Editing Accordion (section)

==History==
{{See also|Free reed aerophone#History|l1=History of free reed aerophones}}
[[File:8 key accordion.JPG|thumb|left|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]],<ref group="notes">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.</ref><ref>{{cite book|last1=Campacci|first1=Claudio|title=Século Xix|publisher=[[Clube de Autores]]|page=14|url=https://books.google.com/books?id=_VtPBQAAQBAJ&q=Christian+Friedrich+Ludwig+Buschmann+1822&pg=PA14|access-date=15 January 2017|language=pt|year= 2008}}</ref> although one instrument was discovered in 2006 that appears to have been built earlier.<ref group="notes">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</ref><ref>[http://www.ksanti.net/free-reed/essays/dillner_interview.html "Interview with Fredrik Dillner{{snd}}The Owner of What May Be the World's Oldest Accordion"]. ''The Free-Reed Journal'', 22 June 2006</ref><ref>Müller, Mette  & Lisbet Torp (red.) [https://books.google.com/books?id=hkgoyMAdxT8C 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}}</ref>

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]] in [[Vienna]].<ref group="notes">A summary and pictures of this patent can be found at [https://web.archive.org/web/20090619162610/http://www.ksanti.net/free-reed/history/demian.html 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.)</ref>

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 [[:ru:Сизов, Иван Евстратьевич|Ivan Sizov]] and [[:ru:Воронцов, Тимофей Пименович|Timofey Vorontsov]] around 1830, after they received an early accordion from Germany.<ref>Mirek, Alfred. ''Garmonika. Proshloe i nastoiashchee. Nauchno-istoricheskaia entsyklopedicheskaia kniga.'' Moscow, 1994. p. 50</ref> By the late 1840s, the instrument was already very widespread;<ref>''[http://publ.lib.ru/ARCHIVES/__Raritetnye_knigi/IRGO_Etnograficheskij_sbornik_02_1854.pdf Etnograficheskii sbornik Russkogo geograficheskogo obshchestva.'' Vol. 2] {{Webarchive|url=https://web.archive.org/web/20140810011715/http://publ.lib.ru/ARCHIVES/__Raritetnye_knigi/IRGO_Etnograficheskij_sbornik_02_1854.pdf |date=10 August 2014 }}, Saint Petersburg, 1854. pp. 26, 162.''</ref> 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.<ref>Mirek, Alfred. ''Iz istorii akkordeona i baiana.'' Moscow, 1967. pp. 43–45</ref> By the 1860s, [[Novgorod Governorate|Novgorod]], [[Vyatka Governorate|Vyatka]] and [[Saratov Governorate|Saratov]] governorates also had significant accordion production. By the 1880s, the list included [[Oryol Governorate|Oryol]], [[Ryazan Governorate|Ryazan]], [[Moscow Governorate|Moscow]], [[Tver Governorate|Tver]], [[Vologda Governorate|Vologda]], [[Kostroma Governorate|Kostroma]], [[Nizhny Novgorod Governorate|Nizhny Novgorod]] and [[Simbirsk Governorate|Simbirsk]], and many of these places created their own varieties of the instrument.<ref>{{cite book |last=Banin |first=A.A. |title=Russkaia instrumentalnaia muzyka folklornoi traditsii |language=ru |location=Moscow |date=1997 |page=144}}</ref>

Cyrill 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 could also sound two chords with the same key, one for each bellow direction (a ''bisonoric'' action). At that time in Vienna, mouth [[harmonica]]s 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 used on mouth-blown instruments. Demian's patent thus covered an accompanying instrument: an accordion played with the left hand, opposite to how 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 (sound)|bass]] and [[wikt:treble|treble]] sections, although Demian preferred the bass-only instrument owing to its cost and weight advantages.<ref group="notes">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 number 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.[http://www.akkordeon-online.de/instrum/demian.htm German full text] {{Webarchive|url=https://web.archive.org/web/20110718195131/http://www.akkordeon-online.de/instrum/demian.htm |date=18 July 2011 }}</ref>

The accordion was introduced from Germany into Britain in about the year 1828.<ref>''The National Cyclopaedia of Useful Knowledge, Vol I, A–Arcesilaus'', London, George Woodfall and Son, 1847, p. 107.</ref> The instrument was noted in ''[[The Times]]'' in 1831 as one new to British audiences<ref>''The Times'', Thursday 9 June 1831; p. 5; Issue 14560; col A: (Review of a performance by a flautist, [[Johann Sedlatzek|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."</ref> and was not favourably reviewed, but nevertheless it soon became popular.<ref>''The Times'', Wednesday, 26 April 1837; p. 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".</ref> It had also become popular with New Yorkers by the mid-1840s.<ref>''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".</ref>

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.<ref>{{cite EB1911|wstitle=Concertina|volume=6|page=824}}</ref>

[[File:Accordionschule1.JPG|thumb|The first pages in Adolf Müller's accordion book]]
The [[Austrians|Austrian]] musician [[Adolf Müller Sr.|Adolf Müller]] described a great variety of instruments in his 1854 book ''{{Lang|de|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 are 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 [[digital accordion|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.