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Bayan left and right side. Left keyboard. From accordion to button accordion and accordion

In theory, a resonator is a physical body capable of responding to vibrations of a certain frequency and amplifying these vibrations. The simplest example of a resonator is the Helmholtz resonator, a hollow vessel with holes that can be used to find their simplest components in complex sound vibrations, that is, you can analyze the sound, since each resonator is tuned to a specific frequency.

In harmonicas, 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 the sound to some extent and improve the timbre of the sound. Therefore, the sound quality of the instrument depends not only on the voice bars, but also on the resonator, on the shape and size of the air chambers, calculated for each tone separately.

Reed resonators are divided into melody resonators, accompaniment resonators and bass resonators.

Melody resonators

The melody resonator (Fig. 43) consists of a mullion 1, an upper bar 2, a socket 3, partitions 4, and a mounting bar 5.

The air chamber in the melody resonator, as well as in the accompaniment resonator, is formed between adjacent partitions, a middle bar, an upper bar and a rosette. For each air chamber, one voice piece bar or a pair of reeds of the same tonality of a solid bar, sounding in opposite directions of air, is intended; the air chambers must be well insulated from each other so that there is no excitation of the reeds in adjacent chambers.

The number of air chambers in a melody resonator depends on the range of the instrument and the design of the melody keyboard mechanism.

Depending on the type of the instrument, the design of its keyboard mechanism and the voice of the instrument, there are from two to six resonators in the right cover.

B table. 9 shows how the number of melody resonators changes with an increase in the voice of the instrument.

In connection with the change in the size of the added bars, 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, i.e. they are glued directly to the soundboard without sockets. Non-removable resonators contribute to better sound formation, but they create great inconvenience during repairs, reduce labor productivity when repairing the vocal part and tuning, and, as a result, increase the cost of repairs.

Accompaniment resonators

The accompaniment resonator (Fig. 44) consists of a mullion 9, an upper bar 3, a rosette 8, partitions 5, fastening bars 1 and 7, collars 2 and 6, an air chamber 4.

Accompaniment resonators for bayan and accordion have 12 pairs of air chambers, i.e. 12 air chambers on each side of the resonator.

In the harmonic accompaniment resonator, the number of pairs of air chambers is less; it depends on the number of buttons on the left mechanism (range).

Accompaniment resonators have the following varieties:

  • accompaniment resonators with identical opposite air chambers designed for bars of the same height. Typically, such resonators are used for instruments with an independent bass mechanism.
  • accompaniment resonators with opposing air chambers of unequal height, designed for bars tuned to an octave. Such resonators are often used for instruments with a borrowed bass mechanism.

Accompaniment resonators for instruments of mass and individual production are usually made removable.

bass resonators.

Depending on the type of bass mechanism, resonators are divided into two main types by design:

  • bass resonators for borrowed bass gear - borrowed bass resonators
  • bass resonators for non-borrowed bass gear - non-borrowed bass resonators.

In harmonicas and accordions, borrowed bass resonators are usually used, in button accordions, those 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.

On one side of the borrowed resonator, the lowest sounds for this instrument are located; on the other, on
an octave higher.

In practice, it is customary to call one side of the bass resonator with the lowest sounds the I octave, the other - the II octave.
It should be noted that these names do not correspond to the actual height of the bars located on the resonator, but are conditional names. The actual height of sounds of I and II octaves, depending on the instrument, ranges from mi or fa of the contra octave to mi or fa of a small octave.

The bass resonator for a non-detachable mechanism (Fig. 46) consists of a mullion 7, an upper bar 5, a rosette, an octave bar 10 III octave, an octave bar 9 IV octave, a resonator 11 III octave and a resonator 8 IV octave.

Two more one-way resonators have been added to the non-borrowed bass resonator: an octave III resonator
and an octave IV resonator, since the four-voice bass sound is created by bars mounted on octaves I, II, III and IV.

The third octave resonator is designed for strips tuned an octave higher than the second octave, the fourth octave resonator is higher by an octave of the resonator of the third octave. The resonators of the III and IV octaves are installed on a common socket, and their air chambers are connected by channels in dummy bars with the same air chambers of the resonator of the I and II octaves.

The air chambers of the resonators are closed from the outside with voice plates. 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 the air passes only through the vocal openings in the bars and is used to excite the reeds. In order for the strips and resonators to be hermetically connected, the strips attached to the resonator are poured around the perimeter with molten wax-rosin or ceresin mastics or, less often, with nitro paints.

Materials used in the manufacture of resonators and the assembly process

Most suitable material spruce and fir wood should be considered for the manufacture of resonator parts. It has good sound conductivity, low volumetric weight, and is easy to process.

For parts of the resonators (except for the rosette and fastening bars), birch and softwood wood: alder, poplar, aspen can also be used.

Resonator sockets are made of hardwood or high quality plywood.

The center of the bass resonator is usually made of birch plywood 3-4 mm thick.

The assembly of the resonators from parts consists in gluing its parts to the mullion, starting from the top bar. Then proceed to gluing the partitions. Lastly, the socket and resonator mounting bars are glued.

For gluing, carpentry glue, polyvinyl acetate emulsion, synthetic adhesives, etc. are used.

The gluing process takes place with certain exposures, depending on the adhesive used.

Many enterprises produce resonators for melody, accompaniment, III and IV octaves of the bass resonator for more
perfect technology - by milling. This makes it possible to obtain a mullion with partitions and tongs from a wooden blank at the same time. Milled resonators are made of beech or spruce.

There are two ways to manufacture resonators by milling: across the fibers (wood fibers are directed along the mullion) and along the fibers (wood fibers are directed across the mullion).

In the resonators made by the first method, it is necessary to smear the partitions with glue, varnish or other composition, otherwise, in the open wood pores, the vibrational energy of the reeds will be absorbed by them and the sound will be deaf. Resonators made by the second method do not need to be lubricated.

I. Fadeev, I. Kuznetsov "Repair of harmonicas, button accordions and accordions"

Leonid Gurulev

On the right keyboard, as we already know, the melody of a piece of music is played; the left keyboard serves to play the accompaniment (accompaniment) of this melody. However, there are cases when the melody passes in the bass voice and is played on the left keyboard of the accordion.

BASS CLEF

To record bass sounds, there is a bass key, or the “fa” key, which is depicted with a special sign (see Fig.). He points out that the note F of the small octave is written on the fourth line of the staff:

Knowing the location of this sound on the stave, it is not difficult to determine the rest of the bass sounds;

FINGERING

On the left side of the accordion are buttons arranged in slightly slanted transverse rows. This whole part is called the bass keyboard.

The bass keyboard uses four fingers to play the accordion. They are designated as follows:
2 - index finger (second finger)
3 - middle (third finger)
4 - nameless (fourth finger)
5 - little finger (fifth finger)

The 1st finger is not involved in the game. It is used to press the air valve.

BASS SOUNDS

The first two longitudinal rows from the fur contain the main bass sounds. On these rows, a melodic line is played in the left keyboard.

The second row, counting from the fur, is called main. Here is a button with a small notch that corresponds to the note C. Press this button with 3rd finger:

Above the C bass sound button is the G sound button. Press it with 2nd finger:

Below the C bass button is the F note button. Tap it with your 4th finger.

Bass sounds are usually recorded within one octave.

MAIN BASS RANGE

Sometimes, in order to visualize the image of the melodic line, the basses are recorded in different octaves. In fact, they sound within the above octave.

Exercises on the main row of the left keyboard:

CHORDS

Characteristic for the accordion is the presence of buttons, when pressed, not one sound, but several sounds. This simultaneous sounding of several sounds is called chord. In the right keyboard, to get a chord, you need to press several specific keys at the same time, but in the left keyboard, chords are already given in ready-made. By pressing one button, we will hear a chord consisting of several sounds.

The chords are written in the following notes:

From these sounds ready-made chords are formed. All notes included in the chord are written on the stave one above the other:

There are chords major, minor, dominant seventh chords and reduced(we'll look at diminished chords later).

The chords are built from the main bass along the oblique transverse rows and have the same names. Below is the bass ( before) and a chord from that bass ( C major):

For easier identification of chords, symbols are used.

Major chords located in the third row of the keyboard are indicated by the letter " B".
Minor chords (fourth row of the keyboard) are indicated by the letter " M".
Dominant seventh chords (fifth row) are indicated by the number " 7 ".

Below is the chord chart for the left keyboard. For now, we will consider chords only from basic sounds ( do, re, mi, fa, sol, la, si). We will study the first (auxiliary) row in the next lessons, so for now I "painted" this row in gray.

If there is a designation after the bass (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 symbols may not be written out:

If the bass and chord are written one on top of the other, then they are played simultaneously, that is, both buttons must be pressed together.

Exercises

When learning exercises, try to play evenly, counting out loud. For now, follow the fingering in the following order: the main row - the third finger, the row of major chords - the second. Follow the movement of the fur, the sound.


The article describes how accordion, button accordion, accordion inside. The principles of sounding of these instruments are given. Internal organization accordion, button accordion, accordion the same. Are given accordion pictures.

Pictures used blog Muzika Harmonike from Serbia.
http://muzikaharmonike.com/viewtopic.php?f=32&t=1269

reed musical instrument

The sound of the accordion, button accordion, accordion happens due to humming metal reeds voice bars. When air passes through the slot of the bar, the metal tongue vibrates in the slot and a sound of a certain tone is heard. The air is blowing fur. Each plank has two tongues that make the same sound. The tongues are located on different sides.

For air to pass through unclenching fur through one tongue. And when squeezing fur through another. Opposite each of the two slots of the voice bars, a small strip of skin(not shown in the picture) One strip closes the slot of the voice bar when the fur is compressed. The other when unclenched.


For every sound of a certain pitch own voice box. In an accordion, button accordion, accordion, there are as many voice bars with sounds of various pitches as the instrument can play notes. Tool range - 3 to 7 octaves. That is, from about 20 to 80 sounds. For richness of sound, an octave is placed on each note two voice sticks. And the registers make it possible to sound several different voices on the same note.

Pressed the key - opened the air valve

How manage so many votes. Creating from these voices music. By pressing the desired keys playing the instrument opens the desired air valve. who guides air from fur to the right sound chamber. Air exits through the voice bar.

To install resonators, valve and other mechanisms near the instrument there are two decks. At the right side right deck. On the left side left deck. There are decks wooden or metal. Decks have sound holes. The holes of the resonators coincide with the holes of the decks. The sound holes of the decks close and open valves when you press keys tool. Decks are adjacent to the body sides hermetically. To all the air from furs went to make a sound

Sectional accordion

In repair shops take care of to musical instruments. On the picture end-of-life accordion. which use for parts.

View from above


visible
  • Furs glued to the frames on the right and left
  • Right and left deck- partitions on which the resonators are fixed
  • Resonators - two right and two left, on which voice bars are installed
  • Bass register plates with holes are installed between the left deck and left resonators
  • Right flaps and right keys
Right side


visible
  • Right keys, white and black
  • Keys of the right registers, levers of the right register mechanism
  • Right keys, accordion has two for each right key, bass register switching
  • Right resonator (no voice bars) with sound holes
  • Left resonators with voice bars, small strips of leather on each voice bar
Front view

visible

  • Right keyboard
  • Right registers
  • Right resonators
  • Left resonators
  • Left chord mechanism (with the help of a pull-rod system, when one key is pressed, three sounds sound simultaneously - a triad, a chord)
  • Left keyboard
  • Keys of the left (bass) registers

Broken deck Cassotto

On the picture in at the very beginning articles depicted other model accordion. He has broken deck - in Italian cassotto. The right deck has transverse sound pocket. The resonators and valves in the cassotto are transverse. It is more expensive and professional tool design. Cassotto gives the accordion or button accordion more deep and rich sound.

Ivan Kopytin's Blog Bayan Accordion Accordion

In this material, we will master the right keyboard with you with the help of special exercises. There will be a minimum of theory and a lot of practice. Video exercises will allow you to quickly prepare the gaming machine for a full-fledged game with two hands.

After studying them, you will not have problems with finger fluency and coordination. After the practical completion of a set of exercises, you will be completely free to learn songs and pieces in a lightweight arrangement for the button accordion on the right keyboard.

In the video exercises, the standard of the sound of the instrument during the exercises is set. You can start the video at any time and compare your game with the sound of the standard. These exercises will help you develop optimal mechanical guidance and get your fingers used to proper fingering. There are more than thirty video exercises in the selection, which 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, learned to play the button accordion. By purchasing this mini course - a set of exercises for 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 begin to master the button accordion from scratch, without any prior preparation. The presentation of educational material is 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 bayan students in children's musical educational institutions.

Included:

32 videos, 115 exercise videos.

Also: keyboard note layouts, video exercises with high-quality sound of the Roland digital button accordion, excellent graphics. All exercises with signed notes and fingering notation. There are also files for printouts of the exercises. Most exercise has guidelines for their development. Video recorded in AVI format.

Price 300 rubles

To purchase a kit, please email p [email protected] Recommendations for learning the right button accordion keyboard

The study of musical literacy must be associated with the auditory images and concepts of the child. In other words, notes must be studied sequentially with different durations.

The study of musical notation usually starts from the note “to”. As the student learns the seven basic sounds of the natural scale, the student practically masters the key of C major, its stable and main steps. Learn to play as early as possible without constant 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. For this you will have to work hard. The best way to learn the keyboard is to use one octave.

I recommend the first one. By placing our fingers on one octave, we will automatically know the notes of other octaves. Some students need hundreds of repetitions to memorize the basic sounds of one octave. Someone remembers the location of the notes very quickly. But I repeat: it is not enough to remember the location of the notes, you need to distinguish them by sound, accurately determine their location on the keyboard.

The main task of the initial practical work for the study bayan keyboards: remember the nature of the sound in the natural scale, hear it in reality and have an auditory idea of ​​​​it. In addition, it is important to learn the relative duration of whole, half and quarter notes.

Along with memorizing the notes on the keyboard, the student receives an understanding of the location of the notes on the stave, learns how to correctly record sounds of different durations. Here he works out the first skills of sound production and mechanical science.

We memorize the location and sound of the note "to" the first octave. Press the "to" button. Let's pull the sound, listen to it carefully. Let's try to reproduce it with a voice. Then along with the tool. We do this procedure 10-15 times. Press the next button - the corresponding note "re". We do not touch the semitones yet.

Our task for initial stage learn the location of the main notes. So, we play the sequence of notes "to" - "re". We play this sequence in whole, in half. If possible, use a metronome. But even with a metronome, we always count the beats or stamp the count with our foot.

Be sure to sing the exercises performed. When we confidently take the notes “do” and “re” on the keyboard, we proceed to work out the next combination of buttons corresponding to the notes “do” - “si”. We press the “do” button with the second finger, the “si” note with the third.

We concentrate as much as possible, strain our hearing, absorb the sounds being played. We carefully monitor transitions, transfusions from sound to sound. The next combination of sounds to learn the right keyboard: "do-re-si-do".

I remind you that all these manipulations are aimed at studying the location of the “do” note on the keyboard. After you begin to find and play the note “do” absolutely freely, you can move on to mastering the note “re”. 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 do the sequences need to be repeated before they are completely memorized? For each student individually. It could be ten repetitions, or it could be a hundred.

Similarly, we work out the rest of the main sounds up to 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 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, and each row is slightly shifted upwards, in relation to the previous one. Thus, transverse rows that are slightly beveled upwards are created.
The keys of the 1st and 2nd longitudinal rows, when pressed, give bass sounds. Each key of the 3rd, 4th and 5th rows (and in some instruments also the 6th row) gives the sound of finished chords.
The main row of the left keyboard is the second longitudinal row of basses, which is called the main row.
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, gives a fifth sound higher than the previous one.
Approximately in the middle of this row there are seven bass keys, of which the first white one from the bottom gives the lowest sound of the button accordion - the note F of the contra-octave; 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 next to the note F down gives the sound of B-flat, the second black key down gives the sound of E-flat, etc. Thus, the sounds extracted on the white keys of the 2nd row, as a whole, constitute 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 give sounds chromatically changed (ie, flat and sharp).
Seven white and five black keys give all 12 chromatic sounds within one octave. In addition to seven white and five black keys, in the same row there are also white and black keys, which are a repetition of those mentioned above; they are for convenience (to avoid jumps).
The first row of the left keyboard is called auxiliary. The keys of the first row are located among themselves in exactly 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 up by a major third (in writing notes).
Thus, against the sound fa of the 2nd longitudinal row (the first white key from the bottom) is the sound la.
The auxiliary row, which gives third sounds to the main bass row (2nd row), is of great convenience and makes bass playing much easier.
The auxiliary row keys in the notes are conventionally denoted by the letter B, which is placed under or above the note.
The basses of each key of the main and auxiliary rows are 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 extracted by the adjacent keys of the second longitudinal row. The fourth row gives the chords of the minor triads (or their inversions), and the fifth row gives the dominant seventh chords (or their inversions).
In the button accordions of some designs there is also a sixth longitudinal row, which gives the sounds of chords of diminished 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 along the transverse oblique row has three ready-made chords related to it.
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 small and first octaves.
To make it easier to find chords on the button accordion, the following symbols are used in the notes:
1) major chords (large triads) are denoted by the letter B;
2) minor chords (small triads) are denoted by the letter M;
3) dominant seventh chords are indicated by the number 7;
4) diminished triads are denoted by the letter U.
If after the bass there is a chord that has one of these conventions, 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 which main bass the chord should be taken from:

In example 2, the bass si is taken in the auxiliary row, and the next major chord from the note G is in the same transverse row as the si note.
If the chord is above the bass note, then the bass and chord are played at the same time, that is, two keys, bass and chord, are pressed together.
In these cases, a small note in brackets may also be signed below the chord, indicating from which bass the chord should be played:

If the bass is written with notes of longer durations, and the chord has a shorter duration, the notation in notes is as follows: