A.12.7 Accordion registers

\discant name (string) ¶

Generate a discant accordion register symbol for name.

To make it available,

#(use-modules (lily accreg))

is required near the top of your input file.

The register names in the default \discant register set have been modeled after the numeric Swiss notation (as depicted in http://de.wikipedia.org/wiki/Register_%28Akkordeon%29), omitting the slashes and dropping leading zeros.

The string name is basically a three-digit number with the lowest digit specifying the number of 16’ reeds, the tens the number of 8’ reeds, and the hundreds specifying the number of 4’ reeds. Without modification, the specified number of reeds in 8’ is centered in the symbol. Newer instruments may have registrations where 8’ can be used either within or without a tone chamber, ‘cassotto’. Notationally, the central dot then indicates use of cassotto. One can suffix the tens’ digits ‘1’ and ‘2’ with ‘+’ or ‘-’ to indicate clustering the dots at the right or left, respectively, rather than centered.

Some examples are

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\freeBass name (string) ¶

Generate a free bass/converter accordion register symbol for the usual two-reed layout as given by name.

To make it available,

#(use-modules (lily accreg))

is required near the top of your input file.

Available registrations are

Used properties:

• font-size (0)

\stdBass name (string) ¶

Generate a standard bass accordion register symbol for name.

To make it available,

#(use-modules (lily accreg))

is required near the top of your input file.

The default bass register definitions have been modeled after the article http://www.accordions.com/index/art/stradella.shtml originally appearing in Accord Magazine.

The underlying register model is

This kind of overlapping arrangement is common for Italian instruments though the exact location of the octave breaks differ.

When not composing for a particular target instrument, using the five-reed definitions makes more sense than using a four-reed layout: in that manner, the ‘Master’ register is unambiguous. This is rather the rule in literature bothering about bass registrations at all.

Available registrations are

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\stdBassIV name (string) ¶

Generate a standard bass accordion register symbol for name.

To make it available,

#(use-modules (lily accreg))

is required near the top of your input file.

The main use is for four-reed standard bass instruments with reedbank layout

Notable instruments are Morino models with MIII (the others are five-reed instead) and the Atlantic IV. Most of those models have three register switches. Some newer Morinos with MIII might have five or even seven.

The prevalent three-register layout uses the middle three switches ‘Tenor’, ‘Master’, ‘Soft Bass’. Note that the sound is quite darker than the same registrations of ‘c,’-based instruments.

Available registrations are

Used properties:

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\stdBassV name (string) ¶

Generate a standard bass accordion register symbol for name.

To make it available,

#(use-modules (lily accreg))

is required near the top of your input file.

The main use is for five-reed standard bass instruments with reedbank layout

This tends to be the bass layout for Hohner’s Morino series without converter or MIII manual.

With the exception of the rather new 7-register layout, the highest two chord reeds are usually sounded together. Older instruments offer 5 or 3 bass registers. The Tango VM offers an additional ‘Solo Bass’ setting that mutes the chord reeds. The symbol on the register buttons of the Tango VM would actually match the physical five-octave layout reflected here, but it is not used in literature.

Composers should likely prefer the five-reed versions of these symbols. The mismatch of a four-reed instrument with five-reed symbols is easier to resolve for the player than the other way round.

Available registrations are

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\stdBassVI name (string) ¶

Generate a standard bass accordion register symbol for six-reed basses as given by name.

To make it available,

#(use-modules (lily accreg))

is required near the top of your input file.

This is primarily the register layout for the Hohner « Gola » model. The layout is

The registers are effectively quite similar to that of \stdBass. An additional bass reed at alto pitch is omitted for esthetical reasons from the ‘Master’ setting, so the symbols are almost the same except for the ‘Alto/Soprano’ register with bass notes at Alto pitch and chords at Soprano pitch.

Available registrations are

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