Accordion & Bandoneon

Both instruments are born during the Romantic period (19th century), a period th
at was decisive in the evolution of instrument (see course on Beethoven and Roma
nticism).
Some reminders organological ...
THE SYSTEM FOR SACHS-Hornbostel There are other classifications in the world con
sidering the music function, the directory or the mode of disturbance. For examp
le, the modern classification called Sachs-Hornbostel, universally adopted today
, which are four instrumental families: The Chordophones (strings) whose sound i
s a result of vibration of a stretched string (eg, lute, zither. ..) The aeropho
nes (wind instruments) whose sound is a result of vibration of air in a pipe (fl
ute, oboe ...) or ambient air (rhombus) The membranophones (membrane instruments
) Idiophones (percussion) whose sound caused by the vibration of the body itself
, without the need for materials strained: the sound is produced by the substanc
e of the instrument (rattle, xylophone ...).
PS: here idiophones membranophones and bring together all the percussion. In all
cases, these ratings are necessarily different from the classical notation of t
he instruments of the orchestra: strings, winds (woodwinds and brass), percussio
n and, since it is not always appropriate! The family AEROPHONE includes any ins
trument operating with air, not so much that you blow, as is the case most of th
e time, but because the sound material is vibrating air. It is by the way the so
und material is vibrated (by sending a jet of air on a wedge: the flute, a doubl
e reed: oboe reed simple clarinet by a spin object in the air: ambient air aerop
hone ...) that we determine the sub-families. If it is a single flap which passe
s through the frame that holds, we speak of free reed. The accordion, harmonica,
work with free reeds. The harmonium also: there is a keyboard does not a piano!
free reed
Accordion
Instrument initially reserved for the petty bourgeoisie (class rising in the 19t
h century). He later became the "piano of the poor". Its evolution is very compl
ex and the accordion is not the result of a person or a country but the instrume
nt of all. The whole world takes part in its transformation: Germany, Italy, Rus
sia, Czechoslovakia, Belgium, France ...
3 periods in the evolution of the instrument:
• Accordion "toy" (1829-1880) with its unique keyboard "song":
o Many manufacturers but that plagiarism, copies or imitations. No real innovati
ve creations ... o musical possibilities of the accordion remained stationary.
• Accordion "popular" or "traditional" (1880-1950) with two different keyboards
"accompaniment" and "song":
o The accordion takes a second keyboard having 2 to 8 basses accompanying the sy
stem, however, "push-pull 'hinders its development from 1900 when the invention
of the chromatic accordion (= single-tone). o Adoption of the 3-row keyboard as
standard by 1900. o People like "musette" 1900 (thanks to Emile Vacher).
• The concert accordion (after 1950) with its two keyboards "singing" identical
o accordion concert or harmonéon is created in 1948 by Pierre Monichon. No Limit
s musical keyboard with his left hand as early as 1910 some are trying to modify
the agreements by adding prefabricated low so-called "free". In this research w
e can associate names: Gibelli, Gagliardi, Schenardi, ScandAll, Decornoy, Thion,
Prez ... o Evolution of musical language after the Second World War the princip
le of two different keyboards ("song" and "support") become obsolete locked beca
use the system of tonal music ... music is not atonal and even serial. o It is a
n instrument with two identical keyboards giving full freedom to the musician.
Three types of accordions: diatonic (bi-tone), and mixed color (uni-tone).
• Diatonic: each button produces two notes (one when you push, the other when yo
u pull).
o This new keyboard layout (proposed by Pichenot in 1832) whose extent correspon
ded to two diatonic scales, turned necessarily the primary purpose of the accord
ion in doing become "melodic" (but retaining a button called "toggle harmony [nu
cleus of the future left hand keyboard] giving the tonic chord or dominant).
After the instruments to a row in C: An original proposal appeared in Paris.€It
used a row in C with one second if (creation Maugein):
For the game enharmonics, the musician found himself with all the sounds of the
chromatic scale, so it could address, melodically, all keys. Melodically only be
cause, with the "push-pull", it was limited to form agreements, and the keyboard
with his left hand was forced to remain silent at times he was not provided wit
h the requisite buttons. Manufacturers then exerted themselves to find solutions
to keep the accordion the advantage of a harmonic instrument. It is ultimately
the Italian system which will come in three rows slowly (1900). It is still used
today.
•
Accordion mixed artisans apply to the accordion mechanical system of rollers use
d in the organ. They took the opportunity to double each reed and thus eliminate
the system "pull-push" in the left hand. The accordion "mixed" was born, openin
g the way for future accordion "Chromatic low standards". o November 27, 1840: B
revet de Leon Sweet for his "harmonious accordion" already foreshadowing the fut
ure
chromatic system: searching for a system eliminating the "push-pull", the right
hand keyboard has 12 keys large and 12 small buttons giving the tones and semito
nes and keyboard left hand to the first 8 hits.
•
Chromatic Accordion: each key (or button) produces the same note in two phases (
pushed or pulled).
o After changing the keyboard with his left hand, the Italian Paolo sopranos fil
ed a patent dated March 5, 1897 for an instrument he named "Harmonica" but that
will soon name "chromatic accordion. The chromatic accordion is rid of the syste
m "pull-push". His bill will make great progress together will improve their lea
rning and the extent of his musical palette. The diversity of styles by accordio
n entitles him to a better recognition of the musical environment and despite th
e limitations of the keyboard with his left hand. Possibility much greater in te
rms of technical virtuosity ... More. More than ever, we seek to improve or acco
rdion, to be exact, to amplify it. The keyboard "song" is found with 4, 5, 6 row
s, that of the accompaniment with 48, 60, 80, 100, 120, 140 "low". after 1920, b
oosted by the return of foreign labor, many specialists in instrument come to li
ve in France. Among them, new manufacturers accordions "chromatic". We meet: Pie
rmaria (1922), L. Ranco (1923), Crosio (1923 workshop in 1929), Cavagnolo (1923)
, Buzzi (1924), Gallo (1931), Marzell (1933) and Bratti (1927). Paris then resum
ed an important role in the production of accordions.
o
o o o
BRIEF HISTORY ...
THE ANCESTORS: From the turn of the century (18-19th century), the events will g
o very quickly in the field of instrument making. After Aéolodicon (or aélodion,
aélodicon, éolodicon, élodicon?) Von Eschenbach in 1800 (latest metal reed vibr
ated by a bellows), are emerging:
• • • • • • • • • • • • 1800 - The Apollonion, Germany 1804 - The Belloneon Kauf
mann (1804) - The Piano reeds Sanes, Prague 1804 - The Piano organized Sauer, Pr
ague 1804 - The free reed organ Kober, Vienna 1805 - The Melodion J. Charles Die
tz, Germany 1810 - The Uranion JD Buschmann, Friedrichsroda 1810 - The Organ, Ex
pressive GJ. Gren, Bordeaux 1814 - The Organo-Violine von Eschenbach, Königshofe
n 1815 - The Elodicon von Eschenbach, Königshofen 1816 - The Aura Scheibler, Kre
feld 1816 - The Aéoline of Schlimbach, Ohrdruf 1817 - The Terpodion of Buschmann
Friedrichsroda (CM von Weber wrote in a September 1817 article in favor of this
Terpodion Buschmann.) 1818 - The Aéolo-Melodicon Brunner-Ofmann, Warsaw 1818 -
The Physharmonica of Hackl, Vienna 1820 - The Eolines von Eschenbach, Königshofe
n 1820 - The Oéolodicon Reich, Fürth, 1820 - The Aéolodicon Voigt, Schweinfurt 1
821 - The Aura of F. Buschmann 1822 - The Handaoline F. Buschmann 1823 - The Mun
deoline Messner, Trossingen 1824 - The-Pants Aélo Dlugosz, Warsaw
• • • • • • • • •
This is the "mouth harp" that triggers the invention of the accordion. In 1821 F
riedrich Buschmann in Austria invented a metal reed instrument: the aura. Manufa
cturers harmonica then arise everywhere, copying, improving, inventing a whole h
ost of derivatives.
Harmonica 1827
In 1825 in England, appears symphonium which contains some buttons and a hole to
breathe: it is the ancestor of the concertina. 1822€Buschmann up a slap on his
"aura" that becomes "the Eolines hand" (or handaoline) and finally, Demian in 18
25 invented the double reed (sound by pulling and pushing a sound).
In 1833, Wheatstone adds a blow to the mouth symphonium becomes the concertina.
Concertina - 1835
And, May 6, 1829, Cyrill Demian, piano and organ maker filed its patent in Vienn
a: it is an instrument designed to accompany us not forget that in those days wi
thout TV, they passed from long periods in the evenings to recite poems, monolog
ues, ... and singing: the instrument of Demian produced only 10 agreements packa
ged (ie 5 buttons). Austrian accordion Demian 1829
In France, we transformed the idea that the accordion began to produce agreement
s, but not points: the keypad says "French" was melodic, while the Austrian keyb
oard was "in agreement". Another inventor, Pichenot added a French keyboard key
agreement giving the tonic and dominant (by pulling or pushing) and a valve for
vacuum bellows.
French accordion of Reisner - 1840 Demian then invented, around 1834, the combin
ation of the two keyboards: the second keyboard, to the Agreements and the first
for the melody.
Important moments in the history of the accordion:
SHENG: Chinese mouth organ
• •
Around 3000 BC: Emergence of "sheng (Chinese mouth organ), one of the earliest w
ind instruments who used the principle of the free reed. 1829: The Austrian and
the Englishman Cyril Demian Charles Wheatstone settle at a little over a month a
part, a patent, the first for the "accordion" and the second for "concertina". 1
833: first method for accordion in France by Pichenot. 1840: Brevet de Leon Swee
t for his "harmonious accordion" which already foreshadows the future color syst
em.
• • • • • • • • • • • • •
1852: Creation of the accordion, piano keys ... Philip Joseph Button. 1863: A Ca
stelfidardo Paolo Soprani factory creates the first Italian accordions. 1872: Fe
lix Peguri, from Italy, arrived in Marseille. 1883: Born in Tours, Emile Vacher,
one of the great creators like "musette". Towards 1900: Invention, by factors I
talian Castelfidardo the chromatic accordion. 1903: A Trossigen (Germany), Etabl
issements Hohner began manufacturing diatonic. 1904: Foundation of the House Cav
agnolo in Vercelli (Italy) by Domenico Cavagnolo. 1909: Giovanni Gagliardi gave
the first recital of classical music in a movie theater in the Rue de Lyon. 1913
: Marriage of Charles Peguri with the daughter of Anthony Auvergne Bouscatel. En
d of rivalry between the bagpipes and accordion. 1919: Born in Tulle (Corrèze),
brand Maugein at the initiative of Jean Maugein and his brothers Anthony and Rob
ert. 1921: Mario and Hector Crosio resume the factory Parisian accordion Ferdina
ndo Atti. Between the two wars (1914-1940): passage of the bagpipes to the accor
dion - The golden age of the balls musette. 1936: Right in Front Populaire, open
ing the famous "Balajo", nicknamed "The Temple of Musette. 1945: Raymond Gazave
creates Accordion Conservatory of Paris. 1950: Peter Monichon creates his "harmo
néon" real concert accordion. 1962: In Paris, Gilbert Roussel interprets the "Co
ncerto for Accordion" from Wiener. 1968: The Grand Prix de Rome "is attributed t
o A. Abbott, professor of accordion concert at the Ecole Normale Superieure in P
aris.
• • • • •
SOME DESIGNS ...
Bandoneon
The bandoneon is a great concertina: hexagonal. It is square.
Concertina
According to the Bandoneon universal classification of musical instruments (orga
nology) established in 1914 by Hornbostel / Sachs, the bandoneon, belongs to the
family aerophones the group of instruments "with a beating reed free", that is
to say that the vibrating air is produced by a strip of the same size as the hol
e in which it is attached, so it vibrates freely when the air is blown. In the c
ase of the bandoneon, the air is blown two vibrating metal plates at intervals o
f an octave. By the way for vibrating air, the bandoneon is from the same family
as the mouth organs, whose invention is probably from the Far East region where
it is still found today: China, Korea, Japan ... and in the south-east Asia: La
os, Vietnam, Burma, Cambodia, Borneo and Indonesia partially. The cheng sheng or
Chinese, invented in 2300 or 2700 BC. J.C., was described by Father Amiot (1718
-1793),€Jesuit who lived in China and made it known in the West, including the p
ublication of his memoirs on the history, science, arts, customs, habits of Chin
ese published in 16 volumes in Paris between 1776 and 1814. From this principle,
we invented a whole series of instruments that appeared in England and Germany
in the nineteenth century, as the English concertina and konzertina German. We d
esigned the model first bisonore also called "diatonic" or "Argentine system" me
ans a different sound is emitted by pushing and pulling every button thus enabli
ng the emission of two sounds. The advantage lies in the existence of two keyboa
rds, each keyboard with a double possibility, either by pulling or pushing. Char
les Peguri conceived then unisonore model, also called "chromatic": even the pus
hing and pulling. Manufactured under license by the famous German company Alfred
Arnold (AA) for a fingering on accordion bandoneon, a model that does so that t
wo keyboards. Since the time of the "Old Guard" until today, el fueye (bellows),
La Jaula (The Cage: A. Troilo), el gusano (the verse), known as the bandoneon L
unfardo ( Buenos Aires slang) is the ultimate tango voz, the instrument of all t
he aesthetic tangueras. Throughout its history, the tango will use all the expre
ssive resources of the instrument in every way remarkable for its possibilities
of articulation due to the complete volume control and clothing that can be rema
rkably long if one stretches the bellows gradually throughout its length (which
should approach the five feet), the bandoneon is close to the human voice, as sh
e can moan, cry, be angry, and thrilled at the same time, express an extreme swe
etness or a nagging complaint. The sound can be neutral and sweet, bitter and ag
gressive, like pulling, pushing, both techniques is used. However, drawing, you
get a percussive effect used for marcato and syncopation that can be amplified b
y dropping the bandoneon heavily on the knee, as do so well bandoneonists Puglie
se's orchestra. He has an amazing range of expression, each side having a differ
ent sound, one more muffled and deep than the other, thanks to an effect of harm
onic construction of the body which, on the left side has a small sound box . Th
e button layout also allows an extension of several octaves with one hand, thank
s to a proximity calculated. The instrument can thus perform a melody and comple
x arrangements. The musical thought can be both harmonically and melodically con
structed using a total of four keyboards. Remarkable complexity for an instrumen
t of this size. One understands better the role played by bandoneonists as condu
ctors, composers and arrangers whose names mark the history of tango: Domingo Sa
nta Cruz, Angel Villoldo, Pedro Laurenz, Juan Maglio "Pacho" Arolas Eduardo, Ped
ro Maffia , Ciriano Ortiz, Anibal Troilo, Leopoldo Federico, Astor Piazzolla and
, more recently, Osvaldo Piro, Nestor Marconi, Rodolfo Mederos, Binelli, Juan Mo
salini.
SOURCES
BIBLIOGRAPHY: Peter MONICHON, Accordion, Paris: PUF, coll. What do I know?, 1 /
1971.
A must on the subject, thoroughly documented, and explaining very clearly the ev
olution of the accordion.
Peter MONICHON, Accordion, Editions Van de Velde, Payot, Lausanne (1985).
INTERNET LINKS: http://www.perigord.com/asso/ar/sitedefinitif/page2.htm