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Most diatonic button accordions have a "single-action" (or bisonoric) keyboard, [citation needed] meaning that each button produces two notes: one when the bellows are pressed or pushed (closed) and another when the bellows are drawn or pulled (opened). In this respect, these instruments operate like a harmonica.
The button accordion has melodic notes on one side of the bellows (usually the right side), and bass accompaniment notes on the other side (generally the left). [ 2 ] Some button accordions have 'stops', which change the tone and are called things like "Organ" or "Trumpet" or "Tremolo".
The Mari accordion (marla-karmon) is a seven-button, diatonic, bisonoric instrument based on the Tula garmon. The Mari koga-karmon and Chuvash kubos are based on the khromka . Caucasian
The Flutina is an early precursor to the diatonic button accordion, having one or two rows of treble buttons, which are configured to have the tonic of the scale, on the "draw" of the bellows. There is usually no bass keyboard: the left hand operates an air valve (silent except for the rush of air). A rocker switch, called a "bascule d'harmonie ...
Diatonic button accordion (German make, early 20th century) The term squeezebox (also squeeze box, squeeze-box) is a colloquial expression referring to any musical instrument of the general class of hand-held bellows-driven free reed aerophones such as the accordion and the concertina.
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
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On the right side there are 25 buttons in two rows. Each button produces only one note either on pressing or drawing the bellows, hence khromkas are unique amongst diatonic accordions. Khromkas can be set with one to five voices (reeds) per note, but usual are of two or three, in total 25, 50, 75, 100 or 125 reeds. The right keyboard layout in ...
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