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 five rows on 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.
Leonid Gurulev
On the right keyboard, as we already know, the melody of the musical work is fulfilled; The left keyboard serves to perform accompaniment (accompaniment) of this melody. However, there are cases when the melody takes place in the bass voice and is executed on the left keyboard of the accordion.
For the recording of bass sounds there is a bass key, or the "Fa" key, which is depicted by a special sign (see Fig.). It indicates that on the fourth line of the Notopian, a note is recorded by Fa Male Octave:
Knowing the location of this sound on a music lot, it is not difficult to determine the remaining sounds of bass;
On the left side of the accordion there are buttons located a bit inclined transverse rows. This whole part is called a bass keyboard.
When playing on the accordion in the bass keyboard, four fingers are used. They are referred to:
2 - index finger (second finger)
3 - medium (third finger)
4 - Unnamed (fourth finger)
5 - Mysinetse (Fifth Finger)
The 1st finger in the game is not involved. It is consumed for pressure air valve.
The first two longitudinal rows from fur contain basic bass sounds. These rows play a melodic line in the left keyboard.
The second row, counting from fur, called basic. Here is a button with a small recess, which corresponds to the note before. Click this button 3rd with a finger:
Above the base sound buttons to the Salt Sound button. Push it 2nd finger:
Below the bass sound buttons are the FO sheet button. Press it 4th finger.
Bass sounds are made to record within the same octave.
Sometimes for clarity, the image of the melodic line bass is recorded in different octaves. In reality, they sound within the above octave.
Characteristic for the accordion is the presence of buttons, when naked which sounds not one sound, and several. Such simultaneous sound of several sounds is called accord. In the right keyboard, to obtain a chord it is necessary to press several specific keys at the same time, and in the left keyboard the chords are already given in the finished form. Pressing one button, we will hear a chord consisting of several sounds.
Chords are recorded by the following notes:
Of these sounds, ready-made chords are formed. All notes included in the chord are discharged on a new one above the other:
Chords are there major, minor, dominantSepekkorda and reduced (Reduced chords we will look later).
Chords are built from the main bass of oblique transverse rows and have the same names. Below is the bass ( before) and chord from this bass ( d-Major):
For easier definition of chords, they use symbols.
Major chords in the third row of the keyboard are denoted by the letter " B.".
Minor chords (fourth keyboard) are denoted by the letter " M.".
Dominantxpekkord (fifth row) are denoted by the number " 7
".
Below is a diagram of chords of the left keyboard. While we consider chords only from the main sounds ( up, re, mi, fa, salt, la, si). The first (auxiliary) series will be studied in the following lessons, so while this series I "painted" in gray.
If after the bass is the designation (b, m or 7), then this chord (button) is taken from the same bass located in the main row.
When repeating the same chords, the conditional designations may not be discharged:
If bass and chord are written one on the other, then they are executed at the same time, that is, both buttons must be pressed together.
When learning exercises, try to play exactly, with a score out loud. Follow the applicature while in the following order: the main series is the third finger, a number of major chords - the second. Watch out for the movement of fur for sound.
The article is told as arranged accordion, Bayan, Harmony inside. The principles of the sound of these tools are given. Internal organization
Accordion, Bayana, Harmony equally. Are given pictures of Accordion.
Used pictures muzika Harmonike blog from Serbia.
http://muzikaharmonike.com/viewtopic.php?f\u003d32&t\u003d1269
So that the air passed at split fur around one tongue. And for compressing fur through other. Opposite each of the two slots of voice slats fasten a small Striped skin (Not shown in the picture) One strip closes the slot of the voice strip during the compressing of the fur. Other when squeezing.
To install resonators, valve and other mechanisms at the instrument there are two decks. At the right side right deck. At the left part left Deca. Decks are wooden or metal. Decks have sound holes. The holes of the resonators coincide with the Decoles. Dec Sound Holes Close and Open valves when you press keys tool. Decks are adjacent to the parties' housings. hermetically. To all air from fur walked to extract sound
View from above
Visible
Blog Ivan Kopytina Bayan Accordion Harmonic
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:
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 tongueblovy musical instruments They are divided into melody resonators, 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"
