Ava's glory has already come. By extension, so has ours.
When I arrive at a theater to see Selma, I am 35 and still adrift in ways my peers are not. I have clawed my way toward minor recognition for a writing ability I've been honing for more than two decades. I am older than my friends with full-time writing or editing jobs, older than colleagues who are publishing first and second and third books. What, exactly, accounts for my achievement gap?
When asked, I am never quite sure what to say for myself.
I think, as I stand in the ticket line, that the answer to this question will stop mattering soon. That achievement gap just may be closing. I am musing, as I enter the theater: 2014 has been an exceptional year. I may be on the verge of my own full-time job at a major publication; I interviewed for three just two weeks before Selma opened in limited release. At long last, I hope, taking my seat, I may be at the precipice of national notice.
Proximity to the work of black women like Ava DuVernay is essential when I'm in transition, teetering between the self-doubt that's become so familiar to me over time and self-affirmation, which is still relatively new. It's imperative to bear witness to and invest in the success of the women with whom I most identify. Their present informs my future. DuVernay left the precipice of national notice behind three years ago, when she won the Directing Award at Sundance for her second film, Middle of Nowhere.
The air around this, her third film, is rarer. The earliest buzz for Selma, which hit when the film began screening in New York, months before it opened in limited release elsewhere, has been spectacular. Viewers and critics alike seem certain that this film will mark DuVernay's entree to the Big Show. Awards season is nigh and it seems assured that she'll be a red carpet staple.
As someone waiting in the wings, and as someone whose own route toward a Big Win has been circuitous, I am studying Ava DuVernay closely. So many of us black-woman-creatives are.
DuVernay is not a wunderkind soaring along a superhighway. She's steady and patient and strategic. At 42 and after career changes (or career "fusings," more accurately), from emcee to publicist to filmmaker, she understands how to play a long game.
In order to see Selma two weeks before it's set to open in Baltimore, I've driven to Silver Spring, where it is playing in a single theater. I believe, before the opening credits roll, that I'll have something astute and gorgeous to say about it — and that these insights will come to me immediately. I will sell these thoughts to someone. They will be read, dissected, contested, bookmarked, forgotten — all within a window of 24 to 72 hours. Then they will fade from view, floating off readers' radars, finding themselves replaced by someone else's fresher, more immediately critical take. This is the bridge the freelancer crosses — indeed, the bridge most new media writers cross, whether freelance or full-time.
But I won't have to cross it for days yet. And long before then, there is the now, the darkened theater, the opening scene in Oslo, where Martin fusses over his Nobel Prize suit's ascot, as Coretta stills his fidgeting hands.
When Selma ends, I have no profound thoughts. My mind feels still and cleansed, the way it always does in the aftermath of a thorough sob. Having been fully transported to the past, the only thing that tethers me to the present is the phrase "Directed by Ava DuVernay" burned into the sky onscreen. I stare at it until it gives way to other names; even then, it rests just behind my eyes. We all, as audience, remain seated until John Legend finishes promising that one day, when they glory comes, it'll be ours. And when we rise, all at once, it seems that we believe him.
For weeks, I remain inarticulate about Selma — even as I watch the pushback build against the narrative it presents. First, the former advisor to LBJ is given a great deal of ink in The Washington Post. Then other "fact-checkers" emerge, insisting that LBJ is misrepresented in the film. Before long, they're cropping up all over, from cable news programs to various online publications.
In the melee, Jimmie Lee Jackson is forgotten all over again. So is Viola Liuzzo. So are Richie Jean Jackson and Amelia Boynton Robinson. So is Cager Lee Jr. Every one is a character DuVernay added to the script, upon taking the directorial helm. No one seems overly concerned about their depictions — all beautifully rendered, even when their screen time is necessarily limited. Few fact-checkers seem to note these depictions at all.
This swift influx of biopic-policers all seem invested in the same concern: Never mind the embattled citizens of Selma. How's the white liberator trope holding up here?
Soon, something unexpected happens. The pitchforks and scalpels being set to the film's storytelling begin to feel like they're prodding at something much closer to home than a gorgeous period film. They feel like they're prodding at me.
It may seem a strange conflation: Ava DuVernay's personal right to interpret what is essential to convey about a moment in history and my own right to create something — anything — meaningful and lasting (preferably within the context of a full-time, salaried position). But the conflation presented itself just the same.
I wonder: is this what inevitably happens when black women publicly wield the power of interpretation? Will we always be asked to defend our vision, our credibility, our grasp of history or creative license? Will we have to remain ever magnanimous in the face of it? Will our centers hold?
Concurrent to this reshaping of public discourse around Selma, I'm losing steam (and hope) on the personal progress front. I hear back from one of the three big jobs for which I interviewed in December. It's a no. That first no sets a precedent of worry. While worrying, I find myself entirely unemployed. This is another bridge the freelancer crosses. It can seem infinitely longer than any other. Glory, if it's meant for me to have at all, never feels more distant than in times like these. Times like these come often.
Newly dispirited, I think back to the emptying of the Selma theater: the crescendo of closing credits, the crash of a reluctant exit, the reality into which that exit would drop me with a thud — one where a beautiful story's chances of mainstream accolades are quickly diminished, even as other stories (with predominantly white casts), inspired by true events, are allowed to flourish, inaccuracies uncontested.
In too many ways, the film's debut has come at a most auspicious time for me. It captures what happens when a community refuses to defer its dream any longer. And we, as viewers, are compelled by knowledge the characters onscreen do not have. We know what will come: the gutting of that dream, the dismantling and deferral of racially equitable gains, the shriveling, festering, running of bodies in the sun.
In the time of Selma, we contend with the idea that the more things change, the more they remain the same. We begin to understand that white audiences don't want to see too much of themselves in Ava DuVernay's Selma, Alabama (or in Ava DuVernay's Washington, for that matter). The audiences most enthralled with her film are filled with viewers who understand the agonies of its characters most acutely.
Those viewers are not the ones who vote on awards at the Big Show. Those able to vote on which films are deemed "best" prefer to award times they can better argue as completely bygone. The brutality of enslavement as it existed in the 19th century, for instance, can be wholesale refused as in any way echoing our current national reality. Bloody Sunday at Edmund Pettis Bridge, an event just half a century gone, cannot.
I am still watching Ava DuVernay, whose cinematic vision has made stark the parallel. She is handling a spate of historical scolders with grace, aplomb, and preternatural calm. Every photo of her that emerges features either a poised, beatific expression or a joyous one, as she's embracing her cast members and captioning each snapshot with gratitude and excitement. Her film is nominated for Best Picture at the Golden Globes. It is not named the winner. She is nominated for Best Director there. She is not crowned the victor. We who identify most with the thesis of her film seem more upset about this than she is. The film's song, at least, takes home a prize; the truth of John Legend's promise is in no way dimmed.
One day, when the glory comes, it'll be ours.
It may seem that this morning was not the dawn of that long-promised glory. When Oscar nominations were announced today, DuVernay's name wasn't called among the directors, though film and song were both named in their respective categories. Characteristically, DuVernay remains upbeat. The film — as the work of a passionate and engaged community — has been recognized. Its key song, with its haunting, prophetic, reassuring hook, has been feted. And the director herself can rest assured that greater heights are coming.
I don't know how she can remain so calm. What's she's confronting on the other side of a prestige-leap seems daunting. A less prepared, less steeled, less loving person might feel — however mildly — demoralized. I feel demoralized and my stakes — a decent-paying job I find fulfilling — are far lower.
But DuVernay, just seven years my senior, understands something those of us who cling to her backstage curtain like it's the skirt of a big sister, have yet to learn. The glory isn't awards or in pay or in prestige. The glory is in being respected. It's in the invaluable currency of community, in people clamoring to work with you, in the ability to re-partner with prior muses and find yourselves able to make something even more spectacular the next time around. It's the resplendence of being able to remain resolute in your interpretation of a thing, regardless of who contests it.
Ava DuVernay understands completely. The glory has already come. It is already hers and, by virtue of who she's willing to extend it to, the glory is also ours.
This is an infinitely more powerful thing for me during this year's befuddling award season than seeing Selma showered with with uncritical adulation. The announcement in the film's arrival is this: Keep working. Keep crossing the bridges you come to — or fighting for access to the bridges you've been denied. The fight adds to your splendor. Someone is charting your path. Someone is crowning you daily for your effort.


I'm a long time hockey fan. I grew up watching the Rangers, Flyers and Islanders.When I moved to North Carolina 30+ years ago I found myself in a hockey wilderness. The Canes were a welcome addition to the wonderful North Carolina experience. I live in Manteo on the Outer Banks and enjoying fishing. I consider North Carolina my home but know I will never achieve my wife and sons native status. I can live with that. I'm older than most but not as old as some.


The rainforest was everything she had dreamed of and more.
It was noisy and busy, almost claustrophobic in its essence when compared to the peaceful woods that she had been born in. Mother's stories had been true, for the most part. There was no volcano, however, so that'd just have to be something that was left to the imagination. But there was an abundance of life and activity from every level - she'd found giant red ants that scuttled across the ground and up the tree trunks. Strange little creatures - monkeys, she thinks they are called - hung lazily from the branches with one arm before swinging away. Birds of every colour squawked in the tree tops, certainly an improvement from the now dull pigeons that she used to chase as a child.
She found a particular beauty in the fallen branches that had become tangled in the vines between the trees. They had been hanging there for so long that moss had grown and swarmed it as the wood rotted away beneath it.
She felt like she was home. But maybe that was because there was a familiar scent in the air, faint against the onslaught of new smells. It was only when she wandered towards the springs did she spot him - and when she did, she bolted forward in a sprint. Leaping through the air, she aimed to playfully slam into her brother, knocking them both into the water. The only warning he would get of her surprise would be a single bark: "Illy!!"
Her head popped out of the springs as she laughed, water falling from the leaf upon her head (which, mysteriously, had not fallen off). "What are you doing here?" She reached out with a paw to tap him on the snout. "Silly Illy! Did you follow me here?"
Like most days, the boy was already up and ready for the day, waking up a little earlier than his most recent schedule. There was still so much to discover and now that he was striving for a job, he needed to work and become familiar with his surroundings. Where certain herbs grew and how they worked. His memory was of course sharp, but he still needed to study if he expected to become part of El Dorado fully and serve the people.
The heat was already rising, Illidan walking along a path that hugged the bank of a clear spring. He could see the bottom, the grass waving as if there was a small current, the fish swimming in and out of the watery forest. The fairy prince smiled at every beauty in this magical place, but what he didn't expect was to hear his nickname called by a familiar voice. By the time he paused his step and looked ahead of him, it was too late.
The ground left him and he felt the cool water flow through his fur. It felt good against the suffocating warmth, but as he came up for air and shook his head, Illidan blinked in surprised confusion. Blue eyes landed on the dappled coat of his sister, the leaf comically still on her head and bounced a few times. "Bea?" he asked before getting tapped on the nose. "Oww... what was that for?" he questioned as he rubbed his nose. Now his hair was wet and heavy, it would take hours to dry with how long it was getting now.
"I didn't follow you here, I didn't even know you came to this place." In fact, he didn't think he'd find any family here. A solemn smile grew then. Maybe he worried for nothing. "I could ask you the same, honestly. What are you doing here, Bea?" Illidan glanced to the side, almost expecting another one of his siblings to appear, but no one showed up. Now that he was in the spring and he felt more comfortable, he'd lean his elbow on the bank. "It's nice to see you. I've missed you, and the others. Mom... dad..."
That smile faded as he thought about them. Maybe it was a mistake to leave so soon, but Illidan shook his head. No, this was his journey and it was an amazing one. He was sure mom and dad were proud of him. So the smile came back, sweetly this time as he watched his sister. "How do you like El Dorado so far?"


What would you do if PIZZA was made illegal?
I would throw a pizza party to my friends.
I'd question the government for why they made pizza illegal, then hold a global petition to get pizza legal again.
It wouldn't affect my life much.
When pizza is outlawed only outlaws will have pizza.
Poll:what are in your opinion the most interesting places in the US? What places would you recommend (cities,certain places in cities, etc)?
Does her outfit look nice?
Spends Easter with daughter and not me or am I asking too much?


text:
VENOM officially passes $500M at the worldwide box office
October 30, 2018 Neil Vagg Box Office, Film News, News
Despite its initial lukewarm welcome by fans and middling reviews Venom has undoubtedly been embraced by the box office. Following another $10.6M weekend in North America the movie has officially crossed the $500M mark worldwide.
At the time of writing the worldwide total for the movie is sitting around $508M. Current domestic figures put the film at around $187.1M, whilst internationally the total is closer to $321M. Based on an approximate $100M budget it seems Sony Pictures have a hit on their hands.
Bare in mind Venom is yet to open in Japan or China and the movie could make up to $700M by the time it exits cinemas. We expect a sequel to be officially announced before the end of the year so watch this space!
One of Marvel's most enigmatic, complex and badass characters comes to the big screen, starring Academy Award® nominated actor Tom Hardy as the lethal protector Venom.
Venom stars Tom Hardy in the lead role. Supporting cast includes Michelle Williams, Riz Ahmed, Scott Haze, Reid Scott and Woody Harrelson. The film is directed by Ruben Fleischer (Zombieland) from a script by Scott Rosenberg & Jeff Pinkner. Executive producers are David Householter, the legendary Stan Lee and Kelly Marcel.
Venom is in cinemas worldwide now! For more check out our Venom archive here!
Venom (2018 movie)
November 26, 2015 Neil Vagg Comic Review, Review
Written by Brian Michael Bendis Art by Kris Anka, Mahmud A. Asrar, Chris Bachalo, Stuart Iommonen, Frazer Irving & Sara Pichelli Cover by Chris Bachalo The final explosive issue in Brian […]
Jake Gyllenhaal in stalks for SPIDER-MAN: HOMECOMING 2, Keaton confirmed to return
May 22, 2018 Neil Vagg Film News, News
Some casting news this morning for Spider-Man: Homecoming 2. Previously we've heard that the Wallcrawler may be going global for his sequel. Now we have an idea […]
AGENTS OF SHIELD cast return in new portraits
April 12, 2019 Neil Vagg TV News
After a length and gruelling hiatus Agents of SHIELD is finally returning to screens on May 10, 2019. We've seen the first clip from the […]

redpajama_set_name: RedPajamaCommonCrawl


I was pleased to present my lecture on Brighton Center, Massachusetts at the Anaheim ANA in early August 2016 (one that appears elsewhere on this site under the "Multimedia Articles" tab). It was so much fun that I signed up to do another at the next ANA. This is another part of the pleasure of NOT being super-busy presenting the Official ANA auction.
Two of my guests were from the Niagara (New York) area, so I sent them home with a copy of the NumiStorica presentation on A Niagara Bridge. Since both lectures address questions of vignette reality and accuracy, it was a lovely segue.
I also enjoyed several lengthy conversations with the ANA's Susan McMillan, who has the fascinating job of arranging so many lectures. She is a treasure.


text:
A piano accordion (top) and a button accordion (bottom)
Hornbostel–Sachs classification
(Free-reed aerophone)
Playing range
Depends on configuration: Right-hand manual
Chromatic button accordion
Diatonic button accordion
Piano accordion
Left-hand manual
Stradella bass system
Free-bass system
Hand-pumped: Bandoneon, concertina, flutina, garmon, trikitixa, Indian harmonium
Foot-pumped: Harmonium, reed organ
Mouth-blown: Claviola, melodica, harmonica, Laotian khene, Chinese shēng, Japanese shō
Electronic reedless instruments:
Digital accordion, Electronium
Accordionists (list of accordionists).
More articles or information
Accordion, Chromatic button accordion, Bayan, Diatonic button accordion, Piano accordion, Stradella bass system, Free-bass system, Accordion reed ranks and switches
An accordionist
Accordions (from 19th-century German Akkordeon, from Akkord—"musical chord, concord of sounds")[1] are a family of box-shaped musical instruments of the bellows-driven free-reed aerophone type, colloquially referred to as a squeezebox. A person who plays the accordion is called an accordionist. The concertina and bandoneón are related. The harmonium and American reed organ are in the same family, but are typically larger than an accordion and sit on a surface or the floor.
The accordion is played by compressing or expanding the bellows while pressing buttons or keys, causing pallets to open, which allow air to flow across strips of brass or steel, called reeds. These vibrate to produce sound inside the body. Valves on opposing reeds of each note are used to make the instrument's reeds sound louder without air leaking from each reed block.[notes 1] The performer normally plays the melody on buttons or keys on the right-hand manual, and the accompaniment, consisting of bass and pre-set chord buttons, on the left-hand manual.
The accordion is widely spread across the world because of the waves of immigration from Europe to the Americas and other regions. In some countries (for example: Brazil,[2][3] Colombia, the Dominican Republic, Mexico and Panama) it is used in popular music (for example: gaucho, forró and sertanejo in Brazil, vallenato in Colombia, merengue in the Dominican Republic, and norteño in Mexico), whereas in other regions (such as Europe, North America and other countries in South America) it tends to be more used for dance-pop and folk music and is often used in folk music in Europe, North America and South America.
In Europe and North America, some popular music acts also make use of the instrument. Additionally, the accordion is used in cajun, zydeco, jazz music and in both 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 harmonika, from the Greek harmonikos, meaning "harmonic, 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]
A diatonic button accordion being played
Accordions have many configurations and types. What may be easy to do with one type of accordion could be technically challenging or impossible with another, and proficiency with one layout may not translate to another.
The most obvious difference between accordions is their right-hand manuals. Piano accordions use a piano-style musical keyboard, while button accordions use a buttonboard. Button accordions are furthermore differentiated by their usage of a chromatic or diatonic buttonboard for the right-hand manual.[6]
Accordions may be either bisonoric, producing different pitches depending on the direction of bellows movement, or unisonoric, producing the same pitch in both directions. Piano accordions are unisonoric. Chromatic button accordions also tend to be unisonoric, while diatonic button accordions tend to be bisonoric,[7] though notable exceptions exist.[8]
Accordion size is not standardized, and may vary significantly from model to model. Accordions vary not only in their dimensions and weight, but also in number of buttons or keys present in the right- and left-hand manuals. For example, piano accordions may have as few as 8 bass buttons (two rows of four notes), or up to 120 (six rows of twenty notes) or beyond. Accordions also vary by their available registers and by their specific tuning and voicing.
Despite these differences, all accordions share a number of common components.
Universal components
Accordion bellows controlled sounds (0:37) A sample of effects that can be achieved with the bellows—949 KB Problems playing this file? See media help.
Bellows-driven instruments
Piano accordions: 1, 2, 13
Diatonic button accordion: 3
Chromatic button accordions: 11, 12, 14
Digital accordions (V-Accordions, Roland Corporation): 11, 12, 13, 14
Bandoneon: 4
English concertina: 5
Anglo-German concertinas (Anglo concertinas): 6, 7, 8, 9, 10
The bellows is the most recognizable part of the instrument, and the primary means of articulation. The production of sound in an accordion is in direct proportion to the motion of the bellows by the player. In a sense, the role of the bellows can be compared to the role of moving a violin's bow on bowed strings. For a more direct analogy, the bellows can be compared to the role of breathing for a singer. The bellows is located between the right- and left-hand manuals, and is made from pleated layers of cloth and cardboard, with added leather and metal.[9] It is used to create pressure and vacuum, driving air across the internal reeds and producing sound by their vibrations, applied pressure increases the volume.
The keyboard touch is not expressive and does not affect dynamics: all expression is effected through the bellows. Bellows effects include:
Volume control, including swells and fades
Repeated short, rapid changes of direction ("bellows shake"), which has been popularized[dubious – discuss] by musicians such as Renato Borghete (gaucho music) and Luiz Gonzaga,[10] and extensively used in Forró, called resfulengo in Brazil
Constant bellows motion while applying pressure at intervals
Constant bellows motion to produce clear tones with no resonance
Subtly changing the intonation to mimic the expressiveness of a singer
Using the bellows with the silent air button gives the sound of air moving ("whooshing"), which is sometimes used in contemporary compositions for this instrument
Showroom of accordions (Petosa Accordions, Seattle, Washington)
The accordion's body consists of two wooden boxes joined by the bellows. These boxes house reed chambers for the right- and left-hand manuals. Each side has grilles in order to facilitate the transmission of air in and out of the instrument, and to allow the sound to project better. The grille for the right-hand manual is usually larger and is often shaped for decorative purposes. The right-hand manual is normally used for playing the melody and the left-hand manual for playing the accompaniment; however, skilled players can reverse these roles and play melodies with the left hand.[notes 2]
The size and weight of an accordion varies depending on its type, layout and playing range, which can be as small as to have only one or two rows of basses and a single octave on the right-hand manual, to the standard 120-bass accordion and through to large and heavy 160-bass free-bass converter models.
Pallet mechanism
The accordion is an aerophone. The manual mechanism of the instrument either enables the air flow, or disables it:[notes 3]
A side view of the pallet mechanism in a piano accordion. As the key is pressed down the pallet is lifted, allowing for air to enter the tone chamber in either direction and excite the reeds; air flow direction depends on the direction of bellows movement. A similar mechanical pallet movement is used in button accordions, as well as for bass mechanisms such as the Stradella bass machine that translates a single button press into multiple pallet openings for the notes of a chord.
Variable components
The term accordion covers a wide range of instruments, with varying components. All instruments have reed ranks of some format, apart from reedless digital accordions. Not all have switches to change registers or ranks, as some have only one treble register and one bass register. The most typical accordion is the piano accordion, which is used for many musical genres. Another type of accordion is the button accordion, which is used in musical traditions including Cajun, Conjunto and Tejano music, Swiss and Slovenian-Austro-German Alpine music, and Argentinian tango music. The Helikon-style accordion has multiple flared horns projecting out of the left side to strengthen the bass tone. The word "Helikon" refers to a deep-pitched tuba.
Right-hand manual systems
Different systems exist for the right-hand manual of an accordion, which is normally used for playing the melody (while it can also play chords). Some use a button layout arranged in one way or another, while others use a piano-style keyboard. Each system has different claimed benefits[11] 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 buttonboard where notes are arranged chromatically. Two major systems exist, referred to as the B-system and the C-system (there are also regional variants). Rarely, some chromatic button accordions have a decorative right-hand keyboard in addition to the rows of buttons, an approach used by the virtuoso accordionist Pietro Frosini.
Diatonic button accordions use a buttonboard designed around the notes of diatonic scales in a small number of keys. The keys are often arranged in one row for each key available. Chromatic scales may be available by combining notes from different rows. The adjective "diatonic" is also commonly used to describe bisonic or bisonoric accordions—that is, instruments whose right-hand-manual (and in some instances even bass) keys each sound two different notes depending on the direction of the bellows (for instance, producing major triad sequences while closing the bellows and dominant seventh or 7–9 while opening). Such is the case, for instance, with the Argentinian bandoneon, the Slovenian-Austro-German Steirische Harmonika, the Czech Heligonka Harmonika, the Italian organetto, the Swiss Schwyzerörgeli and the Anglo concertina.
Piano accordions use a musical keyboard similar to a piano, at right angles to the cabinet, the tops of the keys inward toward the bellows.
The rarely used bass accordion has only a right-hand keyboard, with ranks of 8', 16', and 32' reeds, with the lowest note being the deepest pitch on a pipe organ pedal keyboard (pedal C). It is intended for performing basslines in accordion orchestras.
The rarely used piccolo accordion also has only a right-hand keyboard.
6-plus-6 accordions use a buttonboard with three rows of buttons in a "uniform" or "whole-tone" arrangement, generally known as a Jankó keyboard. The chromatic scale consists of two rows. The third row is a repetition of the first row, so there is the same fingering in all twelve scales. These accordions are produced only in special editions e.g. the logicordion produced by Harmona.
A button key accordion made by the company Marrazza in Italy. It was brought by Italian immigrants to Australia as a reminder of their homeland.
A Weltmeister piano accordion by VEB Klingenthaler Harmonikawerke
Left-hand manual systems
Typical 120-button Stradella bass system. This is the left-hand manual system found on most unisonoric accordions today.
Different systems are also in use for the left-hand manual, which is normally used for playing the accompaniment. These almost always use distinct bass buttons and often have buttons with concavities or studs to help the player navigate the layout despite not being able to see the buttons while playing. There are three general categories:
The bass buttons trigger a complex mechanism of wires, rods, and levers, which is normally hidden inside the instrument.
The Stradella bass system, also called standard bass, 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 and diminished chords are three-note chord voicings that omit the fifths of the chords.
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 has three rows of basses, three rows of chord buttons allowing easier fingering for playing melodies, combined chords, better use of fingers one and five, and more space between the buttons. This system was rarely used outside of its native Belgium.
Various free-bass systems for greater access to playing melodies and complex basslines on the left-hand manual and to forming one's 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 converter bass. The free-bass left hand notes are arranged chromatically in three rows with one additional duplicate row of buttons.
Luttbeg double-keyboard piano accordions have a piano keyboard layout on both the treble and bass sides. This allows pianists, most notably Duke Ellington, to double up on the accordion without difficulty. The Bercandeon is an improved version of that instrument, also making it a "keyboard bandoneon".
Reed ranks and switches
Main article: Accordion reed ranks and switches
Accordion reed ranks with closeup of reeds
Inside the accordion are the reeds that generate the instrument tones. These are organized in different sounding banks, which can be further combined into registers producing differing 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 stop produces a separate sound timbre, many of which also differ in octaves or in how different octaves are combined. See the accordion reed ranks and switches article for further 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 options for the reed bank on the bass side.
Classification of chromatic and piano type accordions
In describing or pricing an accordion, the first factor is size, expressed in number of keys on either side. For a piano type, this could for one example be 37/96, meaning 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 child's accordion to 19 inches (48 cm) for an adult-sized instrument. After size, the price and weight of an accordion is largely dependent on the number of reed ranks on either side, either on a cassotto or not, and to a lesser degree on the number of combinations available through register switches.
Price is also affected by the use of costly woods, luxury decorations, and features such as a palm switch, grille mute, and so on. Some accordion makers sell the same model in a range of different models, from a less-expensive base model to a more costly luxury model. Typically, the register switches are described as Reeds: 5 + 3, meaning five reeds on the treble side and three on the bass, and Registers: 13 + M, 7, meaning 13 register buttons on the treble side plus a special "master" that 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 connections.
Accordion player on a street in the historic centre of Quito, Ecuador
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 increase bellows control while sitting, and avoid dropping the instrument while standing. Other accordions, such as the diatonic button accordion, have only a single shoulder strap and a right hand thumb strap. All accordions have a (mostly adjustable) leather strap on the left-hand manual to keep the player's hand in position while drawing 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
Main article: Digital accordion
Rainer von Vielen-Heimatsound playing a Roland digital V-Accordion. The bank of electronic switches can change the accordion's sound, tone and volume.
In the 2010s, a range of electronic and digital accordions were introduced. They have an electronic sound module which creates the accordion sound, and most use MIDI systems to encode the keypresses and transmit them to the sound module. A digital accordion can have hundreds of sounds, which can include different types of accordions and even non-accordion sounds, such as pipe organ, piano, or guitar. Sensors are used on the buttons and keys, such as magnetic reed switches. Sensors are also used on the bellows to transmit the pushing and pulling of the bellows to the sound module. Digital accordions may have features not found in acoustic instruments, such as a piano-style sustain pedal, a modulation control for changing keys, and a portamento effect.
As an electronic instrument, these types of accordions are plugged into 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 practicing and small venues like coffeehouses. One benefit of electronic accordions is that they can be practiced with headphones, making them inaudible to other people nearby. On a digital accordion, the volume of the right-hand keyboard and the left-hand buttons can be independently adjusted.
Acoustic-digital hybrid accordions also exist. They are acoustic accordions (with reeds, bellows, and so on), but they also contain sensors, electronics, and MIDI connections, which provides a wider range of sound options. An acoustic-digital hybrid may be manufactured in this form, or it may be an acoustic accordion which has had aftermarket electronics sensors and connections added. Several companies sell aftermarket electronics kits, but they are typically installed by professional accordion technicians, due to the complex and delicate nature of the internal parts of an accordion.
Unusual accordions
Garmon player
Various hybrid accordions have been created between instruments of different buttonboards and actions. Many remain curiosities – only a few have remained in use:
The Schrammel accordion, used in Viennese chamber music and klezmer, which has the treble buttonboard of a chromatic button accordion and a bisonoric bass buttonboard, similar to an expanded diatonic button accordion
The Steirische Harmonika, a type of bisonoric diatonic button accordion particular to 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 unisonoric bass buttons in a bass/chord arrangement – a subset of the Stradella system in reverse order like the Belgian bass – that travel parallel to the bellows motion
The trikitixa of the Basque people, which has a two-row diatonic, bisonoric treble and a 12-button diatonic unisonoric bass
The British chromatic accordion, the favoured 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 the German manufactured Shand Morino, produced by Hohner with the input of Sir Jimmy Shand[12]
Pedal harmony, a type of accordion used sometimes in Polish folk music, which has a pair of pump organ-like bellows attached.
The Finnish composer and accordionist Veli Kujala developed a quarter tone accordion together with the Italian accordion manufacturer Pigini in 2005, and has written works for it. It deploys the same system as the concert accordion, with a scale of five octaves, each divided into 24 quarter tones.[13] Other notable composers who have written concertos for the quarter tone accordion include Jukka Tiensuu and Sampo Haapamäki.[14]
See also: History of free reed aerophones
Eight-key bisonoric diatonic accordion (c. 1830)
The accordion's basic form is believed to have been invented in Berlin, in 1822, by Christian Friedrich Ludwig Buschmann,[notes 4][15] although one instrument has been recently discovered that appears to have been built earlier.[notes 5][16][17]
The earliest history of the accordion in Russia is poorly documented. Nevertheless, according to Russian researchers, the earliest known simple accordions were made in Tula, Russia, by Ivan Sizov and Timofey Vorontsov around 1830, after they received an early accordion from Germany.[18] By the late 1840s, the instrument was already very widespread;[19] together the factories of the two masters were producing 10,000 instruments a year. By 1866, over 50,000 instruments were being produced yearly by Tula and neighbouring villages, and by 1874 the yearly production was over 700,000.[20] By the 1860s, 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 varieties of the instrument.[21]
The accordion is one of several European inventions of the early 19th century that use free reeds driven by a bellows. An instrument called accordion was first patented in 1829 by Cyrill Demian, of Armenian origin, in Vienna.[notes 6] Demian's instrument bore little resemblance to modern instruments. It only had a left hand buttonboard, with the right hand simply operating the bellows. One key feature for which Demian sought the patent was the sounding of an entire chord by depressing one key. His instrument also could sound two different chords with the same key, one for each bellows direction (a bisonoric action). At that time in Vienna, mouth harmonicas with Kanzellen (chambers) had already been available for many years, along with bigger instruments driven by hand bellows. The diatonic key arrangement was also already in use on mouth-blown instruments. Demian's patent thus covered an accompanying instrument: an accordion played with the left hand, opposite to the way that contemporary chromatic hand harmonicas were played, small and light enough for travelers to take with them and used to accompany singing. The patent also described instruments with both bass and treble sections, although Demian preferred the bass-only instrument owing to its cost and weight advantages.[notes 7]
The accordion was introduced from Germany into Britain in about the year 1828.[22] The instrument was noted in The Times in 1831 as one new to British audiences[23] and was not favourably reviewed, but nevertheless it soon became popular.[24] It had also become popular with New Yorkers by the mid-1840s.[25]
After Demian's invention, other accordions appeared, some featuring only 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 a concertina also featured the ability to easily tune the reeds from the outside with a simple tool.
The first pages in Adolf Müller's accordion book
The Austrian musician Adolf Müller described a great variety of instruments in his 1854 book Schule für 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 this type of instrument and may have used them to put his key-arrangement ideas into practice.
Jeune's flutina resembles Wheatstone's concertina in internal construction and tone colour, but it appears to complement Demian's accordion functionally. The flutina is a one-sided 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 manufactured today.
Further innovations followed and continue to the present. Various buttonboard and keyboard systems have been developed, as well as voicings (the combination of multiple tones at different octaves), with mechanisms to switch between different voices during performance, and different methods of internal construction to improve tone, stability and durability. Modern accordions may incorporate electronics such as condenser microphones and tone and volume controls, so that the accordion can be plugged into a PA system or keyboard amplifier for live shows. Some 2010s-era accordions may incorporate MIDI sensors and circuitry, enabling the accordion to be plugged into a synth module and produce accordion sounds or other synthesized instrument sounds, such as piano or organ.
Use in various music genres
Main article: Accordion music genres
A street performer playing the accordion
The accordion has traditionally been used to perform folk or ethnic music, popular music, and transcriptions from the operatic and light-classical music repertoire.[26] It was also used by the Kikuyu tribe in Kenya and is the main instrument in the traditional Mwomboko dance.[27] Today the instrument is sometimes heard in contemporary pop styles, such as rock and pop-rock,[28] and occasionally even in serious classical music concerts, as well as advertisements.
Use in traditional music
Main article: Accordion in traditional music
The accordion's popularity spread rapidly: it has mostly been associated with the common people, and was propagated by Europeans who emigrated around the world. The accordion in both button and piano forms became a favorite of folk musicians[29] and has been integrated into traditional music styles all over the world: see the list of music styles that incorporate the accordion.
Use in jazz
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Early jazz accordionists include Charles Melrose, who recorded Wailing Blues/Barrel House Stomp (1930, Voc. 1503) with the Cellar Boys; Buster Moten, who played second piano and accordion in the Bennie Moten orchestra; and Jack Cornell, who did recordings with Irving Mills. Later jazz accordionists from the United States include Steve Bach, Milton DeLugg, Orlando DiGirolamo, Dominic Frontiere, Guy Klucevsek, Yuri Lemeshev, Frank Marocco, John Serry Sr., Lee Tomboulian, and Art Van Damme. French jazz accordionists include Richard Galliano, Bernard Lubat, and Vincent Peirani. Norwegian jazz accordionists include Asmund Bjørken, Stian Carstensen, Gabriel Fliflet, Frode Haltli, and Eivin One Pedersen.
While the accordion's left hand preset chord buttons are limited to triads and seventh chords (for the dominant seventh chord and the diminished seventh chord), jazz accordionists expand the range of chord possibilities by using more than one chord button simultaneously, or by using combinations of a chord button and a bass note other than the typical root of the chord. An example of the former technique is used to play a minor seventh chord. To play an "a minor" seventh chord (with an added ninth), the "a minor" and "e minor" preset buttons are pressed simultaneously, along with an "A" bassnote. An example of the latter technique is used to play the half-diminished chord. To play an "e" half-diminished seventh chord, a "g minor" preset button is pressed along with an "E" bassnote.
Use in popular music
Main article: Use in popular music
See also: List of popular music acts that incorporate the accordion
New York Blues (3:20) A 1916 recording of "New York Blues" composed and performed by Pietro Frosini, one of the first major stars of the accordion Problems playing this file? See media help.
The accordion appeared in popular music from the 1900s to the 1960s. This half-century is often called the "golden age of the accordion".[30] Five players, Pietro Frosini, the two brothers Count Guido Deiro and Pietro Deiro and Slovenian brothers Vilko Ovsenik and Slavko Avsenik, Charles Magnante were major influences at this time.[31]
Most vaudeville theaters closed during the Great Depression, but accordionists during the 1930s–1950s taught and performed for radio. Included among this group was the concert virtuoso John Serry, Sr.[32][33][34] During the 1950s through the 1980s the accordion received significant exposure on television with performances by Myron Floren on The Lawrence Welk Show.[35] In the late 1950s and early 1960s, the accordion declined in popularity due to the rise of rock and roll.[36] The first accordionist to appear and perform at the Newport Jazz Festival was Angelo DiPippo. He can be seen playing his accordion in the motion picture The Godfather. He also composed and performed with his accordion on part of the soundtrack of Woody Allen's movie To Rome With Love. He was featured twice on The Tonight Show with Johnny Carson.
A folk accordionist, 2009
Richard Galliano is an internationally known accordionist whose repertoire covers jazz, tango nuevo, Latin, and classical. 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.[37]
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.[38] 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
Main article: Accordion in classical music
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.
Finnish accordionist Esa Pakarinen (Feeliks Esaias Pakarinen (1911–1989)
The first composer to write specifically for the chromatic accordion was Paul Hindemith.[39] 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.[40] Included among this group was the Italian-American John Serry Sr., whose Concerto for Free Bass Accordion was completed in 1964.[41][42] In addition, the American accordionist Robert Davine composed his Divertimento for Flute, Clarinet, Bassoon and Accordion as a work for chamber orchestra.[43] 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.[44] 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.
The earliest mention of the novel accordion instrument in Australian music occurs in the 1830s.[45] 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[46] and copies of his works "My dear, can you come out tonight"[47] and "Dancing with you"[48] are preserved in Australian libraries. Other Australian composers who arranged music for accordion include Reginald Stoneham.[49] The popularity of the accordion peaked in the late 1930s[50] and continued until the 1950s.[51] The accordion was particularly favoured by buskers.[52][53]
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]
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).[54] The instrument was popular in the 1950s, and 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.[55] 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.[56][57] The most notable musicians of button accordions are Renato Borghetti, Adelar Bertussi, Albino Manique and Edson Dutra.[54]
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.
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.[58] This is the world's largest competitive accordion festival.
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.[59]
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.[60]
The number of accordionists in China exceed every other country in the world, and possibly every country combined. Introduced in 1926, the accordion has rose to popularity in China throughout the years, thanks to Russian teachers and being a popular instrument in the People's Liberation Army, and remains popular.[61]
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The most expensive[according to whom?] accordions are typically fully hand-made, particularly the reeds; completely hand-made reeds have a better tonal quality than even the best automatically manufactured ones. Some accordions have been modified by individuals striving to bring a more pure[clarification needed] sound out of low-end instruments, such as the ones improved by Yutaka Usui,[62][irrelevant citation] a Japanese craftsman.
The manufacture of an accordion is only a partly automated process. In a sense,[clarification needed] all accordions are handmade, since there is always some hand assembly of the small parts required. The general process involves making the individual parts, assembling the subsections, assembling the entire instrument, and final decorating and packaging.[63]
Famous[according to whom?][peacock term] centres of production are the Italian cities of Stradella and Castelfidardo, with many small and medium size manufacturers especially at the latter. Castelfidardo honours[clarification needed] the memory of Paolo Soprani who was one of the first large-scale producers. Maugein Freres has built accordions in the French town of Tulle since 1919, and the company is now the last complete-process[clarification needed] manufacturer of accordions in France. German companies such as Hohner and Weltmeister made large numbers of accordions, but production diminished by the end of the 20th century. Hohner still manufactures its top-end models[clarification needed] in Germany, and Weltmeister instruments are still handmade by HARMONA Akkordeon GmbH in Klingenthal.
Other audio samples
Accordion chords (0:12) Chords being played on an accordion – 145 KB Problems playing this file? See media help.
Accordion tones (0:26) Audio clip of the same octave cycled through five different timbres (Piano Accordion) – 676 KB Problems playing this file? See media help.
List of accordionists
Steirische Harmonika
^ 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 The Free-Reed Family of Aerophones
^ Guido Deiro claimed he was the first accordionist to play a solo with the left hand: Sharpshooter's March (1908) Guido Deiro, Guido Deiro's Own Story of Sharpshooters March, The Pietro Musicordion, 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)
^ 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
^ accordion, entry in Online Etymology Dictionary
^ "TOP FIVE - OS MAIORES SANFONEIROS DA MÚSICA SERTANEJA ATUAL". Blognejo.com. 27 August 2008. Retrieved 22 April 2021.
^ "Novo disco de Michel Teló junta sanfona, música sertaneja, eletrônica e ritmos dançantes". Divirta-se – Tudo sobre entretenimento, cinema, shows, celebridades e promoções.
^ "City Makes Accordion San Francisco's Official Instrument". Associated Press. Associated Press. 24 April 1990. Retrieved 24 December 2015.
^ Dyremose, Jeanette & Lars, Det levende bælgspil (2003), p.133
^ Nijhof, Jeroen. "Instruments". Accordion Links. Archived from the original on 23 October 2019. Retrieved 28 May 2020.
^ "Are You My Type? Accordions: Similar but Different". Accordion Life. 14 March 2017. Archived from the original on 15 March 2017. Retrieved 28 May 2020. ...unisonoric like the Piano and Chromatic Accordions and others are bisonoric like the diatonic accordions...
^ "Die Schrammelharmonika". Non food factory. Archived from the original on 18 September 2019. Retrieved 28 May 2020.
^ How To Repair Bellows Ike's Accordion
^ Dougan, John. "Luiz Gonzaga:Biography by John Dougan". All Music. RhythmOne group. Archived from the original on 30 November 2015. Retrieved 26 June 2017.
^ Dan Lindgren. "Piano Accordion vs. Chromatic Button Accordion" (PDF). Archived from the original (PDF) on 18 March 2009.
^ Howard, Rob (2003). An A to Z of the Accordion and related instruments. Stockport: Robaccord Publications. ISBN 978-0-9546711-0-5.
^ "Notes & Letters column: A wonderworld of quarter-tones". Fmq.fi. 21 August 2017. Retrieved 22 April 2021.
^ "Concertos". Velikujala.com. Retrieved 22 April 2021.
^ Campacci, Claudio (30 May 2008). Século Xix (in Portuguese). Clube de Autores. p. 14. Retrieved 15 January 2017.
^ "Interview with Fredrik Dillner—The Owner of What May Be ohe World's Oldest Accordion". The Free-Reed Journal, 22 June 2006
^ Müller, Mette & Lisbet Torp (red.) Musikkens tjenere. Forsker, Instrument, Musiker – Musikhistorisk Museums 100 års Jubilæumsskrift 1998, 297 s., indb rigt illustreret ISBN 978-87-7289-466-9 Serie: Meddelelser fra Musikhistorisk Museum og Carl Claudius Samling ISSN 0900-2111
^ Mirek, Alfred. Garmonika. Proshloe i nastoiashchee. Nauchno-istoricheskaia entsyklopedicheskaia kniga. Moscow, 1994. p.50
^ Etnograficheskii sbornik Russkogo geograficheskogo obshchestva. Vol.2, Saint Petersburg, 1854. p.26, 162.
^ Mirek, Alfred. Iz istorii akkordeona i baiana. Moscow, 1967. p.43-45
^ Banin, A.A. (1997). Russkaia instrumentalnaia muzyka folklornoi traditsii (in Russian). Moscow. p. 144.
^ The National Cyclopaedia of Useful Knowledge, Vol I, A–Arcesilaus, London, George Woodfall and Son, 1847, p.107.
^ The Times, Thursday 9 June 1831; pg. 5; Issue 14560; col A: (Review of a performance by a flautist, Mr. Sedlatzek) "At the close of the concert Mr. Sedlatzek performed on a new instrument called the Accordion or Aeolian, which, however, has little beside its novelty to recommend it."
^ The Times, Wednesday, 26 April 1837; pg. 5; Issue 16400; col C : "GREAT CONCERT-ROOM – KING'S THEATRE...There was also a novelty in the shape of an instrument called "a concertina", an improvement on the accordion, which has been such a favourite musical toy for the last two or three years."
^ New York Times, 19 May 1907:- 'The Lay of the Last of the Old Minstrels: Interesting Reminiscences of Isaac Odell, Who Was A Burnt Cork Artist Sixty Years Ago': "While we were drawing big crowds to the Palmer House on Chambers Street Charley White was making a great hit playing an accordion in Thalia Hall on Grand Street. In those days"(i.e. mid-1840s) "accordions were the real attraction to the public".
^ Henry Doktorski, CD booklet notes for "Guido Deiro: Complete Recorded Works, Vol. 1," Archeophone Records (2007)
^ WILK. "The Lord of the Dance". WILK. Retrieved 24 August 2020.
^ Sometimes in modern pop music the accordion is not actually played, but its sound is heard by use of a MIDI instrument and sampled sound module.
^ Christoph Wagner, "A Brief History of How the Accordion Changed the World," CD booklet notes for Planet Squeezebox, performed by various artists, (Roslyn, New York: Ellipsis Arts, 1995), 6
^ Jacobson, Marion (21 February 2012). Squeeze This: A Cultural History of the Accordion in America. University of Illinois. p. 174. ISBN 9780252093852. Archived from the original on 31 March 2016. Retrieved 10 August 2016.
^ "Slovenia is Grieving for the Legendary Musician Slavko Avsenik". Slovenia.si. 8 July 2015. Archived from the original on 21 September 2015. Retrieved 10 August 2016.
^ The Los Angeles Examiner 9 October 1938, P. 1
^ Jacobson, Marion (21 February 2012). Squeeze This: A Cultural History of the Accordion in America. University of Illinois Press, Chicago, Il. 2012, Pg. 61. ISBN 978-0-252-03675-0
^ Settel, Irving (1967) [1960]. A Pictorial History of Radio. New York: Grosset & Dunlap. p. 146. LCCN 67-23789. OCLC 1475068.
^ Myron Floren and Randee Floren, Accordion Man, with a foreword by Lawrence Welk (The Stephen Greene Press, Brattleboro, Vermont: 1981)
^ Kafka, Alexander (2012). "Accordion File". The Chronicle of Higher Education – via Proquest.
^ Graff, Gary; Durchholz, Daniel (2012). Rock 'n' Roll Myths: The True Stories Behind the Most Infamous Legends. MBI Publishing Company. p. 152. ISBN 978-1-61058-571-2.
^ "Accordion – TMBW: The They Might Be Giants Knowledge Base". tmbw.net. Retrieved 10 June 2018.
^ Accordion Composers in German Archived 7 November 2007 at the Wayback Machine Accordion Online
^ Henry Doktorski, "The Classical Squeezebox: A Short History of the Accordion and Other Free-Reed Instruments in Classical Music," The Classical Free-Reed, Inc. (1997)
^ Library of Congress Copyright Office, "Concerto in C Major for Bassetti Accordion", Composer: John Serry, 4 June 1968, Copyright # EP247602.
^ Accordion World, Bedford Hills, NY, 1968.
^ "Robert Davine Interview with Bruce Duffie . . . . ". Kcstudio.com.
^ "Universal Edition". Universaledition.com. Retrieved 22 April 2021.
^ "THE COLONIAL TIDES. THE REGATTA DINNER". Trumpeter General (29). Tasmania. 7 March 1834. p. 2. Retrieved 2 December 2018 – via National Library of Australia.
^ "Advertising". Cairns Post (13, 660). Queensland, Australia. 12 December 1945. p. 3. Retrieved 2 December 2018 – via National Library of Australia.
^ Fracchia, F; Sproule, Nellie (1930), My dear, can you come out tonight, retrieved 2 December 2018 – via National Library of Australia
^ Fracchia, F; Sproule, Nellie (1944), Dancing with you, retrieved 2 December 2018 – via National Library of Australia
^ Stoneham, Reginald A. A.; Humphries, Don; Adams, Les; Bowden, Charles, Memories of a lovely lei [music] / Reg. Stoneham, Reginald Stoneham Publishing House
^ "ACCORDION CRAZE". Daily News. LI (17, 892). Western Australia. 16 July 1932. p. 4 (HOME (SEMI-FINAL) EDITION). Retrieved 3 December 2018 – via National Library of Australia.
^ "Piano Accordion Club Popular". Southern Cross. LXII (3105). South Australia. 10 March 1950. p. 8. Retrieved 3 December 2018 – via National Library of Australia.
^ "GOSSIP OF THE DAY". The Evening News (4117). Queensland, Australia. 24 January 1935. p. 6. Retrieved 3 December 2018 – via National Library of Australia.
^ "AUSTRALIANALITIES". Daily Advertiser. New South Wales, Australia. 9 April 1940. p. 3. Retrieved 3 December 2018 – via National Library of Australia.
^ a b "Cia do Acordeon – História do Acordeon". ciadoacordeon.com.br (in Portuguese). Retrieved 1 November 2018.
^ Legislativo, Departamento de Assessoramento. "DetalheVotacao". 2.al.rs.gov.br (in Portuguese). Retrieved 1 November 2018.
^ "noticias". Acordeom.com.br. Retrieved 1 November 2018.
^ "Todeschini a História". Lojamanomonteiro.com.br. Retrieved 1 November 2018.
^ Smithsonian Channel, "The Accordion Kings", 15 August 2010.
^ Dorantes, David (18 February 2016). "Julieta Venegas: Life and songs in two cultures". Houston Chronicle. Retrieved 22 April 2021.
^ "20 incredible things you didn't know about North Korea". The Telegraph. Archived from the original on 11 January 2022. Retrieved 2 April 2018.
^ "Accordion History in China". Accordions.com. Retrieved 22 April 2021.
^ Yutaka Usuai, Japanese-born accordion craftsman.
^ "How Products are Made: Accordion". eNotes.com. Archived from the original on 26 December 2008. Retrieved 8 April 2020.
Chisholm, Hugh, ed. (1911). "Accordion" . Encyclopædia Britannica (11th ed.). Cambridge University Press.
Wikimedia Commons has media related to accordions.
Wikibooks has a book on the topic of: Accordion
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text:
Q: How to show a filename above a code snippet just like on the arch wiki? Context
I'm writing a tutorial-like document in LaTeX on how to create a certain Linux based device. Part of the effort of recreating the device is writing small pieces of code, in either Bash or Python, and editing config files.
All of these should be included in the document. To be able to recreate it, one should know the filename and the file contents, of course. I like the way the arch guys do it on their wiki, clean and simple:

To exemplify, "/etc/systemd/system/unit.d/customexec.conf" is the filename, while the three lines below are the actual text in the file.
Finally, I want the code to be syntax-highlighted. I use minted for that. I also value having line numbers. It makes referencing them a lot easier.
What I have now
I've played around with several examples I found on the internet and the minted documentation. I still don't like what I have though. Here's a MWE:
\documentclass{report}

\usepackage[table,usenames,dvipsnames,hyperref]{xcolor}
\usepackage{listings}
\usepackage{caption}

\DeclareCaptionStyle{mystyle}%
[margin=2mm,justification=raggedright]%
{font=footnotesize,labelfont=sc,margin={100mm,10mm}}

\DeclareCaptionFormat{continued}{File#2#3}

\captionsetup{style=mystyle, indention=10cm, format=continued}

\usepackage[newfloat]{minted}
\SetupFloatingEnvironment{listing}{name=File}

\definecolor{mintedbackground}{rgb}{0.95,0.95,0.95}

% This is the bash profile used throughout the document.
% I've also got one for Python and console text (regular commands)
\newminted[bashcode]{bash}{
    bgcolor=mintedbackground,
    fontfamily=tt,
    linenos=true,
    numberblanklines=true,
    numbersep=12pt,
    numbersep=5pt,
    gobble=0,
    frame=leftline,
    framesep=2mm,
    funcnamehighlighting=true,
    tabsize=4,
    obeytabs=false,
    mathescape=false
    samepage=false,
    showspaces=false,
    showtabs =false,
    texcl=false,
    baselinestretch=1.2,
    fontsize=\footnotesize,
    breaklines=true,
}

\begin{document}

\begin{listing}[H]
\caption{/files/location/on/system.sh}
\begin{bashcode}
#!/bin/bash
echo "I am a bash file"
\end{bashcode}
\end{listing}

\end{document}

It outputs the following (cutout of the original output):

As you can see in the MWE, I'm misusing the caption as a filename. I don't like this in general, but I guess that cleanly making the caption part of minted's background is also out of the question as the caption is outside the skope of the minted section.
Note: the MWE requires minted 2. My distro (Kubuntu 14.04) ships with an older version. I downloaded the .sty file here: https ://  raw.githubusercontent.com/gpoore/minted/master/source/minted.sty (sorry, don't have enough points to include more than two links).
The question
Simply put, how do I get close to the arch wiki example?
I'm fine with a solution that doesn't make use of minted. The solution also doesn't need to be nice to the eye. I'm just now thinking of creating such snippets in an external HTML file and then including them. All fine with me as long as it remains workable.. The document is finished in a few weeks and I don't need to keep working on it, so having everything automated and integrated isn't very important.
Thanks in advance! Please let me know if I failed to include some info.

A: This answer is based on Ignasi's initial post. I started refining it only to see that he had already edited his answer to be exactly what I need. Still, for what it's worth, and hoping that someone will benefit from it, here is my approach so far. It requires a newer version of tcolorbox than the one that shipped with texlive in the repos, though.
This is what I came up with after working on his first example:
\documentclass{report}

\usepackage[skins,minted]{tcolorbox}

\definecolor{mintedbackground}{rgb}{0.95,0.95,0.95}

% This is the bash profile used throughout the document.
% I've also got one for Python and console text (regular commands)
\setminted[bash]{
    bgcolor=mintedbackground,
    fontfamily=tt,
    linenos=true,
    numberblanklines=true,
    numbersep=12pt,
    numbersep=5pt,
    gobble=0,
    frame=leftline,
    framesep=2mm,
    funcnamehighlighting=true,
    tabsize=4,
    obeytabs=false,
    mathescape=false
    samepage=false,
    showspaces=false,
    showtabs =false,
    texcl=false,
    baselinestretch=1.2,
    fontsize=\footnotesize,
    breaklines=true,
}

\newtcblisting{myminted}[2][]{minted language=bash,
    enhanced, listing engine=minted,
    listing only, #1, title=#2,
    colback=mintedbackground, colbacktitle=mintedbackground, coltitle=darkgray,
    arc=0pt,outer arc=0pt,
    boxrule=0mm,
    toptitle=1mm, bottomtitle=1mm,
    titlerule=1pt, colframe=gray, titlerule style={mintedbackground, dashed}
}

\begin{document}

\begin{myminted}{/files/location/on/system.sh}
    #!/bin/bash
    echo "I am a bash file"
\end{myminted}

\end{document}

Which gives:

A: You can use tcolorbox package to configure your listings. It can work with minted. Next would be the more or less default output just customized to your minted style.
\documentclass{report}

\usepackage[skins,minted]{tcolorbox}

\definecolor{mintedbackground}{rgb}{0.95,0.95,0.95}

% This is the bash profile used throughout the document.
% I've also got one for Python and console text (regular commands)
\setminted[bash]{
    bgcolor=mintedbackground,
    fontfamily=tt,
    linenos=true,
    numberblanklines=true,
    numbersep=12pt,
    numbersep=5pt,
    gobble=0,
    frame=leftline,
    framesep=2mm,
    funcnamehighlighting=true,
    tabsize=4,
    obeytabs=false,
    mathescape=false
    samepage=false,
    showspaces=false,
    showtabs =false,
    texcl=false,
    baselinestretch=1.2,
    fontsize=\footnotesize,
    breaklines=true,
}

\newtcblisting{myminted}[2][]{listing engine=minted, listing only,#1, title=#2, minted language=bash, colback=mintedbackground}
\begin{document}

\begin{myminted}{/files/location/on/system.sh}
#!/bin/bash
echo "I am a bash file"
\end{myminted}

\end{document}

Some color and size adjustments are missing, but the result is more similar to OP's proposed box

\documentclass{report}

\usepackage[skins,minted]{tcolorbox}

\definecolor{mintedbackground}{rgb}{0.95,0.95,0.95}
\definecolor{mintedframe}{rgb}{0.70,0.85,0.95}

% This is the bash profile used throughout the document.
% I've also got one for Python and console text (regular commands)
\setminted[bash]{
    bgcolor=mintedbackground,
    fontfamily=tt,
    linenos=true,
    numberblanklines=true,
    numbersep=12pt,
    numbersep=5pt,
    gobble=0,
    frame=leftline,
    framesep=2mm,
    funcnamehighlighting=true,
    tabsize=4,
    obeytabs=false,
    mathescape=false
    samepage=false,
    showspaces=false,
    showtabs =false,
    texcl=false,
    baselinestretch=1.2,
    fontsize=\footnotesize,
    breaklines=true,
}

\newtcblisting{myminted}[2][]{enhanced, listing engine=minted,
listing only,#1, title=#2, minted language=bash,
coltitle=mintedbackground!30!black,
fonttitle=\ttfamily\footnotesize,
sharp corners, top=0mm, bottom=0mm,
title code={\path[draw=mintedframe,dashed, fill=mintedbackground](title.south west)--(title.south east);},
frame code={\path[draw=mintedframe, fill=mintedbackground](frame.south west) rectangle (frame.north east);}
}
\begin{document}

\begin{myminted}{/files/location/on/system.sh}
#!/bin/bash
echo "I am a bash file"
\end{myminted}

\end{document}

A: If you allow an answer using a different package, personally I am using listings to good effect.
\documentclass{report}

\usepackage{listings}

\begin{document}

\begin{lstlisting}[title=/files/location/on/system.sh,language=bash,numbers=left]
#!/bin/bash
echo "I am a bash file"
\end{listing}

\end{document}

I haven't tried minted yet; I liked listings for how easy it was to create a) syntax highlighting for a domain-specific language I was using, b) using custom highlighting to render a specific part of code differently. Lots of rendering / style options as well.

redpajama_set_name: RedPajamaStackExchange


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text:
BubbleStream
Dorothea Jensen
a book bubble about
The Riddle of Penncroft Farm
2014 Purple Dragonfly 1st Prize Winner, Historical Fiction; International Reading Association Teachers' Choices Selection. ". . .a wonderful book that melds both past and present together... This novel is a perfect example of historical fiction." - Monroe County Library System. Young Lars Olafson moves from Minnesota with his parents to Penncroft Farm, the old family farm near Valley Forge, Pennsylvania. Lars is miserable until he meets Geordie, a boy whose stories of the Revolutionary War are as exciting as those of an eyewitness. Then Lars is faced with a mystery linked to the Revolution, and Geordie's ghostly tales are his only chance of solving it. One reviewer said: ". . . two terrific stories are intertwined nicely and come together in a satisfying conclusion. Not only is the history presented in an interesting and painless manner, but also readers should come away eager to read more about this period. Middle graders are in store for a real treat with this offering." –School Library Journal, Elizabeth Mellett, Brookline Public Library, MA (THE RIDDLE OF PENNCROFT FARM is available in paperback and e-book editions.)
Dorothea Jensen is proud to be one of a very few people who has boarded a pirate ship and attacked a Viking vessel manned by real Vikings wearing horns and furs. She was born in Boston, but grew up in Chillicothe, Illinois, site of the Viking adventure. She then earned a BA in English from Carleton College and an MA in Secondary Education from the University of New Mexico. She has served as a Peace Corps Volunteer in South America, taught middle and high school English, tutored refugees in ESL, written grant proposals for various arts organizations, written a play performed in Noh style, and raised three children. Her first historical novel for young readers, THE RIDDLE OF PENNCROFT FARM, has been used in classrooms for many years as an enrichment resource for kids studying the American Revolution. Her next novel, A BUSS FROM LAFAYETTE, is set in 1825 in the small town in New Hampshire where she has lived since 1991. Dorothea also writes modern Christmas stories in verse. Modeled on the 19th century classic poem, "A Visit from St. Nicholas", these award-winning Santa's Izzy Elves story poems feature decidedly 21st century elves savvy in modern technology.
Amazon Barnes&Noble iBookstore Kobo
Author Insight
Riddle's Diamond (or Pearl) Anniversary!
THE RIDDLE OF PENNCROFT FARM was released by Harcourt, Brace, Jovanovich in August, 1989, and has been in print ever since.Meanwhile, my son has made me start cleaning up my desktop computer, organizing the files and deleting duplicates etc. This is a daunting task, to say the least, as he tells me there are nearly a million files on its hard disk. Yikes.The good news is that while drudging away at this overwhelming task, I came across screen shots (unlabeled, of course) of a number of reference books/lists that include THE RIDDLE OF PENNCROFT FARM. I consider these to be an EXCELLENT anniversary present! Here they are:1. Best Books for Children: Preschool Through Grade 6 (Children and Young Adult Literature Reference) by Catherine Barr and John Gillespie; 2. 2013-2014 California Young Reader Medal Resource Guide; 3. Exploring Our Country's History: Linking Fiction to Nonfiction (Literature Bridges to Social Studies Series) by Phyllis J. Perry; 4. Fantasy Literature for Children and Young Adults: An Annotated Bibliography Fourth Edition by Ruth Nadelman Lynn. I know there is at least one more book out there recommending RIDDLE for classroom use, but I can't remember its name. Maybe it will crop up in my archeological excavation of this overloaded computer!
Copyright © 1989 by Dorothea G. Jensen
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No, we didn't know Zach Bowman either -- until just now. But we like his style.
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Read the whole thing over at Road & Track here.
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