The influence of the converter system on the contemporary accordion performance

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Evora University, School of Arts

The influence of the converter system on the contemporary accordion performance

Pescada, Gonзalo Andre Dias Guest Assistant Professor (Music)

Evora, Portugal

Abstract

In the second half of the XX century the accordion experienced significant changes that would change the instrument's destiny, its practice, sound range and potential. One of these changes was the creation of a converter system that opened doors to performance on this instrument, such as: hands independence, polyphony realization, new compositions, technical and artistic development of the performer's skills.

In addition to highlighting the mechanisms and aspects related to the performance of the converter system, the study discusses some techniques common in modern accordion compositions (clusters, glissando, ricochets, vibrato, portamento, percussion effects, etc.) and ways of their notation, identifies benefits and limitations of performing different types of articulation and sound effects on the instrument.

It is concluded that the use of the converter system in the accordion has expanded the range of possibilities of the instrument and made its study much more interesting for performers, composers and listeners; fruitful collaboration with outstanding masters (Sofia Gubaidulina, Edison Denisov, Franco Donatoni, Luciano Berio, Magnus Lindberg, Mauricio Kagel, Toshio Hosokawa, Salvatore Sciarrino, Christopher Bochmann and others) led to the cultural rise of the instrument. Finally, the inclusion of the accordion with a converter system in the programs of chamber and symphony concerts has accelerated the process of introducing the accordion into classical music.

Key words: Accordion, Converter System, Performance, Contemporary Music.

Пескада, Гонсало Андре Діас

Університет Евори, Школа мистецтв (Евора, Португалія), запрошений доцент (музика)

ВПЛИВ КОНВЕРТОРНОЇ СИСТЕМИ НА СУЧАСНЕ АКОРДЕОННЕ ВИКОНАВСТВО

У другій половині XX століття акордеон зазнав значних модифікацій, які змінили долю інструменту, його практику, звуковий діапазон і потенціал. Однією з цих змін стало створення конверторної системи, яка відкрила двері для виконання на цьому інструменті, а саме - для незалежності рук, реалізації поліфонії, створення нових композицій, розвитку технічних та художніх навичок виконавців.

Поруч із висвітленням механізмів та аспектів, пов'язаних з продуктивністю конверторної системи, в дослідженні обговорюються деякі прийоми, поширені в сучасних акордеонних композиціях (кластери, гліссандо, рикошети, вібрато, портаменто, ударні ефекти та інше) та способи їх запису, виявляються переваги та обмеження при виконанні на інструменті різновидів артикуляції та звукових ефектів.

Підсумовується, що використання конверторної системи в акордеоні розширило спектр можливостей інструмента і зробило його вивчення набагато цікавішим як для виконавця і композитора, так і для слухача, а плідна співпраця з видатними майстрами (Софія Губайдуліна, Едісон Денисов, Франко Донатоні, Лучано Беріо, Магнус Ліндберг, Маурісіо Кагель, Тошио Хосокава, Сальваторе Скіарріно, Крістофер Бохманн та інші) привела до культурного піднесення інструменту. Нарешті, включення акордеона з конверторною системою в програми камерних та симфонічних концертів прискорило процес його впровадження в класичну музику.

Ключові слова: акордеон, конверторна система, виконавство, сучасна музика.

Introduction

“Since the 1950s the pioneers of classical accordion understood that - in order to be recognized by the contemporary music world - they had to rise awareness on the instrumental unexplored potential, and - at the same time - accordion education had to measure up to the expected musical development.”

Claudio Jacomucci Converter System - Introduction

The Converter System is a system applied to the bass mechanism, activated through a switch or register that allows the transformation of the previously established keyboard into predefined chords for single notes arranged in the same way as the right-hand keyboard (free bass system).

This system allows the instrumentalist to perform several voices simultaneously, for example: Chorals, Preludes and Fugues, Suites, Sonatas and came to establish a new path to follow in the accordion performance, which is still in constant evolution today.

According to Hermosa (2013: 30), the converter system was invented in 1959 by Vittorio Mancini in Castelfidardo (Italy) as a mechanism (fig. 1) activated by a switch next to the left-hand keyboard, which allows converting existing buttons, alternating between predefined chords and free bass. Lindgren (2010) clarifies that the tab redirects the air flow inside the harmonic box, through sliding plates located under the reed blocks.

About the mechanism construction, the converter accordion can produce standard bass or free bass. Standard bass allows the harmonization of a melody and consists of bass notes in two or three rows of buttons and predefined chords in the remaining four rows, which can be major, minor, dominant seventh and diminished seventh chords. However, it is also possible to create chords by pressing two buttons at the same time, that is, to create an A minor 6 chord, just join the button that produces C major with the button that produces A minor. The end result will be a C, E, G, A, C, E chord.

Fig. 1. Converter system mechanism

Fig. 2. Right-hand keyboard;left-hand keyboard with standard basses and free basses (converter system) C-griff system

By pressing the switch on the converter, the four chords' rows are transformed into a chromatic scale. In these four rows, the last one corresponds to an auxiliary row that repeats the arrangement of notes of the first row. As Lindgren (2007) points out, the layout of the free bass on the left-hand keyboard becomes a mirror of the layout of the right-hand keyboard (C-griff system).

The arrangement of notes on the keyboards shown in fig. 2 corresponds to the system that is more used in Europe (C system-griff), in which the low notes on the left-hand keyboard are on the upper buttons and the middle C on the right-hand keyboard is in the 1st row. On the contrary, in Eastern Countries the system B-griff was generalized, in which the low notes on the left-hand keyboard are located in the lower buttons and the middle C on the right-hand keyboard is located in the 3rd row.

1. The converter system possibilities in the performance

One of the main converter system possibilities in the performance is the independence of hands. For example, the melody that is produced on the right-hand keyboard is now also possible on the left-hand keyboard, even by choosing the appropriate octave in the performance. Harmony is built and produced note by note. There is also the possibility of performing polyphony (multiple voices). The combination of the four rows of free bass with the other two rows of basses (left-hand keyboard) allows to achieve wide sound ranges and also to combine very high sounds with very low sounds at the same time, which is a unique characteristic of the accordion with converter system. Through the use of registers and articulation, it becomes possible to highlight a melody performed on any keyboard. In this sense, the repertoire may include works such as: J. S. Bach's Preludes and Fugues from the Well-Tempered Clavier books or D. Shostakovich's Preludes and Fugues, D. Scarlatti's Sonatas, pieces adapted from the organistic repertoire and harpsichord (J. Ph. Rameau, F. Couperin, D. Buxtehude, C. Franck), among others, to the original works composed for the instrument. The player, when choosing the registers to use in the piece interpretation, carry out, in a certain sense, the function of an arranger. This instrument is like an orchestra in the hands of a single performer (Matono, 1985: 7). The right registers choice is even more relevant when performing works transcribed for the accordion.

According to Lips (2000: 77), in this matter there is an approximation with the work of registers selection similar to the organ players. According to Dmitriev (2001: 5), fingering is one of the most important aspects to be taken into account by the performer, as it allows better understanding of the text and comfort in playing (fig. 3). For the instrumentalist, it is necessary to start working very early on fingers 4 and 5, which physically correspond to fingers that are weaker in terms of pressure in the keyboard. The logical and natural performance order should be fingering with fingers 2, 3, 4, 5 or vice versa, avoiding rotations in the hand position and allowing better comfort in playing. The reduced distance between buttons on keyboards allows two or more buttons to be pressed simultaneously with the same finger (e.g. chord with six or more notes).

Fig. 3. Digital Matching for Accordion Fingering

According to Dmitriev (2001: 7), in the accordion with converter system, the auxiliary rows composed of two rows in the right keyboard-hand and one row in the left keyboard-hand allow several performance options. It is not desirable to repeat the same finger on different notes, however, in a texture with several voices, sometimes the thumb takes on this function. The opening part of Sonata No. 1 by composer Anatoly Kusyakov (b. 1945) is an example of this (fig. 4).

Fig. 4. Anatoli Kusyakov, First Sonata (using the thumb)

2. The possibilities of the converting system in interpretation

In the accordion with the converter system, articulation is extremely important, as it allows, for example, highlighting the main melody, a certain phrase or notes or creating a certain environment for preparing the following material. The most regular articulations are: legato, staccato and tenuto. However, within these three articulations there is a great diversity of other articulations, for example: legatissimo, pizzicato and dйtachй.

In the Fantasia 84 by Jьrgen Ganzer (b. 1950) it is possible, through the combination of registers and tenuto articulation in both hands, to highlight the main melody performed in legato (fig. 5).

Fig. 5. Jьrgen Ganzer, Fantasia 84 (highlighting melody through articulation)

In the Well-Tempered Clavier Fugas by J. S. Bach the importance of the articulation used in the theme, counter-theme, response or episode becomes evident. Also, with the long extension of left-hand keyboard, this kind of pieces serves as very useful exercises for the accordion performance.

Regarding the use of dynamics, according to Lips (2000: 85), the dynamics obtained in the accordion with converter system is directly associated with the pressure on the bellows. Controlling this pressure (left arm) allows for sounds from ppp to fff. By the action of the bellows and the registers options, it is also possible to create different musical atmospheres, especially increasing and decreasing the sound, playing sforzandos, researching new sonorities, among others. Due to the limitation of the bellows extension (to open / to close), it is necessary to understand the musical phrase in order to avoid an undesirable turning movement of the bellows in the middle of the phrase. For Leeuw (2001), one of the important factors in the musical performance of the accordion with converter system has to do with the balance between the instrumentalist's breathing and the turning of the bellows, both opening and closing.

The accent movement can occur through the sudden movement of the bellows, the action of the body or the impulse of the hand or leg. When playing polyphony, the accordion with converter system allows the performer to make the accent with one hand and to play a different score with the other. It is important for the interpreter to choose the most effective technique to perform the accents.

3. The possibilities of the converter system in contemporary compositions

After understжiding the mechdiisms and aspects related to the effieiency of the converter dystem, thid sertton discnsser some techniques and ways of writing down those techniques in hontemporaty compositien. The dustcr, as se soend cocgtngete, is wiUely ua edm orctnmeoeuty music kn-hUThis effr ct rnn me achieved on the button keyboard by covering a large number of notes due to the keyboard layout. Cluster can be played on both keyboards eft the orcorUion. The alester cen Ue ysrfohnad wita Use e)o red hanU (trsdrivted arcup od roder) oowith Use epea Want (пГОгг nymber af notes). Generally, the range and the interval between the notes in whiv^a the chrstev ушп^г be performed is indicated in the score.

Fig. 6. Sofia Gubaidulina, Sonata Et expecto (cluster execution)

Glissando is a technique widely used in contemporary writing for accordion (fig. 7). In the accordion with a button keyboard, taking into account the arrangement of notes, the glissando is performed in minor third intervals. However, other types of glissandi may appear: chromatic (sliding fingers 2, 3 and 4 simultaneously on the three rows of buttons), in chords (sliding two or more fingers in the same interval), in cluster (sliding the wrist or hand), percussed (sliding the nails only through the buttons). The glissando can be performed ascending or descending on both keyboards, although it is not comfortable to perform this effect on the left side keyboard due to thehandposition(Lips,2000:47).

Fig. 7. SofiaGubaidulina,DeProfundis (execution of glissando in clusters)

According to Lips (2000: 49), all techniques related to the bellows derive from the basic movements of opening and closing the bellows and their different combinations. The bellow shake is a technique used in the accordion that translates into a quick (open and close) and regular movement of the bellows. The bellows joint should have the same sound both when opening and closing. The movements should be performed as relaxed as possible. There are several notations used for the opening and closing movement of the bellows, the most common being represented by the following signs: To open ^v / To close ⁿ .

There are several examples of bellow shake technique variants.

1) Normal movement V H (fig. 8)

2) Fast movement over repeated notes V H V H (fig 9)

Fig. 8. Ole Schmidt, Toccata No. 1 Op. 24 (normal bellow shake)

Fig. 9. Efrem Podgaits, Concerto No. 2 “Viva Voce"' (bellow shake - repeated chords)

3) Triolet (three pulses - triplets) - normal opening and closing movement of the bellows with slight accentuation in the first of every three pulses (fig. 10). The bellows can continue to open and close or start the first pulse in the same way every time (open the bellows).

Fig. 10. Viktor Vlassov, Suite (bellow shake in triplets)

4) Triolet ricochet - This movement consists of three impulses, the third impulse bemgmade in file upper paW ofthe bellowsS(* g)-

Fig. 11. Viatcheslav Semionov, Sonata No. 1 (triolet ricochet)

5) Ricochet (4 sixteenth) Jr . Similar to the triolet ricochet but with a fourth thrust, i.e., it opens, closes, closes at the top and lets the bellows fall. The next thrust will be bellows opening again.

6) Ricochet with five figures. Similar to the normal ricochet but with an additional fifth thrust (Fig. 12).

Fig. 12. Sofia Gubaidulina, Et expecto (fifht thrust ricochet)

According to Lips (2000: 52), the accordion bellows has the same function as a violin bow. Thus, these various bellows techniques allow for great expressiveness in the works interpretation. The instrument and bellows proximity to the player's body allows for a variety of vibratos to be performed on the accordion. This effect consists of oscillating the continuous sound, also increasing the expressiveness of the performance. It can be performed in dynamics (from ppp to fff), in crescendo or decrescendo dynamics. This technical aspect can be carried out in different ways: in contact with the buttons, with hands or legs on the keyboards, with open hands and a short distance from the keyboards, among others. According to Lips (2000: 62), the form of performance depends on the required interpretation, the performer's technical competence or the technical circumstances of the work or instrument. accordion glissando articulation sound

Л Right-hand vib rato on th e keyb oard (fig. 1it)

Fig. 13. Viktor Vlassov, Suite (right-hand vibrato)

7) Left-hand vibrato on the keyboard (fig. 14)

Fig. 14. Efrem Podgaits, Concerto No. 2 Viva Voce (left-hand vibrato)

8) Vibrato of both hands in contact with the playing note or chord (fig. 15)

9) Vibrato with the fist on the outside of the keyboard - right hand (fig. 16)

pjBBosf0ц 7g poASotiBjQ иоцврдсіізщі ui єщізсі май du usdo рив souuuijojjsd зці цзииз spsjp зєзці `sumi эцэцрэв uj spsjp uoissnojsd spjodjooui osp suoipsoduioo Дjujoduispoo эидо§ (§зі ццм ордціл) эцп§ susjppqx рдіц 'A3.vrep[oz лврірвід * i\ `Sij

Fig. 15. Sofia Gubaidulina, De Profundis (vibrato with both hands)

Fig. 16. Vladimir Zubitsky, Sonata No. 2 (vibrato with the fist closed on the keyboard outside - right hand)

Fig. 17. Vladislav Zolotaryev, First Children's Suite (vibrato with leg)

Fig. 18. Sofia Gubaidulina, De Profundis (portamento)

(2011: 17) group these effects into four types: sound air, button noise, bellows tapping and register noise. As the bellows consists of a hollow cardboard box, you can find several timbres exploring different areas ofthe bellows.

10) Pre s; si the air b «зі 1 ow s button (fig. 19)

Fig. 19. Vladimir Zubitsky, Partita Concertante No° 2 (effect with the use of the bellows)

11) Slide your fingers on the keyboard (fig. 20)

12) Beat in the bellows (fig. 21)

Fig. 20. Viktor Vlassov, Step s (sliding fingers on keyb oard with percussive effect only)

Fig. 21. Viktor Vlassov, Steps;and Vladimir Zubitsky, Partita Concertante No.° 2 (knocking in the bellows)

13) Percussion through the registers (fig. 22)

The various combinations of registers, the types of articulation, the forms of accentuation and the effects producing by the accordion with a converter system offer the performer and composers a wide range of expressive possibilities, which are increasingly required in contemporary writing for the instrument. Taking into account the composer's creativity, the technical characteristics of the accordion with converter system and the high level of performance nowadays, it is natural that the possibilities and possible effects to be realized are not limited to the examples described above. In this matter, Draugsvoll & H0jsgaard (2011: 3) state that new and improved techniques are constantly under development. However, these authors also warn that the original writing for accordion lacks its own graphics and is also variable among composers. This issue becomes even more relevant in the case of notation which is unique for the accordion. The different signs of notation for the accordion sometimes make it difficult for the player to understand the score.

Fig. 22. Alexander Zhurbin, Sonata No. 2 (percussion through the registers)

4. Limitations of the accordion with converter system

In terms of current limitations of the accordion with a converter system, we can point out some physical characteristics of the instrument that affect the player's performance. One of the limitations of the converter system resides in the noise produced by the mechanism that activates the converter, that is, a noise when the lever is pressed down and another noise when the lever is released. Despite the fact that noise is known and described as the best way and the best moment in the performance of a piece to activate the converter system, as noted by Lips (2000: 83), it, in most situations, overlaps and disturbs the sound material.

Another limitation is the size and location of the tab that drives the converter. The tab is large (lengthwise it corresponds to almost a row of buttons) and is located next to the inner row of buttons on the left-hand keyboard. This physical characteristic requires a greater range of movement on the part of the left hand to effect its activation, and this dislocation may affect the performance, especially in fast passages.

The current construction of the left-hand keyboard, in which the buttons in the six rows are on the same level to be pressed, makes it difficult to use the thumb beyond the first row of buttons. Although other keyboard layout alternatives have already been produced, as in the case with Anders Grathe's invention with lowered first and second rows (Farmen, 2009), the ideal solution to use the left hand in the accordion with converter system has not yet been found.

As Draugsvoll & H0jsgaard (2011: 6) mention, the left hand is attached to the belt for handling the bellows, which makes it less agile than the right hand, particularly when performing large intervals and virtuosic passages. The adjustment of the belt for handling the bellows prevents the progression of fingers and left hand on the keyboard.

According to Draugsvoll & H0jsgaard (2011: 10), the existence of two keyboards controlled by a single bellows conditions the production of different dynamics simultaneously in the right and left hands. The sound balance between the two keyboards is only partially achieved through an appropriate use of registers and demands from the player greater attention in the choice of articulation and accentuation.

The internal characteristics of the instrument's construction bring limitations to the level of sound production. The intensity of the dynamics differs considerably depending on the number of voices (reed blocks used) or voice combinations (registers) selected. A register that uses four voices produces the greatest fortissimo volume and the opposite applies to a register that uses only one voice.

If the performer wants to achieve the same balance, they will have to adequately increase the pressure on the bellows (Lips, 2000: 78).

On the other hand, the location of several reed blocks in harmonic boxes that do not have resonance results in a significant loss of sound intensity, especially in large concert venues (Draugsvoll & H0jsgaard, 2011: 10). This conditioning becomes equally pressing in situations where chamber music is performed with louder instruments or orchestral music, namely symphonic.

According to Lips (2000: 90), the sound intensity is naturally greater when opening the bellows than when closing them, due to a greater pressure of the air that is aspirated. This limitation must be taken into account by the instrumentalist when performing articulations, accents or sound effects.

Conclusions

The facts indicate that the creation of a converter system was extremely beneficial for the accordion, especially from the second half of the 20th century onwards. There is still a long way to go, and it is necessary to create a repertoire originally designed and that will serve as a reference for future generations. However, the use of a converter system in the accordion has widened the range of possibilities and, inevitably, made learning this instrument much more interesting, both for the performer and the composer as well as for the listener.

Some 20th century composers included accordion in important works: Alban Berg in Wozzeck, Paul Dessan in Wie Verurteilung des Lukullus, Prokofiev in Cantata Op.74 (Henrique, 2019: 311).

With an unforgettable contribution in writing for the instrument, we can highlight composers such as: Sofia Gubaidulina, Edison Denisov, Franco Donatoni, Luciano Berio, Magnus Lindberg, Mauricio Kagel, Toshio Hosokawa, Salvatore Sciarrino, Christopher Bochmann, among others. Also, it is necessary to mention the important role of accordionist / composers in the creation of original works for the accordion, such as: Vladislav Zolotariev, Viatcheslav Semionov, Vladimir Zubitsky, FranckAngelis, Pettri Makkonen, Gorka Hermosa, among many others. The fruitful collaboration with composers led to a cultural elevation of the instrument (Jacomucci, 2013: 5).

In the field of construction and instrumental improvement, we highlight the factories of Jhpiter, Zonta, Pigini, Bugari, Scandalli, among others that have contributed to the modernity and quality of the instrument.

The role of pedagogues, such as Friedrich Lips, V. Besfalminov, A. Dmitriev, Oleg Sharov, Jacques Mornet, Matti Rantanen, Max Bonnay and Owen Murray, among many others, has also been fundamental in the formation of new interpreters.

Finally, the inclusion of the accordion with convertor system in concert halls, in chamber music and in programs with symphonic orchestras has been accelerating the process of introducing the accordion in classical music.

References

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2. Draugsvoll, G. & H0jsgaard, E. (2011). Handbook on Accordion Notation. Copenhagen: Andreas Borregaard, http://www.erikh0jsgaard.dk/ Resources/Handbook.pdf [in English].

3. Farmen, 0. (2009). Steps in the bass on the accordion (0ivindFarmen) [video]. Retrieved November 10, 2021, from http://www.youtube. com/watch?v=7RlJ4FilITc [in English].

4. Henrique, Luis L. (2019). Instrumentos Musicais (9.^a ediзвo) [Musical Instruments (9^th edition)]. Lisboa: Fundaзao Calouste Gulbenkian [in Portuguese].

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6. Jacomucci, Claudio (2013). Modern Accordion Perspectives. Cava dei Tirreni (Sa): Grafica Metelliana [in English].

7. Leeuw, Jakob Ter (2001). Alexander Technique and the Playing of the Accordion - Interview of Claudio Jacomucci. Retrieved November 10, 2021, from http://www.accordions.com/articles/ jacomucci.aspx [in English].

8. Lindgren, D. (2007). Piano Accordion vs. Chromatic Button Accordion. Retrieved November 10, 2021, from http:// https://nydana.se/ accordion.htmltfpavscba [in English].

9. Lindgren, D. (2010). Convertor Bass. Retrieved November 10, 2021, from http://nydana.se/accordion.htmltfconvertorbass [in English]. Lips, F (2000). The Art of Bayan playing: Technique, Interpretation and Performance of Playing the accordion artistically. Kamen: Karthause - Schmьlling [in English].

10. Matono, Vitorino (1985). Curso Geral de Acordeao [GeneralAccordion Course]. Vol. 2. Lisboa: IVAHM ediзфes musicais [in Portuguese].

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