Fisarmonica

The history of the Fisarmonica tradition is deeply intertwined with the industrial and cultural history of Italy, specifically the town of Castelfidardo.

While the accordion's patent was filed in Vienna in 1829, the Italian tradition began in 1863 when Paolo Soprani, a young son of a farm worker in Castelfidardo, obtained an Austrian accordion from a pilgrim. Intrigued by its mechanics, he set up a workshop to reproduce and improve it. This sparked the birth of the Italian accordion industry, transforming Castelfidardo into the world capital of the instrument.

By the late 19th and early 20th centuries, the instrument spread rapidly across Italy, replacing older folk instruments like the bagpipe due to its versatility and volume. Italian emigrants carried the 'fisarmonica' to the Americas, influencing genres from Argentine Tango to Brazilian Forró. In the United States, virtuosos like Pietro Frosini and the Deiro brothers popularized the piano accordion in Vaudeville, establishing a standard repertoire of novelty solos and light classical transcriptions.

After World War II, the instrument became the engine of 'Liscio' (smooth) ballroom dancing in the Romagna region. Orchestras led by figures like Secondo Casadei and later Castellina-Pasi cemented the accordion's place in Italian popular culture. Simultaneously, jazz pioneers like Gorni Kramer demonstrated the instrument's swing capabilities on national television.

Although the rise of rock and roll in the 1960s caused a decline in popularity, the tradition survived through conservatories and a revival in folk and jazz fusion. Today, Italian fisarmonica music is recognized for its high craftsmanship and diverse stylistic range, from traditional folk festivals to contemporary concert halls.

Composing for the Fisarmonica style requires mastering the interplay between the right-hand melody and the left-hand accompaniment.

Instrumentation: The core is the standard Stradella bass accordion (120 bass is typical). The right hand uses registers (switches) to change timbres, such as 'Master' (full sound), 'Musette' (detuned, vibrating sound), or 'Bassoon' (deep, mellow sound).

Rhythm and Harmony: The left hand typically executes an 'oom-pah' pattern: play the bass note (root) on the beat, followed by the corresponding chord button on the off-beats. Common time signatures include 3/4 for Waltzes and Mazurkas, and 2/4 or 4/4 for Polkas and Tangos. Harmonic progressions often follow the Circle of Fifths, utilizing the layout of the bass buttons.

Melody and Technique: Melodies should be lyrical and singing ('cantabile'), often harmonized in thirds or sixths. Key techniques include:

Structure: Standard forms often follow an A-B-A or A-B-C structure, with a Trio section in a different key (usually the subdominant) to provide contrast.