Introduction

The technique of learning the game on wind instruments is an integral part of the musical pedagogical science considering the general patterns of the learning process on various brass instruments. Russian pedagogical science in the field of perforing on wind instruments has no more than 80 years. She reached new frontiers perceiving and developing on all the best that it was typical of the Russian school game on wind instruments. Her successes are known not only in our country, but also abroad.

Composer Gediqa wrote: The technique of the game on wind instruments went ahead to so much that if the best performers especially on copper 50-70 years ago heard our hot spirits, they would not believe their ears and would say that it was impossible.

It should be recognized that the theory of learning techniques on wind instruments as part of pedagogical science among other techniques is the youngest. Each generation of hot spirits contributes to the methodology. The learning technique on which or tool is part of pedagogy.

Word Methodik Greek origin translated into Russian - way to something. The technique is a set of ways that are techniques to perform any work (Research, Educational). In the narrow sense of the word Methods, this is a way of teaching a particular subject on the basis of the analysis and generalization of the best teachers, musicians and performers.

The technique studies patterns and techniques individual learning. The technique contributes to the upbringing of a common musical culture, expands the horizons of the performers. The technique is closer to the touch with the specialty. An outstanding performer and teacher, which was the beginning of the development of the Soviet methodology was Rozanov. His work of the Basics of Teaching on Wind Instruments Moscow 1935 was the first difficulty for the scientific basis.

In his work, he formulated the principles that became the main in the Methodological School on Wind Tools:

1. The development of technical skills in students should take place closely with artistic development.
2. In the process of studying the student over musical work It is necessary to seek his assimal assimilation and then will be stronger.
3. The correct setting should be based on the knowledge of the aloomy and physiology of the bodies of participating during the game.

The main issues of the methodology formulated by Rozanov received the development of Professors Platonov, Usov, gunnikov, Dokshser, Warwit.

The presence of a solid theoretical base allows you to raise the teaching of the game on various musical instruments to a new high-quality stage.

Psychophysiological foundations of the performing process on wind instruments.

Music performance is an active creative process based on the complex psychophysiological activity of the musician.

You need to know this wording as our own. Directly emphasize this wording. The playing on any tool should coordinate the actions of a number of components:

• vision
• hearing
• memory
• motor feel
• musical aesthetic ideas,
• volitional effort.

This is also a very important point. It is this diversity of psycho-physiological actions by a musician in the process of the game and determines the complexity of musical equipment.

The further path of the scientific substantiation of the music and performance process was associated with the study of the physiology of the highest departments of the central nervous system. The teachings of the great Russian physiologist academician I.P. Pavlova on the highest nervous activity, on the inseparable relationship of all life processes, the teaching on the cerebral cortex - as a material basis of mental activity, helped advanced musicians to change the approach to the rationale for the executive equipment.

Teachers and performers became deeper than the work of the brain during the game. They began to pay more attention to the conscious assimilation of the goal and tasks. The basic principles of the work of the cerebral cortex is coordinated human activity is carried out through complex and thin nervous processes of continuously occurring in the cortical centers of the brain.. The basis of these processes is the formation of conditional reflex.

The highest nervous activity develops from two most important and physiologically equivalent processes:

1. the excitement that underlies the formation of conditional reflexes;
2. internal braking providing phenomena analysis;

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

The game of the game on a musical instrument as one of the types of human labor activities.

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

Studying in a music college is like work. it whole line complex coordinated functions: (visual, auditory, motor, volitional), carried out on the basis of conditional reflexes of the second brain signal system.

Let's try to imagine how it happens almost during the game of the instrument.

When looking at the musical signs, the performer is primarily irritation in the visual region of the cortex (the brain is meant). As a consequence, there is an instant transformation of primary signals into a visual representation of the music text. Through thinking, the musician determines the position of notes on notonic, the duration of the sounds of their volume, etc. The visual perception of sound at the playing is usually associated with auditory views. The excitation of visual centers spreads captures the auditory area of \u200b\u200bthe cortex that helps the musician not only to see the sound but also hear that is, to feel its height, volume, timbre and the like. Noise hearing views At that time, they call the musician the corresponding performing movements necessary to play data sounds on the instrument. Motor pulses are transmitted to the performing unit: lips, tongue, breathing, movement of fingers, hearing. And as a result of internal braking, the necessary movements are caused: lips, tongue, fingers.

This is where the motor setting is carried out as a result of which the sound is born.

Sound oscillations in turn cause irritation of the auditory nerve, which due to the possibility of establishing inverse physiological bonds is transmitted to the auditory queue of the crust and provides the corresponding perception of executable sounds. Hearing analysis. Thus, the sound formation process on wind instruments can be imagined in the form of several interrelated united chains links.

A music sign - an idea of \u200b\u200bsound - Muscular and Musculoskeletal Installation - Performing Movement - Real Sound - Hearing Analysis. In the course of this complex conditionally reflex relationship, the central place belongs to the auditory sensations and ideas of the playing.

These are the psycho-physiological bases of sound recovery applied to the game on any musical instrument however, the execution on wind instruments has a number of specific features.

Acoustic base of sound formation on wind instruments

Unlike keyboard, broken and shock tools, where solid bodies are in the role of the vibrator (stringed - strings, special plates, drum skin) all wind instruments belong to instruments with a gaseous sounding body.

The reason for the occurrence of sound here is the oscillation of air airfold caused by special actions of pathogens. Specification specifics on wind instruments depends on the instrument device. Modern musical acoustics All brass tools shares into three groups:

• first group Labal from Latin wordslaba. (lip) They are also called whistles (include all kinds of swirls, flutes, some organ pipes),
• second group Language, cohesive or linguals from Latin lINGY (language) (all types of clarinets, all kinds of braes, sicks, all types of saxophones and bassitgorn),
• third group With the funnel-shaped mouthpiece, they are usually called copper (All types of cornets, pipes, horn, trombones, tubes, mountain, fanfare).

How is the sound formed?

On the flute that is a tool with a gaseous pathogen, the sound is formed as a result of friction of the exhaled jet of air on the sharp edge of the Ladium hole in the flute head. At the same time, the speed of movement of the air jet is changed periodically, which causes the occurrence of sound oscillations in the flute channel. All bunch belonging to tools with a solid causative agent form sounds with the oscillations of special reed plates (canes). The oscillatory process on these tools is regulated by the actions of two interactive forces: translational movement of the exhaled jet of air and the force of elasticity of canes.

The exhaled air jet flexs the sophisticated part of the cane to the outer, and the power of its elasticity causes the reed plate returns to the original position. These movements of the tongue (canes) provide intermittent bell-shaped air entry into the tool channel where the air column response occurs therefore the sound is born.

Another similarity is distinguished by the occurrence of sound on wind instruments with a funnel-shaped mouthpiece. Here in the role of a solid oscaculate pathogen of sound protrude central Lip Pages Embedded by Mouthpiece.

As soon as the exhaled jet of air enters a narrow lip slit, it leads to the lips into hesitations. These oscillations by changing the magnitude of the lifting hole create a periodic peculiar air movement in the tool mouthpiece. The result of this is alternate condensation or air discharge in the tool channel providing sound.

Having considered the acoustic bases of sound formation We find one general phenomenon: in all cases, the cause of the formation of sound is the periodic oscillation of the airfold of the enclosed in the tool caused by specific movements of various devices and sound pathogens.

At the same time, the oscillatory movements of the air jet, cane plates or lips are possible only under the condition of agreed actions of various components of the performingcraft.

Development of musical abilities in the process of upbringing a musician professional

Despite approximately equal mental abilities and the physical development of students, we have various results of their learning. An analysis of these phenomena shows that in the preparation of the Contractor, an intuitive principle that is, the presence of natural abilities is becoming crucial. V.M. Heat in his work "Psychology of musical abilities" music literature 1947 proves the possibility of developing all musical abilities based on congenital deposits. There may be no abilities that would not develop in the process of upbringing and learning.

What do we mean when we talk about musical abilities or musical deposits?

First of all, we mean musicality. This successful definition made Alekseev in his methodology learning the game on the piano. "Musical should be called a person who felt the beauty and expressiveness of music capable of perceiving in the sounds of a certain artistic content and if he is a performer, and reproduce this content". Music is developing in the process of proper well-designed work during which the teacher is bright and comprehensively discloses the content of the studied works illustrating their explanations by showing the tool or record.

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

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

Ear for music

Ear for music - This complex phenomenon includes such concepts as:

• sound (intonational),
• melodic (soft),
• harmonic,
• inner hearing.

Each of the named sides of the musical hearing has great importance in training. The performer absolutely needed a well-developed relative hearing, which makes it possible to distinguish the ratio of sounds in the height of the taken simultaneously or consistently.

This quality is extremely important for the orchestral musician. In the orchestra, the performer who listens to his group well is actively involved in it without breaking the ensemble. The ability to hear imaginary sounds, record them on paper and operate them called inner hearing. Music hearing is developing in the process of activity of the musician. It must be achieved so that all work with the instrument proceeds with tireless hearing control.

Lack of students inthat they do not control their game to the hearing instrument. This is the main lack of independent student work. Pedagogue in the specialty it is necessary to constantly take care of the development of all components of the musical hearing and above all the inner melodic hearing.

Development of inner hearing

Following the lessons of Solfeggio and the fulfillment of homework on this subject, the teacher in the specialty requires the fulfillment of the memory of friends earlier or newly heard musical passages ( patching by hearing), Transposition of familiar melodies into other tonality, improvisation, as well as writing music if there is enough data for this.

It is useful to teach students to analyze their or other execution, critically evaluating them. Therefore, it is necessary to go to concerts not only by its specialty: choir, chamber orchestra, brass, pop, ensembles, soloists, violinders.

For the development of melodic hearing, it is necessary to systematically work on cantilene (slow play). Cantilene (slow play) also develops excerpt because there is a large load on the lips, you take a lot of breath. Improving harmonic hearing is useful to analyze the texture of the studying musical work, play more in the ensemble, in the orchestra. Texture latin word In the portable value of the device, the structure of the musical fabric.

Well-developed musical rumor is the most important condition for the development of musical memory.

Musical memory - This is a synthetic concept that includes an auditory, visual, motor, logical. Musical memory is also amenable to development. Important for a musician that used have been developed at least three types of memory:

• the first auditorium serving the basis for successful work in any field of musical art,
• the second logical associated with the understanding of the content of the work and the laws of the development of musical thought,
• the third view of the motor is extremely important for executors of instrumentalists.

Many important role in the process of memorization plays visual memory. Working on the development of the student's memory should be remembered: A system of memorizing music is very important, the student must take into account that the music proceeds in time, in creating a work as something as possible, subject to keeping in memory of its parts. As a result of frequent execution, the memorization can be deliberate. Memorization can be deliberate when specifically memorize individual passages, and then all the whole product.

Here you need knowledge of the form of the work, its harmonic structure. When learning it is important to realize the similarity, the repetition of individual parts of the musical form, and attention is fixed on what distinguishes these parts, and that they are united. In the deliberate memorization involved: visual, motor, as well as a more complex internal hearing memory. Checking the correctness of the learned musical work: recording of memorable music without the use of the tool (notes), transposition of the melody into another tonality and the ability to start execution from any place. The ability to start performances from any place indicates a deep and thorough knowledge of the artist's artist.

Expressive means when performing on wind instruments

Usually, the expressive means of the artist on wind instruments include such concepts: sound, timbre, intonation, strokes, vibrato, rhythm, meter, pace, aggohic, articulation, phrazing, dynamics, nuanxation.

Agogic - This is a slight deviation from the pace. Vocalists and performers on brass instruments are here in the same way: performing breathing. Pianists include: pedal, carcass.

Tush is a certain way of execution. Structants include: Strokes, vibrato, appliqué, technique of fingers.

Performers on wind instruments These funds are counted the same: lip technology, language, double stakkato, frulyato, glissando. Although double stackato is a technical reception. And Frouluto and Glissando already applies to strokes. All this says that the concepts of performing funds or expressive means there is no single clear and clear approach of their definition.

Performing means and expressive means are two sides of a single creative process. On performing funds, they consider everything related to the technological side of the execution. The technological side is a state of tool, mouthpiece, canes; setting the corps, head, hands, ambush; technique of performing breathing, technology tongue (solid, soft, auxiliary attack); Articulation is the pronunciation of vowels, consonant during the game; technique of fingers (fluency, clarity, consistency); Knowledge of applicatures (main, auxiliary, additional).

Expressive means include everything that is an artistic result of the application of listed performing funds. One of the most important performing funds is the sound. The expressiveness of the sound as a means of performing an execution of the melody fully determines the strength of the emotional impact of music.

The playing must master the beautiful sound that is, to make the sound of the instrument clean, juicy and dynamically diverse.

At the same time, the character of the sound should be inextricably linked with the content of executable music. For expressiveness, the purity of intonation becomes particular importance. The thinner and better the rumor of the musician will be developed, the less error it will allow when intonating in the game process. An important performer is technical skills.

At the braking instrument, the technical skills are folded from various elements: well-developed performing respiration, elasticity and mobility of the lips, mobility of the tongue, the speed and consistency of the movement of the fingers. For each of the wind instruments there are special concepts about the most complex elements of performing equipment.

For a group of wooden wind instruments, a fingertip technique is very complex. Then for the copper group - this is the ownership of the work of the lips. An exceptional importance is musical phrazing characterizing the ability of the playing correctly to determine the structure of the musical work (motifs, phrases, sentences, periods), it is correct to install and perform cesura, identify and embody the climax, correctly transmit genre stylistic features of music. Musical phrazing Reflecting the living breath of musical thought is a means of expressing the artistic content of the work.

An important part of the musical phrase is the dynamics.

Skillful use when playing dynamic shades significantly revives musical performance, deprives him of monotony and monotony. When playing on wind instruments, usually two types of speakers are used: the first step or terrestrial speaker includes a gradual gain or weakening of sound ( pPP, PP, MP, MF, F, FF ), The second type of dynamics is called contrasting dynamics consisting in a sharp opposition of sound force (piano - sharp fort). It is important to note that the dynamic shades are not absolute, but relative in nature (in some kind of forte, but from other mezzo fort), so the musician is given the right to supplement or expand these shades.

A very significant element of musical phrase is agogic - This is a little noticeable change in the speed of movement (deviation from the tempo). Agogical shades skillfully used identify creative nature musical execution. The most difficult and difficult aggological nuance is the art of Rybato (rhythmically free execution).

Musical phrazing is closely connected with the use of strokes. Strokes help to strengthen expressiveness. A variety of performing funds can be divided into three main groups:

• first Means related to sound quality (timbre, intonation, vibration),
• second Technical order group (finger fluency, breathing technique, tongue technique),
• three Group funds general musical expression (musical phrazing, dynamics, aggic, strokes, appliqué).

Such a separation is conditional in nature because there is a very close organic relationship between performing means in music. The level of expressive sound is the indicator of a certain technical skill.

Musical phrazing - This is simultaneous possession and sound and technical skills. A characteristic feature of all performing funds of the musician is not only their close relationship, but also the complete subordination of their artistic goals, artistic tasks.

Executive apparatus and technique of sound recovery on wind instruments

Analyzing sound recovery technology on wind instruments, we can install that it is composed:

1. visual-auditory views: First you see a note, internally heard this note;
2. performing breathing: After you understand what kind of note it is and where it sounds approximately (in the head), you take your breath. This is performing breathing.
3. special work of the muscles of lips and face: you need to put lips and muscles to take this note
4. specific movements of the language: that is, what language is solid, soft or double;
5. coordinated finger movement: scarching what other ...
6. continuous auditory analysis: these all moments until the latter they all obey the auditory analysis (continuous)

These components are inextricably linked among themselves complex neuro-muscular activity and make up the performing apparatus of the musician.

There will be such a question: what components is the technology of sound recovery? Here are these components of 6 pieces you will need to call.

Major importance belongs to a lifting apparatus. The question will be: what is a lipstate? These all wording should be known as our own.

Lifting - This is a system of muscle of luminous and facial, mucous membrane of lip and mouth, salivary glands. The combination of these elements is called a lifting machine. Lipstate otherwise called sometimes embouchure.

The concept of an ambushure is applied due to all the wind instruments, but interpreted in different ways: some consider that it means a mouth or mouthpiece, others that it treats the lip slit.

According to the publication Moscow 1966 Encyclopedic music dictionary word embouchure French and has two concepts:

• the first way to fold lip and language when playing brass instruments. Thus, it is possible to accurately determine this position, the degree of elasticity of lip and facial muscles Artist, their travelery, endurance, strength, flexibility and mobility when playing is called an ambush.
• And the second definition in this dictionary: this is the same as the mouthpiece.

Systematic training for the artist is of paramount importance. The development of the lift must be carried out in two planes. The first plane: this is the development of luminous muscles, that is the development of strength, endurance of luminous, facial muscles. After you have developed a beauty of sound, your own peculiar timbre, intonational sound quality. For this purpose, you need to lose the whole notes for complete breathing within 20-30 minutes.

Performing breath. His essence. Value. And development methods

The technique of breathing performer on wind instruments is primarily the technique of speaking sound involving all the variety of timbre, dynamics, strokes and articulations. If there is a good breath in sound, you can judge immediately that a person has a timbre, dynamics, articulation. The culture of sound involves the presence of a specific breathing school.

If the name of the sound is a defining role belongs to the language, it belongs to the air jet exhaled by the Contractor to the tool. The nature of the air jet is adjusted besides the muscles of breathing with lump muscles, muscles of the tongue. And all of them together are controlled by hearing. Conditionally performing breathing can be compared with a screenshot.

Performing respiration is an active expressive tool in the Arsenal of the Musician of Spirit.

The professional breath of the artist on wind instruments is primarily determined by conscious and targeted control of the respiratory muscles fully working when inhaling and exhale. Muscles participate in the respiratory mechanism inhale and exhalation. From the skillful use of these muscles of anthombists depends on the performer's breathing technique.

To the muscles inhale refers: The diaphragm and outdoor intercostal.

The muscles of exhalation include: Abdominal press and internal intercostal muscles.

The artist must learn to manage active breath and exhalation through the development and training of respiratory muscles. Exhale in collaboration with lips, tongue, fingers playing a primary role in the formation of sound, in his conduct and in different types His manifestations in the technique.

Well-supplied exhale not only affects sound quality and versatile technical capabilities, but also opens a wide space for the activities of other components of the performance apparatus: lips, tongue, fingers. Two phases of breathing (inhale and exhale) can be used in different ways in the performance process.

With the natural physiological breath of a person, a breath is an active act in which the lungs are expanding, the ribs rise up, the dome of the diaphragm is lowered down. Exhalation on the contrary passive act: the lungs cavity, the chest and the diaphragm are returned to its initial position. In physiological breathing, the cycle proceeds: inhale, exhale, pause. Professional performing breath is subordinate to the artist's consciousness and implies an active breath and exhalation. Inhale - short, exhale - long (long).

The high-quality exhalation depends on the right and full breath.

Professional breath must be short full and no noisy. It has a number of specific differences from the usual physiological respiration of man.

• First, it requires the maximum use of lung volume (3500-4000 milliliters air). In physiological breathing, the volume is 500 milliliters.
• Secondly, with professional respiration, the load on the respiratory muscles increases. She is many times more than a calm life breath.
• In third, with the usual normal breathing, inhale and exhale are approximately equal in time, that is, the breath is rhythmic.

A man in a calm state makes 16-18 respiratory cycles in one minute. The spiritual reduces the number of breaths to 3, 8 per minute. In vivo, a man breathes his nose. When playing brass instruments in the main mouth with minor assistance to the nose. This ensures the completeness of the breath and without noise.

Breathing when playing brass instruments need to be taken through the angles of the mouth with a slight assistance of the nose. Inhale through the mouth allows you to quickly and without noisy to replenish the light air. When inhaling, the external and intercostal muscles of the chest and the diaphragm are involved. Therefore, uniform filling of light air and expansion in all directions of the chest depends on the development, strength and activity of these muscles.

As for the diaphragm, this muscle is one of the strongest in our body. Together with breathing, it makes 18 oscillations per minute moving at the same time on 4 centimeters up and on 4 centimeters down. The diaphragm performs a grand work. As a perfect discharge pump of the diaphragm with all its impressive square, despicably squeezing the liver, spleen, the intestine by reviving the abdominal circulation.

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

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

You will say that breathing at the performer on the brass instrument is not a rhythmic and second option that breathing is open. Opening breathing is the correct breath of the redness.

Characteristic drawbacks from novice musicians

If you submit the process of learning a musician in the form of a gradually under construction, the production will play the role of foundation. The correct statement serves as the basis on which the development of the performing skills of the musician is based.

The practice of learning young, novice musicians shows that paying attention should be paid from the first steps. The most typical novice musicians are the disadvantages associated with the wrong position of the instrument, hands, fingers and heads.

For performers on the flute most characteristic is the oblique position of the instrument instead of the necessary direct, which is a consequence of lowering right hand. To correct this lack, the teacher must ensure that the student would hold a slightly raised elbow right hand during the game. In this case, both hands will be on one horizontal level and the flute will lie smoothly.

Beginner gobists often keep the instrument too raised that they are connected with the part with the excessive lowering of the chin to the bottom. It is not difficult to correct this lack - it is only necessary to monitor the correct position of the head and hands that should not be very raised up.

The clariny playing most often shifts the tool somewhat in the direction, and more often in right than in the left, or give the tool not the correct position along the vertical (there is something close to the body) or the opposite is overly raised up. Such deviations from the norm (if they are not caused by some individual characteristics of the musician) should not take place because it imposes a certain imprint on the nature of the sound. From the practice it is known that when the clarinet is tilted down, the sound is made liquid and dim, and with excessive rise upwards.

For playing on copper, the wrong position of the instrument is as follows: Press the phalanges of the fingers, and you need to press the pillows of your fingers, when playing a corter, the pipe is held for the ring. When playing, you do not need to hold onto the ring. For the ring is held only when the notes are coup, or when you need to insert the Surdine. Beginners of the hornstones often incorrectly hold the fool of the tool: either it is too lowered down, or vice versa rotate strongly up. Thrombonists often give the tool the wrong position by keeping lowered to the scene down.

Disadvantages of formulation related to the position of the fingers on the instrument can be quite different:

Executors on wooden-winds very often, the fingers at the game are highly rising, are removed without needing to the side, in addition, they are not in the instrument not in rounded bent, but in a purely direct position, which causes excessively their voltage. The wrong position of the head manifests itself in the fact that individual musicians at the time of the game lower their head down as a result of which the chin is as lowered by causing additional stress of cervical and chin muscles.

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

With the beginning of training on the instrument, it is necessary to follow the correctness of the receptions of the playing at the playing. At the same time, it is necessary to ensure that the student not only knew certain techniques for rational production, but also understood the feasibility of their practical application.

You can weaken the control of the production when the correct methods of production will turn into students in precisely learned and fixed skills.

Introduction

The relevance of research

Democratic transformations in Kazakhstan determine such a direction of the political, economic and cultural life of the country, in which the ideas of humanism and respect for individuals become guidelines in education. To date, the principles of developing learning allow you to go to a higher level of training of specialists. An ideal is a personality with rich spiritual potential, knowledge, skills and skills not only in a highly specialized sphere, but also in various fields of science and culture.

A special role in the spiritual development of the younger generation belongs to initial musical education, since the attachment of children to musical art contributes to solving the problems of moral and, in general, artistic education. Musical schools and art schools, in addition to the exercise of the educational function, become for some students the basis of preparation for professional activities. Therefore, the success in the formation of a future performer depends on the quality of primary musical education. Among the instrumental classes, the classes of wind instruments are one of the well-demanded.

The formation of the skills of the game on wind instruments is a fundamental part in the performing skill of the Musician of the Spirit. Properly laid initial execution skills on wind instruments will allow a disciple of a music school with minimal costs and with greater efficiency to master the overall tool. In modern times, the school game on wind instruments does not cease to receive updates. Therefore, teacher is important to clearly define the methodical direction of work with the student and thereby optimizing the learning process.

Object of study – Music learning and education of students in the class of Clarinet DMSH.

Subject research -the process of forming performing skills and skills of students of DMSH in the class of clarinet.

Purpose of the study It is to develop the theoretical and methodological foundations of the formation of performing skills and skills of students of clarinetists in a children's music school.

Hypothesis of research

Clarinet's learning efficiency can be achieved if:

1) the theory and technique of training the game on the clarinet interacts with general pedagogy in the theory of learning and education;

2) the pedagogical creativity of Kazakhstani teachers-clarinetists reflects and partially anticipates the current problems of modern musical pedagogy;

3) Generalization, structuring and systematization of pedagogical experience of the largest modern clarinetists, as well as the development on this particular basis didactic principles serves as a basis for building a curriculum organization in the Clarinet class.

Objectives of research –

1. Contact the problem of the formation of the school game on the clarinet

2. Disclose the place of clarinet music in the history of domestic and foreign Culture

3. Current key issues learning techniques for clarinet

4. Improve the experimental work on the formation of the executive skills of the Games on the clarinet in Pupils of DMS, Ust-Kamenogorsk

Theoretical methodological The basis of the study was:

Work on the philosophy of education, aesthetics and cultural studies

V.S.Bibler, Yu.B. Boreev, M.S. Kagan, N.I.Kyyshchenko, O.P.Kozmenko,

D.S.Likhachev, S. Pomerance, V.A.Raznaya, L.A.Rapatskaya, etc.);

Psychological and pedagogical studies on the problems of the formation of abilities, optimization of the learning process (Yu.K. Babansky,

A.N. Lyontiev, I. Ya.Lerner, A.A. Melik-Pashayeva, Ya.a. Pononarev, S.L. Rubinshtein, B.M.Teplova, etc.);

Proceedings in music (B.V. Aasafiev, E.V.Nazaykinsky, A.N. Sokhor, B.L.Yavorsky, etc.);

Works on the methodology, theory and methodology of musical education (E.B. Abdulin, Yu.Baliyev, O.A.Apraxin, L.G. Archazhnikova; L.A.Rapatskaya, G.M.zpin, V.N. Shatskaya et al.);

Theory and practice of musical execution: (A.D. Alkseev, L.A. Barenboim, M.M. Berlinchik, G.M.Kogan, G.N.Nughause, A.I.Nikolaeva, etc.);

The experience of the concert and pedagogical activity of famous Russian scientists, performers and teachers in the field of brass instruments (V.N.Aapatsky, S.V. Bolotin, N.V. Volkov, B.A.Dikov, T.A.Dokshser, Yu.N .Dolzhikov, V.B. Krichevsky, R.A. Maslov, I.P. Mozhanovenko, K.E.Myulberg, V.V.Petrov, N.I.Platonov, I.F. Pushechnikov, S.V. Rosanov , V.A.Sokolov, Yu.A.USov, E.E. Fedorov, A.A. Fedotov, etc.);

To solve the tasks and testing of the hypothesis, a complex of scientific research methods was used, among which theoretical methods (analysis of philosophical, art historical, psychological and pedagogical, musical and pedagogical and methodical literature On the subject of research, "existing curricula and programs for musical executive, disciplines), empirical methods (generalization of pedagogical experience, monitoring educational activities of students). The main stages of the study:

At the first stage of research (2012-2013) There was an accumulation and understanding of theoretical material on the problem of research, determination of its degree of development; An analysis of curricula, programs and educational literature on music and performing disciplines, monitoring the training activities of students and students, was determined, the goals and objectives of the study were determined.

Second phase(2013- February 2014) Included: Pedagogical Practice Classes, Own pedagogical activity with students of music schools, studying the experience of the work of teachers-musicians in the field of clarinet training (I.E.Butyrsky, V.N.Voronina, I.P. Mozhenko, V.V. Petrov, E.A. Petrov, A. A.Fedotova, etc.), visits to classes of teachers-clarinetists in the republican, urban DMSH.

The training experiment was carried out in the conditions of the educational process in the DMSH No. 1 of the Akimat of Nast-Kamenogorsk, where the author works as a teacher in the Clarinet class.

In the third stage(March - April 2014) There was a generalization of the results of the study, conclusions were made, the dissertation was issued.

The study of the study was a children's music school №1 Akimat. Nast-Kamenogorsk

Scientific novelty research:

The systematization of performing skills and skills in the structural components of the performing complex are carried out.

Designed, a methodology for the formation of performing skills and clarinet skills, the effectiveness of which is ensured by the use of active creative learning methods, combining individual (solo execution) and group (game in the ensemble) forms of workforce and experimentally.

Theoretical significance of the study.

The dissertation study identifies the main directions for optimizing the process of learning clarinetists in the initial music education. A generalization of the performing skills and skills of students of guitarists in the performing complex was taken. It is theoretically proved and practically tested not only the legality, but also the effectiveness of the proposed guidelines.

Practical significance of the study.

The study contains guidelines aimed at optimizing the process of learning clarinetists in a music school. The developed technique, the basis of which amounted to the formation of performing skills and skills, was introduced into the educational process of DMSH No. 1 Akimat of Nast-Kamenogorsk. Materials of dissertation research can be used in the development of lecture courses on instrument-dealing, history, theory and techniques of oven in schools and universities of the musical profile.

The accuracy and objectivity of the results of the study are ensured by supporting scientific and methodological provisions, the use of various research methods, adequate to the tasks, as well as the positive results of the experiment.

The following provisions are made on the defense:

1. The study of the theory and practice of the brass acts leads to the conclusion about the need to improve the methodology for teaching cultural skins in the initial musical education of the Republic of Kazakhstan.

2. Systematization of performing skills and skills and combining them into the components of the Executive Complex will successfully solve the tasks of the preparation of clarinetists. The performing complex represents the unity and interdependence of the components of its components:

Sound motor;

Novel-oriented;

Instrumentally oriented;

Temo-metro-rhythmic;

Artistic and expressive;

Emotional-volitional.

3. The effectiveness of the process of training of clarinetists in primary musical education is provided, provided that:

The task of forming performing skills and skills will be considered teachers of children's music schools as an important element of student training;

The formation of performing skills and skills will be carried out taking into account the individual characteristics of students (age, temperament, motor profile, etc.), active learning methods for advisable and methodically correctly selected repertoire in combination of individual (solo execution) and group (game in ensemble) forms of work .

4. The main criteria that allow to determine the levels formed by performing skills and skills are: conceptual (awareness and awareness regarding the use of skills and skills); operational (ownership of performing skills and skills); Creative (manifestation of creative principle in demonstration of knowledge, skills and skills in performing practice).

Approbation of research results was carried out:

In the course of the pedagogical experiment in the children's music school number 1 Akimat G. Nast-Kamenogorsk

The reliability of the research results is provided:

Organic connections theoretical provisions with practice;

Compliance of methodological approaches to the specifics of the studied phenomena;

Studying the practical pedagogical experience of outstanding representatives of the clarinet art of the XX-beginning of the XXI century.

Clarinet in Kazakhstan

In the Republic of Kazakhstan, the School of Games on wind instruments has developed from the middle of the 20th century. Preparation of professional musicians began with the opening of the Conservatory of Nam. Kurmangase in the city of Almaty. The conservatory was opened on April 30, 1944. In 1945, the conservatory was awarded the name of the outstanding Kazakh folk composer of the XIX century Kurmangaza Sagyrbaev. At the Department of Wind and Impact Tools, these days work such teachers like: Ermanov Zh.R. - Head of the Department, Igigalkaev N, Abdrashev B.T., Bisengaliev MK, Glebov V.A. Karibaev B, Kryshkin Yu.S, Mukhambetzhanov Zh.S, Nesterova OV, Nuraly Bez, Fedyanin AA, Shubin I.Yu, Uteuov M. J. From the walls of the Conservatory named. Kurmangazy released many famous performers clarinetists.

One of the equally significant higher music educational institutions of the Republic of Kazakhstan, which prepared the Pleiad of the performers of the high level of preparation is Kazakh National University Arts.

The university actively works the department of wind and shock tools. Currently, the head of the department is a diploma of the All-Union Competition, the owner of the Medal "Erene Eңbegі үshіn" Associate Professor Saparov Nurgul Mukhametzhanovna.

Teachers of the department are graduates of the Almaty State Conservatory. Kurmangaza, Kazakh National Academy of Music, St. Petersburg State Conservatory. N.A. Rimsky-Korsakov, Supreme Music Schools of Zurich (Switzerland), Detmold (Germany), which indicates their high professionalism. Each department member was noted as a diploma or laureate of republican and international competitions, many teachers were awarded the medals "Ering Eңbegі үshіn", the magician "Mәjyratkeri", anniversary medals.

In 15 years, the department was prepared more than 150 graduates who successfully work in musical educational institutions and orchestral groups of all regions of the republic.

Mastering the skill of performing arts on the basis of works of classics, contemporaries, composers of Kazakhstan, the study of works of higher complexity, diverse in style and genre features, mastering the art of performing interpretation, the disclosure of artistic dating in organic communication with the general process of upbringing a professional musician - this is the primary task Departments.

The level of professionalism of teachers is clearly visible in the number of winners of republican and international competitions, and you can count hundreds! About 400 laureates and diploma in different years conquered the jury and listeners of the competitive sites of the cities of Kazakhstan, Russia, Moldova, Italy, Poland, India, Serbia, Israel, O.A.E.

Teachers of the department, versatile developing the creative potential of their students, seek great success not only in solo, but also in ensemble executive. The ensemble of block flutes "Magic Flute", Flute Flute Quartet (Associate Professor N.M. Grigorieva), Quintet of Wooden Wind Instruments (Associate Professor D.A. Hampova), Clarinetists Ensemble (class of senior teacher G.I. Ismariova) , Quartet of the Blackstone (class of senior teacher A.V. Malinovsky), the ensemble of percussion instruments (Associate Professor of the R.G. Bajigitov) are permanent participants in the University of Concert Activities.

In scientific I. educational work is paying out much attention Development of national music, promoting the work of modern composers of Kazakhstan. The teachers made a large number of transfers for wind instruments, published compilations, including the works of composers of Kazakhstan, was written a number of scientific articles on the problems of modern education, taking into account national specificity. For example: G.I. Izmailov "Orchestral difficulties for clarinet from the works of Kazakhstani composers"; S.T.Aurazaliyev "The Reader of the Pedagogical Repertoire for Fagota. Works of composers of Kazakhstan "Issue.1; N.M. Grigoriev "Pedagogical repertoire of a blockflothist. 1-3 grades of DMSH "," Pedagogical repertoire of a flutist. Pieces. Senior classes of DMSH "," әSheki ". A collection of works of modern composers of Kazakhstan for flute and piano "," transcription of the works of composers of Kazakhstan as an integral part of the Pedagogical repertoire of the flaitist "; D.M. Hupirov "Concert for oboe with the Orchestra Mansur Sagatova: Features of the content. Methodical recommendations for execution "; A.V. Malinovsky "Complex of daily exercises for tube"; S.V.zhorov "Anchesbing for copper brass instruments: Trio, quartets, quintes", "extracts from orchestral parties"; R.S. Orazala "The Reads of the Pedagogical Repertoire. Pieces of Kazakhstani composers for clarinet. Issue 1 ".

Of great importance is given to lecture classes in the state language. At the present stage of development of professional mobility in the field of performing arts, the team of the department is actively involved in a process aimed at establishing bilateral mutually beneficial cooperation with colleagues and artists of Kazakhstan and countries of abroad. Only in recent years, meetings, lectures and master classes were held with outstanding performers-musicians: Flute - Trigvi Peterson (USA), Yasuo Yamamoto (Japan), Helga Caster (USA), Lewis Maireelles (Portugal), Massimo Mercelli (Italy) , Alexander Korneev (Russia), Giuseppe Nova (Italy); Oboe - Nikolai Neretin (Russia), Tanatar Nural (Kazakhstan), Timur Tkishev (Kazakhstan); Clarinet - Michel Lytyek (France), Suzanna Tirk (USA), Evgeny Varakko (Russia), Oleg Lapidus (England); Fagot - Nicholas Caster (USA), Valery Popov (Russia); Saxophone - Margarita Shaposhnikova (Russia); Valtorna - Dariusch Mikulsky (Poland); Pipe - Rem Gekht (Russia), Yuri Kryshkin (Kazakhstan), Trombone - Anatoly Skobelev (Russia), Anatoly Fedyanin (Kazakhstan), percussion instruments - Stanislav Zakarchinsky (Poland); Conductor Robert Gutter (USA).

Teachers of the department carry out concerts, open lessons in musical educational institutions of Astana, Almaty, Karaganda, Pavlodar, Ust-Kamenogorsk, Novosibirsk. Thus, career guidance work is also underway.

Currently, the department employs associate professors B. D. Dalisheva, R. G. Bayzhigitov, E. K. Nurgaliyev, N. M. Saparova, D. A. Makhpirova, N. M. Grigorieva, senior teachers G. I. Ismailov, S. V. Zhorov, A. V. Malinovsky, E. A. Zhakenov, teachers E. N. Mamarbaev, I. A. Grigoriev, A. V. Taraskin, A. S. Tokpanov, P. A. Serebrynikov , M. M. Suleimenov, A. T. Neldybayev, A. B. Shakenova, M. L. Flotsky, D. Orhingali, E. I. Verbits, S. K. Umarov, S.A. Dalishev, N. in . Beissenova, M. B. Konusbayev, V.S. Bondarkuk, T.V. Rolzing, Yu.Yu.Shevchenko, Zh.E.Zhekenova, J.A. Jeltyrgovz.

Also in every area of \u200b\u200bthe Republic of Kazakhstan

Kanshin Anatoly Stepanovich (1940-) In 1961 he graduated from Dushanbinsk school of Music (Class A. Khanova), in 1969 - Alma-Ata Conservatory (class A.Movshi, B.Aspandiarov), in 1961-1969 Artist of the Orchestra of the Kazakh Theater Opera and Ballet, in 1969-1972 Artist, since 1972-1995 Soloist ZKR symphony orchestra Kazakh SSR.

Kvarditsky Vladimir Vasilyevich (1923-) Honored Artist of the Kazakh SSR (1984), graduated from Alma-Ata Music School (Class A.Vasilleva), in 1955 - Alma-Ata Conservatory (Class P. Filatova), in 1952-1987 soloist of the Orchestra of the Kazakh Opera and Ballet Orchestra , in 1953-1963 also soloist Symphony Orchestra of the Kazakh SSR.

Oleinikov Yuri Vladimirovich (1935-) Honored Artist of the RSFSR (1986), the laureate of the Interrepublician Competition of Central Asia and Kazakhstan (Alma-Ata, 1969,1 Prize). In 1955 he graduated from the Ashgabat Music School (class F. Karvigo), in 1971 - Alma-Ata Conservatory (class R. Sabirova), in 1957-1978 The soloist of the Orchestra of the Turkmen Theater Opera and Ballet, since 1978 - State brass Orchestra RSFSR, teacher of the Moscow Music Cadet Corps.

Onoprianko Anatoly Alekseevich (1947-) In 1969 he graduated from the Frunzen Music School (Class V. Bhimov), in 1975 - Alma-Ata Conservatory (class R. Sabirova), in 1969-1977 Artist, with 1977 soloist of the Orchestra of the Kyrgyz Opera and Ballet Theater.

Roor Konstantin Vladimirovich (1958-) Honored Artist of the Republic of Kyrgyzstan (1995), winner of the Republican Competition (Frunze, 1980.2 Prize), in 1979 he graduated from the Kyrgyz Music School (Class V. Bhimov), in 1984 - Alma-Ata Conservatory (Class I.Takchenko) , In 1980-2000, the soloist of the symphony orchestra of Kigiz radio and television, from 2000 in the Netherlands.

Sabirov Rustam Nasyrovich (1932-) In 1951 he graduated from the Alma-Ata Music School (Class S. Lebedeva), in 1958 - Alma-Ata Conservatory (Class P. Filatova), in 1958-1975 Soloist Symphony Orchestra of the Kazakh SSR, from 1976 Lecturer Alma-Ata Conservatory and music school.

Svetles Evgeny Mikhailovich (1936-) In 1964 he graduated from the Frunzen Music School (class P. Bondarenko), in 1969 - Alma-Ata Conservatory (class A.MAMSH), in 1961-1970 Artist of the Orchestra of the Kyrgyz Opera and Ballet Theater, since 1970 Soloist Symphony Radio Orchestra and Television of the Kyrgyz SSR, with 1981 Lecturer of the Kyrgyz Institute of Arts.

Tkachenko Yakov Mikhailovich(1927-) In 1951 he graduated from the Lviv Music School (Class A. Vasilyeva), in 1955 - Alma-Ata Conservatory (class A.MAMSH), in 1955-1958 Artist of the Songs and Dance of the Kazakh SSR, in 1958-1959 - Chelyabinsk Orchestra Opera and Ballet Theater, since 1959 soloist of the pop-symphony orchestra of Kazakh radio and television, with 1979 teacher of the Almaty Conservatory.

Chernov Vyacheslav Petrovich (1957-) He graduated from the music school in Temirtau Karaganda region, then - Alma-Ata Conservatory, further - graduate school of the Moscow Conservatory (Hands. V.Petrov), soloist of the Orchestra of the Kazakh Opera and Ballet Theater, then - Kemerovo Symphony Orchestra, in 1987 -2003 Soloist Volgograd Symphony Orchestra, from the 2003 Orchestra of the Yakut Opera and Ballet Theater.

Geller Grigory Mikhailovich (1945-) In 1970, he graduated from Alma-Ata Conservatory (class A.Movsha), from the 1970 teacher of the Almaty Music School, from 1985 - Alma-Ata Conservatory, now lives in Australia.

Georgiev Alexander Egorovich (1941-) Laureate of the Interregional Competition of Central Asia and Kazakhstan (Alma-Ata, 1969). In 1964 he graduated from the Leninabad Music School (class V. Semosov), in 1969 - Alma-Ata Conservatory (Class A.Movsha), in 1975 - graduate school of the Moscow Conservatory (Hands. V.Petrov), since 1969 soloist Symphony Orchestra of Kyrgyz Radio and Television .

Glukhov Alexander Ivanovich (1947-) Honored Worker of Culture of the Russian Federation (2004), Honored Worker of Culture of the Republic of Khakassia (1997), in 1959-1965 The pupil of the regimental military orchestra (Samarkand), in 1967 he graduated from the Semipalatinsky Music School, in 1972 - Alma-Ata Conservatory ( class R.Sabirova), in 1969-1972 Artist of the Orchestra of the Kazakh Theater Opera and Ballet, with 1972 Lecturer at the Abakan Music School, since 1990 Soloist of the Abakan Own Orchestra, with 2000 Soloist Symphony Orchestra of the Hakassian Philharmonic (Abakan), in 1999 the artist of Kobylov wrote "Portrait of Clarnetist A.I. Glukhov."

Jacquesbergenov Arman. (1972-) In 1991, he graduated from Alma-Ata Music School (Geller, Yusupova class), in 1996 - Al-Ata Conservatory (class R. Sabirova), since 1991 Artist of the Kazakh Spiritual Orchestra, since 1996 Soloist of the Kazakh Symphony Orchestra (Alma-Ata).

Izenov Tasmukhan Zhaksygalievich(1954-) In 1972 he graduated from a music school at the Alma-Ata Conservatory (class B.Аspandiarov), in 1977 - Alma-Ata Conservatory (class B.Аspandiarov), from 1976 Soloist ZKR Symphony Orchestra of the Kazakh SSR, since 1981 Lecturer Alma-Ata Conservatory.

Tokpanov Almas Serikovich.In 1995 Entered the republican music school. A. Zheubanova in the class teacher Isenova. 1999-2003g. He studied in the Kazakh National Academy of Music in the class of associate professor Ismailova G.I.

He graduated from St. Petersburg State Conservatory named after N.A. Roman Corsakov (2003-2006), the class of the well-deserved artist of Russia, the Honored Worker of Arts of Russia, Professor V.P.Bezruchenko.

2006-2008. He studied in the magistracy of the Higher School of Music Music G. Talold (Germany), class of professors H.-D. Claus and Thomas Lindhorst. Is a laureate of republican and international competitions

Ismailov Gani Izkovich. He graduated from Almaty State Conservatory Nam. Kurmangaz (1977-1982), the class of Professor R.N. Sabirova. Laureate I awards of the contest of performers on the wind and percussion instruments of the republics of Central Asia and Kazakhstan (1990). Concerts as a soloist and as part of the Quintet of wooden wind instruments. He was a member of the jury of international and republican competitions of performers on wind and percussion instruments. Constantly working on the expansion of the educational and concert repertoire For clarinet. 6 tutorials published. For fruitful pedagogical and executive activities, there is a number of incentive awards from the Ministry of Education and Science of the Republic of Kazakhstan, the Ministry of Culture of the Republic of Kazakhstan, the governor of the Kemerovo region A.Tuleeva and others.

Yermanov Zhanat Rakhmetulinovich.He graduated from the Kazakh National Conservatory. Kurmangazy and graduate school with KNK them. Kurmangaza, at the Honored Worker of the Republic of Kazakhstan Sabirov R.N.

In 1997 he graduated from the European Academy of Music. Mozart (Poland). At the Academy he studied solo and chamber execution from professors; Michelle Lytyag, Matt Silivan, Aruel Nikola, Pnina Salzman, Eva Blahova, Alexander Sats, Laura Kaminsky.

In 2000, he graduated from the International Summer Academy of Music in the city of Nice (France) from professors: Paul Meer, Rishar Viyai, Guy Defluses, Michelle Liek.

In 2001, he graduated from the International Summer Academy of Music in Prado (France) from Professors: Francois Lele, Yana Thomson, Andre Kazalet, Yves Didier, Armand Angsther, Michelle Lytyag.

In 2002 he graduated from KNK them. Kurmangazy in the specialty opera-symphonic conducting. At Professor; Abdrasheva TA

It has a number of scientific and methodological works.

Many of his graduates are laureates of international competitions and work in various musical groups of the Republic of Kazakhstan and beyond.

Clauds closely with the Embassy of France in the Republic of Kazakhstan. Periodically protrudes together with the musicians invited Embassy of France in the Republic of Kazakhstan.

In connection with the 60th anniversary of KNK them. Kurmangazy for outstanding achievements in the education of creative youth and the concert activity of Yermanov Zh.R., was awarded the honorary title "MәDenet қ'yratkerі".

At this time, it is the artistic director of the State Quintet of Wooden Wind Tools. Associate Professor KNK them. Kurmangase.

Conclusion.

Modern clarinet execution makes a broad and varied demand for playing wide and diverse requirements: confidently own all kinds of musical equipment, be able to aesthetically comprehend the game, have active thinking, rich and diverse emotional sphere. All this is designed to serve a single goal - to achieve maximum expressiveness and persuasiveness of musical execution, carried out with the help of a complex of various expressive performing funds.

In the Russian clarinet performance, along with undoubted success and achievements, there are unresolved problems:

1. Poor quality of domestic tools.

2. Low level Primary training organizations (teaching not by experts, poor library fund, lack of tools).

Each of these problems has its own characteristics associated either with the material and technical base, or with the teaching methodology. Especially acute is the question of the development of our industry production of high-quality clarines of the French system from the valuable tree species.

It is notable to note the scarce of the toolkit. After all, it is known that to master the clarinet to the child eight - ten years is easier at a small clarinet in es or in s, as they mostly respond to the tasks and features of this period of study.

Classes on wind and percussion instruments in children's music schools and musical departments of art schools are held in accordance with current curricula, approved by the order of the USSR Ministry of Culture of 28.05.87.

The specifics of the wind instruments defines various dates for learning the game on these tools. The age, general training of students, their physical and musical data, is also a major role in the establishment of learning terms.

The following optimal deadlines for learning to play these tools are recommended: on the Fagot, Saxophone-5 (6) years; On Flute, Goboy, Clarinet - 7 (8) years. Various promotion of students, studying 7 (8) or 5 (6) years, is reflected in exemplary exam programs of the relevant classes.

Initial training, students of preschool and younger school age can get, studying on a blockball or special children's musical instruments; For preschoolers, it is recommended to create preparatory groups.

During the training, the teacher must teach the student to independently learn and competently, expressively perform on the instrument the work from the repertoire of a children's music school. In class musical instrument The student also seizes the skills of reading from a sheet of simple works, ensembles and orchestral parties, games in various ensembles.

The main form of educational and educational work in the instrumental class is a lesson conducted as an individual teacher lesson with a student.

In the first years of study (in the preparatory group, 1, 2 classes), along with the traditional form of a lesson, small groups of lessons are also possible, at which the time of the lesson (or any part of it) is used to work with two-three students simultaneously. This gives a teacher the opportunity to work more efficiently and more attention to develop the development of music reading skills from sheet, transposition, selection by hearing, an ensemble game, as well as expanding the musical horizon of students.

Training game on wooden wind instruments requires students, besides musical abilities, also good health and physical training. When playing on wind instruments, light, lipstick are actively working, certain muscles of the body are strained. It is important that fingers, lips, teeth meet the established requirements for students on wind instruments. The correct statement of the lifting apparatus and performing respiration is one of the necessary conditions for successful learning.

Permanent attention should be paid to accurate intonation - the most important means musical expressiveness.

To develop an accurate intonation, it is necessary to constantly develop the musical ear of the student, as well as the feeling of self-control.

The student should also become acquainted with the history of the instrument, its structure, the rules of care.

Of great importance for students' musical development has a job with a concertmaster. The execution of works accompanied by accompaniment enriches musical representations of students, helps better understand and assimilate the content of the work. The execution with the accompaniment strengthens and improves intonation and the rhythmic organization makes it necessary to achieve an agreed ensemble sound.

The program in the class of wind and percussion instruments also provides for the execution of ensembles for wind instruments. The skills of ensemble execution must be instilled in the student from the first years of study, preparing it to the jams in the orchestral class.

Total amount Musical works recommended for studying in each class is given in annual requirements. In the work on the repertoire, the teacher should seek a varying degree of completion of the execution: some works are prepared for public execution, others - to display in class, third - in order to familiarize themselves. All this is necessarily fixed in an individual disciple plan.

The program offers various in the level of difficulty exemplary lists of musical works for execution at academic concerts during the school year, as well as on exams. This will help the teacher to carry out a differentiated approach to learning students that differ in terms of the level, general training, musical abilities and other individual data.

The proposed repertoire lists of classes are exemplary, they contain works of varying degrees of difficulty and give big space for manifestation of the Initiative.

1 Sample

Classes in the classes of wind and percussion instruments are held in accordance with "Methodical instructions on the organization of educational work in the instrumental classes of children's music schools ( music departments Art schools) ", published by the All-Union Methodological Cabinet for Educational Institutions of Arts and Culture (Moscow, 1988).

Additional information on the forms and methods of working with students in the classes of wind and percussion instruments of teachers can be obtained in special methodical literature.

Block 1.

The skill of students is checked correctly and efficiently enjoy breathing and aperture both when performing plays and without tools. The performance indicator is the ownership of performing breathing and the correct performance of exercises for the development of the breathing apparatus, the proper formulation of support, fast and deep breath, smooth and long exhalation. Execution of the ripping of the musical play using rational performing breathing.

The work is considered to be executed if the student has completed the tasks set correctly.

Block 2.

Detection of major errors, their classification.

The stating stage showed that the greatest number Students are allowed when performing long musical phrases (i.e., when performing long passages, the student forgets about the correct performing breathing is distracted by the musical text, due to the irregular performance of breathing exercises and the small amount of their performing respiration is not brought to machine use)

Table 1

Analysis of the results of the stateing step of the experiment

Skills and abilities

Experimental group

Control group

Analysis of students has shown that in the performance of the plays and performing breathing exercises, they allowed the following errors: when performing plays, lengthy notes and gamps, students forgot about the game on the "support", did not rationally use the exhaled air stream, the exhaled air jet should be exhaled, smoothly, Uniformly, a single line, without oscillations, in pupils, the air jet was not stable and not long, which indicates a small time spent on breathing exercises data to the teacher.

This and many other were taken into account when drafting exercises for the formative part of the experiment.

The formative stage of the experiment was carried out in a children's music school among students in the class of Clarinet and occupied about 5 minutes in the lessons. The purpose of this stage was to introduce a system of exercises aimed at the correction of the technique of performing breathing, i.e. Check its effectiveness. The basis of the yogis respiration was adopted, described in Article V.Ivanov, Doctor of Arts, Professor of the Moscow State University of Culture and Arts "Secrets of Inhalation and Exjoch"

The material was distributed as follows.

The purpose of this block was the development of muscular memory among first-class students. Here we used exercises that develop breathing on the system of yogis. The work consisted of several stages.

Stage 1:The student must take the initial standing position. The corps straight, shoulders are deployed, hands are not tense. First, put the palm of one hand on the chest, and the palm of the other is on the stomach. Then, through the mouth, take a deep, unprecedented breathing so that the front and side walls of the belly are sticking out forward and to the sides, raising your palm at the same time. After that, it begins to fill the middle and the upper part of the lungs, expanding the top of the chest, lifting it, respectively, put on her palm. Further, holding the abdominal press and the chest in the deep breath position, delays the breath for a while (counting, for example, mentally and not fast up to three), then begins to do a slow, preferably a long exhalation through a narrow lip gap. You can imagine that you might blow on the burning candle, trying to repay the fire. When you exhale you need to try as long as possible not to lower the breasts, that is, to hold it in an inhalation position. Exercise repeat without a break is 5-8 times.

2 stage: The next lesson was checked whether the exercise was performed and the correctness of his

Ubushaeva Olga Valerievna

concertremaster of the highest category of desh number 14 MO City of Krasnodar

Methodical development

SUBJECT: " Specificity of the work of the concertmaster in dehs and some aspects of an ensemble game in the class of wind instruments "

Methodical development plan

1. The role of the concertmaster in the educational and methodological process

2. The game in the ensemble and some features of the work of the accompanist in the class of wind instruments

The purpose of methodical development

To analyze the specifics of the work of the concertmaster in the DSHI in the class of wind instruments.

Methodical development tasks

1) conduct analysis and show the role of the concertster in the process of training and training student studies.

2) Relying on scientific and methodological literature and its own work experience, show the specifics of the accompanist in the class of wind instruments.

Chapter 1. The role of the accompanist in the educational and methodological process

The work of the concertmaster in the process of learning students in the children's school of art should not be limited to simple accompanying the student. Working in close contact with the teacher, the concertmaster can help the student and in mastering the skills of the game in the ensemble, the ability to listen to other performers and the overall sound of the whole work. In addition, using your musical experience, the accompanist when learning the repertoire can tell the student some musical nuances, develop its figurative thinking.

The main role of the accompanist in educational process is definitely a game in the ensemble with students. Features of the accompaniment and the specifics of the game in the ensemble with wind instruments will be set out in detail in the next chapter. However, it is impossible to consider the tasks of the concertmaster so narrowly. After all, the main purpose of the whole educational methodological process is the preparation of not only a novice musician, but also to promote the development of the child's artistic personality. In this regard, the concertmester, often itself has a pedagogical education and direct contact with the student becomes the main assistant to the teacher on a special tool.

As the already established musician, besides the pianist (it is no secret that the pianists have more developed harmonic thinking due to the specifics of their instrument, allowing you to perform any complexity musical works and the developing ability to perceive music as a whole), the concertmester can give a lot of learners, communicating with It is both directly and through music. It is impossible to miss this possibility, given that students in addition to studying at the music school, the main time is occupied by classes in general education institutions. A student who wants to achieve certain success should use at a maximum every minute of musical classes, absorb as a sponge the knowledge and experience that he can give both the teacher and the accompanist.

An acquaintance of a student with a new product, a concertmaster, besides the fact that he can play all the musical text, including the solo party, it also also has the ability to analyze its individual details, to make theoretical analysis, to identify the student hidden from the surface. Interesting features: Harmonic finds author, unexpected modulation shifts; show the logic of the development of the main and short-term topics, trace all their changes (especially if we are talking about musical works of a large form); Pay attention to hidden voices enriches the musical tissue of the work and so on.

Such an analysis will help the student to make the most complete picture of the studied work, expand the executive tasks set before him. The brightness of the student version should not, of course, be based only on blind imitation. No matter how little experience has students, each of them is individuality. The same children feel differently, and they should be able to express themselves, not distorting, of course, with the general meaning of the executable musical work. Therefore, one of the most important tasks of the teacher and the accompanist is the development of musical intuition, the performers and skills of logical musical thinking among students. In practice, it is very difficult to achieve from a student of harmony between content and technical equipment. Insufficient ownership of the instrument, even with fair musical abilities, does not allow the student to achieve the desired one. Not only the will of the student is needed here, but also persistence and tact of the teacher and the accompanist to help the student overcoming all the difficulties, make a high-quality leap in performing skills.

With all this, the concertmester often remains one with a student during rehearsals and concerts. And here the knowledge of the psychology of children has a significant role. It is impossible to "break" the student, it is necessary, based on the individual characteristics of the character, find ways to it. Somewhere on time to praise, get the child, and sometimes it is useful to show some rigidity. An experienced concertmester should feel it already on the subconscious. Otherwise, you can beat off the hunt from the student to the music of music, to generate an uncontrolled fear of public speeches.

Knowledge of the history of music and musical literature can also be used by the accompanist in the process of communicating with students. The figurative association given to the place in connection with the studied musical play contributes to the enrichment of the student's ideas about the work performed by them, it allows you to fully understand, and most importantly, to feel the music.

The overall musical erudition of the concertmerster is of great importance. So, for example, knowledge of biographical facts from the life of the composer can also be used to better understand the student of the artwork of the musical work. The idea of \u200b\u200bwhich life and historical circumstances, in connection with which events, a particular work was created, which at that time survived and that the author felt at the time of its creation would help the student in his work on the musical work. All these additional knowledge seemed to be a purely informative property, nevertheless, make additional interest in musical classes and navigate even the least advanced students to deal with greater diligence and activity, trying to embody their imagination, seeking to play not Just "louder", "quieter", "faster" or "slower", and to invest in these dry concepts of artistic meaning.

Touching the topic of choice by teachers of the educational repertoire. Do not detract any experience and qualifications of teachers, I still note that in this issue, the concertmester can provide them with all the way. Sometimes the teacher can be "looped" for years to use in the process of learning some of the musical works already tested. Such a "looping" gradually leads to the fact that the requirements for themselves are imperceptibly declining as a musician, both at the teacher himself and the concertmerster, "pass by" new trends in music, disappears in the learning process. The accompanist participating in working with several educators, and especially having an extensive concert practice, can give advice, both when choosing the work being studied and by embodiments of the already used musical repertoire. This can make the necessary novelty to the educational and creative process. Only the creative alliance between the teacher, the concertmaster and the student can give the right effect in the upbringing of a novice musician.

Given the growing role of the concertster in the educational process, the requirements for his qualifications should constantly grow. To be at the proper level, maintain good musical form, the concertmester must constantly work on himself. There is no limit to perfection, so you need to learn from our profession, it is necessary to study all the new works of composers of various styles, schools and directions, while improving the already accumulated repertoire at the same time.

Chapter 2. The game in the ensemble and some features of the work of the accompanist in the class of wind instruments.

The basis of the work of the accompanist is an accompaniment, that is, the game in the ensemble. The accompanist or accompanist is the most common profession among pianists. The game in the ensemble is a specific type of muscy, which places a number of special requirements for the participants of the ensemble. The soloist and pianist in the artistic sense should be members of a single, holistic musical organism. In addition, concertmaster art requires high musical skills, artistic culture, certain vital qualities. It includes not only learning with soloists of their parties, but also the ability to control the quality of their execution, the knowledge of their performing specifics and the causes of difficulties in execution, the ability to tell how to correct certain disadvantages. Creative, pedagogical and psychological functions that cannot be separated from each other are united in the accompanical and psychological functions that cannot be separated from each other in educational, concert and competitive situations.

Consider what kind of qualities and skills should have a pianist to become a good concertmester. First of all, he is obliged to own a piano, both in technical and musically. It is well known that a bad pianist will never be a good accompanist, as, however, every good pianist will not reach significant results in the accompaniment, until the laws of ensemble relationships will not develop sensitivity to the partner, will not feel all the continuity and interaction between the Solist Party and Party accompaniment.

The art of the concertmeyster assumes the possession of both the arsenal of pianistic skills, and many additional skills, such as: Skill to calm the score, "build a vertical", to identify the beauty of the solo party, to provide living ripple of music fabric, etc. At the same time, in the art of a concertmaster with a special force should be shown unselfishness, self-religion in the name of the soloing, in the name of the animation of the score. Good accompanist must have a common musical giftedness, sufficient musical hearing, the ability to cover the figurative entity and shape of the work, artistry. The concertmester must learn to quickly master the musical text, distinguish between a significant one.

The specifics of the game of the concertmaster also consists in the fact that he must find meaning and even pleasure to be not a soloist, but to be on the second plan of musical action. The concertmester must have a number of positive psychological qualities. So, the attention of the accompanist is the attention of a very special kind. It is multi-plane: it must be distributed not only between two own hands, but also attribute to the soloist - the main acting person. At each moment it is important that and how the fingers do, how the pedal is used, the auditory attention is constantly engaged in the sound balance (which represents the basis of the foundations of ensemble musitization), Solist's sound. Ensemble attention monitors the embodiment of the unity of the artistic plan. Such tension requires a huge concentration, costs of physical and mental strength, as well as a steady psyche.

Mobility, speed and excellent reaction are also very important for professional activities of the concertmaster. It is obliged if the soloist at the concert or examination suddenly confused the musical text (which often happens in young students), without ceasing to play, in time "pick up" the soloist and to safely bring the work of the work to the end. An experienced accompaniator can always remove uncontrolled excitement and nervous voltage of the soloist before the performance. Best tool For this purpose, the music itself: a particularly expressive game of accompaniment, an increased tone of execution. Creative inspiration is transferred to the partner and helps him gain confidence, psychological, and after her muscle freedom. Will and self-control - quality also necessary for the accompanist. In the event of any musical problems that occurred during the performance of the work, he must always firmly remember that he has no right to stop nor correct his mistakes, as expressing his annoyance for mistakes by facial expressions or gesture. The functions of the accompanism officer working in an educational institution with soloists are largely pedagogical in nature, since they are mainly in learning from soloists a new study repertoire. This pedagogical side of the work of the concertmaster requires a number of specific skills and knowledge from the field of adjacent performing arts, as well as pedagogical alone and tact.

Accompaniation of soloists - toollays has its own specifics. The accompanist cannot do here without the ability to hear the smallest nuances of the Solist Party, commemorating the piano sound with the possibilities of the solo tool, the qualifications of the performer himself. When accompaniment, the pianist must take into account the capabilities of the soloist's breathing apparatus, take into account the moments of bringing breathing during phrasing. It is also necessary to control the purity of the building of the oven tool, taking into account the heating. The strength, the brightness of the piano sound in the ensemble with a pipe or trombone can be greater than with the accompaniment of the goby or flute. With the instrumental accompaniment, a fine auditory orientation of the pianist is especially important, since mobility, for example, wooden wind instruments significantly exceeds the mobility of the human voice. The accompanist should be aware of the features of the notation of solo parties for various tools - designations of flags, various strokes, etc., altove and tenor keys. To preliminary familiarization with the complete texture of the instrumental work with the piano accompaniment, the most appropriate way is to initially play a batch of solo voting accompanied by a simplified invoice of the harmonic base of the accompaniment party.

One of the specific sides of the game in the ensemble of a piano with wind instruments, as well as with vocalists - that is, with those performers, which are associated with the oscillation of the air jet, is that the accompanist in his party is obliged to take into account moments of breathing. It is known that breathing is determined by the structure of the phrase and depends on the logic of its development. But often in practice there are especially extended musical constructions, which are not able to play in one breath. In such cases, there is a need to interrupt breathing on a semi-infraced, to which the concertmester is obliged to react accordingly, as if "sighing" along with a soloist. Note that one side of the accotremist skill is just determined by how freely and easily "breathes" to the partner, whether he suffers during the execution of the work.

Let us dwell on the main features of the accompanist in the classroom. The main task of the concertmaster in the class is to help the student to help the teacher to master the work, prepare it for a concert performance. Usually, the work of the student over the work consists of the following stages: analysis, fragmentary execution, execution of a contract from beginning to end (rehetative), which precedes concert. The concertmester may be engaged in this work at the stage of parsing. So, if the student at the stage of learning the play loses control over intonation, the pianist can play the sounds of the melody, as is done in vocal classes. He helps a student to cope with the rhythm incomprehensible to him, duplicate the Solo Party on the piano. Sometimes students do not finish or reduce long notes during the piano pause. In such cases, it is useful to fill in a pause of chords. In general, temporary change in the texture of the accompaniment often helps the student will quickly master its batch. If the student is at an early stage of mastering the work, then the accompanist does not necessarily play his party in full, it may only be limited to the main elements: the most important bass, harmonies.

It is necessary to say a few words about the huge expressive meaning of the pause. The underestimation of it is a very common lack of novice musicians. It often happens that the pause is perceived by students like interruption of music, emptiness, and not an increased distance between the preceding and subsequent sounds filled with musical content. The annoying stop for some students is also farms, so they are often fully fulfilled formally, without feeling their importance. Only by continuous listening, "cooling" in the executable music you can feel all these moments of stops in the sound and ensure that they are artistically justified.

It should be noted that the ability to count the pause is one of the important components of the ensemble game. As a rule, students, although they pass the practice of the game in the school orchestra, they do not have enough sketching the skill of the pauses - both long and short. It is necessary to draw the attention of the student to the fact that it is necessary to record each pause closer, only when you first get acquainted with the new text, and in the future it is not at all mandatory. It is possible to increase the "scale" of the reference, noting four or eight-stakes, but even more appropriate to use the replicas, clearly imagining the overall course of musical development and the structure of that passage where these long-term pauses met in one party. The easiest and most effective way to overcome the unnecessary voltage arising in pauses and is afraid to skip the moment of entry - to lose the music that sounds the partner. It can always make a concertmaster, but also must do the student himself. This technique will allow him to skip "through itself" all the musical tissue, and not to be only a passive performer. Then the pause ceases to be a teen waiting and filled with a living musical feeling.

In order for the student to most fully imagine the whole nature of the work as a whole, the moment of the show is very important. The student itself, as a rule, does not own the piano to such an extent to be able to lose both parties at the same time and clarify all the artistic tissue. This should make a concertmeyster for him. And in the process of working on the work, this technique can be used and more than once, showing the play, both in the finished execution and with the lack of a student's game to visually demonstrate to him the difference between what should be, and what is currently . Such a show, as a rule, stimulates students, chargeing their energy, awakening fantasy, liberates their internal stiffness, frees from fear to reveal - in other words, forms their performing and creative will. Especially important is the show for more sluggish, passive students in the executive plan. While for active students, only one-shaped comparison or expressive conductor gesture from the teacher is sometimes enough for the execution "came to life."

As you know, methods of sound recovery on piano and on wind instruments are different. Differences are available in strokes. But mostly all common touches - Legato, Stakkato, Marcato and others are the same, and the task of performers to achieve maximum identity in their joint sound. The homogeneity of the strokes is of particular importance in cases where the melody, passage, the accompaniment passes from one batch to another, are transmitted from the soloist to the concertmaster and vice versa. And here, in the design of the same melodic material, it is impossible to allow bar dispersed, unless the author's special instructions in this should be allowed. Such places in the work require partners of special hearing sensitivity, the identity of the "feeling" of the nature of this music, the need for the maximum ensemble merger.

As for the dynamic side of the ensemble with a soloist, it is certainly necessary to take into account such factors as the degree of generalized development of the student, its technical equipment, the possibility and features of the sound of a particular oven tool on which he plays. We must not forget that in the works in which the piano party is typically accompanied, the soloist always plays a leading role, despite the fact that in its artistic level it is a weaker partner. Under these conditions, a good accompaniment should not let the benefits of his game, should be able to stay "in the shadow of the Solist," emphasizing and highlighting the best sides of his game. In this regard, the question of the nature of the game of piano accessories is very important. Very comical will be the pitiful sound of a soloist tool or his inadvertent game after the "loud" entry of the accotremaster. Playing in the ensemble with a "non-lass" soloist, the pianist should be performed by entering a very expressive, but commensurating the game with the sound and emotional capabilities of the student.

The most common lack of student performance is a dynamic monotony: everything is played essentially Metzo Forte and Forte, or Mezzo-Piano and Metzo Forte. It is rare to hear, especially at the initial stage of learning, full-fledged Piano. About smaller gradations of Piano, for example, Pianissimo, and not to speak. True, it is necessary to take into account the fact that on brass tools to take high notes on Piano is technically difficult, but in the pedagogical repertoire there are rarely cases. As a rule, a high note is always associated with the moment of climax. Here, we will pay attention to the fact that when playing an ensemble with such bright on the timbre of copper tools, like a pipe, tube, trombone, in climps, there is a danger of "dried" by the soloist of the concertmaster. Sometimes this drawback is difficult to eliminate by virtue of different timbral coloring of the sound of the tools.

It is necessary to convey to the student that the dynamic range of the ensemble must not be in no way than when playing solo, and wider, for the possibilities of two performers on two tools allow you to fully use the existing opportunities to achieve a more surround sound effect. It is very important for this to achieve a student of a clear idea of \u200b\u200bForte and Fortissimo graduation. Talking about the general dynamic plan of the work, it is necessary to determine its culmination and advise the solser to play Fortissimo always with the "stock", and not at the "limit." Only then there will be no skew in the sound between members of the ensemble. The same applies to the accompanist who should not "score" a soloist with a loud texture, whatever by chords it is neither.

The students need to be aimed at that from the first steps, starting the work of the work, they learned to see not only "naked" notes, but also all shades, their accompanying: strokes, dynamic and tempo indications - and sought them to accurately perform them. The difference between Forte and Fortissimo should also be tangible as the difference between Forte and Piano, between Metzo Forte and Mezzo Piano, etc. After all, each of these shades carries some kind of semantic load, expressing this or that mood and, ultimately, building the form of the work. In an ensemble game, the exact compliance with the partners of the dynamic plan is important in doubly, otherwise musical development will lose its logic.

Speaking of dynamics, it should be especially noted that in the ensemble the musical material - in the performance of homophone-harmonic writings - unevenly distributed between the parties. Whose voice is currently presenter, and someone is accompanying. Naturally, the need for dynamic bundle, the definition of the first and second sound plan, constant compliance with the dynamic balance between the melody and the main and side voices in the contact of the accompaniment. In the performance of polyphonic works, where there is a constant interlacing of many different votes, partners are in the "equal dialogue". In this case, the tasks of dynamic interaction, respectively, change, becoming more complicated, first of all, for the accompanist, which should trace the polyphonic tissue between the parties of the soloist and the parties in the right and left hands.

A special place in joint execution is related to rhythm issues. Some other times in a purely solo game. Separate rhythmic shortcomings in the ensemble can sharply disrupt the integrity of the impression, disorient the partners and to be the cause of "accidents". The ensemble requires the participants of a confident, flawlessly clear rhythm. Rhythm in the ensemble must have special quality - to be collective. Each musician is inherent in its own, individual feeling of rhythm. This difference is especially noticeable in such an ensemble, where one partner is a student, and another professional musician. The imperfection in reproduction of a student of particularly complex rhythmic figures is very often the subject of particular work on this as a teacher and a concertmaster.

The most common drawbacks are the lack of clarity of the rhythm and its sustainability. Distortion of the rhythmic pattern (fuzzy execution) most often found: in dotted rhythm; when changing duofs on triols and, on the contrary; when changing the sixteenth thirty; Under the conditions of polyrhythmia (when the battery of the soloist is presented with dools, and the batch of accompaniment - triolis and vice versa); in fivedolne, seven meters, especially if there are fouled notes in the battle of the soloist (in similar incident Correctly without having lost, it is a very difficult task for a student to calculate the incomplete lobes).

Rhythm distortion is also found at the moments of the tempo changes in the work. Often a student, entering one rhythm, cannot quickly rebuild and accurately observe the rhythmic measurements in another pace. In the music of modern composers, writings are often found, where the tempo-metric and rhythmic changes occur many times. The study of such a repertoire provides good practices in the development of rhythmic all kinds of difficulties.

Especially it is worth staying at the concert and exam speeches of the pianist with students. At the stage of the release of the work on a concert performance from the accompanist depends, whether he will save the weak game of the student or spoil good. The pianist is obliged to think over all organizational details, including those who will turn the notes to the pianist. An experienced concertmester usually pays special attention and specially learns the plugs of the pits of the keypad. Missed during the coup of the leaf bass or chord, to which the student is used in the classroom, can cause it an unpredictable reaction - up to the stop of execution. Going to the stage, the concertmester should prepare for the game earlier than the student if they start the performance of the work at the same time. Of course, you need as early as possible, in classroom in class, teach the student to show the concertmaster start of the game (in hot spirits usually breathing), but this skill does not appear at once. Sometimes a pianist is necessary to show the entry itself, but it is necessary to do it in order of exception. A student who gets used to the accompanist showing, turns away from independence and loses the initiative necessary for the soloist.

The following question concerns whether the concertmester should dictate his will to the soloist during a concert performance, asking and withstanding a hard pace and rhythm. The accompanist and teacher must strive to give the initiative to the student. In class in class, the pianist can show what should be the pace and rhythm when playing with a soloist prepared, but this must be used only as a means to "wake up" student. The essence of the same accompanying a young soloist is to help him reveal his, let the modest musical abilities, show the game as it is today.

Unfortunately, it does not rarely happen that the student contrary to the class work does not cope at a concert or examination with technical difficulties (most often from unnecessary excitement) and deviates from the pace. In such cases, it is not necessary to focus the soloist - it will not lead to anything good, except for the execution stop. The concertmester must follow the student relentlessly, even if he confuses the text, does not withstand the pause or extending them. If the soloist is false, the concertmester may try to introduce its ward in the channel of pure intonation. In the case when the false arose randomly, but the student did not hear this, you can dramatically highlight the related sounds in the accompanyment to orient the artist. If the flame is not very sharp, but long, then it follows, on the contrary, hide all the duplicate sounds in the accompaniment and this is somewhat smoothed an unfavorable impression.

A very common disadvantage of a student game is "stubbing", and the concertmester must be ready for him. To do this, he must know exactly where he plays the text at the moment. Usually students skip several clocks. Here the accompanist needs a quick reaction. Only in this case he will be able to pick up the soloist in the right place and make this error the least noticeable. A more trumpet error is that by missed several clocks, conscientious in quotes student returns back to play the missed place. And this happens, regardless of the fact that in class in class he was told about the inadmissibility of returning back. Even an experienced concertmester can simply be confused from such a surprise. Only a constant practice of working with students can lead to the fact that the accompanist will work out the skill to be from beginning to end to the end to the text and the ability to keep an ensemble with a soloist, despite any surprises.

It happens that sometimes even the capable student when playing the instrument is confused in the text so much that it leads to a stop of the sound. In this case, the accompanist in this case should first apply the musical tip, playing several music melodies. If it did not help, then you need to agree with students, from which place to continue the execution and then calmly bring the work to the end. Exposure and response of the concertmester in such complex situations They will avoid the disciple of the fear of the game of the game on the stage. It is recommended to talk to the performance, from which places the execution can be resumed in cases of stops in certain parts of the executable work.

In conclusion, I will note the following: concert shop activities include many important components and nuances. However, all this is subordinate to one goal - so that the student most fully revealed his musical talent, he felt the artist, the Creator, overcame the line, separating the soloist with the accompanist. Only in this case, the work of the teacher and the concertmeyster can bring them satisfaction.

List of references:

1. Bragin O. About working on a musical work. // Questions of piano pedagogy. Vol.3 - M.: Music, 1971. - P.77-91.

2. Volodina S.N. Features of the accompaniment from the sheet and the development of reading skills from the leaf when teaching novice accompanists. Methodical work. M.: MVMU, 2001

3. Hooks N. The art of accompaniment as a subject of learning. M.: Music, 1961

4.Kubantseva E.I. Concert mapping is musical and creative activity.

Music at school. NO2, 2001

5. Kubanseva E.I. Methods of work on the piano-accompanometer piano party. Music at school. NO4, 2001

Ivanov V.A.

"Specificity of work with an ensemble of brass instruments"

2015 year

Collective musitis is associated with a very complex executive technology. In the desire to achieve ensemble unity in all respects, the performers meet with such difficulties that they are not familiar (or few familiar) on solo muscy.

In the ensemble everything is solved together and in the relationship of all sections. From this and are born to coherence and compatibility of execution.

It is necessary to consider that the musicians of group execution play different parties. These parties are mainly one-haired. According to the functions performed, they are quite different. In each batch there may be melodic (including solo) excerpt, and polyphonic pegs, and any harmonic, accompaniment, melodic or harmonic figure, etc. There are parties and the degree of complexity. Unlike concert solo plays and etudes, incomplete phrases will always be found in them (or no beginning, or not the end), individual non-feasible harmonic voices, a large number of pauses.

Orchestral (also ensemble) batch are not too virtuoso. Losing them separately, the musician, as a rule, does not experience any special difficulties. But in general musication, when the laws of the ensemble entered into force, everything changes: the lung becomes difficult. The musician became part of the whole. This is a large whole being created on the basis of the impeccable subordination of the entire private, belonging to various performers, a single start with the obligatory implementation of all ensemble requirements.

Here is the main thing from these requirements:

Pure intonation and proper performance of dynamic shades based on the needs of the overall sound at the moment.

Accurate execution of teper-rhythm with the synchronization of identity votes with the coordination of votes with various rhythms, having hearing what you need to play.

Compliance with uniformity in the hatching (where necessary), in the nature of sound and manner of the game.

Measurement following the hand of the conductor (if any).

The manifestation of emotional-artistic aspiration in accordance with the requirements of the entire team (conductor).

Intellect should be ahead of technical skills.

To successfully implement all these requirements, the musician must have a whole complex of ensemble skills. He must have a well-developed rumor and flair on intonation, on the temperitmik, on dynamic nuances and hatching, and, of course, on the work itself, phrazing. A musician working in the ensemble (orchestra) must have a good reaction and exacerbate attention and some more special, musical resourcefulness and, even dexterity. All this says for the fact that the profession of an orchestrant-ensembly (pianist or bayanista-anablist) is very complex and multifaceted.

The multi-facetedness of the Assamblast is due to the fact that he has to play music with all, and not only the one that comes to taste, like a concentrate soloists. In addition, the Assamblands often acts as it were as if as an accompaniment, playing various accompaniment voices, and not for some time it may be a soloist.

It is usually believed that for mastering all ensemble skills, long-term work in the orchestra is needed. Such a look is quite natural. Experience convinces us in the fact that the practice of collective musitization within educational institution (Orchestral and ensemble classes) can not yet give students the entire amount of ensemble skills (there is no reason for which it will be mentioned below). With special preparation, the situation is noticeably better. The specificity of individual training involving a large homework, Allows the apprentice to more carefully work out its executive skills, bringing it to artistry in the years of study. Great benefit in classes of special preparation brings work not only over artwork, but also over the training material (etudes, gamma, etc.) Of course, in the Assembly ( chamber ensemble) And the more orchestral musication, all this is missing. In view of the collective form of classes, there is no necessary conditions for careful work out of many ensembles "small things", there is no daily training many hours of work and training material.

It seems that in teaching collective executive skills can be used along with artworks and peculiar exercises - etudes. For this you do not need multi-voice presentations. In many ways enough and two-haired. These two voices in various combinations can present the practice to two performers almost throughout the time of collective execution. The main advantage in duette music is that two artists can always easily detect and negotiate those shortcomings that pop up in the game process. If this duet is also conducted, such as a teacher, then conditions are largely approaching orchestral form of classes.

For reasons of purely organizational order, it is advisable to use training sketches for homogeneous tools. This makes it possible to perform them in the classes of special preparation. Thus, teachers will have great help in the attraction of ensemble skills to future musicians.

We now proceed to a more detailed consideration of the above ensemble requirements.

1. It does not reduce the quality of the actuation as a fake game (this applies to orchestrants). It can not be justified. However, pure intonation due to musical and aesthetic requirements does not always coincide with the sound obtained acoustic and mathematical means.

The height of individual notes, depending on the lade harmonic situations, may vary, so pure intonation is achieved in a living attitude to the musical material. In view of what was said, even the so-called "clean tool" can not always satisfy the requirement clean games. The height of individual notes is completely and nearby have to change somewhat into the other way.

Extremely important circumstance is a permanent self-control during an ensemble or orchestral execution. Permanent self-control will allow everyone from performers to monitor its intonation, based on overall sound. In addition, such an attentive hearing will help make the power of the sound of his instrument towards the entire ensemble.

2. The other requirement of an ensemblon game is an inhalation technique. Many concerns of hot musicians delivers the problem of inhale. This is mainly related to solid (inconspicuous) and long-term sequences, especially with strong sound. All the difficulty here is that the Contractor has to be very fast (sometimes lightning) inhale air. Only with such a breath in the phrase may be unnoticed. And one more complexity! During a single game, "hot spirits" usually have a habit of expanding pauses for inhalation due to the "guidelines" of dopause music or due to the delay in post-visible music and such a violation remains almost unnoticed. But in the ensemble, if one performer plays smoothly, and the other intends to make it possible to take a breath more calmly, a very noticeable rhythmic conflict arises. In this case, you must always listen carefully to the partner and how to duplicate it with rhythm. The breathing should be learned to take as much as necessary for one or another segment of sound, in order not to cause shortness of breath or forced inhalation of excess air. If there are no pauses for air in the sound, then in certain places it is necessary to slightly reduce the duration of the notes preceding the breath, but it is necessary to do so that there is an impression of continuous and smooth sound.

3. Very often ensemble unity is not achieved due to disagreement or difference in hatching or due to the other together. This refers to the combinations of a harmonic warehouse (note against notes). What you need to know here.

Every musical sound is estimated (within this timbre and this density, this in most cases depends on the natural data of the contractor) the nature of the initial moment (attack), the nature of its management and the nature of the end. All this is almost entirely determined by the performing skill of the musician. The more breathing has developed in all its manifestations, as well as lips and language, the easier it will be all the requirements of nuunting and hatching.

Since the nuanxation comes down to play louder or quieter, then it is not associated with special difficulties. Here if there are mistakes, it is not so difficult to correct them. In the orchestra (in the ensemble), for example, not much time goes to achieve the desired speaker. A fairly conductor strongly require the necessary nuanxion and the question will be resolved.

But it will be resolved successfully only when the ensembled discipline will be observed. The ability to measure the power of the sound tools and depends on the overall musical development of the performers, their understanding of the style and the nature of the work.

Generally speaking of the dynamics, it is necessary to keep in mind that the concepts of their absolute strength are still conditional and they depend on the nature of the work and tools.

Another thing is the stroke. After all, performers on the windows (especially copper) instruments during the materialization of the stroke there are many ambiguities and disputes. And all this is because the gear performance itself is associated with such components, as a language, lips, aperture and larynx, the work of which is in many ways hidden from the eye of playing. In addition, the technique of these components does not always turn out to be at the height of the performing requirements (then the language "not there went there", then the lips are not in that position, then the diaphragm or larynges did not have time to react, etc.). To more clearly, the work of the language (and lips) when playing, sometimes it is useful to compare it with the work of the language (lips) when a surveillance of various letters and syllables.

To achieve a good ensemble, the unity of understanding and performing strokes is of great importance. therefore important place In working with an ensemble is a constant attention to mastering various strokes by each performer individually and their collective execution.