State Of Having Two Sides That Are Not The Same? The 80 Top Answers

Box-shaped musical instrument crossword clue

Rank Word Note 94% ACCORDION Box-shaped musical instrument 4% SITAR Musical instrument 3% LUTE Pear-shaped instrument 3% LYREGUITAR Chordophone family musical instrument 3% FLUTE Musical instrument 3% JEWSHARP Small lyre-shaped musical instrument 3% LYRE U-shaped stringed instrument 2% OVATE Egg-shaped 2% ZITHER string instrument 2% BENTO packed lunch? 2% MICROSCOPE Scientific Instrument 2% SIREN Warning Instrument 2% ALAR Winged 2% HARP Angelic Instrument 2% SPAR Rafter; box 2% BAGPIPE wind instrument 2% TABLA label on a musical instrument 2% FUSE __ box 2% OCARINA egg-shaped musical instrument 2% BASS GUITAR fish-shaped musical instrument?

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What are the top solutions for musical instrument? We have found 1 Answers for box-shaped musical instrument. The top solutions are determined by popularity, ratings, and frequency of searches. The most likely answer for the clue is ACCORDION. How many solutions does musical instrument have? With crossword-solver.io you will find 1 solutions. We use historical puzzles to find the best matches for your question. We add many new clues every day. How do I find a solution for box-shaped musical instrument? Our crossword search engine gives you access to over 7 million clues. You can narrow down the possible answers by specifying the number of letters included. We found more than 1 Answers for Box shaped musical instrument.

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Fair exchange is not robbery

The Proverbs of John Heywood Other phrases about:

What does the phrase “fair exchange is not robbery” mean? An exchange of two things of equal value is a reasonable and honest trade.

Where does the phrase “fair exchange is not robbery” come from?

The proverbial adage ‘fair exchange is not robbery’ makes its first appearance where we would expect it to be, in an early and comprehensive collection of English proverbs. There are a few of these, but in this case it is John Heywood’s 1546 Glossary A Dialogue, which contains the valid number of all Prouerbes in English:

Although change will not be a robbery for the changed case.

Apart from its meaning and origin, there is not much more to say about this proverb.

See also: the list of proverbs.

What kind of instrument is an accordion?

If you look at an accordion, there’s a lot going on! On a typical piano accordion, you’ll see a keyboard, bellows, and lots of little buttons. So what kind of instrument is an accordion? Is it a brass, percussion, string or woodwind instrument? Or a subclassification like a “keyboard” instrument?

The accordion is, well, the accordion. How could you try to classify such a weird, great, unique instrument that only has similarities to instruments that are distant cousins? It’s in a league of its own!

Ok ok I know this probably isn’t the answer you were looking for so if you want to learn all about it technically…

Then the accordion is technically a woodwind instrument. Think about it: It’s made out of wood and uses bellows to force air through free reeds inside. Although the keyboard looks like a piano keyboard, the keys release air just like a woodwind instrument.

Some might classify the accordion as a “keyboard” instrument, but that’s just lazy. The accordion only comes to life when you squeeze the bellows to create the “wind” that drives your sounds. Do you still not believe me? Place your ear next to an accordion’s deflation button as a player fully exhales the bellows.

So what kind of instrument is an accordion? It belongs to the family of “fantastic” instruments. Alternatively, you can think of it like this:

Wood.

Wind.

Bellows.

Air.

Reed.

Key.

woodwind.

(Technically)

Cheers,

Tom

Note that I’m talking about your standard acoustic piano accordion here, not a Roland electronic accordion. The latter works completely differently.

Bellows-driven free-reed aerophone musical instrument

An accordionist

Accordions (from 19th-century German accordion, from chord—”musical chord, unity of sounds”)[1] are a family of box-shaped musical instruments of the bellows-driven free-leaf aerophone type (producing sound when air flows past a tube in a frame), colloquially referred to as a Squeezebox. A person who plays the accordion is an accordionist. Concertina and bandoneón are related. The harmonium and the American reed organ belong to the same family but are typically larger than an accordion and sit on a surface or the floor.

The accordion is played by squeezing or expanding the bellows while pressing buttons or keys, opening pallets that allow air to flow over strips of brass or steel called reeds. These vibrate to create sounds in the body. Valves on opposite reeds of each note are used to make the instrument’s reeds sound louder without leaking air from each reed block. [Notes 1] The performer usually plays the melody on knobs or buttons on the right side (referred to as the manual). ) and the accompaniment on bass or preset chord keys on the left.

Due to waves of immigration from Europe to America and other regions, the accordion has spread all over the world. In some countries (for example: Argentina, Brazil,[2][3] Colombia, the Dominican Republic, Mexico and Panama) it is used in popular music (for example: tango in Argentina; gaucho, forró and sertanejo in Brazil; vallenato in Colombia; merengue in the Dominican Republic; and Norteño in Mexico), while in other regions (like Europe, North America, and other countries in South America) it’s more commonly used for dance-pop and folk music.

In Europe and North America, some popular music acts also use the instrument. In addition, the accordion is used in Cajun, zydeco, jazz, and klezmer music, as well as in solo and orchestral performances of classical music. The piano accordion is the official city instrument of San Francisco, California.[4] Many conservatories in Europe have classical accordion departments. The oldest name for this group of instruments is harmonica, from the Greek harmonikos, which means “harmonious, musical”. Today, native versions of the name accordion are more common. These names refer to the type of accordion patented by Cyrill Demian, which concerned “automatically coupled chords on the bass side”.[5]

history [edit]

Eight-key bisonoric diatonic accordion (c. 1830)

The basic form of the accordion is believed to have been invented in Berlin in 1822 by Christian Friedrich Ludwig Buschmann,[Notes 2][6], although an instrument has recently been discovered which appears to have been built earlier.[Notes 3][7 ][8 ]

The earliest history of the accordion in Russia is poorly documented. Despite this, according to Russian researchers, the earliest known simple accordions were made in Tula, Russia, around 1830 by Ivan Sizov and Timofey Vorontsov, after receiving an early accordion from Germany.[9] By the end of the 1840s the instrument was already very widespread;[10] together the manufactories of the two masters produced 10,000 instruments a year. By 1866, over 50,000 instruments were being manufactured annually in Tula and neighboring villages, and by 1874 annual production was over 700,000.[11] By the 1860s, the Novgorod, Vyatka and Saratov governorates also had significant accordion production. By the 1880s the list included Oryol, Ryazan, Moscow, Tver, Vologda, Kostroma, Nizhny Novgorod, and Simbirsk, and many of these places created their own variants of the instrument.[12]

The accordion is one of several early 19th century European inventions that used free reeds powered by bellows. An instrument called the accordion was first patented in Vienna in 1829 by Cyrill Demian, of Armenian origin. [Notes 4] Demian’s instrument bore little resemblance to modern instruments. It had only a left button board, with the right hand simply operating the bellows. A key feature, for which Demian applied for a patent, was the sounding of an entire chord by pressing a key. His instrument could also sound two different chords in the same key, one for each direction of the bellows (a bisonoric action). Harmonicas with combs had been around in Vienna for many years, but there were also larger instruments powered by hand bellows. The diatonic key was also used in mouth-blown instruments. Demian’s patent thus included an accompanying instrument: an accordion played with the left hand, in contrast to the chromatic harmonicas of the time, small and light enough for travelers to take with them and accompany the singing. The patent also described instruments with bass and treble sections, although Demian preferred the bass-only instrument for its cost and weight advantages. [Notes 5]

The accordion was introduced to Britain from Germany around 1828.[13] The instrument was described as new to British audiences in The Times in 1831[14] and did not receive favorable reviews, but it soon became popular nonetheless.[15] By the mid-1840s it had also become popular with New Yorkers.[16]

After Demian’s invention, other accordions appeared, some of which only had the right-handed keyboard for playing melodies. It took English inventor Charles Wheatstone to bring both chords and keyboard together in one Squeezebox. His 1844 patent for what he called an accordion also showed the possibility of easily externally tuning the reeds with a simple tool.

The first pages in Adolf Müller’s accordion book

The Austrian musician Adolf Müller described a wide variety of instruments in his 1854 book School for the Accordion. At the time Vienna and London had a close musical relationship, with musicians often performing in both cities in the same year, so it is possible that Wheatstone was aware of these types of instruments and may have used them to implement his ideas for key arrangements to practice.

Jeune’s Flutina resembles Wheatstone’s accordion in internal structure and timbre, but appears to complement Demian’s accordion functionally. The flutina is a one-string bisonoric melody-only instrument whose keys are operated with the right hand while the bellows is operated with the left. When the two instruments are combined, the result is quite similar to diatonic button accordions still made today.

Further innovations followed and continue to this day. Various keypad and keyboard systems and voicings (the combination of multiple tones in different octaves) have been developed, with mechanisms for switching between different voices during performance and various methods of internal construction to improve tone, stability and durability. Modern accordions may contain electronics such as condenser microphones and tone and volume controls, allowing the accordion to be connected to a PA system or keyboard amplifier for live shows. Some 2010s accordions may include MIDI sensors and circuitry, allowing the accordion to be connected to a synthesizer module and produce accordion sounds or other synthesized instrument sounds such as a piano or organ.

construction [edit]

Accordions come in many configurations and types. What is easy to do with one accordion may be technically challenging or impossible with another, and mastery of one layout may not transfer to another.

The most obvious difference between accordions is their right side. Piano accordions use a piano-style musical keyboard. Button accordions use a button board. Button accordions are also distinguished by the use of a chromatic or diatonic buttonboard for the right side.[17]

Accordions can either be bisonoric, producing different pitches depending on the direction of bellows movement, or unisonoric, producing the same pitch in both directions. Piano accordions are unison. Chromatic button accordions also tend to be unison, while diatonic button accordions tend to be bison,[18] although there are notable exceptions.

Accordion size is not standardized and can vary significantly from model to model. Accordions differ not only in their dimensions and weight, but also in the number of knobs or buttons that are present in the right and left hand manuals. For example, piano accordions can have as few as 8 bass keys (two rows of four notes) or as many as 120 (six rows of twenty notes) or more. Accordions also differ in the registers they have available and in their specific tuning and intonation.

Despite these differences, all accordions share a number of common components.

Universal components[ edit ]

Bellows [ edit ]

Accordion bellows controlled sounds An example of effects that can be achieved with the bellows – 949 KB Problems playing this file? See media help.

The bellows is the most recognizable part of the instrument and the primary means of articulation. The sound production in an accordion is directly proportional to the movement of the bellows by the player. In a way, the role of the bellows can be compared to the role of moving the bow of a violin on bowed strings. For a more direct analogy, the bellows can be likened to the role of breathing for a singer. Located between the right and left manuals, the bellows are made from pleated layers of fabric and cardboard with added leather and metal.[20] It is used to create pressure and vacuum, forcing air over the inner reeds and creating sound through their vibrations, applied pressure increases volume.

The keyboard touch is not expressive and does not affect the dynamics: all expression is effected by the bellows. Bellows effects include:

Volume control, including thresholds and fades

Repeated short, rapid changes of direction (“bellow shakes”) popularized [dubiously debated] by musicians like Renato Borghete (gaucho music) and Luiz Gonzaga [21] and used extensively in Forró, called resfulengo in Brazil

used by musicians such as Renato Borghete (gaucho music) and Luiz Gonzaga and extensively in forró, called constant bellows movement in Brazil while pressure is applied at intervals

Constant bellows movement to produce clear tones without resonance

Subtle change in intonation to mimic a singer’s expressiveness

The use of the bellows with the silent air button produces the sound of moving air (“noise”) sometimes used in contemporary compositions for that instrument

body [edit]

Accordion Showroom (Petosa Accordions, Seattle, Washington)

The body of the accordion consists of two wooden boxes connected by the bellows. These boxes house tuning chambers for the right and left hands. Each side has grilles to facilitate air transfer in and out of the instrument for better sound projection. The right manual grille is usually larger and is often sculpted for decorative purposes. The right manual is usually used to play the melody and the left manual to play the accompaniment; however, skilled players can reverse these roles and play melodies with the left hand.[Notes 6]

The size and weight of an accordion varies by type, layout and playing area, which can be as small as having just one or two rows of basses and a single octave on the right hand, all the way up to the standard 120 bass accordion to large and heavy 160 bass free bass converter models.

Pallet mechanism[edit]

The accordion is an aerophone. The manual mechanism of the instrument either activates or deactivates the airflow: [Notes 7]

Bass machine that translates a single keystroke into multiple palette openings for the notes of a chord. A side view of the pallet mechanism in a piano accordion. When the key is pressed, the pallet is raised, allowing air to enter the tone chamber in either direction, exciting the reeds; The direction of the air flow depends on the direction of movement of the bellows. Similar mechanical palette movement is used in button accordions, as well as bass mechanisms such as the stradella, which translates a single button press into multiple palette openings for the notes of a chord.

Variable components[ edit ]

The term accordion covers a wide range of instruments with different components. All instruments have reed rows of some format apart from reedless digital accordions. Not all have switches to change registers or ranks, as some only have a treble register and a bass register. The most typical accordion is the piano accordion, which is used for many genres of music. Another type of accordion is the button accordion, used in musical traditions including Cajun, Conjunto and Tejano music, Swiss and Slovenian-Austrian-German Alpine music and Argentine tango music. The helicon-style accordion has multiple flared horns that protrude from the left side to add bass tone. The word “helicon” refers to a deep tuba.

Right-handed systems[edit]

There are several systems for the right manual of an accordion, which is usually used to play the melody (while it can also play chords). Some use a key layout arranged one way or another, while others use a piano-style keyboard. Each system has different claimed benefits[22] by those who prefer it. They are also used to define one accordion or another as a different “type”:

Chromatic button accordions and the bayan, a Russian variant, use a button board on which the notes are arranged chromatically. There are two main systems, referred to as B-System and C-System (there are also regional variants). On rare occasions, some chromatic button accordions have a decorative right-hand keyboard in addition to the rows of buttons, an approach used by virtuoso accordionist Pietro Frosini.

Diatonic button accordions use a button bar designed around the notes of diatonic scales in a small number of keys. The keys are often arranged in a row for each available key. Chromatic scales can be available by combining notes from different rows. The adjective “diatonic” is also commonly used to describe bisonic or bisonoric accordions – i.e. H. Instruments whose right-handed (and in some cases even bass) keys each sound two different tones depending on the direction of the bellows (e.g., producing major sequences of triads when the bellows closes and dominant sevenths or 7–9 when it opens). For example, with the Argentine bandoneon, the Slovenian-Austrian-German Styrian harmonica, the Czech Heligonka harmonica, the Italian organetto, the Swiss Schwyzerörgeli and the Anglo concertina.

Piano accordions use a piano-like musical keyboard at right angles to the case, with the key tops facing inward toward the bellows. The rarely used bass accordion has a right hand only keyboard with reed rows of 8′, 16′ and 32′, with the lowest note being the lowest pitch on a pipe organ pedal keyboard (Pedal C). It is intended for the performance of bass lines in accordion orchestras. Even the rarely used piccolo accordion has only one keyboard for the right hand.

6-plus-6 accordions use a key panel with three rows of keys in a “uniform” or “whole tone” arrangement, commonly known as the Jankó keyboard. The chromatic scale consists of two rows. The third row is a repeat of the first row, so there is the same fingering in all twelve scales. These accordions are only sold in special editions, e.g. the Harmona Logic Order.

A key accordion made by the Marrazza company in Italy. It was brought to Australia by Italian immigrants as a reminder of their homeland.

A world champion piano accordion from VEB Klingenthaler Harmonikawerke

Left-handed systems[edit]

Typical Stradella bass system with 120 keys. This is the left hand manual system found on most unison accordions today.

Different systems are also in use for the left manual, which is normally used to play the accompaniment. These usually use different bass buttons and often have buttons with concaves or nubs to help the player navigate the layout, although the buttons cannot be seen while playing. There are three general categories:

The bass buttons trigger a complex mechanism of wires, rods, and levers that is usually hidden inside the instrument.

The stradella bass system, also known as the standard bass, is arranged in a circle of fifths and uses single knobs for bass notes and additional rows of single knobs for preset major, minor, dominant seventh, and diminished chords. The dominant seventh chords and diminished chords are three-note chord voicings with the fifths of the chords omitted.

, is arranged in a circle of fifths and uses single buttons for bass notes and additional rows of single buttons for preset major, minor, dominant seventh, and diminished chords. The dominant seventh chords and diminished chords are three-note chord voicings with the fifths of the chords omitted. The Belgian bass system is a variation used in Belgian chromatic accordions. It is also arranged in a circle of fifths, but in reverse order. This system features three rows of basses, three rows of chord buttons allowing for easier fingering for playing melodies, combined chords, better use of fingers one and five, and more space between buttons. This system was rarely used outside of his native Belgium.

Various free bass systems for better access to playing melodies and complex bass lines on the left manual and creating your own chords note by note. These are often chosen for playing jazz and classical music. Some models can convert between free bass and stradella bass; this is called a converter bass. The left hand free bass notes are arranged chromatically in three rows with an additional double row of keys.

. The left hand free bass notes are arranged chromatically in three rows with an additional double row of keys. Luttbeg double-keyboard piano accordions have a piano keyboard layout on both the treble and bass sides. This allows pianists, particularly Duke Ellington, to double the accordion without difficulty. The Bercandeon is an improved version of this instrument, also making it a “keyboard bandoneon”.

Reed ranks and switches[edit]

Inside the accordion are the reeds that produce the instrument’s tones. These are organized into different sounding banks, which can be further combined into registers to create different timbres. All but the smaller accordions are equipped with switches that control which combination of reed banks operate, organized from high to low registers. Each register produces its own timbre, many of which also differ in octaves or in the combination of different octaves. See the Accordion Ranks and Switches article for more explanation and audio samples. All but the smaller accordions usually have treble switches. The larger and more expensive accordions often also have bass switches to give reed bank options on the bass side.

Classification of chromatic and piano-type accordions[edit]

When describing or pricing an accordion, the first factor is its size, expressed in terms of the number of keys on either side. For example, for a piano type, this could be 37/96, i.e. 37 treble keys (three octaves plus one note) on the treble side and 96 bass keys. A second aspect of size is the width of the white keys, which means that even accordions with the same number of keys have keyboards of different lengths, ranging from 14 inches (36 cm) for a children’s accordion to 19 inches (48 cm) for an accordion an adult-sized instrument will suffice. After size, the price and weight of an accordion depends largely on the number of reeds on either side, either on a Cassotto or not, and to a lesser extent on the number of combinations available through register switches.

The price is also influenced by the use of expensive woods, luxurious decorations and features such as palm switches, grid mute, etc. Some accordion manufacturers sell a range of different models, from a less expensive base model to a more expensive deluxe model. Typically, the register switches are described as reeds: 5 + 3, meaning five reeds on the treble side and three on the bass side, and registers: 13 + M, 7, meaning 13 register keys on the treble side plus a special “master”. which activates all ranks, like the “tutti” or “full organ” switch on an organ, and seven register switches on the bass side. Another factor affecting the price is the presence of electronics, such as condenser microphones, volume and tone controls, or MIDI sensors and connectors.

Accordion players on a street in the historic center of Quito, Ecuador

straps [ edit ]

The larger piano and chromatic button accordions are usually heavier than other smaller squeezeboxes and are equipped with two shoulder straps to make it easier to balance the weight and improve bellows control when seated and to avoid falling of the instrument when standing. Other accordions, such as the diatonic button accordion, have only a single shoulder strap and thumb strap for the right hand. All accordions have a (usually adjustable) leather strap on the left manual to hold the player’s hand in place when pulling the bellows. There are also straps above and below the bellows to keep it securely closed when the instrument is not playing.

Electronic and digital[ edit ]

Rainer von Many plays a Roland digital V-accordion. The array of electronic switches can change the accordion’s tone, tone and volume.

A range of electronic and digital accordions were introduced in the 2010s. They have an electronic sound module that creates the accordion sound and most use MIDI systems to encode the key presses and transmit them to the sound module. A digital accordion can have hundreds of sounds that can include different types of accordion and even non-accordion sounds such as pipe organ, piano or guitar. Sensors, such as magnetic reed switches, are used on the knobs and buttons. Sensors are also used on the bellows to transmit bellows pushes and pulls to the sound module. Digital accordions may have features not found on acoustic instruments such as B. a piano-style sustain pedal, a modulation control for changing the key and a portamento effect.

As an electronic instrument, these types of accordions connect to a PA system or keyboard amplifier to produce sound. Some digital accordions have a small internal speaker and amplifier, so they can be used without a PA system or keyboard amplifier, at least for practice and small venues like coffee houses. An advantage of electronic accordions is that they can be practiced with headphones, making them inaudible to others nearby. On a digital accordion, the volume of the right keyboard and left keys can be adjusted independently.

There are also acoustic-digital hybrid accordions. They are acoustic accordions (with reeds, bellows, etc.) but also contain sensors, electronics and MIDI connections, giving a wider range of tonal options. An acoustic-digital hybrid can be made in this form, or it can be an acoustic accordion with aftermarket electronic sensors and connectors added. Several companies sell aftermarket electronic kits, but due to the complex and delicate nature of an accordion’s internal parts, they are usually installed by professional accordion technicians.

Unusual Accordions[ edit ]

garmon player

Various hybrid accordions were created between instruments of different buttons and actions. Many remain curiosities – few have remained in use:

The Schrammel accordion used in Viennese chamber music and klezmer, which has the treble buttonplate of a chromatic button accordion and a bisonoric bass buttonplate, similar to an extended diatonic button accordion

The Styrian harmonica, a type of bisonoric diatonic button accordion typical of the alpine folk music of Slovenia, Austria, the Czech Republic, the German state of Bavaria, and the Italian South Tyrol

The Schwyzerörgeli or Swiss organ, which usually has a three-row diatonic treble and 18 unison bass buttons in a bass/chord arrangement – a subset of the stradella system in reverse order from the Belgian bass – moving parallel to the bellows movement

The trikitixa of the Basques, which has a two-row diatonic, bisonoric treble and a 12-piece diatonic unison bass

The British chromatic accordion, the most popular diatonic accordion in Scotland. While the right hand is bisonoric, the left hand follows the stradella system. The elite form of this instrument is generally considered to be the German-made Shand Morino, made by Hohner with input from Sir Jimmy Shand [23]

Pedal harmony, a type of accordion sometimes used in Polish folk music, to which a pair of pump-organ-like bellows are attached.

, a type of accordion sometimes used in Polish folk music, to which a pair of pump-organ-like bellows are attached. The Finnish composer and accordionist Veli Kujala developed a quarter tone accordion in 2005 together with the Italian accordion manufacturer Pigini and wrote works for it. It uses the same system as the concert accordion, with a scale of five octaves, each divided into 24 quarter tones.[24] Other notable composers who wrote concertos for the quarter-tone accordion are Jukka Tiensuu and Sampo Haapamäki.[25]

Manufacturing process [ edit ]

The most expensive [according to whom?] accordions are usually entirely hand made, especially the reeds; completely handcrafted reeds have better tonal quality than even the best auto-made reeds. Some accordions were modified by individuals striving to extract a purer [clarification needed] sound from low-end instruments, such as those enhanced by Yutaka Usui, [26] [irrelevant quote], a Japanese craftsman.

Making an accordion is only a partially automated process. In a sense [clarification needed] all accordions are handcrafted as there is always hand assembly of the necessary small parts. The general process includes the manufacture of the individual parts, the assembly of the subsections, the assembly of the entire instrument, and the final decoration and packaging.[27]

Famous [according to whom?] [peacock prose] centers of production are the Italian cities of Stradella and Castelfidardo, with many small and medium-sized manufactures, especially in the latter. Castelfidardo honors [clarification needed] the memory of Paolo Soprani, who was one of the first major producers. Maugein Freres have been building accordions in the French town of Tulle since 1919 and the company is now the last complete accordion manufacturer in France. German companies such as Hohner and Weltmeister made large numbers of accordions, but production declined by the late 20th century. Hohner still manufactures its top-end models in Germany, and Weltmeister instruments are still handcrafted by HARMONA accordion GmbH in Klingenthal.

Use in different music genres[edit]

A street performer playing the accordion

Das Akkordeon wurde traditionell verwendet, um Volks- oder ethnische Musik, populäre Musik und Transkriptionen aus dem Repertoire von Opern und leichter klassischer Musik aufzuführen.[28] Es wurde auch vom Kikuyu-Stamm in Kenia verwendet und ist das Hauptinstrument im traditionellen Mwomboko-Tanz.[29] Heute ist das Instrument manchmal in zeitgenössischen Popstilen wie Rock und Pop-Rock[30] und gelegentlich sogar in ernsthaften Konzerten mit klassischer Musik sowie in der Werbung zu hören.

Verwendung in traditioneller Musik [Bearbeiten]

Die Popularität des Akkordeons verbreitete sich schnell: Es wurde hauptsächlich mit dem einfachen Volk in Verbindung gebracht und wurde von Europäern verbreitet, die in die ganze Welt auswanderten. Das Akkordeon sowohl in Knopf- als auch in Klavierform wurde zu einem Liebling der Volksmusiker[31] und wurde in traditionelle Musikstile auf der ganzen Welt integriert: siehe die Liste der Musikstile, die das Akkordeon enthalten.

Verwendung im Jazz [Bearbeiten]

Zu den frühen Jazz-Akkordeonisten gehören Charles Melrose, der Wailing Blues/Barrel House Stomp (1930, Voc. 1503) mit den Cellar Boys aufnahm; Buster Moten, der zweites Klavier und Akkordeon im Orchester von Bennie Moten spielte; und Jack Cornell, der Aufnahmen mit Irving Mills machte. Zu den späteren Jazz-Akkordeonisten aus den Vereinigten Staaten gehören Steve Bach, Milton DeLugg, Orlando DiGirolamo, Dominic Frontiere, Guy Klucevsek, Yuri Lemeshev, Frank Marocco, John Serry Sr.,[32] Lee Tomboulian und Art Van Damme. Zu den französischen Jazzakkordeonisten gehören Richard Galliano, Bernard Lubat und Vincent Peirani. Zu den norwegischen Jazzakkordeonisten gehören Asmund Bjørken, Stian Carstensen, Gabriel Fliflet, Frode Haltli und Eivin One Pedersen.

Während die voreingestellten Akkordknöpfe der linken Hand des Akkordeons auf Dreiklänge und Septakkorde beschränkt sind (für den Dominant-Septakkord und den verminderten Septakkord), erweitern Jazz-Akkordeonisten den Bereich der Akkordmöglichkeiten, indem sie mehr als einen Akkordknopf gleichzeitig verwenden oder Kombinationen von ein Akkordknopf und eine andere Bassnote als der typische Grundton des Akkords. Ein Beispiel der ersteren Technik wird verwendet, um einen Moll-Septakkord zu spielen. Um einen „a-Moll“-Septakkord (mit einer hinzugefügten None) zu spielen, werden die „a-Moll“- und „e-Moll“-Voreinstellungstasten gleichzeitig zusammen mit einer „A“-Bassnote gedrückt. Ein Beispiel der letzteren Technik wird verwendet, um den halbverminderten Akkord zu spielen. Um einen halbverminderten Septakkord “e” zu spielen, wird eine “g-Moll”-Voreinstellungstaste zusammen mit einer “E”-Bassnote gedrückt.

Verwendung in populärer Musik [Bearbeiten]

New York Blues Eine Aufnahme von “New York Blues” aus dem Jahr 1916, komponiert und aufgeführt von Pietro Frosini, einem der ersten großen Stars des Akkordeons. Problems playing this file? See media help.

Das Akkordeon erschien in der populären Musik von 1900 bis 1960. Dieses halbe Jahrhundert wird oft als das “goldene Zeitalter des Akkordeons” bezeichnet.[33] Fünf Spieler, Pietro Frosini, die beiden Brüder Graf Guido Deiro und Pietro Deiro und die slowenischen Brüder Vilko Ovsenik und Slavko Avsenik, Charles Magnante waren große Einflüsse zu dieser Zeit.[34]

Die meisten Varieté-Theater schlossen während der Weltwirtschaftskrise, aber Akkordeonisten unterrichteten und traten in den 1930er bis 1950er Jahren für das Radio auf. Zu dieser Gruppe gehörte der Konzertvirtuose John Serry, Sr.[35][36][37] In den 1950er bis 1980er Jahren erhielt das Akkordeon im Fernsehen mit Auftritten von Myron Floren in der Lawrence Welk Show eine bedeutende Aufmerksamkeit.[38] In den späten 1950er und frühen 1960er Jahren verlor das Akkordeon aufgrund des Aufstiegs des Rock’n’Roll an Popularität.[39] Der erste Akkordeonist, der beim Newport Jazz Festival auftrat und auftrat, war Angelo DiPippo. Im Kinofilm „Der Pate“ spielt er sein Akkordeon. Er komponierte und spielte mit seinem Akkordeon einen Teil des Soundtracks von Woody Allens Film To Rome With Love. Er war zweimal in der Tonight Show mit Johnny Carson zu sehen.

Ein Folk-Akkordeonist, 2009

Richard Galliano ist ein international bekannter Akkordeonist, dessen Repertoire Jazz, Tango Nuevo, Latin und Klassik umfasst. Some popular bands use the instrument to create distinctive sounds. A notable example is Grammy Award-winning parodist “Weird Al” Yankovic, who plays the accordion on many of his musical tracks, particularly his polkas. Yankovic was trained in the accordion as a child.[40]

The accordion has also been used in the rock genre, most notably by John Linnell of They Might Be Giants, featuring more prominently in the band’s earlier works.[41] The instrument is still frequently used during live performances, and continues to make appearances in their studio albums. Accordion is also used in the music of the Dropkick Murphys and Gogol Bordello.

Accordionists in heavy metal music make their most extensive appearances in the folk metal subgenre, and are otherwise generally rare. Full-time accordionists in folk metal seem even rarer, but they are still utilized for studio work, as flexible keyboardists are usually more accessible for live performances. The Finnish symphonic folk-metal band Turisas used to have a full-time accordionist, employing classical and polka sensibilities alongside a violinist. One of their accordionists, Netta Skog, is now a member of Ensiferum, another folk-metal band. Another Finnish metal band, Korpiklaani, invokes a type of Finnish polka called humppa, and also has a full-time accordionist. Sarah Kiener, the former hurdy-gurdy player for the Swiss melodic-death-folk metal band Eluveitie, played a Helvetic accordion known as a zugerörgeli.[citation needed]

Use in classical music [ edit ]

Although best known as a folk instrument, it has grown in popularity among classical composers. The earliest surviving concert piece is Thême varié très brillant pour accordéon methode Reisner, written in 1836 by Louise Reisner of Paris. Other composers, including the Russian Pyotr Ilyich Tchaikovsky, the Italian Umberto Giordano, and the American Charles Ives, wrote works for the diatonic button accordion.

The first composer to write specifically for the chromatic accordion was Paul Hindemith.[42] In 1922, the Austrian Alban Berg included an accordion in Wozzeck, Op. 7. In 1937, the first accordion concerto was composed in Russia. Other notable composers have written for the accordion during the first half of the 20th century.[43] Included among this group was the Italian-American John Serry Sr., whose Concerto for Free Bass Accordion was completed in 1964.[44][45] In addition, the American accordionist Robert Davine composed his Divertimento for Flute, Clarinet, Bassoon and Accordion as a work for chamber orchestra.[46] American composer William P. Perry featured the accordion in his orchestral suite Six Title Themes in Search of a Movie (2008). The experimental composer Howard Skempton began his musical career as an accordionist, and has written numerous solo works for it. In his work Drang (1999), British composer John Palmer pushed the expressive possibilities of the accordion/bayan. Luciano Berio wrote Sequenza XIII (1995) for accordionist Teodoro Anzellotti.[47] Accordionists like Mogens Ellegaard, Joseph Macerollo, Friedrich Lips, Hugo Noth, Stefan Hussong, Teodoro Anzellotti, and Geir Draugsvoll, encouraged composers to write new music for the accordion (solo and chamber music) and also started playing baroque music on the free bass accordion.

French composer Henri Dutilleux used an accordion in both his late song cycles Correspondances (2003) and Le Temps l’Horloge (2009). Russian-born composer Sofia Gubaidulina has composed solos, concertos, and chamber works for accordion. Astor Piazzolla’s concert tangos are performed widely. Piazzolla performed on the bandoneon, but his works are performed on either bandoneon or accordion.

Australia[ edit ]

The earliest mention of the novel accordion instrument in Australian music occurs in the 1830s.[48] The accordion initially competed against cheaper and more convenient reed instruments such as mouth organ, concertina and melodeon. Frank Fracchia was an Australian accordion composer[49] and copies of his works “My dear, can you come out tonight”[50] and “Dancing with you”[51] are preserved in Australian libraries. Other Australian composers who arranged music for accordion include Reginald Stoneham.[52] The popularity of the accordion peaked in the late 1930s[53] and continued until the 1950s.[54] The accordion was particularly favoured by buskers.[55][56]

Bosnia and Herzegovina [ edit ]

The accordion is a traditional instrument in Bosnia and Herzegovina. It is the dominant instrument used in sevdalinka, a traditional genre of folk music from Bosnia and Herzegovina. It is also considered a national instrument of the country.[citation needed]

Brazil [ edit ]

Brazilian accordionist Dominguinhos (José Domingos de Morais (1941–2013)

The accordion was brought to Brazil by settlers and immigrants from Europe, especially from Italy and Germany, who mainly settled in the south (Rio Grande do Sul, Santa Catarina and Paraná). The first instrument brought was a “Concertina” (a 120 button chromatic accordion).[57] The instrument was popular in the 1950s, and it was common to find several accordions in the same house. There are many different configurations and tunes which were adapted from the cultures that came from Europe.

Accordion is the official symbol instrument of the Rio Grande do Sul state, where was voted by unanimity in the deputy chamber.[58] During the boom of accordions there were around 65 factories in Brazil, where most of them (52) in the south, in Rio Grande do Sul state, with only 7 outside the south. One of the most famous and genuinely Brazilian brands was Acordeões Todeschini from Bento Gonçalves-RS, closed in 1973. The Todeschini accordion is very appreciated today and survives with very few maintainers.[59][60] The most notable musicians of button accordions are Renato Borghetti, Adelar Bertussi, Albino Manique and Edson Dutra.[57]

Compared to many other countries, the instrument is very popular in mainstream pop music. In some parts of the country, such as the northeast it is the most popular melodic instrument. As opposed to most European folk accordions, a very dry tuning is usually used in Brazil. Outside the south, the accordion (predominantly the piano accordion) is used in almost all styles of Forró (in particular in the subgenres of Xote and Baião) as the principal instrument, Luiz Gonzaga (the “King of the Baião”) and Dominguinhos being among the notable musicians in this style from the northeast. In this musical style the typical combination is a trio of accordion, triangle and zabumba (a type of drum).

This style has gained popularity recently, in particular among the student population of the southeast of the country (in the Forró Universitário genre, with important exponents today being Falamansa, and trios such as Trio Dona Zefa, Trio Virgulino and Trio Alvorada). Moreover, the accordion is the principal instrument in Junina music (music of the São João Festival), with Mario Zan having been a very important exponent of this music. It is an important instrument in Sertanejo (and Caipira) music, which originated in the midwest and southeast of Brazil, and subsequently has gained popularity throughout the country.

Colombia [ edit ]

The accordion is also a traditional instrument in Colombia, commonly associated with the vallenato and cumbia genres. The accordion has been used by tropipop musicians such as Carlos Vives, Andrés Cabas, Fonseca (singer) and Bacilos, as well as rock musicians such as Juanes and pop musicians as Shakira. Vallenato, who emerged in the early twentieth century in a city known as Valledupar, and have come to symbolize the folk music of Colombia.[citation needed]

Every year in April, Colombia holds one of the most important musical festivals in the country: the Vallenato Legend Festival. The festival holds contests for best accordion player. Once every decade, the “King of Kings” accordion competition takes place, where winners of the previous festivals compete for the highest possible award for a vallenato accordion player: the Pilonera Mayor prize.[61] This is the world’s largest competitive accordion festival.

Mexico[ edit ]

A Norteño band, including an accordion

Norteño heavily relies on the accordion; it is a genre related to polka. Ramón Ayala, known in Mexico as the “King of the Accordion”, is a norteño musician. Cumbia, which features the accordion, is also popular with musicians such as Celso Piña, creating a more contemporary style. U.S.-born Mexican musician Julieta Venegas incorporates the sound of the instrument into rock, pop and folk. She was influenced by her fellow Chicanos Los Lobos who also use the music of the accordion.[62]

North Korea [ edit ]

According to Barbara Demick in Nothing to Envy, the accordion is known as “the people’s instrument” and all North Korean teachers were expected to learn the accordion.[63]

China [ edit ]

The number of accordionists in China exceeds every other country in the world, and possibly every country combined. Introduced in 1926, the accordion has risen to popularity in China throughout the years, thanks to Russian teachers and its being a popular instrument in the People’s Liberation Army, and remains popular.[64]

Other audio samples [ edit ]

Accordion chords Chords being played on an accordion – 145 KB Problems playing this file? See media help. Accordion tones Audio clip of the same octave cycled through five different timbres (Piano Accordion) – 676 KB Problems playing this file? See media help.

See also[edit]

Notes [edit]

^ The Free-Reed Family of Aerophones For the accordion’s place among the families of musical instruments, see Henry Doktorski’s Taxonomy of Musical Instruments (The Classical Free-Reed, Inc.) Also on this page is Diarmuid Pigott’s ^ There is not a single document to back up this belief. Christian Friedrich Ludwig Buschmann was 16 years old at that time; handwritten evidence of C.F. Buschschmann and his father exists, but without any related notice within. The first mention of an aeoline was in a text dated 1829. ^ This is the accordion owned by Fredrik Dillner of Sweden, which has the name F. Löhner Nürnberg engraved (stamped) on it. The instrument was given to Johannes Dillner in 1830 or earlier ^ A summary and pictures of this patent can be found at www.ksanti.net/free-reed/history/demian.html (Version of 20 Okt 4 – 19 Jun 9 Using Way Back Machine to Display: The Classical Free-Reed, Inc.) ^ German Text: “Mit den Dekel des Balges, läßt sich das ganze Instrument verdoppeln, so daß man dadurch die Accorde vermehrt, oder auch mit einzelne Töne spielen kann, in diesem Fall, muß ein zweyter Einsatz mit Federn, und auch eine 2te Claviatur dazu kommen, der Blasebalg bleibt in der Mitte, jede Hand dirigirt abwechselnd, entweder die Claves, oder den Balg. Durch eine obengenannte Verdoplung des Instruments oder durch Vermehrung der Accorde, würde niemand etwas verbessern, oder was neues liefern, weil nur die Bestandtheile dadurch vermehrt, das Instrument theurer und schwerer wird.” Translation of this snip: With the Cover of the bellows the instrument can be duplicated, so the amount of Chords or single notes can be enlarged, or one can sound single notes, in this case, a second part with springs (free reeds) and also a second keyboard must be added, the bellows are in between these two parts, both hands push buttons and push and pull the bellows at the same time or alternatively. Through this doubling or increasing of chords within the instrument nothing new is invented or improved by someone else, because only the amount of similar parts is increased and the Instrument is heavier and more expensive. German full text Archived 18 July 2011 at the Wayback Machine ^ Sharpshooter’s March (1908) Guido Deiro, Guido Deiro’s Own Story of Sharpshooters March, The Pietro Musicordion, Volume 6, Number 2 (May–June 1948) Guido Deiro claimed he was the first accordionist to play a solo with the left hand:(1908) Guido Deiro,, Volume 6, Number 2 (May–June 1948) ^ Illustration made with reference from a similar illustration that can be found in both Det levende bælgspil (p. 9) by Jeanette & Lars Dyremose (2003), and Harmonikaens historie (p. 35a) by Bjarne Glenstrup (1972, The University of Copenhagen, Faculty of Music)

layers of the ocean

Scientists have divided the ocean into five main layers. These layers, called “zones,” extend from the surface to the extreme depths where light can no longer penetrate. In these deep zones some of the most bizarre and fascinating creatures in the sea can be found. As we delve deeper into these largely unexplored places, the temperature drops and the pressure rises at an amazing rate. The chart below lists each of these zones in order of depth.

Epipelagic Zone – The surface layer of the ocean is known as the epipelagic zone and extends from the surface up to 200 meters (656 feet). It is also known as the Sunlight Zone because it has the most visible light. With light comes warmth. This heat is responsible for the wide range of temperatures experienced in this zone.

Mesopelagic Zone – Below the epipelagic zone is the mesopelagic zone, which extends from 200 meters (656 ft) to 1,000 meters (3,281 ft). The mesopelagic zone is sometimes referred to as the twilight zone or midwater zone. The light that penetrates this depth is extremely weak. In this zone we begin to see the twinkling lights of bioluminescent creatures. A wide variety of strange and bizarre fish can be found here.

Bthypelagic Zone – The next layer is called the Bathypelagic Zone. It is also sometimes referred to as the midnight zone or dark zone. This zone extends from 1,000 meters (3,281 ft) down to 4,000 meters (13,124 ft). Here the only visible light is that generated by the creatures themselves. The water pressure at this depth is immense, reaching 5,850 pounds per square inch. Despite the pressure, you’ll find a surprising amount of living things here. Sperm whales can dive down to this level in search of food. Most animals that live at these depths are black or red in color due to the lack of light.

Abyssopelagic Zone – The next layer is called the Abyssopelagic Zone, also known as the Abyss Zone or simply the Chasm. It extends from 4,000 meters (13,124 ft) to 6,000 meters (19,686 ft). The name comes from a Greek word meaning “no ground”. The water temperature is near freezing and there is no light at all. Very few creatures can be found in these crushing depths. Most of these are invertebrates such as basket stars and small squid. Three quarters of the sea floor lies within this zone. The deepest fish ever discovered was found in the Puerto Rico Trench at a depth of 27,460 feet (8,372 meters).

Hadalpelagic Zone – Beyond the Abyssopelagic Zone lies the Forbidden Hadalpelagic Zone. This layer extends from 6,000 meters (19,686 feet) to the bottom of the deepest parts of the ocean. These areas are mainly found in deep moats and ravines. The ocean’s deepest point is in the Mariana Trench off the coast of Japan at 35,797 feet (10,911 meters). The temperature of the water is just above freezing and the pressure is a staggering eight tons per square inch. That’s roughly the weight of 48 Boeing 747 jets. Despite the pressure and temperature, life can still be found here. Invertebrates such as starfish and tubeworms can thrive at these depths.

: two things considered as two parts of the same thing

These issues may seem unrelated, but they are actually two sides of the same coin.

“Two sides of the same coin” doesn’t quite mean what you describe.

two sides of the same coin – different but closely related characteristics of one idea

It essentially means that two things are the same. I could use it in a context where someone is describing someone else as both “lazy” and “messy,” and in response I could say that those are “two sides of the same coin,” implying that they’re a and are the same. In this case, it is suggested that the person is messy because they are lazy.

As far as I can tell, you want a succinct sentence to describe two things that are good together, but not necessarily either good or that good separately.

I would suggest a parable in this situation. A very common type of phrase is to say:

[something] without [something] is like [something else] without [something else].

For example, there is currently an ad on the London Underground that says something along the lines of “A woman’s hair without product x is like rock without roll” (the last part is usually a ridiculous split for humor value). A standard phrase isn’t used here, but it’s an opportunity to be creative.

A few more examples:

When two things are two sides of the same coin, they are very close, although they appear different: