The Accordion
The Accordion
The Accordion
by
TONI CHARUHAS, M.MuL
Printed in
The United States of America
ACKNOWLEDGMENTS
CHAPTER PAGE
APPENDIX
Illustrations ......................... 73 - 77
CHAPTER 1
( 9 )
ture of the accordion it is necessary to trace the inception
and evolution of each of its components.
The seed from which the accordion was eventually to
evolve is to be found in the cheng. This is an ancient Chinese
instrument which dates back to mythical times in China.
Louis C. Elson in his book "Curiosities of Music" tells us
that the inv;ention of music is ascribed by the Chinese to
supernatural beings and that the Emperor Chi-hoang-che,
who reigned in the time of the spirits is said to have invented
the rules of pronunciation, the written characters of the
Chinese language, and finally music. A mythological char-
acter named Tong-how composed the earliest songs.
Kai-tien-chi, the 9th emperor of this spiritual dynasty,
is credited with many of the earliest songs. He is also said
to have invented 8 kinds of instruments.
All this is based on mythology, however, and the authen-
tic history of Chinese music may be said to begin with
Fo-hi (or Fuh-hi) , the first of the Ty dynasty, and the foun-
der of the Chinese empire. He reigned about 2950 B.c.
Many Chinese writers attribute some of the inventions,
which are credited to Fo-hi, to his wife Niu-va (or Nu-
wo), a supernatural and mythical female sovereign who
was regarded as a holy and miraculous virgin in Chinese
annals.
The Chinese have from antiquity classed musical sounds
into 8 categories and believed that nature had formed 8
kinds of sonorous bodies with which to produce these
sounds. These sounds are those produced from skin, stone,
metal, baked clay, wood, silk bamboo and the calabash.
The cheng belongs to the latter. The calabash is a species
of gourd, pumpkin-shaped but smaller. In the cheng the
calabash (called pao by the Chinese) really emits no sound,
but serves only as an air reservoir for this instrument. The
( 10 )
cheng is in fact a portable organ and quite an intricate
instrument. It is astonishing that this instrument, invented
about 4,000 years ago, did not lead to greater results in
all that time.
The Cheng
( 12 )
In the above described cheng there are 17 pipes in all.
Every pipe, except the non-sounding, or mute, 1, 9, 16 and
17, is composed of two pieces; the upper part bamboo, the
lower part of some hard word, probably teak.
The reeds of the cheng are rudely fastened in with wax.
Every pipe, except the mute ones, has a slit on the inner
side which serves to modify or intensify its tone.
It has been asserted that the cheng was brought over
to Europe about the 15th century by some Jesuit mission-
aries, but this has not been determined. To date it is not
surely known how or quite when the cheng arrived in
Europe. However, it is recorded that in the 18th century,
Mr. Johann Wilde, known as the inventor of the nail violin,
purchased or was given, a cheng in St. Petersburg, Russia
and learned to play it. When the physicist Kratzenstein,
from Copenhagen, heard him and examined the free reed
of the cheng, he suggested to the organ builder Kirschnik
in St. Petersburg, that he introduce the free reed into the
organ. The latter, however, made no organ with free reeds.
He only made organ-pianos. It was Georg Joseph Vogler,
well-known in Darmstadt, who built the first organ with
such reeds. The real value, however, of free reeds does not
seem to have been appreciated until Grenie of Paris, in
1810, discarded the pipes and used the reeds alone, thus
inventing the harmonium. A great family of free reed in-
struments then began to appear, such as mouth harmonicas,
concertinas and accordions.
Before going into the 19th century with its invention
of the accordion, let us see what other phases of the ac-
cordion were in previous use. The bellows, one such phase,
may be traced to many years B.C. and were used in Greek
and Egyptian forges.
At Paros there is still in use a pair of bellows answer-
( B )
ing to Virgil's description (see footnote). It consisted of
two sheepskins, united by an iron pipe, introduced into the
fire, which were alternately dilated with air and compressed
by an Arab slave, who knelt above them.
THE PORTATIVE
"As when the Cyclops urge on the thunderbolts from the stubborn masses,
some receive and render back the air in the bull-hide bellows; some dip the sput-
tering brass in the trough, Aetna groans under the weight of their anvils: they
alternately with vast force lift their arms in time and turn the iron with the grip-
ping pincers."-Virgil, 69 B.C. Georgics, Book lv, line 170.
( 14 )
In the Middle Ages there were two predominant port-
able instruments, the portative and the regal, both of which
can be related to the accordion family. In Europe the por-
tative made its first recorded appearance in England dur-
ing the 12th century and by the 13th century it was dis-
tributed all over Western Europe, becoming one of the
most important elements in both chamber and orchestral
music. Its popularity was no accident, for quite apart from
the clearer, pure, mellow tones, which would have singular
attraction for Renaissance ears, it was remarkable for its
technical efficiency, while thanks to its keyboard mech-
anism it was remarkably easy to play. The portative was a
small, portable, and easily playable hand-organ. It was strap-
ped on to the player who operated the lever keys or small
push-buttons, with his right and worked the bellows with
his left hand. It was equipped with anywhere from 6 to
30 pipes in one, two or three ranks. The portatives were
built with two ranks of keys only to save space, since at
that time they had no chromatic scale. Later, in the Renais-
sance, it invariably was provided with a regular chromatic
keyboard furnished with two ranks of keys, and producing
all the notes of the chromatic scale. In spite of its improve-
ments the portative was on its way out, for it was too small,
feeble in tone and unsuitable for chord playing to be used
in the new Renaissance music. When we reach the Baroque
and Roccoco periods we find the portatives in use prin-
cipally in processions. The portatives have become incom-
parably heavier and two or more persons are required to
serve them. The added weight stems mostly from the fact
that registers were added to them.
And now let us take a look at the regal. The regal is
the instrument from which the modern harmonium was
modeled, but it had beating reeds instead of free reeds. The
( 1'5 )
beating reed, which is employed in the organ, derives its
name from the fact that the reeds touch the sides of the
frames. It was introduced in the 15th century but it is not
known whether it appeared first in the regal or as part of
an organ. References have been made to the regal being
used in convents to accompany the singing of nuns.
THE BIBLE-REGAL
THE BIBLE-REGAL
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CHAPTER II
1. ITS MANUFACTURE
( 25 )
makes of accordion. There are many designs and
styles of grill, some simple and some elaborate.
The registers (to be discussed further later in this
chapter) are to be found on the grill. The true
function of this covering is to protect the rods and
pallets and also to prevent dust from entering the
reeds.
4. The valve plate which lies between the valves and
the reedblock is usually made of plywood or alum-
inum. It has round or square holes each of which
allows air to flow into a separate tone chamber in
the reed block.
S. The reed bed (fig. 4) is a long piece of wood.
running lengthwise with cut out tone chambers
which are separated by wooden walls. The top of
the reed bed is solid and the cut out chambers fit
on to the valve plate. Over each chamber is fitted
a reedplate ( fig. 1) which contains two steel
tongues (fig. 3) one on each side of the reedplate.
These tongues are rivetted onto the base of the reed-
plate and fit into a precision cut slot in the plate.
In this way they are free to vibrate. Both tongues
are of the same pitch, one vibrating when the bel-
lows are drawn open and the other when the bel-
lows are pushed closed. There is a strip of leather
attached with a special glue to the reedplate (fig.
2) which covers the entire slot. One strip of leather
is on the outside of the plate over one slot and the
other on the inside over the other slot. When the
bellows are drawn the leather covering the outer-
slot cf the reedplate automatically closes with the
pressure of the air so that only the inner reed tongue
( 26 )
can vibrate freely. Upon closing the bellows the
leather on the opposite side responds permitting
the outer reed tongue to vibrate. There are as much
as four reedplates for each tone. These are for the
registers (sometimes called stops, shifts, switches
or couplers). The size and thickness of the reed
gives it its pitch and the kind of steel or metal, its
quality. The slide which closes or opens various
reeds for combinations is imbedded in the valve
plate.
I. The Bellows:
( 27 )
4. Wooden frames at each end fit into the treble and
bass casing and are made airtight with leather
packing. They are secured with bellows pins. Some
models have invisible frame clips.
( 30 )
bellows, by not permitting enough air to get into
the tone chambers, create a strain on the player and
do not allow him to have complete control of his
accordion.
( 31 )
treble. There are some with fewer reeds 1ll order to be
lighter and less expensive.
The four sets of reeds are as follows:
1. The low or bassoon reed. This reed sounds an oc-
tave lower than written. Its quality is quite mel-
low and is even more so when constructed inside
a tone chamber. It responds slowly in its lower
reeds because of the largness of the reed tongues
on those tones. In combination with the higher
reeds it produces an exceptionally rich tone.
2. The next set of reeds is known as the middle reed.
This set sounds exactly as written. Used alone it
has a sweet and pleasing sound. It responds more
quickly than the bassoon reed.
3. The third set also is a middle reed set and sounds
as written. It differs from the other middle reed
set inasmuch as it is tuned slightly sharp. This is
done for the sake of brilliance. It is called the
vibrato reed. When playing with other instru-
ments it is well to avoid this reed unless its special
effect is wanted.
4. The fourth set of reeds is known as the piccolo or
ottavino reed. It sounds an octave higher than
written and has a thin, reedy and small sound. At
the high end of the keyboard it has the same reg-
ister as the harmonics on a violin. Alone, the high
reeds are useful in soft passages and for special ef-
fect. When used in combination with the three
other sets of reeds this high reed is overwhelmed
to the point where it is hardly noticed.
For a picture of the range of these reeds see page 7(l.
( 32 )
To use these reeds singly and in combinations, regis-
ters are pressed. These registers are connected to a bar
which shuts or opens the holes leading to a set of reeds. If
all the holes are shut except those leading to the high reed,
then only the high reeds will sound and so on with all the
other sets of reeds. If the accordionist desired a combination
of high and low reeds, he would press the two middle, thus
shutting them off and allowing only the high and low reeds
to sound. Today, however, the acordionist does not have to
make his combinations, for the modern multi-shift accordion
automatically combines itself when the different registers
are pressed.
These registers are almost always located on the grill of
the accordion and are in different shapes and sizes accord-
ing to make or style of the instrument. The master register
(page 73) (the one opening all reed sets) is usually found
along the edge of the keyboard making it easily accessible
from all playing positions. When this master register is
pressed and all reeds sound, it is known as full accordion.
The agreed names for the registers are master, bassoon,
accordion, harmonium, bandoneon, organ, oboe, celeste (or
musette), violin, clarinet and piccolo, etc. (see chart on
page 75.)
In indicating which reeds are to be used, there has been
considerable controversy in the past, but now in the present,
standardization is being realized. However, it may be well
to be familiar with the other systems should one obtain
music that has been published not too recently. For this pur-
pose these are illustrated on page 75, along with the stand-
ard system.
We now come to the more complicated section of the
accordion, the bass section. The Standard piano accordion
has the Stradella bass system. This system has 120 bass but-
( 33 )
tons arranged in diagonal rows of six across. From top to
bottom there are 20 buttons in each of these rows of six.
(See page 77). The first row of 20 buttons, that nearest
the bellows, is called the counter-bass row; the second, the
fundamental row; the third, the major chord row; the
fourth, the minor chord row; the fifth, the seventh chord
row; and the sixth, the diminished row.
Counting up ten buttons from the bottom of the accor-
dion in the fundamental row we arrive at a button which
is the note C. This button may have a bright little stone
in it, or may be indented or marked in some manner so as
to distinguish it and make it feel different from the other
119 buttons. It is a landmark from which the accordionist
moves into the maze of buttons above and below it. All this
moving is done by touch since the player cannot see his left
hand. Some accordionists mark a few other buttons such as
the Ab below and E above the marked C to help guide them.
The button in the major chord row (the third row) next
to the fundamental C is a C major chord. In other words,
when this button is pressed a mechanism inside of the ac-
cordion acts in such a manner as to produce a C major triad.
Thus the accordionist can playa whole chord by just press-
ing one button. Diagonally next to this C major chord in
the minor chord row we find a C minor chord button which
sounds the C minor triad. In the next row is a C seventh
chord with the fifth of the chord omitted (for the purpose
of playing altered chords) and in the last row a C dim-
inished chord also with the fifth omitted.
Above the C fundamental button is found the G funda-
mental button with its diagonal row of major, minor,
seventh and diminished chords. This order of a fundamen-
tal button with its own row of major, minor, seventh and
diminished chords is found up and down the whole bass
( 34 )
section. In other words, if one memorizes the twenty buttons
in the fundamental row then one automatically has memor-
ized all the 80 buttons in the major, minor, seventh and
diminished rows, leaving only the counter-bass row to be
memorized. All in all there are only 40 buttons to remem-
ber, those of the fundamental row and those of the coun-
ter-bass row.
Once the fundamental row is memorized the counter-
bass row is relatively easy to learn for it is arranged in the
same letter order as the fundamental bass.
Let us look at this main row of fundamental basses and
see how it is arranged. Starting from our guide button C
we travel to the button above it and find it is a G, an interval
of a fifth from C. The button above the G is D, again an
interval of a fifth. In like order we proceed in fifths until
we reach the top of the accordion. Proceeding from our
main C downwards we also move in fifths, C to F to B flat,
to E flat, etc., until we reach the bottom. In short, when we
move in either direction from button to button we are mov-
ing in fifths. This arrangement of buttons makes the execu-
tion of simple songs extremely easy, for any given button in
the fundamental row has its dominant tone and chords di-
rectly above it and its sub-dominant tone and chords directly
below it.
The counter-bass row also is arranged in this order of
fifths. The counter-bass button of our main C (in the same
diagonal row) is the note E, a major third above C. The
counter-bass of G is B, a major third above G. To play the
major triad in arpeggio form one plays the C fundamental,
its counter-bass and the button above C in the fundamental
row. The same holds true of the G triad and all the other
triads. If one can playa C major scale in the bass, one can
automatically play all the major scales just by starting on
( 35 )
any fundamental and using exactly the same finger pat-
tern as used in playing the C major scale. The same holds
true of any other scale. Once the finger pattern is set it can
be played in any key without any change of fingering and
spacing. This holds true of the chords also. There are certain
set patterns for playing what is known as an alternating
bass with the major, minor, seventh and Diminished chords
that once memorized on C can be done in like manner
throughout the whole bass keyboard.
We can see now why the acordion is so easy for the
novice to learn, for the clever arrangement of the basses
make it so. Although in the beginning the bass is so very
simple and easy to play we will find a bit later that it be-
comes difficult to master.
Starting with our main bass C (the lowest sounding note
on the accordion) we can chromatically move higher and
higher until we reach the B above this C. At this point, how-
ever, the octave cannot be completed for when we press the
C button we find it is the same original button we started
with and this will sound an octave lower than the C we wish.
However, in some cases when there is time the bass register
may be pressed giving the octave. For a complete picture
of the notes contained in each button, see page 74.
The bass section also has various sets of reeds sometimes
having as many as five.
Register marking have now been standardized and are
listed on page 75.
It would be well to mention at this point an innovation
in the accordion. This innovation, one which seems to be
rising in importance today, is that of amplification. This
consists of a microphone attachment connected to the ac-
cordion and plugged into an amplifier. The amplifier has
fixed tone positions which can bring out the different reeds
( 36 )
and their mixtures. It cuts down to a minimum the fatigue
of the player, since all sounds are magnified by the ampli-
fier. Also with a built in tremolo which can be controlled
for speed and which produces a beautiful effect, something
new is added to the accordion.
The use of amplification is now widespread. A number
of leading artists are making full use of it and in view of the
great demand, it is almost certainly here to stay.
The correct playing position of the accordion is impor-
tant. The right shoulder strap of the accordion should be
longer than the left one, allowing the keyboard to fall in
such a position that the black keys form almost a straight
line directly under the chin of the player. When played in
sitting position, the lower edge of the keyboard should rest
against the inner side of the right leg, keeping the accordion
from moving about when it is being played. The left leg
may be dropped a little in order not to hamper the bellows
action. When standing one should hold the accordion in the
same position (black keys in line with the chin), however,
a back strap linking the two shoulder straps across the small
of the back may be used to give more support and to keep
the instrument from moving.
The finger tips of the right hand should rest on the keys.
The thumb should rest flat on its side and the other fingers
should be curved with the cushions of the finger playing
the keys. There should be very little curve or arching of the
wrist and the line from the elbow to the fingers should be
almost straight.
The left hand should pass under the lefthand bass strap
so that the wrist is under this strap. The lower part of the
hand rests against the bass-board leaving the fingers free
to play.
The bellows should open and close in a fan-like manner.
( 37 )
They should open and close smoothly wthout sudden move-
ment.
In order to get the maximum use out of an accordion
it must be treated with care. Extreme temperatures affect
the accordion and must be avoided as much as possible. If
the accordion gets excessively cold the reed may be affected
and as a result sound out of tune. It is best to let the ac-
cordion get warm before playing. By using the air release
button and operating the bellows in and out one can get
warm air to pass over the reeds and thus get the accordion
ready for playing.
Heat also is bad for the accordion since the wax that
holds the reed plates in place may melt and thereby set the
reeds loose.
Dust accumulations work through the grill and into the
reeds causing them to get out of tune. To prevent this, the
accordion should be kept clean and well-dusted.
The bellows must always be locked except when play-
ing. Belt buckles, suit buttons, brooches, etc. should be kept
away from the bellows for the friction produced by the
bellows rubbing against them may tear or cut. Take care of
any leaks in the bellows before they get too large and in-
volve much expense to repair.
Obviously, jarring the accordion can cause much da-
mage. Reed blocks can come loose, the delicate mechanism
in the instrument may be affected and many other troubles
arise from such treatment.
The accordion is rather an expensive instrument (rang-
ing in price from around $300.00 to $1700.00 or more) but
if well taken care of has a relatively long life time. Repair-
ing of the accordion is an item which can be expensive.
Since it is so delicate and complicated it is best to take it to
an expert repairman for any major work.
( 38 )
CHAPTER III
REPERTOIRE
( 39 )
Concertos in A. D and E ................. Pietro Deiro
Concerto in G minor . .............. Anthony Galla-Rini
Concerto in G Major . .................... Wm. Meyer
Manhattan Concerto .................... Eugene Ettore
Concerto in D Minor ..................... Andy Arcari
Rhapsody No.2 . ........ " . " ........... Pietro Deiro
Scherzo .................................. John Gart
Rhapsodies 1, 2 and 3 .................. Pietro Frosini
Lamentations . ........................ Virgil Thomson
Eternal Spring Overture .................. Pietro Deiro
The Rooster ............................. Joe Biviano
Waltz AUe gro ....................... Chas. Magnante
Prelude and Dance . ..................... Paul Creston
Egy pto Overture ......................... Guido Deiro
Cooper Square . ................... Wallingford Reigger
Etude on False Notes ................ Alfred d' Auberge
( 40 )
Of course, there are many other fine arrangements and
original compositions for the accordion, but unfortunately
all cannot be listed. By writing to the various publishing
houses catalogues may be obtained listing the numerous
works available.
Of the concertos written and published expressly for the
accordion there are the three previously mentioned by Deiro,
a concerto in G minor by Gall-Rini, a concerto in D minor
by Andy Arcari, Manhattan Concerto by Eugene Ettore,
Concerto in G major by Wm. Meyer. Reflections, a suit
for accordion and full sympothy orchestra by Andrew
Walter, is one of the more recent major works in the field.
The complete suite has been made available as a commercial
recording as well as the score and full orchestral instru-
mentation.
Some of our modern composers have also written for the
accordion. Roy Harris wrote a concerto for Accordion and
Orchestra, Alban Berg has included an accordion in the sec-
ond act of his opera Wozzeck and Marc Blitzstein used the
accordion in his The Cradle Will Rock. Wallingford Rie-
ger's Cooper Square is still another important addition from
a modern composer.
In the publication of accordion music there was a con-
siderable lack of standardization of notation. As far as the
treble side of the accordion is concerned the music is writ-
ten according to usual form. But in writing for the bass
section this did not hold true.
In the past the treble clef sign had been used for the
bass, but this now has been standardized and the bass clef
is used.
Also, there have existed many systems of notation for
indicating chords in the bass such as symbols, numbers,
colons, etc.
( 41 )
The system known as A.A.A. notation, (American Ac-
cordionists' Association) is now considered the standard
since it has been accepted by all publishers and teachers.
This system uses the root note of the chord written on or
above the third line of the staff with the symbol M (for
major), m (for minor), 7 (for seventh), and d (for dim-
inished) over the note depending on which chord is wanted.
( 42 )
CHAPTER IV
( 45 )
( c) He used it as a filler-in-harmonicall y, but with
rather widely spaced chords so as not to isolate the
instrument from the rest of the harmonic texture.
He wrote for the accordion sometimes using various meth-
ods such as: a treble melodic line; chordally with the
melody; an actual simple bass line (he uses the bass part of
the accordion alone as a counter melody in one entire pas-
sage) ; and for rhythmic effects.
3. Of the accordion, Marc Blitzstein spoke most enthu-
siastically. He felt that the acordion in its way is a kind
of substitute for a full orchestra because like the piano
and harp, it has an enormous range in both treble and
bass, but the accordion has a sustaining note, not a per-
cussive note. When writing for the accordion with the
orchestra, he doesn't always use all of its range but uses
it for special color effects.
4. It is a strong instrument and rather perilous, for you
can't write for it as the regular instrument. It is too
strong and conspicuous. Handled well, it can fit right
into the orchestral texture. Handled wrong, it can
sound like a bull in a china shop.
5. The basic aspects of the accordion which are its virtues
carry with them the danger. The tone color, even the
nasal quality is agreeable for special purposes. For seri-
ous music, it is a characteristic instrument having as
much quality as an oboe or a bassoon, but like them,
there can be too much of a good thing. It can rob the
orchestra of balance unless it is used carefully. With
care, a wonderful basic sound can be procured which no
orchestra can be without.
Besides this opera, Mr. Blitzstein has recently completed
( 46 )
the Kurt Weil Three Penny Opera, in which he uses the
accordion with the bandoneon register.
Alban Berg is another composer who has utilized the
accordion. In his opera, W ozzeck, the accordion is to be
heard throughout the second act. On April 12, 13 and 15,
1951 it was performed at Carnegie Hall under the conduc-
torship of Dimitri Mitropoulos. The accordion part was
played by Joe Biviano. It is interesting to note that although
this opera was written in 1922, its original score included
an accordion part.
George Gershwin allowed his Rhapsody in Blue to be
played in its entirety by an accordionist (Cornell Smelser
with the Ohman-Arden Orchestra) on the radio. This was
on the evening of April 20, 1931. The only other musicians
allowed to broadcast this work at that time were Paul
Whiteman (with his orchestra) and Jesse Crawford, or-
ganist.
Roy Harris was commissioned by the Midwest Accor-
dionist's Association to write a work for accordion and
orchestra and as a result he wrote a concerto. It was com-
pleted April 13, 1947 and was presented over Station WJZ
by the American Broadcasting Symphony Orchestra with
Andy Rizzo as soloist in June, 1947.
The dream of many accordionists is to see the accordion
occupying a regular position or "chair" in a standard sym-
phony orchestra. However, since the instrumentation of the
standard orchestra has remained fixed for a great length of
time there is little chance of an immediate change. Of
course, it may be used at times in the same category as the
harp or organ when used in conjunction with the orchestra.
However, something unique in sound may be found in
a symphony orchestra made up of free reed instruments
such as accordions, concertinas and bandoneons. Accordion
( 47 )
symphony orchestras are already in existence. Many more
are rapidly springing up all over the country and may well
compete with the standard symphony orchestra. In Europe
they are already doing so.
In Germany there are some fine accordion orchestras, of
which two leading ones are conducted by Rudolph Wurth-
ner and Alan Helm, respectively. Some years ago, when
visiting in England, Alan Helm's accordion orchestra
recorded in London an original work composed by G. S.
Mathis entitled "Spring," Symphonic Impression (Tone
Poem), Parts 1 and 2, on "His Master's Voice": (H.M. V. )
664. The work is described as follows:
Written in the modern harmonic idiom, akin in
parts to the music of Debussy and Stravinsky, it is
the first attempts to provide the accordion with
that type of serious symphonic music which, until
now has been the prerogative of the (standard)
symphony orchestra. One truly becomes lost for
words at the graceful playing, and the accordion
tone seems to become almost perfect woodwinds
and strings.
We should mention here the Frontalini accordion or-
chestra in Italy. Although composed of keyboard accor-
dions, the F rontalini orchestra has each accordion made as
a duplicate sounding instrument necessary to a symphony.
For instance, flutes, cellos, horns, clarinets, etc., are dupli-
cated in tone by the various accordion reeds.
This orchestra has given many concert appearances and
under the direction of Mattia Gleich, has appeared as an
orchestral background for Beniamino Gigli, famous operatic
tenor who S8.~'s that this orchestra "reproduces magnificently
all the qualities of the symphony orchestra."
( 48 )
Pietro Deiro was commissioned by Mr. Frontalini, foun-
der of the orchestra, to write a serious work for it. He wrote
what is now known as the Rhapsody in C, No.2. It has
been recorded by the Frontalini group on Cetra Label
records.
A great victory in the drive to have the accordion ac-
cepted as a completely recognized musical instrument was
achieved in Italy in 1946. For it was then that Pope Pius XII
decreed that accordions may be played in Catholic churches.
Since the accordion had heretofore been banned in some
dioceses, this official sanction is of historic importance.
The accordion presented to the Pope was a specially built
instrument said to be the most valuable accordion ever
built, being valued at $5,000.00. It has six sets of reeds each
on treble and bass and has 33 different tonal combinations.
About 500/0 heavier than the average accordion, it weighs
32 pounds. Some of the reeds are almost as big as organ
reeds.
The following is a description of the accordion (printed
in the article entitled "Pope Approves Accordion," Accor-
dion World, April, 1946) :
Another feature of this specially built accordion is
that it has sustaining basses like an organ. The tone
is remarkable and it is a really fine musical instru-
ment of superb quality.
After hearing it played the Pope told his attend-
ants gathered around him that he could see nothing
wrong in the use of the accordion in churches, thus
scoring another victory in the drive to have the
accordion accepted as a completely recognized in-
strument.
The accordion today is used by all denominations, and
( 49 )
accordion choirs have sprung up and are used in many
churches. Dressed in their choir robes they perform such
music as the "Holy City" by Adams, "Now Thank We All
Our God" by Bach, "Oh Bon Jesu" by Palestrina and many
other hymns.
Besides the formation of accordion choirs and symphony
groups other accordion activities include contests and festi-
vals sponsored in the best interests of students and of fur-
ther speed complete acceptance of the accordion.
Accordion bands appear conspicuously in music festi-
vals all over the country. The American Accordionists' As-
sociation, for example, sponsors annual contests for soloists
and bands. These conests each year continue growing and
have a tremendous number of participants from all over the
country. The pinnacle of all contests is the World Cham-
pionship conducted by the C.I.A. (Confederation Interna-
tional des Accordionistes) a world organization composed
of individual national organizations.
Organizations have been formed to aid the accordion in
becoming an accepted instrument. One of these organiza-
tions is the above mentioned American Accordionists' As-
sociation.
This organization was formed on the evening of March
9, 1938 when ten men well known in the accordion and
music field gathered together to organize an association,
which has now grown to national proportions. The charter
membership included such well known personalities as
Charles Magnante, Abe Goldman, Joe Biviano, Pietro
Deiro, Pietro Frosini, Charles Nunzio, Anthony Galla-Rini,
Sidney Dawson and Sam Rowland. Later, both Mr. Galla-
Rini and Sidney Dawson withdrew and formed The Ac-
cordion Teachers Guild.
Among the purposes of the A.A.A. is to gain recogni-
( 50 )
tion for the accordion as well as to be able to place the
instrument on an equal basis with other band and orchestra
instruments, in that it may be recognized in individual and
group competition in Local, State and National High School
Contests.
There are several types of memberships in this organiza-
tion. One is for teachers, who, if they favorably pass an
examination, become certified A. A. A. teachers with the
privilege of displaying the A. A. A. certificate and emblem.
Pupils are encouraged to look for A. A. A. teachers. The other
membership is for those who wish to keep informed of the
latest news and innovations in the field. This includes both
Professional and Commercial members.
The American Accordionists' Association sponsors na-
tional contests for students and non-professionals. It is af-
filiated with various other groups such as the Brazilian
Union of Accordionists, and the CI.A.
This organization is also working for accordion stan-
dardization. The specifications set up by the American
Accordionists' Association for a standard accordion include
the overall length of case, width of case, width of 41 keys
measuring from the outside F-A, and row of 20 bass buttons
from top to bottom. Pietro Deiro, attending the Milan con-
vention in 1949, was successful in having the dominant and
diminished seventh chords standardized, that is, all these
chords will, on all future accordions, have their fifth
omitted.
Another active accordion organization is the Accordion
Teacher's Guild (A.T.G.). This organization was formed
with the belief that the level of teaching and the type of
teachers will, in the main, decide the future of the accordion,
and more important the use it can be in developing our
cultural life, and better, happier citizens. There are of course
( 51 )
other aspects of the problem, but even these depend mainly
on the teacher. According to the A.T.G., they believe that
accordion literature, music and teaching material will only
be developed as teachers are developed.
The examinations for becoming an ATG teacher are
graded in different levels thus encouraging the teacher to
work to reach higher levels. This organization also is work-
ing for the recognition and acceptance of the accordion.
Many local and independent organizations are affiliated
with either or both the American Accordionists' Association
and the Accordion Teachers Guild such as the Rocky Moun-
tain Accordion Association (Denver), the Seattle Teachers
Association, the Cleveland Teachers Association, etc.
In Brazil we find the Union of Brazilian Accordionists
(U.B.A.) making wonderful progress under the direction
of Agib Francheschini, a devotee of the accordion. He was
successful in establishing the accordion in the Carlo Gomez
University in that country. A great deal of the honors for
the accordion in that country belong to him.
In Great Britain one finds an extreme interest in the
accordion. These activities are headed by the British College
of Accordionists, which is conducted as a non-profit organi-
zation, which offers tuition in all grades. Its syllabus is used
by the majority of accordion teachers.
The National Accordion Organization (NAO) of Great
Britain provides a common link and a common badge of
friendship for all those interested in the accordion. A series
of nationwide area contests are held throughout the coun-
try, culminating in the Championship Contests on Accordion
Day; where Soloists, Duets and Bands compete in a friendly
and competitive spirit. Up to date records are kept of all
teachers in Great Britain who receive a bi-monthly NAO
Review. The Governing Committee of the NAO IS com-
( 52 )
posed of elected members from the 12 areas in the nation.
With all this activity here and abroad in the accordion
field by so many sincere followers and admirers, there is
little doubt that the accordion already has, and will continue
to have, even more so, a place in the field of serious music.
( 53 )
CHAPTER V
( 54 )
CONCLUSION
( 56 )
ApPENDIX
The accordion not too many years ago was in dire need
of musicians who could play with true artistry and musician-
ship, and so it was held in disfavor by most instrumentalists
in other fields. It was considered an instrument not ac-
ceptable in the best musical circles and it was taken for
granted that an accordionist could not be placed in the
same category with true musicians.
Fortunately, in spite of the great odds against them,
there were a small handful of musicians who had great faith
in the accordion and were brave enough to pioneer and
blaze a trail for it, a trail in which many were to follow.
As a result, today we have a great number of fine artists
playing the accordion and composing for it. To mention
them all and to discuss their accomplishments and contribu-
tions to the accordion world would require several volumes.
Therefore, this book can only mention a brief biography of
the pioneers and list of some of the countless numbers of
artists of great merit.
The first accordionist who comes to mind is the man
who is known by all accordionists as ''The Daddy of the
Accordion," the great Pietro Deiro. It is to him and to his
constant and tireless efforts that the accordion owes so
much today.
Pietro Deiro was born in Salta, Italy in 1888. There he
began his musical studies. Although his first accordion was
( 57 )
hardly more than a toy, he managed, even with its limita-
tions, to play the folk music of his country. Recognizing
the limitations of his instrument, he coaxed his father into
buying a larger one. With this larger instrument Pietro was
enabled to perform the operatic music which he liked so
welL
Later Pietro Deiro travelled to Germany, studied further
and earned enough money to come to America to live with
his uncle in Cle Elum, Washington. He was encouraged in
his playing and as a result was determined to get the best
possible training in theory and playing. In Seattle he was
musically guided by his brother Guido and Mr. Peter
Morelli.
Soon he found himself on the vaudeville stage in San
Francisco. He had to do all the arranging for the music he
was to play, and as a result over five hundred arrangements
and compositions of his have been published for the ac-
cordion.
And thus was launched a career that consisted of one
success after another and established Pietro as the highest
salaried headlined performer in the leading theaters of this
country. He also became a Victor Recording Artist and con-
certized through the U.S. and Canada.
In his early days of playing, Pietro had used a semitone
accordion. When one arrived from Italy for him with a piano
keyboard on the right side he was not satisfied with it and
he ordered one to be made especially for him in San Fran-
cisco by the Guerrini Company. Even this accordion did not
meet with his approval and he had it re-made. This instru-
ment, when finally completed according to Pietro Deiro's
specifications, was the first piano accordion made in Ameri-
ca and made its first official appearance in public at the
Washington Square Theatre in San Francisco in the year
( 58 )
1909, Pietro Deiro, of course, being the artist who played
it.
Although Pietro's career on the vaudeville stage, along
with his concert work and recording virtuosity established
him supreme in this, his art, it was the fact that he realized
the need for study books, arrangements and original com-
positions that have placed him above the category of the
ordinary accordionist. To him is attributed the fact that he
made the road easier for others to follow.
Pietro Deiro's original compositions have been especially
instrumental in raising the accordion standard. As one of the
original and most noted accordion composers, it must be
remembered that it was the calibre of his concertos, over-
tures and standard compositions which helped the accordion
in its upward trend.
Throughout his life he encouraged the writing of ori-
ginal accordion compositions. He based his thoughts on the
fact that the "Accordion can rise only as high as the music
which is written for it."
With the passing of this great pioneer on November 3,
1954 the accordion world suffered a tremendous loss.
Although Pietro Deiro was celebrated and appreciated by
all acordionists in his own time, it remains, as in the case
of all great men, to posterity, to fully appreciate the magni-
tude and far-reaching scope of his efforts and contributions.
Another great artist was the late Pietro Frosini. Playing
the chromatic type of accordion he made wonderful con-
tributions to the accordion field. Frosini wrote countless
original compositions and made endless numbers of ar-
rangements which are in almost every accordionist's active
repertoire.
Pietro Frosini was born in Catania, Sicily, August 9,
1885. He began to play at the early age of six under the
( 59 )
instruction of his father. Because of his remarkable musical
talent, he was sent to a musical college at the age of ten.
Since the accordion was not recognized in those days he re-
ceived education on the piano and on band instruments
along with training in composition and theory.
Since he was fond of the cornet he learned to play it so
well, that at the age of 14 he had earned the position of first
cornet player in the British Naval Band at Malta.
Sometime later, however, Frosini returned to his beloved
accordion. In 1905 in California he was launched on a suc-
cessful vaudeville career with his chromatic accordion. Later
he entered the field of radio and as a result became one of
the most popular radio artists. He also established himself
as a brilliant recording artist. The bellows shake which is in
such great use today was perfected and used by Frosini.
Mr. Frosini passed away on September 29, 1951, at the
age of 66. His outstanding musicianship did much to ele-
vate the accordion and his hundreds of compositions for
accordion did much to enrich the accordion library.
Pioneer of the accordion, Guido Deiro was born in SaIto
Canavese, near Turin in Italy. He was the first of the two
brothers, Pietro and Guido, to play the accordion starting
when he was but nine years old.
It is strange that in this family of accordionists, all the
playing was against the wishes of their father, who had
other plans for both Guido and Pietro, and who insisted that
his sons follow in his grocery business. Guido often re-
marked "with music in my heart there was no inspiration
in groceries."
The professional career of Guido started in Switzerland
at the age of 14. His work took him to Germany, where he
resolved to start serious music studies. Later he emigrated
to America at the call of brother Pietro, where he also
( 60 )
settled in Cle Elum, Washington. His musical prowess soon
brought him engagements in theatres which eventually led
him about the United States and Canada and to England and
Australia, where he also established a remarkable following.
The first Guido Deiro recording was placed on the record
market in May 1911 by the Columbia Recording Company.
It contained two compositions destined to become favorites
of the accordion public "Sharpshooters ~farch" and "Ciri-
biribin." It remained a public favorite for many years. This
successful recording led to further waxings with Edison and
Columbia.
Many concert and stage engagements followed up to
the time of his death in July 26th, 1950.
It might be well to add that probably another first of
this famous personality was his appearance as an accor-
dionist in motion pictures, although this has never been
definitely established. He numbered many movie stars
among his friends, among whom are Leo Carrillo who had a
special affection for him. It is evident that even a brief
sketch such as this, is also a history of the rise of the ac-
cordion.
On the cover of the National Accordion Review, Sep-
tember 1932, is a picture of Anthony Gall-Rini, under which
may be found the statement that "his main ambition is to
help place the accordion on the highest pedestal in the
musical world." Since that time, all his efforts have been
directed toward this goal and he has done much to achieve
his ambition.
Galla-Rini was born in Manchester, Conn. His first for-
mal music tutor was Professor Van Broekhaven. Later he
studied under Gastone Usigli at the San Francisco Conser-
vatory of Music, taking up theory of music, operatic and
symphonic conducting.
( 61 )
One of the world's foremost concert accordionists, An-
thony Galla-Rini has concertized very extensively. He gave
the first performance of his own Concerto in G minor in
1941 in Oklahoma. Since then he has performed this con-
certo with such major orchestras as the Detroit Symphony
and the Denver Symphony, not to mention the innumerable
recitals and concerts he has given all over the country and
abroad.
In 1936 Mr. Galla-Rini was asked to give accordion in-
structions at the International Music Camp at Interlochen,
Michigan. He impressed such eminent musicians as Dr.
Walter Damrosch, Dr. Joseph Maddy, Vladimir Bakalenini-
koff and others with the fact that the accordion was entitled
to the title of a true and legitimate instrument. The accor-
dion also proved to be the instrument most popular with
the teachers and students.
Today, Galla-Rini is recognized as a great leader in the
accordion field. He has made many great transcriptions,
arrangements and superb recordings. Listed among his
original works is his very fine accordion concerto.
Mr. Galla-Rini says of the accordion that it "has pro-
gressed tremendously in the past few years. It has achieved
tremendous popularity in many kinds of theatrical enter-
prises and for personal entertainment. But, it will advance
still further, for its acceptance as a concert instrument has
just begun."
Another star burning brightly in the accordion's galaxy
of great artists is that of Charles Magnante. His myriads
of wonderful accordion arrangements are used by students
and professionals alike.
Charles Magnante was born in New York. He began
studying the accordion at the age of nine and by the time
he was fourteen was earning his living by his playing. At
( 62 )
the age of sixteen, his musicianship was so outstanding, that
many contracts were offered him. He refused them on the
grounds that he felt he needed more concentrated study.
When Erno Rapee engaged Magnante to play with the
symphony orchestra on station WEAF another milestone
was realized in the progress of the accordion. This was the
first time an accordion had been used in a symphony or-
chestra.
Today in addition to concertizing throughout the coun-
try, Charles Magnante has become a standard bearer for the
accordion. Combining concerts and teacher workshops he
has ably dedicated his efforts towards the advancement of
the accordion teacher and teaching standards. In these
workshop classes he concentrates, not only upon the proper
development of technique, but, also upon the use of the
accordion in the many phases of music.
A composer and arranger of recognized proportions, his
methods, studies and arrangements are issued by leading
publishers.
His recordings and thousands of radio transcriptions
have always been pinnacles of perfection. As one of the best
known names on the air, his flawless technique has always
been a source of inspiration to the many students of the
accordion.
In Charles N unzio we find an accordionist who has
always fostered the desire to help raise the accordion to the
position it so rightfully deserves.
Mr. Nunzio started studying the accordion with his
father at a very early age. Nino Stramandino taught him sol-
feggio for four years. For execution and interpretation, he
studied with Frank Umbriaco, an outstanding pioneer in the
field of accordion.
Charles N unzio soon developed into a fine artist. He
( 63 )
had the honor of being the first staff accordionist for Sta-
tion WOR in 1928. In 1925 he opened a studio in Newark
and countless numbers of concert artists and professionals
have studied in his fine school.
Among his writings may be found many fine and note-
worthy original compositions along with some excellent
arrangements.
He, too, along with many other fine artists, is constantly
seeking means to improve the accordion and is proud of the
changes that he was instrumental in suggesting.
A school that is producing an ever-growing number of
fine musicians and artists is the Frank Gaviani School in
Boston. The founder and head of this School is Frank
Gaviani.
Mr. Gaviani was born in the United States in 1908 but
his family moved back to Italy and there he lived until he
was fourteen. He studied in Italy with the famous Luigi
Macrelli and continued his musical education in Boston
when his family returned to America. His studies included
piano, harmony and composition.
He began playing professionally, but continued to study
intensively with Frosini and Pietro Deiro. Eventually, he
became an instructor in the Pietro Deiro Accordion School
and he stayed there for six years.
Mr. Gaviani has made many concert appearances and is
known for his flawless technique. His compositions number
many and include many fine accordion solos and books of
study which are much in use throughout the country.
Looking through the gallery of artists we meet with
Joe Biviano. Born in Jersey City of Italian parents, Joseph
Biviano showed a natural love for music which was de-
veloped by his mother and father. A pupil of Charles
( 64 )
Magnante, Mr. Biviano has done much radio and stage
work.
Recently he wrote and played the background music for
Warner Brothers filming of "The Knife Throwers" by
De Maupassant. He also wrote the music background for
the Michael Shane radio series using the electric accordion,
electric guitar and tympani.
Mr. Biviano had the honor of playing the accordion part
in the opera W ozzeck by Alban Berg at its initial perform-
ance given in this country. The orchestra was the New York
Philharmonic and it was under the direction of Dimitri
Mitropoulos.
This versatile musician has recently done all the record-
ing calling for accordion with Andre Kostelanetz, and is
active in the field of writing, teaching and playing.
A brilliant virtuoso and a musician's musician is found
in the person of Mr. Andy Arcari. He is one of the most
versatile of all accordionists, with a repertoire ranging from
his own Concerto in D Minor to modern swing and prog-
ressive jazz.
In the twenties when the accordion was still an un-
developed instrument with limited public appeal, Mr. Arcari
helped to pioneer its popularity by playing private concerts
for society affairs with chamber orchestras, and by giving
many helpful suggestions to manufacturers to improve the
accordion.
He gave his first formal concert at the Academy of
Music Foyer, in Philadelphia, in 1934. Time Magazine in
reviewing the concert said: "Here is a brilliance in scale and
arpeggio technique that many a violinist could envy."
In W orId War II, Mr. Arcari became one of the most
popular entertainers in the war zones, travelling more than
200,000 miles playing for our Armed Forces.
( 6S )
Mr. Arcari believes the accordion made its greatest stride
as a concert instrument during W odd War II. Because of
U.S.O. Tours, thousands of GI's saw the accordion and
heard its musical possibilities.
Andy Arcari sees a new era for the virtuoso accordionist
beginning to take form. Mr. Arcari has the honor of being
the first accordionist to playa major work with a symphony
orchestra. This was the premiere of the first accordion
Concerto in D minor, which he wrote in 1939 and per-
formed at a music appreciation concert under Guglielmo
Sabatini, conducting the Pennsylvania Symphony. This con-
cert took place in Philadelphia, April 23, 1941. Henry
Pleasants, music critic, wrote of this performance, "The Con-
certo, which is apparently the first concerto ever undertaken,
is brilliant and spirited, providing Mr. Arcari with ample
opportunities to exploit his amazing velocity."
Mr. Arcari has appeared with many major symphonies,
including the Philadelphia orchestra under Eugene Or-
mandy. As soloist he has appeared with the Robin Hood
Dell Orchestra under Franz Allers, the Greater Miami
Symphony Orchestra under Oliver Washburn, and the Radio
City Symphony Orchestra under Alexander Small ens.
Believing that the only reason the accordion isn't heard
more frequently with symphonic orchestras, is that we need
additional literature written specifically for it, Mr. Arcari
established the Arcari Foundation for the express purpose
of securing this material.
Mr. Arcari is at present devoting his time to coaching
young artists, concertizing and composing. Recently, he
composed a sonata for the accordion which he premiered
in the Salt Lake City Tabernacle in Utah.
A name that will deserves a niche among the greats, is
that of Carmen Carrozza. This young artist has taken the
( 66 )
concert field by storm having appeared in the last few years
in such concert halls as Carnegie and Town Halls in New
York, Music Hall in Detroit and the Philadelphia Academy
of Music in Philadelphia. He has appeared with the Eastern
Conservatory of Music Symphony Orchestra in the perform-
ance of Pietro Deiro's Concerto in A.
A protege of Pietro Deiro, Carmen Carrozza is one of
the outstanding classic accordionists today. He was born in
Solano, Italy but came to the United States at the age of ten
and began his studying soon after. Since then he has dedi-
caed his life's work toward the advancement of the instru-
ment and music. His music study has continued right up
to the present and he has been thoroughly schooled in theory
and harmony by such outstanding instructors as the late
Pietro Deiro and Hugo Gigante.
His recordings as well as his concert appearances have
won acclaim from the accordion public as well as from
music critics. One can, without exaggeration, class his rec-
ordings of the Deiro Concertos in A and E, and the Fan-
tasie Impromptu as monuments of technical and interpre-
tative achievement. His treatment of the classics is rapidly
setting the pattern for accordion artists to follow.
Among Mr. Carrozza's original compositions are Solano
Overture, Cascade Novelty and Parisian Musette. His ar-
rangements of the lighter standard and classical composi-
tions are gems enriching and brightening the accordion
library.
A still younger artist rapidly rising in the musical horizon
is Daniel Desiderio. He has had the honor of being a mem-
ber and soloist with the United States Air Force Orchestra,
under the direction of Colonel George S. Howard. A bril-
liant performer, arranger and composer, much is expected
of Daniel Desiderio in the accordion field.
( 67 )
Throughout this work the emphasis has been on the
accordion and its place in the field of classical music. How-
ever, it has not been the desire of the author to slight the
accordion's place in the field of jazz or to overlook the many
great contributions of the fine accordion artists in that field.
To cover the accordion and its development in the field of
jazz would require a volume in itself. Nonetheless, even in
a book such as this, the author feels that some of the out-
standing jazz accordionists should be mentioned, however
briefly.
Art Van Damme, through his television and radio pro-
grams as well as recordings, is probably the first to come to
mind as a leading jazz accordionist. His quintet featuring
accordion and vibraphone is heard almost daily on leading
networks. He has been a winner of the Down Beat poll as
Jazz Accordionists Of The Year for two years in succession.
Mat Mathews is one of the few chromatic accordionists
in the country. His style and improvising abilities have
placed him in constant demand by jazz outfits. He has had
the pleasure of playing with such men as Benny Goodman,
Louis Armstrong, and many others. In the Metronome poll
he has been chosen both musician of the year and accor-
dionist of the year. Recording for Brunswick and Mer-
cury.
Others who have given freely to the world of jazz are
Leon Sash whose recordings are pinnacles of perfection
in this idiom. Tony Dannon of Detroit appears almost
nightly with his jazz combo in and around Detroit and
great things are expected of this youngster in time to come.
Ernie Felice is another of today's greats in the modern
field who is looked up to by every aspiring jazz accor-
dionist.
( 68 )
Returning once again to the field of concert music, one
must take note of the great number of artists in Canada
and abroad who are doing so much for the accordion.
One of the outstanding accordionists in Great Britain
is Toralf Tollefsen. Mr. Tollefsen appeared with the In-
ternational Symphony Orchestra under Fistoulari in Lon-
don on March 14, 1947 at the Royal Albert Hall. At this
concert he performed the Deiro Concerto and his per-
formance added considerable prestige to the accordion. Mr.
Tollefsen is famous for his concert, television, radio and
recording work.
In Sweden, where the accordion enjoys such great pop-
ularity, we find one of the greatest exponents of the in-
strument to be Andrew Walter. He is well known as a
composer and his accordion concerto made a profound
impression at the International European Festival at Spa
in Belgium, 1949, when played by Tage Ekwall. Reflec-
tions, his suite for accordion and orchestra, is yet another
major work destined to widely influence the develop-
ment of serious original music for accordion.
In France, rich in accordion artists, a great name is
that of V. Marceau. Born in Lille, in 1902, Marceau is
a pioneer of the accordion and began to play at the early
age of seven. Later, he studied theory at the National
Conservatory. He made a great reputation for his vir-
tuosity and fine musicianship and many came from far
and wide to hear him play. Marceau's compositions for
the accordion are more often played in France than those
of any other composer. He has more than four hundred
to his credit.
Italy, the seed from which has sprung so many of our
great artists, can boast of many distinguished accordion-
( 69 )
ists. One name that stands out is that of 1. o. Anzaghi,
often called "A Supreme Master of the Accordion."
Besides having a great and famous school in Milan,
Anzaghi can claim much credit for contributing volumi-
nously to the accordion repertoire. His original compo-
sitions, studies, arrangement and transcriptions of the
classics are in themselves gems.
In Rome we find another famous artist and composer,
Luigi Lanaro. He has a widely known Accordion Academy
there with branches in other cities.
And thus we have a picture, although an incomplete
one by far, of some of the great exponents of the accor-
dion here and abroad. Apologies are offered to the many,
many artists who were not mentioned, due to the fact
that literature concerning them was not available to the
author.
The accordion has many friends among the greats
in other fields of music. Here is a story about one such
artist:
( 70 )
obliged, and after a half hour of pleasant ensemble
work the yacht owner remarked:
"You seem to have a very musical ear! May I ask
your name."
"Jascha Heifetz," replied the younger man, ac-
knowledging the compliment to his musical ability
with a smile.
( 71 )
CJiloe A<C<C~IR[[)n([)) ~
(NOMENCLATURE)
TREBLE BASS
KEVBOARD KEYBOARD
Treble Keys
Bass Strap
Treble Shins --...:;Ib-..:::!'.;~~
Masl-er Shift
I. IMd pt...
2. Reed I.Hther
3...... T.....
4. Reed led
5. TreWe v....
6.TMt.V.lY.Pl.te
7. T"-r. ICeyt
10.
.. ..., ......
. Trebl. v.t.... Rod
(:op.,;qM 1750 ACCORDION MUSIC PUBLlS"IN6 CO. <46 G......Kh A... NowYaokn. V.Y.
I.rn..,-.I ~ri..hl- Sec..... Prj"... in U.S.A. Au ,.iqhh r .... rv . . . .
ACTUAL NOTES THAT THE BASS AND CHORD BUTTONS SOUND
:
bass notes.
q... 11-' fI
~ ~.tt ... 17...
Il ~ #~ I ~ If- ~~ ~~
Actual sound.
It! I-" ~1If-
\" k,
:
t> ~ ,..
~ #~ ~ q~ II
m m m m m
7 7 7
7 7 7
Actual sound
diminished of the
7~h chords. 1~~i!~~~~I~~~ll~~~~I~lli~
B
( 74 )
PREVIOUS REGISTER TE RMINOLOGY OF RIGHT HAND
C)ON
OFF
ffi
F
OFF
ON
~ IDGH REED
M MEDIUM REED
0 OTTAVINO
VIBRATO
Agreed upon in 1955 that the accordion manufacturers would place the name
of the instrument and symbol on the register or ,grille of the accordion while
music publishers would use either the symbol or register name.
Violin ........... MM
Organ ........... LH
Bandoneon .......... .. LM
Oboe ........... MH
Clarinet ............. .. M
Piccolo .............. . H
Bassoon L
n
.e- --
-
Middle Reed "
tJ -
.e-
-&
n
,. .e-
- ---
Middle Reed
tJ -
- -&
.e-
Bassoon Reed
. -&
" -.e-
..., ..,
TONAL RANGE OF THE BASS KEYBOARD
High Reed
tJ
,.
Middle Reed
t! e ~-&
u /+u ~
"
.e- n.
.e- U.e- Q ~n - 10
Cavallo Reed 1101
_It Ln
Middle Bass Reed
( 76 )
CHART OF THE BASSES
III
..,..,o
o
3:
! ( 77 )