Accordeon. (Spelled also Accordion.) The accordeon is an instrument entitled to notice. It produces melodious sounds, and is remarkable for its peculiar sweetness and power of tone. Difficult passages can be performed on it with taste and delicacy; while the bold swell of the organ, the enchanting tones of the Aeolian harp, and the dulcet strains of the hautboy are happily united. In the performance of quadrilles, waltzes, and other melodies, it is capable of giving to the different compositions grace and expression. It may be played upon (if attention is paid to the directions here given) by the most inexperienced learner, who will insensibly, as it were, be taught, without any knowledge of the science of music, to distinguish the various expressions and passions which music is intended to convey. The accordeon being so well known, any detailed account here of its size or shape seems to be unnecessary. The sounds are produced by the action of wind upon metallic springs. Each spring is fixed in a metal frame, and placed in a small groove or channel under the different keys ; the wind, passing either into or from the bellows, causes the spring to vibrate immediately when a key is pressed. The touch is particularly light, the articulation distinct, and the performer has the means of increasing or diminishing the tone it pleasure. Accordeons, though now manufactured in this country, have formerly been chiefly made in France and Germany. Those made in France should be held in the right hand, and those in Germany in the left. They may be played either in a sitting or standing position; the former is better adapted to ladies. It may here be observed, as a general rule, that on every accordeon, the first finger of either hand should always be placed upon that end of the instrument which produces e lowest note. While sitting, the end of the accordeon may be supported by resting it upon the knee, which should be raised by placing the foot upon an ottoman, carefully remarking that the leather folds of the bellows are quite clear from touching any part of the dress. When the performer is standing, the instrument may be supported by the thumb, either by pressing the inside of it against the under part of the brass rail, which is fixed and runs along at the back of the keys, or by passing the thumb so far into the loop as will enable the fingers to reach the extreme keys with ease and facility. The first, second, third, and fourth fingers should be in readiness to press any of the keys, marked 1, 2, 3, 4, be. ; the other keys are used by extending the little finger, or by re-moving the, hand towards that end of the instrument. The other hand should hold the opposite side of the accordeon, the thumb resting on one of the ebony or pearl slips, and the second, third, and fourth fingers on the opposite side, the fist finger being left at liberty to open the valve when necessary. The two keys which are affixed at the opposite directions of the instrument, when raised, make an accompaniment, harmonizing with the whole of the keys in front, and may be used or not, at pleasure. Each key produces two chords, if the end keys are raised, and two single notes, if the end keys are closed ; one by drawing the bellows outward, the other by pressing the bellows inward ; so that, on every accordeon, there are twice as many notes as there are keys. Those instruments which have the accompaniment stops fixed in front, at the bottom, require the pressure of the second and third fingers, to keep them open, as long as the duration of the harmonies is necessary. Should it be required to repeat a chord, after the bellows have been quite compressed, or expanded, the first finger must open the valve, that the air may escape during the reaction of the bellows, in order to prevent the production of another sound. The bellows, by being gradually opened, augment or suppress the sound at pleasure : the quicker the motion, the louder the tone, and vise vers& Particular care should be taken not to move the bellows without a key or the valve being opened ; for should both be shut, and the bellows moved, the instrument, by being nearly air-tight, might be considerably injured. A figurative representation is added to all the following scales, which will enable persons, without much knowledge of music, to play on the accordeon. The figures, which are counted upwards from the key producing the lowest note, 1, 2, 3, 4, &c., placed under or over the notes, describe what keys are to be touched ; and without any other mark over them, the bellows must always be drawn out-wards. When this sign, ^, occurs, the bellow should be pressed inwards. The dash lines - - -, after a figure, indicate that the note is to be produced on the key last pressed, by the movement of the bellows only. A*, when used, shows that the valve is to be opened, to allow the bellows to contract, or expand, for the succeeding note, as occasion may require. The length of each note depends on the performer ; the slower the bellows are moved, the longer the duration, and the converse. To make a shake, the instrument should be held very firmly in one hand, and after the bellows have been drawn out about four inches, the other hand should move them in and out, with a quick, tremulous motion. The scales arc all written in the key of C, as that key is the most easy ; and melodies for the accordeon, may be all easily transposed into that key. Accordeon music is generally written in the key of C.
All exercises and melodies, fingered for the accordeon, with 6 keys, may be played with equal facility on those with 8, 10, or 12 keys, if the key-note, which is the second key on each of the latter instruments, be considered as the first, omitting, in the calculation, the lowest key entirely. The learner should be very particular in learning the scale ; for if well acquainted with the manner of producing every note in the scale, any piece of music can be played, as notes in the same situation are always made the same way.
