Accordion Bass Proposal

The PDF (nydanabase.pdf), that you find further down on this page, shows what the proposed layout looks like. Four registers are shown. Two of them are suitable for arpeggios, or for playing melodies. The remaining two allow you to play the layout much like a Stradella bass. Registers 1 and 2 use 2+2+2 rows (melody bass mode), while registers 3 and 4 use a 2+4 rows approach (stride mode).

Any type of chord should be possible on this layout. In melody bass mode you can reach big intervals within a 36 note range. That equals almost three octaves. The layout is uniformly arranged and any note on the button board could be easily located. Inversions of a chord come very naturally.

If rows are numbered from the bass strap and towards the bellows, the best way to finger a full C7 chord from the C bass note on row 6 is to use rows 2, 3 and 4 (play Bb on row 2 with the little finger). The best way to play a full Cm7 from that same C bass note is to use rows 3 and 4 (the note G can be played on row 3 with the little finger).

A convenient thing is that the minor chords can be played with a bass note on row 5. This means that long jumps can often be avoided. Another good thing is that the minor third bass button is then also within easy reach.

The suggested RH layout to accompany this new type of bass could be a CBA-C with C on the second row, where C and F could be marked on rows 2 and 4, respectively.

On a digital accordion, one could assign an instrument voice to the two rows of bass buttons near the bellows, and one, or even two other instrument voices to the remaining buttons.

Bass layout featuring English note names:

Bass layout featuring Italian note names:

SaLaTa is an alternative note naming and interval naming system. A chromatic scale from C to C becomes:

Do Pa Ro Na Mo Fa Vo Sa Go La Bo Ta Do

Intervals correspond to the number of semitone steps (X = 10, Y = 11).

Bass layout featuring SaLaTa note names:

No mechanical converter mechanism is necessary for the new bass being described above.

Two and a half reed blocks will be needed to implement the register combinations as shown in the PDFs (half reed block = single-sided). The first one and a half reed blocks will have 36 individual pallets that will take care of the range C2-B4. The remaining reed block will have 12 pallets, and these will be triggered by all existing LH buttons. The ranges covered in this reed block are C4-B4 and F#3-B3/C5-F5. These reeds should have comparatively weaker sounding reeds. Four sliders are needed in total.

Proposal for a converter accordion bass layout

The bass being presented above is quite sufficient the way it is, but it could nevertheless also be combined with chromatically arranged notes in the bass.

A purely chromatic free bass is also provided in the PDFs below.

The depicted chromatic layouts show the notes corresponding to the register that would yield the lowest range of single free-bass reeds.

Converter layout featuring English note names:

Converter layout featuring Italian note names:

Converter layout featuring Salata note names:

SaLaTa is a note naming system provided by Nydana