Learning to play children's musical instruments in the spoon ensemble as one of the means of developing musical abilities. The main directions of development of orchestras and ensembles of folk instruments

MUNICIPAL BUDGET EDUCATIONAL INSTITUTION FOR ADDITIONAL EDUCATION OF CHILDREN

CHILDREN'S MUSIC SCHOOL № 4

OF THE CITY DISTRICT OF TOGLYATTI

THE SPECIFICITY OF THE WORK OF THE ACCOMPAPER

IN THE CLASS OF THE ENSEMBLE OF FOLK INSTRUMENTS

Scientific and methodological development

Nesterenko Irina Fedorovna,

piano teacher,

concertmaster

Togliatti, 2014

• Introduction……………………………………………………….3

2. Features of accompanist activity….………..6

3. Tasks of an accompanist in instrumental classes

Music School…………………………………………..14

• The work of an accompanist in an ensemble

with soloists-instrumentalists…………………………...16

5. Conclusion …………………………………………………...22

6. List of references ……………………………………………...24

Introduction

A pianist must be able to accompany

to prelude, to understand harmony,

music theory, transpose and

Be sure to improvise"

Carl Czerny

Accompanist, having formed as an independent type of activity in the process of practice of accompaniment and artistic and pedagogical correction of an ensemble with soloists-instrumentalists, is a good example of a universal combination of elements of the skill of a teacher, performer, improviser and psychologist within one profession. The concept of "accompanist art" can refer to performers on various instruments, if in the process of work it is necessary to solve both pedagogical and ensemble-performing tasks. It should be recalled that initially the performers who led the orchestral group and were responsible for the quality of its sound were called accompanists.

With regard to the activity of a musician-pianist, accompanist is one of the most common and sought-after professions. In the process of formation, there was a gradual improvement of all its components.

Initially, the improvisational abilities that ensured professional versatility served as the basis for the varied activities of the musician. The art of accompaniment was considered as a peculiar form of improvisation, which the pianist was obliged to master in the 16th-18th centuries. . However, in addition to professional necessity, an aesthetic interest in ensemble performance also played a significant role.

If the composer supported himself and his family by composing on the orders of influential people, performing the duties of an orchestra leader, bandmaster, and sometimes chapelmaster (J. Haydn), then, playing in the evenings in an ensemble with close friends, he satisfied his needs not only in human, but also in musical communication (W. Mozart). So in the works of the Viennese classics one can find many arrangements of piano sonatas for performance in an ensemble with a violin, which was dictated by the above reasons, as well as the goals of popularizing their own works.

In the 19th century, due to objective historical prerequisites, the performing component of the accompanist was improved. The development of bourgeois relations led to the democratization of all forms of musical art, which was reflected in the practice of paid concerts with affordable tickets for the middle class. The touring activities of singers, virtuoso instrumentalists required the appearance of pianists who mastered the art of playing in an ensemble and were able to quickly master a large amount of musical text. In this case, the pianist's functions, which usually do not involve pedagogical assistance, were accompaniment. At this stage, the difference between the professional psychotype of a soloist (pianist, instrumentalist) and an accompanist is already clearly manifested, on the basis of which we can talk about specific character traits corresponding to each of these types of activity. “A characteristic figure for that time is no longer a composer-improviser, but a composer-virtuoso, even a virtuoso-composer”, who reigned on the stage, conquering the audience with artistry, brilliant technique, and the spectacular jeu perle style. In an effort to reign supreme over the public, the soloist did not want to share recognition and applause with anyone. “The pianist F. Liszt refused the “entourage” (performances in a concert by a soloist of other performers), and other instrumental performers followed him.” "The career of a virtuoso attracted young musicians in all countries who dreamed of world fame and material success." The attitude of the public towards the pianist, who not only did not strive to stand out in the ensemble, but, on the contrary, primarily emphasized the merits of the soloist, was not in the best direction for the accompanist.

There was no special training for this profession, both in the wide practice of private lessons and within the walls of music academies and conservatories. Interest in the activities of the accompanist, however, is growing as a possible source of income. I. Hoffman in his book “Piano Playing. Questions and Answers ”, based on the relevance of the problem, gives individual advice to those who wish to improve in this area, emphasizing the importance of natural inclinations and instincts.

An important point for this type of activity was the development of the pedagogical component. The history of the formation of concertmaster as a profession, which mainly reflected the unequal attitude towards pianists who worked in this field, knows an example of public recognition of the concertmaster as a teacher, psychologist, specialist of wide competence, with an intuitive feeling for a soloist and infallible taste. This refers to the high rank of maestro, which was called an accompanist-artist in Italy, polishing the skills of singers at the highest stages of their professional development.

From the middle of the 19th century, concertmastership, as a separate type of performance, took shape as an independent profession. And if Italy showed an example of a worthy attitude and respect for an accompanist, not as a servant, but a master, then Russia became the first country where a professional attitude to the art of accompaniment was fixed by introducing subjects of this profile into musical institutions. In 1867, A. Rubinshtein suggested opening special classes at the conservatory to improve the ensemble skills of pianists and instrumentalists. It is no coincidence that in Russia, where the psychological trend in art culminated in the creation of the world-famous system of K. Stanislavsky, the type of accompanist-maestro, in continuation of Italian traditions, later clearly manifested itself in the person of M. Bikhter, V. Chachava and other remarkable pianists.

The strengthening of the psychological principle in the profession was due to the peculiarities of the Russian "musical mentality". “From the first steps of its formation, the Russian accompanist school was influenced by the aesthetics of folk song and romance culture - its figurative and poetic beginning. The melodiousness of the performance, subtle lyricism, spontaneity and warmth of spiritual expression, penetrating intonation - these qualities determined the appearance of not only the singer, but also the accompanist.

Accompanist as a separate type of performance appeared in the second half of the 19th century, when a large number of romantic chamber instrumental and song-romance lyrics required a special ability to accompany the soloist. This was also facilitated by the expansion of the number of concert halls, opera houses, musical educational institutions. At that time, accompanists, as a rule, were of a “general profile” and were able to do a lot: they played choral and symphonic scores from sight, read in various keys, transformed piano parts to any intervals, etc.

Over time, this universality was lost. This was due to the increasing differentiation of all musical specialties, the complication and increase in the number of works written in each of them. Concertmasters also began to specialize to work with certain performers.

Features of accompanist activity

Concertmaster - teaching assistant, accompanist, ensemble player. What are the features of the activity of this specialist and the essence of the variety of activities in the process of work?

The accompanist works in classes of folk instruments, performs the accompanying part in works. He performs the accompanying part in works written with piano accompaniment or plays the role of an accompanying instrument, often replacing the orchestra.

The work of an accompanist requires constant practice with the instrument, studying and mastering the concert repertoire. Such work expands the musician's creative outlook, forms and improves his artistry, and allows him to be an active promoter of music.

There are not so many books and separate articles devoted to the art of accompaniment. There is even less literature on the methodology of teaching this subject (N. Kryuchkov, E. Shenderovich, M. Smirnov, etc.). The authors note that the accompaniment does not play an auxiliary role, not a purely auxiliary function of harmonic and rhythmic support. And the accompanist in the process of performance becomes an equal member of a single integral musical organism.

The skill of an accompanist is deeply specific. It requires from the pianist not only great artistry. But also versatile musical and performing talents, knowledge of the peculiarities of playing instruments in the classes where they work, knowledge of the specifics of work in different departments of the music school.

With all the diversity and specific features of work in different classes and in different departments, one can try to formulate a number of common specific features in the work of accompanists of children's music schools.

One of these important features isability and willingness to be "second".

The absence of this quality becomes especially noticeable during public performances, since, trying to stand out, you can drown out, “hammer” the soloist, disrupt the ensemble and not be able to feel this ensemble. Everything must obey the intention of the composer, soloist or team leader, it is important to feel the measure, carefully maintaining the sound balance.

Another equally important requirement isexact adherence to the text.Dynamics and agogics, like the text itself, must be observed in the most subtle way. It is unacceptable in texts, especially classics written specifically for the piano, to remake shades, melismas, and so on.

Another difficulty often arises in the performance of an accompaniment part, when this part was not composed for the piano, taking into account the features of the instrument (convenience of texture, register brilliance, clear tasks of pedalization, etc.), but is an arrangement, that is, from variants of the embodiment of music on the piano, originally written for orchestra. We observe a huge number of such techniques in the work of an accompanist, especially in the choreography class.

It should be noted that most composers considered the piano the only instrument capable of reproducing the essence of an orchestral score, and in these cases the piano part is nothing more than an adaptation of the colorful, large-scale, polyphonic sound of a symphony orchestra to the capabilities of one instrument - the piano.

Composers who created excellent orchestral scores often did not take into account the technical inconveniences of the pianist when working on the clavier, oversaturating the piano texture with significant complexities that hindered the natural performance of the piano part. [For example: Arranged by J.S. Bach - Classical Masterpieces: Popular Melodies for Piano - Rostov n / D: Phoenix, 2011. - 84 p.].

The concertmaster often has to simplify this texture, achieving a more rational way of presentation. As, for example, in the play "Mumba-Yumba" with students of the ensemble of folk instruments "Park Accordion" in the II part, I, the accompanist, single out and simplify some musical phrases in order to improve the sound quality of accordions, bass guitar.

When working in the classroom, the accompanist may arbitrarily change and lighten difficult passages so as not to stop the movement of the music. In the process of learning a piece with instrumentalists, a pianist can apply the methodisolating the solo part from the score,reducing the piano part to basic harmonic and rhythmic functions. To do this is not as easy as it might seem at first glance, and requires the concertmaster to have a well-developed harmonic ear and complex musical thinking. When performing these works in a concert hall, accompanists must create a full-fledged sonority of the accompaniment, and in transcriptions strive, if possible, for the orchestral scale of the piano.

A necessary and serious quality in the work of an accompanist is alsodeveloped ability to read from a sheet and transpose.

Of course, in concerts or at an exam, reading a part from a sheet or transposing is almost never found, but in the workflow in the classroom these qualitiesare extremely necessary.

Many qualities inherent in an accompanist-pianist bring him closer to a conductor, which in turn causes the possession of such traits as a conductor's will, rhythmic and tempo stability, the ability to "cement" the ensemble and the entire form of the piece being performed as a whole.

It should be noted that the achievement of all the tasks assigned to the accompanist is possible only with full cooperation with the teacher, with absolute professional trust. An accompanist in a class is an assistant, an arranger, a tutor, a right hand and a single whole with the class teacher, who purposefully performs his professional tasks.

The work of an accompanist in different instrumental classes, with a choir or soloists, in a choreography class or in working with various groups has both general and in each specific case its own specific features. This is a special conversation that requires separate consideration.

As part of the conversation about the general features of the work of an accompanist, we note that any other musical activity can hardly be compared with the art of accompanist in its versatility and versatility.

All that said, accompanistmust be a very erudite musician, in the field of activity of which there is a huge and diverse repertoire.

What qualities and skills should a pianist have to be a good concertmaster? First of all, he must have a good command of the piano - both technically and musically. A bad pianist will never become a good accompanist, just as any good pianist will not achieve great results in accompaniment until he masters the laws of ensemble relationships, develops sensitivity to his partner, does not feel the inseparability and interaction between the part of the soloist and the part of the accompaniment. The accompanist field of music-making in the class of choral conducting presupposes the possession of both the entire arsenal of pianistic skills and many additional skills, such as: the ability to organize the score, “build a vertical line”, reveal the individual beauty of the solo voice, provide a lively pulsation of the musical fabric, give a conductor’s grid and so on. At the same time, in the art of an accompanist, such cornerstone components of a musician's activity as disinterestedness in the service of beauty, self-forgetfulness in the name of a solo voice, in the name of animating the score, are manifested with particular force.

A good accompanist should have general musical talent, a good ear for music, imagination, the ability to capture the figurative essence and form of a work, artistry, the ability to figuratively, inspiredly embody the author's intention in a concert performance. An accompanist must learn to quickly master a musical text, covering a complex three-line and multi-line score and immediately distinguishing the essential from the less important.

We list what knowledge and skills an accompanist needs:

First of all, the ability to read a piano part of any complexity from a sheet, to understand the meaning of the sounds embodied in the notes, their role in building the whole, playing accompaniment, to see and clearly imagine the soloist’s part, capturing in advance the individual originality of its interpretation and by all performing means to contribute to its most vivid expression ;

Possession of playing skills in an ensemble;

The ability to transpose a text of medium difficulty within a quart, which is necessary when playing with wind instruments, as well as for working with vocalists;

Knowledge of orchestration rules;

Knowledge of the features of playing the instruments of a symphony and folk orchestra;

Knowledge of the keys "Before » - in order to correctly correlate the sound of the piano with the various strokes and timbres of these instruments;

The presence of timbre hearing;

Ability to play claviers (concerts, operas, ballets, cantatas) of various composers in accordance with the requirements of the instrumentation of each era and each style;

The ability to shift uncomfortable episodes in the piano texture in the claviers, without violating the composer's intention;

Knowledge of the basic conductor's gestures and techniques;

To be especially sensitive in order to be able to quickly prompt the soloist with words, compensate, where necessary, for tempo, mood, character, and, if necessary, quietly play along with the melody;

For successful work with vocalists, it is necessary to know the basics of the phonetics of Italian, preferably German, French, that is, to know the basic rules for pronouncing words in these languages, first of all, word endings, features of phrasing speech intonation;

Knowledge of the basics of choreography and stage movement, in order to correctly organize the musical accompaniment to the dancers and correctly coordinate the gestures of the singers' hands;

Awareness of the basic movements of classical ballet, ballroom and Russian folk dances;

Knowledge of the basics of the behavior of actors on stage;

The ability to simultaneously play and see the dancers;

The ability to lead a whole ensemble of dancers;

The ability to improvise (select) introductions, acting out, conclusions necessary in the educational process in choreography classes, in the vocal class and with instrumentalists;

Knowledge of Russian folklore, basic rituals, as well as playing techniques on Russian folk plucked instruments - gusli, balalaika, domra;

Ability "on the go" to pick up a melody and accompaniment;

Improvisation skills, that is, the ability to play the simplest stylizations on the themes of famous composers, without preparation to develop a given theme in texture, to select by ear harmonies to a given theme in a simple texture;

Knowledge of the history of musical culture, fine arts and literature, in order to correctly reflect the style and figurative structure of works.

An accompanist needs to accumulate a large musical repertoire in order to feel the music of various styles. To master the style of any composer from the inside, you need to play many of his works in a row. A good accompanist shows great interest in learning new, unknown music, getting to know the notes of certain works, listening to them on recordings and at concerts. An accompanist should not miss the opportunity to practically come into contact with various genres of performing art, trying to expand his experience and understand the features of each type of performance. Any experience will not be in vain, even if a narrow sphere of accompanist activity is subsequently determined, in the chosen area there will always be elements of other genres to some extent.

The specificity of the accompanist's performance also lies in the fact that he must find meaning and pleasure in being not a soloist, but one of the participants in the musical action, moreover, a secondary participant. The pianist-soloist is given complete freedom to reveal his creative individuality. The accompanist, on the other hand, has to adapt his vision of music to the soloist's performing style - this is even more difficult, but at the same time it is necessary to preserve his individual image.

Despite the versatility of the activity of an accompanist, its creative aspects are in the foreground. Creativity is creation, the discovery of something new, a source of material and spiritual values. Creativity is an active search for the unknown, deepening our knowledge, giving a person the opportunity to perceive the world around him and himself in a new way. A necessary condition for the creative process of an accompanist is the presence of an idea and its implementation. The realization of the idea is organically connected with an active search, which is expressed in the disclosure, correction and clarification of the artistic image of the work, embedded in the musical text and internal representation. To set interesting tasks in musical and creative activity, an accompanist usually does not have enough knowledge only in his subject. Deep knowledge in the disciplines of the musical-theoretical cycle (harmony, analysis of forms, polyphony) is required. The versatility and flexibility of thinking, the ability to study the subject in various ways, broad awareness in related fields of knowledge - all this will help the accompanist to creatively process the available material.

An accompanist must possess a number of positive psychological qualities. Thus, the attention of an accompanist is attention of a very special kind. It is multi-plane: it must be distributed not only between two own hands, but also attributed to the main character, whether it be an accordion player, balalaika player, domrist, soloist or conductor. At every moment it is important what and how the fingers do, how the pedal is used, the auditory attention is occupied by the sound balance (which is the basis of the foundations of ensemble music-making), the soloist's sound knowledge; ensemble attention follows the embodiment of the unity of the artistic conception. Such a strain of attention requires a huge expenditure of physical and mental strength.

Mobility, speed and activity of reaction are also very important for the professional activity of an accompanist. If the soloist at a concert or an exam mixed up the musical text, without stopping playing, he is obliged to pick up the soloist in time and safely bring the work to the end. An experienced accompanist can always remove the soloist's uncontrollable excitement and nervous tension before a variety performance. The best means for this is the music itself: a particularly expressive game of accompaniment, an increased tone of performance. Creative inspiration is transferred to the partner and helps him gain confidence, psychological, and after it muscle freedom. Will and self-control are qualities that are also necessary for an accompanist and accompanist. In the event of any musical malfunctions that occurred on the stage, he must firmly remember that it is unacceptable to stop or correct his mistakes, as well as express his annoyance at the mistake with facial expressions or gestures.

The functions of an accompanist working in an educational institution are largely of a pedagogical nature, since they consist mainly in learning new educational repertoire with the soloists. This pedagogical aspect of accompanist work requires from the pianist, in addition to accompanist experience, a number of specific skills and knowledge from the field of related performing arts, as well as pedagogical intuition and tact.

A modern accompanist must have a high level of technical training, a bright artistic taste and culture, and most importantly, he must have a special vocation for this work. This high level is not available to every pianist.

Tasks of an accompanist in the instrumental classes of a music school

The art of accompaniment is such an ensemble in which the piano plays a huge, by no means auxiliary role, far from being exhausted by the purely auxiliary functions of the partner's harmonic and rhythmic support. It would be more correct to raise the question not about accompaniment (that is, about some kind of playing along with the soloist), but about creating a vocal or instrumental ensemble.

Many studies have been devoted to the art of accompaniment and the issues of concertmaster activity. But mostly these are recommendations for accompanists working with vocalists. Articles about the peculiarities of the work of an accompanist with instrumental soloists are rare. The specifics of the activity of an accompanist in working with folk stringed instruments is almost not covered.

In the present work, an attempt is made to fill this gap. The research method was to observe the practical work of accompanists and summarize their own many years of experience as an accompanist in the classes of folk instruments balalaika, domra (mandolin), as well as in ensembles of folk instruments.Knowledge of the history of the development of folk instruments, the evolution of the folk instrumental repertoire helps to understand the "soul" of Russian folk music.

One of the good traditions of the school accompanist can be considered the fact that most of the classes in the ensemble class take place with the participation of the accompanist. Concertmaster literally (German) - master of the concert. The activity of an accompanist begins from the very first lessons. All work on a piece of music from fragmentary reading to a holistic coverage of the composition takes place with his direct participation. Of course, the student, first of all, analyzes and learns the musical text. But he knows for sure that at the lesson he will perform like a real artist, accompanied by an experienced pianist. A creative connection arises between the student and the accompanist, cooperation, which will be aimed at revealing the artistic image of each piece of music. According to E.M. Shenderovich "... pedagogical, psychological, creative functions are combined in the activity of an accompanist" . The accompanist helps the student to enrich musical performances, better understand, assimilate and convey the content of the work, strengthens intonation. Develops the rhythmic discipline of the student and the consistency of the performance of parts. The diversity of the repertoire obliges the accompanist to master various playing techniques, richness of nuances, a developed sense of rhythm and style. He must know the specific features of the solo instrument - the laws of sound production, breathing, technology. Playing an accompanist with an adult musician is different from playing with a beginner. It is at this age that the student is invited, together with the accompanist, to master the basics of the metro - rhythm, ensemble listening, synchronization of performance, tempo matching. It is necessary to develop the ability to adapt to the personality and performing style of the child: playing irregularly - to hold, timid - to inspire, emotional - to accompany. It is also important to be able to quickly navigate the text, to see the entire text, to help in case of a mistake, to be able to support the student in a concert performance, to predict his intentions.

In the work of an accompanist, it is extremely important to have a sense of proportion, auditory control and a conductor's beginning, the ability to experience and empathize. There are several stages in preparing a student for a performance. A huge period passes in the classroom. It is, as it were, “taming”, “taming” a work: analysis, multiple repetitions of fragments, work on the metrorhythm, ensemble, acting out, work on the form of the work. The instrument teacher, together with the accompanist, prompts the student the right images, the mood of the music. Another step is learning the piece. Here you need: detailing, playing with exaggeration, establishing logical connections. The accompanist, step by step, does this difficult, but certainly interesting work with the student. If everything is done correctly, then performing on the stage will be a pleasant mission for both the student and the accompanist. Rehearsals in the hall play a special role in preparing for concert performances. The skill of an accompanist lies in finding the right sound balance that matches the acoustics of the room. The accompanist also helps the student to acquire artistic skills in communicating with the public. On the stage, everyone is worried, but each in his own way. Here it is necessary to take into account the different types of temperament of young artists and be prepared for any surprises. Therefore, the accompanist must observe the repetitive manifestations of the child's psyche on stage.

The work of an accompanist in an ensemble with soloists - instrumentalists

Features of sound extraction

Many accompanists who start working in the class of folk instruments (domra, balalaika), who have good musical intuition and sensitivity, experience pianistic inconvenience from the fact that the usual playing “on a support”, which is taught in the specialty, is not suitable here, since domra is plucked instrument, and its sound does not differ in flight, long sound.

An accompanist who has devoted himself to working with folk stringed instruments (domra, balalaika) needs to have an idea about the basic techniquessound productionon the instruments to be played with. Knowledge of the features of the stroke and sound-pictorial palette will help to find the appropriate sound for them in the accompaniment, to find a dynamic and coloristic relationship with the timbres of these instruments.

The main techniques for playing the domra are strike and tremolo (quick alternation of strikes), which are continuously supplemented by the use of techniques borrowed from the practice of playing other instruments (stringed bowed instruments, balalaikas): pizzicato with the left and right hands, natural and artificial harmonics, blow for stand, pizzicato vibrato and tremolo vibrato. There is a simultaneous use of various techniques. The sound of domra, extracted by the blow of a pick, is sonorous and clear, and on a tremolo it is pouring and melodious. Playing on the fretboard creates a muffled, matte sound, while playing on the fretboard, on the contrary, gives an open, slightly “nasal” sound, reminiscent of a banjo. Some difficulty is played in the upper frets due to the smaller size and the difficulty of hitting. String mi , especially when pressed down, sounds rather muffled. In general, the dynamic scale can be quite diverse: from the most delicate pianissimo on pizzicato in the left and harmonics to a very powerful fortissimo on tremolo chords. Domra has a wide range of virtuoso capabilities, which is successfully used by composers in compositions for this instrument.

In search of a timbre and dynamic fusion with domra, the accompanist must strive for a dry, clear sound extraction, which is especially difficult to maintain in parallel passages with domra. In such cases, the pianist's legato should be non troppo legato, lightly marked, with a very sharp release of the key after it has been pressed. This technique, combined with extremely even rhythmic performance, allows the accompanist to solve not only the problem of matching strokes, but also the problem of synchronism in virtuoso fragments. It should be noted here that work with stringed plucked instruments encourages the accompanist to search for new pianistic techniques, which sometimes contradict the sound requirements for solo performance, in order to achieve the timbre and articulatory identity of the sound of the piano and domra.

Dynamics

When building a dynamic balance, it is necessary to take into account the muffled nature of the sound of domra in the lower tessitura (on the E string), the light, airy sound of harmonics, when the sound of the piano should be built into the sound of domra, the soft sound of pizzicato vibrato. On the other hand, a dense chordal sound, especially on tremolo, needs strong support from the piano. Example: "Mar, dyandya" (Dance girl) - a gypsy folk song - an introduction, maintaining the chord technique in the upper register, the accompanist can afford the dynamics "on an equal footing". In the passage technique - the piano recedes into the background, but you should play very active, tenacious.

Accompanying folk instruments crescendo on the piano in passages, you need to do it later, as if “picking up” the soloist, enhancing the impression of the overall sound, diminuendo – earlier, doing it consciously in order to “free up” the sound space for the soloist.

Pedaling

About the pedal can be said briefly: the right pedal is very concise - in the right place, in the right dose. Among accompanists who have been playing folk instruments for many years, there is such a concept: the pedal is taken “with the tips of the ears”. When using the pedal, it is necessary to take into account the dynamics, the length of the soloist's sound (the instrument's capabilities), the reception of sound extraction, the stroke used, the style of the musical work, and much more. Very often accompanists abuse the left pedal. It's much easier to play with the left pedal - no need to strain your ears, take care of the balance of the ensemble. The left pedal levels everything! And including piano paints, so necessary to complement the ensemble. The state of the instruments on which you have to work or perform in concerts is unpredictable. Therefore, the left pedal must always be “on safety net” and, if necessary, it must be used, using a possibly incomplete pedal. At the same time, it is necessary to control the sound of the piano.

Artistic image

One of the tasks of the accompanist is the ability to dramatize the introduction, to be able to tune the listener tofigurative content of the work, whether it is an arrangement of a Russian folk song (Variations on the theme of the Russian folk song "Travushka - Ant") or works of other genres.

A very special role in the development of solo domra performance and the creation of a repertoire for this instrument, including arrangements of folk songs, was played by the People's Artist of Russia, Professor of the Russian Academy of Music. Gnessin Alexander Tsygankov. "His works bear the imprint of the bright creative individuality of their author - a brilliant virtuoso who enriched the arsenal of expressive means with many new techniques borrowed from the arsenal of other instruments, owning a rich palette of sound, possessing charming artistry and stage charm."

V.N. Gorodovskaya (1919-1999) in the concert piece “Will I go out to the river” also uses a colorful technique in the piano part - knocking. In the balalaika part, there is a similar sound in the number 9 - a blow to the soundboard.

In "Concert Variations on the Theme of the Russian Folk Song" Kalinka "by V. Gorodovskaya there is a remark: "knock on the piano lid, imitating the sound of heels" (8 measures). This is a rather difficult moment for the accompanist, since after this colorful technique, in one eighth pause, it is necessary to accurately hit the keyboard and continue playing.

Folk accompaniments require a good technical base from the accompanist, the ability to play easily at fast paces passages in a “touch” - “whispering” sonority. The movements of the fingers are almost invisible, the game is played only with the tips - the "skin" of the finger pad. Sometimes the weight of the finger is enough, but with a special articulation - “talker” (parlando). Ensemble difficulty is the joint performance of passages: B. Troyanovsky "Ural dance"

Peculiar special effects are also observed in the piano part, bearing in mind that the role of domra and piano in a duet is of full importance. Example: S. Lukin "Serious Variations" on the Italian Polka by S. Rachmaninoff. The soloist has harmonics, the pianist corrects the "breakage" of the harmonics on the piano - acting.

Ensemble (features of metro rhythm, dynamics)

For the exact match in the ensembleit is possible to recommend, together with the soloist, to teach passages based on the first notes of groupings.

The ability to react very quickly to what exactly the soloist is playing at the moment is often necessary in works of a dance character, where there are syncopations without the first beat. You need to play them without losing the feeling of rhythmic pulsation (M. Zeiger “I danced with a mosquito”, the final section of the Allegro). An accompanist must have an absolute sense of rhythm, otherwise he will never become a worthy part of the ensemble. Sound Limits f and p needs to be taught. This is not only a sonic difficulty, but also a technical problem. It takes great skill not to drown out the soloist. The accompanist must skillfully build undertones, soften the background, sometimes making it “quite airy”.

The professional activity of an accompanist should be characterized by mobility and quick reaction. If a soloist at a concert or an exam suddenly “loses” a text, skips or skips an episode, and in the practice of children’s performance this occurs quite often, then an experienced accompanist, without ceasing to play, must pick up the soloist and safely bring the work to the end (Example of M. Ugryumova "White-faced - round-faced" part 3 sounded very slow ... due to the loss during the performance of the mediator).

I will cite a statement that I liked by the doctor of art criticism D.K. Kirnarskaya:“If a person is virtuoso gifted, then the timbre of the sound, the nature of its taking, its articulation spontaneously gives rise to the musician those movements that are needed to get this particular sound”

The main condition of the ensemble is the coordinated sound of the piano and the soloist. And the matter is not only in the dynamics, but also in the nature of the sound, the mood. It should be recalled that the part of the soloist throughout the whole work must sound in the mind of the concertmaster and coincide with the real sound of the soloist - the success of the ensemble depends on this.

Repertoire (features of the piano part)

To date, there is an original repertoire for balalaika and domra, which is not inferior in quality to the repertoire of academic instruments. Performing skills on folk instruments are at a high level, but it was “the processing genre that became a kind of laboratory in which the figurative and stylistic range of music for balalaika and domra was expanded. In the genre of modern adaptations there is a variational method of development. The musical language has changed - song motifs are enriched with unusual rhythms and tart polyphonic compounds (A. Danilov "Kalinushka" arrangement of the Don Cossack song), assimilation of folklore samples with jazz style (E. Shabalin "Oh you birch", A. Danilov "Korobeiniki") .

I would especially like to note the organic presentation of the piano part in the works of A. Tsygankov, which is largely associated with the personality of the pianist, who has been his constant partner for almost forty years - Inna Shevchenko. "Such a special pianistic pleasure in the performance of accompaniments, with all their richness and virtuosity, allows the pianist to concentrate his attention on purely accompanist tasks, the solution of which can serve as a real school of accompanist mastery"

All this and much more suggests that the role of piano accompaniment is increasingly growing. This is no longer “musical background to the main melody, which is of secondary importance in the work”, this is an equal partnership.The accompaniment plays an important role in creating a musical image; it can strengthen or weaken the artistic impression many times over.

Piano transcriptions

The repertoire performed by the accompanist is not always technically accessible to him, or at least the pianist does not always have enough time to master the technical side of the performance to perfection. In such cases, expedient simplifications of the musical fabric should be preferred, but in no case violating the main content of the work. Especially often such a need may occur when playing the opera clavier. Often such changes are useful not only in order to simplify the texture, but also to achieve better sonority.

The issue of the orchestral sound of the piano is also important, the piano part is not always convenient, the accompanist must know the rules of orchestration, and also be able to correctly transpose uncomfortable episodes in the piano texture without violating the composer's intention. In this case, the teacher instrumentalist (populist) should help the accompanist to make the right “cuts”, to express his wishes, if the orchestral texture is complex and inconvenient.

The specifics of the work of an accompanist implies the desirability, and in some cases the necessity, of possessing such skills as selecting accompaniment to a melody by ear, elementary improvisation of the introduction, acting out, conclusion, varying the piano texture of the accompaniment when repeating verses, etc. The specific textural design of the selected and improvised accompaniment should reflect the two main indicators of the content of the melody - its genre and character.

Conclusion

Thus, the creative activity of an accompanist includes performing, pedagogical, and organizational, where music acts as a real independent artistic process.

An accompanist is the vocation of a teacher, and his work in its purpose is akin to the work of a teacher. The skill of an accompanist is deeply specific. It requires not only great artistry, versatile musical and performing talents, but also a thorough acquaintance with various singing voices, knowledge of the features of playing other musical instruments, and opera scores.

The activity of an accompanist requires the pianist to apply multilateral knowledge and skills in the courses of harmony, solfeggio, polyphony, music history, analysis of musical works, vocal and choral literature, pedagogy - in their interconnections. For a teacher in a special class, an accompanist is the right hand and first assistant, a musical like-minded person. For a soloist, an accompanist is the confidante of his creative deeds; he is an assistant, a friend, a mentor, a coach, and a teacher. Not every accompanist can have the right to such a role - it is won by the authority of solid knowledge, constant creative composure, will, uncompromising artistic requirements, unswerving perseverance, responsibility in achieving the desired artistic results when working together with soloists, in their own musical improvement.

The work of an accompanist is unique and fascinating, his role in the educational process of children's music schools is undeniably great, and mastery of the "accompanist complex" to perfection increases the demand for a pianist in various areas of musical activity from home music making to musical performance.

“In order to understand musical speech in all its content,” K.G. Mostras wrote, “one must have a sufficient stock of knowledge that goes beyond the limits of music itself, sufficient life and cultural experience, one must be a person of great intelligence and great feeling.” This statement very accurately conveys the image of a pianist-accompanist. Despite the fact that this type of activity is often treated with condescension, and the accompanists themselves always remain “in the shadows”, their art requires high musical skill and disinterested love for their profession.

“The work of an accompanist is very

difficult to translate into paper language

- it is in the fingers, in the soul.

M. Godyna

Bibliography

• Alekseev, A. From the history of piano pedagogy: Reader. / Kyiv.: Musical Ukraine, 1974. - 114 p.
• Goryanina N. Psychology of communication. / M.: Academy, 2004. - 416 p. - C.5.
• Hoffman I. Piano game. // Answers to questions about piano playing./ Moscow. 1961, - 44 p.
• Xenakis J. Conversations // Almanac of Musical Psychology Homo. musicus/ 1995. - P. 41.
• Novikov A. Doctoral dissertation. M.: Egves, 1999. - S. 19.
• Shenderovich E.M. In the accompanist class: Reflections of a teacher. - M.: Music, 1996. - P.5.
• Yakonyuk V. Musician. Need. Activity. / Mn.: Belorus, academician of music, 1993. - 147 p.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MARCH
Y. SOLOVIEV
(For adolescence.)
III stage

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

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

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

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

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

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

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

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

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

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

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

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

Municipal government institution

additional education

children's art school

With. bagan

"Ensemble – effective form work With students"

methodological development-generalization of the experience of the teachers of the Children's School of Art in the class of folk and wind instruments

Methodist: Gordichuk O.I.

s.Bagan 2015

The whole process of learning to play instruments in an art school, whether it be button accordion and accordion, violin, trumpet or guitar,closely related to ensemble work. And lastlydecade, interest in this type of music-making has been growing even more.The role of the ensemble in the educational process, as a subject, is especially great.contributing to the all-round development of the musician.

Playing in the ensemble "Teacher-student" helps the child already at the firstlessons to feel like an equal musician, even performingseveral sounds. The material can be children's songs, music forcartoons, TV shows. With a gradual embracing of the scale,the introduction of ever new rhythms, the complication of texture, furtherdevelopment of the motor apparatus, visual and auditory sensations,sight reading skills.

Ensemble creativity expands performing possibilitiesmusicians, making it possible to perform complex works, themesthereby expanding and enriching the musical horizons of the performer.Heightened emotional state caused by playing together,enriches the musician and contributes to his development as a solo artistperformer.

In our children's art school, creative teams have been created and are functioning stably: - an ensemble of wind instruments (headed by Yur S.V.), a vocal ensemble of teachers and students "Silver Rain" (headed by Astapenko E.F.), a combined ensemble of teachers and students "Zabava" (leader Kumbraleva S.I.), ensemble of folk instruments (leader Prikhotko R.V.). They are regular and active participants in school and district concerts, thereby promoting the art of music in the Bagan region, their performances are a constant success with the audience.

Collective music making makes it possible to realize eventhe weakest student, creates the possibility of his active participation inconcert activity.

In modern conditions, the music school is one of thethe main bases for the widespread dissemination of musical culture. Targetschools of general music education - to make music the property of notonly gifted children who choose it as their profession, but also all those who study in it.

Many students for all the years of schooling due to lack ofgame skills, necessary data or working capacity do not haveOpportunities to perform as soloists in school concerts. not rare andother cases where the overall development of students is ahead of themperforming possibilities. This does not satisfy the students, and, in itsturn, leads to a loss of interest in classes. Playing in ensemblesorchestra makes students of different advancement equalperformers and, regardless of the degree of difficulty of the parties, makes it possibleperformances at the most important concerts, thereby stimulatingeducational process, contributing to success in the classroom.

It is in the ensemble that the instrumentalist begins to feela musician who makes music collectively.

Any kind of creativity has its own specifics, features and technique.The fundamentals of the technique of a musician-ensemble player are already predetermined bythe name of the genre and are the ability to play together.

Ensemble work allows students to act as active individual performers, and at the same time learn to listen to and respect others.

The ensemble is a joint collective work, where everyoneartistic ideas and plans are realized by joint effortspartners. When considering important problems of ensemble technique, one canconditionally distinguish two of its main elements: - synchronous sound anddynamic balance.

The synchronicity of ensemble music-making implies a singleunderstanding and feeling by partners of tempo, rhythmic pulse,the same execution of strokes and techniques of the game. Under Synchronicitythe coincidence of the smallest durations (sounds and pauses) is understood.Synchronicity is the first technical requirement for playing together. Need totogether to take and together to remove the sound, together to pause. Synchronicityperformance is achieved more easily when it comes to sound (chord),located on the downbeat of the measure. It is more difficult to jointly perform syncopation at the beginning of a work, out-of-beat phrases, and so on.

The unity of tempo is especially evident in pauses or long sounds.In such cases, there may be an acceleration of the pace.

Skillful use of dynamics helps to reveal the general charactermusic, its emotional content and show the features of formsworks. It is very important to teach the joint execution of dynamicshades. For many novice members of the ensemble, a bigthe difficulty is to determine the gradation of one's own sound inteam. Some want to play louder than everyone, others vice versa"Hide behind your back." Therefore, it is necessary to educate consciouslycreative attitude to business, understanding the role of each party in thiswork.

Working with students in an ensemble or orchestra brings forward a range ofeducational and organizational requirements. This beforeabove all - fostering a sense of responsibility to the team: regularattendance at classes, exact arrival at the lesson, preparation of your workplaces. It is necessary to instill in children that the lack of discipline interferes with the creative process, indicates disrespect for their comrades, for the cause. An example of a disciplinary and conscious attitude should be the teacher himself. The personal authority of the leader plays a huge role.

Start ensemble classes with students with averagemusical data should be from works accessible to children. The student shows interest in classes only when he does not feel his ownhelplessness, but enjoys the results of his work.The task of the teacher is the correct choice of such plays. It is better to learn a few easy pieces and play them at a high artistic level,than not to play one difficult one.

Great importance must be given to the selection of members of the ensemble.The desire of students to play with one or another partner should be taken into account.It is important to take into account the closeness of the musical taste of the participants, their interests,level of development and degree of ownership of the instrument. Solo performances ontests and exams are a stressful situation for many children, and whenIn ensemble play, the child worries less, feeling the "shoulder of a friend." Alsothe ensemble members perform more brightly, in a concert, as they are passionate aboutimage and emotional content of music.

Concert, performance - is the creative result of anyteam. The focus of the leader should be the preparationensemble for performance, behavior on the stage, development of sustainableattention, clarity and thoughtfulness of actions. Participants needclearly know who comes on stage from which side and behind whom. Gotta watch outso that everyone goes outwardly actively with the correct posture,observed the interval in movement, walked at a certain uniform pace, knew hisplace on the stage, stood or sat beautifully, held beautifully when leavingtool. No less difficult organizational moment - leaving the stage.Appearance is importantspeaker.

Playing in an ensemble provides a young musician with the opportunity tocreative communication with the broad masses of listeners. Ensemble gameis not only one of the important forms of development of professionalperformers' skills. It also builds character, instills in childrena sense of collectivism, camaraderie, involvement in a great cause,promotion of musical culture.

The development of ensemble performance contributes to furthergrowing popularity of not only the guitar, but the button accordion - the favorite instruments of ourpeople, but also less common and more difficult to learn such as: trumpet, accordion, viola, etc.

Application:"Ensembles of MKU TO DSHI s.Bagan"

Ensemble of teachers and students "Zabava".

Bayan Ensemble

Consolidated Ensemble of the Department of Folk Instruments

Wind Ensemble

Working with a mixed ensemble

Russian folk instruments

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LITERATURE

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

Introduction

The relevance of research. In recent decades, there have been a number of negative processes in the field of culture and education. One of them is the fading of interest in playing music on Russian folk instruments, which manifests itself against the background of a high interest in the revival and cultivation of the traditions of the folk art culture of the Russian ethnic group.
Meanwhile, performing on Russian folk instruments has a great unrealized educational potential. In general, in the process of learning to play Russian folk instruments, the personality is immersed in the process of creativity, familiarization with the traditions and values ​​of the Russian people; in the process of collective music-making, the process of social adaptation of the child to interaction in a team, to the subordination of his interests to common goals, actively proceeds.
One of the indirect factors of the unpopularity of Russian folk instruments is the lack of relevant literature on teaching collective music making. Until now, practicing teachers are forced to use methodological developments that brought great benefits in their time, but practically do not take into account the real situation in Russia today. Among such works of research Baklanova N.K. , Bibergana V.D. , Gleikhmana V.D. , Ilyukhina A. , Kargina A.S. , Tikhonova B.D. , Chunin V. .
In connection with the change in the general strategy for the development of all levels of education, a deep rethinking of the educational process of the lower musical level is required - children's music schools, art schools - initially focused primarily on preparing children for education in secondary specialized institutions and practically giving no training in the field of home music, including collective. However, studies by various scientists - Banina A.A. , Imkhanitsky M.I. , Ushenina V.V. , Smirnova B. , Vertkova K.A. , allow us to conclude about the great popularity among our ancestors of just such a form of performance on folk instruments as collective music making.
Attempts to revive the former popularity are possible in two directions. The first direction is the creation of a new repertoire for ensembles of Russian folk instruments that is relevant for most of the Russian society. The negative point of this type of activity is that it takes a fairly long period of time to create a certain level of quality and quantity of repertory baggage (in general, this path is more typical for professional performing arts). The second direction is the study of traditional heritage. Despite the required efforts to study and select the necessary material, this direction is the best way out of the current situation, as it allows covering a wider range of tasks that are characteristic not only for musical art, but for the entire sphere of folk art as a whole.
In connection with the above, object of study is the theory and practice of ethno-art education in the children's art school.
Subject of research- methodological features of collective music-making in the children's art school.
Purpose of the study- to identify the methodological features of collective music-making in the children's art school.
Main research objectives are :

• consider the formation of the traditions of collective music-making on Russian folk instruments;
• determine the most important moments in the formation of modern orchestral performance;
• identify the main factors for the successful organization of collective music-making in a children's art school;
• to develop a pedagogical model for a program of collective music-making for a children's art school.

Research methods: observation; analysis of materials of methodical and scientific literature; software design.
Scientific novelty of the work consists in considering the formation of traditional forms of collective music-making from the standpoint of their adaptation to modern conditions for the functioning of children's music schools and art schools; determining the conditions for the formation of modern orchestral performance; in identifying the most important components of the successful organization of collective music making; as well as in the development of a pedagogical model for a program of collective music-making for a children's art school.
The practical significance of the study. The materials of this work can be used to develop various methodological aspects of collective music-making on Russian folk instruments in children's music schools and art schools, to create curricula for the orchestral class and the ensemble class, and also to use in advanced training courses for leaders of children's or amateur orchestral groups. The pedagogical model developed by the author was introduced into the educational process of the Engels School of Arts.
Organization of the study took place in three stages:

• Study and general analysis of methodological and pedagogical literature, development of goals and objectives - 2009
• Systematization of the obtained data, their development - 2010
• Writing work - 2011

Study Structure. The work consists of: introduction, two chapters, conclusion, list of sources used.

1 Formation and development of traditions
collective music-making in Russian
folk instruments

1.1 Traditions of ensemble instrumental music making

The joint playing of musical instruments, according to historians, arose already at the early stages of human development, when people used primitive instruments with the help of which sounds were extracted that did not have either a precisely fixed pitch or a strictly ordered rhythm. In any case, the real existence of a period of chaotic forms of joint music-making can hardly be denied.
The ancestors of the Russians, the Slavs, are no exception in this regard. Archaic elements associated with the ensemble music-making of our ancestors reveal themselves when studying the performing tradition of almost every Russian folk instrument: rattles (in an ensemble with singing), bells, shepherd's horns, double pipes and zhaleika, horns and violins.

In the last component, the following three levels can be easily distinguished: 1) constructive - combining individual pipes into an "ensemble" in the process of "designing" the instrument itself; 2) individual performing - combining into an ensemble of instrumental sounds of pipes with vocal sounds (shouts) of the performer herself ("toys"); 3) collective performing, in which two sublevels are naturally distinguished: a) combining games into an ensemble consisting of identical instruments, b) combining games into an ensemble consisting of different instruments.
It is difficult to say which of these levels captured the earliest stage of "joint" music-making. It can only be noted that the very nature of the combination of vocal voice and instrumental melody in the game of the same performer reflects one of the very early stages of the musical development of mankind. Musically, the voice is used here, essentially, not vocally, but instrumentally and only complements the sound of the instrument. With the voice of a kuvikalnitsa, they help themselves to perform an intonationally and rhythmically more complex melody on a primitive instrument.
Although the instrument in this kind of “duet” is the leading instrument in modern folklore practice of playing the kuvikls, nothing prevents us from assuming that in the era of mastering such a “duet”, the instrument and voice could change roles.
In parallel with the vocal and instrumental exercises of an ancient man with a pipe, the process of “designing” the instrument itself was going on: several others, identical and different, were added to one pipe. In this era, a gradual awareness of the progressive structure of the scale of musical sounds took place. And the multi-barreled flute was the instrument that helped this awareness, contributed to the acceleration of the development of musical thinking in the early stages of its formation and development.
This epoch could only precede the time when, both with the voice and on the instrument, a person could already perform the simplest melodies of the cantilena type, could combine such melodies together, that is, combine voice and instrument into an ensemble on principles fundamentally different from those on which the the art of the fifka pot.
Consideration of such aspects allows us to conclude that the joint playing of musical instruments has existed among the Slavs since ancient times. This is also confirmed by the literary and pictorial monuments of antiquity of various Slavic peoples, as well as the data of their ethnography and archeology, which make it possible to attribute the emergence of their instrumental ensembles in the proper sense of the word to the period of pre-class society. There is reason to believe that the Eastern Slavs approached the moment of formation of their statehood with sufficiently developed skills in ensemble music making.
One of the most significant musical facts reflected in the Russian chronicles is that the instruments of the Russian folklore tradition were combined into various kinds of ensembles - both in the mansions of princes, and in military affairs, and in folk life. More than one description is known, concisely and at the same time figuratively depicting the formidable sound of martial music before a battle, an assault on a fortress, or under any other circumstances. One of such descriptions is contained in the chronicle under 1220, which tells about the campaign of Prince Svyatoslav against the Volga Bulgars. One can get an idea of ​​the harmony of the sound of "military orchestras" in later times from the remark of a foreign traveler who described the Moscow army at the beginning of the 16th century. Noting that “the Russians have many trumpeters, and if, according to the “fatherly custom,” they begin to blow their pipes all together, then one can hear some amazing and unusual consonance.”
The mansions of the princes contained special troupes of buffoon musicians, who also engaged in joint music-making (recall the famous fresco in the Kiev St. Sophia Cathedral). Similar information is available in later sources. For example, it is known that at the wedding of Tsar Mikhail Fedorovich in 1626 an orchestra played, which included two harpists, three domrachi and four violinists. One of Olearius's drawings, made from nature in 1634, depicts an ensemble consisting of a godoshnik and a domracha.
As part of the early buffoon ensemble, they are collectively called psaltery, flutes, trumpets, tambourines, and the buffoons themselves are called hoots, svirtsy, dancers and mockers (that is, jokers) - in some sources, guselnits, pipe-makers and mockers - in others. On the miniature of the Radzivilov Chronicle, the demons are depicted playing just those instruments that we know about “demonic buffoonery actions” from written sources: the demons are depicted with a harp, with various wind instruments and tambourines. The story of the Kiev-Pechersk patericon about the temptation of the monk Isakiy calls the same composition of the ensemble. This story, placed in the Tale of Bygone Years under 1074, tells how the demons, having deceived Isakius, forced him to dance to their music: “And one of the demons, who was called Christ, said: harp and play, let our Isakiy dance. And the demons burst into sniffles and harp and tambourines, and began to play with Isakia. And, having tired him, they left him barely alive and left, having abused him.
In order to overthrow the patriarchal power in the eyes of the people, Peter I ordered to arrange in 1715 a clownish wedding of the prince-pope, whose role was played by Privy Councilor N.M. Zotov. The “Register: To whom ... to be in what dress and with what games” compiled by Peter I has been preserved. Each participant in the clownish masquerade was supposed to have a musical instrument in their hands in order to symbolize the disobedience of the spiritual authorities, which for many centuries forbade the playing of musical instruments.
The instruments listed in the "Reestre" in total formed a "monstrous" orchestra, numbering more than 130 people. It includes: Russian folk instruments - violins (fiddlers), horns, balalaikas, wheeled lyres (playing snouts), jew's harps, kuvikly (pipes), single pipes (old sips), double pipes (black pipes - a pair of pipes), surns , bagpipes, pity and / or shepherd's horns (shepherd's horns), horns (large horns), spoons (spoons with bells), rattles (Novgorod rattles and rattles), beat (wooden beats); noise and signal instruments - frying pans, basins, bubbles with peas, bells, postal and huntsman horns, decoys (quail pipes, dog whistles), ocarinas (clay pipes, nightingales); martial instruments (including those borrowed from Europe) - flutes, piccolo flutes (tops from flutes, pickles), oboes, trumpets, horns, timpani, alarms, tulumbass, nakras, drums, copper plates; non-Russian instruments - zithers, nagors (Khivan pots), organ pipes.
There is no doubt that this is not a list of existing instruments (they are listed in the Register in random order) and not an orchestra in the true sense of the word. At the same time, the list of Russian folk instruments involuntarily turned out to be almost exhaustive, and the ensemble composition of the instruments reflected, as we see, one of the principles for organizing ensembles of the Russian folklore tradition. However, we emphasize that when interpreting the instrumental composition of the "Reestr" as an ensemble, one should not forget its predominantly grotesque character.
There are only indirect indications about the use of ensembles in folk life in chronicles and other historical monuments. But they also find confirmation, in particular, in the fact that many of the folklore forms of ensemble music-making that have survived to this day have every reason to trace not only the times of the East Slavic community, but also to earlier eras.
The specific composition of the instrumental ensembles of the Eastern Slavs is unknown to us, only the principle of including instruments in the ensemble is known: instruments of all three types - stringed, wind and percussion - were combined into one whole. Mixed ensembles of random composition united groups of players from 2-3 or more people to several tens, and possibly hundreds, if we mean military orchestras.
One of the approaches to compiling ensembles is clearly illustrated by the “Register of Peter the Great” - to gather more musicians and a more diverse composition of instruments, that is, an external, spectacular approach, pursuing a colorful-noise goal rather than a musical one. The musical approach has also been around for a long time. It manifested itself most clearly in small ensembles of both mixed and especially homogeneous composition, since it is a homogeneous ensemble that actively contributes to the differentiation of the ensemble functions of individual instruments.
At present, we have only indirect data on the composition of the homogeneous ensembles used in the past (domrishko - domra; gudochek - gudok - buzzed). These data do not date back earlier than the 16th-17th centuries. But there is no doubt that the isolation and development of the function of ensemble voices in homogeneous ensembles belongs to earlier eras. Initially, it arose not on the ensemble proper, but on a constructive level and was reflected in the design of a number of instruments - bagpipes (the earliest information about it dates back to the 15th century), double zhaleyka, double flute, and also, partly, in the design of sonorous harp and especially the Russian Pan flute. In each of these instruments, it is easy to see a reflection of the process of expanding the range and, at the same time, the beginnings of the functional use of individual sections of this range (both in the emergence of elementary polyphony, and in terms of the gradual realization of the solo and accompanying voices).
Although there are no archaeological data confirming the presence of these instruments (except for the harp) in the era of the Eastern Slavs, there are no reasons that would force them to limit their appearance to the 15th century.
A well-known idea of ​​the composition of the ensembles of the past is given by the folklore forms of the ensembles of living tradition. Some of them are discussed in detail below. Although the living ensemble tradition has not been studied enough, it can already be argued that the skill of musical-instrumental ensemble thinking and music-making is possessed by folklore carriers throughout the Russian ethnic territory.
Mixed ensembles of large composition were noted in Smolensk, Bryansk, Kursk, Belgorod and a number of adjacent regions. In terms of the composition of the instruments, large ensembles are somewhat reminiscent of the “monstrous” orchestra of Peter I. For example, the instrumental ensemble of the Belgorod region includes three or four pipes of two varieties (an ordinary pipe with 5-6 playing holes and a large pipe, low-sounding and called here in two voices), a few pity pipes, called a horn, several Pan flutes, called pipes here, and a scythe blade used as a percussion instrument. Mandolins, violins, guitars, spoons, combs can be added to the traditional core of the Belgorod ensemble, that is, instruments of a later layer of this local culture, which came from other regions, from other countries, and even instruments that, as a rule, belong to the written tradition (clarinet, flute, etc.).
Homogeneous and mixed small ensembles are much more widely distributed in the living tradition than large ensembles. Almost any instrument (mentioned above) can make up an ensemble: homogeneous ensembles of kuvikl, horns, single zhaleykas, single pipes, violins, balalaikas are known. Ensembles of a balalaika with a violin, a violin with a guitar or with cymbals, a double flute with a violin, etc. were recorded. which have remained unexplored.
Choir of Kursk Dudareevs
A deep and strong tradition of ensemble playing on folk instruments is noted in the southern and southwestern regions of the Kursk region. The basis of the large mixed ensemble of Kuryans is the homogeneous ensemble of kugikl. Usually it consists (for example, in Bolshe-Soldatsky and a number of adjacent regions) of four women: two play the main melody of the tune on a five-barreled pair (one of them also fifka), the other two blow on three-barreled pairs (differently tuned) a kind of accompanying second voice - rhythmic-harmonic accompaniment.
In addition to the homogeneous kugikl ensemble, the Kursk mixed ensemble includes: a pipe, a pyzhatka, a horn (zhaleyka), a violin, a balalaika, an accordion, and a guitar. Since the bulk of the mixed ensemble of Kuryans is made up of wind instruments, it is often called the dudarei choir. Wind instruments are played by both women (Kugikles) and men (everyone else), while only men play string instruments.
The number of participants in a mixed ensemble usually has no restrictions. According to Rudneva's observations, for the full composition of the dudarei choir, it is necessary to assemble four pairs of cugicles, three to five pipes, two or three horns, one or two pyzhatki and a violin or balalaika to them. Connecting an accordion and especially a guitar to an ensemble is not typical and is very rare.
The instruments of the dudarei choir are usually carefully tuned to each other. As a rule, the pyzhatka is the instrument by which the whole ensemble is adjusted. Ensembles are well-tuned only within one village. The tuning of instruments even from neighboring villages is somewhat different. Therefore, during large festivities, covering groups of villages, it is impossible to form consolidated orchestras - each ensemble has to play in turn.
The Kursk instrumental ensemble is used to accompany the South Russian dance - the so-called karagoda. The way the musicians are arranged in the ensemble is interesting - they form a small inner circle - the dancers, who, in turn, are also inside the circle, but already external, formed by the audience and the resting dancers.
The ensemble functions of the instruments in the dudareev choir are differentiated, but weakly. Nevertheless, two main functions can be distinguished: melodic and "accompanying". The first is performed by playing pairs of kugikl, pipe and horn, the second - blowing pairs of kugikl and pyzhatka. The violin is used as a polyphonic instrument: the melody is played on the upper and partly on the middle string. The middle string bourdons almost continuously on a sub-quart (g sound). The bourdon of the middle string is occasionally "turned off" to play the sound before when it is needed to play the melody, as well as to "turn on" the lower open string as a "reminder bourdon".
The basis of the Kursk ensemble is two-voice with elements of three-voice, which is most clearly manifested in the score of the homogeneous ensemble Kugikl. According to the type of texture, this polyphony should be characterized not as sub-voiced, but as cluster-heterophonic: a) the pitch line of the blowing pairs of cugicles does not form any similar variant in relation to the pitch line of the melodic pair of cugicles and cannot be characterized as an undertone; b) the scales of all three varieties of ensemble kugicles are not spaced apart in the pitch space, as a result, three or four pitch lines are more likely to overlap, collide with each other, intersect, rather than diverge when performing a single line.
The effect of cluster sounding is enhanced by adding other instruments of the dudarei choir to the homogeneous ensemble of kugicles, since their working scales repeat the scale of the kugicles.
It is noteworthy that the actual scales of the pyzhatka and the violin are not used in full and only in the part that coincides with the total scale of the kugikl ensemble, that is, five sounds in a fifth from to to G and a subquart to them - G. This makes us think that both the violin (and earlier the horn) and homogeneous groups of other instruments - a group of pipes, a group of horns, a group of pyzhatok - seem to duplicate one or another part of the kugikal ensemble, and, therefore, there is reason to consider the homogeneous ensemble of kugikl as the basis of the Kursk Dudareev choir, not only in functional, but also in genetic terms.
The cluster type of polyphonic texture, as well as the predominantly wind composition of the instruments of the dudareev choir, gives the dance melodies performed by him a very tart and bright South Russian flavor of sound, against which a vocal voice occasionally sounds - singing or, more precisely, rhythmically shouting out short rhymes of the ditty type.

Ensemble of herbal pipes
The ensemble set consists of three pipes of unequal size. The difference in their length is established using the width of the palm, which acts as an anthropomorphic measure for tuning ensemble pipes. The width of the palm has its musical equivalent in the sound of a pipe approximately one whole tone.
Thus, three different-sized pipes, the structure of which (if it is determined by the fundamental tone) differs from one another (for instruments of adjacent size) by one whole tone, form the basis of the ensemble set.
Such tuning of ensemble instruments was legitimized by tradition and was considered mandatory. However, it was not carried out consistently and strictly in everything. In addition, in the practice of ensemble music-making, each of the three main pipes of the ensemble could be duplicated.
The whole-tone ratio of the scales included in the ensemble of instruments testifies not only to the deep awareness by the bearers of the tradition of the whole-tone structure that takes place in the lower part of the middle register of the pipe, but also to the ingenious use of the property of this whole-tone for ensemble music-making. The fact is that the central third of the whole-tone scale G - B (fourth and fifth overtones), extracted with an open channel, has an exact equivalent (Sol - B) in the whole-tone sections of the scale of pipes tuned as a whole tone higher (seventh and ninth overtones) , and a whole tone lower (the ninth and eleventh overtones), but extracted in both cases with the channel closed.
Similarly, three other sounds of the whole-tone section (F - la - C sharp), the seventh, ninth and eleventh overtones, extracted, respectively, with a closed channel, also overlap in the sound of pipes tuned one tone higher and lower, but, naturally, with an open channel and only partially (at the top pipe A and C sharp, at the bottom - file A, which in both cases gives the fourth and fifth overtones).
Thus, in order to simultaneously extract the same sound or sounds of one terts row, the first pipe, leading the ensemble, and the other two, auxiliary, must sound in opposite modes of sound extraction. So, if the first sounds with an open channel, the other two, in order to fulfill the set condition, must sound with a closed channel, or, conversely, if the first - with a closed channel, then the other two - with an open channel.
For all four instruments, all the sounds extracted with an open channel coincide with the “correct” setting, and for the two middle instruments, also with a closed channel. For the two extreme instruments of the ensemble, the sounds extracted with a closed channel are overestimated by about one and a half. This creates, of course, a cluster sound during ensemble music-making not only in the upper register of the ensemble scale, but partly in its middle register, in which the ensemble players strive to achieve a harmonic (tert or second-tert) sound of the ensemble vertical.
Ensemble playing on the pipes is not just a joint game only by ear. It arises under the condition of visual control of the players over what the partner is doing, over how his finger goes up and down. As a result, the general tempo of the ensemble game is established, the rhythmic and pitch patterns of the individual parts are coordinated. Not the last role is played, of course, by auditory control.
The ensemble tune usually begins with a pipe, which occupies a central (by tuning) position in the ensemble. It features a medium, leading voice. The other two perform side parts - the upper and lower voices of the ensemble, entering sequentially after the leader. Any of the voices can be duplicated by introducing an additional instrument into the ensemble.
In the tradition of ensemble playing on grass pipes, two methods are used: a shift in the rhythmic pattern of finger movements of the guided voices in relation to the leading one, two or three positions of a four-position period (the principle of the canon) and a third duplication of the voices of the ensemble along the harmonic vertical (the principle of opposing two third rows shifted by a whole tone).
Ensemble players in the process of playing, visually adjusting to each other a simple, monotonously and repeatedly repeated rhythm of finger movements, at the level of auditory control, search for spontaneously arising euphonious harmonies, consisting of the same sounds for different instruments.
The described conditions for the composition of an ensemble of pipes lead to the fact that ensemble tunes acquire a pronounced polyphonic nature, their polyphony is made up not only and not so much of individual sounds or overtones (this already occurs with solo playing on a pipe), but of a combination of instrumental voices.
Ensemble of Smolensk Violinists
As already noted, the Smolensk violin is also predominantly an ensemble instrument. In a living tradition, it enters into an ensemble relationship with almost any other instrument and accompanies both dancing and singing. Quite often, small mixed ensembles appear around the violin and at the head of it, sometimes growing to the size of a small orchestra, as a rule, of a random composition. Very often in such an orchestra there is not one violin, but two, three or even several.
The ensemble functions of the violin in the Smolensk area are similar to the functions of the kuvikl in the Kursk Dudareev choir. Within a mixed ensemble, the violin, like the Kursk kuviklas, forms a homogeneous, rather stable ensemble - a duet of violinists. This ensemble not only cements heterogeneous ensembles that are more numerous in composition, but often acts as an independent ensemble unit.
The homogeneous ensemble of Smolensk violinists has a long tradition. This was reflected in the conscious distribution of playing functions between the ensemble members (sometimes they agree in advance), and in the way the instrument is held, and in the location of the duet participants during the game, and in their very relation to ensemble playing.
In the violin duet, two parties are distinguished: the top and the second. The tops are the solo part, which performs a melodic function in the tune. The efforts of the violinist holding the top are aimed at virtuoso ingenuity while varying the main motive. He uses mainly the top two strings, sometimes picking up the third.
The second is the accompanying part, which is the harmonic basis of the tune. The one holding the second uses the third string to play the bass, and sometimes the second - sporadically. The second is a harmonic accompaniment with a clear and rather monotonous rhythm, which does not give the violinist room for variation. In the second, double notes are widely used, especially with the use of open strings - a kind of fourth and fifth bourdon. It is for the part of the second in the violin duet that the system is usually used in discord (bass - in a quart to the third string).
It happens that more than two violinists unite in a homogeneous ensemble. In this case, the majority holds the upper hand. Despite the fact that each violinist, holding the tops, varies the melody in his own way, the duet basis of the ensemble is preserved, although the texture of the tune in relation to the undertones becomes more polyphonic, more clustered. If the violinist holding the top suddenly switches to the second, then one of the partners who played the second immediately switches to the top.
Ensemble of Vladimir Horn Players
The most developed forms of ensemble playing were noted among horn players. The high culture of melodic-polyphonic horn art is based on a simple system of shepherd's ensemble instrumentation.
There are a wide variety of compositions of horn ensembles. A duet is made from two small horns - a deuce. Shepherds often also say about an ensemble of two horns - to play two horns. The most common ensemble is formed from two small ones and one bass one - a troika.
A quartet of horn players (three small horns and one bass) - a four - is also quite common. Less often, a five is formed - an ensemble similar to a four, but with the addition of a semi-bass, the scale of which is a fifth higher than that of the bass.
The composition of small ensembles, especially twos and threes, was constantly dictated by the working conditions, that is, the number of shepherds grazing the flock (a shepherd and a shepherd or a shepherd and two shepherds). Artels of shepherds of four or five people were less common.
The distribution of horn players according to ensemble voices took place by mutual agreement. At the same time, the abilities and skills of playing each horn player, the degree of stringing in this particular composition of the ensemble are taken into account.
The success of the ensemble playing of horn players to a large extent depends on the understanding of each performer of their ensemble functions. This is the secret of the structural harmony, completeness and integrity of artel tunes, which is the result of clear principles and a deep tradition of artel trumpeting.
The high level of understanding by horn players of the ensemble function of voices in artel trumpeting can be judged not only on the basis of the musical warehouse of many magnificent examples of polyphonic tunes, but also on the basis of a highly developed special terminology used to designate ensemble voices. So, the leading voice performing the melody is called even, the upper sub-voice is called a screech, the lower sub-voice is called thick, and finally the lower voice is bass. The fifth ensemble voice in the rare five also has a special name - from under the bass.
A unique form of ensemble of the Russian folklore tradition is the horn choir. Two varieties of such an ensemble are known: random and permanent composition. Since ancient times, shepherd's bazaars were held on the trading areas of many villages and cities of the Upper Volga region, where shepherds, like barge haulers in barge bazaars, contracted for seasonal work. During such bazaars, which were called the shepherds' spring chiselling, multi-piece ensembles and even entire horn orchestras of up to 120 people spontaneously arose for a short time.
From the end of the 70s of the XIX century. it becomes known about the existence of horn choirs of constant quantitative composition: 9-12 people. Such ensembles could be heard during festivities in Moscow on scooter booths. Of the permanent horn choirs, the choir of N.V. Kondratiev (1846-1921), a hereditary horn shepherd from the village of Myshnevo, Kovrovsky district, Vladimir province. Many have written about the art of this choir. According to Smirnov's observations, the proportion of treble and bass horns of the troika ensemble (two to one) is realized in the composition of the instruments of the horn choir: the choirs of Vladimir horn players consisted, as a rule, of 8 treble and 4 bass horns, non-Rekhta horn players - of 6 treble and 3 bass horns.
The tradition of permanent choirs was firmly maintained throughout the first half of the 20th century: the choirs of the Pakharev brothers, A. Sulimov, I. Mutin, and others. The emergence of such a tradition, of course, dates back not to the middle or even to the beginning of the 19th century, but much earlier. It can be assumed that numerous unnamed orchestras and choirs of horn players (from the serfs for the amusement of the nobles) existed throughout the 18th century.
Thus, the traditions of collective music-making in Russia have deep roots. Initially, the joint playing of musical instruments was used only for domestic purposes. Gradually developing and transforming into a craft, and then into the art of collective music-making. However, until now we have only a small part of the information on the history of ensemble music-making, especially in the early stages, which is due to the insufficiency of written sources. As practice shows, at the moment this form of music-making finds only partial application in the process of education in art schools, music schools, etc. in connection with the specifics of the educational process.

1.2 Formation of the orchestral domra-balalaika and
harmonica-bayan performance

Creation of the first chromatic harmonica orchestras
The initial attempts at a developed collective music-making arose soon after the creation on the initiative of N.I. Beloborodov’s designs of chromatic harmonica: by the end of the 1880s, from a group of workers from the Tula arms and cartridge factories, he organized the “Orchestra of the circle of lovers of playing the chromatic harmonicas”. For this, talented Tula masters L.A. Chulkov, V.I. Baranov and A.I. Potapov made orchestral instruments, different in size, tessitura and timbre characteristics - piccolo, prima, second, viola, cello, bass and double bass harmonicas. The scores written by Beloborodov consisted of 8 parts and were aimed at an orchestra of 8-10 people. But by the beginning of the 1890s, the number of orchestra members had increased to 16. The orchestra's concert programs, along with arrangements of folk songs and popular city dances, included the leader's own compositions.
The orchestra of chromatic harmonics, led in 1903-1920 by Vladimir Petrovich Hegstrem (1865-1920), a student of N.I. Beloborodov. The concert activity of the group is significantly activated - its performances are held in St. Petersburg, Voronezh, Kaluga, Penza, Sumy, Kursk. And in December 1907, the accordion orchestra gave concerts in the universally recognized temple of musical art - the Small Hall of the Moscow Conservatory.
Already at the end of the last - the beginning of this century, other chromatic harmonica orchestras began to appear. So, along with the orchestra of V.P. Hegstrem in the early years of the 20th century in Tula, a similar team led by I.R. Trofimov. Petersburg in the orchestra led by V.S. Varshavsky, chromatic instruments were added to the diatonic ones, similar changes were made in the orchestra conducted by S.L. Kolomensky.
But still, neither the orchestras of N.I. Beloborodov and V.P. Hegstrem, nor other similar groups in the pre-revolutionary years, did not receive wide popularity throughout Russia. They remained amateur groups, and the leaders themselves did not make great efforts to widely promote this form of music-making in the country.
The emergence of the balalaika orchestra V.V. Andreeva
Already at the birth of the composition of the balalaika orchestra, it was not based on the principles of folklore ensemble performance with its practice of under-voice sounding, the absence of strictly defined tessitura distinctions between instruments. A completely different principle became fundamental - the division into instruments of different tessitura within the same family with unison duplication of parts, which crystallized in the long process of the formation of a symphony orchestra.
By now, the opinion has been firmly established that the Circle, which at first consisted of only eight people, was an ensemble. Such judgments come from the erroneous notion that an ensemble differs from an orchestra in the number of participants. In fact, the quantitative attribute is not at all decisive here. In folklore music-making, groups of more than a hundred people can meet - and, nevertheless, these will be ensembles. Thus, the well-known Russian folklorist B.F. Smirnov testifies to the spontaneous emergence on the trading areas of the Volga region, Vladimir and Ivanovo regions of ensembles of shepherds-horn-makers, "contracting" for seasonal work, the number of which reached 120 people. Meanwhile, several people can already form the "backbone" of the orchestra - but under certain conditions related to the observance of the principles that distinguish the orchestra from the ensemble. There are two such principles. First: duplication of at least one part is strictly in unison. And, secondly: the functional division of parties into instrumental groups. The instruments of any orchestral composition are always necessarily grouped according to the characteristics of their performance of certain orchestral functions. It can be a melody line, bass voice, backing vocals, chord accompaniment, pedal, etc. If, for example, the balalaika bass and double bass were added to the mentioned unison of the balalaikas of the party, for example, they were entrusted with the functions of bass and chord instead of the piano, then this second sign would arise.
In the Andreevsky instrumental composition, both principles were observed almost from the very beginning of the collective. Five performers played in unison the part of the balalaika prima, one performer each played the parts of the I balalaika piccolo, viola and bass. Somewhat later, two musicians began to perform the part of each of the tessitura varieties of the balalaika; Later, when the composition of balalaika players expanded to 16 people (by the mid-90s), the orchestra increased due to the number of instruments playing in unison with one or another part. And with the introduction in 1896 of contrasting timbre domra and gusli, the team has already officially received the status of an orchestra.
At the same time, in Andreev's Kruzhk, an organic combination of essentially academic orchestral performance with elements of folklore balalaika practice was observed: rattling as the fundamental way of playing, characteristic types of accentuation, dynamics, ornamental-melodic movement emphasized the ethnic originality of the sonorous timbre of the instrument. This synthesis, which became the most important factor in the “new element in music”, was a solid basis for the implementation of meaningful professional and academic tasks and, at the same time, for the wide distribution of balalaika orchestras among the masses.

Formation of a multi-timbre Russian folk orchestra
The emergence of Andreev over time, new talented colleagues greatly increased the creative potential of the team. However, there was no noticeable renewal of the orchestra's sound. The need to expand the timbre palette became more and more obvious. In order to replenish the repertoire of the Russian orchestra with samples of musical classics, to expand it with folk songs, with their well-developed undertones, there was an urgent need for a more embossed melodic basis.
The expansion of the composition of the Russian folk orchestra was carried out with the help of the reconstruction of the domra. In 1896 A.A. Martynova (sister of a member of the Andreev team S.A. Martynov) discovered a Vyatka balalaika with an oval body, modeled on which V.V. Andreev in collaboration with S.I. Nalimov recreated the ancient Russian instrument and introduced it into his team.
Ultimately, V.V. Andreev came to a completely justified opinion that the instrument found was a descendant of the old Russian domra. So in 1896 an event took place that was of cardinal, fundamental importance for the creation of the Russian folk orchestra. And although the shape and design of the domra were determined and recreated largely intuitively, since V.V. Andreev were only drawings of domra, captured on Russian folk prints and an image from the book of Adam Olearius, now found authentic images of ancient Russian domras of the 16th century fully confirm the deep insight of Andreev's intuition.
V.V. Andreev had every reason to conclude that if groups of folk instrumental musicians, in particular domrists, then balalaika players existed in the past, then groups like them not only can, but also need to be revived, to make them popular again. Of course, the revival, according to Andreev, should not be of the nature of a museum stylization and can be successfully carried out only if it is as close as possible to the features of musical thinking of the present time. It only remained to determine the specific composition of the orchestra's groups.
With the creation of a domra group due to the manufacture of S.I. Nalimov in 1896, the small domra and almost immediately after it the alto domra, as well as the reconstruction of the portable plucked harp, carried out on the initiative of N.I. Privalov, Andreev, finally, decided for himself the task of forming a multi-timbre instrumental composition of the orchestra; new colors arose, and most importantly, the relief melodic and polyphonic basis of the repertoire.
Somewhat later, in 1908, another prominent enthusiast of collective music-making on Russian folk plucked instruments Grigory Pavlovich Lyubimov (1882-1934) designed together with master S.F. Drilling a four-string domra of a fifth order with a similar tuning to a violin. The mentioned tessitura varieties of domra turned out to be more successful. Already in the quartet of four-stringed domras created soon under the direction of Lyubimov, the tenor domra occupied an important place. And in the large domra orchestra that appeared in the 1920s, headed by this musician, double bass domra turned out to be a full-fledged group (such orchestras were especially widespread in the Urals and Ukraine).
It should be noted that V.V. Andreev was not at all a fundamental opponent of the four-string domra, as is usually believed - he even advocated its use, but only with a fourth system, in small ensembles, for example, domra quartets. The musician rightly believed that this could significantly expand both the range of the ensemble and the technical capabilities of the instruments themselves.
With the establishment of the main groups of composition, the closest associate of Andreev N.P. Fomin already in 1896 managed to develop a type of score for a new artistic organism - a multi-timbre orchestra of Russian folk instruments.
Preparations for the first public performance on November 23, 1896 showed that the "Circle of Balalaika Lovers" needs to be renamed in accordance with its changed essence, because professional musicians, not amateurs, already participated in it. The instrumental composition itself, in addition to balalaikas, now included domra and harp. The orchestra was named Great Russian, according to the predominant distribution area of ​​the instruments included in it - the middle and northern strip of Russia (by the name of that time - Great Russia, in contrast, for example, from Little Russia, that is, Ukraine, or from Belarus, which were part of Russia) .
It is necessary to note the gradual transformation of the balalaika orchestra into a multi-timbre one: at first, the expansion of the composition was carried out by increasing the number of balalaikas duplicating one or another part in unison. With the renaming of the collective, the process of introducing more and more new instruments continued for a number of years. He was especially active in the first two years after the creation of the Great Russian Orchestra.
So, in 1897, a group of woodwinds appeared as an episodic group - a keychain, improved by valve mechanics - this made it possible to introduce the missing sounds of the chromatic scale into the diatonic prototype. Appears in the orchestra and flute. The domra group is also expanding significantly: after domra, prima and viola S.I. Nalimov made a bass (originally called "bass domra", in accordance with the name of one of the tessitura types of ancient Russian domra), domra piccolo ("domrishko"). In 1898, plucked stationary harps were introduced into the orchestra, replacing portable ones, as well as a percussion group: the Russian ancestor of modern timpani - nakras, as well as a tambourine introduced by Andreev on the advice of M.A. Balakirev. Thus, by the tenth anniversary of the orchestra in 1898, the backbone of the modern composition was formed: a group of balalaikas (prima, second, viola, bass and double bass), domra (piccolo, small, viola and bass), percussion instruments, plucked harp.
However, this composition was not recognized by Andreev and his associates as final, unshakable. The experiments continued. Some turned out to be successful and firmly entrenched in folk orchestral practice, for example, the introduction of stationary harps with a system of dampers (string silencers). They were controlled using a single-octave keyboard (at first a button system, later - piano-type keys.
Less promising was the idea of ​​introducing another type of Russian gusli into the orchestra - voiced ones, which had a much greater sonority and silvery timbre than those of the plucked gusli. This idea came to Andreev thanks to the initiative of the talented nugget musician Osip Ustinovich Smolensky (1872-1920), who organized a gusel trio from them at the end of the 19th century, and at the beginning of the 20th century, in collaboration with N.I. Privalov - a quartet of harp piccolo, prima, viola and bass. A few years later, O.U. Smolensky creates a more numerous gusel ensemble, to which zhaleyki were added and called the "People's Choir of Gdov Guslars".
Performing on the sonorous harp in the field of written tradition was extremely difficult. Therefore, the "People's Choir of the Gdov Guslars" O.U. Smolensky remained an ethnographic group based on auditory tradition, with a repertoire limited almost exclusively to arrangements of Russian folk songs. Attempts to introduce a musical system into this type of performance up to the 50s of the XX century were not successful - published in 1903 by N.I. Privalov "School of playing the harp" for the next seven decades was, in fact, the only one of its kind.
N.N., organized in 1908 in St. Petersburg, also remained unique. A vocal ensemble of six harpists, whose members were based on the musical tradition, as well as subsequent groups led by him, for example, the 35-person choir of guslars of the Leningrad factory "Red Triangle" created in the 1920s, where performance was based on playing according to the score and orchestral parts.
Even more unpromising was the idea of ​​introducing an old bow whistle into the orchestra of Russian folk instruments. Already at the beginning of the 20th century, it became clear that any improvement in any of its varieties leads to the creation of bowed instruments of a symphony orchestra. In its original form, with a sharp, unchanging sound of bourdon, the horn did not correspond to the aesthetics of the academic performance of the Andreevsky team. For the same reason, Andreev concluded that it was not advisable to constantly use folk wind instruments in the orchestra - pity, keychain, pipes (pipes) and others: their chromatization due to the introduction of valve mechanics inevitably led to the creation of "classical" wind instruments.

The Spread of Great Russian Orchestras and the Growth of Their Social Significance
The fact that by the beginning of the 20th century more than 200 thousand balalaikas and domras were being sold in Russia was of particular importance for their introduction into the musical culture of Russian society. Mass production of tools led to an ever-increasing reduction in the cost of their cost. A kind of “chain reaction” was born: in accordance with the needs of the population, the industry produced balalaikas and domras in ever-increasing quantities and thereby contributed to a decrease in their price, and therefore an increase in the number of amateur musicians, the formation of new groups created following the example of the Great Russian Orchestra .
If the orchestral harmonica playing still did not receive wide distribution throughout Russia, then in the sphere of balalaika-domra music-making, the situation was different. During the time that has passed from the first concert of the Balalaika Club in 1888 to the anniversary concerts dedicated to the tenth anniversary of the group in 1898, a completely new branch of performance has been formed - the art of orchestral playing on Russian plucked folk instruments. In contrast to the territorially limited existence of certain folklore ensembles (for example, horn choirs), folk-orchestral culture has become a phenomenon that is spread literally everywhere. It is important that at the same time it was also a phenomenon of amateur creativity, providing the broad masses with the opportunity to join genuine art.
V.V. Andreev persistently contributed to the development of amateur orchestras. One of the promising directions was the organization by him since 1891 of balalaika circles in the troops - the soldiers at the end of their service became propagandists of balalaika-domra performance. Already this huge work of Andreev in the troops of the St. Petersburg Military District, carried out free of charge for a number of years, characterizes him as an outstanding musician-educator.
But Andreev rightly saw the main directions of his educational activities in instilling in a person a love for folk instruments from childhood. Realizing the importance of this task, in the last years of his life the musician made vigorous efforts to organize an extensive network of orchestras of Russian folk instruments in various educational institutions. In 1913, on his initiative, the Ministry of Railways of Russia decided to establish Russian folk orchestras in all railway schools in the country. In 1915, he organized courses for teaching folk instruments to teachers of rural and parochial schools - after completing these courses, the network of folk orchestra groups was to expand significantly. The musician also puts forward a project to create a “Society for the Propagation of Playing Folk Instruments and Choral Singing”, the purpose of which was to familiarize rural teachers, students of gymnasiums, craft schools and other educational institutions with Russian folk instruments and choral art. The fact that such outstanding Russian musicians as F.I. Chaliapin, composers S.M. Lyapunov, N.F. Solovyov and others.
V.V. Andreev also planned the creation of Houses of Folk Music - a kind of methodological centers for cultural and educational work and folk art. In them, great importance was to be given to the organization of orchestras and ensembles of Russian folk instruments in the widest rural environment.
Thus, the new instrumental composition contributed greatly to the democratization of the national musical culture. The practice of amateur groups, as well as individual instrumentalists, showed that chromatized folk instruments, due to their accessibility to mastering and great artistic possibilities, became a powerful means of introducing musical culture to the masses. The very idea of ​​the orchestra as a type of timbre organization was an idea of ​​a special type. This circumstance is primarily due to the fact that the disparity in the technical complexity of the orchestral parts recorded in the musical notation system makes it possible to distribute amateurs according to the degree of mastery of the instrument (for example, from parts in a group focused on the function of elementary accompaniment to melodic parts). And this, perhaps, was and is today its most significant side, which allows solving the most urgent problems of musical and artistic education of numerous listeners and the performers themselves.

Conclusion on the first chapter
1. One of the most significant musical facts reflected in the Russian chronicles is that the instruments of the Russian folklore tradition were combined into various kinds of ensembles - both in the mansions of princes, and in military affairs, and in folk life. More than one description is known, concisely and at the same time figuratively depicting the formidable sound of martial music before a battle, an assault on a fortress, or under any other circumstances. There are only indirect indications about the use of ensembles in folk life in chronicles and other historical monuments. But they also find confirmation, in particular, in the fact that many of the folklore forms of ensemble music-making that have survived to this day have every reason to trace not only the times of the East Slavic community, but also to earlier eras.
Of particular interest in the aspect of the early forms of ensemble music-making, of course, are kuvikly. Stage-by-stage different epochs of ensemble playing are reflected literally at all levels of organization of the sound of this unique instrument. The ensemble relations here involve melodic-harmonic, melodic-rhythmic, and vocal-instrumental components of the sound.
2. The specific composition of the instrumental ensembles of the Eastern Slavs is unknown to us, only the principle of including instruments in the ensemble is known: instruments of all three types - stringed, wind and percussion - were combined into one whole. Mixed ensembles of random composition united groups of players from 2-3 or more people to several dozen, and possibly hundreds, if we mean military orchestras.
Homogeneous and mixed small ensembles are much more widely distributed in the living tradition than large ensembles. Almost any instrument (mentioned above) can make up an ensemble: homogeneous ensembles of kuvikl, horns, single zhaleykas, single pipes, violins, balalaikas are known. Ensembles of a balalaika with a violin, a violin with a guitar or with cymbals, a double flute with a violin, etc. were recorded. which have remained unexplored.
3. The initial attempts at a developed collective music-making arose soon after the creation on the initiative of N.I. Beloborodov’s designs of chromatic harmonica: by the end of the 1880s, from a group of workers from the Tula arms and cartridge factories, he organized the “Orchestra of the circle of lovers of playing the chromatic harmonicas”. For this, talented Tula masters L.A. Chulkov, V.I. Baranov and A.I. Potapov made orchestral instruments, different in size, tessitura and timbre characteristics - piccolo, prima, second, viola, cello, bass and double bass harmonicas. The scores written by Beloborodov consisted of 8 parts and were aimed at an orchestra of 8-10 people. But by the beginning of the 1890s, the number of orchestra members had increased to 16. The orchestra's concert programs, along with arrangements of folk songs and popular city dances, included the leader's own compositions.
The fact that by the beginning of the 20th century more than 200 thousand balalaikas and domras were being sold in Russia was of particular importance for their introduction into the musical culture of Russian society. Mass production of tools led to an ever-increasing reduction in the cost of their cost. A kind of “chain reaction” was born: in accordance with the needs of the population, the industry produced balalaikas and domras in ever-increasing quantities and thereby contributed to a decrease in their price, and therefore an increase in the number of amateur musicians, the formation of new groups created following the example of the Great Russian Orchestra .

2 The main components of the organization of the collective

2.1 Planning and organization of work
in the children's musical group

The real opportunities in a children's musical group (limited study time, voluntary training, a certain fluidity of the team, etc.) do not allow giving the participants an exhaustive musical and theoretical knowledge, broadly and versatilely acquainting them with all the diversity of the work of most composers. Yes, and this is not necessary: ​​general musical education does not provide for professional training. It is aimed primarily at teaching children to competently, expressively play a musical instrument, to give them basic knowledge about the art of music, to acquaint them, as far as possible, with the work of the most prominent domestic and foreign composers.
It is obvious that some knowledge essential in professional musical education is not obligatory for those studying in the art school in the studio. So, for example, there is no need to give participants knowledge about the polyphonic structure of the fugue, the methods of modifying its theme, although they need familiarity with elementary polyphonic music and information, and polyphony: mastering the basics of polyphony contributes to the development of musical ear, thinking and memory.
Students need such a volume of knowledge that would give them the opportunity, within the limits accessible to them, to diversify music, develop their creative abilities, improve their general musical culture, and engage in further self-education.
Based on the fact that musical education in the children's team is based on performed works of art, in the process of classes there is a need to learn, first of all, to play musical instruments. At the same time, attention is also paid to mastering musical notation, acquiring strong performing and ensemble skills, and developing the ability to work independently.
Music lessons cannot be conducted in isolation from the comprehension of such constituent elements of musical speech, such as mode, meter, rhythm, etc. Therefore, already at the very beginning of training, along with performing and together with the study of musical notation, it is important to introduce students to the concepts , explaining the laws of the structure of music: the specific organization of sounds (modal, metrorhythmic), the expressive meaning of the mode, metrorhythm, tempo, dynamic shades. This, of course, takes into account the availability of both the communicated knowledge and the performed repertoire for students of a certain age, their general and musical training. At the initial stage, they are given only the basic, essential, which characterizes the musical process.
In order for students to gain a deeper understanding of the art of music, their knowledge must be enriched with information about some musical genres, about the life and work of composers, about the era in which the performed works were created, about the features of musical styles.
It is possible to identify patterns in the structure of music only by knowing the structure of musical constructions (phrase, sentence, period, form as a whole), students need to communicate concepts from this area: understanding the structure, form of musical compositions will help not only to cover the work as a whole, but also to more clearly identify it artistic intention.
In modern aesthetic science and in musicology, great importance is attached, in particular, to such a problem of musical art as a reflection of reality with the help of musical images, the logic of their development, mutual influence. Knowledge of these issues is extremely important in musical and aesthetic education. Therefore, there is a need to acquaint students with the meaning of expressive means in creating a musical image. To this end, already at the initial stage of training, it is necessary to highlight in perception some means of musical expression, giving them on the basis of previously received impressions.
It is impossible to deepen the knowledge of musical form without communicating some concepts, for example, from the field of harmony. So, when studying cadence revolutions, students need basic knowledge about the patterns of building chords, their functional connection and dependence, about the formative meaning.
The progressive and gradual study of musical compositions is one of the most important aspects of the educational process. Such purposeful pedagogical activity is included in the structure of the content of education as one of its most important constituent elements.
Recently, the developing musical art has been characterized by a kind of “breaking” of musical traditions and, in particular, the search for new means of expression. The renewal of modern musical creativity has found expression in the expansion of the modal, rhythmic and intonational warehouse, in the use of unusual harmonic combinations, newly born everyday genres, some forms of jazz, light music. In the content of teaching children's ensembles and orchestras, these phenomena should be reflected to a certain extent.
The performing process, the reproduction of music is a reflection of the creatively implemented perception. Therefore, in the process of learning to play musical instruments, the methods of the head of the ensemble are specially directed, first of all, to the development of children's ability to perceive music, to nurture their musical and artistic taste. This is important because the perception of music underlies the musical and aesthetic perception, and without developing this ability, no other subsequent activity can be successfully carried out. It must be borne in mind that this ability can be formed only as a result of directed, consistent pedagogical guidance.
It is known that the artistry of performance depends on high-quality playing, which in turn enhances the impact of music, and, consequently, enhances its educational function. Therefore, for the successful implementation of musical education in a children's ensemble, one cannot limit oneself to a mediocre performance of a musical work. Learning to play should be aimed at achieving artistic, expressive performance: high-quality performance is one of the main pedagogical requirements. In the structure of the content of education, it should occupy a leading place, because only in this case, classes in the ensemble and performing activities will have a cognitive and educational meaning.
Expressive play presupposes (in addition to the perfect assimilation of special knowledge by the student) the presence of musical abilities (modal feeling, the ability to auditory representation, musical and rhythmic feeling, etc.). Between skills, on the one hand, and musical abilities, on the other, there is a deep relationship and interdependence. So, for example, the lack of necessary performing skills hinders the development of musical abilities. At the same time, underdeveloped musical abilities hinder the formation of interest in classes. Therefore, it is extremely important to develop them as a means of an active attitude to music, as an inciting motive for classes. Moreover, it is necessary to take into account the fact that musical abilities must be developed in aggregate, parallels and close interconnections, since they cannot exist independently of each other.
The determining factor in the formation of gaming skills and the leading party in the work of the team is collective, group and individual performance.
Of particular importance in the practice of collective music making
has sight reading. This is a complex form of mental activity, which includes such mental operations as analysis, synthesis, comparison. Obviously, the formation in children of a rational system of techniques that contribute to the acquisition of skills of free orientation in a musical text and its quick reading should be one of the indispensable elements of the content of education in a children's musical group.
Musical performance is impossible outside the formation of such personality traits as activity, creativity, initiative, independence, purposefulness. So, these qualities are absolutely necessary for a member of the team.
Such is the content of education in a children's musical group. Depending on a number of objective reasons, the state of the musical performing arts, the requirement of the time, the level of general and musical development of the participants, the degree of preparation of the team as a whole, it may change.
Work planning. One of the conditions for the successful organization of classes is the planning of musical and educational, educational and educational and creative work of the team. Planning "tomorrow's joy", according to A.S. Makarenko, is the most important function of a teacher, educator.
When working on a plan, it is important to take into account all the diversity of the forthcoming activities of the team, the goal, tasks of training and education, to think over the selection of means and methods that should be applied during this period of training. An insufficiently clear presentation of educational goals and objectives will reduce the effectiveness of pedagogical influences.
In the practice of collective music-making, several types of work plans are distinguished, each of which has its own purpose - perspective, current and calendar (calendar-thematic) plans.
Perspective (annual) plan is compiled according to the main activities of the ensemble (orchestra) and consists of the following sections:

• The main tasks of the team for the current year.
• Organization of activities.
• Educational and creative work.
• Educational and educational work.
• Concert performances.

The first section defines the main directions of the work of the team, the volume, content of this work, sets tasks for the planned period to improve the performance level, educate participants, taking into account the requirements of modern realities.
The second section lists the planned activities:

• recruitment and staffing of the team (carrying out propaganda work in secondary schools for this purpose, making announcements, preparing local radio broadcasts about the school and the team);
• acquisition, repair and production of instruments, consoles, acquisition of the necessary musical literature, music paper, pencils, organization of music libraries, etc.;
• preparation and holding of a meeting of members of the group, at which its asset (headman, accompanists, librarian) should be elected, the charter or regulation on the ensemble (orchestra) should be adopted, the work plan for the current year discussed, holding parent meetings.

The third section defines:

• measures to improve the performance skills of the team members, improve their technical skills, examples of the game;
• collective, group and individual lessons;
• study of musical notation, elementary music theory, solfeggio and musical literature;
• carrying out rehearsal work;
• the repertoire proposed for study, specific pieces that will be learned in half a year.

In the fourth section:

• the planned events are called, the main purpose of which is to develop the moral culture and aesthetic tastes of the participants. These activities include:
• participation in the cultural and educational work of the institution in which the ensemble operates;
• excursions;
• lectures and talks on issues of culture of behavior, ethics and aesthetics;
• attendance by the whole team of performances, concerts, rehearsals of other musical groups.

In the fifth section - "Concert performances" - the main proposed performances of the ensemble (orchestra) are indicated in chronological order:

• in consolidated concerts dedicated to significant dates;
• in concerts-views;
• in general education schools and preschool institutions;
• in creative reporting concerts.

The proposed structure for the long-term planning of the annual work of a children's musical group is exemplary. If necessary, the leader can give separate sections "Repertoire", "Meetings", "Rehearsal", etc. It should be borne in mind that the planned work should be specific and its volume should not be overestimated.
Drawing up a plan is impossible without the involvement of the asset of all participants. The plan discussed and accepted by the team becomes its program. Responsibility for the implementation of the plan lies entirely with the manager. He is obliged to think in detail how to implement it, to achieve the maximum educational, creative return from each event.
Of course, even a detailed plan cannot provide for the whole variety of issues that will have to be resolved during the year. Therefore, it is imperative that current plan.
Unlike long-term plans, the implementation of which is controlled by the school administration, current planning does not have such strict regulation. Preparing for lessons is a very personal matter. Each teacher proceeds from the real need for such planning, relying on his own experience and using the usual forms of independent creative work.
When planning the work of the children's team, one should proceed from the calculation of two (in the initial period three) classes per week for at least two hours each. Special hours are reserved for group and individual lessons.
It is advisable to make the current work plan for one week, that is, for two (three) classes. This plan provides for: program requirements of the classes; used repertoire; some of the most significant techniques and methods of training participants, the use of specific teaching aids.
The successful implementation of the current plan will help planning individual lessons. They can be of two types: general and detailed. Detailed lesson plans require a lot of time from the leader, but their value in educational work is enormous. They define the purpose of the lesson, the content and scheme of its construction; what knowledge should be acquired; methods and methodological techniques of working on educational and instructive and artistic material. The time and sequence of conducting the lesson is also indicated.
It is desirable to determine the content of the lesson for each hour, and if necessary, for smaller segments. Lesson planning options depend on the specific educational tasks facing the team at this stage of training. However, each lesson should be a link in a single system.
When planning the content of classes, the leader takes into account the main didactic provisions - systematic and consistent learning, the strength of assimilation and consolidation of acquired skills and knowledge. We must not forget about the repetition of the material covered, about the correspondence of its previously acquired knowledge. In each lesson, as much material is given as students can easily absorb in the allotted time. It is possible to proceed to the study of new tasks only after the leader is convinced that the students have firmly consolidated what they have learned.
An important factor in the successful conduct of music lessons is the definition of educational material, its selection and use in accordance with program requirements. It is selected taking into account the musical development, the technical preparedness of the participants for each specific period of study.
Drawing up work plans is a creative process, not a formal one. The skill and experience of the teacher are manifested in the ability to plan one's own work and the work of the team well. After all, he has to coordinate the settings and requirements of the programs with the real conditions of the educational process.
The plans drawn up for the year and for current classes concentrate the experience of the teacher's professional activity and therefore can bring him considerable benefit in his future work. It is advisable to keep such plans in personal archives along with other didactic materials.
The growth of the teacher's skill, and with it the learning outcomes, largely depends on the daily creative work that takes place outside the team. An important place in this work is occupied by planning, that is, the adaptation of the content of education to the conditions in which children are taught.
In addition to drawing up long-term and current plans, the head keeps a journal of class attendance, although this work can be entrusted to the asset of the team. The following columns are highlighted in the journal: date of classes, last name and first name, attendance, time of classes, signature of the head.
It is also the responsibility of the leader to draw up a schedule of classes for about a month (8 - 10 lessons) according to the following scheme: date of classes, time of classes, forms of organization and types of classes, content of classes. The schedule is approved by the management of the institution.
Accounting for classes, checking and evaluating knowledge. All work of an independent musical group is strictly taken into account. The document reflecting the educational and pedagogical activity is the "Knowledge Accounting Diary". Its components are: date, content of classes, number of hours, notes, signature of the head.
Accurate accounting of the work done makes it possible to identify the results of the team's activities, to establish the existing achievements and shortcomings, which contributes to the proper organization and further improvement of classes.
Taking into account existing gaps in knowledge allows the leader to determine the effectiveness of the teaching methods used, to conduct the necessary work with the team, organizing individual and group classes in order to eliminate certain shortcomings. It also makes it possible to focus students' attention on eliminating existing shortcomings in theoretical knowledge, practical skills, and to aim at further progress in mastering educational material.
An integral part of the educational process is to test the knowledge, skills and abilities of participants, the correct formulation of which to a decisive extent ensures the quality of learning outcomes, the effectiveness of classes. By checking, the leader reveals the knowledge that will be the basis for mastering new educational material. Knowledge testing allows the leader to observe the process of their formation in the entire team, to identify the individual characteristics of students, and the team members to see the result of their efforts. Only as a result of the test it is possible to identify and objectively assess the knowledge, skills and abilities of the participants, which is of great educational value.
It is important for the leader to keep in mind that the methodology for testing and evaluating knowledge in amateur musical performances has its own characteristics. Traditional forms of verification (practiced, for example, at school) are not acceptable here. Accounting for knowledge is carried out mainly by monitoring the achievements of the participants, the mistakes and mistakes made or in the process of practical and theoretical studies. This does not exclude specially arranged checks, however, such checks should be treated very carefully.
In conditions of independence, mainly oral and practical accounting is used. Practical accounting is given the main place, since the perfect mastery of the instrument, performing and ensemble skills is paramount.
Based on the tasks facing the team in a certain period of work, the manager applies various forms of verification. This can be, for example, individual performance by participants of solo ensemble parts, individual difficult-to-perform places, playing instructional material, etc. It is preferable to check in groups or check several students performing a common part: participants feel more relaxed when playing surrounded by their comrades. Group verification also allows the leader to save limited rehearsal time.
Along with checking the practical skills of students in the process of classes, knowledge of musical literacy is revealed, which is done with the help of a short survey, which can be both individual and frontal. An individual survey takes a lot of time, therefore, preference is given to a frontal survey, which makes it possible to reveal the general picture of the students' mastering of a particular educational material. And although such a test does not give a complete picture of the strength, completeness and depth of knowledge, long-term observation of students' answers will ultimately allow a fairly objective assessment of the amount of knowledge learned by each.
Accounting and testing of knowledge, as you know, ends with an assessment. Meanwhile, in the children's team, it is not necessary to give an assessment in points. It is necessary to take into account the features of mass music education, which does not aim to achieve a specific level of knowledge. The main task is the general musical development of the participants and, mainly, education. Evaluation is usually given in approvals, praises, amendments, corrections of errors. The efforts and successes of students must be celebrated. Evaluation is always associated with the student's self-esteem, which is not always taken into account by the teacher.
Knowledge must also be strictly taken into account in the process of explaining and consolidating the educational material.
Preliminary accounting is carried out during the organization of the team, as well as at the beginning of each academic year in order to establish the degree of musical training, the level of knowledge.
Current accounting is of great importance in improving the organization of the educational process. What is important here is not so much the assessment of the knowledge gained by students as a result of classes, but the identification of their strength, the determination of the level of cognitive and creative activity of each member of the team.
A special place in the work of the ensemble (orchestra) is occupied by the final accounting. Comparing the initial knowledge with the results of the work done, the leader can judge the effectiveness of classes, the musical growth of students, the level of preparedness of the team as a whole. Final accounting can be carried out at the end of the academic semester or year.
One of the types of accounting for the organization of educational work in the children's team is its public performances. This is not only a display of the results of the daily work of the team, but also a final check of all its activities. At reporting performances and shows, both positive and negative qualities of ensemble performance, the level of preparedness of the organizational side of the educational process are especially clearly manifested.

Thus, musical education and upbringing in a team can proceed successfully only if three closely interrelated aspects of the educational process are implemented: the formation of practical (technical, musical performance, ensemble) skills; mastering the knowledge of the fundamentals of music theory, its laws, artistic and expressive means, the most important stages in the development of musical art, its main directions and styles; development of susceptibility and responsiveness to music, education of purposefulness, self-control, performing will, activity, as well as other personality traits and properties of pedagogical activity that are important for performance. The assimilation of the knowledge listed above will allow the participants to master the whole complex of the content of general musical education, will give them the opportunity to engage in artistic and creative activities.
Compliance with the above is possible only if the planning and purposeful organization of the educational process in the children's musical group is carried out, which, in our opinion, is a necessary link to improve the effectiveness of the learning process. Without logical planning and organization of the activities of the group, it is almost impossible to carry out systematic work to improve the general musical level, the level of the general culture of the members of the musical group.

2.2 The impact of repertory policy on the educational
process in an ensemble (orchestra)

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

Thus, the problem of repertoire has always been fundamental in artistic creativity. Not only the artistic direction of art is connected with the repertoire, but also the style of performance itself. The repertoire as a set of works performed by a particular musical group forms the basis of all its activities, contributes to the development of the creative activity of the participants, is in continuous connection with various forms and stages of work, whether it is a rehearsal or a concert, the beginning or peak of the creative path of the group. The repertoire influences the entire educational process, on its basis musical and theoretical knowledge is accumulated, the skills of collective playing are developed, and the artistic and performing direction of the ensemble (orchestra) is formed.
In general, over time, each team develops a certain repertoire direction, accumulates repertoire baggage that corresponds to the composition of the students, the performing style, and creative tasks. Having reached certain peaks, having accumulated sufficient potential for a new growth of skill, the creative team is looking for the ground for its development in a more complex repertoire. In this sense, the repertoire must always be aimed at the future, it must always be overcome in a certain sense.

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

2.4 Pedagogical model of organizing a collective
playing music at the children's art school
The model is based on the program of the course "Ensemble of Russian Folk Instruments" for the children's art school.
Organizational and methodological section.
Target musical education in the ensemble of Russian folk instruments - to give participants knowledge, develop skills that contribute to art education, the formation of their creative motives, aesthetic views and ideals.
Based on the general goal of mass musical education, the leader is given the following educational tasks:

• develop the musical abilities of students, help to increase the level of knowledge and skills of the student;
• expand their general artistic horizons;
• arouse the desire to participate in artistic creativity, to be an active promoter of musical culture;
• improve the artistic and technical skills of students.

Requirements for the level of mastering the course content:
As a result of studying the course "Ensemble of Russian Folk Instruments", students should know:

• organization of the ensemble's activities;
• basics of instrumental accompaniment;
• principles of repertoire selection;
• basic rules of rehearsal;
• tactics of compiling a concert program.

Be able to:

• analyze the work under study;
• read from a sheet;
• to make instrumentation and arrangements for the ensemble;
• work on artistic repertoire;
• analyze the organizational and methodological conditions for conducting a concert performance.

Have an idea about:

• correct tuning of a musical instrument;
• basic skills of ensemble playing.

The program of the course "Ensemble of Russian Folk Instruments" is designed for 1 year and is introduced in the third year of study. The course of study involves practical and theoretical classes.
At the end of the year, the ensemble performs with a concert program.

COURSE CONTENTS
Topic 1. Introduction
Ensemble planning. Planning of musical-educational, educational and educational-creative work of the ensemble. Goals and objectives of training. The main tasks of the ensemble for the current year: directions of the ensemble's work, volume, content.
Organization of activities - planned activities: staffing the ensemble, choosing an asset, adopting a charter or regulation on the ensemble.
Educational and creative work: activities to improve the performing skills of the ensemble members; improving technical skills; collective, group and individual lessons; carrying out rehearsal work; educational and concert repertoire.
Educational and educational work: participation in concert performances; excursions; lectures and talks on issues of culture of behavior, ethics and aesthetics; attendance by the ensemble of performances, concerts, rehearsals of other musical groups; work of the ensemble asset with the team.
Concert Performances: Proposed ensemble performances.
Literature:7 , 16 , 22 , 39 , 78 .

Topic 2. The initial stage of training in the ensemble
Russian folk instruments
The content of the classes. Musical training and education in the ensemble group. Formation of practical (technical, musical performance, ensemble) skills. Collective (ensemble), group and individual performance.
Checking musical abilities (modal feeling, ability to auditory representation, musical and rhythmic feeling, etc.).
Distribution of students by instrument.
Accounting for classes, checking and evaluating knowledge. Material support of the ensemble. Rules for the storage of musical instruments.
Literature:16 , 22 , 39 , 49 .

Topic 3. Teaching artistic and technical skills
Boarding students. Ability to properly set up tools.
The study of works of simple 2nd and 3rd partial form at a slow or moderate pace.
The study of works that are the accompaniment of simple songs, romances. The study of works with individual elements of polyphonic texture.
Practicing the technique of transferring a melodic pattern in an ensemble from one voice to another. Practicing the technique of joint execution of the main strokes, syncopation and fermat.
Literature:7 , 34 , 39 , 56 , 73 .

Topic 4. Teaching artistic and technical skills
(continuation)
The development of ensemble thinking: the principles of elementary analysis of the work under study (melody, harmony, undertones, metro rhythm, etc.); development of constant auditory control over the purity of intonation of one's part; acquisition of initial ensemble playing skills.
A combination of classes in individual voices, groups and the entire composition of the ensemble.
Practicing the nuances of "forte" and "piano" on the instructive and technical material. Skills for performing a piece at a slow and moderate pace.
Literature:6 , 34 , 39 , 58 , 73 .

Topic 5. Musical and artistic repertoire -
the basis of the educational process
repertoire problem. The high artistic and spirituality of a musical work is a fundamental principle in choosing a repertoire. Russian folk music is the art of small genres. Folk song. The coupletness and variation of forms. intonations and chants. Classic. Original works for ensembles of Russian folk instruments.
Principles of selection of repertoire. Artistic and aesthetic value of works. Accessibility for perception, for execution. Educational and concert repertoire.
Literature:13 , 14 , 15 , 22 , 38 , 49 .

Topic 6. Rehearsal work
Rehearsal is the main link in all educational, organizational, educational and educational work.
Rehearsal plan. Setting up tools. Conducting a rehearsal: playing scales and exercises, sight reading, working on the repertoire.
Ensemble rehearsal rules. ensemble discipline. Accurate execution of all instructions in the notes. Building cleanliness. Clarity, monotony of sound attack, simultaneous cessation of sound.
Literature:7 , 16 , 39 , 43 , 49 , 59 , 73 .

Topic 7. Work on the artistic repertoire
Work on artistic repertoire. Disclosure of the content of the play, the nature of its main themes. The form of the work. Expected difficulties, ways to overcome them. The purpose of learning the play. Listening to a recorded piece. Introductory play of the piece by the whole ensemble. Work on the work in parts.
Concert works of a large form. Work on nuances, phrasing, tempo, agogics. Pieces of small form (march, song, dance).
Literature:14 , 15 , 22 , 38 , 49 .

Topic 8. Improving previously learned and mastering
new principles for the study of parties, characteristic of
ensemble of folk instruments
Work on voices, groups and with the composition of the entire ensemble. Work on the development of ensemble thinking: the connection of ensemble functions, the performance of texture elements by specific ensemble groups, understanding the role of an ensemble part and creating an auditory idea of ​​the real sound of musical material.
Selection of a repertoire with a more developed melodic basis, with a more complex rhythmic structure, in variable meters, with faster tempo notation than in previously studied works.
Improving the skills of ensemble playing, working out the technique of transferring harmonic figuration, studying and practicing new strokes, phrasing of individual groups and the ensemble as a whole, the nuances of "fortissimo" and "pianissimo"; inclusion of pieces with polyphonic texture; development of sheet music reading skills.
Literature:7 , 34 , 39 , 56 , 73 .

Topic 9. Features of instrumental accompaniment
Accompaniment. The specifics of working with a vocalist, a choir.
Introductions, skills of playing in vehicles of various tonalities. Knowledge of the analysis of form, style, dynamics, agogics of a work as a basis for developing an understanding of accompanist tasks.
The nature of the accompaniment during role-plays, introductions, etc.
Development of inner ear through transposition and sight reading of various works.
The development of auditory activity, melodic and harmonic feeling, the development of texture-harmonic techniques.
The secondary role of the ensemble in the accompaniment of the instrumentalist and the singer.
Literature:59 , 78 .

Topic 10. Basic principles of instrumentation and arrangement
Basic rules of arrangement and instrumentation.
Features of the instrumentation of vocal and instrumental works for the ensemble of Russian folk instruments.
Melody, harmony, pedal, bass, texture. Distribution of functions by ensemble groups. Specific features of ensemble groups.
Features of arrangements for various types of ensembles.
Processing and transcription.
Literature:39 , 49 , 59 .

Topic 11. Improvement and development among participants
artistic and performing qualities
Continuing classes in groups in order to establish greater uniformity in the strokes, fingering and method of sound production on the same type of instruments, in order to intensify multifaceted work to achieve a variety of ensemble playing skills. Working out transitional nuances: from "piano" and "forte", from "pianissimo" to "fortissimo", from "forte" to "piano" and from "fortissimo" to "pianissimo". Gradual and abrupt changes.
Inclusion in the repertoire of an ensemble of works that require a deeper knowledge of the theoretical foundations of music. Further development of ensemble thinking, the search for artistic and expressive actions of the ensemble members.
Literature:7 , 34 , 39 , 56 , 73 .

Topic 12. Preparation and holding of concert performances
A concert performance is a qualitative indicator of all organizational, educational, creative and educational work. Organizational principles of the concert performance of the ensemble.
Analysis of the organizational and methodological conditions for the concert.
Emotional and psychological state of the ensemble members. Outrageous excitement. Identification of the most vulnerable places in the play.
The tactics of compiling a concert program. Accounting for the purpose and place of the performance - a concert, a gala evening, a holiday; the level of musical preparedness - the age of the listeners, occupation, musical experience.
Literature: 16, 34, 38, 39, 56, 59, 78.

List of exemplary control questions and tasks
for independent work

• List the basic rules for storing tools.
• What are the rules for tuning instruments (balalaika, domra).
• Analyze the work being studied (form, melody, intonation, tonality, etc.).
• What are the main principles of selection of repertoire.
• What is the rehearsal plan?
• List the rules of collective music making.
• List the rules for working on the artistic repertoire.
• What are the basics of instrumental accompaniment.
• Describe the specifics of working with a vocalist, a choir.
• List the rules for reading sheet music.
• What is the role of the ensemble in the accompaniment of the instrumentalist and the singer?
• Name the main functions of the ensemble.
• What are the specific features of ensemble groups?
• Name the basic rules of arrangement and instrumentation.
• Name the organizational principles of the concert performance.
• Name the rules for compiling a concert program.

Approximate repertoire of the ensemble of Russians
folk instruments

• And I'm in the meadow. Russ. nar. song. arr. A. Kornetova. (2)
• Andreev V. Butterfly. Waltz. (13)
• Brahms I. Waltz. (3)
• Budashkin N. Beyond the distant outskirts. Sl. G. Akulova. (7)
• Bulakhov P. My bells. Sl. A. K. Tolstoy. (6)
• There was a birch in the field. R. N. P. arr. Y. Naimushina. (1)
• Gavrilin I. Fox and beaver. Tool V. Smirnova. (2)
• Handel G.F. Fughetta. (12)
• Glinka M. Do not chirp, nightingale. Ukr. nar. song. (4)
• Rainy. Ukrainian folk dance. (13)
• Jordan M. Jest. (3)
• Like a meadow. Russ. nar. song. arr. A. Zvereva. (10)
• Kamarinskaya. Russian folk song. arr. V. Chunin. (1)
• Londonov P. Chastushka. (8)
• Nesterov A. Vyatka toy. Tool A. Hirsha. (9)
• Ostrovsky A. Tired toys sleep. Sl. Z. Petrova. (1)
• Will I go, will I go out. R. N. P. arr. P. Grachev. (4)
• Polyanka. Ural dance. arr. V. Konova. (10)
• Rowanberry. Russian folk song. arr. A. Novikova, instr. G. Andryushenkova. (4)
• Smirnov V. The bear is dancing. (1)
• Solovyov Y. Marsh. (13)
• Tamarin I. Multloto. (10)
• You sing in the garden, nightingale. Russ. nar. song. arr. V. Konova. (eleven)
• Flis B. Lullaby. Tool D. Golubeva. (3)
• Tchaikovsky P. Two pieces from the "Children's Album" - Morning reflection. Old French song/instrumentation by A. Hirsch.(10)
• Chastushka. Russian folk tune. (13)
• Shainsky V. Please don't complain. Sl. M. Lvovsky. For children's choir and orchestra. Tool V. Gleikhman. (10)
• Shalov A. Cheerful drummer. Tool V. Konova. (9)
• Shirokov A. Lyrical round dance. (6)
• Shirokov A. Little welcome overture. (10)
• Shostakovich D. Waltz-joke. Tool G. Andryushenkova. (4)
• Schumann R. Santa Claus. Tool V. Smirnova. (1)

Repertory collections

• The children's ensemble of Russian folk instruments plays. Issue 1 - score / Comp. V. Smirnov. - M.: Music, 1983 - 112 p.
• The children's ensemble of Russian folk instruments plays. Issue. 2 - score / Comp. V. Smirnov. - M.: Music, 1984 - 80 p.
• Club Ensemble of Russian Folk Instruments. Issue. 3 - score. / M.: Music, 1980 - 98 p.
• Light Pieces for Children's Ensemble of Russian Folk Instruments - score. / Comp. A. Komarov. - L .: Music, 1978 - 159 p.
• Beginning orchestra of Russian folk instruments. Issue 3 - score. / Comp. G. Navtikov. - M.: Music, 1976 - 112 p.
• Beginning orchestra of Russian folk instruments. Issue. 4 - score. / Comp. I. Oblikin. - M.: Music, 1977 - 63 p.
• Beginning Ensemble of Russian Folk Instruments. Issue. 10 - score. / Compiled by V. Viktorov. - M.: Music, 1980 - 88 p.
• Pieces for beginner ensembles of Russian folk instruments. Issue. 10. - score. - M.: Music, 1979. - 64 p.

9.-11. Repertoire of the school ensemble of Russian folk instruments. /Comp. A. Hirsh. - Issue. 1. L., 1988; Issue. 2. 1989; Issue. 3. 1990.
12. Reader for school ensemble. Works by foreign composers. Issue. 1 - score / Comp. S. Stamer. - M.: Music, 1991. - 157 p.
13. Chunin V. Modern Russian folk orchestra. - M.: Music, 1981. - 96 p.

Methodical work with an ensemble of Russian folk instruments is a complex and multifaceted process. It is associated with the implementation of an extensive program of organizational, pedagogical, managerial, artistic and performing measures. Each of the directions in practice has its own internal logic, its own laws and principles. Without their knowledge, critical analysis, it is impossible to effectively organize not only artistic and creative, educational, educational rehearsal activities, but also ensure the pedagogical process as a whole.
Work in an ensemble of Russian folk instruments must meet a number of pedagogical requirements, on which the usefulness of teaching and educating students depends. The main ones are:

• The subordination of the content of education, all types of musical and educational work, pedagogical means and methods of a single goal - the active musical and aesthetic education of the ensemble members, their artistic development. This requires appropriate training of the ensemble leader, who must clearly understand the goals and objectives of mass musical education, have the necessary general pedagogical and specialized knowledge, be familiar with the content of educational material, various methods, forms and means of teaching.
• The interdependence of upbringing and educational tasks, the establishment of complete unity, the inseparable connection of musical education and upbringing in the process of learning to play musical instruments. This is facilitated by the skillful and expedient disclosure of the content of the educational material, specially directed pedagogical activity, which provide educational training in the process of music lessons.
• Compliance with the logic of constructing the educational process, which implies an integral system in the construction of the course and the content of musical education, which determines the order of the parts of the subject, the consistent passage of theoretical and musical material, which ensures the formation of a coherent system of knowledge.
• Strong support of the methodology of music lessons on a system of didactic principles, their consistent implementation in the real educational process. The basis for the creative application of general didactic principles is the leader's ability to organically combine them with specific methods and techniques of musical education.
• Strict consideration of the psychological patterns of music lessons, which implies, in particular, knowledge of the gender and age characteristics of children, their level of musical training and degree of development, as well as the functioning of the ensemble group as a whole. The condition of the educational process and other factors require differentiation and individualization of education. Particular importance is attached to the activation of attention and interest.
• Ensuring a well-established and well-established organizational side of the educational work of the ensemble, the use of organizational issues for educational purposes.

Work on a piece of music
Let's name some methodological provisions that are necessary for working with an ensemble on any work:

• The repertoire should include only artistically valuable works.
• Before you start working on a work, tell us about its content, the history of its creation, and the author.
• Clearly formulate the artistic and technical tasks put forward and insistently demand their implementation.
• Combine practical tasks with conversations.
• Consistently distribute the rehearsed repertoire. The first hour of the rehearsal is to work on more complex pieces that require special attention and effort. Gradually, with the appearance of fatigue, attention decreases, so the second half of the rehearsal is less productive.
• If necessary, make editorial changes to the presentation of the ensemble parts.
• Find your methods of communicating with performers.

During a rehearsal, the performance of the ensemble should not be stopped due to random errors of individual performers. Try to attract the attention of the performer with a gesture or a word and correct the mistake without stopping the ensemble playing. Frequent stops unnecessarily tire and irritate the performers and lead to the loss of creative interest in the piece being rehearsed.
Persistently strive for the fulfillment of the assigned artistic tasks. Encourage all manifestations of creative initiative aimed at improving the sound of the work.
Thus, the proposed theoretical provisions are based on practice, the experience of the best professional and amateur teams, reviews of specialists and outstanding masters of culture and arts. The chosen path is, in our opinion, optimal, proceeds from the current level of development of issues of educational work in ensemble groups.
Only an organic constant combination in the work of the head of the new, proposed by theory, based on practice and testing theoretical conclusions and assumptions on it, is the most effective way to dynamically improve the methodology of working with an ensemble of Russian folk instruments.

Conclusion on the second chapter
1. The repertoire as a set of works performed by one or another orchestral group forms the basis of all its activities, contributes to the development of the creative activity of the participants, is in continuous connection with various forms and stages of the orchestra's work, be it a rehearsal or a concert, the beginning or peak of the creative path of the group . The repertoire influences the entire educational process; musical and theoretical knowledge is accumulated on its basis, skills of collective playing are developed, and the artistic and performing direction of the orchestra is formed. The orchestra's repertoire primarily includes Russian folk music. Folk song, which is the source of classical musical culture, is an indispensable tool for developing the basic musical abilities of students. Without it, directed musical education is impossible. Such qualities of a folk song as the clarity of the rhythmic pattern, the repetition of small-sized motives, the couplet and variation of forms make it an extremely valuable material in the musical education of students of various ages.
2. The performed repertoire should develop performing skills and skills of collective playing, which are closely interconnected. And since it is impossible to acquire different skills on the same type of material, the educational (performing) program includes works of diverse character. Thus, the principle of versatility operates. This is also very important for the musical and aesthetic education of the group, since works of art that are different in genre, content, and style features make it possible for students to have a versatile musical development.
3. In the upbringing of the children's team, the personality of the leader plays a huge role, and, above all, as a teacher and educator. The desire to give oneself to children, the belief that without a passion for creativity one cannot become a truly harmonious developed person - a teacher should have these feelings.
Today, there is an acute shortage of morality in the children's and youth environment. In this extreme situation, moral self-improvement, the teacher's high demands on himself is the main way to strengthen self-esteem. Sooner or later, the teacher's moral integrity, certainty, and perseverance will prevail in the minds of children and give him an unconditional pedagogical advantage, the right to make moral demands on his pupils.
Another important condition for the personality of a teacher is the spirituality of the educator, his deep civic conviction, the ability to openly discuss the most pressing problems with children, convince them, and courageously admit their mistakes and mistakes. The authority of morality and spiritual and value culture of the teacher must be supplemented by the authority of intellectual development, independence of judgment and education. An effective organization of the pedagogical process is impossible without the authority of human attraction, without benevolence and mutual sympathy. Moral and aesthetic mutual attraction is the most favorable and effective atmosphere of pedagogical interaction. The effect of human attraction arises in the teacher not only due to his erudition and intellectual development. It is formed as a result of the talent of human interest, the teacher's love for another person.

Conclusion

Collective music making is one of the most effective forms of education and training of children involved in playing various musical instruments.
A competent construction of the educational process allows us to solve a number of problems - this is, first of all, the education of various musical qualities, as well as the formation of personal qualities. Due to the large baggage of folk traditions accumulated by Russian folk tools, the range of such tasks is expanding to the level of a strategic one, which allows not only to form the qualities of a person based on circumstances, but to do this taking into account the traditions and ideas of the Russian ethnic group.
Meanwhile, as already noted, the solution of the tasks set is impossible without analyzing the factors of successful formation and development of the traditions of collective music-making on Russian folk instruments in the past, since today we can state a very low level of popularity of folk instruments. As the analysis carried out in the first chapter shows, among the necessary conditions for the popularity of Russian folk tools were such features as: the relative cheapness of tools, their initially active use in various spheres of life (hunting, military operations, various forms of leisure), as well as the constant development and improvement of both the instruments themselves and the forms of music-making in conjunction with the evolution of musical forms and principles. There are only indirect indications about the use of ensembles in folk life in chronicles and other historical monuments. But they also find confirmation, in particular, in the fact that many of the folklore forms of ensemble music-making that have survived to this day have every reason to trace not only the times of the East Slavic community, but also to earlier eras.
The specific composition of the instrumental ensembles of the Eastern Slavs is unknown to us, only the principle of including instruments in the ensemble is known: instruments of all three types - stringed, wind and percussion - were combined into one whole. Mixed ensembles of random composition united groups of players from 2-3 or more people to several dozen, and possibly hundreds, if we mean military orchestras. However, small homogeneous and mixed ensembles are much more widespread in the living tradition than large ensembles. In a number of places, some homogeneous ensembles developed into a stable tradition, for example, the Smolensk duet of violinists, the Kursk ensemble of kuvikl, small ensembles of Vladimir horns, etc., many of which remained unexplored.
The first attempts to restore the developed collective music-making arose soon after the creation on the initiative of N.I. Beloborodov’s designs of the chromatic harmonica: by the end of the 1880s, he organized the “Orchestra of the circle of lovers of playing the chromatic harmonicas”. For this, orchestral instruments were made, different in size, tessitura and timbre characteristics - piccolo, prima, second, viola, cello, bass and double bass harmonicas. Further attempts to develop collective performance on Russian folk instruments are associated with the activities of V.V. Andreev and his associates, colleagues in the Great Russian Orchestra.
Today, we can generally talk about the current appearance of Russian folk instruments, for the most part, they have actually become academic instruments with all their inherent features: the invariance of the design, the established performing schools, which, however, does not make their pedagogical potential less.
One of the necessary requirements for a successful educational process is the conduct of a competent repertoire policy, which allows to acquaint the student with the culture of the Russian people, to form his personal qualities. The repertoire of the orchestra, first of all, should include Russian folk music. Folk song, which is the source of classical musical culture, is an indispensable tool for developing the basic musical abilities of students. Such qualities of a folk song as the clarity of the rhythmic pattern, the repetition of small-sized motives, the couplet and variation of forms make it an extremely valuable material in the musical education of students of various ages.
A necessary requirement is the preservation of the child's interest in the art of music, playing folk instruments (which is practically impossible today without the use of syncretic forms of acquaintance with the material). This is confirmed by a significant interest in general in folk art from the standpoint of leisure creativity. It is this circumstance that the educational process of the children's art school should meet.
In this regard, a very important problem arises. The educational process should be led by a teacher who has great authority among the members of the orchestra, who is able to listen, solve problems of various levels, who has a high level of spiritual and professional qualities, and, most importantly, who has the talent of pedagogical attraction, due to interest in the personality of the child. Today, there is an acute shortage of morality in the children's and youth environment. In this situation, sooner or later, the teacher's moral integrity, certainty, and perseverance must prevail in the minds of children and give him an unconditional pedagogical advantage, the right to make moral demands on his pupils. No less important is the spirituality of the educator, his ability to openly discuss the most pressing problems with children, to admit his mistakes and mistakes. The authority of morality and spiritual and value culture of the teacher must be supplemented by the authority of intellectual development, independence of judgment and education.
It is the observance of all the above conditions for building the educational process that makes it possible to most effectively solve the problems of promoting collective music-making, in particular, in children's art schools, which today are actually at a dead end due to the lack of a clearly and deeply thought-out development strategy and teaching methods that meet the real conditions and requirements of today's day.
On the basis of the materials of the work, we have developed a pedagogical model for the organization of collective music-making in a children's art school. This model was based on the program of the course "Ensemble of Russian Folk Instruments". The purpose of this course is the development of artistic taste, the formation of creative motives, aesthetic views and ideals of children. The effectiveness of the course was confirmed in practice: the course "Ensemble of Russian Folk Instruments" was tested in the children's art school in Engels.

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