In Russian tradition, the accordion is called tools with the right keyboard of the piano type, but also exist and push-button accordions With a keyboard as an accordion. The very name was given
Main components:
Case. For the manufacture of the housing used and used most often wood beech, cock, alder, birch. But the accordions with the oak corps are extremely rare and are made only to order. But aluminum sheets are needed for making a grid. Outside, the housing is covered with celluloid.
Vulture The melody keys are placed on the grief, it is attached to the right half of the housing. And it is manufactured from the same material as the body.
Fur. For the manufacture of fur, the cardboard is placed with a cloth, hermetically sealed with the right and left half-row. Consists of 13 and more folds that create a circulation of air, forcing the "Sing" tool.
By the way, here is such a lifehak: Fur folds should be plated or a tape in order to avoid too fast wear of Kre Fur at points of contact with an artist's chest ...
Resonators. The necessary part of the sound recovery is the resonators with voice placams.
Voice strips. Voice placams are called metal plates with ribs over which tongues are located. Each note corresponds to a separate tongue. The shorter the tongue, the sound above, respectively, the longer - the lower. The tongues with their thickened end are sticking to the plate, the free end of the tongue is included in the plate slot and under the action of a passing jet of air fluctuates, forming sound. Voice strips are made of non-ferrous metals, brass and aluminum. The sound quality depends on the accuracy of the tongue fastening, from the quality of the material, as well as on the type of body of the enclosures.
Register system. Move from aluminum and brass. Used to change the timbre.
Device.Two keyboards are connected by fur To injected air into the key-pneumatic mechanism. Device air valves Accordion:
Musical instrument mechanismallows you to adjust the stream of air through the keystags , Up to its full cessation (green arrows in the diagram). Depending on the direction of air current, one of the two tongues of the same chamber tone ranges (in the blue and orange arrows in the diagram). In other musical instruments (for example,harmoshke ) The tongues of one chamber may differ in the musical tone -harmonist changing the direction of the fur movement changes the height of the sound (musical note) without removing the fingers from the key. Left (side, bass) Accordion keyboard arranged otherwise: pressing one button, thanks to the complex mechanism, several cameras opens at the same time (chord ). The mechanism is common to accordions,bayanov and other similar musical instruments.
There are several varieties of accordions: normal and ready-elected .
In the usual in bass ( left hand) Plays as expected according to the scheme of a number:
In the picture you see the scheme of the usual left keyboard in mirror (B - Major, M - Minor, 7 - Septakkord, mind - reduced chord).
But in the ready-elective, there is a switch with the above scheme to completely different. By switch, the accordion switches to the change mode of the entire left keyboard only on bass (notes). That is, where in the usual chords, in the electoral keyboard - notes.
The left keyboard in the sample is a mirror right keyboard on the bayan.
Accordions are also classified by size:
1.
Full - 4/4
- 41 keys; Range - OT f Male octaves before la Third octaves.
2.
7/8
- 37 keys; Range - OT f Male octaves before f third octave).
3.
3/4
- 34 keys; Range - OT salt Male octaves before mi. Third octaves.
4.
Half - 1/2
- 26 keys; Range - OT s. Male octaves before before Third octaves.
It seems like everything ... something like that. If there are any additional questions or something is incomprehensible - do not hesitate - contact.
Oh yeah, more accordions are electronic, but this is a completely different story ...
P.S. If you notice some errors in text, please let me know about it.
Musical instrument: Bayan
The timbre palette of the existing musical instruments are extremely rich, because each of them has its own vote. For example, in a violin, he has a chant, in the pipe - shrill brilliant, in Cheeseta - transparently crystal. However, there is one tool that has a rare ability to simulate various timbres. It can sound like a flute, clarinet, a fagoth and even as an organ. This tool is called Bayan and rightfully can be called a small orchestra. Bayan, with its large artistic possibilities, subject to much - from the accompaniment of simple folk songs, to complex masterpieces of world classics. Having very popular, it sounds in large concert scenes and is an unchanged participant in festive feasts, no wonder Bayan is called the "soul of the Russian people."
Bayan is one of the most advanced varieties of harmonic having a chromatic sound.
History and many interesting facts about this musical instrument are read on our page.
Sound
Bayan, having a rich musical and expressive potential, opens up the performers with great opportunities for creativity. A bright sound is distinguished by saturation, expressiveness and melody, and the finest milling gives the timbre of special colorfulness. On the instrument it is possible to perform beautiful romantic melodies, as well as dramatically gloomy musical works.
The sound on the bayan is formed due to the fluctuations in the tongues in the voice placas under the action of air, which creates a fur chamber and is characterized by a special dynamic plasticity. The instrument is possible to perform a pretty transparent piano and fanfar forte.
Bayan, because of his constructive features (The presence of registers), has a varied voice palette of sound - from the solven aforementioned organ, to a soft and warm violin. Thremolo on the bayan is very similar to the tremolo violin, and the dynamic volume of the tool creates the impression that the full orchestra plays.
Bayan range quite large and amounts to 5 octave, starting from the "Mi" of the big octave and ending with "La" fourth.
Photo:
Interesting Facts:
Bayana design
Bayan, representing a rather complicated design, consists of two main sections: the left and right, interconnected fur.
1. Right part of the instrument - This is a box of rectangular shape, with a rug and deck attached to it, with mechanisms mounted in it. When you press the key, the mechanism raises the valves, thereby passing the air to the resonators with voice placams and the tongues.
For the manufacture of boxes and decks, wood resonator breeds are used: spruce, birch, maple.
The lattice is attached to the box, as well as register switches (if such are provided by the design) which serve to change the grade. The box also contains two large belts to fix the tool during execution.
The play keys in three, four or five rows are located on the grief in chromatic order.
2. Left housing - This is also a box of rectangular shape in which it is on the outside left keyboard A tool containing five, and sometimes six rows of buttons: two - bass, the remaining rows of finished chords (major, minor, sepkord and reduced sepkord). On the left case there is a register for switching the finished or elective sound survey system, as well as a small belt, with which the left hand drives the fur chamber.
In the left corps, there is a deck with complex mechanisms for extracting sounds in two systems for the left hand: ready and ready-to-select.
The fur chamber attached to the case framework is made of special cardboard and from above is floating with a cloth.
The weight of the multi-dimmable concert bayana reaches 15 kg.
Bayana varieties
A large bayan family is divided into two groups: ordinary accordions and orchestrals.
The usual have two types that differ from each other by the accompaniment systems in the left hand: ready and ready-elective.
Orchestral accordions, due to their constructive features having a keyboard only with right side The housings are also divided into two types:
Application and repertoire
The range of use of the accordion is very wide, it can be heard on the scenes of large concert halls as a soloing, ensemble, orchestral instrument and in amateur ensembles and orchestras of folk instruments. Collective consisting of only bayanists are very popular. Very often, the bayan is used as an accompanied tool or simply in everyday life on various family holidays.
The tool is very universal, it is performed by the works of composers of past epochs, as well as the music of modern genres: jazz, rock and techno.
Surride sounds on the accordion writings I.S. Bach V.A. Mozart , N. Paganini, L.V. Beethoven , I. Brahms, F. Sheet , K. Debussy, D. Verdie , J. Bizet. D. Gershwin, Mahler, M. Mussorgsky, M. Ravel, N. Rimsky-Korsakov, A. Scriabin, D. Shostakovich, P. Tchaikovsky, D. Verdie and many other classics.
Today, more and more modern composers write different works: Sonata, concerts and original pop plays. L. Prigogin, G. Bashchikov, S. Gubaidulin, S. Akhunov, H. Valpol, P. McConen, M. Murto - their musical compositions for the accordion very effectively sound on the concert scene.
Works for Bayana
N. Chaykin - Concerto for Bayana and Orchestra (Listen)
P. McConen - "Flight Over Time" (Listen)
Performers
Since in Russia, Bayan very quickly won popularity, the performing arts on it developed very intensively. Due to the constant improvement of the instrument, the musicians opened more and more creative possibilities. Especially it should be noted in the development of the performers of bayanist innovators: A. Paletheyev, who first moved to the five-paltse application instead of the four-paltsev used, thereby increasing technical capabilities tool; Yu. Kazakova - First Artist at Multi-Membled Finish-Elektrome Bayan.
The Russian accordion school is now very well known all over the world, and performing arts currently more flourishes. Our musicians are constantly becoming laureates of various international competitions. A lot of young performers come to a big concert scene, however, it is necessary to highlight the names of such outstanding musicians as I. Panitsky, F. Lips, A. Sklyarov, Yu. Vostrov, Y. Tkachev, V. Petrov, Zaitsev, V. Gridin , V. Profamilnov, V. Zubitsky, O. Sharov, A. Belyaev, V. Romantko, V. Galkin, I. Zavadsky, E. Mitchenko, V. Rozanov, A. Flytayev, who, with his unmarked, filled with art, made Weighing contribution to the development of modern executive school.
History Bayana
Each tool has its own story, and the accordion also has a prehistory. It began in ancient China in 2-3 millennia BC. It was there that the tool was born, which is the progenitor of modern accordion. Sheng is a tongue brand musical instrument, representing a housing with a bamboo or cane with copper tongues attached in a circle. In Russia, he appeared in the times of Mongol-Tatar yoke, and then in the trade routes came to European countries.
In Europe, at the beginning of the 19th century, using the principle of Schan's sound recovery, the German organ master Friedrich Bushman came up with a mechanism that helped him in setting up tools, and which later became the predecessor of harmony. Somewhat later, Austrian of Armenian origin K. Demian modified the invention F. Bushman, converting it to the first harmonic.
In Russia, harmonics appeared in the second quarter of the 19th century, she was brought from abroad, they bought in fairs from foreign trading people as a wonder. A tool that could play a melody and accompanied, quickly gained popularity among urban and rural residents. Without her participation, it was not one festival, the harmonica along with the balalaica became a symbol of Russian culture.
In many Russian provinces, workshops began to be created, and then factories that have manufactled their local varieties of harmony: Tula, Saratov, Vyatskiy, Lebanese, Bologoye, Cherepovetsky, Casimovsky, Yelets.
In the first Russian harmony, there were only one number of buttons, two-row they became in the second half of the 19th century, by analogy with the design, which was then improved in Europe.
The harmonic musicians were mostly self-taught, but the miracles of performing skill got out, despite the fact that the instrument in the design was quite primitive. One of these nuggets was a worker from the city of Tula N.I. Beloborov. Being an avid harmonist, he dreamed of creating a tool that would have more performing opportunities.
In 1871 under the leadership of N.I. Beloborodova Master P. Stulakov created a two-row harmonic, having a complete chromatic system.
At the end of the 19th century, in 1891, after improving the German master of Mirvald, the harmonica became a three-row, with a chromatic sound sequentially located on oblique rows. Somewhat later in 1897, the Italian master P. Soprava patented its new invention - extracting ready-made major and minor sober, dominanttespeccord on the left keyboard. In the same year, but in Russia, the master P. Chulkov at the exhibition was presented a tool with bent mechanics in the "left hand", which also allowed one pressure on the retrieve the finished chords. Thus, the harmonic was gradually transformed and became bayan.
In 1907, the master designer P. Sterligov. On behalf of the Harmonist Musician Orlan-Titarenko. A complex four-row tool was made, called "Bayan", in the memory of the ancient Russian narrator. The tool was quickly improved and already in 1929 P. Sterligov invented the bayan with a ready-elective system on the left keyboard.
The increase in the popularity of the tool is accompanied by its constant development and improvement. The deformities of the accordion make it truly unique, because it can sound like an organ or as brass and string tools. Accordion In Russia, lovely love - this is a academic tool that sounds from the scene in the Great Concert Hall, and the symbol have a good mood, funny people on rural zawalinka.
Video: Listen to Bayan
In this material, we will master the right keyboard with you using special exercises. There will be a minimum of theory and a lot of practice. Video exercises will allow you to very quickly prepare the game apparatus to a full-fledged game with two hands.
After their study, you will not have problems associated with the arrogance of fingers and their coordination. After the practical passage of the set of exercises, you completely freely independently learn from the right keyboard of the song and the play in a lightweight congestion for the accordion.
In the video exercises, the tool sound standard is specified when exercising. You can run the video at any time and compare your playground game. These exercises will help you develop optimal fur science and teach your fingers to proper applicature. In a selection of more than thirty video exercises, which are recognized by specialists most productive for learning newcomers.
I use these exercises in my work for almost forty years. On that material you have the opportunity to buy, they learned to play the accordion hundreds and hundreds of my students - and adults and children. By purchasing this mini course - a set of exercises for the right hand, you get the opportunity at any time to get my advice, answers to questions you are interested in, recommendations.
For whom are these exercises prepared?
For those who begin to master the bayan from scratch, without any preliminary training. Innings educational material It is organized in such a way that absolutely any person will be able to work productively with a set of video exercises.
- Exercises can be used by bayan teachers and tutoring as the main and auxiliary materials, as well as for homework students in the Bayan class in children's musical educational institutions.
Included:
32 video, 115 video exercises.
As well as: Music location schemes on the keyboard, video cards with high-quality digital button accordion Roland, excellent graphics. All exercises with signed notes and applicate designations. There are also files for printing exercises. Most exercise has guidelines for their development. The video is recorded in AVI format.
Price 300 rubles
On the acquisition of the kit, write to the mail p. [Email Protected] Recommendations for the study of the right keyboard bayan
The study of musical letters must be associated with the auditory images and the concepts of the child. In other words, notes should be studied consistently with different durations.
Learning notes are usually starting from the note "before". As the seven main sounds of the natural skeleton study, the student practically masters the tonality to the major, its stable and main steps. As you can take the earlier to play without constant plowing in the keyboard. It will be possible when you will know the location of the notes on the button accordion. Moreover, it is not virtually known to know. To do this, you will have to work pretty. To explore the keyboard, it is best to use one octave.
I recommend first. By putting fingers on one Octave, we will automatically know the notes and other octave. Some disciples for memorizing the main sounds of one octave are required hundreds of repetitions. Someone remembers the location of the notes very quickly. But I repeat: I have little to remember the location of the notes, you need to distinguish them on the sound, to unmistakably determine their location on the keyboard.
The main task of initial practical work on the study keyboard Bayana: Remember the character of the sound in a natural skeleton, hear it in the realities and have an auditory view of him. In addition, it is important to assimilate the relative duration of the whole, half and fourth note.
Together with the memorization of notes on the keyboard, the student receives the concept of the location of the notes on a tight mill, learns correctly record sounds of different duration. Here it works out the first skills of sound recovery and fur science.
We apply the location and sound of the note "to" the first octave. Press the "To" button. Pull the sound, let him listen carefully. We try to reproduce it with voice. Then together with the tool. We do this procedure 10-15 times. Press the following button - the corresponding note "re". Halftone still do not touch.
Our task at the initial stage to learn the location of the main notes. So, we play the sequence of notes "to" - "re". Play this sequence as half. If you can use the metronome. But even with the metronome, we definitely consider the share or out of the score of the foot.
Be sure to come down the exercises performed. When we confidently take on the keyboard of the notch "to" and "re", go to the elaboration of the next combination of buttons corresponding to the notes "to" - "SI". The "up to" button is pressed by the second finger, the "SI" note is the third.
We focus as much as possible, straining the rumor, absorb played sounds. Carefully track the transitions, transfusion from sound to sound. Next combination of sounds to explore the right keyboard: "Pre-re-si-to".
I remind you that all these manipulations are aimed at studying the location of the note "before" on the keyboard. After you begin to completely freely find and play a note "before", you can go to the development of a note "RE". By analogy with previous classes, make up the buttons sequences from the "re" button down and up.
These sequences will look like this: "Re-Mi", "re-", "re-Mi-re-". How many times do you need to repeat the sequence until complete memorization? For each teaching individually. It can be ten repetitions, and maybe a hundred.
Similarly, we work out the rest of the main sounds to the "SI" note. This will be the first stage of studying the right keyboard. In the next stage, we will intervals, i.e. We will continue to work on learning the notes (buttons) of the main skeleton on the right keyboard on the example of the intervals.
The most widely known accordions with a three-row keyboard in their right hand and with ready-made chords in the left, five or six-row, keyboard. Such bayans, at the place of their original manufacture and distribution, began to call Moscow unlike the so-called Leningrad, four-rowed. Now there are accordions and with five rows on the right keyboard.
In addition, there are accordion elected, having a three-row keyboard both in the right and left hand. Here chords are freely selected on the keyboard, as well as on the piano, depending on their writing. Recently, the bayans are combined, on which you can play and both on the accordion with ready-made chords, and both on the elected one.
Orchestras of folk instruments are applied orchestral bayans with one right keyboard. Their whole family: piccolo, soprano, alta, tenor, bass and double bass. They differ from each other not only by the range, but also the timbre. In addition, there are special orchestral - timbre bayans: on sound they are similar to flute, clarinet, fagoth and other symphony orchestra tools.
Consider the device of the usual tri-robber bayan with finished chords.
Bayana boxed wooden body consists of two half, interconnected by fur. Inside each half-row, there are decks on which resonators with voice straps are strengthened from the fur side, and outside the valve mechanism with the keyboard.
The right hand keys are made on a special bar - neck, and left - on the front, the wall of the half-row. Both mechanisms are covered with lattice covers. From the inside the covers are flooded with thin thick cloth, which is a filter that protects the voices from dust.
A short belt is strengthened on the left half-row, under which the left hand is doing with the game. In addition to the game on the keyboard, the left hand stretches and compresses the fur, the bent air.
Two belts are attached to the right half of the housing, which wear on the shoulders and firmly hold the tool during the game, freeing the right hand from supporting efforts.
Fur is a tetrahedral corrugated box, a bold cloth from the outside. The fur is glued to a small narrow wooden framework, and they are already directly attached to both halves of the housing with spills or hooks. Frame bend places - corners - samples from the inside strips of husky, fine soft skin, and from above for greater strength are strengthened with special metal corners.
The bayan housing is glued from thin beech or birch powder. Corners of the body glued in the spike " dovetail" The smoke of that corners are fastened with metal decorative plates that protect them from damage and welcing them.
Unlike Dec on other tools, decks on the bayans are not a resonant device, and serve only a mechanical airproof partition (diaphragm) between the fur chamber and the valve mechanism. They are made of good smooth and durable plywood, birch or bucken. A few rows of holes are drilled on the deck, which from the outer side are overlapped with valves and against which the holes of the resonant cameras are installed from the inside.
The sound on the bayan occurs as a result of oscillations of a thin steel plate (tongue, voice) over a slit slot, through which the jet of air is driven. The slots are made in massive durable stainless steel plates, brass, aluminum and others. Planks are solid or cuts consisting of small plates, separate for each sound, more precisely - for each pair of tongues.
Tags or voices are made from special spring steel, they firmly stick to the straps over the balls. The size of the slots, length, width and thickness of the tongue depend on the height of the sound: they are the greater the lower the sound, and vice versa. In the tongues of the lowest bass tones for their weighting, small copper plates are attacked.
Above the gap, from the opposite tongue, the strip of likes is glued, which closes the ball gap with the reverse movement of the air jet, and thus reduces air flow, fur consumption during the game.
Each votes on the bar is against a small resonator chamber - Ocelnery. The volume of the chamber, its shape and dimensions matter for the strength and timbre of the sound, so they are specially calculated and constructed.
Ocelves together with spacecraft constitute a separate design, the so-called resonators. In the lower part of each oil, wide air bandwidths are drilled, which coincide with the same holes on the deck. Resonators glue from birch or alder. A separate resonator corresponds to each row on the jiff.
In all places of compounds, where there is a danger of air seeping: between the plars and the walls of the octicides, there is a seal between the resonators and the deck - the strips of a puffed soft husky. Planks are attached to the resonators of curved studs or small cloves with wide hats. In addition, the edges of the planks are flooded with molten wax.
Valves are small wooden plates, from the bottom side of which strips of soft likes are pasted, and the wire leash is strengthened from above, with which the valve rises and lowers, overlapping the holes on the deck. The liking side is firmly adjacent to the deck, preventing arbitrary air penetration to the votes, and softens the shock of the deco valve during the game. Sometimes to reduce noise when playing between the valve tree and likes, the strip of thin cloth is additionally lane.
The right keyboard keys are narrow wooden levers, which are placed in the appropriate jacks on the jack and rotate on the wire axis. From the side of the neck from above at the ends of the key, pearl or celluloid buttons are strengthened - buttons, and on the other ends, the holes are drilled in which the ends of valve leashes are screwed or pasted. From the bottom in the jacks under the keys there are springs, under the action of which the valves are tightly pressed to the deck.
Thus, all three rows of valves are arranged on those button accordions, where the neck is attributed closer to the rear wall of the case. In the same place, where the neck is located closer to the middle of the case, the third row of valves has a slightly different device: the leashes of the valves are in a special way bent and the two loops are attached to a wooden plank glued to the deck. The end of the key is supplied under the free curved end of the valve leash and presses it, lifting the valve. In this case, the basic valve springs are installed not: under the keys, and directly on the deck, near the axis of rotation of the leash. Under the key itself, in addition, there is an additional small spring, which tightly presses the pushing key to the end of the valve leash, eliminating the gap between them and the inevitable in this case idling keys.
On the combine of the bayana mass production, fifty-two-two-keys are usually installed, the range: from the Cu-bembol large to the fourth octave. On the bayans manufactured by order, the number of keys reaches fifty eight, sixty and even sixty-four. Range with fifty eight keys: from a large salt of the fourth octave.
The device of the left keyboard mechanism is much more complicated by the right - the presence of a bass having an octave triple or even comprehensive requires a special design of the vote slats and resonators. The button system of mechanics should be constructed by the wide selectivity of chords in the low and first octave range.
Consider the device left keyboard bayan having a hundred and twenty-bass buttons: six rows of twenty buttons in the row.
The left keyboard is associated with two rows of valves: Odin (12) - bass, and the other (also 12) - chord voices.
Under the bass valves there are four voice strips installed on separate resonators, but assembled in one block. The system of each bar differs from adjacent to octave. When lifting the valve, four octave sounds sound simultaneously, for example, when the bass button is pressed, it is simultaneously sounded to a large, to a small, until first and to the second octave. Such an octave bass amplification is necessary to create a certain strength and lung of sound. On some Bayans bass only triple: the strip of the highest vote is not installed.
Each plank has twelve votes, located in a chromatic sequence. The range of all four bass planks - from the control of the second octaves to the Mi-Beleol. The work of the bass valves is controlled by the two first (counting from fur) of a series of left keyboard.
The whole complex chord keyboard controls the sound of only one resonator, which has two solid balls on itself. Votes on each line twelve couples, they are located on both sides, as usual, and are configured in a chromatic sequence from the salt of small to the phase of the first octave.
All bass and chord valves with spill leashes are associated with special rollers located along the valves parallel to the deck. For each tone - a separate roller; Thus, there are two sets of rollers - twelve bass and twelve chords.
Each roller has several studs that perceive the effort from pushers, rigidly related to the key button. Buttons through the appropriate holes are removed on the front wall of the left half of the housing.
When playing, the movement from the finger is transmitted through the push button on which in a certain place - near the studs of the corresponding roller - there is a small pin. The pin hurts behind the heel, rigidly bonded with a roller, and makes the roller turn. Turning it, the roller moves the one has a different stud, which, with a leash, is associated with the free end of the valve leash: the valve is lifted and opens the holes on the deck for passing the air to the ballot.
Similarly, mechanics and the accordion keyboard also acts, with the only difference that there are several pin on the pusher, which act as several valves at the same time. So, for example, when you put on the button, the sober-cutting salt, the pusher pusher hits the pockets of the rollers associated with the sound keys of the salt, Si-Barol and Rea, and opens them.
The left bayan keyboard has six vertical rows of twenty buttons in each. The first two rows, counting from fur - bass, the other four are chords. In the first row there are so-called auxiliary bass - a large term from the main bass; In the second - basic bass, tonic; In the "third row - major, big sober; in the fourth minor, small sober; In the fifth - dominantxpeccords with the missed quint; In the sixth - reduced sepkord
The middle of the left keyboard has seven rows of white buttons, these are "clean" tones, their main bass do not have digesters or bemoles. At the bottom under the white buttons there are five rows of black buttons, the main bass of which have bemols. Above the white keys are also five rows of black buttons, the main bass of which have digesons. The corresponding rows of the upper and lower black buttons although they have different name, but they sound the same, they enharmonianly equal (for example, the tonality of pre-diezonically equal to the re-bembra's tonality). In other words: the black buttons on top and bottom duplicate each other. In addition, above the black buttons there is one and below under black - two rows of white buttons, which duplicate the three extreme rows of white buttons.
Such a large number of duplicate keys is necessary so that the performer is convenient to play in any tonality without unnecessary jumps from the top of the keyboard into the bottom and. On the contrary.
In theory called the resonator understand the physical body, capable of responding to fluctuations in a certain frequency and strengthen these oscillations. The simplest example of the resonator can serve as a resonator of the Helmholtz -Polny vessel with holes, with which in complex sound oscillations you can find their simple components, i.e., you can perform a sound analysis, since each resonator is configured to a certain frequency.
In harmonics, the bayans and accordions, the resonator is called the system of air chambers of certain sizes built into one wooden designwhich is a base or support for voice strips.
The resonators in practice are called differently: resonators, hotels, etc. However, the first name should be considered more correct, since the air chambers in the resonators really contribute to some extent and improve the voice timbre. Therefore, the quality of the tool sound depends not only on the voice planks, but also from the resonator, on the shape and size of air chambers, calculated for each tone separately.
Resonators of tongue musical instruments are divided into melody resonators, accompaniment accompaniment resonators and bass resonators.
The resonator of the melody (Fig. 43) consists of the furniture 1, the upper bar 2, the socket 3, partitions 4, the fastening bar 5.
Air chamber in the resonator of the melody, as well as in the accompaniment resonator, is formed between adjacent partitions, the furnace, the top bar and the outlet. For each aircraft, one voice plug or a pair of the tongues of one tonality of a solid plank sounding in opposite directions of air is intended; Air chambers must be well isolated from each other, so that there are no expansion of the tongues in adjacent chambers.
The number of aircases in the resonator of the melody depends on the tool range and the design of the melody keyboard mechanism.
B depending on the type of tool, the design of its keyboard mechanism and tool voting, in the right lid is located two to six resonators.
B Table. 9 It is shown how the number of melody resonators changes with an increase in the tool's voice. 
B links with a change in the size of the added plank resonators melody undergo some changes.
B mass production resonators are removable melody resonators. Repair such resonators are more convenient.
B some instruments of individual manufacture resonators of the melody (especially often in the discharge group) non-removable, i.e. they are glued directly to the deck without sockets. Failure resonators contribute to better audio formation, but create great inconvenience when repairing, reduce labor productivity during the repair of the voice part and configuration and, as a result, increase the cost of repair.
The accompaniment resonator (Fig. 44) consists of a furniture 9, the upper bar 3, a socket 8, partitions 5, fastening bars 1-and 7, cock 2 and 6, air chamber 4.
B resonators of the accompaniment of bayan and accordion for 12 pairs of aircases, t. E. C each side of the resonator for 12 aircases.
In the resonator of accompaniment of harmonic, the number of steam aircases is less; It depends on the number of buttons of the left mechanism (range).
Accompanent resonators have the following varieties:
Accompanent resonators for mass and individual manufacturing tools are usually removable.
B depending on the type of bass mechanism, design resonators are divided into two main types:
B Harmonics and accordions usually use borrowed bass resonators, in the Bayans, and others.
The most common type of resonator for a borrowed bass mechanism (Fig. 45) consists of furniture 1, upper bars 2, sockets 4, partitions 6 and curtains 5 and 7.
On one side of the borrowed resonator are the lowest sounds for this instrument to another - on
octave above.
In practice, it is customary to call one side of the bass resonator with the lowest sounds of I octave, the other-II octave.
It should be noted that these names do not correspond to the actual height of the planners located on the resonator, but are conditional names. The average height of sounds I and II octave, depending on the tool, is within the limits of Mi or Fa Contacts to Mi or Fa Small Octave.
The bass resonator for an undequired mechanism (Fig. 46) consists of a furniture 7, a top bar of 5, a socket, a polebar of 10 III octaves, a sub-cut bar of 9 IV octaves, resonator 11 III of octaves and resonator 8 IV octaves.
An unetebled bass resonator added two more one-sided resonators: resonator III octave
and resonator IV octave, since the four-voice base of bass is created by the planks mounted on the I, II, III H IV iv.
The resonator III of the Octave is designed for planes, tuned to octave above II octave, resonator IV octave - higher at octave resonator III octave. Nuting the resonators 111 and IV octave also conditional. The resonators III and IV octave are mounted on a common outlet, and their air chambers are connected by channels in fobble bars with the same air chambers of the resonator I and II octave.
The air chambers of the resonators with the outside are closed with voice placams. It is necessary to perform the condition of absolute airproof between the straps and the plane of the resonator. This is necessary so that the air is passed only through voice openings in the planks and used to excite the tongues. In order for the bar and the resonators to be sealed, the planks attached to the resonator are poured around the perimeter of molten waxed wax or cererseine mastic or less often - nitroces.
Most suitable material For the manufacture of parts of the resonators, the wood of ate and fir should be considered. It has good sound conductivity, a small bulk weight, easy to process.
For details of the resonators (in addition to the socket and fasteners), birch and wood of soft breeds can also be used: alder, poplar, aspen.
The outlets of the resonators are made of hardwood or high-quality plywood.
The bass resonator is usually made of glued birch plywood with a thickness of 3-4 mm.
The assembly of resonators from the details is the glue of its parts to the studio, starting from the top bar. Then proceed to the shape of partitions. B The latter is stick to the outlet and bars of fixing resonators.
For gluing, joinery, polyvinyl acetate emulsion, synthetic adhesives, etc. are used.
The gluing process goes with certain excerpts depending on the glue used.
Many enterprises manufacture resonators of melody, accompaniment, III and IV octave bass resonator for more
Perfect technology - by milling. This makes it possible to get from a wooden workpiece of a furnace with partitions and cakes at the same time. Molded resonators are made of beech or ate.
There are two ways to manufacture resonators by milling: across the fibers (wood fibers are directed along the furniture) and along the fibers (wood fibers are directed across the furnace).
In the first method, the resonators are required to wove the partition with glue, varnish or another composition, otherwise in open wood, the energy of the oscillations of the tongues will be absorbed by them and the sound will be deaf. Revonators made in the second way is not required.
I. Fadeev, I.Kuznetsov "Repair of harmonics, bayanov and accordions"
