Music world offers many different professions, one of them is an accompanist. This, in fact, is an accompanist, but the range of his duties is wide, as well as the range of skills and abilities. The great role of the accompanist in pedagogical activity, in the work of ensembles, special duties fall on his shoulders in operatic art. Let's talk about what the work of an accompanist consists of, and what qualities he should possess.
The concept of "accompanist"
There is an opinion that the accompanist is a simple profession that people go into who are not able to become soloists. But in fact, these musicians must have a much larger arsenal of abilities and skills, since it is not enough for them just to be good performers, but you also need to have a sense of the ensemble, be able to effectively present the soloist, etc. The accompanist accompanies other musicians, students, musical performances. The very name of the profession suggests that this person is a master of conducting concerts, he is the unifying beginning of the concert action.
History of the profession
The formation of the profession of an accompanist takes place in the 17th century, when special pianists appear who accompany the performances of singers. This specialization grows out of the practice of home concerts, when chamber concerts of musicians were held in living rooms and they were accompanied by specially trained pianists. Gradually, the profession crystallizes and acquires new nuances and responsibilities. Accompanists are becoming in demand in musical pedagogy, in opera art, in symphony orchestras. Today, the accompanist is an assistant conductor and concert manager. Gradually, several varieties of this profession are being formed: the actual accompanist, pianist-accompanist, teacher and opera accompanist. Consider the specifics of each type.
Accompanist
The concertmaster accompanying the vocalist provides him with music background. However, this is a simple profession only at first glance. The task of finding a harmonious coexistence of the clavier accompaniment part and the solo voice or instrument falls on the shoulders of the accompanist. An accompanist of this variety solves the problem of creating an acoustic ensemble, for this he needs to be a like-minded soloist, his partner. But if necessary, the accompanist should become a leader, the head of the concert, he directs the vocalist, leads him and at the same time emphasizes the beauty of the soloist's sound. An accompanist should be at least as talented and skillful as a soloist, they should have a single breath. Often the accompanist helps out the vocalist, helps him in unforeseen and difficult situations. It is not in vain that many vocalists are looking for "their" accompanist and have been working with the same partners for years.
Concertmaster-pianist
Concertmaster is always virtuoso musician, because he has to solve several at the same time. Accompanists often work as pianists, but not everyone, even a very talented performer, can become an accompanist.
Since the second half of the 19th century, when professional performing arts began to take shape, a separate specialty - the pianist - began to form, at the same time, specific criteria for assessing the skill of an accompanist began to form. And not everyone was able to combine these two professions. There are philistine ideas that anyone who owns pianistic technique can easily become an accompanist. They are, of course, not true. An accompanist-pianist, who often works in an orchestra or ensemble, must have a subtle sense of group creativity, be able to direct the parts of other musicians, and control the flow of a melody.
The formation of the Russian school of accompanists was greatly facilitated by outstanding composers: M. Glinka, S. Rachmaninov, M. Mussorgsky. They introduced such features as smooth sound production, imagery, and ideal technique into the culture of accompanist. Thanks to their activities, the importance of the figure of the accompanist and his skill is reassessed. From a minor character, he turns into a full-fledged partner of the ensemble.
Concertmaster-teacher
Historically, the activity of the accompanist was also associated with pedagogy. Accompanying in vocal and choreography lessons is a special skill and art. The concertmaster is an important figure in the pedagogical process. The subtle ear of the accompanist allows you to catch the student's mistakes. The pianist helps the student to better show the possibilities of his voice, to reveal the depth of the work, to find the right interpretation. An accompanist-teacher must not only possess technique and musical flair, but he must also be able to penetrate the student's psychology and find contact with him.
Opera concertmaster
Another important role of an accompanist is work in the opera. In this status, several roles merge at once. Firstly, the accompanist is a tutor for the singer, helps him find the right sound, controls the accuracy of the performance. Therefore, he must have a delicate ear and great musical erudition. Secondly, he is the leader of the string group in the orchestra, assistant and support of the conductor. The accompanist is also the conductor of the director's creative idea for the orchestra. Notes are just a texture that still needs to be played with a certain tempo, mood, soul. It is this deep content that the accompanist conveys and clearly controls its maintenance during the performance.
Qualities of an accompanist
Such diverse duties of an accompanist require special qualities from him. In addition to the fact that he must master the instrument, he must have a good ear, he must master the ensemble technique, have ideas about the art of singing. A good accompanist should not only easily play sheet music, but also follow the melody and be able to direct the soloist along the right path. Also, an accompanist needs patience, the ability not to put his ambitions above the general interest.
A good accompanist necessarily has intuition, has a quick reaction and the ability to instantly rebuild. Indeed, in case of a soloist's mistake during a concert, he must quickly adapt to the artist, without knocking down the rhythm of the performance. The concertmaster must be a contact person. When working with an ensemble or a soloist, the interaction between the participants is extremely important. During the concert, the musicians are guided not only by the movements of the conductor, but also by the views and facial expressions of the accompanist.
Demand for accompanists
The profession of accompanists remains prestigious and in demand in the market. This is due to the fact that a good accompanist is a piece goods, a unique combination of talent and school. Today there is an accompanist position in every educational musical institution, in theaters, orchestras, concert organizations. Numerous performers want to work with personal accompanists who know their style and abilities well. Therefore, good specialists are often hunted and fought for.
Job description of an accompanist
IN different organizations The accompanist has different responsibilities. However, in general job description Accompanist includes such requirements as the ability to read from a sheet, transpose musical works, pedagogical skills. The accompanist must know the parties in which he participates, observe discipline and be responsible for the performance of his duties. Organizational, pedagogical and psychological duties are assigned to the accompanist.
Notable accompanists
As we found out, the work of an accompanist is creative, complex, multi-tasking. Not every performer can become a good accompanist, so specialists are worth their weight in gold. Many vocalists have been working with the same accompanists for years, and friendly, almost family relations develop between them. The most famous representatives of this profession are M. Bihter, B. Mandrus, D. Ashkenazy, M. Nemenova-Lunts.
Concertmaster and accompanist is the most common profession among pianists. For the reason that not all become good recognized pianists.
Nevertheless, the profession of an accompanist is no less creative and interesting (an accompanist is a pianist who learns parts with singers, instrumentalists and accompanies them in concerts). In addition, it can be a great part-time job and just a hobby, because in some places you can work only a few hours a week, such is the specificity of this profession. But without certain abilities, of course, you can not do.
- Elena Kostrova: accompanist of the Music School. Osipov.
“When I play, I hear mostly the melody I'm accompanying, not my accompaniment. After studying piano, many people become accompanists, but not many people understand that this profession requires special hearing and perception. The pianist plays as he feels, and the accompanist must hear the melody, and embody in the accompaniment the whole idea of the composer and his perception of this music, the accompaniment must have the character of a melody, you need to hear the melody inside yourself, because the accompanist plays only the accompaniment, and sometimes he must adjust soloist".
- this is the only musical instrument that all professional and non-professional musicians (be it a vocalist, conductor, violinist, accordionist, etc.) have been and are learning to play, and, in addition, instrumental students prefer to play the piano in practice at school .
Many fear that it is problematic to find a job as an accompanist, and the pay is not so high. Yes, as far as Moscow is concerned, there are indeed a lot of graduates of the piano faculty in the city. Nevertheless, those who choose this profession, as a rule, love their work and, over time, achieve both high professionalism and by no means low wages. Concertmasters are in demand modern times for the reason that there are many educational non-state institutions, circles, clubs and theaters.
- Elena Kostr ova. Concertmaster of the Music School. Osipova.
“Of course, if you work in public institutions, the salary depends on the rate (ETS) and the level of education, as well as on the category. But the highest category is not given even immediately after the conservatory. If the accompanist plays very well, then he can quickly get the highest category. The salary is also affected by participation in competitions, the availability of prizes and much more.
Salaries in non-state institutions are different. If this famous theater or opera, then the salary is correspondingly high. But it's not easy to get a job there. On the other hand, this profession is mobile. You can work not every day and at once in several places.
Singers working in the state Russian theaters, use the services of accompanists free of charge. But accompanists can work with them additionally for money.
Of course, at the beginning of your career, you won’t be able to earn much. If this is work in children's institutions, then, as a rule, they do not pay much there, from 4 thousand rubles a month with a load of several hours a week. On average, the salary varies depending on the degree of employment, and reaches 40 thousand rubles a month, if you work at a music school and have a high degree discharge, at full load.
In the West, an hourly wage for a pianist-concertmaster averages 30-50 dollars, and sometimes even more - and it is clear that opera is not learned in a couple of hours.
What exactly is an accompanist? Concertmaster - (German Konzertmeister) 1) a musician who leads one of the string groups of a symphony or opera orchestra. 2) A pianist who learns parts with singers, instrumentalists and accompanies them in concerts. The concertmaster teaches the execution of "commands": the beginning of the melody - the beginning of the movement, the end of the melody - the end of the movement
The skill of an accompanist is deeply specific. It requires from the pianist not only great artistry, but also versatile musical and performing talents, mastery of ensemble technique, knowledge of the basics of singing art, features of playing various instruments, also excellent ear for music, special musical skills in reading and transposing various parties. For an accompanist, oddly enough, intuition is also important. At first, this ability plays a dominant role in the work of an accompanist, but, of course, without scientifically based knowledge in the field of musicology, musical psychology, music pedagogy significant results cannot be achieved.
Choosing this profession, you need to have many qualities, firstly, you really love to perform on stage, especially if you have chosen to work in the theater, or in any other place where concerts and performances are often held. Secondly, love to communicate with people, or with children if you work at a school. An accompanist should not have stage fright. Such an ability is necessary, how to grasp melodies on the fly, to glue the missing places, if suddenly the soloist missed some place in the play. If you choose this profession as the main one, you need to be prepared for the fact that, as a rule, this means being on the sidelines.
- Elena Kostrova: Concertmaster of the Music School. Osipov A.
“Most people either don't know what it is or think that accompanists don't do much. To be in the background and at the same time to work hard, and sometimes you have to work all weekend, especially if there is a concert on Monday, you need to constantly act out, learn the pieces. Continuous work, and a minimum of recognition - this is what the profession of an accompanist is.
On the other hand, if you work in music schools, then almost the whole summer is free. And, working with singers, after gaining experience, you can acquire your own “clients”, and put their voice in, help them sing. When working in theaters, this is also constant touring, which may be interesting for young professionals.
Where are they trained to be accompanists?
You can get an education in the piano class at the conservatory and in all music schools and colleges, at the Academy. Gnesins, as well as at the Pedagogical University and the Institute of Contemporary Art.
In order to improve your professionalism, you need not only to play a lot at concerts, but also to participate or at least be present at accompanist competitions. This is necessary in order to know about the standards that are accepted in modern times.
Currently, competitions and festivals of accompanists have begun to be held in Russia.
For example, the All-Russian Opera Competition-Festival of Accompanists "Dialogue for the Sake of Integrity", All-Russian competition concertmasters. All-Russian competition of young accompanists, children under the age of 18 can participate in it.
And in 2003, the Regional Public organization Guild of Piano Concertmasters. The Guild deals with issues of the social and creative status of the profession, organizing concerts, assistance in finding employment, supporting competitions and festivals, holding master classes, lectures and open lessons as part of the "School of Accompanist Mastery", with the participation of leading Russian and foreign experts. Any accompanist can join.
From January 15 to 19, the Academic College of Music at the Moscow Conservatory for the first time hosted the "School of Accompanist Mastery", organized by the Piano Accompanists Guild and its leaders Maria Barankina and Olga Ber. A rich program of classes included lectures and master classes People's Artist Georgia, Professor of the Moscow Conservatory Vazha Nikolaevich Chachava ( vocal cycle R. Schumann "Love and Life of a Woman" and romances by Tchaikovsky), Associate Professor of the State Musical and Pedagogical Institute named after Ippolitov-Ivanov and the Gnessin Academy of Music Maria Naumovna Ber; open lessons of Professor of the Moscow Conservatory Marina Nikolaevna Belousova and Associate Professor Russian Academy music named after the Gnesins of Elena Evseevna Strikovskaya, dedicated to the vocal works of Schubert and Schumann. The classes, which aroused considerable interest, were attended by accompanists and teachers of educational institutions in Moscow, the Moscow Region, Russian cities, Russian and foreign students. At the end of the School, students were given certificates.
The concert hall of the Rachmaninov Society hosted a master class of the pianist and conductor Mikhail Arkadiev, Doctor of Arts, with the participation of the Honored Artist of the Russian Federation, soloist of the Helikon Opera Tatyana Kuindzhi (soprano).
Subject :
The work of a pianist with piano versions of vocal-symphonic cycles: G. Mahler. Kindertotenlieder. D. Shostakovich. Suite on poems by Michelangelo.
Concert program: S.Rakhmaninov. Romances Alexander von Zemlinsky "Wedding and Other Songs".
November-March 2004: The Guild held a series of master classes "The work of an accompanist in classes with various specialties" in conjunction with the methodological office of the Moscow Committee for Culture. Joint actions with the methodological office of the Ministry of Culture of the Russian Federation.
In what areas can you realize yourself as a professional after training?
An accompanist is needed literally everywhere: in the classroom at music schools- in all specialties (except for the actual pianists), and on the concert stage, and in choral group, and in the opera house, and in choreography, and in the teaching field (in the class of accompanist skills). Music and general education schools, palaces of creativity, aesthetic centers, children's clubs for kids, kindergartens, music and pedagogical schools and universities will not do without an accompanist and accompanist. Clearly, the scope is very broad..
UIA DO
Children's Music School. M.I. Glinka
Methodical message
« PECULIARITIES OF THE WORK OF THE ACCOUNTING MEASTER IN THE DMSh»
Senior Lecturer
Knol
Nina Arkadievna
Kaliningrad
The significance of the topic is explained by certain changes in the conditions of the professional activity of accompanists. Teaching profiles in music schools are changing. Professional directions unusual for children's music schools appear, such as choreography, children's theater groups etc. Practically in each of these directions, musical support is expected, and, as a result, the presence of an accompanist. Since in special musical educational institutions The preparation of pianists for concertmaster work under such conditions has never been carried out, there is pedagogical problem- how to adapt pianists with standard academic training to work as an accompanist in the conditions of the Children's School.
Concertmaster and accompanist is the most common profession among pianists. The work of an accompanist is necessary for everyone: in classes in all specialties, on the concert stage, in a choir, in choreography. Without an accompanist, music and general education schools, palaces of creativity, aesthetic centers, music and pedagogical schools, and universities cannot do. Despite this, many musicians tend to look down on accompanists: supposedly, playing the notes does not require great skill. A strange and erroneous position.
The art of an accompanist is not given to every pianist. It requires musical skill artistic culture and a special calling. The terms "concertmaster" and "accompanist" are not identical, although in practice and in literature they are often used as synonyms. Accompanist (from the French "Akkompagner" - to accompany) - a musician who plays the accompaniment part to the soloist (soloists) on the stage. A huge responsibility falls on the shoulders of the accompanist. He must do his job in such a way as to contribute to the maximum artistic unity of all components of a musical work.
The work of an accompanist-pianist is aimed only at concert work. The concept of an accompanist includes more: learning their parts with student soloists, controlling the quality of their performance, knowing their performance specifics and the causes of difficulties in performance, the ability to suggest the right way to correct certain shortcomings. The work of an accompanist combines creative, pedagogical and psychological functions and it is difficult to separate them from each other in educational, concert and competitive situations. An interesting fact is that at present the term "accompanist" is more often used in the context of piano methodological literature. The term "accompanist" in methodological literature is most often addressed to populist musicians, primarily bayan players.
What qualities and skills should a pianist have in order to be a good accompanist? First of all, he must have a good command of his instrument, the piano - both technically and musically. A bad pianist will never become a professional accompanist, and vice versa - even an experienced pianist will not achieve significant results in accompaniment until he masters the laws of ensemble relationships, develops sensitivity to his partner, does not feel the artistic unity and interaction between the soloist's part and the accompaniment part.
To become a professional in his field, an accompanist must be endowed with general musical talent, a well-formed musical ear, imaginative imagination, the ability to grasp the content and form of a work, artistry, and the ability to inspire the author's intention in a concert performance. The accompanist is obliged to quickly master the musical text, separating the essential from the less important, to read a piano part of any complexity from a sheet, to understand the meaning of the sounds realized in the notes, their role in building the whole. Performing the accompaniment, the accompanist must see and clearly imagine the soloist's part, feeling in advance the individual originality of its interpretation and contribute to its implementation by all means of performance, master the skills of playing in an ensemble, be able to transpose the text, which is necessary when playing with wind instruments, as well as for working with vocalists , in chorus.
The accompanist must know the rules of orchestration, the peculiarities of playing chamber and folk orchestra, be able to perform texts in the key "Do" - in order to correctly correlate the sounds of the piano with the various strokes and timbres of these instruments. It is absolutely necessary for him to have a good timbre ear, to know the features of instrumentation different eras, styles, the ability to translate uncomfortable episodes in the piano texture in the clavier without violating the composer's intention, to be able to read and transpose by a semitone and a tone up and down.
To work with the choir, the accompanist needs to know the basic conductor's gestures and techniques, knowledge of the basics of vocals: voice, breathing, articulation, nuance. To be especially sensitive in order to be able to quickly suggest words to the soloist, compensate, where necessary, for tempo, mood, character, and, if necessary, quietly play along with the melody.
When working with vocalists (more often in music and theater departments), accompanists have to select the melody and accompaniment “on the go”; improvisation skills are also needed, that is, the ability to play simple stylizations on themes famous composers; without preparation, to develop a given topic in a textured way; pick up by ear harmonies from a given theme in a simple texture. It is absolutely necessary for an accompanist to know history musical culture, visual arts and literature, in order to correctly reflect the style and figurative structure of the works.
An accompanist needs to accumulate a large musical repertoire to feel different styles of music. For practical mastery of the style of any composer, you need to play many of his works. A professional accompanist must constantly improve, show a constant interest in learning new, unknown music, get acquainted with the texts of various works, listen to them in recordings and at concerts. An accompanist should not neglect to work with various genres performing arts, seek to expand their experience and understand the features of each type of performance. Any experience will not be useless, even if the narrow sphere of accompanist's activity is determined over time. In the chosen area there are always elements of other genres to some extent.
Mobility, speed and reaction activity are also very important for the professional activity of an accompanist. In the event that a soloist at a concert or an exam mixes up the musical text, he is obliged, without stopping the game, to pick up the soloist in time and safely bring the work to the end. An experienced accompanist can always remove the soloist's uncontrollable excitement and nervous tension before a pop performance. The best means for this is the music itself: a particularly expressive accompaniment game, 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 properties absolutely necessary for an accompanist. In the event of such musical troubles that occur on the stage, he must firmly remember that neither stopping nor correcting his mistakes is unacceptable, as well as demonstrating his reaction to the mistake with facial expressions or gestures.
The specificity of the accompanist's game also lies in the fact that he must find meaning and satisfaction in being not a soloist, but one of the participants. musical action, moreover, a participant in an allegedly secondary one. The pianist-soloist is given complete freedom to reveal his creative individuality. The concertmaster, on the other hand, has to adapt his vision of music to the performing style of the soloist. It is even more difficult, but necessary, to preserve, at the same time, one's own individual face.
With all the versatility of the activities of the accompanist, the focus of his attention is, of course, creative aspects. A necessary condition for the creative process of an accompanist is the presence of an idea and its implementation. The implementation of the idea is organically linked with active search, which is expressed in the disclosure, adjustment and clarification artistic image a work embedded in the musical text and reproduced, first of all, in the internal representation of the performer. Creativity is creation, the discovery of something new, a source of material and spiritual values. Creativity is an active search for the still unknown, which expands our knowledge, gives a person the opportunity to perceive things in a new way. the world and himself.
The specifics of the work of an accompanist in a vocal class
Children's Music School.
N.S. Prutskov,
concertmaster of MBU DO "Kurovskaya Children's Music School"
The article reveals the features of the work and the role of the accompanist in the lessons with children in the vocal class and concert activity music school, andsummarized practical experience in the field of creative and pedagogical activity of an accompanist.
The profession of an accompanist refers to the professions of exclusively mental (creative or intellectual labor). In the process of work, the activity of sensory systems, attention, memory, activation of thinking and the emotional sphere is important. Concertmasters are distinguished by their erudition, curiosity, rationality, and analytical mindset.
The skill of an accompanist has a deep specificity and professional orientation. It requires a musician of great willpower, artistry, a variety of musical and performing talents and skills, the application in professional activities of the acquired multilateral knowledge in courses of solfeggio, harmony, polyphony, music history, analysis of musical works, vocal and choral literature, a thorough acquaintance with various singing voices, knowledge of the features of playing other musical instruments, opera scores.
Development modern society characterized by the growing volume and complexity of information flows, dynamism and speed social processes, has changed the requirements for professional and personal specialist qualities. To be realized in professions , to be successful and competitive in the labor market, today it is not enough to have professional knowledge and skills - you need to have flexibility, mobility, the ability to quickly adapt, the ability to quickly respond to ongoing changes, that is, to beprofessionally mobile.
Mobility, speed, activity are very important qualities for the professional activity of an accompanist.
First teaching assistant, both professionally and educational work in the class there is an accompanist, in whose activity pedagogical creative and psychological functions are combined and it is difficult to separate them from each other in educational, concert and competitive situations.
Concertmaster, although one of the most common professions among pianists, is still very much in demand and never loses its special significance and relevance.
The specifics of the work of an accompanist in a music school is that he has to cooperate with representatives of various artistic specialties, and in this sense he must be a "universal" musician. What can I say, almost every musical and comprehensive school does not do without the services of an accompanist, and children's creative, aesthetic centers, music and pedagogical schools and universities are simply unthinkable without any important creative events where an accompanist will definitely be involved.
The main quality of an accompanist is general musical talent. It, in turn, presupposes musical ear, sense of rhythm, artistry, figurative thinking, fantasies, the ability to separate the essential from the less important.
In his work, the accompanist, together with the teacher, takes part in the development of thematic plans and programs, taking into account individual characteristics every student. He spends individual sessions with students, during which he forms their performing skills, develops artistic taste, increases erudition, and brings up creative individuality. For many years I worked as an accompanist in the vocal class and I want to focus on creative activity concertmaster.
The creative activity of an accompanist in the vocal class includes two components: the work process and concert performance.
The workflow is divided into 4 stages:
1) - work on the work as a whole: the creation of a holistic musical image as imaginary sketches of what is to be done. The task of this stage is the creation of musical and auditory representations during visual reading of the musical text of the work. The professionalism of an accompanist largely depends on his abilities, including the skills of visual reading of the score, as well as the ability to visually determine its features (inner ear). Musicality acts as a complex integral system, which includes: ear for music musical memory, emotional and volitional qualities of the performer, musical thinking and imagination, sense of rhythm and so on.
2) - individual work over the accompaniment part, including: learning the piano part, working out difficulties, using various pianistic techniques, correct performance of melismas, expressiveness of dynamics, etc.
3) - work with a soloist - implies an impeccable mastery of the piano part, a combination of musical and performing actions, knowledge of the partner's part. Constant attention and extreme concentration at this stage should be observed equally.
4) - working (rehearsal) performance of the work as a whole: creation of a musical performing image.
During the preparation of a work, the student and the accompanist jointly go through a number of stages: repeated repetition of the whole and details, stops in the most difficult episodes, testing different tempos, analyzing the nature of the work, coordinating the dynamics.
In the course of work on initial stage learning a work, the accompanist must immediately wean the student from careless attitude to the rhythm, paying attention to artistic value one moment or another. For example, it is necessary not only to say: “Here is a pause, endure it,” but also to explain the purpose of this pause in connection with the content, its musical purpose, so that dots, pauses, fermatas become a necessary accessory for the singer performed music, means of its expressiveness.
An accompanist, under the guidance of a teacher, teaches a young musician how to properly distribute the power of sound throughout a song or romance. Beginning vocalists sometimes think that the louder they sing, the more beautiful their voice sounds. The accompanist should remind the student how expressive he can achieve by diversifying the strength and color of the sound, how much he will save his voice at the same time. The teacher and the accompanist should awaken the student's imagination, fantasy, help him penetrate the figurative content of the work, use the expressive possibilities of the word, not only well pronounced, but also "colored" by the mood of the whole work.
It is necessary that with the help of a teacher, and then an accompanist, the student should follow the beauty and richness of the sound of the word, so that the vowels are not “variegated” (that is, pronounced in a different vocal manner) and at the same time each individually retains its individual coloring.
The accompanist is entrusted with a responsible task - to acquaint the student with various musical styles, to educate his musical taste. He fulfills this mission both through the highly artistic performance of the accompaniment, and through professional work at the stages of learning the work with the soloist.
Thus, the accompanist must know the basics vocal art: on the production of voice, breathing, articulation, nuances; should be musically and psychologically sensitive, flexible, so that if necessary, be able to quickly prompt the soloist for words, compensate where necessary, tempo, mood, character, and, if necessary, quietly play along with the melody.
Even more difficult tasks arise before the concertmaster's ear when he has to work on learning vocal ensemble. A good knowledge of the parts of each voice, the creation of a clear auditory representation of the overall sound of all voices requires the pianist to carefully train and strengthen internal auditory representations.
The specifics of accompanist work in the classroom with young musicians requires mobility from the accompanist, a flexible attitude to the performed texture, the ability to use its convenient options, arrangements.
In the process of transposing from the sheet, the accompanist does not have time to mentally translate each sound one tone lower or higher. Therefore, the ability of an accompanist to instantly determine the type of chord (triad, sixth chord, seventh chord in circulation, etc.), its resolution, the interval of a melodic jump, the nature of tonal relationship, etc., is of great importance. Training of transposition skills is usually carried out in the following sequence: first to intervals of increased prima, then to intervals of major and minor seconds, then to thirds. When transposing to a third, a facilitating technique can be used, consisting in the following. If you transpose up a third, then all notes treble clef are read as if they were written in bass, but with the notation "two octaves higher". And when transposed down a third, all notes of the bass clef are read as if they were written in a treble clef, but with the notation “two octaves lower”.
The ability to select accompaniment, to accompany by ear implies that the accompanist has improvisational skills. The selection of accompaniment by ear is not reproductive, but creative process, especially if the accompanist is not familiar with the original musical notation selected accompaniment. In this case, he creates his own version of the texture, which requires independent musical and creative actions from him.
professionally tuned to quality result an accompanist is half the success and confidence in high result in the training of musicians and their concert activity.
Performances in concerts stimulate the musician's interest in knowledge, activate cognitive interest in the field of art; render beneficial effect on the development of musical and aesthetic tastes, a harmonious personality. Young musicians feel the demand for their work in society.
A concert performance is a certain result, a climax of all the work done earlier by an accompanist on a piece of music. His the main objective- together with the soloist, to reveal and convey to the public the musical and artistic concept of the work with the highest culture of performance. During concert performances the accompanist takes on the role of leader and, following the developed concept, helps the partner, instills confidence in him, trying not to suppress the soloist, but to preserve his individuality. I would like to emphasize that the activity of an accompanist presupposes the presence of such qualities as sensitivity to a partner, psychological support before a performance, and musical support directly at a performance, since the singer, from excitement, can forget the words, get out of key. And then the accompanist provides assistance: in a whisper prompts the words, without ceasing to play; plays the melody of the vocal part, repeats or stretches out his introduction if the singer is late, but this assistance is provided in such a way that it is imperceptible to the listeners. Therefore, during the performance, the accompanist must be extremely attentive to the vocalist. For a soloist, an accompanist should be an equal partner, sharing joy, sadness, passion, delight, peace, rage in piece of music, and should also be a source of inspiration for the singer, and his playing should sparkle in beautiful introductions and conclusions.
A good accompanist, in addition to general musical talent, a good ear for music, imagination, the ability to capture the figurative essence and form of a work, artistry, the ability to figuratively, inspiredly embody the author’s intention in a concert performance, must have sociability, sensitivity, tact in expressing his opinion on issues musical style, interpretation of the work, etc. The ability of an accompanist to “smooth corners” in communication with students, not to enter into conflicts, communicating at ease to create a comfortable psychological environment. It is of no small importance for an accompanist to have the ability to position the soloist, to make the performer trust and listen to the accompanist's opinions. It is not easy to establish a creative, working contact with a vocalist, but a purely human, spiritual contact is also needed. Therefore, in the work of an accompanist with a vocalist, complete trust is necessary. The vocalist must be sure that the accompanist "leads" him correctly, loves and appreciates his voice, timbre, treats him with care, knows his capabilities, tessitura weaknesses and virtues.
Seeing and clearly imagining the part of the soloist, capturing in advance the individual originality of his interpretation and by all means of performing to promote its most vivid expression is the key to a strong creative, conflict-free community. Of great importance for the effectiveness of classroom work is the nature of communication between the accompanist and the teacher, since not only the musical advancement of the student, but also his upbringing as a person depends on this. During the lesson and rehearsals, the teacher often expresses wishes, comments, etc. to the accompanist. The reaction of the accompanist to such remarks is important for the education of the student. The main principle here is the interest of the accompanist, which the student should feel.
Successful professional performances in all respects are most often those in which there is an indestructible union of a teacher - accompanist - student. That is why those teachers who know how to competently and correctly convey information, and accompanists who know how to correctly understand and accept the wishes of the teacher, have a creatively well-established and successful union.
The pedagogy of cooperation helps the teacher, student and concertmaster to overcome all difficulties. creative way and implementation of ideas. By cooperation, we mean the joint activity of the subjects of the pedagogical process, aimed at achieving common goals. It has three essential components:
- a clear understanding of the unity of purpose;
- a clear delineation of the functions of the cooperating parties;
- mutual assistance in the implementation of tasks that achieve the goal, and most importantly - mutual delegation of authority.
Working in close cooperation, teachers and accompanists:
Create an atmosphere of emotional comfort for development creativity student
Develop communication skills with each other and with the team,
Create conditions for cooperation between students,
Working on concert repertoire, expand the musical horizons of both performers and listeners.
Any success of students always fills the heart of the teacher and accompanist with joy and pride. It is happiness to see the result of your work. And let not all of our pupils continue their musical education. The main thing is that music, like a spring of happiness, penetrated into the hearts and souls of the children and consecrated them with love for art.
As a result of my work, I want to emphasize that for a teacher of special class concertmaster - first assistant, musical associate. For a soloist, an accompanist is the confidante of his creative deeds; He is a helper, a friend, and a teacher. Not every accompanist can have the right to such a role - it is won by the authority of solid knowledge, constant creative composure, will, uncompromising artistic requirements, steady perseverance, mobility, responsibility in achieving the desired artistic results when working together with soloists, in their own musical improvement.
Used Books
1. Vinogradov K. On the specifics of the creative relationship between a pianist-accompanist and a singer // Musical performance and modernity. Issue 1 M.: Music, 1988
3. Radina, I. On the work of an accompanist with a student vocalist // On the skill of an ensemble player: Collection scientific papers. - L., 1986. S. 73-83.
4. Romanenko L. N. On the specifics of the work of an accompanist with musically gifted children // Young scientist. - 2016. - No. 5.3. - S. 42-44.
5. Shenderovich E.M. In the accompanist class: Reflections of a teacher M., Muzyka, 1996
