Distribution of Notes On The Keyboard and Range
Because each button produces two notes, the diatonic scale can be covered in four buttons on a melody row.
For example, on a melody row pitched in C, the notes of the lower full octave of the instrument’s range are assigned to four buttons as follows:
| Button | Push | Pull |
|---|---|---|
| 1 | C | D |
| 2 | E | F |
| 3 | G | A |
| 4 | C' | B |
Note: the first button in the example above, numbered 1, is likely to be the 3rd or 4th button in a row on an instrument.
When the bellows are pressed, every button produces a note from the major triad of the home key; in this case, the pattern CEG repeats itself throughout the keyboard. The remaining notes of the diatonic scale are produced when the bellows are drawn or pulled.
Since there are seven notes in the diatonic scale, and since each button produces two notes, the note pairings on the buttons change in each octave. In the second full octave of the instrument’s range, E is paired with D (instead of with F in the first octave), and so on.
| Button | Push | Pull |
|---|---|---|
| 5 | E' | D' |
| 6 | G' | F' |
| 7 | C' ' | A' |
| 8 | E' ' | B' |
Because the range of each row is typically restricted to two complete octaves (with a few notes above and below), the inconsistent note pairing from one octave to the next remains manageable.
For detailed diagrams of typical note layouts on various types of diatonic button accordion, see melodeon.net
Read more about this topic: Diatonic Button Accordion
Famous quotes containing the words distribution of, distribution, notes and/or range:
“The man who pretends that the distribution of income in this country reflects the distribution of ability or character is an ignoramus. The man who says that it could by any possible political device be made to do so is an unpractical visionary. But the man who says that it ought to do so is something worse than an ignoramous and more disastrous than a visionary: he is, in the profoundest Scriptural sense of the word, a fool.”
—George Bernard Shaw (1856–1950)
“Classical and romantic: private language of a family quarrel, a dead dispute over the distribution of emphasis between man and nature.”
—Cyril Connolly (1903–1974)
“The drama critic on your paper said my chablis-tinted hair was like a soft halo over wide set, inviting eyes, and my mouth, my mouth was a lush tunnel through which golden notes came.”
—Samuel Fuller (b. 1911)
“Culture is the suggestion, from certain best thoughts, that a man has a range of affinities through which he can modulate the violence of any master-tones that have a droning preponderance in his scale, and succor him against himself. Culture redresses this imbalance, puts him among equals and superiors, revives the delicious sense of sympathy, and warns him of the dangers of solitude and repulsion.”
—Ralph Waldo Emerson (1803–1882)