Accordion, soinua, soinu handia, acordeón cromático

Labaiengo ingurutxoa. Pepito Yantzi. HG 48. Herrikoi Musika Sorta 10. Lesaka.

Akordeoia. Larrinaga Guerrini (JMBA bilduma, 0194)

Akordeoia. Larrinaga (JMBA bilduma, 0660)

Akordeoia. Guerrini (JMBA bilduma, 0224)

Santa Ageda eskean. Dultzaineroa, Antonio Gaztañeta Itziartarra, Arriola bertsolaria, Pedro Sodupe soinujolea eta Itziarko panderojotzailea. Itziar, 1946. (Arg. Harana, 1998. 45. orri.)

Pepe Yantzi akordeoilaria Lesakako bandako musikariekin Igantziko Bentan, 1932an.

Akordeoilariak, bertsolariak eta txistularia Donostiako La Perla aretoan. Akordeoilariak ezkerretik eskuinera: Pepe Andoain, Pepito Yantzi, Felix Aranzabal, Mateo Andoain. (Arg.: Willy Koch)


The accordion is a free reed instrument of the aerophone group.

Description of the instrument

It has two wooden boxes, one (which is played with the right hand) with buttons or keys to give the melody, and the other (which is played with the left) that gives the bass notes and the chords of the accompaniment. the two boxes there is a bellows.

Way of playing

The bellows, which opens and closes with the arms, sends the air that makes the reeds vibrate.


After the diatonic accordion came the chromatic accordion. This could be of two types: with buttons on the right side (called chromatic) or with keys (known as a "piano" accordion).

The accordionists, like the trikitilaris, went from town to town participating in all kinds of festivals and popular celebrations.

This instrument, which has more musical resources than its diatonic relatives, initially put the trikitixa into a corner, but later, although we do not know why, it has lost strength in the world of popular music and the trikitixa has prevailed over it.

We must not forget the chromatic accordions that "Larrinaga-Guerrini" from Donostia made. Instruments of great prestige and quality have come out of this workshop.

To finish this section, we want to mention the influence accordionists have had on the repertoire of trikitilaris. On many occasions, the trikitilaris have adopted new music, pieces and dances of these accordionists to expand their repertoires and it is very evident that since the mid-20th century we have been listening to fandangos, arin-arin and new marches, learned or commissioned from accordionists.



HARANA, Mielanjel; TAPIA, Joseba; BERGIZES, Aingeru. (1998). Gelatxo. Zarautz: Euskal Herriko Trikitixa Elkartea.


LARRAÑAGA, Isidro. (1979). Euskal Herriko Dantzak. IZ. IZ-123.

YANZI, Pepe. (1972). Lesaka. Edigsa-Herri Gogoa. HG-48.

ZELAIA, Enrike. (1982). Araba. Elkar. ELK-53.

(1986). Nafarroa. Elkar. ELK-HG-147.

(1987). Bizkaia. Elkar. ELK-HG-206.

(1987). Gipuzkoa. Elkar. ELK-HG-177.

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