FREE-REED JOURNAL

Vol. 2, 2000, pp 5-18

Buttons and Codes

Idéographies for Bandoneon and Concertina as Examples of
Alternative Notational Systems in Nineteenth-Century Germany1

MARIA DUNKEL

The nineteenth century witnessed the democratization of the arts in Germany.

For instance, the visual arts experienced both a growth in the number of public
museums and galleries and the dissemination of artworks in affordable repro-
ductions, which allowed ownership of artifacts across social boundaries. In in-
strumentai music, the growth of inexpensive techniques of music printing
permitted easier public access to music, as did the advent of more efficient me-
chanical musical instruments. Moreover, the spread of instrumental music
was further stimulated by those instruments that allowed an amateur-without
either formal education in music theory or a teacher-to learn pieces of his or
her choice fairly quickly. And perhaps chief among these instruments were the
various free reeds: aeoline, accordion, bandoneon, concertina, and harmonica,
which, beginning in the mid-1830s (and like Italian plaster statues and French
prints), found their way to the most remote comers of Europe and the Ameri-
cas. Indeed, with the founding of the Reich in 1871 and the rise of large, inter-
nationally active mail-order companies, the acquisition of art depended only
on the purchasing power of the individual, not on one’s distance from the pro-
ducer or expert knowledge about the availability of goods.
“Mein Feld-die Welt” (“My Field-the World”) became the implicit ad-
vertising slogan of German free-reed manufacturers, whose product had the
highest export-to-production ratio (about 80%) of all German instrument man-
ufacturers. And if, in terms of net revenue, the production of free-reed instru-
ments lagged behind that of pianoforte construction (to which it stood in

'This article is a revised version of one that originally appeared as “Knöpfe und Codes: Alterna-
tive Notationen im 19. Jahrhundert am Beispiel der Kurzschriften für Bandonion und
Konzertina,” in Musik als Text: Bericht über den Internationalen Kongress der Gesellschaft
für Musikforschung in Freiburg/Breisgau 1993, ii, ed. Hermann Danuser and Tobias Plebuch
(Kassel: Bärenreiter, 1998), 98-102. We reproduce it here in translation with the kind permis-
sión of Bärenreiter-Verlag, Kassel.

5
 Tabelle aller Töne des 88, 100 und 130-tönigen Bandonions.
Linke Hand.

Bemerkung. Die ümüidlen hier angegebenen

Töne bildai den Umfang einea 110-mgc,n
Bandonions. Bin 88-&önipa Bancloaion wnfuat
nur die in 2 Ringeu e~assten Ttine, ein 100

Fig. 1. Layout ofbuttons on 88-, 100-, and 130-note bandoneons.

The legend reads: "Observation. The collection ofnotes shown here illustrates the range of the 130-note bandoneon. An 88-note
bandoneon consists only of the notes in two-ring cirnles, the 100-note [bandoneon] of the notes in two- and three-ring circles.
Those 130-note bandoneons on which there is no 5/0 on the left side, play No. 17, the same note."
N.B.: Each circle represents a button, within which its two pitches are indicated. Notes beneath the sign /\ sound when the bellows
are compressed, those beneath u, when the bellows are expanded. Same 130-note instruments have the number 17 on the left side
instead of 5/0.
 BUTTONS AND CODES 7

second place), it far outdistanced any other musical instrument in terms of

units sold. In fact, between six hundred thousand and one million accordions,
bandoneons, and concertinas were exported annually, and these in addition to
an immense number of harmonicas (mouth organs).2
Some nineteenth-century free-reed instruments with two separate key-
boards have their buttons arranged on two lateral manuals (right and left
hands) in mosaics of staggered rows. Characteristic of both the German con-
certina and the bandoneon-that is, of the type of instrument on which individ-
ual buttons do not sound whole chords-is the zoned arrangement of the
manuals: there is an ergonomic center, readily under hand, of the most fre-
quently used notes, around which are grouped those buttons that produce less
frequently used sonorities (see Figure 1, p. 6).
There is a ready analogy in the old manual typewriter: here the
forty-eight round keys (forty-five on American models) are organized in four
staggered rows of twelve keys each, with most keys setting into motion a lever
with two letters or type-faces (upper and lower cases) on it. Each key also has
its respective functions designated on it, though these visual enhancements are
rarely needed by the professional typist. In the early stages of typewriter man-
ufacture, keys were arranged in a linear, alphabetical order, creating a key-
board somewhat analogous in concept to that of the piano. Soon, however, it
became clear that this arrangement was not very satisfactory, either in terms of
ergonomics or in terms of productivity, just as an ergonomic analysis of the pi-
ano keyboard-taking into account such factors as the relationship between
movement, consumption of energy, and player fatigue and discomfort-indi-
cates that the arrangement of the keys in two long rows makes playing the in-
strument more difficult than easy. Indeed, if one looks at musical instruments
in terms of a person-and-machine system, the arrangement of the bandoneon
and concertina keyboards emerge as the best solution by far.
For free-reed instruments with reciprocal wind-feeding (sound produced
regardless of the direction of the bellows), the most rational method of accom-
modating many tones in a limited keyboard space is by means of “bi-sonority,”
that is, where one key produces two different pitches, one sounding upon com-
pressing the bellows, the other upon expanding them. On the manuals of the

2One should bear in mind that most of the instruments were small: 10-22 keys, as is shown in
the illustrated catalogues of Hamilton S. Gordon, importer of musical instruments in New
York, and Joseph Wallis & Sons, wholesale importers and shippers of all kinds of musical in-
struments in London. The estimate of 600,000-1,000,000 exports was extrapolated from the
weight of the shipping crates as measured in Doppelzenter {100 kilos). See, for example, the
information on foreign trade for 1904 reported in Maria Dunkel, Akkordeon, Bandoneon,
Konzertina im Kontext der Harmonikainstrumente. Texte zur Geschichte und Gegenwart des
Akkordeons 6 (Bochum: Augemus, 1999), 24.
8 FREE-REED JOURNAL. Vol. 2

bi-sonor (or alternating-tone) concertinas and bandoneons, a “code”consisting

of numbers and symbols identifies the buttons. And if the use of the instrument
is to be described graphically, these numbers and symbols, along with two
symbols for pulling out and pressing in the bellows and another for the activa-
tion of a breather key to control the amount of air in the bellows are all that is
needed. On the other hand, the code does not determine which finger should
press which key and for how long (rhythm), and it fails to specify either the
length or the intensity of the bellows movement (dynamics) or the manner of
articulation. Moreover, the code says nothing about the tonality of the instru-
ment. Thus while the relationships between pitches on a given button and be-
tween buttons will be the same for an instrument tuned in F as they are for one
tuned in A, the buttons will produce different pitches and octave transpositions
when the same keys are played on both instruments.
Given these circumstances, I would define the code as an instru-
ment-specifíc or instrument-idiomatic system of notation, and in a narrower
sense as being ideographic. As such, it differs from those tablatures that graph-
ically denote the finger placement of the player’s hands (tablatures for lute or
guitar, for example), as it does from a notation such as that for figured bass,
which allows one to visualize the musical structure. And though such tabla-
tures and other note-writing systems beyond the traditional five-line system
have been developed for or adapted to instruments of the free-reed family, I
will not take them up here, and instead will limit my discussion to the concer-
tina-bandoneon complex and the notational systems used for them.
At its most basic level, the code specifies only the succession of the keys
to be pressed and the direction of the bellows movement: in effect, the pitches
only. Duration, rests, and all other parameters of the music remain uncodified.
Thus as it stands in relation to the piece, the notational system does not provide
a hard and fast indication of how the music sounds, while in relation to the per-

t / / A.

(b) 32s jr tf ¿ r
У
' * r'*? y f/ У. J'гг
-, f ť*rŕ \
— ~ >+ /¿Ĺ
7 ? r
; ?
Fig 2. (a) Excerpt from Waltz No. 2 from the Notenbuch für Paul Simon
Gottsmannsgrün\ (b) excerpt from a Polka, Leipzig, c. 1880 (after August Roth,
Geschichte der Harmonika Volksinstrumente [Essen: Assindia, 1954], 69).
 BUTTONS AND CODES 9

former, the code allows great latitude in matters of interpretation. As a matter

of fact, the code does not permit the uninitiated reader to decipher the music at
all.
For example, given the excerpt from the autograph Notenbuch fiir Paul
Simon in Gottsmannsgriind,3 (see Figure 2a, p. 8), or a piece in the so-called
“clothesline” system from the Leipzig publisher Clemens Reinsch (see Figure
2b, p. 8), one cannot decipher a melody line from the “en-code-ing” itself.
Yet already in the early stages of the development of bi-sonor button in-
struments, there are extant tutors with titles affirming that one can learn to play
the instrument without prior musical literacy. This clear reassurance must cer-
tainly have promoted sales, for while we can assume that a significant portion
of the German population was in a financial position to acquire an instrument,
surely many of the prospective buyers were not capable of reading music. And
among prospective buyers on an international scale, who were now being sup-
plied with hundreds of thousands of such instruments annually (see above), the
rate of musical literacy must no doubt have been even lower. For this reason,
then, the manufacturers and exporters generally included a self-instruction
manual with every instrument; and the interested players could learn how to
handle the instrument from the self-explanatory diagrams and codes, even if
they could not negotiate the accompanying text. Those who could already read
music could choose to do so, while others no doubt familiarized themselves
with the instrument empirically: they improvised, played “by ear,” or took ad-
vantage of the self-instruction tutor.
For nineteenth-century Europe, learning sine magistro constituted a di-
dactic category, one that, particularly in Germany, contributed to the democra-
tization of the arts. Already in the early part of the century, Gottfried Weber’s
self-tutors on music theory provide evidence of consumer demand.4 And in
the realm of instrumental practice, the self-instruction manuals for bi-sonor
button instruments may well have been the first printed documents designed
explicitly for use “without a teacher.” Thus of the twenty-five bandoneon tu-
tors published in 1914, twelve mention self-instruction in their titles, while ten
indicate that the ability to read music is not necessary in order to play the mu-
sic.

3Compiled circa 1910, this is a collection of twenty-six pieces, mainly dances, for the private use
of the 88-note concertina player Paul Simon, who resided in the Gottsmannsgriin/ Bayreuth dis-
trict of Upper Franconia.
4See, for example, his Allgemeine Musiklehre zum Selbstunterricht fúr Lehre und Lernende
(Darmstadt: Leske, 1822), which points out its self-instructive nature-“zum
Selbstunterrichť’-right in its title.
10 FREE-REED JOURNAL. Vol. 2

We can see the tendency in Otto Luther’s Bandonion Schule. . .(zum

Selbstunterricht)/Self-Instructorfor Bandonion, published by Julius Heinrich
Zimmermann in many editions starting in 1890 (see Figure 3):

Bandonion Schule 64,88,100 und 130 tömg

( zum öelbstunîerrichî )
щ _A_
'ГР*:?
W,
Self-Instructor
и
шк for Bandonion.
Ip----
O

Mit
■· leichten und hübschen Uebungs*

-'V und Unterhaltungsstücken

von

Ottolpither k.
MrMrtlMitrtflrHtrl Preis 2M.netto gebunden.

Jul. Heinr. Zimmermann

LEIPZIG.

Fig. 3. Title page of Otto Luther’s Bandonion Schule 64, 88, 100 und 130 tönig (zum
Selbstunterricht)/Self-Instructor for Bandonion (Leipzig: Julius Heinrich Zimmer-
mann, 1890).5

Here the introduction states: “It is not necessary that the beginner spend
hours of effort studying the letters c, d, e, f, g, a, h [= b b ], c-the so-called
scale—in order to know them by heart; for the buttons of the bandoneon are
numbered, and therefore it is only necessary for the pupil to press the numbers
or buttons that appear before or over the respective notes.”6

5He should not be confused with Carl Friedrich Zimmermann, about whom, see below.
6“Es ist unnötig, dass sich der Anfänger mit den Buchstaben c, d, e, f, g, a, h, c, den sogennanten
Tonleitern, stundenlang abmüht, dieselben auswendig zu lernen; denn die Tasten des
Bandonions sind nummeriert, und es hat daher der Lemende nur nötig, die Tasten oder die
Nummern, welche den betreffenden Noten vor- oder Übergesetz sind, auf dem Instrument zu
greifen” (p. 3).
 BUTTONS AND CODES 11

Parallel to the pressing of the buttons there is the individual process of

learning pieces of music by means of the code. If the player already has an idea
of how the piece should sound, that is, has already heard and internally “mem-
őrized” the piece, he or she can use this knowledge to reinforce the information
provided by the code. (Certainly, learning a piece that one has not previously
heard is more complicated.) Yet the rich new literature of pieces for the
bandoneon and concertina that emanated from and spread among those who
played the instruments and that were notated in code is an indication of just
how effectively the code was put to use at the time.
I would like to mention, in this connection, an example that can shed light
on the freedom that the code allowed when used to leam a piece. In the course
of my work on the bandoneon in Uruguay, I was able to trace back a polca,
transcribed as a traditional piece of Gaucho music by Louis Alba in 1907, to a
favorite piece from the repertoire of earlier free-reed tutors.7 Although the mu-
sical framework is by and large the same, the identification was not at all ap-
parent at first, since local musical styles, along with those of individual
performers, had caused the piece to be transformed along Gaucho-like lines.
Ultimately, the written, fixed, outlines of the code must be regarded as an open
category, the text of which does not so much transmit a closed musical work as
it encourages impulses that re-create the piece according to local and individ-
ual preferences. In fact, we might say that the more general the code’s pre-
scriptions, the more latitude the performer has and the more he or she must
necessarily fill in.
During the first fifty years of music publishing for bi-sonor button instru-
ments-that is, 1835-1885-editions in conventional notation, ideography, and
mixtures of the two existed side by side. But with the rapid growth in both the
instruments’ popularity during the years of German industrial expansion and
the formation of bandoneon and concertina societies, ideographic notation be-
came the most prevalent type in Germany, surely because players found it eas-
ier to deal with in a group setting (though ironically, ensemble-playing
significantly curtails the freedom of individual musical expression that the
code promoted in the first place).
Yet for group or ensemble playing of the sort practiced in the amateur
Verein, a notational system clear to all players was needed. Thus various
“aids” were added to the code. At first, the rhythmic notation was made more
precise, with rests and durational values of conventional notation (see Figure
4, p. 10), to which were later added tempo indications and repeat signs.

7See my record notes for Bandoneon pure. Traditional Music of the World 5. International In-
stitute for Traditional Music, René Marino Rivera, bandoneon (Washington, D.C.: Smithso-
nian Folkways, 1993), 35-37.
12 FREE-REED JOURNAL. Vol. 2

N9159. Aus Cavallerie Rusticana.

3, * л. j 7 j Sл 7 s
FT Г r~fr r, L_r t-r T—
S' S- sf
z 9, f J * У

f л ν' ¿V ^
j 7* * 2 ý л ?? γ j S’ j. s * 2 s л S f-

í í i S' г

Fig. 4. An excerpt from Clemens Reinsch’s arrangement of the Intermezzo from

Pietro Mascagni’s Cavalleria rusticana (Leipzig: Clemens Reinsch, c. 1910), sheet
music ed. 159.

Eventually the rhythmic values were set onto the five-line staff, at first on
one line or in one space only (see Figure 5a), but later in their conventional
scale positions, in other words, as a full-fledged melody (see Figure 5b). Espe-

11% .îbW/BQ
'CtU&VT- Jíavjd.jL&à.
=гг===г==;
£ 6
_
% ι 6 ШШШ
J7%
¿¿2 «У- 1
<у 'A С 5'о f пн
ъ . ь5 L / / M’ У lìg■/Sı
İğBtTggBİ
£ ·|
ШШШВ à İ ΐσ73 У76 иг7» У ίο

Sfr* £ ff fr o
ţi ê ь г- ¿ ¿ţ f

} гг \«,гг

ujjadatig
Frv ľF»U шмат
Fig. 5. (a) Opening of the Küfftiäuser Marsch, arranged for 76-note concertina; (b)
opening of the waltz Jugendträumen (both lacking information about arrangers, pub-
Ushers, and places and dates of publication).
 BUTTONS AND CODES 13
daily favored were Italian abbreviations such as mfandff, as well as such indi-
cations as Da capo, Allegro moderato, and legato slurs and other articulation
marks, all used to give the impression of musical professionalism. Ironically,
though, as the code became ever more precise, it robbed performers of the op-
portunity to offer their own interpretations of the music.
I have, in this paper, tried to set forth six theses about “buttons and
codes”:
(1) By virtue of their “claves signatae” (signified keys), both the
bandoneon and the concertina lend themselves to alternative notations for
autodidactic purposes. These notations and their autodidactic methods tran-
scend educational privilege and thus democratize access to music. Likewise,
various types of bandoneons and concertinas comprise a pluralistic group of
instruments that largely escaped standardization.
(2) The code is an open category. It can be judged favorably in so far as
it permits a subjective interpretation of the music. It allows multiple readings
and interpretations of its text, and favors creative expression through impulses
that are independent of formal education, culture, and region.
(3) As elements from standard musical notation encroach upon the code
in order to render it more precise, they inhibit the free flow of regional styles
and traditions and individual and collective tastes into the performance.
(4) The metamorphosis of the code into rigid, prescriptive notation led
to the domestication of concertina and bandoneon players. Under the cultural
control of the ruling music-business interests and because of negative opinions
about the instruments among the musically erudite, the twentieth century has
seen bi-sonor button instruments relegated to a social standing far different
than that originally imagined by their nineteenth-century manufacturers, mu-
sic editors, and performers.
(5) As long as detailed precision and clarity remain the privileged ideal
for musical notation, alternative notations such as ideography must take sec-
ond place. Furthermore, music written in conventional notation reinforces
clichés and subjugates music so written to judgments made on the basis of no-
tation, rather than on the merits of the music itself.
(6) The fiction of a clearly superior notation must cave in upon itself.
The conventional system is really only hardier, more persistent than other no-
tations, in that it better suits our standardizing culture.
I would like to conclude with a short citation. It comes from the end of
the nineteenth century, from a time when concertina and bandoneon players
still had an unshakable sense of faith in their own musical self-worth, in their
playing, their instruments, their repertoire, and their “buttons-and-codes” no-
tation. It appeared in the Allgemeine Concertina- und Bandonion-Zeitung, a
leading source of information for those interested in the instruments: “Our in-
14 FREE-REED JOURNAL. Vol. 2

struments are not only at the pinnacle of their development with respect to their
technical aspects, [but] they will have a great future. We also believe that the
one-line system of [bandoneon and concertina] notation is without a doubt the
best and simplest.”8

Translated by Susan Jackson

8Allgemeine Concertina- und Bandonion-Zeitung. Organ zur Vertretung der Interessen der
chromatischen Harmonika (Leipzig: Bauerfeld, 1896), 43: “Unsere Instrumente stehen nicht
nur in technischer Hinsicht auf der Höhe der Zeit und werden eine grosse Zukunft haben. Auch
das Einliniensystem der Harmonikanoten halten wir unstreitig für das Beste und Einfachste.”
 BUTTONS AND CODES 15
Appendix

As an appendix, I offer two further examples of the code. The first con-
tains a Schottisch by Andreas Hader (Fig. 6a) that, as the note at the bottom of
the tablature indicates, dates from 1921. It is followed by a transcription into
conventional notation (Fig. 6b).

(a)
ÿj&sëUé dtontâdĂ* lèf'Mttém

f-—» „ J J fi ...

ť·v

* m*

í Piýž- \£Âc£'l**~ı i?* *h* I I

*è tø /i. Í r i% r # 4 Jţt\
n Ý
. ýt—*■**■■" - -< ¿ «//
|7 T*7}~ ofw о/t» üfátúfóъ 2. f*
f 'V
Fig. 6. (a) Andreas Hader, Schottisch, notated in code; (b) transcription
after Fritz Pastyrik, Konzertina Schule, 2nd ed. (Pegnitz: Verlag
Fritz Pastyrik, 1987), 81-82.
16 FREE-REED JOURNAL. Vol. 2

(b) Schottisch

íffifi!

=1=

İaiiÜ

ľ?tíL$fo/o : f r t
^ H ^

3 X <
JT эГ rr lp

C Г—fco Tg
 BUTTONS AND CODES 17

The second contains a Mazurka (probably an autograph) by Friedrich

Gessner (Fig. 7), and shows that the code made its way to North America. The
piece is notated in a code that was patented-at Philadelphia in 1871 (Fig. 8)-by
Carl Friedrich Zimmerman, who had emigrated to the United States in 1864.9

% fŕjp ,v/iÿ4T^|i fύφ i

Щ tty 1Í ţf
rži|i Yty -ridili iţi i
М—-М—4-4-1'· I 1 í I I 14 14-

Fig. 7. Friedrich Gessner, Mazurka.

9I саше across the piece quite accidentally at the Center for the Study of Free-Reed Instruments
Conference, Tango, Bandoneon, Piazzolla, held at the Graduatet Center, The City University of
New York, 7th-13th March 2000. There Mr. Roderigo Shopis displayed a nineteenth-century
Carlsfelder concertina in its original case, at the bottom of which was a copy of Gessner’s piece.
My thanks to Mr. Shopis for permitting us to reproduce it.
18 FREE-REED JOURNAL. Vol. 2

täuitfii States liaient «Mire.

OARL FRIEDRICH ZIUIIEKUANK. OV l'lllLADELPDIA, PENNSYLVANIA.

A rita *1 M| roacer«/
■ u Um íl* I, C*ti. ťMtiiticu Zimu.
Latter· Falait Mé. IIİ.T1». 4ıte4 lunvj III7L x.oíikadly aad ooaaty of ГЫЫс*рЫа »·* **»«
VruMjkaaéa. bin btvenud » ae« ár-«* aí
latnettel U AecanİM— ; mJ itte bcvrkyd*·
IMPROVEMENT IN MUSICAL NOTATIONS FOR ACCORDIONS. l tkat Urt fcitewtefte »Μ,βτίΓ,Μΐηχ« de-
atea aí Iba мм, *fcrcaca krta« bad ta tl»
a|Mfk| dn«ky mJUUm Velieri .«í ivtetwe
tel ikirat
y tereal tea catibu a a «yuta «Í kara and ·;
i «Ыск сам Va idayrd te Ikr мас 1мм j· utar» :
ate· ui a utrt Iu al «bereUy Uk mİ »><deu» ul
i at muí Ацалея ела к> applied la Ih« «anua·
•u Mitalna«.
■ ettim» ta lha леопард«) ing drawing tanking
aí Ikte »fuxlácmltau—
iRM re 1 i atlkal ca lka «alitai ai Ike Ulte«» ui lbe
ала aad Kreoc« accorde·«»-,
Inra S «Мига lka lom mì n-*· te Uter rari-
Svfateaa ai iUm; aad
Iforc S npranu lka kty koni м ж Jtewlee«.
»bo«· ikc attakod wWer»by Iba tyMr« ai bu«·
•piu ca« ba applied U> ali kitate ui Iterala ас·
(ΜΑ
r mr mre «псам Um key« ai м komlcM are
befed aa abo«· al Ag. X Tka key· prodan t··
real aale«, oa« bi draolaţ, aad oo« to prroiaţ.
ro I« dr»· aad «bea to pw te abowa ia tg. 1.
di»,oua Ut·««· tU ab aad tea.« é jure» aad
~s У-'~ '^/7 kau ia eil taf a Uatj Пае, A, ar tao paraiWl
, tt. Tbay indicale iba atta tea ,4 ite UMo«»,
te. «briber lo «bá« or prca«. Tka heavy Мае Λ
rate» lo |«eta Iba dermaи antartico*. and IU par-
*/*/· e.»·»'·.· *· Haca U lo draw tU tante. la Ilia French ас·
*r »«»(·.'· . rva lb« bravy Мас Λ tedicitaa lo Jraa aad the
Ild teκ·» U lo prca·. TU atta tea ui Um air ur
r and Им loia remain· Invariably the ta·»«.
- / '//47'V. . fľv. . v /O’// Uti« ae«-Као ауаЬ-ац tba d urattea mí aaund and
I tbc real«, I». Sg- 2, елек оос, prectarly apto lbe
telte «mc, ia indicated by aa axata diviata« oi lbe
----------- _ ГаЫ
> areno*pltab Ikte, ct«ry уме» vi Mitaic te diridről
ariy aa pta»ildn tato «qual I*»· r y. <UД by
у vrrticai Usra ta кае«, a, aad aubdividrd by Ughi
:* i ρ·.~~· ~τ - ^----------ţ — , i, ir quarter Нам; ter iaaUncv, a «lode ntae
—ĺ _ *!: . 75__ !.._ in-а teor «fiam,/у å к; otte-tedi autu taquine»
tpan, i » ; otte quarter ntae require» unr quo ,
ucei|hlb uta# require· uar-huif ,|urt ·,· ud
tiaierttlb itta« icq и urr« ooc-quamr »pue, p; to
,α Itati litiu· ui Uğurca ter ataca Ila ligure· ivr·
tud «Kb Ib« key« oí ík« accorde.-., »hkh arc
—1- Ured, and ateo «ilk Им otaca in lho moaie; ter
ner, ta tb« qaarter ataca Ugura 6 carrcapond«
• ta ike quarter Iba«, «bk d, «İlk r, aod again
/ff: íe relai tea «i Um German accordeon to oty »ya-

(rŞHrfTL febånVw-i
. r’,Ai . "i. jí Kaea aod fl умrca te a at tiler Ы paraaaoaat la»
tace, I ntt aut «itk regard lo tita Kreuch acok.I con
ilina, all tbc vartelte» ni «bieb ar« teu «Jed «ni

Um j * «- y j *< · · j'* Ч- ’i* ·ƒ .^n« · I γ Tf^jat »l|

etate itanopir, and atvanjed awarding to oue
lb« vuw arab». Il i» <u*ly апашу I let шла atan-
«ivn, .d accurttew··* tleti Iber« arc three «USčreal

§ãÉ£ m
l »Siat
•rdrmMthai -tuch la «tartedI «ilk
» acate aad ма m bered une.) To
to tba actuad kiad ai accordeon,
r. ¿ J cd «bh tbc Ibini nota bt iu acate
arbetad «teeJ U «M ba aeeanaary
í 1 3 4 5 6 7 8 9 10 r ta« ai tkc »appiètarata! dra*-
neatal v te» Na. 1 «i lka acton»·
ev«r Ib· kay« af tkc actor*—
Γ0Ώ(0ΟΟ0>0>00)?)1 ebig O oí tba ro« •var
ovor I oi
t lka

tarralioa, aad devire tu

Ί R=) Θ Ο 0Γ.) СО θ (·) Q θ I nat«.-ni ataatioa, eitaatettag oi

Ig. 1, and adaptable to either
ndaana, aa akuwa aad deoenked.
I 0 Q θ θ θ Q ø> Θ 0ΘΙ h Ikr aku«u «ur, lka «имота
ас-ataík« r y, íy. t kutwren
r« ыч bulicai ni, auİMtaatiaNy

« W*fr*rjítie*d tí I Wnruutu «iga «ty «.««»· ta

-»ruce «d t*·# nakacrildng rb-
'ЦШ& Ai/ &Μ·*·*·* Aí fii/Áf**·· f *
' X I »MUI I ZI MM KUM ANN.

Fig. 8. Carl Friedrich Zimmerman, Patent 110,719, 3 January 1871, United States
Patent Office.
Dunkel, Maria, "Buttons and codes: Ideographies for bandoneon and concertina as examples of
alternative notational systems in nineteenth-century Germany", The free-reed journal: A publication
by the Center for the Study of Free-Reed Instruments, the Graduate Center, the City University of New
York 2 (Hillsdale, NY: 2000), 5-18.

Copyright © 2000 by Pendragon Press. All rights reserved. Content compilation copyright © 2019
by Répertoire International de Littérature Musicale (RILM). All rights reserved.

RILM Abstracts of Music Literature with Full Text contains electronic versions of previously
published journals reproduced with permission. The RILM collection is owned and managed by
Répertoire International de Littérature Musicale (RILM), 365 Fifth Avenue, New York NY 10016,
USA.

As a RILM user, you may print, download, or send articles for individual use as authorized under
the terms and conditions of this site, as well as under fair use as defined by U.S. and international
copyright law. No content may be otherwise copied or posted without the copyright holders’
express written permission.

To view the entire list of journals included within the RILM Abstracts of Music Literature with Full
Text collection, please visit http://rilm.org/fulltext/.