Free-bass system

Main article: Accordion

A free-bass system is a system of bass buttons on an accordion, arranged to give
the performer greater access to playing melodies on the left-hand manual of the
instrument and to forming one's own chords, by providing a buttonboard of
single-note buttons with a range of three octaves or more, in contrast to the
standard Stradella bass system which only allows bass notes (range of a major
seventh) and preset major, minor, dominant seventh, and diminished chords.
The term "free-bass system" refers to various left-hand manual systems that
provide this functionality:[1]

Three chromatic free-bass systems compared

Two related layouts exist as mirror versions of the chromatic button accordion, these
were marketed in the US by the Giulietti company as "bassetti".[2]
The "quint" free-bass system invented by Bill Palmer - later patented by Titano,
has extra bass rows to extend the existing bass arrangement of the stradella
system.[3]
The quint version and chromatic button versions were available in "converter"
(or "transformer") models with a control to switch from standard stradella to
free-bass.[4]
A piano-like layout exists that mirrors the right-hand keyboard of a piano
accordion, with round buttons laid out like piano keys. This system is popular in
Asian piano accordions, especially in Azeri garmon.
Other less popular arrangements also exist, including the Moschino and the
Kuehl.

Contents
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1History

1.1Popularizing the free-bass accordion

2Notes

3References

History[edit]
By the year 1900, the Stradella bass system had principally reached its current
construction with 120 buttons over 6 rows. However, while that setup worked
well for major and minor music accompanied by many chords, the performer
would only have access to about a single octave of notes while playing - two
with a timely shift of registers. The problem was solved in the early 1900s by
adding three rows of chromatically ordered single notes next to the standard bass.
[5] In 1900 in Moscow Russian master Bakanov made a garmon with piano
keyboards for both right and left hands. From 1906 the brothers Kiselevs'
factory in Tula began to produce bayans with the three-row free-bass left
keyboard.[6]

Popularizing the free-bass accordion[edit]

The Hohner company decided to enlarge the market for accordions[notes 1] by
turning the instrument from its traditional music roots into an established
instrument for orchestras.[7] An orchestra was put together, touring Germany to
introduce the new concept. The company also supplied sheet music for this new
type of accordion.[7] Although these were reportedly popular, it wasn't until later
when the instrument became more widespread.
In North Europe, free-bass accordionist Mogens Ellegaard helped popularize the
instrument and inspire compositions for it.[notes 2] In an interview he describes
how the free-bass accordion was still practically non-existent in his childhood
(born 1935), but how composers in his native Denmark began to write works for
him since 1958.[8] In 1968 he arranged the manufacture of accordions with
nothing but free-bass layouts to accommodate newcomers, as free-bass
accordions would otherwise always include standard bass.
In some Russian, Canadian and European music conservatories, free bass
accordion is considered a serious instrument for study and there is now a large
modern repertoire for it. In the United States, free bass instruments are much
less well known despite attempts to popularize them by Palmer and Hughes
and the Giulietti Accordion Company in the 1960s and 1970s. During this period
several American accordionists demonstrated the unique orchestral sound of
the instrument through live performances as well as by composing original
works which featured the instrument. Included among this group was John Serry,
Sr. whose Concerto For Free Bass Accordion was completed during the 1960s.
[9] (See Accordion music genres)