EP1909259B1 - Accordéon - Google Patents

Accordéon Download PDF

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Publication number
EP1909259B1
EP1909259B1 EP07019665.4A EP07019665A EP1909259B1 EP 1909259 B1 EP1909259 B1 EP 1909259B1 EP 07019665 A EP07019665 A EP 07019665A EP 1909259 B1 EP1909259 B1 EP 1909259B1
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EP
European Patent Office
Prior art keywords
bass
harmonica
keys
reeds
reed
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EP07019665.4A
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German (de)
English (en)
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EP1909259A2 (fr
EP1909259A3 (fr
Inventor
Haslbeck Siegfried
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Haglmo & Co KG GmbH
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Haglmo & Co KG GmbH
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Publication of EP1909259A3 publication Critical patent/EP1909259A3/fr
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    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D11/00—Accordions, concertinas or the like; Keyboards therefor
    • G10D11/02—Actions

Definitions

  • the present invention relates to a harmonica or accordion according to the preamble of claim 1. More specifically, the present invention is concerned with the treble and bass mechanics as well as the arrangement and number of voice sticks and helicon tuning plates of a harmonica or accordion.
  • the mechanical actuation of the button is transmitted via a lever linkage with at least one hinge axis on a flap.
  • This flap opens a correspondingly provided opening.
  • the so-called "Styrian” harmonica is the characteristic form of a diatonic harmonica, which is used in folk music, especially in Bavaria, Austria, South Tyrol and Slovenia, and has decisively shaped it ,
  • the actual mechanism is constructed in a grip area that has been largely recessed, whereby the individual keys are fastened to a stainless steel axle, for example by brass straps.
  • a plate in which holes for the operation buttons are inserted so that only the operation buttons are visible.
  • the key levers are mounted on a common axis, in rare cases on instruments with five rows of keys on two axes.
  • the flip cover (s) are turned outward with the bass or accompaniment key depressed, opening openings that lead to the bass and accompaniment voices.
  • the bass keys are supported by recesses on the fingerboard of the bass section in translation guides.
  • Two-, three- or polyphonic voices are generally incorporated into the treble part of harmonica and accordion.
  • Two-guitars in treble parts means that when a key is pressed to produce a specific tone, two tongues are vibrated whose frequencies differ by a beat of up to six hertz.
  • the bass usually consists of a basic bass and a matching octave of the accompaniment set and the accompanying chord composed of three individual tones of the accompaniment set by means of a mechanical system of transmission shafts, button slides, shaft and driving pins.
  • the basses of the diatonic harmonica are subdivided according to the type of sound produced into tightly composed bass parts and accompanying chords.
  • helicopter basses The special sound of so-called helicopter basses is based, among other things, on the use of large tongues.
  • monozygotic and polychoral for example, depending on the number of tongues vibrated to produce a sound.
  • two-notes, basses or voices are always only one-part).
  • two tongues are vibrated by the pressure and suction air at two-key Helikonbässen at the touch of a button, for example, the fundamental tone C and its upper octave c.
  • a well-known in the art type of construction of the bass part of a harmonica or accordion with Helikonbtreun uses voice plates, in which two reeds already (reeds and its upper octave) are provided for both Beerströmraumen. These reeds have four reeds.
  • Other known designs use two separate voice plates, one producing the fundamental tone in both directions of airflow, and the second usually generating the first upper octave in both directions of airflow. These reeds each have two reeds.
  • the DE 28 50 420 Al and the US 4,159,664 A. each disclose an accordion, comprising a treble part with a treble mechanics and a bass part with a bass mechanism, wherein the treble mechanics is designed to ensure as uniform as possible addressing of the tone generation for all tones.
  • the DE 297 97 660 U1 and the AT 102 241 B each reveal a harmonica with the same key lever length ratios, but for keys in different rows a different key stroke is needed and therefore no uniform response of the sound production is guaranteed.
  • a non-level discant base is known which is not suitable for itself in order to ensure a uniform response of the tone generation.
  • the invention aims to provide a harmonica whose mechanics are simple and functionally and arrangementally better than in the prior art.
  • the treble mechanics has in the previously known constructions in both "open” and “hidden” design the disadvantage that in a equipped with several rows of keys harmonica due to the different spacing of the rows of keys as well as due to the different distance of the voice sticks to the axes not only different lever lengths, but also provide particularly long lever lengths for outer rows of keys.
  • the lever lengths and leverage are the example of a 4-row harmonica with "open” mechanics in the Fig. 2 and as an exploded view of the treble lever in in the Fig. 2 and as an exploded view of the treble lever in the Fig. 3b shown.
  • Corresponding designs are also common with two, three or more than four rows.
  • the voice sticks are sorted in reversed order to the previously known construction on a purpose specially shaped treble so that using a number of button rows preferably the same number of axes, which are positioned so that the distances to keys and keys are at least substantially the same across all key levers, the key lever lengths and keys lever length ratios are insignificantly different, at least substantially the same, over all key levers of the entire keyboard.
  • the outermost rows of keys thereby serve the openings of the vocal stock nearest the back of the instrument, the second outermost row of keys that of the second closest to the back, and so on, to the innermost row of keys which serve the openings of the vocal stock closest to the front of the instrument.
  • the bass mechanics of accordions and accordions have a number of joints, swivel axes and other, design-related Transmission elements mechanical disadvantages in the form of friction at these joints and / or used push and slide transmissions, as well as by torsional stresses of the linkage along the wire axis.
  • the increased elasticity of a wire or rod in torsion about or along the wire axis causes a tactile and undesirable softness of mechanical transmission from the bass button to the flap cover.
  • every joint required for transmission shows signs of wear after some time, which do not allow a permanent and exact function of the mechanism.
  • the arrangement and use of rotary and transmission elements is in the case of diatonic harmonica the example of the Styrian harmonica in the Fig. 2 and in the case of the chromatic accordion in the Fig. 8 shown.
  • the bass mechanics changed so that in the case of diatonic harmonica no joints and no rotation of a transmitting element and more by the same application in the chromatic accordion a maximum of three rotatable or steerable designed transfer elements between the bass or accompaniment keys and the associated flap lids occur.
  • the flap opening is executed inwardly.
  • the transmission linkage is a pure push linkage which has no articulation or rotation elements and, in the case of chromatic instruments, is reduced to substantially fewer transmission elements in comparison to previous designs.
  • the conical shape of the flap lid, which sinks when closing in the partition wall, allows a reduction in the space requirement of the lid inside the instrument to the passageway between shaft walls and To open flap covers for the air flow as far as possible.
  • the sorting of the bass control panels in the bass section and the Kanzellensammlung and air ducts designed so that without exceeding the conventional sizes, an installation of 12technischc culinaryigen Helikonbêtn in chromatic accordion and in the case of diatonic harmonica an extension of the range on the one chromatic scale is possible.
  • this is accomplished by incorporating two separate reeds, one producing the fundamental and the second either the same root or first octave thereto. It is to create the condition that no component, which is responsible for generating the bass tones, protrudes into the bellows cavity and the width of a bass shaft does not exceed the dimension of a monochrome Helikonbassstimmplatte.
  • This construction makes it possible, on the one hand, to utilize the full width of the bass enclosure for the installation of twelve two-armed helicopter basses and, on the other hand, that the bellows cavity is available for an extension of the accompanying chord arrangement. The same arrangement with identical sound character can be built into the chromatic accordion in combination with the described bass mechanics.
  • the two voice plates are arranged in the first variant perpendicular or nearly perpendicular to each other.
  • the Grundtonstimmplatte is installed at least substantially horizontally and leaves on the side facing the back of the voice plate a sufficiently large air opening between the voice plate and the rear wall of the base part for the second voice plate free.
  • the second voice plate is installed standing parallel or nearly parallel to the back of the base part, wherein the cavity between the voice plate and the rear wall of the base part is used as Kanzellenraum this voice plate.
  • the second voice plate is arranged parallel or nearly parallel over the Grundtonstimmplatte, wherein the air channel thereof opens into a sufficiently large opening between the first Grundtonstimmplatte and the back of the instrument.
  • the second voice plate can be designed as a second fundamental tone or optionally first upper octave to the fundamental tone.
  • the invention is used to achieve the o.g. A goal in particular created a harmonica or an accordion, comprising a Diskantteil with a treble mechanics and a Bassteil with a bass mechanics, the treble mechanics is designed to ensure a uniform for all tones speech of the sound production.
  • the treble mechanics contains at least three rows of key levers which are pivotally mounted on parallel axes and those with respect to the respective axis on one side at a key distance L1 from the respective axis keys and on the other side in a flap distance L2 of associated with the respective axis flap lid, and that with respect to different rows of button levers, the key spacings L1 are at least approximately equal and the flap distances L2 are at least approximately equal.
  • the treble mechanics comprise at least three rows of key levers which are pivotally mounted on parallel axes and keys with respect to the respective axis on one side at a key distance L1 from the respective axis buttons and on the other side in a flap distance L2 of the associated with respective axis flap lid, and that with respect to different rows of button levers, the length ratios L1 / L2 of the key spacings L1 to the flap distances L2 are at least approximately equal.
  • the treble part with the treble mechanics contains at least three rows arranged keys on key levers, the key levers of the keys of a row are pivotally mounted on a common axis and openings by means of flap covers in a Diskantboden to behind lying voice sticks with voice plates and Close the reeds and release on actuation of the associated key, and / or that the bass part contains the bass mechanism with flap lids and rods, buttons and an array of reeds and reeds, a key press releases a corresponding air channel to the reeds and reeds.
  • the treble mechanics comprises at least three rows of key levers which are pivotally mounted on parallel axes, and that in the treble part a treble floor is shaped so that each axis in or nearly parallel to the plane passing through the closing surface of a flap cover Key lever is mounted on exactly this axis, is clamped, is.
  • the base part flap lid contains, which are pressed by means of a push rod for opening air ducts in the instrument interior, and that the push rod transmits the operation of keys in particular without pivoting and pivot axis free on the flap cover.
  • the flap cover are conically shaped, the side of the flap cover directed towards the instrument interior does not differ or not significantly differ in shape from the side of the flap cover facing the outside of the instrument, but the two sides are of different sizes and depress the flap lid with not pressed keys in accordance with the flap lid conically shaped openings.
  • flap cover are provided in the base part, which are conically shaped and sink at not pressed keys in accordance with the flap caps conically shaped openings.
  • an arrangement of helicon tuning plates is chosen so that in conventional construction without significant change in size and the same number of helicopter basses a significant gain in space inside the instrument is to bring about.
  • a still further preferred embodiment is that in the base part, the width of air ducts and chamber spaces is not substantially greater than the width of each executed with only one reed for an air flow Helikonstimmplatten, preferably arranged at least approximately perpendicular to each other in the manner are that to a reed plate, which lies horizontally at the upper edge of the base part and on its side directed to the back of the instrument sufficiently large air opening for a seated behind this opening, second voice plate, this second reed plate is installed so that no component , which is necessary for the production of the bass tones, higher than the base part itself and does not project into the cavity of a bellows arranged between the base part and the discant part and in particular at the same time each of the basses is impresschörig.
  • the width of air ducts and chamber spaces is not substantially greater than the width of each with only one reed for an air flow direction
  • Helikonstimmplatten preferably arranged at least approximately parallel standing in the manner are that to a reed plate, which is horizontal and on its rear side of the instrument side facing a sufficiently large air opening for a seated behind this opening, second reed plate, this second reed plate is installed, so that no component that is used for the production the bass sounds is necessary, is higher than the base part itself and does not protrude into the cavity of a arranged between the base part and the Diskantteil bellows and in particular at the same time each of the bass is impresschörig.
  • an emerging between the back of the base part and a preferably at least almost perpendicular voice plate Cavity as a pulpit space is available or used.
  • reed plates standing in the bass section have reeds with the first upper octave to the root note and shorter overall length than reeds of a same air channel.
  • Yet another preferred embodiment is that in the base part accompanying stalks are provided, of which at least one does not exceed the height of the base part and does not protrude into the cavity of a bellows arranged between the base part and the discant part.
  • Fig.1 is a cross-section of a harmonica constructed according to the invention, which includes a Diskantteil 18 with open treble mechanics, a base portion 33 and a bellows 31 located therebetween.
  • the treble part 18 consists of a fingerboard 21, button levers 24 with buttons 23 and flap lids 25 and thereto arranged vocal sticks 27.
  • the keys 23 are arranged in four rows and respectively via the key lever 24 with the attached at the other end of the key lever flap covers 25th connected, the openings 26 in the treble base 19 close.
  • the key lever 24 are pivotally mounted on axes 22.
  • the key lever 24 are largely covered by the axes 22 to including the flap cover 25 of a top plate 30.
  • the key lever 24 is biased so that the flap cover 25 in the idle state, the openings 26 in the treble base 19 close.
  • Behind the openings 26 are in the instrument inside voice sticks 27 with reed plates 28, wherein reeds 29 are arranged. These reeds 29 each generate a sound when pressed or pulled on the base part while pressing the buttons 23, whereby the flap cover 25, the openings 26 release.
  • the keys of the row of keys 23 a actuate the pivotally mounted on the axis 22 a key lever 24 with flap lids 25 which close the openings 26 to the underlying, the row of keys 23 a next voice pole 27 a.
  • the keys of the row of keys 23 b actuate the pivotally mounted on the axis 22 b key lever 24 with flap lids 25 which close the openings 26 with the underlying verbunar 27 b.
  • the keys of the row of keys 23 c actuate the pivotally mounted on the axis 22 c button lever 24 with flap lids 25, which close the openings 26 with the underlying vocal cords 27 c.
  • the keys of the row of keys 23 d actuate the pivotally mounted on the axis 22 d key lever 24 with flap lids 25, which close the openings 26 with the underlying of the row of keys 23 d furthest away dowel 27 d.
  • the voice sticks 27 are arranged on the disc shaped bottom 19 according to the invention so that the order of the rows of keys 23 a, b, c, d from outside to inside in the order of the voice sticks 27 a, b, c, d reflected from back to front, wherein behind as the side of the instrument applies to the handle part 21 sits.
  • the bass section 33 consists of an arrangement of Helikonstimmplatten 2 a and 2 b with reeds 3 a and 3 b and Kanzellendon 1. He also has a companion voice 4 with voice plates 5 and 4 reeds.
  • the base part 33 externally shows a plurality of basal funnels (not visible) as sound outlets, a hand strap 36 and several harmonica feet 35.
  • the bass buttons 12 are arranged in rows, two rows being shown by way of example.
  • conical flap lid 9, 10 close at rest according to conically shaped openings in the open state, the air flow generated by pulling and pressing the base 33 from the Balginneren or in the Balginnere by the voice plates 2a, 2b, 5 and reeds 3a, 3b, 6, whereby the reeds 3a, 3b, 6 produce a sound. If the voice plates 5 are addressed with the reeds 6 of the accompanying voice stick 4, an opening 8 is provided for the air flow.
  • a conically shaped flap lid 11 closes a correspondingly conical opening, which leads directly into the interior of the instrument, which allows air to be supplied into and removed from the bellows 31 without producing any sound.
  • the flap lid 11 is operated by means of an air key 34.
  • the conically shaped flap cover 9, 10, 11 are pressed according to the invention by transmitting the keystroke of the bass buttons 12 and the air key 34 by means of a push rod 14 without pivot or axle joints in the instrument interior to release the openings for the air flow.
  • the push rod 14 is mounted on a guide 40, 43, 45.
  • the adjusting rod attached to the push rod 42, 47 takes on pressing the bass buttons 12 or the air key 34 compression springs 41, 46 and pushes against the edge of a guide 40, 45 and generates the restoring force of the flap lid 9, 11 to push the flap lid 9, 11 back into the openings when releasing the bass button 12 or the air key 34.
  • the flap cover 10 takes in the same way as adjusting rings 42, 47 with a compression spring 44 and pushes it against the edge of a guide 43 of the push rod and thus generates the restoring force for the flap cover 10 to push it back when released into the opening.
  • the compression springs 41, 44, 46 are biased at rest so that they press the flap lid 9, 10, 11 sufficiently strong in the associated openings, so that no air flow without pressing the bass buttons 12 or the air key 34 take place in or out of the instrument can.
  • Fig. 2 is a cross section of a known in the prior art harmonica shown, wherein the same numbering as in Fig. 1 was chosen.
  • the in this Fig. 2 The harmonica shown differs from the accordion according to the invention in that in the treble part 18, the order of the voice sticks 27 a, b, c, d from back to front is reversed to the order of the key rows 23 a, b, c, d from outside to inside , the keys of the row of keys 23 a with the flap covers 25, the openings 26 of the outermost row of keys 23 a furthest distant voice stick 27 a, the keys of the next inner row of keys 23 b of the next inner sound board 27 b, etc., to the keys of the row of keys 23 d serve the openings 26 of the key row 23 d nearest vocal cord 27, and on the other by the fact that the treble base 19 is flat and / or has no deformations.
  • the bass part of the in the Fig. 2 differs from the bass part of the accordion according to the invention in the Fig. 1 in that the bass-dash panels 2 are all arranged side by side and horizontally, that the flap covers 9, 10, 11 close the openings from the outside, while the Flap lid 9, 10, 11 are substantially larger than the openings they close, and that the actuation of the bass buttons 12 and the air key 34 via a linkage 14 and at least one pivot 15 is transmitted to the flap lid 9, 10, 11 ,
  • the treble mechanics of the Fig. 2 The accordion has different lengths of treble lever.
  • the playability and ergonomics of the keyboard is therefore dependent on the currently playing row and is not the same across the entire keyboard. Absolute equality of playability and ergonomics can not be achieved here.
  • the bass mechanics has swivel and axle joints. Experience has shown that after some time, these joints show signs of wear which - just like the indirect transmission of bass button 12 and air button 34 to the flap lid 9, 10, 11 through the joints - do not allow permanent and exact playability of the mechanism.
  • the Fig. 3a shows a schematic, compared to the figure of Fig. 1 enlarged or exploded view of a preferred construction of the key lever 24 a, b, c, d according to the invention using the example of an open mechanism.
  • Material and design of the key lever may differ in a hidden mechanism of the key levers 24 a, b, c, d shown here.
  • the key lever 24 a, b, c, d are made of wood, plastic or similar materials for the part of the key lever from a key to about the axis of the lever. But steel, iron alloys, aluminum or aluminum alloys are used to make the complete key lever or for the part of the key lever from the axis to the flap lid.
  • the key lever 24 are mounted on the axles 22.
  • the keys 23 are mounted on the key lever 24 at a distance L1 to the axis 22 and the flap cover 25 at the other end of the key lever 24 at a distance L2 to the axis 22.
  • the compression springs 20 are attached, via the key lever 24th Press the flap lid 25 on the openings 26 of the treble floor 19. Both the lengths L1, L2 and the length ratios L1 / L2 of the four illustrated key levers 24a, b, c, d are approximately equal.
  • Fig. 3b shows an exploded view of the construction of the key lever 24 a, b, c, d using the example of an open mechanism according to the prior art with keys 23, key lever 24 with compression springs 20 and flap cover 25.
  • Both the lengths L1, L2 and the aspect ratios L1 / L2 of the four key levers 24a, b, c, d are for the most part very different.
  • the bass part 33 according to the invention is in a schematic side view and correspondingly offset cross-sections in a front view with the Helikonstimmplatten 2 a and 2 b, the reeds 3 a and 3 b, the Kanzellenchel 1, the louvers 9, 10, 11 and the bass buttons 12 and the escorting 4 represented with the voice plates 5 and the reeds 6.
  • Fig. 4a is the base part 33 in a first variant, as already associated with the Fig. 1 was presented.
  • the same base part 33 is shown in a sturdier design with a lower height corresponding to the usual proportions of a Styrian harmonica.
  • the Fig. 4c shows the base part 33 in a second variant. Both variants have in common that on the one hand both voice plates are in an air duct and the shaft width of the air duct is not wider or significantly wider than the width of the voice plate 2a of the fundamental, and that on the other the arrangement of the voice plates 2a and 2b with the associated Kanzellenchel 1 and air ducts do not protrude into the bellows cavity.
  • Fig. 4a as well as in the Fig. 4b are the Helikonstimmplatten 2 a and 2 b, each with two reeds 3 a and 3 b, so one executed for each air flow direction.
  • the helicon tuning plate 2b is at least approximately perpendicular to the helicon tuning plate 2a and arranged so that both helicon tuning plates 2a, 2b are in the same air passage.
  • the Fig. 4c shows the representation of the base part 33 according to the invention in a second variant, according to which the second voice plate 2b is parallel or nearly parallel over the first.
  • the helicon tuning plate 2a has two reeds 3a, each with the basic tone of the bass to be generated.
  • the reeds 3a are mounted so that one of the two reeds 3a responds only by the air flow by pulling and the other only by the air flow by pressing the base part.
  • the voice plate 2b also has two reeds 3b having the same characteristics in pressing and pulling the base.
  • the air flow is provided by both voice plates 2a, 2b by opening a flap 9, whereby both voice plates 2a, 2b with reeds 3a, 3b together produce a sauc culinaryigen bass sound. It produces both in the designs according to the Fig.
  • Air-flow also preferably to the voice plate 2a parallel voice plate 2b also the fundamental tone or optionally the first upper octave of the basement to be generated.
  • both the helicon tuning plates 2a, 2b and the accompanying tuning stick 4 are arranged such that none of the components projects beyond the height of the base part or into the bellows cavity and the space between rear wall of the base part 33 and helicon tuning plate 2b as the cockpit space 1 to the voice plate 2b (as according to the Fig. 4a and 4b ) or as an air guide shaft to the overhead voice plate 2b (as shown in the Fig. 4c ) is being used.
  • An opening which remains free between the Helikonstimmplatte 2 a and the rear wall of the base part 33, ensures the air supply to the chamber space 1 of the Helikonstimmplatte 2 b.
  • Both the section 1 and the section 2 shows a complete width of an air duct with two voice plates and two Kanzellenjur 1, so that on the one hand each bass is sauchörig and on the other when using the full width of a Styrian harmonica in typical design a total of twelve Helikonbêt in the Instrument can be installed.
  • Fig. 5a is an embodiment of a base part 33 of a harmonica according to the prior art shown with two offset cross-sections.
  • This is the front view of the base 33 as it is already in the Fig. 2 was shown as a side view.
  • the Helikonstimmplatten 2 are here executed with four reeds, so two for each air flow direction and arranged side by side horizontally above the Kanzellenraum 1.
  • Fig. 5b 1 shows an embodiment of a bass part 33 of a harmonica according to the prior art with two staggered cross sections in a front view, in which the accompanying voice stick is located in the rear part of the bass part 33.
  • the Helikonstimmplatten 2 which are executed here with four reeds, so two reeds for each air flow direction, are standing on both sides, ie rear and front, arranged a Helikonstimmstocks. In this illustration, only the front of Helikonstimmstock arranged Helikonstimmplatten 2 can be seen.
  • the Helikonstimmplatten 2 protrude into the Balgraum so that the number is spatially limited laterally by the Balgfalten in the Balgraum.
  • FIG. 5c A further embodiment of a base part 33 of a harmonica according to the prior art with two offset cross sections is shown in a front view.
  • the Helikonstimmplatten 2 a and 2 b are each executed with two reeds, so one for each air flow direction and on a Helikonstimmstock perpendicular to each other so arranged so that both Helikonstimmplatten 2 a, 2 b are in the same air passage.
  • the Kanzellenippo 1 are generated by the parallel to the Helikonstimmplatten 2 a, 2 b partitions to the air duct.
  • An opening at the level of attachment of the reeds 3a, 3b to the bass plates 2a, 2b allows the air flow to the air duct.
  • In the front bass part sits in a remaining through the rectangular arrangement of Helikonstimmplatten cavity of the companion voice 4 with the voice plates 5 and the reeds. 6
  • Basstasten 12 operate the louvers 9, 10 via a linkage 14 with at least one rotary or pivot joint 15 such that the flap lid 9, 10 are rotated away to the outside or down.
  • the cavity used for this movement of the flap lid 9, 10 can not be used for the optimization of the arrangement of the Helikonstimmplatten 2 or 2a and 2b with respect to an increase in the number of Helikonstimmplatten 2 or 2a and 2b.
  • the invention has been explained here using the example of a diatonic or Styrian harmonica with four rows of keys in the treble part and two rows of keys in the bass part.
  • the invention or parts thereof may, if necessary, after a slight adaptation, within the average of those skilled in the art is installed in any harmonica and accordion that has a treble mechanic with more than one row of keys or bass mechanics, or that has helicon basses with helicon tuning tongues, or that wants the sound quality of helicon basses.
  • FIG. 6 is an inventive embodiment of a separate assembly of the bass flaps shown in two perspectives.
  • the assembly can be seen in the closed state.
  • a valve flap 51, a valve frame 50 and compression springs 51 replace the flap cover 9, the guide 40, the compression spring 41 and the adjusting ring 42 from the Fig. 1 . 4a . 4b and 4c .
  • the valve flap 51 has four guide rings, which are mounted on four guide rods of the valve frame 50.
  • the valve flap 51 fits accurately and thus airtight in the recess of the valve frame 50 a.
  • the valve frame 50 can be cut into a corresponding cutout of a bass base 70 (cf. Fig. 7 ) are used.
  • Compression springs 52 are biased to hold the valve closed.
  • this assembly is shown in opened side view.
  • the Fig. 7 shows above the excerpt from an inventive embodiment of a chromatic chord mechanism using the assembly, as shown in the Fig. 6 is shown.
  • a button slider 63 By pressing the chord button, a button slider 63 is moved, which rotates three or more or less of a total of twelve chord waves 61 via a driving pin 62 fixed to the button slider 63 and a shaft pin 60 fixed to a chord shaft 61.
  • Each of the chord waves 61 is assigned to one of the twelve tones of the chromatic scale or actuates a corresponding chord flap to an opening with an arrangement of reeds to produce the tone.
  • a boom 59 connected thereto pushes the valve flap 51 coupled to the boom 59 out of the valve frame 50 and opens the air supply to the corresponding one Arrangement of reeds and reeds behind this opening.
  • the button slider 63 By pressing a bass button, the button slider 63 is moved, which rotates one of usually twelve bass waves 68 and preferably also one of the usually twelve chord waves 61 via a driver pin 62 attached to the button slider 63 and a shaft pin 60 attached to a bass shaft 68 or chord wave 61.
  • Each of the bass waves 68 is assigned to one of the twelve bass tones of a chromatic scale and actuates a corresponding bass flap to an opening with an array of reeds to create the bass.
  • the additionally controlled chord wave allows the generation of the same tone in another octave.
  • the button slider 63 By pressing the chord button, the button slider 63 is moved, which rotates three of the twelve chord waves 61 via a driving pin 62 fixed to the button slider 63 and a shaft pin 60 fixed to a chord shaft 61.
  • Each of the chord shafts 61 moves via a shaft pin 60 a finger slider 64 which moves a clavis lever 65 rotatably supported on a bearing shaft 66 such that the associated chord flap 67 releases an air opening to an array of reeds.
  • the Fig. 8 shows an excerpt from a chromatic bass mechanism according to the prior art.
  • the button slider 63 By pressing the chord button, the button slider 63 is moved, which rotates three of the twelve bass waves 68 via a driving pin 62 fastened to the button slider 63 and a shaft pin 60 fastened to a bass shaft 61.
  • Each of the bass waves 61 moves via a shaft pin 60 a finger slide 64 which moves two clavis levers 65 rotatably mounted on a bearing shaft 66 such that the associated bass flap 69, together with an associated chord flap 67, opens air to an array of reeds releases.

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  • Engineering & Computer Science (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Stringed Musical Instruments (AREA)
  • Vehicle Interior And Exterior Ornaments, Soundproofing, And Insulation (AREA)

Claims (14)

  1. Harmonica ou accordéon, comprenant un partie dessus (18) muni d'un mécanisme dessus et un partie basse (33) muni d'une mécanisme de basse, le mécanisme dessus étant conçu pour garantir une réponse des sons générés la plus régulière possible pour tous les sons,
    caractérisé en ce,
    que le mécanisme dessus comprend au moins trois rangées de leviers de touches (24 a, b, c, d) qui sont montés de manière pivotante sur des axes parallèles (22) et auxquels sont associés, par rapport à l'axe respectif, des touches (23 a, b, c, d) sur un partie, avec un écart des touches (L1) par rapport à l'axe respectif (22), et des couvercles de clapet (25) sur l'autre partie, avec un écart des clapets (L2) par rapport à l'axe respectif (22) et
    en ce que par rapport à différentes rangées de leviers de touches (24 a, b, c, d), les écarts des touches (L1) sont au moins approximativement identiques et en ce que les écarts des clapets (L2) sont au moins approximativement identiques.
  2. Harmonica ou accordéon selon la revendication 1,
    caractérisé en ce
    que par rapport à différentes rangées de leviers de touches (24 a, b, c, d), les rapports en longueur L1/L2 des écarts des touches (L1) par rapport aux écarts des clapets (L2) sont au moins approximativement identiques.
  3. Harmonica ou accordéon selon l'une quelconque des revendications précédentes,
    caractérisé en ce,
    que dans le partie dessus (18), un fond dessus (19) est formé de manière à ce que chaque axe (22) soit situé dans le plan ou de manière la plus proche parallèlement au plan qui est défini par la surface de fermeture d'un couvercle de clapet (25), dont le levier de clapet (24 a, b, c ,d) est monté exactement sur cet axe.
  4. Harmonica ou accordéon selon l'une quelconque des revendications précédentes,
    caractérisé en ce,
    que le partie basse (33) comprend des couvercles de clapet (9, 10, 11) qui sont enfoncés à l'intérieur de l'instrument à l'aide d'une timonerie de poussée (14) pour ouvrir des canaux d'air et en ce que le timonerie de poussée transmet l'actionnement de touches (12) sur les couvercles de clapet (9, 10, 11) notamment sans articulation cylindrique et sans axe de pivotement, de sorte que le mécanisme de basse est conçu pour garantir une réponse des sons générés la plus régulière possible pour tous les sons.
  5. Harmonica ou accordéon selon la revendication 4,
    caractérisé en ce,
    que dans le partie basse (33) sont ménagés des couvercles de clapet (9, 10, 11) qui sont formés de manière conique et qui, lorsque l'on n'appuie pas sur les touches (1.2, 34), s'enfoncent dans des ouvertures formées de manière conique correspondant aux couvercles de clapet (9, 10, 11).
  6. Harmonica, ou accordéon selon la revendication 4 ou 5,
    caractérisé en ce,
    que dans le partie basse (33) un agencement de plaquettes anches d'hélicon est sélectionné de manière à ce qu'en cas de construction traditionnelle, plus de 10 basses d'hélicon bi-sonores puissent être installées sans modification traditionnelle de la taille typique de l'instrument.
  7. Harmonica ou accordéon selon l'une quelconque des revendications 4 à 6, caractérisé en ce
    que dans le partie basse (33) un agencement disposition de plaquettes anches d'hélicon est sélectionné de manière à ce qu'en cas de construction traditionnelle, un gain d'espace important soit à obtenir à l'intérieur de l'instrument sans modification essentielle de la taille de construction et avec le même nombre de basses d'hélicon.
  8. Harmonica ou accordéon selon l'une quelconque des revendications 4 à 7, caractérisé en ce,
    que dans le partie basse (33), la largeur de canaux d'air et de cellules (1) n'est pas essentiellement plus grande que la largeur de plaquettes anches d'hélicon réalisées avec respectivement seulement une anche pour un sens du flux d'air, lesquelles sont de préférence disposées debout au moins approximativement verticalement les unes par rapport aux autres de manière à ce que, pour une plaquette anche (2a), qui est située horizontalement sur le bord supérieur du partie basse (33) et qui, sur son partie orienté vers le partie arrière du partie basse (33), laisse une ouverture d'air suffisamment grande pour une deuxième plaquette anche (2b) située derrière cette ouverture, cette deuxième plaquette anche (2b) soit installée, de sorte qu'aucun composant, qui est nécessaire pour générer les sons de basse, n'est plus haut que le partie basse (33) lui-même et ne dépasse pas dans la cavité d'un soufflet (31) disposé entre le partie basse (33) et le partie dessus (18) et que notamment chacune des basses est en même temps bi-sonore.
  9. Harmonica ou accordéon selon l'une quelconque des revendications 4 à 8,
    caractérisé en ce,
    qu'une cavité, se créant entre le partie arrière du partie basse (33) et une plaquette anche (2b) située de préférence au moins approximativement verticalement, est disponible ou est utilisée en tant que cellule (1).
  10. Harmonica ou accordéon selon l'une quelconque des revendications 4 à 7, caractérisé en ce,
    que dans le partie basse (33), la largeur des canaux d'air et des cellules (1) n'est pas essentiellement plus grande que la largeur de plaquettes anches d'hélicon réalisées avec respectivement seulement une anche pour un sens du flux d'air, lesquelles sont disposées de préférence debout au moins approximativement parallèlement les unes aux autres de manière à ce que pour une plaquette anche (2a), qui est située horizontalement et qui, sur son partie orienté vers le partie arrière de l'instrument, laisse une ouverture d'air suffisamment grande pour une deuxième plaquette anche (2b) située derrière cette ouverture, cette deuxième plaquette anche (2b) soit installée, de sorte qu'aucun composant, qui est nécessaire pour générer les sons de basse, n'est plus haut que le partie basse (33) lui-même et ne dépasse pas dans la cavité d'un soufflet (31) disposé entre le partie basse (33) et le partie dessus (18) et que notamment chacune des basses est en même temps bi-sonore.
  11. Harmonica ou accordéon selon l'une quelconque des revendications 4 à 10,
    caractérisé en ce,
    que des plaquettes anches (2b) placées debout ou horizontalement dans le partie basse (33) ont des anches (3b) ayant le même son fondamental et la même longueur de construction que des anches (3a) d'un même canal d'air.
  12. Harmonica ou accordéon selon l'une quelconque des revendications 4 à 11,
    caractérisé en ce
    que des plaquettes anches (2b) placées debout ou horizontalement dans le partie basse (33) ont des anches (3b) ayant le même son fondamental et une longueur de construction plus courte que des anches (3a) d'un même canal d'air.
  13. Harmonica ou accordéon selon l'une quelconque des revendications 4 à 12,
    caractérisé en ce,
    que des plaquettes anches (2b) placées debout dans le partie basse (33) ont des anches (3b) ayant la première octave supérieure par rapport au son fondamental des anches d'un même canal d'air et une longueur de construction plus courte que des anches (3a) d'un même canal d'air.
  14. Harmonica ou accordéon selon l'une quelconque des revendications 4 à 13,
    caractérisé en ce,
    que des sommiers d'accompagnement (4) sont ménagés dans le partie basse (33), dont au moins un une ne dépasse pas la hauteur du partie basse (33) et ne dépasse pas dans la cavité d'un soufflet (31) disposé entre le partie basse (33) et le partie dessus (18).
EP07019665.4A 2006-10-06 2007-10-08 Accordéon Active EP1909259B1 (fr)

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Families Citing this family (6)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
FR2945146B1 (fr) * 2009-04-30 2011-07-01 Thierry Gaboriau Accordeon diatonique a tables de montage inclinees
DE202011109232U1 (de) 2011-12-19 2012-01-31 Erich Sokollik Baßmechanik für ein Handzuginstrument
CN104616642B (zh) * 2015-01-06 2017-09-15 云南格律乐器制造有限公司 一种能自动调平的手风琴音孔盖
DE102019000364B3 (de) * 2019-01-18 2019-08-22 Hohner Musikinstrumente Gmbh Handharmonika
IT202100003890A1 (it) * 2021-02-19 2022-08-19 Valerio Chiovarelli Sezione dei bassi di una fisarmonica e fisarmonica comprendente tale sezione dei bassi
DE102023000867B3 (de) 2023-03-08 2024-04-25 Leonhard Schmid Diskantmechanik und Handzuginstrument

Citations (1)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
AT402241B (de) * 1995-06-07 1997-03-25 Jamnik Hermann Bassteil für eine harmonika

Family Cites Families (4)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
DE917228C (de) * 1952-11-05 1954-08-26 Hohner Ag Matth Handharmonika
DD134686A1 (de) * 1977-12-22 1979-03-14 Helmut Hoyer Tastatur fuer knopfgriffakkordeon
US4159664A (en) * 1978-02-03 1979-07-03 Mastronardi Enrico M Keyboard assembly for an accordion
AT1525U1 (de) * 1996-06-14 1997-06-25 Ernst Strasser Tastenmechanik einer ziehharmonika

Patent Citations (1)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
AT402241B (de) * 1995-06-07 1997-03-25 Jamnik Hermann Bassteil für eine harmonika

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EP1909259A3 (fr) 2010-08-25

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