Bayan fingering. Left keyboard
Bayan selective chords on the right keyboard
This article is an appendix to the method of playing the button accordion by ear. The technique is described in the tutorial D. G. Parnes S. E. Oskina Bayan without notes. Chapter Melody with chords on the right keyboard page 149
IN in electronic formatthe book can be downloaded from the Internet PDF 20 Mb
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The sounds of the octave are given designations 1 2 3 4 5 6 7. The numbers correspond to the notes Do Re Mi Fa Sol La Si. latin letter designationsC D E F G A H
chords in the auditory technique are indicated Number with letter. A lot of people ask the question. Why notes Do Re Mi Fa Sol La Si denote by numbers. Everyone knows the elementary rhyme since kindergarten to memorize notes. Do - Re - Mi - Fa - Sol - La - Si - the cat got into a taxi. And now simple experiment. Reply immediately instantly - which note is higher, such as Fa or La. And now in numbers. Which note is higher than 4 or 6. Instant - 6 above 4.
Letters
- b- major chord
- m- minor chord
- With- seventh chord
6m- La Minor, 1b- C major, 3s- mi sept and so on
On an accordion with a ready-made accompaniment, the left mechanism allows you to play chords with one button. A chord is a consonance of three or four sounds. That's why chords can also be played on the right keyboard. However, these are choice chords. That is, to play a chord, you need to select three or four keys on the right keyboard. Melody with chords sounds much more beautiful and richer.
Chords are taken to the sounds of the melody that are in this chord. Three sounds in major and minor chords. And four sounds in seventh chords. The sound of the melody to which the chord is played is always the highest in the chord. Therefore, depending on the melody, the same chord is taken by the same notes, but in different positions on keyboard.
For example
Melody of the song Am I to blame. Chord Positions 6m(La Minor). In words Guilty and Love chord 6m played on ringtone sound 3(Mi). And in words Voice and Him chord 6m played on sound melody 6(la) .
You need to play chords on the right keyboard simultaneously with the accompaniment on the left. Learning to play with the chords and melody on the right is quite difficult. But it's worth it. The chords on the right are not played for everything, but only for the main, supporting sounds of the melody.
The chords on the right are much more accurate and more harmoniously woven into the melody,than the left accompaniment.
For example. Chord La Minor ready accompaniment ON THE LEFT ONLY ONE. The chord on the left always consists of the same three notes.. A minor chord elective on the right. It has three positions, with the upper sounds of Mi La Do. And it can also be played in the entire range of the button accordion - four or even five octaves. Chords A minor RIGHT TWELVE.
How to Read Keyboard Charts and Chord Positions
The drawings of the diagrams are given from the side of the player, who represents that button accordion transparent.
When looking at playing in the mirror the drawings match perfectly.
All chords in all positions are located within two octaves. playing depending on the tune he chooses higher or lower he should play chords.
The vertical lines are the numbers of the keyboard rows. the first row is counted from furs.
Melody fingering
- 1st row keys - index finger
- Keys 2 rows - middle finger
- 3 row keys - ring finger
- Keys 4 sounds in seventh chords - little finger
Major chords on the accordion on the right
C major, A major, E major, G major- identical fingers
D major, F major, B major- identical fingers
Minor chords on the accordion on the right
C minor, A minor, E minor, G minor- identical fingers
D minor, F minor, B minor- identical fingers
Seventh chords on the button accordion on the right
La sept, Before sept, Mi sept, Sol sept- identical fingers
Re sept, Fa sept, Si sept- identical fingers
Chord notations and basic key pairs
Hearing Translation designations chords in latin letter designations- 6-A
- 7-H
- 1-C
- 2-D
- 3-E
- 4-F
- 5-G
- b - major
- m - m minor
- c - 7 seventh chord
Songwriting Harmony built so that at the minor there are always tones parallel major key. classical pair of keys A minor - C major. In the key of a-c
- La Minor- tonic minor, higher dominant mi sept, below subdominant D minor.
- C major- major tonic, Higher dominant Salt sept, below subdominant F major
a-C d-F e-G
Am Dm Em
A7 D7 E7
E7 A7 H7
E A H
Em Am Hm
Dm Gm Am
D7 G7 A7
C F G
C7 F7 G7
G C D
Gm Cm Dm
G7 C7 D7
F B C
Fm Bm Cm
H7 E7 F#7
Good luck with your musical instrument
Bayan is the youngest instrument, the playing technique of which is in its infancy: the repertoire is constantly expanding, requiring the implementation of new technical tasks, new playing techniques are emerging.
A necessary condition for the successful performance of a work is the selection of fingering. Behind Lately the principles of fingering selection on the button accordion have undergone significant changes: the traditional (three-fingered) has been replaced by a positional (five-finger) system, in which all fingers are used, and the positional fingering differs not only in the use of the first finger, but also in the alternation of fingers: the fingers go one after another, which does not contradict anatomical structure hands. In the traditional fingering, the fingers go randomly (2-4-3-4), which is inconvenient and contrary to physiology. Discussions are underway on this issue, accordion teachers are divided into two "camps": supporters of the traditional system and adherents of the positional system have appeared. Who is right and who is wrong, practice can show. Those who had to compare these systems when playing the button accordion came to the conclusion that the positional system is more convenient, it is easier to achieve automatism when playing, and the performers top level no longer in use traditional system. If we trace the game on other instruments (piano, violin, accordion, psaltery, domra, balalaika), we can conclude that the positional principle of playing is applied everywhere.
Let's follow teaching aids, schools of playing the button accordion, tutorials by different authors, what changes the fingering has undergone.
IN "Progressive school of playing the button accordion" Y. Akimov it is shown that the first finger should be behind the fingerboard, the traditional fingering is indicated in the musical text. There are three main positions of the right hand on the keyboard. First position: 2, 3, 4 fingers are arranged in rows of keys in chromatic sequence. Second position: when playing chords, intervals, arpeggios, also applies when using the first finger. Third position: when playing chords in a wide arrangement and polyphonic texture. The second finger is placed in the third row, and the fifth in the first row. 
IN "School of playing the button accordion" A.E. Onegin it is said that when playing the button accordion, the thumb of the right hand is used when performing five-sound chords and large stretching of the fingers, in connection with this, the use thumb can be done at a later stage of learning.
To determine this position of the hand, the fingers must be placed in this way: the second - on the key to, the third - on mi, the fourth - on re. The second position of the hand: the elbow is lowered down and laid aside. This position is useful for playing arpeggiated passages, octaves, and chords. To determine this position of the hand, you can take an A major triad with the addition of a fundamental tone.
This edition says that the arrangement of the right neck of the button accordion is designed for the performance of works using mainly the four fingers of the right hand, the thumb slides along inside fingerboard parallel to the index. This allows you to feel the keyboard well, to find the right keys. The thumb, being behind the neck, participates in a bright, emotional and subtle nuance: a slight change in the pressure force of the thumb on the neck paints the dynamics of the piece.
The factors influencing the choice of traditional or positional fingering for the performance of a piece are highlighted:
-musical abilities of the student;
-degree of technical readiness;
-features and physical state(in the sense of fatigue) of both hands;
General points where using the thumb on the keyboard is desirable:
- in works of polyphonic and sub-vocal warehouse;
-for legato performance of a sequence of double notes;
-when performing wide chords and large leaps;
- to avoid changing the position of the hand where the thumb can
maintain the stability of the position of the hand;
The author says that you need to learn how to combine four-finger and five-finger fingering, does not exclude the possibility of using the thumb on the keyboard. This manual has a section containing exercises, scales with double notes, arpeggios for playing with five-finger fingering.
IN "Primary school playing the button accordion" P.I. Govorushko fingering is considered as a way of developing performing technique. “One of these ways is the use of more rational fingering, finding its new, optimal options, excluding from practice both obsolete provisions and fingering innovations that have not confirmed their effectiveness.” IN in general terms it comes down to streamlining the system of placing and shifting fingers and limiting their unreasonable movements, more fully subordinating the principle of their alternation to the laws of the activity of the muscular apparatus.
This source says that the traditional system contradicts the regularities of the activity of the muscular apparatus, but even when playing with positional fingering, double placing the first finger is an insurmountable threshold. The author came to a compromise, changed the fingering in such a way that one laying was left, the second was replaced by the use of the fourth finger. P. I. Govorushko advises the teacher: in order to educate students in fingering skills, identify patterns in the use of fingering and achieve their lasting assimilation. To exclude the transfer of the same fingers to distant keys, to overcome jumps in the melody with fingers not occupied with the execution of previous sounds, if possible due to the natural stretching of the muscles, without additional movement of the entire hand, if possible, use the same fingers on repeated notes in individual melodic structures. These recommendations can only be followed when using positional fingering. 
IN" Self-instruction manual for playing the button accordion "O.F. Agafonova, P.P. Londonova, Yu. V. Solovyova the traditional system of playing the button accordion is described, the use of the first finger is out of the question.
IN "Tutorial for playing the button accordion" by A.P.Basurmanov the traditional system of playing the button accordion is also described, however, the question of the use of the first finger is raised. The keyboard and neck of the standard button accordion are adapted to a four-finger playing system, in which the thumb is behind the neck. Therefore, it is necessary, first of all, to master the game with four fingers and the appropriate setting of the hand. Later, when the accordion player starts playing complex pieces and he “doesn’t have enough fingers”, he masters the second hand setting, in which the thumb is above the keyboard, that is, in a position convenient for its use in the game. However, due to the inadequacy of the fretboard and keyboard, the thumb is also used for this new production only when necessary. In the tutorial, the setting of the hand is given, which is convenient for playing with four fingers, since the musical material is simple. For those who wish, exercises for the development of the first finger are given.
IN "School of playing the button accordion" Yu.T.Akimov along with the traditional system, an idea is given of the use of the thumb on the keyboard. The author believes that putting the first finger on the keyboard is associated with certain difficulties: the contact of the hand with the keys is disturbed, orientation on the keyboard is disturbed, the right hand is turned off from the process of controlling the fur, the position of the button accordion is less stable. The task of the teacher is to instill in the student the skills of an expedient combination of fingering systems, using the advantages of four- and five-finger fingering.
The first finger is recommended to be entered after mastering the rules of landing and setting, gaining the skills to feel the keyboard. In contrast to what has been said, the author says that when playing on the selective keyboard with the “traditional” fingering, the hand turns extremely upwards, and pain may occur in the wrist of the left hand. "Therefore, for the performance of scales in the selective keyboard, a different, more rational principle of combining "traditional" and positional fingering is recommended."
Stativkin G.T. in the guide " Primary education on an elective-ready button accordion " offers a sequence of studying scales in a kind of complex, which creates favorable condition to unify fingering positions in work on scales, a system of fingering-positional blocks is formed.
“The skills achieved in this way not only simplify and facilitate learning processes, but, no less important, entail a significant improvement in the quality of auditory control, since the standardization of motor skills with the active participation musical ear and memory can quite easily (and imperceptibly) lead the student to mastering all related keys. From the above diagrams of scale-like sequences, it can be seen that all their types fit into two main positions both on the right and on the opposite (selective) accordion keyboard. Each of these positions has a limited number of varieties, from which four universal exercises can be composed, containing the entire volume of performing difficulties characteristic of this type of button accordion technique.
IN study guide Pyotr Serotiuk "I want to be an accordion player" considered the principle of intonation patterns, which is associated with the "development of fingering skills based on positional play" . At the beginning of each section, there is a modal chants and fingering options. The student himself “invents” several options for fingering and, with the help of the teacher, chooses the best one. This allows the development of fingering discipline, the development of flexibility of thinking, motor memory, individual performing technique and the formation of hand placement.
IN "Modern School of Play Nabayane" by V.A. Semyonov There is a section dedicated to positional play. The author of the School says that in order to successfully master positional play you need to prepare the first finger for the game. "First you need to master a light hit with the first finger of your right hand on the key." By turning the brush from the keyboard, you need to raise the first finger above the keys (swing), while the first finger straightens. Now the key is actually hit by turning the brush.
This skill is necessary for high-quality sound production in scale sequences. When you press a key, you don't need to swing it, it's enough to touch it first. By pressing we play slow melodies. At the next stage, you need to learn how to play single-voice sequences in positions on three, four and five keys (you need to start with exercises in the form of arpeggios on the keys located on the same row). V.A. Semenov recommends immediately forming the position of the hand with the removal of the first finger on the keyboard.
Organization: Children's music school N 3
Locality: Irkutsk region, Irkutsk
Scales on accordion with pleasure.
Gamma(Gamma, Scala in Italian, gamme - in French, Tonleiter - in German) - a scale that got its name from the Greek letter gamma, which denoted the lowest note of the diatonic scale, extending from d in the major octave to e in the second octave of Guido Aretinsky .
It is believed that technical exercises and scales are necessary for developing finger fluency and improving hand coordination. Regular exercise also improves muscle endurance. Scales are the basis of the performing arts. A musician who constantly plays them will not experience problems with compiling fingerings in works.
Playing scales has almost always been a tedious and uninteresting affair, requiring a lot of time and patience: to memorize and work out on the instrument twelve major and twelve minor, the number of sharps and flats, as well as harmonic and melodic ones, and, moreover, do not get confused in the signs. And then they still have to be assessed at the technical test. Like - don't like, if you want - don't want, but you still have to learn.
Let's start with theory.
As a rule, in solfeggio lessons, all constructions take place on the piano keyboard, and the circle of fourths and fifths is simply suggested to be memorized. Bayan, on the other hand, is very well arranged: it is very convenient to build intervals and chords on the right keyboard, and the left keyboard is built on the principle of a circle of fifths. And, if the student more or less decently knows the location of the basses on the left keyboard, then you won’t have to memorize anything.
Let's start with the number of characters:
Finding a note before . From her we will play the scale C major - it does not have a single sign. Sharp tones will be located up from it, flat tones down.
We rise one key up - note salt , from it we play G major with one sharp F .
Next note re , from it we play D major with two sharps in F And before .
So we rise to the note to sharp , from which we play the scale C sharp major with seven sharps .
Similarly, we go down from the note before . From note F play the scale F major with one flat si , further from the note B flat play the scale B flat major with two flat si And mi . And so we reach the note F flat from which we can play F flat major with seven flat (but most likely such scales as C flat major And F flat major we will replace by enharmonic equals si And E major ).
We learned how to determine how many characters will be in a particular scale. Now let's get acquainted in what order the signs are added. And the sequence is the same - in a circle of fourths and fifths.
We already know that the first sharp – F . Rest sharps are added in the same sequence as the basses - up from the bass F , i.e. by white keys: fa, do, sol, re, la, mi, si .
First flat – si , so the sequence is the same as sharps only in reverse order, i.e. down from the bass si by white keys: si, mi, la, re, sol, do, fa .
All this information can be told to the student in a few minutes, and then consolidated over the course of several lessons.
Number of characters in minor scales is defined in exactly the same way, only the countdown must be carried out from the bass la , because V in A minor there is no sign.
Well, we figured out the theory, we can now move on to execution. I offer you a technique for learning scales, which appeared as a result of many years of experience in my work. It will be enough to give scales no more than 5 minutes every day and the result will not be long in coming. And the playing of scales will turn, well, if not even into pleasure, then, in any case, it will cease to be a long, hard and uninteresting work.
Let's start traditionally with C major .
Usually, major scale Three fingers play with the left hand: the second, third and fourth. Let's spread our fingers on the main row of the left keyboard: on the bass before - third finger, bass F - fourth finger, bass salt - the second finger. This is the basic position for getting started with the major scale scheme. And the first simple exercise- is to learn to rearrange the fingers from the main row to the auxiliary and vice versa, respectively, with F on la , With before on mi and with salt on si .
Now consider the movement of these fingers during the execution of the scale:
Second finger from a note salt on the main row moves up a note re and back, and opposite to the auxiliary row per note si and back;
Third finger from notes before mi on the auxiliary row and back;
Fourth finger with notes F on the main row moves opposite to the note la on the auxiliary row and back.
After we achieve a confident performance of the major scale from the note before up and down, you can try to play a major scale from other notes, because All major scales on the left keyboard are executed in the same way.
Let's move on to playing scales on the right keyboard.
Let's start from the first row with a note before . From note before on the white keys to the next note before , each finger in its own row. We achieve confident performance and move to other keys of the first row: we play major scale from la, mi flat, f sharp . Since the circuit is the same, it will not be difficult (only at first ask the student not to look at the keyboard, otherwise the sight of other keys will knock him down). At the same time, learning to play major scale with two hands first from the note before , then from other notes of the first row.
On the second and third rows, we also first learn the scales with the fewest signs, and then move to other notes of the same row. Then we also start playing with two hands.
WITH major scales we figured it out. Let's now talk about minor .
Principle of learning minor scales same as major : it is enough to learn confidently one scale from each row and then simply transfer the execution of the learned scheme to other keys of this row, i.e. all you need to learn is three scales instead of twelve.
At first glance it seems that the performance minor scales the left hand is more difficult and the scheme differs markedly from major scales . Let's see if this is true, shall we?
We know that the main difference minor from major - is low third step . This is what we will take as a basis. Therefore, for starters, you can play an exercise of three notes on the main row: re - third finger mi - second finger F - the fifth finger. Then play this exercise from different notes of the main row. It is necessary to achieve a confident hit with the fifth finger on third step fret.
Almost always learning minor scale With main kind, but the scheme melodic view in ascending motion closest to major , so let's start our acquaintance with minor scale - with her melodic kind. We are only moving up so far (let it be, for example, C minor ). From C major it will only differ in one note - E flat instead of mi , which we will take with the fifth finger on the main row. While playing the exercise, we have already worked out this move, and then we finish playing the major scale scheme. The result is melodic ascending view.
The next view is harmonic . It differs from the melodic one in one sound: instead of a note la on the auxiliary row you need to play with the fifth finger A flat on the main line. Again, we recall our exercise, it must be played twice in a row - first from a note before (do, re, mi flat ) and the second time from the note F (F, G, A flat ) and add si on the auxiliary row with the second finger, it turned out harmonic view.
(I deliberately do not name the higher steps la becar And si becar to have more associations with C major )
After we learned to play confidently harmonic view in ascending and descending movement, you can proceed to the execution natural kind. Here you need to change one more note - instead of si gotta play B flat fourth finger on the main row. It is better to start the game with an upward movement, because. up to a note A flat we already know how to play harmonic form) and after that it remains to add more B flat and tonic. Having achieved a confident execution in the upward movement, we work out the downward one.
And now we return to melodic mind and play the whole view - up (with elevated steps) and down natural .
Well, as you can see, not everything is so scary. In total, we had to confidently learn one major and one minor (three types) with the left hand, and with the right three major and three minor . And, when you start working on scales (usually this happens in the second grade), then in the first half of the year you will be able to learn everything with both hands major gamma, and for the second half of the year all minor .
Everything that has been said here about learning scales applies to learning arpeggios and chords as well. In the future, in order to diversify the work on scales, you can add dashed, dynamic and rhythmic variety.
Try it, you will succeed, I wish you success.
It must be said that the work on developing the technical skills of students does not always meet the new requirements associated with the training of accordion performers of the highest qualification. Unfortunately, the generally accepted norms of requirements for technical development are almost entirely based on the definition of quantity, not quality. The lack of clearly formulated goals, underestimation of the importance of working on scales, exercises are still extremely common. The significance of such work is enormous and consists primarily in the development, strengthening and maintenance of the performer's muscular apparatus in the necessary form.
Those who ignore the daily painstaking work of exercising the muscles should remember that their technical development will be slowed down, the hand will be weak. Due to muscle flaccidity performing activity can be extremely difficult. The lack of muscle training for at least one day already noticeably affects the state of the performing apparatus, and after a three to five day break, the fingers will move with difficulty. Only those who, by the nature of their activities, are directly engaged in performing for several hours every day (orchestras, accompanists, etc.) can work on scales and exercises less intensively.
The lack of proper training of the muscular apparatus significantly reduces the effectiveness of everyday academic work. Misunderstood to save time, most students begin their homework directly from the plays. But having “saved” minutes, they lose hours, as flaccid muscles make fingers inactive. Starting a lesson, such students usually note with surprise that a play well worked out yesterday “does not come out” today. You have to start working on it from the beginning. Every day playing out on the plays, the student, of course, gradually loses interest in them. They are "chattered" and as a result are left unfinished.
The same can be said about the lesson. Efficient work can only be if the student played out immediately before the lesson. If he did not do this, the teacher should start the lesson with technical exercises. To do this, it is advisable to have a specially composed small complex, including the most useful types of scales, arpeggios and exercises at this stage of training.
One cannot agree with those who believe that technical development can be successful as a result of work only on plays. In this case, the development of endurance, muscle strengthening will not be sufficient, since in most musical works the texture is constantly changing, which excludes the more or less prolonged use of the same performing technique. As is well known, there are few purely motor plays, and they occupy an insignificant place in the repertoire of students.
It must be said here that many original etudes for button accordion that have appeared recently are not subject to the persistent solution of any specific technical problems. In this respect, Czerny's etudes must be considered unsurpassed for the button accordion as well. They are almost the only material for the development of the accordion player's left hand.
Thus, general meaning work on scales, exercises is reduced to the development locomotive apparatus. However, this development must be carried out simultaneously with adaptation to the peculiarities of sound extraction on a given instrument. The established practice of accordionists working on scales, arpeggios is borrowed from pianists and does not adequately reflect the specifics of the instrument. The different structure of the keyboards of the piano and button accordion also determines the different methods of mastering them.
The difference is that for pianists, the combination of white and black keys creates specific fingering patterns for each key, even though the fingering order is often preserved. So, with the same fingering in the G major scale, the 1st (thumb) finger is placed on the fourth step after the white key, and in D major after the black key, which is not at all the same thing. This feature makes it necessary to go through all the scales and adapt the game movements to the peculiarities of their fingering. Therefore, learning scales for pianists is not an easy task, requiring considerable effort for a long time.
Bayan is another matter. The three-row structure of his right keyboard makes it possible to perform all scales of one kind or another with only three fingering sequences. All scales fall into three groups: in the first, the tonic is located on the first row of the keyboard, in the second - on the second, in the third - on the third, and the location of the tones (steps) of the scale on the keyboard within each such group is exactly the same. If a student has well mastered the patterns of fingering, for example, the C major scales, he already knows to the same extent the patterns of fingering of the major scales A, F-sharp, E-flat.
Scales are performed in the same way in the other two groups. The device of the left keyboard of the button accordion is generally unique in this respect: all scales, arpeggios (of the same type, of course) are performed by the same fingering.
Thus, the adaptation of the bayanist's performing apparatus to scales is limited to the passage of three major (C, Sol, Fa) and minor (melodic and harmonic) scales parallel to them. Work on the rest of the scales no longer gives anything new in this respect and usually submits to the development of a theoretical orientation in them and the cultivation of auditory sensations of the coloring of their sound.
The presence of fingering stamps creates certain difficulties for bayan players. When performing scales, they are involuntarily guided not by the number of characters in a given key, but by the fingering standard used in the corresponding group. Naturally, while performing the F-sharp major scale and thinking about C major at the same time, it is impossible to achieve any skills of orientation in F-sharp major and development of auditory sensations of tonality coloring. The achievement of these goals will become possible only when the performance of the scale is completely divorced from the fingering stamp.
It will be very useful to perform scales, arpeggios before starting work on each piece, an etude in their keys, with careful, conscious pronunciation of each sound. At first, you can play the one-octave scale slowly, naming its steps, and then move on to a faster tempo. If we add to this at least the shortest harmonic analysis works to the extent of the student’s theoretical preparation, then the latter will be given that setting that will greatly facilitate the work on the work and will contribute to the development of his theoretical orientation in a given key and auditory sensations of its coloring.
These are the main general tasks, which should be
subordinate work on scales.
Scales, arpeggios, exercises should also be used as a means of acquiring performing skills inherent in a particular stage of training. These include:
a) mastering the keyboards. Adaptation of hand movements for sound extraction in different registers (in the middle, at the top, at the bottom of the keyboards). Developing these skills in the right hand,
you should gradually approach the constant performance of scales in 4 and 3 octaves;
b) keeping the fur. When training in this direction, you need to perform scales in whole notes, half, quarters and eighths for a certain movement;
c) mastery of the main strokes (legato, staccato, etc.). At the same time, one should achieve the same connection of all sounds in legato, the same brevity and clarity of their
in staccato. The length and nature of the combination of sounds performed by the right and left hands at the same time should also be the same;
d) mastery of rational finger movements. It is achieved by ensuring complete freedom, and, consequently, complete rest of unoccupied fingers and the least, rhythmic
foot movement of the fingers engaged in sound extraction. The special importance of this point should be emphasized once again, since excessive movements are to some extent characteristic of the vast majority of students;
e) mastering the basic dynamic shades. This
allows not only to achieve the sound of one or another force,
but also to get acquainted with the dynamic capabilities of the instrument. Dynamics should be understood not as any standard, but in comparison, as the degree of contrast possible on a given instrument. To do this, scales are played with various combinations of the main dynamic shades(pp, p, f, ff)
without crescendo or diminuendo, 8 notes in eighths or 6 triplets, respectively, in 4 and 3 octaves (you can use pp, p, mf, f or f, mf, p, pp, etc.).
After that, you should move on to practicing crescendo and diminuendo from pp to ff, from p to f, etc.;
f) development of hand coordination in connection with the execution of polyrhythms. Scales are performed in 3 octaves: in the right - triplets from eighths, in the left - eighths, and vice versa. Also quartoli
etc.;
g) development of fluency. Achieved by playing scales
in a constant tempo in quarters, eighths, triplets of eighths, sixteenths, sixths of them, thirty-seconds - with two hands. And also in the right sixty-fourths, in the left - sixteenths in 4 octaves.
The tasks of developing a sense of metric pulsation require the performance of all types of scales only in a certain size with the obligatory correct ratio of strong and
weak parts.
Effective development of performing skills is impossible without the use of reasonable scale fingering. It should be said that the use of left hand fingering in major scales(2-1-2v - 3-1-Sv - 1v - 2), recommended Az. Ivanov, is generally inexpedient, and sometimes harmful. Its use is permissible only with a short little finger or very short arm. The expediency of fingering when playing scales is determined not by the greatest availability, but by the greatest utility. The use of this fingering in a piece is quite possible, since there the task is to play a given turn or passage at the right tempo. The task of the gamma is the development of the motor apparatus, the desire to “pull up” the most weak links to the strong. The above fingering does not meet such requirements, as it ignores the 4th finger. In addition, its use often leads to the fact that the little finger folds and retracts almost beyond the keyboard, disrupting the natural setting of the entire left hand.
The following fingering would be more appropriate: 3-1 - Sv - 4 - 2 - 4v - 2v - 3. This option ensures the employment of all fingers, their logical alternation (through the key, and therefore through the finger) and ensures the correct setting of the hand.
In minor scales, this fingering is more convenient: in harmonic: 4v - 2v - 3 - 1 - Sv - 4 - 1v - 4v, in melodic: 4v - 2v - 3 - 1 - Sv - 2v - 1 v - 4v.
In the downward movement, the fingering of the melodic scale fully corresponds to the major (parallel) one, due to which the unnatural movement of the 3rd finger from the 2nd towards the little finger through the key is avoided (if you play A with the 2nd and G with the 3rd fingers) e1
It is important to stop on the application chromatic scale:
The advantage of fingering a, compared to those used in practice, is the absence of a hidden jump before the execution of two semitones located on the auxiliary row of the keyboard. Usually the sequence G-G-sharp-la is performed like this: 3-1v-Sv, as a result of which the 3rd finger is forced to jump from the note G on the main to la on the auxiliary row through one intermediate sound, which we call the hidden jump. There is no such jump in the fingering given here.
Even more convenient is the fingering of option b. Instead of two small seconds, usually performed on an auxiliary row and requiring a large stretch of the 1st - 3rd fingers, in this version there is only one. Such fingering allows you to achieve very fast paced when performing this range.
For the development of performing skills, fingering scales with double notes (right hand) is of no small importance.
Thirds:
The proposed fingering of the thirds is approximate and can be changed depending on the structural features of the student's performing apparatus. You should not just abuse the combination of the thumb - 4th fingers, because due to the small scale of the instrument, it can cause pain in the thumb and subsequent tension of the hand.
When performing thirds without a thumb, one should achieve a uniform quality of connection between the tones of thirds and neighboring sounds on the right, as well as on the left keyboard. Often, however, students cover up the unsatisfactory connection of the tones of the right hand with a coherent performance of the monophony of the left.
Sexts:
Recall that the peculiarity of the sixth fingering is to avoid moving the finger across the row of the keyboard when playing neighboring tones (even if it is not possible to lead the upper voice different fingers).
The use of the same finger on adjacent steps is allowed only on the condition that a different voice is conducted at that time with different fingers. The performance of adjacent steps with the same fingers in both voices at the same time is highly undesirable.
Work on scales limits the development of skills to the sphere of stepwise one-, two- and, less often, three-part movement. Therefore, arpeggiated, chordal, jumping movements should be the essence of the exercises, as well as sketches.
In working on arpeggiated movement, the most important thing is to achieve a continuous, uniform legato. To do this, even rhythmic figures are recommended to be performed as odd ones and vice versa.
The nature of the exercises and sketches must be consistent with certain performance tasks, obey them. As an example, here are exercises for the development of coordination of muscle movements:
In exercises with a wide stretching of the fingers, the peculiarities of the structure of the muscles are taken into account, therefore, their execution is possible only in the indicated form.
Here are a number of other exercises to work on acquiring some of the performance skills mentioned above.
1. Mastering durations (changing bellows movement on a barline):
The given complex is studied first right hand(in parts or in whole), then with the left, and by the end of the first year of study with both hands together. The main technique here is legato, but staccato is already possible in quarters and eighths.
Upon completion of the work, you must achieve:
a) an acceptable change of fur;
b) maintaining a single pace;
c) an equally connected connection of all tones in legato,
smooth and sharp staccato performance;
d) lack of tension in the hand and excessive movements in the fingers;
e) compliance with the meter.
The complex can be performed in the keys of C, G, F major.
2. Acquaintance with the main strokes and rhythmic patterns:
This complex or part of it can be performed in the second year of study. In this form, it can be successfully used later in minor scales, scales with double notes, as well as 2nd, 3rd, 4th fingers. The most important thing here is the removal of leagues, which must be definite and at the same time soft. When playing the sound at which the league ends, the finger does not “break off” from the key, but is removed at the same speed as it fell on it. All the requirements just listed in connection with the first complex also fully apply to this complex.
. The complex is performed with two hands. The quality of connection and abruptness in the left hand should be the same as in the right.
3. Development of fluency:
The main task in the third complex is to maintain a single pace. The change in the direction of the fur in the triplet rhythm is after six or twelve steps, and in all the rest - after eight - sixteen.
It is necessary to prevent the appearance of excessive finger movements, for which each measure should be played as if with one movement of the brush, without a swing for each key. It will be very useful to perform this complex with the 2nd, 3rd and 4th fingers, as well as in the harmonic minor.
