See also:

• CONCERTINA, or MELODION (Fr. concertina, Ger. Ziehharmonica or Bandoneon)

CONCERTINA, or MELODION (Fr. concertina, Ger. Ziehharmonica or Bandoneon)  , a See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument of the seraphine See also:

• FAMILY

family with See also:

• FREE

free reeds, forming a See also:

• LINK

link in the See also:

• EVOLUTION

evolution of the See also:

• HARMONIUM (Fr. harmonium, orgue expressif; Ger. Physharmonika, Harmonium)

harmonium from the mouth See also:

• ORGAN

organ, intermediate links being the See also:

• CHENG

cheng and the See also:

• ACCORDION (Fr. accordeon; Ger. Handharmonica, Ziehharmonica)

accordion . The See also:

• CONCERTINA, or MELODION (Fr. concertina, Ger. Ziehharmonica or Bandoneon)

concertina consists of two hexagonal or rectangular keyboards connected by a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long expansible See also:

• BELLOWS
• BELLOWS, ALBERT F
• BELLOWS, HENRY WHITNEY (1814-1882)

bellows of many folds similar to that of the accordion . The keyboards are furnished with rows of knobs, which, on being pressed down by the fingers, open valves admitting the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air compressed by the bellows to the free reeds, which are thus set in vibration . These free reeds consist of narrow See also:

• TONGUES, GIFT OF, or GLOSSOLALIA (yXwova, tongue, aXeiv, speak)

tongues of See also:

• BRASS
• BRASS (O. Eng. braes)

brass riveted by one end to the inside See also:

• SURFACE

surface of the See also:

• KEYBOARD, or MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)

keyboard, and having their free ends slightly See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent, some outwards, some inwards, the former actuated by suction when the bellows are See also:

• EXPANDED

expanded, the latter by See also:

• COMPRESSION

compression . The See also:

• PITCH
• PITCH, MUSICAL

pitch of the See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note depends upon the length and thickness of the reeds, reduction of the length tending to sharpen the pitch of the note, while reduction of the thickness lowers it . The bellows being unprovided with a See also:

• VALVE (Lat. valva, a leaf of a double or folding door, allied to volvere, to roll, as of a door on its hinges)

valve can only draw in and emit the air through the See also:

• REED
• REED, ANDREW (1787-1862)
• REED, ISAAC (1742—1807)
• REED, JOSEPH (1741—1785)
• REED, THOMAS BRACKETT (1839—1902)

reed valves . In See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to produce the See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound, the concertina is held horizontally between the hands, the bellows being by turns compressed and expanded . The See also:

• ENGLISH

English concertina, invented and patented by See also:

• SIR

Sir See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles See also:

• WHEATSTONE, SIR CHARLES (1802–1875)

Wheatstone in 1829, the See also:

• YEAR

year of the reputed invention of the accordion (q.v.), is constructed with a See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double See also:

• ACTION

action, the same note being produced on compressing and expanding the bellows, whereas in the See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German concertina or accordion two different notes are given out . Concertinas are made in See also:

• COMPLETE

complete families—See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble, See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor, See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass and double bass, having a combined See also:

• TOTAL

total range of nearly seven octaves . The See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass is as follows: The timbre of the concertina is penetrating but soft, and capable of the most delicate gradations of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone . This quality is due to a See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law of See also:

• ACOUSTICS (from the Gr. &eobav to hear)

acoustics governing the vibration of free reeds by means of which fortes and pianos are obtained by varying the pressure of the wind, as is also the See also:

• CASE
• CASE, JOHN (d. 1600)

case with the double reed or the single or beating reed, while the pressure of the reed with the lips combined with greater pressure of wind produces the See also:

• HARMONIC

harmonic overtones which are not given out by free reeds . The English concertina possesses one peculiarity which renders it unsuitable for playing with See also:

• INSTRUMENTS

instruments tuned according to the law of equal temperament, such as the See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte, harmonium or melodion, i.e. it has enharmonic intervals between G#$ and A$$ and between Db and EI .

The German concertina is not constructed according to this See also:

• SYSTEM

system; its compass extends down to C or even Bb, but it is not provided with double action . It is possible on the English concertina to See also:

• PLAY

play diatonic and See also:

• CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic passages or arpeggios in legato or staccato See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style with rapidity, shakes single and double in thirds; it is also possible to play in parts as on the pianoforte or organ and to produce very See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich chords . Concertos were written for concertina with See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra by See also:

• MOLIQUE, WILHELM BERNHARDT (1802-1869)

Molique and Regondi, a See also:

• SONATA (From Ital. sonare, to sound)

sonata with piano by Molique, while Tschaikowsky scored in his second orchestral See also:

• SUITE (Suite de pieces; Ordre; Partita)

suite for four accordions . The aeola, constructed by the representatives of the See also:

• ORIGINAL

original See also:

• FIRM

firm of Wheatstone, is a still more artistically See also:

• DEVELOPED

developed concertina, having among other improvements See also:

• STEEL, FLORA ANNIE (1847– )

steel reeds instead of brass, which increase the purity and delicacy of the timbre . See also ACCORDION; CHENG; HARMONIUM; FREE-REED VIBRATOR . (K .