In the Russian tradition, it is customary to call instruments with a piano-type right keyboard accordion, but there are also button accordions with a keyboard like a button accordion. The very name was given
Main components:
Frame. For the manufacture of the case used and is used most often the wood of beech, maple, alder, birch. But accordions with an oak body are extremely rare and are only made to order. But the sheets of aluminum are necessary for the manufacture of the lattice. Outside, the body is pasted over with celluloid.
Vulture. The neck contains the melody keys, it is attached to the right half of the body. And it is made of the same material as the body.
Fur. For the manufacture of fur, cardboard is pasted over with a cloth, hermetically fastened to the right and left half-shells. Consists of 13 or more folds, creating air circulation during compression-unclenching, forcing the instrument to "sing".
By the way, here is such a life hack: you should glue the fur folds with tape or electrical tape to avoid too rapid wear of the fur crevasses at the points of contact with the performer's chest ...
Resonators. Resonators with vocal strips are a necessary part of sound production.
Voice bars. Voice plates are metal plates with openings, above which the reeds are located. Each note has its own reed. The shorter the tongue, the higher the sound, respectively, the longer - the lower. The tongues with their thickened end are riveted to the plate, the free end of the tongue enters the slot of the plate and vibrates under the action of the passing air stream, forming a sound. Voice plates are made of non-ferrous metals, brass and aluminum. The sound quality depends on the accuracy of the reed attachment, on the quality of the material, as well as on the type of wood of the enclosures.
Register system. Made of aluminum and brass. Used to change the tone.
Device.Two keyboards connected by furfor air injection into the keyboard-pneumatic mechanism. Accordion Air Valve Arrangement:
Musical Instrument Mechanismallows you to adjust the air flow through the reeds , until it stops completely (green arrows in the diagram). Depending on the direction of the air flow, one of the two reeds of the same tone of the chamber fluctuates (blue and orange arrows in the diagram). In other musical instruments (for example, accordion ) the reeds of one camera may differ in musical tone - accordionist changing the direction of movement of the fur changes the pitch (musical note) without removing your finger from the key. The left (side, bass) accordion keyboard is arranged differently: pressing one button, thanks to a complex mechanism, opens several cameras simultaneously ( chord ). The mechanism is common to accordions, button accordions and other similar musical instruments.
There are several varieties of accordions: normal and ready-elective .
In the usual bass (left hand) plays as expected according to the row pattern:
In the picture you see a diagram of a conventional left keyboard in mirrored(B is a major, M is a minor, 7 is a seventh chord, Um is a diminished chord).
But in the ready-to-use one, there is a switch from the above scheme to a completely different one. The switch switches the accordion to change the entire left keyboard to bass (notes) only. That is, where there are chords in the usual, in the selected keyboard - notes.
The left keyboard in the selection is a mirrored right keyboard on the accordion.
Accordions are also classified by size:
1.
Full - 4/4
- 41 keys; range - from F small octave to la third octave.
2.
7/8
- 37 keys; range - from F small octave to F third octave).
3.
3/4
- 34 keys; range - from salt small octave to mi third octave.
4.
Half - 1/2
- 26 keys; range - from si small octave to before third octave.
Like everything ... Something like that. If you have any additional questions or something is not clear - do not hesitate - contact us.
Oh yes, there are also electronic accordions, but that's a completely different story ...
P.S. If you notice any errors in text, please let me know.
In theory, the name of a resonator is understood as a physical body capable of responding to vibrations of a certain frequency and amplifying these vibrations. The simplest example of a resonator is a Helmholtz resonator - a hollow vessel with holes, with the help of which their simplest components can be found in complex sound vibrations, that is, it is possible to analyze sound, since each resonator is tuned to a certain frequency.
In harmonics, button accordions and accordions, a resonator is a system of air chambers of certain sizes built into one wooden structure, which is the base or support for the voice bars.
In practice, resonators are called differently: resonators, towns, etc. However, the first name should be considered more correct, since the air chambers in the resonators really contribute to some extent to the sound and improve the timbre of the sound. Therefore, the sound quality of the instrument depends not only on the vocal strips, but also on the resonator, on the shape and size of the air chambers, calculated for each tone separately.
Reed musical instrument resonators are subdivided into melody resonators, accompaniment resonators, and bass resonators.
The melody resonator (Fig. 43) consists of a middle 1, an upper bar 2, a rosette 3, partitions 4, a fastening bar 5.
The air chamber in the melody resonator, as well as in the accompaniment resonator, is formed between the adjacent partitions, mullion, upper bar and outlet. For each air chamber there is one piece voice bar or a pair of reeds of the same tonality of a solid bar, sounding in opposite directions of air; air chambers should be well insulated from each other so that there is no excitation of tongues in adjacent chambers.
The number of air chambers in the melody resonator depends on the range of the instrument and the design of the melody keyboard mechanism.
Depending on the type of instrument, the design of its keyboard mechanism and the voice of the instrument, there are from two to six resonators in the right cover.
Table B 9 shows how the number of resonators of the melody changes with increasing voice of the instrument. 
Due to the change in the dimensions of the added strips, the resonators of the melody undergo some changes.
In mass-produced instruments, the melody resonators are removable. It is more convenient to repair such resonators.
In some custom-made instruments, the melody resonators (especially often in the treble group) are non-removable, that is, they are glued directly to the deck without sockets. Fixed resonators contribute to better sound formation, but create great inconvenience during repairs, reduce labor productivity when repairing the voice part and tuning, and, as a result, increase the cost of repairs.
The accompaniment resonator (Fig. 44) consists of a mullion 9, an upper bar 3, a socket 8, partitions 5, anchoring bars 1 and 7, dumplings 2 and 6, an air chamber 4.
The accordion and accordion accompaniment resonators have 12 pairs of air chambers, i.e. 12 air chambers on each side of the resonator.
In a harmonic accompaniment resonator, the number of pairs of air chambers is less; it depends on the number of buttons on the left mechanism (range).
The accompaniment resonators are of the following types:
Accompaniment resonators for mass-produced and custom-made instruments are usually removable.
Depending on the type of bass mechanism, resonators are divided into two main types by design:
In harmonics and accordions, borrowed bass resonators are usually used, in button accordions, and others.
The most common type of resonator for a borrowed bass mechanism (Fig. 45) consists of a mullion 1, upper bars 2, rosettes 4, baffles 6 and tongs 5 and 7.
The lowest sounds for this instrument are located on one side of the borrowed resonator, on the other - on
an octave higher.
In practice, it is customary to call one side of the bass resonator with the lowest sounds I octave, the other - II octave.
It should be noted that these names do not correspond to the actual pitch of the strips located on the resonator, but are conventional names. The actual pitch of sounds of I and II octaves, depending on the instrument, ranges from E or F of a controctave to E or F of a small octave.
The bass resonator for a non-ground mechanism (Fig. 46) consists of a middle 7, an upper bar 5, a rosette, a sub-octave bar 10 III octave, a sub-octave bar 9 IV octave, a resonator 11 III octave and a resonator 8 IV octave.
To the unearthly bass resonator, two more one-sided resonators are added: a resonator of the III octave
and a resonator of the IV octave, since the four-voice bass sound is created by the strips mounted on the I, II, III and IV octaves.
The III octave resonator is intended for strips tuned one octave higher than the II octave, the IV octave resonator is tuned up by an octave of the III octave resonator. The names of the 111 and IV octaves are also conditional. The resonators of the III and IV octaves are installed on a common socket, and their air chambers are connected by channels in the dummy bars with the air chambers of the same name of the I and II octaves.
The air chambers of the resonators are closed from the outside with voice strips. In this case, it is necessary to fulfill the condition of absolute airtightness between the strips and the plane of the resonator. This is necessary so that air only passes through the vocal openings in the planks and is used to stimulate the reeds. In order for the strips and resonators to be hermetically connected, the strips attached to the resonator are poured along the perimeter with molten wax rosin or ceresin mastics or, more rarely, with nitro paints.
Most suitable material for the manufacture of resonator parts, spruce and fir wood should be considered. It has good sound conductivity, low volumetric weight, and is easy to process.
For the parts of the resonators (except for the rosette and fixing bars), birch and soft-leaved wood can also be used: alder, poplar, aspen.
The resonator sockets are made from hardwood or high quality plywood.
The bass resonator centerpiece is usually made of 3-4 mm thick birch plywood.
The assembly of resonators from parts consists in gluing its parts to the centerpiece, starting from the upper bar. Then proceed to glue the partitions. In the last place, the socket and the resonator mounting bars are glued.
For gluing, wood glue, polyvinyl acetate emulsion, synthetic adhesives, etc. are used.
The gluing process takes place with certain shutter speeds depending on the glue used.
Many enterprises manufacture resonators of melody, accompaniment, III and IV octaves of the bass resonator for more
perfect technology - by milling. This makes it possible to obtain a mullion from a wooden blank with partitions and pliers at the same time. Milled resonators are made from beech or spruce.
There are two ways to manufacture resonators by milling: across the grain (wood fibers are directed along the middle) and along the fibers (wood fibers are directed across the middle).
In the resonators made by the first method, it is required to coat the partitions with glue, varnish or other composition, otherwise in open wood pores the vibration energy of the reeds will be absorbed by them and the sound will be dull. Resonators made by the second method do not need to be coated.
I. Fadeev, I. Kuznetsov "Repair of harmonics, button accordions and accordions"
In this article, we will master the right keyboard with you using special exercises. There will be a minimum of theory and a lot of practice. The video exercises will allow you to very quickly prepare the gaming machine for a full-fledged game with two hands.
After studying them, you will have no problems with finger fluency and coordination. After completing a set of exercises in practice, you will be completely free to learn on your own. right keyboard songs and pieces in a lightweight arrangement for button accordion.
The video exercises set the standard for the sound of the instrument when performing exercises. You can start the video at any time and compare your game with the sound of the reference. These exercises will help you develop optimal fur behavior and train your fingers to fingering correctly. In a selection of more than thirty videos of exercises that are recognized by experts as the most productive for teaching beginners.
I have been using these exercises in my work for almost forty years. On the material that you have the opportunity to buy, hundreds and hundreds of my students - both adults and children - have learned to play the accordion. By purchasing this mini course - a set of exercises for the right hand, you get the opportunity at any time to get my advice, answers to your questions, recommendations.
Who are these exercises for?
For those who start to master the button accordion from scratch, without any preliminary preparation. Innings teaching material organized in such a way that absolutely anyone can work productively with a set of video exercises.
- The exercises can be used by accordion teachers and tutors as basic and auxiliary materials, as well as for homework for students in the accordion class in children's musical educational institutions.
Included:
32 videos, 115 exercise videos.
And also: layouts of notes on the keyboard, video exercises with high-quality sound of Roland digital accordion, excellent graphics. All exercises with signed notes and fingering symbols. Files for printable exercises are also available. Most of the exercises have guidelines for mastering them. The video is recorded in AVI format.
Price 300 rubles
To purchase a kit, write to the mail p [email protected] Recommendations for studying the right accordion keyboard
The study of musical literacy must be associated with the auditory images and concepts of the child. In other words, the notes must be studied sequentially with different lengths.
The study of musical notation usually starts from the note "C". As you learn the seven basic sounds of the natural scale, the student practically masters the key in C major, its stable and main steps. As soon as possible, learn to play without constantly looking at the keyboard. This will become possible when you know well the location of the notes on the button accordion keyboard. Moreover, to know not virtually, but by touch. To do this, you will have to work hard. It is best to use one octave for learning the keyboard.
I recommend the first one. By placing our fingers on one octave, we will automatically know the notes of other octaves. For some students, hundreds of repetitions are required to memorize the basic sounds of one octave. Someone remembers the arrangement of notes very quickly. But I repeat: it is not enough to remember the location of the notes, you need to distinguish them by sound, to accurately determine their location on the keyboard.
The main task of the initial practical work on the study button accordion: remember the nature of the sound in a natural scale, hear it in reality and have an auditory idea of it. It is also important to learn the relative duration of whole, half and quarter notes.
Along with memorizing notes on the keyboard, the student gets an idea of the location of the notes on the staff, learns how to correctly record sounds of different durations. Here he also works out his first skills in sound production and mechanics.
We memorize the position and sounding of the note "C" of the first octave. Press the button "before". Let's pull the sound, listen to it carefully. We are trying to reproduce it with a voice. Then together with the tool. We do this procedure 10-15 times. Press the next button - corresponding to the note "re". Do not touch the semitones yet.
Our task at the initial stage is to learn the location of the main notes. So, we play the sequence of notes "C" - "D". We play this sequence in whole, in half. If possible, use a metronome. But even with a metronome, be sure to count the beats or stomp out the count with our foot.
Be sure to sing the performed exercises. When we confidently take the notes "C" and "D" on the keyboard, we proceed to the elaboration of the next combination of buttons corresponding to the notes "C" - "B". Press the button "C" with the second finger, the note "si" - the third.
We concentrate as much as possible, strain our ears, absorb the sounds being played. We carefully monitor transitions, transfusions from sound to sound by ear. The next combination of sounds for learning the right keyboard is “do-re-si-do”.
Let me remind you that all these manipulations are aimed at studying the location of the "C" note on the keyboard. After you begin to be absolutely free to find and play the note "C", you can move on to mastering the note "D". By analogy with the previous lessons, we compose a sequence of buttons from the "re" button down and up.
These sequences will look like this: "re-mi", "re-do", "re-mi-re-do". How many times should you repeat the sequences until you are completely memorized? For each teacher individually. It can be ten repetitions, or it can be a hundred.
Similarly, we work through the rest of the basic sounds until the note "si". This will be the first step in learning the right keyboard. In the next step, we will deal with intervals, i.e. Let's continue to study the notes (buttons) of the main scale on the right keyboard using intervals as an example.
The article describes how they are arranged accordion, button accordion, accordion inside... The principles of sounding these instruments are given. Internal organization
accordion, button accordion, accordion the same... Are given accordion pictures.
Used pictures blog Muzika Harmonike from Serbia.
http://muzikaharmonike.com/viewtopic.php?f=32&t=1269
For air to pass when unclenching fur through one tongue... And when squeezing fur across another... Opposite each of the two slots of the voice strips, a small strip of leather(not shown) One strip covers the slot of the voice bar when the fur is squeezed. The other when unclenched.
For installing resonators, valves and other mechanisms on the instrument there are two decks... On the right side right deck... On the left side left deck... Decks are wooden or metal. Decks have sound holes... The holes of the resonators line up with the holes of the decks. Sound holes on decks close and open valves when you press keys tool. The decks are adjacent to the side bodies hermetically... To all the air from furs went to extract sound
View from above
Visible
Ivan Kopytin's blog Bayan Accordion Harmony
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 democracy 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, 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 a 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.
