The button accordion belongs to a rather small group of instruments that have a wide sound range and do not require accompaniment (accompaniment). As you know, this group includes, first of all, the piano, organ, harp, and from the folk harmonica, guitar and some others. It is the versatility of the instrument, its compactness, combined with excellent sound qualities, among which the most valuable is the controllability of the sound, that determined its democratic character and immense popularity, both in our country and abroad. Bayan is rightfully considered one of the most perfect and widespread types of harmonica. It is a reed keyboard pneumatic musical instrument with a twelve-step equal-tempered tuning.
The button accordion body consists of two parts (right and left), which are connected by a fur chamber (fur), it is made of beech or spruce. The outer surface is carefully polished or pasted over with celluloid. The fur chamber, which has 14-15 folds (borin), is made of electrocardboard, pasted over with silk and granite and fixed with rounded metal corners. On the right half-body there is a neck with a keyboard located on it for playing with the right hand. The most common accordions have three rows on the right keyboard and the number of keys from 52 to 61.
Its range is from B flat or large octave G to C sharp or fourth octave G. Low sounds are produced with the keys located at the top of the neck, and the highest sounds are at the bottom of the neck. Having four or five rows on the right keyboard does not increase the range of the instrument. These additional rows, called auxiliary rows, are a repetition of the main ones and allow the performer to easily transpose a piece of music into any other key.
On the outside of the left half-case, there is a left-hand keyboard with five or six rows of buttons. Their number is usually 100-120. On the side of the half-body there is a belt for the left hand, which, in addition to the play function, also performs the function of mechology. Two shoulder straps hold the instrument while playing. Another strap may be used to connect them at the back. 
The basis of sound production on the accordion is the vibration of metal reeds (voices) under the influence air jet... The tongue, rigidly attached at one end to the metal frame, freely slips in it under the air pressure from the side of its riveting. Under the influence of pressure on the other hand, it is not excited due to the overlap of the opening for the sounding voice with a glued strip of husky (skin).
Therefore, to extract the same sound for unclamping and compressing the fur, two identical tongues are required, attached on different sides of two identical openings in the frame. The frames, together with the tabs, are called strips. 
The strips are mounted on special stands - resonators, divided into cells - air or resonator chambers. The entrance to each chamber is called a resonator socket. Through the openings of the socket, air is supplied from the fur chamber to the voice tongues attached to the walls of the air chambers of the resonators. For good airtightness of the structure, the contact surface of the socket with the deck and voice strips with resonators is glued with a husky. Resonators are attached to the deck wooden blocks and special bolts.
The loudness of the sound depends on the amplitude of the reed oscillation: the stronger the pressure of the air stream, the louder the sound, and vice versa. The pitch of the sound depends on the length of the tongue: the shorter ones produce high-pitched sounds, the longer ones - low ones. So that the reeds of low-register sounds are not excessively large, additional weights are riveted on them.
The timbre of the sound depends on the design of the soundboard and resonator, the shape and volume of the resonator chambers, as well as on the thickness and material of the bar, on the quality of the metal from which the voice is made, and on the profile of the voice.
Musical instrument: Bayan
The timbre palette of currently existing musical instruments extremely rich, because each of them has its own unique voice. For example, in the violin it is melodiously enchanting, in the trumpet it is piercingly shiny, in the celesta it is transparent crystal. However, there is one instrument that has the rare ability to simulate different voices. It can sound like a flute, clarinet, bassoon, and even an organ. This instrument is called the button accordion and it can rightfully be called a small orchestra. Bayan, with his great artistic potential, can do a lot - from the accompaniment of simple folk songs to complex masterpieces of world classics. Being very popular, it also sounds on large concert stages and is a constant participant in festive feasts; it is not for nothing that the button accordion is called the “soul of the Russian people”.
The button accordion is one of the most advanced types of harmonica, which has a chromatic scale.
Read the history and many interesting facts about this musical instrument on our page.
Sound
The button accordion, which has a rich musical and expressive potential, opens up great opportunities for performers for creativity. The bright sound is notable for its richness, expressiveness and melody, and the finest thinning gives the timbre a special color. The instrument can be used to perform beautiful romantic melodies, as well as dramatically dark pieces of music.
The sound on the button accordion is formed due to the vibrations of the reeds in the vocal strips under the influence of air, which is created by the fur chamber and is characterized by special dynamic plasticity. The instrument can perform the most delicate transparent piano and fanfare forte.
Bayan, due to its design features(presence of registers), has a varied timbre palette of sound - from full-sounding organ, to soft and warm violin. The tremolo on the button accordion is very similar to the tremolo of the violin, and the dynamic volume of the instrument gives the impression that a full orchestra is playing.
Button accordion range quite large and is 5 octaves, starting from the "mi" of the large octave and ending with the "la" of the fourth.
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Interesting Facts:
Button accordion design
The button accordion, which is a rather complex structure, consists of two main sections: left and right, connected by fur.
1. Right side of the instrument- this is a rectangular box, with a neck and a deck attached to it, with mechanisms mounted in it. When you press a key, the mechanism raises the valves, thereby allowing air to flow to the resonators with voice bars and reeds.
For the manufacture of the box and the deck, resonator wood species are used: spruce, birch, maple.
A grille is attached to the box, as well as register switches (if such are provided by the design) that serve to change the timbre. The box also contains two large straps for securing the instrument during performance.
On the neck, the playing keys are arranged in chromatic order in three, four or five rows.
2. Left body- this is also a rectangular box, in which on the outside there is left keyboard instrument, containing five, and sometimes six rows of buttons: two - bass, the rest of the rows are ready-made chords (major, minor, seventh and diminished seventh chords). On the left case there is a register for switching a ready-made or optional sound production system, as well as a small belt with which left hand sets the fur chamber in motion.
The left case houses a deck with sophisticated mechanisms for producing sounds in two systems for the left hand: ready-made and ready-to-use.
The fur chamber, attached to the body with frames, is made of special cardboard and pasted over with fabric on top.
The weight of the multi-timbral concert button accordion reaches 15 kg.
Bayan varieties
The large accordion family is divided into two groups: ordinary button accordions and orchestral ones.
Normal are of two kinds, which differ from each other in the left-hand accompaniment systems: ready-made and ready-to-select.
Orchestral button accordions, due to their design features, have a keyboard only on the right side of the case, are also divided into two types:
Application and repertoire
The range of application of the button accordion is very wide, it can be heard on the stages of large concert halls as a solo, ensemble, orchestral instrument and in amateur ensembles and orchestras of folk instruments. Groups consisting only of accordion players are very popular. The button accordion is often used as an accompanying instrument or just in everyday life at various family holidays.
The instrument is very versatile, it is used to perform works by composers of past eras, as well as music of modern genres: jazz, rock and techno.
The compositions of I.S. Bach, V.A. Mozart , N. Paganini, L.V. Beethoven , I. Brahms, F. Liszt , K. Debussy, D. Verdi , J. Bizet. D. Gershwin, G. Mahler, M. Mussorgsky, M. Ravel, N. Rimsky-Korsakov, A. Scriabin, D. Shostakovich, P. Tchaikovsky, D. Verdi and many other classics.
Today more and more contemporary composers write different works for the instrument: sonatas, concerts and original pop pieces. L. Prigozhin, G. Banshchikov, S. Gubaidulina, S. Akhunov, H. Valpola, P. Makkonen, M. Murto - their musical compositions for button accordion sound very impressive on the concert stage.
Compositions for button accordion
N. Chaikin - Concert for button accordion and orchestra (listen)
P. Makkonen - "Flight over Time" (listen)
Performers
Since the button accordion was very quickly gaining popularity in Russia, the performing arts developed very intensively on it. In connection with the constant improvement of the instrument, more and more creative possibilities opened up for musicians. Particularly noteworthy is the contribution to the development of the performing skills of the innovative accordionists: A. Paletayev, who was the first to switch to five-finger fingering instead of the previously used four-finger, thereby increasing technical capabilities tool; Yu. Kazakov - the first performer on the multi-timbral ready-to-elect button accordion.
The Russian button accordion school is now very well known all over the world, and the performing arts are now increasingly flourishing. Our musicians are constantly becoming laureates of various international competitions. A lot of young performers enter the big concert stage, but it is necessary to highlight the names of such outstanding musicians as I. Panitsky, F. Lips, A. Sklyarov, Y. Vostrelov, Y. Tkachev, V. Petrov, G. Zaitsev, V. Gridin , V. Besfamilnov, V. Zubitsky, O. Sharov, A. Belyaev, V. Romanko, V. Galkin, I. Zavadsky, E. Mitchenko, V. Rozanov, A. Poletaev, who brought a significant contribution to the development of a modern performing school.
Button accordion history
Each instrument has its own history, and the button accordion also has a prehistory. It began in Ancient China in the 2-3 millennium BC. It was there that the instrument was born, which is the progenitor of the modern button accordion. Sheng is a reed wind musical instrument, representing a body with bamboo or reed tubes attached in a circle with copper tongues inside. In Russia, it appeared during the Mongol-Tatar yoke, and then along the trade routes came to European countries.
In Europe at the beginning of the 19th century, using the Sheng principle of sound production, the German organ master Friedrich Buschmann invented a mechanism that helped him in tuning instruments, and which later became the predecessor of the accordion. Somewhat later, the Austrian of Armenian origin K. Demian modified the invention of F. Bushmann, transforming it into the first accordion.
In Russia, the harmonica appeared in the second quarter of the 19th century, it was brought from abroad, bought at fairs from foreign trade people as a curiosity. An instrument that could play a melody and accompany it quickly gained popularity among urban and rural residents. Not one festival took place without her participation; the accordion, along with the balalaika, became a symbol of Russian culture.
In many Russian provinces, workshops began to be created, and then factories that made their own local varieties of accordions: Tula, Saratov, Vyatka, Lebanese, Bologoevsky, Cherepovets, Kasimov, Yelets.
The first Russian accordions had only one row of buttons, they became two-row in the second half of the 19th century, by analogy with the design that was then improved in Europe.
The accordion musicians were mostly self-taught, but they did wonders of performing skills, despite the fact that the instrument was rather primitive in design. One of these nuggets was a worker from the city of Tula N.I. Beloborodov. Being an avid accordion player, he dreamed of creating an instrument that would have more performing possibilities.
In 1871, under the leadership of N.I. Beloborodov's master P. Chulkov created a two-row accordion with a full chromatic structure.
At the end of the 19th century, in 1891, after being improved by the German master G. Mirwald, the accordion became three-row, with a chromatic scale, sequentially located in oblique rows. Somewhat later, in 1897, the Italian master P. Soprani patented his new invention - the extraction of ready-made major and minor triads, dominant seventh chords on the left keyboard. In the same year, but in Russia, master P. Chulkov presented an instrument with bent mechanics in his "left hand" at the exhibition, which also allowed one press of a key to extract ready-made chords. Thus, the accordion was gradually transformed and became the button accordion.
In 1907, by master designer P. Sterligov. on behalf of the accordion musician Orlansky-Titarenko. a complex four-row instrument was made, named "Bayan", in memory of the ancient Russian storyteller. The instrument was rapidly improving and already in 1929 P. Sterligov invented the button accordion with a ready-selectable system on the left keyboard.
The growing popularity of the instrument is accompanied by its constant development and improvement. The timbre capabilities of the button accordion make it truly unique, because it can sound like an organ or wind and string instruments. Accordion in Russia we are popularly loved - it is both an academic instrument that sounds from the stage in a large concert hall, and a symbol Have a good mood, amusing people on a rural heap.
Video: listen to button accordion
The most widely known are accordions with a three-row keyboard in the right hand and with ready-made chords in the left, five- or six-row keyboard. Such accordions, according to the place of their initial manufacture and distribution, began to be called Moscow, in contrast to the so-called Leningrad, four-row. Now there are accordions with five rows on the right keyboard.
In addition, there are elective button accordions with a three-row keyboard in both the right and left hand. Here, chords are freely selectable on the keyboard, as well as on the piano, depending on how they are written. Recently, combined button accordions have appeared, which can be played both as a button accordion with ready-made chords, and as an elective.
Orchestras of folk instruments use orchestral button accordions with one right keyboard. There is a whole family of them: piccolo, soprano, alto, tenor, bass and double bass. They differ from each other not only in range, but also in timbre. In addition, there are special orchestral - timbre button accordions: they sound similar to the flute, clarinet, bassoon and other instruments of a symphony orchestra.
Consider the device of a conventional three-row button accordion with ready-made chords.
The box-shaped wooden body of the button accordion consists of two halves interconnected by fur. Inside each half-case there are decks on which resonators with voice strips are fixed on the side of the fur, and outside there is a valve mechanism with a keyboard.
The keys of the right hand are placed on a special bar - the neck, and the left - on the front, half-body wall. Both mechanisms are covered from above with lattice covers. From the inside, the covers are pasted over with a thin thick cloth, which is a filter that protects voices from dust.
A short belt is attached to the left half-body, under which the left hand is threaded when playing. In addition to playing the keyboard, the left hand stretches and squeezes the fur, forcing air.
TO right half two straps are attached to the case, which are worn on the shoulders and firmly hold the instrument during play, freeing the right hand from supporting forces.
The fur is a four-sided corrugated box, pasted over with fabric on the outside. The fur is glued to small narrow wooden frames, and they are already directly attached to both halves of the body using pins or hooks. The folds of the fur - the corners - are glued from the inside with strips of huskies, thin soft deerskin, and on top for greater strength they are reinforced with special metal corners.
The body of the button accordion is glued from thin beech or birch planks. The corners of the body are glued into a tenon " dovetail". In addition, the corners from above are fixed with metal decorative plates, which protect them from damage and sticking.
Unlike the decks on other instruments, the decks on button accordions are not a resonating device, but only serve as a mechanical airtight partition (diaphragm) between the fur chamber and the valve mechanism. They are made of good, even and durable plywood, birch or beech. Several rows of holes are drilled in the deck, which are blocked from the outside by valves and against which the holes of the resonance chambers are installed from the inside.
The sound on the accordion arises as a result of vibrations of a thin steel plate (tongue, voice) above the slot through which a stream of air is driven. The slots are made in massive, durable stainless strips, brass, aluminum and others. The strips are solid or split, consisting of small plates, separate for each sound, more precisely, for each pair of reeds.
The tongues or voices are made of special spring steel, they are firmly riveted to the slats above the voice box slots. The dimensions of the slits, the length, width and thickness of the tongue depend on the pitch of the sound: they are the larger, the lower the sound, and vice versa. Small copper plates are soldered onto the reeds of the lowest bass tones to make them heavier.
Above the slit, on the side opposite to the tongue, a strip of husky is glued, which closes the glottis slit during the reverse movement of the air stream, and thereby reduces the air consumption, the fur consumption during the game.
Each pair of voices on the bar is opposite a small resonator chamber - a city. The volume of the chamber, its shape and dimensions are important for the strength and timbre of sound, therefore they are specially calculated and designed.
The pods together with the slats constitute a separate structure, the so-called resonators. There are wide holes drilled at the bottom of each pot to allow air to pass through, which line up with the same holes in the deck. Resonators are glued from birch or alder. Each row of keys on the fretboard corresponds to a separate resonator.
In all connection points where there is a danger of air leakage: between the strips and the walls of the small caps, between the resonators and the soundboard, a sealant is laid - strips of fluffy soft huskies. The strips are attached to the resonators with curved pins or small studs with wide heads. In addition, the edges of the planks are filled with molten wax.
The valves are small wooden plates, on the lower side of which strips of soft huskies are glued, and a wire leash is reinforced on top, with the help of which the valve rises and falls, blocking the holes in the deck. The fleecy side of the husky fits snugly against the soundboard, preventing any air from entering the voices, and softens the blow of the valve against the soundboard during play. Sometimes, to reduce the noise when playing, a strip of thin cloth is additionally laid between the valve tree and the husky.
Keys right keyboard are narrow wooden levers that fit into their respective slots on the neck and rotate on a wire axle. From the side of the neck, from the top at the ends of the keys, mother-of-pearl or celluloid buttons are fastened, and at the other ends, holes are drilled with the keys, into which the ends of the valve leashes are screwed or glued. Below in the sockets under the keys there are springs, under the action of which the valves are tightly pressed against the deck.
This is how all three rows of valves are arranged on those accordions where the neck is located closer to the back wall of the body. In the same place where the neck is located closer to the middle of the body, the third row of valves has a slightly different device: the valve levers are bent in a special way and are attached to a wooden bar glued to the deck with the help of two loops. The end of the key is brought under the free curved end of the valve driver and presses on it, lifting the valve. In this case, the main valve springs are not installed: under the keys, but directly on the deck, near the axis of rotation of the leash. Under the key itself, in addition, there is an additional small spring that tightly presses the pushing end of the key to the end of the valve driver, eliminating the gap between them and inevitable in this case idling keys.
On the fretboard of a mass-produced button accordion, there are usually fifty-two keys, the range: from C-flat major to C-sharp of the fourth octave. On button accordions made to order, the number of keys reaches fifty-eight, sixty-one and even sixty-four. Range at fifty-eight keys: G major to fourth octave E.
The structure of the mechanism of the left keyboard is much more complicated than the right one. - The presence of a bass, which has an octave tripling or even quadrupling, requires a special design of voice plates and resonators. The push-button system of mechanics should provide a wide selectivity of chords in the range of small and first octaves.
Consider the device of the left accordion keyboard, which has one hundred and twenty bass buttons: six rows of twenty buttons in a row.
The left keyboard is associated with two rows of valves, one row (12) for bass and the other (also 12) for chord voices.
Under the bass valves, there are four voice strips mounted on separate resonators, but assembled into one unit. The tuning of each bar differs from the adjacent one by an octave. When the valve is lifted, four octave sounds are sounded simultaneously, for example, when the bass button is pressed, C they sound simultaneously up to high, low, up to the first and up to the second octaves. This octave bass boost is necessary to create a certain strength and density of the sound. On some button accordions, the bass is only tripled: the bar for the highest voices is not set.
Each plank has twelve pairs of voices arranged in chromatic sequence. The range of all four bass bars is from the E of the controctave to the E flat of the second octave. The operation of the bass valves is controlled by the first two (counting from the bellows) rows of the left keyboard.
The entire complex chord keyboard controls the sound of only one resonator, which has two solid voice plates on it. There are twelve pairs of voices on each bar, they are located on both sides, as usual, and are tuned in chromatic sequence from G minor to F sharp of the first octave.
All bass and chord valves are connected with special rollers located along the valves parallel to the soundboard by means of pins. For each tone - a separate roller; thus, there are two sets of rollers — twelve bass rollers and twelve chord rollers.
Each roller has several pins that receive the force from the pushers, rigidly connected to the key by the button. The buttons are brought out through the corresponding holes to the front wall of the left half of the case.
When playing, the movement from the finger is transmitted through the push button, on which in a certain place - near the pin of the corresponding roller - there is a small pin. The pin hits the pin, which is rigidly attached to the roller, and causes the roller to turn. Turning, the roller moves the other pin on it, which is connected with the leash to the free end of the valve leash: the valve rises and opens the holes in the deck for air passage to the voice guards.
The mechanics of the chord keyboard also operate in a similar way, with the only difference that there are several pins on the pusher, which operate several valves at the same time. So, for example, when you press the G minor triad button, the pusher with pins touches the pins of the rollers associated with the keys of the G, B flat and D sounds, and opens them.
The left accordion keyboard has six vertical rows of twenty buttons each. The first two rows, counting from the fur, are bass, the other four are chords. In the first row are the so-called auxiliary basses - a large third from the main bass; in the second - the main basses, tonics; in the third row - major, large triads; in the fourth, minor, minor triads; in the fifth - dominant seventh chords with a missing fifth; in the sixth - reduced seventh chords
The middle of the left keyboard has seven rows of white buttons, these are the keys of "clean" tones, their main bass does not have sharp or flat. Below the white buttons are five rows of black buttons, the main bass of which is flat. Above the white keys are also five rows of black buttons, the main basses of which are sharp. The corresponding rows of the upper and lower black buttons, although they have different names, sound the same, they are enharmonically equal (for example, the key of C sharp is enharmonically equal to the key of D flat). In other words: the black buttons above and below duplicate each other. In addition, above the black buttons there is one and below the black buttons - two rows of white buttons that duplicate the three extreme rows of white buttons.
Such a large number of duplicate keys is necessary for the performer to be comfortable playing in any key without unnecessary jumps from the top of the keyboard to the bottom and. vice versa.
It is very difficult to talk about the time of the birth of a musical instrument, since music, and therefore musical instruments, have accompanied a person since ancient times. And no one can say for sure - when a person first blew into a bamboo reed and a pipe appeared, which later turned into a flute. Or when a person noticed that the stretched string of the bow sounds beautiful, he added a few more to it, and the lyre appeared - the predecessor of the harp and guitar.Today we are going to talk about one amazing musical instrument. You know that each instrument has its own voice, its own timbre personality, that is, a special color of sound. Is it possible to confuse the sound of a violin, organ or flute? ..... But there is one musical instrument, which, as it were, has absorbed the voices of many instruments, for example, flute, bassoon, organ and others. You probably know this tool well. No wonder he is called "the soul of the Russian people." Guess it? ...... Yes, it's a button accordion Full name modern button accordion - multi-timbral ready - elective button accordion.
Today he is known and loved in many countries of the world. It is not without reason that international competitions of accordion players are held, in which foreign musicians participate. But this is today ... And what was at the beginning of his path?
You probably know that the button accordion originated from the harmonica. First came the harmonica. In ancient China, there was an instrument called the sheng. And the first hand harmonica was invented in Berlin in 1822. The name of the inventor of the manual harmonica is Friedrich Buschmann. He worked as an organ and piano tuner. To facilitate the tuning of the organ pipes, he constructed a small box with a metal tongue. When Friedrich blew air into the box with his mouth, the tongue sounded, emitted a tone of a certain pitch. Several of these boxes, which gave sounds of a certain pitch, simplified the tuning of the organ. But the master did not like that one hand was occupied. Then he stuck each tongue into the fur. He put the device next to it, stretched the fur up and released it, squeezing under the pressure of its own weight, the fur supplied air to the tongue, and it sounded. Both hands remained free, there was no need to blow with the mouth, which made the work easier. Then Friedrich figured out all the tongues to build into the fur, and so that they did not sound at the same time, he equipped them with valves. Now, to obtain the desired tone, it was necessary to open one valve above the corresponding tongue, and leave the rest closed. A little later, he realized that the construction he invented could be turned into an independent musical instrument. At first, it looked more like a child's toy than a musical instrument - it had only 5 buttons on the right and 5 on the left. Only very simple melodies could be played on it without accompaniment. Despite this, the accordion quickly spread throughout the world, including at the Tula fair. The overseas curiosity was so fond of in Tula that it spread throughout Russia and turned into a Russian folk instrument. Moreover, in each region, it changed, adjusting to local tunes. This is how the Saratov, Livenskaya, Cherepovets, Vyatka, Bologoevskaya accordions appeared. Thanks to Russian masters, essentially a new instrument appeared, in which only the principle of sound production remained from the old accordion.
V In 1830, the music master Ivan Sizov went to a fair in Nizhny Novgorod, and there he heard a harmonica. bought Like any inquisitive artisan, the first thing he did was disassemble and study the structure of the instrument. Making sure that there is nothing particularly complicated in it, especially for a Tula gunsmith, he took and made the same with his own hands. Of course, relatives and acquaintances immediately found out about this, and among them there were many craftsmen. Tula has always been famous for its craftsmen. Harmonica making soon became a craze.
The way to perfect the harmonica was long and difficult. At the beginning it was very simple and primitive (5-7 buttons on the right side and two basses on the left side). The time has come, and in this form, she could no longer satisfy the increased skill of the performers. And in 1871, a Tula musician - a nugget Nikolai Ivanovich Beloborodov designed the new kind instrument - chromatic harmonica. It already had an extended accompaniment (consisted of bass, three major and two minor chords), two rows of buttons in the right keyboard. And now 42 sounds could be played on the instrument! But the search for a more convenient design continued. And so one of the musicians, Yakov Fedorovich Orlansky - Titarenko, shared with the harmonious master Pyotr Yegorovich Sterligov the idea of a new instrument. Or, if in the language of today's production, he formulated the terms of reference. It was in 1905. The idea inspired the master, and two years later, in 1907, an instrument was built that had more than four octaves for the right keyboard - twelve sounds in each, and for the left hand - a complete set of basses and chords for all keys without exception. In honor of the legendary old Russian singer - storyteller Boyan, he was named - button accordion. Bayan is a name adopted only in our country. So the laurels of the invention of the button accordion belong equally to the musician and the master. They created a tool that was so perfect from the very beginning that, in principle, it has not changed until now, although there were, of course, improvements. And everything became available to this instrument, right up to a concert with a symphony orchestra. Bayan is a name adopted only in our country. Abroad, all chromatic harmonics, whether they have keys or buttons, are called accordions .. Work on improving the instrument continued for many years. Yes, it essentially continues to this day.
We have wonderful factories in Russia where they make software special technology to order modern concert button accordions of the latest generation "Jupiter", "Appassionata", "Levsha", "Russia", which are played by outstanding musicians. The multi-timbral ready-to-select button accordion is an instrument of great dynamic, timbre and acoustic capabilities, which is capable of performing the most complex compositions written for various instruments. The level of bayan performance is extremely high these days. The names of the great accordionists Ivan Panitsky, Yuri Kazakov, Vladimir Besfamilny, Friedrich Lips, Vyacheslav Semenny, Yuri Shishkin and many others are known all over the world. The most complex original compositions are written for the modern button accordion. International competitions and festivals are held, talented composers write new interesting works, accordion players tour all over the world, collecting huge concert halls
References.
1 Gazaryan S.S. "In the world of musical instruments", Publishing House "Prosveshchenie", Moscow. , 1989. 2 Mirek A.M. "From the history of the accordion and button accordion", publishing house "Soviet composer", M., 1967.
3 Shornikova M. "Music, its forms and genres" musical literature for children's music schools and children's art schools, 1st year of study, edition 5th "Phoenix" Rostov - on - Don, 2006.
The left keyboard consists of five (and sometimes six) longitudinal rows. These rows are counted in the direction from the fur to the edge, that is, the row closest to the fur is called the first.
The keys of the longitudinal rows of the left keyboard are not located exactly opposite the keys of the first row, but each row is slightly shifted upwards, in relation to the previous one. In this way, transverse rows that are slightly chamfered upward are created.
The keys of the 1st and 2nd longitudinal rows give bass sounds when pressed. Each key of the 3rd, 4th and 5th rows (and in some instruments also the 6th row) produces the sound of ready-made chords.
The main "row" of the left keyboard is the second longitudinal bass row, which is called the main one.
The keys of the main row are not arranged in the order of scale steps, but in such a way that each adjacent key, counting from bottom to top along the keyboard, produces a sound a fifth higher than the previous one.
Approximately in the middle of this row there are seven bass keys, of which the first white from the bottom gives the lowest sound of the button accordion - the note F of the controctave; the adjacent white key gives a sound up to a large octave, etc.
The basses of the second row are the main sounds in relation to the sounds of the chords of the remaining rows, that is,
The black key adjacent to the note F downwards gives a B-flat sound, the second down black key gives an E-flat sound, etc. Thus, the sounds produced on the white keys of the 2nd row, as a whole, make up the scale of the C major scale, but not in the usual order. The five black keys of this row, in relation to the white keys, produce sounds that are chromatically altered (i.e., flat and sharp).
Seven white and five black keys give all 12 chromatic sounds within one octave. In addition to the seven white and five black keys, in the same row there are also white and black keys, which are a repetition of the above; they are for convenience (to avoid jumps).
The first row of the left keyboard is called the minor keyboard. The keys of the first row are located among themselves in the same way as in the second row and are a repetition of the 2nd (main row), but the first row in relation to the second in height is shifted by a large third up (according to the writing of notes).
Thus, opposite the sound fa of the 2nd longitudinal row (the first from the bottom of the white key) is the sound of A.
The auxiliary row, which gives the tones of the third to the main bass row (2nd row), is very convenient and makes bass playing much easier.
The keys of the auxiliary row in the notes are conventionally designated by the letter B, which is placed under or above the note.
The bass of each key of the main and auxiliary rows is recorded with one note, although when the corresponding key is pressed, not one sound sounds, but three sounds of the same name in three octaves at once:
The third longitudinal row gives major triads (or their inversions), built from the main basses of those sounds that are produced by the adjacent keys of the second longitudinal row. The fourth row gives the minor triad chords (or their inversions), and the fifth row gives the dominant seventh chords (or their inversions).
In bayans of some designs, there is also a sixth longitudinal row, which gives the sounds of chords of reduced triads.
The basses of the second row are the main sounds in relation to the sounds of the chords of the remaining rows, that is, the chords depend on the name of the bass against which they stand in the transverse (oblique) row. In other words, each main bass has three ready-made, related chords along the sideways oblique row.
When you press only one key of the 3rd, 4th, 5th and 6th longitudinal rows, a whole chord sounds at once, but all the sounds included in the chord are still written in the notes. The sound of these chords does not go beyond the minor and first octaves.
To make it easier to find the accordion chords in the notes, the following conventions are used:
1) major chords (large triads) are indicated by the letter B;
2) minor chords (small triads) are designated by the letter M;
3) dominant seventh chords are indicated by the number 7;
4) reduced triads are indicated by the letter U.
If after the bass there is a chord having one of these symbols, then this chord is taken in accordance with the designation in the same transverse (oblique) row in which the bass is located.
To make it easier to find the desired key on the keyboard, a small note in brackets is written at the bottom of the chord, which indicates from which main bass the chord should be played:
In example 2, the B bass is taken in the auxiliary row, and the next major chord from the G note is in the same transverse row with the B note.
If the chord is above the bass note, then the bass and chord are played simultaneously, that is, the two keys, bass and chord, are pressed together.
In these cases, a small note in brackets may also be signed below the chord, indicating which bass to play the chord from:
If the bass is recorded with notes of longer durations, and the chord has a shorter length, the recording in notes looks like this:
