The system of techniques for technical development on wind instruments among students in children's musical schools and children's art schools. Health-saving technologies in teaching to play a wind musical instrument

Troyanovsky Boris Yurievich
Job title: flute teacher, block flute.
Educational institution: GBOUDOD named after Alexandrov.
Locality: Moscow
Material name: Methodical development. (essay.)
Subject:"The influence and benefits of playing the flute and other wind instruments on the human respiratory system".
Publication date: 25.03.2016
Chapter: additional education

Influence and benefits

flute and other

wind instruments

on the human respiratory system.
Musical education is one of the indispensable conditions for a comprehensively developed personality, THEREFORE, MANY parents dream of sending their child to a music school. On the eve of the new school year, parents actively enroll their children in various studios and schools. The choice of the musical instrument that your child will learn to play is very important. A lot depends on the right decision. And the impact of music lessons on the health of the child, and his success in learning, and his future career. When choosing a tool, you should not follow the spirit of fashion. If it is fashionable to play the button accordion at a given moment in time, this fashion will not necessarily last ten years until the baby grows up. Choose tools that are more versatile. First, you should talk with the baby, invite him to listen to the sound of different musical instruments and show how the musicians play them. The child may show interest in something specific. But to make sure the choice is right, one desire is not enough. It should be assessed how a particular musical instrument can affect health
your child. For example, there is nothing better for the development of breathing than playing wind instruments. For children with asthma, lessons on wind musical instruments (flute, oboe, clarinet, saxophone) are especially recommended, and for children of three or four years old - block flute. These classes involve working on professional breathwork, which helps fight asthma and allergy symptoms, and sometimes even cures them! Wind musical instruments - a family of musical instruments in which the sound source is a column of air enclosed in them; hence the name (from the word "spirit" - in the meaning of "air"). Sound is produced by blowing an air jet into the instrument. Wind instruments are instruments of universal possibilities. They are used everywhere: in symphonic, jazz, brass bands, folk groups, in groups of avant-garde trends in modern music. In music schools there is a whole "constellation" of instruments that children learn to play with great pleasure. All these instruments sound great in the school brass band. Playing wind instruments is very beneficial for health. They strengthen and heal the respiratory system. Highly recommended by physicians in the complex therapy of bronchial asthma and chronic bronchitis. By learning to play wind instruments, boys can get a specialty for military service. The students are also waiting for student orchestras organized in the country's universities. Immediately, we note that there are age restrictions for playing wind instruments. For example, it is recommended to learn to play the saxophone from the age of 10-11 - by this age the child
achieves the necessary physical development. However, given the acceleration, the level of "brass" is gradually lowered. From the age of 5, you can already learn to play, for example, the recorder or ocarina. Many parents bring their children to school specifically to improve their health. There were cases when students were treated for asthma by playing the flute and oboe. For those who systematically, daily exercised, their health improved significantly. And the children were much more interested in learning to play than inflating balloons, as doctors advise. The fact that “trumpeting” is really very useful is also confirmed by the pulmonologist, candidate of medical sciences Larisa Yaroshchuk: “When playing a flute or other wind instrument (oboe, saxophone), resistance to the flow of exhaled air is created. This helps to open up the alveoli (structural units of the lungs), develops lung tissue, improves gas exchange in the body, and increases the vital volume of the lungs. However, before enrolling a child in a music school, contraindications should also be taken into account. You can not play wind instruments with emphysema (abnormal increase in lung capacity), increased intracranial pressure, cysts in the lungs and at some stages of tuberculosis. You need to be careful with congenital heart defects: such children are contraindicated in the "heavy artillery" of the orchestra, for example, trombones or tubas, since these instruments require considerable physical exertion. If your child has breathing problems, asthma, then there is nothing better than the wind department - flute, saxophone, trumpet, horn. Here, your child will initially be offered to start learning on a wooden or plastic recorder. This stage is the same for all wind instruments. Here the basics of musical notation, melodies are comprehended and, most importantly, breathing develops! I know many
cases when the disease receded under the perseverance and diligence of the child after a couple of years of classes. Asthma is a disease of the tracheobronchial tree characterized by bronchial hyperreactivity and subsequent airflow obstruction due to exposure to some irritant. Such an irritant can be exogenous allergens, a viral respiratory infection, physical overexertion, cold air, tobacco smoke and other air pollutants. However, airway obstruction is dynamic and improves either spontaneously or as a result of treatment. Another example. Australian asthma treatment. People suffering from bronchial asthma know that an asthma attack can come at the most inopportune moment. In such situations, the main thing is to have a compact aerosol can with you, otherwise the consequences can be the most sad. In the absence of a cure, there are special breathing exercises that can alleviate the suffering of the patient. And recently, Australian scientists have discovered a new way to treat asthma - playing wind musical instruments. So, in particular, asthma attacks disappear if the patient plays the didgeridoo, a musical wind instrument of the Australian Aborigines. A study conducted by the University of South Queensland - Australia showed that regular didgeridoo exercise made it easier for asthmatics to breathe and improve their overall health. During the experiment, ten Aboriginal boys attended weekly didgeridoo lessons for six months. At the end, it turned out that their respiratory functions improved significantly. According to scientists, this
contributed to the deep and permanent (continuous) breathing necessary to extract sounds from the said instrument. Didgeridoo is made from a piece of eucalyptus tree up to three meters long, the core of which has been eaten away by termites. The mouthpiece can be treated with black beeswax. The instruments are usually painted and decorated with tribal totems.
Playing wind instruments reduces the risk of developing

sleep apnea.
The study involved 129 people. 64 volunteers played brass instruments, while the rest did not. Specialists tested the function of the lungs of the participants. Volunteers also filled out a questionnaire designed to assess the risk of developing sleep apnea, writes The Times of India. The lungs of people who played wind instruments worked no better than those of those who did not play such instruments. However, according to the results of the questionnaire, the risk of developing sleep apnea in participants who played wind instruments was lower by about 1 point. Scientists explain this fact by the fact that people who play wind instruments are likely to have increased muscle tone in the upper respiratory tract. So, according to researchers, playing wind instruments is a good way to prevent sleep apnea in risk groups. There are other benefits to music as well. For example, they develop areas of the brain associated with the perception of speech.
The benefits of music lessons.
As you know, different areas of the human brain have different specializations. The human brain is functionally divided into two hemispheres connected by the so-called. corpus callosum, that is,
a kind of "information bridge" connecting parts of the brain. It has been noticed that in people who are intensively involved in music, this "bridge" is hypertrophied, in other words, it increases. When playing music, the corpus callosum increases in size by about 25%. (The number of neurons that help information circulate within the brain increases.) The corpus callosum coordinates the work of both hemispheres of our brain. It is responsible for the speed of information exchange between them. Scientists are sure that playing musical instruments brings joy to the child and stimulates development. The child becomes smarter, imaginative thinking develops. And he can then work in different areas of human knowledge. Thus, playing wind instruments has a beneficial effect on the respiratory system and harmonizes the general condition of a person. References: 1. Ryazanov S. "School of playing the clarinet", publishing house "Moscow", 1978, 247 p. 2. Usov Yu. A. "Methods of teaching to play the trumpet", publishing house "Moscow", 1982, 354p. 3. Galygina Daria Alexandrovna.

Introduction

The method of teaching to play wind instruments is an integral part of the musical pedagogical science that considers the general patterns of the learning process on various wind instruments. Russian pedagogical science in the field of performance on wind instruments has no more than 80 years. She reached new frontiers by assuming and developing further all the best that was characteristic of the Russian school of playing wind instruments. Her successes are known not only in our country but also abroad.

Composer Gedicke wrote: the technique of playing wind instruments has advanced so much that if the best performers, especially on brass, who lived 50-70 years ago, heard our wind players, they would not believe their ears and would say that this is impossible.

It should be recognized that the theory of teaching methods on wind instruments as part of pedagogical science among other methods is the youngest. Each generation of woodwinders contributes to the technique. The method of teaching on any instrument is part of pedagogy.

Word methodology Greek origin translated into Russian - way to something. A technique is a set of methods, i.e. methods of performing any work. (research, educational). In the narrow sense of the word, a methodology is a way of teaching a particular subject based on the analysis and generalization of the best teachers, musicians and performers.

The methodology studies the patterns and techniques of individual learning. The technique contributes to the education of a general musical culture, broadens the horizons of performers. The technique is closer to the specialty. An outstanding performer and teacher who laid the foundation for the development of the Soviet methodology was Rozanov. His work Fundamentals of Teaching Wind Instruments Moscow 1935 was the first work put on a scientific basis.

In his work, he formulated the principles that became the main ones in the methodical school on wind instruments:

1. The development of technical skills in students should go hand in hand with artistic development.
2. In the process of the student's work on a piece of music, it is necessary to achieve its conscious assimilation and then it will be stronger.
3. The basis of the correct setting should be the knowledge of the anatomy and physiology of the organs involved during the game.

The main questions of the methodology formulated by Rozanov were developed by professors Platonov, Usov, Pushechnikov, Dokshitser, G. Warwit.

The presence of a solid theoretical base allows us to raise the teaching of playing various musical instruments to a new qualitative level.

Psychophysiological foundations of the performing process on wind instruments.

Musical performance is an active creative process based on the complex psycho-physiological activity of a musician.

You should know this wording as our father. Underline this wording directly. A player on any instrument must coordinate the actions of a number of components:

• vision,
• hearing,
• memory,
• motor feeling,
• musical aesthetic performances,
• volitional effort.

This is also a very important point. It is this variety of psycho-physiological actions performed by the musician in the process of playing that determines the complexity of the musical performance technique.

The further path of scientific substantiation of the musical-performing process was associated with the study of the physiology of the higher parts of the central nervous system. The teachings of the great Russian physiologist academician I.P. Pavlov about higher nervous activity, about the inseparable connection of all life processes, about the cerebral cortex as the material basis of mental activity, helped advanced musicians change their approach to substantiating performing technique.

Educators and performers have become more deeply interested in how the brain works during play. They began to pay more attention to the conscious assimilation of goals and objectives. The basic principles of the cerebral cortex are coordinated human activity is carried out through complex and subtle nervous processes continuously occurring in the cortical centers of the brain. These processes are based on the formation of a conditioned reflex.

Higher nervous activity consists of two most important and physiologically equivalent processes:

1. excitation which underlies the formation of conditioned reflexes;
2. internal inhibition, which provides analysis of phenomena;

Both of these processes are in constant and complex interaction. Mutually influencing each other and ultimately regulate all human life.

The process of playing a musical instrument as one of the types of human labor activity.

Do not forget that you work - this is your work.

Studying at a music college is like work. This is a number of complex coordinated functions: (visual, auditory, motor, volitional) carried out on the basis of conditioned reflexes of the second signaling system of the brain.

Let's try to imagine how this happens practically in the process of playing the instrument.

When looking at musical signs, the performer first of all experiences irritation in the visual area of ​​the cortex (meaning the brain). As a result, the primary signals are instantly transformed into a visual representation of the musical text. Through thinking, the musician determines the position of the notes on the staff, the duration of the sounds, their volume, and so on. The visual perception of sound by the player is usually associated with auditory representations. The excitation of the visual centers spreading captures the auditory area of ​​the cortex, which helps the musician not only to see the sound, but also to hear, that is, to feel its height, volume, timbre, and the like. The auditory representations that have arisen inside immediately evoke in the musician the corresponding performing movements necessary to reproduce these sounds on the instrument. Motor impulses are transmitted to the performing apparatus: lips, tongue, breathing, finger movement, hearing. And due to internal inhibition, they cause the necessary movements: lips, tongue, fingers.

This is how the propulsion system is carried out, as a result of which sound is born.

Sound vibrations, in turn, cause irritation of the auditory nerve, which, due to the possibility of establishing feedback physiological connections, is transmitted to the auditory queue of the cortex and ensures the appropriate perception of the sounds performed, i.e. auditory analysis. Thus, the process of sound formation on wind instruments can be imagined as several interconnected links of a single chain.

Musical sign - idea of ​​sound - musculoskeletal system - performing movement - real sounding - auditory analysis. In the course of this complex conditioned reflex relationship, the central place belongs to the auditory sensations and ideas of the player.

These are the psychophysiological foundations of sound extraction applied to playing any musical instrument, however, performance on wind instruments still has a number of specific features.

Acoustic foundations of sound formation on wind instruments

Unlike keyboard, bow and percussion instruments, where solid bodies act as a vibrator (for strings - strings, special plates, skin for percussion) all wind instruments belong to instruments with a gaseous sounding body.

The reason for the appearance of sound here is the fluctuations of the air column of air caused by the special actions of pathogens. The specifics of sound formation on wind instruments depends on the device of the instruments. Modern musical acoustics divides all wind instruments into three groups:

• first group labeal from the Latin wordlaba (lip) they are also called whistling (all types of pipes, flutes, some organ pipes belong),
• second group reed, reed or lingual from the Latin word lingia (language) (all types of clarinets, all types of oboes, bassoons, all types of saxophones and bass horns),
• third group with a funnel-shaped mouthpiece they are usually called copper(all types of cornets, trumpets, horns, trombones, tubas, horns, fanfares).

How is sound formed?

On the flute, which is an instrument with a gaseous exciter, the sound is formed as a result of the friction of the exhaled air stream against the sharp edge of the ladium hole located in the head of the flute. In this case, the speed of the air jet periodically changes, which causes the occurrence of sound vibrations in the flute channel. All reed instruments belonging to instruments with a solid exciter form sounds with the help of vibrations of special reed plates (reeds). The oscillatory process on these tools is regulated by the actions of two interacting forces: translational movement of the exhaled air stream and the elastic force of the cane.

The exhaled stream of air bends the thin part of the cane outward, and the force of its elasticity causes the reed plate to return to its original position. These movements of the reed (reed) provide an intermittent jerky entry of air into the channel of the instrument, where a reciprocal oscillation of the air column occurs, therefore sound is born.

Even greater originality is the appearance of sound on wind instruments with a funnel-shaped mouthpiece. Here, the role of a solid oscillating sound exciter is played by the central areas of the lips covered by the mouthpiece.

As soon as the exhaled stream of air enters the narrow labial fissure, it immediately causes the lips to vibrate. These fluctuations, changing the size of the opening of the labial fissure, create a periodic jerky movement of air into the mouthpiece of the instrument. The result of this is the successive condensation or rarefaction of air in the channel of the instrument, which ensures the appearance of sound.

Having considered the acoustic foundations of sound formation, we find one common phenomenon: in all cases, the cause of sound formation is the periodic oscillation of the air column contained in the instrument caused by the specific movements of various devices and sound exciters.

At the same time, oscillatory movements of the air jet, reed plates or lips are possible only if the various components of the performing apparatus are coordinated.

The development of musical abilities in the process of educating a professional musician

Despite approximately equal mental abilities and physical development of students, we have different results of their learning. The analysis of these phenomena indicates that in the preparation of the performer, the intuitive principle, that is, the presence of natural abilities, becomes decisive. V.M. Teplov in his work "Psychology of musical abilities" musical literature 1947 proves the possibility of developing all musical abilities on the basis of innate inclinations. There can be no abilities that would not develop in the process of education and training.

What do we mean when we talk about musical ability or musical inclinations?

First of all, we mean musicality. This successful definition was made by Alekseev in his method of learning to play the piano. "A musical person should be called a person who feels the beauty and expressiveness of music, is able to perceive a certain artistic content in the sounds of a work, and if he is a performer, then reproduce this content". Musicality develops in the process of correct, well-thought-out work, during which the teacher clearly and comprehensively reveals the content of the studied works, illustrating his explanations with a display on an instrument or a recording.

The complex of the concept of musicality includes a number of necessary components, namely:

1. ear for music,
2. musical memory,
3. musical rhythmic feeling.

Ear for music

Ear for music is a complex phenomenon that includes such concepts as:

• pitch (intonation),
• melodic (modal),
• harmonic,
• inner ear.

Each of these aspects of musical ear is of great importance in training and in performing practice. It is absolutely necessary for the performer to have a well-developed relative hearing, which makes it possible to distinguish the ratio of sounds in pitch taken simultaneously or sequentially.

This quality is extremely important for an orchestral musician. In the orchestra, a performer is valued who listens well to his group, actively participates in it without disturbing the ensemble. The ability to hear imaginary sounds, write them down on paper and operate with them is called internal hearing. Musical ear develops in the course of a musician's activity. It is necessary to ensure that all work with the instrument proceeds with tireless monitoring of hearing.

The lack of students that they do not control their instrument playing by ear. This is the main disadvantage of independent work of students. A teacher in the specialty must constantly take care of the development of all components of musical ear and, above all, internal melodic ear.

Development of inner hearing

In addition to solfeggio lessons and doing homework in this subject, a teacher in the specialty requires the performance from memory of previously familiar or newly heard musical passages ( picking by ear), transposing familiar melodies into other keys, improvisation, as well as composing music if there is enough data for this.

It is useful to teach students to analyze their own or other performance, critically evaluating them. That's why you have to go to concerts not only in your specialty: choir, chamber orchestra, wind, variety, ensembles, soloists, violinists.

To develop a melodic ear, it is necessary to systematically work on a cantilena (slow piece). Cantilena (slow piece) also develops endurance because there is a big load on the lips, you take a lot of breath. Improving harmonic ear, it is useful to analyze the texture of the musical work being studied, to play more in an ensemble, in an orchestra. Texture is a Latin word in a figurative sense of a device, the structure of a musical fabric.

A well-developed musical ear is the most important condition for the development of musical memory.

musical memory- this is a synthetic concept that includes auditory, visual, motor, logical. Musical memory also lends itself to development. It is important for a musician to have developed at least three types of memory:

• the first auditory serving as the basis for successful work in any field of musical art,
• the second is logical, connected with the understanding of the content of the work and the laws of development of musical thought,
• the third kind of motor is extremely important for instrumental performers.

For many, visual memory plays an important role in the memorization process. When working on the development of the student's memory, remember: the system of memorizing music is very important, the student must take into account that music flows in time, in the creation of a work as something whole, it is possible, provided that its parts are kept in memory. As a result of frequent performance, memorization can be intentional. Memorization can also be intentional when individual passages are specifically memorized, and then the entire work as a whole.

Here it is necessary to know the form of the work, its harmonic structure. When learning, it is important to be aware of the similarity, repetition of individual parts of the musical form, and attention is fixed on what distinguishes these parts and what unites them. Intentional memorization involves: visual, motor, as well as more complex internal auditory memory. Checking the correctness of the learned piece of music: recording the memorized music without using an instrument (notes), transposing the melody to a different key and the ability to start playing from anywhere. The ability to start performances from any place testifies to the performer's deep and thorough knowledge of the music of the work.

Expressive means when performing on wind instruments

Usually, the following concepts are referred to the expressive means of a performer on wind instruments: sound, timbre, intonation, strokes, vibrato, rhythm, meter, tempo, agogy, articulation, phrasing, dynamics, nuance.

Agogics- This is a slight deviation from the pace. Vocalists and wind instruments performers refer here in the same way: performing breathing. Pianists include: pedal, touch.

Touché is a specific way of performing. Stringers include: strokes, vibrato, fingering, finger technique.

Wind instrument performers These funds also include: technique of lips, tongue, double staccato, frulyato, glissando. Although the double staccato is a technique. And frulyato and glissando already belong to the strokes. All this suggests that there is no single clear and distinct approach to defining the concepts of performing means or expressive means.

Performing means and expressive means are two sides of a single creative process. We rank as performing means everything that is connected with the technological side of performance. The technological side is the state of the instrument, mouthpiece, reed; setting the body, head, hands, embouchure; performing breathing technique, language technique (hard, soft, auxiliary attack); articulation is the pronunciation of vowels, consonants during the game; finger technique (fluency, clarity, consistency); knowledge of fingering (basic, auxiliary, additional).

Expressive means include everything that is the artistic result of the use of the listed performing means. One of the most important performance tools is sound. The expressiveness of the sound as a means of the performing embodiment of the melody more fully determines the strength of the emotional impact of music.

The player must master a beautiful sound, that is, make the sound of the instrument clear, juicy and dynamically diverse.

At the same time, the nature of the sound must be inextricably linked with the content of the music being performed. For the expressiveness of the sound, the purity of intonation is of particular importance. The finer and better the musician's ear is developed, the less errors he will make when intoning during the game. Technical skill is an important performing tool.

A wind instrument player's technical skills are made up of various elements: well-developed performance breathing, elasticity and mobility of the lips, mobility of the tongue, speed and coordination of finger movement. Each of the wind instruments has its own special concepts of the most complex elements of performing technique.

For a group of woodwind instruments, the technique of finger movement is very complex. That for the copper group is the possession of the technique of lip work. Of exceptional importance is musical phrasing, which characterizes the ability of the player to correctly determine the structure of a musical work (motives, phrases, sentences, periods), correctly establish and perform caesuras, identify and embody climaxes, and correctly convey genre stylistic features of music. Musical phrasing, reflecting the living breath of musical thought, is a means of expressing the artistic content of a work.

An important component of musical phrasing is dynamics.

The skillful use of dynamic shades when playing significantly enlivens the musical performance, deprives it of monotony and monotony. When playing wind instruments, two types of dynamics are usually used: the first is stepped or terratnaya dynamics, which includes a gradual increase or decrease in sound ( ppp, pp, mp, mf, f, ff ), the second type of dynamics is called contrast dynamics, which consists in a sharp opposition to the strength of sound (piano - sharp forte). It is important to note that dynamic shades are not absolute, but relative (forte for some, and mezzo forte for others), so the musician is given the right to supplement or expand these shades.

A very essential element of musical phrasing is agogy- this is a little noticeable change in the speed of movement (deviation from the pace). Agogic shades, skillfully applied, reveal the creative nature of musical performance. The most complex and difficult agogic nuance is the art of playing rubato (rhythmically free performance).

Musical phrasing is closely related to the use of strokes. Strokes help enhance the expressiveness of the performance. A variety of performing tools can be divided into three main groups:

• first means related to sound quality (timbre, intonation, vibration),
• second a group of means of a technical order (finger fluency, breathing technique, tongue technique),
• third a group of means of general musical expression (musical phrasing, dynamics, agogics, strokes, fingering).

Such a division is conditional, since there is a very close organic relationship between the performing means in music. However, an expressive sound serves as an indicator of a certain technical skill.

musical phrasing- this is the simultaneous possession of both sound and technical skills. A characteristic feature of all the performing means of a musician is not only their close relationship, but also their complete subordination to artistic goals, artistic tasks.

Performing apparatus and sound extraction technique on wind instruments

Analyzing the sound extraction technology on wind instruments, we can establish that it is composed of:

1. visual-auditory representations: first you see a note, you internally heard this note;
2. performing breath: after you understand what this note is and where it sounds approximately (in your head), you take a breath. This is the performance breath.
3. special work of the muscles of the lips and face: you need to put the lips and muscles in order to take this note
4. specific tongue movements: that is, which tongue is hard, soft or double;
5. coordinated finger movement: what kind of fingering and so on ...
6. continuous auditory analysis: these are all moments to the last, they are all subject to auditory analysis (continuous)

These components are inextricably linked with each other by complex neuromuscular activity and constitute the musician's performing apparatus.

There will be a question: What are the components of sound extraction technology? These are the components of 6 pieces you will have to name.

The most important is the lip apparatus. The question will be: what is a mouthpiece? All these formulations should be known as our father.

Lip apparatus- this is a system of muscles of the labial and facial, mucous membrane of the lips and mouth, salivary glands. The combination of these elements is called the lip apparatus. The lip apparatus is sometimes called differently embouchure.

The concept of embouchures is used in connection with all wind instruments, but is interpreted in different ways: some believe that it means the mouth or mouthpiece, others that it refers to the labial fissure.

According to the Moscow 1966 edition of the encyclopedic musical dictionary, the word embouchure French and has two concepts:

• the first way to fold the lips and tongue when playing wind instruments. Thus, it is possible to accurately determine this position, the degree of elasticity of the labial and facial muscles of the performer, their training, endurance, strength, flexibility and mobility when playing is called the embouchure.
• And the second definition in this dictionary is: it's the same as a mouthpiece.

Systematic training for the performer is of paramount importance. The development of the labial apparatus should be carried out in two planes. The first plane: this is the development of the labial muscles, that is, the development of strength, endurance of the labial, facial muscles. After you have developed the beauty of sound appears, its own peculiar timbre, intonation quality of sound. For this purpose, you need to play whole notes on a full breath for 20-30 minutes.

Performing breath. His essence. Meaning. And methods of development

The breathing technique of a performer on wind instruments is, first of all, a sound mastery technique that includes the whole variety of timbre, dynamics, strokes and articulation. If the breath is well set by sound, one can immediately judge that a person has a timbre, dynamics, articulation. The culture of sounding implies the presence of a certain school of breathing.

If the language plays a decisive role in the origin of sound, then in the conduct of sound it belongs to the air stream exhaled by the performer into the instrument. The nature of the air jet is corrected, in addition to the respiratory muscles, by the labial muscles, the muscles of the tongue. And all of them together are controlled by hearing. Conventionally, performing breathing can be compared with a violinist's bow.

Performing breathing is an active expressive means in the arsenal of a wind player.

The professional breathing of a performer on wind instruments is determined primarily by the conscious and purposeful control of the respiratory muscles, which fully work during inhalation and exhalation. Muscles are involved in the respiratory mechanism inhalation and exhalation. The performer's breathing technique depends on the skillful use of these antagonist muscles.

Inspiratory muscles include: diaphragm and external intercostals.

The expiratory muscles include: abdominals and internal intercostal muscles.

The performer must learn to control active inhalation and exhalation through the development and training of the respiratory muscles. Exhalation in interaction with lips, tongue, fingers plays a primary role in the formation of sound, in its conduct and in various types of its manifestation in technology.

A well-placed exhalation not only affects the sound quality and versatile technical capabilities, but also opens up wide scope for the activity of other components of the performing apparatus: lips, tongue, fingers. Two phases of breathing (inhalation and exhalation) can be used in different ways in the performing process.

In the natural physiological breathing of a person, inhalation is an active act in which the lungs expand, the ribs rise up, the dome of the diaphragm goes down. Exhalation, on the contrary, is a passive act: the lung cavity, chest and diaphragm return to their original position. During physiological breathing, the cycle proceeds: inhale, exhale, pause. Professional performing breathing is subject to the consciousness of the performer and involves active inhalation and exhalation. Inhale - short, exhale - long (long).

Quality exhalation also depends on the correct and full inhalation.

The professional inhalation of the horn should be short full and noisy. It has a number of specific differences from normal human physiological respiration.

• First, it requires maximum use of lung capacity (3500-4000 milliliters of air). With physiological respiration, the volume is 500 milliliters.
• Secondly, during professional breathing, the load on the respiratory muscles increases. It is many times greater than with a calm vital breath.
• Thirdly, during normal normal breathing, inhalation and exhalation are approximately equal in time, that is, rhythmic breathing.

A person in a calm state makes 16-18 respiratory cycles in one minute. The oven reduces the number of breaths to 3, 8 per minute. Under natural conditions, a person breathes through the nose. When playing wind instruments mainly with the mouth with little help from the nose. This ensures the fullness of inspiration and its noiselessness.

Breathing when playing wind instruments should be taken through the corners of the mouth with little help from the nose. Inhalation through the mouth allows you to quickly and quietly replenish the lungs with air. When inhaling, the external and intercostal muscles of the chest and diaphragm are involved. Therefore, the uniform filling of the lungs with air and the expansion in all directions of the chest depends on the development, strength and activity of these muscles.

As for the diaphragm, this muscle is one of the strongest in our body. Together with breathing, it makes 18 oscillations per minute while moving 4 centimeters up and 4 centimeters down. The diaphragm does a great job. Like a perfect pressure pump, the diaphragm, with its entire impressive area, descends when inhaling, compressing the liver, spleen, and intestines, enlivening the abdominal circulation.

When inhaling, the lungs should be filled with air from the bottom to the top, like a vessel with water in which the liquid from the beginning covers the bottom and, leaning on it, fills the vessel to the top. Thus, a so-called air column is formed in the lungs, which rests on the bottom of the lungs, on its base, that is, on the diaphragm.

There will be a question: what is the difference between human and performing breath?

You will say that the breath of a wind instrument performer is not rhythmic, and the second option is that the breath is stagnant. Operated breathing is the correct set breathing of the horn player.

Typical disadvantages of staging for novice musicians

If we imagine the process of learning a musician in the form of a gradually building building, then the production will play the role of a foundation. Proper staging serves as the basis on which the development of the musician's performing skills is based.

The practice of teaching young, novice musicians shows that attention should be paid to staging from the very first steps. The most typical deficiencies in beginner musicians are related to the incorrect position of the instrument, hands, fingers and head.

For flute players, the most characteristic is the inclined position of the instrument instead of the necessary straight one, which is a consequence of the lowering of the right hand. To correct this shortcoming, the teacher must ensure that the student keeps the elbow of the right hand slightly raised during the game. In this case, both hands will be at the same horizontal level and the flute will lie flat.

Beginner oboists often hold the instrument too high, which is partly due to their excessive chin-down. Correcting such a shortcoming is not difficult - you just need to monitor the correct position of the head and hands, which should not be raised much up.

A clarinet player most often shifts the instrument somewhat to the side, and more often to the right than to the left, or they give the instrument an incorrect vertical position (they hold it too close to the body) or, on the contrary, raise it excessively. Such deviations from the norm (if they are not due to any individual characteristics of the musician) should not take place because this leaves a certain imprint on the character of the sound. It is known from practice that when the clarinet is tilted down, the sound becomes liquid and dull, and when it is raised excessively upwards, it becomes coarser.

For brass players, the incorrect position of the instrument is as follows: they press with the phalanges of the fingers, but you need to press with the pads of the fingers; when playing the cornet, the pipe is held by the ring. When playing, you do not need to hold on to the ring. The ring is held only when turning notes, or when you need to insert a mute. Beginning horn players often hold the bell of the instrument incorrectly: either lower it too far down, or, on the contrary, turn it too much up. It is not uncommon for trombonists to give the instrument the wrong position by holding the slide down.

The disadvantages of setting associated with the position of the fingers on the instrument can be quite different:

When playing woodwind players, the fingers very often rise high, are taken away unnecessarily to the side, in addition, they lie on the instrument not in a rounded bent, but in a purely straight position, which causes their excessive tension. An incorrect head position is manifested in the fact that some musicians lower their heads down at the time of the game, as a result of which the chin also drops, causing additional tension in the neck and chin muscles.

Such an inclined position of the head can be found among performers on various wind instruments, but most often it occurs: trumpeters, oboists, clarinetists, horn players. The tilt of the head to the side (to the right) is especially common among flute players for whom it has become a tradition and a bad habit.

With the beginning of learning on the instrument, it is necessary to relentlessly monitor the correctness of the staging techniques of the player. At the same time, it is necessary to ensure that the student not only knows certain methods of rational setting, but also understands the expediency of their practical application.

It is possible to weaken control over the staging when the correct staging techniques turn into accurately learned and consolidated skills for students.

Moscow Department of Education

Northeast District Office of Education

GBOU Multidisciplinary School 1220

Corps of additional education (DO No. 9)

Art direction

Comprehensive educational program of the association

"Children's Brass Band named after G.M. Chertok"

Age of children 7 - 18 years

Implementation period - 12 years

Teachers of additional education:

Doshlov Mikhail Rudolfovich - musical

leader (conductor)

Trumpet class, percussion instruments

Woodwind class:

Ilchenko Sergey Nikolaevich - class of clarinet, flute

Class of brass instruments:

Kulik Alexander Olegovich - trombone class, horns

Lisunov Vladimir Vladimirovich - class of tuba, tenor, baritone

Moscow 2016

Comprehensive educational program of the association

"Children's Brass Band named after G.M. Chertok"

Age of children 7 - 18 years

Implementation period - 12 years

Explanatory note

Music performed by a brass band is one of the most popular, beloved genres of musical art. Amateur and professional orchestras have been accompanying the life of Russians since ancient times. Court, military and civil brass bands were indispensable participants in mass state and public events. Even today, the brass band remains an attribute of military glory, a kind of page in military history, and our military marches remain the most beautiful manifestations of the patriotic feelings of Russians, the Russian people: beautiful in terms of the richness of melody and arrangements, beautiful in terms of sincerity and extraordinary pride of feelings inherent in into the architectonics of the overall sound, beautiful in the style of performance.

Brass Band. G.M. Chertok TsRTDiU "Ostankino" is a stable team, widely known and popular not only in the Ostankino region and the city of Moscow, but also in other regions of Russia and neighboring countries. The orchestra is proud of its pupils - professional musicians:

Valery Berezin - Doctor of Arts, Professor of the Moscow State Conservatory. P.I. Tchaikovsky.
Vadim Sharapov is a soloist of the Moscow State Academic Philharmonic, Igor Moiseev Ensemble.
Mikhail Titov - Honored Worker of Culture of the Russian Federation, teacher of the military conducting faculty of the Military University of the Ministry of Defense of the Russian Federation.
Sergey Mazaev - musician, actor, leader and soloist of the group "Moral Code".
Vladimir Karpov is an artist of the orchestra conducted by G. Rozhdestvensky.
Vladislav Martynov - artist of the Bolshoi Theater Orchestra.

Our students successfully serve in military bands and professional musical groups in Moscow.

Although the task of the association is not to prepare children for entering musical educational institutions, many children go to study and connect their future life with music.

Since 1988, the team has been awarded the honorary title of "exemplary children's team". He is a laureate of various competitions and festivals.

The team employs qualified teachers of instruments: woodwinds, brass, percussion and solfeggio. The choice of instrument is based on the desire of the child to play any instrument and, of course, on his physiological capabilities.

The educational program is adapted for its perception by children of younger, middle and older age, designed for twelve years of study. The entire course is conditionally divided into three stages. Each year of study represents a certain stage in the development of cognitive and intellectual-creative abilities of students. At the same time, each stage is an independent, logically completed stage of education, upbringing and development of children. The knowledge, skills and abilities acquired in the first year of study are consolidated in the second, third and further improved in subsequent years.

There is no competitive selection when accepting children, there is a mandatory interview with each candidate for the orchestra, where teachers determine his starting capabilities (hearing, sense of rhythm, breathing, etc.). The main criterion for admission to the team is the child’s desire to master playing a wind instrument.

Relevance of the program

We live in the age of information, computer technology, when the natural performance of music is replaced by electronics. The child becomes isolated from the "live" sound of music. If earlier we could hear brass bands in parks, at holidays and demonstrations, now a brass band is rather a rarity. Classes under the program "Brass band" gives the child the opportunity to try his hand at any wind instrument, get acquainted with the works of world classics, feel like a real artist.

Another problem of modern society is the disunity of people. Many children do not know how to communicate, make friends. Having come to the orchestra, the child finds himself in a friendly team of teachers and pupils. In the orchestra, senior pupils will always help in a comradely way a novice musician in mastering the instrument. Joint performances, trips to festivals, regular classes in the orchestra unite the guys for many years.

Program goal:

Attracting children to the art of music through practical music-making in an amateur orchestra.

Tasks:

Educational:

1. Contribute to the formation and development of special skills and abilities (setting the embouchure, sound production, intonation, sense of rhythm).
2. Contribute to the memorization of musical terminology.
3. The development of cognitive interest in playing a musical instrument.
4. To work out the performing skills of each member of the brass band, to perform musical works at a good amateur level. Preparation of team members for joint collective activities.
5. Introduce children to the best examples of world musical culture.

Developing:

1. Contribute to the development of students' speech.
2. Learn to analyze, compare, generalize, prove.
3. Contribute to the formation and development of the student's cognitive interest in music.
4. Encourage students to master all types of memory.
5. Contribute to the formation and development of independence

Educational:

1. Contribute to the formation and development of moral, labor, aesthetic, patriotic qualities of the individual.
2. Develop teamwork skills.

Program features

1. The program consists of three stages:

First stage : Introductory.

Second step : A basic level of.

Third step : Recessed.

1. The student has the opportunity to move from the "preparatory tool" to a more complex "related" tool. For example: recorder - clarinet - saxophone, alto - tenor - baritone - trombone, alto - trumpet, tenor - tuba, alto - horn.
2. The educational and thematic plan is drawn up in stages. The teacher independently determines the topics for a particular year of study.
3. The transition of a student from one level to another is determined by the pedagogical council of the association.
4. Teachers apply uniform methods and principles of work on all wind instruments.
5. Children who have the skills to play musical instruments can be included in the educational process at any level of education.
6. One of the principles of team development is rotation (updating the team with new students).
7. The orchestral group of the association involves children of different ages and years of study, who have shown good results in learning.
8. Such a form of classes as a group with a mixed composition of participants is allowed. On them, more experienced students work together with beginners. Orchestral (ensemble) parts for such classes are selected with different levels of complexity. This allows you to change the composition of the group.

Features of age groups

Performing wind instruments is a complex psycho-physiological activity that requires special musical talent and, moreover, requires good health and a certain physique. Practice shows that lessons on brass band instruments can be started at the age of 10-12, because the younger the student, the more receptive he is to learning. It is at this age that the prospect of the physical formation of a person becomes obvious. However, you can start learning to play a wind instrument earlier.

For children 7 - 8 years old, we offer to master the simplest instrument - a block flute. This instrument does not require great physical effort, the student receives the basic skills of playing wind instruments, gets acquainted with musical literacy. At this age, there is a transition from the game form of education to the educational process. The result of educational activity - assessment - is put forward in the foreground. Therefore, we try in every possible way to encourage the first successes of the child (praise). In addition, we must take into account that the child already goes to school, and so that classes do not tire much, we teach him to play melodies that are familiar to him. Children like cartoon tunes, popular, folk music.

At the age of 9 - 11 years, the child is invited to master a new instrument - clarinet, cornet, alto, tenor. These are the instruments that make up the brass band. Lessons are getting longer. The guys are fond of new material - simple pieces and orchestral parts.

Age 12-14 years. The physiological capabilities of the child become apparent. At this age, there is a transition to more complex instruments - trumpet, horn, trombone, tuba, saxophone. In psychological development, this is a difficult period in learning. Adolescents enter a transitional age, or the age of rebellion, as psychologists call it. There is an active search for their values, a critical attitude towards adults. During this period, children may have a desire to quit school, new interests may arise. Here, an example of a teacher who is passionate about his profession - a musician, as well as having a strong character and experience can have a strong influence on students. The psychological climate in the team is also important, as a rule, the guys find friends with common interests, including a love of music and they continue their studies on the instrument.

Age 15-18 years. A teenager faces a choice of his future life path.

Some of the guys who have chosen music as their profession enter a music college, and some study in other specialties, while they continue to attend classes, mainly general orchestra rehearsals. As a rule, they take classes more seriously, help beginners, and are an example for them.

The consolidated rehearsal of the orchestra takes place on Sunday, as on this day children can combine relaxation with their favorite pastime, communicate with their peers.

Methodological substantiation

Qualified guidance from teachers gives the learning process a systematic, scientifically based character and contributes to the development of creative activity, artistic abilities of children.

Among the methods aimed at stimulating musical and creative activity, one can distinguish methods that are directly related to the content of this activity. These include the selection of creative tasks that are exciting and feasible for the child, as well as a variety of forms of lesson activities, an attentive and careful attitude to children's creativity, and an individual approach.

To a large extent, interest in musical creativity is formed under the influence of various musical, artistic and life experiences. In the practice of orchestra teachers - assisting in familiarizing teenagers with good music, listening to audio recordings, attending concerts, performances, art exhibitions that help broaden their horizons.

It is very important to create a friendly psychological climate in the classroom. Mutual assistance and support of senior pupils is welcomed. In the practice of work, in every possible way to encourage concert performances of children, their participation in various forms of collective musical amateur performances, and playing music for themselves.

Learning to play various wind instruments is built by teachers on the principles of feasibility, strength of mastering musical skills and awareness of actions. Joint technologies and interdisciplinary connections developed by all participants in the pedagogical process help to successfully solve learning problems. The pedagogical process is organized in such a way that it combines the acquisition of theoretical musical knowledge and practical skills and preparation for playing in the orchestra.

Initial musical education is facilitated (the first year of study) and becomes more difficult as knowledge is accumulated and performance skills grow, and by the third year of study, the guys master the instrument and master the skills of playing in the orchestra. Behind all this is the painstaking work of teachers to form a musician. This is a lot of individual work and strict control over the fulfillment of the tasks of teachers.

When studying orchestral parts, etudes and exercises are selected. It is very important that they are bright, juicy, corresponding to the performance on this musical instrument. Most often, at the first stage of training, when it is difficult for a child to master the wind instrument he has chosen for physical reasons, the teacher suggests that the child first master the more pliable brass instrument - viola, or for woodwinds - this is a block flute. On the viola, after 4 months, the child can play in the orchestra, perform simple parts in marches. In parallel, he masters the technique of playing the chosen instrument.

For the development of the musical inclinations of children, their harmonic hearing, there is a piano in the classes in the specialty. Groups gather children with different levels of abilities, perception and training (this is especially evident in the first year of study), so the same exercise is performed by different children for different periods of time, which affects the transfer of the child to the orchestra.

Individual classes are aimed at the development of children, at preparing the weaker ones, pulling up the lagging behind, harmonizing the group as a whole.

Description of the basic methods and forms of work.

The course of study is 12 years.

The first stage of education.

The term of study is 3 years.

1st year of study - classes are held individually 2 times a week for 30-45 minutes.

2, 3 year of study - classes are held individually 2 times a week for 30-45 minutes.

From the second year of training, we unite students in an ensemble of block flutes. Classes are held in a group of 3, 4 people once a week for 45 minutes.

From the 3rd year of study, students who have shown good results in learning, as well as children who have previously learned to play wind instruments, can unite in a group and be involved in a consolidated orchestral rehearsal.

Classes are held 2 times a week for 2 hours.

The second stage of education.

The term of study is 5 years.

The third stage of education.

The term of study is 4 years.

Classes are held individually 2 times a week for 30-45 minutes, as well as in ensemble groups 2 times a week for 2 hours.

In the classroom, various forms of learning are practiced:

• individual sessions
• instrument group lessons
• mixed group
• lessons with an accompanist
• ensembles
• orchestral rehearsal
• work with the music library
• analysis of audio and video recordings

Classes are built according to a specific plan:

Classes by groups of instruments:

1. Greetings, making a lesson plan.
2. Playing sustained sounds, warm-ups.
3. A short break in the game, a conversation on music theory.
4. Scales and arpeggios in different strokes.
5. A short break in the game, a conversation about artistic material, composers, genres of music, styles, musical form.
6. Work on artistic material (analysis and playback of plays, concerts, ensembles).

Orchestral rehearsal:

1. Greeting, drawing up a lesson plan.
2. Orchestra setting.
3. Playing collective exercises.
4. Learning or improving musical compositions.
5. Reading sheet music.
6. Summing up the rehearsal.

Description of the basic methods of work.

• Verbal (conversation, conversation, explanation).
• Visual (the teacher performs fragments of works, orchestral parts, plays in the orchestra with students).
• Practical (exercises on the instrument).
• Analytical (observation, comparison, self-control, introspection).

Forms of control

• Monitoring. While studying with a child, the teacher determines for himself his starting level and draws up a specific lesson plan for a month, half a year. The main observation criteria: attention, musical memory, ear for music, sense of rhythm, independence, discipline.

• Performing independent tasks. Sometimes the teacher gives the student to independently disassemble the sketch or play. This stimulates the student to study, develops discipline.

• Self control. After each orchestral rehearsal, there is an exchange of impressions. The guys themselves understand their mistakes. This makes education flexible, responsive to any undertakings, interesting and productive.

• Viewing, analysis, comparison of video materials of different concert performances.

• Open classes, performances, concerts. The assessment of the audience, colleagues of the performing skills of each musician and the entire orchestra is the most objective, so the leader of the brass band sets the team up for a very intense concert activity. Parents can see what results the child has achieved

Predicted result

Ilevel of study - Introductory

• Simple concepts of musical literacy

• Basic musical touches (staccato, legato)
• Notation of dynamics in music
• Basic musical terminology (tempo notation).
• The concept of "Related instrument".
• How to carry out prevention and care of the tool.

• Hold the tool correctly
• Taking the breath right
• Perform scales in one octave to one sign.
• Perform simple etudes and pieces with accompaniment.
• Perform on stage.

II stage of education - A basic level of.

Upon graduation, students should know:

• Basics of musical literacy
• Fundamentals of solfeggio
• More complex strokes (detache, marcato), articulation.
• The concept of the range of the instrument.
• The structure of voices in a brass band.
• On melody and phrasing.
• On the musical texture and timbre organization.
• On tempo and agogics in music.
• About the culture of sound.
• About melismas and grace notes and trills.
• On the work of Russian and foreign classical composers.

• Play scales and arpeggios up to 3 signs.

• Perform etudes and pieces with an accompanist in a wider range.
• Play simple parts on a related instrument.
• Read sheet music.

• Perform simple orchestral parts as part of an orchestra.
• Perform different voices as part of an orchestral group.
• Filter the sound.
• Write a simple 8-bar dictation.

III level of education - Advanced

Upon graduation, students should know:

• Music theory (advanced level).
• On melody and phrasing (advanced level).
• On musical texture and timbre organization (advanced level).
• On the work of Russian and foreign classical composers (advanced level).

• Combined strokes.
• Features of the game in motion.

• Perform scales and arpeggios up to 7 signs.
• Perform etudes and plays with an accompanist of increased complexity.
• Fluently read sheet music.
• Perform your part in an orchestral group in accordance with the composer's intention and the requirements of the conductor.
• Play on the move.

Conditions for the implementation of the program

To implement the program, the following personnel and methodological support is required.

Teachers by groups of instruments:

• recorder, clarinet, saxophone
• trumpet, cornet, viola
• trombone, tenor, baritone, horn
• percussion instruments
• concertmaster (piano)

Methodological support: anthologies, collections of etudes, plays, schools for wind and percussion instruments.

Conditions for the implementation of the program

1. Soundproof room 50-100 sq.m., clean dry air.
2. Availability of the necessary set of tools and related equipment

(remotes, etc.)

1. Music cabinets
2. Piano
3. Computer
4. Uniform for musicians
5. Video and audio equipment
6. Phono and video library

Main works of the orchestra

Title of the work				Title of the work
Moscow parade fanfare		A. Golovin		Grenadier		vintage march
State anthem of the Russian Federation		A. Alexandrov		Three tankers		D. Pokrass
counter march				Pioneer March		M. Fradkin
Preobrazhensky Regiment		vintage march		March from the film The Diamond Hand		A. Zatsepin
		M. Glinka		Moscow Nights		V. Solovyov-Sedoy
Hello musicians		vintage march		Waltz from the film The Dawns Here Are Quiet		K. Molchanov
		vintage march		Waltz from the film On the Seven Winds		K. Molchanov
parade		vintage march		Waltz Remembrance
		vintage march		Waltz Sevastopol		K. Listov
Jaeger		vintage march				E. Dreyzin
March "Southern"		Y. Gubarev		May Waltz		I. Luchenok
March "Varangian"		A. Turishchev		Waltz in the forest near the front		M. Blanter
Farewell Slavyanka. March		V. Agapkin		Waltz in the city garden		M. Blanter
Hussar March		A. Petrov		Waltz on the hills of Manchuria		I. Shatrov
March from the film "Cruel Romance"		A. Petrov		Waltz Parting		Ya. Frenkel
Title of the work					Title of the work
March from the movie "Merry Fellows"		I. Dunayevsky		Waltz School		I. Dunayevsky
My Moscow		I. Dunayevsky		Waltz movie Moscow Saga		A. Zhurbin
Defenders of Moscow. March		B. Mokrousov				M. Blanter
Moscow May		D. Pokrass		blue scarf		E. Petersbursky
Moscow - March		O. Gazmanov		Dark night		N.Bogoslovsky
Baltic coast		O. Gazmanov				A. Novikov
Victory Day		D. Tukhmanov		In the dugout		K. Listov
Holy war		A. Alexandrov		Moscow windows		T. Khrennikov
March from the film "Belorussky Station"		B. Okudzhava		tired sun		E. Petersbursky
It's time to go - the road		V. Solovyov-Sedoy		The Bremen Town Musicians		G. Gladkov
sports heroes		A. Pakhmutova		Cheburashka		V. Shainsky
March of Nakhimov		V. Solovyov-Sedoy		Smile from m/f Little Raccoon		V. Shainsky
March Hello Siberia						Y. Chichkov
March of the Cosmonauts		O. Feltsman		If there was no winter		E. Krylatov
I am the earth (cosmonaut march)		V. Muradeli		Five minutes
				Christmas bells		folk song
March "First Step"		A. Koval		Merry square dance		V. Temnov
Borodino		old song		Chauffeur's song		C. Santoro
Serve Russia						O. Feltsman
We are the army of the people		G. Movsesyan		Merry dance potpourri		arr. M. Doshlov
Song about the Soviet army		A. Alexandrov		I met you		Star Russian romance
March "Longing for the Motherland"		N. Trofimov		I love you life		E. Kolmanovsky
Turkish rondo	W. Mozart				Neapolitan song	P. Tchaikovsky
Choir and march from the opera Hades	G. Verdi				Straussian (Medley of Waltzes)	I. Strauss
Military march to the story Snowstorm	P. Tchaikovsky				Persian march	I. Strauss
March "Battle of Liaoyang"	V. Efanov				vintage march	S. Chernetsky
Carnival in Venice	A. Ranger				Antique polka "Grandfather"	D. Furlano
March "Air Fleet"					Introduction to act 2 from the ballet Swan Lake	P. Tchaikovsky
Fantasia on the theme of Russian nar songs	Instr.A.Khalilov				Intermezzo to the drama Arlesian
Fanfare "Spasskaya Tower"	V.Khalilov				Horse - life
Overture from the TV movie "Sherlock Holmes and Dr. Watson"	V. Dashkevich				March "Life for Victory"
					"Dance of the Bureaucrat" suite from the ballet "Bolt"	D. Shostakovich
Waltz "School Years"	D. Kabalevsky				"Farewell Waltz" from the movie "Joke"	A. Flyarkovsky
	Old Russian march				Remembrance of the regimental band	Y. Gulyaev

Library
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Istleu Nurlan Kenzhegalievich

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Ear for music

Development of inner ear.

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Brief description of the document:

Istleu Nurlan Kenzhegalievich

THE METHOD OF TEACHING TO PLAY THE WIND INSTRUMENTS.

Introduction.

The method of teaching to play wind instruments is an integral part of the musical pedagogical science that considers the general patterns of the learning process on various wind instruments. Russian pedagogical science in the field of performance on wind instruments has no more than 80 years. She reached new frontiers by assuming and developing further all the best that was characteristic of the Russian school of playing wind instruments. Her successes are known not only in our country but also abroad. Composer Gedicke wrote: the technique of playing wind instruments has advanced so much that if the best performers, especially on brass, who lived 50-70 years ago, heard our wind players, they would not believe their ears and would say that this is impossible. It should be recognized that the theory of teaching methods on wind instruments as part of pedagogical science among other methods is the youngest. Each generation of woodwinders contributes to the technique. The method of teaching on any instrument is part of pedagogy. The word technique of Greek origin, translated into Russian, is the way to something. A technique is a set of methods, that is, methods for performing any work (research, educational). In the narrow sense of the word, a methodology is a way of teaching a particular subject based on the analysis and generalization of the best teachers, musicians and performers. The methodology studies the patterns and techniques of individual learning. The technique contributes to the education of a general musical culture, broadens the horizons of performers. The technique is closer to the specialty. An outstanding performer and teacher who laid the foundation for the development of the Soviet methodology was Rozanov. His work Fundamentals of Teaching Wind Instruments Moscow 1935 was the first work put on a scientific basis. In his work, he formulated the principles that became the main ones in the methodical school on wind instruments:

1. The development of technical skills in students should go hand in hand with artistic development.

2. In the process of the student's work on a piece of music, it is necessary to achieve its conscious assimilation and then it will be stronger.

3. The basis of the correct setting should be the knowledge of the anatomy and physiology of the organs involved during the game.

The main questions of the methodology formulated by Rozanov were developed by professors Platonov, Usov, Pushechnikov, Dokshitser, G. Warwit.
The presence of a solid theoretical base allows us to raise the teaching of playing various musical instruments to a new qualitative level.

Psychophysiological foundations of the performing process on wind instruments.

Musical performance is an active creative process based on the complex psycho-physiological activity of a musician. You should know this wording as our father. Underline this wording directly. A player playing any instrument must coordinate the actions of a number of components: vision, hearing, memory, motor sense, musical aesthetic ideas, and volitional efforts. This is also a very important point. It is this variety of psycho-physiological actions performed by the musician in the process of playing that determines the complexity of the musical performance technique. The further path of scientific substantiation of the musical-performing process was associated with the study of the physiology of the higher parts of the central nervous system. The teachings of the great Russian physiologist academician I.P. Pavlov about higher nervous activity, about the inseparable connection of all life processes, about the cerebral cortex as the material basis of mental activity, helped advanced musicians change their approach to substantiating performing technique. Educators and performers have become more deeply interested in how the brain works during play. They began to pay more attention to the conscious assimilation of goals and objectives. The basic principles of the work of the cerebral cortex - this is a coordinated human activity carried out through complex and subtle nervous processes continuously occurring in the cortical centers of the brain. These processes are based on the formation of a conditioned reflex. Higher nervous activity consists of two most important and physiologically equivalent processes:

1. excitation which underlies the formation of conditioned reflexes;

2. internal inhibition, which provides analysis of phenomena;

Both of these processes are in constant and complex interaction. Mutually influencing each other and ultimately regulate all human life.

The process of playing a musical instrument as one of the types of human labor activity.

Do not forget that you work - this is your work. Studying at a music college is like work. This is a number of complex coordinated functions: (visual, auditory, motor, volitional) carried out on the basis of conditioned reflexes of the second signaling system of the brain. Let's try to imagine how this happens practically in the process of playing the instrument. When looking at musical signs, the performer first of all experiences irritation in the visual area of ​​the cortex (meaning the brain). As a result, the primary signals are instantly transformed into a visual representation of the musical text. Through thinking, the musician determines the position of the notes on the staff, the duration of the sounds, their volume, and so on. The visual perception of sound by the player is usually associated with auditory representations. The excitation of the visual centers spreading captures the auditory area of ​​the cortex, which helps the musician not only to see the sound, but also to hear, that is, to feel its height, volume, timbre, and the like. The auditory representations that have arisen inside immediately evoke in the musician the corresponding performing movements necessary to reproduce these sounds on the instrument. Motor impulses are transmitted to the performing apparatus: lips, tongue, breathing, finger movement, hearing. And due to internal inhibition, they cause the necessary movements: lips, tongue, fingers. This is how the propulsion system is carried out, as a result of which sound is born. Sound vibrations, in turn, cause irritation of the auditory nerve, which, due to the possibility of establishing feedback physiological connections, is transmitted to the auditory queue of the cortex and ensures the appropriate perception of the sounds performed, i.e. auditory analysis. Thus, the process of sound formation on wind instruments can be imagined as several interconnected links of a single chain. Musical sign - idea of ​​sound - musculoskeletal system - performing movement - real sounding - auditory analysis. In the course of this complex conditioned reflex relationship, the central place belongs to the auditory sensations and ideas of the player.

These are the psychophysiological foundations of sound extraction applied to playing any musical instrument, however, performance on wind instruments still has a number of specific features.

Acoustic bases of sound formation on wind instruments.

Unlike keyboard, bow and percussion instruments, where solid bodies act as a vibrator (for strings - strings, special plates, leather for percussion), all wind instruments belong to instruments withgaseous sounding body. The reason for the appearance of sound here is the fluctuations of the air column of air caused by the special actions of pathogens. The specifics of sound formation on wind instruments depends on the device of the instruments. Modern musical acoustics divides all wind instruments into three groups: the first group is labeal from the Latin word laba (lip) they are also called whistling (all types of pipes, flutes, some organ pipes belong), the second group is reed, reed or lingual from the Latin word lingia (language) (all types of clarinets, all types of oboes, bassoons, all types of saxophones and bass horns), the third a group with a funnel-shaped mouthpiece, they are usually called brass (all types of cornets, trumpets, horns, trombones, tubas, horns, fanfares).

How is sound formed?
On the flute, which is an instrument with a gaseous exciter, the sound is formed as a result of the friction of the exhaled air stream against the sharp edge of the ladium hole located in the head of the flute. In this case, the speed of the air jet periodically changes, which causes the occurrence of sound vibrations in the flute channel. All reed instruments belonging to instruments with a solid exciter form sounds with the help of vibrations of special reed plates (reeds). The oscillatory process on these instruments is regulated by the actions of two interacting forces: the translational movement of the exhaled air stream and the elastic force of the cane. The exhaled air stream bends the thinned part of the cane to the outside, and the force of its elasticity causes the reed plate to return to its original position. These movements of the reed (reed) provide an intermittent jerky entry of air into the channel of the instrument, where a reciprocal oscillation of the air column occurs, therefore sound is born. Even greater originality is the appearance of sound on wind instruments with a funnel-shaped mouthpiece. Here, the central parts of the lips covered by the mouthpiece act as a solid oscillating sound exciter. As soon as the exhaled stream of air enters the narrow labial fissure, it immediately causes the lips to vibrate. These fluctuations, changing the size of the opening of the labial fissure, create a periodic jerky movement of air into the mouthpiece of the instrument. The result of this is the successive condensation or rarefaction of air in the channel of the instrument, which ensures the appearance of sound.

Having considered the acoustic foundations of sound formation, we find one common phenomenon: in all cases, the cause of sound formation is the periodic oscillation of the air column contained in the instrument caused by the specific movements of various devices and sound exciters. At the same time, oscillatory movements of the air jet, reed plates or lips are possible only if the various components of the performing apparatus are coordinated.

The development of musical abilities in the process of educating a professional musician.

Despite approximately equal mental abilities and physical development of students, we have different results of their learning. The analysis of these phenomena indicates that in the preparation of the performer, the intuitive principle, that is, the presence of natural abilities, becomes decisive. V.M. Teplov in his work "Psychology of musical abilities" musical literature in 1947 proves the possibility of developing all musical abilities on the basis of innate inclinations. There can be no abilities that would not develop in the process of education and training. What do we mean when we talk about musical ability or musical inclinations? First of all, we mean musicality. This successful definition was made by Alekseev in his method of learning to play the piano. "A musical person should be called a person who feels the beauty and expressiveness of music, is able to perceive a certain artistic content in the sounds of a work, and if he is a performer, then reproduce this content." Musicality develops in the process of correct, well-thought-out work, during which the teacher clearly and comprehensively reveals the content of the studied works, illustrating his explanations with a display on an instrument or a recording. The complex of the concept of musicality includes a number of necessary components, namely:musical ear, musical memory, musical rhythmic feeling.

Ear for music- this is a complex phenomenon that includes such concepts as sound pitch (intonation), melodic (modal), harmonic, inner ear. Each of these aspects of musical ear is of great importance in training and in performing practice. It is absolutely necessary for the performer to have a well-developed relative hearing, which makes it possible to distinguish the ratio of sounds in pitch taken simultaneously or sequentially. This quality is extremely important for an orchestral musician. In the orchestra, a performer is valued who listens well to his group, actively participates in it without disturbing the ensemble. The ability to hear imaginary sounds, write them down on paper and operate with them is called internal hearing. Musical ear develops in the course of a musician's activity. It is necessary to ensure that all work with the instrument proceeds with tireless monitoring of hearing. The disadvantage of students is that they do not control their instrument playing by ear. This is the main disadvantage of independent work of students. A teacher in the specialty must constantly take care of the development of all components of musical ear and, above all, internal melodic ear.

Development of inner ear.

In addition to solfeggio lessons and doing homework in this subject, a teacher in the specialty requires the performance from memory of previously known or newly heard musical passages (selection by ear), transposition of familiar melodies into other keys, improvisation, as well as composing music if there is enough data for this. It is useful to teach students to analyze their own or other performance, critically evaluating them. That's why you have to go to concerts not only in your specialty: choir, chamber orchestra, wind, variety, ensembles, soloists, violinists. To develop a melodic ear, it is necessary to systematically work on a cantilena (slow piece). Cantilena (slow piece) also develops endurance because there is a big load on the lips, you take a lot of breath. Improving harmonic ear, it is useful to analyze the texture of the musical work being studied, to play more in an ensemble, in an orchestra. Texture is a Latin word in a figurative sense of a device, the structure of a musical fabric. A well-developed musical ear is the most important condition for the development of musical memory. Musical memory is a synthetic concept that includes auditory, visual, motor, logical. Musical memory also lends itself to development. It is important for a musician that at least three types of memory be developed: the first is auditory, which serves as the basis for successful work in any field of musical art, the second is logical, associated with understanding the content of the work and the laws of development of musical thought, the third type is motor is extremely important for instrumental performers. For many, visual memory plays an important role in the memorization process. When working on the development of a student’s memory, one should remember: the system of memorizing music is very important, the student must take into account that music flows in time, creating a work as something whole is possible provided that its parts are kept in memory. As a result of frequent performance, memorization can be intentional. Memorization can also be intentional when individual passages are specifically memorized, and then the entire work as a whole. Here it is necessary to know the form of the work, its harmonic structure. When learning, it is important to be aware of the similarity, repetition of individual parts of the musical form, and attention is fixed on what distinguishes these parts and what unites them. Intentional memorization involves: visual, motor, as well as more complex internal auditory memory. Checking the correctness of the learned piece of music: recording the memorized music without using an instrument (notes), transposing the melody to a different key and the ability to start playing from anywhere. The ability to start performances from any place testifies to the performer's deep and thorough knowledge of the music of the work.

Expressive means when performing on wind instruments.

Usually, the expressive means of a performer on wind instruments include the following concepts: sound, timbre, intonation, strokes, vibrato, rhythm, meter, tempo, agogics, articulation, phrasing, dynamics, nuance. Agogica is a slight deviation from the tempo. Vocalists and wind instruments performers refer here in the same way: performing breathing. Pianists include: pedal, touch. Touché is a specific way of performing. Stringers include: strokes, vibrato, fingering, finger technique. Performers on wind instruments also rank among these means: the technique of lips, tongue, double staccato, frulyato, glissando. Although the double staccato is a technique. And frulyato and glissando already belong to the strokes. All this suggests that there is no single clear and distinct approach to defining the concepts of performing means or expressive means. Performing means and expressive means are two sides of a single creative process. We rank as performing means everything that is connected with the technological side of performance. The technological side is the state of the instrument, mouthpiece, reed; setting the body, head, hands, embouchure; performing breathing technique, language technique (hard, soft, auxiliary attack); articulation is the pronunciation of vowels, consonants during the game; finger technique (fluency, clarity, consistency); knowledge of fingering (basic, auxiliary, additional). Expressive means include everything that is the artistic result of the use of the listed performing means. One of the most important performance tools is sound. The expressiveness of the sound as a means of the performing embodiment of the melody more fully determines the strength of the emotional impact of music. The player must master a beautiful sound, that is, make the sound of the instrument clear, juicy and dynamically diverse. At the same time, the nature of the sound must be inextricably linked with the content of the music being performed. For the expressiveness of the sound, the purity of intonation is of particular importance. The finer and better the musician's ear is developed, the less errors he will make when intoning during the game. Technical skill is an important performing tool. A wind instrument player's technical skills are made up of various elements: well-developed performance breathing, elasticity and mobility of the lips, mobility of the tongue, speed and coordination of finger movement. Each of the wind instruments has its own special concepts of the most complex elements of performing technique. For a group of woodwind instruments, the technique of finger movement is very complex. That for the copper group is the possession of the technique of lip work. Of exceptional importance is musical phrasing, which characterizes the ability of the player to correctly determine the structure of a musical work.(motives, phrases, sentences, periods), correctly establish and perform caesuras, identify and embody climaxes, correctly convey genre stylistic features of music. Musical phrasing, reflecting the living breath of musical thought, is a means of expressing the artistic content of a work. An important component of musical phrasing is dynamics. The skillful use of dynamic shades when playing significantly enlivens the musical performance, deprives it of monotony and monotony. When playing wind instruments, two types of dynamics are usually used: the first is stepped or terrat dynamics, which includes a gradual increase or decrease in sound(ppp, pp, mp, mf, f, ff) , the second type of dynamics is called contrast dynamics, which consists in a sharp opposition to the strength of sound (piano - sharp forte). It is important to note that dynamic shades are not absolute, but relative (for some it is forte, while for others it is mezzo forte), so the musician is given the right to supplement or expand these shades. A very significant element of musical phrasing is agogics - this is a little noticeable change in the speed of movement (deviation from the tempo). Agogic shades, skillfully applied, reveal the creative nature of musical performance. The most complex and difficult agogic nuance is the art of playing rubato (rhythmically free performance). Musical phrasing is closely related to the use of strokes. Strokes help enhance the expressiveness of the performance. A variety of performance tools can be divided into three main groups: the first means related to sound quality (timbre, intonation, vibration), the second group of technical means (finger fluency, breathing technique, language technique), the third group of general musical expression means (musical phrasing, dynamics, agogics, strokes, fingering). Such a division is conditional, since there is a very close organic relationship between the performing means in music. However, an expressive sound serves as an indicator of a certain technical skill. Musical phrasing is the simultaneous possession of both sound and technical skills. A characteristic feature of all the performing means of a musician is not only their close relationship, but also their complete subordination to artistic goals, artistic tasks.

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ABSTRACT

FORMATION OF THE EXECUTIVE

BREATH ON WIND INSTRUMENTS

Content

Performing breath.

Techniqueperformingbreathing.

Breathing and phrasing.

Performance specificsbreathing.

Breath development.

1. Performing breath

Performing and pedagogical practice shows that performers with incorrectly set breathing cannot achieve a high level of performance. The setting of performing breathing should take the most important place in the practice of learning to play wind instruments. The specificity of playing wind instruments requires from the performer not only free control of his breath, but also the correct interaction of breath with the work of the lips, tongue, hearing and other components, which makes it impossible to solve the artistic performance of tasks. An important point in the initial learning to play wind instruments is the need to learn the correct, rational performing breathing. In addition to evil, the student must have a clear idea of ​​​​the work of all respiratory organs. To this end, the student is recommended to learn well some of the anatomical and physiological foundations of breathing. A complex system of organs takes part in human breathing, which can be divided into three groups:

1. airways - from the oral and nasal openings to the vocal cords; lower - windpipe. This common part of the respiratory apparatus serves to communicate the lungs with the higher atmosphere.

Lungs - consist of numerous swampy bubbles, denselybraided with blood vessels and having great elasticity. Lungs with airways can be figuratively compared with a densely overgrown tree with an empty trunk and branches inside. The trunk corresponds to the windpipe, large branches to the bronchi, and foliage to the pulmonary vesicles. The movement of the lungs consists of expanding them during inhalation and contracting during exhalation, in both cases the lungs passively follow the movement of the chest walls.

The musculoskeletal system of the chest ribs and respiratory muscles, which primarily includes the diaphragm, as well as the external and internal intercostal muscles. The diaphragm plays an active role in the mechanism of respiration. Only after the student has become familiar with breathing on the basis of anatomy and physiology can he be introduced to the types of breathing used in the practice of playing wind instruments.

The student needs to know that there are three types of breathing:

- chest (costal);

- abdominal (diaphragmatic);

mixed (thoracic).

Thoracic type of breathing is characterized by the use of the chest, contraction of the intercostal muscles. The diaphragm activity is negligible. A characteristic feature of chest breathing is that when you inhale, your shoulders rise.

The abdominal type of breathing is characterized by the activity of the diaphragm and lower ribs. When inhaling, the diaphragm actively descends, which makes it possible to increase the volume of the chest in the vertical direction. Distinctive features of chest breathing is the ease and freedom of inspiration with a small volume of pulmonary air.

The mixed type of breathing is mainly different in that the performer, at will, can change the activity of the respiratory muscles of the chest in various ways. This type of breathing is the most rational, it allows the player to freely regulate the speed and strength of breathing, subordinating it to the artistic design of the work.

The purity of intonation, the stability and expressiveness of sound depend on the correct control of breathing, therefore, it is necessary to seriously master the correct control of breathing from the very beginning of learning to play wind instruments. Everything we talked about concerned the anatomical and physiological side of breathing. Now let's touch on the issue of setting the breath during the initial training. Performing breath looks like this. The diaphragm, contracting, actively presses on the insides and falls lower. The lower and middle ribs rise much more than with a calm breath, while the upper part of the abdomen is extended not only in front, but also from the sides, while the lower part of it rises or retracts somewhat. The expansion of the chest occurs in both vertical and horizontal directions. With the deepest breath, the clavicles also slightly rise, but not by raising the upper part of the chest, which remains at rest with any breath, but due to its complete expansion. This is how the breath is carried out with the maximum filling of the lungs with air. When air is retained in the lungs, there is a kind of balance between the inspiratory muscles and their antagonists - the expiratory ones, which explains the sense of proportion. And then this internal balance of the muscles is disturbed, and the air, when felt as a stream, enters the oral cavity. Exhalation is produced by a gradual contraction of all the abdominal muscles, after which, by the action of the intercostal muscles, the middle and lower ribs are lowered. The diaphragm, all the time, leaning on the insides and gradually relaxing, takes a natural domed position. In this way, inhalation and exhalation should be made when playing wind instruments.

There is a saying among singers that expresses a deep truth: "The art of singing is a school of breathing." These words may well be applied to those who play wind instruments.

2. Technique performance breath.

The question of proper breathing largely comes down to the ability of the player to use the flexibility inherent in breathing, the ability of breathing to change, depending on the requirements of the music performer.

The main difficulty of performing breathing lies in the need to combine two moments - a quick, short breath and a long, even exhalation. The ribs of the chest are not equally mobile and elastic. The lower half of the chest has the greatest mobility and freedom of movement, the least - the upper. The shorter the time allowed exclusively for inhalation, the less participation in it should take the upper, least mobile ribs. Inhalation in this case will take place with the active participation of the lower half of the chest and diaphragm. Conversely, the greater the time allotted for inhalation and the greater the need for the duration of exhalation, the greater the participation in breathing will be able to take the upper chest.

Consequently, breathing during the game does not remain unchanged, it constantly changes in depth. When performing short musical phrases, less deep, faster breathing occurs. Long musical phrases - deep breathing.

The speed of inhalation during the game should always correspond to the time allotted for a change of breath, the smaller the pause, the faster the inhalation will occur.

A quick short breath should be made without prejudice to the duration of the sounds, and the performer should not skip individual sounds to facilitate breathing, as is often done.

Even greater requirements are imposed on performers when performing the second phase of breathing - exhalation. It is very important that the exhalation occurs in a very even stream, smoothly, without jerks. In addition, it must have great flexibility, that is, the ability to vary in intensity or speed. Without this, it is impossible to ensure the correct execution of various dynamic shades. The exhalation of the musician should occur in such a way that a small part of the air remains in the lungs. In practice, this comes down to the ability of the player to create a “support” for breathing or the ability to keep the chest in the most elevated (inhalation) position during exhalation. In the methodological literature, this technique is well described by Professor S. Rozanov: “It is very important that the player understands that the more firmly the chest and upper ribs are held during exhalation, the slower the diaphragm and muscles return to their original position, the more evenly the air leaves the lungs, which is very important when playing wind instruments.

3. Breathing and phrasing.

In the performing practice of musicians, there are often cases when a player, not being able to play a long musical phrase in one breath, is forced to change his breath somewhere. In practice, this is determined by the musician's inner instinct, his natural sensitivity to musical phrasing, since in the methodological literature, detailed instructions on this matter are usually not given.

One of the most important conditions for good phrasing when playing wind instruments is the complete subordination of breathing to the features of the pieces being performed. The player must be able to correctly determine the boundaries of the enclosed (in a semantic sense) constructions, that is, be able to determine the caesura. The establishment of a caesura can be compared with the arrangement of the corresponding punctuation marks in verbal speech. Using a similar analogy, we can say that breaking a single musical whole is just as unacceptable as it is unacceptable when reading or in colloquial speech to interrupt a thought in mid-sentence.

For a wind instrument player, the ability to correctly set a caesura is also possible in the sense that caesuras determine the moments of the next breath. In accordance with this, the following most general patterns of change in breathing during the game can be formulated:

in order to maintain the unity of the musical whole, breathing should be changed during pauses, since they are the most distinct expression of the caesura;

when playing music that has a large number of pauses, breathing should in no case be changed at each pause, because a frequent change in breathing will lead to rapid fatigue of the musician;

In the absence of pauses, long sounds can be used to change breathing, for example, if one or several short sounds follow after a long sound, then the breath should be taken after a long (long) sound;

- except for pauses and prolonged sounds, the basis for changing
breath is the repetition of musical material.

If there are no pronounced signs of caesura (which can sometimes occur with continuous melodic movement), then the basis for setting a caesura and changing breathing can be:

change of harmonic functions;

a sharp change in dynamics;

register change.

When changing breathing while playing, you need to keep in mind that any musical construction usually ends with a chordal sound. Therefore, one should not take another breath on non-chord sounds at the moment of detention:

before or after a passing sound;

before auxiliary sound

at the moment of ascent.

In addition, in order to preserve greater expressiveness of the performance, it is not recommended to take a breath after the opening tone.

In all these elements, the correct breathing of the performer plays an essential role, contributing to greater expressiveness of the musical performance.

From this it follows that technically correct performing breathing is of great importance for a wind musician.

4. The specificity of performing breath.

The performer's breathing of a wind player is significantly different from the physiological one. Here is the gist of their main differences:

- physiological breathing is involuntary, and performing breathing is not only voluntary, but also requires a truly virtuoso control from the musician;

- the volume of performing breathing significantly exceeds the volume of physiological one - if during a physiological inhalation a person inhales an average of 500 cc of air, then while playing a wind instrument they very often use the entire vital capacity of their lungs (3500 cc) .;

- Unlike physiological performance breathing is not rhythmic, both of its phases (inhalation and exhalation) are forced, arbitrarily, depending on the nature and construction of the musical phrases being performed. In calm physiological breathing, the duration of inhalation and exhalation is almost equal, and in performing breathing, the asymmetry of inhalation and exhalation, as a rule, manifests itself to a much greater extent;

- physiological inhalation is usually carried out through the nose, and while playing a wind instrument, inhalation is carried out mainly through the mouth;

- physiological expiration is passive and uncontrolled, while performing exhalation is carried out “on a support” and is spent sparingly.

Thus, unlike physiological, performing breathing is associated with a large expenditure of physical strength.

5. Breath development.

The practice of playing wind instruments shows that mastering breathing skills is unthinkable without a long and systematic training of the respiratory apparatus, which should begin from the first moments of training. Mastering the skills of breathing should be associated with understanding the elements of the correct setting, since the incorrect position of some parts of the body often has a significant impact on the freedom of breathing.

The development and training of the respiratory apparatus of a musician should be carried out in two ways - without playing the instrument and in the process of playing.

The first method is based on general physical exercises (muscle development, running, etc.). The second way of training is to play special exercises on the instrument. This is the main type of respiratory training, since the strength, flexibility and coordination of the respiratory muscles develop most naturally during the game.

These exercises contribute to the development of breathing, as well as strengthening the lip apparatus and achieving a good and even sound.

WITH P iso To use m oh literature s.

B. Dikov "On breathing when playing wind instruments"

Moscow 1962

A. Fedotov "On breathing"A spirit O You X And n instruments"

Moscow 1975

3. S. Bolotin "Fundamentals of Breathing Technique"

Publishing house "Music" 1980

4. Yu. Dolzhikov “On the technique of breathing on wind instrumentsinstruments"

Moscow 1983

5. Yu.Usov. "Issues of Music Pedagogy"

issue 10. Moscow 1991 G.

6. I. Pushechnikov "Peculiarities of breathing during the gameon the oboe"

Moscow 1991