7. Modern domestic methodology for teaching wind instruments

Domestic wind teachers of the XX century V.M. Blazhevich, B.A. Dikov, G.A. Orvid, N.I. Platonov S.V. Rozanov, A.I. Usov, A.A. Fedotov, V.N. Tsybin formed the so-called "psycho-physiological school of playing wind instruments", the main requirement of which was a conscious attitude to the performing process. Playing wind instruments was considered by them as a complex psycho-physiological act, controlled by the higher nervous activity of a person.

The method of learning to play wind instruments has developed special artistic requirements for performers: "clarity, depth and distinctness of sound, melodious cantilena, vivid emotionality, simplicity and sincerity in expressing feelings."

The musical avant-garde that has existed since late XIX century to the last quarter of the 20th century, made it necessary to improve the performing techniques of the 19th century, as well as to supplement the teaching methods for playing wind instruments with the study of new, non-traditional performing techniques. These include:

1. Permanent (continuous) performance breathing;

2. Playing chords (polyphony);

3. Frullato on brass instruments;

4. The so-called "game in the squares";

5. Quarter-tone alteration;

6. Lip oscillation;

7. Reed pizzicato on clarinet and saxophone (slap-stick);

8. Clap with the palm of the hand on the mouthpiece of a brass instrument;

9. Finger tapping on the valve or instrument body;

10. Playing with the missing part of the instrument;

and much more.

In the post-war period, the level of performing skills of domestic wind players significantly increased. Their achievements in World competitions and festivals are bright pages in the history of world performing culture.

Performers on wind instruments began to perform more often in concerts with solo programs and in ensembles.

The 15 best horn players received the title of " National artist RF". The performing style of these musicians, recorded in recordings, is distinguished by a deep comprehension of the author's intention, a bright artistic individuality, simplicity and sincerity in expressing feelings.

These successes were facilitated by major achievements in the field of teaching wind instruments and methods. In the 20th century, a lot of new, interesting methodological literature was published, four collections of articles and essays “Methods of Teaching Wind Instruments” were published (one edited by E.V. Nazaikinsky and three edited by Yu.A. Usov), appeared on sale and in libraries there are other collections, textbooks and manuals. Book A.A. Fedotov "Methods of teaching to play the wind instruments", published in 1975, has provided and continues to provide to this day positive influence for the education of musicians of different generations.

8. Unresolved issues in teaching methods for playing wind instruments.

There are many unresolved problems in the modern method of learning to play wind instruments:

1) Teaching methods for playing wind instruments are poorly linked to achievement pedagogical science and musical psychology;

2) The modern method of teaching wind instruments encourages students to develop musical thinking. Meanwhile, musical thinking creative process, not studied on theoretical level and is currently under study. The pedagogical recommendations of wind teachers on this issue are most often not based on science, but are based only on personal experience;

3) When selecting students for classes in wind instruments, the examiners identify the physical data of the child, as well as the makings of an ear for music and musical rhythm. The method of detecting these musical inclinations is not very perfect. Sometimes it is not the most capable child who wins the qualifying competition, but the one who is already familiar with the exam procedure and knows in advance what awaits him at this kind of competition;

4) In the modern methodology of teaching to play wind instruments, the chest-abdominal type of breathing is declared the most rational type of performing breathing, and the chest type of breathing is “anathematized”. Meanwhile, the performing practice of recent years has shown that a wind player can and should use all known types of breathing;

5) In educational institutions of the country, few girls learn to play brass instruments. The methodology for staging the performing breath of women playing horns, trumpets, and trombones has not been sufficiently developed. There are almost no women playing these instruments in orchestral groups. Meanwhile, in the US there are many women's brass bands, whose performances invariably arouse the interest of the public;

6) In some conservatories of the country, wind students are not taught editorial work, they are not taught to independently compose cadenzas for performed compositions, they are not taught to make arrangements for their instrument;

7) In our time, many domestic wind players strive to surpass each other in the speed of performance of any compositions that have the indications “allegro”, “allegretto”, “vivo”, “presto”, etc. This trend inevitably leads to a distortion of the author's intention, to contentless, "averaged" game, to the loss of individual timbre. Meanwhile, the given terms do not at all mean “presto possibile” – to play extremely fast. Sometimes the fluency of the fingers and the demonstration of staccato serves as a screen behind which the musician tries to hide the inferiority of the performing culture and poor command of the entire complex of performing techniques. The habit of some young clarinetists to play fast music as quickly as possible is also noted by A.P. Barantsev and V.Ya. Colin.

Professor of the Russian Academy of Music. Gnesinykh A.A. Fedotov, talking with students of the Novosibirsk State Conservatory (Academy) named after. M.I. Glinka, rightly noted that many clarinetists use "leaning breath" only while playing cantilena, and "forget" about it when playing fast music.

8) Some young wind players prefer to use such musical editions, where largest number editorial embellishments and digressions. There is only one principle - the more, the better! Sometimes this practice serves as an attempt to hide with the help of external effects the lack of deep thought and the lack of performing culture.

9) Describing the state of the modern domestic methodology for teaching wind instruments, the authors teaching aids list mostly achievements and rarely mention shortcomings.

Bibliography:

1. Ancient musical aesthetics. - M .: Music, 1960.

2. Berezin V. wind instruments in the musical culture of classicism. - M .: Institute of General Secondary Education of the Russian Academy of Education, 2000.

3. Burney C. Musical travels across France and Italy. - M., 1961.

4. Dikov B. Teaching methods for playing wind instruments. Ed. 2. - M .: Music, 1973.

5. Quants I. Experience of instruction in playing the transverse flute // Conducting performance. - M .: Music, 1975.

6. Levin S. Wind instruments in history musical culture. - L .: Music, 1973.

7. Musical aesthetics of the Middle Ages and the Renaissance. - M.: Music, 1966.

8. Usov Yu. The state of teaching methods for playing wind instruments and ways of its further improvement // Problems of musical pedagogy (responsible editor M.A. Smirnov). - M .: Moscow state. conservatory, 1981.

9. Usov Yu. History of domestic performance on wind instruments. – Ed. - 2. - M .: Music, 1986.

10. Usov Yu. History of foreign performance on wind instruments. – Ed. 2. - M .: Music, 1989.

Third). In general, the results obtained allow us to conclude that personal development adolescents is associated with the development of intelligence and cognitive structures. CONCLUSION This dissertation research is devoted to the experimental study of older teenagers in music schools and was carried out in the context of the direction of cognitive psychology developed by N.I. Chuprikova and her colleagues...

... "16. These theories are based on the idea that the artistic world created by one nation is incomprehensible to another, that it is inaccessible due to psychological and historical barriers. The history of the development of the musical culture of Khakassia fully proves the inconsistency of these views. Not inventing purely national genres of Khakass opera, Khakass ballet or symphony, but being enriched with well-known experience...

The public education system in Novy Urengoy; - to analyze the structure of the education system in the city, the interaction of its various links; – to establish the level of development of public education in the city New Urengoy at the turn of the XX - XXI centuries. At the same time, some questions related to the research topic are only posed in the work, but are not considered in detail. In our opinion...

Elementary education took place within the framework of religious dogmas (Roman Catholic or Protestant). Clericalism was a significant brake, which, as the French historian of pedagogy C. Letourneau writes, "paralyzed the school," for example. In schools there was no hint of physical education. The children were constantly hit. Whipped all without exception. From the diary of a juvenile teacher...

Many parents are literally obsessed with teaching their children music. However, not everyone does it easily and organically. Often, difficulties begin already at the moment of choosing a musical instrument.

The violin is presented to the parents the best option. Lightweight, affordable (not Stradivari, in fact), does not take up much space - a miracle. That's just the violin is taken only by those who have. That is, not all of them.

In second place in popularity, of course, is the pianoforte. You still need to be able to get a job at the piano, and the instrument itself is not tough for everyone from a material and spatial point of view: it is painfully large and expensive. Those children who were not taken to either the violin or the pianoforte are often arranged by their parents in groups of wind instruments. And they absolutely do not think that playing the wind instruments is far from being shown to everyone for purely medical reasons.

Wind musical instruments are divided into wooden ones, for example, flute, oboe, clarinet, bassoon, and copper ones - trumpet, horn, trombone, tuba. It takes some effort to make a sound, and some instruments are quite heavy, which is why only healthy children can learn to play them.

At what age can children learn to play wind musical instruments? Much depends on the choice of instrument. So, a child can be taught on the flute from the age of 9, on the oboe - from 10 years old, on the clarinet from 10-11. And for initial period learning, you should purchase a clarinet in the E-flat (or es) system - the smallest in size. From 11-12 years old they begin to learn to play the trumpet, from 12-13 years old - the horn, from 14 - the bassoon, trombone and tuba. Of course, every child should have individual approach subject to physical development, endurance, health status.

The lungs experience the greatest stress while playing wind instruments. After all, a deep breath before blowing air into the instrument causes a strong stretching of the lung tissue (elastic fibers of the lung vesicles of the alveoli). After suffering rickets of 2 and 3 degrees, after repeated diseases with pneumonia, the elasticity of the lung tissue usually decreases. In such cases, playing wind instruments can cause irreversible changes in the lung tissue - rupture of the walls of the alveoli, emphysema.

When extracting a musical sound, the abdominal press is strongly strained, intra-abdominal pressure rises. Therefore, children and adolescents in whom doctors detect hernias (white line of the abdomen, inguinal, inguinal-scrotal), divergence of the muscles of the anterior abdominal wall, are not allowed to play wind instruments. It is strictly forbidden for any chronic diseases of the respiratory system, cardiovascular system, digestive tract.

MOUDOD "Children's Music School No. 40", Novokuznetsk

The beneficial effect of playing wind instruments on the human respiratory system

Musical education is one of the indispensable conditions for a comprehensively developed personality, and all parents dream of sending their child to a music school. On the eve of the new school year parents actively enroll their children in various studios and schools. Music circles are especially popular now.

The choice of the musical instrument that your child will learn to play is very important. A lot depends on the right decision. And influence music lessons on the health of the child, and his success in learning, and his future career. When choosing a tool, you should not follow the spirit of fashion. If in this moment time it is fashionable to play the button accordion, it is not at all necessary that this fashion will last for a dozen years, until the baby grows up. Choose tools that are more versatile.

First, you should talk with the baby, invite him to listen to the sound of different musical instruments and show how musicians play them. The child will certainly show interest in something specific. But to make sure the choice is right, one desire is not enough. You should evaluate how this or that musical instrument can affect the health of your child. For example, there is nothing better for the development of breathing than playing wind instruments.

Asthma sufferers are especially recommended lessons on wind musical instruments (flute, oboe, clarinet, bassoon, saxophone, trumpet, horn and others, and for children three years- block flute). These classes involve working on professional breathwork, which helps fight asthma and allergy symptoms, and sometimes even cures them!

Wind musical instruments- a family of musical instruments whose source of sound is a column of air enclosed in them; hence the name (from the word "spirit" in the meaning of "air"). Sound is produced by blowing an air jet into the instrument.

wind instruments- tools of universal possibilities. They are used everywhere: in symphonic, jazz, brass bands, in groups of avant-garde trends in modern music.

In music schools there is a whole "constellation" of instruments that children learn to play with great pleasure. All these instruments sound great in the school brass band. Playing wind instruments is very beneficial for health. They strengthen and heal the respiratory system. Highly recommended by physicians in the complex therapy of bronchial asthma and chronic bronchitis. Studying at the wind department of the school, boys can get a specialty for military service. The students are also waiting for student orchestras organized in the country's universities.

Immediately, we note that there are age restrictions for playing wind instruments. For example, it is recommended to learn to play the saxophone from the age of 12 - by this age the child reaches the necessary physical development. However, given the acceleration, the bar of "windows" is gradually lowered. From the age of 10, you can already learn to play, for example, on a recorder or a sopilka.

Many parents bring their children to school just to improve their health, says the wind instrument teacher Yuri Fedorenko: “I had several students who were treated for asthma by playing the saxophone. For those who systematically, daily exercised, their health improved significantly. Yes, and children learning to play was much more interesting than blowing up balloons, as doctors advise.

The fact that "trumpeting" is really very useful is also confirmed by a pulmonologist, candidate of medical sciences. Larisa Yaroshchuk: “When playing the saxophone or other wind instrument, resistance is created to the flow of exhaled air. This helps to open up the alveoli (structural units of the lungs), develops lung tissue, improves gas exchange in the body, and increases the vital volume of the lungs. However, before enrolling a child in a music school, contraindications should also be taken into account. You can not play wind instruments with emphysema (abnormal increase in lung capacity), cysts in the lungs and in some stages of tuberculosis. You need to be careful with congenital heart defects: such children are contraindicated in the "heavy artillery" of the orchestra, such as trombones or tubas, since these instruments require considerable physical exertion.

For medical reasons. If your child has asthma or breathing problems, then there is nothing better than the brass department - flute, saxophone, trumpet, clarinet, horn - anything! Here your child will first be offered to start learning on a small wooden or plastic recorder. This stage is the same for all wind instruments. Here the basics of musical notation, melodies are comprehended, and most importantly - breathing develops! I know many cases when the disease receded under the perseverance and diligence of the child after a couple of years of classes. Here you always (with the exception of the French horn - sometimes) you need to stand and keep the correct posture. This will be closely monitored by the instructor.

Asthma is a disease of the tracheobronchial tree characterized by bronchial hyperreactivity and subsequent obstruction. air flow due to exposure to some stimulus. Such an irritant can be exogenous allergens, a viral respiratory infection, physical overexertion, cold air, tobacco smoke and other air pollutants. However, airway obstruction is dynamic and improves either spontaneously or as a result of treatment.

Australian asthma treatment.

People suffering from bronchial asthma know that an asthma attack can come at the most inopportune moment. In such situations, the main thing is to have a compact aerosol can with you, otherwise the consequences can be the most sad. In the absence of a cure, there are special breathing exercises that can alleviate the suffering of the patient. And recently, Australian doctors have discovered a new way to treat asthma - playing wind musical instruments.

So, in particular, asthma attacks disappear if the patient plays the didgeridoo, a musical wind instrument of the Australian Aborigines. A study conducted by the University of South Queensland (Australia) showed that regular didgeridoo exercises make it easier for asthmatics to breathe and improve their overall health.

During the experiment, ten Aboriginal boys attended weekly didgeridoo lessons for six months. At the end, it turned out that their respiratory functions improved significantly. According to scientists, this was facilitated by deep and circular (continuous) breathing, necessary to extract sounds from the said instrument.

It is curious that girls were not included in the study: in many Australian Aboriginal tribes, the didgeridoo is considered an exclusively “male” instrument. And girls and women can get rid of asthma symptoms if they take vocal lessons. Experiments have shown that singing significantly alleviates the condition of asthmatics of both sexes.

Didgeridoo is made from a piece of eucalyptus tree up to three meters long, the core of which has been eaten away by termites. The mouthpiece can be treated with black beeswax. The tool is usually painted and decorated with images of the totems of the tribe.

Bibliography:

1. Ryazanov S. "School of playing the clarinet", publishing house "Moscow", 1978, 247 p.

2. "Methods of teaching to play the trumpet", publishing house "Moscow", 1982, 354p.

3. http://*****/495552/

4. http://zdorovja. /content/view/9652/56/

To acquire a professional performing qualification, each musician needs to master the skills of working on a variety of musical material. Usually, a wind instrument player deals with two types of musical material: instructive, which includes various exercises, scales and etudes; artistic, including various musical works: pieces with piano accompaniment, chamber ensembles, orchestral works. Work on musical material contains a whole range of technical development techniques. By systematizing this set of techniques for technical development on wind instruments among children's students music school I present each of them separately.

• Working on long sounds:

The performance of long sounds is one of the most common exercises, they are played by all musicians, regardless of their level of training. It is known from practice that long sounds are performed in different ways: in chromatic sequence, in the form of arpeggios, in octaves, intervals, etc.
From my point of view, the most rational way would be to perform the duration of sounds, build in the form of arpeggios. The value of such exercises lies in two points: firstly, in the fact that the student spends less time playing the entire range of the instrument; secondly, and this is the main thing, when performing arpeggio sounds, it is easier for the student to control the accuracy of intonation. When playing long sounds, the student must carefully monitor the length of the sound, intonation stability, timbre and correct the slightest errors in performance.

• Working on scales and arpeggios:

In the formation of the student's performing skills, work on scales and arpeggios plays a very significant role. It makes it possible to improve intonation, to achieve clear combined finger movements, to develop the necessary coordination with the actions of the lips, tongue and breath, to achieve the fullness and evenness of the sound of various registers of the instrument, to master the rhythm of performance, to consolidate fingering skills.
Scales and arpeggios help students master ready-made samples orchestral texture and thereby reduce the time of technical development of musical material.
In practice on wind instruments, different kinds scales and arpeggios. Thus, diatonic (major, minor) and chromatic scales are most common. In the form of arpeggios, triads, dominant seventh chords and diminished seventh chords are most often used. Mastering various scales and arpeggios, persistent work on them with the aim of constantly improving their performance should be carried out systematically, starting from the first year of training on the instrument. Usually, familiarization with them begins after three or four months of classes, i.e. after the student has mastered the basics of staging and sound production.
Before starting to play scales on an instrument, the student needs to study well the principle of the structure of diatonic scales and their arpeggios. In addition, he must learn to determine major and minor by ear and build major and minor scales from any note. It is necessary to start studying scales with major ones, as they are easier to remember. They should be studied fifth circle, since the principle of gradual addition of key characters will be the most convenient and accessible for students to learn.
It is recommended to perform scales and arpeggios without notes, at a pace accessible to each student, within the mastery of the range. Musicians should be aware that when working on scales and arpeggios, the main task is not to strive for a fast tempo, but to constantly improve the quality of performance. In order to avoid careless, mechanical play of gambl:, it is very important to accustom students to constant auditory control.
Work on scales and arpeggios should be done regularly. However, hobbies for this should not come at the expense of other types of activities (for example, playing sketches or works of art). Therefore, every day a student should work on one or two scales with their corresponding triads.
The sequence of their execution is also essential in working on scales and arpeggios. First, an arpeggio of a major triad is performed in direct movement (quarters or eighths), depending on the student's ability; next arpeggio. This sequence combines scales and arpeggios into a single complex and contributes to the development of not only performing technique, but also a harmonic sense, which is very important. Consider the most typical disadvantages of playing scales and arpeggios:
a) Rhythmic performance
Non-rhythmic performance is one of the more characteristic and frequently encountered shortcomings. It manifests itself in the fact that individual students, when performing scales and arpeggios, do not maintain the tempo they have taken to the end. At the same time, some students, as they approach the end of the exercise, gradually accelerate the pace, while others, on the contrary, slow it down somewhat. In both cases, this is the result of a student's lack of meter-rhythmic sensitivity and poor auditory self-control.
In addition to an arbitrary change in tempo in the practice of the game, there are quite often such cases when students violate the accuracy of the alternation of sounds in various rhythmic constructions. This usually happens when an uncomfortable fingering is used or when uncomfortable jumps are performed.
b) Lack of evenness of sound
The lack of evenness of sound in terms of strength, fullness and timbre coloration is quite common. For example, some sounds stick out noticeably, i.e. sounds louder, others, on the contrary, sound dull and weak. Similar disadvantage partly depends on design features spiritual instruments that do not have the same, full-sounding registers. However, much here depends on the students themselves. Students, knowing the features of their instruments, should correct defects in their design using special exercises. In particular, dull and weak sounding sounds can be blown up and thereby even out the sound of the entire range. It is known from practice that almost every spiritual instrument has such whimsical sounds that should be paid special attention to. This should also include most of the sounds of the upper register of spiritual instruments, since achieving the fullness of the sound requires special exercises. For example, “pushing” notes with the stomach, which thereby prevents the muscles of the lips from “squeezing”.
c) Inaccurate intonation when playing
Inaccurate intonation during the game is associated with an insufficiently developed harmonic sense of the student. An example of this is the student's inability to slightly raise or lower the pitch of sounds, depending on their modal functions. So, for example, not all students understand that the upper introductory tone of the harmonic major and minor requires a partial increase, and the lower introductory tone requires a corresponding decrease; that the end tone of a major triad should perform with a tendency to increase, and the end tone of a minor - to decrease, etc. A student can achieve such intonational flexibility with the help of two main means: the use of the most rational fingering; the use of coordinated actions of the lip apparatus and breathing. Naturally, both of these means should be closely related not only to each other, but also to the student's hearing.
When playing most instruments, auxiliary fingering is usually used to consciously correct intonation defects. It is based on the connection of additional sound holes, or valves, which help to slightly increase or decrease the sound.
d) Lack of expressiveness of performance
The lack of expressiveness of performance is often the result of underestimation of scales and arpeggios as one of the means of developing musical and artistic skills. However, for some reason, students believe that scales and arpeggios are just dry technical exercises that do not help the development of musicality. Like any other type of exercise, scales and arpeggios require expressive performance, which can be achieved only under certain conditions.
One of them is the skillful use of various strokes. In particular, scales and arpeggios are recommended to be played in the following basic strokes:
detache;
legato;
staccato;
portamento.
Moreover, in addition to each of the indicated strokes separately, combinations of several strokes are usually used:
staccato - legato;
legato - detache, etc.
To enhance expressiveness, it is also advisable to use various dynamic shades. Practice shows that the most effective results are obtained by using contrast dynamics (for example: pp and ff), as well as consistently changing dynamics (for example: pp pp). In this case, the crescendo phase usually falls on an upward movement, and the diminuendo phase on a downward movement.
No less important is the rhythmic completeness of the performance. The student should strive to ensure that any scale and arpeggio fit well into a certain metro-rhythmic structure (duoli, triplets, quartoles), and they must begin and end on the strong beat of the measure. Proper breathing will also contribute to the expressiveness of the performance of scales and arpeggios. In particular, one should not change the breath after the opening tone or in the middle of the construction, as this violates the integrity of the musical phrase.
Thus, in order to avoid errors in the performance of scales and arpeggios, students on wind instruments must learn to set themselves certain goals (sonic, technical, etc.). Without this, their work can turn into a mechanical, and therefore useless process.

• Work on sketches:

Etudes usually pursue the development of a number of technical skills, without which the acquisition and improvement of performing skills is unthinkable. These skills include the development of mobility of fingers and tongue, mastery of fingering difficulties, the development of metrorhythmic feeling, mastery of register difficulties.
Despite the difference in goals that often distinguish etudes from each other, they all serve as an excellent means for accumulating performing experience, for studying typical samples of instrumental texture. In addition, etudes contribute to the physical training of the student on the wind instrument.
What are the features of working on etudes?
Some students reduce the study to repeated playing of the etude from beginning to end. Naturally, such work does not bring success, even with a simple playing of an etude (even if it is repeated), the most technically difficult places will never be obtained.
In order to achieve the correct execution of etudes, one must be able to work on them, i.e. learn music text using certain methods. First of all, it is necessary to understand the purpose of this study, the features of its construction, the general character musical content and so on. Then it is recommended to play it in its entirety at a slow pace, if possible without stopping. Such trial playback helps to determine the structure of musical constructions in general and the most difficult parts of the etude that require special study.
After a preliminary acquaintance with the sketch and determining the plan for working on it, the student must begin to carefully study the individual most difficult places, for which it is necessary to learn the sketch at a slow pace and accurately follow the author's instructions. Such a game will enable the student to focus on all the details of the performance.
Isolation of the most difficult places and careful work on them should prepare the student to perform the etude at the proper pace with the implementation of all dynamic and agogic shades. Agogics are small deviations (decelerations, accelerations) from tempo and meter. Playing an etude at a fast pace must be approached gradually, when the student knows the musical text well. Completion of work on the etude should be learning by heart and free, expressive performance by heart. At the same time, the teacher and the student should approach studies with the same exactingness as they would a work of art. This applies to musical phrasing, nuances, the nature of the sound and interpretation of music in general.
For the full-fledged technical development of the student, it is advisable to periodically return to some previously learned etudes in order to achieve greater improvement in one form or another of technology.
Every effort should be made to ensure that the student learns to work independently as early as possible; represented the dependence of technical techniques on the nature of the sound of the work; understood the upcoming tasks in homework; knew how to understand the structure of the study, the type of technique; accumulated means and methods of working on different textures and could apply them without prompting from a teacher.

Used Books:
1. Dances O. I. New methods of playing the flute. Scientific and publishing center "Moscow Conservatory" 2011
2. Trizno B. Flute, Moscow. 1959
3. Yagudin Yu. On the development of the expressiveness of sound, Moscow. 1971

Moscow Department of Education

Northeast District Office of Education

GBOU Multidisciplinary School 1220

Frame additional education(TO #9)

Art direction

Integrated educational program associations

"Children's Brass Band named after G.M. Chertok"

Age of children 7 - 18 years

Implementation period - 12 years

Teachers of additional education:

Doshlov Mikhail Rudolfovich - musical

leader (conductor)

pipe class, percussion instruments

Woodwind class:

Ilchenko Sergey Nikolaevich - class of clarinet, flute

Class of brass instruments:

Kulik Alexander Olegovich - trombone class, horns

Lisunov Vladimir Vladimirovich - class of tuba, tenor, baritone

Moscow 2016

Comprehensive educational program of the association

"Children's Brass Band named after G.M. Chertok"

Age of children 7 - 18 years

Implementation period - 12 years

Explanatory note

Music in performance brass band is one of the most massive, beloved genres of musical art. Amateur and professional orchestras have been accompanying the life of Russians since ancient times. Court, military and civil brass bands were indispensable participants in mass state and public events. The brass band remains an attribute to this day military glory, a kind of page in military history, and our military marches remain the most beautiful manifestations of the patriotic feelings of Russians, the Russian people: beautiful in terms of the richness of melody and arrangements, beautiful in terms of sincerity and extraordinary pride of feelings embedded in the architectonics of the overall sound, beautiful in performance style.

Brass Band. G.M. Chertok TsRTDiU "Ostankino" is a stable team, widely known and popular not only in the Ostankino region and the city of Moscow, but also in other regions of Russia and neighboring countries. The orchestra is proud of its pupils - professional musicians:

Valery Berezin - Doctor of Arts, Professor of the Moscow State Conservatory. P.I. Tchaikovsky.
Vadim Sharapov is a soloist of the Moscow State Academic Philharmonic, Igor Moiseev Ensemble.
Mikhail Titov - Honored Worker of Culture of the Russian Federation, teacher of the military conducting faculty of the Military University of the Ministry of Defense of the Russian Federation.
Sergey Mazaev - musician, actor, leader and soloist of the group "Moral Code".
Vladimir Karpov is an artist of the orchestra conducted by G. Rozhdestvensky.
Vladislav Martynov - artist of the Bolshoi Theater Orchestra.

Our pupils successfully serve in military bands and professional musical groups city ​​of Moscow.

Although the task of the association is not to prepare children for entering musical educational establishments, a lot of guys go to study and connect their future life with music.

Since 1988 the team has been wearing honorary title"exemplary children's team". He is a laureate of various competitions and festivals.

The team employs qualified teachers of instruments: woodwinds, brass, percussion and solfeggio. The choice of instrument is based on the desire of the child to play any instrument and, of course, on his physiological capabilities.

The educational program is adapted for its perception by children of younger, middle and older age, designed for twelve years of study. The entire course is conditionally divided into three stages. Each year of study represents a certain stage in the development of cognitive and intellectual-creative abilities of students. At the same time, each stage is an independent, logically completed stage of education, upbringing and development of children. The knowledge, skills and abilities acquired in the first year of study are consolidated in the second, third and further improved in subsequent years.

There is no competitive selection when accepting children, there is a mandatory interview with each candidate for the orchestra, where teachers determine his starting capabilities (hearing, sense of rhythm, breathing, etc.). The main criterion for admission to the team is the child's desire to master playing a wind instrument.

Relevance of the program

We live in the information age computer technology when the natural performance of music is replaced by electronics. The child becomes isolated from the "live" sound of music. If earlier we could hear brass bands in parks, at holidays and demonstrations, now a brass band is rather a rarity. Classes under the program "Brass band" gives the child the opportunity to try his hand at any wind instrument, get acquainted with the works of world classics, feel like a real artist.

Another problem modern society- disunity of people. Many children do not know how to communicate, make friends. Having come to the orchestra, the child finds himself in a friendly team of teachers and pupils. In the orchestra, senior pupils will always help in a comradely way a novice musician in mastering the instrument. Joint performances, trips to festivals, regular classes in the orchestra unite the guys for many years.

Program goal:

Involving children in musical art through practical music-making in an amateur orchestra.

Tasks:

Educational:

1. Contribute to the formation and development of special skills and abilities (setting the embouchure, sound production, intonation, sense of rhythm).
2. Contribute to the memorization of musical terminology.
3. Development cognitive interest for playing a musical instrument.
4. To work out the performing skills of each member of the brass band, to perform musical works at a good amateur level. Preparation of team members for joint collective activities.
5. Introduce children to the best examples of world musical culture.

Developing:

1. Contribute to the development of students' speech.
2. Learn to analyze, compare, generalize, prove.
3. Contribute to the formation and development of the student's cognitive interest in music.
4. Encourage students to master all types of memory.
5. Contribute to the formation and development of independence

Educational:

1. Contribute to the formation and development of moral, labor, aesthetic, patriotic qualities of the individual.
2. Develop teamwork skills.

Program features

1. The program consists of three stages:

First stage : Introductory.

Second step : A basic level of.

Third step : Recessed.

1. The student has the opportunity to move from the "preparatory tool" to a more complex "related" tool. For example: recorder - clarinet - saxophone, alto - tenor - baritone - trombone, alto - trumpet, tenor - tuba, alto - horn.
2. Educational and thematic plan composed in steps. The teacher independently determines the topics for a particular year of study.
3. The transition of a student from one level to another is determined by the pedagogical council of the association.
4. Teachers apply uniform methods and principles of work on all wind instruments.
5. Children who have the skills to play musical instruments can be included in the educational process at any level of education.
6. One of the principles of team development is rotation (updating the team with new students).
7. Children are involved in the orchestral group of the association different ages and years of study that showed good results in learning.
8. Such a form of classes as a group with a mixed composition of participants is allowed. On them, more experienced students work together with beginners. Orchestral (ensemble) parts for such classes are selected with different levels difficulties. This allows you to change the composition of the group.

Features of age groups

Performing wind instruments is a complex psycho-physiological activity that requires special musical talent and, moreover, requires good health and a certain physique. Practice shows that lessons on the instruments of a brass band can be started at the age of 10-12, because what younger pupil the more receptive to learning. It is at this age that the prospect becomes obvious physical formation person. However, you can start learning to play a wind instrument earlier.

For children 7 - 8 years old, we offer to master the simplest instrument - a block flute. This instrument does not require great physical effort, the student receives the basic skills of playing wind instruments, gets acquainted with musical literacy. At this age, there is a transition from the game form of learning to learning process. The result comes to the fore learning activities- grade. Therefore, we try in every possible way to encourage the first successes of the child (praise). In addition, we must take into account that the child already goes to school, and so that classes do not tire much, we teach him to play melodies that are familiar to him. Children like cartoon tunes, popular, folk music.

At the age of 9 - 11 years, the child is invited to master new tool- clarinet, cornet, alto, tenor. These are the instruments that make up the brass band. Lessons are getting longer. The guys are fond of new material - simple pieces and orchestral parts.

Age 12-14 years. The physiological capabilities of the child become apparent. At this age, there is a transition to more complex instruments - trumpet, horn, trombone, tuba, saxophone. In psychological development, difficult period in learning. Adolescents enter a transitional age, or the age of rebellion, as psychologists call it. There is an active search for their values, a critical attitude towards adults. During this period, children may have a desire to quit school, new interests may arise. Here, an example of a teacher who is passionate about his profession - a musician, as well as having a strong character and experience can have a strong influence on students. Just as important psychological climate in the team, as a rule, the guys find friends with common interests, including a love of music and they continue their studies on the instrument.

Age 15-18 years. A teenager faces a choice of his future life path.

Some guys who have chosen music as their profession go to College of Music, and some study in other specialties, while they continue to attend classes, mainly general orchestra rehearsals. As a rule, they take classes more seriously, help beginners, and are an example for them.

The consolidated rehearsal of the orchestra takes place on Sunday, as on this day children can combine relaxation with their favorite pastime, communicate with their peers.

Methodological substantiation

Qualified guidance from teachers gives the learning process a systematic, scientifically based character and contributes to the development of creative activity, artistic abilities of children.

Among the methods aimed at stimulating musical and creative activity, one can distinguish methods that are directly related to the content of this activity. These include the selection of exciting and feasible for the child creative tasks, as well as a variety of forms of lesson activities, attentive and careful attitude to children's creativity, individual approach.

Much interest in musical creativity formed under the influence of various musical, artistic and life experiences. In the practice of orchestra teachers - assisting in familiarizing teenagers with good music, listening to audio recordings, attending concerts, performances, art exhibitions to help broaden your horizons.

It is very important to create a friendly psychological climate in the classroom. Mutual assistance and support of senior pupils is welcomed. In practice, to encourage in every possible way concert performances children, their participation in various forms of collective musical amateur performances, playing music for themselves.

Learning to play various wind instruments is built by teachers on the principles of feasibility, strength of mastering musical skills and awareness of actions. Joint technologies and interdisciplinary connections developed by all participants in the pedagogical process help to successfully solve learning problems. The pedagogical process is organized in such a way that it combines the receipt of theoretical musical knowledge and practical skills and preparation for playing in the orchestra.

Initial musical education is facilitated (the first year of study) and becomes more difficult as knowledge is accumulated and performance skills grow, and by the third year of study, the guys master the instrument and master the skills of playing in the orchestra. Behind all this is the painstaking work of teachers to form a musician. This is a big individual work and strict control over the fulfillment of the tasks of teachers.

When studying orchestral parts, etudes and exercises are selected. It is very important that they are bright, juicy, corresponding to the performance on this musical instrument. Most often, at the first stage of training, when it is difficult for a child to master the wind instrument he has chosen for physical reasons, the teacher suggests that the child first master the more pliable brass instrument - viola, or for woodwinds - this is a block flute. On the viola, after 4 months, the child can play in the orchestra, perform simple parts in marches. In parallel, he masters the technique of playing the chosen instrument.

For the development of the musical inclinations of children, their harmonic hearing, there is a piano in the classes in the specialty. Groups gather children with different levels of abilities, perception and training (this is especially evident in the first year of study), so the same exercise is performed by different children for different periods of time, which affects the transfer of the child to the orchestra.

Individual classes are aimed at the development of children, at preparing the weaker ones, pulling up the lagging behind, harmonizing the group as a whole.

Description of the basic methods and forms of work.

The course of study is 12 years.

The first stage of education.

The term of study is 3 years.

1st year of study - classes are held individually 2 times a week for 30-45 minutes.

2, 3 year of study - classes are held individually 2 times a week for 30-45 minutes.

From the second year of training, we unite students in an ensemble of block flutes. Classes are held in a group of 3, 4 people once a week for 45 minutes.

From the 3rd year of study, students who have shown good results in learning, as well as children who have previously learned to play wind instruments, can unite in a group and be involved in a consolidated orchestral rehearsal.

Classes are held 2 times a week for 2 hours.

The second stage of education.

The term of study is 5 years.

The third stage of education.

The term of study is 4 years.

Classes are held individually 2 times a week for 30-45 minutes, as well as in ensemble groups 2 times a week for 2 hours.

Practicing in the classroom various forms learning:

• individual sessions
• instrument group lessons
• mixed group
• lessons with an accompanist
• ensembles
• orchestral rehearsal
• work with the music library
• analysis of audio and video recordings

Classes are built according to a specific plan:

Classes by groups of instruments:

1. Greetings, making a lesson plan.
2. Playing sustained sounds, warm-ups.
3. A short break in the game, a conversation on music theory.
4. Scales and arpeggios in different strokes.
5. A short break in the game, a conversation about artistic material, composers, genres of music, styles, musical form.
6. Work on artistic material (analysis and playback of plays, concerts, ensembles).

Orchestral rehearsal:

1. Greeting, drawing up a lesson plan.
2. Orchestra setting.
3. Playing collective exercises.
4. Learning or improving musical compositions.
5. Reading sheet music.
6. Summing up the rehearsal.

Description of the basic methods of work.

• Verbal (conversation, conversation, explanation).
• Visual (the teacher performs fragments of works, orchestral parts, plays in the orchestra with students).
• Practical (exercises on the instrument).
• Analytical (observation, comparison, self-control, introspection).

Forms of control

• Monitoring. While studying with a child, the teacher determines for himself his starting level and draws up a specific lesson plan for a month, half a year. The main observation criteria: attention, musical memory, ear for music, sense of rhythm, independence, discipline.

• Performing independent tasks. Sometimes the teacher gives the student to independently disassemble the sketch or play. This stimulates the student to study, develops discipline.

• Self control. After each orchestral rehearsal, there is an exchange of impressions. The guys themselves understand their mistakes. This makes education flexible, responsive to any undertakings, interesting and productive.

• Viewing, analysis, comparison of video materials of different concert performances.

• Open classes, performances, concerts. The assessment of the audience, colleagues of the performing skills of each musician and the entire orchestra is the most objective, so the leader of the brass band sets the team up for a very intense concert activity. Parents can see what results the child has achieved

Predicted result

Ilevel of study - Introductory

• Simple concepts of musical literacy

• Basic musical touches (staccato, legato)
• Notation of dynamics in music
• Basic musical terminology (tempo notation).
• The concept of "Related instrument".
• How to carry out prevention and care of the tool.

• Hold the tool correctly
• Taking the breath right
• Perform scales in one octave to one sign.
• Perform simple etudes and pieces with accompaniment.
• Perform on stage.

II stage of education - A basic level of.

Upon graduation, students should know:

• Basics of musical literacy
• Fundamentals of solfeggio
• More complex strokes (detache, marcato), articulation.
• The concept of the range of the tool.
• The structure of voices in a brass band.
• On melody and phrasing.
• On the musical texture and timbre organization.
• On tempo and agogics in music.
• About the culture of sound.
• About melismas and grace notes and trills.
• On the work of Russian and foreign classical composers.

• Play scales and arpeggios up to 3 signs.

• Perform etudes and pieces with an accompanist in a wider range.
• Play simple parts on a related instrument.
• Read sheet music.

• Perform simple orchestral parts as part of an orchestra.
• Perform different voices as part of an orchestral group.
• Filter the sound.
• Write a simple 8-bar dictation.

III level of education - Advanced

Upon graduation, students should know:

• Music theory (advanced level).
• On melody and phrasing (advanced level).
• On musical texture and timbre organization (advanced level).
• On the work of Russian and foreign classical composers (advanced level).

• Combined strokes.
• Features of the game in motion.

• Perform scales and arpeggios up to 7 signs.
• Perform etudes and plays with an accompanist of increased complexity.
• Fluently read sheet music.
• Perform your part in an orchestral group in accordance with the composer's intention and the requirements of the conductor.
• Play on the move.

Conditions for the implementation of the program

To implement the program, the following personnel and methodological support is required.

Teachers by groups of instruments:

• recorder, clarinet, saxophone
• trumpet, cornet, viola
• trombone, tenor, baritone, horn
• percussion instruments
• concertmaster (piano)

Methodological support: anthologies, collections of etudes, plays, schools for wind and percussion instruments.

Conditions for the implementation of the program

1. Soundproof room 50-100 sq.m., clean dry air.
2. Availability of the necessary set of tools and related equipment

(remotes, etc.)

1. Music cabinets
2. Piano
3. Computer
4. Uniform for musicians
5. Video and audio equipment
6. Phono and video library

Main works of the orchestra