Cyrillus Danniian, a Venetian musical instrument maker, is often credited with being the first to make an actual accordion. In fact, he was also the first to name the instrument, and received royal approval for the invention in 1829. In his design, there are 2 to 4 bass bass keys used to create harmony in the octave range.

But the first real accordion appeared in 1822, by an instrument craftsman named Dhristian Friedrich Buschmann. On the basis of the portable keyboard, he installed an extendable bellows, and installed a free reed that can vibrate freely inside the instrument.

He called it the hand aeoline and took it out of Berlin in 1828 to travel the world, thus making the instrument famous.

In fact, in the 19th century, many musical instruments based on the principle of free vibration of reeds appeared. Some of them are still very famous today. Sirchales Wheatsone (1802-1875) was granted patent number 5803 in England in 1829 for the concertina. Heirnrich Bank of Krefeld, Germany, invented the bandoneon in 1840; this boxy keyboard instrument was popular with tango bands in Argenjen. The same year Alexandre Debaen completed the production of Harmonium in Paris.

In this pipeless organ (often used for church and home performance until the advent of the electronic organ in the 1830s) air is passed through the reed area by the action of a foot-operated bellows.

Before this, in addition to the player, there had to be another person assisted to send air into the interior of the instrument through the bellows behind the keyboard.

With the increasing popularity of the accordion, there has been a desire to publish some instructive books. The first such book was published in Paris in 1832 by A Reisner. The book brings together some early accordion works and works that were popular at the time.

That same year Pichenot also published his book Merhode Pour Laccorden. Adolpn Muller published a similar book in Vienna in 1834. Since then, more and more books on the accordion have taken over the market, with more than 30 in the 1860s alone.

The structure of the diatonic accordion is very simple, which is equivalent to adding a bellows to the harmonica; the right-hand part has more than ten buttons for playing tunes, and the left-hand part has two chord buttons for accompaniment; on the same button, the push-pull bellows emits different heights.

Two tones (similar to the harmonica pronunciation); there is no strap on the piano, and the piano is completely supported by both hands; the biggest disadvantage of the diatonic accordion is that it cannot be transferred.

The chromatic accordion first brings convenience for tuning; the number of buttons on the left and right hands has increased, and the sound height of the push-pull bellows is different, so this kind of piano has a wide range; the chromatic accordion also has no straps, still relying on Two-handed violin playing.​​

The button accordion (also known as the new chromatic accordion) is equipped with a strap, which is a great liberation for both hands; in addition, the sound of the push and pull bellows is highly consistent, so that the transformation and use of the bellows has also gained a lot of freedom.

The number of buttons on the left hand part of the button accordion is greatly increased and the arrangement is quite scientific, so it is still used today.

When playing the keyboard accordion, the right-hand ornamentation, glissando, skipping, etc. are almost the same as those of the piano. But are left-handed people unable to play?

Not really, no matter what type of accordion it is, it is not just played with the right hand. The left hand not only needs to play the melody, but the selection and application of major chords, minor chords, dominant sevenths, diminished sevenths and other chords are all controlled by the left hand.