more distantly to the other concertinas and it is roughly square in cross-section, with the keyboards consisting of cylindrical buttons on each end arranged in curving rows. A strap, usually of leather, is fitted at each end to hold the players palm against the instrument for playing. Compare to the English concertina where the thumb holds a strap, the finger is held on a rest. The instrument is bisonoric, meaning that each button corresponds to two notes, one when the bellows is compressed, and another when it is expanded, on most instruments, two or more reeds sound for each note. The tones produced are either in octaves, unison, or in some combination thereof and this arrangement resembles that of the Russian accordion, the bayan. Uhligs patent dates to 1834, and while Wheatstone patented a related instrument, uhligs first instrument had five buttons on each side, but the keyboard was quickly expanded and as it did so, it diverged into different lineages. Heinrich Bands was sold under the name Bandonion, strictly speaking, the Chemnitzer layout is one of 38,39,51 or 52 buttons, or one of the American expanded versions of the 52-button system. Especially in English-speaking countries, the term Chemnitzer is frequently applied to any of the square German concertinas that are not bandonions. In the United States, especially in the Midwest, where other types are not as well known as the Chemnitzer concertina. Otto Schlicht patented an action in 1932 which improved the method of the action levers. However the instrument, especially in its 52-button and larger versions, is capable of performing in musical contexts. Bandonion und Konzertina, Ein Beitrag zur Darstellung des Instrumententyps, ISBN 3-87397-070-8 United States Concertina Association Czech Area Concertina Club.
42. English concertina – The English concertina is a member of the concertina family of free-reed musical instruments. Invented in England in 1829, it was the first instrument of what would become the concertina family. It is a chromatic instrument, having buttons in a rectangular arrangement of four staggered rows, its buttons are unisonoric. It differs from other concertinas in that the scale is divided evenly between the two hands, such that playing a scale involves both hands alternately playing each note in sequence. The invention of the instrument is credited to Sir Charles Wheatstone, his earliest patent of an instrument was granted 19 December 1829. The English concertina was initially used for playing music, virtuosic solos. By the 1860s-1870s, the English concertina grew more popular in the music hall tradition, in the English Folk Revival of the 1960s, though the English concertina had been more an art music instrument, it became popular with British folk musicians. Alf Edwards was a regular accompanist to both A L Lloyd and Ewan MacColl, and taught the instrument to Peggy Seeger, later in the 1960s Alistair Anderson became known for interpreting the traditional dance music of Britain, particularly that of Northumberland. The English concertina found limited use in Irish traditional music, though to a lesser degree than the Anglo concertina. Rick Epping plays Irish music on the harmonica whilst accompanying himself on English concertina, although the Boeremusiek of the Afrikaner people of South Africa was predominantly played on the Anglo concertina, English system players were also recorded. References in Boeremusiek to the 4-ry concertina refer to the English system, boer musicians used the actual word English to mean Anglo system instruments made by English firms such as Lachenal & Co. and Wheatstone. While it was primarily the bandoneon concertina which achieved success in South America and it is theorized the instrument may have been brought there by foreign technicians working on the Bolivian Railway or the Patiño mines. The English concertina is typically held by placing the thumbs through thumb straps, many players also intermittently or continuously use the little finger to play notes, thus playing with all four fingers and relying upon the thumb straps to support the instrument. Heavier and larger instruments were fitted with wrist straps and/or a neck sling to further support the weight of the instrument. The two innermost rows of the layout constitute a diatonic C major scale, distributed alternately between the two sides of the instrument, thus in a given range, C-E-G-B-d is on one side, D-F-A-c-e on the other. The two outer rows consist of the sharps and flats required to complete the chromatic scale and this distribution of scale notes between sides facilitates rapid melodic play. English-system treble and tenor-treble concertinas usually span 3 1/2 or 4 octaves, baritones are similar, but transpose down one octave. Bass concertinas transpose two octaves down, and piccolo concertinas play one octave up, tenor, baritone and bass concertinas often have an air valve in the position that would otherwise be occupied by the instruments highest note.