What are the buttons on the accordion called? What is the difference between bayan and accordion: device, keyboard. reed musical instrument
The right mechanism of the button accordion Jupiter 64/106 in the process of assembly.
So, the price of the same button accordion, the photo of which flaunts on my profile picture, is 350,000 rubles. Do not look for Swarovski inlay on the case, it is not here. This is an ordinary serial button accordion. The fact is that the production of button accordions is a long, laborious, practically non-automated process.
The time of creation of this musical instrument is longer than the time of bearing a human cub. A long eleven months pass from the moment the work begins until the birth of the finished button accordion. Eight different masters are involved in this difficult process. 80% of all production is done by hand.
Left hand action of a ready-to-select accordion, an experimental version. The process of developing a new tool model. Designer - Lavrov Viktor Petrovich.
If you decide to start making harmonicas, you should not google technical schools and universities that produce the corresponding masters. The creators of these musical instruments will have to be taught from scratch. The process of training one professional takes at least 2-3 years.
For the birth of one button accordion you will need:
Master in Nodal Mechanics
Furrier
Case maker
Resonator maker
Left mechanics assembler
Right mechanics assembler
Tuner
There is not a single person who would combine all these specialties. It is very, very rare to come across a master who is excellent at two of these eight wisdoms, but no more.
The salary of a metropolitan harmonica maker is approximately 35,000 rubles. Taking into account the cost of renting a room, it is better to organize production somewhere in the provinces, and maybe outside of our vast country.
Production of resonators: installation and gluing of partitions.
Master - Kudar Mikhail Ivanovich
Perhaps the largest harmonica factory is located in Pyongyang. 1100 people work there, of which only 80 are managers, and the rest are workers. Mostly accordions are made there. This factory and the Moscow company "Jupiter" have close friendly and partner relations.
Levers assembly with valves of the right mechanics of bayan Jupiter
Pasting mesh right mechanics.
Master Rybin Mikhail Nikolaevich
Pasting the grid of the right mechanics
Production of the right mechanics of the button accordion Jupiter 4-voice.
Master - Platonov Konstantin Mikhailovich.
This is how a musical instrument is made. The instrument turns out to be very, very nice.
Final stage creation of harmonics - tuning.
The last step is setup
By the way, the accordion is the younger brother of the button accordion, and not vice versa, as many people think.
Accordion. Photo taken by Alexey Bondarenko
In general, there are a great many harmonics. For the meticulous, here is the harmonic classification scheme
And here is Alexey himself in the process of creating his new avatar
Alexey Bondarenko is photographed for a new avatar
At the factory, even the inscriptions on the dust about music
In general, the button accordion is by no means something irrelevant, as they like to say in the vastness of Runet, but a popular, interesting and very serious musical instrument. Here.
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:
Today we will talk about one amazing musical instrument. You know that each instrument has its own voice, its own timbre individuality, that is, a special coloring of the sound. Is it possible to confuse the sound of a violin, an organ or a flute? ... But there is one musical instrument that, as it were, absorbed the voices of many instruments, for example, flute, bassoon, organ and others. You probably know this tool well. No wonder it is called "the soul of the Russian people." Guessed? ...... Yes, this is a button accordion Full name modern button accordion - multi-timbre ready - elective button accordion.
Today he is known and loved in many countries of the world. It is not for nothing that international bayan competitions are held, in which foreign musicians participate. But this is today ... And what was at the beginning of his journey?
You probably know that the button accordion originated from the harmonica. First came the harmonica. In ancient China, there was an instrument called "sheng". And the first hand harmonica was invented in Berlin in 1822. The name of the inventor of the hand harmonica is Friedrich Buschmann. He worked as an organ and piano tuner. To facilitate the tuning of organ pipes, he designed a small box with a metal tongue. When Friedrich breathed 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 height, simplified the tuning of the organ. But the master did not like that one hand was busy. Then he made each tongue into the fur. He put the device next to him, stretched the fur up and let it go, shrinking under the pressure of its own weight, the fur supplied air to the tongue, and it sounded. Both hands remained free, it was not necessary to blow with the mouth, which made the work easier. Then Friedrich guessed to build all the tongues 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 design 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 only had 5 buttons on the right and 5 on the left. Only very simple melodies without accompaniment could be played on it. Despite this, the accordion quickly spread throughout the world, hitting the Tula fair as well. 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, Liven, Cherepovets, Vyatka, Bologoev harmonicas appeared. Thanks to the Russian masters appeared, in fact new tool, in which only the principle of sound extraction remained from the former harmonica.
AT In 1830, music master Ivan Sizov went to a fair in Nizhny Novgorod, and there he heard an harmonica. bought Like any inquisitive artisan, he first dismantled and studied the structure of the instrument. After making sure that there was nothing particularly complicated in it, especially for a Tula gunsmith, he took it and made the same one with his own hands. Of course, relatives and acquaintances immediately learned about this, and among them there were many craftsmen. Tula has always been famous for its craftsmen. Very soon, making harmonicas became a craze.
The path to perfection of the harmonica was long and difficult. At first it was very simple and primitive (5-7 buttons per right side and two basses on the left side). The time has come, and in this form it could no longer satisfy the increased skill of the performers. And in 1871, the Tula musician - a nugget Nikolai Ivanovich Beloborodov designed a new type of instrument - a chromatic harmonica. It already had an extended accompaniment (consisted of basses, 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 harmonica master Peter Yegorovich Sterligov the idea of a new instrument. Or, if the language of today's production, formulated technical task. 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 each, and for the left hand - full set basses and chords for all keys without exception. In honor of the legendary ancient Russian singer-storyteller Boyan, he was named bayan. Bayan is a name accepted only in our country. So the laurels of the invention of the button accordion equally belong to both the musician and the master. They created a tool that was so perfect from the very beginning that in principle it has not changed so far, although, of course, there have been improvements. And everything became available to this instrument, up to a concert with a symphony orchestra. Bayan is a name accepted only in our country. Abroad, all chromatic harmonicas, whether they have keys or buttons, are called accordions. Work on improving the instrument continued for many more years. Yes, it actually continues to this day.
We have wonderful factories in Russia where they make special technology to order modern concert button accordions of the latest generation "Jupiter", "Appassionata", "Lefsha", "Russia", which are played by outstanding musicians. A multi-timbre ready-to-select button accordion is an instrument of great dynamic, timbre and acoustic capabilities, which is capable of performing the most complex works written for various tools. The level of accordion performance today is extremely high. The names of the wonderful bayan players 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, accordionists tour all over the world, gathering 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, 5th edition "Phoenix" Rostov-on-Don, 2006.
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 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 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. On the top side of the neck, mother-of-pearl or celluloid buttons - buttons are strengthened with a key, and holes are drilled at the other ends with a key, into which the ends of the valve leashes 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 leads 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 a 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 continuous 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 receive 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 vocalists.
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 in C sharp is enharmonic equal to the key in D flat). In other words: the black buttons at the top and bottom duplicate each other. In addition, there is one row above the black buttons and two rows of white buttons below the black ones, which 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.
Leonid Gurulev
On the right keyboard, as we already know, the melody of a piece of music is played; 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.