Methods of learning to play folk instruments. Methodical development of Dorchenkova E

The program of the circle "Ensemble of Russian Folk Instruments" Implementation period 3 years
Explanatory note

Music lessons play a big role both in the formation of spiritual culture, moral qualities of the individual, and in the artistic and aesthetic development of the younger generation. The history of performance on musical instruments dates back to the most ancient periods of the formation and development of human culture as the main component of the spiritual sphere of man.
The study of various types of musical art contributes

• comprehension and perception by children of the surrounding reality. At the present stage, the importance and value of music education for the younger generation cannot be underestimated. Musical culture is one of the most important facets in the concept of a cultured person. The content of the program is aimed at developing the motivation of the individual for self-knowledge and creativity, familiarizing students with the values ​​of world culture.

The program includes the features of an advanced school of ensemble performance. Specific requirements for students for each year of study and an approximate list of musical works recommended for showing during the academic year in tests are proposed.

Art is a necessary part of human life. Art is his soul. “The problem of spirituality is very acute in our society,” we constantly repeat and are looking for ways to solve this problem in the correct upbringing of a Person at the very beginning of his journey, in childhood. The task of music teachers is to awaken in our children an interest in themselves, their capabilities, abilities. Explain to them that the most interesting is hidden in themselves, make creative activity a need, and art a natural, necessary part of life.

The musical education of children should be directed, first of all, to the development of susceptibility to the language of music, the ability to respond emotionally, as well as to the activation of auditory abilities and needs to listen to music. It is important to captivate a child with music, develop his artistic worldview, regardless of whether he becomes a professional musician or just a music lover.

An ensemble is a kind of collective music-making, which has been practiced at all times, at every opportunity and at any level of instrument proficiency. Almost all outstanding composers wrote in this genre. They wrote both for home music-making, and for intensive study and concert performances.

Folk musical instrumental performance occupies one of the leading places in the system of musical and aesthetic development.

Collectivity is the basis of folk instrumental performance. “As for the question of attracting the masses on the widest scale to active participation in art, it is clear that of all other types (of art) most suitable for this purpose, it is precisely the collective occupation of music on .... folk instruments,” said the Russian balalaika composer, the first creator and leader of the Great Russian Orchestra, V.V. Andreev.

Duets, trios, quartets of Russian folk instruments have gained wide distribution and popularity in professional art in musical educational institutions. Ensembles have always enjoyed constant success with the audience due to their wide artistic, expressive and technical capabilities. Our task is to take advantage of this popularity to attract more students, to educate them in a good musical taste by the method of collective performance in an ensemble.

At the end of the program there is a list of references that can be used in practical activities.

Novelty, relevance, pedagogical expediency.

The methodology of music teaching is being developed and updated. Old programs contain valuable material, but they already require repertoire additions and more detailed development on the formation of an ensemble from the standpoint of new working conditions.

When developing this program, the programs of the Ministry of Culture “The class of the ensemble of folk instruments. Orchestral Class”, M., 1979 and “Musical Instrument”, M., 1988 to provide solutions to the problems of an individual, differentiated approach to learning.

Purpose of the program.

Creating conditions for the development of the student's musical abilities through mastering the instrument, developing ensemble playing skills, instilling in children a love for music, playing music, practical application of knowledge and skills in further life activities, strengthening mental and physical health, becoming a creative person in learning to play the instrument.

Program objectives.

This program allows you to solve the following tasks:
Educational .
1. Formation of skills of collective creative music-making: - intralobar pulsation;

The ability to hear the sound of your part;

The ability to hear the part of the partner;

The ability to hear the sound of the ensemble as a whole;

The ability to achieve the identity of the performance of all elements of the musical fabric (strokes, sound production, dynamics);

The ability to play synchronously, at the same pace, constantly feeling the generality of movement;

The ability to work on the unity of the artistic image of the work in the process of joint performance.

2. Mastering the skill of independent analysis of new works.

3. Formation of stable musical ideas.

Developing:

Ability to play in an ensemble;

Develop a set of performing and listening skills;

Expand the musical horizons of students;

To develop musical taste and erudition, stage behavior and acting skills in children and adolescents;

To promote the development of imaginative thinking in students.

Educational:

Education of highly artistic musical taste;

Education of creative and educational will, the desire to achieve goals, the desire to overcome difficulties;

Raising the desire for self-improvement;

Education of patriotism, love for national culture;

Understanding and respect for the culture and traditions of the peoples of the world;

Raising a clear idea of ​​morality;

Raising a sense of self-respect and respect for the other person.

In the classroom, the teacher uses a differentiated approach to learning. This allows students with any level of musical abilities to develop as much as possible, and the teacher to evaluate the student's progress in terms of his personal achievements.

The program is designed for three years of study for students of secondary schools and is recommended for students of senior school age. Each year of study - 76 hours, 2 hours a week. The program contributes to the formation of the simplest skills of collective music-making, as well as ensemble playing.

Interdisciplinary connections are widely used in the curriculum: the knowledge gained in the lessons of solfeggio and musical literature, used in the lessons of the specialty and ensemble, serve as a theoretical basis for mastering new skills and abilities.

At the same time, this program allows to solve a number of interrelated problems that students and teachers face in the learning process.

This is an increase in the interest of students - children like to communicate and do something together, the formation of a sense of collectivism, responsibility. It also helps to form the artistic individuality of the student, reveals his creative inclinations.

Playing in an ensemble allows you to significantly expand the repertoire and the forms of its study. Domra, balalaika are instruments that are limited in terms of range, and at the initial stages of learning, many students also experience purely physical difficulties when performing double notes, chords. In addition, the student's adaptation to the instrument often robs the work of depth and richness. The arrangement of works for 2-3 instruments makes them easier and more accessible. Students get the opportunity to get to know the musical culture more widely, and the works sound more vivid and rich. The technical and creative possibilities increase, the dynamic and timbre coloring of the work is enriched. It becomes much more interesting to play, and the result is more vivid than with a solo performance.

Ensemble music making partly helps to solve the problem of stage fright. Many children, even with very good preparation in the classroom, get lost on stage. Their performance sounds inexpressive, and sometimes just unsuccessful. Going on stage as part of an ensemble allows you to feel the support of your comrades or a teacher and relieves excessive nervousness before a performance. This is especially well practiced at the initial stage, when students are offered parties in unison or with slight differences, as well as parties with the same rhythmic pattern.

Class in the ensemble is the preparation of the student to play in the orchestra. An experienced bandleader always feels the difference in communication with orchestra members who have or do not have experience in ensemble playing. As a rule, the first of them have a certain tempo and rhythmic flexibility, feel their role in the group well, and quickly perceive the wishes of the conductor.

The intonation of a Russian song, sung by a button accordion, domra, balalaika, sounding heartfelt in a Russian ensemble, cannot but touch the innermost sides of the human soul. They have a great power, which helps in the upbringing, creative development, perception of the beautiful young musicians.

salient features of this program.

The program involves the solution of educational, educational and developmental tasks, taking into account the age and individual characteristics of the student's development.

The activity of the teacher is based on the following principles:

Availability of classes;

Attentive attitude to the personality of the pupil, encouraging him to be creative;

Providing opportunities for self-expression, self-regulation, initiative;

Accessibility of understanding and performing music of various styles and genres;

Comprehensive development of the student, taking into account his individual characteristics.

Conditions for the implementation of the program.

The key to the successful creative activity of a teacher is the conditions necessary for work provided to him and a favorable creative atmosphere in the teaching staff. Classes should be held in a spacious, warm, well-lit and ventilated room with good acoustics, equipped with the necessary equipment for listening to and viewing recordings of performances by students, famous performers and groups. The education of aesthetic taste is inseparably linked with the quality of sound production on the instrument, which is ensured by the presence of concert instruments. Instruments should be covered, which is convenient for transportation at outdoor concerts. The teacher can use percussion instruments: triangles, rattles, spoons, metallophone, tambourine, etc. When educating students to respect class property (instruments, consoles, stands, musical literature, etc.), you need to think about devices for keeping and storing tools (on racks, shelves, tables, in a cabinet, etc.), taking into account a certain degree of humidity in the room.

The organization of the ensemble's activity is a creative matter. The success of the creative and educational processes depends on the training and knowledge of the leader as an organizer, teacher, as well as on the ability to refract the general provisions of the methodology in their creative individual work.

At the rehearsal, it is necessary to create a joyful, pleasant atmosphere that provides students with psychological comfort, confidence in their abilities and capabilities.

Students have different musical abilities and physical abilities. The first thing with which the work of the ensemble begins is the selection of members of the collective who are equal in their musical training and instrumental skills. Taking into account the musical and technical abilities of the students, they are divided into parts and take their place in the ensemble.

Each member of the ensemble must be located in such a way as to be able to hear and see the members of the ensemble (usually a semicircle). The placement of ensemble players should be stable, not change depending on the room in which they have to rehearse and perform - on the contrary, the location of the ensemble depends on which room should be chosen for rehearsals and how the stage should be equipped for performance. The distance between the performers should ensure a coherent, integral sound and at the same time freedom of the playing movements of each member of the ensemble.

One of the tasks of the teacher during the rehearsal is to achieve maximum results with minimal expenditure of energy and time of students. Therefore, the tempo of the rehearsal is very important; music should always sound during the rehearsal, interrupted only for clear and well-formulated remarks by the teacher to certain performers.

The part of the ensemble player must be framed competently and accurately in order to avoid inaccuracies during the performance. All strokes, the smallest nuances, fingering must be put down in the party. It should be taken into account that if the strings have open strings, the sound does not die out immediately, therefore, by placing the fingering, the teacher will help to avoid unwanted moments of layering one harmony on another. An important factor in the development of ensemble performance is the repertoire. This is folk song and dance music, arrangements of classical music, original compositions. At the same time, interest in pop and folklore trends increased, and the practice of accompaniments expanded.

When choosing a repertoire for a children's ensemble, the teacher should be guided by the principle of gradualness and sequence of training, observing the didactic principles of accessibility. It is not allowed to include in the repertoire of works that exceed the musical performance (artistic and technical) capabilities of students and do not correspond to their age characteristics. The work of the ensemble members on such works becomes an obstacle to their musical development and does not give positive results. When choosing a repertoire, the manager has to not only rely on curricula, his own taste and desires, but also take into account a whole range of conditions and factors: the repertoire must correspond to the performing level of the ensemble player, be interesting for participants and listeners, and be diverse enough to be able to take part in various concerts.

It is important that the ensemble has in its repertoire pieces that could be used for different audiences, at different events. Each concert requires pieces that are appropriate in nature and content, with which one could open and end the performance, create a certain emotional state among the listeners.

The experience and experience of a teacher should not lead once and for all to dogmas found and equally applied to all, to a template in teaching. The system, which includes the basic principles and main tasks of training, must be unshakable. The methodology that determines the ways to the practical solution of these problems can be different. In the ability to find the best path and pace of development for an ensemble of students, the dialectics of pedagogical work is manifested. The teacher should be not only a good musician and performer, but also a good sensitive observer and connoisseur of the child's soul.

Expected results and ways to measure their effectiveness.

In the process of learning, the student must learn the meaning of the term "ensemble" - as a cohesive, harmonious performance of a work by all musicians, subordination to a common artistic design.

The student must be able to:

Apply in the ensemble the practical skills of playing the instrument, acquired in an individual lesson;

Hear and understand a piece of music - its main theme, echoes, variations performed by other members of the ensemble;

Perform your part, following the idea and interpretation of the work;

Forms for summarizing the implementation of additional educationprogram.

Forms of control of assimilation of educational material:

Control lessons;

Concert performance;

During the academic year, the teacher must prepare with the student 3-4 works, different in genre, form, figurative and artistic content. The student must know his parts by heart in order to perform at the concert.

1. The quality of performance of musical works:

Text accuracy;
- phrasing;
- metrorhythm;
- intonation.
2. Performance data:
- psychophysical abilities;
- musical ability;
- Variety performance qualities (culture of performance, behavior on stage, a sense of freedom).
3. Possession of playing skills in an ensemble:
- synchronicity of the sounding of the ensemble parts;
- the unity of the interpretation of the artistic image of a musical work.
4. Meaningful execution.

When choosing a repertoire, the teacher should be guided by the principles of gradualness and sequence of training.

The program provides for the study of a diverse ensemble repertoire: these are original guitar ensembles; transcriptions of works by composers of different styles and eras (from classical Western European and Russian music to works by contemporary authors, arrangements of folk songs and dances).

According to the curriculum, the teacher has the opportunity to engage in an ensemble with students individually. Students work out their parts with the teacher, play with him, and only then the teacher makes up various types of ensembles (from a duet to a quartet), often involving other specialties in the ensemble (flute, violin, accordion, vocals, piano, etc.).

Thematic plan of the 1st year of study.

Thematic plan of the 2nd year of study.

The process of creative getting used to the musical image, which is necessary for the disclosure of the artistic content of the work by the performing group, can be carried out in various ways. Experience shows that in the methodology of working on a piece of music, three main stages can be distinguished. This work is devoted to consideration of this issue. The publication will be useful to the leaders of ensembles and orchestras of RNI working in the field of additional education.

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The performance of a piece of music by the RNI ensemble requires maximum mutual understanding of all participants and their ability and readiness to subordinate their performing actions to the unified will of the conductor. The conductor builds work on musical works on the basis of the author's psychological prerequisites laid down in the musical-figurative content and personal perception of both the whole work and the features of its parts, fragments. Psychological prerequisites contribute to the emergence of appropriate artistic and aesthetic sensations, experiences (both the performer and the listener).

The process of creative getting used to the musical image, which is necessary for the disclosure of the artistic content of the work by the performing group, can be carried out in various ways. Experience shows that in the methodology of working on a piece of music, one can single outthree main steps. These stages can be conditionally designated as introductory, main and final. First stage - a general idea of ​​the play, its main artistic images. Second - deepening into the essence of the work, the choice and use of means of expression, work on parts, fragments, elements. Third stage - generalization, reduction into a single whole, the result of the previous work, when the work receives a qualitatively new performing embodiment, completeness in the ensemble performance. The conditionality of the phased division lies in the fact that, firstly, the process of artistic creativity, which is the work on a musical work, cannot be carried out on the basis of a once created stamp, stencil. Secondly, since this process is constantly accompanied by differences: in the content and in the degree of complexity of the pieces mastered, in the composition of the team, in the performing level of its participants, etc.

So, the first stage of the ensemble's work. At the beginning of the next rehearsal, the leader informs the participants about the work, its style and the work of the author. If there is a recording, it will be listened to during rehearsals. If the majority of the ensemble members are able to read their parts “from sight”, then one can do without preliminary learning in groups, and there is an attempt to get acquainted with the piece in their own dubbing. Familiarization with the work gives the members of the ensemble a general idea of ​​its character, style and content, arouses their interest and thereby stimulates the performing initiative, activates creative performance.

The artistic and performing goal clearly set at the first stage, when getting used to the character, image and content of the musical work, helps to optimize the work of the ensemble at the second stage. This period is characterized by deep penetration into the essence of the work, decoding and detailing of its content. The combination of the collective and individual methods (rehearsals and individual lessons) greatly simplifies and shortens this most laborious stage, and effectively affects the artistic side of the performance, since individual work on mastering the parts of the ensemble (a kind of analysis) greatly facilitates the solution of creative tasks at the rehearsal of the ensemble (synthesis ). In the process of studying parts, specific means of expressing the content of pieces are determined and mastered: phrasing, tempo, dynamics, strokes, fingering, etc.

As experience shows, for the work of ensemble members on fast pieces, it is recommended to use the method of their initial development at a slow pace. This contributes to the awareness of the pupils of the performing tasks, their mastery of the necessary skills, primarily technical ones. In practical work, the above methods of dismembering and slowing down the pace are usually used in combination. Fast, technically difficult pieces to perform are mastered in parts by the functional groups of the ensemble at a slow pace. Moreover, this is useful not only for the members of the group with which work is being carried out at the moment, but also for everyone else. Listening to the parts of partners in the ensemble contributes to the awareness of the place and one's part in the overall sound.

As experience shows, in one's work one should beware of such a method of learning pieces as multiple mechanical "runs" of it, repetitions from beginning to end throughout a whole rehearsal. Difficult places remain at the same time without improving the quality of performance. The play is "flirting", and the performers' interest in it is quickly lost.

As already mentioned, the described methodology for working on a musical work should not be considered as standard and unique. The leader decides on the use of one or another methodological technique, based on the actual prevailing conditions, taking into account objective and subjective factors. If necessary, it makes sense to linger at some stage in order to complete the implementation of a particular task in achieving a performing result. At the same time, excessive unjustified delays in certain periods of rehearsal work can lead to a decrease in the activity of the participants, to dampening their enthusiasm and loss of interest.

Sparrow lady
(Russian folk song)
For children of primary school age
(II stage of education)

Target - to develop children's pitch, harmonic hearing and a sense of rhythm in the process of ensemble music playing on wind instruments.

The introduction begins with the roll call of the voices of the kugikl (“owl”) and the flute-tsug (“nightingale”). Then all the coogicles sound. In this ensemble, it is most difficult to achieve rhythmic accuracy of performance, for which it is recommended to learn the parts as follows:

1. Parts I and II of the kugikl sound accompanied by some percussion instrument (spoons, box, etc.), which duplicates their rhythmic pattern.
2. One percussion instrument (spoons, box, etc.) shows an even pulsation of the first and second beats of the measure, and the second percussion instrument (tambourine, rubel, etc.) duplicates the rhythmic pattern of the part II and III of the cugicle.
3. Percussion instruments are combined with the cookicle ensemble.
4. The cookicle ensemble sounds without the accompaniment of percussion instruments.

The song ends with an ensemble of pity. Each part of this ensemble must be learned separately. Then you can combine batches I and II of zhalek, I and III, II and IV, etc. After such preparatory work, the instruments are combined into a four-part ensemble.

Permissible substitutions for the instruments of the ensemble: kugikly - for metallophones, zhaleyki - for "melodiks", pipe-tsug - for a whistle-nightingale, etc.

MARCH
Y. SOLOVIEV
(For adolescence.)
III stage

Target - to consolidate in practice the technical skills acquired earlier (in fingering and sound extraction) and to work out the means of expressive performance.

The bass voice is an ostinato figure that is repeated throughout the piece. The attention of performers should be drawn to articulation, which changes as the music develops. Lung staccato at the beginning, as sonority increases, it becomes active marcato at the climax (number 3). It is also important to pay attention to uneven accents in the bass, where they are consistent with melodic accents (see number 3).

The melody, for all its simplicity (it consists of two sounds), in addition to its advantages as an educational material, carries a modal-harmonic and emotional content. Dressed in a certain form (three repetitions with increasing sound density), it gives the impression of an approaching marching group. This is emphasized by the introduction of a snare drum, against which the “sounding” pauses in the melody are well heard.

The piece uses all three basic methods of sound attack: pressing (1), throwing (2) and pushing (3). They require, accordingly, the use of all the resources of the performing apparatus: hands, forearms, shoulders.

In the second performance of the piece (from the reprise sign), the ostinato figuration, set out in the xylophone part, can be performed not only by the xylophone, but also by other instruments. At first, for example, it can be performed by a solois-bayanist or domrist; other performers will join in the next rehearsals.

Balalaika players use three methods of extracting sound in a piece: pizz., B.P., big fraction and blow-throw.

The harp and the xylophone add their colors in their natural orchestral function and the nature of sound extraction.

Dynamic means must be calculated in such a way that during the execution of two draws there is a single increase, i.e. at the end of the first performance, leave a reserve of sonority for the end of the work.

Timbre matching - as the sonority grows, the string players extract the sound closer to the bridge.

The tempo of the piece - when analyzing the piece, adhere to the indicated designations; when the March is learned, perform alla brave.

See Attachment. Sparrow lady:Russian folk song / Arranged. D. Rytova // Reader for children's ensemble rus. nar. tools. / Comp. A. Komolov. - SPb., 2002. S. 212-213.

See Attachment. Solovyov Yu. Marsh // Light plays: For children. orc. Russian nar. instruments / Comp. S. Makarov. - M., 1983. - S. 55-62.

1. Introduction
2. Work on a piece of music
3. Guidelines
4. Conclusion
5. Bibliography

The influence of the repertoire on the educationalprocess in an ensemble (orchestra)
The question of what to play and include in the repertoire is the main and decisive in the activities of any team. From the skillful selection of works depends on the growth of the team's skill, the prospects for its development, everything related to performing tasks, that is, how to play. The formation of the worldview of the performers, the expansion of their life experience occur through the comprehension of the repertoire, therefore, the high artistry and spirituality of a work intended for collective performance is the first and fundamental principle in choosing a repertoire. One should be especially careful when choosing a repertoire in a children's orchestra (ensemble) of Russian folk instruments. The repertoire primarily includes Russian folk music. Folk song, which is the source of classical musical culture, is an indispensable tool for developing the basic musical abilities of students. Without it, directed musical education is impossible. Such qualities of a folk song as the clarity of the rhythmic pattern, the repetition of small-sized motifs, the couplet and variation of forms make it an extremely valuable material in the musical education of students of various ages. Being predominantly an art of the so-called small genres, Russian folk music, with its musical images that do not differ in great psychological complexity, is intelligible and easy to understand. At the same time, this music does not suffer from primitivism: elements of simplification, external effects devoid of content, simple illustration are alien to it. The task of the repertoire is to steadily develop and improve the musical-imaginative thinking of the members of the collective, their creative activity, as well as to enrich the intonational listening experience, the public “musical memory”. This is possible only through updating and expanding the musical material. Huge funds of classical music can become one of the significant sources of repertoire formation. Distinguished by the depth of content, the works of Russian and foreign classics significantly enrich the artistic taste, increase the interest and needs of students. Classics is a time-tested, the best school for educating team members and listeners. In choosing such pieces, one must especially carefully examine the nature and quality of the instrumentation. It happens, unfortunately, that after a careless or unsatisfactory instrumentation, the pieces lose their artistic merit, the music is hardly recognizable by ear. The need for a careful selection of instrumentation is also due to the fact that these works are well known to a wide audience. Listeners are familiar with them in the most diverse interpretation, performed by different groups and musicians. Naturally, each new performance of them causes not only increased interest among the listeners, but also strict exactingness, “pickiness”. Therefore, it is possible to bring such plays to the judgment of the listeners only when they are not only technically well developed, but also testify to the original creative interpretation. The works included in the group's repertoire must be distinguished by the intonation specificity of the musical language, the special visualization of artistic images, and expressiveness. To a large extent, these requirements are met by works created by composers specifically for groups of Russian folk instruments. Principles of selection of repertoire. For study work, it is best to take light plays, melodic folk songs and dances in an easy arrangement, as well as popular plays written for children. These pieces are played with interest by students and, as a rule, do not present great technical and artistic difficulties. When instrumenting pieces for a beginner group, small domrams and button accordions are instructed to play a melody (best of all in an octave). Prima balalaikas - depending on how the musicians have mastered the instrument - can be entrusted with accompaniment or melody (rattling). This, in a certain sense, standard distribution of parts among instruments contributes to the rapid development of melodic hearing among participants, skills in reading sheet music, and facilitates playing according to the conductor's hand. In practice, the problem of the educational repertoire has to be solved mainly in the first period of work, when the participants master the instrument, develop the skills of collective playing, when a close mutual understanding is established between the participants and the leader. In the future, rehearsals, self-study, the educational process are based on learning such pieces that will make up the concert repertoire of the group. However, it cannot be considered that the educational repertoire is played only in the classroom, at rehearsals: many of the educational pieces are included in the concert repertoire and are heard from the stage. The main requirement for the selection of musical works in the group, as already noted, is their artistic and aesthetic value. This is due to the fact that creative activity in general and the educational function of musical performance, in particular, can be successfully carried out only in the process of reproduction of highly artistic works. Genuine works of art evoke the emotions of students much more strongly: the content of music arouses interest, sharpens the perception of children, awakens their creative abilities. Musical works with a pronounced melody contribute to the successful formation and development of the musical inclinations of ensemble players, provide a great opportunity to educate them musically literate. Another and also very essential requirement for the performed repertoire is its accessibility. The degree of feasibility of the repertoire for the team and each of its members is one of the main factors in the fruitful functioning of the children's ensemble (orchestra), its growth and the effectiveness of the artistic and creative development of students. The selected works must first of all meet the requirements of accessibility for perception. That is, when choosing a repertoire, the age, general development of the participants, the range of knowledge and ideas about the surrounding reality, the level of skills in perceiving music, the degree of responsiveness to it, and understanding the means of musical expression are taken into account. The repertoire must be available for performance. Musical works are selected taking into account the technical advancement of students, the performing and orchestral skills they have acquired at this stage of education and upbringing. Each performer is obliged to perfectly master the part entrusted to him and perform it in such a way as to enjoy himself. The works included in the performance programs must be accessible in terms of volume (amount of musical material), as well as texture difficulties. However, it is important to select, first of all, such works that would be accessible not only in terms of textural and technical difficulties, but mainly in terms of content. That is, the artistic form of a musical work (in its broadest sense) should not be complicated. The next condition for the correct selection of the musical repertoire is its pedagogical expediency, i.e. it should contribute to the solution of specific educational tasks, meet the methodological requirements at certain stages of the musical training of students. The performed repertoire should develop performing skills and skills of collective playing, which are closely interconnected. And since it is impossible to acquire different skills on the same type of material, the educational (performing) program includes works of diverse character. Thus, the principle of versatility operates. This is also very important for the musical and aesthetic education of the group, since works of art that are different in genre, content, and style features make it possible for students to have a versatile musical development. Also, the principle of interest is not the last place in the basis of the formation of the repertoire. When selecting musical works, it is important to take into account the wishes of students: the solution of educational and educational tasks is greatly facilitated when the play being performed is of interest to children. Obviously, the content of musical works should be distinguished by the brightness of musical images, be exciting, emotionally exciting. The leader must constantly maintain interest in the works being performed, setting new artistic, performing and cognitive tasks for the members of the children's team. Equally important in the selection of repertoire is the gradual complication of its complication in accordance with the musical and technical development of students. The inept, unsystematic selection of musical works has a negative effect on the musical development of children, discourages them, dulls interest in classes. The path from simple to complex is the main principle of introducing students to the art of music. The complexity of the works being studied is gradually, consistently and continuously, which ultimately leads to a noticeable increase in the performing level of the team. Thus, the problem of repertoire has always been fundamental in artistic creativity. Not only the artistic direction of art is connected with the repertoire, but also the style of performance itself. The repertoire as a set of works performed by a particular musical group forms the basis of all its activities, contributes to the development of the creative activity of the participants, is in continuous connection with various forms and stages of work, whether it is a rehearsal or a concert, the beginning or peak of the creative path of the group. The repertoire influences the entire educational process, on its basis musical and theoretical knowledge is accumulated, the skills of collective playing are developed, and the artistic and performing direction of the ensemble (orchestra) is formed. In general, over time, each team develops a certain repertoire direction, accumulates repertoire baggage that corresponds to the composition of the students, the performing style, and creative tasks. Having reached certain peaks, having accumulated sufficient potential for a new growth of skill, the creative team is looking for the ground for its development in a more complex repertoire. In this sense, the repertoire must always be aimed at the future, it must always be overcome in a certain sense.

Pedagogical authority of the head of the children's team
In the upbringing of the children's team, the personality of the leader plays a huge role, and, above all, as a teacher and educator. The desire to give oneself to children, the belief that without a passion for creativity one cannot become a truly harmonious developed person - a teacher should have these feelings. Due to the specifics of his profession, the leader of the children's orchestral group forms the views, beliefs, needs, tastes, ideals of children and adolescents. He should be not just a well-educated person, well-versed in the problems of educational work, but also a spiritually developed person in the high sense of the word. The profession of a teacher requires constant improvement of one's personality, development of interests, and creative abilities. In connection with the development of society, its ideology, socio-economic aspects of life, culture, the ideals of the profession are changing. But at the same time, humanistic aspiration and inextricable connection with artistic and creative activity always remains the basis of the profession. In the organization of the educational process, one cannot ignore such a powerful pedagogical factor as the nature of the educator, the property and quality of his personality. One teacher has too strong character and strong will, great social activity. He strives to do everything himself, suppresses the spontaneity of children, leaves them uninvolved and indifferent spectators. The other has a soft character, he is not able to demand elementary order from students. Poor knowledge of pedagogy and psychology, unwillingness to overcome oneself, to form one's character in accordance with pedagogical requirements give scope for the direct manifestation of temperament, cruelty or spinelessness, undemanding. Pedagogy determines the optimal form of manifestation and development of discipline and democracy in education, which are realized by a specially trained and pedagogically authoritative person. Children voluntarily follow the teacher they respect. In another case, pedagogical relations are kept on purely formal grounds, external requirements, lose their positive educational meaning and have a negative impact. The concept of "authority" literally means the universally recognized value of a person, his influence on people, support for his ideas and activities by public opinion, showing respect, trust in him, even faith in him: in his mind, will, morality, ability to do good, give all his strength common cause. The essence, specific features and functions of the actual pedagogical authority are due to the fact that dozens and hundreds of children's eyes, like an x-ray, shine through and reveal the moral state of the teacher's personality. A real educator has no other moral choice than purity, sincerity, openness and directness. Otherwise, the teacher inevitably loses his influence on the children and the right to be their educator. The essence of pedagogical authority is in the constant development by the teacher of a civil, creative, human personality, true spirituality and intelligentsia. The child advances to the educator his respect, trust, disposition, based on the natural assumption of the high quality of his personality - this trust must be justified. The advance of trust is compensated, first of all, by high morality. In modern conditions, seeing immorality around them in various strata of society, even in their own family and school, some children have learned to push and even despise the simple norms of universal morality, while others have mastered the art of public hypocrisy and deceit. There was an acute shortage of morality in the children's and youth environment. In this extreme situation, moral self-improvement, the teacher's high demands on himself is the main way to strengthen self-esteem. Sooner or later, the teacher's moral integrity, certainty, and perseverance will prevail in the minds of children and give him an unconditional pedagogical advantage, the right to make moral demands on his pupils. Another important condition for the personality of a teacher is the spirituality of the educator, his deep civic conviction, the ability to openly discuss the most pressing problems with children, convince them, and courageously admit their mistakes and mistakes. The authority of morality and spiritual and value culture of the teacher must be supplemented by the authority of intellectual development, independence of judgment and education. Today, the flow of various information in various areas of life has immeasurably increased. A significant part of it comes into sharp conflict with the prevailing stereotypes and stereotypes in consciousness and thinking. This puts the educator, the spiritual mentor of children and youth in a very difficult position. In order to deeply understand the spiritual world of the younger generation, to be the master of thoughts, one must overcome in oneself the contradictions between the established canonized views on culture, the ways in which a child masters it, and the real, sometimes not fitting into any framework, socio-cultural situation. The best means of establishing educational interaction, strengthening the authority of the teacher, in this case, will be his tolerance, the absence of categorical assessments and pressure on the psyche. The involvement of the child in the dialogue will make him think, doubt, turn to sources of information, works of art and culture, develop spiritually in the direction of an independent and critical attitude to life. As children mature, their spiritual wealth in the views and beliefs of the educator and pupil will form more and more common assessments and judgments. The remaining disagreements will also play their educational positive role that strengthens the authority of the teacher. After all, the essence of education is not necessarily to achieve unanimity, to drive official dogmas and stereotypes into the minds of children. It is that the child should show independence of thought, the desire to get to the bottom of the truth, develop in himself independence of judgment, independence of his own personality. The dialogue of the educator with children on cultural issues, in which only one force dominates - the power of thought, knowledge, argumentation, makes authority natural and strong. An effective organization of the pedagogical process is impossible without the authority of human attraction, without benevolence and mutual sympathy between the teacher and the children. Moral and aesthetic mutual attraction is the most favorable and effective atmosphere of pedagogical interaction. The effect of human attraction arises in the teacher not only due to his erudition and intellectual development. It is formed as a result of the talent of human interest, the teacher's love for another person. This is the talent of respect for the personality of the child, sympathy for his problems and experiences, demanding assistance in the development of spirituality, intelligence, dignity and self-respect. Only a loving teacher, a true educator gives all his strength to organize the creative working life of children, to teach them purposefulness, self-demanding. Teaches them friendship, kindness. He experiences joy and moral and aesthetic satisfaction from communicating with children, experiences a moment of happiness, seeing the success of his pupils. An authoritative teacher turns to children with different sides of his multifaceted personality: he acts as an organizer, an interested observer, an adviser, a democrat, a principled, adamant, demanding leader, comrade and friend. Thus, the conquest and maintenance of authority by a teacher is a complex, painstaking work to improve his spiritual and physical condition. You have to constantly fight for authority. If the teacher ceases to be aware of events, does not take care of himself, sinks into everyday life, takes the path of familiarity and formalism in relations with children, alienates himself from children, no matter what his pedagogical authority may be at first, he decays along with the disintegrating personality of the educator. Therefore, it is important for the teacher to constantly maintain his "authoritative" form, to carry out spiritual moral ascent. This means you need to seriously analyze your relationship with children, critically reflect on your behavior, overcome spiritual weaknesses, stupidity, callousness, cheap conceit and pride, maintain human dignity and pedagogical honor, keep your conscience in a state of sensitive response. Authority is not an end in itself or a value in itself. It acquires pedagogical meaning and effectiveness not when it is used as a powerful force of administrative influence, opposition to children, and maintenance of external order. Its value is revealed to the fullest when its spiritual power is directed to the development in the pupil of the inner person, free and moral will, talent, responsibility, self-affirmation and creative self-manifestation. Direct communication with children, spiritual and value influence on them requires the head of increased attention to the mental experiences and conditions of children, the formation of their personal qualities and individual abilities. The child is formed as a person and individuality when the teacher seeks to translate external socially valuable incentives into internal motives for his behavior, when he himself achieves socially valuable results, while demonstrating purposefulness, will and courage. The educational effect is great when education, at each stage of age development, develops into self-education, and the child turns from an object of education into its subject.

The pedagogical model of the organization of the collectiveplaying music at the children's music school
The model is based on the program of the course "Ensemble of Russian Folk Instruments" for the children's art school. Organizational and methodological section. The purpose of musical education in the ensemble of Russian folk instruments is to give participants knowledge, develop skills that contribute to art education, the formation of their creative impulses, aesthetic views and ideals. Based on the general goal of mass musical education, the following educational tasks are set for the leader:
develop the musical abilities of students, help to increase the level of knowledge and skills of the student;
expand their general artistic horizons;
arouse the desire to participate in artistic creativity, to be an active promoter of musical culture;
improve the artistic and technical skills of students.
Requirements for the level of mastering the course content:
As a result of studying the course "Ensemble of Russian Folk Instruments", students should know:
organization of the ensemble's activities;
basics of instrumental accompaniment;
principles of repertoire selection;
basic rules of rehearsal;
tactics of compiling a concert program.
Be able to:
analyze the work under study;
read from a sheet;
to make instrumentation and arrangements for the ensemble;
work on artistic repertoire;
analyze the organizational and methodological conditions for conducting a concert performance.
Have an idea about:
correct tuning of a musical instrument;
basic skills of ensemble playing.
The program of the course "Ensemble of Russian Folk Instruments" is designed for 1 year and is introduced in the third year of study. The course of study involves practical and theoretical classes. At the end of the year, the ensemble performs with a concert program.

Contents of the course topics
Topic 1. Introduction
Ensemble planning. Planning of musical-educational, educational and educational-creative work of the ensemble. Goals and objectives of training. The main tasks of the ensemble for the current year: directions of the ensemble's work, volume, content.
Organization of activities - planned activities: recruitment of the ensemble, selection of an asset, adoption of a charter or regulation on the ensemble.
Educational and creative work: activities to improve the performing skills of the ensemble members; improving technical skills; collective, group and individual lessons; carrying out rehearsal work; educational and concert repertoire.
Educational and educational work: participation in concert performances; excursions; lectures and talks on issues of culture of behavior, ethics and aesthetics; attendance by the ensemble of performances, concerts, rehearsals of other musical groups; work of the ensemble asset with the team.
Concert Performances: Proposed ensemble performances.

Topic 2. The initial stage of training in the ensemble
Russian folk instruments
The content of the classes. Musical training and education in the ensemble group. Formation of practical (technical, musical performance, ensemble) skills. Collective (ensemble), group and individual performance.
Checking musical abilities (modal feeling, ability to auditory representation, musical and rhythmic feeling, etc.).
Distribution of students by instrument.
Accounting for classes, checking and evaluating knowledge. Material support of the ensemble. Rules for the storage of musical instruments.

Topic 3. Teaching artistic and technical skills
Boarding students. Ability to properly set up tools.
The study of works of simple 2nd and 3rd partial form at a slow or moderate pace.
The study of works that are the accompaniment of simple songs, romances. The study of works with individual elements of polyphonic texture.
Practicing the technique of transferring a melodic pattern in an ensemble from one voice to another. Practicing the technique of joint execution of the main strokes, syncopation and fermat.

Topic 4. Teaching artistic and technical skills
The development of ensemble thinking: the principles of elementary analysis of the work under study (melody, harmony, undertones, metro rhythm, etc.); development of constant auditory control over the purity of intonation of one's part; acquisition of initial ensemble playing skills.
A combination of classes in individual voices, groups and the entire composition of the ensemble.
Practicing the nuances of "forte" and "piano" on the instructive and technical material. Skills for performing a piece at a slow and moderate pace.

Topic 5. Musical and artistic repertoire -the basis of the educational process
repertoire problem. The high artistic and spirituality of a musical work is a fundamental principle in choosing a repertoire. Russian folk music is the art of small genres. Folk song. The coupletness and variation of forms. intonations and chants. Classic. Original works for ensembles of Russian folk instruments.
Principles of selection of repertoire. Artistic and aesthetic value of works. Accessibility for perception, for execution. Educational and concert repertoire.

Topic 6. Rehearsal work
Rehearsal is the main link of all educational, organizational, educational and educational work.
Rehearsal plan. Setting up tools. Conducting a rehearsal: playing scales and exercises, sight reading, working on the repertoire.
Ensemble rehearsal rules. ensemble discipline. Accurate execution of all instructions in the notes. Building cleanliness. Clarity, monotony of sound attack, simultaneous cessation of sound.

Topic 7. Work on the artistic repertoire
Work on artistic repertoire. Disclosure of the content of the play, the nature of its main themes. The form of the work. Expected difficulties, ways to overcome them. The purpose of learning the play. Listening to a recorded piece. Introductory play of the piece by the whole ensemble. Work on the work in parts.
Concert works of a large form. Work on nuances, phrasing, tempo, agogics. Pieces of small form (march, song, dance).

Working with a mixed ensemble

Russian folk instruments

Modern trends in the field of performance on Russian folk instruments are associated with the intensive development of ensemble music-making, with the functioning of various types of ensembles at philharmonics and palaces of culture, in various educational institutions. Hence the need for targeted training of the leaders of the respective ensembles in the departments and faculties of folk instruments of music schools and universities of the country.

However, the education of an ensemble player in educational practice, as a rule, is associated with certain limitations. Teachers are usually instructed to lead homogeneous ensembles: bayan players - bayan ensembles, domrists or balalaika players - ensembles of stringed plucked folk instruments. Compositions of this type are widely used in professional performance. Suffice it to recall such famous ensembles as the bayan trio A. Kuznetsov, Y. Popkov, A. Danilov, the bayan duet A. Shalaev - N. Krylov, the Ural bayan trio, the Kiev Philharmonic quartet, the Skaz ensemble, etc.

Undoubtedly, working with homogeneous ensembles - duets, trios, bayan quartets, trios, domra quartets and quintets, balalaika unisons, etc. - is very important. Nevertheless, the described restrictions in the activities of teachers of schools and universities hinder the full-fledged training of young professionals, because in fact, graduates of music schools very often face the need to lead mixed ensembles. Most often, the latter consist of stringed instruments and button accordion. Classes with such teams should become an integral part of the educational process.

Getting to work, a modern teacher is faced with inevitable difficulties: firstly, with an acute shortage of methodological literature on mixed ensembles of Russian folk instruments; secondly, with a limited number of repertoire collections, including interesting original compositions, transcriptions, transcriptions, proven by concert practice, and taking into account different levels of training and creative directions of these compositions. Most of the published methodological literature is addressed to chamber ensembles of an academic profile - with the participation of bowed piano instruments. The content of such publications requires significant adjustments, taking into account the specifics of folk ensemble music making.

This development characterizes the basic principles of working with a mixed ensemble of Russian folk instruments. At the same time, a number of practical tips and recommendations expressed below apply to other types of mixed ensembles.

The main problem solved in the process of working with these groups is to determine the optimal timbre, loudness-dynamic and stroke ratios of stringed instruments and button accordion (based on the mismatch of sound sources, sound production methods and different acoustic environments).

Timbres instruments are among the most striking means of expression in the arsenal of a mixed ensemble. From the diverse timbre relationships that arise in the process of performance, one can single out the autonomous characteristics of instruments (pure timbres) and combinations that occur when sounding together (mixed timbres). Pure timbres are usually used when one of the instruments is assigned a melodic solo.

It should be emphasized that the sound of any instrument incorporates many "internal" timbres. For strings, one should take into account the timbre “palette” of each string, which varies depending on the tessitura (it means the sound features of a certain section of the string), the discrepancy between the timbre at various points of contact with the string (pick or finger), the specifics of the material from which the pick is made (kapron , leather, plastic, etc.), as well as the corresponding potential of various performing techniques. The button accordion has tessitura heterogeneity of timbres, their correlation on the right and left keyboards, timbre variation with the help of a certain level of pressure in the fur chamber and various ways of opening the valve, as well as loud changes.

To highlight the timbre of one of the stringed instruments - members of the ensemble - it is recommended to use register combinations that a modern ready-to-select multi-timbre button accordion has. The timbre fusion of the button accordion with the accompaniment instruments is provided by one-voice and two-voice registers. “Emphasizing” the same bayan timbre, depending on the characteristics of the texture, is facilitated by any polyphonic combinations of registers, which, in combination with strings, provide the necessary timbre relief.

Mixed tones result from the combination of pure tones and form a variety of combinations.

The loud-dynamic and stroke characteristics of the instruments are closely related to the timbres. In ensemble music playing, the loudness-dynamic balance conditioned by rational and artistically justified use of appropriate resources. The loud "relief" of each part is determined based on the composition of the ensemble, the features of the instrumentation and tessitura of other parts, the functions of individual voices in musical development throughout a particular piece. The basic principles of differentiation of loudness levels in relation to a mixed ensemble can be formulated as follows: the lower limit is high-quality intonation in conditions of extremely quiet sonority, the upper limit is timbre-saturated, without crackling sound of strings. In other words, when using the loud-dynamic capabilities of instruments, a measure must be observed so that the color of each instrument does not become either distorted or depleted.

Stroke ratios instruments in the process of joint music-making is perhaps the most difficult problem of ensemble performance. This complexity is explained by the insufficient development of the theoretical aspects of the stroke technique in the string-plucked and button accordion techniques.

Numerous strokes used in ensemble performance can be conditionally divided into two large groups: “equivalent” (related) and “complex” (simultaneous combinations of different strokes). In those cases where the nature of the presentation implies a continuous sound of the ensemble, the regular discrepancies due to the different nature of the sound production on the plucked and button accordion are smoothed out as much as possible, reduced to a single sound “denominator”. Therefore, the greatest difficulty in mixed ensembles is the execution of "equivalent" strokes.

What contributes to the formation of the noted unity in the collective embodiment of these strokes? First of all, the study of the most important features of sound formation and the development of sound (attack, lead, removal), as well as the principles of its connection with the next sound. Depending on the specifics of the sound extraction inherent in a particular instrument, on the sounding body (string, metal plate) and the methods of its excitation (with a finger or pick - plucked, air pressure on a metal tongue and a certain keystroke - button accordion), there are discrepancies of certain characteristics in relation to for each phase of the sound.

sound attack. At this stage of sounding, the strings use three main playing techniques: trembling, plucking and percussion. The following correspondences are found in the methods of attack between the strings and the button accordion:

• soft attack: tremolo for strings is adequate to the elastic supply of air with simultaneous pressing of the key on the button accordion;
• solid attack: a pinch for the strings corresponds to the preliminary leading of the bellows, which creates pressure in the bellows chamber, with a sharp pressure (push) of the button on the button accordion; hard attack: Striking a string or strings corresponds to pre-pressure in the bellows chamber and striking a key on an accordion.

Sound guidance. In this phase, the strings have two types of sound: fading (after an attack carried out by a pluck or blow) and stretching (by means of trembling). On the button accordion, the decaying sound is associated with the “descending” loudness dynamics (relaxation of pressure in the fur chamber), which is predetermined by the nature and speed of sound decay in strings. With regard to the second type of sound, both on the strings and on the button accordion, any loudness-dynamic changes are possible.

Sound pickup– the most complex phase (in terms of ensemble coordination), requiring additional analysis of the phases mentioned above. So, when attacking with a pinch or a blow without a “picking” lead (tremolo or vibrato), the sound of the strings is interrupted by removing the finger of the left hand (sometimes it is muffled by the right hand). On the button accordion, the indicated technique corresponds to the removal of the finger, followed by the stop of the fur, due to the nature of the removal. When attacking and leading the tremolo sound, the removal of the strings is carried out by simultaneously stopping the pick and removing the finger. On the button accordion, an adequate sound result is achieved by stopping the bellows and simultaneously removing the finger from the key.

WITHcombination of sounds plays an important role in the process of intonation, including musical phrasing. Depending on the nature of the music, various methods of connection are used - from the maximum differentiation to the ultimate fusion of sounds. In this regard, it is extremely important in ensemble work to achieve synchronicity - "coincidence with the utmost accuracy of the smallest durations (sounds or pauses) for all performers." Synchronicity arises due to a common understanding and feeling by partners of tempo and metric parameters, rhythmic pulsation, attack and removal of each sound. The slightest disruption of synchrony when playing together destroys the impression of unity, ensemble unity. In this situation, the choice of the optimal tempo is very important, which can change in the process of working on the piece. In the final period of rehearsal sessions, the tempo characteristics are determined by the capabilities of the team (technical equipment, the specifics of individual sound production), and most importantly, by the figurative structure of the piece.

Ensuring the rhythmic unity of ensemble sounding is facilitated by the formation of a metrical support among all participants. The role of the corresponding foundation in the ensemble is usually assigned to the double bass balalaika, whose characteristic timbre stands out against the background of the sound of other instruments. By emphasizing the strong beat of the measure, the double-bass balalaika player has an active influence on the general character of the musical movement in accordance with the phrasing of the melody.

To achieve synchronicity in an ensemble performance, it is important to feel the unity of rhythmic pulsation, which, on the one hand, gives the sound the necessary orderliness, and on the other hand, allows you to avoid mismatches in various combinations of small durations, especially when deviating from a given tempo. Depending on the latter, as well as on the figurative-emotional structure of the performed composition, the same type of pulsation unit is selected for all members of the ensemble. Usually, at the initial stage of learning a technically complex piece, the smallest duration is chosen as the unit of pulsation; in the future, with an acceleration of the pace, - a larger one. At the same time, it is recommended to return to relatively slow rates from time to time and, of course, to the appropriate units of pulsation.

As an explanation, let's take the following example - F. Mendelssohn's Scherzo (from the music to W. Shakespeare's comedy "A Midsummer Night's Dream"). The unit of pulsation at a slow tempo here becomes the sixteenth duration, which contributes to the exact juxtaposition of eighths and sixteenths. At a fast tempo, a similar function is given to a quarter with a dot or an eighth.

Let's also consider a fragment from the initial section of "The Tale of the Quiet Don" by V. Semenov:

Taking the eighth duration as a unit of pulsation, performers can accurately calculate the half with a dot in the second measure, achieve synchronism in the movement of eighths and the end of phrases. The caesura before the entry of the entire ensemble breaks the continuity of the pulsation and prevents the simultaneous confident start of the next formation. In this case, it comes to the rescue conditional gesture. Since the parts of string instruments use the attack technique without a preliminary swing (tremolo from the string), the accordionist should show the ensemble introduction. Taking into account the previous withdrawal and the presence of a caesura between the two phrases, he marks the auftact with a slightly noticeable movement of the body in accordance with the nature of the next construction.

In the performing process, deviations from the main tempo are not uncommon - slowdowns, accelerations, rubato. These moments will require painstaking work aimed at achieving naturalness and uniformity in the actions of musicians based on a clear foreknowledge of future tempo changes. Each such deviation must be logically justified, related to the previous development and binding on all performers. If any of the band members allowed themselves to deviate from the previously fixed limits of acceleration (deceleration), other ensemble players need to make similar adjustments in order to avoid asynchrony of the tempo pulsation.

In such situations, conventional sign language also comes to the aid of instrumentalists. First of all, it is necessary to achieve maximum coherence of actions at the moments of the beginning and end of constructions. Among the visual and easily caught gestures are: for the accordion player - the movement of the body and the stop of the movement of the bellows, for the string players - the movement of the right hand down (with a preliminary swing - “auftact”, corresponding to the nature of this episode) at the beginning of the sound and the movement up when the sound is removed ( a similar downward movement does not contribute to the synchronism of the ending, since it is visually perceived by partners with known difficulties).

An important prerequisite for the successful work of the team is accommodation its members. At the same time, a comfortable position for the musicians, visual and auditory contact between them, and, most importantly, a natural sound balance of all instruments (taking into account their loudness-dynamic capabilities and the acoustic specifics of this hall) should be ensured. The most appropriate is the following placement of instruments (from right to left, in a semicircle, facing the audience): small domra, alto domra, button accordion, double bass balalaika and prima balalaika. With such a disposition, the solo instruments turn out to be as close as possible to the listeners - the small domra and the prima balalaika. The double bass balalaika and the alto domra are somewhat moved back into the depths of the stage, as far as possible being located on the same line. Bayan, which is superior in terms of loudness and dynamics to its partners, is placed even further from the audience.

In a mixed ensemble of Russian folk instruments, depending on the intention of the instrumentalist, one or another function can be entrusted to any part. Therefore, each of the participants must perfectly master the main components of an artistically expressive ensemble performance. Let's list these components:

1. The ability to take the initiative at the right moment, to act as a soloist at this stage, without losing, however, connection with the accompaniment, sensitively perceiving its harmonic, textural, rhythmic features, determining the optimal ratio of loudness-dynamic gradations between the melody and the accompaniment. The ability to inspire partners with their interpretive intent, depth and organic interpretation of musical images should also be recognized as a necessary quality of the presenter.
2. Possession of the skills of "veiled" transmission of a melody to another instrument. Performers participating in such episodes should strive for maximum smoothness, invisibility of the "movements" of the melodic voice, mentally intoning it from beginning to end and maintaining the unity of character, figurative-emotional structure of the corresponding construction or section.
3. Mastering the skills of a smooth transition from solo to accompaniment and vice versa. Significant problems in such situations usually arise due to an overly hasty, fussy completion of a melodic fragment or an exaggerated "scale" of accompaniment (failures in rhythmic pulsation, the same type of nuance, etc.).
4. The ability to perform accompaniment in full accordance with the nature of the melody. Usually accompaniment is divided into vocal, pedal and chord. The undertone grows out of the leading voice, complementing and shading it. The pedal serves as a background for the expressive and embossed sound of the melody, in some cases linking the latter with the accompaniment, in others creating the necessary flavor. The chord accompaniment, together with the bass, acts as a harmonic and rhythmic foundation. It seems very important that the accompaniment that interacts with the melody complements it organically.

In the case of a polyphonized presentation of the accompaniment, it is recommended to determine the role and significance of each voice in relation to the others, setting the necessary loudness-dynamic and timbre gradations. At the same time, it is necessary to achieve the relief of the sound of all elements of the ensemble texture.

Creating a mixed ensemble, the teacher is faced with the problem formation of an original repertoire- one of the main in ensemble performance. The latter, like any independent type of performing art, must be based on an "exclusive", unique repertoire. However, at present, composers prefer to compose for certain groups, with which, as a rule, they maintain constant creative contacts. Ensembles of other compositions are forced to be content with arrangements that often do not correspond to the author's intentions.

The solution to this problem is possible under the condition of an active creative position occupied by the head of the ensemble. In accordance with the tasks facing the team, the leader selects the repertoire using various sources. These include published repertoire collections, student instrumentation work, and manuscripts received from fellow members of other related ensembles.

It is highly desirable that each group of this kind be a genuine creative laboratory in the field of instrumentation. The path from creating a score to performing in an ensemble, compared to an orchestra, is significantly shortened: a prompt analysis of the instrumentation allows you to immediately make corrections and determine the best sounding option.

Masterful instrumentation is rightfully considered one of the important factors contributing to the successful performance of an ensemble. The burden of responsibility placed on the instrumentalist is extremely great. Depending on the nature of the work, given textures, tempo, loudness dynamics and other parameters, the functions of the ensemble parts are divided, the presentation of the musical material is adapted, taking into account the specific features of the instruments, the performing style, and the technical potential of the members of this group.

A real instrumentalist masters ensemble "hearing" only in the process of long-term work with a specific instrumental composition. Thanks to repeated listening, corrections and comparative analysis of different versions, auditory experience is accumulated, allowing you to take into account possible options for instrumental combinations. Changing at least one position in the ensemble, adding or replacing any instrument with another entails a different attitude to the distribution of functions, to the overall sound of the collective.

The author of the score must take into account that the ensemble functions of the instruments differ from the orchestral ones. First of all, each part, based on the context, can be used as a melodic or accompanying one. The difference lies in the larger use of the expressive possibilities of the instruments, which is facilitated by the playing techniques usually used in solo practice.

The reworking of an orchestral score for an ensemble is often accompanied by specific difficulties due to the large number of voices that cannot be reproduced by a chamber ensemble. In such a situation, only the main elements of the musical fabric - melody, harmonic accompaniment, bass - and the characteristic details that determine the artistic image of the work are allowed to be re-stated. The most sensitive and complete use of the specific expressive capabilities of the instruments, their most striking qualities, a clear anticipation of optimal timbre combinations contributes to the achievement of richness and brilliance of the ensemble sound.

When creating such a score, it seems unjustified to automatically save the orchestral grouping of instruments (domra, wind, bayans, percussion, balalaikas). More appropriate is the location of the parts based on their sound range: small domra, prima balalaika, alto domra, button accordion and double bass balalaika. A different arrangement, based on the principle of species differences (small domra, alto domra, prima balalaika, double bass balalaika, button accordion), is associated with difficulties in the design and perception of musical text, which has to be read not sequentially, but in a zigzag manner. In the event that the participation of a soloist is envisaged, he is assigned the top or bottom line of the score.

In conclusion, we should mention the universal training of the future leader of the ensemble. He must not only be an educated musician and an excellent performer - he must understand all the intricacies of instrumentation, know the expressive features of each instrument and their joint sound, individual technical capabilities and creative aspirations of the team members, and possess pedagogical skills. It is universalism, combined with a tireless search, aspiration for new artistic discoveries, that is a prerequisite for the further progress of the national folk ensemble performance.

LITERATURE

1. Raaben L. Questions of quartet performance. M., 1976.
2. Gottlieb A. Fundamentals of ensemble technique. M., 1971.
3. Rozanov V. Russian folk instrumental ensembles. M., 1972.

Oksana Witt
Learning to play children's musical instruments in the spoon ensemble as one of the means of developing musical abilities

Learning to play children's musical instruments in the spoon ensemble, How one of the means of developing the musical abilities of preschoolers

October 2016

within the creative team "Folklore art therapy in work with children of senior preschool age"

Target: The study by the participants of the master class of the issue of using Russian folk tools in teaching preschool children as part of the educational process in preschool educational institutions.

Tasks:

1. To introduce the participants of the master class to various folk musical instruments and their use in the process musical education in the preschool educational institution.

1. Develop steady attention and self-control in the process of execution piece of music.

2. Cultivate interest and love for folk music the need to communicate with her.

3. Enrich spiritual culture through playing folk tools(spoons) .

4. To increase the level of professional competence of teachers, their motivation for systematic use in the practice of playing Russian folk tools.

direction of our kindergarten ethnopedagogy, in context with this I like music director, doing development elementary music-making for children, namely, teaching children to play with spoons.

Playing on DMI is one of the types children's performing activities that are extremely attractive to preschoolers. While playing with children rhythmic hearing develops, the ability to hear music, communication and game skills ensemble.

When developing the program, I relied on the experience of scientists and authors working on this problem. such How:

Rytov D. A. "Traditions folk culture in the musical education of children» on his methodology learning to play the instruments of the orchestra, on his author's program « Musical folk culture» .

German composer and teacher Karl Orff (the main thing in the concept of which is elementary music-making based on folk music which is inseparable from rhythmic movement, speech, dance, gesture).

Hungarian composer Zoltan Kodály (based on his system of Hungarian folklore, folk song creation).

Rybakova E. L. " Musically-aesthetic education of children in folk tools”(the basis of her methodology is playing music on folk tools, improvisation).

I present my experience of working on acquaintance of preschoolers with spoons.

Do you love miracles? Let's do a little miracle. But in order for it to happen, we...

Clap three times

We stomp three times

Let's smile next to a friend

Let's hold hands together

Let's all look up

"Miracle, miracle, appear!"

Look what a wonderful chest I have. What do you think is in it?

The riddle will help us:

They, painted, are famous around the world. You start playing and everyone likes it. (spoons.)

Wooden spoons is the simplest and most common instrument of the Russian people.

No national culture can be compared in the diversity of original musical instruments with Russian musical culture. A modern list of percussion folklore only tools has about thirty titles. The first professional performers on Russian folk the instruments were buffoons. However, it is completely unknown who and when first guessed to use as musical instruments household items such as spoons, rubel, board, kokoshnik, shepherd's drum.

Children's Spoon Ensemble can be the first step towards the knowledge of Russian culture, the revival of cultural values, development of creative abilities. Children show interest in folk music and express a desire to play folk tools.

In my work I use the rule from simple to complex:

1. The child learns to play by taking in each hand spoon.

2. Child connects 2 spoons in right hand.

In the classroom to keep children interested in game I use playing Russian songs and nursery rhymes.

For example,

Taria - Mary went to the forest, Taria - Mary went to the forest

She ate cones - she told us, And she found mushrooms there.

But we don’t eat cones, But we eat mushrooms,

Tara - Mara will give. Tara - Mara will not give.

The next trick is done in the same way. Let's try together.

Once at our Stepan

The cat guarded sour cream.

And when dinner came...

The cat is sitting - there is no sour cream.

Help Stepan,

Look for sour cream with him!

Yes, ask the cat

What does he avert his eyes?

To lose - any rhythmic pattern.

What develop these exercises.?

(During the game, the aesthetic perception and aesthetic feelings of the child are improved, develops a sense of rhythm memory and ability to concentrate.)

Let's get acquainted with the methods of playing on two disparate spoons.

"Horse"- one spoon on the palm of the left hand, convex side up, handle away from you, the second spoon strike alternately on the convex side, on the handle. We try.

"Watch"- raise one hand up and perform a sliding motion on the other spoon.

"Sun"- perform simple quick strikes in spoons(eighth durations) right, up, left, down.

And now under music.

spoons as shown by the teacher

What other qualities do you think develops playing on spoons?

(She contributes to the formation and development of such qualities as endurance, perseverance, purposefulness.)

IN spoons can be played in pairs. Let's try.

Russian folk melody sounds

And paired spoons you can play on the knees, on the shoulder, on the foot and on the palm. (Display)

Another method of playing on paired spoons is called"tremolo"- This is a quick alternation of blows between the palm and leg. (Display) And now all together.

A Russian folk melody sounds, everyone plays in different ways on spoons as shown by the teacher

To make our game look more interesting, I propose to combine two types popular creativity - game on spoons and singing.

How many of you have performed a ditty at least once in your life?

Is there among you who wish who would like to sing?

Three participants perform ditties, the rest play losses, repeating the movements of the teacher

Chastushki with ensemble of spoons

Have you become interested in development elementary music-making for children?

While our children are playing spoons and guessing on daisies, maybe the thread that connects us with the traditions and memory of the Russian people will not break.

Let your house be a full bowl, and the spoon is your nurse.

Related publications:

Consultation for parents "Development of musical and creative abilities through musical games" Musical director: Gorohova L.V., municipal budgetary preschool educational institution kindergarten No. 38, Apsheronsk. WITH.

Master class for educators. "The use of musical didactic games in teaching children to play musical instruments" Master class for educators "Using musical and didactic games when teaching children to play musical instruments" musical.

Musical development of preschoolers through learning to play musical instruments K. Orff Musical development of preschoolers through learning to play musical instruments K. Orff. SLIDE 1. There are several famous ones.

"Unconventional technique (quilling) as one of the means of developing fine motor skills of hands and creative abilities of children." "The origins of ability.

Non-traditional technique (quilling) as one of the means of developing fine motor skills of hands and creative abilities of children Non-traditional technique (quilling) as one of the means of developing fine motor skills of hands and creative abilities of children. "The origins of ability.