Methodological development “Principles of working on polyphonic works in the piano class of the Children's Art School. Forms of work on two-voice in the junior choir

Work on polyphony

Polyphonic repertoire as a basis for the auditory education of pianists in the junior and middle grades of the music school

Polyphony (poly- + Greek phonos - voice, sound) is a type of polyphony in music, based on the equality of voices that make up the texture, and in which each voice has an independent melodic meaning (a related term is counterpoint). Their association is subject to the laws of harmony, coordinating the overall sound.

Invention (from Latin inventio find; invention, in the late Latin meaning - [original] invention) - small two- and three-voice pieces of a polyphonic warehouse, written in various types of polyphonic technique: in the form of imitation, canon,

The canom in music is a polyphonic form in which the melody forms a counterpoint with itself. The main technical and compositional technique underlying the canon is called (canonical) imitation

Fumga (from Latin fuga - "flight", "chase") is a musical form that is the highest achievement of polyphonic music. There are several voices in the fugue, each of which, in accordance with strict rules, repeats, in the main or modified form, the theme - a short melody that runs through the entire fugue.

Sub-voice polyphony is characteristic of Slavic music, in works of this type it is easy to distinguish the main voice from the accompanying voices, the solo voice is more developed, the other voices play the role of accompaniment. In terms of intonation, they are related to the main voice (there is no such connection in contrasting polyphony). Examples are the plays of M. Krutitsky "In Winter", D. Kabalevsky "At Night on the River", D. Levidova "Lullaby", etc.). Accompanying voices can not only sing along, but give a new character to the sound, for example, Alexandrov's Kuma, at the beginning of which we hear a calm character, at the end - a dance character. The content should be clear to the student (words suggest content).

The next step is to get acquainted with the concept of imitation, where the melody appears in different voices alternately. Soprano and bass - imitation (the bass "mimics" the soprano), the melody moves from one voice to another. The simplest examples for acquaintance: Gedike "Rigodon" op.46 No. 1, K. Longchamp-Drushkevichova "Two Friends", Myaskovsky "Carefree Song". In imitative polyphony it is difficult to say which voice is the main one, in interludes - the upper voice. We get acquainted with imitative polyphony in various plays, fughettas, fugues. Then you can move on to the concept of canon (ie, imitation of the entire work). Voting does not take place immediately. First, the upper voice, almost ended - the lower one enters, then in the middle the 2nd voice. Canon in Greek means pattern, rule. Examples can be used as initial material: R. Ledenev. Little canon (F-dur), Russian folk song "On the river, on the Danube" arranged by S. Lyakhovitskaya and L. Barenboim, I. Khutoryansky "Little canon" (d-moll), Russian folk song "Oh, you, zimushka » in the processing of I. Berkovich.

In two-voice polyphonic pieces, try to emphasize imitation not with dynamics, but with a timbre that is different from the other voice. If the upper voice is played loudly, and the lower voice is played lightly and quietly, then the imitation will be heard more clearly than when it is performed loudly. It is this manner of playing that reveals the presence of 2 independent voices, which is the basis for polyphony. That is, dynamics is not the best way to make the theme in any voice clearly distinguishable. What is heard is not what is loud, but what has its own special timbre, phrasing, articulation, different from another voice. The light sound of the bass voice contrasts well with the ringing "singing" of the top voice and is perceived more distinctly than the loud performance of the imitation. polyphonic repertoire pianist melody

In classes with a student, one should try to include works from different countries and eras in the work, draw the student’s attention to nationality (hidden song, dance), reveal the aesthetic richness and artistic charm of polyphony, teach him to love this music. Polyphonic works should become an indispensable material for the development of musical thinking, for nurturing the initiative and independence of the student, and even the key to understanding all musical styles.

So, in working on polyphony, one should take into account - the ability to hear the melody “horizontally”, revealing emotional and intonational expressiveness in it. For very young pianists, the best repertoire is songs. It is the song that is easiest to interest the child, to find a common language with him. Bright, memorable melodies and rhythms of folk and the best modern songs are close to children in terms of images, available for all types of performance.

From monophonic songs, it is logical to move to songs of a folk character of an under-voiced warehouse, where the second voice is not independent, but only supports the first. Here you can tell the student how these songs were sung by the people: first the singer entered, and only then the melody, slightly changing it, was picked up by the choir with undertones.

At this stage of learning, playing in an ensemble with a teacher is especially effective, simulating folk collective activity. One voice is entrusted to the student, the others are played by the teacher. It is also advisable to turn to the synthesis of vocal and piano performance: we sing one voice - we play the other.

One-voice melodies and pieces of a sub-voice warehouse prepare the child for work on imitative polyphony, contrast polyphony. Excellent examples of arrangements of folk songs for beginners can be found in such musical anthologies as "Collection of Piano Pieces, Etudes and Ensembles for Beginners" (compiled by S. Lyakhovitskaya and L. Barenboim), "Piece Pieces for Piano on Folk Themes" (comp. B . Rozengauz), "Collection of polyphonic pieces" (Compiled by S. Lyakhovitskaya) and others.

At the next stage of pianistic education, the works of the great composer Johann Sebastian Bach become the core of the polyphonic repertoire for younger students.

Maturity, deep content is combined in Bach's works with accessibility, pianism. The composer specially wrote many pieces as polyphonic exercises for his students, striving to develop their polyphonic thinking. These compositions include Anna Magdalena Bach's Notebook for Music, Little Preludes and Fugues, Inventions and Symphonies. The composer sought to ensure that these works were accessible for perception and performance by young musicians. In them, each melodic voice lives independently and is interesting in itself. Without disturbing the sound of the whole and the life of the entire piece of music.

Light polyphonic pieces from Anna Magdalena Bach's Music Notebook are the most valuable material for the development of students' hearing and thinking. The largest dance pieces from the Music Notebook: minuets, polonaises, marches, are distinguished by a rich palette of moods and unusually beautiful melodies. Variety of articulatory and rhythmic nuances.

The timbre is enriched - dynamic representations of the student. He gets acquainted with the originality of Bach's dynamics - its step-like nature, when sonority is added with the first note of each new motive.

The requirements for the melodic ear of a young pianist are also becoming more complicated. First of all, this concerns the articulatory aspects of the melody. The student's ear must master such types of melodic articulation as inter-motive and intra-motive. He learns to distinguish iambic (out-of-bar) and choreic motifs (starting on a strong beat and ending on a weak one).

Even greater opportunities for the auditory education of a pianist are found in the work on Inventions and Symphonies, which is also associated with a higher level of performance. The purpose of the Inventions is formulated by the composer himself: “A conscientious guide in which clavier lovers, especially those eager to learn, are shown a clear way to play cleanly not only with two voices, but with further improvement, correctly and well perform the three obligatory voices. Learning at the same time not only good inventions, but also the correct development; the main thing is to achieve a melodious manner of playing and at the same time acquire a taste for composition ”From this text it follows what high demands Bach made on the melodious manner of playing and, consequently, on the melodic and intonational ear of the performer. The real sound of "Inventions" especially expands the student's stylistic auditory horizons. Auditory imagination plays an important role, connected with the representation of the sound of ancient instruments - the harpsichord and clavichord, the timbre originality of each. In contrast to the subtle melodious sonority of the clavichord, the harpsichord has a sharp, brilliant, abrupt sound. The feeling of the instrumental nature of this or that invention extremely activates the pianist's timbre ear and allows him to achieve the possible through the seemingly impossible in the colorful sphere of polyphonic technique.

Grebenshchikova Yulia Evgenievna,
additional education teacher
Center for Extracurricular Activities of the Kalininsky District
St. Petersburg "Academic"

The art of choral singing involves the singing of a choir for several voices. This gives an extraordinary expressiveness to the performance. The essence of two-part singing is based on the combination of two phenomena in the art of music: artistic and technical. The two-voice texture is a diverse combination of two melodic lines in which the voices move either independently or in parallel, which creates different conditions for children singing in the junior choir. Polyphony includes artistic, psychological, acoustic and musical performance components

Just like singing a` capella, the performance of polyphonic compositions requires a certain level of development of hearing and thinking of singers, painstaking work to acquire the necessary skills. The main thing in polyphonic singing is the ability of the singers to independently lead their part and thoughtfully weave it into the overall choral sound.

Distribution of children by choral parts carried out not for vocals(since only by the age of ten in the voice apparatus of children are the prerequisites for the formation of a timbre), and music data(the level of development of musical ear, the ability to pure intonation, the power of voice). The main thing is that the parties should have evenly distributed well-intoned and weakly intoned children, children with bright and quiet voices. This distribution helps the efficient work of all singers.

In my opinion, one of the serious mistakes of choirmasters is when children with well-developed hearing are in the alto part, and almost “hooters” are in the soprano part. As a result, the harmonic hearing of children singing the upper voice does not develop at all, and two-voice is still not obtained, because. sopranos are out of tune, knocking down the altos with this.

How to teach kids polyphony? Of course, at a younger age this is only the initial stage of work, but it is extremely important. If we do not instill the taste and initial skills of polyphony in the junior choir, then subsequently the children will not sing by themselves in 2-3 voices. Polyphony should be practiced from the very first rehearsals.

Polyphony should be practiced from the very beginning of the work of the choir, combining polyphonic singing with unison. You can come up with very simple tasks, as long as they are interesting, arouse children's interest and love for music. By this we achieve that they cease to be afraid and willingly engage in polyphonic singing.

Teaching two-voice singing to children of primary school age takes place in stages. Preparation begins with the very first music lessons, when the leader introduces the children step by step into the world of music, discovers the beauty of the compositions performed, unites the choir into a single sounding ensemble, and at the same time constantly develops hearing, vocal skills, musical memory, susceptibility and responsiveness of the singers, the theoretical knowledge of children, the ability to analyze and understand music are also gradually accumulating.

Schematically, this long and complex learning process can be divided into three stages:

1. accumulation of listening experience;

2. performing preparatory activities;

First stage - accumulation of listening experience - very important for the development of the skill of polyphonic singing. From the first lessons, it is necessary to teach elementary analysis of listened and performed works (and not only vocal, but also instrumental): the structure and direction of the melody, the role of the accompaniment part, registers and timbre of instruments, etc. The ability to hear the musical fabric will develop and improve throughout the teaching of children to sing in the choir. Working on a polyphonic work, we will constantly draw the attention of the singers to the leading meaning of this or that voice, to their independence or, conversely, complete unity.

IN performing preparatory activities includes, first of all, the development of an intonationally stable unison of the entire choir under a wide variety of conditions, and especially when singing without accompaniment. It is very useful to master the game on the simplest musical instruments (spoons, bells, rattles, drums). This is an excellent base for the development of the children's polyphonic hearing, the feeling of the ensemble.

Immediate the formation of the skill of singing in two voices starts with preparatory exercises.

Exercise 1. Such work can be started after the children have learned to sing a joke on one sound and become familiar with the concept of musical pitch. The work begins with an auditory analysis of the chord on the steps of the tonic triad. Initially, the chord is perceived as one sound in a kind of timbre coloring. But, carefully listening to the chord when playing it again, the children begin to distinguish individual sounds from it. When comparing these sounds, they distinguish them by pitch. Further, these auditory representations are fixed in the singing of all levels of the triad in turn.

And after a while it is possible to start singing some joke already in the simultaneous sounding of all the steps of the triad. Later, this exercise can be sung in the position of the sixth chord.

(Performance of the joke "Andrey the Sparrow", or any other chants on the same sound. Perform it at different stable steps)

Exercise 2 (singing the choir) :

· scale singing (the choir sings the scale, and the teacher holds the 1 step, and vice versa);

· singing the scale with the canon;

· “embracing” stable steps (singing of stable steps in simultaneous two-voice);

· "Dili-don" (violas hold ostinato I step, and the sopranos sing a melodic line from V To I steps and vice versa).

Therefore, in the third stage of training, you can go completely different ways. Let's analyze each of them.

The rich experience of folk masters in polyphonic singing allows us to draw the most important practical conclusions related to the search for the right methodology for educating these skills. The use of folklore in the initial period of musical education opens up broad prospects for mastering the classical heritage and contemporary creativity in the future.

Russian folk songs use various types of polyphony (combinations of voices):

· heterophone type, the most ancient, in it the voices are not divided into leading and subordinate, their melodies are close variants;

· second, relatively young in time of origin, in it the main leading voice is supported by parallel movements of the remaining melodic lines, most often in a consonant interval, the voices are correlated here as options;

· chord-harmonic, the youngest in time of formation; voices in it move synchronously; the consonances formed at each given moment acquire a very definite significance.

The simplest kind would be "pedal" double voice, in which the second voice appears episodically and is associated with the inclusion of only one sustained sound performed by a small group of choirs.

It is not at all necessary for a choirmaster to look for songs with a "pedal" in special collections. It is perfectly acceptable in some cases to compose echoes yourself. Particularly convenient in this regard are folk songs with frequently repeated basic or fifth tones. For example, Russian folk songs “Lap, hop jump, young blackbird”, “Cat’s house”, “Long-legged crane”, “At the grumbling cat”, “Rides, rides a steam locomotive”.

Exercise 3 (Performance of the songs "Skok, skok", "A locomotive is going")

Now let's move on to song with bourdon in the lower voice. Wonderful songs with bourdon are the so-called "gookanki". In them, the part of the lower voice is performed by the choir, and the main melody is performed by the soloist. Of interest for the development of the skill of two-voice singing are also such songs in which one of the parties of the choir is built on a constantly repeating chant based on two or three sounds (varied bourdon), such as, for example, Russian folk songs “Like under a hill under a mountain”, “In the field of a birch”, Ts. Cui “The dawn caught fire”.

Exercise 4 (Performance of the song "Like under a hill under a mountain")

When learning such songs, it is necessary that children, while solfegging, consciously intotone the intervals formed along the horizontal. It is also useful to give preference in dynamic sounding to the lower voices, as well as to perform their part with words, and the upper one - with a closed mouth or on any syllable.

As for songs with subvoice-polyphonic development, the learning technique is suggested by their structure. The distinctly expressed independence of the voices determines the need for the entire choir to master both melodic lines.

The development of polyphonic hearing and thinking of singers- an important task in the work of the choir. It is in the singing of polyphonic works that the level of skill of the choir, the degree of technical equipment of the choir and its artistic capabilities are manifested. Complicated polyphonic forms are not yet available to the novice choir. But the repertoire should include works with elements of imitation and, of course, canons.

Canon would like to pay special attention. One can talk a lot and interestingly about the canon, but then it is necessary to devote a separate topic of conversation to this.

Canon (from Greek. Canon- rule, sample) - one of the methods of polyphonic writing, based on imitation. This is one of the most common genres of vocal polyphony of the Middle Ages. Canon is a strictly restrained imitation, in which each of the voices performing the same melody enters with some delay in relation to the previous one.

Singing the canons on the one hand is quite an easy task, because. it seems that it is good enough to learn one single melody with the whole choir and you can sing it in several voices. It is no coincidence that some believe that it is better to start learning polyphony precisely from the canons. But to fulfill the canon qualitatively and truly competently actually turns out to be a very difficult task. The undeveloped ear of singers does not allow them to listen to other parts and weave their melody into the melodies of other voices. Beware of the main mistake - to formally connect parts in the performance of the canon, when children sing according to the principle "I see nothing, I hear nothing", otherwise it will be a waste of time.

It is best to start working on the canons when the little singers have already developed enough melodic ear, when they have already begun to sing a` capella, when harmonic hearing is sufficiently developed. But in order to interest children, to introduce an element of the game into the lesson, to accustom children to the independence of leading their party, I begin to include the canons at the very beginning of training. But the canons are unusual. I want to recommend the manuals of the Chelyabinsk composer, teacher E.M. Poplyanova - “Playing canons in music lessons” and “Lessons of Mr. Canon”. She suggests using various types of canons: speech canon, “hopping” canon, mimic canon, gesture canon, timbre canon, melodic-rhythmic canon, and habitual, melodic canon.

Before learning any canon, it is necessary to explain what it is. There is a very child-friendly explanation that a little girl came up with.

“Canon is when there are a lot of delicious things on the table and everyone takes turns eating them. First I try an orange. Then I proceed to ice cream, and my mother tries an orange. I drink tea with a cake, my mother starts the ice cream, and my father tries the orange. Then I eat chocolate, mom has tea and cake, and dad starts ice cream. When mom eats chocolate, dad drinks tea with cake. And finally, dad finishes his chocolate.". Such a delicious canon.

Exercise 5 Mimic canon. In such a canon, the theme becomes the sequence of certain movements of the muscles of the face. To facial expressions, you can add sounds-exclamations, shaking your head, a minimum of gestures.

Exercise 6 speech canon. The theme of the canon becomes a poetic text, performed in a definite organized rhythm. Children are very fond of poetry, especially comic "with a twist." A very useful lesson for developing a sense of rhythm.

Exercise 7 melodic canon. First, the melody and text are learned, and performed as a monophonic song. We have already accumulated a fairly large repertoire of canons.

Execution of the canons: "Cornflower", "Rain", "Grandfather Yegor", "Jump-counting". Gamma in D major.

Singing scales in a canon is an extremely useful activity. In addition to the concept of the canon, this exercise will help to establish the purity of the intonation of the major and minor scales, and will become a useful training in singing parallel thirds, moreover, with a rearrangement of voices.

Singing in the canon greatly facilitates the assimilation of all other types of two-voice. Let's talk a little about this kind of second. When the voices are combined, chains of consonant intervals arise, the upper voice is like a colored undertone. I recommend starting with songs in which the main melody is in the lower voice.

Exercise 8 M. Slavkin “Music Song” - children sing the lower voice in unison, then the upper voice adds the piano, then the soprano part (or soloists) sing the upper voice.

The most difficult type of two-voice - works with indirect and opposite movement of votes. These types of combination of voices are often found in folk music. Indirect movement occurs when the melody passes in the lower voice, and in the upper one - a figurative pedal.

Exercise 9 Estonian folk song "Everyone has their own musical instrument".

The greatest difficulty for little singers is represented by works with two-voice parallel thirds. The different colors of the tertian harmonies, the timbre and register similarity of the voices introduce certain difficulties into the work. Piano support, the ability to listen to its sound will help here. It is important to teach children to accurately hit the first sounds of each initial construction. The main difficulty in the third texture is the ensemble unity of voices in dynamics, the nature of sound science, phrasing, in the balanced sound of each part. Such works are very useful for developing the sensitivity of the singers.

Summing up, I would like to remind once again basic principles of work on two-voice in the junior choir:

1. Preliminary work is very important to prepare the hearing of the choristers for the perception of polyphony. Listen to more music and analyze. Learn to listen to musical fabric.

2. Competent and constant distribution of children in choral parts: evenly in quantitative and qualitative terms.

3. Playing music on various available instruments, creating small ensembles, orchestras from them - not only interests children, is a source of joy and pleasure for them, but also serves as an excellent basis for developing children's polyphonic hearing, a sense of the ensemble, and also teaches them the elements of musical literacy (after all, at first we play by ear, and then by scores).

4. Include in the repertoire polyphonic works first with piano accompaniment. Harmonic support of the instrument, unobtrusive duplication of voices will help in the first stages of mastering two-voice, add quality and expressiveness to it.

5. Introduce two-voice works into the repertoire according to the principle “from simple to complex”. First, episodic two-voice - works where the parties sing alternately, alternating with each other, and only sometimes combine into a full-fledged two-voice. Later introduce a stable two-voice.

6. The main difficulty in the artistic performance of the canons is the uniformity of the parties. When learning a melody in one voice, it is necessary to achieve expressiveness, convexity of phrasing, the nature of sound science, features in the presentation of the text, so that later, when singing in several voices, all this can be preserved and transferred from voice to voice. Here it is very useful to sing according to the principle of "echo" - singing the same phrase, sentence, period in different parties in turn. The task of repeaters is to accurately convey the performing style of the previous performance.

· singing of the whole choir in a duet with the choirmaster (thus, we prepare the ear for a new unusual sound, improve the harmonic ear, the ability to hear others, the sense of the ensemble);

· to begin the analysis of a new work with a unison performance by the whole choir of each part separately (this is how children represent the melodic movement of both voices);

sing with one part, for example, soprano, with a closed mouth, and the other part with solfeggio or with words (we learn the melody of the voice, while hearing the resulting consonances);

sing the work alternately in batches or sentences.

Bibliography:

1. Kuznetsov Yu.M. "Practical Choir Studies". Choreology training course. - M .: "Music", 2009.

2. Nazarenko I. "The Art of Singing". Reader. - M .: "Music", 1968.

3. Roganova I. "Modern choirmaster". Digest of articles. “The Development of Traditions. New trends. Experience". - M.: "Composer", 2013.

4. Semenyuk V. “Choral texture. Performance problems. - M.: "Composer", 2008.

5. Chesnokov P. “Chorus and Management. Handbook for choir conductors. - M .: "Music", 1961.

List of Internet resources:

1. Volkova T.S. "The Beginning of Two-Part Singing in Primary School". Article on the site "Festival of Pedagogical Ideas": http://festival.1september.ru/articles/412603/

Department of Culture of the city of Kursk

municipal budgetary educational institution

additional education

"Children's School of Arts No. 2 named after I.P. Grinev" of the city of Kursk

Methodical development

in junior choir"

Compiled by:

teacher

first qualification category

MBOU DO DSHI №2 them. I.P. GrinevaAlferova VictoriaGennadievna

Kursk, 2014

INTRODUCTION

Just like singing a ` capella, the performance of polyphonic compositions requires a certain level of development of hearing and thinking of singers, painstaking work to acquire the necessary skills. The main thing in polyphonic singing is the ability of the singers to independently lead their part and thoughtfully weave it into the overall choral sound.

In my opinion, one of the serious mistakes of choirmasters is when children with well-developed hearing are in the alto part, and students with weak intonation are in the soprano part.

As a result, the harmonic hearing of children singing the upper voice does not develop at all, and two-voice is still not obtained, because. sopranos are out of tune, knocking down the altos with this.

How to teach beginner students polyphony? Of course, at a younger age this is only the initial stage of work, but it is extremely important. If we do not instill the taste and initial skills of polyphony in the junior choir, then subsequently the children will not sing by themselves in 2-3 voices. Polyphony should be practiced from the very first rehearsals.

Schematically, this long and complex learning process can be divided into three stages:

accumulation of listening experience;

performing preparatory activities;

First stage - accumulation of listening experience - very important for the development of the skill of polyphonic singing. From the first lessons, it is necessary to teach elementary analysis of listened and performed works (and not only vocal, but also instrumental): the structure and direction of the melody, the role of the accompaniment part, registers and timbre of instruments, etc. The ability to hear the musical fabric will develop and improve throughout the teaching of children to sing in the choir. Working on a polyphonic work, we will constantly draw the attention of the singers to the leading meaning of this or that voice, to their independence or, conversely, complete unity.

IN performing preparatory activities includes, first of all, the development of an intonationally stable unison of the entire choir under a wide variety of conditions, and especially when singing without accompaniment. It is very useful to master the game on the simplest musical instruments (spoons, bells, rattles, drums). This is an excellent base for the development of the children's polyphonic hearing, the feeling of the ensemble.

Immediate the formation of the skill of singing in two voices starts with preparatory exercises.

And after a while it is possible to start singing some joke already in the simultaneous sounding of all the steps of the triad. Later, this exercise can be sung in the position of the sixth chord.

(Performance of the joke "Andrey the Sparrow", or any other chants on the same sound. Perform it at different stable steps)

Exercise 2 (singing the choir) :

scale singing (the choir sings the scale, and the teacher holds the 1 step, and vice versa);

singing the scale with the canon;

“embracing” stable steps;

"Dili-don" (altos hold the ostinato I degree, and the sopranos sing the melodic line, and vice versa);

Therefore, in the third stage of training, you can go completely different ways. Let's analyze each of them.

Russian folk songs use various types of polyphony (combinations of voices):

heterophone type, the most ancient, in it the voices are not divided into leading and subordinate, their melodies are close variants;

second, relatively young in time of origin, in it the main leading voice is supported by parallel movements of the remaining melodic lines, most often in a consonant interval, the voices are correlated here as options;

chord-harmonic, the youngest in time of formation; voices in it move synchronously; the consonances formed at each given moment acquire a very definite significance.

It is not at all necessary for a choirmaster to look for songs with a "pedal" in special collections. It is perfectly acceptable in some cases to compose echoes yourself. Particularly convenient in this regard are folk songs with frequently repeated basic or fifth tones. For example, “Lap, hop jump, young blackbird”, “Cat’s house”, “Long-legged crane”, “At the grumbling cat”, “Rides, rides a steam locomotive”.

Exercise 3 (Performance of the songs "Skok, skok", "A locomotive is going")

Now let's move on to song with bourdon in the lower voice. Wonderful songs with bourdon are the so-called "gookanki". In them, the part of the lower voice is performed by the choir, and the main melody is performed by the soloist. Of interest for developing the skill of two-voice singing are also such songs in which one of the parts of the choir is built on a constantly repeating chant based on two or three sounds (varied bourdon), such as, for example, “Like under a hill under a mountain”, “In the field of a birch”, Ts. Cui “The dawn caught fire”.

Exercise 4 (Performance of the song "Like under a hill under a mountain")

The development of polyphonic hearing and thinking of singers is an important task in the work of the choir. It is in the singing of polyphonic works that the level of skill of the choir, the degree of technical equipment of the choir and its artistic capabilities are manifested. Complicated polyphonic forms are not yet available to the novice choir. But the repertoire should include works with elements of imitation and, of course, canons.

Canon would like to pay special attention. One can talk a lot and interestingly about the canon, but then it is necessary to devote a separate topic of conversation to this.

It is best to start working on the canons when the little singers have already developed enough melodic ear, when they have already begun to sing a ` capella , when harmonic hearing is sufficiently developed. But in order to interest children, to introduce an element of the game into the lesson, to accustom children to the independence of leading their party, I begin to include the canons at the very beginning of training. But the canons are unusual. I want to recommend the manuals of the Chelyabinsk composer, teacher E.M. Poplyanova - “Playing canons in music lessons” and “Lessons of Mr. Canon”. She suggests using various types of canons: speech canon, “hopping” canon, mimic canon, gesture canon, timbre canon, melodic-rhythmic canon, and habitual, melodic canon.

Before learning any canon, it is necessary to explain what it is. There is a very child-friendly explanation that a little girl came up with.

Exercise 7 melodic canon. First, the melody and text are learned, and performed as a monophonic song. We have already accumulated a fairly large repertoire of canons.

Execution of the canons: "Cornflower", "Rain", "Grandfather Yegor", "Jump-counting". Gamma in D major.

Exercise 8 M. Slavkin “Music Song” - children sing the lower voice in unison, then the upper voice adds the piano, then the soprano part (or soloists) sing the upper voice.

Exercise 9 Estonian folk song "Everyone has their own musical instrument".

The greatest difficulty for little singers is represented by works with two-voice parallel thirds. The different colors of the tertian harmonies, the timbre and register similarity of the voices introduce certain difficulties into the work. Piano support, the ability to listen to its sound will help here. It is important to teach children to accurately hit the first sounds of each initial construction. The main difficulty in the third texture is the ensemble fusion of voices in dynamics, the nature of sound science, phrasing, in the balanced sound of each part. Such works are very useful for developing the sensitivity of the singers.

CONCLUSION

Summing up, I would like to remind once again basic principles of work on two-voice in the junior choir:

Preliminary work is very important to prepare the hearing of choristers for the perception of polyphony. Listen to more music and analyze. Learn to listen to musical fabric.

Competent and constant distribution of children in choral parts: evenly in quantitative and qualitative terms.

Playing music on a variety of available instruments, creating small ensembles, orchestras from them - not only interests children, is a source of joy and pleasure for them, but also serves as an excellent basis for developing children's polyphonic hearing, a sense of the ensemble, and also teaches them the elements of musical literacy ( After all, first we play by ear, and then by scores).

Include polyphonic works first with piano accompaniment in the repertoire. Harmonic support of the instrument, unobtrusive duplication of voices will help in the first stages of mastering two-voice, add quality and expressiveness to it.

Introduce two-voice works into the repertoire according to the principle “from simple to complex”. First, episodic two-voice - works where the parties sing alternately, alternating with each other, and only sometimes combine into a full-fledged two-voice. Later introduce a stable two-voice.

The main difficulty in the artistic performance of the canons is the uniformity of the parts. When learning a melody in one voice, it is necessary to achieve expressiveness, convexity of phrasing, the nature of sound science, features in the presentation of the text, so that later, when singing in several voices, all this can be preserved and transferred from voice to voice. Here it is very useful to sing according to the principle of "echo" - singing the same phrase, sentence, period in different parties in turn. The task of repeaters is to accurately convey the performing style of the previous performance.

singing of the whole choir in a duet with the choirmaster (thus, we prepare the ear for a new unusual sound, improve the harmonic ear, the ability to hear others, the sense of the ensemble);

to begin the analysis of a new work with a unison performance by the whole choir of each part separately (this is how the children represent the melodic movement of both voices);

to sing with one part, for example, a soprano, with a closed mouth, and with another part of solfeggio or with words (we learn the melody of the voice, while hearing the resulting consonances);

sing the work alternately in batches or sentences.

Bibliography:

Kuznetsov Yu.M. "Practical Choir Studies". Choreology training course. - M.: "Music", 2009.

Nazarenko I. "The Art of Singing". Reader. - M .: "Music", 1968.

Roganova I. "Modern choirmaster". Digest of articles. “The Development of Traditions. New trends. Experience". - M .: "Composer", 2013.

Semenyuk V. “Choral texture. Performance problems. - M .: "Composer", 2008.

Chesnokov P. “Chorus and Management. Handbook for choir conductors. - M .: "Music", 1961.

List of Internet resources:

Tokar T.A. "The initial stage of work on two-voice in the junior choir". Synopsis of the open lesson on the choir on the website:

In the musical development of children, a large role belongs to polyphonic singing, during which harmonic ear, modal feeling, purity of singing intonation are especially actively developed, and choral performance is improved.

In the Russian school, polyphony has a long and stable tradition. Having arisen in the mists of time, it has taken a leading position in folk music making. The most characteristic features of Russian polyphony are the independence of voices, the melodic expressiveness of each part.

The most important stage is the initial one. Here the foundations of polyphonic singing are laid and, no less important, love for this type of choral performance is brought up.

The guys, overcoming the difficulties of polyphony, often do not understand what, in fact, it gives, what it is for. After all, it is easier and faster to learn a song in one voice: it is more fun, and everyone sings an interesting melody. So sometimes the teacher thinks, who, having not achieved the desired results and having mentioned with an unkind word a program that requires the performance of songs for two or three voices, finally returns to the “bosom of unison”. For him, polyphony in the children's choir begins to seem something unattainable, and in this opinion it is very difficult to convince him.

In fact, this is not so. Repeatedly I had to make sure that the correct work on polyphony, confidence and perseverance in overcoming its difficulties always lead to positive results. The essence of the problem lies in the initial stage of work and in a strict system of certain techniques leading to the development of the necessary vocal and auditory skills.

main reason- poor development, a weak level of the so-called harmonic hearing of students. Harmonic hearing allows you to “tune in” to the sound of another voice, merge the sound of your own voice with it, cover several sounding lines at once - the line of your own choral part and another voice. And this quality of hearing can only be achieved through specially selected song material and vocal and choral exercises.

The task, therefore, is to select such musical material that would interest the students, would allow them from the very first steps to give them the opportunity to experience new musical results. In other words, the difficulty of polyphony not in singing, but in hearing . And from the very beginning, from the simplest examples and exercises, it is necessary that children hear the beauty of the sound of two voices, their greater expressiveness, a new quality compared to monophonic singing. Therefore, it is so important that at the initial stage of learning even the simplest and most understandable things be interesting to children, so that the first two-part songs and exercises immediately “reach” to the ear and heart of each child.

Most of these requirements are met canon . The independence of the melodic line of the choral part is preserved in the canon, its learning takes place in the same way as the learning of a monophonic song. And yet it must be emphasized that it is not expedient to use any canon at the beginning of the transition to polyphony.

Experience shows that in some cases, literally from the first steps, the choir “grabs” two- and even three-voice, while in other cases, instead of a two-voice canon, a complete confusion is obtained. Let's try to figure out what are the reasons for such different results and, consequently, what should be the principle of selecting the initial canons used as a means of developing polyphonic skills.

1. The canon should not be a sequential construction with a tertian ratio of votes. The complete identity of the rhythmic pattern, and most importantly, the parallel (to the third) ratio of voices makes it difficult to perform this canon in two voices, because children often strayed to one or the other melodic line.

2. In the canon, the melodic difference of each voice should be clearly expressed: this is the opposite movement of voices while matching the rhythmic pattern.

It should be noted that properly selected canons (short, with a simple melody, independent movement of voices) provide significant progress for students in the development of their harmonic hearing, in the development of polyphonic skills. Singing the canons is the most accessible, interesting and effective form of work on mastering singing for several voices. The canon introduces into the work elements of the game, competition (whose part will sing better!) with full equality of melodic material.

It should be noted that the difference in words during the simultaneous performance of the canon at the beginning even facilitates the development of polyphony, acting for an inexperienced singer as a kind of "straw" that helps the singing of his choral part. But after, when it is possible to achieve an equal sounding of both parts, it is highly desirable to perform the canons simply on some syllable or with a closed mouth. At the same time, the musical fabric itself sounds especially clear, and this contributes to the strengthening of harmonic hearing, the development of polyphonic singing skills.

A few words about the first polyphonic works. Most often, these are folk songs in a lightweight arrangement by masters of choral writing. It seems that here it is also useful to select songs with melodic independence, meaningfulness of each voice. An example of such a song is the well-known Russian folk song in the arrangement of S. Blagobrazov “I walk with the weed” or the Russian folk song in the arrangement of A. Lyadov “Don’t stop, well.”

But, speaking about the selection of musical material as the most important condition for the development of auditory and singing skills in a children's choir, one should not forget about other elements that contribute to this process or hinder it. Successful work on polyphony is impossible without the skills of attention, active listening.

These qualities do not come to students by themselves, but are brought up by the leader.

It is known that everyone listens, but hear relatively few. This also applies to polyphony. Not every child who takes part in polyphonic singing really hears polyphony. If, having adjusted to the unison of his part, he gets lost, begins to "swim" with his voice, as soon as the sound of another part touches his hearing and consciousness, then his harmonic ear has not yet been developed and the goal has not been achieved.

A student with a developed harmonic ear always hears another part, knows how to adapt to it, relies on it as a harmonic basis for his singing.

The education of the activity of hearing, attention is the most important task of musical education and should be the subject of special attention of the leaders of the choirs.

In choral work, you can use various tricks which teach the children to actively listen to the answers of their comrades, to the explanations of the leader, to the sound of music.

At rehearsals, the ability to immediately “grab” new musical material is encouraged, to hear the remarks of the leader, said as if in passing, to find a mistake in the individual and group singing of the choristers, in the sound of the party. This auditory activity to a large extent also contributes to the activity of the performer.

A good form of mindfulness education is a brief analysis of the work after the first listening. It is necessary to ask the children a variety of questions: how many verses are in the work, what voice sings solo, what kind of voice leading is chord or polyphonic, what is the nature of the accompaniment, etc. These questions, often unexpected in content, educate children in a conscious attitude to what they are listening to, develop activity hearing. The repeated performance of a work becomes especially purposeful: it either reinforces or refutes the answers of students, makes it possible to listen more deeply to the musical essence of the work.

By striving for the chorister students to become not only performers, but, above all, lovers of music and choral art, we at the same time open the way for them to master polyphonic skills.

A few words about when it is still expedient to switch to polyphony as special task . There is a very widespread opinion that polyphony, as a form of performing activity, is available only for such a choir that has already mastered the quality of singing sound, the purity of singing based on unison, knows the beginnings of musical notation, solfeggio.

There are no words, these are very good and important qualities for the musical development of students. But are they always absolutely necessary in order to proceed to polyphony? Probably not. The fact is that, having been engaged in unison singing for a long time, the children, and sometimes the leader, involuntarily begin to approach polyphony with some apprehension. Therefore, any difficulty inevitably encountered at the initial stage, they begin to regard as insurmountable or, in any case, difficult to overcome.

In this case, you can suggest the following way: engage in polyphony from the very beginning of the work of the choir, combining polyphony with unison. By giving very simple tasks, arousing interest and love for music in children, it is possible to achieve that children do not think about difficulties and willingly engage in polyphonic singing.

The application of such a principle of selecting a singing repertoire - unison and polyphony, parallel movement of voices and polyphony, difficult and easy repertoire - contributes to the mastery of polyphonic singing in the shortest possible time - six months, a year of work.

It was the very content of the classes, the involved repertoire that undoubtedly gave impetus to the development of harmonic ear, which reached a fairly high level by the end of the first year. As a result of the methodology we used, the guys quite easily pass With double-vote for more votes.

Techniques and methods used to activate, intensify the process of musical development of students.

Attaching great importance to the interest of students precisely in polyphonic singing, it is advisable from the second half of the first year of choral work to conduct polyphony exams: the examiner was asked to sing, without a single mistake, his part in a polyphonic work from among those learned in the choir with the help of guys from other parties. Those who passed the exam are awarded a special badge - "Craftsman of polyphony." Such examinations are held with the full activity of the entire team and are of great importance for the activation of all choristers in mastering polyphonic skills.

You can also apply (for advanced chorus) the following method of activating students' harmonic hearing:

the choir is divided into a certain number of quartets, independently rehearsing a work written for a four-part children's choir without accompaniment. Each quartet is tested, after which it is included in the "chapel". This team should include guys who are the most advanced in terms of hearing; they performed works "a cappella", located in the choir in quartets. This achieved a qualitatively new choral sound, in which it seems to the listener that the score of the choral sound does not break up into separate “sections” of voices, but is conveyed to the listener somehow in a special holistic, organic way. But it often happens during performances that the parties are arranged so as not to “interfere” with each other, not to knock down!

With a quartet arrangement of the choir, an opportunity is created to develop the skills of polyphonic performance and hearing for all, without exception, singing in a truly polyphonic environment.

Having a good idea of the "pitfalls" of polyphony, you need to:

firstly, to select song material and exercises with a clearly expressed

melodic line;

thirdly, it is important to use every suitable occasion to talk about the various singing voices, about the beauty of polyphonic singing. The leader needs to talk about what kind of singing voices exist in adults and children, how important each voice is in the choir, regardless of its height. It is the same to talk about the protection of the voice, explaining to the children that if, for example, the viola sings in the treble part, or vice versa, then the voice deteriorates from this and neither the singer nor the listeners receive satisfaction. Therefore, everyone should sing "with their own voice", without envying someone else's part.

I would like to note that the leaders of choirs, in which all participants want to sing in the "first voice", in most cases they themselves are to blame for this. Without preparing the children's ears for the perception of the beauty of polyphony, without teaching them the solid skills of singing their own part while listening to the sound of another, it is difficult to ensure that the singers do not “move out” of their voices to the main melody. Seeing that it is easier and more pleasant to sing the main melody, the children, under various pretexts, try to move to the party of the first voices, regarding the second voice as “second-rate”.

In the lessons with the choir, like most choirmasters, leaders of children's choirs, you should practice the simultaneous learning of several pieces at once. Parallel work on different works has a great advantage: it creates the opportunity to switch the activities of the choir members from one composition to another, which ensures the maintenance of interest and less fatigue.

If the song requires soloists, then you need to do this: after learning the part with everyone, announce soloist competition. It should be noted that the guys are very sensitive to the arrogance of the singing solos and "correct" them in the general choral classes.

Of the guys with good hearing and with a great craving for singing, you can organize several vocal ensembles, performing works for three and four voices. Singing in such ensembles significantly increases the responsibility of each singer, sharpens the ear for music, and cultivates a "sense of comradeship."

If intensive work is being carried out on several works at once, and, moreover, quite complex ones, then in the lesson plan it is necessary to provide for some relaxation. So, for example, learning the basic three- and four-voice repertoire should be interspersed with learning simple one-voice songs.

It is possible to use sound recording equipment in work on polyphony . The recording is made with the help of the best members of the choir throughout the learning process. Next, the choir member listens to the recording through headphones. Each recording has a specific purpose: while listening, for example, to a recorded work, the student holds notes in front of him and thus “learns” incomprehensible or forgotten places. There are recordings for self-testing of polyphonic skills: turning on the sound of another voice, the chorister performs his part, helping himself, if necessary, by weakening the sonority of the player

· polyphonic singing among school-age children is an important factor contributing to the improvement of general musical culture; it introduces new, higher forms of music-making into the musical education of students.

· Further progress in vocal, choral and auditory education depends on the correct methodology for working on polyphony, especially at its initial stage.

The path of mastering polyphony goes first through the study of polyphonic two-voice, as easier to master (canon, independent movement of voices in their close arrangement), and then elements of harmonic voice leading are introduced, and the latter must be included as early as possible. Further work on various types of polyphony is carried out in an interconnected, complex manner.

Municipal budget institution

additional education

"Children's Music School No. 2 of the Variety - Brass Band"

Yelabuga municipal district

METHODOLOGICAL DEVELOPMENT

"Development of polyphonic hearing in primary school students"

Teacher

piano class

Ishmukhametova G.R.

Yelabuga, 2016

Annotation.

Introduction.

Stages of development of polyphonic hearing

Conclusion.

annotation

This work is devoted to the development of polyphonic hearing in primary school children and is based on the analysis of the scientific literature of researchers in the field of music pedagogy and personal experience of teaching piano at the children's art school. It will be useful for young teachers.

The development of polyphonic hearing in primary school children

Introduction

Despite the fact that the teaching of polyphony should be started from the first grade, teachers often begin these classes from the middle classes. The scientific and methodological side of teaching polyphonic performance is developed in the country at a serious level; in a fairly wide pedagogical environment, the developed methodological approaches are not fully mastered. Much accumulated in the practical experience of seeking, progressive teachers is not widely disseminated. In general, the problem arises: how to purposefully develop polyphonic hearing in students in the piano class? Therefore, the topic of my work is: “The development of polyphonic hearing in students of the lower grades of music schools.

The study of polyphony is one of the most difficult problems of musical pedagogy. The main task for the teacher is to teach the student to think, to instill independent performance of polyphonic music, to show the beauty and richness of polyphonic layers, that is, to develop polyphonic thinking.

The development of polyphonic thinking is inextricably linked with the development of polyphonic hearing. Polyphonic hearing affects the ability to differentiate and operate in the musical performance process with several independent, developing sound lines. However, it would be wrong to believe that polyphonic hearing is trained only when the musician comes into contact with the actual polyphonic structures. In practice, it turns out to be necessary wherever there are at least two contrapuntal elements in textural formations.

aim my work is to identify effective methods for the development of polyphonic hearing and the formation of pianistic skills of a polyphonic musician.

Tasks;

search, analysis of literary sources;

revealing the ways of development of polyphonic hearing of a young pianist recorded in the methodological literature;

study of practical experience in the development of polyphonic hearing by leading musicians.

Stages of development of polyphonic hearing

Polyphonic hearing develops very slowly, so work on polyphony should be started at a younger school age. The efforts of the teacher should be aimed at educating the student such qualities as meaningfulness, melodiousness and auditory control. A small student, working on monophonic melodies, different in emotional structure, must be able to convey their mood, modifying the methods of sound extraction, play expressively, paying attention to the quality of the sound, must imagine at what tempo, with what sound to play this or that melody. So gradually the student learns to play meaningfully, auditory control develops.

The next stage of work is a game with two hands. The hearing of children is usually focused on the melody. And at this stage, the teacher must help the student to hear and comprehend the entire reproducible musical fabric. Explaining the relationship between melody and accompaniment, the teacher should talk about the different roles of accompaniment: it can support the melody, “coloring” it with interesting harmonies, but it may not be inferior to it in terms of its expressiveness and content. Often there should be “air” between the melody and the accompaniment. And sometimes the accompaniment differs from the melody in the nature of expressiveness, stroke, etc. So the teacher gradually helps the student to listen not only to the melody, but also to every detail of the musical fabric, where it is necessary to withstand a long sound, how and where to draw a bass line, to reveal the hidden melodic movement in the figuration, etc. Thus, the ability to hear and comprehend all the details is gradually brought up, which is a necessary condition for the competent performance of polyphony in the future.

In the children's repertoire there are a large number of works that contribute to the development of independence of hands, since the melody and accompaniment in them contrast in rhythm, strokes, and sound. On them, the young pianist learns to hear the difference in the sound of the melody and the accompaniment, finds the necessary performance techniques for each hand, and, although in these pieces the voices are not always independent, they can prepare the student for the performance of polyphony. Polyphony accessible to children in the first years of study can be divided into three groups: subvocal, contrast, imitation.

In order to make the understanding of polyphony more accessible to the child, it is useful to resort to figurative analogies and use program compositions in which each voice has its own figurative characteristic. For example, N.Lyubarsky's arrangement of the song "Kurochka", or "Shepherds play the flute". The two-voice sub-voice polyphony in this piece becomes especially accessible to the student thanks to the program title. The child easily imagines two planes of sonority here: as if the game of an adult shepherd and a little shepherdess playing along on a small pipe. This task usually captivates the student and the work is quickly argued. Such a way of mastering polyphonic pieces significantly increases interest in them, and most importantly, it awakens in the student's mind a vivid, figurative perception of voices. It is the basis of an emotional and meaningful attitude to voice leading. A number of other pieces of the sub-voice warehouse are learned in a similar way.

Remarkable examples at the initial stage of training are works from the collection "Piano Playing School" edited by Nikolaev:

"Woodcutter" - this canon song. The main stroke is legato. The melody is passed from one hand to the other.

Krutitsky. "Winter" - elements of 3-voice are traced here.

It is also important to teach the child to hear not only the main melodic line, but also the vocal material. These small polyphonic songs are well absorbed by students, since they understand their figurative content very well, and this is very important at the first stage of learning. To make it easier for a child to master the skills of playing sub-voice polyphony, you can increase interest with the help of creative tasks: 1) determine the key of the work, 2) pick up the lower voice to the end, 3) play one voice and sing the other, 4) compose a continuation of the upper voice.

To develop the skills of performing polyphony at the initial stage of training, the following musical collections can be used in the work: B. Milic "To the Little Pianist", O. Getalova, I. Viznaya "To Music with Joy", L.I. Roizman, V.A. Natanson "Young pianist", M. Sokolov "Little pianist", S. Lyakhovitskaya, L. Barenboim "Collection of piano pieces, etudes and ensembles for beginners".

Utushka on the sea - Russian folk song - vocal

Working methods: The student sings one of the voices while playing along with the other voices.

Yutsevich Canon - imitation polyphony.

Task: the student must hear the introduction, development, culmination of the theme in the sequential conduct of voices.

Working methods:

a) performance in an ensemble with a teacher, the upper voice on f, the lower one on p and vice versa.

b) the student carefully plays the topic by voice, focusing on the beginning and ending, and also clearly shows dynamic shades, alternating voices in the ensemble.

c) claps the rhythmic pattern of the theme, and it is also possible with rhyming syllables in an ensemble with a teacher.

Pieces by ancient composers are included in various Schools and Readers on them, the student takes a step towards the performance of more complex polyphonic pieces by J.S. Bach

Handel Rigaudon G-dur - contrast polyphony, the upper voice is more expressive, the lower voice is less, but has its own line of development.

is performed in small durations and on legato, and the lower voice is performed in longer durations on staccato.

Working methods: learning in an ensemble with a teacher, using the method of instrumental arrangement (upper voice - violins, lower voice - pizz low strings).

Corelli Sarabande

Mandatory explanation in the text:

Difference in tone characteristic of each of the voices. To enhance the contrast between voices, you can move the top voice an octave higher. This helps to understand the timbre difference of voices.

First voice is high, similar to female, and second - low- Looks like a male bass. Or imagine that two voices are playing different instruments: the melodious, expressive sound of the first voice resembles the singing of a violin, and the register and timbre of the bass voice approaches the sound of a cello.

Involving the student in the discussion of this issue, we thereby develop his creative imagination.

Phrasing . The melody of the upper voice is 2 measures each, and the lower one consists of a continuous movement of the melody. Along with the phrasing, we determine the fingering.

Stroke Mismatch : legato in the upper voice, non legato in the lower voice.

Dynamics: From the first years of training, we must become familiar with the understanding that the music of the entire work is as purposeful as a melody in a phrase, striving for its reference sound. Awareness of this general purposefulness is facilitated by the identification of the "tops" in the work - its culminations. They allow you to combine, as it were, the music of large or smaller parts, as it were, gravitating towards them, various constructions of the performed composition. Sometimes these climaxes are hardly noticeable to the listener, but they should always be felt by the performer. In Sarabande, the dynamics can be determined precisely by the desire for the culmination of motives.

Simultaneous sounding of two voices it is better to hear when playing in an ensemble with teachers. Both voices should be connected when the student can freely play each voice separately: correct strokes, fingering, phrasing, necessary sonority. After the student has put the piece together with both hands, careful work on each voice should be repeated regularly.

The main task continues to be work on the extraction of a melodious sound and intonation expressiveness.

With the advent of the first skills of the ability to hear and perform several voices at the same time, we move on to an important stage in the study of polyphony - the study of light clavier works by I.S. Bach, which is an integral part of the work of a schoolboy - a pianist. Acquaintance begins with pieces from the collection "Notebook of Anna Magdalena Bach". The collection consists of pieces of different genres (minuets, polonaises, marches) and is oriented according to the degree of difficulty for grades 2-3. All pieces of the collection serve as the basis for the further development of polyphonic thinking and hearing. They help students develop a meaningful, expressive performance of strokes, achieving a contrasting characteristic of voices, achieving unity of form. A solid one is built on these plays. Consistent preparation for understanding Bach's melodies. Intonation, strokes. It is here that the ability to listen to polyphonic fabric is born. Therefore, all teachers should take this collection seriously.

What should a young teacher know?

1. To ask a play from the collection, the teacher must be sure that the student can do it, that he will understand its meaning.

2. Before giving the task to analyze the piece, it is necessary to check the fingering, strokes, arrange phrasing slurs.

3 Play the piece (more than once). To reveal its content, to determine the character, to direct the student's attention to the difference between the melodic lines in the part of the right and left hands, to find out what this difference is, how independent the voices are. Then explain the phrasing and articulation of each voice. After that, start parsing the text in class: the first half of the play with each hand separately.

In the next lesson, check the analysis of the first half of the play. Pay attention to the exact execution of strokes, the melodiousness of the sound, and most importantly, once again explains how the independence of voices manifests itself.

Do not rush to join two hands. Only after the student competently, freely plays each voice (correct strokes, fingering, necessary sonority) can be allowed to connect

No matter how well the student plays the piece, he must play each voice separately, each voice, otherwise the relief of the voices often disappears.

The study begins with light minuets.

Minuet G-dur No. 4 (beginning of 2nd grade), Minuet d-moll336 (2nd grade), Bagpipe D-dur No. 22 (2nd grade), Polonaise g-minor (2nd grade), Minuet g-minor (end of 2nd grade), Minuet G-dur No. 7 (3rd grade), Minuet c-moll (3rd grade), Minuet a-moll (No. 14 3rd grade), Polonaise g-moll (No. 19 3rd grade), March D-dur No. 16 (beginning of 3rd grade) , March G-dur No. 18 (Grade 3).

On these songs, the student gets acquainted with the simplest manifestations of polyphonic thinking. Learn to listen to the development of each voice and be aware of their interaction. Here the auditory base begins to form, hand coordination is improved.

It is not necessary to play only Bach. There are many beautiful plays by Handel, Mozart, Haydn. The study of polyphonically diverse works prepares the student for more complex pieces, primarily for “Little Preludes and Fugues” by I.S. Bach. However, the basis is the consistent preparation acquired on the pieces from the Notebook for Anna Magdalena Bach.

Conclusion

So, polyphonic hearing is a particularly complex, but unified ability aimed at a holistic perception of the specific properties of polyphonic music and polyphony, as a general and essential property of polyphony.

On the basis of polyphonic hearing, musical thinking is formed, without which polyphonic musical activity is impossible. Polyphonic thinking manifests itself in the ability to differentiate and holistically represent the simultaneous development of several melodic lines, musical themes, and more broadly, the parallel development of several melodic lines, the development of several texture layers with their polyrhythmic, polytimbre, etc. richness.

It is necessary to be creative in solving the problems of developing polyphonic hearing. An effective and efficient process of forming the skills of polyphony performance among students is possible under the condition of gradual and purposeful work.

Bibliography

Alekseev A. D. Methods of teaching to play the piano

Braudo I.A. On the study of Bach's clavier compositions at a music school. - M .: Classics - XXI, 2004. - 92s.

Kalantratova E.A. "The Beginning of Work on Polyphony".

Savshinsky S. Pianist and his work. – M.: Klassika-XXI, 2002. – 244 p.

Nosina V.B. Symbolism of music by J.S. Bach. - Tambov, 1993.

Music lessons with kids: Methodological guide for music school teachers. Rostov n/a: Phoenix, 2002.

Music Encyclopedia

Engels F. Dialectics of nature, M., 1948, p. 6

Polyphony. Toolkit. M. - 2007.