Instruments keyboard reed names. Types of musical instruments

Reed musical instruments include harmonicas, button accordions, and accordions. These instruments can be used for solo, ensemble and orchestral performance of musical works, as well as for accompanying and educational purposes.

Reed instruments differ in their sound range, the number of keys and buttons on the right and left keyboards, the keyboard structure, the number of registers (timbre switches), the number of voices and the nature of their settings (in unison, in spill).

Modern harmonicas and their improved types - button accordions and accordions - have the same main parts and components.

In Fig. Below is the appearance of the accordion. The main parts and components of the accordion are: the body (1), consisting of two halves - right and left; fur chamber (2); neck with keyboard (3); right and left mechanics (4); resonators with voice strips.

The body consists of right and left half-hulls with decks on which all parts and mechanisms are mounted. For the manufacture of the body and soundboard, birch, beech, maple, alder wood, birch and beech plywood, aluminum sheets and aluminum alloys. The outside of the case is usually covered with celluloid. The half-hulls are connected to each other by fur.

The bellows is a corrugated chamber consisting of 13-17 hermetically glued borin folds, which, when stretched and compressed, create a vacuum or air pressure inside the instrument. The fur is made of cardboard covered with fabric and hermetically sealed to the right and left halves of the body.

The neck is attached to the right half of the body and serves to accommodate the melody keys.

The right and left mechanics are designed to transfer movement from the keys, right and left keyboard buttons to the valves, which open the corresponding holes in the decks when playing.

The right mechanics serves to lift the melody valves, and in the harmonium, each key in the melody opens one valve, passing a stream of air to the corresponding reeds.

The left mechanics have a more complex arrangement of lever systems and, when the button is pressed, several valves of the accompanying bass part of the accordion are simultaneously opened.

Resonators with voice strips are elements of sound production. The voice bars are mounted on special resonator blocks with partitions. The slatted resonators installed in the right half of the body are called melody resonators, and those in the left half are called bass resonators. The number of melody resonators depends on its type.

Voice bars are metal plates (frames) with slots (openings) above which metal reeds are located. The tongues and slots in the plates are prismatic in shape. Each sound has its own reed (voice). The shorter the reed, the higher the sound, and vice versa - the longer the reed, the lower the sound. The reeds are riveted to the plate with their thickened end, the free end of the reed enters the slot of the plate and, under the influence of a passing stream of air, vibrates, forming sound waves.

The quality of the sound of the voice, its strength and partly its timbre depend on the accuracy of the fit of the reed to the slot of the plate with a minimum gap, on the quality of the material from which the reed and plate are made.

Despite its limited musical capabilities, the accordion is widespread and popular in rural areas. This is explained by the fact that the accordion, having clear, full-sounding chords, melodious and melodic “voices”, ensures, thanks to its design, ease of mastering the art of playing it, and is an accessible musical instrument for a wide range of performers.

Harmonies have a diatonic scale. The sound range is about three octaves.

The assortment of accordions is represented by the so-called wreaths and chromes. In addition, national harmonicas are produced, i.e., adapted for the performance of national melodies.

“Wreaths” are characterized by the fact that they have different pitches of sounds when squeezing and unclenching the fur. “Khromki” are more popular; the pitch of their sound does not depend on the direction of movement of the fur.

There are one-, two-, three-, four-voice harmonicas, which have, respectively, one, two, three, four reeds that sound in unison when one key is pressed. Increasing the number of reeds sounding in unison leads to increased sound volume.

Reed instruments are marked using an alphanumeric code:

♦ in the first place is a letter indicating, respectively, A - accordion, B - button accordion, G - accordion;

♦ in second place - a number indicating the number of keys on the right keyboard;

♦ in third place - a number indicating the number of buttons on the left keyboard;

♦ in fourth place - a Roman numeral indicating the number of voices, i.e. simultaneously sounding reeds when pressing one key;

♦ in fifth place - a fraction, the numerator of which indicates the number of register switches in the melody, and the denominator - the number of register switches in the left keyboard (in the accompaniment). If there are no register switches in the left keyboard, the fifth place is a number indicating the number of register switches in the right keyboard (in the melody).

In table The characteristics of several types of varieties of harmonies are given.

The assortment of accordions also includes harmonicas, which differ in that air is supplied to the voice bars by the lungs of the performer, and not by bellows. They are not widespread in our country.

Accordion appeared as a result of the improvement of the accordion. Unlike the harmonium, it has a chromatic scale (12-step equal temperament scale), a sound range of up to 5 octaves, so its musical capabilities are much wider. It is used to accompany vocal performances and for solo performance of musical works.

Basically, the structure of the accordion and the principle of its operation are close to the accordion discussed above. However, the design of the button accordion units is much more complicated. Appearance button accordion is shown in Fig.

By design, the left keyboard mechanisms of the button accordion are divided into ready-made, elective, and ready-elective.

A ready-made mechanism is a mechanism that allows you to press one key to produce the sound of a fixed chord of three or four sounds. The finished accordion mechanism has the most simple design, and the mechanisms of button accordions and accordions consist of a much larger number of parts.

An elective mechanism is a mechanism that allows the performer to independently type chords. It significantly expands the sound range of the instrument, bringing it closer to the range of a piano. It is difficult to play a button accordion with a selectable mechanism, so they are not widely used.

The ready-chosen mechanism includes, as it were, two mechanisms: with ready-made chords and with chosen ones. A special register switch can be used to transfer the instrument from one mechanism to another. The ready-to-elect mechanism is much more complicated than the previous ones.

Depending on the purpose, design features, the largest number simultaneous sounding reeds, the presence of register switches, button accordions can be divided into several groups:

1. Two-voice accordions with different sound ranges without register switches (B-43x80-P, etc.) These are instruments with a reduced sound range, small sizes, are intended mainly for teaching children.

3. Button accordions with ready-choice accompaniment (BVG-58x100-Sh-7, etc.) are the most complex in their design and perfect in performance, playing and acoustic properties.

4. Orchestral button accordions - piccolo, prima, alto, tenor, bass, double bass. In my own way structural device they differ from ordinary button accordions in that they have a keyboard only on the right side of the body and differ in sound range: piccolo button accordion has 3 octaves, prima - 4 octaves, alto - 31/2 octaves, tenor - 3 octaves, bass - 3 octaves, double bass - 21/2 octaves.

5. Timbre button accordions: button accordion-trumpet, button accordion-flute, button accordion-bassoon, button accordion-oboe, button accordion-clarinet. These button accordions are fundamentally different from all previously considered button accordion designs; they imitate the sound of a trumpet, flute, bassoon, oboe, and clarinet. Depending on the nature of the tuning of the reeds, which sound simultaneously when a certain button is pressed, button accordions are of two types: “in unison” and “in spill”. Bayans, the reeds of which are tuned in unison, i.e., to one note, are used during initial learning to play and for accompaniment folk songs and dancing. Bayans, the reeds of which are tuned to the spill, that is, with some detuning in relation to each other in the direction of increasing, are called accordionized and are used to perform light and pop music.

Accordion According to the principle of sound formation, the design of resonators and bass mechanism, body, soundboards, bellows chamber and the materials used, it is almost no different from ordinary button accordions. The appearance of the accordion is shown in Fig.

The difference between a button accordion and an accordion is in the shape of the body, the melody keyboard, and the design of the neck.

The accordion has a piano keyboard in the melody, its neck is significantly expanded and lengthened, the body has a richer external design.

The accordion's tuning is twelve degrees, evenly tempered (the scale is full chromatic). Sound range up to 2 octaves. Adjusting the reeds "on tap".

Full accordions are usually called instruments that have 41 keys in the melody keyboard mechanism and 120 buttons in the bass mechanism. Of the complete ones, the most common are the following types of accordions: A-41Х120-Ш-5/2; A-41x120-Sh-7/3; A-4IxI20-IV9/3 - the range of sound of the melody (in the main one) from the note F of the small octave to the note A of the third octave.

Incomplete instruments include instruments with a reduced sound range and small sizes. They are mainly intended for educational purposes. These are accordions: А-34х80-Ш-5; А-34х80-Ш-5/2 - the sound range of the melody from the G note of the small octave to the E note of the third octave; А-37х96-Ш-5/3 - sound range from the note F of the small octave to the note F of the third octave.

A list of them will be given in this article. It also contains information about the types of wind instruments and the principle of extracting sound from them.

Wind instruments

These are pipes that can be made of wood, metal or any other material. They have different shape and produce musical sounds of different timbres, which are produced through air flow. The timbre of the “voice” of a wind instrument depends on its size. The larger it is, the more air passes through it, which makes its vibration frequency lower and the sound produced low.

There are two ways to change the output of a given type of instrument:

• adjusting the air volume with your fingers, using rockers, valves, valves, and so on, depending on the type of tool;
• increasing the force of blowing an air column into the pipe.

The sound depends entirely on the flow of air, hence the name - wind instruments. A list of them will be given below.

Varieties of wind instruments

There are two main types - copper and wood. Initially, they were classified in this way depending on the material from which they were made. Nowadays, the type of instrument largely depends on the way the sound is extracted from it. For example, the flute is considered a woodwind instrument. Moreover, it can be made of wood, metal or glass. The saxophone is always produced only in metal, but belongs to the woodwind class. Copper tools can be made from various metals: copper, silver, brass and so on. There is a special variety - keyboard wind instruments. The list of them is not so long. These include harmonium, organ, accordion, melodica, button accordion. Air enters them thanks to special bellows.

What instruments are wind instruments?

Let's list the wind instruments. The list is as follows:

• pipe;
• clarinet;
• trombone;
• accordion;
• flute;
• saxophone;
• organ;
• zurna;
• oboe;
• harmonium;
• balaban;
• accordion;
• French horn;
• bassoon;
• tuba;
• bagpipes;
• duduk;
• harmonica;
• Macedonian gaida;
• shakuhachi;
• ocarina;
• serpent;
• horn;
• helicon;
• didgeridoo;
• kurai;
• trembita.

You can name some other similar tools.

Brass

Brass musical instruments, as mentioned above, are made of various metals, although in the Middle Ages there were also those made of wood. The sound is extracted from them by strengthening or weakening the blown air, as well as by changing the position of the musician’s lips. Initially, brass instruments were played only in the 30s of the 19th century, valves appeared on them. This allowed such instruments to reproduce a chromatic scale. The trombone has a retractable slide for these purposes.

Brass instruments (list):

• pipe;
• trombone;
• French horn;
• tuba;
• serpent;
• helicon.

Woodwinds

Musical instruments of this type were initially made exclusively from wood. Today this material is practically not used for their production. The name reflects the principle of sound production - there is a wooden reed inside the tube. These musical instruments are equipped with holes on the body, located at a strictly defined distance from each other. The musician opens and closes them while playing with his fingers. Thanks to this, a certain sound is obtained. Woodwind instruments sound according to this principle. The names (list) included in this group are as follows:

• clarinet;
• zurna;
• oboe;
• balaban;
• flute;
• bassoon.

Reed musical instruments

There is another type of wind instrument - reed. They sound thanks to a flexible vibrating plate (tongue) located inside. The sound is produced by exposing it to air, or by pulling and plucking. Based on this feature, you can create a separate list of tools. Reed wind instruments are divided into several types. They are classified according to the method of sound extraction. It depends on the type of reed, which can be metal (for example, as in organ pipes), freely slipping (as in Jew's harp and harmonicas), or beating, or reed, as in reed woodwinds.

List of tools of this type:

• harmonica;
• Jew's harp;
• clarinet;
• accordion;
• bassoon;
• saxophone;
• kalimba;
• harmonic;
• oboe;
• hulus.

Wind instruments with a freely slipping reed include: button accordion, labial. In them, air is pumped by blowing through the musician’s mouth, or by bellows. The air flow causes the reeds to vibrate and thus produce sound from the instrument. The harp also belongs to this type. But its tongue vibrates not under the influence of an air column, but with the help of the musician’s hands, by pinching and pulling it. Oboe, bassoon, saxophone and clarinet are of a different type. In them the tongue is beating, and it is called a cane. The musician blows air into the instrument. As a result, the reed vibrates and sound is produced.

Where are wind instruments used?

Wind instruments, the list of which was presented in this article, are used in orchestras of various compositions. For example: military, brass, symphonic, pop, jazz. And also occasionally they can perform as part of a chamber ensemble. It is extremely rare that they are soloists.

Flute

This is a list related to this has been given above.

The flute is one of the oldest musical instruments. It does not use a reed like other woodwinds. Here the air is cut through the edge of the instrument itself, due to which sound is formed. There are several types of flutes.

Syringa - single-barreled or multi-barrel instrument Ancient Greece. Its name comes from the name of the bird's vocal organ. The multi-barreled syringa later became known as the Pan flute. On this instrument ancient times peasants and shepherds played. IN Ancient Rome Syringa accompanied the performances on stage.

Block flute - wooden instrument, belonging to the whistle family. Close to it are the sopilka, pipe and whistle. Its difference from other woodwinds is that it back side there is an octave valve, that is, a hole for closing with a finger, on which the pitch of other sounds depends. They are extracted by blowing air and closing the 7 holes on the front side with the musician’s fingers. This type of flute was most popular between the 16th and 18th centuries. Its timbre is soft, melodious, warm, but at the same time its capabilities are limited. Such great composers as Anthony Vivaldi, Johann Sebastian Bach, George Frideric Handel and others used the recorder in many of their works. The sound of this instrument is weak, and gradually its popularity declined. This happened after the transverse flute appeared, which is by far the most used. Nowadays, the recorder is used mainly as a teaching instrument. Beginning flutists master it first, only then move on to the longitudinal one.

The piccolo flute is a type of transverse flute. It has the highest timbre of all wind instruments. Its sound is whistling and piercing. Piccolo is half as long as usual. Its range is from “D” second to “C” fifth.

Other types of flutes: transverse, panflute, di, Irish, kena, flute, pyzhatka, whistle, ocarina.

Trombone

This is a brass instrument (the list of those included in this family was presented in this article above). The word "trombone" is translated from Italian as "big trumpet". It has existed since the 15th century. The trombone differs from other instruments in this group in that it has a slide - a tube with which the musician produces sounds by changing the volume of air flow inside the instrument. There are several types of trombone: tenor (the most common), bass and alto (used less frequently), double bass and soprano (practically not used).

Khulus

This is a Chinese reed wind instrument with additional pipes. Its other name is bilandao. He has three or four pipes in total - one main (melodic) and several bourdon (low-sounding). The sound of this instrument is soft and melodic. Most often, hulus are used for solo performance, very rarely - in an ensemble. Traditionally, men played this instrument when declaring their love to a woman.

The sounding body of the kubyz is the tongue, and the exciter of the sound is the performer’s finger, which sets it in motion. The role of a resonator is performed by the articulatory apparatus in the totality of all its components: the oral cavity, lips, teeth, tongue, Airways, laryngeal and supraglottic areas, diaphragm, cranium. Sometimes, as an additional resonator, the kubyzist uses the roundly bent hand of his left hand, in which the base of the instrument is located. The sound amplifiers are the air stream directed by the player’s breathing, and the correspondingly chosen position of the articulatory apparatus. In addition, the volume of the sound depends on the force of the performer’s blow on the tongue of the kubyz.

There are three types of kubyz

§ Frame- the tongue is cut inside the “sliver plate”, which provides more reliable design, but makes it difficult for the performer to directly access the reed of the instrument. Strings are attached to the record on both sides: one for holding the instrument, and the other for rhythmic twitching, as a result of which the reed begins to vibrate and sound appears. (These types of jew's harps include the Bashkir agas-kubyz, the Kyrgyz zhichach-ooz-komus, etc.)
During the game, the frame itself bends, which subsequently causes the tongue to vibrate. (These types of jew's harps include Vietnamese dan moi, Chinese kousian, Cambodian and Philippine bamboo harps, etc.) approx. “Jew's harp-sliver” 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- usually made from archaic materials: wood, bone, traditional technologies. Without knowledge of these technologies, the instrument made will not sound. IN Lately plate jew's harps began to be made from different metals: steel, brass. Elastic metal is preferable for the manufacture of plate jew's harps, as it has better acoustic qualities. Probably the limiting factor in the use of metal was its scarcity in some cultures of Siberia. But with a certain income, metal could be used for ritual jew's harps, and in our days also for song ones. An indicative example is the collection of plate-shaped metal jew's harps, which was found by archaeologists in the Northern Urals - in the zone of historical settlement of Ugra ethnic groups. This collection dates back to the 11th-15th centuries, i.e. the period when the southern Mansi lived here [Kazakov, 1977; Golovnev, 1998; Napolskikh, 1998]. Consequently, the discovery of archaeologists indicates that in the XI-XV centuries. Among the peoples of Ugra, the harp was an important ritual object, but by no means a toy, the manufacture of which could use metal that was so valuable at that time. The lamellar harp is found in five regions of Siberia: northeastern, southeastern, western, northwestern, south-central and central. The plate-shaped jaw's harp among the Tuvans (south-central region) is unique, and is historically associated with the cultural traditions of the northern Yenisei ethnic groups. Among the peoples of the Yenisei, attention should first of all be paid to the mythological status of the instrument. Among the Kets and Yugs, the lamellar pymel harp, made from birch or mammoth or bear bone, is an 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 wood chips sticking out of the trunk of a fallen birch tree. It was believed that in this way the owner bear imitated the voices of “fish, animals, birds.” He taught hunters to use this buzzing instrument to collect animals. Among the Kets and Yugs, before hunting, hunters played on the pimpel and “collected” fish, animals and birds. [Alekseenko, 1988, p. 19-20]

Tuvan khomus

§ Arc— has the shape of a curved rod on which a vibrator tongue is attached. The bow harp is made only of metal. They are divided into forged, semi-forged and bent.

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

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

· bent- take a metal rod (wire) and bend it to the required shape.

1.Kubyz (plucked musical instrument)

Material from Wikipedia - the free encyclopedia

3.

A reed sound-generating device of a musical instrument contains a housing with an input and output chamber; a voice strip located between these chambers with a tongue attached on the side of the entrance chamber; external openings, first and second, in the housing for communicating its cavity with a source of high/low pressure air, for example, a bellows chamber and the atmosphere; valves to regulate the direction of air flow between the bellows chamber, the inlet and outlet chambers and the atmosphere. Frame sound-generating device equipped with four internal holes. The first opening communicates the inlet chamber with the first outer opening, the second with the second outer opening, the third with the second outer opening, and the fourth with the first outer opening. Said internal openings are equipped with check valves so that when air flow enters the first external opening, it is directed through the first internal opening into the inlet chamber and, after passing the opening of the voice bar through the outlet chamber and the third internal opening, it is directed into the second external opening. When the air flow entered the second outer hole, it was directed through the second inner hole into the inlet chamber and, after passing through the opening of the voice bar, through the outlet chamber and the fourth inner hole, it was directed into the first outer hole. A reed musical instrument includes half-cases with keyboard-valve mechanisms, a bellows, a bellows chamber, soundboards with holes, and the above-mentioned reed sound-generating devices. Each of the decks is made in the form of a plate adjacent from the entrance chamber to the bodies of the sound-generating devices of the instrument half-body and serving as a common cover for them. The slab has openings, each of which is closed with a removable sealed cover, the dimensions of which are taken from the condition of the possibility of servicing and replacing the voice strips of the sound-producing device located under this cover. Improves maintainability and improves the sound quality of a musical instrument. 2 n. and 1 salary f-ly, 18 ill.

Drawings for RF patent 2482552

The group of inventions relates to the field of musical instruments (hereinafter - MI), more specifically, to the design of a reed sound-generating device (hereinafter - SOU). serving to generate a sound of a certain tonality when the air flow passes through the openings of the voice strips with oscillating reeds and resonating the generated sounds, as well as to the design of reed MI. in which this ZOU can be installed. The group of inventions can be used in the production of reed musical instruments of all varieties, for example button accordions, accordions, accordions, etc.

For many years, the most common MIs of this type have traditionally used the ZOU design, which includes a body with pairs of hollow chambers located one after the other and formed by a common middle section installed vertically along the axis of the body with transverse partitions, in the walls of which voice strips with opening valves are fixed. The top of the body is covered with a bar (Rozenfeld N.G., Ivanov M.D. Harmonies, button accordions, accordions. - M.: Light Industry. 1974, see www.accordion-nt.spb.ru. Fig. 2).

However, the production of such ZOU is a complex and labor-intensive process that requires significant consumption of material. At the same time, the mass and volume of the sound chambers are large, and therefore the mass and volume of the MI as a whole are significant. Increased air consumption when playing due to leaky opening valves and the significant time it takes for them to operate limit performance capabilities. The main reason for this is the use of voice strips with reeds for sound production. installed above the openings of the voice bar on opposite sides for its operation in a reverse moving air flow. In this case, the opening of the voice bar, located on the side of the voice bar opposite the reed, is closed by an opening valve, usually of a petal type, made of leather or other elastic materials, which prevents the passage of air through the voice bar when the air flow moves from the side opposite the reed. The opening valves often fail (sag, become jammed and wear out), which leads to leaky closure of the openings, increasing air consumption when playing. distorting the sound, and replacing the opening valves requires complex repairs, associated with disassembling the MI. Besides. with such a design of the ZOU, to create each sound, a voice bar with at least two reeds is required, working alternately when reversing the air flow, for example, when stretching and compressing the bellows of the reed MI.

A ZOU is also known, containing a body that consists of two longitudinal sidewalls and transverse partitions between them, mating the side faces with the sidewalls (Russian Patent RU 2378716 C1). Each transverse partition is triangular in shape with the widened part oriented towards the deck. Side faces transverse partitions are connected to the sidewalls motionlessly. In this case, a number of sound compartments are formed, and each compartment is divided into two chambers - input and non-input. To do this along center line inside the compartments between the transverse partitions, one piece voice strip in each compartment or a solid voice strip for the entire row of compartments with a certain set of reeds in each compartment is vertically installed with the possibility of detachment. Moreover, each side of the voice strip of each compartment is equipped with at least two reeds, which are installed without opening valves, and the free ends of the reeds are directed into the inlet chamber. On the sidewalls for each camera there is side hole, and each chamber is equipped with a deck external opening for communication with the bellows chamber and the atmosphere.

All side and deck openings of both chambers of each compartment are equipped with petal valves, which serve to direct a one-way air flow from the bellows chamber or the atmosphere to the voice bar, depending on whether the air is pumped or rarefied in this moment. One of the valves is located in the inlet chamber and is designed with two operating positions.

The ZOU described above was chosen as a prototype of the first invention of the proposed group of inventions. The unidirectionality of the air flow implemented in this design as it passes through the inlet chamber (i.e., the elimination of the reverse movement of the air flow characteristic of the first mentioned analogue) to some extent helps to reduce the volume and mass of the ZOU. At the same time, its dimensions remain quite large due to its prismatic shape. This circumstance negatively affects the overall volume and weight of the MI. The petal valves with this design of the control valve are quite large, which leads to a delay in their response when the bellows switches from tension to compression and vice versa, and, as a result, to a decrease in performance capabilities. In addition, the voice bars are covered with sidewalls, which worsens their sound in the MI and requires significant disassembly of the MI and the ZOU itself to repair or replace them. A large number of reeds of voice strips (see above), taking into account their almost manual production and the need for individual adjustment of each voice strip, also reduce the manufacturability of repairing the ZOU and MI as a whole.

The objective of the first of the inventions is to create a ZOU, which, by changing the design of individual elements and the connections between them, would be simpler in design and compact, with a more perfect sound, more convenient to maintain and repair, and also more compact to facilitate the modernization of reed MI in the direction of reducing their volume and mass.

For this purpose, a reed ZOU of a musical instrument is proposed, containing:

Housing with inlet and outlet chambers;

External openings, first and second, in the housing for communicating its cavity with a source of high/low pressure air, for example a bellows chamber and the atmosphere;

Valves to regulate the direction of air flow between the bellows chamber and the inlet and outlet chambers and the atmosphere. According to the invention

The body of the sound-generating device is equipped with four internal holes,

The first of which communicates the entrance chamber with the first external opening,

The second one communicates the entrance chamber with the second external opening,

The third one communicates the exit chamber with the first external hole, and

Fourth - communicates the exit chamber with the second external opening,

wherein said internal openings are equipped with check valves in such a way that:

When the air flow entered the first outer hole, it was directed through the first inner hole into the inlet chamber and, after passing through the opening of the voice bar through the outlet chamber and the fourth inner hole, it was directed into the second outer hole, and

When the air flow entered the second outer hole, it was directed through the second inner hole into the inlet chamber and, after passing through the opening of the voice bar, through the outlet chamber and the third inner hole, it was directed into the first outer hole.

With this design of the ZOU, the required number of voice strip reeds is halved and easy access to the voice strip is provided for its inspection and repair, with minimal disassembly of the case: it is enough just to remove the element covering the entrance chamber from above. Combined with the fact that it is possible to install only one voice strip with at least one reed, this reduces the labor intensity of manufacturing and significantly increases the maintainability of the design. Instead of the prismatic one in the prototype, such a design can have any volumetric shape, for example, a parallelepiped or a cylinder, allowing for the presence of inlet and outlet openings, and a volume accommodating the inlet and outlet chambers with a voice strip and valves for regulating the direction of the air flow. Thanks to the compactness and the ability to give the ZOU various volumetric shapes, it becomes possible to combine the ZOU into one or more collapsible or non-collapsible blocks for reconstructing existing and creating new MI designs in the direction of reducing their volume and weight.

In addition, reeds can be installed on one voice bar in required quantity to produce both a single pitch tone (one or more reeds tuned in unison) and a spill effect in which additional reeds are detuned from the main pitch to produce a "beat". One bar with several reeds can also be used to produce a chord of several tones (notes). This allows you to build traditional one-, two-, or more-reed instruments, as well as fundamentally new designs that allow, for example, to perform on standard keyboard chord by pressing one key, as, for example, on the accompaniment keys of the bass part of a button accordion or accordion, with the difference that one voice bar with several reeds in one resonator for tension and compression will sound, instead of six voice bars, as in these instruments, which , in turn, provides new opportunities for performers.

The second invention of the proposed group relates to a reed MI of the button accordion type. accordion, accordion, etc. The MI adopted as a prototype is mentioned above and described in the also mentioned book by N.G. Rosenfeld. etc. It includes half-cases with keyboard-valve mechanisms, bellows, bellows chamber, decks with holes and ZOU. As was mentioned, the ZOU housings with pairs of chambers, closed on top with lids, are covered with a bar on top and attached to the deck. The valves of the keyboard-valve mechanisms, which open and close the corresponding holes in the deck, are located on the opposite side. The disadvantages of such a MI are due, firstly, to the imperfect design of the ZOU, which has already been mentioned above. Secondly, with such relative position MI and ZOU elements, the latter are largely covered by MI body elements, which not only makes it impossible to access the ZOU without disassembling the MI, but also worsens the sound of the MI.

The objective of the second invention is to create a reed MI design, which, by making changes to the design of the ZOU and communication elements and the relative position between the ZOU and the MI, would improve the maintainability of the MI as a whole and improve its sound quality.

For this purpose, in a reed MI, for example a button accordion, accordion, accordion, etc., including semi-cases with keyboard-valve mechanisms, bellows, a bellows chamber, soundboards with holes and reed sound-generating devices, according to the invention, the ZOUs are made as described on p. 3, para. 2, each of the decks is made in the form of a plate adjacent from the entrance chamber to the housings of the ZOU of the corresponding half-body of the tool and serving as a common cover for them, and in this plate there are openings, each of which is closed with a removable sealed cover, the dimensions of which are taken from the condition of serviceability and replacing the voice strips of the ZOU located under this cover.

In addition to those new properties that are introduced into the MI only by changing the design of the ZOU, which are described above, transferring to the deck the function of closing all the ZOU and making openings in it for access to the ZOU increases the maintainability of the MI. In addition, the elimination of intermediate elements between the sound-producing part and the soundboard helps to improve the sound quality of the MI, and the compactness of the ZOU makes it possible to install additional ZOUs and the elements of keyboard-valve mechanisms that control them in the free volume of the MI half-body.

To further improve the sound quality of the MI, the mentioned removable covers are equipped with sound-permeable membranes.

The essence of the proposed group of inventions is illustrated by schematic images, where Fig. 1 3 is an example possible design ZOU, made in the form of a separate device with a piece of voice strip containing one reed, incl. figure 1 - vertical section A-A hulls ZOU from figure 2; figure 2 - section B-B from figure 1; Fig.3 is a top view of the image in Fig.1. Figures 4 and 5 show circuit diagram operation of the ZOU when the air flow is directed from the first external opening to the second external opening (Fig. 4) and with the opposite direction of the air flow (Fig. 5). In Fig.6 12 - an image of the ZOU valves with different fundamental valve designs and air flow directions, (in Fig.6 9 - with petal valves), and in Figs. 6 and 8 - a front view of the frame with an opening and a valve, in Fig. .7 and 9 are side views of the images in Figs. 6 and 8, respectively, and in Figs. 10 12 - the same when making valves in the form of cones, and in Fig. 10 is a front view of the frame with an opening and a valve, and in Fig. .11 and 12 are side views of the image in Fig. 10 with different directions of air movement, shown by arrows. Figures 13 and 14 show a front view of the voice bar with different device reeds. Figure 15 shows a cross-section of the right half-body of the MI - button accordion with a plane passing through the centers of the inlet air holes perpendicular to the deck, and Figure 16 shows a section B-B from Figure 15. In all figures, arrows indicate the direction of air flow.

As an application, Fig. 17 shows general form button accordion from the book mentioned above, on p. 1, by N. G. Rosenfeld et al. In Fig. 18 is a photograph of two voice strips from the same source, made by the author of this application.

The proposed ZOU contains a housing 1 (Fig. 1 3), made of two sidewalls (not indicated), connected to each other by transverse strips 2. From below, the housing is tightly closed with a bottom cover 3, and from above, in the case of manufacture and delivery of the ZOU as a component unit, top cover 4 with mounting holes (not marked).

To produce sound, the air cavity inside the housing 1 is blocked by a voice strip 5, consisting of a frame with an opening of the voice strip 6 and at least one reed 7. The strip 5 is installed on transverse strips 2 towards the air flow with the side on which the reed is attached. The bar divides the internal space of the housing into two chambers, input 8 and output 9.

The volume formed by the parts of the input and output chambers is a resonator for the voice bar. In this case, the geometric dimensions of the resonator are designed in such a way that the natural frequency of vibration of the tongue of the voice bar in a certain way corresponds to the resonant frequency of the resonator volume to maximize sound amplification due to resonance, obtaining maximum volume and the best sound timbre of the described device.

The external openings 10 and 11 serve to communicate the chambers 8, 9 with a source of high/low pressure air, for example, a bellows chamber 12 (Fig. 15) and the atmosphere. For example, hole 10 communicates with the bellows chamber, and hole 11 communicates with the atmosphere. This communication is carried out through four internal holes, 13 16, the passage of air through which is regulated by four check valves 17 20. Holes 13 and 14 communicate with the inlet chamber 8, and holes 15 and 16 with the outlet chamber 9.

The principle of regulating the direction of air flow through the ZOU is most clearly visible in figures 4 and 5. The valves 17 20 are installed in such a way that when the air flow is directed from the side of the hole 10, in the event of the formation of an area of ​​​​high pressure in its zone, when the bellows is compressed, the valves 17 and 19 were open, and valves 18 and 20 were closed. In this case, the air flow can pass from hole 10 through hole 13 into the inlet chamber 8 and, after passing through the opening of the voice strip and the outlet chamber 9, into holes 15 and 11. In the opposite direction of the air flow, i.e. from the side of hole 11, as a result of the formation in the area of ​​hole 10 of an area lower than atmospheric pressure, when the bellows is stretched, valves 18 and 20 are open, and valves 17 and 19 are closed. In this case, the air flow can pass from hole 11, through hole 14 into the inlet chamber 8 and, after passing through the opening of the voice strip and the outlet chamber 9, into holes 16 and 10. Thus, in a pair of holes connected with one of the holes, 10 or 11, the air flow can only move in the opposite direction. Valves are also installed oppositely in each pair of holes, 13 and 14, 15 and 16, connected, respectively, with the inlet 8 or outlet 9 chambers.

Check valves can be of any type suitable for performing their functions in the described ZOU. For example, they can be of the petal type, as shown in figures 6-9, or cone-type, as shown in figures 10-12. The following designations are used here: 21 - valve body; 22 - valve opening; 23 - locking element.

Housing 1 is made of wood or other materials that make it possible to obtain good acoustic characteristics of the ZOU.

Structurally, the ZOU can be made either as a separate device for one piece of voice strip, as shown in the attached drawings, or as a single structure of several ZOU, combined into a single block, consisting of a single or several piece of voice strips. These strips are located in the ZOU housing, divided into sound compartments, each of which corresponds to the described ZOU for one voice strip and is a resonator. Such a ZOU has a common body, consisting of sound compartments for voice bars, which are resonators, common for all or separate for each, upper and lower housing covers, valves separate for each compartment, corresponding to the valves for the individual ZOU considered, and can be used instead of the traditional resonator in, for example, musical instruments. In this case, it is possible to construct the ZOU with a common outlet hole, corresponding, for example, to hole 16, which has a common outlet valve corresponding to valve 20, which further simplifies the design of the resonator for the MI ZOU (not shown).

To improve the sound quality, a sound-permeable membrane 24 is built into one of the covers, 3 or 4, or both covers of the ZOU. While this membrane can always be built into the bottom cover, for the top cover this is done when manufacturing separate ZOUs, in the form of components. When manufacturing the entire MI according to this proposal, when the common cover of all the ZOUs of the MI half-body is the deck, sound-permeable membranes can be built into both the lower cover of the ZOU and the MI deck (Fig. 15).

The ZOU can have a symmetrical design, in which it does not matter which side the ZOU is installed to the hole 11 in the deck 25, i.e. towards the atmosphere, and which side is inwards towards the fur 26.

The device of a reed MI such as a button accordion, accordion, accordion, etc., in which the above-described ZOU is used, is shown in Fig. 15, using the example of a schematic representation of the right half-body of a button accordion. In the semi-body 27 itself, a deck 25 is fixed perpendicular to the walls 28, structurally made in the form of a common cover for all ZOU housings located in this MI semi-body. The deck has external holes 11, which are closed or opened by valves 29, connected by levers 30 to the keys on the fingerboard 31 of the keyboard-valve mechanism. In accordance with the notations used above, holes 11 communicate the internal spaces of the ZOU with the atmosphere. For their communication with the bellows chamber 12, holes 10 are used. The deck has openings of the deck 32, the dimensions of which correspond to the dimensions of the corresponding voice strips of the ZOU, so that through these openings the voice strip can be adjusted, repaired or replaced, if necessary. Each of the openings is closed with a removable sealed cover 33, which can be equipped with a built-in sound-permeable membrane 24. The membrane 24 serves to improve the sound of the ZOU, and the cover can be used without such a membrane.

Work of ZOU and MI

When the bellows 26 is stretched and the corresponding hole 11 is opened by the valve 29, when the air pressure at the hole 11 exceeds the air pressure in the bellows chamber 12, i.e. in the area of ​​hole 10, an air flow is formed in the ZOU, directed from hole 11 to hole 10. This flow locks valve 20 in hole 16, opens valve 17 in hole 13, locks valve 18 in hole 14, opens valve 19 in hole 15 and exits into the hole 10. In this case, the air note passes through the opening 6 of the voice strip 5, covered with a tongue 7, which, under the influence of the passing air flow, vibrates and forms a sound.

When the bellows 26 is compressed and the valve 29 opens the corresponding hole 11, when the air pressure at the hole 10 exceeds the air pressure at the hole 11, an air flow is formed in the ZOU, directed from the hole 10 to the hole 11. This air flow locks the valve 19 in the hole 15 and opens valve 18 in hole 14, locks valve 17 in hole 13, opens valve 20 in hole 16 and exits into hole 11. This also produces a corresponding sound, as described above.

Regardless of whether the air flow is directed from hole 10 to hole 11 or from hole 11 to hole 10, inside the ZOU the air flow repeats its movement, passing from the inlet chamber 8 through the opening of the voice bar frame from the tongue side into the outlet chamber 9 and causing the formation of sound by the reed of the voice bar, which is amplified due to the resonance arising in the ZOU body. The resulting sound leaves the housing through open holes and sound-permeable membranes 24.

If it is necessary to replace, repair or adjust the voice bar, the corresponding sealed cover 33 is removed from the deck opening and the necessary actions with a voice bar, after which this cover is installed in place and the MI is ready for use.

CLAIM

1 Reed sound-generating device of a musical instrument containing

housing with inlet and outlet chambers;

external openings, first and second, in the housing for communicating its cavity with a source of high/low pressure air, for example a bellows chamber and the atmosphere;

valves for regulating the direction of air flow between the bellows chamber, the inlet and outlet chambers and the atmosphere, characterized in that

the body (1) of the sound-generating device is equipped with four internal holes (13-16), the first of which (13) connects the inlet chamber (8) with the first outer hole (10), the second (14) connects the inlet chamber (8) with the second outer hole (11), the third (15) communicates the outlet chamber (9) with the second outer opening (11), and the fourth (16) communicates the outlet chamber (9) with the first outer opening (10), while said internal openings are equipped with check valves ( 17-20) so that when the air flow enters the first outer hole (10), it is directed through the first inner hole (13) into the inlet chamber (8) and after passing through the opening (6) of the voice strip (5) through the outlet chamber ( 9) and the third internal hole (15) it was directed into the second external hole (11), and

when the air flow entered the second outer hole (11), it was directed through the second inner hole (14) into the inlet chamber and after passing through the opening of the voice bar through the outlet chamber and the fourth inner hole (16), it was directed into the first outer hole (10).

2. A reed musical instrument, for example, a button accordion, an accordion, an accordion, etc., including semi-cases with keyboard-valve mechanisms, bellows, a bellows chamber, soundboards with holes and reed sound-generating devices, characterized in that the reed sound-generating devices are designed as disclosed in claim 1 of the formula, each of the decks (25) is made in the form of a plate adjacent from the side of the inlet chamber to the housings (1) of the sound-generating devices of the half-body (27) of the instrument and serving as a common cover for them, and openings (32) are made in this plate ), each of which is closed with a removable sealed cover (33), the dimensions of which are taken from the condition of the possibility of servicing and replacing the voice strips of the sound-producing device located under this cover.

3. Tool according to claim 2, characterized in that said removable covers (33) are equipped with sound-permeable membranes (24).

Reed instruments are a family of musical instruments that are characterized by sound production using a reed - a small flexible vibrating plate.

Sheng - the first reed instrument

The first reed musical instrument is supposedly about 2 thousand years old. We are talking about an ancient Chinese harmonica called “sheng”. In the countries of the Ancient East, it was considered a sacred instrument and was used during religious events. The sheng has existed for several millennia and was one of the most popular instruments in Burma, Laos and Tibet. It was also known in Russia, where it first arrived in the 10th century. Information has been preserved confirming that in the mid-18th century, the courtiers of the Russian Tsar were fond of playing the shen.

Structurally, the sheng was a small round box with bamboo tubes inserted around its circumference, which were equipped with a plate with a tongue at the lower edge. Sheng produced sounds in twelve keys and was easy to use.

Hand accordion

Not all reed musical instruments blow air through the mouth; bellows can perform this role. They were invented 1.5 thousand years BC. in Ancient Greece or Egypt, only they were used not for making sound, but for fanning a fire.

The first hand-made one was made in 1797 by František Kiršnik. He made his living tuning clavichords and organs. One day, the famous scientist Christian Kratzenstein invited him to his workshop to conduct a series of experiments, as a result of which a new musical design was invented - reed strips. Using this design, Frantisek assembles a small organ and takes it to St. Petersburg.

The manual harmonica has taken root in Russia. The first production of such harmonics was opened in Tula. It was considered a romantic instrument due to its gentle and expressive sound and accompanied folk songs well.

Invention of the mouth and hand harmonica

Harmonicas in last years are experiencing a new surge in popularity. And this musical instrument was invented by the German Frederick Bushman in 1821, giving him beautiful name"Aura". In his harmonica, the reeds, set in motion by the exhalation of the musician, could freely slip into the holes of the frame and make sounds. There are two types of harmonicas of this type - chromatic and diatonic.

A year later, Bushman invented another type of reed musical instrument - a small hand harmonica. He simply equipped the tuning fork, which was used to tune organs, with leather bellows.

Accordion

The accordion is an improved version of the Bushman small hand harmonica. The date of birth of the accordion is considered to be 1829, when a new type of harmonica with accompaniment on the left keyboard was first introduced in Vienna. Each of the five buttons of this harmonica produced one chord when compressed and another when the bellows was stretched. This type of harmonica with chord accompaniment is called accordions.

Viennese and German type harmonics

Harmonics are usually divided into two types, depending on the country where they are manufactured, and, accordingly, design features. From a sound point of view, they have no fundamental differences.

Thus, German diatonic harmonicas are characterized by placing the melody valves on the right cover, and the keyboard on the extended neck on the left. They were otherwise called two- or four-plank, since there were two planks in each row.

The Viennese harmonicas had a different arrangement of valves and keyboard: the valves were on the right cover, and the left keyboard was already on the accompaniment cover. These harmonics are otherwise called two-row harmonics.