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The following abbreviations may occur:
| sa | single action | sounds only on opening (draw) or (mostly) closing (pressure) |
| da | double action | sounds on opening and closing |
| us | unisonor | same note on opening and closing |
| bs | bisonor | different note on opening and closing |
| av | automatic valve | permits air pumping |
| <3000 a.C. | Chingmian | mouth organ |
| 3000 a.C. | China | sheng or tshiang [sa] |
| 1762 | Benjamin Franklin | glass-harmonica (first use of the term harmonica) |
| 1770 | Kratzenstein, Denmark | speaking machine |
| 17xx | Kirsnik, Denmark | organ like harmonica |
| 1790 | Rakwitz, Sweden | Abbé Vogler's orchestrion (transportable concert organ) |
| 1806 | Bernhard Eschenbach & Kaspar Schlimbach, | handaeoline (until 1840) [sa] |
| Königshofen (Bavaria) | (first reed instrument without tubes) | |
| 1820 | Buschmann, Berlin | aura, mundaeoline (mouth organ) [sa] |
| 1821 | E. F. Chladni, AMZ | publishes a detailed description of the sheng |
| 1821 | Buschmann, Berlin | handharmonika or handaeoline (bellow on pressure) [sa] |
| 1821 | A. Häkl, Vienna | physharmonika [sa] |
| 1824 | G. A. Reinlein, Vienna | privilege for harmonicas called chinesiger |
| 1825 | G. A. Reinlein, Vienna | aeol-harmonica |
| 1825 | first printed scores | for Mundharmonika |
| 1828 | Hand-, Zug-, Ziehharmonika | |
| 1829 | C. Demian, Vienna | eoline, accordion |
| 1825/9 | Ch. Wheatstone | symphonium |
| 1829/30 | Friedrich Mehwald, AMZ | new-sheng [us, da] |
| 1830 | privilege, Vienna | bellow harmonica |
| > 1830 | Paris | first accordion manufacture |
| 1831/3 | Ernst Leopold Schmidt | Apollo lyra [us, da] |
| 1835 | Carl Friedrich Uhlig, Chemnitz | Harmonika, later known as German Concertina |
| 1836 | Vienna | export of chinesiger to Gera and Leipzig |
| 1839 | A. Debain, Paris | orgues expressives, or harmonium |
| 1839 | J. Alexandre, Paris | ``brevet de 10 ans'' concertina, piano-concertina |
| 1839 | Leclerc, Paris | mélophone [sa] |
| about 1840 | Heinrich Wagner, Gera | introduces accordion manufacturing |
| 1841 | G. Regondi | uses mélophone for a Wheatstone concertina [sa] |
| 1844 | Wheatstone | proposes a double action concept and calls it concertina |
| 1844 | Band, Krefeld | uses accordion for a concertina |
| 1846 | G. Regondi | uses the term ``concertina'' for a mélophone |
| 1854 | Paris | mélophonorgue (derivative of accordion) |
| 1856 | Joh. Schmitz, Krefeld | the term bandonion created |
| 1857 | Hofmeister's Handbook | scores for bandonion |
| 1861 | Quentin de Gromard, Bruxelles | Cecilium |
| 187x | A. Ferenczy, Carl Burge, Ofenpest (H) | Hungarian Mélophone |
| 1890 | Max Scheffler, Chemnitz | Scheffler's Konzertina 102 or 104 voices [3 rows, bs] |
| 1890 | Georg Mirwald, Söllitz (Bavaria) | Chromatine |
| 1898 | Richard Scheller, Hamburg | Symphonetta |
| 1900 | distinction: | bandonion = rhineisch |
| concertina = chemnitzer and karlsfelder | ||
| 1906 | Heinrich Steinfurth, Mühlheim-Broich | Piano-Bandonion [us] two paralel piano keyboards as buttons |
| 1910 | Richard Winkler, Hannover | Bass Bandonion |
| 1912 | Kahnt & Uhlmann, Altenburg (Thuringia) | Cantulia |
| 1920 | Hugo Stark, Rebesgrün (Vogtland) | Chromatiphon |
| 1925/6 | Charles Péguri, Paris | 142 voice Chromatic Bandoneon [us] build by Alfred Arnold |
| 1926 | Georg Strobl & Sohn, München | Bayrisches Schrammelbandonion |
| 1926 | Otto Bergler, Erbendorf (Bavaria) | Berga-Bandonion |
| 1926 | Karl Mecke, Gniebendorf | Chroma-Bandonion |
| 1926 | Fritz Micklitz, Altenburg (Thuringia) | Harmoniphon |
| 1927 | Ernst Kusserow, Berlin | Kusserow Bandonion [us] |
| 1928 | Adolf Weber, Chemnitz | Bandonola |
| 1930 | Friedrich Töpel, Tripis-Oberpöllnitz | Bando-Piano using Matthey's table |
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