Playing in an ensemble in the classes of special and general piano at a music school. The Role of Ensemble Playing in the Development of a Pianist Student

The role of ensemble playing in shaping the musical taste of students on the example of an ensemble of folk instruments

Bessoltsev V. A.,

additional education teacher

GBOU TsDT "Tsaritsyno", Moscow

bayan, guitar,

leader of the ensemble of folk instruments.

Of great importance in the formation of personality is the formation of musical taste through the perception of various styles of music, genres. Aristotle also noted that "Music is capable of exerting a certain influence on the ethical side of the soul, and since music has such properties, it is obvious that it should be included in the number of subjects for the education of young people."

At present, more and more often, art historians note the enormous influence of musical art on the formation of musical culture and the spiritual and moral culture of a person. And this is no coincidence, the attitude to music of various genres is an indicator of the spiritual sphere and the moral and aesthetic attitude of students. Undoubtedly, in order to develop the musical taste of students, it is necessary for them to participate in the musical life of an educational institution, including playing in an ensemble of folk instruments.

For more than a hundred years, orchestral and ensemble music-making on Russian folk instruments has been developing in Russia. With the advent of the Great Russian Orchestra under the direction of V. V. Andreev, the era of the formation of the genre of folk instrumental music began. Folk instruments reach a new level - academic performance.

In recent decades, performance on Russian folk instruments has been developing especially actively. An outstanding contribution to the development of orchestras and ensembles of Russian folk instruments was made by the People's Artist of Russia N. N. Kalinin. Thanks to his tireless work, more than 60 professional orchestras and ensembles appeared in the country, many of which were previously amateur.

More than 100 nationalities live in the Russian Federation with their own unique musical culture and variety of instruments. It is necessary to raise the issue of introducing national instruments into the educational process, so that every people living in Russia can professionally develop their national instruments.

Ensembles of Russian folk instruments began to be created in many educational institutions in art schools, in pedagogical educational institutions of various levels. Such groups contribute to the familiarization of students with the national culture. So, in 1992, an ensemble of Russian folk instruments was formed under my leadership in gymnasium No. 1 in the city of Ulyanovsk. For me, as a teacher of folk instruments, it was extremely important to create a team of gymnasium students who are passionate about playing folk instruments.The ensemble of folk instruments has great potential, as it is able to attract children of different ages to music, who are still in search of creative realization.Of course, the basis of the repertoire was and is the folk melody. The program of the ensemble included such well-known folk songs as: “Peddlers”, “Oh, you canopy, my canopy”, “Steppe, yes steppe all around” and others. Students could perform simple parts on the balalaika, domra, balalaika-contrabass or percussion instruments (box, maracas, tambourine, spoons, etc.). But the ensemble's program also included popular classics, pop works, jazz compositions, music from films. Members of the ensemble made original arrangements of the performed works. Folk musical instruments help to form a connection between traditionalism and modern perception of reality through performing forms.The collective nature of the activity, common goals and objectives, form a conscious attitude to the matter and a sense of responsibility to their comrades.In the process of performing on folk instruments, a favorable psychological climate is created that contributes to the disclosure of children's individual and collective qualities, the natural characteristics of children of different ages are taken into account, a feedback mechanism is created between children and the teacher, and a developing environment is formed for the manifestation of children's creative activity. This activity continues, but within the walls of children's creative centers in Moscow.

It should be noted that children with different musical background come to the ensemble of folk instruments. For those children who have not received an initial musical education, elementary musical notation is taught at the first stage, simple exercises and musical works are being mastered. And then, gradually, a transition is made to a more complex technical level of playing the instrument. With such different preparation of students, the repertoire of the ensemble is carefully selected so that each participant can perform the part from the first year of study. For example, the simplest folk melodies are taken for the button accordion, and the student performs only the harmonic accompaniment of the theme.

As for works, now many composers are turning to folk music, writing works that are a stylization of folk songs. Along with the development of the folk repertoire, students are invited to get acquainted with other styles - classical, jazz, pop ("Unsuccessful date", "Tiko-tiko", "Train to Chutanuga"). Thus, introducing students to various musical styles contributes to the formation of a versatile musical taste, melodic-harmonic ear, and a sense of the ensemble.

For the development of musical taste, it is important to listen to the performance of outstanding musicians and, therefore, we always plan to attend concerts, with an emphasis on ensemble performance. Going to concerts together not only expands the musical horizons, but also helps children emotionally get closer to each other. The cultural life of Moscow allows you to make a choice and make your own plan for attending concerts, various competitions and festivals.Music develops the spiritual potential of students, since it is music, being one of the specific types of art, that reflects reality through musical images and a system of musical expressive means, which unobtrusively and gradually has a deep impact on the spiritual world of the individual, his inner culture.To teach students to distinguish genuine works of art from primitive compositions is the main task in the formation of aesthetic and universal values.

Also, our ensemble takes part in children's competitions and festivals of this direction at different levels. Each opportunity to participate in a creative competition introduces children to music even more, develops a musical taste, brings up the necessary personality traits for competitive struggle and healthy competition, instills diligence and cohesion in children, helps to gain confidence in their strengths and abilities.

My many years of experience allow me to say with confidence that by studying in a group of folk instruments, children are introduced to the whole wealth of forms and genres of music, to the spiritual culture of society, musical art, which undoubtedly has a profound impact on the development of good musical taste and spiritual and creative potential. child. The results and effectiveness of musical education are determined not so much by how people are able to understand and perceive music, but by the readiness and preparedness of members of society for conscious and independent creative activity.

Literature:

Dolzhansky A.N. Brief musical dictionary. St. Petersburg, 2000
Gottlieb A. Fundamentals of Ensemble Technique. M., 1989.
Imkhanitsky M.Ts. At the origins of Russian folk orchestral culture. M., 1984

The role of ensemble music-making in the implementation of the principles of developmental education when playing the cello.

The goal of education in music schools and art schools is, for the most part, the training of amateur musicians who have the skills of musical creativity. Such skills include: independent analysis of a piece of music, its learning, fluency in the instrument, the ability to correctly read musical text, the ability to distinguish a melody from accompaniment, the ability to read several information layers of text at once: musical, rhythmic, dynamic, and others.
Playing in an ensemble is a kind of joint music-making, which can be started at any level of instrument proficiency.
Obviously, the problems of learning and creative development are closely related. The process of creativity, the atmosphere of search and discovery at each lesson makes children want to act independently, this happens sincerely and naturally. "Ignite", "infect" the child with the desire to master the language of music - the main of the initial tasks of the teacher.
The ensemble is a collective form of play, during which several musicians, through performing means, together reveal the artistic content of the work. Performing in an ensemble provides not only the ability to play together, but something else is important here - to feel and create together. Working in a team, of course, is fraught with certain difficulties: it is not so easy to learn to feel like a part of the whole.
Playing in an ensemble brings up a number of valuable professional qualities in a performer - it disciplines the rhythm, gives a sense of the right pace, contributes to the development of melodic, polyphonic, harmonic ear, develops confidence, and helps to achieve stability in performance. Weaker students begin to catch up to the level of stronger ones, from prolonged communication with each other, everyone becomes better as a person, since such qualities as mutual understanding, mutual respect, and a sense of collectivism are brought up. Thus, a cellist who has never played in an ensemble loses a lot, because The benefits of this type of activity are obvious. Such activities contribute to good sight reading, help to consolidate the basic skills of sound production, and develop hearing.

Ensemble music-making has huge developing possibilities. For example, playing in an ensemble disciplines rhythm in the best possible way, improves the ability to read from a sheet, helps the student develop technical skills, and also gives the child great pleasure and joy, unlike solo performance. Ensemble music-making teaches to listen to a partner, teaches musical thinking: it is the art of having a dialogue with a partner, i.e. understand each other, be able to give cues in time and give in in time. If this art, which brings incomparable joy of joint creativity, is comprehended by a child in the process of learning, then we can say with confidence that he will successfully master the specifics of playing the cello.
Cooperation between a teacher and a student in music pedagogy is understood as co-creation. Joint ensemble music-making is an ideal means for establishing mutual creative contact between a teacher and a student. From the very beginning of teaching a child to play an instrument, a lot of tasks appear: landing, setting hands, methods of sound production, notes, counting, pauses, keys, etc. But among the abundance of tasks to be solved, it is important not to miss the main one - in this crucial period, not only to maintain a love for music, but also to develop an interest in musical pursuits.
The donotation period is closely connected with ensemble music-making in a duet: a teacher - a student. Children are interested, they hear a familiar or pleasant melody, they want to master it faster, they quickly master musical notation. The poetic text helps to understand the simplest elements of the musical form, as well as the acquired skills of articulation - detail, legato, staccato.
Ensemble music making allows you to include schoolchildren in an active musical environment from the first steps of training. At the initial stage of their studies, they get the opportunity to perform small ensemble pieces for cello in front of their peers.
One of the most important conditions for successful work is the ability to be critical of yourself and your comrades. It has long been noted that praise, even if not fully deserved, stimulates the activity of most people. The child needs to believe in himself. The basic rule of the ensemble: "One for all, all for one."
Among the components that unite students into a single ensemble, the metro rhythm belongs to almost the main place. Indeed, what helps ensemble players (and there may be two or more) to play together to give the impression that one person is playing. This is the feeling of a metro rhythm. He, in essence, performs the functions of a conductor in the ensemble, the feeling by each participant of the strong beats is that “hidden conductor”. The feeling of strong and weak beats of the measure, on the one hand, and the rhythmic certainty “within the measure”, on the other. This is the foundation on which the art of ensemble playing is based. If, with inaccuracy in the performance of the remaining components, only the overall artistic result decreases, then if the metro rhythm is violated, the ensemble collapses. But not only this is the meaning of the metrorhythm. He is able to influence the technical side of the performance. Rhythmic certainty makes the game more confident, more technically reliable. In the ensemble, of course, there may be performers whose sense of rhythm is not equally developed. It is necessary that the ensemble has rhythmically stable performers. Then the other members of the ensemble will begin to reach out to the stronger, rhythmically, students.
In general, playing in an ensemble allows you to successfully work on the development of rhythmic feeling. Rhythm is one of the central elements of music. The formation of a sense of rhythm is the most important task of the teacher. Rhythm in music is not only a time measuring category, but also emotional and expressive, figuratively poetic, artistic and semantic.
Playing together with the teacher, the student is in a certain meter-rhythmic framework. The need to "hold" one's rhythm makes the assimilation of various rhythmic figures more limited. It's no secret that sometimes students perform pieces with significant tempo deviations, which can distort the true feel of the original movement. Ensemble playing not only gives the teacher the opportunity to dictate the correct tempo, but also forms the correct tempo perception in the student. It is necessary to find the most accurate rhythm, to achieve the accuracy and clarity of the rhythmic pattern. The definition of the tempo depends on the jointly chosen single rhythmic unit (general movement formula). This formula is of great importance when playing in an ensemble, because subordinates the particular to the whole and contributes to the creation of a single pace among partners.
When playing in an ensemble, it is necessary to be economical in spending dynamic resources, to dispose of them wisely. We must proceed from the fact that, no matter how rich the ensemble is with instruments bright in timbre, one of its main reserves, which give flexibility and refinement to the sound, is dynamics. Different elements of the musical texture should sound at different dynamic levels. Nothing will come of it if everything is equal. Having cultivated such a sense of dynamics, a member of the ensemble will accurately determine the strength of the sound of his part relative to others. In the event that the performer, in whose part the main voice sounds, played a little louder or a little quieter, his partner will immediately react and perform his part also a little louder or quieter. It is important that the measure of these "slightly" would be accurate.
Determining the tempo of a work is an important moment in the performing arts. A correctly chosen tempo contributes to the correct transfer of the character of the music, an incorrect tempo distorts this character to one degree or another. Although there are author's indications of the tempo, up to determining the speed by the metronome, the tempo is "embedded" in the music itself. Even Rimsky-Korsakov argued that "a musician does not need a metronome, he hears the tempo from the music." It is no coincidence that Bach, as a rule, did not indicate the tempo at all in his compositions. Within one piece, the tempo may vary. “There is no such slow pace at which there would not be places that require acceleration ... and vice versa. There are no appropriate terms in music to define this, these designations must be laid in the soul ”(V. Tolba).

The synchronicity of ensemble sounding should be understood as the accuracy of the coincidence in time of the strong and weak parts of each bar, the utmost accuracy in the performance of the smallest durations by all members of the ensemble. When considering the problem of synchronized performance, three points need to be made: how to start a piece together, how to play it together, and how to end a piece together. The ensemble must have a performer who performs the functions of a conductor, he must sometimes show introductions, removals, slowdowns. The entry signal is a small nod of the head, consisting of two moments: a barely noticeable upward movement (auftact) and then a clear, rather sharp (once) downward movement. The latter serves as a signal to join. At the rehearsal, you can count an empty beat, there may be the words: “Attention, get ready, we started”, after the word “started” there should be a natural pause (like a breath). Much depends on the nature of the music in achieving synchronicity in an ensemble sound.
Performing in unison requires absolute unity - in meter rhythm, dynamics, strokes, phrasing. From this point of view, the unison is the most complex form of ensemble. The proof of absolute unity when playing in unison is the feeling that while playing along with other students, your part is not heard as an independent one. Meanwhile, in unison, strong skills of the ensemble are formed, besides, the unison is interesting visually and in terms of stage.
Ensemble playing is a form of activity that opens up the most favorable opportunities for a comprehensive and wide acquaintance with musical literature. Before the musician are works of various artistic styles, authors, various arrangements of opera and symphonic music. The accumulation of a stock of bright numerous auditory representations stimulates the artistic imagination. Playing in an ensemble contributes to the intensive development of all types of musical ear (pitch, harmonic, timbre-dynamic).
Play well with the teacher. But of course, children learn more attentiveness, concentration of attention, responsibility, the ability to listen to themselves and others when they play in an ensemble with each other (i.e. student-student). Partners are selected, if possible, children of the same age and the same level of training. In this situation, something like a tacit competition arises, which is an incentive for a more thorough and more attentive game. From the very beginning, it is necessary to teach children so that one of the players does not stop playing when the other stops. This will teach the other performer to quickly navigate and re-enter the game. First of all, in student-student ensemble playing, we teach the synchronicity of performance. The synchronicity of ensemble sounding is understood as the coincidence with the utmost accuracy of the smallest durations (sounds or pauses) for all performers. Synchronicity is the result of the most important qualities of the ensemble - a common understanding and feeling of the tempo and rhythmic pulse by the partners. Synchronicity is one of the technical requirements of playing together. The simultaneous entry of all is usually achieved by an imperceptible gesture of one of the members of the ensemble. With this gesture, it is helpful to advise the performers to take their breath at the same time. The simultaneity of the end is no less important. Synchronization of the introduction and removal of the sound is achieved much easier if the partners correctly feel the tempo even before the start of the game. The music begins already in the auftact and in the short moments preceding it, when the students, by an effort of will, focus their attention on the fulfillment of the artistic task.

Thus,
1. Ensemble music-making contributes to the intensive development of all types of musical ear (pitch, harmonic, polyphonic, timbre-dynamic).
2. Playing in an ensemble allows you to successfully work on the development of rhythmic feeling. It helps to lay the elementary foundations of rhythm, as well as to master more complex metro-rhythmic categories.
3. Ensemble music-making contributes to the development of memory.
4. Work on the cello ensemble intensively develops the imaginative thinking of students and the formation of generalized musical concepts.
5. Ensemble play has a positive effect on the development of playing abilities.
6. Ensemble playing can be included in various activities of students in the cello class (improvisation, sight reading, selection by ear).
7. Ensemble music is a form of cooperation between the student and the teacher. Allows you to take into account the age and individual characteristics of students. Acts as a collective activity.
When a student for the first time gets satisfaction from joint work, feels the joy of a common impulse, mutual support - we can assume that classes in the classroom have yielded a fundamentally important result. The student felt the originality and interest of joint performance.
Playing in an ensemble in a child develops a sense of collectivism. The individual creative reproduction of each individual part is combined into a single whole, the ability to constantly listen to each other, merge the sound of your part with another. The opportunity to join forces to achieve a common goal, as well as the atmosphere of group classes, create favorable opportunities for the development of abilities.
Thus, the role of ensemble playing in learning to play the cello is very important. She teaches everything: rhythm, conscious attitude to business, responsibility, quick mastery of musical notation and understanding of the structure of musical forms. In addition, children like it very much, it brings them great pleasure.

List of sources
1. Gottlieb A. Fundamentals of ensemble technique. - Leningrad: Mir, 1986.
2. Rizol N. Essays on work in the ensemble. - M.: Music, 1986.
3. Grigoryan A. School of playing the cello.- M.: Muzyka, 1999.
4. Timakin E.M. The education of a pianist. - Kazan: Education, 1967.
5. Sapozhnikov R. Methods of teaching to play the cello. - M.: Music, 1995.
6. Tsypin G.M. Learning to play the piano. - Kyiv: Ukraine, 1987.

Art is the time and space in which the beauty of the human spirit lives. Learning art, a teenager must experience the fullness of creative forces. The knowledge of musical art is a broad multifaceted concept. It begins where a person comprehends the beautiful for himself, for the fullness of his spiritual life, lives in the world of art, feels a thirst to join the beautiful. The teacher sees the complex and subtle task of musical upbringing and education in the fact that the values of musical art become the spiritual need of adolescents, so that they strive to fill their free time with the happiest, most cheerful work of the soul - the comprehension of beauty (3, p. 25).

Teaching students the art of music is not only educational and educational in nature, but also has a great developmental value. The concept of developing education is one of the aspects of modern pedagogical science. When teaching music, there is an intensive and comprehensive development of students. The role of the teacher is to anticipate, stimulate, direct and accelerate the development of the personality's hereditary data. Directly influencing the emotional and moral sphere of the child, musical art plays an important role in the formation of a creatively thinking and spiritually rich personality (4, p. 23).

Music pedagogy has the richest experience of outstanding pianist teachers in the field of comprehensive musical development of students. The work of the masters of the piano school A.G. and N.G. Rubinsteinov, V.I. Safonova, A.N. Esipova, K.N. Igumnova, A.B. Goldenweiser are brilliant examples of developing pedagogy.

Some practicing teachers, unfortunately, still rely on outdated forms and methods of working with students, using an authoritarian teaching style that does not stimulate the development of students' feelings, intellect, and cognitive interests. Polishing the repertoire of reporting performances absorbs a lot of study time, which leads to the development of a limited number of works. At the same time, the formation of skills and abilities has a narrow specialization and damages, mainly, the developing side of music lessons.

In the piano class, not enough time is devoted to such forms of work as sight reading, selection by ear, transposition, and others, among which ensemble music-making has special developmental possibilities (5, p. 56).

An ensemble is a group of performers (duet, trio, quartet, etc.) acting as a single artistic group.

Practicing teachers know that playing in an ensemble improves sight reading skills, develops and disciplines rhythm, and is an indispensable form in terms of developing the technical skills and abilities necessary for solo performance. It is important that ensemble music-making teaches to listen to a partner, teaches musical thinking, the art of having a dialogue with a partner, understanding each other, being able to give a cue in time and give in in time. If in the process of learning a musician comprehends this art, then he will successfully master the specifics of playing the piano.

In many ensembles with the participation of the piano, the latter is entrusted with a very responsible, even leading part, using a variety of expressive and virtuoso capabilities of the instrument.

Therefore, it is advisable to start studying the art of playing together with lessons in the piano ensemble class. Unlike other types of joint playing, a piano duet unites performers of one instrument, which greatly facilitates their mutual understanding (2, p. 64).

As an example of four-handed works, one can cite the marches developed by Franz Schubert mainly in piano duets: "Children's March", "Divertissement in the Form of a March", "Heroic March" and others. Four-handed piano playing is a kind of collaborative music-making that has been practiced at all times in the history of music, at every opportunity and at all levels of instrument proficiency. One of the best forms of cooperation between a teacher and a student in the piano class is ensemble music-making. This is not only the joy of joint creativity, but also a form of activity that contributes to the implementation of the principles of developmental learning. The benefit of ensemble music-making lies in the fact that it is able to stimulate the general musical development of students, improve their piano playing skills.

Ensemble playing opens up the most favorable opportunities for a comprehensive and wide acquaintance with musical literature; works of various artistic styles and historical eras pass before the musician. Ensemble playing is a constant and rapid change of new musical experiences, an intensive influx of rich and diverse musical information, the development of emotional responsiveness to music. The accumulation of a stock of bright numerous auditory representations stimulates the development of emotions and artistic imagination. The harmonious sound of the instruments has a strong emotional impact. On the crest of an emotional wave, there is a general rise in musical and intellectual actions. First of all, because the ensemble game is an intraclass form of work, basically, it is not brought to the stage, a special psychological mood arises in the classroom, since, according to V.A. Sukhomlinsky, the material for the ensemble game "is not for memorization, not for memorization, but simply from the need to think, learn, discover, comprehend, finally" be amazed ". Therefore, students are interested in classes in the ensemble, realize their creativity.

Playing music in an ensemble contributes to the development of ear for music, memory, sense of rhythm, motor skills, the ability to listen to each other and coordinate musical actions, as well as to feel aesthetic pleasure from jointly performed creative work.

Although the development of these abilities can take place in various types of musical activity - listening to music, analyzing a piece of music, studying music theory, it is more effective to participate in an ensemble with your own hands, since "the best way to understand and master a phenomenon is to recreate, reproduce it" ( S.I. Savshinsky).

The initial stage of learning to play the piano is closely connected with ensemble music-making in the duet "teacher-student". Due to the rich accompaniment of the teacher, rich in melodic and harmonic colors, the performance becomes more colorful and lively, the student has the joy of creativity, self-confidence.

Often the harmonic ear lags behind the melodic ear. A student can freely deal with monophony, but at the same time experience difficulties with auditory orientation in the polyphony of a harmonic warehouse. As a rule, a long period associated with the placement of hands and the performance of predominantly monophonic melodies does not allow the child to immediately perform pieces with harmonic accompaniment. In this case, the ensemble form of the game turns out to be appropriate and necessary, while the harmonic accompaniment will be performed by the teacher. This will allow the student from the very first lessons to be involved in active work, to participate in the performance of polyphonic music, the development of harmonic hearing will go in parallel with melodic.

The education of polyphonic hearing as the ability to perceive and reproduce several sound lines that are combined with each other in the simultaneous development is one of the most important and most difficult sections of musical education. To speed up this process, piano pedagogy has a significant number of methodological techniques for working on polyphony. The most effective technique in ensemble practice is the joint playing of a polyphonic work on one or two instruments by voices, by pairs of voices. Thus, ensemble playing from the first lessons develops the ability to hear polyphony, makes it possible to listen to all its constituent elements (2, p. 95).

Ear for music is important in all types of musical practice, but its role is especially great in musical performance. Ensemble playing has ample opportunities in the development of timbre-dynamic ear, thanks to the enrichment of texture, since arrangements occupy a significant place in the ensemble repertoire. The young musician, together with the teacher, is looking for various timbre effects, trying to convey saturation, fullness, timbre specificity of the sound of individual timbre groups on the piano.

Music-making in an ensemble develops all types of musical ear: pitch, timbre-dynamic, harmonic, polyphonic. It also contributes to the development of a sense of rhythm - one of the central elements of music, which is the most important task of musical pedagogy. Rhythm in music is not only a score, it also gives it an emotionally expressive, figurative, poetic, artistic coloring. If a student has musical and rhythmic abilities, he feels the tempo, the ratio of duration, and is able to convey an accent.

The musical-rhythmic ability is formed in ensemble playing, when a novice pianist performs ensembles, even the simplest ones. At the same time, game techniques and skills are developed, such as playing a uniform sequence of identical durations. ON THE. Rimsky-Korsakov wrote that "a sense of equality of movement is acquired by any joint game," referring to the rhythmically disciplined, corrective effect of ensemble music-making on each of the partners. Sometimes students perform pieces with a significant tempo deviation. Therefore, when playing together with the teacher, the student is within a certain meter-rhythmic framework, ensemble playing allows the teacher to dictate the correct tempo, and forms the correct tempo sensation in the student. The performance of music is accompanied by a "weighty" accentuation of the hands when playing. In the ensemble performance, the feeling of metrical pulsation is especially pronounced, emphasizing the initial beats of the measure. The tempo-rhythm, that is, the musical pulsation, is a qualitative category, so the partners must determine the tempo before the start of the performance, the tempo-rhythm must be collective. Rapid passages often lack rhythmic stability. This is due to emotional excitement when the strength of the sound increases, as well as in places that are difficult to perform, when technical difficulties cause a subconscious desire to play “dangerous” measures as quickly as possible. If this shortcoming is inherent only to one of the partners, then the second one can correct it. In the conditions of joint classes, favorable conditions arise for correcting the individual errors of partners. Many dynamic difficulties are more easily overcome when playing together with a teacher who involves the student in speeding up or slowing down the musical movement (1, p. 156).

A certain role in the art of music is played by pauses, their expressive and semantic function. The teacher needs to ensure that the pauses are perceived not as a mechanical stop, but as a natural component of the musical structure. In ensemble playing, one has to deal with the countdown of long pauses. A simple and effective way to do this is to play the music that your partner is playing.

With the help of ensemble playing, its attractiveness, the motor skills of the hands of a pianist student, the development of sound production techniques, the transition of skills into piano playing skills are developed.

Ensemble game contributes to the development of students' ability to independently get acquainted with a new work, reading from a sheet. Already at the initial stage of training, it is recommended to play easy pieces in four hands. Partners when reading from a sheet in four hands are chosen, if possible, by children of the same age and the same level of training. It helps to maintain interest, to compete with each other, to help each other. It is important that the first acquaintance with the work arouses interest, and does not extinguish it. To do this, one should develop fluent reading skills, achieve long-term concentration of attention, cover the text a little ahead of execution, move from easier to more difficult gradually, consolidating the previous level of difficulty.

When working with four hands, it is necessary to aim the performers to cover the musical work as a whole, to draw their attention to the main thing. When reading from a sheet, it is not advisable to often stop the student in difficult places, as the feeling of joy from the game is lost, therefore, it is necessary to choose easier material with a subsequent increase in difficulty. It is desirable that one of the players continues the game when the other stops. This will teach the second performer to quickly navigate their mistakes and get back into the game.

Having considered the role of ensemble playing in the implementation of the principles of developing musical education, we can come to the following conclusions:

Ensemble playing at the initial stage of learning is the best way to interest a child, add emotional coloring, and increase interest in music;

Ensemble music-making contributes to the development of a complex of specific abilities: musical ear, sense of rhythm, ability to read from a sheet, musical memory, motor skills, correct tempo perception, more attentive and thorough attitude to the game;

Ensemble play opens up the most favorable opportunities for the comprehensive development of a child’s personality, intellect, expands students’ knowledge of music, enriches their professional experience, develops the student’s thinking and musical consciousness;

Ensemble playing contributes to the acceleration of students' learning of music and can be used in various activities in the piano class: sight reading, improvisation, selection by ear.

Ensemble playing increases the developing potential of a young musician, activates the process of working with him, expands his musical horizons.

LITERATURE

1. Alekseev A.D. Piano teaching methodology. - M.: "Music", 1971. - 278 p.

2. Gotlib A.D. Fundamentals of ensemble technique. - M.: "Music", 1971

3. Konen V.D. History of foreign music. - M.: "Music", 1984. - 534 p.

4. Sukhomlinsky V.A. I give my heart to children. - M.: "Pedagogy", 1979. - 288 p.

5. Timakin E.M. The education of a pianist. - M.: "Music", 2009. - 176 p.

For a musician, there is no greater happiness than playing music together, and the degree of professionalism of any musician is directly proportional to his skill in playing in an ensemble. Yes, he can be an excellent soloist, listening to whom is a pleasure, but you can finally appreciate him as a musician only by listening to how he plays in a band.

Ensemble- a word familiar to everyone and everyone. It is often used in relation to things that have nothing to do with music. For example, an architectural ensemble. Translated from French, "ensemble" means: coherence and consistency. This is precisely its most important component. Do something together and do it in sync. In synchronicity lies the main secret and the continued success of the ensemble.

Ensembles are different, and depending on the number of musicians have their own names. Words like duet, trio, quartet known even to people far from music.

What conditions must be observed when playing in an ensemble? How to achieve coherence and thereby develop the skills without which a musician cannot be called a musician? There are several subtleties and nuances that need to be monitored until they become a habit.

Slender game, first of all! A false performance will nullify all good undertakings, and lead to displeasure of the listeners. You have to work on the system and work hard.
All members of the ensemble must strictly adhere to one musical genre or playing style. A different understanding of a musical work from the point of view of musical orientation is unacceptable. For example, a waltz should sound exactly like a waltz, and if, suddenly, someone loses the character of a waltz and plays something close to a march, the ensemble will simply “fall apart”.
Same understanding of tempo and rhythm. All musicians are people, not metronomes, and some tend to slow down the tempo, while others tend to speed it up. This must be carefully monitored, as well as rhythm, because a distorted understanding of the rhythm will also lead to a lack of coherence and synchrony.
Playing in an ensemble implies the same strokes of performance. At first glance, it seems that this is not so significant, but in fact, different strokes are disharmony of music, which can be avoided if you carefully consider the analysis of a piece of music.
We don't leave tails! It is necessary to finish, as well as to begin, a musical phrase at the same time, unless, of course, something else is originally meant. Very ugly and slovenly obey the endings, completed not together by all the members of the ensemble.
Dynamic consistency. Solo performance should be forgotten while playing in an ensemble. If the musician is leading the main theme, he should play brighter, but during counterpoint or accompaniment, the sound should be reduced.

It seems that all of the above techniques are not so complicated. In fact, playing in an ensemble requires years of focused work and labor, but labor that brings pleasure. Here you need to catch each other's glances and movements with greed, being afraid to miss something. It is here that sensitivity and attentiveness are important, qualities that are very useful in life. Therefore, there is no doubt that the ensemble is a useful and pleasant thing not only for the listeners, but also for the performers!

Now let's listen to music! The music will be ensemble.

L. van Beethoven Sonata for Violin and Piano No. 5 "Spring"

Playing in an ensemble unites, develops communication skills, contributes to the formation of a team, disciplines the members of the ensemble, instills a love for various genres of musical culture.

Irina Onkina
Ensemble game as one of the ways of versatile development of the child

Ensemble game, How one of the ways to develop a child.

Collective performance in all its manifestations has always occupied a special place in the life and musical culture of all peoples, and has been associated with the traditional way of life. Joint a game playing musical instruments was not always an activity in the field of art, initially it accompanied a person in his daily activities. And only with time, in all ensembles, music gradually acquired a relatively independent meaning, and the groups received an increasingly clear structure and organization.

Pedagogical Opportunities ensemble folk instruments in music preschooler development: - this is a type of joint music-making, which has been practiced at all times at every opportunity and at any level of instrument proficiency, and is still being practiced. What is the benefit ensemble music?

Ensemble game this is a form of activity that opens up great opportunities for a comprehensive and broad acquaintance with music. Ensemble game- this is a constant and quick change of impressions, this is a huge range diverse musical information. Besides Ensemble music-making contributes to the development of musical ear, sense of rhythm, memory, motor skills. Rhythm is one of the central elements of music. The formation of a sense of rhythm is the most important task of musical pedagogy. Playing with the teacher, the student is in the metro-rhythmic framework. Ensemble game not only makes it possible to dictate the correct tempo, but also forms the correct tempo sensation in the student.

Exactly playing in an ensemble communication skills are acquired, i.e. live communication with other participants ensemble(peers, parents, musical hands.) playing in the ensemble, the child is liberated, and subsequently his artistry is revealed, he feels the support of other participants ensemble and at the same time feel like an integral part of ensemble. i.e. the ensemble is a great way for the child's self-realization. Playing in an ensemble, children learn to listen to the parterre, understand each other, try to transmit musical cues in time or yield in time. While playing in ensemble is developing musical thinking as a member ensemble simultaneously listens to music, analyzes it and reproduces sounds in time in accordance with the tempo, character and dynamic shades of the work.

Ensemble playing music is not only one of the best forms of cooperation between a teacher and a student, but also an excellent form of interaction between parents and children. Once again, emphasizing the availability of performance on noise musical instruments, at any of the events you can unobtrusively organize ensemble of parents. Any parent will figure out and pick up or copy the playing of musical instruments, looking at the children or the musical director. And the children will experience a real delight from the fact that their parents, it turns out, also know how play, and this not fake joy from joint music-making will help parents to be distracted and enjoy joint creativity. This form of activity contributes to working capacity, enhances personal initiative, helps to rally the team together, which is very important for the implementation of the creative tasks of the institution and for strengthening family values.

The task of today's preschool institutions is to reveal the personal potential of each child, activation of the initiative and creativity of children. It is necessary to create an atmosphere where the student himself is included in the creative process. And exactly ensemble Pedagogy gives us great opportunities and ways to implement these tasks. Because the ensembles folk instruments have a particularly rich variety of repertoire, unique colorful and noise techniques.

It's no secret that people who have received even a minimal musical education show themselves as more workable, sociable, artistic and bright specialists. In addition, I want to note that the skills of playing ensemble necessary not only for those children who later wish to connect their lives and professions with music. These skills are essential in everyday life. Since to skills ensemble performance relate: the ability to work in a team, to show communication skills, responsiveness, the ability to find a creative approach to a non-standard situation, to be attentive, focused and dedicated.

Therefore, training ensemble The game is a very important part of general education in GBDOU.

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