Beruflich Dokumente
Kultur Dokumente
Written by:
Donald Balestrieri
Publication:
Accord Magazine, USA. Reprinted courtesy of owner/editor Faithe Deffner. Back copies available.
Date written:
1979
The standard stradella button keyboard, either alone or as an integral part of expanded
systemizations which incorporate free bass as well, demonstrates a stylistic viability which is
reflected in vastly different approaches to musical composition for accordion. Composers continue to
draw on the standard stradella system's resources, sometimes extracting new possibilities or
realizing latent potential.
Recognition and use of these possibilities demands imagination and a practical application of
information about the following:
1. Range of the single note buttons.
2. The inversions produced by the fixed chord buttons.
3. And the characteristics of the various registers.
These offer challenges that not all composers and transcribers
have been able to meet. Few have recognized the full musical
potency there, but additions to the repertory of very interesting
substance and the system continue to interest the performer
and composer alike.
In Galla-Rini's Concerto for accordion and orchestra, written in
1941, and in many of his transcriptions, complete and
consistent application of the musical resources of the standard
stradella keyboard are in evidence. These works abound in
effective and idiomatic writing for the left hand, which must be
carefully studied by every serious student of the instrument.
Continued widespread use of the stradella system and the
music associated with it is enough to warrant attention. The
analysis set forth in this article, of the registers in particular, is
necessary information, not only for the composer and arranger,
but for the teacher, student and performer as well.
THE BUTTON KEYS
The standard stradella keyboard consists of 120 buttons - six
parallel rows of 20 buttons each, graduated on a rising angle which are functionally divisible into two sections.
The alto set of reeds is pitched one octave lower (c' to b') than the soprano set of reeds. A coupling
of the alto set of reeds with the soprano set of reeds constitutes the Alto Register. Both sets of reeds
will respond for either the single note buttons or the chord buttons.
It is, however, the alto set of reeds, being the lower octave of the coupling, which establishes the
basic pitch of this register. Both the single note buttons will then generate upper octave duplications
via the soprano set of reeds, but the basic pitch is established by the alto set of reeds.
The switch symbol for this register shows dots in the spaces representing the alto and soprano sets
of reeds (see above), which indicate they are open while the others are silent - clearly illustrating the
octave relationship between the two sets of reeds.
Example 5 shows that the
alto set of reeds (whole
notes) coupled with the
soprano set of reeds
(diamond notes) will be
operative for both the single
note and chord buttons.
Inversions of the various
chord buttons will be the
same as in the Soprano
Register, albeit one octave
lower, since the range for
determination is also from C
to B. Since, as with the
Soprano Register, the sets of
reeds which are open will
respond for either the single
note or fixed chord buttons,
the chord buttons will
produce inversions and
pitches consistent with the
range and pitch of the single
note buttons.
Example 6 demonstrates the
C and B chord buttons. The
upper octave duplications by
the soprano set of reeds
(diamond Notes) could be
taken for granted in notation and they are, in any case, implied by the dot in the upper space of the
register symbol.
The preferred notation would usually be at pitch (in the treble clef) or at least not more than one
octave lower (in bass clef). However, this register may be found notated in the lower part of the
bass clef staff as well. Chord buttons are often given in abbreviated notation (root and chord
symbol).
Example 7 is a passage from Felice Fugazza's Danzi di Gnomi (1959), in which the alto Register's
single note range is utilized for the lower part in a three-voice episode.
Example 8, a quotation from Anthony Galla-Rini's transcription for accordion solo of the Rhapsodie
Espagnol by Liszt, will illustrate the rarely encountered pitch relationship between the single notes
and chord buttons in the Alto Register.
Some curious writing for the left hand keyboard has sometimes resulted from an apparent failure to
comprehend the fact that the same set of reeds will respond for both the single note and chord
buttons in the Soprano and Alto Registers. In these registers, should a chord button be depressed
along with single notes which are already members of that chord (or added after the chord button is
depressed) the single notes in question will prove of no aural purpose. Reeds which are already
sounding for a chord button cannot, at the same time, be duplicated by single note buttons, or vice
versa.
The opening measures of Otto Luening's Rondo for accordion solo illustrate such an instance where
the single note buttons can be omitted without resulting in any audible change.
THE TENOR REGISTER
The basic pitch level for the single note buttons in the Tenor Register is established by the tenor set
of reeds (c to b) which is the lowest sounding. These are coupled to the alto and soprano sets. Since
the tenor set of reeds cannot respond for the chord buttons (see Illustration 2), it is the alto set of
reeds, being the lowest sounding set activated for the chord buttons, which will establish the basic
pitch level and determine the inversions of the chord buttons in this register.
Attention should be drawn to the fact that only in the Tenor Register is there no break in the basic
pitch continuity between the single note buttons and the range for determining the chord buttons.
The practical significance of this will be pointed out in a successive example.
The three octave voicing of the
single note buttons is
graphically illustrated by the
switch symbol (see above),
showing that the soprano, alto
and tenor sets of reeds are
operative. The silence of the
tenor set for the chord buttons
must be understood.
Example 9 shows the reed
sets which operate for the
single note and chord buttons
in the Tenor Register
THE SOFT TENOR
REGISTER
Example 10 illustrates an
alternative voicing - Tenor
(piano) - available for the
Tenor Register. With it, a more
subdued effect is achieved by
eliminating the soprano set of
reeds. Thus, the basic pitch of
both the single note and chord
buttons remains undisturbed;
the single notes will now sound
in octaves (tenor/alto) and the
chord buttons undoubled (alto).
The sets of reeds for Tenor (piano) Register are shown in the switch symbol.
Because the tenor set of reeds cannot respond for the chord buttons, they will sound exactly the
same in the Tenor (forte) Register as in the alto Register - with the soprano and alto sets of reeds
responding for the chord buttons in octaves (refer to example 6). The chord buttons in the Tenor
(piano) Register will yield pure, uncoupled chords since the soprano set of reeds is silent and only
the alto set will respond for the chord buttons.
Example 11 lists for comparison, the C and B chords as they will sound in the Tenor (piano)
Register.
A decided increase of strength over the previously discussed registers is evident in the Tenor
Registers because the reeds of the tenor set are larger. This alleviates some of the more delicate
problems of balance mentioned in connection with the Soprano and Alto Registers.
Notation is in the bass clef, sometimes one octave below the actual basic pitch. Chord buttons are
often given in abbreviated notation. It is sometimes convenient to notate the single note and chord
buttons one octave lower using either the ottava alta sign (8 - - - -) or the clef alta sign (####).
Example 12 is a melodic excerpt from the Alan Hovhaness Accordion Concerto - Opus 174, played
against an aleatoric background of multitudinously divided strings, which falls within the single note
compass of the Tenor Register. The Tenor (piano) combination, sounding in octaves, is used; the
unison doublings of the right hand add strength and solidity.
Example 13 shows
application of chord buttons
in the Tenor (piano)
Register in an excerpt from
Paul Creston's Fantasy for
accordion and orchestra,
Opus 85. Note the
following points: firstly, the
left hand accompaniment is
consistently above the
melodic line which has
been assigned to the right
hand in a low register. [The
right hand will sound one
octave lower]; secondly,
each of the four note
chords beginning at the
penultimate measure of the
example is achieved by
combining two chord
buttons which have two
notes in common.
Example 14 demonstrates
an application of the
continuity in the basic pitch
between single note
buttons and that of the
fixed chord buttons. Here,
in a transcription for
accordion and orchestra by
Donald Balestrieri of Liszt's
Prelude and Fugue on the
name of Bach, the melodic
shape of the left hand part
has been preserved by
being passed between the single note buttons and the lowest notes of the chord buttons. The upper
harmony notes of the chord buttons unobtrusively double those in the right hand. Note that the left
hand part will sound one octave higher than usual bass clef notation and that the right hand part will
sound one octave lower than usual treble clef notation.
BASS REGISTERS
The Bass Register is established when the bass or lowest-sounding set of reeds (C to B) is
operative for the single note buttons.
Three different reed set combinations are available in the standardized systemization. They are
shown and described in the following paragraphs
THE MASTER REGISTER (BASS FORTE)
All five sets of reeds - soprano, alto, contralto, tenor and bass - are open as shown by the five dots
which mark the switch symbol. The contralto set of reeds is the lowest sounding for the chord
buttons and it establishes the basic pitches for the fixed chords, while the bass set of reeds
determines that of the single note buttons.
Example 15 shows which reeds are operative for the single note and chord buttons.
Here, as elsewhere, the blend of these upper octave duplications with the fundamental, pitch
establishing set of reeds, is such that it is hardly more than amplification of the basic overtone
series.
Example 16 illustrates the sound of the chord buttons, given again for C and B chord rows, for
comparison.
THE SOFT BASS REGISTER (BASS PIANO)
Example 17 illustrates the
bass set of reeds coupled
with the tenor and contralto
sets. These will respond for
the single note buttons; the
contralto alone responds for
chord buttons in this register.
Example 18 shows the
contralto reed set, which
responds for the chord
buttons, without doublings.
This register is exceedingly
useful in balancing with
certain registers of the right
hand keyboard. In general, it
provides a more subdued
effect, by eliminating the
soprano and alto sets of
reeds.
THE BASS/ALTO REGISTER
Example 19 pictures this
most exotic and seldom-used
of the standard reed
combinations. The bass, alto
and soprano sets of reeds are
open and respond for the
single note buttons. Only the alto and soprano sets will sound for the chord buttons, as previously
shown for the Alto and Tenor (forte) Registers. See example 6.
The two octave separation between the bass and alto sets of reeds results from the absence of the
tenor and contralto sets and creates the "reedy" quality. The low-high relationship between the single
note and chord buttons is the hallmark of the register.
The range of the bass set of reeds (C to B) is used to notate the single note buttons in the bass
registers. Different upper octave doublings are clearly shown by the standard register symbols.
However, the range - one semitone less than a complete octave - is sometimes exceeded in the
notation (usually upwards), in order to avoid voice leading which appears awkward. Ambiguity of
pitch placement results from the multiplicity of octave doublings and the overlapping of a portion of
the tenor and alto reeds by the contralto set of reeds.
In fact, some ears may be convinced that a larger range is active. This notation practice,
accompanied by the term bassi soli (b.s.) when the upper bass clef area is used, is easily abused.
To guide in writing, awareness of the actual pitch range is necessary.
The pitch is readily
recognizable in all registers
other than the Master
Register. The limited range
of 12 semitones is audibly
obvious and, written
melodic or harmonic
intervals involving tones
beyond the actual compass