The novelty of the accordion
consisted in playing a predefined chord with a single button
action on opening the bellow and a second one on closing.
After the privilege for building accordions ended in 1834,
the name and the instrument became very
well known and the great commercial interest for the new instrument
among other builders was based on the ease of its use, specially for the
accompaniment of
dance music and which made the accordion very attractive, particularly for
non musicians. But the fact that the harmonies were fixed was criticized
by some people. Several constructors introduced switches to shut off single
tones from the chords, others, like C. F. Uhlig placed the single notes
of a chord close together, in contrast to the usual systematic
distribution of a keyboard instrument. The fact that the
bisonoric action of a button was preserved and chords still were
playable, let people like Höselbarth, Zimmermann
or Band continue to name it accordion.
The individual
selection of tones to form chords for several tones was the enhancement of
Band's advertisement for his 40 and 56 voice accordions in 1844.
In many countries the term accordion is also used for concertinas.
In Germany
a distinction came up when later versions of Band's instruments were
named Bandonion.
Similarly Leclerc in Paris presented a melody instrument he called
mélophone and which was often confused with a
concertina despite of its
guitar shape. A special valve control allowed action
of the same voice on opening and closing the invisible bellow.
Perhaps A. Debain of Paris used the term
concertina for the first time before
1839. He sold his rights to J. Alexandre for the construction of
concertinas or piano-concertinas. R. Blagrove used an instrument of
Sir Charles Wheatstone (1802 - 1872) and
published in 1839 a Verdi melange ``...for the
Concertina with an accompaniment for the piano forte''. Regondi presents
in 1840/41 his Wheatstone instrument bought in 1837 as a mélophone but
in 1846 he calls it concertina.