Alekseev's method of teaching how to play the button accordion. Development of a sense of rhythm in the bayan (accordion) class at the initial stage of training
This article tells you how to learn to play the button accordion by ear.
There is a teaching method outlined in the book. D. G. Parnes S. E. Oskina Bayan self-instruction manual without notes.
Electronically The book can be downloaded on the Internet PDF 20 Mb
Subsequent editions of this book are called Bayan by ear. This book is for those who sometimes want to take a button accordion and quickly, without notes, pick out a familiar song or romance by ear.
Bayan - you can't find a better song for a song
Accordion(accordion, accordion) loudest among wearables compact instruments
Unlike a string guitar, it has a chamber (kitchen, driveway) volume of musical sounds. The volume of the button accordion is suitable for the street, yard, and village outskirts. The loudest among strings instrument - with the longest strings. Piano. However, the string design does not provide compactness at high volumes.
On the button accordion one key - one sound. Sound production like a piano. Allows you to play rich, complex pieces of music. The guitar is much more difficult to play.
The button accordion has two sides - the right side is solo, the left side is accompaniment. One button accordion replaces an entire ensemble of three guitars. Bass - guitar (bass), rhythm - guitar (chords), solo - guitar (solo).
Bayan keyboard
Right accordion keyboard
All music consists of seven sounds, which are repeated. Seven white keys. These are whole sounds. Five black keys. These are halftones. Every seven sounds are twelve keys. Four oblique transverse rows of three keys. On the accordion keyboard there are lower (bass) seven sounds above. More high (squeaky) seven sounds below.
Despite the apparent complexity. The accordion keyboard is more compact than the accordion keyboard. When playing, the hand does not jump up and down. It is easier to play fast melodies on the button accordion
Five-row keyboard the button accordion does not add new sounds. Fourth and fifth ranks duplicate First and Second rows. To play a semitone and a tone higher with the same keystroke order.
Left accordion keyboard
Bass and Chords accompaniment. Usually played on white keys in the middle. Black keys are redundant. With the help of left hand mechanics rods. Three chord sounds sound when pressed one key this chord.
Seven numbers - seven bass sounds. Bass order from top to bottom 7, 3, 6, 2, 5, 1, 4
. The key of the melody changes with a transition one row of bass up or down.
Twenty-one letters - three ready-made chords in each bass row. Major b. Minor m. Seventh chords with
Left accordion keyboard completely coincides with left accordion keyboard. On some button accordions and accordions six vertical rows. A sixth was added from the outer edge row u Diminished seventh chords
Methods of learning to play the button accordion by ear
If very briefly
The method of learning to play by ear is as follows
Play pieces by ear for certain chords
The tutorial contains more 500 works
Chords by numbers with letters given specially
Who knows the notes. He will understand without difficulty. What 1 2 3 4 5 6 7
This do re mi fa sol la si
Chord 6m is A minor. Chord 1b is C major. Chord 3c is Mi sept
Oskina S. E. Parnes D. G. Bayan without notes Self-instruction manual
From the authors
Right keyboard. First position. Melody. Numbers and sounds
Left keyboard. Basic Chords
Designations
Rhythm
Tune in to the tune
Tune in to the voice
Play with heart
Do it like this
Main minor chords 6m, 3s, 2m
Main major chords 1b, 5c, 4b
Cadance chords 36m, 51b
Major to minor and vice versa
Interrupted turnover
Chord 6c
Chord 1s
Accord 7c
Chord 5b
Chord 2c, 25b
Chord 5m
Chord 4m
Chord 3m, 73b
Chord 3b, 73b
Strange songs
Scows full of mullet
Melody with chords on the right keyboard
Inversions of basic chords
Chord inversions 6m, 3s, 2m
Inversions of chords 1b, 5c, 4b
Chord inversions 6c, 1c
Inversions of chords 5b, 2c
Chord inversions 5m, 4m
Inversions of chords 7c, 3m, 3b
Minor chords
Chords 7n, 2g, 6g, 6n, 3x, 1v, 4s, 5c, 6b, 6x, #1u, 6c, 6d, 1c, 1x, 1d
Chords 7x, #4y, #2u, 5d, 2c, #4u, 2b, 3n, 2n, 2x, 3g, 6u, #5u, 7u, 5u, b7b, 1u
Chords 5k, 5x, 4yu, 1r, 4g, 4a, b7yu, 6yu, b3yu, 5t, 3k, 6k, 1k, 7b, b6c, b7s
Chords 5yu, b6yu, 7yu, 2yu, b2yu, 3yu, 2u, #1n, b7g, b2b, 7m
Sharp chords 2p, 4zh, 1zh, 1sh, 5z, 3e, 6h
Arrangement
Second position
Third position
Focus on tones
Your style
Alphabetical list and numbers of works
About the rare 3rd chords and others. They are given at the end of the book.
At the beginning of the training, the authors give 15 main chords, which is enough for many
Quote page 5
Total in the tutorial about 80 chords. Don't be alarmed - already the first ten, and only on the left keyboard enough for competent accompaniment to most melodies. And in all keys. They can easily be mastered in a couple of months. With all the chords, and with the right hand, professionals hardly know. In a word, you will master so many chords, you will diversify and decorate your playing so much, How diligent are you? and, of course, musical abilities.
Quote page 11
Chords are played according to the symbols under the words (below the small numbers). Here traditional chord symbols are not used(VI->VI..., g, F7..., Cj7/5+...), and new ones are offered. But the fact is that along with the new designations, a new craft (or rather, an ancient art) is being introduced - playing by ear (or rather, improvisational harmonization). Research has shown that existing chord notations not suitable for auditory learning- only our auditory ones are suitable. You will forget the symbols, but you will play by ear!
The idea of learning to play the button accordion by ear
Play the button accordion on the left side accompaniment chords and bass. Song Am I Guilty? You can just sing along to the melody. You can play melody on the right side. The song is simple. Just three chords 6m, 3s, 2m. Who cares about the button accordion played the guitar, easily recognizes Am, E7, Dm. But on a guitar, you have to learn to place your fingers in a chord. And on the button accordion for playing a chord You only need to press one key. Additionally, press the second key bass of this chord. Very simple. Look higher left keyboard.
Explaining the idea of learning to play by ear
For each type of chord, we study the accompaniment of familiar melodies.
For example
Main minor chords 6m, 3s, 2m(For those who know the notes A Minor, E Sept, D Minor)
For this accompany(you can sing along or play) popular melodies that contain these chords. Melody for each type of chords there are many 20 - 30(For study all types of chords melodies more than 500)
For chords 6m, 3s, 2m
1. Bye, bye, bye
2. And I’m in the meadow
3. My poor Karapet
4. Fried chicken
5. A large crocodile walked the streets
6. Marusya got poisoned
7. A rogue merchant was going to the fair
8. Peddlers
9. Dubinushka
10. Volga-river
11. I took a bandura
12. I'll go outside
13. Nich yaka misyachna
14. Daisies hid
15. The weather is good outside
16. When I served as a coachman at the post office
17. Oh, don’t be sweet, honey
18. Song about a friend
19. I don't shave my mustache
20. Am I to blame?
Quote page 5
Proposed method of learning to play by ear simple: hum, play works you know according to the words with chord symbols under them, and you will form auditory-motor reactions, in which any melody forces the fingers press the right keys in the right places, the sounds of the melody, play the right chords
The meaning of learning don't memorize all the songs from the tutorial. Although more than 500 songs on a variety of topics . By playing songs, you will learn the principles and ways of constructing a melody. To be able to easily do it yourself choose the melody and accompaniment of any song. Many of you, by the middle of the book, will select the melody and accompaniment of your favorite songs that are not in the tutorial.
Don't look at the keyboard. Play only by touch and ear. While playing you you will look at people listening to you.
If you peek look in front of you in the mirror. And not from above, hanging your head.
Unlearn peek. There won't be a mirror nearby
To learn the right keyboard, play scales up and down. The sounds just rise and fall. Major scale - 1 2 3 4 5 6 7 1 . Minor scale - 6 7 1 2 3 4 5 6 Learn to hear sounds and unmistakably hit the keys.
On the left keyboard in the second row from the fur there is a marked bass 1 (C or C)From it you can feel other basses. Down 4. Up 5 2 6 3 7
Bass chords oblique row left up b, m, s.Fingers of the Right Hand
First row - pointing finger
Second row - average finger
Third row - nameless finger
On the wing - little fingerLeft hand fingers— vertical rows of bellows keys
Second row (bass) - average finger
Third, Fourth, Fifth rows (chords b, m, s) - pointing finger
Quote page 9
Please note when you learn to play by ear- then neither our numbers nor notes will be needed! And in general, if you know the melody of the work, don't pay the slightest attention to small numbers under the words.
Good luck in mastering a musical instrument
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Municipal institution of additional education for children
Children's art school
Abstract
Features of the trainingteaching children 5-6 years old to play the button accordion
R.R. Sagitdinov
With. Ferchampenoise
INTRODUCTION
Currently, many children's art schools have aesthetic departments that cater to children attending kindergarten and children studying in the primary grades of secondary schools. Most often, they receive lessons in rhythm, choir, fine arts and piano.
Currently, teachers are faced with the problem of teaching 5-6 year old children the accordion. This is due to the desire of parents to start learning on folk instruments.
Parents who bring their child to a music school have different goals. Some of them, feeling the developmental power of music, hope that the child, having become familiar with music, will become more focused and attentive, and that the lessons will help his overall development. Others want to make art the child’s future profession and require in-depth training in professional use of the instrument. The third, largest category of parents, wants to develop different aspects of the child’s personality, rightly believing that the foundations of musical culture should be instilled in a person in childhood (5, p. 253).
Any child is capable of creativity to one degree or another; with the right attitude, almost anyone can develop good musical abilities. Much depends on the teacher’s work with children and on the age at which classes began. Having started playing the button accordion in kindergarten, children gradually become involved in learning and subsequently continue their studies at the folk department.
Problems that arise in classes are primarily related to the physical capabilities of children. In your work with preschoolers and 1st grade students of a general education school, you should carefully approach the distribution of the load during the lesson, carefully monitor the seating position and hand placement, and you should also take into account the characteristics of this age. Preschoolers come to school not only to study, but also to play, to enjoy communication with music. What can be done so that their desire to play the button accordion does not fade away. In this methodological development, the main emphasis is placed on covering the initial stage of training in the aesthetic department (in preparatory classes).
Analysis of the studied literature, as well as practical experience in this field, allowed us to formulate the purpose of our research.
The purpose of the methodological development is, on the basis of theory and practice, to identify the features of teaching children 5-6 years old to play the button accordion.
Based on the purpose of the work, the research objectives were determined:
· Analyze the literature on this topic, study the experience of specialists on this issue.
· Explore the psychological characteristics of children 5-6 years of age. Formulate the objectives of training in the aesthetic (preparatory) department.
· Expand the issue of using gaming moments in the development of musical abilities.
· Consider the method of teaching the instrument.
· Thoroughly examine issues of landing and hand placement.
· Learn techniques for developing technical skills and using exercises.
FEATURES OF TEACHING CHILDREN 5-6 YEARS OLD TO PLAY THE BAYAN
A large number of studies have been devoted to the problems of creative development of preschoolers and children attending first grade of secondary schools. Many articles and books have been written addressing issues of education and training. But at the same time, it should be noted that the process of teaching children 5-6 years old to play the button accordion has not been studied enough in the literature. Well-known methods and music-making programs are mainly devoted to playing an instrument at an older age, starting from 8-10 years.
There are not many studies on teaching children aged 5-6 years to play the button accordion. Among the published programs and music editions, the following can be noted:
2. Dudina A.V. “The problem of intonation on the button accordion during initial training.”
3. D. Samoilov. "Fifteen lessons on playing the button accordion."
4. O. Shplatova. "The first step."
5. R. Bazhilin. "Learning to play the accordion." (Notebook 1, 2).
Almost all music editions for the button accordion are black and white books, with a minimum number of nondescript pictures, designed for perception by adult students and do not take into account the peculiarities of attention of preschoolers. The same cannot be said about music literature for little pianists - these are bright, memorable collections, with a lot of colorful drawings, that attract attention and appeal to children. With appropriate adaptation, they can also be used for accordion. Such teaching aids include:
I. Korolkova. "To the little musician."
I. Korolkova. "The first steps of a little pianist."
and some others.
PSYCHOLOGICAL FEATURES
teaching children button accordion
Children of different ages differ quite greatly from each other in their psychological appearance, the nature of motivation, preferences, aspirations, and type of leading activity. Education and upbringing of children of different ages should be different.
When teaching preschoolers, it is necessary to take into account the high workload of children with classes, both in kindergarten and in the aesthetic department of the Children's Art School, and their age characteristics. Classes with young children should not exceed 20-25 minutes. At the initial stage, these can be collective classes related to playing noise instruments, with ensemble performance (all these features are taken into account when drawing up the workload and schedule of classes).
In a lesson with preschool children, playing directly on the button accordion should be somewhat limited, supplementing it with exercises to develop hand coordination, rhythmic exercises, finger games, and playing melodies on other instruments. To do this, for classes with children 5-6 years of age in the class, it is necessary to have not only a button accordion suitable for the height of the child, but also noise instruments (tambourine, rattles, ruble, spoons, etc.), xylophone, metallophone, synthesizer (piano) . Playing only one button accordion all the time is too tiring and uninteresting for little ones.
In your work you need to take into account many factors influencing learning. This is taking into account the individual qualities of the child, issues of nurturing cognitive activity, and developing the motivational sphere.
Based on the results of experimental studies, psychologists, in particular N.D. Levitov, have set conditions that ensure the activation of the student’s mental activity:
1. novelty of stimuli that stimulate interest and attract their attention (due to the predominance of involuntary attention).
2. a change in the activity of functional centers in the students’ brains, which is ensured by a variety of methods and forms of work.
3. positive emotional state.
We cannot ignore the development of the motivational sphere in education. The experimental study of needs and motives in Russian psychology was started by A.N. Leontyev and his students (L.I. Bozhovich, A.V. Zaporozhets). Both the success of educational activities and the development of needs that prompt students to be active in satisfying this need depend on the formation of motives and students’ acceptance of the goal of the lesson.
The German teacher A. Disterweg wrote: “a bad teacher presents the truth, a good teacher teaches to find it” (11, p. 106). In the process of developmental education, the teacher must pay attention not only to the presentation of the material, but also to the student himself, shaping the ways of his mental activity.
The fifth year of a child’s life is characterized by active curiosity. Children, by their nature, are creatures who master a huge amount of information thanks to their curiosity, and this must be used in their work. During classes, it should be taken into account that preschoolers cannot yet hold their attention on one thing for a long time; they constantly want something new. Children's attention is unstable and limited to 10-20 minutes. Involuntary attention predominates (directed to everything bright, everything that catches the eye against the will) and, as a result, switching and distribution of attention is difficult. For young children, you need to use bright, colorful collections and visual illustrations that attract the eye. L.G. Dmitrieva and N.M. Chernoivanenko state: “The more varied and active the children’s activities in the classroom, the more successful the development of their musical and creative abilities, the formation of interests and needs” (4, p. 51). Children's activity is manifested in everything: in their curiosity, desire to perform, choose a song, run around, play pranks, and play.
Until 6-7 years of age, the child’s leading activity is play. Children are active, they play and live by playing. The whole life of a preschooler is connected with play; he cannot imagine his life without it. He’s used to playing and can’t do it any other way yet. The teacher’s task is to support this indomitable, bubbling activity, and teach while playing with it. The game helps maintain interest, helps provide emotional release, and prevents overwork. A number of gaming pedagogical techniques were developed by Sh.A. Amonashvili. Well reveals the features of game situations and L.N. Stolovich. The game contributes to the formation of the physical and spiritual abilities of a growing person, his cognitive activity, and imagination. Game situations contribute to the development of interest, support it even when performing complex tasks, help diversify classes, change types of activities as they progress. When a song is made from several notes, some stories happen with the notes (find hidden notes in the words - candy wrapper, slush), and the learned works are designed as small stories (K. Bazhilin’s play “Aladdin’s Ship” - the story with Aladdin; the play “Cornflower “- there were flowers growing in the meadow...), games are played with the child’s fingers, as a result, learning is more interesting for the little schoolchild, learning brings him joy. In the practice of Sh.A. Amonashvili uses various game techniques that can also be used: choral response, “catch the sound”, whispering in the ear, teacher’s “mistake”, etc. A child goes to an art school not only for knowledge, but also for a pleasant leisure time, meeting with friends , games. “A child most often perceives playing the button accordion as a game, and the game itself cannot be studied for too long, otherwise during the training all the ardor and desire to play will disappear” (5, p. 253). If he sees in musical studies only overcoming difficulties, performing painful exercises, scales and does not feel joy, then ultimately this will lead to a drop in his activity, he will consider himself serving a sentence
The monotony of activities causes preschoolers to become tired and lose interest. But too frequent changes from one activity to another require additional adaptation efforts, which also contributes to increased fatigue and loss of activity effectiveness. The moment of onset of children's fatigue and decrease in their activity is determined by monitoring the increase in motor and passive distractions of children in the process of activity. The load should be selected taking into account the general condition of the body of each student. Indicators of the effectiveness of the lesson can be considered the state and appearance of the children leaving the lesson: calm - businesslike, satisfied; moderate - excited; tired - confused, nervous (10.1-2s.).
METHODOLOGY FOR TEACHING PLAYING THE BAYAN
Learning to play the instrument begins with the so-called “notation” period, when all pieces are selected by ear or played by demonstration. Simple songs with words that create the necessary emotional mood of the child are best suited for learning. Learning to read music should happen gradually, not all at once. As songs are performed on one, two, three notes, the notes being studied are added. Notes are remembered well when the student independently writes down the learned pieces in a music notebook.
The method of teaching children to play a musical instrument is based on a gradual expansion of the range of melodies performed. At the very beginning, these are chants built on one note. There are quite a lot of such melodies, they all differ only in rhythm and words. Singing and clapping songs to the accompaniment of the teacher allows you to better navigate its rhythmic features and make it easier to remember. You can practice learning a piece by singing the names of the notes, preliminary performance of the piece on a metallophone, piano, and only after all this you pick up the button accordion.
Playing with both hands together is quite difficult; you have to play on two different keyboards. There are preparatory exercises to train hand interaction. The right and left hands lie on the table (knees), slaps with each hand on the surface of the table (knees) alternately, strikes with the right and left hands together at the same time or using a different rhythm for each hand. At the initial stage, preference should be given to pieces in which the right and left hands are played alternately. Such works include: “March” and “Mischief” by D. Samoilov; “Echo” by R. Bazhilin; “Horse” and “Turtle” by O. Shplatova and others.
Instead of the exercises necessary to develop left-hand keyboard skills, you can use pieces written to be played only with the left hand. An example is the pieces from R. Bazhilin’s “School of Accordion Playing”: - “Polka”, “Bear”, “Donkey”, “Dancing”.
The formation of the first sound production skills is carried out through the performance of exercises that will help the correct handling of the bellows. In “Modern school of playing the button accordion” by V. Semenov, exercises are given for “breathing” the instrument. Several ways of driving the bellows with the air valve pressed are given to achieve the nature of the exercises (“Calm breeze”, “Little storm”, “Calm breathing”, “Let’s rest after running”). Similar techniques can be found in other collections. In “The School of Playing the Accordion” by R. Bazhilin, it is proposed to depict various figures (cloud, fish, pencil, etc.) by playing the air valve.
When working with a student on song material, the teacher can adhere to a certain sequence.
R. Bazhilin gives the following order of studying songs (1, p. 28):
2) Clap his rhythmic pattern with your hands.
3) Tap on the table or according to the keyboard diagram of the right hand accordion, the rhythmic pattern of the song with the fingering that is in the notes
4) Tap a rhythmic pattern on the table, pronouncing the syllable -ta-,
equivalent to a quarter note.
5) Learn exercises that have similar rhythmic and musical notes
designations.
G. Stativkin offers the following work on song material (9, p. 16):
1. General information. The teacher performs a song with accompaniment. Then he reads the text and plays the melody. Distributing attention to the text and melody of a song contributes to a better perception of the material.
2. Studying the text. The teacher finds out whether all the words of the song are clear and analyzes the plot of the song. Characterizes the figurative content, mood, tempo of the music. This analysis contributes to the development of logical thinking and memory. The student learns words by heart.
3. Means of musical expression. Rhythm: The student recites the words according to the rhythm of the melody and taps out the rhythm at the same time. Melody structure: number of steps, nature of movement (stepwise or spasmodic), structure (division into phrases), dynamic development
4. Practical execution. Singing the text (played by the teacher), playing a melody on an instrument, singing with words and playing a melody. Achieving musical expressiveness. Transposition by ear.
A comparison of the two presented methods gives an understanding that in his work the teacher must use a variety of techniques for working with the student, without focusing only on the constant analysis of works directly on the instrument. The use of these methods makes it possible to take into account the characteristics of the nervous system of preschoolers and first-graders and often change the types of activities in the classroom.
When studying plays, simply clapping the rhythm can be replaced by playing it on noise instruments (ratchet, rubel, etc.). Before playing the button accordion (for the little ones), first learn the song on the piano or xylophone and then perform it on the button accordion.
The complexity of the works being studied should increase gradually; fast tempos and loud playing should not be abused to prevent clenched hands. The gradual increase in complexity of the pieces is well used in D. Samoilov’s collection “Fifteen Lessons on Playing the Accordion.” Each of D. Samoilov's lessons is devoted to the study of several notes and a certain position of the hand, and several songs are built on almost identical movements of the hand, which makes it possible to perform them without much difficulty.
Based on the characteristics of preschool age and their physical capabilities, learning objectives were determined.
Learning objectives in preparatory classes (at the aesthetic department):
1. Development of musical abilities (sense of rhythm, hearing, memory).
2. Formation of initial skills in using the button accordion (planting, setting up the gaming machine).
3. Performing simple songs and sing-alongs.
4. Reducing stage anxiety through constant performances.
5. Creating motivation for further learning to play the button accordion, developing interest in musical lessons.
6. Improving the ability to play in an ensemble with a teacher or in an ensemble of noise instruments.
In order to learn to play the button accordion, you need to learn to use the basic rules for landing and positioning the instrument. In preschool age and during the 1st grade of a general education school, this is of particular importance in connection with the development of the child’s body. Let's look at the basics of setting up the instrument in more detail.
For children 5-6 years of age, small musical instruments are needed, suitable for the child’s height. At our school it is:
Bayan “Baby” - 34 x 40
Bayan "Tula" - 43 x 80
The feet of the feet should be firmly planted on the floor; for this purpose, for students of short stature, the legs of the chair are filed to the required height or a sufficiently wide stand is placed under their feet. Your knees should not be kept too wide.
It is necessary not to allow anyone to look at the keyboard while playing, otherwise the student will have to tilt the button accordion. The note up to the first octave is found by counting down the desired key from top to bottom, depending on the type of button accordion (“Malysh” - 2nd key, “Tula” - 3rd key).
The left leg moves forward a little, and the right leg stands exactly at an angle, i.e. the left knee is slightly lower than the right, the bottom of the right half-body rests on the student’s thigh. When adjusting the belts, it is taken into account that the left belt is made shorter than the right one. The structure of the child’s shoulder girdle should be taken into account. As a rule, children's shoulders have rounded, smoothed shapes; their bones have not yet become stronger. The shoulder straps keep slipping. Such students need to use a horizontal strap (below the shoulder blades), which holds the shoulder straps and at the same time provides additional support. This helps develop correct posture. To help the student sit up straight, you can press forward on the center of the back. The shoulders are pulled back so that the load falls not on the shoulders, but on the center of the back. The head is held straight. When adjusting the straps, you need to take a deep breath - the body of the instrument should lightly touch your chest. When you exhale completely, a small gap of 2-3 centimeters remains between the accordion body and the performer’s chest. (6, p.1-2)
The elbow of the right hand is held so that the forearm is not pressed against the body and does not interfere with the free work of the hand. It is necessary to ensure that students do not strain their fingers and hand; releasing the wrist joint gives freedom to the fingers.
The right hand with rounded fingers freely covers the neck of the instrument, without pressing the palm against the edge of the neck, forming a small hole between the neck and the palm.
The left hand, bent at the elbow, is threaded under the belt and rests with rounded fingers on the keyboard of the second row. The palm and thumb rest against the mesh, creating a grip when squeezing. You should pay attention to the fact that the left half-body begins to move smoothly when compressed, without an initial upward rise.
DEVELOPMENT OF MUSICAL ABILITIES USING GAME TECHNIQUES
In his work, the teacher must use a variety of techniques - activating memory, cultivating a sense of rhythm and hearing. Every action of the teacher must take into account the age of the little student. At 5 years old, the main place in life is still occupied by play. Therefore, the development of musical abilities must be carried out through play or using game moments. A child is not interested in just sitting and listening to a tape recording when the teacher introduces him to examples of musical art. He came to school to have a good time, to learn how to convey his impressions of music through the sound of his instrument.
Let's briefly consider methods for developing musical abilities, listening to music using game moments.
During their studies at an art school, each student should get acquainted with music of different styles. It is not necessary to listen to all the works recorded on a tape recorder; they can be performed by the teacher himself. A child is not interested in being a silent listener. If a marching tune is being played, ask him to march. Depending on the mood of the music, the student must choose the most suitable instrument (ratchets, maracas, metallophone, etc.) and together with the teacher try to perform it. At the same time, the student determines the nature of the work (sad, cheerful, cheerful, etc.), the type of music (march, song, dance), the volume of the melody, the high or low registers used, comes up with a name for the work performed by the teacher, draws a picture on the theme of the melody being listened to .
V. Semenov: “Improving the sense of rhythm accelerates the general musical development of students, because rhythm unites the emotional and motor principles” (9).
To develop a sense of rhythm and attract the attention of children when they begin to get tired and distracted, the game “Echo” is used. The teacher claps various rhythmic patterns - the student’s task is to repeat them. All this must happen without stopping, continuously for some time. Absolutely exact repetition is not required. In this case, they alternately use clapping hands, hitting the legs, stamping, jumping, clicking, everything that the teacher can think of. If the game is played at a pace, with unexpected turns, it will certainly attract the attention of children and include them in further work. Along the way, memory and a sense of rhythm develop (from the experience of V.A. Zhilin. Children’s Art School in the village of Varna).
To develop hearing, we practice selecting songs by ear. The most accessible form of manifestation of musical and auditory perceptions is singing. Individual sounds, intervals, small chants are played by the teacher on the instrument, the student remembers and sings, then tries to find the sounds on the button accordion. It is better to take songs with words with which the melody is remembered faster and more clearly and, accordingly, is easier to select. You can take familiar songs that children sang in kindergarten.
Composing songs and games also contributes to the development of hearing and imagination.
§ question-answer game. The teacher plays a small piece of his melody on the button accordion - the student’s task is to respond in kind and in the same character (and vice versa). Let these be clumsy attempts, an unsuccessful combination of voices, but at 6 years old, and especially at the age of five, you cannot demand too much. If a child tries to do something, he develops at the same time. Subsequently, with advanced students, you can continue what you started, but for the rest, let it remain a game.
§ “The game of blind man’s buff.” The student is shown two keys, the teacher plays one of them; The student's task is to find a key; gradually the number of keys increases.
Memory development is facilitated by memorizing a large number of different songs. It is necessary to periodically return to previously covered material; after some time it will be played much easier. A list of works that the student has ever performed should hang in a prominent place in the office. Students should see what they performed in 1st grade or 4th grade. There is an additional incentive for the child to be able to perform several pieces at any time.
Children's love of drawing is used to learn musical terms. The student is asked to draw the term “piano” in the form of a sleeping man; “forte” through the roar of engines; you can draw a “P” icon on the chest of a calm person and an “f” icon on a loudly screaming person; “diminuendo” in the form of a narrowing road or river, decreasing clouds in the sky, etc. Of course, only basic terms are taken.
There are different points of view on teaching the ability to improvise. Many people believe that only talented children can improvise. A child is not born with ready-made musical abilities; they develop in the process of musical activity, playing a musical instrument, singing, etc. Even the smallest ones are capable of improvising to the best of their ability. This could be an image of raindrops on a metallophone, the rustling of leaves underfoot on a maracas, the beating of drums on a tambourine, the whistle of a locomotive on a button accordion. The teacher’s task is to maximize the creative abilities of each child. They start with the simplest techniques, which do not present any particular difficulty, but at the same time the student must be sure that he has changed the melody, made it a little different. This could be simply adding one or two notes to an already familiar melody, playing in the upper or lower registers, or rhythmic changes.
Children aged 5-6 years old, almost without exception, love and want to perform. If desired, the teacher can find many opportunities for their performances. These include holidays in kindergarten, concerts at an art school, parent meetings, etc. Constant participation in concert activities leads to the fact that the student feels quite calm on stage and gets used to playing without anxiety. Only works that the student can calmly and happily perform are taken for performance. Plays he plays with difficulty on stage will not cause positive emotions and can gradually lead to stage fright.
In modern conditions, it is necessary to use modern means when working with children. Using a synthesizer (unfortunately this is not possible everywhere) allows you to get acquainted with the song you are studying on the piano keyboard and then transfer its performance to the button accordion. The capabilities of the synthesizer are not limited to using only the keyboard, it also includes rhythmic accompaniment of performance, it also includes the ability to record and then play back, change the sound, tempo, etc. Even small children quickly master the synthesizer and independently use all its capabilities. They select the sound and suitable rhythmic accompaniment for a particular piece and perform it with pleasure. At the same time, students become familiar with the piano keyboard, which will also be useful in solfeggio lessons.
Playing works to a negative soundtrack has proven itself well. Unfortunately, at present it is not so easy to select suitable phonograms. Phonograms can be found on the Internet on the appropriate sites (although this is quite problematic) or you can look for recording opportunities in cultural centers, etc. Sometimes on sale you can find sheet music literature with accompanying discs with phonograms. Such music publications include R. Bazhilin’s collection “Learning to play the accordion,” notebook 2 (with disk). It is quite possible to play the button accordion part both in the first grade and in kindergarten. When playing with a soundtrack, students are forced to act within the strict framework of the proposed rhythm, while when performing solo, the student does not always maintain an even rhythm and plays with deviations from the tempo. Professionally made phonograms are liked by all students without exception, and when performed at concerts they are well received by listeners.
TYPES OF EXERCISES AND THEIR USE
One of the most important tasks when learning to play the button accordion is the development of finger fluency and the organization of free playing movements. Work on hand positioning begins from the very first lessons.
Any hand action is performed by contracting a specific muscle group. Contraction of some muscles should not cause tension in others that are not involved in the work. The exercises in question help prevent muscle strain; the student should feel relaxed in the gaming machine after finishing the lesson.
Exercises can also be used in the form of a kind of ligaments to relieve psychophysical stress that arises during a lesson with a student.
At the initial stage of learning, exercises help to get an idea of correct sound production and the movements necessary for this. Their use helps to quickly master the keyboard, develop independence of hands, and form initial practical skills in playing the instrument.
I would like to note the following teaching aids and collections dedicated to exercises or touching on this topic:
1. I.E. Safarova. “Games for organizing pianistic movements”
2. V. Semenov. "Modern school of playing the button accordion."
3. Stativevkin G.. Initial training on an optional ready-made button accordion.
4. R. Bazhilin. "School of playing the accordion."
5. D. Samoilov. "Fifteen lessons on playing the button accordion."
6. Rizol. Principles of using five-finger fingering on the button accordion.
7. Easy exercises and sketches for grades 1-3.
8. Yu. Bardin. Learning to play the button accordion using five-finger fingering.
Each author describes a certain number of exercises aimed at developing certain skills. Different types of exercises are scattered across different textbooks, even if they are given in the same collection, they are on different pages. Using the exercises in this case is not convenient enough. This paragraph makes an attempt to combine exercises for the development of certain skills suitable for use in working with 5-6 year old children.
Exercises can be divided into several groups.
Finger games
Practice shows that finger games can be used in classes with children from 2 to 8 years old.
I.E. Safarova: “Through finger games, the child develops not only tactile movements and touch, but also his speech development occurs more intensively, which in turn is associated with the general development of the child, the formation of his personality” (8).
Exercises are used, both aimed at working with the fingers and hand, and at movements of the forearm and the entire hand.
v Finger game “5 mice”.
Five little mice move all the fingers of both hands.
We climbed into the pantry.
In barrels and cans
They operate deftly.
The first mouse climbs onto the cheese and sticks out its thumb.
The 2nd mouse dives into the sour cream - they put out their index finger.
And the third one licked all the butter off the plate, - they stick out the middle finger.
The fourth one fell into the bowl of cereal - they stick out their ring finger.
And the fifth mouse treats itself to honey. - stick out the little finger.
Everyone is full and happy. - rubbing our palms.
Suddenly... The cat wakes up. - claws extended.
“Let's run!” - squeaked
Girlfriends baby
And hid in a hole
Naughty mice - hiding their hands behind their backs
Mice live happily
The mice sing songs.
v Finger game “Spider” (8)
Spider all up connect cross pads
Crawling, 2nd and 1st fingers of the right and left hands.
He weaves a web. The fingers of the “spider’s foot” are sensitive, round
The web is so thin, the first fingers get caught in each other
Strong to my friend, the rest perform the movement
Holding a moth "moth wings"
v There is a lock on the door (hands in the lock)
Who could open it (straighten the lock)
Twisted (twisted with hands)
Knocked (knock with palms)
And they opened it (arms to the sides).
v "Scallop". Keep your hands locked, alternately straighten the fingers of one hand and then the other.
v "Race of two-legged people." Fingers walk on the table (2 fingers each). The load is distributed on the fingertips.
v "Elephants". Stick out your 3rd finger and use the other four to walk around the table like a spider.
v “brothers sloths.” Place your palms on the table, alternately lift your fingers up, each finger several times (antagonist muscles responsible for movement).
v "Big Fan". Hands to shoulder. As you inhale, put your hands up to your shoulder, and as you exhale, down.
v "Zipper lock". To relax the wrist. Freely glide up and down keys.
v "Hunting". With a large movement of the hand, hit the desired key.
Formation of preliminary initial practical playing skills without and on an instrument (10, pp. 8-11):
v Leaning on the table with his arms bent at the elbows, the student slowly makes circular movements with relaxed hands.
v Sitting on a chair, lower your arms along your body and lightly shake your freely hanging hands.
v Fingers with pads on the table (half-bent). The hand moves to the side and returns without lifting the fingers from the table surface.
v Exercise “Swan”. The right hand is down. The arm bends at the elbow, moves to the side and smoothly lowers onto the keyboard, maintaining the original position of the hand and forearm. After touching the keyboard, remove the hand in a wave-like movement from the elbow, forearm and hand to the fingers, which are lifted off the keys at the last moment. Repeating it several times is reminiscent of the flapping of a swan's wing.
v Exercise “Vertical”. All five fingers on the outermost row. The hand, under its own weight, slowly and easily slides down and up.
v "Button". On the proportionality of muscle efforts with the elasticity of the buttons. Use the pad of your third finger to touch the key and, with gentle pressure, immerse it to the bottom, feeling the support. Then the hand is removed with the Swan movement.
Sound-pitch exercises (10, p.21)
§ “From the mountain on a sled.” Descending melodic movements along minor thirds downwards (glissando), subsiding, slowing down, etc.
§ "Rocket". Ascending melodic movement along a vertical row (glissando), the sliding speed increases, and the dynamics imitate the removal of a rocket.
§ "Bunny". The student determines where the bunny is jumping up or down (m2 up or down is played).
To develop the independence of various parts of the hands, there are the following exercises (9, p. 8)
v Your arms are down and relaxed. Sharply clench the fingers of your left hand into a fist, and then, relaxing the muscles, unclench your fist. At this time, the right hand is completely free.
v Place your right hand on the table. Raise your forearm up parallel to the plane of the table. Shoulder muscles work. The hand and fingers are relaxed.
v The right hand is on the table, fingers are bent and touch the table. Raise your forearm, bending your arm at the elbow (the hand is free), then lower it.
v Hands on the table, fingers bent. Raise and lower each finger.
v The situation is the same. Light alternating strikes with fingers 1 and 5, then with fingers 2 and 4 by turning the hand. Finger movements are minimal.
In musical practice, position is usually called this or that position of the hand and fingers on the fingerboard or keyboard. On the right-hand keyboard, the player moves his hand up or down along the fretboard. The thumb of the right hand can be either behind the bar or in front.
There are three main positions associated with different elbow positions (9, pp. 12-13):
1. First position. High elbow position (fingers 2, 3, 4 are arranged in semitones on the keys C, C sharp and D).
2. Second position. Middle elbow position. The fingers are located on the keys of one of the rows of the keyboard (in minor thirds).
3. Third position. Low elbow position (1, 2, 3 fingers of the right hand are located according to the tones on the keys F, G, A).
To train the hand to perform in positions and transition from one position to another, there are various exercises that can be found in the books listed on pp. 19-20.
CONCLUSION
In the presented methodological development, the main emphasis is on the initial period of education, which is of great importance for the future development of the child. The features of teaching 5-6 year old children the button accordion and the differences in working with preschoolers and 1st grade students of a comprehensive school from classes with 8-10 year old children are considered.
The objectives of teaching in preparatory classes (aesthetic department) are determined based on the psychological characteristics of preschool children and their physical capabilities.
How to be able to interest a little man and captivate him. Since the leading activity of this age is play, the development of musical abilities (hearing, memory, sense of rhythm, ability to improvise, etc.) is impossible without the use of gaming techniques. The preschooler is used to playing and cannot yet do it any other way.
There is no doubt that due to the development of the child’s body, special control over the landing and positioning of the instrument is required. It is necessary to somewhat limit the playing directly on the button accordion, measuring it with the capabilities of each student. You can’t get by with just working on the study of works; you need to use a whole range of techniques. In classes in the specialty, in addition to studying plays, you need to use playing other instruments, performing various exercises, singing, drawing, and games.
It is impossible in one methodological development to cover all the issues related to such a broad topic as accordion lessons with preschoolers and 1st grade students of secondary schools.
His future path in music depends on how the teacher manages to develop different aspects of the student’s talent, and simply find a common language with the child.
REFERENCES
1. Bazhilin R.N. Accordion school. - Educational and methodological manual. - M.: V. Katansky Publishing House, 2001. - 208 p.
3. Questions about methods of teaching playing the button accordion: In 2 hours. Textbook. allowance / Petukhov V.I.; TGIIK; Department of Orchestral Conducting. - Tyumen, 2003. - 85 p.
4. Dmitrieva L.G., Chernoivanenko N.M.. Methods of music education at school. - M.: Education, 1989.-208 p.
5. The world of childhood: Junior schoolchild./Under. Ed. A.G. Khripkova; - 2nd ed., - M.: Pedagogy, 1988.-272 p.
7. Samoilov D. 15 lessons on playing the button accordion. - M.: Kifara, 1998. - 71 p.
8. Safarova I.E. Games for organizing pianistic movements. - Yekaterinburg, 1994.
9. Semenov V. Modern school of playing the button accordion. - M.: Music, 2003. - 216 p.
10. Stativkin G.. Initial training on an optional ready-made button accordion. - M.: Music, 1989.- 126 p.
11. Sukhikh F.K. The influence of load on the state of preschoolers during the lesson. - http://festival.1september.ru/
12. Yakimanskaya I.S. Developmental training. - M.: Pedagogy, 1979.-144 p.
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Rhythm is one of the central, fundamental elements of music, which determines one or another pattern in the distribution of sounds over time. The sense of musical rhythm is a complex ability that includes perception, understanding, performance, and creation of the rhythmic side of musical images.
The foundations of creative perception of rhythm should be laid from the first steps of music lessons. Working on rhythm is an important aspect of a performing musician’s activity at any stage in the development of his skill.
Like other musical abilities, the sense of rhythm can be trained and developed. But, since all musical expressive means are interconnected and solve a specific musical problem, the development of a rhythmic sense is possible only in inextricable connection with other components of the musical fabric.
One of the main problems in a specialty class is the lack of clear rhythmic sensations in the student. Quite often in the accordion class we are faced with non-rhythmic performance of musical works. There can be many reasons for such a game: an unsteady feeling of metrical pulsation; inability to imagine with the inner ear the sound of a specific rhythmic figure; lack of internal rhythmic pulsation - the ability to fill a large duration with smaller durations; the technique of performing the button accordion is opposed to the clarity of the performer's meter-rhythmic sensations; insufficient musical education of the performer.
During the playing process, the performer controls the sound control of the button accordion by moving the bellows. Thus, when performing, smooth movement of the bellows makes coordination difficult; tactile sensations on the keyboard of the instrument are more uncertain compared to playing on the piano, since on the vertically located keyboard of the accordion-bayan it is more difficult to find a feeling of support, and this tactile sensation is especially important in the performance of complex rhythmic elements .
The primary emotional representation of music through movement is an important stage. One of the techniques for developing a sense of rhythm, especially at the initial stage of learning, is to calculate the music being performed. A melody is formed when sounds are organized rhythmically. If they are scattered outside a certain rhythm, then they are not perceived as a melody, that is, the rhythm has great expressive power and sometimes characterizes the melody so clearly that we recognize it only by its rhythmic pattern. If the child’s sense of rhythm is imperfect, speech is poorly developed, it is inexpressive, or poorly intonated. Very important in teaching music is the teacher’s ability to make his students feel the power of music and awaken in them a love for art. Various exercises and games will help with this. During the first lessons, group lessons are possible.
1. Listen to any rhythmic pattern or melody.
2. Foot timing: marching to the count: 1,2,3,4. We march, highlighting (stomping strongly) 1 and 3 - strong beats. We march, highlighting only 2 or, for example, 4.
3. Timing with feet: marching to the music (2 quarters) - highlighting the strong beats.
4. Hand timing: clap your hands. On the downbeat, make a big swing, spread your arms to the sides, clap your hands. We don’t swing on the weak beat, we only touch it with our fingertips.
5. Timing with hands to music (2 quarters). On the strong beat there is a loud clap - “palms”, on the weak beat - a quiet clap, “fingers”.
6. Timing with your hands (clap) or feet (stomp in place, hands on the belt) a children's rhyme, loudly on the strong beat, quietly on the weak beat. For example,
Bom-bom, tili-bom.
The cat's house caught fire.
The cat jumped out
Her eyes bulged.
7. We march in quarters with the words: “Step, step, step, step.”
8. We run on tiptoes (eighths) with the words “Run, run, run, run.”
9. If working in a group, divide into groups - one group walks “step-step”, and the other “run-go, run-go”.
10. “Cat House” - stamp a rhythm for each syllable. The above will look like this:
Step, step, run, step.
Run, run, run, step.
Run, step, run, step.
Run, step, run, step.
11. The group is divided into 2 parts - we recite “Cat House” and walk: one half is meter (only for strong and weak beats), the other is rhythm (for each syllable).
12. Clapping is the same.
13. You can tap on a drum (on a chair, on a table top, on the floor, etc.), rattle a rattle, etc.
14. Clap and walk at the same time.
15. Walking. First, the usual marching, then at “one” - a step forward, at “two - three” - two steps in place.
An exercise to develop coordination, as well as a sense of tempo and rhythm.
For one step - two claps and vice versa. Try to perform movements smoothly and rhythmically.
Exercise “Funny Legs” to develop a sense of rhythm and motor skills
The student sits on a chair, back straight, hands on his belt, legs bent at an angle of 90°. To the music, he puts one foot forward on the heel, then on the toe and puts it in its original position, making 3 stomps with his feet alternately. Then repeat on the other leg. It is important to monitor the rhythm of the performance. The exercise can be performed to music.
An entertaining exercise “One, two - islands” to develop a sense of rhythm.
Place your hands on the table, palms down. Bring your fingers closer to you a little. Quietly pat all your fingers on the table. You can tap in this way the names of familiar children, the names of animals, birds, trees.
Left hand Right hand
One, two - island.
Three, what - you - we've come.
Seven, seven - how many days!
Ten, ten - I'm on my way.
I counted to ten!
Rhythmic dialogue with a student - we “talk” by knocking - we encourage you to respond with a phrase of the same length, tempo, character, but with a different pattern. Similar rhythmic exercises can be carried out at each lesson, allotting 5-10 minutes to them. For example, game "Echo":
Game "Reverse Echo":
Having learned through games that music has its own rhythm and tempo, the student must understand that music is alive because it has a meter. The meter is best perceived as a "pulse", steps in moderate motion. Meter is an alternation of reference and non-reference sounds. Like breathing and heartbeat, music seems to pulsate evenly, constantly alternating between moments of tension and decline. Moments of tension are strong beats, moments of decline are weak beats. If a piece of music is a house, then the bars are its rooms, all of the same size. A beat is a segment of music from one strong beat to another. Rhythm, meter, tempo are indissoluble. The purpose of rhythmic exercises is to introduce complex rhythmic figures and prepare for the performance of complex pieces.
A generally accepted scheme of durations can be given after performing simple rhythmic exercises. During classes, offer children the following situations: “If an elderly person walks slowly, how does his heart beat, what is his pulse? If one person is walking calmly and another is running, how does their pulse beat: at the same pace or differently?” The teacher plays the pieces, and the child beats the “pulse”, then writes it down. 
New game: Mom walks with the baby, the mother has big steps, and the baby has 2 times more steps. So dad came home from work and also decided to take a walk with his family. But dad's steps are very long, he walks slowly. 
You can invite your child to write rhythmic patterns for any toys or fairy tale characters. The result is a game “Whose steps are these?” The child explains who is coming, approaching or leaving. Particular attention should be paid to the correct graphic reading of the rhythm. It is necessary to consolidate temporary: metric, visual and auditory perception. Be sure to explain to the student that when writing notes, the distance between them depends on their duration. Already in the first lessons, a child can learn 4 rhythmic units:
Thanks to the imagery, this technique is well absorbed by children. In general, in the pre-note period, children learn 10 rhythmic units: 
From these rhythm cards you can create various rhythmic patterns.
The above games and exercises serve as an excellent addition to specialty classes in the button accordion class. They allow you to conduct lessons easily, “in one go,” not tiring and useful for the child.
Exercises can be varied depending on the individual characteristics of each child, using a creative approach and special attention to the student.
References:
- Alekseev I.D. Methods of teaching playing the button accordion. M.: GosMuzIzdat., 1961.
- Volkova G. A. Speech therapy rhythm. M.: Vlados, 2002.
- Pankov O. About the accordion player’s work on rhythm. M.: Muzyka, 1986.
- Samoilov D. 15 lessons on playing the button accordion. M.: Kifara, 1998.
- Franio G. The role of rhythm in the aesthetic education of children. M.: Soviet Composer, 1989.
For beginning accordion players, one of the problems is the ability to adapt to the instrument. Successful development of technology is unthinkable without the correct choice of student seating and instrument installation. Later in the process of musical development, students each find their “own” landing, which is associated with their creative individuality. “Hand placement,” like the posture of a future musician, is formed in the process of getting used to the instrument.
This term is usually understood as the movement of the hands, the variability of their various positions during the game. It is known that any action requires physical effort. It follows from this that the free state of the hand can be considered such when it moves freely across the keyboard, using its fingers to find comfortable positions for performing artistic and technical tasks within its capabilities. “The hand should experience physical pleasure and comfort while working, just as the ear should experience aesthetic pleasure all the time.” (N. Medtner). Developing hand freedom is a complex process based on sensations. The student should “feel the hand well” and “feel the weight of the fingers.” The absence of such a feeling will lead to tightness of the hand, which is why it is necessary to lay the foundation of natural free play movements in the initial period of training. It is necessary to teach the child to find comfortable movements, listen to his feelings, learn to feel his fingers while playing.
The initial period of learning to play a musical instrument is, as we know, the most important and is considered as the foundation of knowledge and skills that determines the student’s further movement along the path of mastering the instrument. This, in turn, places special demands on the teacher, or more precisely, on his work methodology, on the system of knowledge and skills transferred to the student. It is to the system, which means a certain range of theoretical knowledge and gaming skills in a strict logical sequence from simple to complex. 
Unlike violinists and vocalists, who spend many years training their hands and voice apparatus, accordion players, at first glance, do quite a bit of training. But the correct placement of the gaming machine at the initial stage of training is very important, because the ability to express an artistic concept in execution, avoid jamming the gaming machine, and, as a result, give impetus to greater development and improvement of technical abilities depends on it. The position of the accordion player consists of three components: landing, positioning of the instrument, and position of the hands.
When working on the landing, one should take into account the nature of the piece being performed, the psychological characteristics, as well as the anatomical and physiological data of the musician, especially the student (height, length and structure of the arms, legs, body). In accordance with the age and physiology of each student specifically, the instrument itself must be selected, i.e. accordion. The correct posture is such that the body is stable, does not restrict the movement of the arms, determines the musician’s composure, and creates an emotional mood.
The correct position is one that is comfortable and creates maximum freedom of action for the performer and stability of the instrument. Of course, rational installation of the instrument is not everything, but the accordion player and the instrument must be a single artistic organism. Thus, the accordion player’s whole body is involved in the performing movements: both the differentiated movement of both hands and breathing (during performance 3, you need to monitor the rhythm of breathing, since physical stress inevitably leads to a disruption in the breathing rhythm). Due to the design features, two movements are required to produce sound - pressing a key and moving the bellows. 
Each school of playing the button accordion, teaching aids talk about the relationship between bellows and sound, its volume. But experience shows that beginning accordion players make a mistake when they forcefully press the key and try to achieve a greater sound without appropriate control of the bellows, which leads to enslavement of the playing apparatus and affects the general psychological state of the body. To properly organize the gaming machine, we must keep this relationship in mind. The advantage of the button accordion is that the independence of the sound from the force of pressing the key saves the musician’s energy.
Modern teaching methods consider performance as a set of conditions for playing the button accordion. These include: landing, instrument installation and hand positioning. In the methodological explanations of well-known schools, all three aspects of the production are described in sufficient detail. The authors of these schools write or illustrate with drawings that the button accordion should be slightly tilted forward, since this installation of the instrument ensures the correct positioning of the left hand, in which the 4th and 5th fingers are on the main row. The tilt of the upper part of the instrument body towards the student’s chest, in their opinion, deprives him in the future of the opportunity to use the 5th finger of the left hand on the main and auxiliary rows.
But in the initial period of training, as we know, we have to solve completely different problems, for example, mastering the right keyboard, which is associated with the development of its conceptual representation. Therefore, the installation of the tool at the initial stage should be subordinated to solving these problems, and not to the future use of the 5th finger of the left hand. When the time comes to use it, the student will already be able to install the button accordion with a forward tilt, since by that time he will have learned to tactfully find the required 4 keys. But when he just begins to master the keyboard, he sometimes has to look at it, and for this he needs to install the button accordion with a slight inclination of the upper part of the body towards the chest.
This temporary digression will not prevent you from using the 5th finger of your left hand on the main and auxiliary rows in due time. The swim coach uses life-saving devices during the initial training period, knowing that he will abandon them when they only get in the way. Therefore, any temporary retreat is possible if it is beneficial, and in this case it is even necessary, since it frees the student from artificially created difficulties and, therefore, contributes to faster mastery of the keyboard. It can be argued that the teacher is obliged to coordinate the movements of the student's fingers on the keyboard, thereby helping him develop a tactile way of hitting the keys in the desired sequence. Yes, this is true, but the teacher can do this only twice a week, and the rest of the time the student studies independently and is deprived of the help of a mentor. 
And since he finds himself in the position of controlling himself, why not allow him to peek at the keyboard? You just need to be careful that this spying does not turn into a habit of constantly looking. The following must be added about hand placement. As a rule, almost all beginning accordion players try to hold the fingerboard with their right hand while squeezing the bellows, which can lead to negative consequences if attention is not paid to it in time. Most often, the reason for this is the large shoulder straps of the accordion on which the student practices at home. Therefore, it is necessary to take measures in advance to eliminate any kind of interference, the elimination of the consequences of which only slows down the learning process and overloads the student’s attention.
In this case, we must proceed from the position that there is no fixed position of the right hand (even in positions), except for its natural state during the game (in the 5th dynamics). This means that the hand is in a position that excludes bending in the wrist joint as a necessary condition for freedom and natural movement of the fingers and hand at any time and in any direction.
The latter, in turn, depends, firstly, on the fingering (how logical it is, that is, how convenient it is); secondly, from the correct coordination of the movements of the fingers and the movements of the hand, and if necessary, the whole hand; thirdly, from maximum use of the possibilities of changing tension and relaxing muscles; fourthly, from the match between the speed of the game and the possible speed of the student’s thinking (that is, how easily and freely the student can imagine and control his actions at a given pace).
There are practically no other factors leading to stiffness and constriction of the performing apparatus (if you do not take into account, for example, physical fatigue, especially of the left hand). The listed factors, of course, are closely interrelated, and dividing them into main and secondary ones makes no sense at all. Another thing is selecting a presenter. This factor, in our opinion, is the fourth, since the reliability of action control and, as a consequence, the accuracy of execution depend on it.
You can control incorrect fingering or incorrect coordination, but you cannot act correctly uncontrollably, unconsciously. In this case, we mean the principle of the unity of consciousness and activity, formulated by psychologists. Violation of this unity leads to disruption of activity. If a student acts faster than he can imagine and fully control this action, then stiffness appears and, as a result, tightness. That is, ease and freedom of action at a certain pace is a consequence of ease and freedom of thinking (consciousness).
An unbearable pace creates stiffness in consciousness and mental activity (internal constraint), which, in turn, causes constraint in the performing apparatus (external constraint), and as a result, tightness. In this regard, the process of changing tension and relaxation of muscles requires special attention, because the state of the performing apparatus also depends on this. Psychologists have found that the mere intention (imagination) of making this or that movement already causes muscle tension, although imperceptible to the person himself. Therefore, when playing the button accordion, tension in the muscles involved in certain movements is a natural and necessary consequence.
But it is also known that constant muscle tension leads to fatigue. Moreover, stopping movements (for example, during a short pause) does not relieve muscles from tension. The secret is that the player’s attention is immediately focused on imagining the next movements, which are carried out with the participation of the same muscles. This is the cause of constant tension, leading to stiffness and tightness.
Therefore, in order to free the muscles from tension, it is necessary to switch the player’s attention to imagining a movement that would cause tension in completely different muscles, giving a short “respite” to the tense muscles. Such a movement could be, for example, removing the fingers from the keyboard along with the hand by moving the forearm with an outer bend in the wrist (the hand, and then the relaxed fingers, seem to follow the forearm). Thus, periodic release of the muscles protects them from constant tension, and therefore from stiffness and tightness.
To carry out such movements, you can use a pause, a caesura between phrases, etc. That is, the phrasing of a musical piece determines the “phrasing” of the muscles (alternating tension and relaxation) or, in other words, the “breathing” of the muscles should be a reflection of the “breathing” of the music being performed plays.
In conclusion, it should be emphasized that demands on the student based on the final goal without taking into account a gradual approach to it are not always justified (and often even turn out to be harmful). Therefore, there is no need to demand everything at once, although in a sense this is true. Everything is what is needed for this stage of training. Indeed, in the initial period of learning to play the button accordion, the main thing for the teacher should not be the student’s performance, but the correct formation and consolidation of performing skills - individual movements, techniques, actions, etc., and a solid assimilation of the theoretical knowledge necessary for this.
Denkova Z. F.
http://as-sol.net/
This work is an attempt to help teachers of playing the button accordion in solving some methodological issues and a number of tasks on which the teacher’s attention is most focused in the process of practical work. The basis for it was the results of thirty years of activity of the class of folk instruments and the department of folk instruments of the Kyiv Order of Lenin Conservatory. P.I. Tchaikovsky, led by Honored Artist Professor M.M. Gelis. Here, practical solutions were found to such issues as planning educational and educational work, positioning of hands with extensive use of the right thumb in fingering, the use of two belts, working with fur, strokes, etc.
The book consists of an introduction and four chapters.
The introduction talks about the role of the button accordion in our lives, about the growth of the culture of playing it.
The first chapter traces the origin and development of the button accordion as a Russian folk instrument, which has become one of the most beloved. The history of the development of the button accordion is important for the correct coverage of teaching methods, in particular for solving one of the main issues - the question of formulation.
The second chapter briefly outlines the basic principles of Soviet pedagogy and outlines the ways of their application in the practice of an accordion teacher.
The third chapter is devoted to the most important issues of organizing the educational work of a teacher with students in a button accordion class.
The last, fourth, chapter examines the technical capabilities of the button accordion, the difficulties encountered when playing this instrument and ways to overcome them.
The author does not set out to provide a complete, generalized methodology for teaching the button accordion. He only strives to help the accordion teacher to at least to some extent improve the teaching system.
In working on the book, the author received creative assistance from the head of the department of folk instruments at the Kyiv Order of Lenin State Conservatory named after P. I. Tchaikovsky, Honored Artist of the Ukrainian SSR, Professor M. M. Gelis. The author expresses his sincere gratitude to him.
The author asks everyone who is interested in the methods of teaching the button accordion to send their comments and suggestions, which he will gratefully take into account in future work.
Chapter II
Basic principles of training
The purpose and tasks of a button accordion teacher.
Principles of education
General issues of accordion player training
Planning of educational and educational work
Development of student's creative initiative and independence.
Teacher's authority
Individual approach to the student
Chapter III
Organization of the teacher’s work in the accordion playing class.
Preparing the teacher for the lesson.
Lesson planning
Lesson structure.
Teaching methods.
Working on a piece of music
The importance of repetition of repertoire
Stage excitement.
Chapter IV
Development of technical means of musical performance
Tool quality
General principles of teaching the technique of playing the button accordion.
Hand placement
Left hand technical equipment.
Starting position of the left hand
Functions of the left hand
Left hand positions
Execution of scales
Playing arpeggios, rehearsed basses and chords. Substitution of fingers
Performing intervals and tetrachords
Right hand equipment
Features of placing the right hand
Clamping errors
Performing scales and exercises
Sound production technique
Dynamics
Thinning.
Strokes
Horse racing
Independence of hands
Working on sketches
