Report "fur techniques of performance on the button accordion" methodical development on the topic. The distribution of fur movements when playing the button accordion
Elagina Olga Sergeevna
Job title: teacher
Educational institution: MBOU DOD
Locality: city of Tulun, Irkutsk region
Material name: Methodical development
Subject:"Work on the technique of fur on the button accordion and accordion".
Publication date: 06.06.2017
Chapter: additional education
MUNICIPAL BUDGET INSTITUTION OF ADDITIONAL
EDUCATION IN THE CITY OF TULUN "CHILDREN'S MUSIC SCHOOL"
Methodical development
Work on the technique of fur on
button accordion and accordion
Compiled by:
Elagina Olga Sergeevna
Tulun 2016
Work on the technique of fur on the button accordion and accordion
Expressive
artistic
performance
musical
works.
Hence,
performer
directed
development
fluency
producing expressive sound. Musical instruments like
button accordion and accordion are capable of performing various strokes with various
nuances,
create
the thinnest
thinning
dynamic
contrasts
expressive
dynamic
flexibility.
sound
the possibilities of these tools cannot be fully exploited and
disclosed
mastering
technique
Mark,
mechanical science is connected with such important issues of performing technique
on the button accordion and accordion, as sound production and sound science. In his book
"Art
attention
specifically the issue of fur ownership. According to his expression: “The fur performs as
lung function, “breathing life” into the performed work”
According to their structure and sound formation, the button accordion and the accordion belong to
keyboard-reed wind instruments. The process of sound generation
these tools is formed when two conditions are met: the movement
fingers controlling the keys and the left hand controlling the movement
fur. Pressing the key opens the valve, and the movement of the fur forms on it
a stream of air that vibrates a metal tongue (or
Among the most common shortcomings in the technique of fur,
can be called: jerks with fur, incomplete sound, wide range of reference
fur, lack of gradualness in crescendo and diminuendo.
pedagogical
practice
enough
account for
encounter a low technical level of change of direction
fur, which is expressed in large caesuras, a change in sounding notes and in
changes in dynamic levels. The reason for these shortcomings is the lack of
necessary auditory control by the student.
Thus, it can be confidently stated that the formation and
the development of the student's technique of fur management is an urgent problem
in bayan-accordion pedagogy, work on which must begin with
the very first lessons. The task of the teacher is to make the student
reached such a level of proficiency in the technique of fur management, in which
he, on the basis of the establishment of his auditory-motor relationships, himself
fur
tricks
ways
achieve
necessary
character
sound
specific
musical
works.
Motor-playing ways to control the fur on the button accordion and accordion
start off
students
mastering
fur technique? This question can be answered with certainty,
the formation of the technique of conducting fur begins with the mastery of motor-
ways
management
with rational
the student's seat, the stable positioning of the instrument, and the correct
position of the left hand.
Proper student seating, as F. Lips emphasizes, should
have three points of support: support on a chair, support on the soles of the feet, and support in
lower back.
front
ensure the position of the legs at a right angle, which are slightly apart in
side, with the right leg slightly in front of the left leg. Trunk body
the musician should be slightly tilted forward.
Setting up the instrument should provide comfort to the student and
movements.
Shoulder
necessary
thoroughly
adjust, while the right belt should be slightly longer than the left,
which will allow the lower part of the right half-body to rest against the right thigh and
to create the stability of the tools when the fur moves to the compression. Too much
Loose straps cause the tool to become unstable (wobble) and
cause an instinctive raising of the shoulders. In turn, tight belts can
cause the button accordion to hang on them more than stand
on the knees. The fur chamber should stand steadily on the left thigh, which
allows the left body of the instruments to move freely without difficulty,
at the same time, it is important to ensure that when unfolding and squeezing the fur, the left leg
did not rise and the instruments did not move in the direction of travel
controlled left
hand,
extremely large, due to direct play on the left keyboard.
The length of the left work belt must be adjusted so that the hand does not
hung between him and the left side of the body. Belt too long
forces the performer to bend the wrist of the left hand, and too short -
binds
movements
wrist.
feeling
necessary
constantly
contact
semi-body cover, which makes it possible to discreetly change
fur (without backlash-pause push) and provide the finest thinning of the sound.
basic
is
wrist, and when squeezing - the wrist and forearm. Fur spreading technology
carried out by gradual straightening of the left arm, by extension
her at the elbow. Bringing the fur to about the middle of its stretch,
stops
movement,
half
getting divorced
forearm
Thus, the arm at this time straightens, unbending at the elbow joint. At
subsequence
movements
reverse.
Concerning the correct trajectory of the movement of the fur, then it is necessary
make sure that when playing, the fur moves in a fan-like manner. mechanical science
should be carried out not according to the principle of "left-right", but "left-down and
right-up",
allows
use
potential
mortgaged
semi-hull
tools,
located
upbeat
position.
fan-shaped
movement
facilitates
uniform
provides
sustainable
position
instruments while playing.
Fur technique
In terms of its significance, mechanical science can be compared with the breath of a singer
maintaining
versatility
dynamic
shades
accordion,
directly
precisely from the nature of the air supply to the fur. Therefore, every nuance and even
the thinnest
Necessarily
displayed
appropriate movements of the fur.
The components of fur technology are:
Techniques for playing with fur - unclenching and squeezing;
Types of fur guiding - full unclenching of the fur, unclenching the fur to the limit,
game on "short fur";
constantly
tense
throbbing;
acceleration
slowdown
movements, bellows jerk, dotted dribbling, bellows tremolo, vibrato.
student
technique
the teacher needs to focus on solving three main
correct
correct
fur movement directions,
literate
distribution
alternation of expansion and compression of the fur according to the articulation of musical speech;
The third is to teach different ways of fur.
The success of solving these problems depends both on the degree of desire of the
the student to master the technique of conducting fur, and from his auditory control and
formation of motor skills of the left hand.
On the bayan and accordion, there are two main methods of playing with fur –
it's a squeeze and a squeeze
Mech handling techniques.
1) the fur is constantly tense (continuous) in which there are no shocks,
jerks, “shouts” and forcing the sound, which helps to feel
the speed of movement of the fur, the smoothness and evenness of its conduct;
2) pulsating fur, when individual harmonies are performed with some
stop in the movement of the fur.
The variety of plays requires the use of a specific technique of leading
fur. So, for example, in works with a wide, melodious sonority or with
polyphonic texture, the fur is in constant tension. When playing
acute rhythmic
syncopated
defiant
the need to highlight individual chords and consonances - the fur should be
pulsating. Also, there are works where these two methods of playing
fur are used together.
In each case, you need to look for the best option for movement.
accordance
artistic
character
works.
Ways to change the movement of fur
It must be said that in the initial period of training, a change in direction
the movement of the fur seems to the student to be a simple and understandable action, but in
further, with the growth of artistic tasks, this technique
becomes one of the most difficult technical challenges for him.
correct
the most important
literate
performance
musical
works.
The manual "School of bayan playing" describes two ways to change the movement
noticeable by ear;
Invisible to the ear
An audible change in the movement of the fur is applied:
When it coincides with the beginning of motives, phrases, sentences and other
structural elements, which in turn contributes to the natural
division of the melody and "taking breath", but at the same time an important condition
is the inadmissibility of jerking with fur;
When it is necessary to highlight an accent, syncopation or climax.
inconspicuous
movements
performance
imitative polyphony and works with very large phrases or with
seasoned
works
used
several options for changing the movement of the fur:
Before the strong beat of the measure;
Before accent;
Before the climax;
At the moment of pause.
It is important to note that it is precisely the imperceptible change in the movement of the fur
allows not to disturb the development of the musical thought of the work.
seasoned
inconspicuous
achieved
provided that until the moment and at the moment of changing the direction of the fur,
one, the invariable position of the hand under the left belt.
Mastering by the student of noticeable and imperceptible to the ear changes in movement
furs are important components of the technique of fur. Exactly
directions
movements
is
major
quality
indicators
performing
culture
button accordion player
accordionist.
To achieve the correct change in the movement of the fur, it is necessary to turn
serious attention of the student to the following:
movements
musical
interrupt;
admit
involuntary
short
fur turning
fully
withstand
duration
admitting
abbreviations;
Maintain rhythmic evenness in playing small notes, without speeding them up and
fussiness;
dynamics
change,
dynamic
contrast
violate
progression
fur distribution
Consideration of the issue of distribution of fur is associated with the solution of two
tasks: first, - correctly determine the place of change of direction of movement
fur in the work and the second - to master the control of the tension of the fur when
squeeze and squeeze.
typical
mistakes
distribution
performance of works are:
finish
musical
construction. The first reason - there was a weak expansion of the fur; second reason -
the fur on the squeeze was “transferred”;
The fur goes into unclamping to the limit due to strong spending
result
violated
dynamic
development
going on
unjustified jerk of the fur on the squeeze;
produced
ending
the natural “breathing” of musical speech is distorted;
The inability to dampen the sound for short durations.
These errors occur due to the student's poor auditory control.
inadequate
formation
motor
The skills of mechanical engineering require the performer to accurately calculate in
management
enjoy
air in the fur, that is, to achieve the necessary strength and sound quality
with economical consumption of air in it. Fur should not be brought to
extreme limits of expansion and compression to avoid lack of air and
student
learn
"feel fur".
There are a number of factors to consider when distributing 'Mech movement:
A convenient moment to change the movement of the fur can be the beginning
musical constructions - motives, phrases, sentences, sections of parts;
between fortes
contrast
constructions more spectacular;
seasoned
necessary
bellows movement before downbeat;
polyphonic
works
the direction of the fur is necessary at the moment of the introduction of the topic, which makes it
appearance more prominent;
As the work is learned, transfer corrections are acceptable.
change of fur between motives, phrases, in view of a shift in tempo.
Therefore, the student must know not only how to change
fur in a particular work, but also where it is better to do it so as not to
break
logical
buildings
melodic
There are three stages in the work on the distribution of fur: initial,
working (corrective) and final.
Elementary
includes
definition
places favorable for changing the movement of the fur in the work,
starting from the articulation of musical speech.
The working (corrective) stage is aimed at correcting
change of fur, as the constant improvement of performance,
the search for new performance solutions leads to dashed,
tempo, dynamic changes in the game, and, accordingly, to
different fur distribution. It is taken into account that the faster
pace, the greater the semantic segment (or several segments)
fit
movement
musicians
preserved
setting that each part should end on a compression
fur, and the next part - start to unfold, as if "with a red
The final stage is to fix the exact change of fur in
the result of combining all parts of the work into a whole.
Methods of fur
main
ways
relate:
speeding up or slowing down the movement of the fur; fur jerk; tremolo fur;
vibrato; dotted guide.
Smooth guiding for spreading or squeezing, achieved by a constant speed
movement of the fur, due to the constant identical effort of the left hand, which
creates a constant level of air jet pressure on the reeds. Rivne
conditioned
necessity
receiving
the same
sonority is possible on all major dynamic gradations from pp to ff.
It should be noted that with this method of mechanical science, students
a common mistake is that when changing direction
the movement of the fur is not respected the preservation of a single dynamics. The reason of that
- in the formation of a dynamic "push", due to different efforts of the left hand
when expanding and compressing the fur.
Acceleration
slowdown
movements
result
amplification
weakening
tension
applied
need
receiving
uniform
growth
decrease
sound.
Dynamic
nuances of creschendo and diminuendo on bayan and accordion are achieved
precisely due to the appeal to this method of conducting fur. Essential
moment
is
awareness
students
change
dynamics depends on the nature of the fur, the degree of its tension, and not on
density
touch
keys.
to avoid
increase
density
(touch)
leads
irrational use of energy, stiffness of the gaming machine and
roughness in the game. To avoid these shortcomings, the student must
very carefully control the efforts of the left hand applied to the fur.
Fur jerk performed with a sharp short movement of the left hand.
A jerk with fur is necessary when taking or removing a sound, consonance with an accent,
for a vivid display of the climax, the performance of syncopation, subito forte,
Usage
Maybe
a variety of dynamic sound levels.
dotted line fur- keeping the fur in one direction, that is, on
unclenching or compressing, which alternates with its complete stop. Applies
this method of conducting with fur, when it is required to perform accentuated
a sequence of several sounds or consonances. sound ending
will be performed either only with fur, or with fur and fingers at the same time.
This method of mechanics is used when playing sharp rhythmic or
syncopated music.
Tremolo
fur
periodical
“Unclench” - “squeeze” on a sound or consonance. However, the beginning and end
sound is carried out by fur, since the fingers in this period of time
hold back
position
keys. vibrato
sound vibration. Translated from Latin as "trembling". Options
performance
executable
directly
movements
There are two variants of fur vibrato: the first one is fast vibrating
semi-body at various points of the keyboard corner.
mastery
technique
promotes
formation
performing
student
expressive
performance, vivid disclosure of the content of a musical work, and
successful
creative
activities
future
musician,
amateur and professional alike.
Bibliography
Akimov, Yu. School of playing the button accordion. Proc. allowance. – M.: Ed.
Soviet composer, 1989.
Bryzgalin, V. Polyphonic Dictionary of a Young Performer. Under
ed. prof. Imkhanitsky, M.I. - Kurgan: World of notes, 2001.
Gvozdev, P.A. The principles of sound formation on the button accordion and its
extract / P. Gvozdev. In: Bayan and accordion players - M .: Soviet
composer, 1970.
Egorov, B. General questions of staging when learning to play the button accordion
/ B. Egorov. In: Bayan and accordion players, Issue 2. – M.: Soviet
composer, 1974.
Egorov, B. To the question of the systematization of accordion strokes. - Sat:
Bayan and accordionists, vol. 6. - M.: Ed. Soviet composer, 1984.
Krupin, A.V., Romanov, A.N. New in theory and practice
sound extraction on accordion. - Novosibirsk, 2002.
Lips, F. The Art of Playing the Bayan. - M .: Music, 1998.
Lushnikov, V.V. Accordion school. Proc. allowance – M.:
Ed. Soviet composer, 1987.
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In our time, when polyphony has taken a firm place in the educational and concert repertoire of bayan players, there is an urgent need to develop a theory of its performance at a higher level.
Among the most important and specific problems that require their consistent solution are issues related to the change of fur.
Leading fur is the most important means of extracting sound when playing the button accordion. The main prerequisite for achieving coherence in the performance of sounds in their sequence is the non-stop leading of the fur. However, continuous fur management is possible only with its unidirectional movement.
During the game, there are times when the 'Mech's drift in one direction reaches a critical or intended limit, and in order to continue the sound, it is necessary to continue moving the 'Mech in another direction. Reversing the direction of the bellows dismembers the sound.
The reason for the dismemberment, according to I. Alekseev, is that “at the moment of changing the direction of movement of the fur, there is a break in the sound”
Achieving perfection in the technique of changing the fur is often associated with the ability to change the movement of the fur without noticeable interruption.
However, despite the high perfection of the technique of changing the fur, it cannot be carried out completely imperceptibly in a number of pieces of cantilena character.
It is also necessary to note such a dismemberment factor as an accentuated sound at the beginning of the opposite bellows movement, which occurs voluntarily or involuntarily, when overcoming the inertia of rest of the reeds of the extracted sound is carried out by a more energetic movement of the bellows.
Techniques for a smooth change of fur can reduce or negate the appearance of an accent and significantly reduce the impression of dissection.
The coherence and dismemberment of the sounds on the button accordion are not directly dependent on the unifying movement of the bellows. It is possible to perform not only legato, but also various degrees of pop legato and staccato on one movement of the bellows. Changing the direction of the bellows in this case is necessary, mainly to continue the sound.
Such a change of fur in some cases may be the cause of an inappropriate dissection of the musical fabric, in others, on the contrary, it may help to emphasize the dissection.
The most acceptable is that change of fur, which coincides with the dissection of tones and constructions. In this case, it can serve both for the continuation of the sound and for the dismembering action.
The main function of the change of bellows is the continuation of the sound, and its dismembering action can carry various variable functions, not only from the point of view of relevance, but also in cases of their coincidence with some kind of dismemberment envisaged. These functions change every time depending on what is actually dismembered (or accentuated) at each given moment by the change of fur. So, if the change of fur coincides with the semantic differentiation of constructions, contributes to it, then we can talk about its phrasing function, and if it is involved in the expression of a metrical support, obtaining a dynamic accent, about its rhythmic or some other meaningful function. Emphasizing the climactic peaks of the melody by changing the fur, we combine its action with an expressive function. When the dissection and tension of the melodic jump coincides and is emphasized by the change of fur, it can be argued that it has an intonational function.
The enumeration of the variable functions combined by the change of fur can be continued, concretizing them depending on the artistic tasks.
The many meanings of these functions are explained by the fact that they are based on dismemberment, which is widely used at various levels of organization of musical material - from elementary stroke dismemberment of individual sounds to the dismemberment of sections and parts of a composition. In this sense, I. Braudo's indication of the need to understand the function of articulation in the plural is noteworthy.
Often the change of fur simultaneously carries out several variable functions: for example, articulatory, expressive, phrasing, etc. The number of combinations increases as the number of voices in polyphony or texture layers in polyphony increases. But at the same time, the difficulties of combining also increase.
With an artistically complete combination of functions, the change of fur turns out to be less noticeable, because its dismembering effect does not violate the content-semantic structure of the musical construction.
The choice and formation of the moment of change of fur is an extremely important and complex problem in working on polyphony, which will be discussed in the article.
The change of fur is widely carried out in places where the melodic line is divided into phrases (motives, sentences), especially in homophonic music, where the divided melody is the main, leading voice.
However, in polyphonic music, consisting of several melodically developed voices, the moments of their syntactic division do not coincide in time.
Therefore, the implementation of the change of fur, taking into account the semantic distinction of only one of any voices, can cause undesirable divisions in other voices. Among them is the dismemberment of a stretching sound.
Therefore, when determining the moment of the change of fur, it is necessary to take into account the logic of the deployment of the melodic line of each voice of the polyphonic fabric, avoiding unwanted dissections in them. To do this, it is necessary to find and outline a place where the dismemberment in all voices at the same time will not introduce noticeable distortions into any of the jointly sounding voices.
The result of dismemberment is usually a caesura.
The one-time caesura necessary for the change of fur in all voices is formed only if several caesuras coincide in time, each of which can be obtained either at the points of delimitation of semantic units, or between dissected tones within them, or by various shortening of the durations of sounds.
The unity or dismemberment of the sequence of tones, on which the presence and number of different caesuras depends, is usually indicated in the musical text.
It is known that Bach's clavier and organ works, which are now widely performed on the button accordion, have come down to us mostly without the author's articulation and other performance instructions. The existence of many editorial editions of these works, each of which provides for its own, different articulation, makes it possible to notice not only discrepancies and contradictions in them, but also suggests the possibility of substantiating other legitimate options for articulation, in this case due to the need to change the fur while performing them on the button accordion.
Report of the teacher of NDMSh No. 2
Dolmatova A.Yu.
"FUR TECHNIQUES OF PERFORMANCE
ON BAYAN»
The modern school of accordion playing rightfully occupies one of the leading places in the world today. Recently, the level of performance on the button accordion has increased significantly. A major role in this, along with other factors, was played by the appearance in the concert and educational repertoire of new original compositions, which significantly expanded the expressive and technical capabilities of bayan players. They began to widely use new methods of playing and, in particular, methods of playing with fur. These techniques are colorful, effective, they are used not only in original compositions, but also in arrangements, which makes them sound more expressive.
All these factors require careful and painstaking work, starting from the initial stage of mastering the instrument.
Before proceeding to the study of the technique of mastering modern fur techniques, it is advisable to turn to the issue of staging, since practice shows that bayanists very often do not pay due attention to it, and this negatively affects the formation of correct sound production skills and, in particular, is essential brake in the development of fur techniques. In addition, along with the well-known provisions that exist in the production, there are also specific ones that are necessary for the accordion player during the performance of fur techniques.
As you know, the staging of an accordionist consists of three interconnected components: seating, setting the instrument, setting hands. The main criteria in staging, with all the individual physical data of the performer, differences in the designs of the instruments themselves, should be naturalness and convenience. It must be said right away that the production should not be identified with some once and for all established and unchanging scheme. On the contrary, it should be very flexible and aimed at the formation of natural game movements.
One of the important components of the production is landing. First of all, you need to choose the right chair for classes. Its seat should be quite rigid, and the height should correspond to the height of the performer so that the hips are parallel to the floor - otherwise the center of gravity of the instrument will shift, and the accordionist will have to expend extra physical effort while holding the instrument in a vertical position. “The accordionist has three main points of support: leaning on a chair and leaning on the floor with his feet,” writes F. Lips. In this regard, you should not sit on a chair "deep", because the support of the legs on the floor is lost and the landing becomes unstable. You need to sit down about half the seat, a little closer to its front edge. The legs need to be slightly apart, and it is better to bend the right one at a right angle, and push the left one forward a little. This gives the fit good stability when working with fur.
When installing the instrument, you should pay attention to the fact that the fur chamber is on the left thigh, because only in this position the left semi-body of the button accordion can move without difficulty, freely. The neck of the button accordion should rest against the right thigh, ensuring the stability of the instrument when the fur moves to the compression. It is necessary to carefully adjust the shoulder straps, because, for example, with their long length, it will be difficult to perform fur techniques due to excessive “rocking” of the tool. In addition, the angle between the shoulder and forearm of the left hand will be somewhat increased, which will require additional physical effort from the performer during the performance of fur techniques. It is easy to verify this by comparing the efforts expended on unclenching and compressing the fur, first with the left arm bent and then extended. You should not shorten the straps too much either, because the button accordion will not so much stand on the hips as hang on the shoulders, making it difficult for both hands to work. The correct adjustment of the shoulder straps can be checked in a simple way using the palm of your hand. If you put it on your chest, then with the back side it should touch the body of the instrument.
The right strap should be slightly longer than the left. This allows the accordion player to have better contact with both keyboards. To bring the back muscles into working condition, it should be slightly straightened and slightly tilted forward so that the chest is in contact with the accordion body. This fulcrum is necessary for the accordionist during the performance of fur techniques, because it gives the instrument greater stability. Some accordion players mistakenly replace it with the chin resting on the upper part of the right semi-body of the button accordion, which leads, firstly, to the clamping of the neck muscles, and secondly, to partial or complete exclusion of the back muscles from work. In addition, such a landing from the aesthetic side does not look the best way.
Turning to the positioning of the hands, it should be said that the successful mastering of fur techniques to a greater extent depends on the correct setting and work of the accordionist's left hand. As for the right hand, we will be interested here mainly in finger articulation. The issues of staging and work of the accordionist's left hand are inextricably linked, therefore they will be considered together.
It is known that while working with fur, the accordion player must feel three main points of support in the left hand:
- The point of contact of the left work belt with the wrist of the forearm.
- The point of contact of the base of the palmar muscles with the front edge of the cover of the left semi-body of the button accordion.
- The point of contact of the forearm with the rear edge of the lid of the left semi-body of the button accordion.
In order to feel all these points of support well during the game, it is necessary to adjust the length of the left working belt so that it is not large, otherwise, when unclenching, the left hand will lose contact with the cover of the left semi-body of the button accordion, and when squeezing, with the belt, this will not allow accordionist to achieve evenness of sound when changing the direction of movement of the fur. In addition, if there is a game in the left hand part, the accordion player, while unfolding, will have to bend the wrist, and this will negatively affect the freedom of the gaming machine. The left strap should be adjusted in such a way that the hand does not lose contact with the left semi-body of the button accordion during the execution of movements and at the same time can move freely along the keyboard. Some accordion players, unconsciously raising the elbow of the left hand, thereby lose an important support at the point of contact of the forearm with the rear edge of the lid of the left semi-body of the button accordion. In this case, the hand has to be kept on weight, spending extra physical effort. It is this fulcrum that helps the accordion player achieve greater naturalness in leading and changing the fur and a feeling of relative freedom in the movements of the left hand. All this is important and necessary, given that the left hand, when playing the button accordion, usually performs two functions at once: guiding the bellows and working the fingers on the keyboard.
Let us dwell in more detail on the first function of the left hand - on the conduct of the fur. By virtue of physical laws, the potential energy of the weight of the left semi-body and the performer's left hand makes the bellows unfold easier than the squeezing. With ordinary mechanical science, this does not cause any particular inconvenience to the performer, but when performing fur techniques, it is a significant obstacle, since the accordion player begins to get tired quickly, his fur gradually opens, etc. To successfully overcome these objective factors, the accordionist needs to develop the correct skills of left hand movements during the execution of the cell, open-squeeze, and since all bellows techniques are based on the alternation of unclenching and squeezing in their various combinations, this is best done using the example of learning the tremolo technique with bellows.
Let's try to turn to the experiment without resorting to the help of an instrument. Bending the left arm at the elbow as if it were in a working position when playing the button accordion, we will make a short and intense push with the forearm down into an imaginary hard surface. It is necessary to ensure that only the muscles of the shoulder participate in the push, and the forearm remains free. Under these conditions, after a push, the forearm, as a result of reflex muscle contraction, will make a slight movement in the opposite direction - up (reflex - reflection). To this reflex movement, it remains to add a very small muscular effort so that the forearm returns to its original position. Having practiced, you can achieve this reflex movement (rebound) due to the free fall of the forearm of the left hand to the point of impact, that is, without a push. Thus, the movement of the forearm consists of three parts: the fall, the point of impact and the rebound.
The development of a good reflex rebound is the main task of the accordion player when mastering fur techniques,because it is its use that will help overcome those objective factors that were mentioned above. When performing the exercise, it is necessary to ensure that the time for which the reflex rebound occurs corresponds to the time spent on the fall of the forearm. In order to better feel all three stages of the movement of the left hand, the exercise should be performed at a calm pace. This exercise should be considered as preparatory, since a large amplitude of forearm movement is not needed when playing the instrument, due to the constant and inevitable, in this case, displacement of the main points of support in the left hand. Therefore, after mastering the first exercise, you should proceed to the second, where the range of motion should be minimal. The main goal in this case is to transfer the acquired skills from the first exercise to the second. However, there is one significant point in the technology for performing the second exercise. Due to the fact that the forearm, with such a small amplitude of movement, cannot gain sufficient speed when falling, the point of impact is somewhat “blurred”. Accordingly, the rebound also weakens, since its intensity depends on the magnitude of the speed of the fall of the forearm. Therefore, it is necessary to increase the speed of the fall due to a small additional muscle effort. Performing the exercise, it is necessary to monitor the relative freedom of the muscles of the forearm.
The next step in learning how to use tremolo with bellows is with the instrument. To begin with, it is useful to practice without using your fingers on the keyboard, that is, silently. This makes it possible to better focus on the work of the left hand. The execution technique is the same as in the previous exercise. It should only be taken into account that while playing with fur, the forearm of the left hand should not lose its three main points of support, therefore its movements should be very small, and they should be performed mainly with the carpal part of the hand. The direction of movement is necessarily down - up, and not left - right, as in conventional mechanical science. The accordionist also needs to be able to maintain small inertial oscillatory movements of the instrument itself while performing the tremolo technique with bellows, as this greatly facilitates the work of the left hand. For a better feeling of movement, the forearm should be slightly swayed at the base of the incense muscles. By the way, this technique must be used in cases where there is no game in the left hand part. If during the exercise the fur does not diverge, and the left hand does not get tired, you can proceed to voicing the technique. This is a very important point, since hearing is now connected to muscle sensations and visual observation. From his careful control largely depends on how successful the further development of the technique will be.
It is best to start voicing the tremolo with bellows on a sustained sound or chord, after pressing it on the right button accordion keyboard. First, you should make small stops between the main cells of the tremolo, that is, after each contraction, follow the same duration of the sounding of the shares for unclenching and squeezing, well feeling all three stages of the movement of the left hand. To better focus your attention on this, do not remove your fingers from the keyboard during stops. A clear feeling of the point of impact, there is nothing more than a fur accent, which will, in this case, be on every fur unclench.
Gradually, you can move on to performing a continuous cycle, but always at a calm pace, while well controlling the alternation of fur accents and carefully following the rhythmic sound of the beats.
It is immediately necessary to say about the right hand, the work of which, in fact, boils down to ensuring that all movements are carried out as freely and rationally as possible. In this exercise, after taking a chord, the fingers should not press on the keys, but only hold them freely. With an increase in tempo, it becomes impossible to perform a fur accent on each unclench, since the muscles of the left hand do not have time to relax, therefore, the faster the tempo, the greater the distance between the fur accents (supporting beats) should be.
The movements of the left hand after performing the fur accent are already made by inertia, and in each subsequent cell (opening - squeezing) it is necessary to feel all the same three stages of movement: falling, point of impact, rebound, with the only difference being that the farther from the main supporting share , the smaller the amplitude of movements of the forearm, that is, the smaller the fall, the weaker the point of impact, respectively, the smaller the rebound. The performer should have such a muscular sensation in the left hand, as if, after a fur accent, he is doing a gradual diminuendo. The difference in the dynamics of the sound of all shares is so insignificant that when performing the reception at a fast pace, it will practically not be felt.
The bayanist also needs to learn how to perform the tremolo technique with bellows on crescendo and diminuendo. The technology for their implementation is as follows: with an increase in the dynamics of the sound, the intensity of the fur accent should increase and vice versa. The movements of the forearm of the left hand between fur accents should be the same as with even sound dynamics, i.e. inertial.
The next stage in mastering the tremolo technique with bellows is the combination of bellows work with finger articulation in the right hand. You should start with an easier one (when fur accents coincide with finger articulation), and then move on to a more difficult one - their mismatch. When performing the exercise, it is necessary: to accurately take chords, falling into the general "pulse" of the movements of the left hand and make sure that after pressing the keys, the fingers instantly relax. When playing a chordal texture, accordionists sometimes hold the neck with their first finger. This breaks the rhythm of the oscillatory movements of the instrument, and, consequently, makes it difficult for the left hand to work, therefore, when playing a chord texture, it is advisable to put the first finger on the keyboard.
One of the most difficult stages of mastering the technique is the combination of bellows work with finger articulation of the left hand, since the left hand here already performs two functions at the same time. First you need to learn how to tremolize sustained sounds and chords, while clearly feeling all three stages of the movement of the left hand.
Due to the bifunctional nature of the left hand, the accordion player needs to consider the following:
- The finger articulation of the left hand should be based on free relaxed movements, otherwise there can be no talk of any reflex rebound.
- All melodic and chord constructions should be performed with economical movements of the fingers and hand, without changing the main reference points of the forearm, for which it is necessary to carefully select the appropriate fingering.
- If it is necessary to perform a jump, it should be made with a free throw of the hand, while accurately falling into the general "pulse" of the movement of the left hand. Then a slight displacement of the forearm at the points of contact with the front and back sides of the cover of the left semi-body of the button accordion will not affect the rhythm of the technique. It is only necessary to make sure that during the jump the forearm support at the point of contact with the working belt does not move, otherwise the left hand may fail.
Finally, a combination of fur work with finger articulation of both hands is a particular difficulty. To start mastering this stage in learning the tremolo technique with fur should be only after a good consolidation of all the previous material. It is better to start the connection again with trembling of the sustained chords at first, with the subsequent complication of the task.
Starting to consider other fur techniques, it should be said that all the main provisions considered during the learning of the tremolo technique with fur must be taken into account to a greater or lesser extent when performing all fur techniques.
In his work, A. Kuprin divides all fur techniques, depending on the means used to form a rhythmic pattern, into two types:
- Fur.
- Fur - finger (combined).
The first type includes: tremolo fur, triplet rebound. To the second type: combined duol, combined triplet, quadruple rebound. Such a division more accurately characterizes the specifics of the execution of the technique and avoids confusion in the names of such techniques as triplets tremolo and combined triplet, since the latter technique is often called "fur triplets", which is not much different from the name "tremolo triplets".
First, consider the technology for performing techniques combined duol and combined triplet. It should immediately be said that the direction of movement of the left hand in them is not down - up, but left - right, that is, as in ordinary mechanical science. This is due to the fact that one movement of the fur most often accounts for the sounding of two shares at once, which requires a greater length of expansion and compression. The movement of the forearm of the left hand down - up is designed for a short unclenching and squeezing of the fur, therefore, in this case, it is no longer suitable.
The combination duol technique for an accordion player who has mastered the tremolo technique with bellows is not particularly difficult. The main thing is to understand the work of fur and fingers, the accents of which should alternate evenly.
The combination triplet technique is somewhat more complicated than the combined duo technique, since there are, in my opinion, two ways to perform it. Their choice depends on the tempo at which it will be performed. If in slow, then in this case, the accents of the fur and fingers should match, then the support lobe is better emphasized.
With an increase in the rate of execution of the technique, the gap between the triplets will decrease, and a moment will come when two unclenches with fur (the last part of the triplet and the beginning of the next triplet) will merge into one and not triplets will be obtained, but duoli, i.e. tremolo with fur. To prevent this from happening, at medium and fast tempos, the accents of fur and fingers should not coincide.
You should start mastering this technique from the first method, that is, when the accents of fur and fingers coincide. This makes it possible to better focus on the work of the left hand, the movements of which should be borrowed from the bellows tremolo reception, with a clear feeling of all its three stages, because the first three beats of the bellows tremolo reception are nothing more than a combination triplet reception cell, therefore for an accordion player, mastering this method will not be difficult. It is only necessary to follow the exact removal of fingers from the keyboard after performing the third beat, and just as accurately hit the beginning of the next triplet.
The second method of performing the combined triplet technique, as well as in the combined duo, is based on the principle of non-coincidence of the accents of fur and fingers, therefore it is much easier for an accordionist who has mastered the combined duo technique to master this method. The movement of the forearm of the left hand should be based on the same three stages. It must also be said that, since the unclenching of the fur, and, therefore, the fur accent in each triplet falls on a weak beat (third), there is a feeling of a violation of the meter. It is important for an accordion player to know this in order to clearly control the beginning of each triplet. Due to the fact that two parts out of three fall on the opening of the fur, for many accordionists it begins to gradually open. Its stable position can be achieved by regulating the additional muscular effort of the left hand during the rebound (the second beat of each triplet). The measure of this effort depends on the pace and dynamics. The faster the tempo and quieter the sound, the less this effort is required, and vice versa.
RICOCHET
This technique received its name from the use of the principle of reflection in it. “The left semi-hull, colliding in the upper part of the button accordion, bounces off the right one and hits it again, but with the lower part of the fur,” writes
A. Kuprin. In performing practice, two types of ricochet are mainly used: triplet and quadruple. It is easiest to master the triplet ricochet, since, unlike the quartole, fingers do not take part in the formation of its rhythmic pattern. All you have to do is, having previously pressed a chord, rhythmically and alternately strike the left half-body of the button accordion against the upper and lower parts of the right half-body. During the closing of the fur below, its upper part is unclenched and the first share is obtained, and when the fur is closed at the top, its lower part is unclenched - the third share. The second beat is formed between beats - during the change in the direction of movement of the fur, that is, it is obtained as if automatically.
For a quick mastery of the technique, we can recommend this method: spread the fur a little, then, without pressing the keys, alternately hit the button accordion's left half-body against the right one, top and bottom. In this case, it is necessary to follow the rhythmic alternation of beats. Then, without stopping these movements, you should press a chord - you get a triplet rebound. If the alternation of strikes of the left semi-body against the right one are rhythmic, then the triplets will be even, and vice versa. It should be said that, both in the triplet rebound and in the quadruple, the direction of movement of the left hand will be up - down, as in tremolo. It is necessary to feel all three stages of this movement. Moreover, when performing the first stage of physical effort, somewhat less physical effort is required than in tremolo techniques with fur and combined triplet, since under the influence of its own weight and the weight of the left hand, after hitting from above, the left half-body of the button accordion itself rushes down and performs a blow on the lower part of the right half-body. It is only necessary to add a little effort of the left hand in the final stage of the fall in order for it to gain enough energy for a reflex rebound, since in order to perform a subsequent overhand blow, the rebound must be somewhat larger than in tremolo. In this case, it is necessary to ensure that after the blow at the top the muscles of the left hand instantly relax. Then you can practice the alternation of chords. Each chord must be pressed simultaneously with the execution of the strike below, making sure that the movements of the left hand and fingers are light and precise.
At the heart of the quartole ricochet is the triplet cell. If, after a strike below, which in a triplet rebound is the beginning of the next triplet, you remove your fingers from the keyboard, then you will no longer get a triplet, but a quartole, that is, you need to rethink the rhythmic pattern and hear the quartole. After hitting the bottom and removing the chord (fourth beat), the bellows should continue to open. By pressing the chord again, but without an additional fur accent (as in combined techniques), we get the first beat of the next quartole. This is followed by a change in the direction of movement of the fur (second beat) and alternation of beats above (third beat) and below (fourth beat), etc. Thus, with the help of finger articulation, the fourth beat is separated from the first, which sound on the same movement of the fur. To work out the exact hit at the beginning of the next quartole, the following exercise is proposed.
When performing the exercise, it is necessary to monitor the rhythmic connection of all shares, as well as to ensure that pressing the last chord (the first share of the next quartole) is not accompanied by additional effort in the left hand, which should be at this time in a relaxed state. Having mastered the exercise, you can proceed to the implementation of a continuous cycle. As in the combined triplet technique (the second method), when performing a quartole rebound, there is a feeling of displacement of strong and weak beats, so it is important for the performer to hit the beginning of each quartole accurately.
There are other varieties of ricochet, which are performed by hitting not only the top and bottom of the button accordion's left semi-body, but also its corners. These techniques are rarely used in performing practice and are quite difficult to perform by students of music schools.
Finishing the consideration of fur techniques, I would like to draw the attention of bayan players to their expressive performance in the works they are learning, since very often they perform fur techniques loudly and monotonously. At the same time, one should not forget that the more saturated the texture and the brighter the dynamics, the more physically difficult it is to perform the techniques. By the way, expressive play greatly facilitates the implementation of techniques, since attention is switched from monotonous movements to solving specific artistic problems, and this, in the end, is the main thing.
In conclusion, summarizing all of the above, we highlight the main points that an accordion player should pay attention to when mastering the techniques of playing with fur:
- Before you start learning the techniques, you need to carefully study the issues of setting.
- Pay special attention to the setting and work of the left hand, which performs the main load during the performance of fur techniques.
- The direction of movement of the left hand in tremolo and ricochet is up and down, in combined techniques it is left and right.
- Achieve automatism in the implementation of the three stages of movement of the left hand: fall, point of impact, rebound.
- To be able to use the potential energy of the left semi-body of the button accordion and the left hand in the formation of the movement of the fur to open.
- During the execution of the technique, learn to maintain the oscillatory movements of the instrument.
- Make sure that the movements of the hands and fingers are economical and free.
- Learn to bring the necessary muscles into working condition (muscle tone) before starting the technique, and after the end - instantly relax them.
- In games of both hands, large jumps should be avoided. To do this, you need to select the appropriate application.
- Rational use of dynamics.
- Be sure to plan the change of fur in the works being studied, so that before starting to perform fur techniques, it is in a position convenient for you.
- Do not force learning techniques. Move on to new material only after fixing the previous one.
L I T E R A T U R A:
- V. Romanko "Technology for accordion players to perform the techniques of playing with fur."
- F. Lips "The Art of Playing the Bayan" (M., "Music", 1985)
- A. Kuprin "On some principles of mastering modern methods of fur by accordionists." On Sat. "Issues of Music Pedagogy", vol. 6, (L., "Music", 1985).
- V. Semyonov "Modern School of Bayan Playing". (M., "Music", 2003).
Methodological development on the topic: Basics of fur on the accordion
This development will be useful for teachers of children's music schools, children's art schools. Also, the material will be of interest to students of pedagogical colleges and higher educational institutions who are interested in the methods of musical education of children.
Target: the formation of the skills of conducting fur on the accordion, their use in artistic material, practical application in teaching accordionists.
Task: to identify the main difficulties and mistakes encountered in the conduct of fur on the accordion; to intensify the activity of teachers on the formation and development of the skills of proper fur management in students.
Plan
1. Formation of the basic skills of fur.
2. The main points of changing the direction of movement of the fur.
3. The connection of the movement of the fur with the sound extraction on the accordion:
a) dynamic shades;
b) strokes;
c) singling out the voice in two-voice or polyphonic development.
4. Features of fur on the accordion
One of the design features of the accordion is the presence of fur. This determines the inevitability of changing the direction of its movement during the performance of musical works. The problem is to use this feature of the instrument as one of the expressive performance tools. But to solve this problem in each specific case is possible only if the optimal moments of changing the direction of movement of the fur are determined. Just as performers on bowed string instruments, placing strokes, find the most necessary and most distinct movement of the bow to achieve the author's intention, so accordionists, performing performing editing of a musical work, determining in detail the moments of change in the direction of the movement of the fur, become creative co-authors of the composer.
The concept of “changing the direction of movement of the fur” or “driving the fur” contains not only the skill of leading the fur, but also the ability to find the right moment to change direction in its movement.
At the initial stage of training, the main thing is to acquire the skills of leading fur, that is, the ability to lead it smoothly and actively enough, to change the direction of its movement imperceptibly for hearing, the ability to reproduce various dynamic shades.
The fur is carried out with the left hand. The hand is passed under the belt of the left side of the accordion body. The strap should be adjusted so that as you move your hand up and down along the strap, the latter fits snugly against your wrist. Resting the wrist of his left hand against the belt, the accordionist opens the bellows, and leaning the soft part of his hand on the net, he compresses the bellows. Fur with its entire lower plane should stand steadily on the left thigh in a vertical position. During the game, the fur moves in a fan-like manner. It must not be allowed that during the movement of the fur, the left hand describes the "eight", that is, the upper part of the fur closes faster than the lower one. It is necessary to practice leading the fur, while using the air valve (exercise "Wind") or extracting sounds on the keyboard.
The movement of the bellows creates a stream of air that causes the metal reeds to vibrate, making them sound. A clear and continuous sound is produced when the bellows moves calmly and evenly.
The correct change of fur is one of the most important conditions for the competent performance of musical works. The student must know not only how to change the fur, but also where it is better to change it. It is impossible to change the fur on one sound, because the duration of this sound is not maintained, it is crushed. The change of fur is performed, as a rule, between phrases and sentences. The faster the pace, the more phrases fit into the movement of the fur in one direction. It is not recommended to unclench and compress the fur completely. Lively music, for example, dance, march-like character, it is more convenient to play on the "short" fur. Works performed at a slow pace, with wide phrases, require a "long" fur. In each case, it is necessary to look for the best option for changing the movement of fur, in accordance with the content and nature of the play. It is not desirable to change the fur in the league or in the middle of a phrase. But, if the whole phrase cannot be performed in one movement of the bellows, you can change it in the middle of the phrase before the strong beat of the measure, or before the accent, or at the moment of a pause.
The student must learn, while guiding the bellows, to feel the edge of the sound on squeezing and unclenching and to regulate the air supply. Anticipating the lack of air for the last sounds, you can reduce the dynamics in the middle of the phrase. If this is not possible, then you need to outline additional places for changing the movement of the fur.
As a rule, the bellows must be in a collected state before execution. In some cases, in order to avoid a shortage of bellows for compression, it is advisable to start the performance of a piece with a partially unclenched bellows.
With the movement of the fur connect everything related to sound production on the accordion: dynamic shades, strokes, creating a rhythmic pattern, highlighting a certain voice in two-voice or in polyphonic development.
sound power depends on the force of pressure on the "voices", which in turn depends on the speed of the fur. Slow movement makes the sound very quiet. As the movement of the fur accelerates, the strength of sonority increases. For the nuances pp (pianissimo) and p (piano) a slow bellows movement is used. For mp (mezzo-piano) and mf (mezzo-forte) - the average speed of the bellows, and for f (forte) and ff (fortissimo) - the fast movement of the bellows. Gradual amplification of sound (crescendo) is achieved by gradually accelerating the movement of the bellows. The gradual weakening of the strength of the sound (diminuendo) is achieved by slowing down the movement of the fur.
You can learn how to evenly accelerate and slow down the movement of the fur using the following exercises:
The Airplane exercise imitates the sound of an airplane approaching or receding. One of the low register sounds of the left or right keyboard is selected and performed three exercises:
1. Plane in the distance (p) - plane approaching (crescendo) - plane overhead (f).
2. Airplane overhead (f) - aircraft is moving away (diminuendo) - aircraft is far away (p).
3. Plane in the distance (p) - plane approaching (crescendo) - plane overhead (f) - plane moving away (diminuendo) - plane in the distance (p).
The exercise "Sea surf" is performed using an air valve. The graphic drawing of the sound dynamics of a sea wave consists of three main phases. "Rise of the Wave" is depicted as a sound effect on the crescendo. "Wave hitting the rock" is performed with a soft jerk of the bellows and immediately comes to "calm" - the movement of the bellows on the diminuendo.
Exercise "Vasya is sleeping." A dissonant consonance is taken (si, c-sharp, re-sharp), which imitates “snoring”, and the measure following it (movement of the fur on the air valve) - “long and even exhalation”.
An important role is played by the conduct of fur in the execution of strokes.
Sforzando - emphasizing the beginning of the sound of duration - is performed by a sharp movement of the bellows, which is slightly ahead of the taking of the chord itself: there is a sort of breathing out of the bellows, then immediately there is a restrained movement of the bellows.
Accent- emphasizing the sound of the entire duration - is performed by an even short movement of the fur with the simultaneous pressing of the desired key or button. In this way, that is, by periodically highlighting certain sounds in the melody or accompaniment, the desired rhythmic pattern is formed.
When performing a legato stroke - a coherent game - the movements of the fur should be smooth and uniform, without jerks. The direction of movement of the fur must be changed imperceptibly for auditory perception.
During the game, non-legato (not coherent) and staccato (jerky) are performed, as it were, light pushes with the bellows, the pressure on the bellows is large.
The detail stroke - a slight underlining of the duration at the moment of its beginning - is performed by a separate smooth movement of the fur when extracting each sound.
A marcato stroke - an expressive underlining of a sound - is performed with a clear, confident movement of the fur for each sound.
A touch of martel or fur staccato seems to combine staccato and accent. Together with a jerky extraction of sound, a short and sharp push with fur is performed. The sound is loud and dry.
Tremolo fur- fast and multiple repetition of the same sound or consonance - performed by a quick and frequent change in the direction of movement of the fur. The fingers remain on the keys and are removed only at the end of the tremolo.
vibrato(vibrato) - coherent performance with a trembling sound. Fast and uniform vibrations of sound are formed by frequent movements of the fur when it is led in one direction.
The bellowing of a certain voice or several notes in polyphonic development is based on the principle that a sound taken on a sharp movement of the bellows will continue to sound louder than sounds taken after it on a calm movement of the bellows.
There is an opinion that on the accordion it is not possible to distinguish the sound of one voice from the background of other voices, as well as playing on the right or left keyboard in general, because there is only one bellows and the air supply is evenly distributed. However, the performer can easily distinguish the sound of the left or right hand part: giving preference to it, he conducts it using a tight legato, as a result of which the valves open more, stay open longer, and more air passes through them. In addition, by carefully listening to this voicing, the accordionist matches well the sound of each previous note with the next. In the left hand, it is possible to control the sonority even due to the incomplete pressing of the buttons. In the right hand, this is almost impossible, because it has no support.
In addition to the different conduct of the fur, touch (that is, calm or sharp pressing on buttons or keys) also has a great influence on the sound. The variety of shades of sound depends on the combination of bellows and touch. There can be as many as there are characters and moods, and finding the right sound depends on the culture and musicality of the accordionist.
From the first lessons, it is necessary to teach the student to listen to himself and calmly, evenly lead the fur. When learning songs and pieces, one must require the implementation of elementary dynamic shades (p, f, crescendo, diminuendo). You should not linger on an even sound, because the relationship between the movements of the fur and sonority is lost.
At the next stage of training, it is recommended to simultaneously pass plays of different character, for example, a melodious folk song and a characteristic clear dance. This combination covers two main, opposite each other methods of conducting fur. When these basic techniques are well mastered, you can move on to finer work on strokes and nuances.
It is necessary to carefully monitor that the student does not strain, forming the sound of great power (crescendo, sforzando, accent). It is necessary that:
1) the unclenching of the fur corresponded to the natural movement of the student's left hand and its length;
2) the student did not move his legs and did not help them move the fur;
3) did not sway from side to side simultaneously with the movement of the fur;
4) did not press his chin or cheek against the instrument;
5) did not lower the left shoulder when the fur was opened.
Failure to follow these rules leads to overstrain of the entire body, excessive tension in the arms, hands and fingers. It is necessary that the student realize that the strength of the sound depends only on the force of pressing on the bellows, and the increased pressing of the keys creates only stiffness and technical difficulties.
Fur is considered the soul of the accordion. Skillfully using it, applying a contrast ratio of nuances, a barely noticeable thinning of the sound, the performer achieves the necessary character of the sound and creates the right mood.
References:
1. Basurmanov A. Tutorial for playing the button accordion. Moscow. "Soviet composer". 1988
2. Lushnikov V. School of playing the accordion. Moscow. "Soviet composer". 1990
3. Mirek A. School of playing the accordion. Moscow. "Soviet composer". 1972
4.Obertyukhin M. Problems of performance on the button accordion. Moscow. "Music". 1989
5. Onegin A. School of playing the button accordion. Moscow. 1962
6. Stativkin G. Primary education on a ready-to-select button accordion. Moscow. "Music". 1989
