Role ensemble music in the implementation of the principles of developmental learning when playing the cello.
The purpose of training in music schools and art schools is, for the most part, the training of amateur musicians who have the skills musical creativity. Such skills include: independent analysis of a piece of music, its learning, fluency in the instrument, the ability to read correctly music text, the ability to distinguish a melody from an accompaniment, the ability to read several informational layers of a text at once: musical, rhythmic, dynamic, and others.
Playing in an ensemble is a kind of joint music-making, which can be started at any level of instrument proficiency.
It is obvious that the problems of learning and creative development closely connected. The process of creativity, the atmosphere of search and discovery at each lesson makes children want to act independently, this happens sincerely and naturally. "Ignite", "infect" the child with the desire to master the language of music - the main of the initial tasks of the teacher.
An ensemble is a collective form of play, during which several musicians, through performing means, together reveal artistic content works. Performing in an ensemble provides not only the ability to play together, but something else is important here - to feel and create together. Working in a team, of course, is fraught with certain difficulties: it is not so easy to learn to feel like a part of the whole.
Playing in an ensemble brings up a number of valuable professional qualities- it disciplines in relation to rhythm, gives a sense of the right pace, contributes to the development of melodic, polyphonic, harmonic hearing, develops confidence, helps to achieve stability in performance. Weaker students begin to catch up to the level of stronger ones, from prolonged communication with each other, everyone becomes better as a person, since such qualities as mutual understanding, mutual respect, and a sense of collectivism are brought up. Thus, a cellist who has never played in an ensemble loses a lot, because The benefits of this type of activity are obvious. Such activities help good reading from a sheet, help in consolidating the basic skills of sound production, develop hearing.
Ensemble music-making has huge developing possibilities. For example, playing in an ensemble disciplines rhythm in the best possible way, improves the ability to read from a sheet, helps the student develop technical skills, and also gives the child great pleasure and joy, unlike solo performance. Ensemble music-making teaches to listen to a partner, teaches musical thinking: it is the art of having a dialogue with a partner, i.e. understand each other, be able to give cues in time and give in in time. If this art, which brings incomparable joy of joint creativity, is comprehended by a child in the process of learning, then we can say with confidence that he will successfully master the specifics of playing the cello.
Collaboration between teacher and student music pedagogy understood as creativity. Joint ensemble music-making is an ideal means for establishing mutual creative contact between a teacher and a student. From the very beginning of teaching a child to play an instrument, a lot of tasks appear: landing, setting hands, methods of sound production, notes, counting, pauses, keys, etc. But among the abundance of tasks to be solved, it is important not to miss the main one - in this crucial period, not only to maintain a love for music, but also to develop an interest in music lessons.
The donotation period is closely connected with ensemble music-making in a duet: a teacher - a student. Children are interested, they hear a familiar or pleasant melody, they want to master it faster, they quickly master musical notation. The poetic text helps to understand the simplest elements of the musical form, as well as the acquired skills of articulation - detail, legato, staccato.
Ensemble music making makes it possible from the first steps of learning to include schoolchildren in an active musical environment. They get the opportunity to initial stage learning to perform small cello ensemble pieces in front of peers.
One of the most important conditions successful work is the ability to be critical of oneself and one's comrades. It has long been noted that praise, even if not fully deserved, stimulates the activity of most people. The child needs to believe in himself. The basic rule of the ensemble: "One for all, all for one."
Among the components that unite students into a single ensemble, the metro rhythm belongs to almost the main place. Indeed, what helps ensemble players (and there may be two or more) to play together to give the impression that one person is playing. This is the feeling of a metro rhythm. He, in essence, performs the functions of a conductor in the ensemble, the feeling of each participant strong beats there is that "hidden conductor". The feeling of strong and weak beats of the measure, on the one hand, and the rhythmic certainty “within the measure”, on the other. This is the foundation on which the art of ensemble playing is based. If, with inaccuracy in the performance of the remaining components, only the overall artistic result decreases, then if the metro rhythm is violated, the ensemble collapses. But not only this is the meaning of the metrorhythm. He is able to influence technical side execution. Rhythmic certainty makes the game more confident, more technically reliable. In the ensemble, of course, there may be performers whose sense of rhythm is not equally developed. It is necessary that the ensemble has rhythmically stable performers. Then the other members of the ensemble will begin to reach out to the stronger, rhythmically, students.
In general, playing in an ensemble allows you to successfully work on the development of rhythmic feeling. Rhythm is one of the central elements of music. The formation of a sense of rhythm is the most important task of the teacher. Rhythm in music is not only a time measuring category, but also emotional and expressive, figuratively poetic, artistic and semantic.
Playing together with the teacher, the student is in a certain meter-rhythmic framework. The need to "hold" one's rhythm makes the assimilation of various rhythmic figures more limited. It's no secret that sometimes students perform pieces with significant tempo deviations, which can distort the true feel of the original movement. Ensemble game not only gives the teacher the opportunity to dictate the correct pace, but also forms the correct tempo perception in the student. It is necessary to find the most accurate rhythm, to achieve the accuracy and clarity of the rhythmic pattern. The definition of the tempo depends on the jointly chosen single rhythmic unit (formulas general movement). This formula has when playing in an ensemble great importance, because subordinates the particular to the whole and contributes to the creation of a single pace among partners.
When playing in an ensemble, it is necessary to be economical in spending dynamic means to manage them wisely. We must proceed from the fact that, no matter how rich the ensemble is with instruments bright in timbre, one of its main reserves, which give flexibility and refinement to the sound, is dynamics. Various elements musical texture should sound at different dynamic levels. Nothing will come of it if everything is equal force. Having cultivated such a sense of dynamics, a member of the ensemble will accurately determine the strength of the sound of his part relative to others. In the case when the performer in whose party sounds main voice, played a little louder or a little quieter, his partner will immediately react and play his part also a little louder or quieter. It is important that the measure of these "slightly" would be accurate.
Determining the tempo of a piece - important point in the performing arts. A correctly chosen tempo contributes to the correct transfer of the character of the music, an incorrect tempo distorts this character to one degree or another. Although there are author's indications of the tempo, up to determining the speed by the metronome, the tempo is "embedded" in the music itself. Even Rimsky-Korsakov argued that "a musician does not need a metronome, he hears the tempo from the music." It is no coincidence that Bach, as a rule, did not indicate the tempo at all in his compositions. Within one piece, the tempo may vary. “There is no such slow pace at which there would not be places that require acceleration ... and vice versa. There are no appropriate terms in music to define this, these designations must be laid in the soul ”(V. Tolba).
The synchronicity of ensemble sounding should be understood as the accuracy of the coincidence in time of the strong and weak parts of each bar, the utmost accuracy in the performance of the smallest durations by all members of the ensemble. When considering the problem of synchronized performance, three points need to be made: how to start a piece together, how to play it together, and how to end a piece together. The ensemble must have a performer who performs the functions of a conductor, he must sometimes show introductions, removals, slowdowns. The entry signal is a small nod of the head, consisting of two moments: a barely noticeable upward movement (auftact) and then a clear, rather sharp (once) downward movement. The latter serves as a signal to join. At the rehearsal, you can count an empty beat, there may be the words: “Attention, get ready, we started”, after the word “started” there should be a natural pause (like a breath). Much depends on the nature of the music in achieving synchronicity in an ensemble sound.
Performing in unison requires absolute unity - in meter rhythm, dynamics, strokes, phrasing. From this point of view, unison is the most complex shape ensemble. The proof of absolute unity when playing in unison is the feeling that while playing along with other students, your part is not heard as an independent one. Meanwhile, in unison, strong skills of the ensemble are formed, besides, the unison is interesting visually and in terms of stage.
An ensemble game is a form of activity that opens up the most favorable opportunities for a comprehensive and wide acquaintance with musical literature. Before the musician are works of various artistic styles, authors, various arrangements of opera and symphonic music. The accumulation of a stock of bright numerous auditory representations stimulates the artistic imagination. Playing in an ensemble contributes to the intensive development of all types of musical ear(pitch, harmonic, timbre-dynamic).
Play well with the teacher. But of course, children learn more attentiveness, concentration of attention, responsibility, the ability to listen to themselves and others when they play in an ensemble with each other (i.e. student-student). Partners are selected, if possible, children of the same age and the same level of training. In this situation, something like a tacit competition arises, which is an incentive for a more thorough and more attentive game. From the very beginning, it is necessary to teach children so that one of the players does not stop playing when the other stops. This will teach the other performer to quickly navigate and re-enter the game. First of all, in student-student ensemble playing, we teach the synchronicity of performance. The synchronicity of ensemble sounding is understood as the coincidence with the utmost accuracy of the smallest durations (sounds or pauses) for all performers. Synchronicity is the result essential qualities ensemble - a common understanding and feeling of tempo and rhythmic pulse by partners. Synchronicity is one of technical requirements joint game. The simultaneous entry of all is usually achieved by an imperceptible gesture of one of the members of the ensemble. With this gesture, it is helpful to advise the performers to take their breath at the same time. The simultaneity of the end is no less important. Synchronization of the introduction and removal of the sound is achieved much easier if the partners correctly feel the tempo even before the start of the game. The music begins already in the auftact and in the short moments preceding it, when the students, by an effort of will, focus their attention on the fulfillment of the artistic task.
In this way,
1. Ensemble music-making contributes to the intensive development of all types of musical ear (pitch, harmonic, polyphonic, timbre-dynamic).
2. Playing in an ensemble allows you to successfully work on the development of rhythmic feeling. It helps to lay the elementary foundations of rhythm, as well as to master more complex metro-rhythmic categories.
3. Ensemble music-making contributes to the development of memory.
4. Work on the cello ensemble intensively develops creative thinking students and the formation of generalized musical concepts.
5. Ensemble play has a positive effect on the development of playing abilities.
6. Ensemble play can be included in different kinds activities of students in the cello class (improvisation, sight reading, selection by ear).
7. Ensemble music is a form of cooperation between the student and the teacher. Allows for age and individual characteristics students. Acts as a collective activity.
When a student for the first time receives satisfaction from joint work, feels the joy of a common impulse, mutual support - we can assume that classes in the class have given fundamentally important result. The student felt the originality and interest of joint performance.
Playing in an ensemble in a child develops a sense of collectivism. The individual creative reproduction of each individual part is combined into a single whole, the ability to constantly listen to each other, merge the sound of your part with another. Opportunity to join forces to achieve common purpose, as well as the atmosphere of group classes create favorable opportunities for the development of abilities.
Thus, the role of ensemble playing in learning to play the cello is very important. She teaches everything: rhythm, conscious attitude to business, responsibility, quick mastery of musical notation and understanding of the structure of musical forms. In addition, children like it very much, it brings them great pleasure.
List of sources
1. Gottlieb A. Fundamentals of ensemble technique. - Leningrad: Mir, 1986.
2. Rizol N. Essays on work in the ensemble. - M.: Music, 1986.
3. Grigoryan A. School of playing the cello.- M.: Muzyka, 1999.
4. Timakin E.M. The education of a pianist. - Kazan: Education, 1967.
5. Sapozhnikov R. Methods of teaching to play the cello. - M.: Music, 1995.
6. Tsypin G.M. Learning to play the piano. - Kyiv: Ukraine, 1987.
Irina Onkina
Ensemble game as one of the ways of versatile development of the child
Ensemble game, how one of the ways to develop a child.
Collective performance in all its manifestations has always occupied a special place in the life and musical culture of all peoples, and was associated with traditional way life. joint the game on the musical instruments was not always an activity in the field of art, initially it accompanied a person in his daily activities. And only with time, in all ensembles, music gradually acquired relatively independent meaning, and the teams received more and more clear structure and organization.
Pedagogical Opportunities ensemble folk instruments in musical preschooler development: - this is a type of joint music-making, which has been practiced at all times at every opportunity and at any level of instrument proficiency, and is still being practiced. What is the benefit ensemble music?
Ensemble game this is a form of activity that opens up great opportunities for a comprehensive and broad acquaintance with music. Ensemble game- this is a constant and quick change of impressions, this is a huge range diverse music information. Besides Ensemble music-making contributes to the development of musical ear, sense of rhythm, memory, motor skills. Rhythm is one of the central elements of music. The formation of a sense of rhythm is the most important task of musical pedagogy. Playing with the teacher, the student is in the metro-rhythmic framework. Ensemble game not only makes it possible to dictate the correct tempo, but also forms the correct tempo sensation in the student.
Exactly playing in an ensemble communication skills are acquired, i.e. live communication with other participants ensemble(peers, parents, musical hands.) playing in the ensemble, the child is liberated, and subsequently his artistry is revealed, he feels the support of other participants ensemble and at the same time feel like an integral part of ensemble. i.e. the ensemble is a great way for the child's self-realization. Playing in an ensemble, children learn to listen to the parterre, understand each other, try to transmit musical cues in time or yield in time. While playing in ensemble is developing musical thinking because the participant ensemble simultaneously listens to music, analyzes it and reproduces sounds in time in accordance with the tempo, character and dynamic shades of the work.
Ensemble playing music is not only one of the best forms of cooperation between a teacher and a student, but also an excellent form of interaction between parents and children. Once again, emphasizing the availability of performance on noise musical instruments, at any of the events you can unobtrusively organize ensemble of parents. Any parent will figure out and pick up or copy the playing of musical instruments, looking at children or music director. And the children will experience a real delight from the fact that their parents, it turns out, also know how play, and this not fake joy from joint music-making will help parents to be distracted and enjoy joint creativity. This form of activity contributes to working capacity, enhances personal initiative, helps to rally the team together, which is very important for the implementation creative tasks institutions and to strengthen family values.
The task of today's preschool institutions- disclosure of the personal potential of each child, activation of the initiative and creativity of children. It is necessary to create an atmosphere where the student himself is included in creative process. And exactly ensemble pedagogy gives us huge opportunity and ways to implement these tasks. Because the ensembles folk instruments have a particularly rich variety of repertoire, unique colorful and noise techniques.
It's no secret that people who have received even the minimum musical education, in production they manifest themselves as more workable, sociable, artistic and bright specialists. In addition, I want to note that the skills of playing ensemble necessary not only for those children who later wish to connect their lives and professions with music. These skills are essential for Everyday life. Since to skills ensemble performance relate: ability to work in a team, to show sociability, responsiveness, ability to find creativity to a non-standard situation, to be attentive, focused and dedicated.
Therefore, training ensemble the game is a very important part general education in GBDOU.
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Methodological report
"The main directions in working with the ensemble"
Troshina Vera Timofeevna,
guitar teacher at the Children's School of Arts
Rtishchevo, Saratov region
An ensemble is a group of performers who perform together. The art of ensemble performance is based on the performer's ability to balance his artistic individuality, his performing style with the individuality of his partner's performance. The ensemble is a collective form of play, during which several musicians, through performing means, together reveal the artistic content of the work. Performing in an ensemble provides not only the ability to play together, but something else is important here - to feel and create together. Working in a team is undoubtedly fraught with certain difficulties: it is not so easy to learn to feel like a part of the whole. At the same time, playing in an ensemble brings up a number of valuable professional qualities in a performer - it disciplines the rhythm, gives a sense of the right pace, contributes to the development of melodic, polyphonic, harmonic ear, develops confidence, and helps to achieve stability in performance. So it is known that when a student performs uncertainly in a solo game, stuttering, having played in an ensemble, he already begins to play more confidently. Weaker students begin to catch up to the level of stronger ones, from prolonged communication with each other, everyone becomes better as a person, as a person, since such qualities as mutual understanding, mutual respect, and a sense of collectivism are brought up. From the foregoing, we can conclude that an instrumentalist who has never played in an ensemble deprives himself of a lot, because the benefits of this kind of occupation are obvious. One of the most important conditions for successful work is the ability to be critical of yourself and your comrades. It is known that the word "self-criticism" is easier to say than to turn it into action. But one must not only practice, but also not skimp on praise, be able to cheer up, inspire. It has long been noted that praise, even if not fully deserved, stimulates the activity of most people. The child needs to believe in himself. The basic rule of the ensemble is "One for all, all for one", "The success or failure of one is the success or failure of all."
Rhythm as a factor of ensemble unity
Among the components that unite students into a single ensemble, the metro-rhythm belongs to almost the main place. Indeed, what helps ensemble players (and there may be two or more) to play together to give the impression that one person is playing. It's a subway feel. He, in essence, performs the functions of a conductor in the ensemble, the feeling by each participant of the strong beats is that “hidden conductor”, whose “gesture” contributes to the unification of the ensemble players, and, therefore, their actions into one whole. The feeling of strong and weak beats of the bar, on the one hand, and the rhythmic certainty "within the bar", on the other, are the foundation on which the art of ensemble playing is based. Unity, synchronicity of its sound is the first among others important conditions. If, with inaccuracy in the performance of the remaining components, only the overall artistic result decreases, then if the metro rhythm is violated, the ensemble collapses. But not only this is the meaning of the metrorhythm. He is able to influence the technical side of the performance. Rhythmic certainty makes the game more confident, more technically reliable. In addition, a student who plays non-rhythmically is more prone to all sorts of accidents, and from an accident, as you know, there is a direct road to a loss of psychological balance, to the emergence of excitement. How can you ensure that each of the participants, performing his part, strengthens the rhythmic basis of the entire ensemble? It is necessary to systematically and persistently work in this direction. In an ensemble, of course, there may be performers who have developed a sense of rhythm in different ways. You need to start with cultivating a sense of absolute precise and "metronome" rhythm: it will become a unifying principle in a common collective rhythm. It is necessary that the ensemble has rhythmically stable performers. Then the rest will begin to reach out to those who are stronger in rhythmic terms.
Dynamics as a means of expression
When playing in an ensemble, it is necessary to be economical in spending dynamic resources, to dispose of them wisely. We must proceed from the fact that, no matter how rich the ensemble is with instruments bright in timbre, one of its main reserves, which give flexibility and refinement to the sound, is dynamics. Different elements of the musical texture should sound at different dynamic levels. As in painting, so in music, nothing will come of it if everything is of equal power. In music, as in painting, there is a foreground and a background. Having cultivated such a sense of dynamics, the ensemble player will accurately determine the strength of the sound of his part relative to others. In the event that the performer, in whose part the main voice sounds, played a little louder or a little quieter, his partner will immediately react and perform his part also a little louder or quieter. It is important that the measure of these "slightly" would be accurate.
How to practically work on dynamics in an ensemble. First you need to learn how to play within one or another dynamic shade absolutely straight. For example, you can invite all participants to play one note or scale on a flat P (piano), then on a flat mf, and so you should go through all the dynamic steps. Of course, the power of sound is not as definite a concept as the pitch mf on a guitar is not equal to mf on a piano, f on a balalaika is not the same as f on a button accordion. The performer must educate himself developed hearing(microhearing), supplementing the dynamics with the concept of microdynamics, meaning the ability to register the slightest deviations in the direction of increasing or decreasing the strength of sound.
Tempo as a means of expression
Determining the tempo of a work is an important moment in the performing arts. A correctly chosen tempo contributes to the correct transfer of the character of the music, an incorrect tempo distorts this character to one degree or another. Although there are author's indications of the tempo, up to determining the speed by the metronome, the tempo is "embedded" in the music itself. Even Rimsky-Korsakov argued that "a musician does not need a metronome, he hears the tempo from the music." It is no coincidence that Bach, as a rule, did not indicate the tempo at all in his compositions. Within one piece, the tempo may vary. “There is no such slow pace at which there would not be places that require acceleration ... and vice versa. To define this, there are no corresponding terms in music, these designations must be laid in the soul ”(V. Tolba).
Techniques for achieving synchronicity of ensemble sound
The synchronicity of ensemble sounding should be understood as the accuracy of the coincidence in time of the strong and weak parts of each bar, the utmost accuracy in the performance of the smallest durations by all members of the ensemble. When considering the problem of synchronized performance, three points need to be made: how to start a piece together, how to play it together, and how to end a piece together. The ensemble must have a performer who performs the functions of a conductor, he must sometimes show introductions, removals, slowdowns. The entry signal is a small nod of the head, consisting of two moments: a barely noticeable upward movement (auftact) and then a clear, rather sharp (once) downward movement. The latter serves as a signal to join. The nod is not always done in the same way, it all depends on the character and pace performed work. When the work begins due to a beat, the signal is essentially the same, with the difference that if in the first version there was a pause when the head was raised, then in this case it is filled with the sound of the beat. At the rehearsal, you can count an empty beat, there may be the words: “Attention, get ready, we started”, after the word “started” there should be a natural pause (like a breath). Much depends on the nature of the music in achieving synchronicity in an ensemble sound. It has been noticed that in plays of an active, volitional nature this quality is achieved faster than in plays of a calm contemplative character. The same can be said about the "start".
There is hardly any need to emphasize how important it is to finish the work together, at the same time:
a) the last chord - has a certain duration - each of the ensemble players counts "to himself" metrical shares and removes the chord exactly on time.
b) chord - above which there is a fermata, the duration of which must be determined. All this is worked out during the rehearsal. The reference point for removal can also be a movement - a nod of the head.
If the synchronicity of the performer is a quality necessary in any ensemble, then it is even more necessary in such a variety as unison. Indeed, in unison, the parties do not complement each other, but duplicate, however, sometimes in different octaves, which does not change the essence of the matter.
Therefore, the shortcomings of the ensemble in it are even more noticeable. Performing in unison requires absolute unity - metrorhythm, dynamics, strokes, phrasing. From this point of view, the unison is the most complex form of ensemble. The proof of absolute unity when playing in unison is the feeling that while playing along with other students, your part is not heard as an independent one. Unfortunately, little attention is paid to this form of ensemble playing in educational practice. Meanwhile, in unison, strong skills of the ensemble are formed, besides, the unison is interesting visually and in terms of stage.
When a student for the first time gets satisfaction from joint work, feels the joy of a common impulse, mutual support - we can assume that classes in the classroom have yielded a fundamentally important result. Although this performance is still far from perfect, this should not embarrass the teacher, everything can be straightened out with further work. Something else is valuable, the boundary separating the soloist and the ensemble player has been overcome, the student felt the originality and interest of joint performance.
List of used literature
1. N. Rizol. Essays on the work in the ensemble. - 1986. - Moscow.
2. A. Gotlib. The first lessons of the ensemble.
3. P. Agafonin. school play on six-string guitar. - Moscow. - 1983.
Methodological development on the topic: The role of ensemble music in musical development and education music school students
This development will be useful for teachers of children's music schools, children's art schools. Also, the material will be of interest to students of pedagogical colleges and higher educational institutions who are interested in methodology musical education children.
Target: revealing the understanding that the role of collective instrumental music-making in educational process Children's music school is the most significant in the educational process, both from the creative and educational side.
A task: fostering interest in playing in an ensemble.
AT recent times increased interest in ensemble playing. The ensemble is not just the ability to "play together". Much more important here is something else - to feel and create together, equally feeling the idea and intent of a musical work.
It is possible and necessary to start developing the skills of ensemble playing on early stage learning. Playing in an ensemble develops a child's ear, broadens their musical horizons, and also arouses interest in music lessons. While playing music in the ensemble, the student actively gets acquainted with new works, quickly and efficiently learns them, thereby replenishing his repertoire and mastering various musical styles. Playing in an ensemble, giving rise to the spirit of competition, has a positive effect on the development creativity and technical skills of students. It is also important that a stronger partner is able to influence the musical and technical development of a less advanced one.
Start off ensemble learning better with a duet "teacher - student". The young performer, feeling the support of the teacher, willingly joins the process of joint music-making and is aware of his equal role in the ensemble. In this situation, the teacher acts as a sensitive partner and an attentive mentor, who seeks to develop the most important ensemble playing skills in his ward. Joint music-making helps to overcome various psychological stresses - clamps that arise in a child during a solo performance. Ensemble game helps the student to consolidate the skills acquired in the lessons in the specialty, develops a good sense of rhythm, harmonic ear, and contributes to the development of means musical expressiveness. A diverse ensemble repertoire enriches creative thinking and musical taste young musician.
Joint ensemble performances of a student with a teacher allow the child to feel like an artist at an early stage of training, remain in memory for a long time, stimulate further lessons on the instrument, and inspire respect and trust in the mentor in parents.
Children like to play in an ensemble with a teacher, but more attentiveness, concentration, responsibility, the ability to listen to themselves and others, children learn when playing in an ensemble with each other, that is, in a student-student ensemble. Children of the same age are selected, equal in musical training and mastery of the instrument. At the beginning, the ensemble members learn to listen to the melody, the second voice, and the accompaniment. You need to learn to listen not only to what you play yourself, but at the same time what your partner plays, that is, the general sound of the parts.
Great Workout and mutual understanding requires the synchronicity of the performance of a musical work. It is important to achieve synchrony not only at the beginning of the work, but also in the process of playing the piece, and at the end.
Among the components that unite students into a single ensemble, one of the main places is occupied by the metrorhythm. Therefore, the formation of a sense of rhythm is an important task in musical pedagogy.
In the process of working with the ensemble, one should not forget about the dynamics of the performance. Its skillful use helps to reveal the general nature of the music, the emotional content, and the features of the construction of the work. Members of the ensemble must accurately and clearly represent the general dynamic plan of the work. It is necessary to determine its climax, a gradual increase or decrease in volume. Creating a unified dynamic - required condition joint game.
From the very first bars, performance in an ensemble requires the participants to use the same sound extraction techniques, which depend on style features performed work, from musical content and character performed music.
Getting started on piece of music, the teacher must give general idea about the nature of its musical content. To do this, you need to play the whole piece or listen to it in the recording. Then you need to talk about the meaning and function of each of the parties. Students should also be introduced to the author, era, content, form and style of the work being studied.
Important in educational practice has a repertoire, and teachers have always sought to diversify it. The goal is to increase students' interest in playing music in an ensemble, joint creativity. One of the solutions to this problem is to involve in the repertoire of the ensemble contemporary works. These can be songs from movies, songs performed by modern musical groups, provided, of course, that these works have a known artistic value. Performing the familiar and popular musical material able to arouse the keenest interest of the ensemble members.
Ensemble game is a constant change of new perceptions, impressions, discoveries, an intensive influx of rich and diverse musical information.
