Types of musical instruments. Wind instruments: list, names Symbols depending on the characteristics

As you can see, the classification of instruments into types and families is suggested by the features of their design and the method of sound extraction. If whistlers are based on a whistle, then reeds have special plates - “tongues”, double or single. It was such a squeaker in the form of a double tongue that we made in a few seconds on a dandelion stem. Birch bark, and thin plates made of reed, goose feather or bamboo and some other thin materials that emit sound, such as plastic, can serve as food in folk wind instruments.

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

zhaleika

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

“... On an elder bush, under which a fire was glimmering, I saw a pity.

Play!

He took a pity and played. There was something wild, dreary, primitive in the melody.

Across the river, on the field of the Marat collective farm, a tall figure of a shepherd rose. Wild, dreary sounds poured from there as well. The two people talked for a long time.

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

In this unpretentious story, everything is figurative and true! And the fact that the shepherds played sincerely, sadly, and that this music "smells like a forest."

Of course, the name of the instrument comes from the root of the words "regret", "pity". The sound of a pity is tart, sharp, but compassionate, weeping, due to a noticeable vibration (trembling).

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

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

This instrument was also designed by N. 3. Kudryashov and has a number of innovations in comparison with the old folk zhaleykas. The main one is in the way the beeper is attached. It should be thin (a few tenths of a millimeter, like a razor blade), even and smooth. Approximate dimensions are indicated. The squeaker is attached to a special voice tube (mouthpiece), with one open end inserted into the main tube of a pit. The mouthpiece is made of wood. Its upper end is deaf, and a rectangular narrow cut is made along the mouthpiece itself, which should be 2-2.5 mm narrower than the width of the squeaker. In this section, the internal cavity of the tube should be visible. The length of the cut must exactly match the length of the beeper. The cut goes from the upper end of the tool and ends with a rectangular threshold, against which the squeaker placed on it rests.

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

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

Before playing, the squeaker must be soaked with saliva each time, otherwise it will sound bad, hoarse. You need to blow into the pit with some effort. The greater this effort, the higher its system can rise (within 1/2-1/4 tone), and vice versa. This is used by folk performers to align the system when playing or to tune in to the singers.

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

Known and still found are paired or double zhaleyki, tuned and used in the same way as paired pipes. Unlike pipes, paired zhaleyki are fastened together and united by one bell.

Bagpipes

What are you doing bagpipes? Don't freak out!

Don't we still use these and similar expressions today? Do they have anything in common with the world famous musical instrument?

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

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

The bagpipe was distributed virtually throughout the world. In different countries, among different peoples, it had its own separate design features, but the principle of its arrangement is the same everywhere. Even in most of the local names of the bagpipe, the same words are embedded: “bag” and “buzz”, “play”. Compare, for example, the English name bagpipe (bag - bag, pipe - game, pipe), German Sackpfeife (zach - bag, pfeife - pipe), French cornemuse (an old pipe), Dutch dudelsack (puffing bag), etc.

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

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

The instrument was especially popular with buffoons, bear leaders and court musicians of the Amusement Chamber. Later - with wandering beggars musicians. By the beginning of the 20th century, this instrument was gradually forced out of practice by other, less complex and labor-intensive designs. However, in Scotland, for example, the bagpipe is cultivated as a national relic and is even included in military bands. In our country, individual specimens of bagpipes can be seen, perhaps, only in museums of musical culture.

Surna

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

Surna, sometimes called antimony or colza, was usually made from elm (a southern species of wood, very dense and strong). This instrument is regularly mentioned in written historical monuments, starting from the 13th century, but no reliable descriptions, drawings, and even more so, original specimens of it have not been preserved. If we proceed from the analogy of the surna with the eastern zurna, which is still common among the peoples inhabiting the Caucasus and adjacent regions, then this is a wooden pipe with several playing holes, a small conical bell and a double, less often single, reed peep. Some researchers of folk musical instruments argue that the surna is an embouchure instrument (see the next chapter), and possibly an embouchure-reed instrument. In particular, the Russian surna (an instrument of the Terek Cossacks) depicted in the figure was played in two ways: both on the ambo-shurn and as on the reed.

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

Keychain

This is one of the softest and most harmonious in timbre of the reed family instruments. It is, as it were, an intermediate variety of zhaleyka and surna. Its tube is almost straight, gradually expanding to a cone-shaped bell. The tongue is double, like an oboe. Hence the proximity of sound to the latter. In essence, this is a small oboe of folk origin. In all other respects (in terms of the number of holes, formation, technical and dynamic capabilities), the key fob is akin to its predecessors.

It is believed that the keychain appeared in the Tver province and received such an obscure name from the local name of the willow - the nonsense from which it was made.

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

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 a different shape and produce musical sounds of different timbre, which are extracted through the 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, from which the frequency of its oscillation is lower, and the sound produced is low.

There are two ways to change the type emitted by the instrument:

• adjusting the air volume with fingers, using the wings, valves, gates, and so on, depending on the type of instrument;
• an increase in the force of blowing the air column into the pipe.

The sound is completely dependent 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 what material they were made from. Now, to a greater extent, the type of instrument depends on the way in which the sound is extracted from it. For example, the flute is considered a woodwind instrument. At the same time, it can be made of wood, metal or glass. The saxophone is always produced only in metal, but belongs to the class of woodwinds. Copper tools can be made from various metals: copper, silver, brass, and so on. There is a special variety - keyboard wind instruments. Their list is not so great. These include harmonium, organ, accordion, melody, button accordion. Air enters them thanks to special furs.

What instruments are wind instruments

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

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

There are other similar tools that can be mentioned.

Brass

Wind brass musical instruments, as mentioned above, are made of various metals, although in the Middle Ages there were those that were 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 wind instruments were reproduced only in the 30s of the 19th century, valves appeared on them. This allowed such instruments to reproduce the chromatic scale. The trombone has a retractable rocker for this purpose.

Brass instruments (list):

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

Woodwinds

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

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

reed musical instruments

There is another type of wind - reed. They sound thanks to a flexible vibrating plate (tongue) located inside. Sound is extracted by exposing it to air, or by pulling and pinching. On this basis, you can make a separate list of tools. Wind reeds are divided into several types. They are classified according to the way the sound is extracted. It depends on the type of reed, which can be metallic (as in organ pipes, for example), free-jumping (as in jew's harp and harmonicas), or striking 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 tongue include: button accordion, lip. In them, air is blown in by blowing the musician's mouth, or with bellows. The airflow causes the reeds to vibrate and thus the sound is extracted from the instrument. The jew's harp also belongs to this type. But his tongue oscillates not under the influence of the air column, but with the help of the hands of the musician, 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 of this, the tongue vibrates and sound is extracted.

Where are wind instruments used?

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

The flute

This is the list related to this was 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 against the edge of the instrument itself, due to which the sound is formed. There are several types of flutes.

Syringa - a single-barreled or multi-barreled instrument of Ancient Greece. Its name comes from the name of the bird's voice organ. The multi-barreled syringa later became known as the Pan flute. Peasants and shepherds played this instrument in ancient times. In ancient Rome, the syringa accompanied performances on stage.

The recorder is a wooden instrument belonging to the whistle family. Close to it is the flute, flute and whistle. It differs from other woodwinds in that on its back there is an octave valve, that is, a hole for closing with a finger, on which the height of other sounds depends. They are removed by blowing in air and closing the 7 holes on the front side with the fingers of the musician. 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 possibilities are limited. Such great composers as Antonia Vivaldi, Johann Sebastian Bach, Georg Friedrich Handel and others used the recorder in many of their works. The sound of this instrument is weak, and gradually its popularity has 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 first master it, only then they move on to the longitudinal one.

The piccolo flute is a kind of transverse flute. She has the highest timbre of all wind instruments. Its sound is whistling and piercing. Piccolo is two times shorter than usual. Her range is from “re” second to “do” fifth.

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

Trombone

This is a brass wind instrument (a list of members of 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 of this group in that it has a backstage - a tube with which the musician extracts sounds by changing the volume of air flow inside the instrument. There are several varieties of trombone: tenor (the most common), bass and alto (less commonly used), contrabass and soprano (practically not used).

Hulus

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, melodic. Most often, hulus are used for solo performance, very rarely - in an ensemble. Traditionally, this instrument was played by men, declaring their love to a woman.

The reed sound-producing device of a musical instrument comprises a housing with an inlet and an outlet chamber; located between these chambers, a voice bar with a tongue attached from the side of the entrance chamber; outer openings, first and second in the housing for communication of its cavity with a source of air of increased/lower pressure, for example, a fur chamber and the atmosphere; valves for regulating the direction of the air flow between the fur chamber, the inlet and outlet chambers and the atmosphere. The body of the sound generating device is provided with four internal holes. The first hole communicates the inlet chamber with the first outer hole, the second - with the second outer hole, the third - with the second outer hole, and the fourth - with the first outer hole. Said inner holes are equipped with check valves so that when the air flow enters the first outer hole, it is directed through the first inner hole to the inlet chamber and, after passing through the opening of the voice plate through the outlet chamber and the third inner hole, it is directed to the second outer hole. When the air flow entered the second outer hole, it was directed through the second inner hole to the inlet chamber and, after passing through the voice plate opening, through the outlet chamber and the fourth inner hole, it was directed to the first outer hole. A reed musical instrument includes semi-bodies with keyboard-valve mechanisms, bellows, a bellows chamber, decks with holes, and the reed sound-forming devices mentioned above. Each of the decks is made in the form of a plate adjoining from the side of the inlet chamber to the bodies of the sound-producing devices of the half-body of the instrument and serving as a common cover for them. Openings are made in the slab, 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. EFFECT: increased maintainability and improved sound quality of a musical instrument. 2 n. and 1 z.p. f-ly, 18 ill.

Drawings to the 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-producing device (hereinafter - SOU). which serves to form a sound of a certain tonality when the air flow passes through the openings of the voice bars with oscillating reeds and resonate the sounds formed, as well as to the design of reed MIs. in which the given ZOU can be installed. The group of inventions can be used in the production of reed MIs of all types, such as button accordions, accordions, accordions, etc.

For many years, the most common MDs of this type have traditionally used the design of the ZOU, which includes a body with pairs of hollow chambers located one after the other and formed by a common mullion vertically installed along the axis of the body with transverse partitions, in the walls of which voice strips with opening valves are fixed. From above, the body is covered with a bar (Rosenfeld 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 CDUs is a complex and time-consuming process that requires a significant consumption of material. At the same time, the mass and volume of the sound chambers are large, and, consequently, the mass and volume of the MI as a whole are also significant. Increased air consumption during the game due to leakage of opening valves and a significant time of their operation limit the performing possibilities. The main reason for this is the use of voice bars with reeds for sound production. installed above the openings of the voice bar from opposite sides for its operation in a reversely moving air flow. In this case, the opening of the voice plate opening, located on the side of the voice plate opposite to the tongue, is closed by an opening valve, usually of the petal type, made of leather or other elastic materials, which prevents the passage of air through the voice plate when the air flow moves from the side opposite to the tongue. Opening valves often fail (sag, jam and wear out), which leads to a loose overlap of the openings, increasing air consumption during the game. distorting the sound, and the replacement of opening valves requires complex repairs associated with the disassembly of the MI. Besides. with this design of the ZOU, to create each sound, a voice bar with at least two reeds working alternately when the air flow is reversed, for example, when the fur of the reed MI is stretched and compressed, is required to create each sound.

It is also known ZOU, containing a body, which consists of two longitudinal sidewalls and transverse partitions between them, conjugated side faces with sidewalls (Patent of Russia RU 2378716 C1). Each transverse partition has a triangular shape with an extended part oriented towards the deck. The side faces of the transverse partitions are fixedly connected to the sidewalls. In this case, a number of sound compartments is formed, and each compartment is divided into two chambers - an input and a non-input one. To do this, along the axial line inside the compartments between the transverse partitions, one piece voice plate in each compartment or a solid voice plate for the entire number of compartments with a certain set of tongues in each compartment is vertically installed with the possibility of detachment. Moreover, each side of the voice plate of each compartment is equipped with at least two tongues, which are installed without opening valves, and the free ends of the tongues are directed to the inlet chamber. On the sidewalls for each chamber, a side hole is made, and each chamber is equipped with a deck outer hole for communicating with the fur 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 fur chamber or the atmosphere to the voice plate, depending on whether air is being injected or rarefied at the moment. One of the valves is located in the inlet chamber and has two operating positions.

The ZOU described above is chosen as a prototype of the first invention of the proposed group of inventions. The unidirectionality of the air flow implemented in this design when it passes through the inlet chamber (i.e., the exclusion of the reverse movement of the air flow characteristic of the first mentioned analogue) to some extent contributes to a decrease in the volume and mass of the CDU. At the same time, its dimensions remain quite large due to its prismatic shape. This circumstance negatively affects the total volume and mass of MP. The petal valves with such a design of the FDA are large enough, which leads to a delay in their operation during the transition of the fur 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 a significant disassembly of the MI and the ZOU itself in order to repair or replace them. A large number of reeds of the voice bars (see above), taking into account their almost manual production and the need for individual adjustment of each voice bar, also reduce the manufacturability of the repair of 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 better sound, more convenient to maintain and repair, and also more compact to facilitate the modernization of reeds. MI in the direction of reducing their volume and mass.

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

Housing with inlet and outlet chambers;

Outer openings, first and second, in the body for communication of its cavity with a source of high/low pressure air, such as a fur chamber and the atmosphere;

Valves for regulating the direction of the air flow between the fur 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 inlet chamber with the first outer opening,

The second - communicates the inlet chamber with the second outer hole,

Third - communicates the outlet chamber with the first outer hole, and

Fourth - communicates the outlet chamber with the second outer hole,

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 to the inlet chamber and, after passing the opening of the voice plate through the outlet chamber and the fourth inner hole, it was directed to the second outer hole, and

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

With this design of the ZOU, the required number of reeds of the voice plates is halved and easy access to the voice plate for its revision and repair is provided, with minimal disassembly of the body: it is enough to remove the element that closes the inlet chamber from above. In combination with the fact that it has been possible to install only one voice plate with at least one tongue, this reduces the complexity of manufacturing and significantly increases the maintainability of the structure. Instead of being prismatic in the prototype, such a design can have any three-dimensional shape, such as a parallelepiped or a cylinder, allowing for inlet and outlet openings, and a volume containing inlet and outlet chambers with a voice plate and valves to control the direction of the air flow. Due to the compactness and the ability to give the CDU various three-dimensional forms, it becomes possible to combine the CCD into one or more collapsible or non-collapsible blocks for the reconstruction of existing and creation of new MP structures in the direction of reducing their volume and weight.

In addition, reeds can be installed on one voice bar in the required number to obtain both a tone of the same pitch (one or more reeds tuned in unison), and the effect of "spill", in which additional reeds are detuned relative to the main tone in order to obtain " beats." One plank 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 play a chord on a standard keyboard by pressing one key, 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 MP adopted as a prototype is mentioned above and described in the also mentioned book by Rozenfeld N.G. and others. It includes semi-hulls with keyboard-valve mechanisms, fur, fur chamber, soundboards with holes and ZOU. As mentioned, the ZOU cases with pairs of chambers closed with lids on top are covered with a bar on top and attached to the deck. The valves of the keyboard-valve mechanisms that open and close the corresponding holes in the deck are located on the opposite side. The disadvantages of such an MI are due, firstly, to the imperfection of the ZOU design, which has already been mentioned above. Secondly, with such a mutual arrangement of the MI and ZOU elements, the latter are largely covered by the elements of the MI case, 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, due to changes in the design of the CDU and communication elements and the mutual position between the CCD and the MI, would improve the maintainability of the MI as a whole and improve its sound quality.

To do this, in a reed MI, for example, a bayan, an accordion, an accordion, etc., including half-shells with keyboard-valve mechanisms, fur, a fur chamber, soundboards with holes and reed sound-producing devices, according to the invention, the ZOU is made as described on p. 3, par. 2, each of the decks is made in the form of a plate adjoining from the side of the inlet chamber to the bodies of the ZOU of the corresponding half-body of the tool and serving as a common cover for them, moreover, openings are made in this plate, each of which is closed with a removable sealed cover, the dimensions of which are taken from the condition of serviceability and replacement of 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 RAM, which are described above, transferring the function of closing all the RAM to the deck and making openings in it for access to the RAM increases the maintainability of the MI. In addition, the elimination of intermediate elements between the sound-forming part and the deck improves the sound quality of the MI, and the compactness of the MI allows you to install additional RAM and the elements of keyboard-valve mechanisms that control them in the freed volume of the MI semi-body.

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

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

As an appendix, Fig. 17 shows a general view of the button accordion from the above-mentioned, on p. 1, book by Rosenfeld N.G.

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

For the formation of sound, the air cavity inside the body 1 is blocked by a voice plate 5, consisting of a frame with an opening of the voice plate 6 and at least one tongue 7. The bar 5 is installed on the transverse bars 2 towards the air flow by the side on which the tongue is fixed. The bar divides the internal space of the case into two chambers, inlet 8 and outlet 9.

The volume formed by the details of the input and output chambers is a resonator for the voice bar. At the same time, the geometrical dimensions of the resonator are calculated in such a way that the natural frequency of oscillations of the reed of the voice bar in a certain way corresponds to the resonant frequency of the resonator volume in order to maximize sound amplification due to resonance, to obtain maximum volume and the best timbre of the sound of the described device.

External openings 10 and 11 serve to communicate chambers 8, 9 with a source of high/low pressure air, such as fur chamber 12 (Fig.15) and the atmosphere. For example, hole 10 is in communication with the fur chamber, and hole 11 is in communication 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 flows through the ZOU is most clearly seen 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 that an area of ​​high pressure is formed in its zone, when the fur 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 the hole 10 through the hole 13 into the inlet chamber 8 and, after passing the opening of the voice plate and the outlet chamber 9, into the holes 15 and 11. from the side of the hole 11, as a result of the formation in the zone of the hole 10 of an area lower than atmospheric pressure, when the fur is stretched, valves 18 and 20 are open, and valves 17 and 19 are closed. In this case, the air flow can pass from the hole 11, through the hole 14 into the inlet chamber 8 and, after passing the opening of the voice plate and the outlet chamber 9, into the holes 16 and 10. Thus, in a pair of holes communicated with one of the holes, 10 or 11, the airflow 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.

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

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

Structurally, the ZOU can be made both as a separate device for one piece of the bar, which is shown in the attached drawings, and as a single structure of several ZOU, combined into a single unit, consisting of a solid or several piece of voice bars. These slats are located in the SDU case, divided into sound compartments, each of which corresponds to the described SDS for one voice slat and is a resonator. Such a ZOU has a common body, consisting of sound compartments for voice strips, which are resonators, common for all or separate for each, upper and lower case covers, valves separate for each compartment, corresponding to the valves for the considered separate ZOU, and can be used instead of the traditional resonator in, for example, musical instruments. At the same time, it is allowed to construct a CDU with a common outlet, 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 CCD MI (not shown).

To improve the sound quality, a sound-permeable membrane 24 is built into one of the covers, 3 or 4, or into both covers of the CDU. If this membrane can always be built into the bottom cover, this is done in the case of the top cover when manufacturing individual CDUs, in the form of components. In the manufacture of the entire MI according to this proposal, when the sound-permeable membranes can be embedded both in the bottom cover of the MI and in the deck of the MI (Fig. 15).

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

Device reed MI type button accordion, accordion, accordion, etc., which used the above-described ZOU, shown in Fig.15, on the example of a schematic representation of the right semi-body button accordion. In the semi-body 27 itself, a deck 25 is fixed perpendicular to the walls 28, which is structurally made in the form of a common cover for all the CDU buildings 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, the openings 11 communicate the internal spaces of the CDU with the atmosphere. Holes 10 are used for their communication with the fur chamber 12. In the deck, openings of the deck 32 are made, the dimensions of which correspond to the dimensions of the corresponding voice bars of the ZOU, so that through these openings it is possible to adjust, repair or replace the voice bar, 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, while the cover can be used without such a membrane.

Work of ZOU and MI

When the fur 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 fur chamber 12, i.e. in the area of ​​the hole 10, an air flow is formed in the ZOU, directed from the hole 11 to the hole 10. This flow closes the valve 20 in the hole 16, opens the valve 17 in the hole 13, closes the valve 18 in the hole 14, opens the valve 19 in the hole 15 and exits into the hole 10. In this case, the air current passes through the opening 6 of the voice plate 5, covered by the tongue 7, which, under the action of the passing air flow, oscillates and forms a sound.

When the fur 26 is compressed and the corresponding hole 11 is opened by the valve 29, 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 closes the valve 19 in the hole 15, opens valve 18 at port 14, closes valve 17 at port 13, opens valve 20 at port 16 and exits at port 11. This also generates the corresponding sound as described above.

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

If it is necessary to replace, repair or adjust the voice bar, the corresponding hermetic 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 operation.

CLAIM

1 Reed sound-producing device of a musical instrument, containing

body with inlet and outlet chambers;

outer openings, first and second in the housing for communication of its cavity with a source of high/low pressure air, such as a fur chamber and the atmosphere;

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

the body (1) of the sound generating device is provided with four internal holes (13-16), the first of which (13) communicates the inlet chamber (8) with the first outer hole (10), the second (14) communicates the inlet chamber (8) with the second outer hole (11), the third (15) communicates the outlet chamber (9) with the second outer hole (11), and the fourth (16) communicates the outlet chamber (9) with the first outer hole (10), while said inner holes are equipped with check valves ( 17-20) in such a way 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 the opening (6) of the voice plate (5) through the outlet chamber ( 9) and the third inner hole (15) it was directed to the second outer hole (11), and

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

2. Reed musical instrument, such as button accordion, accordion, accordion, etc., including semi-bodies with keyboard-valve mechanisms, fur, fur chamber, decks with holes and reed sound-producing devices, characterized in that the reed sound-producing devices are made 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 bodies (1) of the sound-producing 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 plates 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 include accordions, button accordions, accordions. These instruments can be used both for solo and for ensemble and orchestral performance of musical works, as well as for accompaniment and teaching 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 tuning (in unison, in spill).

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

On fig. below is the appearance of the accordion. The main parts and nodes of the accordion are: body (1), consisting of two halves - right and left; fur chamber (2); neck with keyboard (3); right and left mechanics (4); resonators with voice bars.

The hull consists of right and left half-hulls with decks on which all parts and mechanisms are mounted. For the manufacture of the body and deck, birch, beech, maple, alder wood, birch and beech plywood, sheets of aluminum and aluminum alloys are used. Outside, the case, as a rule, is pasted over with celluloid. The half-hulls are interconnected with fur.

The fur 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 glued with fabric and hermetically fastened to the right and left half of the body.

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

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

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

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

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

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

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

The accordion, despite its limited musical capabilities, 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", provides, thanks to its design, the ease of mastering the art of playing it, is an affordable musical instrument for a wide range of performers.

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

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

"Wreaths" are characterized by the fact that they have different pitch 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-voiced accordions, which have one, two, three, four reeds, respectively, sounding in unison when one key is pressed. An increase in the number of reeds sounding in unison leads to an increase in the volume of the sound.

Reed instruments are marked with an alphanumeric code:

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

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

♦ in the 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 one key is pressed;

♦ 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). In the absence of register switches in the left keyboard, in fifth place is a number indicating the number of register switches in the right keyboard (in a melody).

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

The assortment of harmonicas also includes harmonies, which are distinguished by the fact that air is supplied to the voice bars by the lungs of the performer, and not by the bellows. They are not widely used in our country.

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

Basically, the device of the button accordion, the principle of its operation are close to the accordion considered above. However, the design of bayan knots is much more complicated. The appearance of the button accordion is shown in fig.

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

Ready is a mechanism that allows you to get the sound of a fixed chord of three or four sounds when you press one key. The finished accordion mechanism has the simplest design, while button accordion and accordion mechanisms consist of a much larger number of parts.

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

The ready-selection mechanism includes, as it were, two mechanisms: with ready-made chords and elective 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 of simultaneously sounding reeds, the presence of register switches, button accordions can be divided into several groups:

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

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

4. Orchestral button accordions - piccolo, prima, alto, tenor, bass, double bass. In terms of their structural design, 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: the piccolo button accordion has 3 octaves, prima - 4 octaves, alto - Z1 / 2 octaves, tenor - 3 octaves, bass - 3 octaves, double bass - 21/2 octaves.

5. Timbre accordions: accordion trumpet, accordion flute, accordion bassoon, accordion oboe, 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, clarinet. Depending on the nature of the tuning of the reeds that 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, that is, to one note, are used in the initial learning of the game and to accompany folk songs and dances. Bayans, the reeds of which are tuned in spill, that is, with some detuning in relation to each other upwards, are called accordion and are used to perform light and pop music.

Accordion according to the principle of sound formation, according to the arrangement of resonators and bass mechanism, body, decks, fur chamber and according to the materials used, it almost does not differ from ordinary button accordions. The appearance of the accordion is shown in fig.

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

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

The structure of the accordion is twelve-degree, equal-tempered, (the scale is full chromatic). Sound range up to memory 2 octaves. Setting the reeds "in spill".

Full accordions are called instruments that have 41 keys in the melody keyboard mechanism and 120 buttons in the bass mechanism. Of the full most common are the following types of accordions: A-41X120-Sh-5/2; A-41x120-Sh-7/3; A-4IxI20-IV9/3 - the range of the melody sound (in the main one) from the note F of a 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: A-34x80-Sh-5; A-34x80-Sh-5/2 - the range of the melody sound from the G note of the small octave to the E note of the third octave; А-37х96-Ш-5/3 - sounding range from the note F of the small octave to the note F of the third octave.

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. Air flow or pinching of this reed creates sound. To understand what exactly these objects are, it is worth imagining in front of you such well-known reed musical instruments as button accordion, harmonica, accordion. Now such items are little used to create modern music, but it is worth giving them their due - at one time there was no alternative to them.
Reed musical instruments can also be mixed with brass or even keyboards. The saxophone is a vivid example of the wind reed 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 necessary notes. Clarinet, oboe, bassoon - they all also belong to reed instruments. Among the non-standard are Chinese hulus and bau, as well as African kalimba. There are also self-sounding, 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 getting air into a musical instrument and vibrating the reed 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, shalmey, zurna, tutek and chalumeau are made of wood and, due to their specificity, are rarely used to create classical and modern music. These are, rather, national items with an ethnic color, used by our ancestors to perform songs. An interesting fact is that many modern musicians who have mastered the art of playing, say, the saxophone, do not know how to play the harmonica or pipe. This is due to the fact that these instruments, although they are in the same type class, have a different sound range and original working technique. Melodies created using the above musical instruments cannot be confused with anything else. Our ancestors used them to announce important news, to accompany festivities or important events. The saxophone is rightfully considered to be the king among wind and reed musical instruments, because it alone gave rise to several directions in music at once.

Reed instruments - the high art of music in elementary things
Reed instruments are a collection of objects that reproduce a melody due to the movement and flexibility of a special plate (reed), which vibrates due to air flow or a pinched key. The class of reed instruments includes bayans, harmonicas, jew's 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 bars, which, when pressed and in a certain position, make a sound. The location of the buttons corresponds to the specific note you want to play.
Reed instruments are a very original class of musical instruments. They have experienced different levels of popularity at different times. Today, reed instruments are predominant in folk art and in some formats of modern stage. The well-forgotten old — this is how you 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.