Flutina

As a French accordion were both diatonic and chromatic accordions as well be built.

History

In 1831 came a diatonic accordion from the workshop by Cyrill Demian in Paris. Napoleon Fourneux was the first who succeeded in the reconstruction. His first instruments saw the model is still very strong at. The reed plates were also mounted flat on a slide. The key assignment is different from the usual diatonic occupancy. The Clavis and the arrangement of the keyboard was a little different from similar instruments from Vienna. They quickly tried to find a chromatic arrangement.

Very quickly began a dispute about how the instrument should be played, also reported also music magazines such as Le Menestrel in 1834. The newspaper also mentioned that M. Reisner, a school for the instrument wrote, a " instruction to the accordion learn to play with eight buttons: [ ... ] You play the instrument with the right hand. [ ... ] The two flaps on each page serve [ ... ] repealing harmony. "

After Paris, thus came a melody instrument. In Vienna, many different key assignments were at that time tried, some instruments were installed simply turned the sounds and even the assignment was not in all cases. It is therefore not necessarily certain that a purely diatonic instrument came to Paris.

Since very early two schools were published for learning the game, we now know very accurate view of the development of the instruments in Paris.

The Parisian accordion maker acquired very quickly a good name and contributed significantly to the development of instruments. In the Museum of Musical Instruments Mark Neukirchen some well-preserved objects can be seen from the following years; presumably, these instruments have been acquired very early by the German accordion producers for study purposes.

An exhibit also shows how the French realized the tab switching. This was not, as is usual today, with sliders in the airway accomplished, but with a mechanism which prevented the tongues are not used at swing. This lever mechanism shared a common axis with felt pads BANDED lever which, in turn, expressed on a per Tonzunge.

In general, the invention of several reeds of the same pitch but slightly out of tune, the French attributed ( Musette ). Viennese instruments were first offered with so-called organ mood or triple organ mood, what an octave tuning was so several octaves to offset reeds per button.

Construction

The instruments of this period were still very handy, hardly bigger than the instruments built Demian in Vienna. From the external appearance but their French origin is unmistakable. The wooden frame was usually curved and provided with baroque paintings such as this corresponded to the then French taste in art. The Clavis or keys were held flat and rectangular in two rows with Clavisdrähten to the flaps. The Clavis were covered with mother of pearl. Also the round flaps were made ​​of nacre. The flaps were not covered.

Striking was different in that the keys of the second series led through the fingerboard on the back and a second series of flaps opened there. This principle can be found today at the Bajan again. Also in the Bayan, the keyboard is moved further forward, and some key rows lead to the back of the keyboard. It is also interesting that the seventh key was divided in the second row in the middle.

There are from this period smaller instruments that have two rows of eight buttons or larger two rows of 14 buttons in the front row and five shared keys and eight undivided keys in the second row have. The system remains the same, only at the top of the range up to c '''' ' extended. The construction of these instruments also favored the vibration behavior of the high tones. Lowest sound was the f

The instrument makers dominated at the time the precise reed plate production in a still almost unimaginable extent.

Keys

1845, France had a number of producers: Alexandre, Furneaux, Jaulin, Lebroux, Neveux, Kasriel, Leterme, Reisner, Busson, M. Klaneguisert. They all have built at this time two models:

• Without half- tones - so diatonic
• With half-tones - chromatic and wechseltönig

The bass side only had two bass was so hardly trained. The "mutation", two slides, which brought chords sounded, was not installed at this time, as well as in Vienna.

The war in the years 1870 and 1871 brought the accordion production an almost complete standstill.

The classification of chromatic key assignment was not completed for some time. Around 1890, then was in the first row, the diatonic scale, and in the second row the missing semitones with a few repetitions of the first row. It is interesting in this context that the Irish key assignment today largely corresponds with C, C # these specifications. Basses were not installed; the flaps on the bass side were air dampers.

In the period following the import of Italian instruments to France increased.

Today

In France there are some producers who produce diatonic accordion. Bernard Loffet builds instruments with traditional key assignment as the Wiener models. Another company, Saltarelle can, in Italy according to their wishes and produce sold under its own name all kinds of modern instruments. Bertrand Gaillard builds (since 1981), only to order, with a long wait, instruments with a legendary reputation. L' Imaginaire made ​​at a similarly high level of quality. Other manufacturers are Eric Martin and Marc Serafini. The reed plates and tongues come, because there is no manufacturer is in France, almost exclusively from Italy.

Chromatic accordions are produced by two companies, the company Cavagnolo in Lyon and the company Maugein in Tulle.