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The left side of the button accordion 4 letters crossword. What is the difference between bayan and accordion: device, keyboard. Pressed the key - opened the air valve

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 musical instruments subdivided into melody resonators, accompaniment resonators and bass resonators.

Melody resonators

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

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

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

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

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

In connection with the change in the size of the added bars, the resonators of the melody undergo some changes.
In mass-produced instruments, the melody resonators are removable. It is more convenient to repair such resonators.

In some custom-made instruments, the melody resonators (especially often in the treble group) are non-removable, i.e. they are glued directly to the soundboard without sockets. Non-removable resonators contribute to better sound formation, but they create great inconvenience during repairs, reduce labor productivity when repairing the vocal part and tuning, and, as a result, increase the cost of repairs.

Accompaniment resonators

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

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

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

Accompaniment resonators have the following varieties:

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

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

bass resonators.

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

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

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

The most common type of resonator for a borrowed bass mechanism (Fig. 45) consists of a mullion 1, upper bars 2, rosettes 4, baffles 6 and tongs 5 ​​and 7.

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

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

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

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

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

The air chambers of the resonators are closed from the outside with voice plates. In this case, it is necessary to fulfill the condition of absolute airtightness between the strips and the plane of the resonator. This is necessary so that the air passes only through the vocal openings in the bars and is used to excite the reeds. In order for the strips and resonators to be hermetically connected, the strips attached to the resonator are poured around the perimeter with molten wax-rosin or ceresin mastics or, less often, with nitro paints.

Materials used in the manufacture of resonators and the assembly process

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

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

Resonator sockets are made of hardwood or high quality plywood.

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

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

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

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

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

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

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

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

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] Study Recommendations right keyboard button accordion

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

The study of musical notation usually starts from the note “to”. As the student learns the seven basic sounds of the natural scale, the student practically masters the key of C major, its stable and main steps. Learn to play as early as possible without constant looking at the keyboard. This will become possible when you know well the location of the notes on the button accordion keyboard. Moreover, to know not virtually, but by touch. For this you will have to work hard. The best way to learn the keyboard is to use one octave.

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

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

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

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

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

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

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

I remind you that all these manipulations are aimed at studying the location of the “do” note on the keyboard. After you begin to find and play the note “do” absolutely freely, you can move on to mastering the note “re”. By analogy with the previous lessons, we compose a sequence of buttons from the “re” button down and up.

These sequences will look like this: “re-mi”, “re-do”, “re-mi-re-do”. How many times do the sequences need to be repeated before they are completely memorized? For each student individually. It could be ten repetitions, or it could be a hundred.

Similarly, we work out the rest of the main sounds up to the note "si". This will be the first step in learning the right keyboard. In the next step, we will deal with intervals, i.e. Let's continue to study the notes (buttons) of the main scale on the right keyboard using intervals as an example.


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

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

reed musical instrument

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

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


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

Pressed the key - opened the air valve

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

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

Sectional accordion

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

View from above


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


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

visible

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

Broken deck Cassotto

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

Ivan Kopytin's Blog Bayan Accordion Accordion

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.

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 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.