ACCORDION TYPES - Help Needed

[Pinu]

Dear Accordionists Forum’s members,

I’m Giovanni Volpatti, an engineer with the (weird – at least according to my wife) hobby of making research about the instrument I love, by means of applying my engineering knowledge to the study of the accordion.

I have already finished and published some papers and give a presentation at the ASA (Acoustical Society of American). Here few links for who is interested.
Beyond the Bellows: A Critical Review of Free Reed Instrument Research, Gaps, and Future Innovations (American Journal of Arts and Human Science)
Materials in Accordion Construction: A Comprehensive Review of Traditional and Modern Approaches (Journal of Innovative Research)
Comparative study of higher modes of vibration in cantilever beams: Exact analytical analysis versus FEM analysis for accordion free reed acoustics (The Journal of the Acoustical Society of America)

I’m actually preparing a new paper treating, among others, the topic of “ACCORDION TYPES”.

I’m actually writing in this forum to ask your support in gathering experiences and feedback from all over the world. I prepared few questions that would help my research:

• How many voices are normally present in the accordion? 1, 2, 3, 4, 5, 6, …?
• In your region, which voices are normally selected when buying an accordion (LMMH, LMMM, LMM, LMH, MMM, …)?
• In your region, is the cassotto normally used? Why?
• In your region, is the cassotto normally used? Why?
• In your region, which musette detuning is mostly used? 2-voices or 3-voices musette? Which style is normally played? Why?
• In your region, are quint-voices used? Why?
• In your region, are people using special accordion?

What I suggest you is to copy-paste my question and embed you answers directly within it.

Thanks a lot in advance for your kind help.

 

[Pinu]

In order to help you guys, I’m posting here an example of an answer based on actually what I’m use to experience myself.

• How many voices are normally present in the accordion? 1, 2, 3, 4, 5, 6, …? : Normally 4 voices are used for professionals. Rarely 3. Amost never 5.
• In your region, which voices are normally selected when buying an acccordion (LMMH, LMMM, LMM, LMH, MMM, …)?
• In your region, is the cassotto normally used? Why? : Quite often in all types f music apart folk (only few are having cassotto il the “Liscio”). In folk people are using the 3+1 with a L-voice in cassotto.
• In your region, is the sordina normally used? Why? : Very rarely
• In your region, which musette detuning is mostly used? 2-voices or 3-voices musette? Which style is normally played? Why? : For the folk music, please are normally suing 3-voices musette with symmetric detuning of around 15-25 cents. For other styles, people are normally using 2-voices musette with detuning of around 10 cents
• In your region, are quint-voices used? Why? : No info
• In your region, are people using special accordion? : The “Liturgica” was developed by Dallapè with 6 voices (with the 32’ voice), but basically it was never in real production

 

[dak]

Well, here is the problem with your approach: your main question style is asking about regional conventions. But most people who choose to communicate electronically in a world-wide forum do so because the prevailing local culture does not offer them much in the way of satisfactory contacts and occasions for following their musical path. Statements like "Normally 4 voices are used for professionals. Almost never 5." make no sense whatsoever in the context of, say, professional Oberkrainer players (almost universally 5 voices). Professionals are to be found among numerous genres.

If you want to make kind of a survey of what used to be prevalent in a certain region of the world, look at all the used accordions getting sold on national auction sites. There are lots and lots of instruments of various age to be seen there, and the overall amount tells a story of the history of the instrument in a country, and the throwaway prices you see more often than not tell a story about its current popularity.

But your questions try to get far too exact answers for what tends to have ceased being a regional culture in many locations. At least on this forum, you will find more people with an individual accordion journey than those who follow the trodden paths of a particular culture.

 

[murathan]

• How many voices are normally present in the accordion? 1, 2, 3, 4, 5, 6, …? 5
• In your region, which voices are normally selected when buying an accordion (LMMH, LMMM, LMM, LMH, MMM, …)? LMM
• In your region, is the cassotto normally used? Why? No. Because people are not rich enough.
• In your region, which musette detuning is mostly used? 2-voices or 3-voices musette? Which style is normally played? Why? 2 Voices Musette
• In your region, are quint-voices used? Why? No.
• In your region, are people using special accordion? No.

People are generally using Weltmeister Stella 60 bass models here in Turkey which is LMM 5 register (switch) accordions. These are the most produced accordions ever. They are the cheapest decent models in the world too. These second hand accordions comes from Bulgaria or Georgia to here after renovated as I know. People generally uses in ethnic music (Caucasian/Circassian folk), others use in general popular music which they become my online student at some point.

 

[Alan Sharkis]

Pinu,

I may be complicating the discussion a little more, but it’s worth noting that accordions can be divided into two major categories: diatonic and chromatic.

Diatonic accordions almost always use buttons in the righthand, or treble side of the accordion. They are tuned in diatonic scales: that is, no accidentals. Think of a C major scale — all white keys on a piano. That’s a diatonic scale. Of course, there are 12 such scales in Western music. In a diatonic accordion, each vertical row of buttons represents one scale. There may be one, two or three vertical rows, so in two- or three-row diatonic accordions it’s possible to play in a key and get some accidentals. To keep the accordion relatively small, most diatonic accordions are bisonoric, so each button can play two notes, depending on bellows direction. This is accomplished by mounting two differently-pitched reeds on one reed plate. Diatonic accordions are sometimes referred to as a melodion, or an organetto, or some other term, depending on the native country of the person who’s takking about them. Diatonic accordions are usually associated with one folk genre of music or another. The bass, or lefthand side of diatonic accordions has both single bass notes and chords, but they are limited in number as compared to those in chromatic accordions.

Chromatic accordions include piano-accordions and chromatic button accordions. Chromatic accordions have all 12 tones and therefore can play in any key. They are monosonoric, so holding down a key or button will play the same note regardless of bellows direction. This is accomplished by mounting two reeds of the same pitch on a single reed plate. Piano-accordions (pa) are named for the piano-like treble. Chromatic button accordions (cba) have buttons arranged in three, four or five ( and occasionally six) vertical rows. Three rows are the minimum. If we count rows from the side closest to the edge of the keyboard, the fourth row, if it exists is an off-serred repeat of the first row, and the fifth row is an off-serred repeat of the second row. There are different layouts of chromatic button trebles, but each button in a vertical row is a minor third away from the button above or below it. The bass buttons of chromatic accordions are arranged to sound single bass notes or chords in a standard, or Stradella arrangement and only single bass notes per button in a melody, or free bass arrrangement. There are also ‘converter’ accordions in which both Stradella and free bass arrangements are available and selected by a switch.

 

[SteveBox]

Not to confuse things, but a diatonic accordion can also be chromatic. A diatonic accordion with two rows that play diatonic scales which are a half-step apart (e.g. B and C, or C# and D) gives you all 12 of the chromatic notes. This type of accordion is popular for Irish music, and is sometimes called a half-step chromatic. However, compared to a monosonoric piano or chromatic button accordion, it has a restriction in that you cannot play any combination of notes, because being bisonoric, some notes are on the pull and others on the push of the bellows. A few notes are available on the pull and the push, but on different buttons. For single note melodies, however, you can play in any key. The bass side of these instruments is usually very restrictive, so the Irish mainly play melodies on them with only occasional use of bass notes or chords.

 

[Alan Sharkis]

Not to confuse things, but a diatonic accordion can also be chromatic. A diatonic accordion with two rows that play diatonic scales which are a half-step apart (e.g. B and C, or C# and D) gives you all 12 of the chromatic notes. This type of accordion is popular for Irish music, and is sometimes called a half-step chromatic. However, compared to a monosonoric piano or chromatic button accordion, it has a restriction in that you cannot play any combination of notes, because being bisonoric, some notes are on the pull and others on the push of the bellows. A few notes are available on the pull and the push, but on different buttons. For single note melodies, however, you can play in any key. The bass side of these instruments is usually very restrictive, so the Irish mainly play melodies on them with only occasional use of bass notes or chords.

True. I wrote an already overlong post or I would’ve mentioned not only that, but club accordions, Stierische Harmonikas, etc., and described what sets them apart. On the chromatic side, I would have mentioned the true Russian bayan and how it differs from a cba. A book can be written about all the accordion-like instruments that aren’t called accordions, and we haven’t even touched reed-less, digital and other instruments that many of us call accordions and some still refuse to call accordions.

 

[dak]

On the chromatic side, I would have mentioned the true Russian bayan and how it differs from a cba.

That's like mentioning a poodle and how it differs from a dog. A bayan is a CBA, just a particular type of CBA.

 

[debra]

I'm not an engineer, but if I were I would be more interested in the physics and materials aspects of the instrument. There are few studies about for instance the correct construction of reed blocks to make sure the "resonance chambers" are resonating at the right frequency, about how the construction of the accordion and especially the soundboard influences how reeds on the same or different reed blocks change frequency when played together, or how it might be possible to change the way reed tongues are placed on reed plates so that tuning becomes possible without a destructive process (of filing and scratching)... There are so many ways in which the current technical aspects of accordion construction could be improved... it's a heaven of possibilities for engineers to work on.
To me all of these issues are way more interesting than a question like where in the world more people have LMMH configurations and where LMMM... (or LMM because they are lighter and cheaper).

 

[Vladimir M.]

Hi,

What I suggest you is to copy-paste my question and embed you answers directly within it.

I am a chromatic accordion player, so my answers relate to the use of chromatic accordion only and NOT diatonic boxes (diatonic instruments are also very widespread here, but that is not my world, where I belong).

• How many voices are normally present in the accordion? 1, 2, 3, 4, 5, 6, …?

usually these:

Instruments with a single voice are nonsense, instruments with two voices are children's accordions or lightweight specials, and I personally know only two historical accordions with six voices, but that is a rarity.

• In your region, which voices are normally selected when buying an accordion (LMMH, LMMM, LMM, LMH, MMM, …)?

Ranking of popularity and usage in my region is:
1 LMM
2 LMMH
3 LMMMH
4 LMMM

• In your region, is the cassotto normally used? Why?

Yes, mainly because it's already in the (many used) accordions that usually people still buy. Only a few people can appreciate the subtlety of the treble sound of the cassotto. And a minimum of people choose a new box accordingly.

• In your region, which musette detuning is mostly used? 2-voices or 3-voices musette?

Two-voice (0 Cent, +24 Cent) in smaller instruments (LMM),
three-voice (-8 Cent, 0 Cent, +24 Cent) in larger instruments LMMM or LMMMH)
Both are good for folklore. Otherwise, the MM-ranges are usually in the intervals: +4 Cent to +8 Cent, i.e. classical dry tuning.

• Which style is normally played? Why?

Most folk music, less jazz, pop and least classical music. And why? - Because that is the demand of the society that lives here. You certainly wouldn't make a living here playing the Goldberg Variations on the accordion.

• In your region, are quint-voices used? Why?

Very rarely. At conservatories and colleges only. And why? Occasionally, the 22/3-fifth is found on older concert instruments from the 1970s. If students don't have the money for an expensive concert instrument, they buy a used one and the 2 2/3 is sometimes a bonus. Mainly associated with the higher weight of the accrodion (LMMHQ).

• In your region, are people using special accordion?

No. I don't know about that. Why would they do that?

I wanted to make you happy with my truthful answers, but I agree with the above opinions about the low informative value and usefulness of a "questionnaire" constructed in this way.

Good luck!
Vladimir

 

[stickista]

…
Instruments with a single voice are nonsense, instruments with two voices are children's accordions or lightweight specials…

That’s an interesting value judgement.

 

[Pinu]

Well, here is the problem with your approach: your main question style is asking about regional conventions. But most people who choose to communicate electronically in a world-wide forum do so because the prevailing local culture does not offer them much in the way of satisfactory contacts and occasions for following their musical path. Statements like "Normally 4 voices are used for professionals. Almost never 5." make no sense whatsoever in the context of, say, professional Oberkrainer players (almost universally 5 voices). Professionals are to be found among numerous genres.

If you want to make kind of a survey of what used to be prevalent in a certain region of the world, look at all the used accordions getting sold on national auction sites. There are lots and lots of instruments of various age to be seen there, and the overall amount tells a story of the history of the instrument in a country, and the throwaway prices you see more often than not tell a story about its current popularity.

But your questions try to get far too exact answers for what tends to have ceased being a regional culture in many locations. At least on this forum, you will find more people with an individual accordion journey than those who follow the trodden paths of a particular culture.

Definitely agree with you. It is not easy to generalize and try to gather together things and conclude. Indeed what I want is to try to formalize the existence of this "mess", yet I want to base it on facts.

Indeed, having a 5-voice as a reference is kind of only valid for the Oberkrainer music. As of my knowledge, mostly 4-voice accordion is used workdwide

 

[Pinu]

• How many voices are normally present in the accordion? 1, 2, 3, 4, 5, 6, …? 5
• In your region, which voices are normally selected when buying an accordion (LMMH, LMMM, LMM, LMH, MMM, …)? LMM
• In your region, is the cassotto normally used? Why? No. Because people are not rich enough.
• In your region, which musette detuning is mostly used? 2-voices or 3-voices musette? Which style is normally played? Why? 2 Voices Musette
• In your region, are quint-voices used? Why? No.
• In your region, are people using special accordion? No.

People are generally using Weltmeister Stella 60 bass models here in Turkey which is LMM 5 register (switch) accordions. These are the most produced accordions ever. They are the cheapest decent models in the world too. These second hand accordions comes from Bulgaria or Georgia to here after renovated as I know. People generally uses in ethnic music (Caucasian/Circassian folk), others use in general popular music which they become my online student at some point.

Thanks a lot. Cassotto there is only linked to money or to the tradition?
In similar geographies (from economical perspective) , I have seen cassotto being quite used.

 

[Pinu]

Pinu,

I may be complicating the discussion a little more, but it’s worth noting that accordions can be divided into two major categories: diatonic and chromatic.

Diatonic accordions almost always use buttons in the righthand, or treble side of the accordion. They are tuned in diatonic scales: that is, no accidentals. Think of a C major scale — all white keys on a piano. That’s a diatonic scale. Of course, there are 12 such scales in Western music. In a diatonic accordion, each vertical row of buttons represents one scale. There may be one, two or three vertical rows, so in two- or three-row diatonic accordions it’s possible to play in a key and get some accidentals. To keep the accordion relatively small, most diatonic accordions are bisonoric, so each button can play two notes, depending on bellows direction. This is accomplished by mounting two differently-pitched reeds on one reed plate. Diatonic accordions are sometimes referred to as a melodion, or an organetto, or some other term, depending on the native country of the person who’s takking about them. Diatonic accordions are usually associated with one folk genre of music or another. The bass, or lefthand side of diatonic accordions has both single bass notes and chords, but they are limited in number as compared to those in chromatic accordions.

Chromatic accordions include piano-accordions and chromatic button accordions. Chromatic accordions have all 12 tones and therefore can play in any key. They are monosonoric, so holding down a key or button will play the same note regardless of bellows direction. This is accomplished by mounting two reeds of the same pitch on a single reed plate. Piano-accordions (pa) are named for the piano-like treble. Chromatic button accordions (cba) have buttons arranged in three, four or five ( and occasionally six) vertical rows. Three rows are the minimum. If we count rows from the side closest to the edge of the keyboard, the fourth row, if it exists is an off-serred repeat of the first row, and the fifth row is an off-serred repeat of the second row. There are different layouts of chromatic button trebles, but each button in a vertical row is a minor third away from the button above or below it. The bass buttons of chromatic accordions are arranged to sound single bass notes or chords in a standard, or Stradella arrangement and only single bass notes per button in a melody, or free bass arrrangement. There are also ‘converter’ accordions in which both Stradella and free bass arrangements are available and selected by a switch.

The diatonic is a big topic indeed. In Italy, Austria and Switzerland (at least) is kind of numerically matching the chromatic accordions in my experience

 

[Pinu]

I'm not an engineer, but if I were I would be more interested in the physics and materials aspects of the instrument. There are few studies about for instance the correct construction of reed blocks to make sure the "resonance chambers" are resonating at the right frequency, about how the construction of the accordion and especially the soundboard influences how reeds on the same or different reed blocks change frequency when played together, or how it might be possible to change the way reed tongues are placed on reed plates so that tuning becomes possible without a destructive process (of filing and scratching)... There are so many ways in which the current technical aspects of accordion construction could be improved... it's a heaven of possibilities for engineers to work on.
To me all of these issues are way more interesting than a question like where in the world more people have LMMH configurations and where LMMM... (or LMM because they are lighter and cheaper).

Thanks a lot. Indeed I will focus on other aspects, but before arriving there, I need to introduce why such complexity is there.

 

[Pinu]

Hi,


I am a chromatic accordion player, so my answers relate to the use of chromatic accordion only and NOT diatonic boxes (diatonic instruments are also very widespread here, but that is not my world, where I belong).

• How many voices are normally present in the accordion? 1, 2, 3, 4, 5, 6, …?

usually these:

Instruments with a single voice are nonsense, instruments with two voices are children's accordions or lightweight specials, and I personally know only two historical accordions with six voices, but that is a rarity.

• In your region, which voices are normally selected when buying an accordion (LMMH, LMMM, LMM, LMH, MMM, …)?

Ranking of popularity and usage in my region is:
1 LMM
2 LMMH
3 LMMMH
4 LMMM

• In your region, is the cassotto normally used? Why?

Yes, mainly because it's already in the (many used) accordions that usually people still buy. Only a few people can appreciate the subtlety of the treble sound of the cassotto. And a minimum of people choose a new box accordingly.

• In your region, which musette detuning is mostly used? 2-voices or 3-voices musette?

Two-voice (0 Cent, +24 Cent) in smaller instruments (LMM),
three-voice (-8 Cent, 0 Cent, +24 Cent) in larger instruments LMMM or LMMMH)
Both are good for folklore. Otherwise, the MM-ranges are usually in the intervals: +4 Cent to +8 Cent, i.e. classical dry tuning.

• Which style is normally played? Why?

Most folk music, less jazz, pop and least classical music. And why? - Because that is the demand of the society that lives here. You certainly wouldn't make a living here playing the Goldberg Variations on the accordion.

• In your region, are quint-voices used? Why?

Very rarely. At conservatories and colleges only. And why? Occasionally, the 22/3-fifth is found on older concert instruments from the 1970s. If students don't have the money for an expensive concert instrument, they buy a used one and the 2 2/3 is sometimes a bonus. Mainly associated with the higher weight of the accrodion (LMMHQ).

• In your region, are people using special accordion?

No. I don't know about that. Why would they do that?

I wanted to make you happy with my truthful answers, but I agree with the above opinions about the low informative value and usefulness of a "questionnaire" constructed in this way.

Good luck!
Vladimir

Thanks a lot. Perfect answers

 

[Pinu]

That’s an interesting value judgement.

I see that this created a bit of discussion. I indeed understand both why it was said (also where I come from the 2-voices are normally for kids...at least when we speak about accordion) and why it created perplexity (e.g. bandoeon is a 2-boice instrument..but that's not for kids. As well as many swiss örgeli...).

I indeed wanted to provoque a sane and open discussion, to truly explore the variety and complexity of the thousand of models of accordions

 

[murathan]

Thanks a lot. Cassotto there is only linked to money or to the tradition?
In similar geographies (from economical perspective) , I have seen cassotto being quite used.

Cassotto accordions are very expensive here. Also not used to the tradition. Turkey is a multi-national country and accordion is not a very popular instrument. Mostly used by immigrants.

 

[SteveBox]

I see that this created a bit of discussion. I indeed understand both why it was said (also where I come from the 2-voices are normally for kids...at least when we speak about accordion) and why it created perplexity (e.g. bandoeon is a 2-boice instrument..but that's not for kids. As well as many swiss örgeli...).

For those who prefer small, lightweight accordions, 2 or 3 voices are the most common. Most diatonic accordions are like this (except for the larger and heavier Steirische Harmonikas), and it is also possible to have a small CBA under 5 kg (I have one). These smaller instruments are very popular with folk musicians. An exception to the 3 voice limit is the one row diatonic accordion, popular in Cajun and Quebecois music. With only ten buttons, they can have four reeds per note and still be small and light.

The better ones are very high quality and expensive, definitely not kids accordions.

I play a three row CBA with a three octave range and a chromatic Darwin bass, and it weighs only 4 kg. It has a nice 2 voice light musette that is great for playing with other musicians at Irish sessions. It is really all one needs for this type of music.

 

[Pinu]

For those who prefer small, lightweight accordions, 2 or 3 voices are the most common. Most diatonic accordions are like this (except for the larger and heavier Steirische Harmonikas), and it is also possible to have a small CBA under 5 kg (I have one). These smaller instruments are very popular with folk musicians. An exception to the 3 voice limit is the one row diatonic accordion, popular in Cajun and Quebecois music. With only ten buttons, they can have four reeds per note and still be small and light.

The better ones are very high quality and expensive, definitely not kids accordions.

I play a three row CBA with a three octave range and a chromatic Darwin bass, and it weighs only 4 kg. It has a nice 2 voice light musette that is great for playing with other musicians at Irish sessions. It is really all one needs for this type of music.

Chromatic Darwin bass? What's that?