Reed wind instruments. Kubyz is a self-sounding reed musical instrument. Which instruments are wind instruments?

Music surrounds us since childhood. And then we have the first musical instruments. Do you remember your first drum or tambourine? And what about the shiny metallophone, the records of which had to be struck with a wooden stick? What about pipes with holes in the side? With some skill it was even possible to play simple melodies on them.

Toy instruments are the first step into the world of real music. Now you can buy a variety of musical toys: from simple drums and harmonicas to almost real pianos and synthesizers. Do you think these are just toys? Not at all: in the preparatory classes of music schools, entire noise orchestras are made from such toys, in which kids selflessly blow pipes, knock on drums and tambourines, spur the rhythm with maracas and play their first songs on the xylophone... And this is their first real step into the world music.

Types of musical instruments

The world of music has its own order and classification. Tools are divided into large groups: strings, keyboards, percussion, winds, and also reed. Which of them appeared earlier and which later is now difficult to say for sure. But already ancient people who shot from a bow noticed that a drawn bowstring sounds, reed tubes, when blown into them, make whistling sounds, and it is convenient to beat the rhythm on any surface with all available means. These objects became the ancestors of string, wind and percussion instruments, already known in Ancient Greece. Reed ones appeared just as long ago, but keyboards were invented a little later. Let's look at these main groups.

Brass

In wind instruments, sound is produced by vibrations of a column of air enclosed inside a tube. The greater the volume of air, the lower the sound it produces.

Wind instruments are divided into two large groups: wooden And copper. Wooden - flute, clarinet, oboe, bassoon, alpine horn... - are a straight tube with side holes. By closing or opening the holes with their fingers, the musician can shorten the column of air and change the pitch of the sound. Modern instruments are often made from materials other than wood, but are traditionally called wooden.

Copper wind instruments set the tone for any orchestra, from brass to symphony. Trumpet, horn, trombone, tuba, helicon, a whole family of saxhorns (baritone, tenor, alto) are typical representatives of this loudest group of instruments. Later, the saxophone appeared - the king of jazz.

The pitch of the sound in brass instruments changes due to the force of the air blown and the position of the lips. Without additional valves, such a pipe can produce only a limited number of sounds - a natural scale. To expand the range of sound and the ability to reach all sounds, a system of valves was invented - valves that change the height of the air column (like side holes on wooden ones). Copper pipes that are too long, unlike wooden ones, can be rolled into a more compact shape. Horn, tuba, helicon are examples of rolled pipes.

Strings

The bow string can be considered a prototype of string instruments - one of the most important groups of any orchestra. The sound here is produced by a vibrating string. To amplify the sound, strings began to be pulled over a hollow body - this is how the lute and mandolin, cymbals, harp were born... and the guitar that we know well.

The string group is divided into two main subgroups: bowed And plucked tools. Bowed violins include all types of violins: violins, violas, cellos and huge double basses. The sound from them is extracted with a bow, which is drawn along the stretched strings. But for plucked bows, a bow is not needed: the musician plucks the string with his fingers, causing it to vibrate. Guitar, balalaika, lute are plucked instruments. Just like the beautiful harp, which makes such gentle cooing sounds. But is the double bass a bowed or plucked instrument? Formally, it belongs to the bowed instrument, but often, especially in jazz, it is played with plucked strings.

Keyboards

If the fingers striking the strings are replaced with hammers, and the hammers are set in motion using keys, the result will be keyboards tools. The first keyboards - clavichords and harpsichords- appeared in the Middle Ages. They sounded quite quietly, but very tender and romantic. And at the beginning of the 18th century they invented piano- an instrument that could be played both loudly (forte) and quietly (piano). The long name is usually shortened to the more familiar "piano". The older brother of the piano - what's up, the brother is the king! - that’s what it’s called: piano. This is no longer an instrument for small apartments, but for concert halls.

The keyboard includes the largest one - and one of the most ancient! - musical instruments: organ. This is no longer a percussion keyboard, like a piano and grand piano, but keyboard and wind instrument: not the musician's lungs, but a blowing machine that creates air flow into a system of tubes. This huge system is controlled by a complex control panel, which has everything: from a manual (that is, manual) keyboard to pedals and register switches. And how could it be otherwise: organs consist of tens of thousands of individual tubes of various sizes! But their range is enormous: each tube can sound only one note, but when there are thousands of them...

Drums

The oldest musical instruments were drums. It was the tapping of rhythm that was the first prehistoric music. The sound can be produced by a stretched membrane (drum, tambourine, oriental darbuka...) or the body of the instrument itself: triangles, cymbals, gongs, castanets and other knockers and rattles. A special group consists of percussion instruments that produce a sound of a certain pitch: timpani, bells, xylophones. You can already play a melody on them. Percussion ensembles consisting only of percussion instruments stage entire concerts!

Reed

Is there any other way to extract sound? Can. If one end of a plate made of wood or metal is fixed, and the other is left free and forced to vibrate, then we get the simplest reed - the basis of reed instruments. If there is only one tongue, we get Jew's harp. Reeds include harmonicas, button accordions, accordions and their miniature model - harmonica.

harmonica

You can see keys on the button accordion and accordion, so they are considered both keyboard and reed. Some wind instruments are also reeded: for example, in the already familiar clarinet and bassoon, the reed is hidden inside the pipe. Therefore, the division of tools into these types is arbitrary: there are many tools mixed type.

In the 20th century, the friendly musical family was replenished with another large family: electronic instruments. The sound in them is created artificially using electronic circuits, and the first example was the legendary theremin, created back in 1919. Electronic synthesizers can imitate the sound of any instrument and even... play themselves. If, of course, someone draws up a program. :)

Dividing instruments into these groups is just one way of classification. There are many others: for example, the Chinese grouped tools depending on the material from which they were made: wood, metal, silk and even stone... Methods of classification are not so important. It is much more important to be able to recognize instruments both by appearance and sound. This is what we will learn.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reed instruments are marked using an alphanumeric code:

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

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

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

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

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

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

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

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

Basically, the structure of the accordion and the principle of its operation are close to the accordion discussed above. However, the design of the button accordion units is much more complicated. 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, and ready-elective.

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

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

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

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

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

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

4. Orchestral button accordions - piccolo, prima, alto, tenor, bass, double bass. In their 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: piccolo button accordion has 3 octaves, prima - 4 octaves, alto - 31/2 octaves, tenor - 3 octaves, bass - 3 octaves, double bass - 21/2 octaves.

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

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

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

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

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

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

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

As you can see, the classification of instruments into types and families is suggested by the features of their design and method of sound production. If whistling ones have a whistle at their core, then reed ones have special plates - “reeds”, double or single. We made just such a squeaker in the form of a double tongue in a few seconds on a dandelion stem. In folk wind instruments, birch bark and thin plates made of reeds, goose feathers or bamboo, and some other thin materials that produce sound, such as plastic, can be used as a piston.

The blown-in stream of air encounters 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. Vibration occurs, the tongue sounds, and the column of air located in the bell resonates, amplifying this sound. The typical and most common instrument of this family is the pity.

Zhaleika

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

“...On the elderberry bush, under which the fire was glowing, I saw a pitiful thing.

Play!

He took the pity and started playing. There was something wild, melancholy, primitive in the melody.

Across the river, on the field of the Marat collective farm, a tall figure of a shepherd rose. Wild, melancholy sounds poured out from there too. The two people talked to each other for a long time.

“Oh, what a heartfelt conversation we had,” said “my” shepherd after finishing the game.”

Everything in this unpretentious story is figurative and true! And the fact that the shepherds played soulfully, sadly, and that this music “smells of the forest.”

Of course, the name of the instrument comes from the root of the words “to regret”, “pity”. The sound of pity is tart, sharp, but pitiful, crying, due to noticeable vibration (trembling).

The zhaleika is a wooden (willow, elderberry, reed) or (in our time) metal tube from 140 to 160 mm in length. A squeak is inserted into its upper end. A natural cow horn or birch bark bell is placed on the lower end as a resonator. It is because of this horn or bell that in some areas the pity is incorrectly called a horn. The tongue (pischik) in old zhaleks was cut directly 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 a pipe. Depending on the size of the penny, there can be different tunings, which is very important in ensemble and orchestral playing on them.

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

This instrument was also designed by N. Z. Kudryashov and has a number of innovations compared to the ancient folk pity. The main one is the method of attaching the pika. It should be thin (a few tenths of a millimeter, like a razor blade), even and smooth. Its approximate dimensions are indicated. The pischik is attached to a special voice tube (mouthpiece), with one open end inserted into the main tube of the pity. The mouthpiece is made of wood. Its upper end is deaf, and along the mouthpiece itself a rectangular narrow cut is made, which should be 2-2.5 mm narrower than the width of the squeak. The internal cavity of the tube should be visible through this cut. The length of the cut must exactly match the length of the squeak. The cut goes from the upper end of the instrument and ends with a rectangular threshold, into which the squeak placed on it will rest.

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

Usually the peep was tied with threads near the entrance of the mouthpiece to the main tube. Kudryashov suggested attaching it using a ring made from a polyvinyl chloride insulating tube (cambric), which every electrician has on hand. The progressiveness of this innovation lies not so much in the reliability and cleanliness of the fastening itself, but in another, more important issue. In order for the pity to have a well-defined set tuning, the peep by itself, without a resonator, must produce the main sound of this tuning (for example, G in G major). Previously, you had to struggle with its size for a long time to get the desired tone. Now, to do this, it is enough to change the size of the oscillating end of the squeaker 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 not only makes it easier to find the required tone, but also makes it possible to replace it, and therefore, if necessary, change the entire system of the pitty. This is a lot for modern musical practice.

Before playing, the squeaker must be soaked with saliva each time, otherwise it will sound bad and hoarse. You need to blow into the pity with some effort. The greater this effort, the higher its tuning can rise (within 1/2-1/4 tone), and vice versa. Folk performers use this to align their tuning when playing or to harmonize with singers.

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

Paired or double stingers are known and still exist, tuned and used in the same way as paired pipes. Unlike pipes, paired pipes are fastened together and united by one bell.

Bagpipes

Why are you playing bagpipes? Don't worry!

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 bellows, made of whole goat or calf skin, with pipes 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 squeaker is inserted into another hole; in some places - a pipe-type pika; in Russia, as a rule, they are kind of pathetic. This playing tube has finger holes cut into it. The leading melody is performed on it. One or two tubes are inserted into the neck hole, each producing just one, low, drawn-out sound, tuned to an octave, fourth or fifth to the main scale level of the melodic tube. These drawn-out sounds are called bourdons and sound continuously, like a harmonic background to the melody. It was precisely the monotonous sound of the bourdons that gave reason to compare the bagpipes with all the red tape and delay in business.

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

Bagpipes were spread virtually all over the world. In different countries and different peoples, it had its own individual design features, but the principle of its design is the same everywhere. Even most of the local names of bagpipes contain the same words: “bag” and “buzz”, “play”. Compare, for example, the English name of the bagpipe bagpipe (bag - bag, pipe - game, pipe), German Sackpfeife (zack - bag, pfeife - pipe), French cornemuse (ancient pipe), Dutch dudelsack (pipe bag), etc.

When playing, the bagpipes are held in front of you, or more often under the arm. The bellows is filled with air through the valve tube, and under its pressure the squeakers begin to sound. The sound of the bagpipe is continuous: during breaks in the air pumping, the bagpiper presses the bellows to the body, and the sound continues.

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

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

Surna

The history of music knows cases of a wide variety of mutual influences and interpenetration of instruments of different peoples, especially those neighboring geographically. 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 a more ancient civilization. It is precisely this kind of instrument that includes the surna, which is close to the Transcaucasian wind instrument zurna in name, structure, and sound.

Surna, sometimes called antimony or colza, was usually made from elm (a southern type 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, or even authentic copies of it have survived. 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 areas, then it is a wooden tube 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 ambu-shure instrument (see the next chapter), and possibly an embouchure-reed instrument. 6 In particular, the Russian surna (an instrument of the Terek Cossacks) shown in the figure was played in two ways: as an ambu-shurny and as a reed.

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

Keychain

This is one of the softest and most harmonious in timbre of the reed family of instruments. It is like an intermediate variety of zhaleika and surna. Its tube is almost straight, gradually widening towards a cone-shaped bell. Double reed, like an oboe. Hence the proximity of the sound to the latter. Essentially, this is a small oboe of folk origin. In all other respects (in terms of the number of holes, structure, technical and dynamic capabilities) the keychain 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 for the willow - bredina, from which it was made.

The figure shows the dimensions of the soprano G major keychain. It was played by a former artist of the choir orchestra. Pyatnitsky V. Voronkov. The body of his instrument is turned on a lathe from boxwood and consists of two halves inserted into one another. Voronkov used ordinary oboe reeds in his practice, which he made himself or bought in music stores. The sound of his instrument is gentle and beautiful in lingering melodies, sharp and playful 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 different shapes and produce musical sounds of different timbres, which are produced through air flow. The timbre of the “voice” of a wind instrument depends on its size. The larger it is, the more air passes through it, which makes its vibration frequency lower and the sound produced low.

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

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

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

Varieties of wind instruments

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

What instruments are wind instruments?

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

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

You can name some other similar tools.

Brass

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

Brass instruments (list):

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

Woodwinds

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

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

Reed musical instruments

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

List of tools of this type:

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

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

Where are wind instruments used?

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

Flute

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

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

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

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

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

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

Trombone

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

Khulus

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

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

Drawings for RF patent 2482552

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

For many years, the most common MIs of this type have traditionally used the ZOU design, which includes a body with pairs of hollow chambers located one 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 the required number to produce either a single pitch tone (one or more reeds tuned in unison) or a "spill" effect, in which additional reeds are detuned relative to the main tone to produce " beats." 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 a mutual arrangement of the elements of the MI and ZOU, the latter are largely covered by the elements of the MI body, 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 of a separate device with a piece of voice bar containing one reed, incl. Fig.1 - vertical section A-A of the ZOU housing from Fig.2; Fig.2 - section B-B from Fig.1; Fig.3 is a top view of the image in Fig.1. Figures 4 and 5 show a schematic diagram of the operation of the ZOU when the air flow is directed from the first external opening to the second external opening (Fig. 4) and in the opposite direction of the air flow (Fig. 5). In Fig.6 12 - an image of the ZOU valves with different fundamental valve designs and air flow directions, (in Fig.6 9 - with petal valves), and in Figs. 6 and 8 - a front view of the frame with an opening and a valve, in Fig. .7 and 9 are side views of the images in Figs. 6 and 8, respectively, and in Figs. 10 12 - the same when making valves in the form of cones, and in Fig. 10 is a front view of the frame with an opening and a valve, and in Fig. .11 and 12 are side views of the image in Fig. 10 with different directions of air movement, shown by arrows. Figures 13 and 14 show a front view of the voice bar with different reed arrangements. 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 appendix, Fig. 17 shows a general view of the accordion from the book mentioned above, on p. 1, by N.G. Rosenfeld et al. Fig. 18 is a photograph of two voice strips from the same source, made by the author of this application.

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

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

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

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

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

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

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

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

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

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

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

Work of ZOU and MI

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

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

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

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

CLAIM

1 Reed sound-generating device of a musical instrument containing

housing with inlet and outlet chambers;

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

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

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

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

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

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