Methodical features of the organization of collective music-making in children's musical schools. "Ensemble - an effective form of work with students" methodological development-generalization of the experience of teachers at the Children's Art School in the class of folk and wind instruments

The process of creative getting used to the musical image, necessary for the disclosure artistic content works by the performing team, can be carried out in various ways. Experience shows that in the methodology of working on a piece of music, three main stages can be distinguished. It is devoted to the consideration of this issue this work. The publication will be useful to the leaders of ensembles and orchestras of RNI working in the field of additional education.

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The performance of a piece of music by the RNI ensemble requires maximum mutual understanding of all participants and their ability and readiness to subordinate their performing actions to the unified will of the conductor. The conductor builds work on musical works on the basis of the author's psychological prerequisites laid down in the musical-figurative content and personal perception of both the whole work and the features of its parts, fragments. Psychological prerequisites contribute to the emergence of appropriate artistic and aesthetic sensations, experiences (both the performer and the listener).

The process of creative getting used to the musical image, which is necessary for the disclosure of the artistic content of the work by the performing group, can be carried out in various ways. Experience shows that in the methodology of working on a piece of music, one can single outthree main stages. These stages can be conditionally designated as introductory, main and final. First stage – general idea about the play, about its main artistic images. Second - deepening into the essence of the work, the choice and use of means of expression, work on parts, fragments, elements. Third stage - generalization, reduction into a single whole, the result of the previous work, when the work receives a qualitatively new performing embodiment, completeness in the ensemble performance. The conditionality of the phased separation is that, firstly, the process artistic creativity, which is the work on a piece of music, cannot be carried out on the basis of a once created stamp, stencil. Secondly, since this process is constantly accompanied by differences: in the content and in the degree of complexity of the pieces mastered, in the composition of the team, in the performing level of its participants, etc.

So, the first stage of the ensemble's work. At the beginning of the next rehearsal, the leader informs the participants about the work, its style and the work of the author. If there is a recording, it will be listened to during rehearsals. If the majority of the ensemble members are able to read their parts “from sight”, then one can do without preliminary learning in groups, and there is an attempt to get acquainted with the piece in their own dubbing. Familiarization with the work gives the members of the ensemble a general idea of ​​its character, style and content, arouses their interest and thereby stimulates the performing initiative, activates creative performance.

The artistic and performing goal clearly set at the first stage, when getting used to the character, image and content of the musical work, helps to optimize the work of the ensemble at the second stage. This period is characterized by deep penetration into the essence of the work, decoding and detailing of its content. Combination of collective and individual method (rehearsals and individual sessions) greatly simplifies and reduces this most labor-intensive stage, and effectively affects the artistic side of the performance, since individual work on assimilation of the parts of the ensemble (a kind of analysis) greatly facilitates the solution of creative tasks at the rehearsal of the ensemble (synthesis). In the process of studying parts, specific means of expressing the content of pieces are determined and mastered: phrasing, tempo, dynamics, strokes, fingering, etc.

As experience shows, for the work of ensemble members on fast pieces, it is recommended to use the method of their initial development at a slow pace. This contributes to the awareness of the pupils of the performing tasks, their mastery of the necessary skills, primarily technical ones. AT practical work the above methods of dismembering and slowing down the pace are usually used in combination. Fast, technically difficult pieces to perform are mastered in parts by the functional groups of the ensemble at a slow pace. Moreover, this is useful not only for members of the group with which work is being carried out in this moment but also for everyone else. Listening to the parts of partners in the ensemble contributes to the awareness of the place and one's part in the overall sound.

As experience shows, in one's work one should beware of such a method of learning pieces as multiple mechanical "runs" of it, repetitions from beginning to end throughout a whole rehearsal. Difficult places remain at the same time without improving the quality of performance. The play is "flirting", and the performers' interest in it is quickly lost.

As already mentioned, the described methodology for working on a musical work should not be considered as standard and unique. The leader decides on the use of one or another methodological technique, based on the actual prevailing conditions, taking into account objective and subjective factors. If necessary, it makes sense to linger at some stage in order to complete the implementation of a particular task in achieving a performing result. At the same time, excessive unjustified delays in certain periods of rehearsal work can lead to a decrease in the activity of the participants, to dampening their enthusiasm and loss of interest.

Sparrow lady
(Russian folk song)
For younger children school age
(II stage of education)

Target - to develop children's pitch, harmonic hearing and a sense of rhythm in the process of ensemble music playing on wind instruments.

The introduction begins with the roll call of the voices of the kugikl (“owl”) and the flute-tsug (“nightingale”). Then all the coogicles sound. In this ensemble, it is most difficult to achieve rhythmic accuracy of performance, for which it is recommended to learn the parts as follows:

1. Parts I and II of the kugikl sound accompanied by some percussion instrument (spoons, box, etc.), which duplicates their rhythmic pattern.
2. One percussion instrument (spoons, box, etc.) shows an even pulsation of the first and second beats of the measure, and the second percussion instrument (tambourine, rubel, etc.) duplicates the rhythmic pattern of the part II and III of the cugicle.
3. Percussion instruments are combined with the cookicle ensemble.
4. The cookicle ensemble sounds without the accompaniment of percussion instruments.

The song ends with an ensemble of pity. Each part of this ensemble must be learned separately. Then you can combine batches I and II of zhalek, I and III, II and IV, etc. After such preparatory work, the instruments are combined into a four-part ensemble.

Permissible substitutions for the instruments of the ensemble: kugikly - for metallophones, zhaleyki - for "melodiks", pipe-tsug - for a whistle-nightingale, etc.

MARCH
Y. SOLOVIEV
(For adolescence.)
III stage

Target - to consolidate in practice the technical skills acquired earlier (in fingering and sound extraction) and to work out the means of expressive performance.

The bass voice is an ostinato figure that is repeated throughout the piece. The attention of performers should be drawn to articulation, which changes as the music develops. Lung staccato at the beginning, as sonority increases, it becomes active marcato at the climax (number 3). It is also important to pay attention to uneven accents in the bass, where they are consistent with melodic accents (see number 3).

The melody, for all its simplicity (it consists of two sounds), in addition to its advantages as educational material, carries a modal-harmonic and emotional content. Dressed in a certain form (three repetitions with increasing sound density), it gives the impression of an approaching marching group. This is emphasized by the introduction of a snare drum, against which the “sounding” pauses in the melody are well heard.

The piece uses all three basic methods of sound attack: pressing (1), throwing (2) and pushing (3). They require, accordingly, the use of all the resources of the performing apparatus: hands, forearms, shoulders.

In the second performance of the piece (from the reprise sign), the ostinato figuration, set out in the xylophone part, can be performed not only by the xylophone, but also by other instruments. At first, for example, it can be performed by a solois-bayanist or domrist; other performers will join in the next rehearsals.

Balalaika players use three methods of extracting sound in a piece: pizz., B.P., big fraction and kick-throw.

The harp and the xylophone add their colors in their natural orchestral function and the nature of sound extraction.

Dynamic means must be calculated in such a way that during the execution of two draws there is a single increase, i.e. at the end of the first performance, leave a reserve of sonority for the end of the work.

Timbre matching - as the sonority grows, the string players extract the sound closer to the bridge.

The tempo of the piece - when analyzing the piece, adhere to the indicated designations; when the March is learned, perform alla brave.

See Attachment. Sparrow lady:Russian folk song / Arranged. D. Rytova // Reader for children's ensemble rus. nar. tools. / Comp. A. Komolov. - SPb., 2002. S. 212-213.

See Attachment. Solovyov Yu. Marsh // Light plays: For children. orc. Russian nar. instruments / Comp. S. Makarov. - M., 1983. - S. 55-62.

Oksana Witt
Learning to play children's musical instruments in the spoon ensemble as one of the means of developing musical abilities

Learning to play children's musical instruments in the spoon ensemble, how one of the means of developing the musical abilities of preschoolers

October 2016

within the creative team "Folklore art therapy in work with children of senior preschool age"

Target: The study by the participants of the master class of the issue of using Russian folk tools in teaching preschool children as part of the educational process in preschool educational institutions.

Tasks:

1. To introduce the participants of the master class to various folk musical instruments and their use in the process musical education in the preschool educational institution.

1. Develop steady attention and self-control in the process of execution piece of music.

2. Cultivate interest and love for folk music the need to communicate with her.

3. Enrich spiritual culture through playing folk tools(spoons) .

4. To increase the level of professional competence of teachers, their motivation for systematic use in the practice of playing Russian folk tools.

direction of our kindergarten ethnopedagogy, in context with this I like music director , doing development elementary music-making for children, namely, teaching children to play with spoons.

Playing on DMI is one of the types children's performing activities which is extremely attractive to preschoolers. While playing with children rhythmic hearing develops, the ability to hear music, communication and game skills ensemble.

When developing the program, I relied on the experience of scientists and authors working on this problem. such how:

Rytov D. A. "Traditions folk culture in musical education children» on his methodology learning to play the instruments of the orchestra, on his author's program « Musical folk culture» .

German composer and teacher Karl Orff (the main thing in the concept of which is elementary music-making based on folk music which is inseparable from rhythmic movement, speech, dance, gesture).

Hungarian composer Zoltan Kodály (based on his system of Hungarian folklore, folk song creation).

Rybakova E. L. " Musically-aesthetic education of children in folk tools”(the basis of her methodology is playing music on folk tools, improvisation).

I present my experience of working on acquaintance of preschoolers with spoons.

Do you love miracles? Let's create small miracle. But in order for it to happen, we...

Clap three times

We stomp three times

Let's smile next to a friend

Let's hold hands together

Let's all look up

"Miracle, miracle, appear!"

Look what a wonderful chest I have. What do you think is in it?

The riddle will help us:

They, painted, are famous around the world. You start playing and everyone likes it. (spoons.)

Wooden spoons is the simplest and most common instrument of the Russian people.

No national culture can be compared in the diversity of original musical instruments with Russian musical culture. A modern list of percussion folklore only tools has about thirty titles. The first professional performers on Russian folk the instruments were buffoons. However, it is completely unknown who and when first guessed to use as musical instruments household items such as spoons, rubel, board, kokoshnik, shepherd's drum.

Children's Spoon Ensemble can be the first step towards the knowledge of Russian culture, the revival cultural property, development creativity . Children show interest in folk music and express a desire to play folk tools.

In my work I use the rule from simple to complex:

1. The child learns to play by taking in each hand spoon.

2. Child connects 2 spoons in right hand.

In the classroom to keep children interested in game I use playing Russian songs and nursery rhymes.

For example,

Taria - Mary went to the forest, Taria - Mary went to the forest

She ate cones - she told us, And she found mushrooms there.

But we don’t eat cones, But we eat mushrooms,

Tara - Mara will give. Tara - Mara will not give.

The next trick is done in the same way. Let's try together.

Once at our Stepan

The cat guarded sour cream.

And when dinner came...

The cat is sitting - there is no sour cream.

Help Stepan,

Look for sour cream with him!

Yes, ask the cat

What does he avert his eyes?

To lose - any rhythmic pattern.

What develop these exercises.?

(During the game, the aesthetic perception and aesthetic feelings of the child are improved, develops a sense of rhythm memory and ability to concentrate.)

Let's get acquainted with the methods of playing on two disparate spoons.

"Horse"- one a spoon on the palm of the left hand, convex side up, handle away from you, the second spoon strike alternately on the convex side, on the handle. We try.

"Watch"- raise one hand up and perform a sliding motion on the other spoon.

"Sun"- perform simple quick strikes in spoons(eighth durations) right, up, left, down.

And now under music.

spoons as shown by the teacher

What other qualities do you think develops playing on spoons?

(She is contributes to the formation and development of such qualities as endurance, perseverance, purposefulness.)

AT spoons can be played in pairs. Let's try.

Russian folk melody sounds

And paired spoons you can play on the knees, on the shoulder, on the foot and on the palm. (Display)

Another method of playing on paired spoons is called"tremolo"- This is a quick alternation of blows between the palm and leg. (Display) And now all together.

A Russian folk melody sounds, everyone plays in different ways on spoons as shown by the teacher

To make our game look more interesting, I propose to combine two types popular creativity - game on spoons and singing.

How many of you have performed a ditty at least once in your life?

Is there among you who wish who would like to sing?

Three participants perform ditties, the rest play losses, repeating the movements of the teacher

Chastushki with ensemble of spoons

Have you become interested in development elementary music-making for children?

While our children are playing spoons and guessing on daisies, maybe the thread that connects us with the traditions and memory of the Russian people will not break.

Let your house be a full bowl, and the spoon is your nurse.

Related publications:

Consultation for parents "Development of musical and creative abilities through musical games" Musical director: Gorohova L.V., municipal budgetary preschool educational institution Kindergarten No. 38, Apsheronsk. FROM.

Master class for educators. "The use of musical didactic games in teaching children to play musical instruments" Master class for educators "Using musical and didactic games when teaching children to play musical instruments" musical.

Musical development of preschoolers through learning to play musical instruments K. Orff Musical development of preschoolers through learning to play musical instruments K. Orff. SLIDE 1. There are several famous ones.

"Non-traditional technique (quilling) as one of the means of development fine motor skills hands and creativity of children. "The origins of ability.

Non-traditional technique (quilling) as one of the means of developing fine motor skills of hands and creative abilities of children Non-traditional technique (quilling) as one of the means of developing fine motor skills of hands and creative abilities of children. "The origins of ability.

Collective playing of musical instruments is a powerful means of educating and educating children musical creativity. Playing in an ensemble disciplines, develops a sense of responsibility, activates musical abilities, engages and trains mental mechanisms responsible for subtle nervous activity.

In each school, you can find 8 - 10 students who have musical instruments at home. It can be button accordion, accordion, accordion. You can search for tools for the game from relatives, acquaintances, neighbors. My experience in creating children's orchestras folk instruments lets say that there is always a sufficient number of tools. Moreover, almost rare, museum copies of button accordions, accordions, harmonicas emerge from storerooms and attics. Of course, many instruments require serious repairs, but that's another story.

So, from children who have musical instruments and want to learn how to play them, an instrumental ensemble is created.

After the minimum composition of the future team is selected, children with instruments and preferably with their parents are invited to the first lesson. At the introductory lesson, the leader sets tasks for the children, explains teaching methods, sets up the team for work, focusing on the systematic nature of classes, a conscientious attitude to homework. Naturally, to create such a team, a solid theoretical base is needed, in which everything is planned, painted, and sorted out.

It is good if the leader has a program for the orchestra (ensemble) with thematic planning, repertoire applications. Such a program is the basis of any training, and not a tribute to fashion. Guided by the provisions of this document, the teacher will be able to clearly establish, organize a rehearsal and concert activity team. At the first lesson, the leader talks about the musical instruments that will be part of the ensemble, demonstrates their capabilities. Of course, the leader must be fluent in these tools. After discussing the schedule of classes and solving the organizational issues that have arisen, you can proceed directly to the game. Here's what you need to learn in the first lesson:

1. Correct fit and position of the fingers on the keyboard.

2. Extraction individually and collectively of the note "to".

3. Playing the “do” note under the metronome at different tempos and with different durations.

4. Rational - correct work with fur when extracting sound.

And let this first meeting drag on, let it be at it that the children will understand that “not gods burn pots”, that learning to play the button accordion, accordion, accordion is quite real.

For a more complete mastery of the instrument by the children, the leader must plan and organize individual lessons. They should not be limited only to the learning of works. Here you can understand the issues of music theory, methods and principles of the work of novice musicians with instruments. This also includes all kinds of developmental exercises. musical ear and a sense of rhythm. And required condition Individual lessons should not be boring, routine.

In organizing the accordion ensemble, I used undeservedly forgotten method learning to play instruments by hand. This method has been successful in deep antiquity. After all, almost all musicians playing folk instruments at the end of the 19th and beginning of the 20th century learned to play the balalaikas, domras, accordions precisely “from the hand” of a teacher or an experienced musician.

Successfully used this technique famous musician- populist V. Andreev. His pupils quickly and efficiently mastered the instruments, conducted intensive concert activities, and achieved the highest mastery. Naturally, they unwillingly had to subsequently take up the theory of music. But the beginning was laid precisely with copying the teacher's game.

Learning to play musical instruments collectively “by hand” is good because the ensemble members very quickly intercept the melodies, manner, passages, and accents of the teacher. And literally in the 2-3rd lesson, they play their parts quite freely and steadily. This is an excellent incentive to move forward. After all, the result of his labors is very important for a child. And in this case, the result is obvious: from simple sounds, simple parts, as a result, a melody was assembled that sounded wide, spacious, melodious. Each member of the ensemble hears well both the general and his own playing. All this concentrated develops the musical abilities of children.

But what about musical notation? We will return to her. And children will perceive it as a necessity, as a real and powerful tool for mastering the button accordion. And after they play in the ensemble "by hand", it will be easier for them to cope with the "squiggles" of musical notation.

So, children with tools sit on chairs in a semicircle at a distance of about 50 cm from each other. This distance is necessary so that the teacher can have all-round access to each musician (front, back, side). And you don't have to move much.

Let's start learning a new piece. The members of the ensemble are seated strictly in parts. The teacher stands behind the first accordion player and shows the initial beat of the piece being learned. The show is repeated at a slow pace several times. The student repeats what he heard and saw, learns a fragment of a given melody. At this time, the teacher goes to the second student and, by analogy with the first one, shows what and how to play in this segment (measure). After showing the game of the first measure to all members of the ensemble (in parts), the leader returns to the first member, repeats what he has learned, correcting mistakes. Everyone is checked in advance one by one. Then the ensemble is given time, 2-3 minutes to memorize their parts.

If one measure of the work is learned by all participants without errors, the teacher offers to play what has been learned collectively, while he himself plays the main melody and the part of the left hand.

The learned fragment of the work is repeated by the ensemble several times for consolidation. At this stage, the teacher monitors the landing of students, the movement of the fur, the position of the fingers, the accuracy of the parties.

Similar work is carried out with subsequent measures until the very end of the piece.

As you can see, there is nothing complicated. Any music teacher at school can organize such an ensemble or even an orchestra, which in a couple of months will be playing pretty well.

Good luck! Listen at your leisure:

General orchestra rehearsals are one of the main forms of training and creative work team. Importance for successful work The collective has accommodation for performers. Chairs and consoles for music are placed in such a way that the conductor can clearly see each of the orchestra members and be visible to them.
The rehearsal begins with a careful tuning of the instruments, always performed to the same instrument (bayan or oboe). The duration of rehearsals is two to three hours, after every 45-50 minutes of work there is a break.

The pace of the rehearsal is important. It is recommended to avoid unnecessary stops that dampen and tire the orchestra and lead to the loss of creative interest in the piece. A stop during a rehearsal must always be justified. After stopping the orchestra and waiting for silence, the conductor turns to the performers, avoiding wordy explanations, speaking in an accessible language and quite energetically.
The analysis of difficult pieces, the development of technically complex fragments is usually carried out in the first half of the rehearsals. End the lesson with a repetition finished material, pieces especially loved by the orchestra. The preparation of a work, from the first acquaintance to its performance in public, is a complex and unified creative process, all stages of which are closely interconnected.
The conductor starts his work long before the start of rehearsals. First, he studies the score of the work in detail and deeply, and the range of issues being worked out is very wide. This is the study of the creative biography of the composer, and the time when he created, and the history of creation this work, performance traditions.

It is extremely important to cover it as a whole already at the initial acquaintance with the work: reading the score at the piano or mentally intoning it. At the same time, a general idea is created about the main musical images, the structure and dramaturgy of the development of the material. Further, a holistic theoretical analysis of the most significant elements is required. musical language, harmony, melody, tempo, metrorhythm, dynamics, phrasing. Based on a comprehensive study and careful theoretical understanding of the score, the conductor gradually develops an idea of ​​the performance plan.
Having studied all the details of the score, the conductor again proceeds to cover the work as a whole, but at a new, higher level, combining all the details into a single harmonious presentation. Only after a clear artistic plan has been drawn up, when a certain performance plan has been formed, can one proceed to rehearsals with the orchestra.
Before starting a rehearsal, the conductor needs to check the availability of all the parts, compare them with the score, clarify the correct placement of digital landmarks and dynamics. It is necessary to think over the touches for each orchestral part and clarify them in all voices without exception, identify all technical difficulties and outline ways to overcome them, taking into account the performing level of the musicians. Sometimes in parts there is a complex presentation of individual passages, jumps that are inconvenient for the performers, too high a tessitura, etc. In this case, editorial editing is necessary. Of course, such editing must be done very carefully, in no case violating the author's intention.

Experience shows that fruitful work at a rehearsal is impossible without a well-thought-out plan. The result of the conductor's self-preparation should be: an established interpretation of the work, corrected parts, a clear rehearsal plan. AT in general terms the plan of rehearsal work on a piece comes down to the following stages: playing the whole piece (if the technical level of the orchestra allows), working on the details, final finishing of the piece. The sequence of these stages, as in the pre-rehearsal work of the conductor on the score, follows from the principle - from the general to the particular, followed by a return to the general.

When playing a piece, the conductor has the opportunity to draw the attention of the performers to difficult orchestral episodes, to introduce the orchestra in general terms to executive intention. During playback, it is useful to call out the numbers, which helps the orchestra to navigate their parts. If the work is calm in movement, then it is possible to read it at the pace set by the author. It is necessary to get acquainted with technically complex pieces in slow motion so that the orchestra players can better understand the individual details of the piece. At the same time, it is necessary to point out from the very beginning any manifestations of false intonation, distortion of the musical text. A conductor who knows the score well will not miss a single mistake that may be found in the notes or accidentally occur through the fault of the orchestra player. It is not so difficult to hear falseness, it is more difficult to determine which instrument it has. The more clearly the conductor imagines all the voices of the score, the sooner he will determine this, and, consequently, the less time he will lose to eliminate errors.

If there are orchestral difficulties in a piece, then it is useful to start the rehearsal with them, asking individual groups to perform a difficult part, and then give the necessary instructions. If the fragment does not work out, it should be outlined for individual study. At a general rehearsal, it is necessary that the whole team be busy, and not work for a long time with only one group. The conductor must clearly imagine what can be achieved at this stage of the work and what will be performed only after some time.

Already from the very first rehearsals, the conductor's attention should be consistently directed from perception technical side performance to artistic. All technical difficulties can be overcome faster if the performer understands for what artistic purpose he needs to overcome them. The rehearsal work should convince him that the solution of technical problems is not an end in itself, but a means for a vivid and expressive embodiment of the content of the work.
Careful work at rehearsal should touch everyone means of expression. Dynamic shades are one of the expressive means that help to reveal musical image works. Based on a thorough analysis of the work, taking into account the requirements of style, the conductor finds the right nuances arising from the content of the music. At the same time, it is important to determine the main climax, to which all previous development strives, and secondary climaxes, emphasizing the moments of dynamic tension in separate parts and episodes.

For an orchestra, for example, a well-known difficulty is the execution of long rises and falls in sonority. The orchestra players are willing to play the crescendo, which usually reaches the top too early, and in the diminuendo it turns into pianissimo too early. To avoid this, for example, with crescendo, you can follow the well-known technique: start the rise from a quieter sound, then its gradual amplification is achieved. It must be remembered that the nature and degree of strength of each nuance arise from the peculiarities of the style of the work. It is desirable that any changes in nuance are reflected in the conductor's gesture. The amplitude and intensity of the gesture must be adjusted, clear and understandable to the orchestra members at the very first rehearsals.
The conductor is obliged to think over in detail the entire phrasing of the work in advance in order to decipher the structure of the musical phrase to the performers at the rehearsal. Even experienced musicians feel music in different ways, and the conductor's task is to unite different personalities, to subordinate them to a single idea.
During rehearsal work on phrasing, various methods of its assimilation can be used. Just one gesture is not enough. It is very useful to parse a phrase orally by identifying its anchor points. Quite often you have to solfegge. For this, it is not necessary to have a supplied and beautiful voice, but it is necessary to sing clearly, purely, expressively. Orchestrators will ensure the flexible sound of the orchestra only if a common understanding of the phrase is realized by everyone.

Achievement good ensemble performance is one of the most difficult tasks in working with an orchestra. It is well known that joint performance requires, first of all, the same understanding of the artistic intent of the work - both in terms of content and style features, and in everything related to tempo, dynamics, strokes.
Based on the texture of the piece, the conductor must help the orchestra members to clearly imagine the role and meaning of their part in each episode. Often novice orchestra players strive to perform their part as boldly as possible, sticking it out unnecessarily, not caring about how this affects the overall sound. On the other hand, there are frequent cases of timid performance due to false fear. To overcome these shortcomings, it is necessary for the orchestra members to clearly understand the role of their part in the entire orchestral texture of the score. A fairly common mistake is to overload the sonority of the “secondary” plan, associated with a loss of balance between the leading and accompanying voices. However, one cannot reconcile oneself with the primitive understanding of the sound perspective, which boils down to the fact that the first plan should be played loudly, and the second - quietly. The sound of both plans is always interconnected, and an excessive gap in sonority strength is undesirable. Sound balance should be controlled not only by the conductor, but also by the performers themselves.

In achieving an ensemble of performance, the correctness and accuracy of the strokes are extremely important. In choosing strokes, the conductor sometimes seems to have freedom: not all strokes are indicated in the scores. And playing with different strokes, especially on stringed instruments, distorts the nature of musical writing. Since the leader of a folk orchestra must master the basic instruments, it would be useful for him or herself or together with the group's accompanists to try several strokes, find the most correct one and offer the orchestra. In the initial period, it is useful for the conductor to work in batches, achieving the same stroke. The strokes noted in the parts are usually within the power of the most ordinary performer of the orchestra to perform, and the conductor's task is to stubbornly achieve stroke expressiveness.

In practice, the conductor has to constantly contend with a very common shortcoming in performance: changes in dynamics encourage inexperienced performers to deviate from the tempo. When the sound rises, as a rule, the tempo accelerates, when it falls, it slows down. The same unlawful violations of tempo can be observed when alternating phrases that differ sharply in the nature of the music and texture. The conductor must constantly bring up proper rhythmic discipline in the orchestra. In rehearsal work, considerable attention should be paid to the quality of the sound, since often inexperienced orchestra players do not know how to control themselves. The conductor must carefully monitor good sound production, which depends on the correct angle of the pick in relation to the string. (For example, an unpleasant “open” sound may appear in a domra group.) Quite often, a poor-quality sound also occurs due to a weak pressing of the string to the fret. Some orchestra players who play bad tremolo can hardly move from string to string in cantilena places, and the conductor's task is to teach the orchestra to distinguish good sound from bad.
When working on a performance ensemble, it must be remembered that if the instrument leading the melody is poorly audible, you should not force it to play forcibly. This will also lead to poor sound quality. It is better to highlight the desired instrumental timbre by muting the instruments that overlap the solo voice.

Sometimes it happens that the orchestra players do not immediately understand the conductor's instructions or cannot fulfill his requirements due to technical complexity. Then the conductor, recalling the performing task, must repeat the musical phrase as many times as necessary. Otherwise, the musicians will feel that the conductor is not responding to the fact that the quality of the performance has remained the same. However, if the difficulty cannot be overcome and an independent study of the part is necessary, the conductor, having given the appropriate instruction, continues to work on the next section of the piece. There is no need to stop the performance due to small random errors of individual performers. It is possible with a gesture or a word to attract the attention * of the performer and correct the mistake without stopping the playing of the entire orchestra,
In the practice of rehearsals, there are times when, even if there are shortcomings in the performance, it is not recommended to resort to stops. Such situations arise, for example, if the performers are already tired. The conductor must feel the state of the orchestra and in such cases, how to play more music: give the members of the team the opportunity to enjoy the music, or, conversely, sometimes it is worth stopping the game and entertaining the orchestra with a joke, an interesting story about music, a composer, etc.
The rehearsal "should be structured in such a way that all groups of the orchestra participate in the work without long breaks, so that each performer is ready to join at any moment. If the leader stays too long at work with individual parts, this will discourage the rest of the participants.

After analyzing the play, careful work on the details, the final stage begins. It consists in polishing and bringing together individual details into a single whole, bringing the composition to the final tempo, developing the necessary ease and freedom in performance. The success of rehearsals largely depends on the conductor's ability to communicate with the team. Working with an orchestra requires adherence to principles, perseverance, exactingness and patience. Conductor's behavior during rehearsals should be an example for the performers - you should be smart, organized, collected. He should not show his annoyance, be nervous when something does not work out for a long time in the orchestra, and, moreover, insult the vanity of the participants. The head of the team must always be correct, demanding at rehearsals and simple, humane in communication outside of school hours. Here it is appropriate to quote famous conductor Bruno Walther, who spoke about this important side of the conductor's appearance in this way: “. The conductor himself does not create music, he does it with the help of others, whom he must be able to lead through gestures, words, and the influence of his personality. The result depends solely on his ability to lead people. Here, innate talent plays a decisive role - it is the ability to assert one's will, the influence of one's individuality - and this trait should be developed by constant work, using everyday experience. A person without authority, devoid of dynamic volitional aspiration, cannot take a strong position, even if he has musical talent, abilities and knowledge. With great skill he will be able to express himself, his feelings on the piano, on the violin, but he will never turn the orchestra into an instrument that obeys him.

The program of the circle "Ensemble of Russian Folk Instruments" Implementation period 3 years
Explanatory note

Music lessons play big role as in the formation of spiritual culture, moral qualities personalities, as well as in artistic aesthetic development the rising generation. The history of performance on musical instruments dates back to the most ancient periods of formation and development human culture as the main component of the spiritual sphere of man.
The study of various types of musical art contributes

• comprehension and perception by children surrounding reality. On the present stage cannot underestimate the importance and value music education for the rising generation. Musical culture is one of the most important facets in the concept of a cultured person. The content of the program is aimed at developing the motivation of the individual for self-knowledge and creativity, familiarizing students with the values ​​of world culture.

The program includes the features of an advanced school of ensemble performance. Specific requirements for students for each year of study and an approximate list of musical works recommended for showing during the academic year in tests are proposed.

Art is a necessary part of human life. Art is his soul. “The problem of spirituality is very acute in our society,” we constantly repeat and are looking for ways to solve this problem in the correct upbringing of a Person at the very beginning of his journey, in childhood. The task of music teachers is to awaken in our children an interest in themselves, their capabilities, abilities. Explain to them that the most interesting is hidden in themselves, make creative activity a need, and art a natural, necessary part of life.

The musical education of children should be directed, first of all, to the development of susceptibility to the language of music, the ability to respond emotionally, as well as to the activation of auditory abilities and needs to listen to music. It is important to captivate the child with music, develop his artistic worldview, regardless of whether he becomes professional musician or just be a music lover.

Ensemble - view collective music making, which has been practiced at all times, at every opportunity and at any level of instrument proficiency. Almost everyone wrote in this genre outstanding composers. They wrote both for home music-making, and for intensive study and concert performances.

Folk musical instrumental performance occupies one of the leading places in the system of musical and aesthetic development.

Collectivity is the basis of folk instrumental performance. “As for the question of attracting the masses on the widest scale to active participation in art, it is clear that of all other types (of art) most suitable for this purpose, it is precisely the collective occupation of music on .... folk instruments,” said the Russian balalaika composer, the first creator and leader of the Great Russian Orchestra, V.V. Andreev.

Widespread and popular in professional art in musical educational institutions duets, trios, quartets of Russian folk instruments. Ensembles have always enjoyed constant success with the audience due to their wide artistic, expressive and technical capabilities. Our task is to take advantage of this popularity to attract more students, to bring up in them a good musical taste by the method of collective performance in an ensemble.

At the end of the program there is a list of references that can be used in practical activities.

Novelty, relevance, pedagogical expediency.

Methodology music teaching develops and updates. Old programs contain valuable material, but they already require repertoire additions and more detailed development on the formation of an ensemble from the standpoint of new working conditions.

When developing this program, the programs of the Ministry of Culture “The class of the ensemble of folk instruments. Orchestral Class”, M., 1979 and “Musical Instrument”, M., 1988 to provide solutions to the problems of an individual, differentiated approach to learning.

Purpose of the program.

Creating conditions for the development of the student's musical abilities through mastering the instrument, developing ensemble playing skills, instilling in children a love for music, playing music, practical application knowledge and skills in further life activities, strengthening mental and physical health, becoming creative personality in learning to play the instrument.

Program objectives.

This program allows you to solve the following tasks:
Educational .
1. Formation of skills of collective creative music-making: - intralobar pulsation;

The ability to hear the sound of your part;

The ability to hear the part of the partner;

The ability to hear the sound of the ensemble as a whole;

The ability to achieve the identity of the execution of all elements musical fabric(strokes, sound extraction, dynamics);

The ability to play synchronously, at the same pace, constantly feeling the generality of movement;

Ability to work towards unity artistic image works in the process of joint performance.

2. Mastering the skill of independent analysis of new works.

3. Formation of stable musical ideas.

Developing:

Ability to play in an ensemble;

Develop a set of performing and listening skills;

Expand the musical horizons of students;

To develop musical taste and erudition, stage behavior and acting skills in children and adolescents;

To promote the development of imaginative thinking in students.

Educational:

Education of highly artistic musical taste;

Education of creative and educational will, the desire to achieve goals, the desire to overcome difficulties;

Raising the desire for self-improvement;

Education of patriotism, love for national culture;

Understanding and respect for the culture and traditions of the peoples of the world;

Raising a clear idea of ​​morality;

Raising a sense of self-respect and respect for the other person.

In the classroom, the teacher uses differentiated approach to learning. This allows students with any level of musical abilities to develop as much as possible, and the teacher to evaluate the student's progress in terms of his personal achievements.

The program is designed for three years of study for students of secondary schools and is recommended for students of senior school age. Each year of study - 76 hours, 2 hours a week. The program contributes to the formation of the simplest skills of collective music-making, as well as ensemble playing.

Interdisciplinary connections are widely used in the training program: knowledge gained in the lessons of solfeggio and musical literature, used in the lessons of the specialty and the ensemble, serve as a theoretical basis for mastering new skills and abilities.

Together with that this program allows to solve a number of interrelated problems that students and teachers face in the learning process.

This is an increase in the interest of students - children like to communicate and do something together, the formation of a sense of collectivism, responsibility. It also helps to form the artistic individuality of the student, reveals his creative inclinations.

Playing in an ensemble allows you to significantly expand the repertoire and the forms of its study. Domra, balalaika are instruments that are limited in terms of range, and at the initial stages of learning, many students also experience purely physical difficulties when performing double notes, chords. In addition, the student's adaptation to the instrument often robs the work of depth and richness. The arrangement of works for 2-3 instruments makes them easier and more accessible. Students get the opportunity to get to know the musical culture more widely, and the works sound more vivid and rich. Increasing technical and creative possibilities, the dynamic and timbre coloring of the work is enriched. It becomes much more interesting to play, and the result is more vivid than with a solo performance.

Ensemble music making partly helps to solve the problem of stage fright. Many children, even with very good preparation in the classroom, get lost on stage. Their performance sounds inexpressive, and sometimes just unsuccessful. Going on stage as part of an ensemble allows you to feel the support of your comrades or a teacher and relieves excessive nervousness before a performance. This works especially well for initial stage when students are offered parties in unison or with slight differences, as well as parties with the same rhythmic pattern.

Class in the ensemble is the preparation of the student to play in the orchestra. An experienced bandleader always feels the difference in communication with orchestra members who have or do not have experience in ensemble playing. As a rule, the first of them have a certain tempo and rhythmic flexibility, feel their role in the group well, and quickly perceive the wishes of the conductor.

The intonation of a Russian song, sung by a button accordion, domra, balalaika, sounding heartfelt in a Russian ensemble, cannot but touch the innermost sides human soul. They have a great power, which helps in the upbringing, creative development, perception of the beautiful young musicians.

salient features of this program.

The program involves the solution of educational, educational and developmental tasks, taking into account age and individual characteristics student development.

The activity of the teacher is based on the following principles:

Availability of classes;

Attentive attitude to the personality of the pupil, encouraging him to be creative;

Providing opportunities for self-expression, self-regulation, initiative;

Accessibility of understanding and performing music of various styles and genres;

Comprehensive development of the student, taking into account his individual characteristics.

Conditions for the implementation of the program.

The key to successful creative activity teacher are provided with the necessary conditions for work and a favorable creative atmosphere in teaching staff. Classes should be held in a spacious, warm, well-lit and ventilated room with good acoustics, equipped with the necessary equipment for listening to and viewing recordings of student performances, famous performers and collectives. The education of aesthetic taste is inseparably linked with the quality of sound production on the instrument, which is ensured by the presence of concert instruments. Instruments should be covered, which is convenient for transportation at outdoor concerts. The teacher can use percussion instruments: triangles, rattles, spoons, a metallophone, a tambourine, etc. When educating students to respect class property (instruments, consoles, stands, musical literature, etc.), you need to think about devices for keeping and storing instruments (on shelves, shelves, tables, in a closet, etc.), taking into account a certain degree of humidity in the room.

The organization of the ensemble's activity is a creative matter. The success of the creative and educational processes depends on the preparation and knowledge of the leader as an organizer, teacher, as well as on the ability to general provisions refract techniques in their creative individual work.

At the rehearsal, it is necessary to create a joyful, pleasant atmosphere that provides students with psychological comfort, confidence in their abilities and capabilities.

Students have different musical ability and physical data. The first thing with which the work of the ensemble begins is the selection of members of the collective who are equal in their musical training and instrumental skills. Taking into account the musical and technical abilities of the students, they are divided into parts and take their place in the ensemble.

Each member of the ensemble must be located in such a way as to be able to hear and see the members of the ensemble (usually a semicircle). The placement of ensemble players should be stable, not change depending on the room in which they have to rehearse and perform - on the contrary, the location of the ensemble depends on which room should be chosen for rehearsals and how the stage should be equipped for performance. The distance between the performers should ensure a coherent, integral sound and at the same time freedom of the playing movements of each member of the ensemble.

One of the tasks of the teacher during the rehearsal is to achieve maximum results with minimal expenditure of energy and time of students. Therefore, the tempo of the rehearsal is very important; music should always sound during the rehearsal, interrupted only for clear and well-formulated remarks by the teacher to certain performers.

The part of the ensemble player must be framed competently and accurately in order to avoid inaccuracies during the performance. All strokes, the smallest nuances, fingering must be put down in the party. It should be taken into account that if the strings have open strings, the sound does not die out immediately, therefore, by placing the fingering, the teacher will help to avoid unwanted moments of layering one harmony on another. An important factor in the development of ensemble performance is the repertoire. This is folk song and dance music, transcriptions classical music, original writings. At the same time, interest in pop and folklore trends increased, and the practice of accompaniments expanded.

When choosing a repertoire for a children's ensemble, the teacher should be guided by the principle of gradualness and sequence of training, observing the didactic principles of accessibility. It is not allowed to include in the repertoire of works that exceed the musical and performing (artistic and technical) capabilities of students and do not correspond to them. age characteristics. The work of the ensemble members on such works becomes an obstacle to their musical development and does not give positive results. When choosing a repertoire, the manager has to not only rely on curricula, his own taste and desires, but also take into account a whole range of conditions and factors: the repertoire must correspond to the performing level of the ensemble player, be interesting for participants and listeners, and be diverse enough to be able to take part in various concerts.

It is important that the ensemble has in its repertoire pieces that can be used for different audiences, on various events. Each concert requires pieces that are appropriate in nature and content, with which one could open and end the performance, create a certain emotional state among the listeners.

The experience and experience of a teacher should not lead once and for all dogmas found and to all equally applied dogmas, to a template in teaching. The system, which includes the basic principles and main tasks of training, must be unshakable. The methodology that determines the ways to the practical solution of these problems can be different. In the ability to find the best path and pace of development for an ensemble of students, dialectics is manifested. pedagogical work. The teacher should be not only a good musician and performer, but also a good sensitive observer and connoisseur of the child's soul.

Expected results and ways to measure their effectiveness.

In the process of learning, the student must learn the meaning of the term "ensemble" - as a coherent, harmonious performance of a work by all musicians, subordination to a common artistic design.

The student must be able to:

Apply in the ensemble the practical skills of playing the instrument, acquired in an individual lesson;

Hear and understand a piece of music - its main theme, echoes, variations performed by other members of the ensemble;

Perform your part, following the idea and interpretation of the work;

Forms for summarizing the implementation of additional educationprogram.

Forms of control of assimilation of educational material:

Control lessons;

Concert performance;

During the academic year, the teacher must prepare with the student 3-4 works, different in genre, form, figurative and artistic content. The student must know his parts by heart in order to perform at the concert.

1. The quality of performance of musical works:

Text accuracy;
- phrasing;
- metrorhythm;
- intonation.
2. Performance data:
- psychophysical abilities;
- musical ability;
- Variety performance qualities (culture of performance, behavior on stage, a sense of freedom).
3. Possession of playing skills in an ensemble:
- synchronicity of the sounding of the ensemble parts;
- the unity of the interpretation of the artistic image of a musical work.
4. Meaningful execution.

When choosing a repertoire, the teacher should be guided by the principles of gradualness and sequence of training.

The program provides for the study of a diverse ensemble repertoire: these are original guitar ensembles; transcriptions of works by composers different styles and eras (from classical Western European and Russian music to compositions contemporary authors, processing folk songs and dancing).

By curriculum the teacher has the opportunity to engage in an ensemble with students individually. Students work out their parts with the teacher, play with him, and only then the teacher makes up various types of ensembles (from a duet to a quartet), often involving other specialties in the ensemble (flute, violin, accordion, vocals, piano, etc.).

Thematic plan of the 1st year of study.

Thematic plan of the 2nd year of study.