Left keyboard. Bayan: history, video, interesting facts, listen Differences between the left and right keyboards

28.10.2019

Well, let's start with the simplest. I will say, for starters, that the accordion ishand harmonica (primarily a reed keyboard-pneumatic musical instrument), invented and widely used in Europe.

In the Russian tradition, the accordion is called instruments with right keyboard oh piano type, but there are also button accordions with a keyboard like a button accordion. The very name was given

by the Viennese organ master C. Demian of the accordion improved by him in 1829.

Main components:

Frame. For the manufacture of the body, beech, maple, alder, birch wood was used and is most often used. But accordions with an oak body are extremely rare and are made only to order. But sheets of aluminum are necessary for the manufacture of the lattice. Outside, the body is pasted over with celluloid.

Vulture. The melody keys are placed on the neck, it is attached to the right half of the body. And it is made from the same material as the body.

Fur. For the manufacture of fur, cardboard is pasted over with a cloth, hermetically fastened to the right and left half-hulls. It consists of 13 or more folds, which, when squeezing and unclenching, create air circulation that makes the instrument "sing".

By the way, here's a hack: the fur folds should be glued with adhesive tape or electrical tape to avoid too rapid wear of the crev fur at the points of contact with the chest of the performer ...

Resonators. A necessary part of sound extraction are resonators with voice bars.

Voice bars. Voice strips are called metal plates with openings, above which the tongues are located. Each note has a separate reed. The shorter the reed, the higher the sound, respectively, the longer - the lower. The tongues are riveted to the plate with their thickened end, the free end of the tongue enters the slot of the plate and vibrates under the action of a passing air stream, forming a sound. Voice strips are made of non-ferrous metals, brass and aluminum. The quality of the sound depends on the precision of the reed attachment, the quality of the material, and the type of body wood.

register system. Made from aluminum and brass. Used to change tone.

Device.Two keyboards connected with furfor pumping air into the keyboard-pneumatic mechanism. Device air valves accordion:

Musical instrument mechanismallows you to control the air flow through the reeds , up to its complete cessation (green arrows in the diagram). Depending on the direction of the air flow, one of the two reeds of the same tone of the chamber fluctuates (blue and orange arrows in the diagram). Other musical instruments (eg. harmonica ) the reeds of one chamber may differ in musical tone - harmonist changing the direction of movement of the fur changes the pitch (musical note) without removing the finger from the key. The left (side, bass) keyboard of the accordion is arranged differently: pressing one button, thanks to a complex mechanism, opens several cameras at the same time ( chord ). The mechanism is common to accordions, button accordions and other similar musical instruments.

There are several varieties of accordions: normal and ready-elective .

In the usual bass ( left hand) plays as expected according to the series scheme:

In the picture you see a diagram of a conventional left keyboard in a mirror image (B - major, M - minor, 7 - seventh chord, Um - diminished chord).

But in the ready-to-elective there is a switch from the above scheme to a completely different one. By means of the switch, the accordion switches to the mode of changing the entire left keyboard to only basses (notes). That is, where in the usual chords, in the selective keyboard - notes.

Left keyboard in the sample - a mirror right keyboard on the button accordion.

Accordions are also classified by size:
1. Full - 4/4 - 41 keys; range - from F small octave to la third octave.
2. 7/8 - 37 keys; range - from F small octave to F third octave).
3. 3/4 - 34 keys; range - from salt small octave to mi third octave.
4. Half - 1/2 - 26 keys; range - from si small octave to before third octave.

Everything seems to be ... Something like that. If you have any additional questions or something is not clear - do not hesitate - contact us.
Oh yes, there are also electronic accordions, but that's another story...
P.S. If you notice any errors in text, please let me know.

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.

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 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 deer skin, 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 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. The 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, 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.

It is very difficult to talk about the time of the birth of a musical instrument, since music, and therefore musical instruments, have accompanied a person since ancient times. And no one can say for sure - when a person first blew into a bamboo reed and a pipe appeared, which later turned into a flute. Or when a person noticed that a stretched bow string sounds beautiful, he added a few more to it, and a lyre appeared - the predecessor of the harp and guitar.

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 custom-made 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, edition 5th "Phoenix" Rostov-on-Don, 2006.

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 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.

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 in order for the performer to be comfortable playing in any key without unnecessary jumps from the top of the keyboard to the bottom and. vice versa.

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, and 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 I, II, III and IV octaves.

The third octave resonator is designed for bars tuned an octave higher than the second octave, the fourth octave resonator is an octave higher than the resonator of the third octave. The name of the resonators 111 and IV octaves is also conditional. The resonators of the III and IV octaves are installed on a common socket, and their air chambers are connected by channels in 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 along 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 socket 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 open wood pores, the vibration 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"