Bass registers over the decades

[Morne]

I noticed something about the Hohner Morino IVM, but I want to know about this in general.

I have these registers on my Hohner Morino IVM (probably dated around 1950):

<ATTACHMENT filename=Bass registers.jpg index=1>
I also see those same registers on this black one.

Assuming those dots correspond to what they mean nowadays, this would be: Soft Tenor + Master + Alto.

Then I noticed that some of the later models have the following:

<ATTACHMENT filename=Bass registers later.jpg index=0>
This seems more in line with what the typical Hohner 3 bass registers: Soft Bass/BassPiano + Master + Tenor

Was there a similar change in register switches by other manufacturers decades ago?

Assuming the dots on both models mean the same things, I have one of two theories:
1. The music taste later was to have more bass on the single notes.
2. The lower basses on the later models were less powerful than on the model I have, so they used lower voices to beef it up.

Does anybody have an idea about what might have happened here?

 

[donn]

As a complete ignoramus I feel that this is a rash assumption, but I'm guessing that all of these selectable reeds belong to the single note bass buttons, and the chord buttons are independent of the register selection?

It seems to me that a major potential advantage to multiple bass reeds, is that the compass of the banks can be arranged to complement each other, so the transition from one bass note to another isn't obviously up or down, because the second note has both the higher and lower octave. That makes figures like ascending and descending lines more satisfactory. If that's why the latter configuration, maybe it's because 1) three complement better than two, and 3) two complement each other better if they're not so close together. Or this could be rubbish!

 

[JIM D.]

https://commons.wikimedia.org/wiki/Category:Accordion_reed_ranks_and_switches
In most all cases the registration refers to the Bass note primarily and the chord notes secondary. If the master has 4 dots you have a 4 reed bass machine - --- 5 dots = 5 sets of reeds --- 6 dots = 6 sets of reeds. There are also variations of these registrations for accordions with Helicon reeds and accordions with a converter bass

 

[Morne]

Let me add some references to make the background and my question clearer:
https://en.wikipedia.org/wiki/Stradella_bass_system
http://www.accordions.com/articles/stradella.aspx
I am basing my assumption off the information there. I.e. that on both those 4 reed machines pictured above, the dots correspond to the modern use of the diagram and that those machines are therefore lacking the contralto reed (the dot offset on the middle line).

The dots shown on the switch correspond to the reeds played with a single note bass. The chords played are only from the upper two dots if they are visible (and the offset dot/contralto reed if you have it).

Heres my textual description of what reeds play on those two pictures:
Top picture
Left (Soft tenor): 2 reeds on the single notes, 1 reed on the chords (this is a very gentle setting)
Middle (Master): 4 on the singles, 4 on the chords
Right (Alto): 2 on the singles, 2 on the chords

Since both the upper two dots are visible on the Alto register, the single notes and the chords play the same reeds. The effect being that if you hold down a chord button and press the corresponding root note there will be no additional reeds coming in. The other practical effect is that it sounds the same as the Master, except without the heavy bass on the singles notes. If you play a simple oom-pah-pah with the oom held down longer, you can feel the difference here.

Bottom picture
Left (Soft bass/Bass piano): 3 reeds on the singles, 1 on the chords (same chords, but an additional bass on the singles)
Middle (Master): 4, 4
Right (Tenor): 2 reeds on the singles, 1 on the chords (A slightly lower sounding single note and a lighter chord)

So my question really is this: If I gave you the modern common 7 registers and made you pick 3, what would lead you to favour one of these sets over the other?

Since the latter register set is the one seen on later Hohners, I have to assume that the one I have either represents an older standard, or there was some practical (i.e. the bass power) or musical (certain sets work better for certain kinds of music, or blends in better) reason that led to it.

 

[Morne]

It seems to me that a major potential advantage to multiple bass reeds, is that the compass of the banks can be arranged to complement each other, so the transition from one bass note to another isnt obviously up or down, because the second note has both the higher and lower octave. That makes figures like ascending and descending lines more satisfactory. If thats why the latter configuration, maybe its because 1) three complement better than two, and 3) two complement each other better if theyre not so close together. Or this could be rubbish!

That is definitely a part of the technical reasons I suspect. I executed this only poorly (I havent done bass scales), but it sounded like on the Alto register there was a discontinuity when doing a simple ascending C scale and not on the other two registers. I will retry this when I get the accordion back.

Another thing regarding the alto register is that if you wanted to add additional single notes to make custom chords, there would be no difference in the reeds played - so you wouldnt suddenly have lower reeds being added when you add a single note. Or even if you were going to make chords on the root and counterbass, they would sound the same as the chord buttons. This would not be possible with the registers on the second example.

 

[debra]

Unlike registers indications on the keyboard side which indicate L, M or H, each one octave apart (when done honestly which isn't always the case) the dots on the bass side do not indicate one octave intervals. The different sets of reeds have overlap which help to mask the "octave jump" as I guess one could call it. The jump would be very obvious if the different sets of reeds were just one octave apart. You would hear very clearly where you jump to one octave higher or lower. The bass registers have overlapping sets of reeds and in each set the octave jump is in a different position, thus making it harder to hear where the jump is. With just the lower or just the higher register you will hear it more than with the master register. The jump that is typically the clearest is that of the lowest set of reeds. Some accordions have the jump at C, some at A, some at E... From the modern accordions I know that Bugari standard-bass accordions have the jump at A and most convertor accordions have the jump at (the lower) E. The jump on a convertor instrument is dictated by the lowest note on the melody bass which is typically an E.

 

[Morne]

I have found another Morino IVM (black + slightly different grille) with the presumably similarly dated rectangular Stradella layout which uses the registers as shown in the second example in the first post (Soft bass + Master + Tenor).
http://www.bolha.com/glasbila-glasb...ohner-morino-iv-m-casotto-ivm-1301363341.html

<HR>

---

</HR>

I also found this quote regarding a music notation software package:

% Older Hohner Morinos apparently come in four-reed (for those with
% separate MIII) and five-reed configurations, all reedbanks spaced
% one octave apart starting with E1. The five reed variant has the
% same register symbols (and layout) except that there is another
% higher reed usually sounding together with the Alto reed, sharing
% its dot space. All in all, the dots sound a sixth lower than for
% the standard symbols. We try using the standard names as much as
% possible anyway for symbols looking comparable. Both composers and
% players should be aware that the Morino disposition is untypically
% low: use these symbols when you know you are actually addressing
% Morino players.
Source: https://lists.gnu.org/archive/html/lilypond-devel/2009-11/msg00471.html

I am not entirely sure what they mean with being a sixth lower. Would that mean the lowest note on one reedbank would be the one six semitones lower than, for example, what Paul mentioned? Effectively leading to the lowest note on a specific reed being lower than one on a different instrument?

<HR>

---

</HR>

Does anyone know of some models during that era (around 1940/1950) where the register symbols were visible?