By Sam Cronk

Contemporary accordions were patented in Austria by the early 19th century, the accordion is part of the wind family. There are three basic types: the piano accordion with a piano-like keyboard mechanism, the concertina, (hexagonal, with pistons or buttons, also called 'touches', at the end of each bellows), and the button accordion as illustrated left (image courtesy of House of Musical Traditions ). Characteristic of each style is their ability to 'inhale' and 'exhale'; expanding and squeezing the pressure bellows (made from fabric and wood rib framing) forces an airstream over a series of free metal reeds inside the instrument which causes the reeds to vibrate. The keyboard or buttons allows you to play specific pitches created by the vibrating reeds.
The concertina was invented by Sir Charles Wheatstone in 1829, and marketed extensively after 1836. By the mid 19th century it became a favorite among popular musicians and Salvation Army bands throughout the British Isles. Currently, a folk/roots cultural revival throughout much of western Europe and Great Britain has encouraged musicians to bring this instrument back from relative obscurity. Accordions are extremely versatile. In the hands of such diverse artists as conjunto virtuoso Flaco Jiminez jr, master of the "nuevo tango" Astor Piazzollo, Myron Floren from the Lawrence Welk Orchestra or Nigerian juju star I.K. Dairo, these instruments have helped to define the distinctive sound of many styles of traditional and popular music. Russian composer Tchaikovsky included the accordion in his 'Suite no. 2' (C Major, op 53), as did Prokofiev in the 'Cantata for the 20th anniversary of the October Revolution'. Among recent art music compositions featuring the accordion are Bhashkar Chandavarkar's work, 'Soundscapes-Seas', 1993; Isang Yun's 'Intermezzo : for Violoncello and Accordion', 1988; Lear, written and performed by Pauline Oliveiros ca. 1988; and 'Hymnkus: NYC '86', by John Cage.