Treble concertina, double action
Tenor concertina, single action
Bass concertina, single action
Double bass concertina, single action
The timbre of the concertina is penetrating but soft, and capable of the most delicate gradations of tone. This quality is due to a law of acoustics governing the vibration of free reeds by means of which fortes and pianos are obtained by varying the pressure of the wind, as is also the case with the double reed or the single or beating reed, while the pressure of the reed with the lips combined with greater pressure of wind produces the harmonic overtones which are not given out by free reeds. The English concertina possesses one peculiarity which renders it unsuitable for playing with instruments tuned according to the law of equal temperament, such as the pianoforte, harmonium or melodion, i.e. it has enharmonic intervals between G♯ and A♯ and between D♭ and E♭. The German concertina is not constructed according to this system; its compass extends down to C or even B♭, but it is not provided with double action. It is possible on the English concertina to play diatonic and chromatic passages or arpeggios in legato or staccato style with rapidity, shakes single and double in thirds; it is also possible to play in parts as on the pianoforte or organ and to produce very rich chords. Concertos were written for concertina with orchestra by Molique and Regondi, a sonata with piano by Molique, while Tschaikowsky scored in his second orchestral suite for four accordions.
The aeola, constructed by the representatives of the original firm of Wheatstone, is a still more artistically developed concertina, having among other improvements steel reeds instead of brass, which increase the purity and delicacy of the timbre.
See also [Accordion]; [Cheng]; [Harmonium]; [Free-Reed Vibrator].
(K. S.)