Diatonic accordion

The diatonic accordion is a keyboard musical instrument, using Anche S free, excited by a variable wind provided by the bellows actuated by the musician. These sheers produce notes different according to the direction from action of the bellows (thorough or drawn), logic known as Bi-sound . This Accordéon has an organization comparable with that of the diatonic Harmonica, i.e. organized according to one or more diatonic ranges . These two nuances, Bi-sound and diatonic are confused most of the time, so that certain models are called diatonic whereas they are not it (certain models with three lines or two lines and half are Bi-sound but chromatic ). In the same way there exist diatonic accordions which are not Bi-sound like the diatonic accordion russe.

Origin

Many models exist, and were transformed the needs of the musicians during the history. A model became reference de facto. It is with two lines and was popularized and standardized in the years 1940 by the Hohner house which manufactured accordions (model 2915) in an industrial way by establishing a standard. This standard specifies to have 2 lines with the right hand and 8 low. Each line is a range Diatonique. One defines by there the model: for example on a model ground - C , the first line is the diatonic range of ground and the second line is the range of C . But of other models can comprise others Tonalité S, like the - D , C - F , D - ground , if B - semi B or (system known as " system irlandais") if - C , C - do# , do# - D and D - ré#

Certain models comprise three or four lines, which makes it possible to have new notes, in particular Demi-ton S, which are almost absent from the first two lines. The additional lines are not standardized, but are specific to each accordion following the requests of the player. For the majority of these models, the Bi-sound term is more adapted than diatonic ; indeed the addition of additional lines makes the instrument chromatic .

Technique of play

One distinguishes two ways of playing: thethorough one which gives a play rather staccato passage (detached) and the cross play which makes it possible to bind more the notes (legato).
Concerning the left hand (which generally comprises 8 or 12 low), this one accompanies the right hand with a low play of (a fundamental note) and of agreements (a fundamental note with its third and its fifth, but more and more often without the third), although with the arrival of the keyboards left hand to 18 low, the play tends to move away a little more of the simple accompaniment to take a more important place.

Use of the instrument

The practice of this instrument after having accompanied number of traditional festivals and songs marine, remained very widespread in the medium “folk” and offers very diverse musics (music auvergnate, Breton, Italy, Irish, landaise, Basque, Suisse etc).
Hors of Europe one finds it in particular with the Cape Verde and in the Indian Ocean (Madagascar, Rodrigues). One can also quote the music cajun of Louisiana, the instrument then used comprises in theory only one line with the right hand and lays out of more than registers (4). This type of accordion to a line is called Mélodéon is also largely used with the Quebec.

Accordionists on diatonic famous

Emile Cowherd
Marc Perrone
Magalie Urroz (Occitanie)
Serge Desaunay (France)
Martin O' Connor (Ireland)
Frederic Guichen (Brittany)
Yann Dour (Brittany)
Ronan Robert (Brittany)
Yann-Loïc JOLLY (Brittany)
Alain Pennec (Brittany)
Norbert Pignol (Rhône Alpes)
Stephan Milleret (Rhône Alpes)
Christian Maes (France)
Emmanuel Pariselle (France)
Sebastien Bertrand (the Vendée)
Michael Auger (the Vendée)
Riccardo Tesi (Italy)
Didier Laloy (Belgium)
Sophie Undermine (Belgium)
Julein de Borman (Belgium)
Sharon Shannon (Ireland)
Janick Martin (Brittany)
Raynald Ouellet (Quebec)
Remi Martin (Brittany)
Stephan Delicq (France)
Daniel Denécheau (Paris)
Bernard Loffet (Brittany)
Alain Chatry (Quebec/France)
Christian Oller (France)
Kepa Junkera (Pays Basque)
Joseba Tapia (Pays Basque)
Marc Serafini (Toulouse)
Yann-Fañch Perroches (Brittany)
Jean-Michel Corgeron (Ile de France)
Heleno backs 8 Baixos (Pernambuco, Brazil)
Marc Savoy (Louisiana)
Bruce Daigrepont (Louisiana)
Anne Niepold (Belgium)
Dermot Byrne (Ireland)
Augusto Canario & amigos (Jose Frade, Jorge Viana, Rui Jaco) (Portugal)

Existing models

The types of standard keyboards for the 3 rows which currently exist are (taken again sources of http://trad.org):

Sol/Do/Fa Model: used especially in the countries of the south, and on the American northern continent. It with the advantage of allowing to easily transpose the pieces in ground/C towards C/F, however it misses the notes do#, MIB and Sol#.
Sol/Do/Si Model: allows to have an interval of a half your between the second and third line and thus to profit from all the chromatisms. However, diatonic and chromatic logic for the improvisation and the agreements is rather complicated to acquire.
Model Serge Desaunay: propose a standard ground/C + the third following line: “Ré#, MIB, Fa# (or It), Ground, Lab, Sib, Do#”.
Model Jean-Michel Corgeron: propose a standard ground/C + the third following line: GROUND, SOL#, SIb, DO# and in thorough MIB, SOL#, SIb.
Model Marc Perrone: Model derived from a ground/C/F. On the 2nd line, the Ground (which makes dual employment with the 1st line) are replaced by of Sol#. On the 3rd line, C (which make dual employment with the 2nd line) are replaced by of Do#, and the Semi ones, by MIB.
Model Jean-Pierre Leray: Model based on the system corgeron which make it possible to have a logic with 18 low and the original system
Modèle Pignol-Milleret: Model resulting from a need for having a complete and easily memorable logic to profit from all the notes (including # and b) into drawn and almost all into thorough. This in order to be able to play in all the tonalities and to thus be able to accompany by other instruments very easily. This system also makes it possible to add colors particular Indeed to the music transl., it is very simple to enrich the agreements by bases which one finds in all the pieces of trad (addition of 9th, sixth, 11,13,5b, 5#) without having to worry if the notes are available in the direction of bellows in which one is. Moreover, for the work of the ranges and the improvisation another horizon opens that proposed by the more current accordions.
Model Christian Oller: Model taking again the system of low unisonores, invented by Alain Abbot; system rehabilitated for the diatonic accordion. Low the " hand gauche" are thus not agreements made up, but of the independent notes which one can use freely (contrechant, agreement, etc…).
Model Irishmen: The Irish accordions use traditionally models SI/DO and DO#/RE (sometimes reversed: RE/DO#, like Joe Derane) particularly adapted to the styles and the tonalities of the Irish music (quasi-systematic use of ornamentations and ranges used often out of RE or GROUND).

External bonds

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