Open lesson on the subject "Piano" on the topic: "Working on the artistic image of a musical work." Open lesson “The role of strokes in revealing the artistic image of a musical work
Subject: “Musical performance. Work on revealing the artistic image in works.”
2012
Musical performance. Work on revealing the artistic image in works.
(methodological report for teachers of children's music schools and children's art schools)
"What is it to play
piece of music?
play music - know
that she is not life,
but not to show it?
Developing a student’s artistic image when playing musical works is one of the most important tasks for a music teacher. By returning again and again to the works we have studied, we make our feelings sound new, find new images and emotional peaks. Due to a good knowledge of the text, you can completely surrender to the power of musical-imaginative thinking, the expression of your imagination, temperament, character, in other words - your entire personal integrity.
The artistic image has access not to the structure of the musical text, but to the personal sphere of the performer, when the person himself becomes, as it were, a continuation of the musical work.
When it comes to high motives for turning to music, the emotional and aesthetic activity of the performer is evident. This is musical-imaginative thinking. Here musical content appears as emotions, feelings and mood. S.E. Feinberg said: “It is wrong to reduce the content of a musical work only to emotions, because in musical thinking there are also logical elements." Both are true. When working on the artistic image of works, we should talk about emotional logic. The teacher’s task is to be able to direct the student’s thoughts in the right direction of reasoning and help them understand the content of the work. A teacher almost always knows how to determine the level of emotional responsiveness of his student. If it is not sufficient to embody an artistic image, then it is necessary to look for ways to awaken it in him.
It happens that a student is emotional, but he does not understand, does not feel this particular music. How difficult it is sometimes in music to reflect calmness in all its depth, how difficult it is to convey joy. Most often, “pressure” is successful and its reverse side is lethargy and indifference. It often happens that the student has a complete absence of any semblance of mood. The teacher “sticks” the entire “mood” with careful work, and during public speaking they quickly “fly away” revealing the essence of the student. How to help a student overcome low emotionality? When explaining to the student what needs to be done, you must immediately show how it is done and again and again return to the action, a certain movement.
It often happens that by showing the movement and, of course, playing it yourself, you can “wake up” the student. The teacher requires maximum endurance and patience in order to achieve meaningful action from the student. After all, a student should not turn into a “puppet.” His every movement should be filled with feeling, as well as the awareness that he himself wants it.
The student’s imaginative thinking is a new formation of his consciousness, which presupposes a fundamentally new attitude towards music game. The musical image of a performer - an artist - is that generalized “picture” of his imagination, which “guides” direct performance through its universal components.
About the musical performance image we can say that its intensity, brightness, depth and clarity are different in different “sections” of the piece played by the musician.
A musical image is a generalized and concentrated whole. It is not equal in length to the piece of music. The most striking musical associations arise fragmentarily, in some sections of the work.
Both in composition and in performance, the decisive link is intuition. Of course, technique and reason are extremely important. The more subtle emotional experiences a performer must reveal, the more responsive and developed his technical apparatus should be. But the fingers will be silent if the soul is silent. Reason is necessary to thoroughly identify every facet of the work. However, ultimately main role belongs to intuition, the determining condition in creativity - musical feeling, musical flair.
When working on the artistic image of a musical work, the main task of the teacher is to develop a number of student abilities that contribute to his “passion” when playing. These include - creative imagination and creative attention. Nurturing creative imagination is aimed at developing its clarity, flexibility, and initiative. The ability to clearly and vividly imagine an artistic image is characteristic not only of performers, but also of writers, composers, and artists.
An artist or actor receives material for his creative work from everyday life, but for a musician everyday life does not usually provide ready-made musical material for the imagination. He needs to constantly acquire special experience, he must be able to hear and make selections. Therefore, a sufficiently high level of auditory culture is a necessary condition for nurturing the creative imagination of a musician.
The following methods are used to form hearing:
Selecting melodies by ear (selection must be done from the first days of training. It is necessary to find out whether the children hear the path of the melody. You can show the student the direction of the melody by moving the hand and invite the student to do the same);
Reading a musical part (the teacher performs the piece, and the student follows the notes);
Performing a memorized piece without looking at the fingerboard or keyboard (this method helps to activate the inner hearing and sense of touch, which are the centers of creativity);
View a passage and play it without looking at the notes. (in the process of such work, internal hearing and memory develop);
Analysis with fingers without playing (this analysis helps to listen to details that may not be noticed when working with the instrument).
Watching a student play, we often hear such shortcomings as not listening to long sounds, inability to highlight main voice and soften others, not being able to choose the right tempo, make phrasing, or lead an emotionally correct dynamic line. This is especially often observed when playing the cantilena.
The most valuable quality of any instrument is its sonority, its “voice”. Therefore, intuition, technique and reason are very important. The more subtle emotional experiences a performer must reveal, the more responsive and developed his gaming apparatus should be. The process of listening to music is very important. It must be specified by certain tasks - listen to the rhythmic pattern, melodic moves, melismas, changes in strokes, sound production techniques, silence, stops, pauses. And even pauses need to be listened to, this is also music, and listening to music does not stop for a minute!
The student must train attention. It is very useful to play with your eyes closed. This helps focus your hearing. The analysis of the quality of the game will be more acute. All existing “errors” will be heard better, because with such training, auditory perception is sharpened.
You can entice a student to play a melody and fan his flame of responsiveness through comparisons and comparisons. Music can suggest visual impressions to the imagination. You can also use verbal textual texts, both for small children's plays and for expanded large forms. It is necessary to cultivate in the student a love of creativity. V.A. Sukhomlinsky wrote: “By squeezing ready-made truths into children’s heads, the teacher does not give the child the opportunity to even get closer to the source of thought and the living word, he ties the wings of dreams, fantasy, creativity...”
All methods of comparisons and comparisons are very important when working on the artistic image in a work, but it is also necessary to refer to the performer’s playing apparatus. By changing the position of the brush on the strings, it is possible to give a different color to each part of the work. The ability to timbre-variate the sound of voices contributes to the creation of a musical perspective. One of important stages The game is the work of the fingers - their sensuality, support, pressure, articulation. Work on gaming machine, this is one of the important and most difficult tasks of the performer.
When analyzing a piece of music, the main thing is to immerse the child’s consciousness in the atmosphere and era in which the piece of music was written, analyze its structure in detail, draw a tonal plan, and determine the climax. Determine with what means of expressiveness and technical techniques the show will be shown. main topic, development. To play well, you need to study the work “from the inside.” Significant place When working on a work, analysis takes place. It is necessary to understand everything, because to understand is to take the first step towards falling in love. The perception of music is inseparable from form. The ardent emotional responsiveness to music is not only not in conflict, but, on the contrary, receives ground thanks to smart logical analysis. Far-fetchedness extinguishes the creative flame, thoughtfulness excites emotional creative forces. There cannot be any special scheme in the analysis. Each work has unique features that give it individuality and charm. Finding them and presenting them is the teacher’s task. The student’s competent use of methods and techniques is the key to a professional and emotional game. The teacher’s task is to help reveal the work, direct it in the “right direction,” but at the same time give him the opportunity to imagine the content of the work himself, to find out his thoughts and desires. The teacher must always strive to awaken feelings and desire for musical performance students, thereby enriching their spiritual world, developing emotionality and responsiveness.
Piano lesson
Subject:
Objective of the lesson: Reveal the artistic image through means musical expressiveness.
Lesson objective:
1. Educational:
- teach sound production techniques that contribute to the disclosure of a musical work.
2.Developing:
- development of musical and artistic thinking, creative activity, emotional and volitional spheres of the individual, creating motivation to acquire knowledge and skills to achieve goals.
Develop musical imagination and performance.
3. Educational:
Cultivating a sustainable interest in activities, a love of art in all forms, the formation of artistic and aesthetic taste.
Lesson methods:
Explanation
Questions for the student and answers to them
Student playing an instrument
Lesson type:
- consolidation of acquired skills
Equipment:
Piano
Sheet music
Lesson Plan
Stages of work:
1. ORGANIZATIONAL MOMENT
Presentation and psychological moment of setting up the student, checking the correct position at the instrument.
2. KNOWLEDGE TEST
Listening to the work and dialogue with the student.
3. COMMUNICATION OF NEW KNOWLEDGE
Dialogue with the student: analysis of the form, analysis of the tonal plan, analysis of the intervallic composition of the melody, vocalization of instrumental music, timbre coloring of the melody, work on the cantilena, work on the accompaniment, work on the pedal, finding a musical image and the corresponding sound production in the play. Listening to a recorded work.
Illustration of a teacher using an instrument.
Tempo: determining the tempo that corresponds to the technical capabilities of the student and the nature of the piece.
4. SECURING
Generalization of acquired knowledge, fragmentary performance of a work using new knowledge.
5. HOMEWORK
Consolidating the acquired skills and abilities; visualizing each task in your mind before completing it. Implementation of all planned tasks in preparation for the lesson.
6. SUMMARY
Summarizing the lesson and grading.
Lesson progress:
Today my student and I are in 4th grade. piano department Abdikarim Madina general lesson on the topic:"Artistic image in a musical work"
For example, we took M. Partskhaladze’s play “In the Old Style”
I would like to start today’s lesson with the words of Neuhaus: “Music is the art of sound,” and since this is the art of sound, then our main task is to work on it. Music itself, as we know, does not speak in words and concepts, but in musical sounds.
And therefore, working on sound is inseparable from working on an artistic image. And it is with the help of musical sounds that the student must reveal the poetic content of the work.
Our work on the artistic image will consist of several stages:
1.analysis of the form
2.analysis of the tonal plan
3.analysis of the interval composition of the melody
4.vocalization of instrumental melody
5.timbral color of the melody
6.work on the cantelena, technological performance techniques
7.work on support
8.work on the pedal
9.conclusion the generalizing stage, when the performance as a whole is already being improved.
And here the artistry and emotionality of the student play an important role.
Now Madina and I are just at final stage and the purpose of our lesson is to repeat and consolidate all stages. And a house. the task was also dedicated to this very purpose, i.e. repetition and consolidation of the material covered.
It is all these stages that we want to briefly show in our lesson today.
Madinochka, please play the entire piece now, but before you start performing it, please remind us what the name of your work is and who the composer is? What do you know about him?
Yes, Merab Alekseevich Partskhaladze is a Soviet and Georgian composer, graduated from the Moscow Conservatory. Known as a composer of children's songs and piano pieces.
Please…
We will briefly go through all our stages.
Stage 1 - this is form analysis. Tell me, what is the form of the work?
Student: One-part form with code
Okay, how many offers are there?
Student: Two
Tell me, what are they? Same, different, similar?
In the second sentence, a new motive appears that was not in the first sentence, but in general the basis of the melody is the same.
This motive in the second sentence, what does it give us anyway?
Leads to the main point, to the climax.
By the way, what is a climax?
Student: This is the main place in the work.
Those. This motive does not appear by chance. What is he like first? He duplicates the theme (teacher's game)
Gradually this motive becomes active, decisive and brings us to the climax.
That is, this analysis of the form gives us a meaningful performance, and this is 1 step towards a meaningful performance, and therefore towards artistic expressiveness. Image.
Stage 2 - This is an analysis of the tonal plan. What is the tonality in our work?
Student: A minor.
Right. According to Neuhaus, you and I analyzed each tonality and its coloring. By the way, who is Neuhaus? I’m already mentioning him a second time.
Genrikh Stanislavovich Neuhaus is, first of all, a personality. The personality is deep and multifacetedly gifted. Pianist, music center organizer"Neuhaus" , writer - he is a unique phenomenon of modern culture.
Now, please tell me, A minor is what key?
Student: tender, fragile.
This is exactly what gives us the impetus to understand how to start performing the piece.
If A minor is fragile, tender, then it should sound like this
(teacher demonstration)
Yes, 2 signs - this is a flat key, it gives a darker color, therefore the performance should be more intense (show), then we go to D minor, and even further to C minor, an even darker, passionate key. What does this give us? This gives us drama. Thus, this is already our 2nd step towards expressive performance.
Stage 3- analysis of the intervallic structure of a melody
Our entire melody is divided into motives. How is our first motive constructed?
(teacher's game)
Yes, progressive movement.
So okay, second motive? About the same, only at the end there is a jump, a wide interval of a sixth, it also needs to be heard.
The third motive is with a seventh.
What is the character of the seventh interval?
Yes, menacing, tense, and since he’s tense, we should intone him, right?
Mentally hearing, and this is also a step towards expressive performance, is another part of which our image is formed.
Yes, seconds, what intonation is this?
Questioning, crying, complaints, i.e. here you need to hear, ask the sound, and what will happen next?
Stage 4- vocalization of the melody
Why is this needed and what is it?
That is, the student tries to sing the melody with notes. What does this give us?
This gives us hearing each sound and anticipating the next one. The student tries to lead the melody by vocalizing the melody.
Now let's try with conducting. Conducting gives us rhythmic organization.
What size do we have here? Yes, 4 quarters, and I'll play along with you.
Tune yourself to A minor, I give you the setting.
So let's stop, you draw the note "C" and then take your breath before the "D", do you think this is correct?
No, why is it wrong? Because the melodic line is broken, that is, these two sounds must be connected. (show)
(student sings to climax)
Try to draw sounds, sing.
Okay, well done! But only all 16 need to be sung.
Now try to play separately only with the right hand, don’t rush 16, more melodious. (teacher showing, then student)
The brush takes my breath away, well done!
Those. Once again turning to this stage of work, which is very important, this is singing the melody according to the notes.
Thus it appears main principle in working on a cantilena it is fluidity. And when the student mentally sings the melody, the playing becomes not mechanical, but more expressive.
Stage 5- This is the timbre color of the melody.
Those. Before this, you and I colored the keys in different colors. Now think about it and tell us which instrument you would assign to sing our melody.
Violin, and also? In the old style, what is it? Dance, song? Aria.
What is an aria? That's right, that's vocal piece, and even with orchestral accompaniment. Okay, who sings the aria?
Yes, woman, why did you decide that? Because the voice is high.
Thus, you and I will now try to imagine the warmth of the voice, expressiveness.
Please play 1 sentence.
(teacher demonstration, then student)
Well done, this is already better!
(teacher demonstration)
But in the second sentence, the final motives can be entrusted to the singer or violins, which will lead us to the climax.
Stage 6- working on the cantilena.
And now we must remember the basic techniques that are used when working on a cantilena.
Method 1 is that the sound is taken without an accent (demonstration), otherwise the phrase is immediately lost out of thin air, and then we carry on and be sure to breathe.
In this work, our motives begin with pauses, and it is precisely these pauses that give the hand the opportunity to breathe.
Let's try with the right hand (the student is playing) - the fingers are definitely important in the cantilena, you play relaxed. The hand breathes, not frozen, it lives. Plasticity of the hand, movement as wide as possible, then the melody becomes not frozen, but more expressive.
Enough, okay!
Here are the basic principles, and here there is also a rule - the law of the long note (showing) to - long sound, the next one cannot be deleted, it flows from there, listen with your ears, try it yourself (student)
Enough, here are the basic principles for working on a cantilena.
Stage 7- work on support. Please play the lion separately. hand with the pedal. Let's stop, tell me, how do you interpret left hand, what is it?
Yours is too smooth and static. Make her a little nervous, because it's hard to sing with such accompaniment.
(student plays)
Connect more, and all the time feel the pulsation, the beating of the heart, with movement forward, remember the coloring, help the melody.
These eighths are already tense with fingers, and this bridge is B, and then our dominant.
Okay, now you play the melody, and I’ll play along with the melody for you. (play together).
Remove the wrist movement.
Enough, well done!
That is, in support, the main thing is to transfer the weight of the hand to 5.3 fingers, and remove 1 so that it does not come to the fore, because it is large and strong.
Let's move on to the next stage of work
Stage 8 - working on the pedal.
Please start playing, and here the pedal should be a little dry, because, firstly, the piece is in the old style, it can be interpreted as a performance on the harpsichord, right? (the student is playing)
Therefore, here we will not get carried away with a deep romantic pedal, but with a delayed one, on second moves, we went in twos, as often as possible, because a second in itself is a rather dirty interval, and if you still use the pedal, there will be a hum. In general, the pedal depends largely on the ear, so the ear should always be active.
Okay, that's enough, your pedal was pretty good now
Stage 9 - Most last stage, execution as a whole, taking into account all these stages that we just went through.
The goal of the teacher is to set the student up, to push him to more expressive performance some specific program.
Let's say that we have a dreamy, subtle beginning, then it is appropriate to recall the paintings of nature artists, for example, early spring. Yes, exactly when the greenery awakens, and we paint not with bright thick colors, but with pale, warm tones.
At the beginning of our work there is a subtle sound, delicate, fragile, and later the colors become more saturated.
Those. Such associations give the student a clearer idea of what sound to use to perform a given piece.
(the teacher gives 2 drawings of nature and asks them to arrange them in the same color sequence as our work is constructed).
Next sentence 2 should not sound monotonous. It will be more excited and naturally the dynamics here will be more intense. And then these motives will sound on the piano in contrast. It is necessary to build a climax and a general movement is required.
Therefore, now you tune in, remember everything that we talked about, draw a picture for yourself and perform your piece with feeling and expressiveness.
Thank you, smart girl!
That’s basically everything we wanted to talk about and show in our lesson today. Work through all the stages that help the student achieve more emotional performance and disclosure artistic content works.
Homework will also be to once again consolidate all these stages and think again about the image, maybe the student imagines the picture differently, and not as the teacher advises. Perhaps something different.
At the end of our lesson today, I would like to thank you, dear colleagues, for taking the time to attend our lesson. Thank you!
Thank you very much, Madinochka, for your active work in class.
2nd grade studentReshetnikova Alina
Prepared and taught the lesson
piano teacher
MBOUDOD "DMSH No. 49"
P. Trudarmeisky,
Prokopyevsky municipal district
Volkova Galina Fedorovna
Subject: “Work on the artistic image of a musical work”
Target : “To develop various skills for figurative performance of musical works”
Tasks: Obutea : teach the ability to play various pieces of music musically, emotionally, with auditory control.Showpractical application of methods for working on musical works and their fragments.
Developmental: introduce to interesting facts from the biography of composers whose works the student performs.
Educating: instill an interest in classical music and the studied muses. works.
Lesson type : Integrated
Methods: Verbal (explanation, reasoning).
Control methods.
Practical.
Display method.
Lesson steps:
1.Organizational
2.Practical
3.Final
Student characteristics: Alina is a student with good musical abilities: good hearing, rhythm, memory. She is efficient at home and in the classroom. The performing apparatus is somewhat constrained, the hands are clamped. The sound is more often played on the piano. We have difficulty achieving active and juicysound. It is necessary to work on the emancipation of the performing apparatus and the depth of sound. He responds to all the teacher’s comments both in class and at home.
Plesson plan:
I. C major scale in divergent arpeggio movement, chords in 4 octaves
2. Work on Etude No. 17 by Czerny.
3. Diabelli. Sonatina.
Albinoni Adagio
homework.
At the beginning of the lesson we play the C major scale. Once again we play the scale with separate hands, with separate hands, refining the fingering. Next work in progress over chords and arpeggios with individual hands. We remember that we play arpeggios “as if drawing loops” with each hand. When working on chords, we strive to smoothly remove the hand and move it to the next chord from above (remember the “Rainbow” exercise).
2. After working on the scale, we begin to play by heart Etude No. 17 by Czerny (ed. Germer).
Before learning this etude, a conversation was held about how “in knowledge of the laws of singing, Czerny saw a necessary prerequisite for achieving meaningful plastic phrasing on the piano, expressive pronunciation of musical thought, cantabile sound, and a soft, melodious legato.”
While playing, we pay attention to the strong and weak beats, then there will be precise, flexible phrasing and precise dynamic shades, plus comfortable, free performance. It should be noted that it is important to correctly control the movement of the hands in all pauses, i.e. the hand can only play once during the pause, and when lowering it should already play.
Showing and working with the student on a fragment. If we approach this sketch from the point of view of a work of art, then I think that a comparison with a sea wave (ascending and descending passages) is quite acceptable here. Harmonic hearing develops well when working on chords. Here you need to analyze the tonal plan of the chord, listen to the harmonic basis, and then play the melody with harmonic accompaniment.
3. Analysis of Sonatina 1 hour.G- durDiabelli
The student shows a home analysis of the work. After this, we once again recall biographical facts from the life of Antonio Diabelli (1781 - 1858). He was born in Austria. As a child, he sang in the choir of the Salzburg Cathedral chapel. He taught guitar and piano. His sonatinas are very beautiful and inspired in sound.
Sonatina(sonata without development) -varietysonata form , Vwhich there is no development, and which is used in typicalForsonata form conditions (for example, in the first movementscycle) In the absence of the most important section for the sonata form - development, the sonatina nevertheless retains its belonging to this form. It has a traditional sonata theme (active mainpartyand melodious side) and active motivic work, at leastonexposure level.
When learning, it is useful to solfage the melody with your voice, then play the melody, determining the movement of the melody towards the upper sound at the crescendo and its falling movement at the diminuendo, i.e. beginning and end of a phrase
The technical difficulty for the student is the delicate performance of “Albertian basses” in the left hand. Let's look at what Alberti basses are:
Albertian basses(AndTal.Basso albertino ) - presentation of the pariah of the left hand in
fortepiathis play, named afterItalian composer DomenicoAlbertand who created this technique. Albertian basses are a form of ritmicicallyevenly spacedchords. Alberti used this technique in his works, but it was used even before him, when it did not bear his name. Albertian basses are often found in Io's worksHannah Pachelbspruce. Joseph Haydn, Amadeus Mozart, Ludwig van Beethoven
3. Albinoni “Adagio”g- moll.
First, learning the piece was carried out next job to study the biography of the composer and the history of the creation of the work.ALBINONI Tomaso(1 671-1750) - Italian composer, violinist, representative Venetian school. In his symphonies and concertos for5 some instruments are anticipatedstylisticfeatures of a classical symphony. Author from above50 oper.
Tomaso studied violin and vocals as a child, and this became a goodbasisfor his musical activities.He had an amazing melodic gift, whichusednot only when composing operas, but also for instrumental works, of which he created a great many. The lyrical warmth of the instrumental melodies. The charmingly beautiful slow movements of his concerts are the result of Albinoni's vast experience in the operatic genre. Albinoni was one of the first Italian composers, whichprintedin music publishing houses in London, Paris, Amsterdam.Currently, a lot is written about the healing, calming effect of the music of the masters of the Baroque era. The most suitable examples of this are Albinoni and Bach. The history of the creation of the work is very interesting. History claims that the score was found during the Second World War in the ruins of the Saxon State Library in the city of Dresden.
In 1958, the famous Adagio was published, thanks to the efforts of Tomaz Albinoni's first biographer, Remo Giazotto, who claimed to have reconstructed a tiny piece found in 1945. From that moment on, the triumphal march of the Play in world musical culture began. Created
many transcriptions and arrangements that are performed both solo in concerts. as well as background music.
RusWithWe sang the text of the verses while playing the melody, which better helps us understand the phrasing and movement of the melody:
ADAGIO ALBINONI “SONG OF AWAKENING”
The morning of the Earth will come to us,
The sun will burst through the windows
Herald of early Spring,
Guest of a magical country!
We will keep it Light
As the Earth awakens from sleep, Dawn
Also in the lesson we will analyze the type of polyphony inherent in this work - the subvocal type, in which among the voices one voice (the upper one) leads the main melody, and the rest help it, either merging or echoing it, forming subvocals. In another episode there is contrasting polyphony, where the “answer” voice appears in the bass line. This performance can be compared to singing 4 voices in a choir.
Drawingartistic image, pay attention to reproductions of paintingsartistsera Renaissance - Leonardo da Vinci "La Gioconda", Raphael "C"IxtinianMadonna."
According to the author, the work should sound very restrained, calm, the upper voice should sound melodious, the bass of the left handreminiscent of the sound of an organslow andheavy steps that sounded solid and did not drown out the main melody. Shouldreversepay attention to the roll call of voices vertically.
We play the piece following all the instructions, achieving results.
Homework: Work on all the pieces as you did in class, pay close attention to the sound, dynamic shades., strokes and fingering.
The artistic image of musical works is a widely known and generally accepted concept. There is no single and universal definition of the artistic image of music, there are different interpretations. From the position practical work in class special piano I formulate a conditional definition of an artistic musical image.
For ease of perception of the proposed material, we will highlight three components of the musical image:
1) the composer’s intention in the notes
2) the personality of the student interpreting this text. It is necessary to take into account his musical abilities, age, professional skills, etc.
3) the personality of the teacher organizing the student’s work. His experience, skill, pedagogical technique, etc. are important.
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Municipal budgetary institution
Additional education
Korolev urban district, Moscow region
"Children's choir school"Podlipki" named after. B.A. Tolochkova"
METHODOLOGICAL DEVELOPMENT on the topic:
“Working on the artistic image of a piece of music during piano lessons”
Vikolskaya O.V.
teacher of
special class
piano
Korolev, 2015-2016
1. Construction of an artistic image in a musical work, taking into account the composer’s intention and the personal qualities of the teacher and student 3
2. Types of classes for the most effective work on musical image 6
3. Conclusion 10
4. List of references 11
1. Construction of an artistic image in a musical work, taking into account the composer’s intention and the personal qualities of the teacher and student
The artistic image of musical works is a widely known and generally accepted concept. There is no single and universal definition of the artistic image of music; there are different interpretations. From the perspective of practical work in a special piano class, I formulate a conditional definition of an artistic musical image.
For ease of perception of the proposed material, we will highlight three components of the musical image:
1) the composer’s intention in the notes
2) the personality of the student interpreting this text. It is necessary to take into account his musical abilities, age, professional skills, etc.
3) the personality of the teacher organizing the student’s work. His experience, skill, pedagogical technique, etc. are important.
Addressing this issue is necessary from the moment the child enters a music school. So, during the entrance exams, you can ask him to sing “Lullaby”, explain the purpose of the song, and outline its character. You can perform a dance melody and offer to talk about what it can represent, graphically draw individual moments of its performance, or artistically depict an imaginary scene.
Next, we need to define the emotional characteristics of the perception of major (light, joyful, optimistic) and minor (muted, sad, sad), which further contributes to a more accurate perception of the nature of the musical work. The child can display his associations associated with this piece of music, in drawings. From simple shapes We move on to more complex ones: songs - plays - scales and etudes, polyphony, large form. It is necessary to develop the child’s creative initiative, imagination and emotionality in order to fully work on the work.
The composer's intention is to accurately and correctly convey the artistic meaning of the work, which is only possible with a competent and careful reading of the musical text, with a qualified analysis of all its components. The student should show maximum independence in this work. It is important to teach your child how to correctly parse a musical text, paying attention to its the smallest details, propose and explain the basic principles of work, teach how to summarize and analyze what has been learned. The most unfavorable factor in the development of a student’s creative individuality is coaching. But excessive freedom in working on an essay, when much remains undone and unfinished, should not be allowed.
The student’s personality - with certain generally accepted musical and motor data (hearing, rhythm, memory, coordination, “apparatus”) requires education, first of all, attention, i.e. observation, concentration. It is also necessary to cultivate emotionality (the ability to listen to oneself) and cultivate intelligence.
Particular attention should be paid to the development of the student’s individuality. After the first reading of the text, detailed work on the work immediately begins. In this case, it is necessary to perform sequential auditory tasks; for this, the student must first concentrate the student’s attention on one thing and then gradually multiply the elements of the musical fabric listened to simultaneously.
The personality of a teacher must combine high ethical, moral qualities and high professionalism. And if human qualities are formed long before the moment of teaching (from childhood), then professionalism and belonging to a particular school dictates a different approach to the organization of classroom work. It is worth noting the importance of mastering pedagogical techniques when working with a student on an artistic image. There are many ways, techniques and forms of influence on the student (showing, explaining, gesture, facial expressions, emotional tone, comparison, etc.). You need to be able to use them as effectively as possible in each individual case. Setting precise and interesting performance tasks is possible only with detailed knowledge and hearing of the work being studied in class by the teacher himself. It is necessary to professionally know each work taught to students. The teacher’s integrity and authority help the student to better monitor his playing, effectively test himself, and correlate his performance with the teacher’s performance.
2. Types of classes for the most effective work on musical image
1. Monothematic lessons. They are concentrated around a single artistic and semantic core and are dedicated to solving a single problem. Let's give examples.
a) Analysis of musical text. By giving examples, the teacher teaches the method of analysis, comprehension of the author's instructions, coverage of musical complexes (melodic structures, chords, etc.), and the ability to notice all the details of the musical text. This applies to both one and several lessons.
b) The importance of melody as the basis for creating an artistic image. Here the melodic essence of various works is revealed, the semantic relationship of the main and accompanying lines is determined. This lesson focuses on the technique of performing moving passages, as well as decorations
c) Freedom and ease in handling the instrument is a mandatory element of performing technique when creating an artistic image. We draw the student's attention to the varied use of hand weight, the tactile sensation of the fingertips when diving into the keyboard, the search for a loose fit and working muscle tone.
e) There may also be different types of pedal, harmonic, polyphonic, textual, fingering lessons.
2. Polythematic lessons combine various, often contrasting tasks. They are aimed at a more voluminous range of cognizable material. This often helps to increase the student’s interest. This form of lesson organization is often used as highlighting the “core” in each of several works studied by the student. They seem to be grouped around a central task important details, the number of which should be limited.
3. Lessons in free form are conducted with students at a higher level high level development, capable of assimilating complex instructions from a teacher, able to work initiatively and independently. You can work on a particularly difficult piece in detail and for a long time until a noticeable result appears. If a student is already on the path to achieving a goal, he is given the opportunity to strive for improvement right there in the lesson. At the same time, the teacher only occasionally gives guiding instructions. This form of work under the unobtrusive supervision of a teacher is extremely effective, as it allows you to check and guide the student’s independent work.
During any of the above types of classes, it is necessary to switch the student more often from the actual work to the performance. In the lesson plan, it is necessary to distinguish between learning and execution. This will help develop the young pianist’s pop self-esteem. One more point: while working, it is necessary to give the student some relaxation, for example, play him a piece, talk about his latest musical impressions, play four hands with him. As a result, the child’s attention is refreshed and he is again ready for persistent work that requires the mobilization of all his strength.
Among the endless variety of lessons there must be lessons of admiration. We need to teach our pupils to admire what is, of course, worthy of it. However, the teacher cannot blindly adapt to each student; the teacher’s aesthetic principles are definite and purposeful.
Working on a musical image at Children's Music School has its own distinctive features depending on the age of the child. In classes with younger schoolchildren (6-9 years old), it is imperative to incorporate game elements into the work: competitions, “fiction”. The initiative of the children themselves is especially valued. The student’s relaxed behavior in the classroom will help the teacher find the key to his soul, find play titles, plots, images, and associations that touch his imagination. You can help with a bright word, an intelligible demonstration, an expressive gesture.
The teacher's observation will help him to promptly notice signs of the child's fatigue and promptly give the student some relaxation or finish the lesson. Children need frequent encouragement and appreciation for their work. At the same time, the wording of homework should be clear and precise. It is necessary to feel in what mood the student leaves the lesson, because this can determine the quality of his independent work.
Much of the above remains valid when applied to classes with older schoolchildren and adolescents (10-14 years old). But for a teacher who has been raising a student for a number of years, it is especially important to notice the changes taking place in him and promptly “move” to a more serious, “adult” tone of classes, which teenagers love very much.
Should be given less often ready-made solutions and more often confront them with problems that require thinking through, comparisons, and conclusions. It is natural to demand from students not only a competent analysis of the text, but also an explanation of the artistic image of the composition presented to them, as well as an independently prepared sketch of the performance, on the basis of which further joint work will take place. The teacher can recommend that they read this or that book, listen to records, CDs, look into musical dictionary or a music encyclopedia.
In this way, the teenager awakens interest in new phenomena in the life of art. The teacher unobtrusively helps him to protect himself from fruitless wanderings and introduces him to the circle of modern searches for artistic images in performing arts.
Features of working with high school students include the changed form of lesson organization. In this case, some restrictions disappear. A teenager must be able to work intensively for a long time on a difficult essay. Homework may require independent and lengthy effort from him. One good lesson can give a very noticeable “impetus” to work, and this in turn helps to warm up the young pianist’s performing and artistic intuition. In terms of the topic we are considering special attention The emotional world of a teenager requires a teacher. The turning point age is sometimes characterized by isolation, shyness, and increased vulnerability. These experiences need to be handled tactfully. Ultimately, working on a musical composition consists of many components, and the child’s state of mind is a very important factor that can influence this process.
Conclusion
The main task in working on the figurative structure of musical works is to create conditions for the student’s artistic performance of the works he has learned, to give the child the opportunity to feel like a musician-artist.
Ideally, inspiration should appear whenever a child turns to music. Pedagogical success will be the success of the student on the stage.
Thus, work on the artistic image of a musical work should be multifaceted. The student and teacher are full of enthusiasm and love for their work, this, in turn, is complemented by the individuality of the student and the enormous charm of the teacher’s personality (culture). This union gives birth to a great variety of forms and methods of working on artistic images of musical works.
List of used literature
1) Kogan G. The work of a pianist. – M.: Classics-XXI, 2004.
Martinsen K. Methodology for individual piano teaching. – M.:
2)Classics-XXI, 2002.
3) Neuhaus G. On the art of piano playing. – M.: Muzyka, 1982.
4) Perelman N. In the piano class. – L.: Music, 1970.
5) Perelman N. Teach to think at the piano. – L.: Music, 1983.
6) Savshinsky S. Pianist and his work. – M.: Classics-XXI, 1986.
7) Timakin E. Education of a pianist. – M.: Soviet Composer, 1989.
Artistic image is a form of reflection of reality by creating aesthetic impactful objects. In other words, this is a subjective recreation of the world surrounding the artist: paintings of nature, portrait sketches, events, etc. This is the unity of thoughts and feelings, rational and emotional. Emotionality is the historically early and aesthetically most important fundamental principle of the artistic image.
In modern musicology, both the musical theme (by analogy with the first characteristic of the hero in a drama) and the theme, together with it and all metamorphoses (by analogy with the entire fate of the hero in a drama) and the unity of several themes - the work as a whole, are considered as an image. If we proceed from the epistemological understanding of the image, then it is obvious that both the entire work and any significant part of it, regardless of its size, can be called a musical image. The image is where there is content. The boundaries of a musical image can only be established if what is meant is not a reflection of reality in general, but of a specific phenomenon, be it an object, a person, a situation or a separate mental state. Then, as an independent image, we will perceive a musical “structure”, united by some mood, one character. Where there is no content, no image, there is no art.
In music pedagogy, the problem of interpreting the artistic image is very relevant. A number of tasks arise to solve this problem. This is the nurturing of creativity in children, the development of the intellect and horizons of students. The goal of the teacher in this direction is to cultivate the ability to perceive a musical image in its specific sound embodiment, trace its development, and listen to corresponding changes in the means of expression. There are ways to promote the perception of music.
1. Method of listening. This method underlies the entire musical and auditory culture and is prerequisite development of simple auditory skills, perception of musical images and formation musical ear. Children gradually master voluntary auditory attention, selectively directing it to certain musical phenomena in connection with new situations and tasks.
2. Differentiation method musical phenomena by comparing their specific and similar relationships. The basis of music as a temporary art is the principle of contrast and identity. Children are capable of comparing the simplest individual properties of sound (louder - quieter, higher - lower, etc.), contrasting musical images, and various musical structures.
3. Methods of orienting music as an ideological and emotional phenomenon.
Music should always excite, delight the child, evoke reciprocal experiences, and give rise to thoughts. Gradually, comparisons of musical works arise, the most favorite ones appear, a selective attitude is created, the first evaluations appear - the first manifestations of musical taste arise. This enriches the child’s personality and serves as a means of his comprehensive development.
4. Ways of a creative attitude towards musical phenomena.
Thanks to mastering these methods, children develop creative imagination in the process of perceiving musical images, and the rudiments of the simplest forms of musical creativity appear.
The development of aesthetic perception of music requires a certain system and consistency. In relation to children of primary school age, it is possible to evoke different emotions in children by selecting works. In addition, they are instilled with skills that lay the first foundations of listening culture: the ability to listen to the end of a work, monitor its location, remember and recognize it, distinguish its main idea and character, the most striking means of musical expressiveness. It is also important that the young musician receives as many vivid artistic impressions as possible. We need to listen good works in the best possible performance.
Great value knowledge of style plays a role in a student’s understanding of the artistic image of a work. The term “musical style” defines a system of means of musical expressiveness, which serves to embody a certain ideological and figurative content. The commonality of stylistic features in musical works is based on the socio-historical conditions of the worldview and feelings of the composers, their creative method, on the general patterns of the musical-historical process.
Of great importance is how emotionally the artistic image is perceived and conveyed. Preparing the “mental apparatus” for performing arts ultimately means cultivating the ability to “ignite”, “want”, “get carried away” and “desire”, in other words - an emotional response to art and a passionate need to excite and convey performing ideas to others. The ability to “get carried away - to want” is educated. If a flame of responsiveness to music smolders in a student’s soul, this flame can be fanned. Pedagogical impact can enhance the emotional response to music, enrich the palette of his feelings, and raise the temperature of his “creative heating”. This emotional complex can be “lulled out” by developing and nurturing a number of abilities. First of all, they include creative imagination. It is very important to understand that a child who has the ability to fantasize and think outside the box will be much more interesting for listeners and will convey music in a more varied way. Imagination is activated precisely in preschool and junior school age. This period is sensitive for the formation of fantasy. Children will engage in creativity with enthusiasm if the teacher constantly pays attention to the development of the students’ imagination function, because psychological basis creative activity is precisely imagination. The development of imagination proceeds along the line of greater and greater correlation created images with practice. During adolescence, creative imagination often appears in the adult form of inspiration. Teenagers enjoy being creative. At this age, imagination relies on special knowledge and on mastering technical techniques of action in one or another area of creative activity. It is necessary to take age-related changes into account when organizing educational activities young musicians.
All work with the student is based on his activities in the classroom and at home. It often happens that a student simply does not know how to study independently at home, or vice versa - cannot concentrate on the lesson.
From the very first lesson, the teacher must create a favorable atmosphere for the lesson so that the student feels free and completely trusts the teacher. Arousing interest in music, in an instrument, in classes is the defining goal of any teacher. Tell in detail how to teach, what techniques should be used to memorize movements, text, phrases, work through everything in class together with the student - this is the primary and completely feasible task of the teacher.
First class.
Development of musical and auditory perceptions. Initial development of musical-imaginative thinking.
Learning the names of the parts of the violin and bow. Basics of body and arm positioning. The simplest line, dynamic and fingering notations. Sound quality, intonation, rhythm. Familiarization with the tuning of the violin. Study of the first position, semitones between all fingers (except for semitones at the nut). Initial types of bow distribution. The simplest types of detashe stroke with the whole bow and its parts, legato up to 4 notes per bow. Connection of strings and bow movements (change). Scales and triads in light keys. Performing simple pieces, preferably songs with lyrics.
During the year, it is necessary to go through with the student 2-3 scales and arpeggios in one octave and 1 scale in two octaves, 8-10 etudes, 8-10 pieces.
Songs on open strings (collection by V. Yakubovskaya)
Folk songs:
A bunny walks in the garden
Like under a hill
On a green meadow
How did our girlfriends go?
Selected studies Part 1 - No. 1,2,8,10,11,16,17,19
Plays:
V. Gerchik "Sparrow"
N. Metlov. Lullaby
D. Kabalevsky. "Like a March", Little Polka
A. Komarovsky. Little Waltz, Cuckoo
V. Kalinnikov. Shadow-shadow, Zhuravel
M. Krasev. Cheerful geese
N. Lysenko.Lisichka
M. Magidenko. Cockerel
A. Filippenko. Chicks
A. Potolovsky. Hunter
N. Baklanova. March of the October
I. Dunaevsky. Lullaby
I. Kachurbina. Teddy bear with doll
L. Beethoven. Marmot
J. Haydn. Song
W. Mozart. Allegretto, May Song
I. Starokadomsky. Air song
R. Schumann. March
E. Robinson. Song about Joe Hill
Yanka. Czech folk song
Second class.
Further work over staging, intonation, sound production, rhythm. Study of detashe, legato strokes (up to 8 notes per bow) and their alternation. Start of work on martele. Sound dynamics. Driving the bow along two strings. The simplest harmonics.
Start studying 3 positions. Introduction to violin tuning. Two-octave major and minor scales and triads. Development of initial skills in reading notes from a sheet (in the presence of a teacher).
During the year you should complete 2-3 scales and arpeggios, 6-8 etudes, 6-7 pieces, 1 piece large shape.
Selected studies Part 1 - No. 19,20, 25, 47, 40, 48, 27
Part 2 - No. 1-4, 9, 10, 12, 14
Large-format works:
G. Handel. Sonatina, Variations in A major
O. Reading. Concerto in B minor 1st movement, 3rd movement, Concerto in G major
A. Kravchuk. Concert
Plays:
“There was a birch tree in the field”
“Like thin ice”
“There’s a path in the damp forest”
N. Baklanova. Mazurka, Round dance, Romance
L Beckman. Herringbone
And Goedicke. Bunny, Lullaby
B. Dvarionas. Prelude
D. Kabalevsky. Our land, Round dance, Song
S. Komitas. Brook
D. Shostakovich. Little march, organ
I. Bach. Gavotte
J.Haydn. Andante
H. Gluck. Merry round dance
K. Weber. Hunters' Choir
A. Hasse. Minuet and Bourret
G. Handel. Prelude
F Schubert. Ecosaise
R. Schumann. Cheerful peasant
D.Martini. Andante, Gavotte
W. Mozart. Minuet, Shepherdess Song, Lullaby
G.Purcell. Aria
J. Rameau. Rigodon
Niyazi. Lullaby
“Sleep, my dear” - Slovakian. Song
V. Kalinnikov. Pussy
L.Alexandrova. Song
P. Tchaikovsky. The organ grinder sings
Third grade.
Further work on the development of musical-imaginative thinking. Work on intonation, rhythm, sound production. Study of strokes: detashe, legato, martele, and their alternation. Mastering positions (I II III) and changing them. Double notes and simple chords in 1st position. Scales and triads in individual positions and using transitions. Chromatic sequences. Preparatory exercises for performing trills. Vibration skills. Skills in independently analyzing simple works and reading notes from a sheet.
For academic year work with the student: 4-5 major and minor scales and arpeggios (with inversions) in the first three positions and with transitions, 6-8 etudes for various types of technique, 5-6 pieces of various nature, 1-2 works of large form.
Selected studies Part 1 No. 48, 61, 62, 63-70
Part 2 - No. 15 – 48
Large-format works:
N. Baklanova. Sonatina, Concertino
O. Reading. Concerto in B minor,
A. Yanshinov. Concertina
F. Seitz. Concert No. 1
A. Komarovsky. Variations “The mowers went out into the field”
Plays:
N. Bogoslovsky. Sad story, Lullaby
A.Ayvazyan. Song in D major
N. Gunn. Meditation
M. Glinka. Dance from the opera “Ivan Susanin”
D. Kabalevsky. Like a waltz, skipping
R. Ilyina. On the swing
P. Tchaikovsky. An old French song, an organ grinder sings, a Neapolitan song
A. Khachaturyan. Andantino
A. Komarovsky. Quail
A. Goedicke. Veselchak
G. Fried. Sad Waltz
D. Shostakovich. Organ organ, Sad song
L. Beethoven. Country dance
L. Marchand. Minuet
I. Bach. March, Spring
M. Glinka. Polka
Vistula. Polish nar song
S. Levy. Tarantella
Fourth grade.
Work on intonation, sound dynamics, rhythm. Studying the strokes detashe, legato, martele, and their alternation. Introducing the staccato stroke. Study of the first five positions, various types of their changes. Simple exercises in higher positions. Exercises and studies in double notes in first position. Chords. Further study of two-octave scales and triads. Familiarization with three-octave scales and triads. Vibration skills. Reading music from a sheet.
Over the course of a year, work with the student on 4 scales and 6-8 etudes, 6 different pieces, 1-2 large-form works.
Selected studies Part 2 - No. 33 – 58
Large-format works:
N. Baklanova. Sonatina
L. Beethoven. Sonatina
F. Seitz. Concert No. 1 2-3 parts
N. Baklanova. Variations
Plays:
I. Bach. Gavotte
A.Ayvazyan. Song in G major
N. Baklanova. Allegro, Etude-staccato
F. Amirov. Scherzo
I. Brahms. Lullaby
G.Marie. Aria in old style
M. Glinka. Lark
O. Jenkinson. Dance
K. Karaev. Reverie, Little Waltz
J. Lyuli. Gavotte
N. Myaskovsky. Mazurka
S. Levy. Tarantella
K. Stoyanov. Lullaby
E. Poplavsky. Polonaise
D. Martini. Sarabande
W. Mozart. Bagatelle
V. Bononcini.Rondo
Yu. Sulimov. March
G. Fried. Zainka
P. Tchaikovsky. Waltz, Sad song, Lullaby in a storm, Neapolitan song
A. Pergolesi. Siciliana
J. Rameau. Tambourine
Fifth grade.
Development of musical-imaginative thinking. Work on the strokes detashe, legato martele, staccato, sotie. Their various alternations. Assimilation of higher positions. Double notes in the first three positions. Work on connecting positions when performing two-voices. Study of three-octave scales, various types of arpeggios (inversions). Familiarization with the chromatic scale performed by two types of fingering - sliding and alternating fingers. Introduction to quart harmonics. During the year, it is necessary to complete 5-6 major and minor scales and arpeggios, 7-8 etudes, 5-6 pieces, 2 large-form works.
Selected sketches. part 2
J. Mazas. Etudes 1 notebook
Large-format works:
A. Vivaldi. Concerto in A minor 1 movement
A. Vivaldi. Concerto in G major
G. Bacevich. Concertina
Sh. Danklya. Variations on a Theme of Weigl, Variations on a Theme of Pacini
N Baklanova. Variations
Plays:
N. Rubinstein. spinning wheel
And Matteson. spinning wheel
M. Mussorgsky. Tear
W. Mozart. Bagatelle
L. Ober. Presto
D. Pergolesi. Aria
J. Rameau. Gavotte
V. Rebikov. Characteristic dance
R. Schumann. May song
P. Tchaikovsky. Sweet dream, Mazurka, Sad song
Yu. Sulimov. Rondo
A. Spendiarov. Lullaby
Sixth grade.
Further work on the development of musical performance skills. Study of the strokes detashe, legato, martele, staccato, sotie. Development of left hand technique: fluency, trills, various types of connection of positions, double notes. Chords. Flajolets.
Three-octave scales, arpeggios - triads with inversions, sixth chords, quarter-sex chords, seventh chords. Scale in double notes (thirds, sixths, octaves). Chromatic scale, performed by two types of fingering - sliding and alternating fingers.
During the year, it is necessary to complete 4-5 major and minor scales and arpeggios, 2 scales in double notes, 6-7 etudes, 6-8 pieces, 2 large-form works.
J. Mazas. Sketches 1-2 notebooks
Large-format works:
J..Accolai. Concert
Sh.Berio. Variations in D minor
A. Vivaldi. Concerto in A minor
Sh. Danklya. Variations
A. Corelli. Sonatas
G. Handel. Sonata in E major
D. Viotti. Concert No. 22
Plays:
A.Alexandrov. Aria
A. Arensky. Fugue on the theme "Crane"
I. Bach. Siciliana, Aria, Gigue
L. Beethoven. Country dance
A. Borodin. “What are you doing, little dawn”
G. Handel. Minuet, Prelude
M. Glinka. Waltz, Nocturne, Innocence, Feeling
R. Gliere. Waltz, Prelude
M. Ippolitov-Ivanov. Melody
N. Korchmarev. Spanish dance
K. Mostras. Oriental dance
Ts.Cui. Continuous movement
W. Mozart. Rondo
V. Rebikov. Song without words
N. Rimsky-Korsakov. Song of the Indian Guest
A. Yanshinov. spinning wheel
A. Rubinstein. Melody
Seventh grade.
Further acquisition and development of musical performance skills.
Work on three-octave scales at a moving tempo: scales up to 12 legato, arpeggios up to 9 legato. Chromatic scales. Scales in various line options. Scales in double notes. Working on the strokes.
During the year it is necessary to go through 4 three-octave scales and arpeggios, 2-3 scales in double notes, 2 chromatic scales, 6-8 etudes, 5-6 plays, 2 large-scale works.
F. Kreutzer. Sketches №5, 9, 12
F. Mazas. Sketches 2 notebook
F. Fiorillo. 36 studies
Large-format works:
Sh.Berio. Concerto No. 9, Variations
A. Vivaldi. Concerto in G major, Concerto in A major
D. Viotti. Concerts No. 23. 28
G. Handel. Sonata in G minor
P. Gutin. Concert
D. Kabalevsky. Concert part 1
A. Corelli. Sonata in G minor
P.Rode. Concert No. 7
Plays:
A. Arensky. Forget-me-not
N. Benda. Caprice, Grave
A. Daken. Cuckoo
B. Dvarionas. Elegy
D. Deplan. Intrada
I. Bach. Aria, Siciliana
K. Korchmarev. Spanish dance
F. Kreisler. Rondino, Minuet in the style of Porpora
A. Lyadov. Prelude, Little Waltz
K.Mostras.Round dance
S. Prokofiev. Gavotte from " Classical symphony»
A. Rubinstein. Melody
K.Sen – Sans. Swan
P. Tchaikovsky. Song without words, Autumn song, Sentimental waltz
D. Shostakovich. Elegy, Nocturne, Lyrical Waltz
F. Schubert. Bee
B. Britten. Lullaby and Pantomime
Eighth grade.
Improvement and development of all previously studied types of violin technique.
Scales and arpeggios legato for 2 bows, scales with double notes up to 4 legato, chromatic scales legato for 2 bows.
Over the course of a year, it is necessary to complete 6 studies on different types of technique (fluency, legato, detashe, staccato, sotie, chords), 4 major and minor scales, 4-5 pieces, 2 major forms.
Prepare a program for the final exam: a three-octave scale and arpeggio, a scale in double notes, 2 etudes for various types of technique, 2 different pieces, a concert - 1 part or 2 and 3 parts.
R. Kreutzer. 42 studies
Large-format works:
Sh.Berio. Concerts No. 9, 7
G. Handel. Sonatas No. 3,6
D. Kabalevsky. Concert
R. Kreutzer. Concert No. 13
L.Spur. Concert No. 2
T. Vitali. Chaconne
A. Alyabyev. A. Vietan. Nightingale
P. Gutin. Concert
Plays:
A. Daken. Cuckoo
F. Schubert. Bee
Ts.Cui. Continuous movement
D. Shostakovich. Elegy, Prelude No. 24
Ch. Massenet. Reflection
A.Alexandrov. Aria
P. Tchaikovsky. Song without words, Sentimental waltz
D. Dvarionas. Elegy
M. Balakirev. Impromptu
I. Bach. Aria
D. Kabalevsky. Improvisation
R. Gliere. Romance
A. Khachaturian. Nocturne
A. Dvorak. Humoresque
Ninth grade.
Additional year of study. The task of the teacher and student is to prepare a program for admission to a secondary vocational education institution.
R. Kreutzer. Sketches
F. Fiorillo. 36 Etudes and Caprices
B. Sibor. Violin double note technique
S. Korguev. Exercises in double notes
Large-format works:
I. Bach. Concertos in G major, E major, A minor
Sh.Berio. Concert No. 7, Ballet scenes
D. Viotti. Concert No. 22
A. Corelli. Folia
A. Vietan. Ballade and Polonaise
G. Handel. Sonatas No. 1-6
R. Kreutzer. Concerts No. 13, 19
W. Mozart. Concert "Adelaide"
D.Tartini. Sonatas No. 5, G minor (“Dido Abandoned”)
L.Spur. Concerts No. 2, 9, 11
Plays:
M.Balakire. Impromptu
R. Gliere. Romance
D. Grazioli. Adagio
A. Daken. Cuckoo
D. Kabalevsky. Improvisation
F. Kreisler. Siciliana and Rigodon
Prelude and Allegro in Pugnani style
F. Couperin. Little ones windmills
A. Khachaturian. Nocturne
P. Tchaikovsky. Song without words, Romance, Melody, Humoresque
E. Elgar. Greetings to love
G. Venyavsky. Legend
A.Fig. Continuous movement
A. Dvorak. Humoresque
1. Auer L. “My school of violin playing”
2. Berlyanchik M. “Basics of educating a beginning violinist. Thinking. Technology. Creation"
3. Ginzburg L. “On working on a piece of music”
4. Gotsdiener A. “Auditory teaching method and work on vibration in violin class”
5. Grigoriev V. “Methods of teaching the violin”
6. Gurevich L. “Education of the violinist’s fingering thinking”
7. Liberman M., Berlyanchik M. “The culture of the violinist’s sound”
8. Markov A. System of violin playing"
9. Mostras K. “Home practice system”, “Intonation on the violin”
10. Collection of articles from 1960 “Essays on methods of teaching the violin. Questions about the technique of the violinist's left hand"
11. Stepanov B. “Basic principles of practical application of strokes”
12. Flash K. “The Art of Violin Playing”
13. Shirinsky A. " Line art technique violinist"
14. Yankelevich Yu. “Pedagogical heritage”
15. Shulpyakov O. “ Technical development performing musician."
16. Belenky B., Elboym E. “Pedagogical principles of L.M. Tseytlina"
17. Problems music pedagogy
18. Grigoriev V. “Some features of the pedagogical system of D.F. Oistrakh"
Instructional material
1. Kreisler F. – Selected pieces for violin 1930
2. Zakharyina T. Violin ABC book
3. “Pedagogical repertoire for violin” ed. To Mostras
4. Amateur concert – comp. A. Yampolskaya
5. M. Glinka – Pieces for violin, arrangement by A. Yampolsky
6. Mozart V.A. Plays 1988
7. Garlitsky M. Step by step
8. Young violinist Issue 1, edited by K. Fortunatov
9. Young violinist Issue 2
10. Young violinist Vol. 3
11. Shradik G. Exercises
12. Wohlfarth F. 60 etudes for violin Op.45
13. Kaiser G. Etudes op. 20
14. Selected sketches Issue 1M....1988
15. Selected sketches Vol. 2 M….1988
16. Selected sketches Vol.3 M...1988
17. MazasF Etudes M...1971
18. Fiorillo F.36 etudes and caprices, M...1961
19. Kreutzer R. Etudes, ed. Yampolsky A. M...1954
20. Korguev S. Exercises in double notes M...., 1949
21. Yakubovskaya V. Up the steps L...., 1986
22. Tchaikovsky P. " Children's album» arrangement
23. Shalman S. “I will be a violinist” parts 1,2 L....1986.
24. Reader 1-2 Children's Music School classes 1985
25. Reader for grades 2-3 Children's Music School 1986
26. Reader for grades 3-4 Children's Music School 1986
27. Reader for grades 4-5 Children's Music School 1984
28. Reader for grades 5-6 Children's Music School 1988
29. Reader Concertos. Middle and senior classes Children's Music School issue 1.21988
30. Tchaikovsky P. Pieces for violin-arrangement 1974
31. Classical music issue 1, 1987
32. Beethoven L. – Pieces. Senior classes 1986
33. Glier R. – 8 easy pieces M-L, 1987
34. Kabalevsky D. – Plays M..1984
Conclusion
Music - creative process. The student must be given some freedom of creative choice. On his own, the student can suggest changing the fingering, some nuances or strokes. It is only important to prove that you are right, and for the teacher to be able to listen to the student and not put pressure on him with his authoritative opinion.
From all of the above, we can draw some conclusions: issues of hand placement are the most important and determine the fate of a beginning violinist, both professionally and in terms of his health. We can also say that even the smallest and most imperceptible movement can cause problems with the technique of both hands. Proper homework and the ability to make independent choices will give a beginning violinist a ticket to the world of music and creativity.
Since we do not have the right to predetermine the musical future of a child, at first we must lead everyone in the same way: learn to listen and perceive music both from the outside and in our own performance (listen to ourselves), develop aesthetic taste, graft loving relationship to the sound of a violin, basic control of sound and rhythm; and, finally, as a result of all that has been said, to achieve expressive and imaginative performance of children's plays. With this approach to learning, music not only brings joy to children, but also merges with their own experiences and awakens their imagination. Hence the passion for activities, and passion, as far as we know, is the key to success in any business.
I tried to consider all aspects of the educational process; ways of developing the performing skills of a violinist were identified.
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