What are the keys of the button accordion called? What is the difference between bayan and accordion: device, keyboard. Materials used in the manufacture of resonators and the assembly process

28.10.2019

The most widely known button accordions are with a three-row keyboard in the right hand and with ready-made chords in the left, five- or six-row keyboard. Such button accordions, according to the place of their original manufacture and distribution, began to be called Moscow, in contrast to the so-called Leningrad, four-row ones. Now there are button 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 hands. Here the chords are freely selectable on the keyboard, just like on the piano, depending on how they are written. Recently, combined accordions have appeared, on which you can play both as an accordion with ready-made chords, and as an elective one.

Orchestras of folk instruments use orchestral button accordions with one right keyboard. Their whole family: 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: in sound they are similar to the flute, clarinet, bassoon and other instruments of the 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 with fur. Inside each semi-body there are decks, on which resonators with voice bars are fixed from the side of the fur, and outside - a valve mechanism with a keyboard.

The keys of the right hand are placed on a special bar - neck, and the left - on the front wall of the semi-body. Both mechanisms are covered with lattice covers from above. From the inside, the covers are pasted over with a thin thick cloth, which is a filter that protects voices from dust.

On the left half-body, a short belt is strengthened, under which, when playing, a left hand. In addition to playing the keyboard, the left hand stretches and compresses the fur, pumping air.

Two straps are attached to the right half of the body, which are worn over the shoulders and firmly hold the instrument during playing, 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 with hairpins or hooks. The places where the fur is bent - the corners - are glued from the inside with strips of husky, thin soft deerskin, and from above for greater strength they are strengthened with special metal corners.

The body of the button accordion is glued together from thin beech or birch planks. The corners of the body are glued into a spike " dovetail". In addition, the top corners are fixed with metal decorative plates that protect them from damage and sticking.

Unlike soundboards on other instruments, bayan soundboards are not a resonating device, but serve only 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 resonant chambers are installed from the inside.

The sound on the button accordion arises as a result of vibrations of a thin steel plate (tongue, voice) over a slot through which a stream of air is driven. Slots are made in massive durable stainless steel strips, brass, aluminum and others. Planks are solid or split, consisting of small plates, separate for each sound, more precisely - for each pair of reeds.

Tongues or voices are made of special spring steel, they are firmly riveted to the slats above the voice slots. The dimensions of the slots, 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 slot, from the side opposite the tongue, a strip of husky is glued, which closes the glottic fissure during the reverse movement of the air stream, and thereby reduces air consumption, fur consumption during the game.

Each pair of voices on the bar is against a small resonator chamber - gorodushka. The volume of the chamber, its shape and dimensions are important for the strength and timbre of the sound, so they are specially calculated and designed.

Gorodushki together with planks make up a separate structure, the so-called resonators. At the bottom of each gorodushka, wide holes are drilled for air passage, which coincide with the same holes in the deck. The resonators are glued together from birch or alder. Each row of keys on the neck corresponds to a separate resonator.

In all joints where there is a danger of air leakage: between the planks and walls of the towns, between the resonators and the soundboard, a seal is laid - strips of fleecy soft husky. The slats are attached to the resonators with curved studs or small studs with wide heads. In addition, the edges of the planks are filled with molten wax.

Valves are small wooden plates, on the underside of which strips of soft kid are glued, and a wire leash is fixed on top, with which the valve rises and falls, blocking the holes in the deck. The fleecy side of the husky fits snugly against the soundboard, preventing arbitrary air from entering the voices, and softens the impact of the valve on the soundboard during playing. Sometimes, to reduce noise when playing, a strip of thin cloth is additionally laid between the valve tree and the husky.

The keys of the right keyboard are narrow wooden levers that are placed in the corresponding sockets on the fretboard and rotate on a wire axis. From the side of the neck, mother-of-pearl or celluloid buttons - buttons are strengthened at the ends with the keys, and holes are drilled at the other ends with the keys, into which the ends of the valve leads are screwed or glued. Below in the slots under the keys there are springs, under the action of which the valves are tightly pressed against the deck.

Thus, all three rows of valves are arranged on those button accordions where the neck is closer to back wall corps. 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 arrangement: the valve leashes are bent in a special way and are attached to a wooden plank glued to the soundboard with the help of two loops. The end of the key is brought under the free curved end of the valve leash and presses on it, lifting the valve. In this case, the main valve springs are installed not: 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 leash, eliminating the gap between them and the inevitable idling of the key in this case.

On the fretboard of a bayan of mass production, fifty-two keys are usually installed, the range is from large cu-flat to C-sharp of the fourth octave. On bayans made to order, the number of keys reaches fifty-eight, sixty-one, and even sixty-four. Range with fifty-eight keys: from large salt to mi of the fourth octave.

The arrangement of the mechanism of the left keyboard is much more complicated than the right one. The presence of a bass that has an octave tripling or even quadrupling requires a special design of the voice plates and resonators. The push-button system of mechanics should provide wide selectivity of chords in the range of small and first octaves.

Let's consider the device of the left keyboard of the button accordion, 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) is for basses, and the other (also 12) is for chord voicings.

Under the bass valves are four voice bars, mounted on separate resonators, but assembled into one unit. The build of each bar differs from the adjacent one by an octave. When the valve is lifted, four octave sounds sound simultaneously, for example, when the bass button is pressed, they sound simultaneously to large, to small, to the first and to the second octaves. This octave bass boost is necessary to create a certain strength and thickness of the sound. On some button accordions, the bass is only tripled: the bar for the highest voices is not set.

Each bar has twelve pairs of voices arranged in chromatic sequence. The range of all four bass bars is from E contra octave to E flat second octave. The bass valves are controlled by the first two (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 bars on it. There are twelve pairs of voices on each bar, they are located on both sides, as usual, and are tuned in a chromatic sequence from G minor to F-sharp of the first octave.

All bass and chord valves are connected with special bolsters, located along the valves parallel to the deck, with the help of stud leads. For each tone - a separate roller; thus, there are two sets of rollers - twelve bass and twelve chord.

Each roller has several studs that take the force from the pushers rigidly connected to the key with a button. Buttons through the corresponding holes are displayed on the front wall of the left half of the case.

When playing, the movement from the finger is transmitted through the pusher button, on which in a certain place - near the pin of the corresponding roller - there is a small pin. The pin touches a pin, rigidly fastened to the roller, and causes the roller to turn. Turning, the roller moves the other pin on it, which, with the help of a leash, is connected to the free end of the valve leash: the valve rises and opens the holes in the deck to let air pass to the voices.

The mechanics of the chord keyboard also work in a similar way, with the only difference being that there are several pins on the pusher that actuate 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 sounds G, B-flat and D, and opens them.

The button accordion's left keyboard has six vertical rows of twenty buttons each. The first two rows, counting from the fur, are basses, the remaining 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, small triads; in the fifth - dominant seventh chords with a missing fifth; in the sixth - diminished seventh chords

The middle of the left keyboard has seven rows of white buttons, these are the keys of "pure" tones, their main basses do not have sharps or flats. Below the white buttons are five rows of black buttons, the main basses of which are flat. Above the white keys there are also five rows of black buttons, the main basses of which have sharps. The corresponding rows of upper and lower black buttons, although they have different names, sound the same, they are enharmonic equal (for example, the key of C sharp is enharmonic to the key of D flat). In other words: the black buttons at the top and bottom duplicate each other. In addition, above the black buttons there is one and below the black buttons there are two rows of white buttons that duplicate the three extreme rows of white buttons.

Such a large number of duplicating keys is necessary to make it convenient for the performer to play in any key without unnecessary jumps from the top of the keyboard to the bottom and. vice versa.

Musical instrument: Bayan

The timbre palette of currently existing musical instruments is extremely rich, because each of them has its own unique voice. For example, in the violin it is melodiously charming, in the trumpet it is piercingly brilliant, in the celesta it is transparent crystal. However, there is one instrument that has the rare ability to imitate various timbres. It can sound like a flute, clarinet, bassoon, and even like an organ. This instrument is called button accordion and it can rightfully be called a small orchestra. Bayan, with its great artistic potential, is capable of much - from the accompaniment of simple folk songs to complex masterpieces of world classics. Enjoying great popularity, it also sounds on large concert stages and is an invariable participant in festive feasts; it is not for nothing that the button accordion is called the “soul of the Russian people”.

Bayan is one of the most advanced varieties of harmonica, which has a chromatic scale.

Read the history and many interesting facts about this musical instrument on our page.

Sound

Bayan, which has a rich musical and expressive potential, opens up great opportunities for performers for creativity. The bright sound is rich, expressive and melodious, and the thinnest thinning gives the timbre a special brilliance. The instrument can play beautiful romantic melodies, as well as dramatic dark pieces of music.

The sound on the button accordion is formed due to the vibration of the reeds in the voice bars under the action of air, which creates a fur chamber and is characterized by a special dynamic plasticity. It is possible to perform the most delicate transparent piano and fanfare forte on the instrument.

Bayan, by virtue of its design feature(the presence of registers), has a diverse timbre palette of sound - from full-sounding organ to soft and warm violin. The accordion tremolo is very similar to the violin tremolo, 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 "mi" of a large octave and ending with "la" of the fourth.

A photo:

Interesting Facts:

An instrument called "button accordion" exists only in Russia; in other countries, such instruments are called push-button accordions.
The forerunner of the button accordion, the "Liven" accordion, had unusually long furs, almost two meters. Such an accordion could wrap itself around.
In Moscow there is the world's largest museum of harmonicas, one of the varieties of which is the button accordion.

In Soviet times, the best individually assembled concert button accordions "Russia" and "Jupiter" made at the Moscow state factory and distinguished by high sound quality were very expensive. Their cost was equal to the price of a domestic passenger car, and sometimes even two, depending on the brand.Now the cost of a concert multi-timbre button accordion is quite high and reaches 15 thousand euros.
The first concert multi-timbre button accordion was created in 1951 for the accordionist Y. Kuznetsov.
On concert bayans there is a very convenient device - the register switch is located under the chin of the performer, which allows the musician not to be distracted during the performance.
In the Soviet Union, at one time, electronic button accordions were produced, but this innovation did not take root, because at the same time synthesizers came into use, which became widespread.
The sound of the button accordion during the Great Patriotic War raised the morale of the soldiers, inspired to exploits. It sounded everywhere: in dugouts, on halts and on the battlefields.
The sound of the button accordion is very effectively used in their compositions by modern musical groups, such as Lyube, Vopli Vidoplyasov, Billy’s Band.
Well-known companies for the production of professional concert bayans, which are in demand and have proven themselves, are located in Russia - this is the Moscow factory "Jupiter" and "Tula Harmonica", as well as in Italy: "Bugari", "Viktoria", "ZeroSette", " Pigini", "Scandalli", "Borsini".
AT last years the word “button accordion” is often used to refer to a stale, “shabby”, “bearded” already old joke or anecdote.

Button accordion design

The accordion, which is a rather complex structure, consists of two main sections: left and right, interconnected with fur.

1. Right side of the tool- this is a box rectangular shape, with a neck and soundboard attached to it, with mechanisms built into it. When a key is pressed, the mechanism raises the valves, thereby passing air to the resonators with voice bars and reeds.

For the manufacture of the box and the deck, resonant wood species are used: spruce, birch, maple.

A grill is attached to the box, as well as register switches (if any are provided by the design) that serve to change the timbre. The box also contains two large straps to secure the instrument during performance.

On the fretboard, in chromatic order, there are playing keys in three, four or five rows.

2. Left body- this is also a box of rectangular shape, in which on the outside is left keyboard an instrument containing five, and sometimes six rows of buttons: two are basses, the remaining rows are ready-made chords (major, minor, seventh chords and reduced seventh chords). On the left body there is a register for switching a ready-made or selective sound extraction system, as well as a small strap with which the left hand sets the fur chamber in motion.

In the left case there is a deck with complex mechanisms for extracting sounds in two systems for the left hand: ready-made and ready-elective.

The fur chamber, attached to the body with frames, is made of special cardboard and pasted over with a cloth on top.

The weight of a multi-timbre concert button accordion reaches 15 kg.

Bayan varieties

The large bayan family is divided into two groups: ordinary bayans and orchestral ones.

Ordinary ones have two types, which differ from each other in the accompaniment systems in the left hand: ready-made and ready-selective.

A ready-made accompaniment system consists of basses and ready-made chords.
Ready-to-elective has two systems: ready-made and elective, which are changed using a special register. The selective system has a full chromatic scale, which increases the performance capabilities of the instrument, but at the same time complicates the playing technique.

Orchestral button accordions, due to their design features, have a keyboard with only right side cases are also divided into two types:

first - the instruments differ in their pitch range: double bass, bass, tenor, alto, prima, and piccolo;
the second - differ in timbre: bayan-pipe, bassoon , flute, clarinet , oboe.

Application and repertoire

The range of application of the button accordion is very wide, it can also 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. Very often, the button accordion is used as an accompanying instrument or just in everyday life at various family holidays.

The instrument is very versatile, it performs 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 , C. 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 modern composers write different works for the instrument: sonatas, concertos and original pop plays. L. Prigozhin, G. Banshchikov, S. Gubaidulina, S. Akhunov, H. Valpola, P. Makkonen, M. Murto – their musical compositions for bayan sound very impressive on the concert stage.

Works for button accordion

N. Chaikin - Concerto for button accordion and orchestra (listen)

P. Makkonen - "Flight over time" (listen)

Performers

Since the button accordion was gaining popularity very quickly in Russia, the performing arts on it developed very intensively. In connection with the constant improvement of the instrument, more and more creative possibilities. Particularly noteworthy is the contribution to the development of the performing skills of innovative accordionists: A. Paletaev, who was the first to switch to a five-finger fingering instead of the previously used four-finger fingering, thereby increasing technical capabilities tool; Y. Kazakov - the first performer on a multi-timbre ready-to-select button accordion.

The Russian bayan school is now very well known throughout the world, and the performing arts are now increasingly flourishing. Our musicians constantly become laureates of various international competitions. A lot of young performers enter the big concert stage, but it is necessary to single out the names of such outstanding musicians as I. Panitsky, F. Lips, A. Sklyarov, Yu. Vostrelov, Yu. 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 contributed a significant contribution to the development of the modern performing school.

History of button accordion

Each instrument has its own history, and the button accordion also has a backstory. She started in Ancient China in the 2nd or 3rd 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 reeds inside. In Russia, he 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 principle of sheng sound production, the German organ maker Friedrich Buschmann invented a mechanism that helped him in tuning instruments, and which later became the forerunner of the accordion. Somewhat later, the Austrian of Armenian origin K. Demian modified the invention of F. Bushman, 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 merchants as a curiosity. The instrument, which could play a melody and accompany, quickly gained popularity among urban and rural residents. Not a single 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, Bologoev, 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, which was then improved in Europe.

The musicians-harmonists were mostly self-taught, but they performed miracles 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 harmonist, he dreamed of creating an instrument that would have more performance possibilities.

In 1871, under the leadership of N.I. Beloborodov, master P. Chulkov created a two-row accordion with a full chromatic scale.

At the end of the 19th century, in 1891, after improvement by the German master G. Mirwald, the accordion became three-row, with a chromatic scale arranged in series along 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, the master P. Chulkov presented at the exhibition an instrument with bent mechanics in the "left hand", which also made it possible to extract ready-made chords with one keystroke. Thus, the accordion was gradually transformed and became an accordion.

In 1907, the master designer P. Sterligov. on behalf of the musician-harmonist Orlansky-Titarenko. a complex four-row instrument was made, called "Bayan", in memory of the ancient Russian storyteller. The instrument was rapidly improved and already in 1929 P. Sterligov invented the button accordion with a ready-to-select system on the left keyboard.

The growing popularity of the tool 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 like wind and string instruments. Accordion in Russia we are popularly loved - this 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 mound.

Video: listen to button accordion

Consider the device of a conventional three-row button accordion with ready-made chords.

A short belt is fastened on the left half-body, under which the left hand is passed when playing. In addition to playing the keyboard, the left hand stretches and compresses the fur, pumping air.

Two straps are attached to the right half of the body, which are worn over the shoulders and firmly hold the instrument during playing, freeing the right hand from supporting forces.

The body of the button accordion is glued together from thin beech or birch planks. The corners of the body are glued into a dovetail spike. In addition, the top corners are fixed with metal decorative plates that protect them from damage and sticking.

Gorodushki together with the slats make up a separate structure, the so-called resonators. At the bottom of each gorodushka, wide holes are drilled for air passage, which coincide with the same holes in the deck. The resonators are glued together from birch or alder. Each row of keys on the neck corresponds to a separate resonator.

Thus, all three rows of valves are arranged on those button accordions where the neck is placed 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 arrangement: the valve leashes are bent in a special way and are attached to a wooden plank glued to the soundboard with the help of two loops. The end of the key is brought under the free curved end of the valve leash and presses on it, lifting the valve. In this case, the main valve springs are installed not: 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 leash, eliminating the gap between them and the inevitable idling of the key in this case.

Let's consider the device of the left keyboard of the button accordion, 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) is for basses, and the other (also 12) is for chord voicings.

Such a large number of duplicate keys is necessary to make it convenient for the performer to play in any key without unnecessary jumps from the top of the keyboard to the bottom and. vice versa.

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 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 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.

Button accordion, accordion, harmonica... For inexperienced people who are far from music, there is no difference between these instruments: either an accordion or an accordion. Such people can calmly come to a musical instrument store and, pointing to an accordion, ask: “Give me this accordion!” They confuse accordionists with bayan players, and both of them with accordionists ...

And yet there are differences, and quite significant ones. But in order to understand how the button accordion differs from the accordion, it is necessary to say a few words about their common ancestor.

Accordion - cousin of the jew's harp

All accordions, as well as button accordions and accordions, are reed musical instruments. Since they have a keyboard, they are also considered keyboards, more precisely keyboard-pneumatic. But still, the main sign that distinguishes any accordion is the reed, a flexible steel plate, during the vibration of which the sound is obtained. In different instruments, the reed is set in motion in different ways. For example, they play the jew's harp by pressing it to their teeth and at the same time hitting the tongue with their fingers, and the mouth serves as a resonator here. By opening it narrower or wider, you can get sounds of different timbres.

How is an accordion arranged?

At the accordion, the reeds oscillate in the air flow, which the performer pumps, compressing and stretching the fur. They are fixed on metal strips with slots through which air passes, and come in different sizes: some are more massive and larger - these reeds give lower sounds, others are lighter and smaller - here the sounds are higher.

On each bar, two tongues are fixed on both sides, separated by a leather valve in such a way that only one of them vibrates when the fur is compressed, and the other when stretched. Accordingly, there are also two slots that overlap the tongues.

To amplify the sound, air chambers are used - resonators, to which the straps are attached. These resonators are wooden (usually spruce). Together with the slats, they are assembled into blocks that are installed inside the body of the accordion on the soundboard - a special partition with holes. The resonator blocks are located on the side of the deck, which is closer to the fur, and on the side of the body there are valves for air supply. These flaps are connected to buttons and covered with a grille.

When the buttons are pressed, the valves open, air flows through the deck, and the reeds vibrate to create sound.

Sometimes the sizes of the reeds on the soundbars, which means their musical tone, may differ. Therefore, all accordions are divided into two large groups: in one, the reeds at the "input" and "exit" are the same, the most famous accordion of this type is lame. In the second group, these reeds differ, which gives sounds of different pitches. This type includes accordions such as talyanka (distorted "Italian").

Differences between left and right keyboards

The buttons on the left keyboard are located on the case itself. It is intended for accompaniment. Pressing one button on it opens several resonator chambers at once, and a whole chord sounds.

The melody itself is played on the right keyboard. Here, the buttons are located on a neck attached to the body, and are equipped with metal levers that go to the valves. They are arranged in one or more rows (hence the names "one-row", "two-row", etc.). Pressing one button opens only one resonator - and therefore a single pure musical tone sounds.

First hand harmonicas

In 1783, the Czech master Kirshnik, who lived in St. Petersburg, discovered a new (as it seemed to him) way to extract sounds - with the help of metal reeds. In 1821, the Berlin master Bushman created a harmonica based on this method, and the following year he tried to attach fur to it. In 1829, the Viennese inventor Cyril Demian came up with an instrument that he called the accordion, because its left keyboard was the same as that of modern harmonicas - chordal: pressing one button gave a whole chord. However, this instrument did not yet have a right keyboard.

Approximately in the 1830s, the novelty penetrated into Russia, acquired a simple name there - an accordion - and gained great popularity.

From accordion to button accordion and accordion

But the musicians immediately noticed that simple harmonies also have drawbacks. For example, they have a limited sound range (few octaves). As a rule, they have only one key, and are either major or minor.

Therefore, the question soon arose of inventing such a musical instrument that would have the advantages of an accordion, but at the same time would have an extensive scale and a uniformly tempered musical scale (i.e., such a scale where each octave is divided into 12 mathematically equal semitones). This tuning has been used in academic music for several centuries. Another name for it is "full chromatic scale".

Throughout the 19th century various firms and masters in Europe and Russia worked on improving the accordion. A right one was added to the left keyboard, various prototypes of the button accordion and accordion with a piano keyboard appeared - among them the “piano harmonica” from the city of Yelets and the chromatic harmonica by Nikolai Ivanovich Beloborodov, created in 1870.

In 1907, the inventor Petr Egorovich Sterligov made the first three-row button accordion, and in 1913 a five-row button accordion.

At about the same time, chromatic harmonicas with piano keyboards, that is, modern accordions, spread to Europe. AT Soviet Union they came about in the 1930s.

Bayan and accordion: similarities

Firstly, as already mentioned in the article, both the button accordion and the accordion are chromatic harmonics, that is, they have a uniform temperament (12 semitones per octave) and a large range of octaves.

Secondly, the button accordion and accordion are similar, in particular the left keyboard. It is intended for bass notes (the first two rows of buttons) and for chords (the remaining four rows - major, minor, seventh chord, diminished seventh chord).

Types of button accordions and accordions

Coming to a musical instrument store to buy a suitable harmonica, you need to know that there is one more important nuance.

Both button accordions and accordions are divided into three types: ready-made, elective, and ready-selective. Ready-made left keyboard is configured as described above. For electives, it, just like the right one, is needed in order to extract not chords, but individual notes. In the third type - ready-elective - you can switch between the two modes. To switch on the left keyboard there is a special register key. In select mode, rows with chords turn into a kind of right keyboard of a four-row button accordion, only mirrored.

Professional musicians most of all love ready-to-select accordions and button accordions, since the possibilities of these instruments are very wide. They are a little more difficult to master than ready-made ones, but you can play almost anything on them - even Bach's fugues.

What is the difference between bayan and accordion

In addition to the different shape of the body (it is more rectangular in the button accordion, more rounded in the accordion), and the shape of the neck (the neck of the accordion is longer), the main difference between the button accordion and the accordion is the keyboard for the right hand.

On the right keyboard of the button accordion there are three to five rows of buttons representing the full chromatic scale and covering the range of 5-6 octaves. There are both 3-row and 5-row button accordions, and in a five-row button accordion, the first and second rows of buttons are similar to the fourth and fifth. When playing on it, this facilitates the transition from one key to another.

The accordion's right keyboard is a series of massive piano-like keys. As a rule, there are 41 keys on the fretboard. The right keyboard also has several register switches. With their help, they change the timbre of the sound or its pitch, making the sound an octave higher or lower. Concert models of accordions also have switches that can be pressed with the chin without interrupting the playing.

However, the accordion keyboard itself covers a smaller range than the button accordion keyboard. Being like an accordion musical instrument, the accordion (if you do not take into account the register switches) can only take three and a half octaves.

And finally, the main difference between the button accordion and the accordion is the sound. In the accordion, the voice reeds are tuned with a slight dissonance; the musicians call this “in spill”, which gives a more velvety sound. The button accordion has reeds tuned in unison, and the sound is clearer.