The Art of Orchestral-Ensemble Playing on the Trombone Laptev Roman Gennadievich.

Ivanov V.A.

"The specifics of working with an ensemble of wind instruments"

2015

Collective music-making is associated with a very complex performing technology. In an effort to achieve ensemble unity in all respects, performers encounter difficulties that they are not familiar with (or little familiar with) in solo music-making.

In the ensemble, everything is decided jointly and in the interconnection of all sections. From this, coherence and compatibility of performance are born.

It should be taken into account that the musicians of the group performance play different parts. These parties are mostly unanimous. They are quite different in terms of their functions. Each part can contain both a melodic (including solo) passage, and a polyphonic overtone, and some kind of harmonic, accompanying voice, melodic or harmonic figuration, etc. The parties differ in the degree of difficulty. Unlike concert solo pieces and etudes, they can always contain incomplete phrases (either there is no beginning or no end), individual dependent harmonic voices, a large number of pauses.

Orchestral (also ensemble) parts are never too virtuoso. Playing them separately, the musician, as a rule, does not experience any special difficulties. But in general music-making, when the laws of the ensemble came into force, everything changes: the easy becomes difficult. The musician has become part of the whole. This large whole is created on the basis of the impeccable subordination of everything private, belonging to different performers, to a single principle with the obligatory fulfillment of all ensemble requirements.

Here are the most important of these requirements:

Pure intonation and the correct execution of dynamic shades, based on the needs of the overall sound at the moment.

Precise execution of tempo-rhythm while maintaining the synchronism of identical voices, ensuring coordination of voices with different rhythms, hearing what needs to be played.

Respect for uniformity in shading (where necessary), in the nature of the sound and the manner of playing.

Strictly following the conductor's hand (if any).

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

Intelligence must be ahead of technical skills.

To successfully fulfill all these requirements, a musician must possess a whole range of ensemble skills. He must have a well-developed ear and flair for intonation, for tempo-rhythm, for dynamic nuances and shading, and, of course, for the work itself, phrasing. A musician working in an ensemble (orchestra) must have a good reaction and heightened attention, and some other special musical resourcefulness and even dexterity. All this speaks for the fact that the profession of an orchestral-ensemble player (pianist or bayanist-ensemble player) is very complex and multifaceted.

The versatility of the assembler is due to the fact that he has to play all kinds of music, and not just the one that suits his taste, like the soloists-concentrators. In addition, the assembler often acts as if in the role of an accompanist, playing various accompaniment voices, and may not be a soloist for some time.

It is generally believed that many years of work in an ensemble orchestra is necessary to master all ensemble skills. Such a view is quite natural. Experience convinces us that the practice of collective music-making within an educational institution (orchestral and ensemble classes) cannot yet give students the full amount of ensemble skills (there are reasons for this, which will be discussed below). With special training, things are much better. The specificity of individual learning, which involves a lot of homework, allows the student to more thoroughly work out his performing skills, bringing it to artistry even during the years of study. Of great benefit in special training classes is the work not only on works of art, but also on training material (etudes, scales, etc.). Of course, in assembly (chamber ensemble) and even more so orchestral music-making, all this is absent. In view of the collective form of the lessons, there are no necessary conditions for the careful working out of many ensemble “trifles”, there is no daily training work for many hours and training material.

It seems that in teaching collective performing skills, along with works of art, peculiar exercises - etudes - can be successfully used. This does not require polyphonic expositions of them. In many ways, two-voices are enough. These two voices in various combinations can present practice to two performers in almost all aspects of collective performance. The main advantage in duet music-making is that two performers can always easily detect and get rid of those shortcomings that emerge during the game. If, however, this duet is also conducted, for example by a teacher, then the conditions are in many respects close to the orchestral form of classes.

For purely organizational reasons, it is advisable to use training studies for homogeneous instruments. This makes it possible to perform them in special training classes. Thus, teachers will be of great help in instilling ensemble skills in future musicians.

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

1. Nothing reduces the quality of performance as much as a fake game (this applies to orchestra players). She can't be justified by anything. However, pure intonation, due to musical and aesthetic requirements, does not always coincide with the sound obtained by acoustic and mathematical means.

The height of individual notes, depending on the modal-harmonic situations, can change, so pure intonation is achieved in a lively relationship to the musical material. In view of the above, even the so-called "pure instrument" cannot always satisfy the requirement of pure playing. The height of individual notes very often has to be slightly changed in one direction or the other.

An extremely important circumstance is constant self-control during an ensemble or orchestral performance. Constant self-control will allow each of the performers to monitor their intonation, based on the overall sound. In addition, such attentive listening will help to measure the strength of the sound of your instrument in relation to the entire ensemble.

2. Another requirement of ensemble playing is the technique of inhalation. A lot of worries for wind players are caused by the problem of inhalation. This is mainly true for continuous (non-pause) and long sequences, especially with a strong sound. The whole difficulty here lies in the fact that the performer has to inhale the air very quickly (sometimes at lightning speed). Only with such a breath can a gap in a phrase go unnoticed. And one more difficulty! When playing singles, wind players usually have a habit of widening the pauses for inspiration by “hurrying up” the pre-pause music or by delaying the post-pause music, and such a violation goes almost unnoticed. But in an ensemble, if one performer plays smoothly and the other hurries his part 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 your partner and, as it were, duplicate his rhythm. One must learn to take as much breath as necessary for one or another segment of the sound, so as 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 this must be done in such a way that the impression of a continuous and even sound remains.

3. Very often, ensemble unity is not achieved due to disagreement or inconsistency in shading, or because of both. This applies to combinations of harmonic warehouse (note against note). What you need to know here.

Any musical sound is evaluated (within the limits of a given timbre and a given density, this in most cases depends on the natural data of the performer) by the nature of the initial moment (attack), the nature of its lead and the nature of the end. All this is almost entirely determined by the performing skills of the musician. The more developed his breath in all its manifestations, as well as his lips and tongue, the easier it will be for him to fulfill all the requirements of nuance and shading.

Since the nuance is reduced to playing louder or quieter, its implementation is not associated with special difficulties. Here, if there are errors, it is not so difficult to correct them. In an orchestra (in an ensemble), for example, it does not take much time to achieve the desired dynamics. It is enough for the conductor to urgently demand the necessary nuances and the issue will be resolved.

But it will be solved successfully only when ensemble discipline is observed. The ability to measure the power of the sound of instruments depends on the general musical development of the performers, their understanding of the style and nature of the work.

Generally speaking about dynamics, one must keep in mind that the concepts of their absolute strength are still conditional and they depend on the nature of the work and instrumentation.

Another thing is strokes. After all, performers on wind (especially brass) instruments have a lot of ambiguities and disputes when materializing a stroke. And all this is because the stroke technology itself is associated with such components as the tongue, lips, diaphragm and larynx, the work of which is largely hidden from the eyes of the players. In addition, the technique of these components is not always at the height of performance requirements (either the tongue “went in the wrong place”, then the lips are in the wrong position, then the diaphragm or larynx did not have time to react, etc.). To make clearer the work of the tongue (and lips) when playing, it is sometimes useful to compare it with the work of the tongue (lips) when pronouncing various letters and syllables.

To achieve a good ENSEMBLE, the unity of understanding and execution of strokes is of great importance. Therefore, an important place in the work with the ensemble is the constant attention to the mastery of various strokes by each performer individually and their collective performance.

Working with an ensemble of wind and percussion is an exciting creative process, which, when properly staged, brings a feeling of deep satisfaction to all its participants: the leader, orchestra members and, of course, the public. After all, only listeners can appreciate the quality of the work done by the team and the conductor. Music shapes a person - his heart and mind, his feelings and beliefs, his entire spiritual world. Harmony of mind and heart is the ultimate goal of educating a modern person. The achievement of this great goal is largely facilitated by the correct organization of the musical education of students in the centers of additional education, in which there is a musical direction.

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MUNICIPAL BUDGET EDUCATIONAL

INSTITUTION OF ADDITIONAL EDUCATION FOR CHILDREN

« Desnogorsk Children's Music School named after M.I. Glinka»

municipality« city ​​of Desnogorsk» Smolensk region

"Peculiarities of work in the class of the ensemble of wind and percussion instruments"

teacher

wind and percussion

tools

Semenkov A.I.

2017

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

The tasks of the head of the children's wind ensemble…………………….....3

Methodology of rehearsal work with the ensemble…………………………...4

The use of information and computer technologies…………….7

Conclusion…………………………………………………………………....9

References……………………………………………………………11

Introduction

Ensemble is a word familiar to everyone and everyone. Translated from French, "ensemble" means: coherence and consistency. This is precisely its most important component. Do something together and do it in sync. In synchronicity lies the main secret and the continued success of the ensemble. Ensembles are different, and depending on the number of musicians have their own names. Words such as duet, trio, quartet are known even to people who are far from music. There is no greater happiness for a musician than playing music together. he can be an excellent soloist, listening to whom is a pleasure, but you can finally appreciate him as a musician only by listening to how he plays in a band.

The music of the wind ensemble is the most bewitching and beloved art form. Performed by the wind ensemble, dances sound great: polka, mazurka, folk dances. Concert wind music develops mainly in genres related to the principles of program music: suites, rhapsodies, fantasies, overtures.

Tasks of the head of the children's wind ensemble

One of the main tasks of the teacher is to educate a conscious, creative team, discipline, without which it is impossible to achieve success in work and a high level of artistic performance.

At the lessons of the ensemble, the main attention should be focused on working on the purity of the intonation of the orchestral sound. The teacher should achieve the implementation of a single rhythm in the orchestra, the reproduction by students of the same strokes and dynamic shades, strive to use a single fingering and positions, work on technique should be subordinated to the achievement of expressiveness in the transfer of musical works. The head of the children's wind ensemble should briefly tell the children about the composer, acquaint them with the theme, idea, form and style of the piece that he proposes to study, perform not only a pedagogical function, which includes the educational process and educational. He must be an example for his pupils, both professionally and personally. Create a comfortable environment around you.Of course, it is necessary to select such works, the parts of which do not involve too great tessitura difficulties, bearing in mind the tension of the high register and the dull sound of the low one, which is often inaccurate with brass instruments. It is necessary to carefully determine the technical difficulties coming from both the embouchure and the "finger" technique. Ensemble difficulties must also be kept in mind. First, turn to works with the simplest structure of the orchestral fabric: the presence of all kinds of secondary independent voices (counterpoints, figurations) gives the work a rhythmic complexity. Such works are far from always within the power of performers of children's groups. In the future, it is necessary to select pieces with increasing technical and ensemble difficulties.
During the period of study, the teacher must keep close contact with parents, organize parent meetings, communicate after annual reporting concerts, jointly solve problems that arise in the learning process, be sure to inform the families of students about their successes and achievements, overcome minor misunderstandings, if possible, with with the help of the students themselves and fellow teachers. In the eyes of students, such an approach to business will only strengthen the authority of the head of the ensemble, and will certainly have a positive effect on the work of the team.

Methodology of rehearsal work with the ensemble

His most important task as a teacher is to cultivate conscious, creative discipline in the team, without which it is impossible to achieve success in work and a high level of artistic performance. The teacher should be extremely attentive to the sound of the ensemble, intonation, rhythmic, line drawings, dynamic shades and agogics. Each leader must know the specifics, structure, range of wind instruments. As well as expressive possibilities and methods of sound extraction. The ensemble lesson begins with a general tuning of the instruments. For this, an instrument tuned to a tuning fork is used, usually a grand piano or tuner.

Wind instruments are tuned to the B-flat note of the natural scale. In a brass band, the instruments are mostly transposing. This means that when tuned, clarinets, trumpets, baritones, tenor saxophones, tenors will play the note "C"; altos, alto saxophones - the note "salt"; horns - the note "fa"; flutes, trombones and basses - the B-flat note. After tuning, the obligatory casting is the gamma. First, whole notes, half notes, quarter notes in different stroke combinations, eighth and sixteenth notes in different stroke and rhythmic combinations, then arpeggios in the same order. Currently, it is very common to find works based on scales, such as: “Gamma Jazz”, “Gamma Waltz”, etc. These are not large, easy-to-perform works that help children work out intonation and evenness of sound. After this exercise on different dynamic shades, we work according to the school of orchestral playing by V. M. Blazhevich. The children really like these exercises, as they are based on the works of classical and jazz composers of different times. There are favorite exercises that they play with the greatest pleasure.

After acting out, we move on to the main part of the rehearsal. At the beginning of the academic year, the main works of the repertoire are determined, on which the ensemble will have to work. By the beginning of direct work on the play, the teacher introduces students to a brief biography of the composer who created it, the nature of his work. In more detail, you need to dwell on the artistic material that must be performed. Such an introductory conversation systematizes the aesthetic representation of children, expands their horizons. The leader of the orchestra must reveal the content of the musical work and the nature of its main themes, pay attention to the form, warn of possible difficulties, and outline ways to overcome them.

The work takes place in stages:

Analysis of the work;

work with individual groups;

Work by numbers;

work on strokes and nuances.

These are the main stages of work. In addition, work on intonation, on the synchronism of executed strokes, sound production, breathing and sound science. When the works that are at the stage of completion of work on them are being worked out, we proceed to sight reading. This allows you to practice reading skills, improves attention, reaction of the child. And the final stage is a repetition of works from the repertoire that the guys like the most.

A huge role in the work of orchestral musicians is played by independent studies, learning parts. Work on orchestral difficulties is individual in nature, and is carried out independently or with the help of a teacher in the specialty. These classes have an invaluable role in the process of preparing a wind player.

Teamwork, i.e. the coherence of the groups of the first and second voices, the harmony of its sound, the sense of the ensemble (the ability to hear each other in joint performance) and, finally, the ability to “understand the hand” of the conductor and correctly respond to his instructions - all this predetermines a full-fledged work the team as a whole.

The concert is the logical conclusion of the educational process, summing up the results of the work done. A holiday for the whole team, and at the same time an exam for creative maturity. The success of which depends on each member of the team and also the joint interaction of the conductor with his orchestra. Concert performances help bring the team together, sharpen the sense of attention, mutual understanding, help the guys become friends.

Use of information and computer technologies

The use of information and communication technologies helps the teacher in the processes of self-learning and self-organization, in planning the educational process. Also, information and communication technologies can be used by a teacher to automate documents (reports, references, regulations, programs, plans), to store various information (concert programs, holiday scenarios, catalogs of CDs and DVDs), to create a database for students. Thus, the use and use of a computer and information and communication technologies are possible and necessary in the activities of a musician teacher. The effectiveness of training is increasing and, most importantly, the interest of students in music lessons is increasing.The presence of information and computer technologies and certain skills of a teacher of a children's wind ensemble will help to work much more efficiently. And this is not a complete list of opportunities, needs and tasks that information and computer technologies help a progressive teacher-musician to satisfy and implement.

Real assistance in the work of the head of the children's wind ensemble can be provided by professional music editors for typing musical text. Of all their diversity, two programs hold the lead today: Sibelius and Finale. The first of them, according to most experts, is somewhat easier to learn; the second one is not so attractive at the initial stages of work, however, it opens up much greater possibilities in working with musical notation.

The Finale programs of the American music programming firm Coda Music are designed for use on Windows, Linux, and Macintosh operating systems. The Finale music editor allows you to type text (both with notes and letters), change it, copy, move parts, format and print (to a printer or printing machine), reproduce typed musical text of any level of complexity. Each musical instrument of the electronic score will sound with a timbre more or less similar to the original instrument. The user can freely change the timbre, key and tempo of the performance. Finale contains the possibilities of alternative notation for guitar, digital and other so-called tabulature. Text typed in Finale can be used as illustrative material in other text and graphics editors.

Today, a significant amount of musical material for an orchestra of wind and percussion instruments ends up on the Internet, it is also typed in Finale, which allows using the program to correct the text, automatically print parts if it is a score, even make a clavier (although, according to the overwhelming majority of experts, the creation of a clavier should be a creative process, not a technical one).

Such computer notation programs are essential for an arranger, conductor, leader of an orchestra, ensemble, and in the end - for any musician who is used to expressing and perceiving musical messages using musical notation. Having mastered them, the teacher will be able to qualitatively and much more efficiently make arrangements, orchestrations, translations and transcriptions for his ensemble.

In general, speaking about the benefits and importance of information and communication technologies in the educational process, it is necessary to note the solution to the problems of motivation and a student-centered approach to learning, the rational organization of study time and a deeper mastery of the subjects studied.

Conclusion

Working with an ensemble of wind and percussion is an exciting creative process, which, when properly staged, brings a feeling of deep satisfaction to all its participants: the leader, orchestra members and, of course, the public. After all, only listeners can appreciate the quality of the work done by the team and the conductor.Music shapes a person - his heart and mind, his feelings and beliefs, his entire spiritual world. Harmony of mind and heart is the ultimate goal of educating a modern person. The achievement of this great goal is largely facilitated by the correct organization of the musical education of students in the centers of additional education, in which there is a musical direction. Of considerable importance for the disclosure of this problem were the works of V. N. Shatskaya, O. A. Apraksina, N. A. Vetlugina, D. B. Kabalevsky, who determined the goals and objectives, forms and methods of both aesthetic and musical-aesthetic education. children. Developing their ideas, scientists T. I. Baklanova, V. M. Chizhikov, G. M. Tsypin and others revealed modern approaches to effective musical and aesthetic education of the individual in Russia. They have developed advanced technologies, determined new optimal approaches to the methodology of working with children's groups.

Collective activity, collective work is the basis of our life. The ability to work is a sure guarantee that children will find their way in life. Therefore, an important task of a good teacher is to provide the child with the opportunity to apply their strengths, skills and knowledge to develop their abilities and talents. Only in a team is the unity of “I want” and “need” achieved. Therefore, children must be included in socially useful work, to organize the habitat of like-minded people: to unite children into a large friendly family, called a collective. You should build your work in such a way that the guys perceive classes in a team as a part and continuation of their lives. The goal that is set before any ensemble, orchestra is not so much to teach how to play an instrument or raise a future celebrity, but to create an environment where the child would develop as a person, develop his abilities and talents. Sowing the minds of our children with seeds of wisdom and virtues, we educate, first of all, kind and decent people.

Bibliography:

1. Blazhevich V. Daily collective exercises for a brass band. - M.: Muzgiz, 2013.

2. Petrov R. School of collective playing for a brass band. – Tashkent, 2000.

3. Vasiliev E. Ziryanov Ya. The course of the initial game in a brass band. - Kyiv: Musical Ukraine.

4. Terletsky M. Methods of working with a brass band.- Exactly: 2000.

5. Volkov N. V. Questions of teaching methods for playing wind instruments. - M., 2002.

6. Nezhinsky O. Children's brass band.-1989. M, 2009.

7. Beluntsov V. Computer for a musician / V. Beluntsov, Self-tutor - St. Petersburg: Peter, 2001. - 464 p.: ill.

8. Leontiev V.P. The latest encyclopedia PC / V.P. Leontiev 2002 - M.: OLMA - PRESS, 2002. - 920 p.: ill.

9. Sushkevich N. S. Information technologies in the system of music education: problems of methodological and software and hardware support: Monograph. - Mn., 2002.

10. Melnik V. A., Melnik N. P., “Playing in an ensemble of wind and percussion instruments” - St. Petersburg-223., 2015.

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Thesis - 480 rubles, shipping 10 minutes 24 hours a day, seven days a week and holidays

Laptev Roman Gennadievich The Art of Orchestral-Ensemble Trombone Playing: Dis. ... cand. art history: 17.00.02 St. Petersburg, 2005 247 p. RSL OD, 61:06-17/56

Introduction

CHAPTER I. The history of the development of the trombone as an ensemble and orchestral instrument 14

1.1 Trombone in ensemble music of the 16th - 18th centuries 19

1.2 Features of the formation of a group of trombones in the orchestra of the XVIII - XIX centuries 35

1.3 Trombone in Russian orchestral performance of the 19th - early 20th centuries 55

CHAPTER II. Theory and practice of ensemble performance on the trombone

2.1 General characteristics of the specifics of playing in an ensemble of brass instruments 75

2.2 Analysis of expressive means and their use in the ensemble of trombones 87

2.3 Preparing a trombonist for public performance in a chamber ensemble 116

CHAPTER III. Features of the orchestral activity of a trombonist

3.1 Main questions of the orchestral activity of a wind player 135

3.2 The specifics of playing a trombonist as part of an orchestral group of brass instruments 153

3.3 Characteristics of modern trombone performance in symphony and brass bands 162

CONCLUSION 184

REFERENCES 190

ANNEX 1 201

ANNEX 2 237

Introduction to work

Relevance of the topic. Orchestral-ensemble playing is the main component of the practical activity of a modern musician-performer on any of the orchestral instruments. Possession of the art of orchestral-ensemble playing is the most important qualification characteristic of a professional musician. If in the general theory of domestic wind performing art a significant place has already been given to the development of issues of solo performance, then in the field of playing in an orchestra and ensemble there are still many unresolved problems. Obviously, today there is a need to analyze in more detail the complex and diverse process of the activity of an orchestral instrumentalist within the framework of a comprehensive art criticism study. The modern art of orchestral-ensemble trombone playing, which has rather deep traditions, has not yet become the subject of a comprehensive scientific and theoretical understanding, so the author set a goal to fill this gap.

The formation of a professional orchestral instrumentalist and the achievement of high performance skills within the framework of the general laws of the performing process is one of the goals of the activity of the musician’s personality initiating his energy and abilities / Most orchestral musicians today have a good command of the specifics, first of all, solo performance and only then - orchestral-ensemble games.

Due to the high level of development of media technologies, modern performers have access to a large amount of information that constantly needs to comprehend the factual material, reclassify it, and accurately selectively extrapolate the necessary information to their specific practical activities.

ness. A balanced scientific approach and unmistakably developed evaluation criteria are needed in order to be able to separate the main from the secondary. Therefore, the systematization of scattered accumulated knowledge in this area of ​​musical art is dictated not so much by the insufficient study of certain aspects of the art of orchestral-ensemble playing, in this case, the trombone, but by the urgent need to generalize research materials.

The components of the performance creativity of a modern orchestral trombonist include knowledge, skills and abilities based on such "three pillars" as the history, theory and practice of playing the trombone. At the same time, it is important to conduct a comprehensive analysis of the specifics of playing the instrument both in the orchestra and in the ensemble. Only by bringing together, figuratively speaking, on one "editing table" all the available facts, comprehending their interdependence, "vector orientation" of cause-and-effect relationships between them and expanding existing knowledge, one can hope for the transition of the amount of scientific information to a new quality.

The degree of knowledge of the problem. The information base of modern ideas about playing the trombone is made up of the works of prominent domestic teachers and performers - V. Blazhevich, E. Reikhe, B. Grigoriev, V. Sumerkin and foreign authors - D. Wick, A. Lafos, E. Kleinhammer, D. Reinhardt , H.Kunica, R.Gregory. Some issues of performance technology are reflected in the works of V. Venglovsky, A. Skobelev and other authors. The specificity of the orchestral-ensemble trombone playing has not yet received a deep scientific justification, it still remains insufficiently studied to this day, since most authors either leave it aside or give it only a general description. M. Tolmachev addresses the topic of training orchestral instrumental wind players, and

direct to the peculiarities of orchestral performance on the trombone - only A. Snapkov. The dissertations of M. Khasan and V. Ulyanov are narrowly focused and have no direct relation to this topic. The work of the first author - "On the issue of the development of the performing apparatus of a trombonist" is devoted to some sections of the methodology for teaching how to play the trombone. The second study - "Timbre of the trombone in the orchestra of M.I. Glinka (multifunctionality and color)" contains particular results of the musical and theoretical analysis of the use of the timbre of the trombone by M. Glinka.

As already noted, in modern domestic musicology, many aspects of solo performance on brass instruments have been studied in sufficient detail, but a very modest place has been assigned to the art of orchestral and ensemble playing. This is especially true for the field of trombone performance, where only small sections in the scientific and methodological works of well-known trombone teachers are devoted to professional orchestral and ensemble practice.

An object of this study - the history, theory and practice of orchestral and ensemble performance on the trombone.

Subject scientific development - the activity of a modern trombonist in the field of ensemble and orchestral music-making.

Target undertaken research - further improvement of the modern art of orchestral and ensemble playing the trombone by solving the formulated problems and developing a scientifically based theory based on the general concept of the formation of musical and performing culture.

Tasks research is dictated by its purpose. The main task is an organic synthesis of knowledge about the art of orchestral-ensemble trombone playing and correlation of their content with the peculiarities of performing practice.

The objectives of the study were:

search for common features of a number of phenomena in the history of instrumental culture, in order to study the patterns of their development and a clear understanding of their essence;

improving the methodology for classifying knowledge in the field of the theory of orchestral-ensemble playing on brass instruments and, in particular, on the trombone;

analysis of the well-known provisions in musicology of the history, theory and practice of playing the trombone in an orchestra and ensemble from the interdisciplinary positions of musical aesthetics, the history of orchestral styles, and the psychology of performance;

identification of typical and specific functions of the trombone in the orchestra and ensemble, their connection with the results of texture analysis of musical material;

study of the components of the performing technology of orchestral-ensemble trombone playing in the general context of the art of playing brass instruments;

characteristics of performance specifics in ensembles of homogeneous and heterogeneous brass instruments;

generalization of the experience of orchestral-ensemble playing of outstanding trombone performers and development of methodological and practical recommendations based on this;

search for directions for further research in the field of performance on brass instruments.

The solution of research problems leads to the formation of a holistic theory of the art of orchestral and ensemble playing the trombone on the basis of a comprehensive comprehensive scientific analysis.

Theoretical and methodological basis. The research methodology, which has become the basis for the formation of an adequate research approach, has a logical-epistemological, ..scientific-content and

methodological levels.

The logical-epistemological level affects the development of the art of orchestral and ensemble playing the trombone, the study of connections with other types of musical creativity; scientific and content level - analysis of the object and subject, "the relationship and interdependence of their components; methodological - analysis of the relationship between theory and practice, structure, principles and patterns of performing activity.

When considering an object of study, both a structural-functional and a systematic approach are used, the task of which is to develop the whole variety of means of representing the object under study and its properties.

In general, the dissertation is based on the concept of complex art history research, used in modern musicology.

Research program included the development of criteria for assessing the art of orchestral and ensemble playing the trombone and the procedure for applying research methods, as a tool for its implementation.

The determinism of research methods, taking into account the principle of the unity of the logical and historical, is dictated by the complex nature of the study. The first chapter is dominated by theoretical methods - causal analysis of the history of the art of playing the trombone, synthesis, comparison, generalization, extrapolation methods; in the second and third chapters, theoretical methods are supplemented by empirical ones, such as interviews and the method of expert assessments, in combination with observational methods - objective observation and self-observation, based on the accumulated practical performing and pedagogical experience of the author of this scientific work.

When conducting research sources of information various types of factual material served:

major editions and manuscripts (a large volume of orchestral and ensemble literature for trombone); scientific and methodological works devoted to the issues of history, theory and practice of performance, instrumentation, instrumentation; interdisciplinary research; periodicals (Russian Brass Bulletin, Musical Instruments, International Trombone Association Journal and Brass-Bulletin); sound recordings; literary sources; materials of fine arts of various eras (engravings, graphics, painting); materials from archives and museums; photographic materials; personal observations and recordings of conversations with recognized masters of orchestral-ensemble trombone playing (orchestra artists), conductors, teachers of trombone classes of musical educational institutions; resources of the Internet global network (websites of the International Association of Trombonists, the world's leading orchestral groups, famous trombone quartets and brass quintets, early music ensembles, the largest manufacturers of trombones and accessories for them).

At the same time, observations and analysis of the practical work of musicians of professional orchestras, as well as teaching activities in the classes of the Moscow State Tchaikovsky Conservatory, the Gnessin Russian Academy of Music, the St. Petersburg State Conservatory named after N. Rimsky- Korsakov, St. Petersburg State University of Culture and Arts, Moscow Military Conservatory. The fragmentary statements of practitioners were systematized so that on their basis it was possible to form a more complete picture of the subject of the study.

An important role in shaping the conclusions of the study was played by the personal performing, conducting and pedagogical experience of the author.

The main provisions for defense:

the evolution of the art of orchestral-ensemble trombone playing is connected with the history of European instrumental music, the evolution of its musical language, the development of timbre dramaturgy along the line of individualization of the colors of orchestra groups in the context of the history of the development of musical drama as a whole; the appearance of the trombone in the theater, and then in the concert orchestra, is due to the long process of formation of their compositions as a result of direct and indirect mergers of medieval instrumental ensembles;

the art of ensemble playing the trombone, as a specific type of instrumental performing art, has older traditions than orchestral performance; over the centuries of its existence, this type of performing activity has developed its own specifics, which manifests itself in the degree of subordination of voices, the nature of the use of musical expressive means, and the acoustic conditions of performing activity;

the orchestral activity of a trombonist is reflected by the continuous sequence of its components: independent work on the performing apparatus, work on orchestral difficulties (individually, in a group of trombones, as part of an orchestral group of brass instruments, as part of the entire orchestra), concert performances; its methodological basis is the understanding by the performer of the functional role of the trombone group in the orchestra, awareness of the general form of the work, the functions of groups in its structure and development, the role of each group in individual fragments of the work, which differ in the architectonics of the orchestral

tours; - Actual problems of orchestral-ensemble playing on the trombone are the contradictions arising in the course of the implementation of the composer's performing plan between this plan and the available performing means, between the complexity of the musical material and the professional level of the performers, between the self-assessment of sound, the assessment of colleagues and listeners; overcoming contradictions touches upon the problems of both technology and psychology of performance. Scientific novelty and theoretical significance research consists primarily in the fact that for the first time in Russian musicology an attempt was made to purposefully, comprehensively develop issues of the history and theory of playing the trombone as part of an orchestra and ensemble, based on the practical side of their implementation. For the first time, a historical analysis of this type of performing art is made, and on the basis of the results obtained, conclusions are drawn that characterize the specifics of the orchestral and ensemble practice of a trombonist. Also, for the first time, a retrospective analysis of orchestral scores was applied to identify patterns in the development of musical expressive means of the trombone group, depending on the change in the style of musical works in the context of the history of musical dramaturgy.

Within the framework of scientific analysis, the section of the art of playing the trombone in the period of pre-Beethoven symphony is considered. The study confirmed the hypothesis about the path of formation of a group of low register brass instruments in the Russian symphony orchestra and some differences from the evolutionary path traveled by this group of instruments in Western European orchestral and symphonic work.

On the example of a group of orchestra trombones, the features of the principle of textural analysis by N. Rimsky-Korsakov - reliance on the dramatic essence of the element - are revealed. musical fabric performed in the orchestra by a specific group of instruments.

The dissertation also outlines the specifics of playing the trombone in ensembles of homogeneous and heterogeneous brass instruments. Objective criteria for evaluating the technical and semantic organization of ensemble trombone playing are formulated and ways for further research in this area of ​​performing arts are outlined.

Practical significance thesis is that, based on the research materials, the author offers a holistic concept of the formation of knowledge, skills and abilities necessary for a highly qualified orchestral specialist who is fluent in the art of orchestral and ensemble playing the trombone, clearly aware of his role in the orchestra and ensemble at the technological and artistic levels , in accordance with the requirements of the State Educational Standard of Higher Professional Education of 2003, specialty 050900 - instrumental performance (by type of instrument: 03 - orchestral wind and percussion instruments; by qualification: concert performer, orchestra artist, ensemble artist, teacher).

The dissertation also has practical significance associated with the publication of its main results in the form of scientific articles, manuals and programs, deposited manuscripts.

Recommendations for the use of research results. Separate conclusions and provisions of the dissertation can be in demand in practice by orchestral performers, musicians of instrumental ensembles, teachers of the trombone class, orchestral class, chamber ensemble. Part of the material can be used when giving lectures on instrumentation,

rumentovke, history of performance and methods of teaching to play the wind instruments in higher and secondary specialized musical educational institutions. The author hopes that the content of the dissertation and the conclusions drawn during the study will be of interest to composers, conductors, musicologists and specialists in the military orchestra service.

Approbation of the research results in general and individual conclusions of the chapters of the dissertation was successfully passed in the course of practical work with the trombone quartet, brass quintet and concert orchestra of the Moscow Military Conservatory, with the orchestras of the headquarters of the Leningrad and Moscow military districts, in the military orchestras of the Leningrad military district, as well as in the course of pedagogical experiments in the trombone class of Professor VLkovlev and Associate Professor Yu. Beloglazov (Moscow Military Conservatory). In addition, the results of the study were presented at the republican scientific-practical conference "Actual ^ problems of training specialists in wind music and improving the skills of conductors of brass bands" in 2005 in Ufa (Republic of Bashkortostan).

The results of the study have already been introduced into the educational process of the Moscow Military Conservatory, the St. Petersburg State University of Culture and Arts, the Moscow Military Music School and the Moscow Cadet Musical Corps. The research materials are also used in lectures at officer training courses for military conductors.

The dissertation was discussed at the Department of Instruments of Military Bands of the Moscow Military Conservatory and recommended for defense.

The structure of the dissertation work due to the general logic of its composition: the history of the art of orchestral-ensemble trombone playing, theory of play (characterization of the specifics, means, features) and analysis of the practice of orchestral-ensemble trombone performance. The dissertation consists of three chapters, Introduction, Conclusion, Bibliography and Appendixes. Its volume is 247 pages, of which 47 pages are occupied by Applications. Applications contain: 75 illustrations, 3 diagrams, 6 tables. The text of the dissertation contains 70 musical examples. The bibliographic list contains 208 titles.

Trombone in ensemble music of the 16th - 18th centuries

Y. Fortunatov in "Lectures on the History of Orchestral Styles"1 notes that the orchestra was born from an endless variety of episodic medieval ensembles, as a result of their indirect or direct mergers. Indeed, the concert culture of the Renaissance and Baroque is characterized primarily by the richest ensemble practice, which was the first stage on the way to the formation of the orchestra. Along with church music-making, wind ensemble performance also appears in secular musical practice.

A significant role in the development of ensemble instrumental culture on the way to the formation of an opera and concert orchestra was played by the traditions of city tower musicians, as well as performers of church chapels, military brass bands, secular and estate ensembles. According to E. Albrecht: “guards were placed on the city watchtowers, whose duty it was to notify the city of any approaching danger. With the advent of the enemy, the guards from the height of their towers notified the inhabitants by means of trombone sounds. These watchmen, in their free time, played their instrument, and little by little improved in this so that they finally began to play the melodies of songs. Subsequently, a custom was established according to which wind songs were played on the towers, first on holidays, and then every day at dusk. This custom has survived to the present day and is still found in small towns and villages in Germany. In some places, even the ringing of bells in churches was replaced by the sounds of horns and trombones.

Especially for performance in the open air, music was created for ensembles of brass instruments. So, for example, for tower musicians, D. Speer (1636-1707) wrote the Sonata for four trombones and the Sonata for three trombones, and two zincs, and the famous Saxon trumpeter J.G. Reiche (1667-1734) created 24 two-part sonatas (consisting from preludes and fugues) for three trombones and zinc (1696), which were performed on the towers of city fortifications and town halls. It is interesting that zincs (cometti) (See Appendix 1, Fig. 26) were often combined with trombones in ensembles (See Appendix 1, Fig. 27). As a rule, they were entrusted with the parts of the upper melodic voices. In the same way, zinc was included, along with trombones, in church ensembles. The bass variety of zinc - cornon (cornon or corno veil Cornetto torto) was often replaced by a trombone due to the sharpness of the timbre. Later in France, it was he who became the prototype of the serpent - bass zinc with a mouthpiece similar to that of a bass trombone (See Appendix 1, Fig. 30). M. Mersenne2 and A. Kircher3 write about this in more detail in their works.

In Germany, in almost every city, musicians who played trumpets, trombones and zinc formed professional associations - "Stadtpfeifern", which later led to the creation of city brass bands.

In addition to tower music for ensembles with the participation of trombones, one can also name works written for special occasions, for example, A. Romani's four-part Motet, composed on the occasion of the enthronement of the Venetian Doge Tommaso Mocenigo. The two lower voices were played on trombones, while the upper diatonic vocal parts were doubled with natural trumpets. The Doges of Venice were accompanied by an orchestra of trumpets, trombones, shawls and other instruments. In the ensemble of St. Mark's Cathedral, at first there were only brass wind instruments, and only then strings were added. In Florence, in the era of Lorenzo Medici (late 15th - early 16th century), orchestras, along with shawls, pommers, bombards, zinc and horns, also included trombones. (See Appendix 1, fig. 31, 32).

Trombones sounded on all solemn occasions, during holidays and processions. On carnival and holidays, singers and musicians performed: flutists, trumpeters, trombonists. So, for example: “During the solemn departure of the Queen of Cyprus in Venice in 1497, an orchestra played, divided into two groups: in one, consisting of 24 people, lutes, violas and percussion were used; in the other - out of 10 people - trombones and flutes. In the motet "The Roses Recently Bloomed" by G. Dufay (c. 1400-1474), which sounded for the first time during the solemn consecration of the cathedral in Florence, the harmony of the choir is supported by wind and string instruments. The wind instruments also included two trombones.

The reason for the popularity of the trombone in church ensemble practice lies in the possibility of wide use of its main advantage - free intonation. It is known that a trombone ensemble, like a singing choir, has the ability to perform music not only in tempered, but also in pure tuning, without prejudice to the intonation of the sounds of the mode. In addition, in terms of timbre, the trombone is close to some organ registers, and in terms of tessitura, to a male voice. Trombonists were usually located on the choirs, cathedral towers, and dubbed the sound of the male choir, which created a voluminous, dense sound and interesting acoustic effects.

In the years 1513-1521, the works of the famous musician, trombonist, who served at the Mantua court, and then moved to Venice, Bartolomeo Tromboncino (c. 1470 - after 1535), were published. He was the author of many frottols, the forerunners of the madrigal, which later played a major role in the development of opera and oratorio. Frottola and madrigals were written for compositions, including both pure and mixed vocal and instrumental timbres, including trombone timbres.

General characteristics of the specifics of playing in an ensemble of brass instruments

Characteristics of the specifics of playing in an ensemble of brass instruments includes:

The essence, content and structure of the performing process, a description of its patterns and features;

Typology of performing tasks, reflecting the relationship and interaction of musical expressive means;

Structure, stages and conditions for the formation of performing skills;

Actual problems of ensemble performance on brass instruments.

It is necessary to immediately decide on such an important unit of the categorical apparatus as the very concept of ensemble. The point of view on any of the problems of ensemble performance completely depends on the interpretation of this concept. In this chapter, the term ensemble in which trombones take part (whether it be a trombone quartet, a quartet of three trombones and a tuba, a brass quintet, or other instrumental compositions) means primarily a chamber ensemble, and not a group of trombones as part of an orchestra. Despite the commonality of expressive means, differences in performance issues required a differentiated approach. Questions of the theory and practice of playing as part of a trombone group in an orchestra are considered in the third chapter of this study.

Performing activity in an ensemble of brass instruments is one of the most interesting subjects to study. And today the relevance of the analysis of the experience of ensemble performance on brass, including the trombone, has not lost its sharpness.

Playing in an ensemble of brass wind instruments is characterized by artistic and expressive, flawlessly coordinated at all levels, technologically and stylistically unified reproduction of musical text, taking into account the nature and performance specifics of specific instruments. Therefore, in the process of working on musical material, it is necessary to look for effective ways to most convincingly solve particular problems that arise before the performer.

The art of playing in an ensemble of brass instruments, as a specific type of instrumental performing art, has much older traditions than orchestral performance. Over the centuries of its existence, this type of performing activity has developed its own specifics, having selected the most significant features in the course of evolution, which will be discussed further.

Orchestral and ensemble methods of playing wind instruments have both commonality and differences. Even representatives of one seemingly instrumental family, for example, brass instruments, have much more differences in the specifics of orchestral activity than in common. These differences, like under a magnifying glass, become even more obvious when considering the features of ensemble playing. Each of the brass instruments has its own specifics here - the performers not only play them differently in the ensemble, but also think differently. This knowledge of the specifics of instruments, the peculiarities of performing thinking and the ability to use it in practice are the essence of ensemble skill.

In order to analyze the main issues of the specifics of playing in an ensemble of brass instruments, it is advisable to first take a look at the structure of the instrumental performing art as a whole. This is dictated by the need to proceed from objective ideas about the relationship between the general and the particular in it in order to determine in the future the place of ensemble performance on the trombone in this structure.

Having singled out from mixed instrumental ensembles that include strings, wind, keyboard and percussion instruments, ensembles consisting only of wind instruments, we will clarify their classification. Wind ensembles, in turn, are also mixed - they can include both wooden and brass instruments (classical quintet: flute, oboe, clarinet, bassoon and horn). Ensembles of both woodwind and brass instruments can form homogeneous ensembles (flute duo, clarinet trio, horn quartets, trombones, etc.) and heterogeneous ensembles (brass quintet: two trumpets, horn, trombone and tuba). Ensemble performance practice on authentic brass instruments is also quite developed today. There are ensembles of bukcins, sacbuts, zincs, alpenhorns, horn orchestras, etc. (See Appendix 1, fig. 11, 13, 61-66). Based on this, the specificity of playing in ensembles of wind instruments has features common to all ensembles, and specific differences that are characteristic only of their specific varieties.

The main questions of the orchestral activity of a wind player

The orchestral activity of any modern musician-instrumentalist is a creative process that includes concert practice, rehearsal work and self-study.

Concert practice has varieties that leave their mark on the nature of orchestral activity: scheduled performances (including subscription concerts); unscheduled concerts; tours with an orchestra; participation in the work on sound recordings, etc. Concert performances are practiced both under the guidance of permanent conductors of the orchestra, and with guest conductors. In addition, they have their own specific features: work in a symphony (concert and theater orchestras), in a brass band (including the stage orchestra of the opera house), in a variety orchestra.

The success of these types of concert activities, in turn, largely depends on:

Organization of the rehearsal work of the orchestra, which, in addition to the general rehearsals of the orchestra, also includes group classes, conducted, as a rule, by accompanists of instrument groups;

Regular independent studies of each musician of the orchestra, aimed at maintaining the performing apparatus in a constant form and at improving the performance of complex fragments of musical text, orchestral solos that occur in orchestral parts, requiring additional work. Thus, the whole process of the orchestral activity of a wind player is reflected in the following continuous sequence of components:

Independent work on the performing apparatus and orchestral difficulties;

Work on orchestral difficulties in a group of homogeneous instruments;

Working on orchestral difficulties as part of an orchestral group;

Rehearsal practice in the orchestra;

Concert performance (or participation in sound recording).

At the rehearsal stage, preliminary work on musical works takes place, the nature of which depends on how many rehearsals are allotted for preparing the performance program and how much new musical material is included in this program. In this context, the general principles of professional thinking in the course of rehearsal work require attention: the features of the auditory activity of an orchestral musician, the specifics of reading sheet music and working on orchestral difficulties encountered in the parts of wind instruments.

The characteristics of the differences between concert performing and rehearsal activities include technological and psychological issues (including the technological and psychological aspects of interaction with colleagues in a group of homogeneous instruments, with members of other groups of wind instruments, with musicians of other orchestral groups, with an orchestra conductor).

The technology and psychology of the orchestral activity of a wind player is largely based on the principles of ensemble performance on wind instruments, since this type of performance itself originated from ensemble music-making, as noted in the previous chapters of the study. As a rule, the solo playing of a wind player is given little time in the orchestral performing activity, the main part of the time is devoted to the ensemble playing as part of the orchestra. There is much in common between orchestral and ensemble playing, but there are also significant differences related to the division of the orchestra into groups of instruments, which is not the case in ensemble practice.

The readiness of orchestral musicians to perform a work that has a multifaceted, deep content is determined by the degree of awareness by the musicians of all groups of the orchestra of the general form of the work, the functions of groups in its structure and development, the role of each group in individual fragments of the work, which differ in the type of orchestral texture. It is from this awareness that a convincing performance of the work is formed. Such a unity of technological and artistic-substantial aspects originated in the early period of the history of instrumental culture, starting with the traditions of performing polyphonic music and early baroque music. Then it found further development in classical music and was finally consolidated in the music of romantic composers.

The basis for the formation of a unique in each case algorithm of the auditory activity of a professional orchestral instrumentalist is information about the style, genre, era of the creation of a musical work, already contained in the name of the author, a possible program, sometimes in the title of the work. This information implies certain ideas about articulation, stroke culture, timbre and dynamic palette of a musical work, its tempo and rhythmic structure. The dependence of the nature of the sound of the orchestra on these ideas is somewhat different in the orchestral cultures of different countries, but in general it is subject to the same immutable canons.

The sense of form, genre and style of the music being performed leaves an imprint on the entire orchestral activity of a wind player: the same element of texture in a group of wind instruments cannot sound equally expressive in the first and final parts of a sonata-symphony cycle, in an opera stage and a symphony , L. Beethoven and S. Prokofiev, on stage in a large symphony orchestra or in the orchestra pit of a musical theater.

The same can be said about the influence of orchestration principles on the orchestral activity of wind instrument performers. The German and French schools of orchestration, for example, differ in the nature of the mixing of timbre colors, which has already been noted above. German authors of orchestrations tend to mix timbres, while French ones tend to individualize pure timbre colors, which is even more evident in the Italian orchestral tradition1.

Ubushaeva Olga Valerievna

accompanist of the highest category, Children's Art School No. 14, Krasnodar

Methodical development

TOPIC: " The specifics of the work of an accompanist at the Children's Art School and some aspects of ensemble playing in the class of wind instruments"

Methodological development plan

1. The role of the accompanist in the educational process

2. Playing in an ensemble and some features of the work of an accompanist in the class of wind instruments

The purpose of methodological development

To analyze the specifics of the work of an accompanist at the Children's Art School in the class of wind instruments.

Tasks of methodological development

1) Conduct an analysis and show the role of the accompanist in the process of preparing and teaching students at the Children's School of Art.

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

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

The work of an accompanist in the process of teaching students at a children's art school should not be limited to simple accompaniment to a student. Working closely with the teacher, the accompanist can help the student in mastering the skills of playing in an ensemble, the ability to listen to other performers and the overall sound of the whole work. In addition, using his musical experience, the accompanist, when learning the repertoire, can suggest some musical nuances to the student, develop his imaginative thinking.

The main role of an accompanist in the educational process is, of course, playing in an ensemble with a student. The features of the accompaniment and the specifics of playing in an ensemble with wind instruments will be described in detail in the next chapter. However, one cannot consider the tasks of an accompanist so narrowly. After all, the main goal of the entire educational and methodological process is the preparation of not only a novice musician, but also the promotion of the development of the child's artistic personality. In this regard, the accompanist, who often himself has a pedagogical education and is in direct contact with the student, becomes the main assistant to the teacher on a special instrument.

As an already established musician, besides a pianist (it’s no secret that pianists have more developed harmonic thinking due to the specifics of their instrument, which allows them to perform musical works of any complexity and develops the ability to perceive music in general), an accompanist can give a lot to a student by communicating with him both directly and through music. This opportunity should not be missed, given that students, in addition to studying at a music school, spend most of their time studying in general education institutions. A student who wants to achieve certain success must use every minute of music lessons to the maximum, absorb the knowledge and experience that both the teacher and the accompanist can give him like a sponge.

Introducing the student to a new work, the accompanist, in addition to being able to play the entire musical text, including the solo part, also has the opportunity to analyze its individual details, make a theoretical analysis if necessary, and reveal interesting features of the work hidden from the student’s superficial glance: harmonic finds author, unexpected modulation shifts; show the logic of the development of the main and secondary themes, follow all their changes (especially when it comes to musical works of a large form); pay attention to hidden voices that enrich the musical fabric of the work, and so on.

Such an analysis will help the student to form the most complete picture of the work being studied, to expand the performing tasks assigned to him. The brightness of a student's performance should, of course, not be based only on blind imitation. No matter how little experience the students have, each of them is an individual. Children feel the same thing in different ways, and they should be able to express themselves without distorting, of course, the general meaning of the musical work being performed. Therefore, one of the most important tasks of a teacher and accompanist is the development of musical intuition, performing instincts and logical musical thinking skills in students. In practice, it can be very difficult to achieve harmony between content and technical performance from a student. Insufficient mastery of the instrument, even with a fair amount of musical ability, does not allow the student to achieve what he wants. Here, not only the will of the student is needed, but also the perseverance and tact of the teacher and accompanist to help the student, overcoming all difficulties, make a qualitative leap in performing skills.

With all this, the accompanist often remains alone with the student during rehearsals and concerts. And here the knowledge of the psychology of children plays a significant role. It is impossible to "break" a student, it is necessary, based on the individual characteristics of character, to find ways to him. Somewhere in time to praise, cheer up the child, and sometimes it is useful to show some rigidity. An experienced accompanist should already feel this in the subconscious. Otherwise, you can discourage the student from studying music, give him an uncontrollable fear of public speaking.

Knowledge of the history of music and musical literature can also be used by an accompanist in the process of communicating with students. The figurative association brought to the place in connection with the musical piece being studied contributes to the enrichment of the student's ideas about the work he performs, allows him to better understand, and most importantly, feel the music.

The general musical erudition of the accompanist is also of great importance. So, for example, knowledge of biographical facts from the life of a composer can also be used to better understand the student's intention of the author of a musical work. The idea of ​​what life and historical circumstances, in connection with what events this or that work was created, what the author experienced at that moment and what the author felt at the time of its creation, will help the student in his work on a musical work. All this additional knowledge, it would seem, of a purely informative nature, nevertheless, brings additional interest to musical studies and encourages even the least musically advanced students to study with greater diligence and activity, trying to embody in sounds the images understandable to their imagination, striving to play not just “louder”, “quieter”, “faster” or “slower”, and put artistic meaning into these dry concepts.

I will touch upon the topic of teachers' choice of educational repertoire. Without detracting in any way from the experience and qualifications of teachers, I will nevertheless note that in this matter the accompanist can provide them with all possible assistance. Sometimes a teacher can “go in cycles” for years on using some musical works that he has already tested in the learning process. Such “looping” gradually leads to the fact that the requirements for oneself as a musician, both for the teacher himself and for the accompanist, are imperceptibly reduced, new trends in music “pass by”, creativity disappears in the learning process. An accompanist who works with several teachers, and especially one who has an extensive concert practice, can give advice both when choosing a work to be studied, and on options for interpreting the already used musical repertoire. This can bring the necessary novelty to the educational and creative process. Only a creative union between a teacher, an accompanist and a student can give the desired effect in the upbringing of a novice musician.

Considering the growing role of the accompanist in the educational process, the requirements for his qualifications must constantly grow. To be at the proper level, to maintain a good musical form, the accompanist must constantly work on himself. There is no limit to perfection, therefore, it is necessary to study our profession throughout our creative life, constantly enriching our experience by studying new works by composers of various styles, schools and trends, while improving in the performance of the already accumulated repertoire.

Chapter 2. Playing in an ensemble and some features of the work of an accompanist in the class of wind instruments.

The basis of the work of an accompanist is accompaniment, that is, playing in an ensemble. Concertmaster or accompanist is the most common profession among pianists. Playing in an ensemble is a specific type of music-making that imposes a number of special requirements on the members of the ensemble. The soloist and pianist in the artistic sense must be members of a single, integral musical organism. In addition, the art of accompanist requires high musical skill, artistic culture, and certain vital qualities. It includes not only learning their parts with the soloists, but also the ability to control the quality of their performance, knowledge of their performing specifics and the causes of difficulties in performance, the ability to suggest how it is possible to correct certain shortcomings. The activities of an accompanist combine creative, pedagogical and psychological functions that cannot be separated from each other in educational, concert and competitive situations.

Let's consider what qualities and skills a pianist should have in order to become a good accompanist. First of all, he must have a good command of the piano, both technically and musically. It is well known that a bad pianist will never become a good accompanist, just as any good pianist will not achieve significant results in accompaniment until he masters the laws of ensemble relationships, develops sensitivity to his partner, does not feel all the inseparability and interaction between the part of the soloist and accompaniment part.

The art of an accompanist involves mastering both the entire arsenal of pianistic skills and a variety of additional skills, such as: the ability to arrange a score, “build a vertical line”, reveal the beauty of a solo part, ensure a lively pulsation of the musical fabric, etc. At the same time, in the art of an accompanist, disinterestedness, self-forgetfulness in the name of the soloist, in the name of animating the score, must be manifested with particular force. A good accompanist should have a general musical talent, a sufficient ear for music, the ability to capture the figurative essence and form of a work, and artistry. The accompanist must learn to quickly master the musical text, to distinguish the essential from the less important.

The specifics of an accompanist's game also lies in the fact that he must find meaning and even pleasure in being not a soloist, but being in the background of a musical action. An accompanist must also possess a number of positive psychological qualities. Thus, the attention of an accompanist is attention of a very special kind. It is multi-plane: it must be distributed not only between two own hands, but also attributed to the soloist - the main character. At every moment, it is important what and how the fingers do, how the pedal is used, the auditory attention is constantly occupied with the sound balance (which is the basis of the foundations of ensemble music-making), with the soloist's sound knowledge; ensemble attention follows the embodiment of the unity of the artistic conception. Such stress requires enormous concentration, the expenditure of physical and mental strength, as well as a stable psyche.

Mobility, speed and excellent reaction are also very important for the professional activity of an accompanist. He is obliged, if the soloist at a concert or exam suddenly mixed up the musical text (which happens quite often with young students), without stopping playing, to “catch” the soloist in time and safely bring the performance of the piece to the end. An experienced accompanist can always remove the soloist's uncontrollable excitement and nervous tension before a performance. The best means for this is the music itself: a particularly expressive game of accompaniment, an increased tone of performance. Creative inspiration is transferred to the partner and helps him gain confidence, psychological, and after it, muscle freedom. Will and self-control are also qualities necessary for an accompanist. In the event of any musical malfunctions that occurred during the performance of a work, he must always firmly remember that he has no right to stop or correct his mistakes, as well as express his annoyance at mistakes with facial expressions or gestures. The functions of an accompanist working in an educational institution with soloists are largely pedagogical in nature, since they consist mainly in learning new educational repertoire with soloists. This pedagogical side of the work of an accompanist requires a number of specific skills and knowledge from the field of related performing arts, as well as pedagogical intuition and tact.

Accompanying soloists - instrumentalists has its own specifics. The concertmaster cannot do here without the ability to hear the smallest nuances of the soloist's part, commensurate the sonority of the piano with the capabilities of the solo instrument, the qualifications of the performer himself. When accompanying wind instruments, the pianist must take into account the capabilities of the soloist's breathing apparatus, take into account the moments of taking breath when phrasing. It is also necessary to control the purity of the system of the wind instrument, taking into account the heating. The strength, brightness of the piano sound in an ensemble with a trumpet or trombone can be greater than with an accompaniment of an oboe or flute. With instrumental accompaniment, the subtle auditory orientation of the pianist is especially important, since the mobility, for example, of woodwind instruments significantly exceeds the mobility of the human voice. The accompanist should know the peculiarities of the notation of solo parts for various instruments - the designation of harmonics, various strokes, etc., alto and tenor clefs. For a preliminary acquaintance with the full texture of an instrumental piece with piano accompaniment, the most appropriate way is to initially play the solo voice part, accompanied by a simplified texture of the harmonic basis of the accompaniment part.

One of the specific aspects of playing in a piano ensemble with wind instruments, as well as with vocalists - that is, with those performers whose sound formation is associated with the oscillation of an air jet - is that the accompanist in his part must take into account the moments of breathing. It is known that the breath taking 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 the student is not able to play in one breath. In such cases, it becomes necessary to interrupt breathing in a half-phrase, to which the accompanist is obliged to react accordingly, as if “sighing” along with the soloist. It should be noted that one of the sides of the concertmaster's skill is precisely determined by how freely and easily the partner “breathes”, whether he suffocates during the performance of the work.

Let us dwell on the main features of the work of an accompanist in the classroom. The main task of the accompanist in the classroom is to help the student, together with the teacher, to master the work, to prepare him for a concert performance. Typically, a student's work on a piece consists of the following stages: analysis, fragmentary performance, performance in a row from beginning to end (rehearsal), which precedes the concert. The accompanist can get involved in this work at the stage of analysis. So, if a student at the stage of learning a piece loses control over intonation, the pianist can play along with the sounds of the melody, as is done in vocal classes. He helps the student to cope with the incomprehensible rhythm for him, duplicating the solo part on the piano. Sometimes students underplay or shorten long notes during pauses at the piano. In such cases, it is useful to fill in the rest with chords. In general, a temporary modification of the texture of the accompaniment often helps the student master his part faster. If a student is at an early stage of mastering a piece, then the accompanist does not have to play his part in full, he can limit himself to only its main elements: the most important basses, harmonies.

It is necessary to say a few words about the enormous expressive significance of the pause. Underestimating it is a very common shortcoming among beginning musicians. It often happens that a pause is perceived by students as an interruption in music, a void, and not an increased distance between the preceding and following sounds, filled with musical content. Fermats are also an annoying stop for some students, so they are often performed purely formally, without feeling their importance. Only through continuous listening, "getting used to" the music being played, can one 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 pauses is one of the important components of ensemble playing. As a rule, students, although they practice playing in the school orchestra, do not have enough skill in counting pauses - both long and short. It is necessary to draw the student's attention to the fact that it is necessary to fix each measure of the pause only at the first acquaintance with the musical text, and in the future it is not at all obligatory. You can increase the "scale" of the countdown, marking four or eight bars, but it is even more expedient to use replicas, clearly imagining the general course of musical development and the structure of the passage where these long pauses met in one part. The easiest and most effective way to overcome the unnecessary tension that arises in pauses and the fear of missing the moment of entry is to play the music that your partner is playing. This can always be done by the accompanist, but the student himself must also do it. This technique will allow him to pass "through himself" the entire musical fabric, and not just be a passive performer. Then the pause ceases to be a tedious expectation and is filled with a lively musical feeling.

In order for the student to most fully imagine the whole character of the work as a whole, the moment of display is very important. The student himself, as a rule, does not master the piano to such an extent as to be able to play both parties at the same time and clarify all the artistry of the musical fabric. This should be done for him by the accompanist. Moreover, in the process of working on a work, this technique can be used more than once, showing the play, both in the finished performance and with the shortcomings of the student’s game, in order to clearly demonstrate to him the difference between what should be and what is at the moment . Such a show, as a rule, stimulates students, charging them with energy, awakening their imagination, liberates their inner constraint, frees them from the fear of opening up - in other words, forms their performing and creative will. Showing is especially important for more lethargic, passive students in terms of performance. While for active students, sometimes only one figurative comparison or an expressive conductor's gesture on the part of the teacher is sometimes enough to make the performance “come to life”.

As you know, the methods of sound production on the piano and on wind instruments are different. There are also differences in strokes. But basically, all commonly used strokes - legato, staccato, marcato, etc. - are the same, and the task of the performers is to achieve maximum identity in their joint sound. The uniformity of strokes is of particular importance in cases where a melody, passage, accompaniment passes from one part to another, is transferred from a soloist to an accompanist and vice versa. And here, when performing one and the same melodic material, one should not allow dashed discrepancies, unless the author specifically instructs in this regard in the text. Such places in the work require special auditory sensitivity from the partners, the identity of the "feeling" of the nature of this music, the need for maximum ensemble fusion.

As for the dynamic side of the ensemble with a soloist, one should certainly take into account such factors as the degree of general musical development of the student, his technical equipment, the possibilities and features of the sound of the particular wind instrument he plays. We must not forget that in works in which the piano part is a typical accompaniment, the soloist always plays the leading role, despite the fact that he is a weaker partner in terms of his artistic level. Under these conditions, a good accompanist should not stick out the advantages of his playing, he should be able to remain "in the shadow of the soloist", emphasizing and highlighting the best aspects of his playing. In this regard, the question of the nature of the playing of the piano introductions is very important. The pitiful sound of the soloist's instrument or its slurred playing after the "loud" introduction of the accompanist will be very comical. When playing in an ensemble with a "dim" soloist, the pianist should perform the introduction very expressively, but commensurate the playing with the student's sound and emotional capabilities.

The most common drawback of student performance is dynamic monotony: everything is played essentially mezzo-forte and forte, or mezzo-piano and mezzo-forte. It is rare to hear, especially at the initial stage of learning, a full-fledged piano. There is no need to talk about smaller gradations of the piano, for example, pianissimo. True, one must also take into account the fact that it is technically difficult to take high notes on the piano on wind instruments, but such cases are rare in the pedagogical repertoire. As a rule, the high note is always associated with the moment of climax. Here, we would like to draw your attention to the fact that when playing in an ensemble with such bright-toned brass instruments as trumpet, tuba, trombone, there is a danger of the soloist “muffling out” the accompanist at the culminations. Sometimes this shortcoming can be difficult to eliminate due to the different timbre coloring of the instruments sounding.

It is necessary to convey to the student that the dynamic range of the ensemble should not be narrower than when playing a solo, but wider, because the capabilities of two performers on two instruments make it possible to make fuller use of the possibilities available to each, to achieve a more voluminous sound effect. To do this, it is very important to achieve a clear idea from the student about the gradations of forte and fortissimo. Having talked about the general dynamic plan of the work, it is necessary to determine its culmination and advise the soloist to always play fortissimo with a “reserve”, and not at the “limit”. Only then there will be no distortion in the sound between the members of the ensemble. The same applies to the accompanist, who should not “hammer” the soloist with a loud texture, no matter how saturated with chords it may be.

Students should be guided so that from the first steps, starting to analyze a piece, they learn to see not only “naked” notes, but also all the shades that accompany them: strokes, dynamic and tempo indications – and strive to fulfill them accurately. The difference between forte and fortissimo should be as perceptible as the difference between forte and piano, between mezzo-forte and mezzo-piano, and so on. After all, each of these shades carries a certain semantic load, expressing a particular mood and, ultimately, building the form of the work. In an ensemble game, the exact observance of the dynamic plan by the partners is doubly important, otherwise the musical development will lose its logic.

Speaking about the dynamics, it should be especially noted that in the ensemble the musical material - when performing homophonic-harmonic compositions - is unevenly distributed between the parts. Someone's voice is currently leading, and someone's is accompanying. Naturally, there is a need for dynamic stratification, definition of the first and second plan of sound, constant observance of the dynamic balance between the melody and the main and side voices in the texture of the accompaniment. When performing polyphonic works, where there is a constant interweaving of many different voices, the partners are in an “equal dialogue”. In this case, the tasks of dynamic interaction, accordingly, change, becoming more complicated, first of all, for the accompanist, who must trace the polyphonic fabric between the soloist's part and the parts in the right and left hands.

A special place in joint performance is occupied by issues related to rhythm. Sometimes hardly noticeable in a purely solo game, individual rhythmic flaws in the ensemble can sharply violate the integrity of the impression, disorient partners and cause "accidents". The ensemble requires a confident, impeccably clear rhythm from the participants. The rhythm in the ensemble must have a special quality - to be collective. Each musician has his own, individual sense of rhythm. This difference is especially noticeable in such an ensemble, where one partner is a student, and the other is a professional musician. Imperfection in the reproduction of especially complex rhythmic figures by a student is very often the subject of special work on this, both by a teacher and an accompanist.

The most common shortcomings of students are the lack of clarity of rhythm and its stability. Distortions of the rhythmic pattern (its fuzzy performance) are most often found: in dotted rhythm; when changing from duoles to triplets and vice versa; when changing sixteenths to thirty-seconds; in polyrhythmic conditions (when the soloist's part is presented in duols, and the accompaniment part is in triplets and vice versa); in five-meter, seven-meter meters, especially if there are tied notes in the soloist's part (in such a case, it is a very difficult task for a student to correctly calculate non-square shares without getting lost).

Rhythm distortion also occurs at the moments of tempo change in the work. Often a student, having entered one rhythm, cannot quickly reorganize and accurately observe rhythmic measurements at a different pace. In the music of modern composers, there are often works where tempo-metrical and rhythmic changes occur repeatedly. Studying such a repertoire gives good practice in mastering all sorts of rhythmic difficulties.

It is especially worth dwelling on concert and examination performances of a pianist with a student. At the stage when a work is released for concert performance, it depends on the accompanist whether he will save the student's weak performance or spoil the good one. The pianist must think through all the organizational details, including who will turn the notes to the pianist. An experienced accompanist usually pays special attention and specifically learns the places where the pages of the clavier turn over. A bass or chord missed during a flip of the sheet, to which a student in the class is accustomed, can cause his unpredictable reaction - up to stopping the performance. Upon entering the stage, the accompanist must prepare to play before the student, if they begin the performance of the work at the same time. Of course, it is necessary as early as possible, even in the classroom, to teach the student to show the concertmaster the beginning of the game (usually for wind players with breathing), but this skill does not appear immediately for everyone. Sometimes the pianist needs to show the introduction himself, but this should be done as an exception. A student who gets used to accompanist performances loses the habit of independence and loses the initiative necessary for a soloist.

The next question concerns whether the accompanist should dictate his will to the soloist during a concert performance, setting and maintaining a rigid tempo and rhythm. The accompanist and teacher should strive to give the initiative to the student. In the classroom, the pianist can show what the tempo and rhythm should be when playing with a trained soloist, but this should only be used as a means to “wake up” the student. The essence of accompanying a young soloist is to help him discover his own, albeit still modest, musical abilities, to show his playing as it is today.

Unfortunately, it often happens that a student, despite class work, cannot cope with technical difficulties at a concert or exam (most often from excessive excitement) and deviates from the pace. In such cases, the soloist should not be urged on by accentuation - this will not lead to anything good, except to stop the performance. The concertmaster must relentlessly follow the student, even if he confuses the text, does not withstand pauses or lengthens them. If the soloist is out of tune, the accompanist may try to lead his ward into the mainstream of pure intonation. In the case when falseness arose by chance, but the student did not hear it, one can sharply distinguish related sounds in the accompaniment in order to orient the performer. If the falseness is not very sharp, but long, then, on the contrary, all duplicate sounds in the accompaniment should be hidden and this will somewhat smooth out the unfavorable impression.

A very common disadvantage of student playing is "stumbling", and the accompanist must be prepared for it. To do this, he must know exactly where in the text he is playing at the moment. Usually students skip a few measures. Here the accompanist needs a quick reaction. Only in this case will he be able to pick up the soloist in the right place and make this error the least noticeable. A more tricky mistake is that, after skipping a few bars, the conscientious quotation student comes back to play the missing passage. And this happens regardless of the fact that in the classroom he was told about the inadmissibility of going back. Even an experienced accompanist can simply be taken aback by such a surprise. Only constant practice of working with students can lead to the fact that the accompanist develops the skill of being attentive to the text from beginning to end and the ability to maintain an ensemble with a soloist, despite any surprises.

It happens that sometimes even a capable student, when playing an instrument, gets so confused in the text that this leads to a stop in the sound. The concertmaster in this case should first apply a musical prompt by playing a few notes of the melody. If this does not help, then it is necessary to agree with the student from which place to continue the performance and then calmly bring the work to the end. The endurance and reaction of the accompanist in such difficult situations will allow the student to avoid the complex of fear of playing on stage. It is recommended to discuss before the performance from which places the performance can be resumed in cases of stops in certain parts of the performed work.

In conclusion, I would like to note the following: the activity of an accompanist includes many important components and nuances. However, all this is subordinated to one goal - for the student to most fully reveal his musical talent, to feel the artist, creator in himself, to overcome the line that separates the soloist from the accompanist. Only in this case, the work of a teacher and accompanist can bring them satisfaction.

LIST OF USED LITERATURE:

1. Bragina O. About work on a piece of music. // Issues of piano pedagogy. Issue 3 - M.: Music, 1971. - p.77-91.

2. Volodina S.N. Peculiarities of sight accompaniment and development of sight reading skills in teaching beginner accompanists. Methodical work. M.: MVMU, 2001

3. Kryuchkov N. The art of accompaniment as a subject of education. M.: Music, 1961

4. Kubantseva E.I. Concertmaster is a musical and creative activity.

Music at school. No2, 2001

5. Kubantseva E.I. Methodology of work on the piano part of a pianist-accompanist. Music at school. No4, 2001