Reed musical instruments
Reed musical instruments are perhaps one of the most interesting groups of musical instruments. Sound is created using a specific tongue, which is fixed at one end and free at the other. The flow of air or pinching of this tongue creates the sound. To understand what exactly these objects are, it is worth imagining such well-known reed musical instruments as the button accordion, harmonica, accordion. Now such items are little used to create modern music, but it is worth giving them their due - at one time there was no alternative to them.
Reed musical instruments can also be a cross between brass or even keyboards. The saxophone is a vivid example of the wind reed class, which works with the help of the air blown in by the musician and the reed, which vibrates exactly under its flow. There are also keys on the surface that control the alternation of the required notes. Clarinet, oboe, bassoon - they all also belong to reed instruments. Among the non-standard are the Chinese hulus and bau, as well as the African kalimba. There are also self-sounding ones, where the sound is reproduced by pulling and releasing that very reed.

Wind reed instruments
Wind reed instruments represent a confluence of two classes. In them, the sound is created by the ingress of air into the musical instrument and the vibrations of the reed under its influence. This class can be divided into two large groups: ordinary (copper) and wood. Clarinet, oboe, saxophone and bassoon are the representatives of the first large group. Balaban, duduk, shalmey, zurna, tutek and shalyumo are made of wood and, in their specificity, are little used to create classical and modern music. Rather, these are national, ethnic-colored objects used by our ancestors to perform songs. An interesting fact is that many modern musicians who have mastered the art of playing, say, the saxophone, do not know how to play the harmonica or pipe. All due to the fact that these instruments, although they are in the same typical class, have a different sound range and original technique of work. Melodies created with the above musical instruments cannot be confused with anything else. Our ancestors used them to announce important news, to accompany festivals or important events. The saxophone is rightfully considered to be the king among wind and reed musical instruments, because it alone gave rise to several trends in music at once.

Reed instruments - the high art of music in elementary things
Reed instruments are a collection of objects that reproduce a melody due to the movement and flexibility of a special plate (reed), which vibrates due to the flow of air or pinching the key. Bayans, harmonicas, jew's harps and harmonicas belong to the class of reed instruments. Each example of this type of musical device has its own characteristics. For example, an ordinary accordion consists of so-called "bellows" and special strips, which, at a certain position and when pressed, emit a sound. The location of the buttons corresponds to the specific note that you want to play.
Reed instruments are a very original class of musical instruments. They have experienced different levels of popularity at different times. Today, reed instruments are predominant in folk art and in some formats of modern pop music. Well forgotten old things - this is how you can safely call harmonics and accordions, it is fashionable and unusual to play them now, which makes it possible to judge their further active implementation in modern music.

The sounding body of the kubyz is the tongue, and the sound activator is the performer's finger, which sets it in motion. The role of the resonator is performed by the articulation apparatus in the aggregate of all its components: the oral cavity, lips, teeth, tongue, airways, laryngeal and supraglottic regions, diaphragm, and cranium. Sometimes, as an additional resonator, the kubyzist uses a roundly bent left hand, in which the base of the instrument is located. The sound amplifiers are the air stream directed by the player's breath and, accordingly, the selected position of the articulation apparatus. In addition, the sound volume depends on the strength of the performer's strike on the kubyz tongue.

There are three types of kubyz

§ Framework- the tongue is cut inside the "chip-plate", which provides a more reliable design, but makes it difficult for the performer to directly access the tongue of the instrument. On the plate, ropes are attached on both sides: one for holding the instrument, and the other for rhythmic twitching, as a result of which the tongue begins to vibrate and a sound appears. (These types of jew's harps include the Bashkir agas-kubyz, the Kyrgyz zhigach-ooz-komus, etc.)
During the game, the frame itself bends, which subsequently makes the tongue vibrate. (These types of jew's harps include Vietnamese danmoi, Chinese kousyan, Cambodian and Filipino bamboo jew's harps, etc.) approx. "Jew's harp-chip" was often used as a children's toy.

Kubyz Vakhitova - Hybrid No. 1 (KT9) http://khomus.ru/market/index.php?SECTION_ID=323&ELEMENT_ID=7183#start

§ Lamellar- as a rule, it is made of archaic materials: wood, bone, according to traditional technologies. Without knowledge of these technologies, the made instrument will not sound. Recently, lamellar jew's harps have been made from different metals: steel, brass. Elastic metal is preferable for the manufacture of lamellar jew's harps, as it has the best acoustic qualities. Probably, the limiting factor in the use of metal was its lack in some cultures of Siberia. But with a certain wealth, metal could be used for ritual jew's harps, and nowadays for song ones. An illustrative example is the collection of lamellar jew's harps made of metal, which was found by archaeologists in the Northern Urals - in the zone of historical settlement of the Ugra ethnic groups. This collection dates from the 11th-15th centuries, i.e. the period when the southern Mansi lived here [Kazakov, 1977; Golovnev, 1998; Napolskikh, 1998]. Consequently, the find of archaeologists indicates that in the XI-XV centuries. among the peoples of Ugra, the jew's harp was an important ritual object, but by no means a toy, for the manufacture of which one could use up such a valuable metal at that time. The lamellar jew's harp is found in five regions of Siberia: northeastern, southeastern, western, northwestern, south-central and central. The lamellar jew's harp among the Tuvans (south-central region) is unique, and is historically connected with the cultural traditions of the North Yenisei ethnic groups. Among the peoples of the Yenisei, one should first of all pay attention to the mythological status of the instrument. Among the Kets and Yugs, the lamellar jew's harp, made of birch or mammoth or bear bones, is the instrument of Kaigus, the patron saint of all animals [MS, 1991, p. 270; Atlas MIN, 1963, p. 147; 1975, p. 193] Kaigus had the appearance of a bear and played on chips sticking out of the trunk of a felled birch. It was believed that in this way the host bear imitated the voices of "fish, animals, birds." He taught hunters to collect animals with this buzzing tool. Among the Kets and the Yugs, hunters before the hunt played the haystack and “collected” fish, animals and birds. [Alekseenko, 1988, p. 19-20]

Tuvan khomus

§ Arc- has the shape of a curved rod, on which a tongue-vibrator is fixed. The arc jew's harp is made only of metal. They are subdivided into forged, semi-forged and bent.

· forged- the shape of the harp's body is forged in the form in which it will be used.

· half-forged- a workpiece is forged, which is subsequently bent, giving the required shape.

· bent- a metal rod (wire) is taken and bent to the required shape.

1.Kubyz (plucked musical instrument)

From Wikipedia, the free encyclopedia

3.

As you can see, the classification of instruments into types and families is prompted by the peculiarities of their design and method of sound production. If the whistle has a whistle at the base, then the reed have special plates - "tongues", double or single. We made just such a peep in the form of a double tongue in a few seconds on a dandelion stalk. Birch bark and thin plates made of reeds, goose feathers or bamboo and some other thin materials that emit sound, for example, plastic, can serve as food in folk wind instruments.

The blown air stream meets a thin tongue on its way and tends to either bend it or bend it, depending on its position. The elastic tongue tends to return to its original position. An oscillation occurs, the tongue sounds, and the column of air in the bell resonates, amplifying this sound. The typical and most widespread instrument of this family is a pity.

Pity

In a short story from the book "Above Isterma" the poet V. Bokov describes his meeting with a shepherd in his homeland in the village.

“... On an elderberry bush, under which a fire was burning, I saw a pity.

Play!

He took the pity and began to play. Something wild, dreary, primitive was heard in the melody.

A tall figure of a shepherd rose across the river on the field of the Marat collective farm. Wild, melancholy sounds poured from there. Two people explained themselves for a long time.

Ay, how sincerely they talked, - said "my" shepherd, having finished the game. "

In this unassuming story, everything is figurative and true! And the fact that the shepherds played mentally, sadly, and that the music of this "smells of the forest."

Of course, the name of the instrument comes from the root of the words "pity", "pity". The sound of a pity is tart, harsh, but pitying, crying, due to a noticeable vibration (tremor).

Zhaleika is a wooden (willow, elder, reed) or (in our time) metal tube from 140 to 160 mm in length. A peep is inserted into its upper end. A natural cow horn or birch bark bell is put on the lower end as a resonator. It is because of this horn or bell in some localities that the pity is incorrectly called a horn. The tongue (squeak) in the old zhaleikas was cut right on the main tube. Later, they began to make a special mouthpiece for the squeak, which is inserted into the tube. In this case, if the food is damaged, it is easy to replace it with a new one. From 3 to 6 holes are cut on the tube. They are applied and used in the same way as on a pipe. Depending on the size of the pitcher, there can be different tunings, which is very important in ensemble and orchestral playing on them.

The figure shows the dimensions of the zhaleika in G major with a lowered VII degree, that is, F instead of F-sharp.

This instrument was also designed by N. Z. Kudryashov and has a number of innovations in comparison with the old folk zhaleikas. The main one is the way of attaching the peephole. It should be thin (a few tenths of a millimeter, like a razor blade), even and smooth. Its approximate dimensions are indicated. The squeak is attached to a special voice tube (mouthpiece), which is inserted into the main tube with one open end. The mouthpiece is made of wood. Its upper end is blind, and along the mouthpiece itself, a rectangular narrow cut is made, which should be 2-2.5 mm narrower than the width of the peep. In this cut, the inner cavity of the tube should be visible. The length of the cut must exactly match the length of the peep. The cut goes from the upper end of the tool and ends with a rectangular nut, against which the squeak placed on it rests.

The figure shows that at the very top of the mouthpiece is cut off with a slight rounding, which creates a small zone between it and the sip lying on top, in which the sip can oscillate.

Usually the squeak was tied with threads near the mouthpiece entrance to the main tube. Kudryashov suggested fixing it with a ring obtained from a polyvinyl chloride insulating tube (cambric), which every electrician has at hand. The progressiveness of this innovation is not so much in the reliability and cleanliness of the fastening itself, but in another, more important issue. In order for the pity to have a well-defined predetermined scale, the peep by itself, without a resonator, must extract the main sound of this scale (for example, G in G major). Previously, you had to struggle for a long time over its size in order to get the desired tone. Now, for this, it is enough to change the size of the oscillating end of the squeak by moving the tubular ringlet, and its tuning will become different. Such changes can be made within a quarter. This means that with the help of a simple device found, not only is it easier to find the necessary tone, but it also becomes possible to replace it, and, consequently, to change, if necessary, the entire structure of the pity. This is a lot for modern musical practice.

Before playing, the squeak must be soaked with saliva every time, otherwise it will sound bad, hoarse. You need to blow into a pity with some effort. The more this effort, the higher its pitch can rise (within 1 / 2-1 / 4 tone), and vice versa. This is used by folk performers to level the tuning when playing or to tweak to singers.

We recommend using modern (colored) insulating tape when fastening individual parts of the zhaleka. With its help, it is easy to thicken the ends of the articulating tubes, close up cracks, etc. The horn is glued with technical glue such as BF 6, super cement, etc. The mouthpiece is best secured by friction force. In order not to accidentally damage the peep, a special cap made of a reed, wooden or cardboard tube is put on the mouthpiece.

There are known and still found paired or double puffs, tuned and used in the same way as paired pipes. Unlike reed pipes, paired puffs are fastened together and united by one socket.

Bagpipes

What are you pulling the bagpipes for? Do not play pipes!

Do we not use these and similar expressions now? Do they have anything in common with a world famous musical instrument?

A bagpipe is an air reservoir, the so-called fur, made from whole goat or calf skin, with tubes inserted into it. One tube is inserted into the hole from the front pair of legs; it is intended for air injection and is equipped with a check valve. A play tube with a squeak is inserted into another hole; in some places - a pipe like a pipe; in Russia, as a rule, they are like a pity. Finger holes are cut through this play tube. The leading melody is played on it. One or two tubes are inserted into the neck opening, each giving only one, low stretching sound, tuned in an octave, fourth or fifth to the main stage of the melodic tube scale. These stretching sounds are called bourdons and sound continuously, like a harmonic background to the melody. It is precisely the monotonous sound of the bur-dons that gave reason to compare the bagpipes with all the red tape and procrastination in business.

The Russian name of the instrument is believed to have come from the name of the place of its appearance - Volyn, a region located along the upper reaches of the Western Bug and which was part of Kievan Rus. This area was inhabited by the Volhynians, an East Slavic tribe that lived there in the 9th-11th centuries. Nevertheless, in Ukraine itself, Moldova and Poland, this instrument is called a goat (by the origin of fur), in Belarus and some Russian regions - a pipe.

The bagpipes have been distributed virtually all over the world. In different countries, for different peoples, it had its own separate design features, but the principle of its arrangement was the same everywhere. Even most of the local names for bagpipes contain the same words: "bag" and "buzz", "play". Compare, for example, the English name for the bagpipe bagpipe (bag - sack, pipe - game, pipe), German Sackpfeife (zak - bag, pfeife - pipe), French cornemuse (old pipe), Dutch dudelsack (pipe bag), etc.

When playing, the bagpipes are held in front of you, and more often under the arm. The fur is filled with air through the valve tube, and under its pressure the squeaks begin to sound. The sound of the bagpipes is continuous: during breaks in air injection, the piper presses the fur against the body, and the sound continues.

The first information about bagpipes in Russia dates back to the 16th-17th centuries. At that time, it was a very common instrument; it is repeatedly mentioned in folk songs, choruses, and fairy tales.

The instrument was especially popular with buffoons, bear leads and court musicians of the Amusement Chamber. Later - at the wandering beggar musicians. By the beginning of the 20th century, this instrument was gradually replaced from practice by other, less complex and laborious designs. However, for example, in Scotland, bagpipes are cultivated as a national relic and even are part of military bands. In our country, some examples of bagpipes can be seen, perhaps, only in museums of musical culture.

Surna

The history of music knows cases of the most diverse mutual influences and interpenetration of instruments of different peoples, especially geographically neighboring ones. Some instruments, such as strings, were born and developed in different parts of the world independently of each other. Others, on the contrary, undoubtedly, were borrowed from peoples with a more ancient civilization. It is to this kind of instruments that the surna belongs, which is close to the Transcaucasian wind instrument zurna in name, structure, and sound.

Surna, sometimes called antimony or rape, was usually made from elm (a southern species of wood, very dense and strong). This instrument is regularly mentioned in written historical monuments, starting from the 13th century, but no reliable descriptions, drawings, and even more so original copies of it have survived. If we proceed from the analogy of the surna with the eastern zurna, which still exists among the peoples inhabiting the Caucasus and adjacent regions, then this is a wooden tube with several play holes, a small conical bell and a double, less often single, reed squeak. Some researchers of folk musical instruments argue that the surna is an ambushyur instrument (see the next chapter), and possibly an ear-reed instrument. In particular, on the Russian surna (instrument of the Terek Cossacks) depicted in the figure, they played in two ways: as an ambush-shyurnom and as a reed.

The tongue of a pitiful type was in the mouthpiece in a special tube. The sound of surna is sharp and nasal. It was used either by buffoons in their wild, daring dances, or in military use, until the reign of Peter I, who replaced all national instruments in military bands with Western, copper ones. Gradually, the surna almost fell out of use, perhaps partly because it was constantly mentioned in the royal and church decrees among the prohibited ones, and the people were forced to replace it with other instruments similar to it, but with different names. It is very similar to the surna, in particular, the pendant that still exists today.

Breolka

This is one of the softest and most euphonious instruments of the reed family in terms of timbre. It is, as it were, an intermediate type of zhaleika and surna. Its tube is almost straight, gradually expanding to a cone-shaped bell. Double tongue, like oboe. Hence the closeness of the sound to the latter. In essence, this is a small oboe of folk origin. In all other respects (in terms of the number of holes, pitch, technical and dynamic capabilities), the chainring is akin to its predecessors.

It is believed that the trinket appeared in the Tver province and received such an obscure name from the local name for willow - bredina, from which it was made.

The figure shows the dimensions of the soprano G major key chain. It was played by a former artist of the orchestra of the Chorus. Pyatnitsky V. Voronkov. The body of his tool is turned on a lathe from boxwood and consists of two halves that are inserted into one another. Voronkov used in his practice ordinary oboe canes, which he made himself or bought in music stores. The sound of his instrument is gentle and beautiful in lingering melodies, sharp and perky in fast, danceable ones. To change the scale, special rings or wax are used (see the chapter on whistling instruments).

The group of reed instruments includes accordions, button accordions and accordions. The source of sound for them is metal tongues, fixed on the slats and set in motion by a stream of air forced by the bellows.

The main parts of the instruments are the body, neck with keyboard, right and left mechanics, resonators with valves and reeds - voices. The body consists of right and left boxes, connected by fur. The right box contains a keyboard mechanism and strips with tongues for playing melodies; on the left - all the same nodes for playing ready-made chords and basses necessary for accompaniment.

The neck with the keyboard is installed in the right box of the body. For accordions and button accordions, the neck has slots for the keys, for accordions it is performed like a piano keyboard. The keys are levers, at one end of which a button is attached, the other end is connected to a valve that allows air to reach the tongues. Right and left mechanics are used to lift one or more valves when pressing a button.

Mechanics may have additional switches - registers that allow the inclusion of additional reeds that sound higher or lower for a certain interval, as a result, the timbre of the instrument's sound changes.

The resonators are a series of individual wooden chambers, closed from the outside with brass or aluminum strips. Metal tongues made of spring steel, bronze or brass are attached to the strips at one end. For each resonator chamber, there are usually two tongues that work alternately when the bellows are compressed and unclenched. Paired reeds can be tuned in unison or to different pitch.

When you press a key on the right keyboard, one, two, three and four reeds can sound simultaneously. Accordingly, one-voice, two-voice, three-voice and four-voice instruments are distinguished.

Reed musical instruments are subdivided into diatonic and chromatic.

The scale of diatonic instruments is built from the main steps without intermediate semitones (according to the diatonic scale). Diatonic instruments include chrome accordions, wreaths and national harmonics - Tula, Saratov, Kazan, etc.

The scale of chromatic instruments is built according to the chromatic scale, which allows you to perform more complex musical compositions on them. The chromatic instruments include button accordions and accordions.

The main indicators of these instruments in the price list are denoted by a conditional code, where the first number is the number of keys in the right keyboard, the second is the number of buttons on the left, the third is the largest number of simultaneously sounding reeds when one key is pressed, the fourth (numerator) is the number of registers in the melody, the denominator - in the accompaniment.

Diatonic accordions are intended for the use of simple pieces of music.

Harmony wreaths have sounds of different heights when squeezing and unclenching fur.

Harmonies-chrome have become more widespread, the pitch of the chrome does not depend on the direction of movement of the fur. Accordions are produced: G-23X12-II, G-25X25-III, etc.

The button accordion is a chromatic reed instrument that differs from the accordion in its large scale volume.

When articulating the instrument, the characteristic of its indicators is indicated by five numbers, and the number of switches is indicated by the fifth element. For example, the code B-52X100-III-5 means: button accordion, 52 keys in the melody, 100 buttons in the accompaniment, three-voice with five register switches.

The accordion, unlike the button accordion, has a piano melodic keyboard. The tuning of the "voices" is made with a "spill", that is, with some deviation from the main tone in the direction of increasing.

Accordions are mainly produced in three-part ones: А-28Х40-III-2; A-34X80-III-2, A-34X80-III-5, A-41X X120-III-2; A-41X120-III-5/2; A-41X120-III-7/2.

Reed musical instruments must meet the following requirements in quality: the vocal reeds are precisely tuned, easily excited when the bellows move weakly, there should be no excessive air leakage (it is important that the resonator-to-deck connections, bellows-body connections are sealed), the mechanism must work easily, smoothly and relatively quietly. The surface of the case is required to be polished or lined with artistic celluloid, free from stains, scratches and other defects.

Accordions and button accordions are sold in individual cases with a passport and instructions for using the instrument and caring for it. Harmonies are also produced in cases, but it is allowed to pack them in cardboard boxes.

Wind musical instruments. Wind instruments are instruments in which the source of sound is an oscillating column of air blown by the performer into the channel of the instrument. The longer the channel, the lower in height the sound is extracted.

Depending on the method of sound extraction and design features, wind instruments are divided into ear, lingual (reed) and labial.

In ear cushions, sound is produced by blowing air into the tube through a funnel-shaped mouthpiece with the performer's lips tense. These instruments are divided into signal and orchestral.

Signal wind instruments consist of a tube and a funnel-shaped mouthpiece. It is impossible to extract all the sounds of the chromatic scale from them. They are used for signaling. These include a bugle, fanfare, hunting and infantry horn.

Orchestral wind instruments allow you to extract all the sounds of the chromatic scale. Of these, trumpet, cornet, alto, tenor, baritone, bass, French horn and zugtrombone are common.

The pipe is a metal tube bent in one turn. This instrument is the highest sounding of an orchestral group and is often used for solo performances.

Cornet, alto, tenor, baritone, bass are arranged according to the same principle. They differ in size (and therefore in pitch), as well as in appearance. These instruments are also called saxhorns (a pipe that expands from the mouthpiece in a capsule-like manner along its entire length and at the bell).

French horn is one of the richest sounding instruments; is a long tube, rolled in three turns and ending with a wide bell.

A zug trombone is a double-curved metal tube with a wide bell. It differs from other orchestral instruments in that it does not have a valve voice machine; a retractable tube (link) is used to change the pitch.

Lingual (reed) wind instruments have a reed, a reed, fixed in the upper part of the instrument as a sound exciter. Lingual instruments can be with a one-petal mouthpiece-type reed (clarinets, saxophones) and with a two-lobe mouthpiece-type reed (oboe, bassoon). To change the pitch, all instruments have a lever-keyboard mechanism.

The clarinet consists of a bell, lower and upper knee, mouthpiece. A single-leaf reed is attached to the mouthpiece. The channel of the tool is cylindrical, all parts of the tool are detachable.

The clarinet range is three and a half octaves, the timbre is flexible, expressive.

The saxophone, by its nature, occupies an intermediate position between wood and copper (ear cushions) instruments. The saxophone consists of a mouthpiece, a mouthpiece tube, a body with a bell and a lever-valve mechanism.

A single-leaf reed is attached to the mouthpiece. Saxophones differ in size and pitch.

The oboe resembles a clarinet in appearance, but differs from it in that it has a conical canal and a two-lobed cane (double tongue).

Such a device gives the instrument a peculiar, slightly nasal tone.

The bassoon, unlike other woodwind instruments, is characterized by a low timbre. Consists of two bends folded together - wooden tubes with a tapered channel. When playing, a curved metal tube ("esik") is inserted into the mouthpiece part of the tube, at the end of which a double cane is reinforced. The bassoon has a more complex valve-lever mechanism compared to the oboe.

Labial wind instruments originated from folk pipes. When playing these instruments, a stream of air is blown at an angle to the side hole - the labium. The air splits against the hole and vibrates.

This group of instruments includes flutes, which are a tube consisting of a head and a middle and lower knee. An air injection hole is located on the side of the head. Flutes are characterized by a high, cold sounding timbre.

Spare parts and accessories for wind instruments are mouthpieces, reeds, valve cushions, mouthpiece machines, caps, mutes.

The main requirements for the quality of wind instruments: accuracy of tuning, correct operation of a voice machine or valve-lever mechanism, thoroughness of processing and finishing.

These instruments got their name due to the fact that their sound is formed due to the vibrations of elastic steel tongues. Reed instruments include accordions of all kinds, button accordions and accordions. All these instruments have the same basic components: body, neck, keyboard mechanism.

The body consists of right and left boxes and fur. Inside each box there is a plywood partition (deck) with holes for air passage when the bellows are stretched. On the outside of the deck, all the holes are closed with valves, and on the inside, on the deck, in front of the holes, there are strips with voice tongues and resonators.

A neck with buttons or keys is attached to the right box. The keyboard mechanism consists of a system of metal levers that connect the keys to the valves on the soundboard, which open up air as the bellows stretch to the vocal tongues. The pitch depends on the size of the tongue that opens the valve. The body is made of birch and covered with haberdashery celluloid.

Depending on the number of simultaneously sounding reeds, the instruments are divided into one-, two-, three- and four-part. The more voices, the louder (vociferous) the instrument sounds.

Fur is used to create air pressure, is made of cardboard, pasted over with chintz, calico or leatherette. For strength, the corners are pasted over with leather and edged with metal plates.

By the type of scale used, two groups of reed instruments are distinguished: diatonic with a diatonic scale (accordions - Tula, Saratov, etc.) and chromatic- with a chromatic scale (accordions and button accordions).

The register switches are designed to change the timbre of the instrument sound.

A distinctive feature of the accordion timbre is that its voices are tuned to "spill" - a silvery vibrating sound that recognizes the sound of an accordion.

Reed instruments are marked with an alphanumeric code: in the first place is the letter denoting, respectively, A - accordion, B - button accordion, G - accordion; in second place - the number of buttons (keys) on the neck (right keyboard), in third place - the number of buttons in the left keyboard; on the fourth - the number of simultaneously sounding reeds (voices) when one key is pressed; on the fifth - a fraction: in the numerator there are the number of register switches on the fretboard, in the denominator - in the left keyboard.

For example, the code A 41x120-111-7 / 2 Tula means: the Tula accordion, 41 keys on the right keyboard, 120 buttons on the left, the three-voice instrument has seven register switches in the melody and two on the bass. IHarmony belong to musical instruments with a diatonic scale.

Diatonic accordions are subdivided into two main types of "chrome", which, when the fur is pressed and unclasped, when the key is pressed, emit sounds of the same pitch; and "wreaths", which, when squeezed and unclasped, emit sounds of different heights. Distinguish harmonies one-, two-, three- and four-part. The more reeds sound at the same time, the louder the sound. The widest range of sounding for the accordion Ryabinushka is D 25x25-111. Bayans unlike accordions, they have a chromatic scale in the melody with the number of keys on the fretboard not less than 37. According to the design of the left keyboard, they can be with ready-made, elective and ready-elective chords (GTV).

In a keyboard with ready-made accompaniment, the buttons of the first two rows produce sounds of separate basses, the remaining rows are ready-made chords. For elective button accordions, each button on the left keyboard produces one sound. The latter have great gaming capabilities and are intended for highly qualified musicians. Bayans are also made, combined with ready-made and optional accompaniment. In this case, the switching of individual sounds to ready-made chords is performed using the registers of the left keyboard. Bayans are often used for solo performances, for vocals and choir accompaniment. Unlike accordions, they have a strict, laconic design.

Assortment of button accordions: B 43x41-1; B 52x100-11; B 52x100-111-7.

Accordions are intended for pop performance, therefore, colored haberdashery celluloid, chrome, nickel, bright brand names, additional false keys, etc. are widely used in their decoration.

Unlike button accordions, which have a rectangular body, accordions have smooth transitions from the neck to the body, more comfortable for playing while standing, adjoining shape, the keyboard for the right hand is more often of a grand piano type. Due to the large size of the keys, the musical range of the right keyboard is limited for accordions. Therefore, in accordions for professionals, the right keyboard is made not with keys, but with buttons. A peculiarity of accordions is a kind of "pouring" tuning of the voice reeds, this gives the sound of the instrument a kind of jazz shade. Accordions always have multiple registers, which can be turned on in different variations.

Assortment of accordions: А 34x80-111-3 / 2; A 37x96-111-3 / 2; A 41x120-111-5 / 2; A 41xl20-IV-9/3. These accordions have various brand names ("Veltmeister", "Orpheus", etc.).

Accordion "Orpheus" - А 75 / 87x120-11-5 / 2 - button accordion. It is often called a button accordion. The right keypad has 75 active and 12 false buttons. In terms of the volume of the scale and its musical capabilities, it is not inferior to the button accordion.