Thanks to Lester Bailey for the google docs templates (click here for more).
Chromatic accordion method for c system free#
I’ve paired it with a fifteen free bass Hayden-Wikki system, just as an example, although I’ve got other ideas about what would be the best bass layout for it. I leave it to the interested reader to work through the patterns. In reality though, it is an ‘outside in’ system (starting on the outside row and switching in), whereas Jon’s version is an ‘inside out’ system. My original idea when designing it was to make it easier for a quint player to pick up, as some of the note relationships are the same. Mine is the equivalent of an A/D/G, as A, D and G are on a single diagonal in the same direction. He has paired it with 24 melodeon basses, without thirds.īelow is my interpretation of his idea. Jon, in his original idea, envisaged a two row instrument, with each row separated by a semitone. If you want, you can think of this as the equivalent in the whole tone scale of a D/D# melodeon, as the relationship between D and D# on the principal octave is the same as on that (rare but interesting) system.
This means no range limitation bar that imposed by the reeds themselves. A whole tone instrument does not suffer from this problem however, as both the push and pull sequence would repeat on the fourth button. Of course, if you have a standard two row diatonic accordion then the fingering on a particular direction is constant across octaves, since the relationship between rows is the same. It also limits the range of the instrument, since there are only really two and a bit usable octaves before the offset becomes awkward. This means that the fingering on each octave gets progressively different, which catches the beginner out very easily. On the standard diatonic accordion, the push sequence along a row repeats on every fourth button, but the pull sequence repeats on every fifth buttons. The second is that because it has six notes to the octave rather than seven, the fingering remains constant across octaves. The first is that with more than one row, a bisonoric layout based on the whole tone scale would have every note of the chromatic scale, more than most diatonic accordions. There are several advantages to this approach. The Loomes layout is an attempt to fit the whole tone scale into a bisonoric instrument.
Regular readers may recall that the Hayden-Wikki Layout that I have on my Impiliput is based on the whole tone scale, as is the Janko Layout, which I have talked about before.
This means that rather than being based around the diatonic scale (which has seven notes to the octave), it is based around the whole tone scale, which has six notes to the octave. The Loomes Chromatic, invented by the noted folk musician and melodeon expert Jon Loomes, is a hexatonic accordion. There haven’t been any such accordions built, but the subject of this blog post is one possible idea. This I defined as an accordion which uses buttons, having different notes on push and pull and based around a chromatic scale. Regular readers may remember that I wrote a little-understood post on classifying accordions a little while ago and mentioned in that post the possibility of Chromatic, Bisonoric, Button Accordions. My last blog post of 2012 is on an interesting idea. If you aren’t at all interested in melodeon fingering layouts then look away now.
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