Accordion music genres


The accordion is in a wide variety of musical genres, mainly in traditional and popular music. In some regions, such as Europe and North-America it has become mainly restricted to traditional, folk and ethnic music. In other regions such as Mexico, the instrument is very popular in genres like Norteño, and in Brazil, it is a fixture in popular music styles as Sertanejo and Forró.
In art music it is used in jazz music, an important exponent having been the North American accordionist Frank Marocco and in transcriptions from the operatic and light-classical music repertoire.

Use in traditional music

After the invention of the accordion in 1829, its popularity spread throughout the world, in no small measure due to the polka craze. "Once the polka became a craze in Paris and London during the spring of 1844, it diffused rapidly to the rest of the world.... In March 1844, polka-mania took Paris: common people, servants, workers and, one assumes, anyone else who wasn't too stuffy were dancing the polka in the streets of the capital and soon in Bordeaux and other French cities as well. A week or so later it took London by storm. And from these two great centers of fashion, empire, and influence, the polka diffused rapidly upward into the rest of French and English society and outward to the rest of the world."
Except for a brief moment in time during the 1830s and 1840s when the accordion was heard by French aristocracy during Salon music concerts, the instrument has always been associated with the common people. The accordion was spread across the globe by the waves of Europeans who emigrated to various parts of the world in the late 19th century and early 20th century.
The mid-19th-century accordion became a favorite of folk musicians for several reasons: "The new instrument's popularity was a result of its unique qualities. Firstly, it was much louder than all the older folk instruments put together. It could easily be heard in even the wildest pub above the stomping of dancing feet. It was also the prototype of a 'one man band' with bass and chords on the left-hand side and buttons for the melody on the right, and you could still sing along and beat the rhythm with your feet. The instrument needed no tuning and was always ready to play, but the most ingenious thing about the early one-row squeezebox was that you couldn't play it really badly. Even if you lost the melody it still sounded fine."
Since its invention, the accordion has become popularly integrated into a lot of varying traditional music styles all over the world, ranging from the European polka and the Colombian Vallenato to Korean trot music. See the list of traditional music styles that incorporate the accordion. Although rarely seen many early bigband scores have the Piano part marked "Piano/Piano Accordion"
Sometimes, certain traditional music styles may even be tied to a certain type of accordion, like the Schrammel accordion for Schrammelmusik, the Trikitixa for Basque music, or the diatonic button accordion in Mexican conjunto and norteño music. It would be hard to name one country in which the accordion did not play a significant role in its music tradition. It has even been idealized in literature.

Use in popular music

The accordion was heard frequently in popular music beginning around 1910 until about 1960. With rise of the popularity of the guitar and rock music, the popularity of the accordion in pop music in Europe and North-America declined strongly. In some countries however, such as Brazil and Mexico, the accordion continues to be a fixture in pop music and its popularity is undiminished.
This half century is often called the "Golden Age of the Accordion." Three players, more than any others, inaugurated this era of popularity for the instrument, all Italian immigrants to the United States: Pietro Frosini, and the two brothers Count Guido Deiro and Pietro Deiro. All three players were celebrities on the Vaudeville circuits and performed throughout North America, Europe and Australia during the age of Vaudeville. They recorded hundreds of 78 RPM records for the Victor Talking Machine Company, Columbia Records, Decca Records, Edison Records and Cylinders, and other labels. Guido Deiro was the most successful and famous accordionist during the 1910s and 1920s, and lived a life filled with celebrity, luxury, fast cars, and fast women. Many popular bands, such as the Paul Whiteman Orchestra, employed staff accordionists.
After most Vaudeville theaters closed during the Great Depression, accordionists still found work during the 1930s-1950s teaching and performing for radio. Charles Magnante is considered one of the greatest American popular accordionists. At the peak of his career, he played 30 live radio broadcasts and eight studio sessions each week. Another great popular American accordionist was Dick Contino, who toured with the Horace Heidt Orchestra and was billed as the "world's greatest accordion player." He appeared on The Ed Sullivan Show a record 48 times. In addition, John Serry, Sr. achieved national recognition on tour with Shep Fields and His Rippling Rhythm jazz orchestra during the 1930s, concertized on the CBS radio and television networks in the 1940s and
1950s and appeared in the Broadway Theatre during the 1950s and 1960s.
During the 1950s through the 1980s the accordion received great exposure on television with performances by Myron Floren—the accordionist with Lawrence Welk—on the Lawrence Welk Show. However, with the advent of rock 'n roll and the generation gap in the late 1950s and early 1960s, the accordion declined in popularity, as the younger generation considered it "square"— epitomizing the light-hearted music of their parents and grandparents.
In Europe and North America, in contemporary mainstream pop music, the use of the accordion is usually considered exotic or old-fashioned. Nevertheless, some popular acts do use the instrument in their distinctive sounds, and a 2014 Los Angeles Times article reports that the instrument is growing in popularity locally.
Since the late 19th century, Tejano music has emerged as one of the leading genres for the instrument in America. Pioneers such as Narciso Martínez gave the instrument staple in the cultural music of Mexican American people. Central to the evolution of early Tejano music was the blend of traditional forms such as the Corrido and Mariachi, and Continental European styles, such as Polka, introduced by German and Czech settlers in the late 19th century. In particular, the accordion was adopted by Tejano folk musicians at the turn of the 20th century, and it became a popular instrument for amateur musicians in Texas and Northern Mexico.
The accordion has been a primary instrument in Mexican music. It is mostly associated with Norteño music, which has become one of the most popular music genres in Mexico since the 1990s, but the instrument is also featured in other genres such as Cumbia. Ramon Ayala is arguably the best-known accordion player in Mexico; nicknamed the "King of the accordion", Ayala has recorded over 113 albums since the 1960s.
In some countries, such as Brazil, the accordion is a fixture in mainstream popular music. The instrument is commonly learned by teenagers and enjoys a popularity comparable to the guitar. In some regions, the accordion surpasses the guitar in popularity among the youth. In Brazil, however, the accordion uses normally a very dry tuning, which dissociates it from the wetter sound found in European folk music.
The instrument was also used in the Disney song "Whale of a Tale" from 20,000 Leagues Under the Sea, as well as Donald Duck's song, "Quack Quack Quack". It was used in a Christmas setting for the song "Nuttin' for Christmas".
The composer Tomohito Nishiura frequently uses the accordion in the Professor Layton series of games, for example in "Laboratory" or "Don Paolo's Theme". However, when 'Live Versions' of the soundtracks are released, the accordion is occasionally replaced. Every 'theme' for a game uses the accordion in some capacity.
It is a traditional instrument in Brazilian music, specifically baião of the northeast. Luiz Gonzaga is called the king of baião.
Various folk metal and viking metal bands, such as Finsterforst, Finntroll, and Turisas that have formed in the 1990s and first decade of the 21st century feature accordions.

Use in classical music

Although the accordion is best known primarily as a folk instrument, it has been used with increasing frequency by classical composers. The earliest surviving concert piece written for the accordion is Thême varié très brillant pour accordéon methode Reisner, written in 1836 by Miss Louise Reisner of Paris, an accordionist and amateur composer.
The Russian composer Piotr Ilyitch Tchaikovsky included four optional single-action diatonic accordions in his Orchestral Suite No. 2 in C Major, op. 53, simply to add a little color to the third movement: Scherzo burlesque.
The Italian composer Umberto Giordano included the single-action diatonic accordion in his opera Fedora. The accordionist appears on-stage—along with a folk-trio consisting of a piccolo player and triangle player—three times in the third act, to accompany a short and simple song which is sung by a little Savoyard.
In 1915, the American composer Charles Ives included a chorus of diatonic accordions was Paul Hindemith. In 1921 he included the harmonium in Kammermusik No. 1, a chamber work in four movements for twelve players, but later rewrote the harmonium part for accordion. Other German composers also wrote for the accordion.
In 1922, Austrian composer Alban Berg included a short on-stage accordion part in his landmark opera Wozzeck, Op. 7. The instrument—marked Ziehharmonika bzw. Akkordeon in the score appears only during the tavern garden scene, along with an on-stage ensemble consisting of two fiddles, one clarinet in C, one guitar and one bombardon in F, to lend a touch of authenticity to the deutsche Biergarten setting.
Notable composers who wrote for the accordion during the first half of the 20th century were:
In 1937 the first accordion concerto was written and played in Russia.
Pauline Oliveros brought the accordion into the American experimental tradition.

Free-bass accordion in classical music

Despite efforts by accordion performers and organizations to present the accordion as a serious instrument to the classical music world, the much-coveted breakthrough into the mainstream of serious musical circles did not take place until after leading accordionists more or less abandoned the stradella-bass accordion and embraced the free-bass accordion. Composers found the free-bass accordion much more attractive and easier to write for as it liberated the instrument from a limited range of bass notes and the pre-set chord buttons.
Despite being invented as early as 1912, the instrument did not really become popular until the mid-20th century, when it was "discovered" by classical accordionists. The Danish accordionist Mogens Ellegaard, regarded by many as the father of the avant-garde accordion movement, described his introduction to the new accordion:
He said they heard shows with "Frosini, Deiro repertoire or folkloristic music." However, he found it was not possible to get a good education on accordion, as accordionists were not accepted at najor music schools. The best soloists could hope for was playing at nightclubs on weekends.
Ellegaard continued,
Composer Ole Schmidt liked the instrument and in 1958 he composed a Symphonic Fantasy and Allegro, op. 20 for accordion and orchestra." Citation needed|date=June 2008Citation needed|date=September 2008