A manual for an accompanist in a folk dance choreography class

30.03.2019

The work of an accompanist at an art school involves purely creative (artistic) and pedagogical activities. Musical and creative aspects are manifested in work with students of any specialty. The pedagogical side of the activity is especially clearly revealed when working with students in the vocal and choreographic classes.

The skill of an accompanist is deeply specific. It requires from the pianist not only enormous artistry, but also versatile musical and performing talents, the use of multifaceted knowledge and skills in courses in harmony, solfeggio, polyphony, music history, analysis of musical works, vocal and choral literature, pedagogy - in their interrelations.

Full professional activity The role of an accompanist presupposes that he has a complex of psychological personality qualities, such as a large amount of attention and memory, high performance, mobility of reaction and resourcefulness in unexpected situations, endurance and will, pedagogical tact and sensitivity.

The specifics of the work of an accompanist in a children's art school require special versatility, mobility, and the ability, if necessary, to switch to working with students of various specialties. The accompanist must have a special, selfless love for his specialty, which (with rare exceptions) does not bring external success - applause, flowers, honors and titles. He always remains “in the shadows”, his work dissolves in the general work of the entire team. An accompanist is the calling of a teacher, and his work in its purpose is akin to the work of a teacher.

The work of an accompanist in a choreography class

Let us consider the activities of an accompanist pianist working with children of different age groups at choreography classes.

The art of dance cannot exist without music. Therefore, during classes in choreography classes, two teachers work with children - a choreographer and a musician (accompanist). Children receive not only physical development, but also musical development.

The success of working with children largely depends on how correctly, expressively and artistically the pianist plays the music and conveys its content to the children. Clear phrasing and bright dynamic contrasts help children hear the music and reflect it in dance movements. Music and dance in their harmonious unity are an excellent means of developing the emotional sphere of children, the basis of their aesthetic education.

Choreography lessons from beginning to end are based on musical material. The musical arrangement of the lesson should instill in students a conscious attitude towards a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, dynamics. Listening to music, the child compares phrases by similarity and contrast, learns their expressive meaning, monitors the development of musical images, forms a general idea of the structure of the work, and determines its character. Children develop primary aesthetic assessments. In choreography classes, students become familiar with the best examples of folk, classical and modern music, and thus their musical culture is formed, their ear for music develops and imaginative thinking, which help during production work to perceive music and choreography as a unity. The accompanist unobtrusively teaches children to distinguish pieces different eras, styles, genres.

Movements must reveal the content of the music, correspond to it in composition, character, dynamics, tempo, and meter rhythm. Music evokes motor reactions and deepens them; it does not just accompany movements, but determines their essence. Thus, the task of the accompanist is to develop the “musicality” of dance movements.

1. Objectives of music education

In the process of teaching choreography, the following tasks of musical education are carried out:

Development of musical perception of meter rhythm;
Rhythmic execution of movements to music, the ability to perceive them in unity;
The ability to coordinate the nature of movement with the nature of music;
Development of imagination, artistic and creative abilities;
Increasing students' interest in music, developing the ability to perceive it emotionally;
Expanding the musical horizons of children.

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages(from beginning schoolchildren to graduates), with teachers of different dance styles - folk choreography, classical and modern dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of a given age category and dance direction, is not easy. There is only one way - constant improvement, a serious creative approach to work.

2. Responsibilities of the accompanist

The duties of the accompanist of choreographic classes include:

Repertoire selection of musical works for classes, constant expansion of musical baggage and knowledge about the nature of dance, its characteristic features;
Studying the experience of work on the aesthetic education of children in choreographic groups, in particular, on musical development;
Introduction to new techniques of “moving to music”;
Systematic work on the musical development of dancers, because musically educated children are much more expressive in dancing.

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. And here we can talk about a subjective position, because psychological compatibility plays no small role, personal qualities accompanist and choreographer. For true creativity you need an atmosphere of friendliness, ease, and mutual understanding. It is important that the accompanist be a friend and partner. Only from the position of a creative approach is it possible to realize all plans and have high performance in the performing activities of students in choreographic classes.

3. Selection of a piece of music

The technology for selecting musical works is based on the deep knowledge of the accompanist of systemic choreographic education and assumes:

Knowledge of schools and directions of dance art;
knowledge of traditional forms and stages of teaching children choreography;
knowledge of the forms of constructing classes, mandatory improvisational moments;
knowledge of choreographic terminology (in particular, in French);

The following requirements apply to the selection of musical fragments:

character;
pace;
metro rhythm (meter, accents and rhythmic pattern);
form of a musical work (one-part, two-part, three-part, introduction, conclusion).

Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria and a sense of artistic proportion. Constantly playing the same march or waltz during lessons leads to mechanical, non-emotional performance of exercises by dancers. The other extreme is also not desirable: too frequent changes of accompaniments scatter the attention of students; does not contribute to the assimilation and memorization of movements.

4. Working methods

To develop the “musicality” of performing a dance movement, the following work methods are used:

visual-auditory(listening to music while the teacher demonstrates movements);
verbal(the teacher helps to understand the content of a musical work, stimulates the imagination, promotes creative activity);
practical(specific activity in the form of systematic exercises).

In terms of musical education, the accompanist has the opportunity to teach children the following:

highlight the main thing in music;
convey different intonation meanings with movement (rhythmic, melodic, dynamic beginning).

This can be done at any stage of training: both in exercises and in dance sketches.

5. The main stages of introducing children to musical accompaniment in classical and folk stage exercise classes.

First stage– initial acquaintance with a piece of music. Here are the tasks:

introduce students to musical fragments,
teach to listen and respond emotionally to the feelings expressed in them.

Second stage– formation of skills in the field musical performance movements, perception of musical accompaniment in unity with movements. Here are the tasks:

the ability to perform movements in accordance with the nature of the music,
in-depth perception and transmission of the mood of music in motion,
coordination of hearing and movement patterns.

At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material for each movement of the classical and folk stage exercise in accordance with the requirements (squareness, rhythmic pattern, character of the melody, presence of a beat, meter-rhythmic features, tempo, size).

Third stage– education and consolidation of skills, that is, automation of methods for performing tasks in strict accordance with the character, tempo, and rhythmic pattern of a musical fragment. He sets the following tasks: emotionally expressive performance of exercise exercises, development of independent creative activity of children. At this stage, everything that was practiced during the learning process at the second stage is consolidated. Auditory and visual control is reinforced by motor control.

The method of performing a task is automated. Students consciously solve problems assigned to them, relying on acquired listening and dancing skills. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of the form and images. Children develop an interest and love for music. Through musical images children recognize the beauty in the surrounding reality.

The fundamental disciplines in choreography are classical and folk stage dance. The study of classical dance usually begins with learning a classical exercise, which takes up the main part of the lesson (exercise at the stick, in the middle of the hall and allegro). The study of folk stage dance also begins with the study of exercise at the stick and in the middle of the hall. The selection of musical material for choreography classes is carried out by the accompanist in accordance with the program requirements of the choreographer. Cane exercise consists of specific exercises, each of which has its own specific musical requirements. In the first year of school, children study rhythm. At this moment, correct coordination of movements, positioning of the body, head, and arms are developed, and the muscles of the legs develop. In the process of these classes, they gain knowledge about rhythmic organization, meters, musical images, which they embody in dances and sketches.

In the process of work, one gets acquainted with the music and rhythmic pattern of a march, polka, waltz, mazurka, polonaise, using simple musical examples. To develop imaginative thinking, select items that are not large and not difficult to perceive. musical examples, but very bright in character and musical coloring, thanks to which children, after listening to this musical fragment, could create a mini-sketch, or embody a specific image to a specific music (“Clowns”, “The Sea Is Troubled”, etc.).

At the next stage of learning, children again encounter these dances or movements, but with more complex musical material.

In the second year of choreography training, classical dance is introduced as the basis for all subsequent training, built on the best examples of world choreographic art.

In the first year of classical dance training, children are given basic initial presentations about him. On initial stage This is done on familiar or uncomplicated musical material, so that it is easier for students to organize their movements in accordance with the music. Further, the combinations become more complex, and the musical material becomes more complex.

The musical accompaniment of dance lessons must be very accurate, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study (both in folk-stage and classical dance lessons), and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual and creative approach in the selection musical arrangement lessons.

Let us dwell on the principles of the accompanist's approach to the selection of musical fragments for classical stick exercise lessons. Throughout the entire training, classical exercise has a certain set of elements that are studied year after year, but as they are mastered, they constantly become more complex and combined. The musical arrangement of classical dance lessons should be very diverse in both melody and rhythm. The nature of the rhythms often changes during the lesson. When learning a new movement or its individual elements, the rhythm should be simple, the melody uncomplicated and accessible. Then, in the process of work, the musical material becomes more complex, the rhythmic pattern within the beat becomes more complex, the shape and size of the musical fragment changes, especially in jumps, or when combining various exercises into a single combination. In addition to the use of sheet music, musical improvisations by the pianist are possible and desirable.

6. Principles of selecting musical fragments for classical exercise.

Musical fragments for classical exercise must have the following properties:

Squareness.
A certain rhythmic pattern and tempo.
Presence of beats.
Tempo and metric features.

Summing up the above, I would like to once again note the specificity of the work of an accompanist in a choreography class. He must be able to apply his knowledge, demonstrate mastery of technique, while demonstrating artistry and versatile musical and performing talents.

The need for a creative union between a choreographer and a musician in the process of designing a dance lesson is obvious and does not require proof. Only close cooperation between the teacher and the accompanist can give the most effective results in shaping the creative thinking of students and nurturing their artistic taste. The accompanist's knowledge of the specifics of choreographic art, on the one hand, and the improvement of the methods and forms of musical education by the choreographer, on the other, allows for genuine creative contact between them in the work on preparing lesson material. Only in this case does it become possible to have a clear, systematic approach to mastering educational material and to develop a unified musical and choreographic concept for constructing a lesson in accordance with the age characteristics of students and their level vocational training. The issues of drawing up a lesson plan, distribution of choreographic material and reasonable dosing of its informative content during the lesson are very important and require consideration.

Having mastered the outlined principles of approach to working with musical text, you can freely and purposefully navigate the issues of selecting musical material.

The musical design of a lesson should be understood as a musical composition, put into a complete form, built on character, phrasing, rhythmic pattern, dynamics in full accordance with the dance movement and, as it were, merging with it into one whole. This composition should emphasize all the features of the dance movement through its musical characteristics.

Musical arrangement should help students master the technical skills of the choreographic profession and at the same time instill in them a conscious attitude to the laws musical art, understanding of the melodic, harmonic, polyphonic, rhythmic, dynamic logic of musical works.

The choreographer’s ability to understand the constructive laws of musical compositions and coordinate them with the system of movements in dance is a necessary prerequisite achieving freedom and meaningfulness in the interpretation of lesson material. On the other hand, a musician who begins the musical arrangement of a lesson must also have at least basic knowledge in the field of choreography, since without this, genuine contact between the choreographer and the accompanist is unlikely to be possible, and the musical arrangement will be reduced only to formal, mechanistic, background accompaniment lesson.

Meanwhile, it is in the living process of the lesson that students comprehend the inextricable connections between music and plasticity, it is here that their musical taste. Therefore, the musical material used in the lesson must be carefully selected, tested and have artistic merit. As examples, you should use the best examples of folk music, as well as material classical heritage and contemporary musical creativity.

However, we should not forget that musical design has a dual character: applied and artistic. These two sides complement each other, interacting with each other, but neither of them should prevail over the other. You should not get carried away by the excessive complexity of musical material to the detriment of solving immediate educational and training problems. While maintaining such qualities as imagery, brightness, individuality, national and genre originality, the musical material must at the same time most accurately correspond to the choreographic task, reflecting the features of the rhythmic pattern, dynamics, logic, phrasing inherent in certain movements and elements that form vocabulary of folk stage dance. In this sense, the musical design of a folk stage dance lesson requires greater care in the selection of material than the design of a classical dance lesson, since in a folk stage exercise the same movements, depending on the national and stylistic coloring, can acquire a completely different manner of performance. For example, in classical dance movements such as plie And developpe traditionally belong to the elements of adagio, are coherent in nature and are performed in at a slow pace. In folk exercise, their execution can be either smooth or jerky, and sometimes both types are combined in one combination. Therefore, in approaching musical design, it is necessary to be guided by the principles of thoughtful selection and compilation of a kind of “music anthology” with numerous variant examples related to the same movement and taking into account not only general character movement, but also the nature of all its components.

The work of a teacher and accompanist in preparing a folk stage dance lesson requires the presence of a strictly verified compositional plan. The choreographic and musical material of the lesson should be distributed in such a way that the students’ perception is not dulled, and the concentration of attention does not decrease during the lesson. To maintain a single emotional tone and tempo of the lesson, it is advisable to build it according to the principle of contrasting alternation of movements and elements of different nature and tempo. This contrast can manifest itself both at the level of the lesson composition as a whole, and at the level of the relationship between individual elements of dance and musical speech. From the point of view of choreography, we are talking about alternating exercises of different loads, the change of which allows you to involve different muscle groups in the work at the same time. Dynamic, technically complex movements can be combined with elements aimed at developing plasticity and dance ability - of various kinds port de bras, bending, bending the body, etc. It is also common to combine dance movements of different amplitudes in one combination, for example developpe and "ropes" grand battement And battement tendu etc.

From the standpoint of musical design, contrast can be achieved by changing tempo relationships by dividing the combination into two sections (adagio-allegro), due to articulatory differences (staccato-legato), changing dynamic shades (f-p, crescendo-diminuendo).

In general, the structure of a folk stage dance lesson differs from the structure of a classical dance lesson. In both cases, the exercises performed contribute to the development of certain choreographic skills by gradually involving various muscle groups, joints and ligaments in the work. But if in a classics lesson in exercise at the barre almost all movements and elements are already presented (with the exception of jumps and finger exercises, which are later included in complicated versions and in various combinations in etudes in the middle of the hall), then a folk stage dance lesson is built on a slightly different principle. Thus, exercise at the machine contains a number of different movements. Some of them are derived from movements of classical exercise (plie, battement tendu, jete, rond de jambe par terre, fondu, grand battement). Other movements, especially those that include the work of a contracted and free foot, are characteristic specifically of folk stage exercise (these include individual species battement tendu,"rope" pas tortille, flic-flac, double-flic etc.).

As for the material studied in the middle of the hall, it, unlike the material in a classical dance lesson, is not associated with a specific movement, but is divided mainly by nationality. At first, the elements are taught separately in “pure” form, and then become the basis for constructing detailed dance combinations and etudes. The tasks that confront the teacher-choreographer and musician-designer at this stage suggest a different, more high level understanding of musical and choreographic material.

In general, it should be noted that in compositional terms, both exercises at the barre, and, in particular, combinations in the middle of the hall in a folk stage exercise are distinguished by a greater degree of complexity than combinations in a classical dance lesson. In particular, as already mentioned, it is not uncommon in folk stage dance to combine movements of different tempo and character in one dance combination - for example, a slow port de bras and fast flic-flac, smooth port de bras bends of the body and energetic “rope”, fondus u pas tortille. This has a certain impact on musical structure, giving it the features of two- and three-part.

At the same time port de bras can be included in a combination, both as an independent section and as an integral part of the combination.

In any case, in the selection of musical accompaniment, the accompanist must, first of all, be consistent with the logic of constructing a dance combination, striving for unity and interaction of the principles of organization of choreographic and musical material.

Moving directly to the characteristics of the qualities inherent in the material of a folk dance lesson, it should be noted that, in comparison with the material of a classical dance lesson, there is greater stylistic and genre diversity. When formulating the main criteria for selecting musical material for a lesson, it is worth, first of all, pointing out the need for the selected musical fragments to correspond to the style national characteristics and the nature of the dance movements and elements being studied.

The composition of a folk stage performance always expresses a specific national identity with its characteristic tempo-rhythmic features (length, sharpness, syncopation, etc.). These features are embedded in the musical material on the basis of which the dance composition is created.

In addition to such qualities as predominant reliance on melodic thematics, clarity of metro-rhythmic formulas, variety of textural techniques, structural clarity and completeness, laconicism and accessibility, the musical material of a folk stage dance lesson should also have a pronounced national coloring. The same movements can be interpreted in different ways depending on the given character in which they are performed - Spanish, Hungarian, Polish, Russian, Gypsy, etc.

If in the design of a classical dance lesson the musician relies mainly on the style models of classical music with such inherent features as regular rhythmic emphasis, squareness, strict metric ordering, then in the design of a folk stage dance lesson the accompanist to a lesser extent constrained by the framework of classical canons. In folk stage dance, based on folklore traditions, non-square formations and odd combinations of beats are freely used. The principle of symmetry here is often violated or interpreted quite arbitrarily.

In classical dance, during its existence, certain traditions have developed, going beyond the boundaries of which is unacceptable from the point of view of the aesthetics of classical dance. Folk stage dance is a phenomenon that is constantly developing due to the assimilation of features of the musical and dance cultures of various countries and nationalities. This makes it possible and acceptable to enrich the style of folk stage dance, including through the inclusion of elements of the vocabulary of modern everyday dance.

In the musical design of the lesson, these new trends and new directions can manifest themselves in expanding the genre and style range of musical works - from the use of archaic musical and folklore layers to the implementation of the features of jazz musical culture, the impact of which is manifested in the diversity and richness of the timbre palette with the widespread use of percussion and decorative elements. tools. And also - in increasing the role of rhythm as a formative factor.

Creative rethinking of existing stereotypes in the interpretation of folk stage dance opens up new opportunities for self-expression for the teacher-choreographer and musician.

At the same time, in the selection of material, the musician-designer must be guided by the principle of combining unity and diversity while necessarily preserving in the arrangement the style and genre features of the musical source, be it folk dance or a product of professional composing.

A very important issue in the joint work of a teacher-choreographer and an accompanist is the choice of musical design methods. Here, both the pre-selection method and the method of using material improvised by the musician-designer of the lesson are possible. Both methods have a right to exist. The pre-selection method involves adapting ready-made musical samples to a choreographic training task. Here the accompanist is protected from technical and stylistic errors that inevitably arise when using the improvisational method. But, on the other hand, this method to some extent fetters freedom of action, since the number of musical examples is still limited, and the musician is forced to repeat himself. To avoid frequent repetitions, you can resort to introducing elements of the improvisational method into musical design practice.

This method, so widespread in classical dance lessons, acquires its own specificity in the design of a folk stage exercise. Here, mainly song and dance material is used as material for improvisation. folk music. Reliance on folklore samples makes it possible to achieve greater flexibility, “adaptability” of musical material to the requirements of the teacher in the live process of the lesson, since “variability” is inherent in the very nature of dance folklore.

Variation and variation are not the only principles of organizing musical material. The principle of suiteness becomes no less frequent in the construction of combinations and etudes.

When considering individual exercise movements, it is necessary, first of all, to understand their character and musical-rhythmic pattern, and also to determine which moments in a particular movement are fundamental and which are passing; what musical beat is the main emphasis in the movement, etc. At the same time, you should not, at all costs, achieve synchronicity between music and movement. Music should, as it were, “accompany” the dance movement, revealing all its features and potential capabilities, and not squeeze it into the framework of a single metric grid - otherwise the musical design becomes monotonous and schematic. On the contrary, the musical rhythm can, without precisely coinciding with the rhythm of the dance movement, “counterpoint” with it, which contributes to the emergence of two rhythmic plans that complement each other - dance and musical. Examples of this kind can often be found in combinations of tapping movements, where smooth, slow work of the hands is accompanied by fractional, rhythmically rich movements of the legs.

The same goes for phrasing. Dance and musical phrasing are related to each other by placing logical accents in the narrative fabric with the help of musical cadences, caesuras, and pauses. In this case, it is necessary to achieve constructive consistency between dance and musical phrases.

In educational practice, there are two ways to musically arrange folk dance lessons: musical improvisation and the use of sheet music.

Musical improvisation is used quite widely in folk dance classes. The teacher also improvises in his daily work, composing combinations of exercises at the barre or in the middle of the hall.

The accompanist is the direct assistant to the teacher. Knowing the character, rhythm, national coloring and components of a choreographic educational task, he can suggest the appropriate theme, size and accents of musical accompaniment. The exercise is almost entirely musical improvisation. In dance combinations, improvisation alternates with a ready-made musical form.

Improvisation must strictly obey the pattern of the combination given by the teacher, and have a certain rhythmic pattern corresponding to the nature of the movements.

The rhythm of the music should be very clear 2/4 or 4/4, or 3/4, and the musical theme should be as abstract as possible, since it should not call the imagination to active action.

All combinations of the lesson should be built taking into account a musical phrase (bar squareness) of various durations (4 t-t, 8 t-t, 32 t-t, etc.) It is possible to build exercise combinations at the barre and in the middle of the hall for one and a half phrases: 12 t-t, 24 t-t, etc.

First, the simplest musical rhythms are mastered.

At the initial stages of learning, music should be simple and clear in all respects, understandable and close to the psychology of students. For advanced students, music is chosen whose content is richer in intonations and complex rhythmic patterns.

Dance is inextricably linked with music. By giving a certain tempo, meter, and rhythmic pattern, music reveals and emphasizes the characteristic features of movement. Folk dance lessons provide targeted musical education, with attention paid not only to the development of rhythm, but also to the emotional and effective connection between music and dance.

A dancer’s musicality consists of three interconnected performing components:

The ability to correctly coordinate your actions with the musical rhythm;

The ability to consciously and creatively perceive the theme-melody;

The ability to convey a plastically perceived theme-melody.

Musical education in a folk dance lesson is about deepening the internal connection between music and dance. This is usually facilitated by the good musical taste of the accompanist and teacher.

The merging of the emotional and expressive qualities of a choreographic exercise and its musical basis promotes proper performance of musical material. You should not play musical themes, as the emotional acuity is lost.

“Notebooks” claim that they train the student’s ear to perceive samples of musical literature and form musical taste. But not all musical literature is suitable for lesson design: you often see one thing and hear another. The experience and erudition of the accompanist and his “choreographic abilities” are needed. Often, excellent musicians, accompanying folk dance lessons, are helpless. They lack the sense of movement.

Improvisers are very sensitive; they accurately reproduce what the teacher suggests. Playing underfoot, these professionals know their job well and all the subtleties in it. Sometimes they deviate from the normal tempo in the name of proper performance by students. teaching examples in the future.

Municipal educational institution

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Accompanist and accompanist are the most common profession among pianists. An accompanist is needed literally everywhere: in the classroom - in all specialties (except for pianists themselves), and on the concert stage, and in a choral group, and in opera house, both in choreography and in the teaching field (in the accompanist class). Music and secondary schools, creative palaces, aesthetic centers, music and pedagogical schools and universities cannot do without an accompanist and accompanist.

Accompanist art requires high musical skill, artistic culture and a special calling.

The activities of an accompanist combine creative, pedagogical and psychological functions and they are difficult to separate from each other in educational, concert and competitive situations.

A good accompanist must have a general musical talent, a good ear for music, imagination, the ability to grasp the figurative essence and form of a work, artistry, the ability to imaginatively and inspiredly embody the author’s plan in a concert performance. The accompanist must learn to quickly master a musical text, comprehensively covering three-line and multi-line scores and immediately distinguishing what is essential from what is less important.

The accompanist needs:

· first of all, the ability to sight-read a piano part of any complexity, understand the meaning of the sounds embodied in the notes, their role in the construction of the whole, playing the accompaniment, see and clearly imagine the soloist’s part, grasping in advance the individual originality of its interpretation and with all performing means contribute to its most vivid expression;

· skills of playing in an ensemble;

· the ability to transpose a text of average difficulty within a fourth, which is useful and necessary when playing with wind instruments, as well as for working with vocalists;

· knowledge of orchestration rules; features of playing symphonic and folk orchestra, knowledge of the keys “C” - in order to correctly correlate the sound of the piano with the various strokes and timbres of these instruments; presence of timbre hearing; the ability to play claviers (concertos, operas, cantatas) of various composers in accordance with the requirements of the instrumentation of each era and each style; the ability to rearrange awkward episodes into piano textures in claviers without violating the composer’s intentions;

· knowledge of basic conducting gestures and techniques;

· knowledge of the basics of vocals: voice production, breathing, articulation, nuances; be especially sensitive in order to be able to quickly suggest words to the soloist, compensate where necessary for tempo, mood, character, and, if necessary, quietly play along with the melody;

· For successful work with vocalists, it is necessary to know the basics of phonetics of Italian, preferably also German, French, languages, that is, to know the basic rules of pronunciation of words in these languages, first of all, the endings of words, features of phrasing speech intonation;

· knowledge of the basics of choreography and stage movement in order to correctly organize musical accompaniment dancers and correctly coordinate hand gestures for singers; awareness of the basic movements of classical ballet, ballroom and Russian folk dances; knowledge of the basic behavior of actors on stage; the ability to simultaneously play and see the dancers; the ability to lead an entire ensemble of dancers; the ability to improvise (select) introductions, acting out, conclusions necessary in the educational process in choreography classes;

· knowledge of Russian folklore, basic rituals, as well as techniques for playing Russian folk plucked instruments - gusli, balalaika, domra;

· ability to choose a melody and accompaniment “on the fly”; improvisation skills, that is, the ability to play the simplest stylizations on the themes of famous composers, without preparation to develop a given theme in texture, to select harmonies for a given theme in a simple texture by ear.

· knowledge of the history of musical culture. fine arts and literature in order to correctly reflect the style and figurative structure of the works.

One of the important aspects of being an accompanist is the ability to “sight read” fluently. You cannot become a professional accompanist. if you don't have this skill. The concertmaster must constantly practice sight reading in order to bring these skills to automaticity.

For an accompanist of a choreographic class, the ability to play by ear allows him to free up his attention (take his eyes off the notes) in order to keep the dancers in sight. If there is a contradiction between playing the notes and the need for constant visual control of the singing and moving group (in the aesthetic department, in preparatory groups), the accompanist makes his task easier by accompanying by ear, partially improvising the author’s and his own version of the accompaniment, which frees him from the constraining attachment to musical text. The ability to improvise musical inserts, introductions and conclusions (for moments of exit, restructuring of the dance group, changing positions, etc.) in the nature and genre of the accompaniment being performed is absolutely necessary for successful implementation choreography classes.

Specifics of the work of an accompanist-pianist working with children of different age groups in choreography classes.

Choreography lessons from beginning to end are based on musical material. Bows when moving from one exercise to another should be musically designed so that students get used to organizing their movements according to the music. The musical arrangement of the lesson should instill in students a conscious attitude towards a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, dynamics. Listening to music, the child compares phrases by similarity and contrast, learns their expressive meaning, monitors the development of musical images, forms a general idea of the structure of the work, and determines its character. Children develop primary aesthetic assessments. In choreography classes, students become familiar with the best examples of folk classical and modern music, and thus their musical culture is formed, their musical ear and imaginative thinking develop, which help them perceive music and choreography in unity during production work. The accompanist unobtrusively teaches children to distinguish works of different eras, styles, and genres. The accompanist must make available to the dancers the music that was created by great composers and choreographers: Glinka, Tchaikovsky, Glazunov, Strauss, Gliere, Prokofiev, Khachaturian, Kara-Garaev, Shchedrin and others.

In the process of teaching choreography, the following tasks of musical education are carried out:

· Development of musical perception of meter rhythm;

· Rhythmic execution of movements to music, the ability to perceive them in unity;

· Ability to coordinate the nature of movement with the nature of music;

· Development of imagination, artistic and creative abilities;

· Increasing students’ interest in music, developing the ability to perceive it emotionally;

· Expanding the musical horizons of children.

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages (from beginning schoolchildren to graduates), with teachers of different dance styles - folk choreography, classical and modern dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of a given age category and dance direction, is not easy. There is only one way - constant improvement, a serious creative approach to work.

The duties of the accompanist of choreographic classes include:

· Repertoire selection of musical works for classes, constant expansion of musical baggage and knowledge about the nature of dance, its characteristic features;

· Study of work experience in the aesthetic education of children in choreographic groups, in particular, in musical development;

· Acquaintance with new techniques of “moving to music”;

· Systematic work on the musical development of dancers, because musically educated children are much more expressive in dancing.

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. And here we can talk about a subjective position, because psychological compatibility and the personal qualities of the accompanist and choreographer play an important role. For real creativity you need an atmosphere of friendliness, ease, and mutual understanding. It is important that the accompanist be a friend and partner. Only from the position of a creative approach is it possible to realize all plans and have high performance in the performing activities of students in choreographic classes.

The teacher-choreographer programs and plans work in choreographic classes. The accompanist often has to work with several teachers, and most often the accompanist comes already ready-made program. Thematic planning of educational material on choreography is also done by the teacher. The accompanist must know the program, the plan of each year of study, and the plan of each lesson. Co-creation between the teacher-choreographer and accompanist is necessary in all areas (planning, implementation of educational and production programs). The arrangement of the classes does not depend on the accompanist, it is up to the choreographer to decide. But what will be the return, on what emotional level whether they will pass depends largely on the musician, on the music he selects and offers.

The technology for selecting musical works is based on the deep knowledge of the accompanist of systemic choreographic education and assumes:

· Knowledge of schools and directions of dance art;

· knowledge of traditional forms and stages of teaching children choreography;

· knowledge of the forms of constructing classes, mandatory improvisational moments;

· knowledge of choreographic terminology (in particular, in French);

The following requirements apply to the selection of musical fragments:

· character;

· metro rhythm (size, accents and rhythmic pattern);

· the form of a musical work (one-part, two-part, three-part, introduction, conclusion);

Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria and a sense of artistic proportion. Constantly playing the same march or waltz during lessons leads to mechanical, non-emotional performance of exercises by dancers. The other extreme is also not desirable: changing accompaniments too frequently distracts students’ attention and does not contribute to their assimilation and memorization of movements.

Musical development in choreography lessons is carried out using certain methods and techniques. The primary source of knowledge is music itself, only it awakens a person’s “musical” feelings. At the beginning there is work to gain experience in listening to music. The second source of knowledge is the word of the teacher and accompanist, which leads to the understanding and perception of the musical image of specific musical works. The third source is the direct musical and dance activities of the children themselves.

To develop the “musicality” of performing a dance movement, the following work methods are used:

· visual-auditory (listening to music while the teacher demonstrates movements);

· verbal (the teacher helps to understand the content of a musical work, stimulates the imagination, promotes creative activity);

· practical (specific activities in the form of systematic exercises);

During classes and in the pauses between them, the accompanist introduces children to new and new musical works, accumulating their listening experience. The accompanist does not have special lessons, but there are always short pauses that can be filled with music and attract the attention of children. Developing children's imagination, perception, fantasy, it is useful to use the method of listening to a fragment or piece of classical music followed by a short conversation. The method is not new, but it pays off. The result of this work is always positive: children’s movements gradually become more expressive, i.e., there is a convergence of musical-auditory forms of perception with visual-motor ones. Children learn to control their movements and make them harmonious.

In terms of musical education, the accompanist has the opportunity to teach children the following:

· highlight the main thing in music;

· convey different intonation meanings with movement (rhythmic, melodic, dynamic beginning).

This can be done at any stage of training: both in exercises and in dance sketches.

The main musical idea embedded in the work is melody, the basis of music. The most important element of music is rhythm. Also characteristic feature– alternation of heavy sounds with lighter ones is the concept of meter in music. Tempo as speed is fundamentally the same in both music and dance. Dancing children should know, understand, and identify all these characteristics. And this is the basics of musical literacy. Rhythm, melody, meter, harmony, timbre - together they make up the language of music, and the accompanist teaches children to understand it. A subtle sense of music perception develops in children during the organic connection of movement and musical phrase (beginning and ending). The accompanist teaches the execution of “commands”: the beginning of the melody - the beginning of the movement, the end of the melody - the end of the movement. The ability to fit into a musical phrase is developed.

Let's consider the main stages of introducing children to musical accompaniment in classical and folk stage exercise lessons.

The first stage is an initial acquaintance with a piece of music. Here the tasks are set: to familiarize students with musical fragments, teach them to listen attentively and respond emotionally to the feelings expressed in them, and be able to accurately perform preparation during the introduction.

The auditory, visual and motor analyzers are involved in the process of mastering new musical material. Therefore, the material is given in a holistic form, and not fragmented. The teacher-choreographer demonstrates movements to musical accompaniment (first stage – one or two lessons).

The second stage is the formation of skills in the field of musical performance of movements, perception of musical accompaniment in unity with movements. Here the tasks are set: the ability to perform movements in accordance with the nature of the music, in-depth perception and transmission of the mood of music in motion, coordination of hearing and the nature of movements. At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material for each movement of the classical and folk stage exercise in accordance with the requirements (squareness, rhythmic pattern, character of the melody, presence of a beat, meter-rhythmic features, tempo, size).

The third stage is the formation and consolidation of skills, that is, the automation of methods for performing tasks in strict accordance with the character, tempo, and rhythmic pattern of a musical fragment. He sets the following tasks: emotionally expressive performance of exercise exercises, development of independent creative activity of children. At this stage, everything that was practiced during the learning process at the second stage is consolidated. Auditory and visual control is reinforced by motor control. The method of performing a task is automated. Students consciously solve problems assigned to them, relying on acquired listening and dancing skills. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of the form and images. Children develop an interest and love for music. Through musical images, children learn about the beauty in the surrounding reality.

The fundamental disciplines in choreography are classical and folk stage dance. The study of classical dance usually begins with learning a classical exercise, which takes up the main part of the lesson (exercise at the stick, in the middle of the hall and allegro). The study of folk stage dance also begins with the study of exercise at the stick and in the middle of the hall. The selection of musical material for choreography classes is carried out by the accompanist in accordance with the program requirements of the choreographer. Stick exercise consists of specific exercises, each of which has its own specific musical requirements. In the first or second year of study, children are engaged in public choreography. At this moment, correct coordination of movements, positioning of the body, head, and arms are developed, and the muscles of the legs develop. In the process of these classes, they gain knowledge about rhythmic organization, meters, musical images, which they embody in dances and sketches.

In the process of work, one gets acquainted with the music and rhythmic pattern of a march, polka, waltz, mazurka, polonaise, using simple musical examples. To develop imaginative thinking, musical examples that are not large and not difficult to perceive are selected, but very bright in character and musical coloring, thanks to which children, after listening to a given musical fragment, could create a mini-etude, or embody a specific image to a specific music (“ Monkeys”, “The sea is agitated”, etc.).

At the next stage of learning, children again encounter these dances or movements in lessons, but with more complex musical material.

In the third year of choreography training, classical dance is introduced, which subsequently forms the basis of all dance classes.

In the first year of classical dance training, children are given basic initial ideas about it. At the initial stage, this is done on familiar or uncomplicated musical material, so that it is easier for students to organize their movements in accordance with the music. Further, the combinations become more complex, and the musical material becomes more complex. This can be seen in specific examples: marching to music is used in class to develop a sense of rhythm and coordination of movements with the music. At the beginning, the exercises go at the same pace, and as you master them, at different paces: with acceleration or deceleration, with pauses, with different rhythmic organization. Plie is initially performed in 4/4 time signature, then in S.

Let us dwell on the principles of the accompanist's approach to the selection of musical fragments for classical stick exercise lessons. Throughout the course of training, classical exercise has a certain set of elements that are studied year after year, but as they are mastered, they constantly become more complex and combined. The musical arrangement of classical dance lessons should be very diverse in both melody and rhythm. The nature of the rhythms often changes during the lesson. When learning a new movement or its individual elements, the rhythm should be simple, the melody should not be complex, accessible. Then, in the process of work, the musical material becomes more complex, the rhythmic pattern within the beat becomes more complex, the shape and size of the musical fragment changes, especially in jumps, or when combining various exercises into a single combination. In addition to the use of sheet music, musical improvisations by the pianist are possible and desirable.

Musical fragments for classical exercise must have the following properties:

1. Squareness.

At the initial stage, it is very important that the work can be divided into squares. This means that one movement is made 4 times: with a cross - forward, to the side, back, to the side. A square consists of measures in 2/4 or 4/4 time. Later, as the dance technique is acquired, the tempo accelerates, but the squareness remains. For example, a combination of two movements in a square is made - this is equal to a phrase of eight measures: one movement is 1 measure, or three movements in a square are equal to 12 measures. In the third year of classical training, this property no longer has the same importance as in the first year, since children learn the exercises in their pure form, and the combinations created become more complex, and in them the movements can vary out of square. Here more complex time signatures are taken: S, 6/8, etc., and a faster tempo is used.

2. A certain rhythmic pattern and tempo.

For the performance of movements such as Adagio, tendus, Rond de jambe, par terre, the rhythmic pattern does not matter much, but the tempo does. It should be slow and the melody should be lyrical, as the movements are performed smoothly and slowly. To perform the battements tendus movement, a clear rhythmic pattern is required, as well as the presence of a syncopated rhythm. The execution of these movements goes in fast pace eighth notes, musical fragments must contain sixteenth and eighth notes (size 2/4 or 4/4 with slow execution).

3. Presence of beats.

Any beat is of no small importance in the execution of the movement; in addition, it determines the tempo of the entire exercise. At the initial stage, when the movement is learned and performed on the downbeat, the beat does not play a decisive role, since the movements at this stage are performed at a slow tempo in squares on the downbeat (battements tendus, battements tendus jetes, battements frappe). In the future, this quality plays an important role. Any beat, in addition to determining the tempo of the exercise, makes the musical fragment clearer, activates the exercises, emphasizing the weak beat. The upbeat can be used in all exercises, as it is easier to start performing the movement from there.

4. Tempo and metric features.

Size 2/4 can be used for various exercises. But the tempo of performance and the technique itself are always different. Battements tendus, battements tendus jetes, battements frappes can be performed in 2/4 time at allegro, moderato tempos. And the exercises battements fondues, plie, passé par terre are in 2/4 time at adagio, lento tempos. Rond de jamb par terre can be performed in s time, that is, one movement per 1 measure. Thus, the tempo slows down to adagio (or one movement - a full circle - for 4 measures. The same thing happens with the 4/4 time signature. The tempo in this time signature can vary from lento to andanteno in different movements.

5. Metro-rhythmic features.

At the initial stage, small durations can be performed 2 times longer, but the character of the melody should not be distorted. As you learn the movements, the pace speeds up. At the initial stage, when the movement is being learned, the accompanist plays at a slow tempo; as learning progresses, the tempo accelerates. The same thing happens with preparation and when adding poses to a combination.

Let us consider specifically what criteria are used to select musical fragments for the main exercises of classical stick exercise.

Plie – size 4/4, *; the music is smooth, the tempo is moderato or adagio. The fragment must be square; the presence of an even rhythmic pattern does not matter. It is desirable to have a backtact. Rhythmic expansion to longer durations is not required, since in 4/4 time one movement is made per 1 measure. For this exercise, a musical fragment is selected in 4/4 at a slow tempo.

Battements tendus – size 2/4; the character of the music is clear, cheerful, allegro or allegretto tempo. For a musical fragment, squareness is desirable. The rhythmic pattern is of great importance. In addition, the possibility of metrorhythmic decomposition is important. At the initial stage, the movement is done at 2/4 and 4/4 at a slow pace, then at 2/4 at a fast pace. The timing and its emphasis are also of great importance for the accuracy of execution and conveying the nature of the movement.

Battements tendus jetes – size 2/4; tempo – allegro, clear rhythmic pattern (syncopated if possible), emphasis on the weak beat. At the initial stage, squareness and a clear rhythm with an emphasis on “and” are important. The presence of a takt is necessary from the initial moment of study. Metrorhythmic decomposition up to a quarter is possible. At the beginning, the tempo in 2/4 time is slow, then fast.

Rond de jambe par terre – size 2/4, 4/4, *; The character of the melody is smooth, the tempo is andante. Metrorhythmic decomposition is required only at the initial stage if the size is 2/4 (if 4/4 - not necessary). In this case, one movement is made for 1 beat, thus slowing down the tempo. If the fragment is selected in 2/4, then the tempo should be slow, and if the size is s, it should be faster.

Battements fondues – sizes 2/4 and 4/4; The character of the melody is smooth, the tempos are adagio, largo and andante. At the initial stage, squareness is required, a certain rhythmic pattern does not matter, a beat is possible. Metrorhythmic decomposition is required at the initial stage if the size is 2/4 (if 4/4 - not); in this case, one movement is made for 1 beat, thus slowing down the tempo.

Battements frappes – size 2/4; tempo – allegro, clear and small rhythm. Squareness matters only at the initial stage. A rhythmic pattern is desirable from small durations, better on staccato. There may be a delay. Rhythmic expansion is required more at the initial stage, when the tempo is slow, than when the movement has already been “developed.”

Adagio – size 4/4, *; The character of the music is smooth and calm. The pace of performance is slow. This exercise is included in the exercise in the fourth year of study instead of developpe. Squareness is not of decisive importance, just like the rhythmic pattern. Having a backtack is possible, but not required. Metrorhythmic decomposition is not required. In meter *, the tempo of the musical fragment is faster than in 4/4 time.

Anler – size 4/4, 2/4, *; The character of the music is smooth, the tempo is adagio. At the initial stage, squareness is of great importance. The rhythmic pattern is not important. There may be a delay. Decomposition into longer durations is not required due to the slow tempo of the movement. In size ¾, the tempo of the melodies will speed up, and the character will become more airy (in size 2/4, the opposite is true).

Battements developpes – size 4/4, 3/4; The nature of the music is smooth, calm, adagio, lento tempo. Since this movement precedes adagio, for better assimilation, square musical fragments should be selected. The rhythmic pattern doesn't matter. It is possible to start the movement from the start. Metrorhythmic decomposition of musical material is not required. The pace of performance is slow.

Grant battements jetes – size 2/4, *; the character of the musical fragment is cheerful, energetic; tempo from allegretto to allegro moderato. At the initial stage, a clear square is needed. The rhythmic pattern plays an important role. Emphasis on the strong beat is required. In size S, the presence of a beat is necessary. Decomposition into larger durations is possible at the initial stage of training; the pace varies depending on the technical “advancement” of the students - from slow to fast.

Based on the above, we can formulate the principles that guide the accompanist when choosing musical fragments for stick exercises.

· At the initial stage of learning, exercises are performed at a slow pace (one movement per 1 beat).

· All movements of classical exercise are divided into slow and fast, with a clear rhythm, and smoothly sliding. And musical fragments are selected according to the same principle: slow (in 4/4, 2/4); with a syncopated rhythm (in sizes 2/4, S, 4/4); at a moderate tempo (at 2/4 and *).

· At the initial stage, you should pay attention to improvisational musical transitions (connections) after every four measures (in the form of two or four chords), which are used to change position.

· It is necessary to remember about squareness, that is, one movement is made with a cross for 4 measures, then there is a change. A musical fragment is divided into phrases, each of which consists of four measures. The complete combination is 4 musical phrases, and thus a complete musical sentence of 32 measures is obtained. When the tempo increases and one movement is made for each beat, the phrase is reduced to 16 bars, but at the same time it must be musically complete.

· The introduction to each exercise for which the hands are “opened” is called preparation. At the initial stage of training, this section can be extensive (8 bars or more), and then short (2 bars and 4 bars).

· At the initial stage, exercises are learned on the strong beat. And as you memorize them, a beat is needed, especially for the exercises battements tendus, battements tendus jetes, battements frappes, petit battements. Therefore, you should immediately select two versions of music for them, with an emphasis on the strong and weak beats, with a fine rhythmic pattern (possibly on staccato).

· For movements that emphasize the kicking of the leg, musical fragments are selected with an emphasis on the first beat, or you can independently emphasize it during the game. This applies primarily to grand battements jetes.

· At the initial stage of learning, when a piece of music is taken in 2/4 with a small rhythm, it is important to decompose it into larger durations, but so that the character of the music does not change.

· The tempos of the selected musical fragments should vary in different sizes - in different ways. For example, 2/4 – in allegro, andante, largo; * – in adagio, andantino; 4/4 – lento, andante, vivo.

· Often the tempo is accelerated due to the fact that at the beginning one movement is performed for a whole measure, then only for strong beats. Thus, to the same piece of music, the movement can be performed both quickly and at a slow tempo.

· For simple combinations, you should give simple musical fragments with a clear melody, in a simple meter, with a simple rhythmic pattern. In cases where more complex meters are used, the square combination is performed on S, the tempo is accelerated, but the nature of the music corresponds to the movements (smooth, lyrical or sharp).

· Musical material gradually becomes more complex in each year of study.

· At a later stage of training, when more complex combination options are offered for study, the accompanist should pay attention to the fact that combinations can be connected. For example, battements tendus is combined with battements tendus jetes - and the musical fragment should consist of two parts, with the second part having a clearer rhythm. If battements fondues are combined with battements frappes, then the first movement is smooth (4/4), and the second with clear sharp accents (2/4). The musical fragment must correspond to this. There are many variations of such combinations, and the accompanist’s task is to accurately select the fragment so that it musically captures the change in movement. To do this, you need to remember about squareness, tempo, size, beat, rhythmic pattern.

· Exercises may include poses. If the musical fragment was at a slow tempo, then this does not play a significant role, especially if the pose is added at the end. If it is in the middle, then the musical square moves apart. If the musical fragment was fast, then at the moment of the pose it should switch to a smooth lyrical melody at a slow tempo. When any exercise is completed, the departure from the initial position occurs by 2 additional final chords. It should be noted that all the basic exercises of classical pole exercise are performed in the same way in the middle of the hall (but in a more simplified version); later allegro is added to them.

The work of an accompanist includes both purely creative (artistic) and pedagogical activities. The pedagogical side of the activity is especially clearly revealed when working with students in the choreography class.

The accompanist must have a special, selfless love for his specialty, which (with rare exceptions) does not bring external success - applause, flowers, honors and titles. He always remains “in the shadows”, his work dissolves in the general work of the entire team. “An accompanist is the vocation of a teacher, and his work in its purpose is akin to the work of a teacher.”

Literature

1. Vorotnoy M.V. On the accompanist skill of a pianist: on the problem of obtaining qualifications at a university // Problems of musical education and pedagogy: Collection of scientific works / Scientific. ed. . – St. Petersburg, Russian State Pedagogical University named after. , 1999. – Issue. 2. – pp. 66–70.

2. Goroshko training of a pianist-accompanist: from a narrow focus to a versatile education of performing skills // Musical education on the threshold of the 21st century in the context of the evolution of domestic musical art: Materials of the Russian scientific and practical conference December 17–18, 1998 / Orenburg. state Pedagogical University; Ed. coll.: , etc. - Orenburg: OGPU Publishing House, 1998. - P. 98–100.

3. Classical dance / Comp. D. Yarmolovich. – St. Petersburg: Music, 1985. – 148 p.

The open lesson consists of two parts. In the first part, the accompanist-teacher reveals main topic lesson - features of the work of an accordionist, making a generalization of creative and pedagogical activity accompanist, highlights psychological and professional qualities, formulates the main stages of musical accompaniment, determines the characteristics of the selection of musical fragments. The second part shows part of the open lesson: exercise at the stanua, work in the middle of the hall.

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Municipal budgetary educational institution

additional education

"Simferopol Children's Art School"

Simferopol Republic of Crimea

Methodological report for an open lesson

“Features of the work of an accordionist

In a folk dance class"

Prepared

additional education teacher,

accompanist category I

Choreographic department,

button accordion class teacher

Smirnova Elena Ivanovna

Simferopol 2015

Lesson topic : “Features of the work of an accordionist in a folk dance class”

Class : 7th grade department modern choreography SDSHI folk dance lesson

Lesson type : Lesson on the integrated application of knowledge

Purpose of the lesson : Generalization of the creative and pedagogical activities of an accompanist, identification of the main professional and psychological qualities necessary for the full-fledged work of a populist accompanist using the example of work in the SDSHI with the 7th grade of the department of modern choreography in a folk dance lesson

Objectives of the lesson /choreographer/:

developing the ability to independently apply knowledge in a complex, under new conditions;
practicing the basic movements of Russian, Belarusian, Western Ukrainian dances in exercise at the barre and in the middle, in dance compositions;
nurturing artistry and musicality in the execution of movements

Lesson Objectives /accompanist/:

development of musical perception of meter rhythm;
rhythmic execution of movements to music, the ability to perceive them in unity;
development of the ability to coordinate the nature of movement with the nature of music;
emotional perception of folk music and sense of rhythm

Lesson plan:

I.I Methodological report

Introduction

1.Knowledge of the specifics of choreographic art

2. Pedagogical functions of the accompanist

3. Interaction between the accompanist and the choreographer

4.1.Methods and techniques for musical development of students

At choreography lessons

4.2.Main stages of musical accompaniment in lessons

Folk stage dance

4.3.Basic properties of musical fragments

5. Signs of selection of musical fragments

6. Knowledge, skills and abilities of an accompanist

Conclusion

Literature

II. Showing part of an open lesson

Exercise at the machine, work in the middle of the hall

III.Discussion

Introduction

At the Simferopol School of Arts I work as a teacher in the button accordion and accordion class, accompanist of the junior group of the vocal ensemble “Sudarushka”, accompanist of folk dance in the department of modern choreography and rhythm lessons. My work activity began more than 30 years ago precisely with work as an accompanist of folk dance in a choreographic group.

I have been working with the choreography teacher, Irina Alekseevna Demenova, as an accompanist for a total of more than 5 years. And today we will show an excerpt from a lesson with 7th grade students of modern choreography on the subject “Folk Dance”. A special feature of working with this class is that the children study in the modern choreography department and have only 4 folk dance lessons per week. According to the program, the study of folk dance movements is introductory. However, students study and practice them, which are later successfully used by the teacher in concert numbers.

Folk stage dance is one of the main subjects of a special cycle of choreographic disciplines. At folk stage dance lessons, children get acquainted with the dances of peoples of different nationalities; the main task of the teacher is to teach students to accurately and expressively convey the national character of the dance.

Folk dance is organically connected with music. She imparts expressiveness and completeness to every movement. The basic principles of musical design of a lesson are the correspondence of the music to the nature of the movement, its tempo, rhythm, and style. The selection of musical works is carried out taking into account the nature of the movements. Music imparts expressiveness and completeness to each movement; the musical material is bright, colorful and rhythmically convenient, and corresponds to the movement in character, style, and national coloring.

The design of the lesson should instill in students a conscious attitude towards a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, dynamics.

In folk stage dance classes, students, getting acquainted with the dances of peoples of different nationalities, become familiar with the best examples of folk music, thus forming their musical culture, developing their ear for music and imaginative thinking, which help them perceive music and movement in unity during production work . The accompanist unobtrusively teaches children to distinguish the character of a musical piece

Knowledge of the specifics of choreographic art

A lesson in a choreography class consists of a number of different movements, performed in order of gradually increasing difficulties and repeated several times to develop and practice the technique of execution. Creatively, a lesson consists of exposition, climax and conclusion. The structure of the lesson contains three parts: exercise (from the French exercice - exercise) at the ballet barre, exercise in the middle of the hall and Allegro. The exercise consists of the same dance movements, following in a certain and established order - from simple to complex. All movements of the lesson, all its educational material is voiced and framed with music.

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages (from beginning schoolchildren to graduates), with teachers of different dance styles - classical choreography, folk and modern dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of a given age category and dance direction, is not easy. There is only one way - constant improvement, a serious creative approach to work. The accompanist must be a “universal” musician.

First of all, the populist accompanist must know the specifics of choreographic art.

Mastering dance terminology.

It is necessary to clearly know what exercise we are talking about. Musical terms of Italian origin, and choreographic ones are of French origin. Therefore, the accompanist must understand the teacher-choreographer in order to choose the right musical accompaniment for a particular exercise. For example,Plie, Demi plie, Grands plie (French)is an exercise based on squats of different amplitudes: half squats or full, deep squats. This means that the musical accompaniment is of a smooth, soft nature at a slow tempo (4/4, 3/4 time signature). OrBattements tendus (Battements tendus jetes)– extension of the leg onto the toe (or a sharp small throw). In these exercises, the leg sharply moves forward, to the side, back, and returns to the position. Therefore, the musical design must be very clear. The musical time signature for both exercises is 2/4, 4/4.

Knowledge of how to perform a particular exercise.

In order to clearly imagine the structure of the exercise, superimposing a piece of music on it, correctly placing emphasis, and helping the movement with dynamic shades.

The correct ratio, matching the exercise with the musical material. Be able to quickly navigate the musical text.

The fact is that the teacher can stop the lesson at any place or start working on any part of the exercise separately. And for this, the accompanist must know from which place in the musical material to play the passage to practice this or that movement.

Knowledge of the execution of all choreographic exercises that students master in lessons.

This is necessary in order to conduct a full lesson in the absence of the teacher, since the accompanist is also assigned pedagogical functions.

The work of an accompanist in an ensemble with dancers.

Correct work in an ensemble is a necessary quality in accompanist practice. While playing, the accompanist clearly realizes that he is not an independent performer, but through his playing he helps to penetrate deeper into the emotional structure of the dance.

During performance, the different physical abilities of the students are also taken into account. Here the problem of tempo correspondence between choreographic performance and its musical accompaniment arises. Each child has his own personal pace, which is due to good reasons. One student, say, has a small jump and little stability, while another has excellent balance and a natural ability to jump high. When performing one movement, they perform it in different ways, therefore the accompanist conveys agogic micro-accelerations or decelerations, almost imperceptible gradations that are present in the performance of each dancer.

The accompanist must contribute to the development of active musical perception of children and their inclusion in the process of co-creation.

You can offer children two or three similar accompaniment themes to choose from and use the material that they like best by ear.

Attention accompanist.

It's voluminous. The amount of attention largely depends on knowledge of objects and their connections with each other: the work of hands, furs, musical material, attention to children and the teacher. How to help movement with tempo, emphasis, dynamic shades, etc. You need to keep the whole class in sight at all times.

Work with musical material, selection of musical material for folk stage performances, concert performances.

The selection of musical fragments is subject to the following requirements: character, tempo, meter rhythm, form of the musical work.

Pedagogical functions of the accompanist

The responsibilities of the accompanist include participation in solving educational and educational problems. Naturally, education in a choreography class is impossible without a faithful assistant teacher - an accompanist, who is always present at all classes and rehearsals.

I. The primary task of the accompanist in choreography classes is musical and rhythmic education.

Musical-rhythmic movements are a type of activity based on motor-plastic elaboration of musical material.

Musical and rhythmic activity of children has 3 interconnected areas:

provides musical development and includes development musical ear;
mastering musical knowledge;
formation of skills to subordinate movements to music.

Musical and rhythmic activity provides correct motor skills and ensures the formation of the ability to control body movements. This means that a base of knowledge, skills and abilities is needed. The choreographic basis is provided to the students by the teacher-choreographer, and the musical basis is provided by the accompanist.

II. The accompanist helps create an artistic image.

Movements to music enhance the emotional impact of music and help trace the development of an artistic image. Dance is the creation of an artistic image to the music. It turns out that the role of the accompanist in this process is obvious. He must select the musical material so that the music matches the image. The goal of the classes is to develop in children the ability to listen to music, to combine dance movements with music, to instill a love for musical movement, to be able to move freely to any music, to prepare children as sensitive listeners, and then performers who draw inspiration, joy, support from music, to awaken there is creativity in them.

Together with the teacher, he directly participates in the educational process and musical education of students
Carries out preparatory work to coordinate activities in the lesson
Promotes the development of artistic taste in students, the expansion of musical and figurative ideas, stimulating the development of creative individuality
Awareness of basic movements, ability to simultaneously play and see dancers
Participates in the activities of pedagogical and other school councils, in the work of holding parent meetings, consultations, educational and other events provided for by the school program of activities, work plans
Performs duties related to the educational process - preparation and participation in competitions, concerts, seminars, etc., organization and conduct of cultural events
Replaces a temporarily absent teacher in lessons
Studying experience in aesthetic education of children in choreographic groups of other organizations

Interaction between the accompanist and the choreographer.

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. The teacher and accompanist must certainlybe in creative contact, it is good to know the choreographic and musical material of each lesson. And here we can talk about a subjective position, because a significant role is played bypsychological compatibility, personal qualities of an accompanist and choreographer. For real creativity you needatmosphere of friendliness, ease, mutual understanding. It is important that the accompanist be a friend and partner. Only from the position of a creative approach is it possible to realize all plans and have high performance in the performing activities of students in choreographic classes.

Co-creation of the teacher-choreographer and accompanist is necessary in all areas: planning, implementation of programs, educational and production work. The arrangement of the classes does not depend on the accompanist, it is up to the choreographer to decide. But what the return will be, on what emotional level they will take place, largely depends on the musician, on the music he has selected and offered.

Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria and a sense of artistic proportion. Constantly playing the same works during lessons leads to mechanical, unemotional performance of exercises. The other extreme is also undesirable: too frequent changes of accompaniments scatter the attention of students and do not contribute to their assimilation and memorization of movements.

Methods and techniques of musical development

Students at choreography lessons

The primary source of knowledge is music itself, only it awakens a person’s “musical” feelings. First, work begins on gaining experience in listening to music.
The second source of knowledge is the word of the teacher and accompanist, which leads to the understanding and perception of the musical image of specific musical works.
The third source is directly

Musical and dance activities of the children themselves.

To develop the “musicality” of performing a dance movement, the following work methods are used:

visual-auditory (listening to music while the teacher demonstrates movements)
verbal (the teacher helps to understand the content of a musical work, awakens the imagination, promotes creative activity)
practical (specific activities in the form of systematic exercises)

The main musical idea embedded in the work is melody, the basis of music. The most important element of music is rhythm. Another characteristic feature is the alternation of heavy sounds with lighter ones - this is the concept of meter in music. Tempo as speed is fundamentally the same in both music and dance. Dancing children should know, understand, and identify all these characteristics. And this is the basics of musical literacy.Rhythm, melody, meter, harmony, timbre - together they make up the language of music, and the accompanist teaches children to understand it.A subtle sense of music perception develops in children during the organic connection of movement and musical phrase (beginning and ending).

The accompanist teaches the execution of “commands”: the beginning of the melody - the beginning of the movement, the end of the melody - the end of the movement. The ability to fit into a musical phrase is developed.

The main stages of musical accompaniment

at folk stage dance lessons.

First stage – initial acquaintance with a piece of music.

Here the tasks are set: to familiarize students with musical fragments, teach them to listen attentively and respond emotionally to the feelings expressed in them, and be able to accurately perform the introduction.

Second stage – formation of skills in the field of musical performance of movements, perception of musical accompaniment in unity with movements.

Here the tasks are set: the ability to perform movements in accordance with the nature of the music, in-depth perception and transmission of the mood of music in motion, coordination of hearing and the nature of movements. At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material for each movement in accordance with the requirements (squareness, rhythmic pattern, character of the melody, presence of a beat, meter-rhythmic features, tempo, size).

Third stage – education and consolidation of skills, that is, automation of methods for performing tasks in strict accordance with the character, tempo, and rhythmic pattern of a musical fragment.

He sets the following tasks: emotionally expressive exercises, development of independent creative activity of children. At this stage, everything that was practiced during the learning process at the second stage is consolidated. Auditory and visual control is reinforced by motor control. The method of performing a task is automated. Students consciously solve problems assigned to them, relying on acquired listening and dancing skills.

In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of the form, and the brightness of the images. Children develop an interest and love for music. Through musical images, children learn about the beauty in the surrounding reality.

Basic principles of selection of musical material

for folk stage dance.

Studying folk stage dance usually begins with learning exercises at the barre. The selection of musical material for classes is carried out by the accompanist in accordance with the program requirements of the choreographer. Exercises at the barre consist of specific exercises, each of which has its own specific musical requirements.

In the first year of training in folk stage dance, children are given basic initial ideas about it. At the initial stage, this is done on familiar or simple musical material, so that it is easier for students to organize their movements in accordance with the music. Further, the combinations become more complex, and the musical material becomes more complex.

The musical accompaniment of dance lessons must be very accurate, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study, and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual and creative approach in selecting the musical design of the lessons.

Let us dwell on the principles of the accompanist's approach to the selection of musical fragments for exercises at the barre, which throughout the entire training has a certain set of elements that are studied from year to year, but, as they are mastered, they constantly become more complex and combined.

The musical arrangement of folk stage dance lessons should be very diverse in both melody and rhythm. The nature of the rhythms often changes during the lesson.

When learning a new movement or its individual elements, the rhythm should be simple, the melody should be uncomplicated and accessible. Then, in the process of work, the musical material becomes more complex, the rhythmic pattern within the beat becomes more complex, the shape and size change

musical fragment.

Basic properties of musical fragments

To work at the machine

Squareness - at the initial stage it is very important that the work can be divided into squares. This means that one movement is made 4 times: with a cross - forward, to the side, back, to the side. A square consists of measures in 2/4 or 4/4 time. Later, as the dance technique is acquired, the tempo accelerates, but the squareness remains.
A certain rhythmic pattern and tempo.

To perform movements such as slow squats, circular movements of the leg, the rhythmic pattern does not matter much, but the tempo does. It should be slow and the melody should be lyrical, as the movements are performed smoothly and slowly. To perform exercises on foot mobility and small throws, a clear rhythmic pattern is required, as well as the presence of a syncopated rhythm. These movements are performed at a fast tempo in eighth notes; musical fragments must contain sixteenth and eighth notes (2/4 or 4/4 time when performed slowly).

The presence of beats - any beat is of no small importance in the execution of the movement, in addition, it determines the tempo of the entire exercise. Any beat, in addition to determining the tempo of the exercise, makes the musical fragment clearer, activates the exercises, emphasizing the weak beat. The upbeat can be used in all exercises, as it is easier to start the movement from there.
Tempo features - when accompanying a lesson, the musical tempo is determined by the frequency of coincidence of the pulsation with certain moments of movement. Students and the accompanist know the basic tempo of the combination in advance, because the nature and characteristics of the elements imply a certain tempo of execution. The tempo is constantly adjusted by the teacher and accompanist. The most important indicator of tempo for an accompanist is the movements of the legs, because... movements of the hands and head are most often smooth, leading or lagging.
Metrorhythmic features - dance movement, if necessary, can be represented in any musical meter. What is important is only the typical way of performing the movement in relation to the strong beat (“due to the beat” or “at one time”).

Bipartite meters have such properties as clarity, elasticity, and some elementality compared to other meters. Tripartite meters are perceived as more flexible and soft. Musical meters 6/8 and 12/8, along with the qualities inherent in three-beat meters, have regularity and the ability to divide the beat in half, which is very convenient from the point of view of choreographic scoring.

Signs of selection of musical fragments

for basic barre exercises.

Squats – time signature 4/4, 3/4, 2/4, the music is smooth, the tempo is moderato. The fragment must be square; the presence of an even rhythmic pattern does not matter. It is desirable to have a backtact.

Exercises to develop foot mobility– size 2/4 34 the nature of the music is clear, cheerful, allegro or allegretto tempo. For a musical fragment, squareness is desirable. The rhythmic pattern is of great importance. In addition, the possibility of metrorhythmic decomposition is important. At the initial stage, the movement is done at 2/4 and 4/4 at a slow pace, then at 2/4 at a fast pace. The timing and its emphasis are also of great importance for the accuracy of execution and conveying the nature of the movement.

Small throws– size 2/4; tempo - allegro, clear rhythmic pattern (syncopated if possible). At the initial stage, squareness and a clear rhythm with an emphasis on “and” are important. The presence of a takt is necessary from the initial moment of study. Metrorhythmic decomposition up to a quarter is possible. At the beginning, the tempo in 2/4 time is slow, then fast.

Circular movements of the leg– size 2/4, 4/4, 3/4; the character of the melody is smooth, the tempo of performance is moderate, but as the movements are mastered, it increases. Metrorhythmic decomposition is required only at the initial stage if the size is 2/4 (if 4/4 is not necessary). In this case, one movement is made for 1 beat, thus slowing down the tempo. If the fragment is selected in 2/4, then the tempo should be slow, and if the size is 3/4, it should be faster.

Heel exercises- size 2/4, the character of the melody is bright, cheerful, allegro tempo, a clear rhythmic pattern is required. The squareness matters, the beat is possible.

Low and high leg swings– time signatures 2/4, 4/4 and 34, the character of the melody is smooth, the tempo is moderato. At the initial stage, squareness is required, a certain rhythmic pattern does not matter, a beat is possible. Metrorhythmic decomposition is required at the initial stage if the size is 2/4 (if 4/4 - not); in this case, one movement is made for 1 beat, thus slowing down the tempo.

Fractional tappings- size 2/4, 3/4 The character of the melody is bright, cheerful, the tempo is moderato, a clear rhythm is necessary. Squareness matters. Possible contact.

Exercises with a relaxed foot– size 2/4; tempo – moderato clear rhythm. Squareness matters only at the initial stage. A rhythmic pattern is desirable from small durations. There may be a delay. Rhythmic expansion is required more at the initial stage, when the tempo is slow, than when the movement has already been “developed.”

Preparing for the rope- size 2/4, tempo-allegretto, moderato. The character of the music is bright, cheerful. The rhythmic pattern is clear. Square musical fragments should be selected.

Leg opening90 – size 4/4, 3/4; the nature of the music is smooth, calm, moderato tempo, perhaps allegro moderato. For better assimilation, you should select square musical fragments. The rhythmic pattern doesn't matter. It is possible to start the movement from the start. Metrorhythmic decomposition of musical material is not required.

Big throws – size 2/4, 3/4; the character of the musical fragment is cheerful, energetic; tempo from allegretto to allegro moderato. At the initial stage, a clear square is needed. The rhythmic pattern plays an important role. Emphasis on the strong beat is required. In 3/4 time, the presence of a beat is necessary. Decomposition into larger durations is possible at the initial stage of training; the pace varies depending on the technical “advancement” of the students - from slow to fast.

Based on the above, we can formulate the principles that guide the accompanist when choosing musical fragments for exercises at the barre.

At the initial stage of learning, exercises are performed at a slow pace (one movement per 1 beat).

All exercise movements at the machine are divided into slow and fast, with a clear rhythm, and smoothly sliding. Musical fragments are chosen according to the same principle: slow (in 4/4, 2/4); with a syncopated rhythm (in measures 2/4, 3/4, 4/4); at a moderate tempo (at 2/4 and 3/4).

It is necessary to remember about squareness, that is, one movement is made with a cross for 4 beats. A musical fragment is divided into phrases, each of which consists of four measures. The complete combination is 4 musical phrases, and thus a complete musical sentence of 32 measures is obtained. When the tempo increases and one movement is made for each beat, the phrase is reduced to 16 bars, but at the same time it must be musically complete.

Preparation for each exercise for which the hands are “opened” is called introduction. At the initial stage of training, this section can be extensive (8 bars or more), and then short (2 bars and 4 bars). All introductions should be performed exactly in accordance with the tempo and character of the selected music. There must be a backlash pause before starting the exercise (sigh).

At the initial stage, exercises are learned on the strong beat. And as you memorize them, a tact is necessary, especially for exercises to develop the foot and small throws. Therefore, you should immediately select two versions of music for them, with an emphasis on the strong and weak beats, with a fine rhythmic pattern.

For movements that emphasize the kicking of the leg, musical fragments are selected with an emphasis on the first beat, or you can independently emphasize it during the game. This applies primarily to large throws.

At the initial stage of learning, when a musical fragment is taken in 2/4 with a small rhythm, it is important to decompose it into larger durations, but so that the character of the music does not change.

Often the tempo is accelerated due to the fact that at first one movement is performed for a whole measure, then only for strong beats. Thus, to the same piece of music, the movement can be performed both quickly and at a slow tempo.

For simple combinations, simple musical fragments with a clear melody, in a simple meter, and a simple rhythmic pattern should be given. In cases where more complex meters are used, the square combination is performed in 3/4, the tempo is accelerated, but the nature of the music corresponds to the movements (smooth, lyrical or sharp).

Musical material gradually becomes more complex in each year of study.

At a later stage of training, when more complex combination options are offered for study, the accompanist should pay attention to the fact that combinations can be connected. For example, exercises to develop foot mobility are combined with small throws, etc. There are many options for such combinations, and the accompanist’s task is to accurately select a fragment so that the change in movement is musically captured in it. To do this, you need to remember about squareness, tempo, size, beat, rhythmic pattern. When performing combinations, the close connection between music and movement becomes of great importance. Smooth, melodious music imparts special expressiveness to smooth, continuous movement. A cheerful, lively, clear rhythm emphasizes the lightness, clarity, and cheerfulness of movements in folk dance.

So, the main principle of musical design of the lesson is

Folk stage dance is the correspondence of the music to the nature of the movement, national color, its tempo, rhythm, style. The selection of musical works is carried out competently, taking into account the nature of the movement and music.

Guided by the above, the accompanist will make the right choice in the musical arrangement of the lesson, and then folk dance will help children enjoy life and movement in it and will become the most interesting and fun lesson.

Knowledge, skills and abilities of an accompanist

Knowledge of legislative documents Russian Federation on education, culture and the arts, including the Declaration of the Rights of the Child
Knowledge of teaching methods, conducting classes and rehearsals, knowledge and preparation of educational programs. Participation in the educational process, musical education of students
Knowledge of the basics of pedagogy and psychology
Development together with teachers of special and major disciplines thematic plans and programs
Knowledge of the basics of choreography, ballet terminology of classical dance, folk stage dance, historical and everyday dance, modern dance
Knowledge of musical literature, works of different eras, styles and genres, Russian, Soviet, foreign literature, ballet and instrumental, symphonic, opera, vocal music
The ability to compose musical fragments, select music for individual elements of movement, taking into account the individual abilities and physical data of students
Ensuring highly artistic and professional performance of musical material in lessons, classes, performances
Arrangements of musical works from scores, audio recordings, works of vocal and instrumental music
Sight reading fluency
Transposing musical works
Possession of basic improvisation skills
Drawing up holistic musical compositions(by style, era, genres) for productions in high schools in all disciplines of the special cycle
Improving professional skills
Update of the repertoire once a year at the request of the teacher-choreographer
Knowledge of labor protection rules and regulations, internal labor regulations, safety precautions and fire protection
Possesses professionally important qualities: musical talent; the ability to work long and concentrated, artistry, endurance, tolerance, communication skills.

II. Speech by class students:

Bow - in the Russian character, solemnly slowly (theme by A. Varlamov “Red Sundress”)

Warm-up in the middle of the hall(E. Karasev “Polka”, Belarusian polka)

Exercise at the machine:

Plie (Plie) - on the theme - V. Kukarin “Ural Lyrical”

Battementtendu (Batman tandu) - on the theme of the Western Ukrainian dance “Kolomyyka”

Battementtendujete (Batman tandu jete) - on the theme of the Belarusian dance “Bulba”

Heeled Battement (Heeled Batman) - on the theme of V. Temnov “Quadrille”

Rond de jambe parterre (Rond de jambe parterre) - on the theme of the Polish dance “Cuckoo”

Battementfondu (Batman fondue) - on the theme of Hungarian dance

Preparation for "Rope" - on the topic of R.N.T. "Lady" part 1

Double "Rope" - on the theme of r.n.t. "Gander"

Grandbattement (Grand Batman) – theme r.n.p. "I'll go outside"

Exercise in the middle of the hall:

Rotation with stop – var. on the topic “Mistress” 1 hour.

Rotation in bege-var. on the topic “Mistress” 2 hours.

"Pancakes" - pieces for accordion - theme of r.n.p. "Dunya transportation"

"Hammers" - "Drobushki"

"Motalochka" - "Dance with a button accordion"

The main move in a circle is a dance composition in the nature of the Russian dance “Yablochko”

Dance composition in the nature of Tatar dance

An extended combination based on male tricks - the theme of the song “Crew”

Bow of the students.

Summing up the performance.

Conclusion

Students are recommended to pay more attention to working on the ensemble, not to stop there, and to comprehensively master the varied and complex virtuoso techniques of folk dance. And, of course, take part in many concerts of the school, city, in competitions and festivals of choreographic art.

The skill of an accompanist is deeply specific. It requires from the musician not only great artistry, but also versatile musical performance talents, excellent ear for music, special musical skills in reading and transposing various scores, and improvisational arrangement of musical material.

The activity of an accompanist requires the musician to use multifaceted knowledge and skills in courses in harmony, solfeggio, polyphony, music history, and analysis of musical works.

Full-fledged professional activity of an accompanist presupposes the presence of a complex of psychological personality qualities, such as a large amount of attention and memory, high performance, mobility of reaction and resourcefulness in unusual situations, endurance and will, pedagogical tact and sensitivity. The accompanist must have a selfless love for his specialty, which does not bring external success. He always remains “in the shadows”, his work dissolves in the general work of the entire team.

Literature used:

Blok L.D. Classical dance and modernity – M, 1987
Bezuglaya, G.A. Ballet accompanist: musical accompaniment for a classical dance lesson.
Working with the repertoire: Textbook. manual / G. A. Bezuglaya. – St. Petersburg: Academy of Russian Ballet named after. A. Ya. Vaganova, 2005.
Kryuchkov, N. A. The art of accompaniment as a subject of study / N. A. Kryuchkov. – L.: Muzgiz, 1961. 4. Music genres/ General ed. T. V. Popova. – M.: Muzyka, 1968.
T. Tkachenko. Folk dances. - M., 1975.
Klimov A. Fundamentals of Russian dance. – M., 1994.
Gusev G.P. Methods of teaching folk dance. Exercises at the machine. - M., 2002.
Gusev G.P. Methods of teaching folk dance. Dance moves and combinations in the middle of the hall. - M., 2004.
Revskaya, N. E. Classical dance: Music in the lesson. Exercise. Methods of musical arrangement of a classical dance lesson / N. E. Revskaya. – St. Petersburg: Composer, 2005.
Kholopova, V. N. Forms of musical works: Textbook. manual / V. N. Kholopova. – 3rd ed.,
Yarmolovich, L. I. Principles of musical design of a classical dance lesson / L. I. Yarmolovich; Ed. V. M. Bogdanov-Berezovsky – 2nd ed. – L.: Music, 1968.

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