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New Stradella Bass Charts

Thank you Lucio. I have been referencing your diagrams often and didn't realise someone here had made it.
With regards to your comments about the accidental đť„Ş - why do you simply not put D? Why do you have to write Cđť„Ş if it is the same as D?

For anyone interested in typing out the actual musical symbols for these, and you're using a Linux system you can use the following Unicode shortcuts:

Ctrl + Shift + U

â™­ - 266d
â™® - 266e
♯ - 266f
đť„Ş - 1d12a
 
Thanks for your appreciation!

The use of "double sharp" instead of its enharmonic equivalent, is a matter of notational convention and helps to maintain consistency in key signatures and to clearly indicate the intended pitch of a note. The use of double sharps (as well as the other accidentals) provides a clearer representation of the intended interval, rather than just the pitch.

So if D Major is made up of D, F#, and A, what notes will form D# Major?

By keeping the same notes (D, F#, A) and adding the accidentals (D#, Fx, A#), the intervals become clearer than if using the enharmonic equivalent (D#, G, A#). Moreover, it is easier to build chords when using this system, as it allows for mental recall of a consistent formula. For example, the D Major chord is composed of D, F#, and A, and the D# Major chord is simply composed of the same notes with each note having an additional sharp.

In the same manner, the Stradella layout includes double sharps and double flats to preserve the ratio of fifth intervals between the basses, as using the enharmonic nomenclature would result in the loss of this ratio.
 
Alan Sharkis said:
Hello Lucio.

I wasn't aware of your website until I came across your recent post on Stradella bass layouts. It's perhaps the most inclusive site I've seen to date.
Thanks.
Click to expand...
Thank you so much for your kind words, Alan.

I encourage you to consider subscribing to my newsletter. I only send out emails when I publish new articles, so it's a great way to stay informed and up-to-date on the latest content I create.

Thank you again for your support.
 
Lucio76 said:
Hi,
I would like to share with you my new Stradella bass charts.
I've designed a diagram in mirror view for each size, from 8 to 120 bass accordion.
I have also added a list of all available and unavailable chords on each layout, beginners might be surprised to find that a 12 bass accordion can play minor seventh and a few more chords.
Click to expand...
Hi Lucio, this is amazing! Thank you!

I have a 80 bass accordion with the omitted root on the 7 chords, and I’m looking into combination of chords for more complex sonorities that use the upper extensions of chords to add color. The unfortunate reality that I’m encountering is that the omitted root on the 7th chords is really limiting, do you have any suggestions on where I could find a chart or matrix of chord combinations for the 80bass accordion?

Thank you again for the charts!
 
Hi Victor,

Thank you for your appreciation!

All chord combinations presented on accordionchords.com are valid for the French system, with the exception of 7b5 chords.

Is there a specific set of chords that you can't play on your 80-bass accordion?
 
Hi @Lucio76 that clarifies a lot, I was really struggling to get a 7#11 chord, by combining c7 and D7 but now that I learned why, it makes sense why it sounds like a cluster (F# G A Bb)

Altered chords are also another one that I’m trying to figure out, not sure if it is possible without the diminished chords, actually any of the 7th variants such as 7Aug5 or 7din5 (which I guess I cant do it) 7b9#9b13 (alt) or domdim with b913. Any ideas which combinations of dominants I can use on the french 80bass without feeling that the 5th is constantly in my way?

Overall I’m just not used to the sound of the 5th in the dominant chords, which is very limiting when playing upper extension triads (specially on jazz tunes).

But I’m coming from a pianist perspective, and even though I’m just starting I’m trying to get my head around the shapes by mimicking the voicings that I am so used to play on the piano. This way I can learn more richer voicings from the get go to start hearing those beautiful upper structure tensions, and start playing with people.

Right now I’m really going through your website and making notes of the combinations and what/how I need to adapt to my accordion. I also must say that I loved how your website is organized, and it is really helping jumpstart my studies, thank you!
 
Yes, 7#11 (or 7b5) can't be played on a French system as on a standard Stradella system accordion, with that combination you'll actually play a 7b9 chord. For example, C as root, plus C major and Gb7 on a French system accordion it gives you C + C, E, G, Bb, Db which is C7b9.
Thanks for bring some inaccurancies to my attention, I've updated the related text on the website.

Unfortunately augmented chords can't be played on French or standard Stradella system without adding some extra notes.
As far as I know, only the CJS accordion (Chiovarelli Jazz System) can handle augmented and many other complex chords.

Regarding '7dim5,' in this case, it remains a 7b5, and there's no easy solution.

For '7b9#9b13 (alt),' let's take C alt as an example on your accordion, which would be:

C + CMaj + Gb7 + AbMaj

However, you might be able to omit the C Major chord. The C on the counter-bass row is close to both Gb7 and Ab Major, but its position is relatively low.

"b913": C6b9 for example would be C + C Major + A Major but it's a little too harsh in my opinion, for this reason it's not included in the chord list.

"domdim with b913": it would have some extra notes and it won't sound too good I guess but I think it's not fault just of the presence of the 5th.
Clusters on the accordion left side are pretty "dense" so it's not an optimal choice to use "piano chords" on an accordion...so using simplified chords can make everything sound lighter and more pleasant.

Thank you for your kind words and appreciation. If you have any more questions, please don't hesitate to ask.
 
Last edited:
Lucio76 said:
Yes, 7#11 (or 7b5) can't be played on a French system as on a standard Stradella system accordion, with that combination you'll actually play a 7b9 chord. For example, C as root, plus C major and Gb7 on a French system accordion it gives you C + C, E, G, Bb, Db which is C7b9.
Thanks for bring some inaccurancies to my attention, I've updated the related text on the website.

Unfortunately augmented chords can't be played on French or standard Stradella system without adding some extra notes.
As far as I know, only the CJS accordion (Chiovarelli Jazz System) can handle augmented and many other complex chords.

Regarding '7dim5,' in this case, it remains a 7b5, and there's no easy solution.

For '7b9#9b13 (alt),' let's take C alt as an example on your accordion, which would be:

C + CMaj + Gb7 + AbMaj

However, you might be able to omit the C Major chord. The C on the counter-bass row is close to both Gb7 and Ab Major, but its position is relatively low.

"b913": C6b9 for example would be C + C Major + A Major but it's a little too harsh in my opinion, for this reason it's not included in the chord list.

"domdim with b913": in the case of C it would have some extra notes and it won't sound too good I guess but I think it's not fault just of the presence of the 5th.
Clusters on the accordion left side are pretty "dense" so it's not an optimal choice to use "piano chords" on an accordion...so using simplified chords can make everything sound lighter and more pleasant.

Thank you for your kind words and appreciation. If you have any more questions, please don't hesitate to ask.
Click to expand...
Hi @Lucio76 this was amazing, it made me feel much better about the french system, after deep diving in the mathematics of it, I really think that it would not impact my usage as much, it is mostly shifting the mindset to a more simplified comping, as you mentioned.

Thank you for your work on the combinations, as well as taking the time to answer my questions, I feel very excited to jump on the accordion wagon, and hopefully I will be gigging with it soon!
 
Lucio76 said:
Hi,
I would like to share with you my new Stradella bass charts.
I've designed a diagram in mirror view for each size, from 8 to 120 bass accordion.
I have also added a list of all available and unavailable chords on each layout, beginners might be surprised to find that a 12 bass accordion can play minor seventh and a few more chords.
Click to expand...
Thankyou

What an awesome resource!
 
Thanks Lucio, I think this is a really useful resource for the Accordion community. I found it while looking online for a way to add a 9th to Dm using the Stradella buttons. Now I'm looking forward to the arrival of my new Roland Fr-8x so I can try it out to see how it sounds. At the moment I can only hear the sounds using my Staffpad notation app so it's not a great sound. Staffpad only recently added the staff template for the accordion but I doubt it had anything to do with my return to the accordion after 4 decades!
 
You're welcome! I'm glad you find my website helpful!
Thank you, Rodney!
 
Lucio76 said:
Hi Donn,
ok, now I got it, thank you!
In my experience, I've never played a French system accordion, here in Italy is not very common (as I know). The only 80 bass I've played recently was as described on my website, just as all other layouts. However, I can't tell you if on the 80 and on the 40 bass accordion, the French system is more common than I think. I could be. It would be much better, the French system is a quite smart invention. Unfortunately, my experience with 80 bass accordions is very limited, I'm sorry. Maybe the best way to get an answer would be to create a pull to collect info from owners of these models of accordion.
Click to expand...
I have a Maugein 80-bass and its "C7" definitely is "E G Bâ™­" and thus can serve double duty as Gdim even though it will usually be used as C7. I haven't seen a three-chord system where the seventh chords have not been "rootless" instead of "fifthless".
 
dak said:
I have a Maugein 80-bass and its "C7" definitely is "E G Bâ™­" and thus can serve double duty as Gdim even though it will usually be used as C7. I haven't seen a three-chord system where the seventh chords have not been "rootless" instead of "fifthless".
Click to expand...
Thanks for sharing your experience, Dak. Yes, I've noticed that the French system on 80 bass is more common than I thought. For this reason, I've added a section about it on my website. My experience with accordions smaller than 120 bass models is limited, so I'm learning along the way :)
 
I recently discovered this website, and it is such a fantastic resource.

I did not realize that it is created by a forum member.

Thank you Lucio76!
 
Lucio76 said:
Hi,
I would like to share with you my new Stradella bass charts.
I've designed a diagram in mirror view for each size, from 8 to 120 bass accordion.
Click to expand...

I am curious why mirror view? I've looked at the charts and for me they are the wrong way around, I have to try to un-mirror them in my head. I accept I am along in this position! :)
 
I've set up a mirror view to help beginners connect with the accordion's button board by relying only on the sense of touch and by visualizing it in their minds. Essentially, it's a representation of what I feel under my fingers and how I visualize the button board.
Let me reply with what I wrote on the website:

"Why bass charts are in mirror view and the importance of touch for accordionists

As an accordion teacher, I always emphasize the importance of using touch to navigate the bass position on the accordion. Sight is not a viable option when playing the accordion, and relying on mirrors or attempting to look at the bass buttons can actually hinder progress and reduce confidence.

The marks on the C and other buttons are meant to be felt by the fingers, not seen by the eyes. It’s important to rely on our sense of touch to orient ourselves on the button board, as it’s the only sense available to us while playing.

This is why the bass charts on AccordionChords.com are presented in “mirror view,” which reflects the way the left hand “sees” the bass button board. Over time, this perspective will also become the way you visualize the standard bass layout in your mind.

If you struggle to use these charts, try consulting them while holding the accordion. Having your left hand on the button board should make it easier to understand the mirror view."


I find the mirrored view clearer because it directly mimics what's happening on the left side. If a button is on the left, you shift left; if it's on the top, move upward; and if it's on the right, go right.

Essentially, if your accordion were transparent, the mirror view is what you'd see when playing, looking through the left side of the accordion.
 
Interesting! I also play by touch, from a visualisation in my mind, but I imagine it from the other side.
 
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