Work on works large shape occupies a special place in the musical and performing development of students in the piano department.

Compositions of large form are characterized by a greater variety of content, compared to other works, and a larger scale of development of musical material. In this regard, their execution requires the student to be able to mentally embrace significant constructions and, while maintaining the unity of the whole, to identify the characteristic features of individual images and themes. It also requires skills in switching from one artistic task to another, endurance, a large amount of memory and attention.

Thus, the purpose of this work will be to consider and study the problems of working on a large form in the junior classes of children's music schools.

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MUNICIPAL BUDGETARY EDUCATIONAL INSTITUTION FOR ADDITIONAL CHILDREN'S EDUCATION

CHILDREN'S MUSIC SCHOOL No. 4

TOGLIATTI CITY DISTRICT

WORKING ON LARGE FORM ARTWORKS

(primary classes of children's music school)

Scientific and methodological development

Developed by:

Goncharova Lyubov Petrovna,

piano teacher

Tolyatti, 2014

1. Introduction…………………….……………………………………………3

2. Main part. Work on large-scale works in primary classes of children's music schools………………………………………………………………….. 5

2.1.Some aspects about the problems of working on large-scale works…………………………………………………………………………………………………...5

2.2. Methods and techniques for working on large forms in the junior classes of children's music schools…………………………………………………………………………………………..13

2.3. Problems when working on a large form in the junior classes of children's music schools…………………………………………………………………………..17

3. Conclusion………………………………………………………………………………20

4. List of references……………………………………………………..21

1. Introduction

Music pedagogy is an art that requires from people who devote themselves to this profession enormous love and boundless interest in their work. The teacher must not only convey to the student the so-called “content” of the work, not only infect him poetically, but also give him an analysis of form, harmony, melody, polyphony. One of the main tasks of the teacher is to do as quickly and thoroughly as possible so as to be unnecessary to the student, that is, to instill in him that independence of thinking and methods of work, which is called maturity, after which mastery begins.

Work on large-form works occupies a special place in the musical and performing development of students in the piano department. The main place in the study of sonata form is given to working on sonata allegro by Haydn, Mozart, and Beethoven. The tasks facing the student when learning sonata allegro are aimed at studying the structure and dynamic development of the musical form. Very often, children, carried away by the performance of individual parts and themes, often lose the sense of form, which leads to the appearance of rhythmic instability, technical errors, excessive dynamics and agogics.

During the initial acquaintance with the sonata allegro, its three-part structure (exposition, development, reprise) is musically comprehended, the figurative characteristics of the parts (main, secondary, final), their contrast, unity and intensity of development in the figurative structure of the entire work are analyzed. This applies to the genre, intonation, rhythm, and mode of the entire texture of the work.

The sonata allegro is based on the principle of contrast. The student's attention must be directed to understanding the figurative contrast of large episodes of the work, and not small ones, which is the greatest difficulty in performance. The student's hearing should be directed to frequent changes of characters, which entails the choice of appropriate sound solutions. The phenomenon of figurative contrast manifests itself when comparing the main and secondary parts, but at the same time they represent musical unity due to the expressive means of music.

Thus, the goal This work will consider and study the problems of working on a large form in the junior classes of children's music schools.

Within the framework of the set goal of the work, it is necessary to solve the following tasks:‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬

1). Consider working on large-form works in the junior classes of children's music schools.

2). Study the methods and techniques of working on large forms in the junior classes of children's music schools.

3). Reveal the problems when working on a large form in the junior classes of children's music schools.

1. Work on large-scale works in junior classes of children's music schools

1. Some aspects about the problems of working on large-scale works.

The goal of teaching children at children's music schools is to prepare, for the most part, amateur musicians who have the skills of musical creativity, can independently disassemble and learn a piece of music of any genre, be fluent in an instrument, and choose any melody and accompaniment to it. Any student with even very average musical abilities can be taught to play music. All this requires high professionalism from the teacher, a creative approach to teaching the child and great love and respect for him. All knowledge should be presented, if possible, in the form of an interesting game. It is important that the child discovers for himself the beautiful language of music, even in a simple form. As soon as a child begins to get acquainted with the instrument, it is necessary to draw his auditory attention to the beauty and difference of sounds and harmonies, he must be taught to listen and hear the sounds combined in a melody. Hearing is simply hearing the surrounding sounds; listening means listening to the quality of sound, to the beauty of musical sound. Each sound must be performed as if it had its own value. It is very useful to direct the child’s attention to the sounds of nature that surround us, because all music originates from them.

Almost every teacher of special disciplines at children's music schools understands that it is a rare student who is able to disassemble a work on his own, without the help of a teacher. Moreover, without the active participation of the teacher, the process of analyzing the play sometimes stretches for weeks. Therefore, in class there is no time left for playing music and creativity. As a result, a graduate of an educational institution is often a child helpless in front of the musical text, who is unlikely to ever sit down at the instrument (largely because of the fear of musical notes). This is all the more unfortunate, since year after year the music literature market is replenished with original publications - popular classics, modern domestic and foreign hits.

In developments of sonata allegro, the development of the thematic material of the exposition occurs in various forms of its updating. Students' attention should be directed to what is developing and how and what is new in music. In some developments, the student may see similarities with the topics of the final or main party, and sometimes the development is based on new material, which leads to new mode-tonal and textural transformations.

The reprise part of the sonata allegro mainly reproduces the material of the exposition with the side and final parts being tonally changed. The presence of the main tonality in these parts reinforces the integrity of the form in the student’s auditory sense. But sometimes, while performing side parts of a reprise, the student comes into contact with new artistic tasks: changes in dynamics or the emergence of new dynamic contrasts in comparison with a similar episode in the exhibition.

In most sonata allegros, the codas are often absent, replaced by a small addition.

All the considered phenomena of contrast and unity of thematic material and their performance embodiment when learning the sonata form are inextricably linked with the student’s development of a sense of integrity, a through line in the interpretation of the work. The decisive factor here is the feeling of a rhythmically pulsating unit. In the sonata allegro of Viennese classics, the main pulsation is often heard at the very beginning of the work. One of the important aspects for achieving a holistic performance of a sonata allegro is the student’s internal adjustment to the tempo characteristic of a given work. Very often during a performance, an unstable sense of tempo disrupts the holistic performance of a sonata allegro. This especially often happens when there is a change in texture, rhythmic pattern or a sharp comparison of dynamics.

The study of the cantilena parts of sonatas and sonatinas, where an expressive melody is combined with a relatively simple harmonic background, is associated with the ability to lead a melodic line in a single movement in large constructions. Mastery of such a wide melodic breath allows the student to maintain an integral line of its intonation development during rhythmic stops or pauses, when dividing the melody into different strokes, or when splitting it into short motivic figures. However, the expressive performance of a melody cannot be considered in isolation from its textured surroundings.

When studying the final parts of a cyclic sonata form, techniques for working out sonata allegro are used. Most often, the last parts of sonatas of Viennese classics are written in the form of a rondo, where the main theme (refrain) alternates with episodes of a different nature. The theme of the rondos of the Viennese classics is predominantly of a lively song and dance nature. The different genre colors of the theme and episodes allow the student to directly perceive the form as a whole and individual elements.

Compositions of large form are characterized by a greater variety of content, compared to other works, and a larger scale of development of musical material. In this regard, their execution requires the student to be able to mentally embrace significant constructions and, while maintaining the unity of the whole, to identify the characteristic features of individual images and themes. It also requires skills in switching from one artistic task to another, endurance, a large amount of memory and attention.

Everyone who listens to or performs musical works knows that among them there are easier and more difficult ones to perceive and remember. Pieces are easier to perform and learn than pieces with titles: rondos, variations, sonatinas, sonatas.

The point here is that these works are larger in volume and they are constructed according to more complex laws of musical form. The composer, when creating a rondo, sonata, variations, always adheres to stricter rules of construction. It is difficult to imagine a piece of music that is not divided into parts. The simplest means of giving a stream of musical sounds a definite form is repetition. For example, when listening to a song, even without distinguishing the words, we clearly hear the boundaries between the verses precisely because the same melody is repeated in each verse. However, if the music endlessly repeats the same theme, then such a piece will quickly tire the listener. It is also very difficult to perceive music in which more and more new melodies appear without any system. Therefore, musical works usually alternate familiar musical thoughts with new ones. The construction of large-form musical works is based on this principle: rondos, sonatas, variations.

VARIATIONS.

Among the works of large form in the pedagogical repertoire, variation cycles occupy a prominent place. Their originality lies in the fact that they also contain the features of small-form plays. Therefore, the student, working on variations, acquires especially diverse performing skills. Like a miniature, each individual variation requires laconism of expression, the ability to say a lot in a little.

It has already been said that if music is repeated many times and does not change, then it is not very interesting to listen to. Therefore, modified or varied repetition is often used in a musical work. Variations are based on this principle.

The variation form was born in the 16th century. Variations originated from folk music. One can imagine how a folk musician played the melody of some song on a horn, pipe or violin, and each time the motive of this song was repeated, but sounded in a new way, enriched with new echoes and intonations: the rhythm, tempo, and individual turns of the melody changed. This is how variations on song and dance themes appeared.

The difficulty in working on variations lies in combining individual variations into a coherent whole. Integrity is achieved through thematic unity. In some works the melody of the theme varies, in others it remains unchanged, and only the harmony and texture change. Often both of these principles are combined in the same work. The student must know which of the two principles is the basis of the composition he is learning and be able to find the theme or its elements in each variation. This helps to consciously analyze the text and penetrate deeper into the content of the music. The caesuras between variations are also of great importance. Caesuras can separate variations or, conversely, combine them into a single whole. You can use a caesura to emphasize the significance of individual variations.

RONDO.

Now about the rondo. The word "rondo" is French. Translated into Russian it means circle, round dance. The name of this form comes from medieval France. There, round dance songs were called “rondas.” The song has a lead and a chorus. They were performed like this: the chorus was sung by one of the participants in the round dance, and the chorus was sung by everyone together. But unlike a simple song, the verses in these round dance songs were sung each time to a new tune, and the chorus remained unchanged. And the second difference from a simple song was that the rondo began not with a chorus, but with a chorus. So, the rondo form can be thought of as a song that begins with a chorus. This refrain (refrain) is repeated invariably, and the verses (episodes) have different melodic content. The chorus (refrain) will unite the rondo into a single whole.

SONATA AND SONATINE.

Work on the sonata, as one of the most important forms of musical literature, is of great importance for the development of the student. Sonatinas serve as a preparatory stage for sonatas.

The sonata is the most complex work in form. The sonata can be compared to a literary novel or story. Like a novel or story, the sonata is “populated” by various “heroes” - musical themes. These topics do not just follow one another, but interact, influence each other, and sometimes even come into conflict. The parts of the sonata written in the form of a sonata allegro are distinguished by the greatest tension and sharpness. The development of music in these parts can be compared to a theatrical performance. At the beginning, the composer introduces us to the main characters - the musical themes. For the most part, they are contrasting in character. This is the beginning of the drama (exposition). Then the action develops, intensifies, and reaches its peak. This is development, the most conflicting section. The characters' themes are shown from unexpected angles. They can be divided into short motifs, collide, intertwine, change, fight with one another. The conflict reaches its highest point in development. Such a conflict requires détente and reconciliation. Reprise brings them. This is the result of all actions. The themes that we encountered in the exposition are heard, but certain heroes emerged victorious in this struggle and acquired, perhaps, greater significance, therefore the reprise contains a repetition of the music of the exposition, but not verbatim, but modified. It is very important to establish new features in the sound of the main and secondary parts, decide which image has acquired greater significance, and analyze all the changes that have occurred in the reprise compared to the exposition. These changes primarily affect the area of ​​tonal relationships. If in an exposition the main and secondary parts are tonally opposed, that is, they sound in different keys, then in a reprise they usually sound in the same key (the main key of the work). The three main sections of a sonata allegro are often joined by a fourth and final section, the coda. It contains excerpts of the most important topics, and once again affirms the “winning” tonality. The most important two musical themes are the main part and the side part. Between the main and the secondary there is a connecting link, its meaning is to carry out the transition from the main to the secondary. The exhibition ends, as well as the reprise with the final game. From the very name of this party follows its affirmative and generalizing character. The connecting and final parts may have new themes of their own. But not infrequently they are based on the material of two most important themes - the main and secondary parties.

The classical sonata cycle developed in the second half of the 18th century. Sonatas have been and are being written by many composers, from Corelli (17th century) to the present day. Originating in the work of I.S. Bach and his sons, D. Scarlatti, the sonata form finally crystallized in the works of J. Haydn and W. Mozart. The sonata form found its highest expression in the works of Beethoven.

Of course, not all sonatinas and sonatas studied at Children's Music Schools correspond to the classical form of sonata allegro. They may not have sufficiently developed development. When performing sonatinas and sonatas, the main difficulty in embodying the sonata form appears: identifying contrasting images and, along with this, maintaining the unity of the whole.

When working on a large form in class, it is necessary to acquaint the student with the biography of the composer, with his work and his era. The boundaries of the main and secondary parties are determined, the connecting and final ones are found. Phrases, sentences, intonations, strokes, articulation, fingerings are analyzed - everything that will help determine the artistic and expressive meaning of the themes-images, as well as determine by what they are connected: their tonality, modulation and exception. During development, the musical material is analyzed, that is, it is determined which topics to take for development. This could be a main topic, a side topic, or a completely new topic; tones, deviations, modulations are determined. In the reprise, similarities and differences with the exposition are determined. The student is required to have a quick auditory response to the frequent changes in imaginative states that occur in music; instantaneous performance restructuring is especially important, as well as endurance, endurance, emotional elation and elation. When performing a sonata, it is important to achieve tempo unity. Without this, the work may fall apart into separate structures. It is necessary to feel the rhythmic pulse throughout the entire composition and to carefully observe pauses.

Many sonatas can be presented in orchestral performance. The student must have an idea of ​​the sound of a symphony orchestra and the timbres of various instruments. You should discuss with the student which instrument or group of instruments can be assigned to a given part, and in which place the sound of an entire orchestra is required.

The sonata provides enormous opportunities for the composer to reflect the depth of a person’s spiritual world, dramatic situations. The sonata is more capable than other forms of reflecting the dialectics of the real world.

Those who begin to study music have to deal not with sonatas, but with sonatinas. The word "Sonatina" means "small sonata". It is smaller in size than a real sonata, and, in addition, it is technically easier and simpler in content. Classical sonatinas introduce students to the peculiarities of the musical language of the period of classicism, develop a sense of classical form, and rhythmic stability of performance. The slightest inaccuracy in sound production, inattention to strokes, overexposure or underexposure of individual sounds become especially noticeable and irreconcilable in them. Therefore, classical sonatinas are very useful for developing such qualities as clarity and accuracy in fulfilling all the details of the text.

1. Methods and techniques for working on large forms in the junior classes of children's music schools

When working on large-scale works, the teacher and the student go through the same stages of work as when working on any other work: a brief musical theoretical analysis of the work, the stage of working on details (detailed study of the author’s text), the stage of designing the work, trial plays, musician’s classes without an instrument (work in the mind, in imagination), classes using the “conductor’s” method of work, the method of associations and, at the final stage, the method of performing the entire piece, which takes on the character of a stage performance. In accordance with these stages of work on a work, the creative process of a musical image consists of “four stages: synthetic coverage (at the familiarization stage), detailed analysis of the author’s text (at the stage of work on details), synthetic differentiated coverage (at the design stage) and higher-order synthesis (at the stage of preparation for stage implementation).” . “At the stage of familiarization with the work, the goal of pedagogical activity is to develop synthetic thinking among students-instrumentalists, to form an attitude towards creating an initial simultaneous image of the piece, which will require expanding the intellectual background of schoolchildren and enriching their musical baggage.” A brief musical theoretical analysis of the work will help quickly orient the student in working on the work. The stage of working on details involves a detailed study of the author’s text and will require active analytical activity of the student’s consciousness. Studying musical notation clarifies the processes of development of a work, clarifies the student’s internal auditory understanding of each facet of the image, teaches to understand and appreciate the role of individual means of musical expressiveness. A detailed analysis of the author's text involves the auditory and performing study of melody, rhythm, harmony, dynamics, timbre, texture, but not in isolation, but in close relationship with each other. At the stage of designing a work, the performer’s activities should be aimed at achieving the integrity of the performance. This depends on the ability to generalize musical material, to combine learned details into a whole organism. Here, trial playing of the entire work, classes in “performance”, conducting and attraction of associations associated with spatial arts are used. Test plays of the work in whole and in parts will allow the performer to correct the details of the composition, eliminate inaccuracies, and discover shortcomings in the game. Working in the “mind” leads to the activation of the musician’s imagination, helps to understand the emotional and dynamic weight of each fragment of the work. S.E. Feinberg encourages performers to constantly train their inner ear, thanks to which the form of the work acquires the necessary harmony and orderliness of all elements among themselves” (Feinberg S.E. “Pianism as an Art”). Conducting helps to embrace the entire work “in one circular movement, a continuous arc thread” (E. Koland), to convey the non-stop flow of the sound stream, and will contribute to the harmony of the form of the work. The association method was widely used in pedagogical practice by F. Busoni, G. G. Neuhaus and S.E. Feinberg. Comparing the exposition of the sonata allegro of the Viennese classics with the “facade of a building,” S. E. Feinberg formed in the minds of students the idea of ​​it as a “whole, indissoluble reality in space” that cannot be separated in time, relating individual themes to the present, past or future. Thus, at the stage of designing the work, the performer’s work should be aimed at achieving the monolithic performance of the composition. The goal of the final stage of work on a work is to achieve the level of “aesthetic completeness” (M.M. Bakhteev). A.P. Shchapov urged schoolchildren to give the performance of the work from beginning to end the character of a concert rehearsal, a real stage performance, and not just an audition, “with the full mobilization of mental strength and sensory responsibility,” as at a concert. Performing a piece in its entirety develops emotional endurance, strengthens auditory attention, concentration, motor freedom, and technical endurance. In addition to performing the entire piece, another method when working on a piece is to practice in performance. R. Schumann advised young performers to train their ability to freely imagine music mentally, without the help of an instrument, before performing on stage. “Only in this way will internal sources open, greater clarity and purity will appear,” he believed. N.K. Medtner recommended that performers alternate, during breaks between stage performances, practicing the instrument with mental testing of the learned pieces. He was convinced that internal auditory performance, or “meditation,” would help the musician clearly perceive the lines of the form of a composition, and control the forms as a whole with the ear. “A pianist can present a piece in a holistic, complete form... as if it had already been written or performed.”

Music is the art of auditory impressions. It is on the basis of auditory impressions that an idea of ​​various musical phenomena is created. Communication with music is always colored by a certain feeling, which leads not only to experiences, but also to comprehension of its content. “By listening, we not only feel or experience certain states, but also... make a selection, evaluate, and therefore think.” The creative appearance of a pianist depends on his horizons, on his stock of general and musical theoretical knowledge. “In the performing arts, creative imagination can be demonstrated by those who have greater musical experience, know more different types of music, and have learned a larger number of musical works.” “You need to know a lot and understand a lot not only in music, but also in the work you listen to, and even more so on which you work.”

Revealing the artistic image is the main and most important problem performing arts. The aesthetic interpretation of the performed work depends on the quality level of creative and professional capabilities. The process of cognition of an image is based on a deep study of the musical text of the work, form, musical language and style. Over time, the musical language evolves. Each era marks previously unnoticed features and intonations of the musical image. New means of expression are emerging that expand the worldview, enrich the auditory experience and thereby activate the productive activity of the performer’s auditory imagination. “A bright, authentic, convincing embodiment of a musical work in real sound and bringing it to the attention of listeners is the main goal of the pianist.”

When talking about the style of a work, you need to understand what is meant by this concept. “From a theoretical point of view, style is “the unity of systemically organized elements of musical language, conditioned by the unity of the system of musical thinking. (M. Mikhailov) For the performer and the listener, this is the semantic world created by the composer, the world of his feelings and ideas, which gave rise to its own special “plane of expression” (R. Barthes), that is, everything that distinguishes the music of one composer from the music of another.” The ability to identify this difference and reflect it in one’s performance is the main task of a performing musician. “Understanding the individual stylistic traits of the composer is what the performer needs first of all... He must understand that each stylistic formation has its own characteristics, certain forms and features inherent only to it, and it cannot be mixed with others arbitrarily at will... One thing is clear: to perform Bach it must be different from Mozart, and Mozart is different from Beethoven, Beethoven is different from Schumann or Chopin, etc. And this “otherwise” refers both to understanding the nature of the work being performed, and to understanding the style of a given composer, a given artistic direction, and sometimes even the style of an entire era."

1. Problems when working on large forms in elementary grades

The objectives of the integrity of the construction are set. The boundaries of the main and secondary parties, the boundaries of development, reprises. In the lower grades there are many variations, where there is a single through development (in contrast to the early sonatinas with a closed form) and the caesura is very important (D. Kabalevsky).

In sonata form there are various forms of development and reprise. It is important to look for and find proximity to orchestral colors in Mozart and Haydn.

If your hands get tired at the end of the game, you need to monitor the economical use of energy. Clamped, isolated fingers - lighten the weight of the hands, alternate tension with relaxation. Use exercises: “shaking the thermometer”, “swinging” (Schmidt-Shklovskaya, “On the development of pianistic skills”). By high school, the student should acquire more skill in pianistic movements. Variety of textures - variety of techniques. The problem of cantilena sound is very complex, especially in the works of I.S. Bach.

The student must master several types of legato and non legato, depending on the texture (nocturnes, where an extended sound is absolute legatissimo, transferring weight to the fingertips). Lighter legato is also performed with slightly elongated fingers, not sharpened, but very sensitive.

Non legato – good grip on the key. If the hand follows the fingers in the cantilena, there must be a hand spring non legato. The pedal technique on the cantilena must be special (usually connecting).

Staccato-martelato - an accurate blow to the middle of the key.

Staccato light - especially often used in the first movements classical sonatas, without unnecessary movements.

Staccato-piccicato - the melody retains the legato line, but at the same time the fingers move as if “under themselves”. Example – Bertini “Etude No. 7”.

Chord technique is important: the student must hear every sound of the chord.

Accompaniments that present some difficulty in performing:

1. Albertian basses. The difficulty lies in the first finger. Chord with the fifth or third fingers, the first finger lightly, without lifting the hand, there should be no muscle tension in the shoulder. In the future, the first finger is not needed, the fifth is with a good release to it, learn at a very slow pace.

2. Marquise-octave basses. the main role given to the fifth finger.

3. Drum bass – ostinato figure. The main thing is to listen to the evenness, to hear the melody and bass.

4. Accompaniment in a romantic presentation (nocturnes) - a small sway to the bass at a fast tempo. Listen to the last beat in the bar. Accurate selection of fingering is important.

5. Waltz accompaniment: chord - bass echo. Entrance from above to the bass, movement in an ellipse.

Often technical errors are rooted in rhythm, especially dotted lines. Purely motor sensations: a short note is easier than a long one, there is no special movement for it.

The longer the note, the later the pedal is taken. Exercises: connecting one sound with the third of a chord, with the fourth, with the fifth degree, etc. (pedal exercises by E. Gnesina, prelude by Tetzel). The connecting pedal is taken in the “Old French Song”, in the play “The Doll’s Disease” by P. I. Tchaikovsky. The straight pedal is used in dance music.

Principles of playing with a pedal:

1) one harmony - one pedal; binding - with detention (R. Schumann - “Romance”);

2) on a transparent texture - a transparent pedal in the classics, a pause requires pedalless play;

3) remove arms and legs together before a pause;

4) ends of phrases - without pedal.

Mozart emphasizes danceability and touch.

With Haydn, in addition to the stroke, the rhythm is emphasized; it is more defined; a pedal is required for the bass (especially the extreme parts of the cycle).

Beethoven's pedal is different - on an octave presentation, the pedal connects the melody, this is closer to the romantic principles of taking the pedal.

Bach has a pedal - only a bunch (Invention No. 7 is three-part).

The student should know that in classical sonatinas the pedal is used relatively little. It is necessary to draw the student's attention to the fact that the pedal should not be thick anywhere and darken the pattern of the melody or accompaniment.

Conclusion

In conclusion, I would like to say that working on large-scale works contributes to the development of the student’s musical thinking and the fullest disclosure of his creative potential. In this case, everything must be taken into account individual characteristics student, namely: talent, culture, taste, feeling and temperament, wealth of imagination and intelligence of each child. Mastering a large form requires the student to have the ability to think logically, the ability to analyze, knowledge of music theory, as well as good performance training. Success can only be achieved by continuously developing the student musically, intellectually, pianistically and artistically.

Bibliography

1. Asafiev, B.V. Selected articles about music education and training. [Text]/B.V. Asafiev. – M., 2011. – 152 p.
2. Barenboim, L.A. Music pedagogy and performance. [Text] / L.A. Barenboim. – L.: Music. Leningr. department, 2009. – 356 p.
3. Berkman, T.L. Methods of learning to play the piano. [Text] / T.L. Berkman. – M.: Education, 1977. – 104 p.
4. Kauzova, A. G. Theory and methods of teaching piano. [Text] / A.G. Kauzova, A.I. Nikolaeva. – M., 2001. – 273 p.
5. Medtner, N.K. Everyday work of a pianist and composer. Textbook [Text]./N.K.Medtner. – M., 1963. – 157 p.
6. Milic, B. Education of a student pianist. Toolkit. [Text]/B. Milich. – M., 2012. – 183 p.
7. Milshtein, Ya. I. Questions of the theory of performance history. [Text] / Ya.I.Milshtein. – M.: Soviet Composer, 1983. – 266 p.
8. Prokhorova, I. Musical literature of foreign countries./I. Prokhorova. – M., 2003. – 112 p., ill.
9. Savshinsky, S.I. A pianist’s work on a piece of music. [Text] / S.I. Savshinsky. - L., 1964. – 184 p.
10. Shmidt-Shklovskaya, A. On the development of pianistic skills. Toolkit. [Text] / A. Schmidt-Shklovskaya. – M.: Classics-XXI, 2009. – 36 p.
11. Shchapov, A.P. Piano pedagogy. [Text] / A.P. Shchapov. – M.: Soviet Russia, 1960. – 172 p.
12. Shchapov, A.P. Piano lesson at a music school and college. Toolkit. [Text] / A.P. Shchapov. – M.: Classics-XXI, 2009.–176 p.

DISTRICT MUNICIPAL BUDGETARY INSTITUTION OF ADDITIONAL EDUCATION

Znamenskaya CHILDREN'S SCHOOL OF ARTS

TAMBOV REGION

Essay

Work on various works in the general piano class

Completed:

piano teacher

Kovalenko B.P.

Znamenka

TABLE OF CONTENTS:

INTRODUCTION……………………………………………………………………………….3

From the history of the discipline “general piano”…………………………..5

General principles of working on a piece of music…………...7

Work on the cantilena…………………………………………………...10

Plays of a moving nature………………………………………………………16

CONCLUSION…………………………………………………………….20

LITERATURE………………………………………………………………………………...21

INTRODUCTION

Playing the piano as an instrumentgiving a complete picture of the musicaltextures, cannot help but captivate the realmusical talent.

N. A. R i m s k i y-K o r s a k o v

Mass musical upbringing and education in Russia is mainlycarried out through educational work in the systemchildren's art schools (DSHI) and children's music schools (CMS).A retrospective look at the history of formation and principlesfunctioning of the children's school system allows us to trace the trendgradual abandonment of the general professionalization of musictraining.

Today, in the context of the idea of ​​humanization of education, it is particularly relevantacquires the problem of student development through music as a formart. This thesis acquires fundamental importance inin relation to the prevailing group of students at a children's music school,not oriented towards further professional education.Awareness of the priority of the tasks of the general musical development of studentsinevitably entails adjustments in the structure and forms of workteachers, in particular, rethinking the role and place of the subject in generalpianoVpreparationstudentsDMSh.

The subject of general piano is an important component of music education in a children's music school. General piano departments or classes in children's music schools and art schools bring together students who practice various musical instruments. A musician of any specialty must be sufficiently proficient in playing the piano: it can play works of any form and genre, music written for any

performing staff. That's why in children's music schools and children's art schools in the second yeartraining of young musicians, in addition to the selected instrument, a generalpiano course.

Rich dynamic and expressive means, the abilityplay polyphonic music advanced piano asthe most important musical instrument for solo performance and accompanimentand all kinds of transcriptions of symphonic and other music. Pianois a basic tool for studying theoretical disciplines (solfeggio, musical literacy), therefore, for successful training inmusic school for students studying wind, strings, choral andNational departments require a course of familiarization with the instrument.

Not all instruments have such a wide range aspiano. A more in-depth acquaintance with it gives a broader idea of ​​the musical palette as a whole. Classes in a general piano class contribute to the diversified development of a musician - hereskills of accompaniment, sight reading, and selection by ear are acquired;Mastering the piano gives you the opportunity to freelyacquaintance with world musical literature. Introduction to thisThe instrument allows you to acquire the necessary artistic outlook and genuine erudition.

In our work we will touch upon the history of the development of the discipline of general piano, its main tasks in modern stage teaching children in children's music schools and children's art schools, and we will also dwell in more detail on the work on various works in the general piano class.

FROM THE HISTORY OF THE DISCIPLINE “GENERAL PIANO”

Learning to play the piano has long been part of the educational curriculum.training of professional musicians of various specialties.Commonly called these daysshared piano, this discipline inin former times it had different names - piano“obligatory”, “auxiliary”, “piano for everyone”, etc. Having become a kind of offshoot from the once unified and integral keyboardpiano pedagogy, she acquires citizenship rights ineducational life from about the second halfXVIIIcenturies, that is, fromthe time when the process intensified in European artdifferentiation of individual musical specialties,delimiting them into a number of independent, to a certain extent localindustries.

The figure of the universal musician, impressive with his creative versatility, who, in accordance with the views of the era, is obliged, in accordance with the views of the era, to know and be able to know and be able, if not everything, then almost everything in the art of music, is gradually receding into the past. The old masters are being replaced by specialists of a narrower profile, who devote themselves entirely to any one type of musical activity, paying attention to achieving the greatest possible results in line with one single profession. It is noteworthy, however, the following: both the living teaching practice of the new era, and the many years of rich educational and pedagogical experience accumulated by the art of music - all this irrefutably testified that truly qualified training of a professional musician of any specialty (be it a composer or a music theorist, singer or orchestral musician) becomes unrealistic if piano training in one form or another is ignored. Thus, this training completely and completely retains the positions it gained back in the era of ancient keyboard and string instruments, with the only difference that in new historical conditions it seems to stand out from the previous structurally undifferentiated complex of musical pedagogy, organizationally taking shape in a special academic discipline(its various names for piano “general”, “obligatory”, “auxiliary”, etc. were discussed above). As such, teaching piano “for everyone” is included in the curricula and programs of any reputable music educational institution (public and private) both in Russia and in Western European countries.

As for Russian musical reality specifically, cardinal reforms were introduced into musical upbringing and education by the time that followed the establishmentSoviet power. The result of these reforms was the creation of a broad, truly democratic system of music education, at various stages and levels of which qualified training of both music lovers (studios, courses, clubs, children's music schools, high school music schools, etc.) and future professional musicians is now carried out ( special educational institutions). Musical education andeducation in RussiaToday it is widespread and accessible to every member of society. One of the prominent places in the existing system of mass musical education and training belongs to learning to play the piano, which now performs functions that are even more diverse and responsible than before.

Piano teaching today has come a long way since the old school days. Numerous, well-trained teachers have grown up; the method of teaching to play the instrument has changed; A number of valuable works and manuals have been written to help pianist teachers. In short, the quality level of mass musical and instrumental teaching has increased significantly.

One of the tasks of children's music schools and art schools at the present stage is the development of a harmonious, creative, comprehensively developed personality, a bright individuality. The general piano course, as one of the components of a complex of musical classes, contributes to the expansion of musical horizons, musical impressions, repertoire, greater realization of creative abilities and the possibility of self-expression, and therefore contributes to the general musical development of students and the child’s personality as a whole.

Little musicians of various specialties: violinists and cellists, harpists and flutists, clarinetists and oboists, trumpeters and saxophonists, as well as domristas, balalaika players, accordion players, percussionists, and subsequently choreographers discovered the magical world of the king of instruments - the piano. The opportunity to learn how to perform musical works on it is fraught with many artistic discoveries. A rich palette of repertoire from different eras, different styles and genres, the colors of musical images and their interpretation develop the child’s musical soul and broaden his horizons. For many children, this instrument helps to develop polyphonic and harmonic thinking. Classes in the general piano class help in the education of those students who later enter music colleges, and benefits to help pianist teachers. In short, the quality level of mass musical and instrumental teaching has increased significantly for those who, after graduating from school, enjoy playing music with their friends.

The main tasks in the learning process in a general piano classin children's music schools are:

Learn to play the piano.

To instill in students a set of important practical skills in playinghearing, sight reading, playing in an ensemble, accompanying skills.

Introduce both classical and popular piano repertoire.

Before moving on to considering the methods and methods of working on works of a cantilena and moving nature in the general piano class, let us dwell on the general principles of working on a piece of music.

GENERAL PRINCIPLES OF WORKING ON A MUSICAL WORK

Working with students on pieces of music is extremelydiverse. Its content is determined not only by what is being studiedthe work, but also the age, abilities and development of the student.Much also depends on the creative views and personal qualities of the teacher.However, differences in the course of work, albeit very significant in their deeds,Talakh, still make it possible to identify provisions of a general order in it,characteristic of Russian piano pedagogy.

In practice, when teaching certain students, thesesummarized, as if typical moments of work in each caseacquire their personality traits and features.

Exceptional richness and variety of piano literatureopens up wide opportunities for pianist teachers tofull training and education of the student. Skillfully selecting the repertoire,The teacher guides the student’s development and achieves the required results.work. But it would be wrong to see only one’s own in the works being studied.kind of “means” that help to achieve a certain level of musicalpreparation. The work on each piece must be considered andas one of the immediate tasks in the entire learning process. The more significanta work in its artistic value, the more complex it is forstudent (with mandatory compliance with his capabilities), the greaterThis task also acquires significance for him.

Students must understand the works they are studying, perceive, feel their expressiveness and beauty. This is one of the most significant tasks of the teacher, without which meaningful performance cannot be achieved. INappropriate formsWork in this direction is always organically included in the learning process.

Finally, one more requirement for teachers should be emphasized—the accessibility of the work being learned to the student. It should not exceed the student’s capabilities in relation to the actual pianistic difficulties, scale, etc. But it is no less important that the work, in its content and range of images, be feasible forstudent understanding. After all, sometimes a student is assigned to work ona work so profound in concept that it can be accessibleonly for adults. Such work never brings benefit to the student, and oftenturns out to be harmful.

Only with proper selection of works and systematic caretheir understanding and active perception by students can be achievedtrue meaningfulness of performance. And without this, the student’s work on any work loses all meaning.

Work on a work represents a single holisticprocess, but in it it is possible to single out a series of steps, to outline certaincertain “milestones” that students must meet.The generally accepted division of this work into three stages is quite acceptable, althoughIt should be taken into account that this division is still very conditional. When studyingworks, certain sections of work are not only inextricably linkedeach other, but often coincide to a significant extent or, in any case,case, partially interpenetrate.

The initial stage of working on a piece of music. Work withstudents should begin by learning the registers of the instrument,hand positioning, familiarization with the fingering system, elementarysound production techniques.

At the first stage, the main task is to create a general ideaabout the work, identifying the main difficulties and emotionalperception of it as a whole. Contents of the work - acquaintance with materials aboutthe work and with the work itself.

First of all, you should tell the student about the creator of the work(be it a composer or a people); about the era in which it arose; about himcontent, character, plot; basic rates; about form, structure,compositions. This conversation needs to be built lively, interestingly, bringingfor illustration, the work as a whole and its fragments, preferably inthe teacher's own performance.

When starting to learn a piece, the student usually plays it,gets acquainted with it as a whole, and this is the first acquaintance with the new compositionvery important, since the student here gets an idea of ​​music,which sometimes he doesn’t know at all. He grabs in general outline the content of the work, its mood, the most characteristicfeatures, its shape. Introduction forms should be sufficientflexible, related to the student’s level of musical sensitivity and characterrum of the music being studied. Starting from non-independent familiarization (infirst months of classes), going through the stage of gradual inclusion in this process, the student by the end of the second grade can almost independentlymaster a new work.

In the lower grades of school, while the student is struggling with sight readingIn general, he still has insufficient training, as a teacher for the most partit is advisable to play this piece yourself and stop paying attentionstudent on the main expressive points. More advanced students usually cope with this task themselves.

Having become familiar with the work, the student begins to carefully read the text and analyze it. Competent, musically intelligentanalysis creates the basis for correct further work, so the valueit is difficult to overestimate it. The time taken for analysis, its musical and artistic level will be very different for students of differentthe degree of musical development and talent, but in all cases at this initial stage of work there should be no sloppiness or negligence.

As the repertoire becomes more complex, it becomes necessary to includeparsing process special work student overcomingartistic, sound and technical difficulties. At the same time, greatAttention should be paid to issues of fingering. NeatThe student’s performance of the fingering indicated in the text cansatisfy only in the first stages of training. Gradually he mustlearn to freely navigate the fingering, recognizing its role inrevealing the expressiveness of the work.

Second stage of work includes the formation of a clearerideas about the design, listening to the fabric, differentiation of lines,analysis and synthesis, return to past stages, playback in slow motionpace, work and sketch execution, search for personal meaning.Work on sound should be closely linked with the development of auditorystudent's abilities. His performing intentions must be subordinated to his auditory ideas, auditory attention must be extremelyactive, auditory control is extremely strict, and general attentionorganized.

A special place in working on an essay should be given to strokes. They must fulfill both artistic and technical essence, where the firstoccupies the main importance.

At the third stage, everything that was done earlier is synthesized: it is establishedthe semantic relationship of the phrases, the main culmination is revealed. Studentmust not only represent the performance plan of the work as a whole,his line of development, but also to know what expressive details in this or thatsection are the main ones on which attention should be focused. In thatperiod, all preliminary work must be formalized as completedwhole.At the same stage, preparation for the performance takes place: organization of the form as a whole, the atmosphere of public speaking, rehearsals.

All the musician’s work on the piece is aimed at ensuring that itsounded in concert performance. Successful, bright, emotionalfull and at the same time deeply thought out performance,completing work on a work will always have an importantmeaning for the student, and sometimes it can turn out to be a major achievement, a kind of creative milestone at a certain stage of his education.

WORK ON THE CANTILENA

Cantilena (lat.cantilena- chanting) - wide melodiousmelody.

During the performance of cantilena music of various genres and styles,students' melodic hearing improves noticeably; work onlyrical miniatures have a beneficial effect on the developmentmusicality, artistic and performing initiative of the student.

Most often, for each of the pieces of a cantilena character, it is typicalunity of musical means throughout the entire work orlarge parts of it. Such stability of the emotional structure is usuallycombined with the corresponding uniformity of pianistic texture. The organic relationship between artistic and technical means is intenseinfluences the mastery of diverse sound colors and the developmentskills of cantilena playing in general.

The pianist teacher has a number of practical techniques at his disposal.and methods to help strengthen students’ melodic ear:

1. Playing the melodic pattern of the piece on the instrumentseparately from the accompanying party. On the one hand, this iseffective method of pianistic work, on the other hand - excellentmethod of developing melodic ear

2. Playing a melody against the accompaniment (moresimple or for the teacher to play this accompaniment, and the studentplayed a melody). The child immediately imagines how it should soundmelody.

3. Playing a separate accompaniment part on the piano(background sound) with simultaneous singing of the melody by voiceout loud, then the same thing, but with singing the melody “to oneself” - an active internal auditory experience - comprehending it.

4. Maximum detailed work on phrasinga piece of music, careful sound honing of a melodic phrase. This strengthens the melodic ear, hasassistance in the education of the student.

The main task of working with a student at the initial stage of training isintroducing the student into the world of melodic images, developing hiselementary skills of expressive performance of the lightestsingle-voice melodies, mastery of the simplest playing techniquesalternating hands in monophonic positional presentation. First lessons onwhich begins communication with the piano, introduces the child into the worldmelodic images. The performance of only single-voice melodies over the course of two to three months of training can be explained not so muchthe technical accessibility of the gameplay, as well as the need for the student’s auditory perception of the expressive essence of the melody.

The considered features of cantilena works in terms of their performance assimilation can be traced to specific examples. A number of the first songs - “Cornflower”, “Don’t Fly Nightingale”, “A Bunny Walks in the Garden”, etc. - are performed in a narrow range (do-fa) of the first octave using a non-legato technique using only the third fingers of the right and left hands. At the same time, they are a useful initial exercise for developing independent free movements of each hand in its own part and plastic rhythmic movements when transferring the melody to the other hand.

When playing a melody on the piano, it is important to internally hear its expressive features and select the corresponding tactilethe feeling of touching the keyboard. The student listens attentively to differentthe nature of second and third intonations, greater fullness of the sounds of half notes, shading them, especially at the beginning of phrases and on strong beats,deeply immersing your finger into the keyboard.

When studying the first plays of a homophono-harmonic nature, according toopinion of B.E. Milicha, the main focus should be onexpressive intonation of melodies. An example of a piece that usuallybegin to study the two-plane texture, is“Lullaby” I. Philippa.

In working on this piece, the student must reveal the nature of the melody and the structure of the phrases of this work. The execution of each two-stroke orthe four-beat phrase is preceded by deep “vocal” breathing and“breathing spring-like “immersion of the hand into the keyboard at the beginning of a phrase, turning into a seamless smooth movement until its end” 15, p. 71 .

If the student does not intonate the melody expressively enough“Lullaby”, you can turn to the technique of verbal subtext. Wordsyou can come up with together with the student. For example, it could be like thiswords: “Bai, bai, I rock the doll. Bye, bye, close your eyes, etc.”

IN
in order to activate the student’s auditory perception of harmony in“Lullaby” (and in pieces of similar texture) is useful to enliven the sound“empty” fifths in the background with the characteristic genre rhythm of “swinging”. In this case, the teacher can play the following background option:

In the play“Winter” by M. Krutitsky specific and accessible for childrenauditory perception is the connection between melody and harmony. In the partyof the right hand, calm tonic sounds alternate evenly over two-beats with sharper sounds of seconds resolving into tertstonic triad.

Nearly constant one-quarter lagmelodies relative to the sounding background makes it easier for them to be played simultaneouslylistening at the end of phrases.

Various techniques and methods of sound production play an important role in solving sound problems. Thus, one of the conditions for achieving the cantilena is the coordinated work of the “expressive” fingers, which, “while playing the melody, seem to step over, gently plunging “to the bottom” of the key (as if into a deep soft carpet)” 3. The finger that was played should also be lifted gently, slowly, and not before the next one is completely immersed in the next key (this achieves the “infusion” of one sound into another - legato). The stepping fingers lead the hand, which, by moving the support, reinforces each of them and at the same time maintains a smooth movement, as if outlining the contours of the melody. The interaction of the fingers and hand gives depth to sounds and coherence to melody.

Reflecting on the general attitudes and habits necessary for students’ independent work, A.P. Shchapov writes: “The student must be accustomed to the fact that he must always play with a “beautiful sound.” The desire to play with a beautiful sound includes precise planning of gradations of sound strength, “listening” to sounds, coordination of playing movements, and a certain elation of emotional tuning. Added to this is the requirement to always play “meaningfully” - so that the sounds always express something, and do not just follow one another. Both of these skills are cultivated by the fact that the teacher generally does not allow rude or pale sounds in his presence, and also does not allow senseless, sluggish crawling from sound to sound, or senseless, rude beating.” 4 .

Work on sound production techniques, to one degree or another, shouldcarried out from the very beginning of training. Tasks of interaction between fingers andhands should be placed to achieve depth of sound and coherence of the melodywhen passing through such pieces as, for example, Adagio by D. Steibelt.“Adagio” by D. Steibelt is a bright, melodious play accessible to children. Twothe first push-pull phrases are permeated with intonations of sadness.

Should be paidthe child’s attention to the fact that measures 5-8, despite the articulatory division, are a summative, more voluminous construction, inin which new shades of mood are heard.

Middle major episodeintroduces the child into a world of peace, affection, and confidence. Returns in repriseemotional state of the first part.

Particular attention should be paid to the harmonies in the left hand part. The upper sounds of intervals (mi - in the 1st and 3rd measures; A - in the 5th measure) should be clearly heard by the student before the end of their sound.

At the next stages of learning to play the piano, there is a gradual complication of performing means as the student’s repertoire expands, studying works that are deeper in content and more complex in form and texture.

In plays of a cantilena nature, musical means become much more voluminous in melodic-intonation, harmonic and polyphonic terms. This determines the specificity of their creativeauditory perception and assimilation. In the melody of these worksa greater variety of genre shades is revealed, richerintonation-shaped sphere, brighter expressiveness of culminating“nodes”, a more voluminous line of melodic development. When playing melodiestheir rhythmic flexibility, softness, and lyricism should be more fully revealed.Their interpretation requires a feeling of wide breathing, incorporating the lines of small formations.

Harmonic “surroundings”, shading the intonation prominencemelodies, in itself has a variety of expressive functions,often being one of the main means of revealing a musical image. Polyphonic elements are often woven into cantilena fabric in the formimitations, or in a contrasting combination of bass and melodic voices,sometimes in the form of hidden voice leading within harmonic complexes. In the works studied at this stage (grades 5-7), more developed lines of melodic movement correspond to a significantthe expansion of its register frames, as, for example, in “The Fairy Tale” by S.Prokofiev, “In the Fields” by R. Gliere, “War Dance” by D. Kabalevsky, etc.

The student faces very special tasks when studying“Fairy Tales” by S. Prokofiev. Unlike cantilena workshomophonic warehouse, where the harmonic background determinesapplication of elementary pedaling techniques when performingthis play should be based almost entirely on the texture we weaveexisting melodic lines.

Essentially, we have before us a polyphonic fabric in which thetwo contrasting melodic images. Brightly intoned lyricepic melody of the upper voice from the very first sound taken at“inhale” on the pauses preceding it, is performed in a singlecontinuous four-stroke movement. She is accompanied by an ostinato backgroundshort “plaintive” rhythmic intonations of the lower voice. Attransferring the melody to the lower voice, it is shaded even moreprominent soundinglegato.

In the middle part, a smooth narrative three-part system is replacedcomes a more discreet two-quarter size (sostenuto). The alternation of rises and falls of movement by chord links is associated with the image of chime. Compared to episodicpedaling in two-voice presentation, used only for brightintonated sounds of the melody, the middle of the piece is characterized by a fuller pedal, combining the overlying sounds on a common bass.

New and more complex artistic and sound tasks are facingstudent while working on “Romance” by D. Shostakovich.

The structure of the play is extremely simple. Stable fasteningmelodies behind the right hand part, the predominant two-tones of the harmonicaccompaniment - behind the left part allow the student to quickly read the text, focusing emotional and auditory perception on the fret lineharmonic development of musical thought. The right hand should leadits melodic line with bright sound expressiveness. Executethis task will be helped by a sense of the horizontal development of music, as well asskills of large, unifying hand movements. Accompaniment followsplay quietly and easily, stringing basses and chords onto a common core of smooth, continuous movement.

When working on the sonority ratio, it can be useful to divide the partsright and left hands between student and teacher 13  . This will help the studenthear the proper sound level, so that you can then achieve it by playing twohands together.

More complex sound tasks are found in multifaceted music, which represents a homophonic-polyphonic structure, in whichthe constituent elements (voices) play sufficiently independentrole. In such works, as a rule, there are two elements of textureperformed with one hand. For example, in the play“The Organ Grinder Sings” P. Tchaikovsky. The solution to sound problems in this kind of plays depends onlevel of musical development, attention switching skills andcoordination, as well as the sense of horizontal directionconstituent voices. At the same time, according to E.M. Timakina, "big"the harmonious coherence of all links will also be importantpianistic apparatus, which will practically help to implementmovement, sound level and corresponding expressivenesseach voice, simultaneously uniting them under the “common roof” of the leading line" 13, p.65  .

We examined the work on pieces of a cantilena character, as inin general and in specific examples. Already this small analysiscantilena works testifies to their activeinfluence on the development of different aspects of musical thinkingchild, expressive singing skills.

However, it is certain thatwork on sound and musical phrasing should not be limited toonly slow cantilena pieces.

PLAYS OF A MOVEABLE CHARACTER

The world of images of software miniatures of a movable natureclose to nature artistic perception younger schoolchildren.Children’s reaction to the rhythm-motor sphere is especially pronounced.this music. Unlike cantilena pieces, characterized bysmoothness, plasticity, clear syntacticdismemberment of presentation, acute rhythmic pulsation, frequentchanges in articulatory strokes, vivid dynamic comparisons.Particularly noteworthy is the artistic and pedagogical significancesuch motor plays; like dancing, marching, toccata and soundco-figurative miniatures.

As you know, children's plays, especially moving ones, have their ownspecific patterns of texture. Most often, each elementthe fabric or part of an individual hand corresponds to its own playing technique.The main task when performing both parts is to coordinate motor-sound techniques with rhythm and syntactic division,promoting rapid automation of gaming skills. So, for example, insong"Oh, breaking the hoop" rhythmic and articulatory clarityperformance of the melody is achieved thanks to the “conductor’s” precisecontrolling the rhythm of the movement of the left hand - its fall in the first quarters and removal simultaneously with a pause in the second quarters of the measures:

I. Berkovt. "Oh, breaking the hoop"

When working on works of a moving nature together withdevelopment of the auditory and rhythmic spheres begin to formnecessary technical skills, timely mastery of whichNecessarily. This is facilitated by the very texture of the works, inwhich is dominated by positionality, long-term use of onemotor technique, uniform alternation of moving andcool game.

The very concept of “pianist technique” is now interpreted verywidely, including not only motor qualities, but also the abilityplay the instrument freely and naturally. From the very first stepsthe student must realize the dependence of movement on charactersound. In music, any combination of sounds is united by meaningline; and even with a continuous sequence of soundsthe musical fabric is easily divided into individual motives and melodies.The success of technical work at an early stage is mainlydepends on mastering these simple elements of musical speech

When studying plays of a moving nature, considerable attentionalso pays attention to tempo stability, rhythmic and dynamicclarity and evenness, articulatory clarity of execution. One ofimportant conditions for overcoming technical difficulties, especially inthe texture of the moving figures with sixteenth notes is the coordination of pianistic techniques with the pulsation of the rhythm,melodic breathing, articulatory strokes. It's possibletraced on such plays as “Humoresque” by L. Mozart, “Latvianfolk dance" arranged by A. Zhilinsky, "Rain" by I.Korenevskaya, A. Gedike “dance”, etc. For example, “March” by R.Schumann should be played rhythmically clearly, accurately maintainingduration of eighth notes and rests. Schumann’s accents at the beginning of each phrase are of great importance for phrasing.

Great artistic and pianistic interestrepresent plays of an onomatopoeic, sound-depicting nature. Children's auditory perception is accessible to rhythmic andline coloring of these fun and entertaining pieces.A light staccato game depicting a fluttering sparrow,prickly hedgehog, raindrops, quickly absorbed by children thanks tomerging of the same type of rhythmic pattern with an equally similarpianistic movement. Reception of alternating moving staccatoplaying eighth notes with the hand “resting” on quarter notes orpauses prevents the appearance of muscle tension: A. Rubakh“Sparrow”, “Toy-Parsley”; D. Kabalevsky “Hedgehog”, A.Alexandrov “Rain is dripping” and others.

Captivates the imagination with its brightness, colorfulness, and humor.children“Hurdy Organ” by D. Shostakovich. The whole piece (after push-pullintroduction to the conclusion) consists of four largeeight-stroke formations. Each of them has its own rhythmic,intonation, register, articulation figurative and genre features.Already the first touch of the organ-organ accompaniment evokespleasure. Continuous pulsation of eighth note rhythmsaccompaniment has a beneficial effect on the development of rhythmic,dynamic and articulatory evenness and sound accuracy inmoving figures with sixteenth and eighth notes in the melody. The author's dynamics clearly reflect the change in ongoing "events", especially whentransition from the third to the fourth formation. Dreamy rhythmsintonations in a high register abruptly move to the rapid end of the dance. And suddenly...Meno mosso : through the minor subdominant everything goes tosoftbefore major with a suddenly appearing tonic on the fortethe final chord.

“My Horse” by A. Grechaninov - a bright, imaginative play isAt the same time, it is an excellent exercise for developing chord technique.

You should pay close attention to the nature of sound extraction: partperformed with the right handportamento , in the left hand there are unequal strokes - shortstaccato, legatoAndnonlegato.

In the process of learning to play the piano, students are faced with increasingly complex musical and technical challenges.tasks; works of various genres, styles andcharacter, requiring clear rhythm, ease and grace in the game,tempo stability, articulatory clarity: D. Kabalevsky“War Dance”, S. Prokofiev “Walk”, F. Schubert. "Threeecoseza”, etc.

From the three "ballroom" dances of the "Children's Album"P. I. Tchaikovsky "Polka", perhaps the most “childish”. In this play the feeling is especially vividthere is an atmosphere of noisy children's fun, a festive “ball forlittle ones." Polka is a couples dance, couples move in a circle. BeforePairs of girls and boys pass by as spectators, dancing gracefully andgracefully, then (in the middle section of the play, dewpiu forte) - a little awkward, comically awkward. Polka is a dance with small jumps and stomps. This can be heard in the perky grace notes that accentuate the secondbeat share. In the climax section the jumps seem to become allhigher, more and more fun 1, p.59 .

There are frequent dynamic “forks” in the play. Should not be smootheddynamic rise and fall: a polka should sound lively and cheerful. Howand in all dance pieces, the correct sense of metrical beats is important. The first beat should be clearly felt as a supporting beat.

When working with a student on the repertoire, the teacher should introduceit with foreign musical terms found inworks, demand a thoughtful attitude to all textualnotations, precise fingering, dynamicshades, strokes and other indications. Great attention should be paidfocus on developing sight reading skills. Material for thissome ensemble pieces can serve, as well as the leastdifficult repertoire works.

CONCLUSION

Itemgeneral piano is an important componentmusic education at a children's music school. Branches orgeneral piano classes at children's music schools and children's art schools unite students whopractice various musical instruments. It's obvious thatThe position of students in the piano and non-piano departments of a children's music school is fundamentally different: having a rich palettesound expressive possibilities, wind or string instrumentslimited in the reproduction of polyphony. In this sense, the developmental possibilities of piano performance are undeniable.

Community piano lessons help other studentsspecialties to significantly expand your musical horizons, developmusic playing skills. In relation to the subject, general piano ismeans, first of all, an opportunity for the student personally, inown performing practice to get acquainted with the enormoustextured capabilities of the piano. It is also impossible not to admitthe exceptional role of the piano in the development of harmonic andpolyphonic hearing from the first steps of learning. Introduction to the widerange of musical works of domestic and foreigncomposers helps to broaden the horizons of students and allows them to significantly deepen the general theoretical and cultural aspectseducation.

LITERATURE:

Aizenstadt S.A. “Children's Album” by P.I. Tchaikovsky. M.: 2006.

Questions of piano performance. Comp. and ed. M. Sokolov.

Ginzburg L. “On working on a piece of music.” - M., 1968.

Hoffman I. Piano playing. M.: 1998.

Kogan G. The work of a pianist. M.: 1979.

Lyubomudrova N. Methods of teaching piano. - M., 1982.

Milich B.E. Education of a pianist student in grades 1-2 of a music school. Kyiv:
1977.

Milich B.E. Education of a pianist student in grades 3-4 at children's music schools. Kyiv:
1977.

10.Milich B.E. Education of a pianist student in grades 5-7 at children's music schools. Kyiv: 1977.

11.Essays on methods of teaching piano. Ed. Nikolaeva A.A. M.: 1965.

12.Savshinsky SI. Working on a piece of music. L.: 1961.

13. Timakin E.M. Education of a pianist. M.: 1989.

14. Feigin M. Individuality of the student and the art of the teacher. M., 1968.

15. Shchapov. A.P. Piano lesson at a music school and college. M.:2001

Introduction

The work of a teacher in a music school is very difficult: he deals with students of the most varying degrees of talent, he has to develop complex performing skills, keeping within a strict standard of class time. He must have not only deep knowledge, but also a very high technique of pedagogical work: be able to correctly approach each student, taking into account his individual abilities, find the correct solution to a particular issue in a wide variety of situations, be able to make the most expedient use of the limited lesson time, so, in order to have time to check the results of the student’s homework, and give him clear, memorable instructions, and have time to provide the necessary assistance in working on a piece of music.

The teacher-musician is required to be constantly responsive to the artistic content of the musical works on which the student is working, a creative approach to their interpretation and ways of mastering their specific difficulties.

The teacher must be able to look with fresh eyes every time at the artistic musical work completed by the student. Even in cases where it is difficult to find a new detail of interpretation in a long-familiar work, it is almost always possible, based on previous experience, to make certain improvements in the process of mastering this work by the student, to speed up the mastery of its difficulties, and thereby get the job done interesting both for yourself and for the student.

The initial stage of work on a work.

In the process of working on a work, from its analysis to its complete completion, I use a whole range of techniques. Moreover, the methods of their use are closely related to the exact “reading” of the author’s text, in all details, and serve the ultimate goal - revealing the sound image. This principle of training contributes to the achievement of technical freedom and mastery.

First appointment.

Work on a piece of music begins with a preliminary listening, which facilitates the analysis of the text. There are two ways to get acquainted with a new essay:

the first - with the help of a teacher, who, through his performance, introduces the student to the work, inspiring and stimulating him for the upcoming work;

the second is listening to the composition being studied in an audio recording, performed by the best pianists. It is very important to listen to a piece of music with the musical text in front of your eyes. After preliminary familiarization with the new work, you need to analyze it:

• cover the general structure and character;
• the nature of the parts and the relationship between them;
• main points of interpretation;
• characteristic technical techniques;
• pay attention to tempo, tonality (key signs), size.

This analysis is carried out in the form of a conversation, during which the teacher plays the work several times in its entirety and in parts, asks the student about his impressions, poses certain specific questions to him, makes the necessary explanations himself, and also introduces the student to the biography of the composer and the work being performed.

Second appointment.

Work on a piece of music begins with careful learning of the musical text in at a slow pace.

The following statement relating to the stage of text analysis by Konstantin Nikolaevich Igumnov is interesting: “You must put all your attention, all the experience of your life into the analysis of the text.”

One of the most crucial moments at the initial stage of analyzing a work is choice of fingering. Logically correct and convenient fingering contributes to the maximum technical and artistic embodiment of the content of the work. Therefore, it is necessary to find the most rational way to solve this problem. You need to think about and write down the fingering for each hand separately.

There may be several options for fingering solutions. When choosing an option, in some cases it is necessary to take into account the size and characteristics of the hands, in others - with the technical training of a particular student. There are times when some fragments need to be played with both hands together, since the determining factor in the choice of fingering in a given place is the synchronization of the movements of the fingers of both hands.

The teacher's role should be active in choosing fingerings. It is advisable that he always writes down the fingering in the presence of the student, providing the opportunity to participate in thinking through and making this or that decision.

ABOUT artistic significance fingerings were spoken and written by many outstanding pianist-teachers.

G.G. Neuhaus considered the best fingering “which allows the given music to be most accurately conveyed and most accurately matches its meaning.”

Y.I. Milyptein, who deeply studied this area of ​​piano performance, wrote: “It is hardly necessary to remind how much depends on good, appropriate fingering. Fingering affects rhythm, dynamics, articulation, emphasizes the expressiveness of a phrase, gives a certain color to the sound, etc. I would also add that a successfully found fingering promotes memorization, mastery of musical material, and technical confidence.”

Y.I. Milyntein succinctly and exhaustively defined three main criteria on which the choice of fingering is based: stylistic conditioning (specific-historical), aesthetic conditioning (musical-artistic) and technical (motor-expedient).

The middle stage of working on a work.

Third reception.

When working on a piece, it is very important to attract the student’s attention and devote some time to memorizing and memorizing hand movements, which are closely related to the precise execution of instructions regarding phrasing, strokes, articulation, dynamics, etc. Naturally, it is advisable to practice the movements first with individual hands at a slow pace . Then, playing with both hands, you should coordinate your movements, achieving complete freedom and ease.

Difficult places require attention and more careful work. In order for the difficulties to become clear, first of all, you need to determine their specifics and select the appropriate playing techniques.

From the very first lessons, when working on a piece of music, it is necessary to instill in the student the elements of competent musical thinking. Discuss with him the structure of a musical phrase, which should have its own semantic peak and around which the surrounding sounds are grouped, uniting them into one musical thought.

When learning a piece of music, rhythmic control is also important, developing a sense of unified breathing and understanding of the integrity of the form.

It is very useful to count out loud both in the initial period of analysis and when performing a finished, memorized piece. Moreover, at a slow tempo one should count, focusing on small beats, and at a moving tempo, accordingly, on large beats. Therefore, the teacher should force the student to play and count in class and demand that he do the same at home. Many students naively believe that rhythm can be developed by practicing for many hours with a metronome, while excessive enthusiasm for it, on the contrary, deprives them of rhythmic self-control. Using a metronome, if necessary, you can test your ability to “keep” the tempo, without deviating either towards acceleration or towards deceleration.

Ya.I.Milshtein rightly believed that “music is, first of all, rhythm and order.” At the same time, a sense of rhythm is an essential foundation on which the feeling of the living breath of music, natural agogic deviations and rubato is based.

It is also useful to count out loud when performing articulatory notations. Because, for example, non legato, staccato, staccatissimo assume a certain duration, then by counting out loud it is not difficult to sustain the sound exactly as long as needed. After all, it is known that the slightest inaccuracy in the execution of articulation can distort not only the character, but also the style of the work.

Expressive possibilities of pianistic articulation are not limited to only legato, non legato, portato, staccato. There are all kinds of intermediate forms of touch - tenuto, mezzo staccato, etc. Even the same articulatory marks can be performed differently in different cases. For example, students mostly perform staccato quite sharply, lifting the hand from bottom to top, while staccato can be long or short, sharp or soft, lighter and, conversely, heavier, non legato can be highlighted, emphasized or lightweight, soft. In each case, an appropriate game technique is required.

One of the important points when working on a work is the element of expressiveness - dynamics. It will help to identify the culminating moments of the work and study the dynamic effects with which the composer conveys the increase in emotional tension or its decline. The student must build a dynamic plan in such a way that the tension of local culminations corresponds to their significance in the general emotional and semantic context. With their help, the student will achieve a smooth increase in emotional tension on the way to the central climax and, without sudden transitions, will achieve a decline.

As a result, the form of the work will be covered by a single emotional impulse, a continuous dynamic wave, which will lead to the integrity of the composition.

Mastery cannot be ignored pedal nuances. The teacher should constantly pay attention to this, recommend, for example, to set the pedal yourself and then adjust it in the future and explain why this or that pedaling is preferable. The main thing is to be able to avoid extremes: too economical, dry and, conversely, too much pedaling.

The student must deeply delve into and understand all the author’s instructions regarding articulation, phrasing, strokes, dynamics, pedaling, etc. All this together will help him reveal the uniqueness of the composer’s style and a particular work.

Fourth reception.

At the beginning of the analysis of the work technical techniques of the game, movements must be learned at a slow pace. In order to well develop the motor-technical capabilities of a pianist, in my opinion, it is necessary to train not so much the fingers as the head.

Some children have naturally excellent finger fluency, but the fingers move without the participation of the head. Such a game, as a rule, becomes meaningless and usually has no artistic value.

When you force the student to “pronounce” each sound, pass it through consciousness and hearing, the tempo of the music noticeably decreases, since the head cannot yet work at the same speed as the fingers.

In other children, on the contrary, there is such a complete and close relationship between the fingers and the auditory sphere and thinking that they cannot play a single sound without first hearing it with their inner hearing. And since their heads are also not very well trained, they cannot immediately play virtuoso music at a tempo.

This is why, from my point of view, it is important to train the “head” in any case. And this is done in a very traditional way: you need to slowly or at an average pace (gradually, as you master the material, increasing it) to study technically difficult parts until they begin to work out as desired.

Particularly difficult passages, where the fingers constantly get tangled and “braided”, can be recommended to be divided into fairly small phrases or intonations, and, consistently mastering them at a moderate pace, make short stops between them, as if letting the “lagging” head forward, because it is this must lead your fingers sending them “commands”, and not following them. Sometimes these stops are made taking into account the principle of positionality (by fingering). You can also divide passages into bars if there are no other guidelines.

The ability to mentally “pronounce” each sound allows you to achieve good articulation when playing fast music.

Fifth reception.

Having achieved freedom of performance at a medium tempo, we begin to work on the sound, although from the very first moment of analyzing the work you need to pay attention to its quality. During this period, it is necessary, using certain sound production techniques, to achieve the most accurate and deep recreation of the figurative content of music.

Work on sound is considered the most difficult and painstaking. One of the main prerequisites for achieving high-quality sound is the ability to listen closely to the music - from the first to the last sound, right up to its disappearance. The student must delve into the content of the work, reproduce articulatory and other notations, deeply understanding what the composer wanted to express in a particular place.

To extract deep, beautiful and spacious sound, you need to use natural hand weight, sometimes the whole body, and if necessary add soft hand pressure, if its weight alone is not enough (for example, in small children).

According to M. Long, it was precisely this deep but soft pressing of the keys with the fingers that was characteristic of the pianism of Claude Debussy.

While resting your fingers on the “bottom” of the keyboard, you should also feel the opposite end of the “lever,” which should be in the lower back, not in the shoulder joint, like some students. After all, the shorter the “lever”, the worse the instrument sounds: the sound is sharp, knocking, devoid of overtones.

When playing chords or octaves, in addition to using the weight of your hand and body, you need to “grab” the keys with your fingers, thereby absorbing the shock. The shoulder girdle should be lowered and absolutely free.

When playing a cantilena, you need to gently but with pressure transfer the weight of your hand from one finger to another, making sure that each subsequent sound occurs without an “attack.”

When working with a student on sound, it is important not only to draw their attention to professionally competent sound production, but also to cultivate in them an aesthetic attitude towards sound as a carrier of an artistic image. The performer must be able to express with the help of sound a variety of emotions, the most intimate movements of the soul. This needs to be taught from an early age. The student must understand the difference between the concepts: “fun” and “joy”, “soft sadness” and “deep sorrow”, “anxiety” and “confusion”, “humility” and “submissiveness”, etc. You need to learn to express all these emotions and states of mind with the help of the nature of sound.

G.G. Neuhaus wrote: “Only those who clearly hear the length of a piano sound... with all changes in strength... will be able to master the necessary variety of sound, necessary not only for polyphonic playing, but also for a clear transmission of harmony, the relationship between melody and accompaniment, etc., and most importantly - to create a sound perspective, which is as real in music for the ear as in painting for the eye.”

A. Mndoyants in his notes “On Piano Pedagogy” writes: “Performers of classical music must understand that the degree of impact of their playing on the audience depends on the power of the sound flow. Figuratively speaking, the sound, like Cupid’s arrow fired from a bow with a tight bowstring, should not only reach the listener, but also pierce his heart. If the bowstring is weakly tensioned, then the sound either will not reach the listener, or will not be able to penetrate his soul.”

Sixth reception.

The use of all techniques and methods when studying a work also contributes to memorization. Since one should learn by heart as soon as possible, one must rely not only on the auditory-motor type of memory, but also on analytical, visual, and emotional memory. And if we adhere to Ya.I. Milshtein’s interpretation of musical memory How concepts of volume, then we can add that “it includes auditory, logical, and motor components.”

There are many known methods and methods for learning music text by heart.

The method proposed by I. Hoffman deserves attention. He writes: “There are four ways to learn a piece:

1. At the piano with notes.
2. Without piano with notes.
3. At the piano without notes.
4. No piano and no notes.

The second and fourth methods are, without a doubt, the most difficult and mentally tiring; but on the other hand, they better contribute to the development of memory and that very important ability called “span”.

I advise my students to learn separately the part of each hand by heart; I believe that this method makes it possible to better listen and remember all the main and secondary voices and the entire texture as a whole. The use of this method also eliminates inaccuracies, ensures maximum “self-listening”, self-control, which contributes to the accurate execution of all instructions prescribed by the composer, without which there can be no good performance. With its help, a deeper understanding of the content of the work is achieved in all details.

A very useful way to consolidate memorization is to practice the ability to start a memory game from many strong points, for example, from the second sentence of a side game or from the second part of the development, etc.; There may be other ways to determine the reference points, for example, “start from the moment of the appearance of such and such a scale tonality” or “from the appearance of a certain figuration accompanied by”, etc.

The ability to begin a piece with many strong points provides a clear grasp of the piece as a whole and leads to great confidence in the playing. Indeed, in order to be able to easily start the game from one or another strong point, you need:

• be able to quickly and briefly imagine the entire course of the work;
• be able to quickly concretize game images at this point and, through an effort of will, include the exact course of movements.

The ability to play from strong points is achieved without much difficulty if the student, having learned to play the entire piece from memory, does not stop playing individual sections from memory.

It is very useful to play a piece from memory “from the end,” that is, first from the last reference point, then from the penultimate one, etc., etc. A student who knows how to do this is almost completely guaranteed against any “accidents” in the area of ​​memory during a performance, since he can, at any moment, both cover the course of the work as a whole and imagine any specific section.

The student should be reminded that after he has learned a piece from memory, he must constantly return to studying notes, continuing to study it. Only in this way can one deeply delve into the musical content of the work.

Seventh reception.

After technical difficulties have been overcome, the work has been learned by heart, analyzed in detail, and it is useful to play it in its entirety at the tempo specified by the author. When determining the tempo of a piece, one should be guided not only by tempo designations ( allegro, molto allegro, moderato, andantino etc.), but also take into account remarks regarding the nature of the music (grazioso, bravura, mesto, etc.). When performing a piece at the indicated tempo, one should realize and feel the continuity of melodic development, gradually rising to the climax, unfolding it, “consistently reaching the epicenter” (Ya.I. Milshtein’s expression).

At the same time, you need to reproduce the thoughts, feelings of the author, his style, enriching your performance with the skillful use of agogical means and varied dynamics. Similar phrases should be played differently, moving centers of meaning, just as in human speech. Repeated performance in its entirety at the specified tempos is undesirable, primarily because technically difficult passages require constant slow “polishing.” At the same time, when working on a work, one must strive

less to perform it in its entirety in order to maintain the sharpness of emotional perception and recreation of the artistic image.

The student needs the active help of the teacher in the process of comprehending and recreating agogics.

I will give two options (or methods) for working in this direction:

• the teacher conducts the student during the game, controls the tempo and at the same time directs agogic directions in one direction or another;
• The teacher controls the tempo and agogy of the game through joint performance; this allows the student to “prompt” other performing techniques - articulatory, dynamic, sound. Usually, the student instantly perceives the teacher’s intentions, obeying his will, “follows him,” follows the techniques, movements of the teacher’s hands and fingers and at the same time corrects his shortcomings and often, with the help of external imitation, the student achieves the main thing - a good sound. This method is very effective in understanding the content of music in all its details, as well as in acquiring performing freedom.

Further, studying at home, without the help of a teacher, the student gradually achieves independence and masters the skills self-expression. First following the path of imitation, he begins to bring his own into the game, showing initiative in the implementation of his own artistic intentions, this allows him to develop a sense of proportion in the student and instills artistic taste.

Having made sure that the student has achieved a certain performing freedom, the teacher should step aside, giving him the opportunity to play independently and preferably the entire piece, without stopping or interrupting the game. At the same time, he should not stop following the notes with his eyes for the accuracy of execution.

The final stage of work on the work.

The objectives of the final stage are to achieve:

a) the ability to play a piece with complete confidence, conviction, and conviction;
b) the ability to play a piece in any environment, on any instrument, in front of any audience.

Perfect confidence and conviction of performance is achieved when not only no rough edges or logical inconsistencies remain in the game, but when all technical and artistic “doubts”, all difficulties in the work of the imagination, all motor “clamps” are eliminated.

At the final stage, the previously mentioned methods of “consolidating learning” again continue to play a huge role: slow mental playing, very slow playing on the instrument, playing from strongholds. One should not neglect playing slowly by notes - this strengthens the playing images and protects against accidental blockages of the game.

At the initial stage of work on a piece of music, it was discussed about the advisability of listening to it in an audio recording for the purpose of familiarization; at the final stage, it is very useful to listen again to an audio or video recording of the work when it is ready for public performance. This allows you to compare your interpretation with another. As a rule, the student, having already had his own idea, perceives it with a degree of criticism.

The teacher must be able to insist on the student before a concert performance, instill in him faith in his abilities, and after the performance, note positive results, not scold him for mistakes and failures, and show correctness in expressing criticism. A teacher’s negative reaction to students’ failures usually causes them to fear public speaking and lack self-confidence. The teacher must be professionally demanding, persistent and kind. Having noted the student’s shortcomings and made appropriate conclusions, he obliged patiently follow the path of eliminating them.

Conclusion

The role of the teacher in the process of learning a piece of music is enormous. His participation should be actively creative from the very analysis of the text until the moment the student appears on stage. During classes, the teacher, sitting next to him, must carefully monitor his playing, drawing the student’s attention to the accurate reading of the musical text and compliance with all the author’s instructions. When showing game techniques, you should explain the essence and importance of their use.

In the process of working on a piece, the teacher must constantly eliminate inaccuracies in playing techniques, correct deficiencies in the positioning of hands - after all, there cannot be a good game without good hands.

There is no limit to working on a piece of music. It continues after the concert performance. Skills for public speaking are acquired both in the classroom and at home, as well as on the concert stage. The student should be constantly reminded that the concert environment requires complete concentration. This is one of the most important conditions for overcoming anxiety.

In conclusion I would like to suggest schematic sequence in working on a piece of music, assuming that it is not the only and absolute one.

Bibliography

1. Barenboim L.A. For half a century / Essays. Articles. Materials. – L.: Soviet Composer, 1989. – 368 p.
2. Mndoyants A.A. Essays on piano performance and pedagogy. – M.: Publishing house of the Central Music School at the Moscow State Conservatory. P.I. Tchaikovsky, 2005. – 86 p.
3. Sedrakyan L.M. Technique and performing techniques of piano playing: textbook. a manual for university students studying in the specialty “Music Education”. – M.: Publishing house. VLADOS-PRESS, 2007. – 94 p.
4. Tsypin G.M. Learning to play the piano: A textbook for student teachers. institutes for special “Music and Singing.” – M.: Education, 1984. – 176 p.
5. Shchapov A.P. Piano lesson at a music school and college. – M.: Classics-XXI, 2001. – 176 p.

Introduction

In this work, I examine several stages in mastering polyphony and mastering polyphonic skills, starting with small children's songs of the subvocal, imitative, canonical and intermediate types to the study of the “Well-Tempered Clavier”. Pieces from “The Notebook of Anna Magdalena Bach”, “Little Preludes and Fugues”, “Inventions and Symphonies” are also analyzed and considered.

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

As N. Kalinina says in her book “Bach’s Keyboard Music in the Piano Class”, between research literature There is a noticeable gap between the works of Bach and the practice of teaching in our music schools. Sometimes the study of Bach's plays is carried out according to outdated, poor-quality editions and comes down mainly to a formal study of voice guidance and strokes. Hence the corresponding attitude towards Bach’s works, characteristic of many students, as if it were not great art, but boring forced material. As a result, instead of deeply meaningful music, we often hear the dry playback of polyphonic works with the obligatory, annoying “emphasis of the theme”, with lifeless, mechanically performed voice acting. This is often the result of seven years of schooling.

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

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

Initial period of training.

Everyone knows that the initial years of study in a children's music school have such a profound impact on the student that this period has rightly been considered since ancient times to be the decisive and most important stage in the formation of a future pianist. This is where interest and love for music is fostered.

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

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

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

Light polyphonic arrangements of subvocal folk songs are the most accessible educational material for beginners in terms of content. Here the teacher can talk about how these songs were performed among the people: the singer began the song (“theme”), then the choir picked it up (“podvoloski”), varying the same melody.

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

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

In order to make a child’s understanding of polyphony more accessible, it is useful to resort to figurative analogies and use program essays in which each voice has its own characteristic. This method of mastering polyphonic pieces significantly increases interest in them, and most importantly awakens in the student’s mind a vivid, imaginative perception of voices. This is the basis of an emotional and meaningful attitude towards voice guidance. A whole series of other subvocal plays are learned in a similar way.

It is important that songs and plays are simple, meaningful, characterized by bright intonation expressiveness, with a clearly defined climax. They can be found in many collections for beginners, for example: “I want to become a musician”, “The path to playing music”, “Dreamer Pianist”, “School of Piano Playing” edited by A. Nikolaev, “Collection of piano pieces” edited by S. Lyakhovitskaya, “For Young Pianists”, edited by V. Shulgina.

Huge benefit in developing basic polyphonic performance skills during primary education can bring E. Gnessina’s collections “Piano ABC”, “Small Etudes for Beginners”, “Preparatory Exercises”.

In the collections of V. Shulgina “For Young Pianists”, A. Barenboim “The Path to Playing Music”, E. Turgeneva “Pianist-Dreamer” there are given for plays of a subvocal nature creative tasks, for example: select the bottom voice to the end and determine the key; play one voice and sing the other; add a second voice to the melody and record an accompanying voice; compose a continuation of the upper voice and so on.

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

The student’s active and interested attitude towards polyphonic music depends entirely on the teacher’s method of work, on his ability to lead the student to an imaginative perception of the basic elements of polyphonic music, such as, for example, the technique of imitations. In the Russian folk songs “I Walk with the Loach” or “The Woodcutter” from the collection of S. Lyakhovitskaya, part 1, where the original melody is repeated an octave lower, the imitation can be figuratively explained by comparison with such a familiar and interesting phenomenon for children as an echo. (See examples no.). The child will be happy to answer the teacher’s questions: “How many voices are there in the song?”, “Which voice sounds like an echo?” And he himself will arrange the dynamics (f and p), using the “echo” technique. Playing in an ensemble will greatly enliven the perception of imitation: the presentation of the melody is performed by the student, and its imitation (“echo”) by the teacher, and then vice versa.

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

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

By performing plays by B. Bartok, I. Stravinsky and other modern authors, children comprehend the originality of the musical language of modern composers. The example of B. Bartok's play “The Opposite Movement” shows how important the game of polyphony is for the education and development of a student’s hearing, especially when it comes to the perception and performance of works of modern music. (See example no.) Here the melody of each voice separately sounds natural. But when initially playing a piece with both hands at once, the student may be unpleasantly surprised by the dissonances and lists that arise during the opposite movement: F - F sharp, C - C sharp. If he first masters each voice separately, then their simultaneous sound will be perceived by him as logical and natural.

Following the mastery of simple imitation (repetition of the motive in a different voice), work begins on plays of a canonical type, built on string imitation, which begins before the end of the imitated melody. In plays of this kind, not just one phrase or motive is imitated, but all phrases or motives until the end of the work.

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

To overcome a new polyphonic difficulty, the following method of working, consisting of three stages, is useful. First, the play is rewritten and learned in simple imitation. Under the first motive of the song, pauses are placed in the lower voice, and when imitating it in the bass, pauses are written in the soprano. The second motive is also rewritten, and so on. In this simplified “arrangement” the play is played for two or three lessons.

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

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

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

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

Further, the study of polyphonic plays of the Baroque era becomes especially important, among which the first place is occupied by the works of I.S. Bach. During this era, the immediate foundations of musical language were formed - musical and rhetorical figures associated with certain semantic symbolism (figures of a sigh, exclamation, question, silence, amplification, various forms of movement and musical structure).

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

"The music book of Anna Magdalena Bach."

The best pedagogical material for developing polyphonic sound thinking of a pianist is the keyboard heritage of I.S. Bach, and the first step on the path to “polyphonic Parnassus” - widely famous collection entitled "The Music Book of Anna Magdalena Bach".

The small masterpieces included in the “Note Book” are small dance pieces - polonaises, minuets and marches, distinguished by an extraordinary richness of melodies, rhythms, and moods. In my opinion, it is best to introduce the student to the collection itself, that is, to the “Note Book,” and not to individual pieces scattered across different collections. It is very useful to tell your child that the two “Music Notebooks of Anna Magdalena Bach” are peculiar home music albums of the family of J. S. Bach. This included instrumental and vocal pieces of various types. These plays, both his own and those of others, were written by the hand of I.S. himself. Bach, sometimes his wife Anna Magdalena Bach; There are also pages written in the child's handwriting of one of Bach's sons. The vocal compositions - arias and chorales included in the collection - were intended for performance in the home circle.

Many teachers begin introducing students to the “Notebook” Minuet in d minor. (See example no.)

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

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

I. Braudo attached great importance to the ability to instrument the piano. “The first concern of the leader,” he wrote, “will be to teach the student to extract from the piano a certain sonority, which is necessary in this case. I would call this skill... the ability to logically instrument the piano. The performance of two voices in different instrumentation is of great educational value for hearing. It is sometimes convenient to make this difference clear to the student through figurative comparisons. For example, the solemn, festive Little Prelude in C major can naturally be compared with a piece for a small chamber ensemble, in which the melody of the solo oboe is accompanied by string instruments. The very understanding of the general nature of the sonority required for a given work will help the student develop the demandingness of his hearing, will help direct this demandingness towards the implementation of the required sound” 1.

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

The second part of the minuet in d minor presents a great difficulty for the student, due to the change in the nature of the melodic movement in the first four bars due to the composer’s use of the technique of hidden two-voices. Here the music is characterized by a soft, graceful danceability and flirtatiousness, partly imparted by a light, relaxed jump in the melody, partly by the characteristic rhythm on the first beat of the next measure __________________

1 I. Braudo “On the study of Bach’s keyboard works in a music school,” p. 16

2 I. Braudo “On the study of Bach’s keyboard works in a music school,” p. 17

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

It should be noted that the second part of the minuet in d-minor in the present performance should no longer be divided into two halves, since the music, picked up by the right hand in the fifth bar, had already entered the bar earlier, when the right hand was still dancing “gracefully beauty”. Because of this lack of differentiation in the second half of the minuet and the difficulty of the polyphonic tasks posed in it, a convincing performance by his student becomes difficult to achieve. Perhaps, therefore, the student should begin to introduce the student to “The Music Book of Anna Magdalena Bach” with polyphonically and structurally simpler pieces, such as “Bagpipes” or Minuet in G major.

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

“Questions” and “answers” ​​consist of four-bar phrases. Here the student plays the entire upper voice of the minuet, expressively intoning the “questions” and “answers”; the work on the expressiveness of the strokes deepens (bars 2, 4) - here the student can be helped by figurative comparisons. For example, in the second bar the melody “reproduces” an important, significant bow, and in bars 5-7 there are lighter, graceful bows, with a step back (descending sequence down the tones - natural diminuendo). The teacher can ask the student to depict various bows in motion, depending on the nature of the strokes. It is also necessary to determine the climax of both parts, and the main climax of the entire piece in the second part almost merges with the final cadence - this is a distinctive feature of Bach's style, which the student should be aware of.

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

in different phrasing that almost never coincides (for example, in measures 1-4, the upper voice contains two phrases, and the lower one consists of one sentence, the second part consists of two images superimposed on each other);

in mismatched strokes (legato and non legato);

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

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

Features of Bach dynamics, rhythmics, melismatics

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

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

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

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

all melismas begin with an upper auxiliary sound (except for a crossed out mordent and a few exceptions - for example, if the sound on which a trill or an uncrossed mordent is placed is already preceded by the nearest upper sound, then the decoration is performed from the main sound);

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

In order for students not to regard melismas as an annoying hindrance in the play, it is necessary to skillfully present this material to them, to awaken their interest and curiosity. For example, when learning the Minuet G - major, the student first gets acquainted with the melody, not paying attention to the mordents written in the notes, and then listens to the piece performed by the teacher: first without decorations, then with decorations and compares. The guys, of course, prefer the performance with melodic additions.

Next, the student can be asked to find the location and designation of melismas in the notes. Having discovered new icons for himself, the student usually shows interest in them. Having thus prepared him to explain difficult material, the teacher says that these signs decorating the melody are a shortened way of recording melodic turns, common in the 17th and 18th centuries. Melismas seem to connect, decorate the melodic line, and enhance speech expressiveness. And if melismas are a melody, then they must be performed meaningfully and melodiously, at the tempo and character that are inherent in the given piece. It is no coincidence that the term “melism” comes from the ancient Greek word “melos”, which means singing, melody. To prevent melismas from being a “stumbling block,” you must first hear them “to yourself,” sing them, and only then play them, starting at a slow tempo and gradually bringing it to the desired tempo.

In addition, I would like to mention the existing editions of the Notebook of Anna Magdalena Bach. As N. Kalinina says in her book “Bach’s Keyboard Music in the Piano Class,” the following editions deserve attention.

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

The editorship of L. Lukomsky also makes a serious impression.

The Hungarian edition of 13 plays from the Notebook, edited by B. Bartok, quite attracts attention with its stylistically correct phrasing and fairly accurate articulation.

The “Polyphonic Notebook,” edited by I. Braudo, contains 8 pieces from the “Notebook of Anna Magdalena Bach.” Stylistic features The composer's music is presented here with almost impeccable accuracy; this edition is recommended as a guide for young teachers. It differentiates the dynamics instructions relating to individual voices (denoted by the letters - f, p) and to a combination of voices (denoted by the words - forte, piano). Caesuras between phrases and motives are marked with an oblique dash, and the beginning of a phrase in some plays is marked with a “thrown” line. Decoding of melismas is placed separately from the plays, which gives freedom to the performer. The metronome designations are interesting: each piece has two tempos: one for the initial period of work, the other for performing a piece that has already been learned.

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

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

2 N. Kalinina “Bach’s keyboard music in piano class”, p. 43

Little preludes and fugues.

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

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

The collection's miniatures reflect many areas of Bach's figurative world. There is pathos here (Prelude C major No. 2, Notebook I; No. 1 Notebook II) and spontaneous cheerfulness (F - major No. 8, Notebook I; E - major No. 5, Notebook II), and deep, concentrated reflections (Prelude and Fugue d -moll, prelude a-moll No. 6, notebook I). The richness of the instrumental origins of the music is also revealed - the brilliant harpsichord style (F-dur No. 8,9), the subtle clavitrord style (D minor No. 5, A minor No. 12 from Notebook I), the greatness of the organ (C major No. 2 from Notebook I ), grace (c - minor No. 3 from notebook I).

Prelude and Fugue was written as an exercise for students. In addition to their artistic merits, these miniatures give the teacher the opportunity to deepen the student’s familiarity with the characteristic features of Bach’s phrasing, articulation, dynamics, voice control, and to explain to him such important concepts of the theory of polyphony as, for example, theme, antiposition, imitation, hidden polyphony, and more.

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

The word prelude itself (from the Latin praeludo) means “I play in advance”, “I make an introduction”. It is known that starting from the 15th century, the prelude was an improvisational introduction aimed at preparing musicians and listeners for the performance of the main work. Over time, such introductory fantasies began to acquire greater completeness; they were often written down, although they retained the features of improvisation in their presentation. In the 18th century, in particular with Bach, the prelude is no longer limited to the traditional role of an introduction (for example, to a fugue), but is often interpreted as an independent genre.

Analyzing the most characteristic polyphonic problems based on the material of “Little Preludes and Fugues”, it is worth noting that they are widespread in Bach’s more complex works. This allows us to hope that attention to them will help the student in the future to show greater awareness and independence in mastering the works of the great polyphonist, which are new to him.

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

We will conditionally call the first of them “track”. In it, one of the voices implied in the melody stands still, while the other moves up or down. (Example). The moving voice is played a little richer, with a little more arm support and the inclusion of subtle lateral movement. The repeating sound is played a little easier.

Another example of a type of hidden polyphony, when both hidden voices are in motion, as in the first measure of the prelude in C minor (Example). In an effort to reveal hidden polyphony, it is important not to turn it into real, not to overexpose the sounds, but only to separate the voices by timbrodynamic means.

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

It is more difficult if the task of hearing the background sound of an extended sound arises when holding two voices in one hand, which is often found in three-voice and more polyphonic tissue. At the beginning of the second part of the g-moll prelude No. 10, against the background of the soprano “D,” four sounds move step by step, each of which alternately forms a sixth, a fifth, an augmented fourth, and a fifth with a sustained “D.” (Example). In order for all intervals to actually sound and be heard, it is necessary to correlate the sound of each sound of the alto voice with the degree of strength with which the soprano “D” sounds at the moment of formation of each new interval. It is useful to work on such places, playing with both hands, and also, without maintaining a long sound, repeating it with each new quarter in the middle voice, each time more quietly, as a gradually fading long sound would sound. You need to work very carefully on the ability to measure sound in such cases, so typical of Bach.

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

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

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

Considering the properties of human attention to concentrate at one point, placing other objects on the periphery, as if in circles concentrically diverging from the center of attention, the teacher should not set students impossible tasks to hear all voices equally. It is necessary to identify those voices that should be “at the forefront” of attention in terms of importance, while the rest should fall into the field of attention. The student knows them, because he has listened to them separately many times, and now, playing several melodic lines at once, he should hear them in the background or third. In polyphony, a developed, developed volume of attention is very important, which makes it possible to cover several sound planes at once with a “single glance”, and not just the first one - the theme. This is achieved through many years of focused work.

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

Speaking about the fugues and fuguettes, which are also included in this collection, it should be noted that although these works are a preparatory stage for the CTC, unlike the Well-Tempered Clavier, the fuguettes and fugues are not so developed in their internal content.

Since fugue is the most strict genre of imitative polyphony in form and has a strong constructive and logical principle, it seems important for students to comprehend the laws of constructing a fugue and their implementation in each specific case.

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

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

For students to understand Bach's style, the editor's choice is essential. In domestic pedagogical practice, due to the publication in large print runs, the editions of “Little Preludes and Fugues” by K. Cherny and N. Kuvshinnikov have become most widespread. Kuvshinnikov's edition has been published many times since the early 1950s. Since the mid-1960s, it has been published with an introductory article by N. Kopchevsky. Of interest is the Leipzig edition of “Little Preludes and Fugues” as edited by Kopper, which is close to the urtext. It contains only metronome symbols (in parentheses), tempo and character indications (in small print). From foreign publications - edited by L. Hernadi (Hungary) and T. Balan (Romania). The edition of S. Didenko is less known. The most popular edition is considered to be N. Kuvshinnikov’s edition.

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

“Little preludes and fugues” play a huge role in shaping the future musician. From this collection many threads extend to the “Inventions” and “The Well-Tempered Clavier.

Inventions and symphonies.

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

The second author's edition was preserved only in a copy of one of Bach's students. The richly ornamented pieces in this version were arranged exclusively by key: each three-voice piece was preceded by a two-voice piece of the same key. There are already fifteen three-voice plays here.

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

“A genuine guide in which clavier lovers and, in particular, those thirsty for learning are offered a clear way of how to not only learn to play two voices, but with further progress, correctly and beautifully handle three obligate (obbligato - obligatory) voices, at the same time not only get acquainted with good inventions, but also develop them decently; and most importantly - to achieve a melodious manner in the game and at the same time gain a strong predisposition to composition.”

In these pieces, Bach combines learning to play an instrument (developing a melodious sound production, acquiring the skills to simultaneously perform several independent voices) with teaching composition. But the inventions, despite their utilitarian and pedagogical purpose, are distinguished by rich figurative content - these are true masterpieces of musical art.

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

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

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

As N. Kalinina says in her book “Bach’s Keyboard Music in the Piano Class,” the deep meaning of inventions is what should first be felt and revealed by the performer. Much of the understanding of these pieces is achieved through reference to the performing traditions of Bach’s era, and the first step on this path is to familiarize the student with the sound of those instruments (harpsichord, clavichord) for which Bach wrote his clavier works.

___________________

3 A. Schweitzer “Johann Sebastian Bach”, p. 242

In order to sufficiently fully cover the new things that “Inventions and Symphonies” contain in comparison with the polyphonic material covered, I would like to dwell on some inventions.

It’s no secret to any teacher how difficult it is sometimes to get students to be interested in working on interventions. Why is the popularity of these plays so much lower than the popularity of any other polyphonic work by I.S. Bach? As pedagogical practice shows, without preliminary preparation about the intended purpose and the nature of interventions, their study brings little benefit. But investments are an irreplaceable material in music education, they are a genuine school of polyphony.

As you know, all inventions are two-voice plays. And to master two-voices perfectly means to receive the key to any type of Bach polyphony.

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

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

Of all the inventions, the C-dur invention has gained the greatest popularity.

When starting to analyze the topic of C-dur`invention, the student can independently (or with the help of a teacher) determine its boundaries and nature. Correct pronunciation of the theme is one of the important conditions for the meaningful execution of the melodic line. To avoid the school emphasis on the first sound of the theme, it is necessary to teach the student to take a pause and distribute the movement of the hand so that its complete immersion in the keyboard falls on the culminating support of the theme - the sound “g”. When a theme has acquired its musical completeness, it is useful to play through all its implementations in order to feel it in all registers. Then you can practice the following exercise: the student first performs only the theme (in both voices), and the teacher performs the opposite, then vice versa. In counter-addition, a problem may arise - the decoration (mordent) is played unevenly. It is important to convey to the student that the decoration is not played on its own, but is unobtrusively “woven” into the melody.

Having mastered the theme and counterposition well, you can move on to carefully working on the melodic line of each voice. Long before they are combined, the invention must be performed in an ensemble with a teacher - first in sections, then as a whole.

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

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

The skills of correctly dividing a melody were given great importance in Bach's era, as evidenced by famous musicians of that time. Couperin, in the preface to the collection of his plays, wrote: “Here you will find a new sign marking the end of a melody or harmonic phrases and making it clear that you need to separate the end of the previous melody before moving on to the next one. This is done almost unnoticeably. However, without hearing this small pause, people of refined taste will feel that something is missing in the performance. In a word, this is the difference between those who read without stopping, and those who observe periods and commas.”4

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

It is also necessary to introduce the student to various ways of indicating intermotivic caesura. It can be indicated by a pause or, depending on the editor's choice in each particular case, by one or two vertical lines, the end of a line, a comma in place of the caesura, or a staccato (dot) above the note preceding the caesura. In the following example, the dots above the notes (staccato) do not indicate

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4 M. Druskin “History of Foreign Music”, p.62

the need to abruptly pronounce these sounds, but only remind the student about ending the next motive with this sound and warn against undesirable linking it with the next one.

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

It is impossible not to mention such an essential point in Bach's polyphony as fingering. Right choice fingers is a very important condition for competent, expressive performance, but the wrong one can hinder no less than dynamics, articulation, and phrasing that do not correspond to the composer’s style. As suggested performing tradition Bach's era, articulation was the main means of expression. The fingering of that time was subordinated to this task, aimed at identifying the convexity and distinctness of motivic formations. The keyboard players used mainly three middle fingers, which had approximately the same length and strength, which ensured the achievement of sound and rhythmic evenness - the most important principle of ancient music. The more important role of the first finger in Bach did not cancel the principle of shifting fingers - long through short (4,3,4,3 and so on). The sliding of a finger from a black key to a white one was also preserved, and “silent” finger substitution was also widely used.

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

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

Among the greatest performers and interpreters of Bach's two and three-voice inventions are Tatyana Nikolaevna and Glen Gould.

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

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

"The Well-Tempered Clavier"

“The Well-Tempered Clavier” - like none of Bach’s keyboard collections, reflects the essence of the composer’s art with such scope and depth.

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

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

“The Well-Tempered Clavier” is the result of the composer’s many years of work, which lasted a quarter of a century. In 1722, Bach united those created in different time 24 preludes and fugues and gave the collection the following title: “The Well-Tempered Clavier or Preludes and Fugues, carried out through all the tones and semitones, both major and minor thirds. For the benefit and use of musical youth eager to learn, as well as for the pastime of those who have achieved perfection in this teaching. Composed and performed by Johann Sebastian Bach, Grand Ducal Kapellmeister of Anhalt-Köthen and Conductor of the Customs House of Music. The year is 1722."

22 years later, the composer created a second cycle entitled: “24 new preludes and fugues,” which over time began to be considered the second part of the HTC.

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

Preludes and fugues from The Well-Tempered Clavier are mainly performed by high school children. Among the most performed works we can list the following. Preludes and Fugues: (Volume I): d-moll, g-moll, c-moll, Fis-dur, As-dur, B-dur. Preludes and Fugues (II volume): c-moll, d-moll, f-moll.

I would also like to say a few words about the editors of HTC I.S. Bach.

One of the most common editions is considered to be the editions of Czerny and Mugellini, who made a great contribution to the promotion of Bach's works. However, these editions are characterized by a romantic interpretation, corresponding to the spirit of the time in which they lived, and not to the true appearance of the work of I.S. Bach.

Busoni's edition is considered one of the best editions of the HTC, which does not have unnecessary, “alien” impurities. The only drawback is that in Volume I of the HTC, Bach's notations for melismas are omitted and their decoding is written directly into the text.

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

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

Conclusion

Bach's great love for the organ did not exclude his creative interest in the clavier. Bach was one of the first to truly appreciate the potential capabilities of this instrument and its versatility; he outlined the path of development piano music in the XYIII and XIX centuries. In his work, Bach was guided by different types of instruments that existed in his time. He wrote for a strong and sonorous harpsichord with several manuals and for a small clavichord with a less bright but melodious sonority. None of them satisfied him and the newly appeared and still very imperfect hammer piano. His artistic ideas required other means. Many of Bach’s works do not “fit” into the contemporary clavier; they seem written for an instrument that does not yet exist, but the appearance of which the composer unmistakably anticipates. With all his creativity, he seems to suggest ways to develop and improve the instrument itself.

In his creative searches, Bach was guided by the traditions that existed in his time. As noted above, in the first half of the 18th century, the clavier was primarily a home instrument, as well as a teaching instrument. The range of his expressive possibilities seemed quite limited to the musicians. His figurative sphere was genre scenes, sometimes lyrics - subtle, although not always deep.

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

The ringing, clear and rather quickly fading sound of the harpsichord encouraged composers - Bach's contemporaries to create music that was moving, finely decorated with melismatics (especially in slow pieces), often energetic, motoric, but always based on a clear finger strike. Bach felt the new capabilities of the instrument - to subtly convey the meaning of a detail. It is on this that Bach bases his keyboard themes. Their expressiveness is extremely concentrated. Everything here is significant - pauses, lines, phrasing. Individual intonations acquire a special prominence and weight. Bach stubbornly strives to overcome the “percussion” of the instrument: in contrast to the established tradition, he tries to reveal a new quality in it - melodiousness. This interpretation of the clavier is connected with the figurative world of Bach's music, with its deep lyricism.

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

J.S. Bach's focus on the future of musical art, his involvement in each subsequent era is the main facet of his comprehensive genius.

Full of acute contradictions and tragic collisions, the 20th century could not do without close and constant communication with the music of I.S. Bach. A large number of outstanding musicologists, composers, and performers strive to understand the essence of the mysterious phenomenon of the work of this great composer. The desire to feel a real connection with I.S. is becoming more and more persistent. Bach with modernity.

Among the great performers and interpreters of Bach's keyboard work the following names can be named: S. Richter, G. Gould, S. Feinberg, J. Zak, M. Pletnev, T. Nikolaeva.

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

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

Bibliography

A. Alekseev “Methods of teaching piano playing.” M., 1978

I. Braudo “On the study of Bach’s keyboard works in a music school.” L., 1979

V. Galatskaya “I.S. Bach." M., 1966

N. Gerasimova-Persidskaya “Bach and modernity.” K., 1985

M. Druskin “History of foreign music.” M., 1983

N. Kalinina “Bach’s keyboard music in piano class.” L., 1988

S. Lyakhovitskaya “Tasks for the development of independent skills in learning piano playing" L., 1975

Y. Milshtein “The Well-Tempered Clavier by J.S. Bach." M., 1967

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

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

G. Khubov “Sebastian Bach”. M., 1953

A. Chugaev “Structural features of Bach’s keyboard fugues.” M., 1975

A. Schweitzer “Johann Sebastian Bach.” M., 1965

Tatyana Nikolaevna Kruglova

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

Methodicalmessage

“Working on a piece of music in piano class.

Main tasks of the performer"

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

1. Familiarization with the work and its analysis;

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

3. “Collecting” all sections of the work into a single whole, working on it.

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

Let's consider the entire progress of work on the work.

Familiarization with the work a very important moment for the student. Sometimes he knows it from the playing of his comrades, recordings, concerts, or maybe this is new music for him. By playing it out with the accuracy that is accessible to himself, the student perceives it in general terms. While a student is poor at sight reading in elementary and middle grades, it is useful for the teacher to play the piece himself and focus on the main expressive features. It is also useful for more prepared students to say a few words about the nature of the work and point out typical difficulties.

Having become familiar with the work, the student begins to carefully read the text. Competent, musically meaningful analysis is the basis for further correct work. There is no need to waste time on analysis, while strictly following all the author’s notes and instructions. The work should first be analyzed in small, relatively complete constructions. Parsing with each hand separately is needed for elementary school students, but in complex formations it should be used by more prepared ones. But at the same time, you can find easy plays for a second grader that he can understand with both hands at once.

Sound during analysis, of course, depends on the nature of the work and its main expressive features. However, as a general point, we can point to a relatively greater sound fullness than will be needed later and controlled stability of sound production.

It is necessary to pay attention to phrasing from the very beginning, otherwise the game will be meaningless. Of course, long-term work on phrasing will be carried out later, but it should begin with analysis.

A common flaw during parsing is careless attitude to fingering. Of course, later the fingering may partially change, and somewhere a better version will be needed, but this does not change the essence of the issue. Students themselves should be involved in solving fingering issues.

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

An important issue is the memory game. Those who believe that it is useful to know a significant part of the works by heart at the beginning of study are right. This makes the work easier and faster; the student gains a sense of emotional and physical comfort in performance earlier.

But special care should be taken when analyzing and learning by heart music with complex texts, especially polyphonic music.

Pace. Attempts to prematurely switch to dynamic tempos have a bad effect on the quality of the game. Therefore, learning by memory should be carried out according to individual constructions at a slow pace; then move on to combining them into larger parts and then to slowly playing the entire work. “If you tell a person, when he is playing by heart, “play slower and this will make it more difficult for him,” then this is the first sign that he does not actually know the music he is playing by heart, but simply rattled it out with his hands. This chattering is the greatest danger, which must be constantly and persistently fought.” One cannot but agree with these words.

The main content of stage II, stage of work on the work consists of the following problems: the sound of the instrument; phrasing; dynamics and agogy; fingering; pedaling.

For a student (especially one who is not very prepared), the issue of consistency in work is also important. In the practice of some teachers, the following point occurs: after listening to an essay prepared for a lesson by a student, he is dissatisfied with many things. He talks a lot about the shortcomings he notices, sometimes backing up his words with demonstrations on the piano, but, as can be seen from subsequent home studies, all this does not bring the desired results. The reason is that the student, having received many comments at once, “got confused” in them. It is more advisable for the teacher to focus on the most essential, to eliminate the main omissions at this stage. So, the first problem is the sound of the instrument. There are almost no cases when a student does not need to learn pieces slowly, achieving a deep sound and good finger support. The skills of such work need to be developed from the first lessons. It is important to teach to love the most ordinary piano sound - full, soft, rich, and to instill a need for such a sound. Teach the student to put his fingers and hands “into the keys”, into the piano, “to feel the keyboard well,” as if overcoming its resistance. While the student does not control his hands, it is easier to acquire a sense of support when working on works (or fragments) of chord presentation that require fullness of sound. In parallel with working on the chord texture, you need to look for the sound and the associated feeling when playing the melodic line. You cannot “press” on the keys - this creates a viscous sound and an intermittent melodic line. The degree of saturation and the nature of the sound depend on the content of the music, texture, and register. But even fast, transparent episodes that do not require thick sound must be taught at a slow pace, denser than the sound will be needed later.

Phrasing. Only a thoughtful attitude to the phrase will allow you to understand the musical content of what is being performed. “In every phrase there is a certain point, which is the logical center of the phrase. Intonation points are like special points of gravity that attract central nodes on which everything is built. They are very connected to the harmonic basis. Now, for me, in a sentence, in a period, there is always a center, a point to which everything gravitates, to which everything seems to strive. This makes the music clearer, more unified, and connects one thing to another,” he believed.

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

Let's talk about dynamic means of expression.

The scale of dynamic gradations is essentially infinite. Its richness depends on the subtlety of perception of figurative content and the skill of the performer. The timbre side of sound is related to dynamics. The student needs to be proficient in a variety of fortes and a variety of pianos. When playing forte, it is important to warn the student against the dangers of exaggeration and excess. The teacher must help the student imagine the limitless sound possibilities of the piano and its inherent sound nobility.

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

Sforzando is not a harsh or strong accent. It is necessary to draw the student's attention to the semantic meaning of sf surrounded by piano, then forte.

Fingering. What should be the determining factor for a student when choosing a fingering? The first thought will be to play the way that is most convenient. It would seem right. However, it is necessary to instill in the student a correct understanding of the term “convenience”: it should be determined by the meaning of the music. A convenient fingering is considered to be the one that best expresses the author's idea. It is necessary to encourage students to listen to the different sounds achieved when performing with different fingerings, and to teach them to be aware of this difference. Of course, the student must learn the fingering of basic technical formulas - scales, arpeggios, etc., and use it. But this is only part of the question, since even in Czerny’s classical sonatinas and etudes there are moments when the melodic pattern of a passage or the expressiveness of the sound force one to deviate from these canons.

The Art of Pedaling .

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

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

Some methodological considerations about the pedaling of Leningrad Conservatory professor Nadezhda Iosifovna Golubovskaya () are worthy of attention, combining musical performing talent, musical pedagogical talent and in-depth research and methodological work.

Pedaling cannot be taught. You can develop an understanding of music and pedal sense.

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

At first, of course, the student needs to be told where to get the pedal, but it is imperative that the child myself I checked by ear to see if it was what was planned.

It is undesirable to include pedaling in notes at first, but in further education very bad. The student must not be deprived of initiative in a very important and delicate area. It is harmful for the student to visually assimilate pedaling, so that the leg impulse is subordinated to a visual order separately from the music as a whole. The pedal is controlled by ear. This is the main rule.

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

Ideally, pedaling cannot be learned or relearned. The foundation of pedal control is adaptation skills.

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

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

A straight pedal is needed in the “Waltz” from Tchaikovsky’s “Children’s Album” to emphasize the danceability and rhythm of the piece. These two primary types are quite accessible to children’s understanding and assimilation. It is better to play Bach without a pedal until the child develops a need for one. Then it can be directed and corrected, but the pedaling cannot be fixed in any way. You can get used to using partial pedal pressure at the early stages of training - the earlier, the better.

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

Outstanding teacher, professor, head. Department of piano GMPI named after. Gnesinykh, Elena Fabianovna Gnesina was fluent in the methods of musical teaching from beginners to graduate students. In matters of pedaling, two factors inextricably existed for Gnessina: the so-called “pedal intuition” and the coordination skill of movement. “All children who can freely reach the pedals with their feet and know how to listen to the sound of the piano can learn to pedal well,” he writes in “Preparatory Exercises.” Stages of working on the pedal: 1 - correct position of the feet on the pedal; 2 - without parting with the pedal foot, silently press and release the pedal, making both movements evenly; Stage 3 – exercises with sound.

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

Advice about gradations in the pedal: “In piano you need to press the pedal lightly, and in forte more deeply.”

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

The third stage of work on the work.

Fostering the student’s ability to hear, comprehend and fully perform a piece is an important section of education. Already in the middle classes of children's music schools, students encounter plays written in a simple three-part form. In this regard, we have to talk about the character and mood of the first part, point out the different content of the middle (most often contrasting) and, further, a return to the music of the beginning. Here it is necessary to direct the student’s attention to ensure that the reprise is not just a repetition of the first part of the play. Even with an exact repetition of the text of the parts, it is necessary to offer an interpretation option in which the development of musical thought would be felt. If a work contains a number of climaxes, it is necessary to pay attention to their relative importance.” The culmination is good only when it is in its place, when it is the last wave, the ninth wave, prepared by all previous development” - .

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

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

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

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

In the final period, all preliminary work must be formalized into a completed whole. Familiarity with the recordings of a given work can help to understand the performance intentions; Once you have your own idea, such listening often turns out to be very useful, helping to clarify your intentions.

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

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

Having learned to perform a moving composition at the required tempo, the student, as is known, must continue working at a slower movement; this will protect the work from being “chattered”, and, in addition, will help to consolidate in the minds of the player the performance plan in all its details. We have to remind the student more than once that slow playing, observing all the details of the performance plan, allows him to realize his intentions with utmost clarity and makes them especially clear to him; then the student becomes convinced of this himself. It should be emphasized that such playback requires maximum attention.

However, such work in slow motion should not lead to a loss of awareness of the desired pace. Having found and felt it, the student must secure it in order to always be able to return to it again. When teaching primary and secondary school students at a music school, you often have to work specifically on this; The element of “losing” one’s movement is not excluded among high school students, as well as in music schools.

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

Concluding the review of the main sections of work on a musical work, we can conclude that the thoroughness, detailing of requirements, the persistence of the teacher and student in fulfilling them must be combined with the development of the performing principle, with training in performance, in which musical comprehension is combined with emotional perception.

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