View source for Accordion

{{short description|Bellows-driven free-reed aerophone musical instrument}}
{{other uses}}
{{Use dmy dates|date=June 2020}}
{{Infobox instrument
| name           = Accordion
| image          = A convertor free-bass piano-accordion and a Russian bayan.jpg
| caption        = A [[piano accordion]] (top) and a [[chromatic button accordion]] (bottom)
| background     = keyboard
| hornbostel_sachs = 412.132
| hornbostel_sachs_desc = [[Free reed aerophone]]
| developed      = Early 19th century
| range          = Depends on configuration:
'''Right-hand keyboard'''
* [[Chromatic button accordion]]
* [[Diatonic button accordion]]
* [[Piano accordion]]

'''Left-hand keyboard'''
* [[Stradella bass system]]
* [[Free-bass system]]
| related        = '''Hand-pumped:'''
[[Bandoneon]], [[concertina]], [[flutina]], [[garmon]], [[trikitixa]], [[Indian harmonium]], [[harmoneon]]

'''Foot-pumped:'''
[[Pump organ|Harmonium]]

'''Mouth-blown:'''
[[Claviola]], [[melodica]], [[harmonica]], Laotian [[khene]], Chinese [[Sheng (instrument)|shēng]], Japanese [[Shō (instrument)|shō]]

'''Electronic reedless instruments:'''
[[Digital accordion]], [[Electronium]]
| musicians      = Accordionists ([[list of accordionists]]).
| articles       = Accordion, [[Chromatic button accordion]], [[Bayan (accordion)|Bayan]], [[Diatonic button accordion]], [[Piano accordion]], [[Stradella bass system]], [[Free-bass system]], [[Accordion reed ranks and switches]]
}}
<!-- The clips here should be placed next to some related text in the actual article, when possible -->

[[File:Accordionist.jpg|thumb|upright=1.2|An accordionist]]
'''Accordions''' (from 19th-century [[German language|German]] ''{{Lang|de|Akkordeon}}'', from ''{{Lang|de|Akkord}}''—"musical chord, concord of sounds")<ref>'''[http://www.etymonline.com/index.php?allowed_in_frame=0&search=accordion&searchmode=none accordion]''', entry in [[Online Etymology Dictionary]]</ref> are a family of box-shaped [[musical instrument]]s of the [[bellows]]-driven [[free reed aerophone]] type (producing sound as air flows past a [[Reed (mouthpiece)|reed]] in a frame). The essential characteristic of the accordion is to combine in one instrument a melody section, also called the [[descant|diskant]], usually on the right-hand keyboard, with an accompaniment or [[Basso continuo]] functionality on the left-hand. The musician normally plays the [[melody]] on buttons or keys on the right-hand side (referred to as the [[Musical keyboard|keyboard]] or sometimes the [[manual (music)|''manual'']]), and the [[accompaniment]] on [[Bass (sound)|bass]] or pre-set [[Chord (music)|chord]] buttons on the left-hand side. A person who plays the accordion is called an '''accordionist'''.

The accordion belongs to the free-reed aerophone family. Other instruments in this family include the [[concertina]], [[harmonica]], and [[bandoneon]].<ref>{{cite web |last=Barr |first=C. |date=13 March 2022 |title=Instrument families: Where do accordions belong |website=Sonic Function |url=https://sonicfunction.com/instrument-families-where-do-accordions-belong/ |archive-url=https://web.archive.org/web/20230525173417/https://sonicfunction.com/instrument-families-where-do-accordions-belong/ |archive-date=25 May 2023 |access-date=16 May 2023}}</ref> The concertina and bandoneon do not have the melody–accompaniment duality. The [[harmoneon]] is also related and, while having the descant vs. melody dualism, tries to make it less pronounced. 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 [[Musical keyboard|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.<ref group="notes">For the accordion's place among the families of musical instruments, see Henry Doktorski's [https://www.henrydoktorski.com/free-reed/description/taxonomy.html ''Taxonomy of Musical Instruments'' (''The Classical Free-Reed, Inc.'')] Also on this page is Diarmuid Pigott's ''The Free-Reed Family of Aerophones''</ref>

The accordion is widely spread across the world because of the waves of migration from Europe to the Americas and other regions. In some countries (for example: Argentina, Brazil,<ref>{{Cite web |date=27 August 2008 |title=Top Five – Os Maiores Sanfoneiros Da Música Sertaneja Atual |url=https://blognejo.com.br/top-five-os-maiores-sanfoneiros-da-musica-sertaneja-atual/ |url-status=live |archive-url=https://web.archive.org/web/20210422132051/https://blognejo.com.br/top-five-os-maiores-sanfoneiros-da-musica-sertaneja-atual/ |archive-date=Apr 22, 2021 |access-date=22 April 2021 |website=Blognejo.com}}</ref><ref>{{cite web |last=Brant |first=Ana Clara |date=2013-05-22 |title=Novo disco de Michel Teló junta sanfona, música sertaneja, eletrônica e ritmos dançantes |url=http://divirta-se.uai.com.br/app/noticia/musica/2013/05/22/noticia_musica,142451/o-dono-da-festa.shtml |archive-url=https://web.archive.org/web/20160304070240/http://divirta-se.uai.com.br/app/noticia/musica/2013/05/22/noticia_musica,142451/o-dono-da-festa.shtml |archive-date=Mar 4, 2016 |work=Divirta-se}}</ref> Colombia, the Dominican Republic, Mexico, and Panama) it is used in popular music (for example: [[Chamamé]] in Argentina; gaucho, [[forró]], and [[Música sertaneja|sertanejo]] in Brazil; [[vallenato]] in Colombia; [[Merengue music|merengue]] in the Dominican Republic; and [[Norteño (music)|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]].

In Europe and North America, [[#Use in popular music|some popular music acts]] also make use of the instrument. Additionally, the accordion is used in [[Cajun music|cajun]], [[zydeco]], [[jazz music|jazz]], and [[klezmer]] music, and in both solo and orchestral performances of [[classical music]]. Many conservatories in Europe have classical accordion departments. The oldest name for this group of instruments is ''harmonika'', from the Greek ''{{Lang|el-latn|harmonikos}}'', meaning "harmonic, musical". Today, native versions of the name ''accordion'' are more common. These names refer to the type of accordion [[#History|patented by Cyrill Demian]], which concerned "automatically coupled chords on the bass side".<ref>Dyremose, Jeanette & Lars, ''Det levende bælgspil'' (2003), p. 133</ref>

==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>[https://henrydoktorski.com/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://henrydoktorski.com/free-reed/history/demian.html] (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.

==Construction==
[[File:Spirk.ogv|thumb|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 sides. [[Piano accordion]]s use a piano-style [[musical keyboard]]; button accordions use a buttonboard. Button accordions are furthermore differentiated by their usage of a [[chromatic]] or [[diatonic]] buttonboard for the right-hand side.<ref>{{cite web |url=http://accordionlinks.com/instrument.html |title=Instruments |last=Nijhof |first=Jeroen |website=Accordion Links |access-date=2020-05-28 |archive-url=https://web.archive.org/web/20191023013146/http://accordionlinks.com/instrument.html |archive-date=2019-10-23}}</ref>

Accordions may be either bisonoric, producing different [[Pitch (music)|pitch]]es depending on the direction of bellows movement, or unisonoric, producing the same pitch in both directions. Piano accordions are unisonoric. [[Chromatic button accordion]]s also tend to be unisonoric, while [[diatonic button accordion]]s tend to be bisonoric,<ref>{{cite web |url=https://accordionlife.com/are-you-my-type/ |archive-url=https://web.archive.org/web/20170315050242/https://accordionlife.com/are-you-my-type/|archive-date=2017-03-15|title=Are You My Type? Accordions: Similar but Different |author=<!--Not stated--> |date=2017-03-14 |website=Accordion Life |access-date=2020-05-28|quote=...unisonoric like the Piano and Chromatic Accordions and others are bisonoric like the diatonic accordions...}}</ref> though notable exceptions exist.<ref>{{cite web |url=http://schrammelharmonika.nonfoodfactory.org/ |archive-url=https://web.archive.org/web/20190918144950/http://schrammelharmonika.nonfoodfactory.org/|archive-date=2019-09-18|title=Die Schrammelharmonika |author=<!--Not stated--> |website=Non food factory |access-date=2020-05-28}}</ref>

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 the number of buttons or keys present in the right- and left-hand keyboards. For example, piano accordions may have as few as 8 bass buttons (two rows of four), or up to 140 (seven rows of twenty) or beyond. Accordions also vary by their [[Accordion reed ranks and switches|available registers]] and by their specific tuning and voicing.

Despite these differences, all accordions share several common components.

===Universal components===
====Bellows====
{{Listen
|filename=AccordionBellowsSounds.ogg
|title=Accordion bellows controlled sounds
|description=A sample of effects that can be achieved with the bellows—949&nbsp;KB
|format=[[Ogg]]}}
[[File:Squeeze boxes accordion bandoneon concertina diatonic chromatic.jpg|thumb|'''Bellows-driven instruments'''
{{ubl|item_style=margin-bottom: 0.5em
|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 concertina|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 (music)|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 keyboards, and is made from [[pleat]]ed layers of cloth and cardboard, with added leather and metal.<ref>[http://1accordion.net/bellows.htm How To Repair Bellows] Ike's Accordion</ref> It is used to create pressure and vacuum, driving air across the internal [[reed (instrument)|reeds]] and producing sound by their vibrations, applied pressure increases the volume.

The keyboard touch is not [[keyboard expression|expressive]] and does not affect [[Dynamics (music)|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|date=May 2020}} by musicians such as [[Renato Borghetti]] ([[gaucho]] music) and [[Luiz Gonzaga]],<ref>{{cite web |url=http://www.allmusic.com/artist/luiz-gonzaga-mn0000316340 |title= Luiz Gonzaga:Biography by John Dougan |first=John |last=Dougan |website=All Music |publisher=RhythmOne group |archive-url=https://web.archive.org/web/20151130122258/http://www.allmusic.com/artist/luiz-gonzaga-mn0000316340/biography |archive-date=30 November 2015 |url-status=live |access-date=26 June 2017}}</ref> and extensively used in [[Forró]], called ''resfulego'' 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

====Body====
[[File:Petosa - showroom 01 (cropped).jpg|thumb|left|Showroom of accordions (Petosa Accordions, Seattle, Washington)]]
The accordion's body consists of two boxes, commonly made of wood, joined by the bellows. These boxes house reed chambers for the right- and left-hand keyboards. Each side has [[Grille (architecture)|grille]]s in order to facilitate the transmission of air in and out of the instrument and to allow the sound to project. The grille at the right-hand side is usually larger and is often shaped for decorative purposes. The right-hand keyboard is normally used for playing the melody and the left-hand one for playing the accompaniment; however, skilled players can reverse these roles and play melodies with the left hand.<ref group="notes">[[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)</ref>

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 keyboard, to the most common 120-bass accordion and through to large and heavy 160-bass free-bass converter models.

{{clear|left}}

====Pallet mechanism====
The accordion is an [[aerophone]]. The keyboard mechanisms of the instrument either enable the air flow, or disable it:<ref group="notes">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)</ref>

[[File:Accordion button mechanism.svg|upright=3.4|thumb|center|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.|alt=Accordion; cross-sectional view]]

===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 accordion]]s. 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 [[Steirische Harmonika|Helikon-style]] accordion has multiple flared horns projecting out of the left side to strengthen the bass tone. The word "[[Helicon (instrument)|Helikon]]" refers to a deep-pitched tuba.

====Right-hand keyboard systems====
Different systems exist for the right-hand keyboard of an accordion, which is normally used for playing the melody (while it can also play chords). Some use a [[button (control)|button]] layout arranged in one way or another, while others use a [[piano]]-style keyboard. Each system has different claimed benefits<ref name="pianovschromatic">{{cite web|url=http://home.swipnet.se/nydana/accordiontest.pdf|author=Dan Lindgren |title=Piano Accordion vs. Chromatic Button Accordion|archive-url=https://web.archive.org/web/20090318050921/http://home.swipnet.se/nydana/accordiontest.pdf |archive-date=18 March 2009}}</ref> by those who prefer it. They are also used to define one accordion or another as a different "type":
* [[Chromatic button accordion]]s and the [[bayan (accordion)|bayan]], a Russian variant, use a buttonboard where notes are arranged [[chromatic]]ally. 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 accordion]]s 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 (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 accordion]]s 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 [[bassline]]s in accordion orchestras.
**The rarely used piccolo accordion also has only a right-hand keyboard.
* [[Jankó 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 [[VEB Klingenthaler Harmonikawerke|Harmona]].
<gallery>
Italian Button Accordion QM r.jpg|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.
PianoAccordeon.jpg|A ''Weltmeister'' piano accordion by [[VEB Klingenthaler Harmonikawerke]]
</gallery>

====Left-hand keyboard systems====
[[File:120-button Stradella chart.svg|thumb|Typical 120-button Stradella bass system. This is the left-hand keyboard system found on most unisonoric accordions today.]]
Different systems are also in use for the left-hand keyboard, which is normally used for playing the accompaniment. These usually 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:
[[File:Bassmechanics.jpg|thumb|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'',<ref>{{Cite web |title=Push Those Buttons! |url=https://accordionlifeacademy.com/articles/push-those-buttons |access-date=2024-08-16 |website=Accordion Life Academy |language=en}}</ref> 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 [[chord (music)|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 system]]s for greater access to playing melodies and complex [[bassline]]s on the left-hand keyboard 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".
* In 2021, a patent was published by Valerio Chiovarelli for a new bass system called the "Chiovarelli Jazz System".<ref>{{cite web | url=https://patents.google.com/patent/IT202100003890A1/en?q=(Chiovarelli)&q=G10D11%2f00 | title=Sezione dei bassi di una fisarmonica e fisarmonica comprendente tale sezione dei bassi }}</ref> This system is a variation of the Stradella bass system where, instead of triads, the chordal buttons of this system produce bichords (chords with only 2 pitches instead of 3).<ref>{{cite web | url=https://www.chiovarellijazzsystem.com/cjs/ | title=CJS &#124; Chiovarelli Jazz System }}</ref> The "Chiovarellia Jazz System" (or "CJS" for short) prioritizes the effectiveness of left hand accordion in jazz music, hence the name of the system, but according to the inventor, these chords can be useful when playing many varieties of music.

====Reed ranks and switches====
{{main|Accordion reed ranks and switches}}
[[File:reedsinset.jpg|upright=0.75|thumb|right|Accordion [[Accordion reed ranks and switches|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 ''[[timbre]]s''. All but the smaller accordions are equipped with switches that control which combination of reed banks operate, organized from high to low [[register (music)|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 {{convert|14|in|cm}} for a child's accordion to {{convert|19|in|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 [[Accordion reed ranks and switches#Cassotto|cassotto]] or not, and to a lesser degree on the number of combinations available through register switches. The next, but important, factor is the quality of the reeds, the highest grade called "a mano" (meaning "hand-made"), the next "tipo a mano" ("like hand-made"), lower grades including "export" and several more.

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 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.

[[File:Quito Accordion player.jpg|thumb|Accordion player on a street in the historic centre of [[Quito]], Ecuador]]

====Straps====
The larger piano and chromatic button accordions are usually heavier than other smaller [[squeezebox]]es, 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 side 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 being played.

====Electronic and digital====
{{Main|Digital accordion}}
[[File:Rainer von Vielen-Heimatsound-2015 (12).jpg|thumb|Rainer von Vielen 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 [[coffeehouse]]s. 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, because of the complex and delicate nature of the internal parts of an accordion.

===Unusual accordions===
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 [[Vienna|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 [[Jimmy Shand|Sir Jimmy Shand]]<ref>{{cite book |first=Rob |last=Howard |date=2003 |title=An A to Z of the Accordion and related instruments |location=Stockport |publisher=Robaccord Publications |isbn=978-0-9546711-0-5}}</ref>
* ''Pedal harmony'', a type of accordion used sometimes in Polish folk music, which has a pair of [[pump organ]]-like bellows attached.
* The [[Finland|Finnish]] composer and accordionist Veli Kujala developed a ''[[quarter tone]] accordion'' together with the [[Italy|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.<ref>{{Cite web|url=https://fmq.fi/articles/notes-letters-column-a-wonderworld-of-quarter-tones|title=Notes & Letters column: A wonderworld of quarter-tones|date=21 August 2017|website=Fmq.fi|access-date=22 April 2021}}</ref> Other notable composers who have written [[concerto]]s for the quarter tone accordion include [[Jukka Tiensuu]] and [[Sampo Haapamäki]].<ref>{{Cite web|url=https://velikujala.com/concertos/|title=Concertos|website=Velikujala.com|date=10 September 2017 |access-date=22 April 2021}}</ref>

==Manufacturing process==
{{More citations needed section|date=November 2021}}
The most expensive{{according to whom|date=June 2017}} 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{{clarify|date=June 2017}} sound out of low-end instruments, such as the ones improved by Yutaka Usui,<ref>[http://www.irishdancemaster.com/ Yutaka Usuai], Japanese-born accordion craftsman.</ref>{{irrelevant citation|reason=adds nothing to the article, except a gratuitous link to an external website, possibly for promotional purposes|date=June 2017}} a Japanese craftsman.

The manufacture of an accordion is only a partly automated process. In a sense,{{clarify|date=June 2017}} 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.<ref>{{cite web |archive-url=https://web.archive.org/web/20081226093126/http://enotes.com/how-products-encyclopedia/accordion |archive-date=26 December 2008 |url=http://enotes.com/how-products-encyclopedia/accordion |title=How Products are Made: Accordion |publisher=eNotes.com |access-date=8 April 2020}}</ref>

Notable centres of production are the Italian cities of [[Stradella, Lombardy|Stradella]] and [[Castelfidardo]], with many small and medium size manufacturers especially at the latter. Castelfidardo honours{{clarify|date=June 2017}} the memory of Paolo Soprani who was one of the first large-scale producers. {{ill|Maugein Freres|fr|Maugein}} has built accordions in the French town of [[Tulle]] since 1919, and the company is now the last complete-process{{clarify|date=June 2017}} manufacturer of accordions in France. German companies such as [[Hohner]] and [[VEB Klingenthaler Harmonikawerke|Weltmeister]] made large numbers of accordions, but production diminished by the end of the 20th century. Hohner still manufactures its top-end models{{clarify|date=June 2017}} in Germany, and ''Weltmeister'' instruments are still handmade by [[VEB Klingenthaler Harmonikawerke|HARMONA Akkordeon GmbH]] in [[Klingenthal]].

==Use in various music genres==
{{main|Accordion music genres}}
[[File:A sexy street performer accordionist Accor de Nonnon or Norie ANZAI 2013-10-12 Nakano City Tokyo Japan.jpg|thumb|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.<ref>Henry Doktorski, CD booklet notes for "[[Guido Deiro]]: Complete Recorded Works, Vol. 1", [[Archeophone Records]] (2007)</ref> It was also used by the [[Kikuyu people|Kikuyu]] tribe in [[Kenya]] and is the main instrument in the traditional Mwomboko [[dance]].<ref>{{Cite web |title=The Lord of the Dance|url=https://whyilovekenya.com/portfolio-items/the-lord-of-the-dance/|access-date=2020-08-24|website=WILK|language=en-US |url-status=dead |archive-url=https://web.archive.org/web/20201128225444/https://whyilovekenya.com/portfolio-items/the-lord-of-the-dance/ |archive-date=Nov 28, 2020 }}</ref> Today the instrument is sometimes heard in contemporary pop styles, such as rock and pop-rock,<ref>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.</ref> and occasionally even in serious classical music concerts, as well as advertisements.

===Use in traditional music===
{{main|Accordion music genres#Use in traditional music|l1=Accordion in traditional music}}
[[File:Antonia Begonia accordion MACRoCk 2009 Little Grill Collective Harrisonburg VA April 2009.jpg|right|thumb|A folk accordionist, 2009]]

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<ref>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</ref> 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===
====Notable jazz accordionists====
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 (musician)|Steve Bach]], [[Milton DeLugg]], [[Orlando DiGirolamo]], [[Angelo Di Pippo]],<ref>[https://books.google.com/books?id=KEHGs88c-aAC&dq=Angelo+Dipippo&pg=PT394 The Biographical Encyclopedia of Jazz. Feather, Leonard. Gitler, Ira Eds. Oxford University Press. 2007 ebook ISBN 9780195320008 Angelo Di Pippo Biography on Google Books]</ref><ref>[https://www.allmusic.com/artist/angelo-di-pippo-mn0000049382 Angelo Di Pippo Biography on allmusic.com]</ref><ref>[https://www.imdb.com/name/nm8318785/ Angelo Di Pippo Biography on imbd]</ref><ref name="angelodipippo.com">[https://www.angelodipippo.com/ Angelo Di Pippo Biography on angelodipippo.com]</ref> [[Dominic Frontiere]], [[Guy Klucevsek]], [[Yuri Lemeshev]], [[Frank Marocco]], Dr. William Schimmel, [[John Serry Sr.]],<ref>[https://adp.library.ucsb.edu/index.php/mastertalent/detail/343174/Serry_John Discography of American Historical Recordings: University of California Santa Barbara – Audio recordings online of John Serry and the Shep Fields Rippling Rhythm Jazz Orchestra 1937–1938]</ref> [[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]].

====Left hand techniques====
The constraints of the [[Stradella bass system]], limiting the left hand to preset chord buttons, is a barrier to some jazz chord conventions. 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 Am<sup>7(add9)</sup> chord, the Am and Em 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<sup>ø7</sup>, a Gm preset button is pressed along with an E bassnote.

For the left hand, the [[free-bass system]] is used in jazz as a means of creating complex chord voicings. Jazz harmony that would otherwise be difficult to replicate with the Stradella bass system, such as [[tritone substitution]]s, become more accessible using a free-bass accordion.<ref>Jacobson, M. [Squeeze This – A Cultural History of the Accordion in America]. University of Illinois Press. {{ISBN|978-0-252-03675-0}}</ref>

===Use in popular music===
{{main|Accordion music genres#Use in popular music}}
{{See also|List of popular music acts that incorporate the accordion}}
{{Listen
|title=New York Blues
|filename=Pietro Frosini - New York Blues (1916) - hiss reduced.ogg
|description=A 1916 recording of "New York Blues" composed and performed by [[Pietro Frosini]], one of the first major stars of the accordion
}}
[[File:John Linnell 2011-11-10.jpg|thumb|[[John Linnell]] of [[They Might Be Giants]] playing a Main Squeeze 911]]
The accordion appeared in [[popular music]] from the 1900s to the 1960s. This half-century is often called the "golden age of the accordion".<ref name="Jacobson">{{cite book|last1=Jacobson|first1=Marion|title=Squeeze This: A Cultural History of the Accordion in America|date=2012|publisher=University of Illinois|isbn=978-0252093852|page=174|url=http://www.press.uillinois.edu/books/catalog/47bqd8bm9780252036750.html|access-date=10 August 2016|archive-url=https://web.archive.org/web/20160331151241/http://www.press.uillinois.edu/books/catalog/47bqd8bm9780252036750.html|archive-date=31 March 2016}}</ref> 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.<ref name="SloveniaGrieving">{{cite web|title=Slovenia is Grieving for the Legendary Musician Slavko Avsenik|url=http://www.slovenia.si/visit/news/n/slovenia-is-grieving-for-the-legendary-musician-slavko-avsenik/|website=Slovenia.si|access-date=10 August 2016|archive-url=https://web.archive.org/web/20150921060458/http://www.slovenia.si/visit/news/n/slovenia-is-grieving-for-the-legendary-musician-slavko-avsenik/|archive-date=21 September 2015|date=8 July 2015}}</ref>

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.]]<ref>''The Los Angeles Examiner''  9 October 1938, p. 1</ref><ref>Jacobson, Marion (2012). ''Squeeze This: A Cultural History of the Accordion in America''. University of Illinois Press, Chicago, p. 61. {{ISBN|978-0-252-03675-0}}</ref><ref>{{cite book|title=A Pictorial History of Radio|last=Settel|first=Irving|publisher=[[Grosset & Dunlap]]|location=New York|orig-year=1960|year=1967|page=146|lccn=67-23789|oclc=1475068}}</ref> During the 1950s through the 1980s the accordion received significant exposure on television with performances by [[Myron Floren]] on ''[[The Lawrence Welk Show]]''.<ref>Myron Floren and Randee Floren, ''Accordion Man'', with a foreword by Lawrence Welk (The Stephen Greene Press, Brattleboro, Vermont: 1981)</ref> In the late 1950s and early 1960s, the accordion declined in popularity because of the rise of rock and roll.<ref>{{Cite journal|last=Kafka|first=Alexander|year=2012|title=Accordion File|journal=The Chronicle of Higher Education}}</ref> 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.

[[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|Grammy Award–winning]] [[Parody music|parodist]] [["Weird Al" Yankovic]], who plays the accordion on many of his musical tracks, particularly his [[polka]]s. Yankovic was trained in the accordion as a child.<ref name="GraffDurchholz2012">{{cite book|last1=Graff|first1=Gary|last2=Durchholz|first2=Daniel|title=Rock 'n' Roll Myths: The True Stories Behind the Most Infamous Legends|url=https://books.google.com/books?id=JWlSUYbiUXUC&pg=PT152|year=2012|publisher=MBI Publishing Company|isbn=978-1-61058-571-2|page=152}}</ref>

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. 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]]. [[Tom Waits]] used the accordion extensively (often played by Dr. William Schimmel) on his album ''[[Rain Dogs]]'' and ''[[Franks Wild Years]]''.{{cn|date=April 2025}} The [[folk metal]] subgenre also employs accordionists, but they are otherwise generally rare in other genres. 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 Republic|Helvetic]] accordion known as a ''zugerörgeli''.{{Citation needed|date=January 2020}}

===Use in classical music===
{{Main|Accordion music genres#Use in classical music|l1=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 ''{{lang|fr|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.

[[File:Эса Пакаринен.png|thumb|Finnish accordionist [[Esa Pakarinen]](Feeliks Esaias Pakarinen, 1911–1989)]]
The first composer to write specifically for the [[chromatic music|chromatic]] accordion was [[Paul Hindemith]].<ref>[http://www.akkordeon-online.de/english.htm ''Accordion Composers in German''] {{Webarchive|url=https://web.archive.org/web/20071107190534/http://www.akkordeon-online.de/english.htm |date=7 November 2007 }} Accordion Online</ref> 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.<ref>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)</ref> Included among this group was the Italian-American [[John Serry Sr.]], whose ''[[Concerto for Free Bass Accordion]]'' was completed in 1964.<ref>Library of Congress Copyright Office, "Concerto in C Major for Bassetti Accordion", Composer: John Serry, 4 June 1968, Copyright # EP247602.</ref><ref>[https://www.esm.rochester.edu/sibley/files/John-J-Serry-Sr-Collection.pdf Eastman School of Music - University of Rochester - Sibley Music Library: John J. Serry Sr. Collection score "Concerto in C Major (1967) for Free Bass Accordion", Folder 15 & 16 p. 10 archived at the University of Rochester Eastman School of Music Sibley Music Library Special collections on esm.rochester.edu]</ref><ref>''Accordion World'', Bedford Hills, NY, 1968.</ref> In addition, the American accordionist [[Robert Davine]] composed his ''Divertimento for Flute, Clarinet, Bassoon and Accordion'' as a work for chamber orchestra.<ref>{{cite web|url=http://www.kcstudio.com/davine2.html|title=Robert Davine Interview with Bruce Duffie ... .|website=Kcstudio.com}}</ref> 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.<ref>{{Cite web|url=https://www.universaledition.com/composers-and-works/luciano-berio-54/works/sequenza-xiii-4612|title=Universal Edition|website=Universaledition.com|access-date=22 April 2021}}</ref> Accordionists like [[Mogens Ellegaard]], [[Joseph Macerollo]], [[Nick Ariondo]], Friedrich Lips, Hugo Noth, Dr. William Schimmel (also a composer), [[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 ''Correspondences'' (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 also performed on or accordion. Dr. William schimmel and "The Tango Project" recorded a number of hit recordings and appeared in the movie ''[[Scent of a Woman (1992 film)|Scent of a Woman]]'' with Al Pacino which earned Pacino an Oscar. Their recordings were used in many films.

===Australia===
The earliest mention of the novel accordion instrument in [[Music of Australia|Australian music]] occurs in the 1830s.<ref>{{cite news |url=http://nla.gov.au/nla.news-article172895152 |title=The Colonial Tides. The Regatta Dinner. |newspaper=Trumpeter General |issue=29 |location=Tasmania |date=7 March 1834 |access-date=2 December 2018 |page=2 |via=National Library of Australia}}</ref>
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<ref>{{cite news |url=http://nla.gov.au/nla.news-article42462163 |title=Advertising |newspaper=[[Cairns Post]] |issue=13,660 |location=Queensland, Australia |date=12 December 1945 |access-date=2 December 2018 |page=3 |via=National Library of Australia}}</ref> and copies of his works "My dear, can you come out tonight"<ref>{{Citation | author1=Fracchia, F | author2=Sproule, Nellie | title=My dear, can you come out tonight | date=1930 | url=https://trove.nla.gov.au/work/191726251 | access-date=2 December 2018 |via=National Library of Australia}}</ref> and "Dancing with you"<ref>{{Citation | author1=Fracchia, F | author2=Sproule, Nellie | title=Dancing with you | date=1944 | url=https://trove.nla.gov.au/work/193500216 | access-date=2 December 2018 |via=National Library of Australia}}</ref> are preserved in Australian libraries.
Other Australian composers who arranged music for accordion include [[Reginald Stoneham]].<ref>{{Citation
  | title=Memories of a lovely lei [music] / Reg. Stoneham
  | author1=Stoneham, Reginald A. A.
  | author2=Humphries, Don
  | author3=Adams, Les
  | author4=Bowden, Charles
  | publisher=Reginald Stoneham Publishing House
  | language=en
  | url=https://nla.gov.au/nla.obj-170238976
}}</ref>
The popularity of the accordion peaked in the late 1930s<ref>{{cite news |url=http://nla.gov.au/nla.news-article83703103 |title=Accordion Craze  |newspaper=[[Daily News (Perth, Western Australia)|Daily News]] |volume=LI |issue=17,892 |location=Western Australia |date=16 July 1932 |access-date=3 December 2018 |page=4  |via=National Library of Australia}}</ref> and continued until the 1950s.<ref>{{cite news |url=http://nla.gov.au/nla.news-article167728833 |title=Piano Accordion Club Popular |newspaper=[[The Southern Cross (South Australia)|The Southern Cross]] |volume=LXII |issue=3105 |location=South Australia |date=10 March 1950 |access-date=3 December 2018 |page=8 |via=National Library of Australia}}</ref>
The accordion was particularly favoured by buskers.<ref>{{cite news |url=http://nla.gov.au/nla.news-article198329482 |title=Gossip of the Day  |newspaper=[[The Evening News (Rockhampton)|The Evening News]] |issue=4117 |location=Queensland, Australia |date=24 January 1935 |access-date=3 December 2018 |page=6 |via=National Library of Australia}}</ref><ref>{{cite news |url=http://nla.gov.au/nla.news-article144255196 |title=Australianalities  |newspaper=[[The Daily Advertiser (Wagga Wagga)|Daily Advertiser]] |location=New South Wales, Australia |date=9 April 1940 |access-date=3 December 2018 |page=3 |via=National Library of Australia}}</ref>

===Bosnia and Herzegovina===
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.<ref>{{Cite web |date=2020-12-16 |title=Sevdah |url=https://bosniak.org/sevdah/ |access-date=2023-11-13 |website=Congress of Bosniaks of North America |language=en-US}}</ref>

===Brazil===
[[File:Dominguinhos de Morais.jpg|thumb|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).<ref name="auto">{{Cite web|url=https://ciadoacordeon.com.br/cia-do-acordeon-historia.html|title=Cia do Acordeon – História do Acordeon|website=ciadoacordeon.com.br|language=pt|access-date=1 November 2018|archive-date=23 December 2018|archive-url=https://web.archive.org/web/20181223030259/https://ciadoacordeon.com.br/cia-do-acordeon-historia.html|url-status=dead}}</ref> The instrument was popular in the 1950s, and it 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 it was voted by unanimity in the deputy chamber.<ref>{{Cite web|url=http://www2.al.rs.gov.br/dal/Sess%C3%A3oPlen%C3%A1ria/DetalheVotacao/tabid/5627/Default.aspx?idProjeto=6484|title=DetalheVotacao|last=Legislativo|first=Departamento de Assessoramento|website=2.al.rs.gov.br|language=pt-BR|access-date=1 November 2018|archive-date=24 July 2020|archive-url=https://web.archive.org/web/20200724223911/http://www2.al.rs.gov.br/dal/Sess%C3%A3oPlen%C3%A1ria/DetalheVotacao/tabid/5627/Default.aspx?idProjeto=6484|url-status=dead}}</ref>
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 Accordeões Todeschini from Bento Gonçalves-RS, closed in 1973. The Todeschini accordion is very appreciated today and survives with very few maintainers.<ref>{{Cite web|url=http://www.acordeom.com.br/menu/not2.php?id=1|title=noticias|website=Acordeom.com.br|access-date=1 November 2018|archive-date=24 June 2018|archive-url=https://web.archive.org/web/20180624053359/http://www.acordeom.com.br/menu/not2.php?id=1|url-status=dead}}</ref><ref>{{Cite web|url=https://www.lojamanomonteiro.com.br/interna.php?cod=17770|title=Todeschini a História|website=Lojamanomonteiro.com.br|access-date=1 November 2018}}</ref> The most notable musicians of button accordions are [[Renato Borghetti]], Adelar Bertussi, Albino Manique and Edson Dutra.<ref name="auto"/>

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 (music)|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 (musical instrument)|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 [[Música sertaneja|Sertanejo]] (and Caipira) music, which originated in the midwest and southeast of Brazil, and subsequently has gained popularity throughout the country.

===China===
The number of accordionists in China exceeds every other country in the world, and possibly every country combined. Introduced in 1926, the accordion has risen to popularity in China throughout the years, thanks to Russian teachers and its being a popular instrument in the [[People's Liberation Army]], and remains popular.<ref>{{Cite web |title=Accordion History in China |url=http://www.accordions.com/index/his/his_cn.shtml |access-date=22 April 2021 |website=Accordions.com}}</ref>

In the late 20th century, the development of high performance standards for the accordion within China's halls of academe was also influenced by several American virtuosos including [[Robert Davine]], who was invited by the Ministry of Culture of the People's Republic to present Master Classes and to broaden its national program of music for the accordion in 1984.<ref name="accordions.com">{{cite web|url=http://www.accordions.com/memorials/mem/davine/index.shtml|title=Robert Davine is professor of accordion and theory at the University of Denver|website=www.accordions.com}}</ref><ref name="The Classical Free-Reed, Inc.">{{cite web|url=https://henrydoktorski.com/free-reed/essays/davinetribute.html|title=The Classical Free-Reed, Inc.: Robert Davine|website=The Classical Free-Reed, Inc.}}</ref><ref>{{cite web|url=https://www.chicagotribune.com/news/ct-xpm-1985-01-17-8501100096-story.html|title=ACCORDION STRIKES A CHORD OF POPULARITY WITH THE CHINESE|first=Justin Mitchell, Scripps-Howard News|last=Service|website=chicagotribune.com|date=17 January 1985 }}</ref>

===Colombia===
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 [[Valledupar]], and have come to symbolize the folk music of Colombia.<ref>{{cite book |last1=Torres |first1=George |title=Encyclopedia of Latin American popular music |date=2013 |location=Santa Barbara, Calif. |isbn=978-0313340314}}</ref>

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.<ref>Smithsonian Channel, [https://archive.today/20130630080628/http://www.smithsonianchannel.com/site/sn/show.do?show=134604 "The Accordion Kings"], 15 August 2010.</ref> This is the world's largest competitive accordion festival.

=== Czech Republic ===
[[File:Zlatá Praha (8).ogg|thumb|At U Flekú, Prague]]  
Accordion is often played at traditional Czech pubs, such as U Flekú, Prague.

===Malaysia===
The accordion is an important instrument to ''ronggeng'' performed among the Malay and [[Peranakan Chinese|Peranakan]];<ref>{{Cite journal |author=Tan Sooi Beng |date=Oct 2005 |title=From Folk to National Popular Music: Recreating Ronggeng in Malaysia 1 |url=https://doi.org/10.1080/01411890500234054 |journal=Journal of Musicological Research |volume=24 |issue=3–4 |pages=287–307 |doi=10.1080/01411890500234054 |issn=0141-1896|url-access=subscription }}</ref> it is also often interchangable with the [[harmonium]] in playing the [[ghazal]];<ref>{{cite book |last1=Meddegoda |first1=Chintaka Prageeth |last2=Jähnuchen |first2=Gisa |chapter-url=https://books.google.com/books?id=21gkDQAAQBAJ|title=Hindustan Traces in Malay Ghazal |date=2016 |publisher=Cambridge Scholars Publishing |isbn=978-1-4438-9759-4 |pages=206-7, 215-6 |chapter=Musical Instruments in the Malay Ghazal}}</ref> [[:ms:Suhaimi Mohd Zain|Suhaimi Mohd Zain]] was one notable accordionist who frequently collaborated with folk pop singer [[Siti Nurhaliza]].<ref>{{cite journal |author=Connie Lim Keh Nie |author2=Mohamad Fadzil Abdul Rahman |title=Preventing Malaysia's Traditional Music From Disappearing |date=May 2011 |volume=21 |issue=2 |pages=37–47|journal=[[SEAMEO SPAFA|SPAFA Journal]]}}</ref>

===Mexico===
[[File:Tijuana-performers.jpg|thumb|A Norteño band, including an accordion]]
[[Norteño (music)|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.<ref>{{Cite news|url=https://www.houstonchronicle.com/local/gray-matters/article/Julieta-Venegas-6839928.php|title=Julieta Venegas: Life and songs in two cultures|first=David|last=Dorantes|date=18 February 2016|newspaper=[[Houston Chronicle]]|access-date=22 April 2021}}</ref>

===North Korea===
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.<ref>{{Cite news|url=https://www.telegraph.co.uk/travel/destinations/asia/north-korea/galleries/what-you-didn-t-know-about-north-korea/accordians/ |archive-url=https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/travel/destinations/asia/north-korea/galleries/what-you-didn-t-know-about-north-korea/accordians/ |archive-date=11 January 2022 |url-access=subscription |url-status=live|title=20 incredible things you didn't know about North Korea|work=The Telegraph|access-date=2 April 2018|language=en-GB}}{{cbignore}}</ref>

===United States===
Accordions are played in [[Tejano music]], [[Cajun music|Cajun]] and [[Creole music]], [[zydeco]], [[klezmer]], and [[Polka in the United States|polka]].<ref>{{Cite book |last=Simonett |first=Helena |title=The accordion in the Americas: klezmer, polka, tango, zydeco, and more! |date=2012 |publisher=University of Illinois Press |isbn=978-0-252-03720-7 |series=Music in American life |location=Urbana, Ill}}</ref>

During the post-World War II era from the 1940s to the 1960s, accordions were widely used in the United States for performances of traditional Western [[classical music]] within the configuration of large free-reed symphonic orchestras both in live performances on the concert hall stage and in phonograph recordings.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Accordeon+Orchestra+joe+Biviano&pg=PA78 Squeese This! A Cultural History of the Accordion in America. Jacobson, Marion. University of Illinois Press. 2012. p. 78-80 ebook ISBN 9780252093852Accordion Orchestra Joe Biviano on Google Books on Google Books]</ref><ref>[https://books.google.com/books?id=oiNtRleCw6wC&q=John+Serry Music Trades: "Accordion Orchestra Featured on New Coral 12" Record" Vol. 109, 1961 p. 84 John Serry on Google Books]</ref><ref>[https://www.discogs.com/master/1445202-Pietro-Deiro-Joe-Biviano-The-Accordion-Orchestra/image/SW1hZ2U6MzQyODM1NjE= "Pietro Deiro Presents The Accordion Orchestra - Under Direction of Joe Biviano" Coral Records (CRL-57323, 1960) See album cover for performers credits including John Serry, Eugene Ettore, Carmen Carrozza and Angelo Di Pippo. Pietro Deiro on Discogs.com]</ref><ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 Pietro Deiro Presents the Accordion Orchestra on Google Books]</ref><ref>[https://www.bsnpubs.com/decca/coral/coral.html The Coral Album Discography. Edwards, David. Callahan, Mike. Eyrles, Patrice. Watts, Randy. Neely, Timothy. April 27, 2014. CRL-57323 "Pietro Deiro Presents the Accordion Orchestra" (1960) on bsnpubs.com]</ref> Included among the leading accordion orchestras were: The New York Accordion Symphony in New York City, The Springfield Accordion Orchestra in Massachusetts, The Houston Accordion Symphony in Houston, Texas and The Philadelphia Accordion Orchestra in Philadelphia, Pennsylvania.<ref>[https://books.google.com/books?id=bPhXe_qNy5QC&dq=Accordeon+Orchestra+joe+Biviano&pg=PA78 Squeeze This! A Cultural History of the Accordion in America]. Jacobson, Marion. University of Illinois Press. 2012, pp. 78-79 ebook ISBN 978-0-252-09385-2 Accordion Orchestra on Google Books</ref> Prominent orchestra members included: Joe Biviano (President of the [[American Accordionists Association]])<ref>[https://www.ameraccord.com/2018graphics/Biviano-Magnante.htm "American Accordionists Association: Joe Biviano and Charles Magnante - A Lifetime Commitment to the American Accordionists Association". Joe Biviano BBiography on ameraccord.com]</ref><ref>[https://www.google.com/books/edition/Squeeze_This/bPhXe_qNy5QC?hl=en&gbpv=1&dq=Joe+Biviano+Squeeze+This&pg=PA93&printsec=frontcover "Squeeze This! A Cultural History of the Accordion in the United States"]. Jacobson, Marion. University of Illinois Press 2012 p. 93 ISBN 9780252093852 Joe Biviano on google books</ref> [[Carmen Carrozza]],<ref>[https://www.google.com/books/edition/Squeeze_This/bPhXe_qNy5QC?hl=en&gbpv=1&dq=Carmen+Carrozza+Squeeze+this&pg=PA85&printsec=frontcover "Squeeze This! A Cultural History of the Accordion in the United States"]. Jacobson, Marion. University of Illinois Press 2012 p. 85 ISBN 9780252093852 Carmen Carrozza on google books</ref><ref>[https://www.google.com/books/edition/Accordion_World/llkI0NGE6M4C?hl=en&gbpv=1&bsq=Carmen+Carrozza&dq=Carmen+Carrozza&printsec=frontcover "Accordion World" Gerstner Publications 1957 Vol. 22 p. 55 Pietro Deiro and Carmen Carrozza on Google Books]</ref> Orlando Di Girolamo (President of the American Symphony Society),<ref>[https://www.google.com/books/edition/Music_Trades/oiNtRleCw6wC?hl=en&gbpv=1&bsq=Orlando+Girolamo+accordionist&dq=Orlando+Girolamo+accordionist&printsec=frontcover "Music Trades", Music Trades Corporation, "Accordion Orchestra Featured On New Coral 12" Record" 1961  Vol. 109, p. 84 Orlando Girolamo on Google books](</ref> Tony Mecca (who collaborated with [[Leonard Bernstein]]),<ref>[https://www.google.com/books/edition/Accordion_journalen/o3581w3ghtcC?hl=en&gbpv=1&bsq=Orlando+Girolamo+accordionist&dq=Orlando+Girolamo+accordionist&printsec=frontcover "Accordion Journal"  Vol 12-13 p. 21 Tony Mecca on Google Books]</ref><ref>[https://www.google.com/books/edition/The_Accordion_in_All_Its_Guises/g3kJAQAAMAAJ?hl=en&gbpv=1&bsq=Tony+Mecca+accordion&dq=Tony+Mecca+accordion&printsec=frontcover "The Accordion in all its Guises". Miller, Malcom. Harwood Academic Publishers 2010 p. 88 Tony Mecca on google books]</ref> Angelo Di Pippo (jazz accordionist and arranger for [[Robert Merrill]]),<ref>[https://www.google.com/books/edition/The_Biographical_Encyclopedia_of_Jazz/KEHGs88c-aAC?hl=en&gbpv=1&dq=Angelo+Di+Pippo+biography&pg=PA181&printsec=frontcover "The Biographical Encyclopedia of Jazz"] Feather, Leonard. Gitler, Ira. Ed. Oxford University Prress 2007 p. 181 ISBN 9780195074185  Angelo Di Pippo Biography on Google Books</ref><ref name="angelodipippo.com"/> [[John Serry Sr.]]<ref>[https://www.google.com/books/edition/Music_Trades/oiNtRleCw6wC?hl=en&gbpv=1&bsq=Orlando+Girolamo+accordionist&dq=Orlando+Girolamo+accordionist&printsec=frontcover "Music Trades", Music Trades Corporation, "Accordion Orchestra Featured On New Coral 12" Record"  1961  Vol. 109, p. 84 John Serry on Google books]</ref><ref>[https://worldradiohistory.com/Archive-All-Music/International-Musician/50s/International-Musician-1951-05.pdf ''International Musician'' – "Accordion Instrument Played with A Smile", Hope Stoddard, May 1951, pp. 10-11 Contributing authors: Charles Nunzio and Sergei Matsusewitch – Photographs of John Serry, Joe Biviano and Anthony Mecca in the article published by the American Federation of Musicians' magazine "International Musician" on worldradiohistory.com]</ref> and Alfonso Veltri (Director of the National Conservatory of Music).<ref>[https://www.google.com/books/edition/Accordion_journalen/o3581w3ghtcC?hl=en&gbpv=1&bsq=Alfonso+Veltri+accordion&dq=Alfonso+Veltri+accordion&printsec=frontcover "Accordion Journal - Pietro Deiro Presents the Accordion Orchestra - under the Direction of Joe Biviano"  Vol 12-13 p. 21 Alfonso Veltri on Google Books]</ref>  By the 1960s recordings by such orchestras were even praised for their high level of musicality in ''The Billboard'' magazine.<ref>[https://books.google.com/books?id=hR8EAAAAMBAJ&dq=Pietro+Deiro+Presents+the+Accordion+Orchestra&pg=PA33 Pietro The Billboard- Reviews and Ratings of New albums: "Pietro Deiro Presents The Accordion Orchestra" (Coral, CRL-57323), 27 June 1960 p. 33 "Pietro Deiro Presents the Accordion Orchestra" album review on Google Books]</ref><ref>[https://www.jstor.org/stable/40071656?searchText=%28John+Serry%29+AND+%28accordion%29&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DJohn%2BSerry%26so%3Drel%26prq%3Daccordion%26swp%3Don&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A4fe43da08b29080cacb7f86a23e772ea&seq=29 ''American Music'' - "Searching for the Rockordion: The Changing Image of the Accordion in America". Jacobson, Marion S. University of Illinois Press Vol. 25, No. 2 (Sommer 2007) pp.216-247, See pp. 220-225 on https://www.jstor.org/stable/40071656]</ref>

==Other audio samples==
<!-- Please keep the layout intact -->
{| style="width:90%;"
|- valign=top
| style="width:33%;"|
{{Listen|filename=Accordion chords-01.ogg|title=Accordion chords|description=Chords being played on an accordion – 145&nbsp;KB |format=[[Ogg]]}}
| style="width:33%;"|
{{Listen|filename=Accordion_registers.ogg|title=Accordion tones|description=Audio clip of the same octave cycled through five different timbres (Piano Accordion) – 676&nbsp;KB |format=[[Ogg]]}}
| style="width:33%;"|
|}

==See also==
* [[List of accordionists]]
* [[Steirische Harmonika]]
* [[Confédération internationale des accordéonistes]]

==Notes==
<references group="notes" />

==References==
{{Reflist|30em}}

==External links==
{{Commons category}}
{{wikibooks|Accordion}}
* {{cite EB1911|wstitle=Accordion}}
{{Wikiquote}}

{{Musical keyboards}}
{{Squeezebox}}
{{Reed aerophones}}

{{Authority control}}

[[Category:Accordion| ]]
[[Category:Folk music instruments]]
[[Category:Articles containing video clips]]
[[Category:German inventions]]
[[Category:19th-century inventions]]
[[Category:Symbols of Rio Grande do Sul]]