Work on a cantilena play in the middle classes of a music school. Work on polyphonic works by J.S. Bach at a music school

Stages of work on a musical work.

Work on a piece of music is a creative process, the diversity of which is associated both with artistic features works, as well as with various individual characteristics of the performer.

To perform means to create: it depends on the performer whether he will revive a piece of music, spiritualize it or deaden it, belittle it. Hence, an important role in the process of musical education, in the process of shaping the future musician, is called upon to play work on an artistic musical work.

The topic of this work is relevant, since the key to successful results is the ability to correctly determine the course and content of work on this work.

Work on a piece of music is the most developed topic in the theory of performance and learning. IN methodical works teachers, the form of work on the work is considered quite fully. And there are several points of view. In A. Goldenweiser, for example, work on a piece of music is divided into two parts, we read: “First of all, you need to know and feel well what is to be worked on; after that, the work should go from polishing the details to creating the whole” (8, p. 35). Other teachers divide the work on the work into three parts (G. Kogan, L. Ginzburg).

At all stages, the role of the musician-teacher is very great. Starting from the choice of the studied work and ending with the preparation for its public performance, the teacher is responsible for the entire course of the process under consideration.

So, long-term pedagogical practice shows that the form of work on a piece of music seems appropriate to be divided into three stages:

General introduction to the work.

Detailed analysis (analysis).

Artistic revision of the work.

But this division into stages is conditional. Conventionality depends on the individual differences of musicians, on the characteristics of their talent, the degree of advancement.

Also, the musician faces many tasks - to deeply study the musical text, the content of the work, form and style, to find the necessary sound expressive and technical means through the embodiment of the intended interpretation,

Familiarization with the work is the initial stage of its study. In order to get an idea of ​​the style, nature of the music, the form of the work, it is necessary to play the work in its entirety, or in large sections. Reading a play from a sheet can be combined with listening to it in the recording, showing it to the teacher. It is useful to familiarize the student with creative biography composer, with historical era creating a work.

At the first stage of a student's work on a piece of music, it is very important that he can get a holistic view of music.

1. Repertoire as a means of educating a musician.

A decisive role in the education of a musician - a future performer or teacher, is played by the repertoire on which he works in the learning process. The repertoire is the main, defining means of development of all musical ability, artistic taste, intellect, technique, figurative sphere.

Based on an individual approach to each student, it contributes to the multifaceted development, education of true musicians - professionals. When educating students on the most diverse repertoire, one must proceed from the principle of the sequence of musical development.

When planning a repertoire for each student, one must take into account training, age, physical abilities, noting both the strengths of talent and negative qualities, often associated with the acquisition of incorrect skills in the past. It is necessary to give a repertoire "in the direction of the greatest resistance", that is, one that helps to overcome the weaknesses of the students. Therefore, one of the main tasks of the teacher is thoughtful, purposeful, compiling a repertoire for each student.

2. General acquaintance with the composition (epoch, style, analysis of thematic material).

The first stage of a student's work on a piece of music is characterized by a general familiarization with the composition. It is useful to familiarize the student with the creative biography of the composer, with a general analysis of his work, as well as with the historical era of the creation of the work.

Of decisive importance for all subsequent work on the work is the analysis of thematic material, the definition of its nature. Also, the content of the work is continuously connected with its form. Therefore, the analysis of the structure of the work, which contributes to the objectivity and individual originality of the performing interpretation, is of great importance for comprehending the artistic image.

Subsequently, all this will contribute to the comprehensive mastery of the in-depth study of that other work of art.

3. Reading from a sheet.

Immediately it is necessary to give the student a complete and as clear as possible idea of ​​the nature of the work. Undoubtedly, the combination of a verbal explanation with a live demonstration on the instrument is more useful. But one must also take into account the fact that a good performance in the recording or by the teacher may contribute to the desire to copy it, limit the student's own creative initiative.

The performer, getting acquainted with the work, plays it from the sheet. This must be given top priority. It enables the musician to immediately embrace its hidden emotional meaning, to feel its true content. In this sense of the whole, the foundations of the plan for future work on the work are laid.

A holistic reading of the text from the sheet is provided by a preview of the texture of the work, aimed at identifying the melody, accompaniment, rhythmic pattern, repetition of figures of technique, fingering groups.

But most importantly, the teacher should encourage the student to independently familiarize himself with the text of the work. Observing the student's analysis of a new text, the teacher must immediately recognize the reasons for the inevitable appearance of errors in his game, conditionally dividing them into two groups: the first is associated with the loss of auditory control (especially in works that are complex in texture, harmonic and rhythmic relations), the other is due to illiterate reading musical notation. In all cases, the teacher should push the student to self-detection of their mistakes.

When observing the analysis and learning of a work and considering preliminary methodological recommendations, the teacher must take into account two main points: how the student learns the content of the play and individual components her musical language, and how his performing techniques are formed. The main thing is not to rush the student, to get ahead of the natural process of understanding music.

Of great importance at the initial stage of work are figurative comparisons, analogies with natural phenomena, with creations of other types of art - in a word, explanations addressed to the student's imagination.

So, the first stage of work ends with the creation of an emotionally colored image and the identification of the main difficulties on the way to achieving the final artistic result. Also, the student should get an idea about the style, form, melodic lines, harmonic features.

The second stage of work on a piece of music is a long period, the process of automating the movements that base the performance of the piece on the instrument, the search for adequate means of embodying the image and intent of the piece, is of paramount importance here.

At this stage of work on the work, the student must fully master the composition, that is, understand it. artistic content observing agogic and dynamic nuances, overcome technical difficulties, learn the work by heart, without losing its artistic whole.

Work on the melody begins with the first steps of learning. When a child sings a song and tries to pick up tunes from two or three sounds, one should already draw his attention to the fact that a melody is not a series of special sounds, that they are interconnected into a single whole.

Depending on the degree of accessibility of a work for a particular student, the method of dissected, a kind of analytical analysis is used in different ways. Already when learning small pieces used at the beginning of training, the student should be given an idea about phrasing, about dividing a melodic line into phrases.

A phrase is a relatively complete part of a melody that contains a certain meaning.

Phrasing is an extremely broad concept and cannot be reduced to any one definition. She is rather a model of performing thinking. Phrasing is connected not only with the division of musical material, the phrase itself, it also includes their unification, the through development of the entire musical work.

One of the reasons for the student’s lack of initiative (this is especially noticeable in cantilena pieces of a homophonic-harmonic structure) is the harmonies are not recognizable by ear.

It is important to introduce the student to other modes of folk and professional music. The teacher should introduce relevant works into individual plans.

In the light pieces of the pedagogical repertoire, the role of harmony in creating states of instability is most clearly seen. These are the simplest dominant and tonic sequences.

It is necessary that the student in each work listens to the individual harmonies and their combinations, delving into the logic of harmonic development, and seeks to understand its expressive meaning. It is important to develop the student's interest in understanding the harmonic language, to direct attention to colorful moments.

Rhythm plays an exceptional role in the creative process of a musician. It is considered as one of the main elements of the musical language, since rhythm is a natural alternation of musical sounds, one of the main expressive and formative means of music. When working on a piece of music, it is impossible to mechanically introduce rhythmic irregularities in the performance. Rhythm is one of the expressive means that is to some extent under the influence of the performer, in contrast to harmony, melody, and texture. The rhythmic fuzziness of the performance leads to an incorrect, distorted understanding of the motive, phrase and work as a whole. Rhythm gives personality to the theme.

It is quite obvious that work on rhythm should be inextricably linked with work on the quality of sound, phrasing, form; in general - with the work on the disclosure of the content of the work.

Essential in the process of working on a musical work is the establishment of a tempo corresponding to the content of this work.

To solve this problem, the student must imagine the tempo possible for him in episodes with the smallest durations found in the play. This will be the tempo at which he can perform the work at this stage of his development.

The conscious and critical orientation of the student in the fingering indicated in the musical text has a serious influence on the development of the piece being studied at the second stage. An expedient choice of fingers helps to carry out the most diverse artistic tasks and contributes to overcoming many performing difficulties. Successfully found fingering allows you to save a lot of time and find a shorter way to achieve your goal.

The variety of music requires an infinite number of finger combinations. But if we carefully consider various kinds of passages, figurations, we can identify a number of typical fingering formulas.

However, it is impossible to have blanks for all occasions, so each performer must know the basic fingering principles and techniques by which certain artistic tasks are resolved.

The desire for competent fingering should be embedded in music schools. It is necessary to ensure that the student carefully thinks through and tests the fingering recommended in the text on the instrument. To select the fingering, it is desirable to play some fragments in tempo if possible, since the coordination of hands and fingers is different in different tempos. Great difficulties for students are places that require maximum coherence with finger legato.

The stroke cannot be considered in isolation from articulation, since it is its most important detail. In the definition of strokes, it is necessary to proceed from the musical and expressive meaning. Lips Shapes this concept like this: “A stroke is the character of sounding due to a specific figurative content, resulting from a certain articulation” (13, p. 35). A stroke differs from articulation by different levels in the logic of musical intonation.

Strokes can be conditionally divided into extended (coherent and separate) and short (short-sounding). The first ones arelegato And legatissimo(connected) and portamento, tenuto(separate), and to short ones -staccato And staccatissimo. Lingering (connected and separate) strokes are necessary mainly in the performance of the cantilena, and short (short-sounding) serve for clarity, sharpness of the separation of sounds or chords, both in continuous movement and separately.

Music is the art of sound. The sound is able to captivate, annoy, caress, call, etc. The ability to extract the necessary sound for the convincing embodiment of musical images on the instrument is one of the signs of performing mastery.

In the context of each work, there is a certain gradation of sound power. The essence of the nuances, the dynamic level will depend on the style, genre, nature of a particular work. The musician must hear the relativity of nuances, and also must know all the subtleties of his instrument and be able to use the dynamics on any nuance, starting withpp before ff . It is important to know that the sound of any instrument has its own aesthetics, to go beyond it means to distort the physical nature of the sound.

Among the many features of the button accordion is the following: when unfolded, the sound is somewhat louder than when squeezed. This shortcoming is compensated for by greater compressive forces. Hence the different capacity of musical material for compression and unclamping. For this reason, especially important accents are recommended to be played on the spread.

Speaking of dynamics, one cannot leave aside the timbre palette. It should always be remembered that registers are not a luxury, but a means to achieve a more impressive artistic result. You need to use them wisely, that is, do not switch them quite often, because in this case a phrase can be fragmented, thought and registration become an end in itself.

The completion of the second stage of work on a musical work should be marked by overcoming all the difficulties associated with the technical side, and a complete and deep understanding of the artistic image of the work should also be formed.

1 Artistic revision of a musical work.

The third, final stage of work on a piece of music. The main task of the third stage is to find and finally implement the musical image in performance, both in general and in the smallest details. In this creative process, in search of the forms of the performer, the musical image develops and deepens.

It is very important that the plan of interpretation of the work conceived by the performer is fully consistent with the style, content and form of the work being performed. The limits of a musician's creative freedom end where the content of the piece being performed is damaged. But true musicians - artists are characterized by a constant desire for improvement, for enriching the interpretation of a work of art. When interpreting the same composition in different ways, the performer must remain true to the main idea of ​​the composer.

The student, like a mature performer, shows his best qualities at the moment of public speaking. It is extremely important for the student and the teacher to maintain a fresh attitude towards the work. The breadth of the gaze, the self-control of the teacher before the performance of the student - necessary condition education of variety well-being. Before a concert, it is useful to play a piece with full emotional return, after setting yourself up for a concert mood.

On the day of the concert, you should sleep well, play the pieces at an average pace, without emotions. We must try to talk less, not to be in a noisy company. The educator should not give final instructions regarding interpretation.

During the concert, some surprises, accidents, roughness may appear. The main thing is to keep the music flowing. The calling of the performer is to form a special state of mind of the listener, it is very important to establish contact between the stage and the audience.

Tatyana Nikolaevna Kruglova

MBOU DOD "Children's Art School No. 3", Angarsk

methodicalmessage

“Working on a piece of music in the piano class.

The main tasks of the performer»

In the creative community of teacher and student, in their common work on the work, many questions arise. In what sequence is the piece worked out, starting from the first touch to it and up to being put on the stage? In the practice of teaching at a music school, the most acceptable process is when learning a piece is divided into 3 stages:

1. Acquaintance with the work and its analysis;

2. Overcoming both more general difficulties and private ones related to the execution of details;

3. "Collection" of all sections of the work into a single whole, work on it.

At the same time, it should be borne in mind that such a division is still very conditional, since in practice these stages of work are not “only inextricably linked and cannot be accurately distinguished, but often coincide or interpenetrate.

Consider the entire course of work on the work.

Acquaintance with the work very important point for the student. Sometimes it is known to him from the playing of his comrades, recordings, concerts, or maybe it new music for him. Playing it with the accuracy available to him, the student perceives it in general terms. While the student does not read well from a sheet in the lower and middle grades, it is useful for the teacher to play the work himself, to focus on the main expressive features. It is also useful for more prepared students to say a few words about the nature of the work, to point out typical difficulties.

Having familiarized with the work, the student proceeds to a thorough reading of the text. A competent, musically meaningful analysis is the basis for further correct work. No need to spare time for analysis, while strictly following all the author's notes and instructions. It is necessary to analyze the work first with small, relatively complete constructions. Parsing each hand separately is needed for students lower grades, but in complex constructions it should be used and more prepared. But at the same time, for a second grader, you can find easy pieces that he can take apart with both hands at once.

sound when parsing, of course, it depends on the nature of the work and its main expressive features. However, as a general provision, one can point to a relatively greater sounding fullness and controlled stability of sound production than will be needed later.

It is necessary to pay attention to phrasing from the very beginning, otherwise the game will be meaningless. Of course, lengthy work on phrasing will be carried out later, but it should be started during parsing.

A common drawback when parsing - careless attitude to fingering. Of course, later the fingering may partially change, somewhere its best version will be needed, but this does not change the essence of the issue. Students themselves should also be involved in solving fingering issues.

Pedal question when parsing the text, students who are not sufficiently familiar with pedalization should introduce it later, when knowledge of the text and the proper quality of pedalless sound are ensured.

An important issue is the memory game. Those who believe that it is useful to know a significant part of the works by heart even at the beginning of the study are right. This facilitates and speeds up the course of work, the student acquires a feeling of emotional and physical comfort in performance earlier.

But special care should be taken when parsing and learning by heart music that is complex in text, especially polyphonic music.

Pace. Attempts to prematurely transition to fluid tempos have a bad effect on the quality of the game. Therefore, memorization should be carried out according to individual constructions at a slow pace; then move on to connecting them into larger parts and then to slowly playing the whole piece. “If a person, when he plays by heart, is told to play more slowly and it will become more difficult for him, then this is the first sign that he actually does not know by heart the music that he plays, but simply babbled it with his hands. This chattering is the greatest danger that must be constantly and stubbornly fought. One cannot but agree with these words.

The main content of the II, stage of work on the work lies in the following issues: instrument sound; phrasing; dynamics and agogics; fingering; pedaling.

For a student (especially not very prepared) the question of consistency in work is also important. In the practice of some teachers, there is such a moment: after listening to an essay prepared for a lesson by a student, he is not satisfied with many things. He talks a lot about the shortcomings he noticed, sometimes reinforcing the words with a demonstration on the piano, but, as can be seen from subsequent homework, all this does not bring the proper results. The reason is that the student, having received many comments at once, "got confused" in them. It is more expedient for the teacher to dwell on the most essential, to eliminate the main omissions at this stage. So, the first problem is the sound of the instrument. There are almost no cases when a student does not need to learn pieces slowly, achieving deep sounding, good finger support. The skills of such work must be brought up from the first lessons. It is important to teach to love the most ordinary piano sound - full, soft, juicy, and to instill the need for such a sound. To teach the student to lower his fingers and hands “into the keys”, into the piano, “to feel the keyboard well”, as if overcoming its resistance. As long as the student does not control his own hands, it is easier to acquire a sense of support when working on works (or fragments) of chord presentation that require fullness of sound. In parallel with the work on the chord texture, you need to look for the sound, and the feeling associated with it when playing the melodic line. You can not "press" on the keys - this creates the viscosity of the sound and the discontinuity of the melodic line. The degree of saturation and the nature of the sound depend on the content of the music, texture, register. But even fast, transparent episodes that do not require a thick sound, you need to teach at a slow pace, with a sound that is denser than you need later.

Phrasing. Only a thoughtful attitude to the phrase will allow you to delve into musical content executable. “In every phrase there is a well-known point, which is the logical center of the phrase. Intonation points are, as it were, special points of gravity, attracting to themselves the central nodes on which everything is built. They are very related to the harmonic basis. Now for me in a sentence, in a period, there is always a center, a point towards which everything gravitates, towards which everything, as it were, strives. This makes the music more clear, coherent, connects one with the other,” he considered.

It is necessary to constantly remind students that it is necessary to lead the line of a musical phrase and, when performed with a non-legato stroke, to feel the phrase during pauses that should not interrupt the development of the work. Important point- the feeling of breath in the music. Without this feeling, the beginning is leveled and the expressiveness of the next construction is lost.

Let's talk about dynamic means of expression.

The scale of dynamic gradations is essentially infinite. Its richness depends on the subtlety of the perception of figurative content and the skill of the performer. The timbre side of the sound is connected with the dynamics. The student needs to master a variety of forte, a variety of piano. When playing forte, it is important to warn the student against the danger of exaggeration and excess. The teacher must help the student to imagine the unlimited sound possibilities of the piano and its inherent sound nobility.

Sometimes students in elementary and middle grades misunderstand the nature of the sound of the piano. They begin to be afraid of the very sound of the instrument, they lose the feeling of relying on the keys and the piano “does not sound”. The teacher has to explain that the nature of the sound in the piano is always determined by the meaning of the music, and requires special precision in touching the keys with fingers.

Sforzando is not a harsh or strong accent. The student's attention should be drawn to meaning sf in the piano environment, then forte.

Fingering. What should become decisive for the student when choosing a fingering? The first thought will be - to play the way it is more convenient. It would seem right. However, it is necessary to instill in the student a correct understanding of the term "convenience": it should be determined by the meaning of music. It is considered convenient to use the fingering with which you can best express the author's thought. It is necessary to encourage listening to the different sounds achieved when performing with different fingerings, to teach to be aware of this difference. Of course, the student is obliged to learn the fingering of the basic technical formulas - scales, arpeggios, etc., and use it. But this is only part of the question, because even in Czerny's classical sonatinas and etudes there are moments when the melodic pattern of a passage or the expressiveness of the sound make one deviate from these canons.

The art of pedaling .

Anton Rubinshtein characterizes the role of the pedal in piano playing as follows: “The pedal is the soul of the piano. Good pedaling is three-quarters of good piano playing."

That is, according to Rubinstein, only one quarter belongs to articulation, intonation, agogics, dynamics, tempo, etc.

Noteworthy are some methodological considerations about the pedalization of the professor of the Leningrad Conservatory Nadezhda Iosifovna Golubovskaya () combining musical - performing talent, musical and pedagogical talent and in-depth research and methodological work.

Pedaling cannot be taught. You can cultivate an understanding of music and pedal flair.

The delayed pedal is easy for children to learn. Learn to play the pop legato scale with one finger and achieve its coherence and purity.

First, of course, the student needs to be told where to get the pedal, but it is imperative that the child myself checked by ear, whether it turns out that it is planned.

It is undesirable at first to enter pedalization into notes, and in further training it is very harmful. One should not deprive the student of initiative in a very important and subtle area. It is harmful for the student to visually assimilate pedalization, so that the impulse of the foot is subordinated to the visual command separately from the music as a whole. The pedal is controlled by ear. This is the main rule.

The student must know why he is pedaling, to control the “rudder of sound” with his hearing and consciousness, then gradually the control of the pedal becomes unconscious. Of course, there are inattentive students, for them it is possible to inscribe a pedal idea into the notes. As Golubovskaya figuratively says: give a lesson at home, as they give a drink “to take away” along with a bottle, but we must remember that the teacher’s record is only a bottle, and you need to learn the contents so that the bottle can be thrown away later.

Ideally, you can neither memorize nor relearn pedaling. The basis of pedal possession is the skill of adaptation.

The pedal should not replace legato playing with the fingers. It is especially important in polyphonic music to cultivate the muscular sensation of long notes, which replaces sustained breathing for the pianist. Muscular legato, the feeling of connection in the hand - the pianist's bow.

Technical work also cannot be done on the pedals, because this will interfere with hearing dynamic and rhythmic relationships. But learning a piece without a pedal and then adding it is inappropriate and wrong. Already when parsing a piece, you need to include the pedal in the overall sound complex. Then, in the working order, it can and should be abandoned. The leg, like the hands, should help to hear the right music. This is possible in the early stages of learning. Tchaikovsky's "Doll's Funeral" or Schumann's "Little Romance" require a fusion that is inaccessible to the fingers. If the child has not mastered the delayed pedal, these things cannot be played. And if he is familiar with a retarded pedal, let him immediately adapt to the right sound.

A straight pedal is needed in "Waltz" from Tchaikovsky's "Children's Album" to emphasize the danceability and rhythm of the piece. These two primary types are quite accessible to children's understanding and assimilation. Bach is best played without a pedal until the child has a need for it. Then it can be directed, corrected, but pedaling cannot be fixed in any way. It is possible to accustom to the possession of incomplete pressing of the pedal at the early stages of training - the sooner the better.

"Play with the pedal" - so you can say to a child who has learned to take a retarded and direct pedal. "But as"? a student may ask. Answer: play as you like, play as you like. And then explain what his mistakes are. It is necessary to develop in students the habit of pedal initiative. In more subtle and complex cases, you need to work with the student on pedaling, be his extra ears, push his imagination. "School of aerobatics" in pedaling is when the pedal goes "toe in hand" with all performing intentions.

Outstanding teacher, professor, head. Department of Piano GMPI them. Gnesinykh, Elena Fabianovna Gnesina was fluent in the methods musical training from beginners to graduate students. In matters of pedalization for Gnesina, two factors were inseparable: the so-called "pedal intuition" and the coordination skill of movement. “All children who freely reach the pedal with their feet and who can listen to the sound of the piano can learn to pedal well,” writes in Preparatory Exercises. Stages of work on the pedal: 1 - the correct position of the feet on the pedal; 2 - without parting with the pedal foot, silently press and release the pedal, making both movements evenly; Stage 3 - exercises with sound.

“First you need to work (with each hand separately) on sounds of the same duration, pressing the pedal at half the duration.” In the next exercise, E.F. advises to take your hand off during a pause and listen to the remaining sound on the pedal.

Advice on pedal gradation: "In piano you need to press the pedal lightly, in forte more deeply."

A separate delayed pedal should create transparency in the sound, as if "discharged". Sometimes it is "dirty" due to the fact that it is taken early.

The third stage of work on the work.

Educating the student's ability to hear, embrace and fully perform the work is an important part of learning. Already in the middle classes of the music school, the student encounters plays written in a simple three-part form. In this regard, we have to talk about the character and mood of the first part, point to a different content of the middle (most often contrasting) and, further, to a return to the music of the beginning. Here it is necessary to direct the student's attention to the fact that the reprise is not for him only a repetition of the first part of the play. Even with the exact repetition of the text of the parts, it is necessary to offer an interpretation in which the development of musical thought would be felt. If the work contains a number of climaxes, it is necessary to pay attention to their correlation in importance. The culmination is only good when it is in its place, when it is the last wave, the ninth wave, prepared by all previous development.

Proper performance of a work cannot be achieved without understanding the expressive meaning of its form. The student should be aware that the form is inseparable from the content, from the author's intention.

Significantly more serious tasks of interpretation are set before the performer by compositions of a large form ( sonata cycles, sonata allegro, rondo, variations) - often complex in structure, replete with numerous mood swings, diverse themes and episodes. A student who, while still at school, begins to get acquainted with large-form works and continues to work on them throughout his education, gradually acquires the necessary skills in this area, learns the principles of approach to their study, and the features of work.

Any sonata allegro requires a clear understanding of its structure and its unity with a specific content. Already when working on the exposition, the student should see one of the main tasks in combining the relative completeness of this section with diversity in performance. It is necessary to emphasize the individual features of each theme, while at the same time subordinating the performance to the general musical concept. The student needs to know (making sure of this in the works being studied) that in development, with its opposition and modification of various images, with the isolation and development of elements of the musical fabric, the dynamic beginning of the work is often most clearly revealed. It is extremely important to identify expressive role to a reprise, usually of great semantic significance. In the reprise, it is imperative to hear the new features that have appeared in it, to feel, in particular, a different tonal coloring of the themes of the side and final parts and, in connection with this, their different expressive shade. This will help to feel the reprise as a result of previous development, will contribute to the integrity of the perception and performance of the entire allegro.

The study of works written in any other form requires attention to the expressive features of these structures as well. Perhaps the most difficult thing is to maintain a general line of development and achieve integrity in the form of a rondo: the frequency of repetition main topic(refrain) can make the performance monotonous and static. Therefore, it is necessary to help the student find a special charm and novelty in each presentation of the topic. At the same time, it should be explained that refrains - with the same text - are perceived and sound differently depending on the previous episode and their place in the work; you just need to feel a new shade in the conduct of each refrain. It is important to find a common climax in the rondo, to lead the development of musical thought to it.

In the final period, all preliminary work should form into a complete whole. Awareness of performance intentions can be helped by familiarity with the recordings. this work; with the prevailing own idea, such listening often turns out to be very useful, contributing to the clarification of one's intentions.

The pace of execution is very important. The definition of the pace is facilitated by the author's instructions, understanding the nature of the work, its style. In each individual case, you should, together with the student, find a tempo that allows him to feel comfortable when performing the piece.

It is also necessary that the student correctly perceives the basic unit of duration, which determines the temporal pulse of the work. Achieving metro-rhythmic accuracy in the performance of any section, it is often necessary to temporarily take a shorter duration as a unit of pulsation than that which corresponds to the meaning of the music and is indicated by the author. Meanwhile, with proper performance, the unit of temporal pulsation should coincide with the size marked in the notes, and sometimes even combine several metric parts into one larger one.

Having learned to perform a mobile composition at the required pace, the student, as you know, must continue to work in a slower movement; this will protect the work from "chattering", and, in addition, will help to fix the performing plan in the mind of the playing performing plan in all its details. We have to remind the student more than once that slow playback with observance of all the particulars of the performing plan allows him to realize his intentions with the utmost brightness and makes them especially clear to him; then the student himself is convinced of this. It should be emphasized that such playback requires maximum attention.

However, such work in slow motion should not lead to a loss of understanding of the desired pace. Having found it, having felt it, the student must fix it in order to always be able to return to it again. When studying with students in the primary and secondary grades of a music school, one often has to work on this specifically; the element of "losing" one's movement is not excluded among high school students, as well as in music schools.

Sometimes it is useful, having learned a piece (especially one that is difficult for a student), to temporarily put it aside, then after a while return to it again and then proceed to direct preparation and performance on the stage. This always introduces elements of the new into the performance and, most importantly, restores the freshness of its perception.

Concluding the review of the main sections of work on a piece of music, we can conclude that the thoroughness, detailing of requirements, the perseverance of the teacher and student in their implementation should be combined with the development of the performing principle, with training in performance, in which musical comprehension is combined with the emotionality of perception.

Rock music is our life!

Classical music in modern mass culture of Russia

Computer music in Russian educational practice

Introduction

In this work, I consider several stages in mastering polyphony and mastering polyphonic skills, starting with small children's songs of an under-voice, imitative, canonical and intermediate warehouse to studying the Well-Tempered Clavier. The pieces from Anna Magdalena Bach's Notebook, Little Preludes and Fugues, Inventions and Symphonies are also analyzed and considered.

Among most works school curriculum, polyphony is particularly difficult in terms of understanding the depth of the content of music, hearing all the voices together and each separately, dynamic contrasts, decorations, articulations. Even more difficulties arise in the field of performance: as is known, the composer's clavier works have come down to us in the form of manuscripts that, with rare exceptions, do not contain instructions for the performer, since at that time they were almost not recorded.

As N. Kalinina says in her book "Bach's Clavier Music in the Piano Class", between the research literature on Bach's work and the practice of teaching in our musical educational institutions there is a noticeable gap. Sometimes the study of Bach's pieces is carried out according to outdated, low-quality editions and is reduced mainly to a formal study of voice leading and strokes. Hence the corresponding attitude towards the works of Bach, characteristic of many students, as if it were not great art, but boring compulsory material. As a result, instead of deeply meaningful music, we often hear the dry playback of polyphonic works with obligatory, annoying "highlighting the theme", with lifeless, mechanically made voice leading. This is often the result of seven years of schooling.

The nature of Bach's clavier compositions is such that without the active participation of the intellect, their expressive performance is impossible. They can become an indispensable material for the development of musical thinking, for educating the student's initiative and independence, as well as the key to understanding other musical styles. However, this is achievable only with a certain method of presenting Bach's polyphony.

The task of the teacher is to convey to his students an interested, inquisitive attitude to the work of a brilliant composer and thereby reveal to them the artistic beauty of his music.

Initial period of study.

Everyone knows that the initial years of study at a children's music school have such a profound effect on a student that this period has long been rightly considered the decisive and most important stage in the formation of a future pianist. It is here that interest and love for music is brought up.

A very important, turning point in the spiritual life of a child is the first lessons. And the sacred duty of the teacher is to make them a bright and joyful event.

Of course, this imposes a great responsibility on the teacher, the need for serious preparation for the first meeting with his pupil, in order not only to introduce him to music, but also to captivate him.

One of the best ways to get your child interested in music is to sing familiar songs. This helps the teacher to establish good contact, to find with the baby mutual language. In the relaxed, trusting atmosphere of the piano class, the student willingly sings songs familiar to him, listens with interest to the works and plays played by the teacher, guesses their character. Along the way, the baby can be explained that sounds, like words, convey content, express different feelings. This is how musical impressions gradually accumulate.

Light polyphonic arrangements of folk songs of a sub-vocal warehouse - the most accessible in terms of content educational material for beginners. Here the teacher can talk about how these songs were sung by the people: she began to sing the song (“theme”), then the choir (“voices”) picked it up, varying the same melody.

Taking any Russian folk song, the teacher invites the student to perform it in a “choral” way, dividing the roles: the student plays the learned part of the lead in the lesson, and the teacher plays another instrument, as this will give each melodic line greater relief, “depicts” the choir, which picks up the melody. After two or three lessons, the student already performs the "accompanying voices" and is clearly convinced that they are no less independent than the lead melody. Working on individual voices, it is necessary to achieve expressive and melodious performance by their student. It is very useful to learn each voice by heart.

Playing both parts alternately with the teacher in the ensemble, the student not only clearly feels the independent life of each of them, but also hears the whole piece in a simultaneous combination of both voices, which greatly facilitates the most difficult stage of work - the transfer of both parts into the hands of the student.

In order to make the understanding of polyphony more accessible to the child, it is useful to resort to figurative analogies and use program compositions in which each voice has its own characteristic. Such a way of mastering polyphonic pieces significantly increases interest in them, and most importantly, awakens in the mind of the student a vivid, figurative perception of voices. It is this that is the basis of an emotional and meaningful attitude to voice leading. A number of other pieces of the under-voice warehouse are learned in a similar way.

It is important that the songs and plays are simple, meaningful, characterized by bright intonational expressiveness, with a clearly defined climax. They can be found in many collections for beginners, for example: “I want to become a musician”, “The path to music-making”, “Dreamer pianist”, “Piano playing school” edited by A. Nikolaev, “Collection of piano pieces” edited by S. .Lyakhovitskaya, " For young pianists» edited by V. Shulgina.

Of great benefit in developing the basic skills of performing polyphony during the period primary education can bring collections by E. Gnesina "Piano ABC", "Small Etudes for Beginners", "Preparatory Exercises".

In the collections by V. Shulgina “For Young Pianists”, A. Barenboim “The Way to Making Music”, E. Turgeneva “The Pianist-Dreamer”, creative tasks are given for the pieces of the sub-vocal warehouse, for example: pick up the lower voice to the end and determine the key; play one voice and sing the other; add a second voice to the melody and write down the accompaniment; compose a continuation of the upper voice, and so on.

Composing, as one of the types of creative music-making for children, is extremely useful. It activates thinking, imagination, feelings. Finally, it significantly increases interest in the studied works.

The active and interested attitude of a student to polyphonic music depends entirely on the method of work of the teacher, on his ability to lead the student to a figurative perception of the basic elements of polyphonic music, such as, for example, the reception of imitations. In the Russian folk songs “I walk with the weed” or “The woodcutter” from the collection by S. Lyakhovitskaya, part 1, where the initial melody is repeated an octave lower, one can figuratively explain the imitation by comparison with such a familiar and interesting phenomenon for children as echo. (See examples no.). The kid will gladly answer the teacher's questions: "How many voices are in the song?", "Which voice sounds like an echo?". And he will place the dynamics (f and p) using the “echo” technique. Playing in an ensemble will revive the perception of imitation: the student performs the presentation of the melody, and the teacher performs its imitation (“echo”), and then vice versa.

It is very important from the first steps of mastering polyphony to accustom the child to the clarity of the alternate entry of voices, the clarity of their conduct and ending. It is necessary at each lesson to achieve a contrasting dynamic embodiment and a different timbre for each voice.

It is important that from the very beginning of work on the piece, when the student teaches it with each hand separately, he hears during the lessons not only the combination of two voices in the ensemble, but also their different colors.

Performing pieces by B. Bartok, I. Stravinsky and others contemporary authors, children comprehend the originality of the musical language of modern composers. The example of B. Bartok's play "The Opposite Movement" shows how important the game of polyphony is for the upbringing and development of the student's hearing, especially when it comes to the perception and performance of works contemporary music. (See example no.). Here the melody of each voice individually sounds natural. But during the initial playing of the piece with both hands at once, the student may be unpleasantly struck by the dissonances and enumerations that arise during the opposite movement: f - f sharp, C - C sharp. If he learns each voice separately beforehand, then their simultaneous sound will be perceived by him as logical and natural.

Following the mastery of simple imitation (repetition of the motif in another voice), work begins on canonical pieces built on stretta imitation, which enters before the end of the imitated melody. In plays of this kind, not one phrase or motive is imitated, but all phrases or motives until the end of the work.

As an example, let's take a Russian folk song in the canonical arrangement "You, Vanka, duck down" from the "Collection of Polyphonic Pieces" by S. Lyakhovitskaya, part 1. (See example no.).

To overcome the new polyphonic difficulty, the following way of working, consisting of three stages, is useful. In the beginning, the piece is rewritten and learned in simple imitation. Under the first motive of the song, pauses are put down in the lower voice, and when imitating it in the bass, pauses are written out in the soprano. The second motive is rewritten in the same way, and so on. In such a lightweight "arrangement" the play is played for two or three lessons.

Then the "arrangement" becomes somewhat more complicated: the motifs are already rewritten in stretta imitation, and in bar 3 the soprano has pauses. In the same way the second motive, and so on. The ensemble method of work at this time should become the leading one. Its significance increases even more at the last, third stage of the work, when the piece is played by the teacher and the student in the way it was written by the composer. And only after that both voices are transferred to the hands of the student.

It should be noted that the process of rewriting polyphonic works is very useful. This was pointed out by such outstanding teachers of our time as Valeria Vladimirovna Listova, Nina Petrovna Kalinina, Yakov Isaakovich Milshtein. The student quickly gets used to the polyphonic texture, understands it better, more clearly realizes the melody of each voice, their vertical relationship. When copying, he sees and grasps with his inner ear such an important feature of polyphony as the mismatch in time of identical motives.

The effectiveness of such exercises is enhanced if they are then played by ear, from different sounds, in different registers (together with the teacher). As a result of such work, the student is clearly aware of the canonical structure of the piece, the introduction of the imitation, its relationship with the phrase that is being imitated, and the connection of the end of the imitation with a new phrase.

It is also impossible not to mention the enormous role in preparing the student for Bach's polyphony played by pieces of an intermediate type. They do not yet have equal independent voices, but the melody contrasts sharply with the accompaniment part. Such, for example, are “Lullaby” by N. Dauge, Etude F-durB. Bartok, "Dance of the Frogs" and "Dance of the Dolls" by V. Vitlin, Aria by V. Mozart from the collection "Easy Pieces and Etudes for Beginners". There are many similar pieces in the Piano School (under the general editorship of A. Nikolaev), for example, Etude A-dur by F. Lekuppe, Piece by B. Goldenweiser.

Further, the study of polyphonic pieces of the Baroque era is of particular importance, among which the works of I.S. Bach. In this era, the immediate foundations of the musical language were formed - musical and rhetorical figures associated with certain semantic symbolism (figures of a sigh, exclamation, question, silence, amplification, various forms of movement and musical structure).

Acquaintance with the musical language of the Baroque era serves as the basis for the accumulation of intonation vocabulary. young musician and helps him understand the musical language of subsequent eras.

Notebook for Anna Magdalena Bach.

The best pedagogical material for the education of a pianist's polyphonic sound thinking is the clavier heritage of I.S. Bach, and the first step on the way to the "polyphonic Parnassus" is the well-known collection called "Notebook of Anna Magdalena Bach".

The small masterpieces included in the "Notebook" are small dance pieces - polonaises, minuets and marches, which are distinguished by an extraordinary richness of melodies, rhythms, and moods. In my opinion, it is best to acquaint the student with the collection itself, that is, with the Music Notebook, and not with individual pieces scattered across different collections. It is very useful to tell the child that the two "Notebooks of Anna Magdalena Bach" are a kind of home music albums of the J.S. Bach family. This included instrumental and vocal pieces of various nature. These plays, both their own and those of others, were written by I.S. Bach, sometimes - his wife Anna Magdalena Bach; there are also pages written in the children's handwriting of one of Bach's sons. Vocal compositions - arias and chorales included in the collection - were intended for performance in the home circle.

Many teachers begin to introduce students to the "Notebook" Minuet in d-moll. (See example no.).

The student will be interested to know that nine minuets are included in the collection. In Bach's time, the minuet was widespread, a lively, well-known dance. It was danced at home, at fun parties, and during solemn palace ceremonies. In the future, the minuet became a fashionable aristocratic dance, which was carried away by prim courtiers in white powdered wigs with curls. You should show illustrations of the balls of that time, draw the attention of children to the costumes of men and women, in more defining the style of dancing (for women, crinolines, immensely wide, requiring smooth movements, for men - legs covered with stockings, in elegant high-heeled shoes, with beautiful bow garters at the knees). The minuet was danced with great solemnity. His music reflected in its melodic turns the smoothness and importance of bows, low ceremonial squats and curtsies.

After listening to the minuet performed by the teacher, the student determines its character: with its melody and melodiousness, it is more like a song than a dance, therefore the character of the performance should be soft, smooth, melodious, in a calm and even movement. Then the teacher draws the student's attention to the difference between the melody of the upper and lower voices, their independence and independence from each other, as if two singers sing them: we determine that the first - a high female voice - is a soprano, and the second - a low male - bass; or two voices, as it were, perform two different instruments. It is imperative to involve the student in the discussion of this issue, to awaken his creative imagination.

I. Braudo attached great importance to the ability to instrument on the piano. “The first concern of the leader,” he wrote, “will be to teach the student to extract from the piano a certain, necessary sonority in this case. I would call this skill ... the ability to logically instrument on the piano. Of great educational importance for the ear is the performance of two voices in different instrumentation. It is sometimes convenient to make this distinction clear to the student by means of figurative comparisons. For example, the solemn, festive Little Prelude in C-dur can naturally be compared with a piece for a small chamber ensemble, in which the oboe solo melody is accompanied by string instruments. The very understanding of the general nature of the sonority necessary for a given work will help the student develop the exactingness of his ear, help direct this exactingness to the realization of the necessary sonority.

In the d-moll minuet, the melodious, more expressive sound of the first voice resembles the singing of a violin. And the timbre and register of the bass voice approaches the sound of the cello. Then it is necessary to disassemble together with the child, asking him leading questions, the form of the piece (two-part) and its tonal plan: the first part begins in d-moll, and ends in parallel F-dur`e; the second part begins in F-dur`e and ends - in d-moll`e; phrasing and associated articulation of each voice separately. In the first part, the lower voice consists of two sentences clearly separated by a cadence, and the first sentence of the upper voice breaks up into two duplex phrases: the first phrase sounds more significant and insistent, the second is more calm, as if in response. To clarify the question-answer relationships, Braudo suggests the following pedagogical technique: the teacher and the student are located at two pianos. The first two-tact is performed by the teacher, the student answers this two-tact question by performing the second two-tact-answer. Then the roles can be reversed: the student will “ask” questions, the teacher will answer. At the same time, the performer asking questions can play his melody a little brighter, and the answering one - a little quieter, then try to play the other way around, listen carefully and choose the best option. “It is important that at the same time we teach the student not only to play a little louder and a little quieter, but we teach him to “ask” and “answer” on the piano”2.

The second part of the d-moll minuet presents a great difficulty for the student, connected with the change in the nature of the melodic movement in the first four measures due to the composer's use of the hidden two-voice technique. Here, the music is characterized by soft, graceful danceability and flirtatiousness, partly attached to a light, unconstrained jump in the melody, partly to the characteristic rhythm on the first beat of the next bar __________________

1 I. Braudo "On the study of Bach's clavier compositions in a music school", p. 16

2 I. Braudo "On the study of Bach's clavier compositions in a music school", p. 17

(two sixteenths and an eighth). The teacher should get the student to perform these passages as accurately as possible. Based on the interpretation of the first sentence of the second part of the minuet (playful grace), the “question-answer” structure of this part is modified in the contrast of images: feminine - masculine, light - more serious. Moreover, the introduction of the second (male) image comes at the moment when the first (female) is still dancing (the fourth measure of the second part, the rising figure in eighth notes in the left hand). This is already a real polyphonic task - a simultaneous combination of two different images in different voices.

It should be noted that the second part of the d-moll minuet, when actually performed, should no longer be divided into two halves, since the music picked up by the right hand in the fifth measure had already entered the measure earlier, when the right hand was still dancing “graceful beauty”. Due to this inseparability of the second half of the minuet and the difficulty of the polyphonic tasks set in it, a convincing performance by his student becomes difficult to achieve. Perhaps that is why the student should begin to get acquainted with the "Notebook of Anna Magdalena Bach" with polyphonically and structurally more simple plays, such as "Bagpipe" or Minuet G-dur.

You can also work on the G-dur minuet using the “questions” and “answers” ​​method.

"Questions" and "answers" consist of four-bar phrases in it. Here the entire upper voice of the minuet is played by the student, expressively intoning the “questions” and “answers”, the work on the expressiveness of the strokes deepens (bars 2.4) - here figurative comparisons can help the student. For example, in the second measure, the melody “reproduces” an important, significant bow, and in measures 5-7, lighter, graceful bows, with a step back (descending sequence down the tones is a natural diminuendo). The teacher may ask the student to depict various bows in motion, depending on the nature of the strokes. It is also necessary to define the climaxes of both movements, so the main climax of the whole piece in the second movement almost merges with the final cadence - this is a distinctive feature of Bach's style, which the student should be aware of.

Of the many tasks that stand in the way of studying polyphony, the main one is work on melodiousness, intonational expressiveness and the independence of each voice separately. Independence of voices is an indispensable feature of any polyphonic work. Therefore, it is so important to show the student, using the example of, say, a d-moll minuet, how exactly this independence manifests itself:

in different, almost nowhere coinciding phrasing (for example, in bars 1-4 the upper voice contains two phrases, and the lower one consists of one sentence, the second part consists of two images overlapping each other);

in mismatch of strokes (legato and non legato);

in the mismatch of culminations (for example, in bars 5-6 the melody of the upper voice rises and comes to the top, and the lower voice moves down and rises to the top only in bar 7);

in the mismatch of dynamic development (for example, in the 4th measure of the second part, the sonority of the lower voice increases, and the upper voice decreases.

Features of Bach's dynamics, rhythms, melismatics

Bach's polyphony is characterized by polydynamics, and for its clear reproduction one should first of all avoid dynamic exaggerations, one should not deviate from the intended instrumentation until the end of the piece. A sense of proportion in relation to all dynamic changes in any work by Bach is a quality without which it is impossible to convey his music stylistically correctly. Only through a deep analytical study of the basic laws of Bach's style can one comprehend the performing intentions of the composer. All the efforts of the teacher should be directed to this, starting with the “Notebook of Anna Magdalena Bach”.

On the material of other pieces from the Notebook, the student learns new features of Bach's music, which he will encounter in works of varying degrees of complexity. For example, with the features of Bach's rhythm, which is characterized in most cases by the use of neighboring durations: eighths and quarters (all marches and minuets), sixteenths and eighths ("Bagpipes"). Another distinguishing feature of Bach's style, which was identified by I. Braudo and called the "eight-hand technique", is the contrast in the articulation of adjacent durations: small durations are played legato, and larger ones - non legato or staccato. However, this technique should be used based on the nature of the pieces: the melodious Minuet in d-moll, the Minuet in c-moll, the solemn Polonaise in g-moll are an exception to the "rule of eight".

When working on Bach's polyphony, students often come across melismas - the most important artistic and expressive means of music of the 17th-18th centuries. Given the differences in editorial recommendations regarding the number of decorations and their interpretation, it becomes clear that the student will definitely need help and specific instructions from the teacher here. The teacher must come from a sense of style works performed, own performing and pedagogical experience, as well as melodic manuals available in a sufficient number. The article “On the performance of decorations (melismas) in the works of ancient composers” by L.I. Roizman is devoted to the issues of melismatics, in which this issue is analyzed in detail and instructions are given by I.S. Bach. You can also refer to the capital study of Adolf Beischlag "Ornamentation in Music", and, of course, get acquainted with Bach's interpretation of the performance of melismas according to the table compiled by the composer himself in the "Notebook of Wilhelm Friedemann Bach", covering the main typical examples. Three points are important here:

Bach prescribes to perform examples due to the duration of the main sound (with some exceptions);

all melismas start with the upper auxiliary sound (except for the crossed out mordent and a few exceptions - for example, if the sound on which the trill or not crossed out mordent is already preceded by the nearest upper sound, then the decoration is performed from the main sound);

auxiliary sounds in melismas are performed on the steps of the diatonic scale (except for those sounds when the alteration sign is indicated by the composer - under the melisma sign or above it).

So that students do not treat melismas as an annoying hindrance in a play, you need to skillfully present this material to them, arouse their interest and curiosity. For example, when learning Minuet G - dur, the student first gets acquainted with the melody, not paying attention to the mordents written out in the notes, and then listens to the piece performed by the teacher: first without decorations, then with decorations and compares. The guys, of course, like the performance with melodic additions more.

Next, the student can be asked to find the location and designation of melismas in the notes. Having discovered new icons for himself, the student usually shows interest in them. Having prepared him in this way to explain difficult material, the teacher says that these signs that decorate the melody are an abbreviated way of recording melodic turns, common in the 17-18 centuries. Melismas, as it were, connect, decorate the melodic line, enhance speech expressiveness. And if melismas are a melody, then they must be performed meaningfully and melodiously, in the tempo and character that are inherent in this piece. It is no coincidence that the term "melisma" comes from ancient Greek word"melos", which means singing, melody. In order for melismas not to be a “stumbling block”, they must first be heard “to oneself”, sung and only then played, starting at a slow pace and gradually bringing it to the desired one.

In addition, I would like to mention the existing editions of the Notebook for Anna Magdalena Bach. As N. Kalinina says in her book "Bach's Clavier Music in the Piano Class", among the editions that deserve attention, we can name the following.

“The only complete Soviet edition of the Notebook is L. Roizman's edition. It is based on the exact author's text, the editor's performance instructions fairly accurately reflect the nature of Bach's work. The fingering comes from the peculiar principles of the composer, who, as you know, in addition to the usual laying of the first finger, liked to use shifting or crossing fingers (for example, in a scale-like sequence upwards, he used the following order: 3,4,3,4 or 3,4,5,2 ,3,4 and so on). The advantage of the publication is also the table of melisma deciphering placed here (which Bach entered in another collection - “Notebook of Wilhelm Friedemann Bach”) and the correct decoding of all melismas found in the works of this collection.

The editorial board of L. Lukomsky also makes a serious impression.

The Hungarian edition of 13 pieces from the Music Notebook, edited by B. Bartók, attracts enough attention with stylistically correct phrasing and fairly accurate articulation.

"Polyphonic Notebook" edited by I. Braudo contains 8 pieces from the "Notebook of Anna Magdalena Bach". The stylistic features of the composer's music are conveyed here with almost impeccable accuracy; this edition is recommended as a guide for young teachers. It differentiates the indications of dynamics related to individual voices (denoted by the letters - f, p) and to a combination of voices (denoted by the words - forte, piano). Caesuras between phrases and motifs are marked with a slash, and the beginning of a phrase in some plays is marked with an "abandoned" league. Transcription of melismas is placed separately from the pieces, which gives freedom to the performer. The notation of the metronome is interesting: in each piece, two tempos are indicated: one for the initial period of work, the other for the performance of an already learned piece.

And, finally, two Leipzig editions are also recommended from the editions of the Notebook: edited by G. Keller (1950) and G. von Dadelsen (1957). Each of them reproduced Bach's text in its purest form.2

Pieces from Anna Magdalena Bach's Notebook are recommended for acquaintance and study by children of the second and third grades of children's music schools. In particular, the program of the Ministry of Culture for the second grades provides for such works as Minuet in d-moll, Minuet in G-dur, Polonaise in g-minor and Bagpipes in D-dur; for the third classes - Minuet No. 3 in c-moll, Minuet No. 12 in G-dur, March No. 16 and Polonaise No. 19.

2 N. Kalinina "Bach's clavier music in the piano class", p. 43

Little preludes and fugues.

Bach's Little Preludes and Fugues can rightly be called small masterpieces. In them, the genius of Bach, the sublime style of his art appears in its entirety.

This collection was formed in the 19th century by the German musician F. Griepenkerl. The first half of the collection consists of 18 small preludes, which are combined into two notebooks. One of them includes 12 pieces, the other - 6.

The miniatures of the collection reflect many areas of Bach's figurative world. Here are pathos (prelude C-dur No. 2, I notebook; No. 1 II notebook) and spontaneous cheerfulness (F - dur No. 8, I notebook; E - dur No. 5, II notebook), and deep concentrated reflections (prelude and fugue d -moll, prelude a-moll No. 6, book I). The richness of the instrumental sources of music is also manifested - the brilliant harpsichord style (F-dur No. 8,9), the subtle clavihord manner (d-moll No. 5, a-moll No. 12 from the I notebook), the greatness of the organ (C-dur No. 2 from the I notebook ), grace (c - moll No. 3 from Book I).

The Prelude and Fugues were written as exercises for students. In addition to their artistic merits, these miniatures give the teacher the opportunity to deepen the student's acquaintance with the characteristic features of Bach's phrasing, articulation, dynamics, voice leading, to explain to him such important concepts of the theory of polyphony as, for example, theme, counterposition, imitation, hidden polyphony and others.

What was the genre of prelude in the era of Bach and the time before it?

The word prelude itself (from the Latin praeludo) means “I play in advance”, “I make an introduction”. It is known that starting from the XY century, the prelude was an improvisational introduction, aimed at preparing musicians and listeners for the performance of the main work. Over time, such introductory fantasies began to acquire greater completeness, they were often written down, although they retained the features of improvisation in their presentation. In the 18th century, in particular with Bach, the prelude is no longer limited to the traditional role of an introduction (for example, to a fugue), but is often treated as an independent genre.

Analyzing the most characteristic polyphonic tasks on the basis of the Little Preludes and Fugues, it is worth noting that they are also widespread in Bach's more complex compositions. This allows us to hope that attention to them will help the student in the future to show greater awareness and independence in mastering the works of the great polyphonist, new to him.

One of the typical properties of Bach's music is the hidden polyphony of his melodic lines, which creates their special richness. Gradually, the student must learn to recognize several varieties of latent polyphony.

The first of them we will conditionally call "path". In it, one of the voices implied in the melody stands still, while the other moves up or down. (Example). The moving voice is played a little richer, with slightly more support for the hand and the addition of a subtle lateral movement. Repeating sound is played a little easier.

Another example of a kind of hidden polyphony, when both hidden voices are in motion, as in the first measure of the c-moll prelude (Example). In an effort to betray the hidden polyphony, it is important not to turn it into a real one, not to overexpose the sounds, but only to separate the voices by timbre-dynamic means.

One of the most important, perhaps elementary, polyphonic tasks encountered in the combination of two voices is the ability to hear the movement of one voice against the background of a continuous sound in the other. The length of a drawn-out sound can be very different, but the task is the same: listen to it to the end, not remove it ahead of time, not drown it out with a rhythmically more active voice. On such examples, the student learns one of the main laws of the performance of polyphony - the dependence of the strength of the sound of voices on the duration, the more filled their sound. In terms of sound, short durations seem to be placed inside longer ones (Example).

It is more difficult if the task of hearing the background sound of an extended sound arises when holding two voices in one hand, which is often found in a three-voice and more polyphonic fabric. At the beginning of the second part of the Prelude in g-moll No. 10, against the background of the soprano “D”, four sounds move in steps, each of which alternately forms a sixth, fifth, augmented fourth, fifth with the sustained “D”. (Example). In order for all intervals to really sound, to be heard, it is necessary to correlate the sound of each sound of the alto voice with the degree of force with which the soprano “D” sounds at the moment of formation of each new interval. It is useful to work on such places, playing with both hands, and also not sustaining a long sound, repeat it with each new quarter in the middle voice, each time getting quieter, as a gradually fading long sound would sound. The ability to measure sound in such cases, so typical of Bach, needs to be worked very carefully.

Due to the bad manners of the habit of listening to sounds in accordance with their full duration, there is a loss in hearing interesting phenomena in the vertical of Bach's works, including expressive second formations, such as where students tend to shoot quarter notes a little earlier than they should. (Example).

Voice leading should be especially careful in cases where one of the voices sounds with pauses-breaths, and the other moves continuously. (Example). In such places, students often make the same type of mistake: they confuse voices with each other, tear the line of the voice written out for long durations, and connect the last ones before the pause with this line. short sounds another voice.

A great difficulty for students in polyphony is the preservation of the individuality of voices in terms of intonation when their phrasing articulation, climax do not match, which requires active auditory control when using known methods. polyphonic work: playing two voices with different hands, playing one and singing the other, playing two instruments with a teacher, etc. . In three-, four-voice it is important to determine the function of each voice, remembering that the equality of voices in polyphony does not mean their equivalence. Some voices carry an increased semantic load, leaving others a background role, while others come to the fore in terms of meaning in the following constructions.

Taking into account the properties of human attention to concentrate at one point, placing other objects on the periphery, as if in circles concentrically diverging from the center of attention, the teacher should not set impossible tasks for students to hear all voices equally. It is necessary to outline those voices that, in terms of importance, should be “at the forefront” of attention, while the rest should fall into the field of attention. The student knows them, because he repeatedly listened to them separately, and now, playing several melodic lines at once, he must hear them in the second or third plan. In polyphony, a well-developed, developed amount of attention is very important, which makes it possible to cover several sound plans at once, and not just the first one - the theme. This is achieved by long-term, long-term purposeful work.

As a rule, students include the top voice or theme in the field of attention, while the rest play uncontrollably, mechanically. In the work, therefore, the study of the lower, and most of all the middle voices, is especially important.

Speaking of fugues and fughettas, which are also included in this collection, it should be noted that although these works are preparatory stage to the CTC, in contrast to the Well-Tempered Clavier, the fughettas and fugues are not as developed in their inner content.

Since the fugue is the most rigorous genre of imitative polyphony and it has a strong constructive-logical beginning, it seems important for students to comprehend the laws of fugue construction and their implementation in each specific case.

At the same time, the study of the fugue cannot ignore some of the general principles of mastering a piece of music. The sequence of work on a polyphonic composition widely used in schools - from working out individual voices (without a presentation as a whole) to playing pairs of voices and only in the end - to getting acquainted with the sound of the entire work - is completely unacceptable.

It is expedient to start the first meetings with the fugue from getting a holistic figurative-emotional idea of ​​the music by playing the work by the teacher or listening to the recording. In parallel with this, there is an intellectual and logical development of the work: analysis of its form, thematic material and its transformations, tonal plan, etc. And only on the basis of a holistic perception of the work begins a thorough analysis, playing by voices, overcoming difficulties. Everything that is comprehended analytically and “obtained” by hearing is gradually realized by performing means.

For students to comprehend the Bach style, the choice of the editors is essential. In domestic pedagogical practice in connection with the publication large circulations the most widespread editions of "Little Preludes and Fugues" by K. Czerny and N. Kuvshinnikov. Kuvshinnikov's edition has been published many times since the early 1950s. Since the mid-1960s, it has been published with an introductory article by N. Kopchevsky. Of interest is the Leipzig edition of "Little Preludes and Fugues" edited by Kepper, which is close to the urtext. It gives only metronomic notation (in brackets), tempo and character indications (small print). From foreign publications - the editors of L. Hernadi (Hungary) and T. Balan (Romania). Less well known is the version by S. Didenko. The most popular is the edition of N. Kuvshinnikov.

The fact that the edition of K. Czerny is outdated has been said many times in the methodological literature. However, it should be noted that N. Kuvshinnikov's version almost completely reflects Czerny's interpretive principles. This affects the interpretation of the main performing means - dynamics, tempo, articulation.

"Little Preludes and Fugues" play a huge role in shaping the future of a musician. Many threads extend from this collection to the Inventions and the Well-Tempered Clavier.

Inventions and symphonies.

On January 22, 1720, Bach began recording in music book pieces to teach music to his eldest son Wilhelm Friedemann, who was then 9 years old. In this notebook, along with the “musical alphabet”, examples of fingering, a table of decorations, simple works of various nature - preludes, chorales, etc. - 15 two-voice pieces of a completely new genre called “Praeambulum” and 14 three-voice pieces called “Fantasien” were placed. This is the first, largely undeveloped, undeveloped version of two-part and three-part inventions.

The second author's edition has survived only in a copy of one of Bach's students. The richer ornamented pieces in this variant were arranged exclusively by keys: each three-part piece was preceded by a two-part piece of the same key. There are already fifteen three-part pieces here.

In the third and final edition of 1723, Bach arranged the plays in the order in which they are known from all editions; two-parts are called inventions, three-parts - symphonies. This manuscript undoubtedly represents the author's final version: this is evidenced both by the accuracy with which it was prepared and by the fact that it is provided with a title page, the title of which sets out in detail the pedagogical tasks of this collection. Here is the text of this title:

“An authentic guide in which clavier lovers and, in particular, those who are thirsty for learning, are offered a clear way how you can not only learn to play in two voices, but with further progress, correctly and beautifully deal with three obligate (obbligato - obligatory) voices, while not only to get acquainted with good inventions, but also to develop them decently; but above all, to achieve a melodious manner in the game and at the same time to get a strong predisposition to writing.

In these pieces, Bach combines learning on the instrument (development of melodious sound production, acquiring the skills of simultaneously performing several independent voices) with learning composition. But the inventions, despite their utilitarian and pedagogical purposefulness, are distinguished by a rich figurative content - they are true masterpieces of musical art.

Having created such a wonderful pedagogical collection, Bach limited himself to recording notes and decorations, leaving unfixed such important details, as indications of dynamics, tempo, phrasing, fingering, decoding of decorations. All this information was communicated to the students in the lesson, and for mature musicians who had already penetrated the secrets of performance, it was implied by itself.

The definition of "invention", almost never used in the music of that time, comes from the Latin word "invento", which means invention, discovery. Subsequently, this name was arbitrarily distributed by the editors of Bach's compositions and symphonies, which in this way turned into "three-part inventions."

“Each of these plays is a miracle in itself and is unlike any other,” wrote A. Schweitzer, adding that these 30 plays could have been created “only by a genius with an infinitely rich inner world.”3

As N. Kalinina says, in her book "Bach's Clavier Music in the Piano Class", - deep meaning inventions - this is what the performer must first feel and discover. Much in the understanding of these pieces is achieved through turning to the performing traditions of the Bach era, and the first step on this path is to familiarize the student with the sound of those instruments (harpsichord, clavichord) for which Bach wrote his clavier compositions.

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3 A. Schweitzer "Johann Sebastian Bach", p. 242

In order to adequately cover what is new that the Inventions and Symphonies contain in comparison with the polyphonic material that has been covered, I would like to dwell on some inventions.

It is not a secret for any of the teachers how difficult it is sometimes to get students interested work over investments. Why is the popularity of these pieces much lower than the popularity of any other polyphonic work by J.S. Bach? As pedagogical practice shows, without prior training about the intended purpose, about the nature of interventions, their study is of little use. But inventions are an indispensable material in musical education, they are a true school of polyphony.

As you know, all inventions are two-part pieces. And to master two-voice to perfection means to get the key to any kind of Bach's polyphony.

Ignorance of the distinctive properties of the musical language, melody I.S. Bach, can lead to deep disappointment of students, since they will not find in a given piece either emotional brightness, or beauty of melody, or sound charm. In the same way, the half-measure theme of the C major invention will not reveal anything to the student until he learns that the theme in the Bach era played a completely different role, pursued completely different goals than in the works of later musical styles. Composers of the 17th and 18th centuries focused not so much on the euphony and beauty of the theme, but on its development in the play, the richness of its transformations used by the author of the tonal and contrapuntal development techniques, that is, those “events” that happen to it throughout the entire composition.

The works of the ancient polyphonic style are built on the disclosure of one artistic image, on multiple repetitions of the theme, the core, the development of which determines the form of the play.

Of all the inventions, C-dur has become the most popular.

Starting to analyze the theme of the C-dur'ny invention, the student can independently (or with the help of a teacher) determine its boundaries and nature. The correct pronunciation of the theme is one of the important conditions for the meaningful performance of the melodic line. In order to avoid a school accent on the first sound of the theme, it is necessary to teach the student to pause and distribute the movement of the hand so that its complete immersion in the keyboard falls on the culminating support of the theme - the sound "salt". When the theme has found its musical completeness, it is useful to play all its performances in order to feel it in all registers. Then you can practice in the following exercise: the student first performs only the theme (in both voices), and the teacher performs the counterposition, then vice versa. In opposition, a problem may arise - the decoration (mordent) is played unevenly. It is important to convey to the student that the decoration is not played by itself, but it is unobtrusively "woven" into the melody.

Having mastered the theme and opposition well, you can proceed to careful work on the melodic line of each voice. Long before they are combined, the invention must be performed in an ensemble with a teacher - first in sections, then in its entirety.

Then the student needs to explain the not yet known concept of inter-motive articulation, which is used to separate one motive from another. This can be seen in the third measure, when the theme is given in circulation. To combine motives, you must first teach them separately, and then, combining them, explain to the student that it is important to listen to the last sound of each motive and “transfer” the sound to the next one.

As a result, a continuous process is formed, consisting of listening to and transferring sound. To listen to the sound means to listen to the previous one, and to feel the movement of music means to think and listen “forward”.

The skills of correct separation of the melody were given in the Bach era great value, as evidenced by famous musicians that time. Couperin in the preface to the collection of his plays wrote: “Here there will be a new sign that marks the end of a melody or harmonic phrases and makes it clear that you need to separate the end of the previous melody before moving on to the next one. This is done almost imperceptibly. However, without hearing this little pause, people of fine taste will feel that something is missing in the performance. In a word, such is the difference between those who read without stopping and those who observe periods and commas.”4

The most obvious type of caesura is the pause indicated in the text. In most cases, the ability to independently establish semantic caesuras is required, which the teacher must instill in the student. In the C-dur invention, the theme, opposition and new implementation of the theme in the first voice are separated by caesuras. Students cope with caesura quite easily when moving from a theme to a counter-addition, but it is more difficult to perform a caesura from a counter-addition to a new implementation of the theme. You should carefully work on taking the first sixteenth note in the second measure more quietly and softly, as if on an exhalation, and, imperceptibly and easily releasing your finger, immediately lean on the second sixteenth group (sol), sing it deeply and significantly, showing the beginning of a new carrying out the topic. Pupils, as a rule, make a gross mistake here, playing the sixteenth before the staccato caesura, and even with a rough, sharp sound, completely not hearing how it sounds. Braudo recommends that the last note before the caesura be played tenuto if possible.

It is also necessary to acquaint the student with various ways of designating inter-motive caesura. It can be indicated by a pause or, depending on the choice of the editor in each particular case, by one or two vertical lines, the end of the league, a comma in place of the caesura, a staccato (dot) icon above the note preceding the caesura. In the following example, dots over notes (staccato) do not indicate

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4 M. Druskin "History of foreign music", p.62

the need for abrupt pronunciation of these sounds, but only remind the student of the end of the next motive on this sound and warn against undesirably linking it with the next one.

In the third section, it is important to draw the student's attention to the ability to hear the movement of the lower voice against the background of a continuing sound in the upper voice. It is important to listen to the long sound to the end, not to remove it ahead of time, not to drown out the rhythmically more active lower voice.

It is impossible not to mention such an essential moment in Bach's polyphony as fingering. Right choice fingers - a very important condition for competent, expressive performance, incorrect - can interfere no less than dynamics, articulation, and phrasing that do not correspond to the composer's style. As the performing tradition of the Bach era suggests, articulation was the main means of expression. This task was subordinated to the fingering of that time, aimed at revealing the convexity and distinctness of motive formations. Claviers mainly used three middle fingers, which had approximately the same length and strength, which ensured the achievement of sound and rhythmic evenness - the most important statute of early music. More important role Bach's first finger did not cancel the principle of shifting fingers - long through short (4,3,4,3 and so on). The sliding of a finger from a black key to a white key has also been preserved, and the “silent” substitution of fingers was also widely used.

"Inventions and Symphonies" by Bach are intended for study in grades 5-7 of children's music schools. In the fifth grade, the following two-part inventions are performed: C-dur, B-dur, e-moll and a-moll. In the sixth - two-part: No. 3 D-dur No. 5 Es-dur No. 7 e-moll No. 10 G-dur No. 11 g-moll No. 12 A-dur No. 15 h-moll three-part: No. 1 C-dur, No. 2 c -moll, No. 6 E-dur, No. 7 e-moll, No. 10 G-dur, No. 11 g-moll, No. 15 h-moll. In the seventh grade, three-part inventions No. 3 D-dur, No. 4 d-moll, No. 5 Es-dur, No. 8 F-dur, No. 9 f-moll, No. 11 g-moll, No. 12 A-dur, No. 13 a-moll, №14 B-dur.

I will also mention the editions of Inventions and Symphonies. In pedagogical and performing practice, there are three most popular editions: F. Busoni, A. Goldenweiser, L. Roizman.

Tatyana Nikolaevna and Glenn Gould should be mentioned among the greatest performers-interpreters of Bach's two and three-part inventions.

Summing up all that has been said above, “Inventions and Symphonies”, according to the correct remark of F. Busoni, “are the most suitable preparatory material for the composer’s main pianistic work, The Well-Tempered Clavier.”6

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6 I.S. Bach "Inventions for Piano" (edited by Busoni), p.55

"Well-Tempered Clavier"

"The Well-Tempered Clavier" - like no other of Bach's clavier collections, reflects the essence of the composer's art with such scope and depth.

Creating his cycle of preludes and fugues, Bach set himself a very specific goal: to acquaint those playing the clavier with all twenty-four major minor keys, many of which had not been in use until that time. He wanted to show the undoubted advantage of the tempered tuning of keyboard instruments over the natural tuning generally accepted in the old days.

Bach firmly decided to prove - by his creative example - the whole fruitfulness of the temperament system, which has retained its significance to this day. This system consists in dividing an octave into 12 equal semitones and in building fifths and thirds not in pure natural tones, but in tempered artificial intervals (was found by the organ master A. Werkmeister, but has not received practical application).

The Well-Tempered Clavier is the result of the composer's many years of work, which lasted a quarter of a century. In 1722, Bach combined 24 preludes and fugues created at different times and gave the collection the following title: “The Well-Tempered Clavier or Preludes and Fugues, carried through all the tones and semitones, both the major third and the minor. For the benefit and use of young people who are eager to learn music, as well as for the pastime of those who have reached perfection in this teaching. Composed and performed by Johann Sebastian Bach, Grand Ducal Anhalt-Keten Kapellmeister and Conductor of the Customs of Music. Year 1722".

After 22 years, the composer created a second cycle called: "24 new preludes and fugues", which eventually began to be considered the second part of the CTC.

A remarkable feature of this collection of plays is that the preludes and fugues were grouped in it as works of equal genres. It could be a relationship of contrast and similarity - in any case, a certain internal relationship was established between the prelude and fugue. Due to this circumstance, HTC plays are studied in pairs.

The preludes and fugues from the Well-Tempered Clavier are mostly performed by older children. Among the most performed works are the following. Preludes and Fugues: (Volume I): d-moll, g-moll, c-moll, Fis-dur, As-dur, B-dur. Preludes and Fugues (Volume II): c-moll, d-moll, f-moll.

I would also like to say a few words about the editions of the CTC I.S. Bach.

One of the most common are the editions of Cerni and Mugellini, who made a great contribution to the promotion of Bach's works. However, these editions are characterized by a romantic interpretation that corresponds to the spirit of the time in which they lived, and not to the true image of I.S. Bach.

Busoni's edition is considered one of the best editions of the CTC, which does not have excessive, "foreign" impurities. The only drawback is that Bach's designations for melismas are omitted in Volume I of the CTC and their decoding is written directly into the text.

Bartok's edition has a number of indisputable advantages and can be recommended as the main among the available editions. Among the shortcomings of the editorial board, it is fashionable to note: fractional dynamics, difficult deciphering of melismas and violations of the author's order of the plays.

In conclusion, I would like to say that the study of Bach's works is, first of all, a great analytical work. To understand Bach's polyphonic pieces, special knowledge is needed, a rational system for their assimilation is needed. Achieving a certain level of polyphonic maturity is possible only under the condition of a gradual, smooth and continuous increase in knowledge and polyphonic skills. Every teacher who lays the foundation in the field of mastering polyphony and polyphonic technique always faces a serious task: to teach people to love polyphonic music (as well as polyphony in any other music), to understand it and to work on it with pleasure.

Conclusion

Bach's great love for the organ did not rule out his creative interest in the clavier. Bach was one of the first to truly appreciate the potential of this instrument, its versatility; he outlined the development of piano music in the 18th and XIX centuries. In his work, Bach focused on different types of instruments that existed in his time. He wrote for a strong and resonant harpsichord with several manuals and for a small clavichord with a less bright but melodious sonority. None of them satisfied him and the newly appeared and still very imperfect hammer piano. His artistic ideas required other means. Many of Bach's compositions do not "fit" into his contemporary clavier, they seem to be written for an instrument that does not yet exist, but whose appearance the composer unmistakably anticipates. With all his creativity, he, as it were, suggests the ways of development and improvement of the instrument itself.

In his creative searches, Bach repelled from the traditions that existed in his time. As noted above, in the first half of the 18th century, the clavier was mainly a domestic instrument, as well as a teaching instrument. The circle of his expressive possibilities seemed rather limited to the musicians. His figurative sphere was genre scenes, sometimes the lyrics are subtle, although not always deep.

Bach's innovation lies, first of all, in enriching the content of clavier music, in a bold expansion of its figurative range. In terms of their significance, the composer's clavier pieces are not inferior to his organ or vocal-instrumental works. Bach proved that clavier music can reveal the most intimate lyricism, and deep philosophical thought, and festive elation of feelings, and spiritual confusion. It is capable of embodying images of the inner world and objective images, revealing them very concretely (for example, tracing the development of feelings in detail) and generally (for example, conveying the dynamics of life itself). New, most varied content became the property of clavier art.

The sonorous, clear and rather quickly fading sound of the harpsichord encouraged composers - Bach's contemporaries to create mobile music, finely decorated with melismatics (especially in slow pieces), often energetic, motor, but always based on a clear finger strike. Bach felt the new possibilities of the instrument - to subtly convey the meaning of the detail. It is on this that Bach bases his clavier themes. Their expressiveness is extremely concentrated. Everything is essential here - pauses, leagues, phrasing. Separate intonations acquire a special convexity, weightiness. Bach stubbornly seeks to overcome the “impact” of the instrument: in contrast to the established tradition, he tries to reveal a new quality in it - melodiousness. This interpretation of the clavier is connected with the figurative world of Bach's music, with its deep lyricism.

Bach's innovative approach to the clavier was also manifested in the versatility of his interpretation. The composer proved that this instrument can be not only chamber, but also bright, concert, suitable for performance not only at home, but also in front of a large audience.

The appeal of J.S. Bach to the future of musical art, his involvement in each subsequent era is the main facet of his all-encompassing genius.

Full of sharp contradictions and tragic collisions, the 20th century could not do without close and constant communication with the music of I.S. Bach. Big number outstanding musicologists, composers, performers seeks to know the essence of the mysterious phenomenon of this great composer's work. The desire to feel the real connection of J.S. is becoming more and more insistent. Bach with modernity.

Among the great performers-interpreters of Bach's clavier works, the following names can be mentioned: S. Richter, G. Gould, S. Feinberg, J. Zak, M. Pletnev, T. Nikolaeva.

Creativity I.S. Bach is necessary not only for those musicians who play instruments that have retained their appearance from Bach's times. The modern piano, established in musical practice after the death of the composer, cannot do without his music. Even the reconstructed folk instruments of different national cultures, striving to enter the sphere of professional art, widely use transcriptions of J.S. Bach's works.

Centuries pass, generations change, and Johann Sebastian Bach appears to mankind more and more grandiose, majestic, as Mountain peak- travelers moving away from it.

Bibliography

A. Alekseev "Methods of learning to play the piano." M., 1978

I. Braudo "On the study of Bach's clavier compositions in a music school." L., 1979

V. Galatskaya “I.S. Bach. M., 1966

N. Gerasimova-Persian "Bach and Modernity". K., 1985

M. Druskin "History of foreign music". M., 1983

N. Kalinina "Bach's Clavier Music in the Piano Class". L., 1988

S. Lyakhovitskaya "Assignments for the development of independent skills in learning to play the piano." L., 1975

J. Milshtein “The Well-Tempered Clavier of I.S. Bach. M., 1967

G. Neuhaus "On the art of piano playing". M., 1988

V. Protopopov "Principles musical form I.S. Bach. M., 1981

G. Khubov "Sebastian Bach". M., 1953

A. Chugaev "Features of the structure of Bach's clavier fugues". M., 1975

A. Schweitzer "Johann Sebastian Bach". M., 1965

Response plan

I. Conditional division of work into several stages, their interrelation and partial interpenetration.

II. Stage 1 - familiarization with the work and its analysis. Acquaintance with the content, editor's choice. Parsing. The game by heart.

III. Stage 2 - detailed work on the work. sound. Phrasing. Dynamics. Agogics. Fingering. Pedaling. Technical difficulties.

IV.3 stage - "gathering" of all parts into a single whole. Climax. Thinking in big chunks. Finding the final tempo. Working on the form: features of working on a large form.

V. The final stage is the performance on stage.

I. Conditional division of the work into several stages, their interrelation and partial interpenetration.

Work on a piece of music largely depends on the piece itself, the complexity of its content, and the actual pianistic difficulties. The study of a piece of music is a holistic process, but it can outline certain milestones or divide it into 3 stages:

1. Acquaintance with the work and its analysis.

2. Detailed work on the work.

3. "Collecting" all sections into a single whole.

It should be borne in mind that such a division into stages, although correct, is very conditional, since one stage, firstly, smoothly and often imperceptibly passes into another; secondly, very often there is a return to the work already done (for example, playing the notes, as if anew, of a text already learned by heart, or a return to a slower pace, which is possible in the process of learning a piece repeatedly).

The goal of working on a musical work is a bright, meaningful, technically perfect performance, which reveals the most essential features of the artistic image of the work. It must be remembered that a lifeless game, not warmed by the warmth of the performer's feelings, does not captivate the listener.

II. Stage 1 - familiarization with the work and its analysis. Acquaintance with the content, editor's choice. Parsing. The game by heart.

The world of musical images is extremely vast. Each piece of art has its own range of images - from the simplest - to striking in their depth and significance. Whatever the student plays, be it " children's album» Tchaikovsky or Mozart's sonata, a play by Khachaturian or Bartok - he needs to understand this work, to accurately determine its content. It is very important that the work equally captivates both - both the student and the teacher. The teacher must be passionate in the first place, otherwise he will not be able to help the student understand and reveal its content. Therefore, the process of familiarizing the student with the work is of great importance, during which the teacher should try to reveal the musical and artistic essence works. This is especially important in classes with elementary school students. Sometimes the name, the epigraph help the student's perception, but not always. Music does not give visible images, it does not speak with words and concepts, it speaks only with sounds, but it speaks as clearly and understandably as words and visible images speak.

For a deeper understanding and understanding of the composition, the teacher introduces the student to some facts from the life of the composer, characterizes the era as a whole, draws parallels with his other works (symphonic, instrumental). In the process of work, it is possible, in addition to the pedagogical display, to listen to the recording and even various recordings of the student being studied, and even better than other works of this composer. It should always be borne in mind that the record should not be an example to follow.

It is important to delve into the features of style, melody, modal features, the national side of music, form, texture, and so on. It is important to understand whether the student is dealing with the edition or the original text and, if necessary, also refer to other editions to select the most appropriate one.

In this process, the student's own performing concept gradually matures.

2. Parsing skills.

There are two types of performance according to the notes of an unfamiliar work - analysis and sight reading. Parsing is the slow playback of text, allowing stops for a more thorough study of the text. Sight play is the performance of an unfamiliar piece at a pace and character close to the required one, not allowing even fragmentary pre-playing.

The skills of parsing and reading from a sheet are instilled in the student from the first years of study, this work should be the focus of the teacher.

When parsing, the entire fabric is examined as if under a microscope, not a single indication of fingering, not a single stroke is missed. The student should be taught to disassemble first small completed constructions, achieving the accuracy of reading the text. IN lower grades needs to be sorted by hand. At an older age, this often becomes unnecessary. An exception is the analysis and performance of polyphonic music, which at any stage of learning requires playing by voices and individual structural elements.

It is necessary to teach the student to have a meaningful attitude to the text, to look through it with his eyes before playing, trying to hear the musical content of the musical text with his inner ear.

When parsing, there are often errors in rhythm, false notes and insufficient attention to fingering. These shortcomings must be eliminated.

3. The game by heart.

The game by heart is natural and convenient for the student, but he should be warned against memorizing an illiterately parsed text. The more difficult it is for a student to make a competent analysis, the more careful one should be with learning by heart. It is necessary to understand the logic in the sequence of sections of the work, the structure of this or that section, to present its harmonic plan, the pattern of figuration, and other characteristic features. Mechanical, thoughtless learning is associated with motor memory, which can fail on stage, so you must always learn consciously.

A good test of competent memory performance is the performance of a piece at a slow pace. “If a person, when he plays by heart, is told to play more slowly and it will become more difficult for him, then this is the first sign that he actually does not know by heart, does not know the music that he plays, but simply babbled it with his hands. This chattering is the greatest danger that must be fought constantly!” - One cannot but agree with these words of A. B. Goldenweiser.

III. Stage 2 - detailed work on the work. sound. Phrasing. Dynamics. Agogics. Fingering. Pedaling. Technical difficulties.

Conscious work on a work presupposes a well-developed auditory representation, i.e., clear hearing with the help of inner hearing of the specific goal that the student is striving for at the moment. Correct, deep comprehension of the text gives rise to precise, rational movements of the pianistic apparatus.

It is very important at this stage to show the teacher, supported by explanations.

1. The sound of the instrument

One of the most important problems of the second stage of work on the work is the sound of the instrument. It is necessary to instill in the student a love for a natural, full, soft, juicy sound. To achieve this, you need to show, the student must be able to feel the keys. If the student does not have the fullness of the sound, it is the fault of the teacher.

There are almost no cases when a student does not need to study a work or some part of it at a slow pace and expressively in order to hear the length of the sound. K. Igumnov said: “... work slowly and expressively in order to hear the length of the sound, so that the sound “flows”. These skills need to be nurtured. Fast, light-sounding episodes are also learned at first with denser fingers, more full-sounding.

In parallel with this work, you need to look for the sound of the main melodic line. The student needs, first of all, to master the ability to "listen ahead", that is, purposefully lead the melody by ear.

It is very important to have a variety and colorfulness of sound. A child, in order to learn this, first of all must have sound baggage, must listen to a lot of music; Student independence in these matters should be encouraged in every possible way. The repertoire that the child plays should be one that encourages colorful reproduction.

2. Phrasing

Great importance in the work on the work should be given to phrasing, breathing, caesuras, consciously expressive and melodious play of each melody.

“In every musical phrase there is a point, which is the logical center of the phrase,” K. Igumnov believed. “Intonation points are, as it were, special points of gravity on which everything is built. They are closely related to the harmonic basis.”

Often, students of a music school have to be reminded that the line of a musical phrase must also be drawn with a stroke non legato. Starting from the most simple works the student needs to explain the role of breathing and the caesuras that reveal it, understanding the meaning of musical "punctuation marks".

It is necessary that the student master the skill of performing a melody in any texture: both when playing chords and when playing polyphony.

3. Dynamics.

It requires, like all other details of the work, a conscious approach and learning. It is important to explain to the student that at the beginning of the indication of crescendo, one must play quietly and, on the contrary, the beginning of diminuendo does not mean a sharp piano.

The student needs to master various types forte and piano. The scale of dynamic gradations is essentially infinite. Its richness depends on the subtlety of perception and the skill of the performer.

4. Agogika - a sense of rhythm, meter.

When working on a piece of music, the teacher and the student must take into account that there are two concepts - the live rhythm of music and the musical meter. The teacher must instill in the student a correct sense of both meter and living rhythm. On the one hand, the game requires temporal accuracy, on the other hand, the expressive meaning of the work makes its own demands. It is necessary to educate the student's ability to feel that time line that cannot be crossed. In addition, each epoch and each style quite accurately determines the limit of permitted agogic deviations, and the teacher must teach the student the correct sense of the degree of this permissibility.

Rhythmic freedom is the use of acceleration, deceleration, elusive draws that emphasize harmonic beauty.

5.A fingering

It is necessary to instill in the student a clear understanding that fingering does not tolerate inattentive attitude and work on its choice - milestone in learning the work. It is especially important to learn those fingers that are affixed by the author. Since it will certainly emphasize stylistic features and is often the key to correct phrasing, which means more accurate penetration into the author's intention.

Of particular importance is the choice of a convenient and correct fingering in the game of virtuoso passages, when automation of movements is necessary.

6. Pedalization.

From the very beginning, it is necessary to educate the student in a sharply negative attitude towards the “dirty” pedal, and vice versa, to encourage him to listen with pleasure to the pedal sound of a deep clean bass or a wide chord. The student must know that only the ear controls the pedal. It is necessary to explain to each student who begins to play with the pedal why it is needed in this particular case: whether it is necessary to attach the bass to the main harmony and hear the overall sound, whether several chords or sounds of a melody that are far apart from each other should be connected together; whether to emphasize the final chords of the piece with the pedal.

7. Technical mastery of the work includes two groups of tasks:

1. difficulties not related to quick execution;

2. work on virtuosity.

In technical work, the main thing is to find convenient pianistic movements, their reasonable economy, simplicity, naturalness and purposefulness of pianistic techniques. The main work is carried out at a slow pace, the transition to a fast pace is associated with solid learning and the ability to think quickly and hear all the learned tissue with inner hearing.

At a fast pace, automation of movement is necessary, fast motor orientation on the keyboard. Here, thoughtful fingering and understanding of small positions, which make up the entire musical fabric, is obligatory.

All techniques should merge with the music, there should be no formalism in fulfilling the will of the author. Work at this stage should be distinguished by special care, perseverance of both the teacher and the student in achieving the best result. The reason for the failure to work on any difficulty may lie in the insufficient number of classes.

IV.3 stage - "gathering" of all parts into a single whole. Climax. Thinking in big chunks. Finding the final tempo. Working on the form: features of working on a large form.

The development of the ability to embrace the entire work as a whole and to perform it wholeheartedly is a very important section of education. A gifted student who has a good “sense of form” and is sufficiently prepared can do a lot in this direction on his own, but he also needs the guidance of an experienced teacher. In this case, the teacher requires specific instructions, demonstrations on the piano, and systematic attention to this side of the student's work.

1. One of the most important prerequisites for the integrity of the performance is a sense of the general line of development of the piece. Just as a melody in a phrase goes to its reference sound, and large constructions to its semantic peak, the development of the work itself is also purposeful. The student must know and feel this. The larger the work, the more difficult it is to feel the integrity of its development. The role of the center of the work is performed by climax. If there are a number of climaxes in the work, then you need to find their ratio in importance.

“The listener gets tired when he hears the pianist, in whom all the episodes are equally high, intense,” says K. Igumnov, “this contributes to the fact that the culminations cease to act as climaxes, but only torment with their monotony. The culmination is good only when it is in its place, when it is the last wave, the ninth wave, prepared by all previous development.

2. Thinking in short segments (units, details) makes the performance smaller, while the student needs to think big in music, be able to combine large sequences. Some obstacle to achieving integrity is the exaggerated role assigned to details. This happens when careful work on expressiveness becomes an end in itself. It is clear that for all its necessity, this work should not go to the detriment of embracing the whole.

3. At this stage of studying the work, the final tempo for this student is specified. The main thing is to find the pace at which he can reproduce all the subtleties. In a large form, the tempo must be searched for in a single, well-sounding episode. In any case, the transition to a fast (final) pace means a rapid movement of thought, which means that the program should be perfectly learned by this moment.

4. Proper holistic performance cannot be achieved without understanding its form. The form, in turn, is inseparable from the content of the work.

3-part form

Already in the middle grades of the music school, a student often comes across plays written in a simple three-part form. In this regard, we have to talk about the mood and character of the 1st part, the contrasting (or not) middle and the return of the music of the beginning. The teacher must direct the student's perception in such a way that the reprise is not only a repetition for him, but would be a continuation of development.

In working on a three-part form, it is necessary to feel the boundaries between sections, to identify and feel their meaning. But one must beware of the other extreme - exaggeration of the significance of any one of the sections of the work.

Variations

When working on variations, it is very important to convey to the listener the nature and meaning of the theme. Then it is necessary to identify the appearance inherent in each variation, but at the same time it must be remembered that a single variation is not an independent work, but is only part of a cycle. The climax, as a rule, is the last variation, as if generalizing the whole work.

Rondo

It is most difficult to feel the integrity of development in the form of a rondo. The frequency of repetition can make the performance monotonous and static.

Concert

Working with a student on a concerto, the teacher may encounter the fact that the student sees a desired rest in the orchestral tutti. It is necessary to listen to the whole, albeit distributed among the parties.

V. The final stage is the performance on stage.

The last, final stage of work on a piece of music is very important - its bright, artistic performance on stage.

The program is ready when the student feels free, wants to go on stage. It is better that this happens 2 weeks before the performance, the rest of the time should be left for improvement, improving what has already been learned.

Public speaking, especially successful ones, makes a child successful. The teacher cannot guarantee a good result on stage, but he must do everything for this. Pupils are different - with an innate bright personality and, on the contrary, closed, "dim". Congenital performing brilliance is a sign of artistic talent, and it is not characteristic of everyone. The emotional beginning in the student must be developed and developed in the classroom so that the work does not sound pale and gray on stage. Pupils "dim" need to be given bright music so that they can somehow unfold themselves, reveal themselves in it. You need to give what you like, what involuntarily evokes emotions.

Very good reception- playing before the performance of the entire program. Another technique is to record the student on a video camera with further listening and analysis. It is quite possible to repeatedly record so that the student sees progress, which, ultimately, will increase his confidence in his abilities.

main reason failures - stage excitement. It is necessary to strive to overcome it so that a bad psychological astra does not appear.

IV. Independent music-making of students, public performance of independently learned works

Independent music-making of a student is the most important form of work, which, firstly, allows the teacher to objectively assess the degree of knowledge and skills accumulated by the student, and secondly, increases the independence and, often, the student's motivation for studies and self-development. The teacher should in every possible way encourage the independence of the student, create favorable conditions for this, in particular, give the opportunity for public performance of independently learned works (these can be thematic class concerts, various intra-school events or tests for independent work included in the plan of the educational institution).

Of particular benefit in the development of the student is the process of independent learning and performance of a work in the case when the student is given a certain freedom in choosing a repertoire for this kind of music-making.

Application.

PERFORMANCE AND METHODOLOGICAL ANALYSIS OF THE WORK

Sample plan (option one)

II. The means by which the composer creates these musical images (the style of the composition; genre specificity, rhythmic and tempo features; the structure of the melody; tonal plan, harmonic and modal features, the form of the composition, developmental features, climax zones).

III. Expressive means by which the performer realizes the composer's intention on the instrument (intonation and phrasing of the melody; dynamic composing plan, agogic features, articulatory moments, pedalization features, etc.).

Plan - analysis of the performing and pedagogical features of a musical work (second option)

1. Characteristics of the style of the composition, features of the author's creativity, the main musical image of the composition.

2. Genre features of the composition, size analysis, tempo characteristics.

3. Analysis of the form (sections, parts).

4 . Analysis of the invoice, its features.

5. Tonal plan of the piece, characteristic modulations.

6. Features of the melody, the nature of intonation, the construction of motives, phrases.

7. Features of articulation, touch.

8. Rhythmic and metrical difficulties.

9. Harmonic and modal features.

10. The nature of the dynamics at the culmination points, cadences, the nature of the general sonority.

11. Features of agogics, movements, caesuras, pauses.

12. Analysis and placement of a possible pedal.

13. Pianistic features: coordination, fingering features;

14. The purpose and role of the play in the student's repertoire; the level of difficulty in the music school repertoire.

Vakhrusheva Irina Vladislavovna
Job title: piano teacher
Educational institution: MAUDO "Ezhvinskaya Music School"
Locality: Syktyvkar
Material name: Methodical development
Subject:"Working on a play small form in the lower grades of the Children's Music School"
Publication date: 26.02.2017
Chapter: additional education

MAUDO "Ezhvinskaya children's music school"

in the lower grades of the Children's Music School "

Compiled by:

piano teacher

Vakhrusheva I.V.

Syktyvkar

Explanatory note……………………………………………………….. 3

Work on small-form plays in the lower grades of the music school………… 4

Methods and techniques for working on plays by m.f. in ml. music school classes……. 5

Problems when working on a play…………………………………………….. 6

Conclusion……………………………………………………………………. 12

List of used literature……………………………………… 13

Explanatory note

Relevance

students

small form.

Work on small-form plays occupies a special place in the musical

performance development of students of the piano department of the music school. aim

training at the Children's Music School is the training of amateur musicians with

skills

musical

creativity,

on one's own

disassemble and learn a play of any genre, be fluent in the instrument,

choose any melody and accompaniment. Music can be taught

small

musical

teacher

high

professionalism,

creative

teaching a child to love and respect him.

The purpose of this methodological

messages:- development and improvement

skills of working on pieces of small form in the process of learning to play the

piano. Expansion of the musical horizons of children, the formation of their

artistic taste. Education of music lovers of music and

Preparation

most

gifted

students

continuation

professional music education.

main

intelligence

major

related

learning

students

aesthetic

moral

upbringing

students

study

samples

world musical culture based on the conscious perception of music.

Development

musical

abilities,

acquisition

about the main

performing

piano,

execution

more

number of works of various genres and styles. Development of creative

abilities

students

acquisition

necessary

independent music making.

Work on small-form plays in elementary grades

constitute

significant

pedagogical

repertoire

under construction

education

pianist. According to the program requirements, a junior student in

educational

various

character,

difficulty level. Students of all grades enjoy working

over the plays of m.f.. And this is understandable: - a convenient format, a variety of characters

allows

teacher

most

liked

a work that will show the musical merits of the student and give him

opportunity

feel

performer

[Golubovskaya

musical performance".

For a teacher, work on plays is a consolidation of the skills acquired

exercises

classical

repertoire, much less loved by students. Great amount plays,

classic

repertoire,

swiftly

is replenished

it is expedient to conditionally divide the pieces of m.f. into main types: - Genre

cantilena

software-specific

pop-

jazz.

The beginning of learning to play the piano is certainly associated with such a genre as

march. Walking to music is an understandable and familiar activity for a child from an early age.

age from music lessons in kindergarten. It is at this stage

going on

acquaintance of the baby with "steps in music", awareness of the pulse,

toy

toy soldiers

marching

character

[Barenboim

L. "Piano-pedagogical

principles” p. 74]. In my teaching practice, I teach with a student

1st grade "March of preschoolers" composer Longchamp-Drushkevichov.

develop

internal

ripple,

bring up the metro - rhythm, form coordination of movement [Alekseev

A. "Method

learning

piano"].

I explain

performs its task, the left hand is an accompaniment, in the right hand is a melodic

Start. In addition to performing artistic and performing tasks, the child

learns to coordinate the sonority of accompaniment and melody, achieves

independent work of one hand from the other.

Methods and techniques for working on small-form plays

in the lower grades of the Children's Music School.

At the beginning of training, it is important to interest a small student, to explain

him that music always tells something. Parsing the play "Sparrow"

A. Rubbach,

getting acquainted

staccato.

trying

to convey with his performance the image of a sparrow and a cat.

In my experience I

made sure

Galynina

"Bunny".

a small work combines many pianistic skills:

playing staccato, chords, quick change of hands. But children do not notice these

difficulties

passionate about

jumping

attacks,

the bunny breaks out and runs away). Change of image (hare-fox) defines strokes,

dynamics. Another one figurative play"Bear" - helps my students in

studying bass clef. The world of images of software thumbnails of the mobile

character

artistic

perception

schoolchildren.

Availability

technical

combined

works

simplicity

clarity

homophonic-harmonic

presentation. In the play "Hedgehog" by D. Kabalevsky, cautious movements are heard

small

shy

stops.

Parsing

separately

with each hand, we play chords, the child notices that all the chords are

tonic triads, learn with a legato stroke, then work with a non stroke

legato with both hands. Having mastered the text, having worked through the play with all available

options, we are trying to convey the image of a prickly hedgehog by playing with a stroke on

staccato. The play by N. Korenevskaya "Rain" is very understandable to children at the first

listening.

explains

character

analyzes

means of expression (staccato stroke and its pictorial role).

Getting Started

skills

sound production

staccato and legato, coordination when playing with two hands.

Performing difficulties in mastering the material relate to diversity

strokes, including the simultaneous sounding of staccato and legato in different

metrorhythmic

difficulties

We define

quantity

sections

Raindrops in the extreme sections, gusts of wind, ripples in puddles in

Parsing

to plug

attention

proposals

notice

similarities

differences.

Movement

sustainable

combination

major

minor

sequences

joint work in the lesson to introduce similar elements of analysis, then the student

gradually getting used to

and soon tries to figure it out on his own

features of this or that text - this will further save him from

harmful and senseless motor work.

Problems when working on a piece of small form

beginners

students

difficulty

works. At a very early stage, the familiarization process includes a bright

execution

works

teacher.

precede

available

explanation to the student. The more systematically the teacher teaches the student the skills

parsing music

text, the more independently the student works on it in

further.

Getting Started

peculiarities

escort,

to uncover

performing

instructions in the text (dynamics, articulation, etc.) [B. Milic "Education

pianist's apprentice" p. 113]. Analysis of the game of each hand separately

drag out.

accustom

execution,

memorize it, and analyze what was done and what was not, it is necessary

find out the reason for the failure. It is better to isolate complex constructions and work

separately.

simplify the task by playing one melody and the most difficult places in it, and

passage as a whole, teach it in parts, and then combine. Sometimes you need

focus

any

execution-

sound,

metro-rhythmic,

pedaling.

overcoming

various

difficulties

anchoring

disassembled

have to

repeatedly

pursuit

former

The education of a pianist "p. 89].

Very interesting, light, comfortable and memorable pieces by the composer

S.Maikapara

favorite

repertoire

small

pianists.

In practice, I constantly include them in the repertoire of my students. In the first

class, the play "Shepherd Boy" is very convenient for the performance of kids, unison

conducting

distance

sunny

the little shepherd went out into the meadow near the river, a bright tune rang over

meadow. In working on this piece, we achieve a clear and precise sound of the 16th,

which imitate the singing of the flute. I also draw attention to the change

mood in the middle part, working on

the nature of the melody in the low

register,

try

express

execution

anxiety and gloomy nature of the melody. Some difficulty for

the student here is represented by thirds that need to be played coherently and

diminuendo.

"Little Commander", and both girls and boys love to learn it.

Together we compose a whole story about a courageous and brave commander.

beware

static, not to drum every note, but to feel the movement towards the end

gamma-like

movement

necessary

resolutely

crescendo.

We are working very hard on this place. Checking the accuracy of the fingering

when performing, we play with different sounds (left on forte, right on piano,

then vice versa). It is very important to make a crescendo towards the end. If connect

pedal, it will be straight, along with the chords.

"Lullaby" - we consider it from the point of view of vocals, i.e. carry out

singing analogy. The repetition of the same melodic

gives the impression of motion sickness of the child.

"Clowns"

composer.

Kabalevsky

generation of pianists and we are no exception. Ancient musicians

wandered from village to village, singing about the life of the people, amusing people with their

jokes and jokes. Children love to perform this spectacular miniature.

We work

separately,

necessary

constantly

control the work of the hand when performing jumps in the part of the left hand,

tenacity of fingertips, true

fingerings.

We work

nuances and strokes. The energetic sound of the left hand, necessary for

images of jumping clowns require attention. It is important to clarify

fingering in the parts of both hands, this will help you quickly and better learn

assigned tasks. The play has a 3-part form, where in the 1st and 3rd parts

the left hand part is duplicated. Using transfer brush, tenacious fingers

let's decide on the races, they remind us of clown jumps. Let's repeat

repeatedly

a staccato stroke on the lid of the instrument and listen to how

artists.

reschedule

exercise

instrument and listen to how these notes sound. Speaking of part 2,

this is where the chords come in. Note that they also use

a staccato touch, but it will already be performed differently, more solidly, but

tenacious and collected brush. In the party right hand- another clown. He's over

mobile, and here it is necessary to follow the fluency of the fingers - this is the 16th

clarity

winning

compose

small

poem.

I'm running faster

I amuse all people

I like it and everyone

Roll back, roll forward

Somersault one more time

With those merry words prehensile fingers a few times

play by

motives, phrases. It is necessary that when playing the hand was natural and

free.

quality

homemade

I propose

draw

clowns and be sure to train your fingers by playing at different tempos, from

slow to busier.

In the process of choosing a repertoire, he must also take part

student. Favorite among students is waltz music, where a common feature

is the cantilene beginning. ("Slow Waltz" by D. Kabalevsky, "Waltz"

B. Dvarionos,

"Lyrical

D. Shostakovich

Cantilena

repertoire

throughout

learning

represent a significant difficulty in the performance of students of different

level. As a rule, cantilena pieces are based on a beautiful melody. A

suggests

execution.

Basic

piano,

necessary

attention

throughout

learning

Children's music school. Legato is the basis of sound production on the piano. Teacher

should remember the need to include in the repertoire of students such

opportunity

anchoring

acquired

sound and intonation representations, develops auditory control and

culture of sound production; conscious attitude to phrasing and "breathing"

[Schmitz-Shklovskaya

education

pianistic

skills"

learning

cantilena

exists

problem

connection of sounds. The task is to associate one sound without a push with

others, stepping from finger to finger or passing the "baton" from one

finger to another. Walking fingers guide the hand that reinforces them and

same time keeps the overall smooth movement. Interaction between fingers and

hands give depth to sounds, and melody - coherence. It is necessary to follow

so that the hands are free and the fingers are collected.

An important point when working on a dance piece is to work on

accompaniment.

accompaniment

helps

work,

define

character

opportunity

get familiar with simple accompaniment techniques. It also develops

internal

ripple,

improves

possessions

metro rhythm

"Finnish

composer

Zhilinskis.

The accompaniment is built according to the bass-interval scheme. It's very important to get it right

to form a performance skill: reliance on bass and lightness of the 2nd and 3rd beats. IN

throughout

works

being executed

"pinch"

staccato

fingers. We count together with the child aloud, clearly highlighting the first share,

learn accompaniment separately. The correct skill of this technique develops and

strengthens the weak 4th and 5th fingers, develops the skill of execution

chords

intervals,

is fixed

fingering

working on a melody, we determine sentences; there are two of them, note

losing

climax

Often

going on

initial acquaintance with the reception of pedaling.

Strokes are important in dance pieces. Exactly

they give each work a special uniqueness. In this dance

various strokes in the part of both hands. Working closely with the student

execution of the exact technique of “sit down the hand” (reliance on the first finger, I follow

so that the hand does not spank and does not hit the keys. On one move

jumped back

staccato

through

decrease

it is necessary to follow the unifying movements of the hand. Exactly on

movement

fulfill

offer

strokes, active fingers, to a crescendo without interrupting the melody.

Another considerable advantage of dance pieces is the formation

coordination.

learn

coordinate

sonority

accompaniment and melody, achieve independent work of one hand from

performs

specific

[Golubovskaya N. "On musical performance" p 74].

"Children's Album" by P.I. Tchaikovsky is an excellent material for work

with kids. The play "The Doll's Disease" is slow, with sad intonations

the music conveys a sad mood. Ask the student to describe

I show

expressed

decomposed

chords,

hear

expressive melody, always having a downward movement. Difficulty

performance

continue

melodic

make the child's ear play the melody as if there were no pauses. In that

children most often play according to the beat, this should not be allowed.

offer

to play

separately

issued

half

deep

combined with melody. So that the student hears a kind of dialogue of 2

It is difficult to overestimate the role of such plays for artistic development.

students: it is they who often represent the simplest examples

program music, in the most direct and accessible form contributes to

feeling

understanding

closest

[B. Milic "Education of a pianist student" p132].

Conclusion

fruitfulness

teaching

is

teacher

student.

understanding

based

creative

interest

knowledge

musical

work

considering

individuality

seeks

push

independent

repertoire, the teacher must achieve varying degrees of completeness

performance

musical

works,

considering,

some

pieces must be prepared for class performance, others

for review, others for public performance. Starting to select

repertoire, the teacher must clearly understand the purpose for which this or that

other work.

List of used literature:

1. Golubovskaya N.I. "About musical performance"Music 1985 Moscow

2.B.Milich "Education of a pianist student" Music. Ukraine 1982

3. M. Schmidt-Shklovskaya "On the education of pianistic skills"

"2001 Moscow

4. Alekseev A. "Methods of teaching playing the piano" Moscow 1983

5. L. Barenboim "Piano-pedagogical principles" Leningrad 1982