5. MUSIC FOR THE ACCORDION

25.1. The signs for accordion music only bear their special significance when the passage is preceded by the prefix given in Table 25 (A), which is treated in the same manner already explained for hand signs (Par. 20.1.1-20.1.2).

25.2. (11-97) For accordion registration signs, see Table 25 (B). The registration is placed directly in the line of music and is followed immediately by the next music character. If other registration symbols appear, similar signs should be devised and described in a T.N.

25.3. The system of notation here presented is adapted for a piano accordion with six rows of buttons and applies only to the left hand, music for the right hand being written in the manner already explained in this work. (See also Section 28.)

Since various sizes and models of the instrument, as well as differing print systems of notation, are used in different countries, the present work can set forth only the basic principles of the braille notation. The transcriber should make adjustments for special cases and provide a clear explanation of these in the transcriptions.

25.4. In print, the notes of the basses (the first two rows of buttons) occur in the lower part of the staff with stems turned up. Notes for chords (the remaining four rows) occur in the upper part of the staff with stems turned down. Any note for the left hand, regardless of its position on the staff, can be played on one button only, and since octave marks are thus rendered unnecessary, these signs are here used to number the rows of buttons as shown in Table 25. Notes and rests are, of course, written according to Tables 1, 4 and 5.

The following example shows alternate basses and chords.
Example 25.4-1.
.C
,>^?_?@$_? ^\.\^W.\<K

25.5. (11-97) The signs for rows of buttons (Table 25 (A)) precede the notes immediately and must not be separated from them by any other signs. Each of these signs remain in force until contradicted by other row signs.

(In the following example the signs after the notes represent fingering.)
Example 25.5-1.
.C
,>'>BS^DLX@JBXI1X^HBX G1X@FLX"
^EBXDLX<K

25.6. When notes for chords stand over basses of identical time value, being played simultaneously with them, these chord notes can be written as intervals preceded by the chord signs in Table 25, but in this case each chord sign applies to one interval only.
Example 25.6-1.
#C8
,>^?_-X :"-X $_0X ]_-X \_-X [_0X
^W_0X D_-XX<K

25.8. The "draw" and "push" signs controlling the bellows should be placed in the right-hand part, and do not need to be followed by special octave marks.
Example 25.8-1.
.C
.>'>MF'<B"DAFBGLH1IKH1GLFB
<'"EAGBHLI1JKI1HLGB<K

25.9. The chord symbols and accordion notations are sometimes combined in the same print score.
Example 25.9-1.
%_C
,>^\_\@W_\^[.:^:.:<K
,G ,D#G

25.9.1. If the above is written with a fully-written bass part, the in-accord sign (Table 10) must be used to separate them.
Example 25.9.1-1.
%_C
A _>^\_:#0W:#0<>,>^\_\@W_\
,G
B _>^[_]90^:_]90<>,>^[.:^:.:<K
,D#G