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 the resonator is performed by the articulatory apparatus in the totality of all its components: the oral cavity, lips, teeth, tongue, respiratory tract, 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. Sound amplifiers are air jet, guided by the player’s breathing, and the position of the articulatory apparatus chosen accordingly. 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. Recently, 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; direction control valves air flow between the bellows chamber, the inlet and outlet chambers and the atmosphere. The body of the sound-generating device is 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. The said internal openings are equipped check valves so that when air flow enters the first outer opening, it is directed through the first internal hole into the entrance chamber and, after passing the opening of the voice bar through the exit chamber and the third internal opening, it was 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 musical instruments(hereinafter - MI), more specifically, to the design of a reed sound-generating device (hereinafter - ZOU). serving to produce a sound of a certain tonality when the air flow passes through the openings of the voice bars with oscillating reeds and resonating formed 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 behind 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. The lateral edges of the transverse partitions are fixedly connected to the sidewalls. 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 the center line inside the compartments between the transverse partitions, one piece of 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. There is a side opening on the sides for each chamber, 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 being pumped or rarefied at the 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 both traditional one-, two-, and more-reed instruments, as well as fundamentally new designs that allow, for example, to play a chord on a standard keyboard by pressing one key, such as, for example, on the accompaniment keys of the bass part of a button accordion or accordion, so The difference is that there will be one voice bar with several reeds in one resonator for tension and compression, 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 of a possible design of a ZOU, made in the form separate device with a piece 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 - side view of the image in Fig. 10 with various directions air movements 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 bar 5, consisting of a frame with an opening for the voice bar 6 and at least one tongue 7. The bar 5 is installed on cross bars 2 towards the air flow with the side on which the tongue 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. Wherein geometric dimensions resonator are designed in such a way that the natural frequency of vibration of the voice bar reed corresponds in a certain way resonant frequency volume of the resonator for maximum 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 Exhaust valve, corresponding to valve 20, which further simplifies the design of the resonator for the ZOU MI (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 designations used above, holes 11 report interior spaces ZOU with 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, the necessary actions are performed with the voice bar, after which this cover is installed in place and the MI is ready for use.
| NUMERICAL SYMBOLS | |||
| 1. | ZOU building | 21 | Valve body |
| 2. | Cross bar | 22 | Opening |
| 3. | Bottom cover | 23 | Locking element |
| 4. | Top cover | 24 | Sound-permeable membrane |
| 5. | Voice bar | 25 | Deca |
| 6. | Voice bar opening | 26 | Fur |
| 7. | Tongue | 27 | MI semi-corps |
| 8. | Entrance chamber | 28 | Half-hull wall |
| 9. | Exit chamber | 29 | Valve |
| 10, 11. | External hole | 30 | Lever arm |
| 12. | Fur camera | 31 | Vulture |
| 13 16. | Inner hole | 32 | Deck opening |
| 17 20. | Check valve | 33 | Lid |
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 musical instruments
Reed musical instruments are perhaps one of the most interesting groups of musical instruments. The sound is created using a specific tongue, which is fixed at one end and free at the other. The air flow or pinching of this tongue creates the sound. To understand what exactly these objects are, you should imagine such well-known reed musical instruments as a button accordion, harmonica, accordion. Nowadays such objects are little used for creating 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 wind instruments or even keyboards. The saxophone is a striking example of a reed wind class, which works with the help of air blown in by the musician and a reed that vibrates precisely under its flow. There are also keys on the surface that regulate the alternation of the required notes. Clarinet, oboe, bassoon - all of them also belong to reed instruments. Among the non-standard ones 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 the same tongue.
Wind reed instruments
Wind reed instruments are representatives of the fusion of two classes. In them, sound is created by air entering a musical instrument and the reed vibrating under its influence. This class can be divided into two large groups: ordinary (copper) and wooden. Clarinet, oboe, saxophone and bassoon are representatives of the first large group. Balaban, duduk, shalmei, zurna, tutek and chalumeau are made of wood and, due to their specificity, are little used for creating classical and modern music. These are, rather, national, ethnically colored objects used by our ancestors to sing 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. This is due to the fact that although these instruments are in the same standard class, they have a different sound range and original operating technique. Melodies created using the above-described musical instruments cannot be confused with anything else. Our ancestors used them to announce important news, to accompany celebrations or important events. The saxophone is rightfully considered to be the king among wind and reed musical instruments, because it alone gave birth to several directions in music.
Reed instruments- high art of music in elementary things
Reed instruments are a set of objects that reproduce a melody due to the movement and flexibility of a special plate (reed), which vibrates due to air flow or pinching of a key. The class of reed instruments includes button accordions, harmonicas, harps and harmonicas. 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 produce a sound when pressed in a certain position. The arrangement of the buttons corresponds to the specific note that needs to be played.
Reed instruments are very original class musical instruments. IN different times they experienced varying levels of popularity. Today, reed instruments are predominant in folk art and in some formats of modern pop music. Well forgotten old - this is how we can safely call harmonicas and accordions; playing them is now fashionable and unusual, which allows us to judge their further active implementation in modern music.
The group of reed instruments includes harmonicas, button accordions and accordions. Their source of sound is metal reeds mounted on slats and set into vibration by a stream of air pumped by 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 reeds for playing melodies; on the left - all the same nodes for performing ready-made chords and basses necessary for accompaniment.
The neck with the keyboard is installed in the right box of the case. In accordions and button accordions, the neck has slots for keys; in accordions, it is made like a piano keyboard. The keys are levers, at one end of which there is a button, the other end is connected to a valve that allows air access to the reeds. The right and left mechanics serve to lift one or more valves when a key is pressed.
The 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 of which the timbre of the instrument sounds changes.
The resonators are a series of separate 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. Each resonator chamber usually has two reeds that work alternately when the bellows is compressed and unclenched. Paired reeds can be tuned in unison or to different pitches.
When you press a key on the right keyboard, one, two, three, or four reeds can sound simultaneously. Accordingly, instruments are distinguished between one-voice, two-voice, three-voice and four-voice.
Reed musical instruments are divided 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 lame harmonicas, wreath harmonicas and national harmonicas - Tula, Saratov, Kazan, etc.
The scale of chromatic instruments is built on a chromatic scale, which allows them to perform more complex musical works. Chromatic instruments include button accordions and accordions.
The main indicators of these instruments in the price list are indicated by a conventional code, where the first number is the number of keys on the right keyboard, the second is the number of buttons on the left, the third is the largest number of simultaneously sounding reeds when pressing one key, the fourth (numerator) is the number of registers in the melody, the denominator - in accompaniment.
Diatonic harmonicas are intended for use in simple pieces of music.
Harmony wreaths have different pitches of sounds when squeezing and unclenching the fur.
Lame accordions have become more widespread; the pitch of the sound of a lame does not depend on the direction of movement of the bellows. Accordions are produced: G-23X12-II, G-25X25-III, etc.
The button accordion is a chromatic reed instrument that differs from the harmonium in its large scale volume.
When articulating an instrument, its characteristics are indicated by five numbers, with the number of switches indicated by the fifth element. For example, the code B-52Х100-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 melody keyboard. The “voices” are tuned with a “spill”, i.e., with some deviation from the main tone in the upward direction.
Accordions are produced mainly three-voice: A-28Х40-III-2; A-34Х80-III-2, А-34Х80-III-5, А-41Х X120-III-2; A-41Х120-III-5/2; A-41X120-III-7/2.
Reed musical instruments must meet the following quality requirements: the vocal reeds are precisely tuned, easily excited by slight movement of the bellows, there should be no excessive air leakage (it is important that the connections of the resonators with the soundboard and the connections of the bellows with the body are airtight), the mechanism must work easily, smoothly and relatively silently. The surface of the case must be polished or lined with artistic celluloid and be free from stains, scratches and other defects.
Accordions and button accordions are sold in individual cases with a passport and instructions for using and caring for the instrument. Harmonies are also produced in cases, but they can be packaged in cardboard boxes.
Wind musical instruments. Wind instruments are those whose sound source is an oscillating column of air blown into the channel of the instrument by the performer. The longer the channel, the lower in pitch the sound is produced.
Depending on the method of sound extraction and design features wind instruments are divided into embouchure, lingual (reed) and labial.
In embouchure wind instruments, sound is produced by blowing air into a tube through a funnel-shaped mouthpiece while the performer's lips are 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 to send signals. These include the bugle, fanfare, hunting and infantry horn.
Orchestral wind instruments allow you to extract all the sounds of the chromatic scale. The most common of these are trumpet, cornet, alto, tenor, baritone, bass, horn and zugtrombone.
The pipe is a metal tube bent into one turn. This instrument is the highest sounding of the orchestral group and is often used for solo performance.
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).
The horn is one of the richest sounding instruments; It is a long tube, folded into three turns and ending in a wide bell.
Zug trombone - double curved metal tube with a wide bell. It differs from other orchestral instruments in that it does not have a valved voice machine; To change the pitch of the sound, a retractable pipe (scene) is used.
Lingual (reed) wind instruments have a reed as a sound exciter - a reed, fixed in the upper part of the instrument. Lingual instruments can be with a single-leaf reed of the mouthpiece type (clarinets, saxophones) and with a two-leaf reed of the mouthpiece type (oboe, bassoon). To change the pitch of the sound, all instruments have a lever-keyboard mechanism.
The clarinet consists of a bell, lower and upper knees, and a mouthpiece. A single-leaf reed is attached to the mouthpiece. The tool channel is cylindrical, all parts of the tool are detachable.
The clarinet has a range of three and a half octaves, the timbre is flexible and expressive.
The saxophone, in terms of its sound, occupies an intermediate position between wooden and brass (embouchure) instruments. The saxophone consists of a mouthpiece, a lead tube, a body with a bell and a lever-valve mechanism.
A single-leaf reed is attached to the mouthpiece. Saxophones vary in size and tuning.
Oboe by appearance resembles a clarinet, but differs from it in that it has a cone-shaped bore and a two-leaf reed (double reed).
This device gives the instrument a unique, slightly nasal timbre.
The bassoon, unlike other woodwind instruments, is characterized by a low timbre. It consists of two elbows folded together - wooden tubes with a conical channel. When playing, a curved metal tube (“esik”) is inserted into the mouthpiece part of the tube, at the end of which a double reed is attached. 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 opening - the labium. The air is cut through the hole and vibrates.
This group of instruments includes flutes, which are a tube consisting of a head and middle and lower bends. There is a hole on the side of the head for air injection. Flutes are characterized by a high, cold sound timbre.
Spare parts and accessories for wind instruments include mouthpieces, reeds, valve cushions, mouthpiece machines, caps, mutes.
Basic requirements for the quality of wind instruments: accuracy of tuning, right action voice machine or valve-lever mechanism, careful processing and finishing.
These instruments got their name due to the fact that the sound they produce is due to the vibrations of elastic steel reeds. Reed instruments include accordions of all types, 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 bellows. Inside each box there is a plywood partition (deck) with holes for air passage when the bellows are stretched. WITH outside On the deck, all holes are closed with valves, and on the inside of the deck in front of the holes, strips with voice reeds and resonators are fixed.
Attached to the right box is a fingerboard with buttons or keys. The keyboard mechanism consists of a system of metal levers connecting the keys to valves on the soundboard, which allow air to flow to the vocal reeds when the bellows are stretched. The pitch of the sound depends on the size of the tongue that opens the valve. The body is made of birch and lined with haberdashery celluloid.
Depending on the number of simultaneously sounding reeds, instruments are divided into one-, two-, three- and four-voice. The more voices, the louder (more vocal) the sound of the instrument.
The fur serves to create air pressure, is made of cardboard, and covered with chintz, calico or leatherette. For strength, the corners are covered with leather and edged with metal plates.
Based on the type of scale used, two groups of reed instruments are distinguished: diatonic with a diatonic scale (harmonies - Tula, Saratov, etc.) and chromatic- with a chromatic scale (accordions and button accordions).
Register switches are designed to change the timbre of the instrument.
A distinctive feature of the timbre of accordions is that its voices are tuned to “spill” - a silvery vibrating sound by which the sound of an accordion is recognized.
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 is the number of buttons (keys) on the fretboard (right keyboard), in third place is the number of buttons on the left keyboard; on the fourth - the number of simultaneously sounding reeds (voices) when pressing one key; on the fifth - a fraction: in the numerator the number of register switches on the fretboard, in the denominator - in the left keyboard.
For example, code A 41x120-111-7/2 Tula means: 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 refer to musical instruments with a diatonic scale.
Diatonic harmonicas are divided into two main types of “lame”, which, when the bellows are compressed and unclenched and the key is pressed, produce sounds of the same pitch; and “wreaths”, which, when squeezed and unclenched, produce sounds of different pitches. There are one-, two-, three- and four-voice harmonies. The more reeds sound at the same time, the louder the sound. The Ryabinushka accordion has the widest sound range - G 25x25-111. Bayans Unlike accordions, they have a chromatic scale in the melody with the number of keys on the fretboard at least 37. According to the design of the left keyboard, they can be with ready-made, elective, or ready-made elective chords (GTV).
In a keyboard with ready-made accompaniment, the buttons of the first two rows produce the sounds of individual basses, the remaining rows provide ready-made chords. For elective button accordions, each button on the left keyboard produces one sound. The latter have great playing capabilities and are intended for highly qualified musicians. Accordions are also made, combined with ready-made and optional accompaniments. In this case, switching individual sounds to ready-made chords is done using the registers of the left keyboard. Bayans are often used for solo performance, to accompany vocals and choirs. 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 branding, additional false keys, etc. are widely used in their decoration.
Unlike button accordions, which have a rectangular body shape, accordions have smooth transitions from the neck to the body, a more convenient shape for playing while standing, and a right-handed keyboard that is often piano-type. Due to the large size of the keys, the musical range of the right keyboard of accordions is limited. Therefore, in accordions for professionals, the right keyboard is made not with keys, but with buttons. A special feature of accordions is a kind of “varying” tuning of the vocal reeds, this gives the sound of the instrument a peculiar jazz flavor. Accordions always have several registers, which can be switched on in different ways.
Assortment of accordions: A 34x80-111-3/2; A 37x96-111-3/2; A 41x120-111-5/2; A 41xl20-IV-9/3. These accordions have different brand names ("Weltmeister", "Orpheus", etc.).
Accordion "Orpheus" - A 75/87x120-11-5/2 - push-button accordion. It is often called a button accordion. The right keyboard 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.
