Chemnitzer concertina: German musical instrument
The chemnitzer concertina is a musical instrument of the hand-held bellows-driven free-reed family, also known as squeezeboxes. The musica...
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The chemnitzer concertina is a
musical instrument of the hand-held bellows-driven free-reed family, also known
as squeezeboxes. The musical instrument is most related closely to the
Bandoneon, but not so related to other accordions and concertinas.
source of picture: concertinamusic.com
The chemnitzer concertina is roughly
square in cross section, having the keyboard to be made up of cylindrical
buttons on each extreme arranged in curving rows. Like other versions of the
musical instrument, the buttons travel in a direction almost parallel to the
motion of the bellows, whereas the keys and the buttons of the instrument move
roughly perpendicular to the motion of the bellows. A strap, often of leather,
is attached at each end to hold the player’s palm against the musical
instrument for performing it. Compare to the English version of the musical
instrument, where the thumb holds a strap, the thin finger is held on a rest
and the remaining fingers of the hand press the keys of the instrument. The
musical instrument is bisonoric, this means that each button on the instrument
corresponds to two notes; one when expanded and the other when compressed. On
most versions of the instrument, two or more reeds sound for each note. The
tones manufactured are in either unison or octaves, or combination in some.
The internal construction of this
musical instrument is different from the other versions of the instrument, in
that the action more closely is analogous to that of the accordion, and that the
reeds are made of steel and are usually attached in groups of twenty or more to
aluminum plates or zinc plates, instead of individual frames.
Sources vary when German inventor
known as Carl Friedrich Uhlig manufactured his first concertina after seeing
Charles Wheatstone’s musical instrument of the same name, or whether the two
men fabricated their musical instrument concurrently and independently. Carl’s
patent dates back to 1834, but Charles fabricated an analogous musical
instrument in the year 1829. He did not build an instrument under the name
concertina until the year 1844.
Carl’s first musical instrument had
five buttons on each of the sides, but the keyboard of the instrument was
expanded quickly and as that was done, it diverged into various lineages.
Heinrich band was sold under the name Bandoneon. Many other german musical
instruments were sold under the name concertina and their keyboard system were
also given names based on the creators of the instruments, just like with the
band and Scheffler, or the city of origin of the instrument as with the Carlsfelder
and Chemnitzer systems.
The chemnitzer layout is one of 38,
39, 51 or 52 buttons, or one of the expanded versions from America of 52
buttons. The most notable innovation to the internal construction of the
musical instrument were produced by German-American musical instrument inventor
in Chicago; Ernest Glass fabricated an aluminum action in the year 1912 that
was quicker and quieter than the earlier wooden ones. His son improved this action
in the year 1928 and patented an action in the year 1932 that improved the
pivot method of the action levers and permitted action levers to be produced by
bending metal stock instead of die damping. Many American and Italian
constructors of the 20th century started using reed and reed block
kinds analogous to those used in the accordions as a measure to save cost and
to enhance repair, meanwhile many performers consider these musical instrument
to be inferior, as they usually does not have any form of traditional sounds.
The chemnitzer concertina has been
consistently been used in the folk music, specifically the polka music that is
performed in the central and eastern Europe and by the 19th and 20th
century immigrants to the united states from those provinces. Meanwhile the
musical instrument especially in its 52 buttons and heavier versions can play
in the musical contexts.