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Right and left accordion keyboard. The right accordion keyboard. Video exercises. Types of button accordions and accordions

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 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 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"

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 passage of a set of exercises, you will be completely free to learn songs and pieces on the right keyboard in a lightweight arrangement for the button accordion.

In the video exercises, the standard of the sound of the instrument during the exercises is set. You can start the video at any time and compare your game with the sound of the standard. These exercises will help you develop optimal mechanical guidance and get your fingers used to proper fingering. There are more than thirty video exercises in the selection, which are recognized by experts as the most productive for teaching beginners.

I have been using these exercises in my work for almost forty years. On the material that you have the opportunity to buy, hundreds and hundreds of my students, both adults and children, learned to play the button accordion. By purchasing this mini course - a set of exercises for the right hand, you get the opportunity at any time to get my advice, answers to your questions, recommendations.

Who are these exercises for?

For those who begin to master the button accordion from scratch, without any prior preparation. The presentation of educational material is organized in such a way that absolutely anyone can work productively with a set of video exercises.

- The exercises can be used by accordion teachers and tutors as basic and auxiliary materials, as well as for homework for bayan students in children's musical educational institutions.

Included:

32 videos, 115 exercise videos.

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

Price 300 rubles

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

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

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

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

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

Along with memorizing the notes on the keyboard, the student gets the concept 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.

Musical instrument: Bayan

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

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

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

Sound

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


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

Bayan, by virtue of its design feature(the presence of registers), has a diverse timbre palette of sound - from full-sounding organ to soft and warm violin. The accordion tremolo is very similar to the violin tremolo, and the dynamic volume of the instrument gives the impression that a full orchestra is playing.


Button accordion range quite large and is 5 octaves, starting from "mi" of a large octave and ending with "la" of the fourth.

A photo:

Interesting Facts:

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

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

Button accordion design

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

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

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

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

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

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

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

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

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

Bayan varieties


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

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

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

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

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

Application and repertoire


The range of application of the button accordion is very wide, it can also be heard on the stages of large concert halls as a solo, ensemble, orchestral instrument and in amateur ensembles and orchestras of folk instruments. Groups consisting only of accordion players are very popular. Very often, the button accordion is used as an accompanying instrument or just in everyday life at various family holidays.

The instrument is very versatile, it performs works by composers of past eras, as well as music of modern genres: jazz, rock and techno.

The compositions of I.S. Bach V.A. Mozart , N. Paganini, L.V. Beethoven , I. Brahms, F. Liszt , C. Debussy, D. Verdi , J. Bizet. D. Gershwin, G. Mahler, M. Mussorgsky, M. Ravel, N. Rimsky-Korsakov, A. Scriabin, D. Shostakovich, P. Tchaikovsky, D. Verdi and many other classics.

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

Works for button accordion

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

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

Performers


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

The Russian bayan school is now very well known throughout the world, and the performing arts are now increasingly flourishing. Our musicians constantly become laureates of various international competitions. A lot of young performers enter the big concert stage, but it is necessary to single out the names of such outstanding musicians as I. Panitsky, F. Lips, A. Sklyarov, Yu. Vostrelov, Yu. Tkachev, V. Petrov, G. Zaitsev, V. Gridin , V. Besfamilnov, V. Zubitsky, O. Sharov, A. Belyaev, V. Romanko, V. Galkin, I. Zavadsky, E. Mitchenko, V. Rozanov, A. Poletaev, who contributed a significant contribution to the development of the modern performing school.

History of button accordion


Each instrument has its own history, and the button accordion also has a backstory. It began in ancient China in the 2-3 millennium BC. It was there that the instrument was born, which is the progenitor of the modern button accordion. Sheng - reed wind musical instrument, representing a body with bamboo or reed tubes attached in a circle with copper tongues inside. In Russia, he appeared during the Mongol-Tatar yoke, and then along the trade routes came to European countries.

In Europe at the beginning of the 19th century, using the principle of sheng sound production, the German organ maker Friedrich Buschmann invented a mechanism that helped him in tuning instruments, and which later became the forerunner of the accordion. Somewhat later, the Austrian of Armenian origin K. Demian modified the invention of F. Bushman, transforming it into the first accordion.

In Russia, the harmonica appeared in the second quarter of the 19th century, it was brought from abroad, bought at fairs from foreign merchants as a curiosity. The instrument, which could play a melody and accompany, quickly gained popularity among urban and rural residents. Not a single festival took place without her participation, the accordion, along with the balalaika, became a symbol of Russian culture.

In many Russian provinces, workshops began to be created, and then factories that made their own local varieties of accordions: Tula, Saratov, Vyatka, Lebanese, Bologoev, Cherepovets, Kasimov, Yelets.

The first Russian accordions had only one row of buttons, they became two-row in the second half of the 19th century, by analogy with the design, which was then improved in Europe.

The musicians-harmonists were mostly self-taught, but they performed miracles of performing skills, despite the fact that the instrument was rather primitive in design. One of these nuggets was a worker from the city of Tula N.I. Beloborodov. Being an avid harmonist, he dreamed of creating an instrument that would have more performance possibilities.

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


At the end of the 19th century, in 1891, after improvement by the German master G. Mirwald, the accordion became three-row, with a chromatic scale arranged in series along the oblique rows. Somewhat later, in 1897, the Italian master P. Soprani patented his new invention - the extraction of ready-made major and minor triads, dominant seventh chords on the left keyboard. In the same year, but in Russia, master P. Chulkov at the exhibition presented an instrument with bent mechanics in the "left hand", which also made it possible to extract ready-made chords with one keystroke. Thus, the accordion was gradually transformed and became an accordion.

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

The growing popularity of the tool is accompanied by its constant development and improvement. The timbre capabilities of the button accordion make it truly unique, because it can sound like an organ or like wind and string instruments. Accordion in Russia we are popularly loved - this is both an academic instrument that sounds from the stage in a large concert hall, and a symbol Have a good mood, amusing people on a rural mound.

Video: listen to button accordion

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.

Bayan belongs to a rather small group of instruments that have a wide sound range and do not require accompaniment. As is well known, this group primarily includes the piano, organ, harp, and folk harmonica, guitar, and some others. It is the versatility of the instrument, its compactness, combined with excellent sound qualities, among which the controllability of sound is the most valuable, that determined its democratic character and immense popularity, both in our country and abroad. The bayan is rightfully considered one of the most advanced and widespread types of harmonica. This is a reed keyboard-pneumatic musical instrument with a twelve-step equal temperament system.

The body of the button accordion consists of two parts (right and left), which are connected by a fur chamber (fur), it is made of beech or spruce. The outer surface is carefully polished or glued with celluloid. The fur chamber, which has 14-15 folds (borin), is made of electric cardboard, glued with silk and granitol and fixed with rounded metal corners. On the right semi-body there is a neck with a keyboard located on it for playing with the right hand. The most common bayans have three rows on the right keyboard and the number of keys is from 52 to 61.

Its range is from B-flat or G of the big octave to C-sharp or G of the fourth octave. Low sounds are produced by the keys located at the top of the neck, and the highest sounds at the bottom of the neck. Having four or five rows on the right keyboard does not increase the instrument's range. These additional rows, called auxiliary, are a repetition of the main ones and enable the performer to easily transpose a piece of music into any other key.

On the outer side of the left semi-body there is a keyboard for the left hand with five or six rows of key-buttons. Their number is usually 100-120. On the side of the semi-body there is a belt for the left hand, which, in addition to the game function, also performs the function of mechanical science. Two shoulder straps hold the instrument in place while playing. Another strap can be used connecting them on the back.
The basis of sound production on the button accordion is the vibration of metal reeds (voices) under the influence of an air stream. The tongue, rigidly attached at one end to the metal frame, slips freely in it under air pressure from the side of its rivet. Under the influence of pressure from the other side, it is not excited due to the overlapping of the opening for the sounding voice with a glued strip of husky (skin).

Therefore, to extract the same sound by expanding and compressing the fur, two identical tongues are needed, attached on different sides of two identical openings in the frame. The frames together with the tongues are called slats.
The slats are mounted on special frames - resonators, divided into cells - air or resonator chambers. The entrance to each chamber is called a resonator socket. Through the openings of the socket, air is supplied from the fur chamber to the vocal reeds fixed on the walls of the air chambers of the resonators. For good tightness of the structure, the contact surface of the socket with the soundboard and the voice strips with resonators is pasted over with a husky. Resonators are attached to the deck wooden blocks and special bolts.

The loudness of the sound depends on the amplitude of the oscillation of the reed: the stronger the pressure of the air jet, the louder the sound, and vice versa. The pitch of the sound depends on the length of the tongue: shorter ones produce high-pitched sounds, longer ones - low ones. To prevent the reeds of low register sounds from being excessively large, additional weights are riveted onto them.

The timbre of the sound depends on the design of the soundboard and resonator, the shape and volume of the resonator chambers, as well as on the thickness and material of the bar, on the quality of the metal from which the voice is made, and on the profile of the voice.