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 when the game has been doing left hand. 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.
Left keyboard Located 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.
It is very difficult to talk about the time of the appearance of the musical instrument, as music, and therefore musical instruments, accompany a person from the most ancient times. And no one can say for sure - when a person first blew in Bamboo Costa and a doodle appeared, which in the future turned into a flute. Or when a person noticed that the stretched string of Luke sounds beautifully, adding a few more, and a Lira appeared - the predecessor of the harp and guitar.Today we will talk about one amazing musical instrument. You know that every tool has its own voice, its timbre personality, that is, a special color color. Is it possible to confuse the sound of a violin, organ or flute? ..... But there is one musical instrument that, as if imagined the voices of many tools, for example, flutes, a fagot, organ and others. You probably know this tool well. No wonder he is called the "soul of the Russian people." They guessed? ...... Yes, it is Bayan the full name of the modern button accordion - a multi-memory is ready - elected bayan.
Today he knows and love in many countries of the world. No wonder international contests of bayanists are held, in which foreign musicians participate. But this is today ... And what was at the beginning of his path?
You probably know that Bayan originated from harmonica. First, there was a lifting harmonica. In ancient China, there was a tool called "Sheng". And the first manual harmonic was invented in Berlin in 1822. The name of the inventor of manual harmonic - Friedrich Bushman. He worked as an adjustor of organs and piano. To facilitate the setting of organ pipes, it constructed a small box with a metal tongue. When Friedrich blinked the air into the box, the tongue sounded, published a tone of a certain height. Several such boxes that gave the sounds of a certain height simplified the setup of the organ. But the master did not like that one hand was busy. Then he revealed every tongue into fur. He put the device nearby, stretched the fur up and released, compressing under the pressure of his own weight, fur served the air into the tongue, and he sounded. Both hands remained free, it was not necessary to blow the mouth, which facilitated the work. Then Friedrich guessed all tongues to embed into fur, and so that they did not sound at the same time, equipped with valves. Now, to obtain the desired tone, it was necessary to open one valve over the appropriate tongue, and the rest are closed. A little later, he understood that the design invented by it can be turned into an independent musical instrument. At first she was more like a children's toy than a musical instrument - she had only 5 buttons to the right and 5 left. It was possible to play on it only very simple melodies without accompaniment. Despite this, harmonic quickly spread throughout the world, hitting the Tula Fair. The overseas dicky was so loved in Tula, which spread throughout Russia and turned into a Russian folk instrument. Moreover, in each area, it was modified, adjusting to local tunes. So the Saratov, Livenskaya, Cherepovets, Vyatka, Bogolovskaya harmonica appeared. Thanks to Russian masters, it was essentially a new tool in which only the principle of sound recovery remained from the previous accordion.
IN 1830 Music Master Ivan Sizov, went to the fair in Nizhny Novgorod, and heard harmonics there. I bought as any inquisitive workshop, he first disassembled and studied the instrument device. After making sure that there is nothing particularly difficult in it, especially for Tula gunsmith, I took and made my own hands the same. Of course, relatives, acquaintances, were immediately recognized about this, and among them there were quite a few craftsmen. Tula has always been famous for masters. Very soon the manufacture of harmonics has become a mustache.
The path to improving the harmonic was long and difficult. Initially, it was very simple and primitive (5-7 buttons on right side And two bass on the left side). It's time, and in this form she could no longer satisfy the increased skill of the performers. And in 1871, the Tula Musician - Nikolai Ivanovich Nikolai Ivanovich constructed the new kind Tool - chromatic harmonic. It has already been an expanded accompaniment (consisted of bass, three major and two minor chords), two rows of buttons on the right keyboard. And now on the instrument it was possible to play 42 sounds! But the search for a more convenient construction continued. And here is one of the musicians, Jacob Fedorovich Orlansky - Titarenko, shared with the harmonious master Petr Egorovich Sterling idea of \u200b\u200ba new tool. Or, if today's production language, formulated the technical task. It was in 1905. The idea inspired the master, and in two years, in 1907 a tool was built on the right keyboard more than four octave - for twelve sounds in each, and for the left hand - a complete set of bass and chords for everyone without excluding tonalities. In honor of the legendary Old Russian singer, the teacher of the Boyana called him - accordion. Bayan - the name taken only in our country. So the Lavra of the invention of the accordion is equally belonging to the musician, and the master. They created a tool, from the very beginning so perfect that in principle it did not change until now, although improvements, of course, were. And this tool has become available, right up to a concert with a symphony orchestra. Bayan - the name taken only in our country. Abroad all chromatic harmonics, whether they have keys or buttons, called accordions .. Work on improving the instrument has been continued for many more years. Yes, she, essentially, continues now.
We have wonderful factories in Russia, where they do special technology To order Modern Concert Bayans of the last generation "Jupiter", "Appassionate", "Left -sha", "Russia" on which outstanding musicians play. Multidimber prepaid-elected bayan is a tool for large dynamic, timbre and acoustic opportunities, which can under force the fulfillment of the most difficult works written for various tools. The level of bayan performance today is extremely high. The names of the beautiful bayanists Ivan Panitsky, Yuri Kazakova, Vladimir Profamil, Friedrich Lips, Vyacheslav Semyon, Yuri Shishkin and many others are known all over the world. For modern accordion, the most complex original writings are written. International contests and festivals are held, talented composers write new interesting works, bayanists toured around the world, collecting huge concert halls
references.
1 Gazaryan S.S. "In the world of musical instruments," publishing house "Enlightenment", Moscow. , 1989. 2 Miresk A.M. "From the history of Accordion and Bayana," Publisher "Soviet composer", M., 1967.
3 Schornikova M. "Music, her shapes and genres" Music literature for DMS and DSHI, 1 year year of study, Edition 5th "Phoenix" Rostov - to Don, 2006.
Bayan, accordion, harmonic ... For people inexperienced, far from music, there is no difference between these tools: and then the harmonica, and this is a harmonica. Such people can calmly come to the store of musical instruments and, pointing to the accordion, ask: "Give me this harmony!" Accordionists are confused with bayanists, and those and others - with harmonists ...
And meanwhile there are differences, and quite significant. But to understand what the button accordion is different from the accordion, you need to say a few words about their general progenitor.
All the harmony, as well as the bayans and accordions, belong to the tongue musical instruments. Since they have a keyboard, they are simultaneously considered both keyboards, or rather pneumatic. But still the main sign that distinguishes any harmony is a tongue, a flexible steel plate, when the vibration is the sound. In different tools, the tongue is driven in different ways. For example, at Vargan play, pressing it to the teeth and at the same time hitting the tongue with his fingers, and the resonator serves the mouth here. Revealing his fit or sewn, you can get the sounds of different tides.
In harmony, the tongues fluctuate in the air flow that the performer is injected, compressing and stretching fur. They are fixed on metal straps with slots through which air passes, and there are different sizes: some are more massive and more - these languages \u200b\u200bgive lower sounds, others are easier and smaller - here sounds are obtained higher.
On each bar on both sides, two tongues are fixed, separated by a leather valve in such a way that when the fur compresses, only one of them vibrates, and when stretched is different. Accordingly, the slots that overlap the tongues are also two.
To enhance sound, air chambers are the resonators to which the planks are attached. These resonators are wooden (usually spruce). Together with the planks, they are collected in blocks that are installed inside the harmony body on the deck - a special partition with holes. Resonator blocks are located on the other side of the deck, which is closer to the fur, and from the case side there are valves for air supply. These valves are connected to the buttons and covered with grille.
When you press the valves buttons open, the air passes through the deck, and the tongues oscillate, creating sound.
Sometimes the size of the tongues on sound placters, which means their musical tone may differ. Therefore, all harmonies are divided into two large groups: In one tongues at the "entrance" and "exit" the same, the most famous harmony of this type is chrome. In the second group, these tongues differ, which gives sounds of different heights. This type includes such harmonies like Talyanka (distorted "Italian").
The left keyboard buttons are located on the case itself. It is designed for accompaniment. Pressing one button on it opens several resonator cameras at once, and a whole chord sounds.
On the right keyboard play the melody itself. Here the buttons are located on a grief attached to the body and are equipped with metal levers leaving for valves. They are located in one or more rows (hence the name "Single-order", "Double row", etc.). Pressing the same button opens only one resonator - and therefore it sounds a single pure musical tone.
In 1783, the Czech master Kirchik, who lived in St. Petersburg, opened a new one (as it seemed to him) a way to extract sounds - with the help of metal tongues. In 1821, Berlin Master Bushman on the basis of this method created a lifting harmonic, and in next year I tried to join her fur. In 1829, the Vienna Inventor Kirill Demian came up with the instrument he called the accordion, because his left keyboard was the same as the modern harmonic, - chord: Pressing one button gave a whole chord. However, this tool has no right keyboard.
Approximately in the 1830s, a novelty penetrated Russia, acquired there with the promotion name - the harmonica - and won great popularity.
But the musicians immediately noticed that simple harmony had shortcomings. For example, they have a limited sound range (little octave). As a rule, they have only one tonality, and are either a major or minor.
Therefore, the question of the invention of such a musical instrument, which would have had the advantages of harmony, but would have a vast speakerphone and evenly templar musical structure (i.e., such a system, where each octave is divided into 12 mathematically equal halftones). This system has been applied in academic music for several centuries. Another name is "full chromatic sound".
Throughout the 19th century, various firms and masters in Europe and Russia worked on the improvement of harmony. The right-handed right keyboard was added to the left keyboard, various prerequisites of the accordion and accordion with a piano keyboard appeared - among them the "piano harmonica" from the city of Yelets and the chromatic harmonic of Nikolai Ivanovich Beloborodova, created in 1870.
In 1907, the inventor Petr Egorovich Sterligov made the first three-row bayan, and in 1913 - and a five-row.
At about the same time, chromatic harmonics with a piano keyboard spread in Europe, that is, modern accordions. IN Soviet Union They hit around the 1930s.
First, as already mentioned in the article, and the bayan, and the accordion - chromatic harmonics, that is, they have a uniformly tempted system (12 halftone per octave) and the large range of octave.
Secondly, the device of the accordion and the accordion seems to be in particular the left keyboard. It is designed for bass notes (the first two rows of buttons) and for chords (four other rows - major, minor, septakkord, reduced septakord).
Coming to the store of musical instruments to buy a suitable harmonic, you need to know that there is another important nuance.
Bayany and accordions are divided into three types: ready-made, elected, and ready-elected. At the finished left keyboard is configured as described above. Its elected, in the same way as the right, is needed in order to extract not chords, but separate notes. The third type is ready-to-select - between two modes you can switch. To switch on the left keyboard there is a special key register. In the electoral mode, the rows with chords turn into the likeness of the right keyboard of four-row bayan, only reflected mirrored.
Musicians professionals love exactly the ready-to-elected accordions and accordions, since the possibilities of these tools are very wide. They are a little more complicated in mastering than those who are ready, but you can play almost anything - even the Fugues of Bach.
In addition to the different shape of the housing (the accordion, she is more rectangular, the accordion is more rounded), and the shape of the griffon (the accordion is a neck is longer), the main thing is that the accordion is different from the accordion is the keyboard for the right hand.
On the right keyboard of the button accordion are located from three to five rows of buttons representing a complete chromatic sound and covering the range of 5-6 octave. There are both 3-row and 5-row accordions, and the first and second row of the buttons are similar to the fourth and fifth. When playing on it, it facilitates the transition from one tonality to another.
The right keyboard of the accordion is a number of massive keys, similar to piano. As a rule, 41 keys are located on the jig. Yet right keyboard It has several register switches. With their help, change the timbre of sound or its height, making the sound to octave above or lower. Concert models of accordions have such switches that can be pressed by chin without interrupting games.
However, the Chondon Keyboard itself covers a smaller range than the Bayan keyboard. Being a similar button accordion with a musical instrument, the accordion (if not taken into account the registers) can take only three and a half octave.
And finally, the main thing is how the accordion is different from the accordion is the sound. In the accordion, voice tones set up with a small difference, the musicians are called "in spill", which gives a more velvety sound. In the accordion, the tongues are tuned in unison, and the sound is cleaner.
Well, let's start with the simplest. I will say, to start, that the Accordion ismanual harmonica (primarily a tongue key-pneumatic music lion tool), invented and obtained wide use in Europe.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 others musical instruments (eg,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 it should be according to the scheme of the series:
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.
The left keyboard consists of five (and sometimes out of six) longitudinal rows. These rows are considered to the direction from fur to the edge, that is, the first call a row closest to the fur.
The keys of the longitudinal rows of the left keyboard are located not accurately against the keys of the first row, and each row is slightly shifted upwards with respect to the previous one. Thus, several beveled transverse rows are created.
Keys of the 1st and 2nd longitudinal rows when pressed allowed bass sounds. Each key of the 3rd, 4th and 5th rows (and in some instruments and the 6th row) gives the sound of finished chords.
The main "next to the left keyboard is the second longitudinal row of bass, which is called the main one.
The keystap keys are not in the order of the gamma steps, and so that each adjacent key, counting from the bottom up along the keyboard, gives the sound of the quint above the previous one.
In about the middle of this row, there are seven bass keys, of which the first white bayan sound gives the lowest side of the fabric. The adjacent white key gives the sound to a large octave, etc.
The bass of the second row are the main sounds in relation to the sounds of chords of the rest of the rows, that is
Neighboring Fa down the black key gives the sound of a C-bembol, the second down the black key-sound m-bembol, etc. Thus, the sounds removed on the white keys of the 2nd row, as a whole make up a di-major gamma. But are not located as usual. The five black keys of this row with respect to the white keys give sounds chromatically modified (i.e. chest and dieting).
Seven white and five black keys give all 12 chromatic sounds within the same octave. In addition to seven whites and five black, in the same row there are still white and black keys, which are the repetition of the above; They are designed for convenience (to avoid jumps).
The first row of the left keyboard is called auxiliary. The keys of the first row are located in each other in the same way as in the second row and are the repetition of the 2nd (main series), but the first row relative to the second in height is shifted to the larger term up (by writing notes).
Thus, the sound of the 2nd longitudinal row (the first bottom of the white key) is the sound of la.
Auxiliary row, giving sounds to the main row of bass (2nd row), presents great convenience and greatly facilitates the game on bass.
The auxiliary row keys in the notes are conventionally designated by the letter B, which is placed under or over the note.
The bass of each key of the main and auxiliary series are recorded by one note, although when the appropriate key, the corresponding key sounds not one sound, and the three sound of the same sound in three octaves:
The third longitudinal row gives major sober (or their appeals), built from the main bass of those sounds, which are extracted by the adjacent keys of the second longitudinal row. The fourth row gives the chords of minor sober (or their appeals), and the fifth row gives dominanttespeccord (or their appeals).
In the bayans, some designs have another sixth longitudinal row, which gives the sounds of chords of reduced sober.
The basins of the second row are the main sounds in relation to the sounds of chords of the rest of the rows, that is, chords depend on the name of that bass, against which they stand in the transverse (braid) row. In other words, each main bass on the transverse oblique row has three ready-made chord.
When you press only one key of the 3rd, 4th, 5th and 6th longitudinal rows, a whole chord sounds immediately, but all the sounds included in the chord are neat. The sound of these chords does not go beyond the limits of small and the first octave.
To facilitate the finding of chords on the accordion in notes, conventions are applied:
1) major chords (large sober) are denoted by the letter B;
2) minor chords (small sober) are denoted by the letter M;
3) dominantxpeccords are designated 7;
4) Reduced sober designs are denoted by the letter W.
If after the bass is a chord, having one of these conventions, then this chord is taken in accordance with the designation in the same transverse (braid) row in which the bass is located.
For easier finding on the keyboard the desired key at the bottom of the chord is written a small note in brackets, which indicates which the main bass should take a chord:
In example, 2 bass si is taken in auxiliary row, and the next major chord from the salt of salt is in the same transverse row with a nota of SI.
If the chord is standing above the bass note, the bass and chord are performed at the same time, that is, two keys, bass and chord, pressed together.
In these cases, a small note can also be signed under the chord in brackets, which indicates which bass should perform chord:
If bass is recorded notes of large durations, and the chord has a smaller length, the note in the notes is as follows:
