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Methodical report “Work on polyphony by I.S. Bach at the children's music school

Methodical report “Work on polyphony by I.S. Bach at the children's music school

28.03.2019

MUNICIPAL EDUCATIONAL INSTITUTION OF ADDITIONAL EDUCATION OF CHILDREN
CHILDREN'S MUSIC SCHOOL
SHCHELKOVSKY MUNICIPAL DISTRICT
MOSCOW REGION

Methodical message

"Work on polyphony in the lower grades of music school".

Teacher

Shchyolkovo-2011

Work on polyphony in music school

Folk music, especially the music of the Russian people, is always imbued with the spirit of the ensemble, collectivity, carries the traditions of polyphony.

melodic melody folk music by nature is not monophonic. She strives for collective intonation, for revealing herself through the chorus, through polyphony. Classical music - in opera, in symphony, in chamber forms - has always given high examples of rich and diverse polyphony, which has its origins in folk tradition. Polyphony, as the active force of music, could not but attract creative attention composers of various genres throughout the history of music. Composers have never treated polyphony with indifference. Learning polyphony is the key to mastering the art of playing the piano. After all, piano music is all polyphonic in the broadest sense of the word. To master the piano well, as Yuri Bogdanov said, one must play etudes and works. Therefore, in the initial years of education in the nursery music school it is necessary to cultivate interest and love for music, and consequently, for polyphonic music.

The best guiding thread in the world of music for a child is a song. It is she who enables the teacher to interest the student in music. The first-grader willingly sings familiar songs, listens with interest and guesses the different nature of the pieces played by the teacher (funny, sad, dance, solemn, etc.) Along the way, the baby should be told that sounds, like words, convey content, different feelings. I usually conduct a “game” with a student at the first lesson to determine the nature of the music. First, I play different pieces for him, where he must determine the mood that the composer conveyed, then I ask the student to determine the nature of the music by name or by a picture that clearly conveys the mood. Children especially like the pieces from the collection "Introduction to Music" by Artobolevskaya. For example, the play "Where are you, Leka", according to the picture, the children tell a whole story about why the dog is sad. The picture accompanying the Minuet clearly conveys the era of that time, the costumes of the dancers at the ball. According to the stories of children, one can determine the horizons of the child, his vocabulary, sociability, etc. This is how musical impressions gradually accumulate. Melodies of children's and folk songs in the easiest monophonic arrangements for piano - the most intelligible in its content educational material for beginners. Careful choice of repertoire is of great importance in the musical success of the student. Songs should be chosen simple, but meaningful, characterized by bright intonational expressiveness, with a clearly defined culmination. Thus, from the first steps, the focus of the student's attention is the melody, which he expressively sings, and then just as expressively tries to "sing" on the piano. The expressive and melodious performance of monophonic songs-melodies is later transferred to the combination of two of the same melodies in light polyphonic pieces. The naturalness of this transition is a guarantee of maintaining a keen interest in polyphony in the future.

The polyphonic repertoire for beginners is made up of light polyphonic arrangements of folk songs of an under-voiced warehouse, close and understandable to children in their content. The teacher talks about how these songs were sung by the people: she began to sing the song, then the choir (“voices”) picked it up, varying the same melody. For example, the song "Oh, you, winter - winter ...". It can be performed in a "choral" way, dividing the roles: the student plays the lead part, and the teacher on the other piano "depicts" the choir, which picks up the lead melody. After two or three lessons, the student performs the “accompaniment voices” and is clearly convinced that they have no less independence than the lead melody.

The active and interested attitude of the student to polyphonic music depends entirely on the method of work of the teacher and his ability to bring the student to the figurative perception of the basic elements of polyphonic music.

From the first grades of the school, the student must get acquainted with all types of polyphonic writing - sub-voice, contrast, imitation - and master the elementary skills of performing two, and then three voices in light polyphonic works. different nature. But it is hardly advisable to introduce the first grader to the term imitation. It is easier to reveal this concept using examples that are accessible and close to the baby. So in plays like the children's song "On a Green Meadow ...", you can play the initial melody an octave higher and figuratively explain to the student the imitation, that is, the repetition of a motive or melody in another voice, as a familiar concept of ECHO. The perception of imitation will be greatly enlivened by playing in an ensemble: the student plays the melody, and the teacher plays its imitation (ECHO), then vice versa. Imitation is the main polyphonic way of developing the theme. This technique is especially useful in plays where imitation is accompanied by a melody in a different voice, as in piece No. 17 from the collection "Piano ABC": it could be called "Cuckoos", so much the comparison of imitation with the roll call of two cuckoos suggests itself here. In the named collection there are many etudes and pieces built imitatively on the themes of a song and dance character (etudes No. 17, 31, 34, 35, 37). the best pedagogical material for the education of polyphonic sound thinking of a pianist is the clavier heritage, and the first step on the way to understanding polyphony is a wide famous compilation titled "Notebook for Anna Magdalena Bach". The small masterpieces included in the Music Notebook are mostly small dance pieces - polonaises, minuets, marches, distinguished by an extraordinary richness of melodies, rhythms, and moods. "Notebook" - this is a kind of home music albums families. This included instrumental and vocal pieces of various kinds. These pieces, both his own and those of others, were written in a notebook by his own hand, sometimes by his wife Anna Magdalena Bach, there are also pages written in the children's handwriting of one of Bach's sons. Vocal compositions - arias, chorales included in the collection - were intended for performance in the home circle of the Bach family. There are nine Minuets in the collection. At the time, the Minuet was a common, lively, well-known dance. It was danced both at home and at fun parties and during solemn palace ceremonies. In the future, the minuet became a fashionable aristocratic dance, which was carried away by prim courtiers in white powdered wigs with curls. A good illustration of the balls of that time in Artobolevskaya's collection "First Encounter with Music". The attention of children should be drawn to the costumes of men and women, which to a greater extent determined the style of dancing: the women wore creolins, immensely wide, requiring smooth movements, while the men had stocking-covered legs in elegant high-heeled shoes, with beautiful garters - bows at the knees. The Minuet was danced with great solemnity. The music reflected in its melodic turns the smoothness and importance of bows, squats and curtsies. After listening to the Minuet performed by the teacher, the student determines its character, that it resembles more a song or a dance, therefore the character of the performance should be soft, smooth, melodious, in a calm, even movement. Then it is necessary to draw the student's attention to the difference between the melody of the upper and lower voices, their independence and independence from each other, as if they were sung by two singers: the first high female voice is a soprano, and the second low male voice is a bass, or two voices perform two different tool. I. Braudo attached great importance to the ability to instrument on the piano. “The first concern of the leader,” he wrote, “will be to teach the student to extract from the piano a certain, necessary sonority in this case.

big educational value for hearing has the performance of two voices in different instrumentation. To this end, it is useful to play the first studied polyphony samples together with the student so that he really hears the combination of two voices. One voice is performed by the teacher, the other voice by the student. If there are two instruments, it is useful to play both voices on two instruments at the same time - this gives each melodic line more relief. It is also useful to separate voices through an octave (upper - flute, lower - violin). The upper voice is in place - the lower one is an octave down, the lower one is in place - the upper one is up an octave. As much as possible, voices can be divided into two octaves. If two voices pass simultaneously in the part of any hand, we can recommend that the student first play these constructions with both hands: in this way it will be easier for him to achieve the desired sonority and the goal of the work will become clearer. It is necessary to ensure that the student can play each voice from beginning to end completely and expressively. The value of working on voices by students is often underestimated; it is carried out formally and is not brought to that degree of perfection when the student can actually perform each voice as an independent melodic line. After careful study of individual voices, it is useful to teach them in pairs. To ensure the necessary auditory control, it is expedient, when performing voices, to play them for the first time not from beginning to end, but in separate small constructions, returning repeatedly to the most difficult places and playing them several times. Very effective method work for advanced students is to sing one of the voices while others are played on the piano. It is also useful to sing polyphonic polyphonic works in chorus. This contributes to the development of polyphonic hearing and introducing students to polyphony. Sometimes it is useful to teach two voices, playing in turn in each of them only those segments that should prevail in their own way. semantic meaning with two-part performance. If there are three or more voices, it is useful to work on each pair of voices. So, for example, with a three-voice presentation, it is useful to separately teach the upper and middle voices, upper and lower, lower and middle. It is very useful to play all the voices, focusing your attention on any one of them. Remove the middle voices (they are like filling), and lead the extreme ones, they are like a skeleton.

The upper voice is melodic, the lower voice is harmonic. Use timbre fantasies: lead one voice on the forte, removing the rest on the piano. When the middle voice stands out, it is difficult, but very useful to do. To hear the lower voice - change the voices crosswise, transfer the lower voice to the upper one, and the upper one to the lower one, this is difficult, but effective. Be sure to hear long notes and delayed ones. To hear harmony formed by several voices - (vertical). Hear horizontal. Play slowly and with stops on the downbeat.

Polyphony is characterized by polydynamics, and for its clear reproduction one should, first of all, avoid dynamic exaggerations, one should not deviate from the intended instrumentation until the end of the piece. A sense of proportion in relation to all dynamic changes in any work is a quality without which it is impossible to convey its music stylistically correctly. Bach has no outpouring emotional feelings, and the concentration of feelings - self-restraint, turning inward. Everything that is written in the text should sound: clarity, accuracy, melodiousness in sound. What is progressive in the text is played legato, the jump is the removal of the hand. Bach has equal shares, does not stand out strong beat. He puts down the phrasing in size. The main thing is not to break the line, and the beginning of the topic is not as important as its end. Bach creates surround sound, harmonic fullness. In any work on Bach's clavier works, one should be aware of the following basic fact. in manuscripts clavier compositions Bach's performance instructions are almost completely absent. Then it was accepted, because there were no musicians - performers in our understanding of the word, on the other hand, Bach meant almost exclusively the performance of his works by his sons and students, who were well acquainted with his principles. With regard to dynamics, it is known that Bach used only three designations in his compositions, namely: forte, piano and, in rare cases, pianissimo. Bach did not use the expressions crescendo, dim, mp, ff, forks denoting amplification and weakening of sonority, and finally, accentuation marks. The use of tempo notation in Bach's texts is just as limited. And where they are, they cannot be taken in the modern sense. His ADAGIO GRAUE pace is not as slow as ours, and his PRESTO is not as fast as today's. There is an opinion that the better you play Bach, the slower you can play it, the worse you play, the faster you need to take the tempo. Liveliness in Bach's works is based not on tempo, but on phrasing and accents. Of the many tasks that stand in the way of studying polyphony, the main one is work on melodiousness, intonational expressiveness and the independence of each voice separately.

2 - in different, almost nowhere coinciding phrasing (for example, in bars

3 - in the mismatch of strokes (legato and non legato).

4 - in the mismatch of culminations (for example, in the fifth - sixth measures, the melody of the upper voice rises and leads to the top, and the lower voice moves down and rises to the top only in the seventh measure)

6 - in the mismatch of dynamic development (for example, in the fourth measure of the second part, the sonority of the lower voice increases, and the upper one decreases).

Clavier works are for the most part classified as works with unmarked articulation. Completely devoid of any performance instructions those easy clavier works, which make up the main Bach repertoire of a schoolchild.

Of the 30 inventions and symphonies, only the symphony in F minor contains two leagues. From all of the above, it is clear that single performance instructions found in Bach's manuscripts can serve as valuable material for research related to performance issues. early music.

We know that he himself intended light clavier pieces not for concerts, but for teaching and home music-making. Therefore, the real tempo for the invention, the little prelude, the minuet, the march is to consider at the moment the tempo that is most useful for the student. What pace is the most useful at the moment. The tempo at which the piece is best performed by the student. Teaching tempo has as its main goal not preparation for fast tempo, but preparation for understanding music. The fast pace makes it impossible to listen to the music.

What the student gains when working at a slow pace - an understanding of music - is the most essential. You should imagine the pace, as if they were being sung, sing them in your voice or mentally to yourself. This is the easiest way to set the pace, devoid of haste and immobility. But one should also make sure that the slow tempo does not turn into a series of slow, monotonous movements that have no connection with the music itself.

MATERIALS USED:

1. A. Alekseev "Methods of learning to play the piano."

2. G. Neuhaus "On the art of piano playing"

3. I. Braudo "On the study of Bach's clavier compositions in a music school."

4. Materials of refresher courses.

5. N. Kalinina " clavier music Bach in piano class».

MOUDOD Children's Music School of the Shchelkovsky Municipal District of the Moscow Region

materials

for certification

Class teacher

piano

Kuznetsova

Nadezhda Mikhailovna

methodological association.

To begin with, I would like to explain why I decided to take this topic. The fact is that we, teachers, often explain to children the same concepts, but we use different terminology. And therefore, the child cannot always understand what is being explained to him in the specialty lesson exactly what he recently went through in the lesson musical literature. I immediately want to stipulate that I do not insist on the use of the terminology you have proposed, and even more so I do not want to teach you, since we are all highly educated people here and have pedagogical experience behind them.

Now I would like to tell you a little about the programs in musical literature. The fact is that there are two programs: the program of E.B. Lisyanskaya, in which works are studied according to genre affiliation and the traditional program of A. Lagutin, according to which we all studied. In our school, children study according to the program of A. Lagutin, because it provides an opportunity to learn specific phenomena of artistic creativity, to get acquainted with biographies and creative heritage great composers and at the same time to see the relationship of eras and styles, to represent the development process musical art, shift artistic directions. So, in what period of training do children first get acquainted with polyphony? This happens in the second year of studying musical literature, in the fifth grade of seven years of study and in 3 to 5.

1. Historical reference.

I don't want to bore you with dry terminology. I decided to go the next way. I would like to offer you the story of the origin of polyphony in the same way as I tell it to children, but in a more truncated version adapted for you with short musical fragments.

So, before studying the work of I.S. Bach, in which the polyphonic style is fully represented, we study the emergence of polyphony and polyphonic genres from the Middle Ages to the Baroque era.

I want to suggest that you first build in chronological order eras suggested on the board:

Romanticism

Renaissance
Classicism
rebirth
Middle Ages
Antiquity

Now try to identify the genres that belong to the first four eras:

4. Gregorian chant

6. Cantata

7. Oratorio

8. Passions

9. Madrigal

11. Organum

1. Antiquity Musical material is not available to us.

2. Middle Ages Gregorian chant, Organum, Song.

3. Revival Chanson, Madrigal, Mass.

4. Baroque Cantata, Oratorio, Mass, Passions, Opera.

Well, now I would like to voice some points in order to make it clear to you with what theoretical and musical background your children approach the study of inventions and fugues. The duration of the fragments is 10-12 seconds, so as not to take a lot of time.

Gregorian chant.

The style of church Catholic music took shape in Western Europe in the 6th century. ad. The main centers of its occurrence are Italy, France, Spain.

The inspired melodies of the Gregorian chant were passed from mouth to mouth, at that time there was no musical notation.

For 3 centuries, many learned monks and musically educated representatives of the "white clergy" worked on a systematic set of melodies of this style. The result was a vast codex from the early 7th century, with Pope Gregory 1 playing a major role in its creation. Hence the name "Gregorian Chant".

By the 9th c. Gregorian chant finally established itself in territories W-E and became the dominant element of the musical culture of the Middle Ages.

Gregorian chants were performed exclusively in Latin, by a male choir, in unison in unison.

2.ORGANUM.
Approximately 1000 years ago, the Gregorian chant found its companion, the second voice, at first this voice simply moved parallel to the first one in a quart fifth or octave in the same rhythm, then such musical forms got the name organum.

It would seem that parallel two-voice does not fundamentally change the structure of the monody: the given melody is only thickened by one of the perfect consonances. However, according to contemporaries, such a two-voice made a huge impression, was regarded as very harmonious singing, full of "captivating". It was a qualitatively new sound, perceived as a miracle, which opened up unexpected possibilities for the art of sounds. Considering that the basic voices could additionally double, i.e., give 3 and 4 voices, supported by the acoustics of the cathedral space, resonating at pure intervals, it is easy to imagine what sound effects a primitive parallel organum produced.

3. Melismatic organum

But the number of voices gradually increased, they became 3-4, the rhythmic pattern of each voice changed, their interconnection becomes freer. All this required music notation. And in the 11th century. Italian monk musician and scientist Guido Aretinsky invents modern notation. Since then many musical works recorded and some of them have come down to us.

For example, a melismatic organum, a fragment of which we will listen to.

4. Perotin Organum.

The highest achievement of early polyphony, the works of composers who worked in the 12th-13th centuries, in paris cathedral Notre Dame. Leonin and his student Perotin composed not just more complex polyphonic works, but for the first time presented music to listeners as an independent structure of art, henceforth not only text, but also music directly and directly expressed the word of God.

5. Program music by Clement Genequin "Birdsong".

By the 15th century, and this is already the Renaissance, domestic choral singing, Texts of secular songs of the Renaissance, motets, chanson and later already in the 16th century, madrigals sounded on mother tongue performers and listeners, in French and English, German and Italian. The polyphony of the so-called strict writing was distinguished by strict counterpoints and sophisticated imitations. It becomes more free, diverse and expressive. And here in the chanson French composer 16th century Clement Genequin "Birdsong", we hear the cuckoo and the call of birds. This is how program music.

6. Palestrina "Agnus dei".

And at this time in catholic church the mass continues to reign. We will now hear a fragment of the main last sixth section of the Agnus dei Mass, from the Mass of Pope Marcello the famous Italian composer Palestrina. This is a choral polyphony using one of the most popular principles for the development of polyphonic imitation material.

With the Renaissance ended absolute domination vocal music. And since the 17th century, developing independent genres instrumental music. New era Baroque posed new challenges for mankind, and it instrumental music managed with special philosophical power to create generalized filled deep meaning musical images. In the 17th century, organ art reached its highest peak. The main task of the organ in the church is to be the voice of a believing Christian turned to the Lord, therefore only highly educated organists were allowed to play the organ. One of the most remarkable German organists was J.S. Bach.

But today we will not talk about Bach's organ music, but about his clavier compositions. It is known for certain that I.S. Bach was engaged in composing his clavier works in the Keten period, when he worked as a court musician for the prince of Keten. This is also evidenced by the text of the title page. latest edition inventions: “Composed by I.S. Bach, Grand Ducal Kapellmeister of Anhalt-Köthen. From the birth of Christ, the year 1732.

It is no accident that I started talking about editorials. The fact is that there were 3 editions of the inventions.

In 1720, the composer entered many of the inventions in the "Notebook" of his eldest son Wilhelm Friedemann, where the two-voice pieces, originally called preambles, i.e., (preludes, introductions), they were placed separately from the three-voice ones, which were then called "fantasies" .

The second edition has survived only in a copy of one of Bach's students. The richer ornamented pieces in this version were arranged exclusively by key: each three-part invention was preceded by a two-part one of the same key.

MUSICAL EXAMPLE.

In the third edition, Bach finally separated inventions and symphonies, returning to original intention.

E flat major

G major

G minor

B flat major

Before explaining new concepts, children need to be told that the works of the old polyphonic style are built on the disclosure of one artistic image, on multiple repetitions of the theme - that core, the development of which determines the form of the play.

It is important to pay attention to the fact that the invention has, because the name of the invention comes from lat. inventio - discovery, invention.

Olga Mikhailovna, now she will play this invention for us, and then we will begin to analyze it.

1. Starting to analyze the THEME of the C major invention, I give the children the opportunity to independently determine the boundaries of the topic.

Olga Mikhailovna

2. Then we pay attention to a certain dialogue between the right and left hands and find the ANSWER, we recall the concept of IMITATION already known to us.

Olga Mikhailovna

4. After that, we find out how many times the topic appears throughout the entire inventory.

5. Then, with the most advanced students, we prescribe a tonal plan.

6. Paying attention to the fact that there is some connecting material between the topics, we learn that it is called sideshow.

Olga Mikhailovna

And the whole invention ends with a cadenza, sometimes this is the carrying out of the theme in the main key.

Olga Mikhailovna

Also, according to the program, we go through the F-major invention.

To the sounds of the 8th two-part invention in F major, one can imagine a merry mischievous game-competition, it seems that elastic balls are bouncing and rolling. Following the initial introduction of the theme in the upper voice, the lower voice imitates not only the theme, but also its continuation - the counteraddition, so for a while there is a continuous canonical imitation or canon.

Olga Mikhailovna plays the whole invention.

This invention goes through the program not by chance, in it we are faced with new methods of polyphonic development

CANONICAL IMITATION,

RESTRAINED OPPOSITION.

These inventions, as you have already understood, we are going through the program. But there are imitative forms that you encounter when working with a textbook ped. rap. This is FUGUETTE.

INVENTION
Fantasy improvisational beginning, both in working with the material and in building the form

So, we can confirm this table on the example of the FUGUETTA by the composer Arman.

Olga Mikhailovna will play in full, and then in sections, fughetta.

2. Clear regulation of work with the theme and in the construction of the form. That is, here one can clearly distinguish the exposition, development and recapitulation section.

3. Working with one main theme - more often it is a tonal movement, isolating the main intonation, its conversion, sequencing.

4. The theme as a given remains the same in different parts of the form. The topic in its initial form must appear in the final section of the form (it can be shortened).

5. Tonal movement can be of the fugue type (T-D-S-T).

The Well-Tempered Clavier is the result of the composer's many years of work, which lasted a quarter of a century. In 1722, in Köthen, Bach united the different time 24 preludes and fugues and gave the collection the name Well-Tempered Clavier Volume 1. After 22 years in Leipzig, the composer creates a second cycle called "24 new preludes and fugues", which eventually became considered the 2nd part of the WTC.

The number of plays was not accidental. Bach wrote a new modification for the clavier. The keyboard of this instrument was divided into equal intervals - semitones, i.e., evenly tempered. The octave began to contain 12 equal semitones. This made it possible to form 12 major and 12 minor keys. Bach set himself the goal of practically proving that in an equal temperament system all 24 keys are equal and sound equally good.

I.S. Bach HTK No. 1 Prelude and Fugue C-mall

The prelude is free and improvisational The first of the two main sections of the prelude is filled with a fast, even movement of 16s, this perpetual movement is perpetual mobile. Having accumulated powerful energy, this flow at the end of the first section becomes even more impetuous. The culmination of the beginning of the second section is marked by a change in tempo from allegro to presto, but the raging elements are stopped by sudden strikes of chords and significant phrases - recitatives at the tempo of Adagio. For the third time, the tempo changes to a moderate fast Allegro, but here is the tonic organ point in the bass, which slows down the movement of the 16th in right hand and it calmly freezes on a C major chord.

After a small two-bar interlude, built on the main melodic turn of the theme, it sounds for the third time - in bass. Key in C minor.

The second two-bar interlude connects the expositional section with the developmental one. It begins in bright E-flat major, in a parallel key. Major colors music in bright hues. The theme takes place in various tonalities. Movement is also activated in the interludes.

With the return of the main key, the third reprise section of the fugue begins. The theme appears in the bass, which gives the sound a special significance. The second passage in the main key acquires such a powerful scope that it makes one recall the raging forces of the prelude and, just as in the prelude, the final passage of the theme ends with an enlightened C major chord. The fact is that almost all of his works, which Bach wrote in minor, end in major. In the Baroque era, it was believed that major, unlike minor, sounds much more stable.

I would like to add that when studying preludes and fugues with the most advanced students, do not be afraid to reveal to them the complex content of Bach's music. After all, it's not a secret for anyone that both volumes of the CTC are a kind of Bach's bible, with their own motive symbols. Refer to Nosina's book “Symbols of Music by I.S. Bach. In this book, when analyzing the CTC, the methodology of the Russian musicologist, pianist and teacher Boleslav Yavorsky was used. Particular attention is paid to his concept of "HTK" as a generalized musical interpretation of images and events. Holy Scripture.

STROPHIC FORMS.

Music program. school includes works of 3 main types of polyphony:

contrast

Polyphonic works written in strophic form have a vocal nature. musical material.

For example: A. Baltin In the choir (invention).

Olga Mikhailovna plays from beginning to end. Then in stanzas. (2 stanzas)

Also, it can be song processing various peoples(Russian, Ukrainian, Georgian, etc.), or author's material written in song folk style. Often such works are called a song, a song, a story, a legend, etc. They may include separate elements of imitation polyphony, thus, a mixed type of subvocal-imitation polyphony arises.

For example:

Ukrainian folk song. arr. Berkovich.

Lyapunov play.

In conclusion, I would like to say that it is important and necessary to instill love for polyphonic works, because this is music that makes you think.

Application:

Romanticism

Renaissance

Classicism

rebirth

Middle Ages

Antiquity

Methodical message

Teacher of "Children's Music School No. 7"

Skrebkova Kristina Yurievna

Illustrator, head of the piano department Kobelkova Olga Mikhailovna

Topic: "Interdisciplinary connections in the study polyphonic works at the lesson of musical literature.

Introduction.

Comparative characteristics of E.B. Lisyanskaya and programs

A. Lagutina.

Historical reference.

The emergence and development of polyphonic genres. From Gregorian chant to fugue. Musical examples(audio recording).

Imitation forms.

Three editions of J.S. Bach's inventions.

The structure of the cycle. tone plan.

- INVENTION.

TOPIC, ANSWER, COUNTERSIDE, INTERMEDIA, CADENCE.

CANONICAL IMITATION,

RESTRAINED OPPOSITION.

- FUGHETTA.

The fact is that the question of the specifics of such polyphonic genres as invention and fughetta is the least consecrated in musicological literature. In music contemporary composers both of these genres are quite common, but the question of their fundamental difference remains theoretically little disclosed. Based on practical observation of plays from educational repertoire students are offered a comparative table of genres of invention and fughetta.

INVENTION

FUGHETTA

The goal of the genre is the free development of musical material.

Fantasy improvisational beginning, both in working with the material and in building the form

Work with one or more initial motives - a theme. Her free permutations, variants of the original intonations, sequencing.

Free variant transformation of the theme on any part of the form. The topic in the initial view may not appear in the final section of the form.

Tonal movement can be fugue or free.

Clear regulation of work with the theme and in the construction of the form.

Working with one main theme is more often a tonal movement, isolating the main intonation, its circulation, sequencing.

The theme as a given remains the same in different parts of the form. The topic in its initial form must appear in the final section of the form (it can be shortened).

The tonal movement can be of the fugue type (T-D-S-T).

Confirmation of this table, on the example of the analysis of the FUGETTA by the composer Arman.

- FUGA

I.S. Bach HTK vol. 1 Prelude and fugue C - moll.

STROPHIC FORMS.

strophic form. The vocal nature of musical material.

Musical example V. Baltin In the choir (invention).

Strophic forms with elements of imitation. Sub-voice-imitation polyphony.

Musical examples:

Ukrainian folk song arranged by Berkovich.

A. Lyapunov Play

CONCLUSION. CONCLUSIONS.

Review ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

__________________________________________________________________

MUNICIPAL EDUCATIONAL INSTITUTION OF ADDITIONAL EDUCATION OF CHILDREN
CHILDREN'S MUSIC SCHOOL
SHCHELKOVSKY MUNICIPAL DISTRICT
MOSCOW REGION

Methodical message

"Work on polyphony in the lower grades of music school".

Teacher Kuznetsova N.M.

Shchyolkovo-2011

Work on polyphony in music school

Folk music, especially the music of the Russian people, is always imbued with the spirit of the ensemble, collectivity, carries the traditions of polyphony.

The melodic melodiousness of folk music is by its nature not monophonic. She strives for collective intonation, for revealing herself through the chorus, through polyphony. Classical music - in opera, in symphony, in chamber forms - has always given high examples of rich and diverse polyphony, which has its origins in the folk tradition. Polyphony, as an active force in music, could not but attract the creative attention of composers of various trends throughout the history of music. Composers have never treated polyphony with indifference. Learning polyphony is the key to mastering the art of playing the piano. After all, piano music is all polyphonic in the broadest sense of the word. To master the piano well, as Yuri Bogdanov said, one must play etudes and works by J.S. Bach. Therefore, in the initial years of study at a children's music school, it is necessary to cultivate interest and love for music, and, consequently, for polyphonic music.

The best guiding thread in the world of music for a child is a song. It is she who enables the teacher to interest the student in music. The first-grader willingly sings familiar songs, listens with interest and guesses the different nature of the pieces played by the teacher (funny, sad, dancing, solemn, etc.) Along the way, the baby should be told that sounds, like words, convey content, different feelings . I usually conduct a “game” with a student at the first lesson to determine the nature of the music. First, I play different pieces for him, where he must determine the mood that the composer conveyed, then I ask the student to determine the nature of the music by name or by a picture that clearly conveys the mood. Children especially like the pieces from the collection "Introduction to Music" by Artobolevskaya. For example, the play "Where are you, Leka", according to the picture, the children tell a whole story about why the dog is sad. The picture accompanying the Minuet J.S. Bach clearly conveys the era of that time, the costumes of those dancing at the ball. According to the stories of children, one can determine the horizons of the child, his vocabulary, sociability, etc. This is how musical impressions gradually accumulate. Melodies of children's and folk songs in the easiest monophonic arrangements for piano is the most intelligible educational material for beginners in terms of content. Careful choice of repertoire is of great importance in the musical success of the student. Songs should be chosen simple, but meaningful, characterized by bright intonational expressiveness, with a clearly defined culmination. Thus, from the first steps, the focus of the student's attention is the melody, which he expressively sings, and then just as expressively tries to "sing" on the piano. The expressive and melodious performance of monophonic songs-melodies is later transferred to the combination of two of the same melodies in light polyphonic pieces. The naturalness of this transition is a guarantee of maintaining a keen interest in polyphony in the future.

From the first grades of the school, the student must get acquainted with all types of polyphonic writing - subvoice, contrast, imitation - and master the elementary skills of performing two, and then three voices in light polyphonic works of various nature. But it is hardly advisable to introduce the first grader to the term imitation. It is easier to reveal this concept using examples that are accessible and close to the baby. So in plays like the children's song "On a Green Meadow ...", you can play the initial melody an octave higher and figuratively explain to the student the imitation, that is, the repetition of a motive or melody in another voice, as a familiar concept of ECHO. The perception of imitation will be greatly enlivened by playing in an ensemble: the student plays the melody, and the teacher plays its imitation (ECHO), then vice versa. Imitation is the main polyphonic way of developing the theme. This technique is especially useful in plays where imitation is accompanied by a melody in a different voice, as in piece No. 17 from the collection of E.F. Gnesina's "Piano ABC": it could be called "Cuckoos", so here it begs the comparison of imitation with the roll call of two cuckoos. In the named collection there are many etudes and pieces built imitatively on the themes of a song and dance character (etudes No. 17, 31, 34, 35, 37). The best pedagogical material for educating a pianist's polyphonic sound thinking is the clavier heritage of J.S. Bach, and the first step on the way to understanding polyphony is the well-known collection called Anna Magdalena Bach's Notebook. The small masterpieces included in the Music Notebook are mostly small dance pieces - polonaises, minuets, marches, distinguished by an extraordinary richness of melodies, rhythms, and moods. "A.M. Bach's Music Notebook" is a kind of home music albums of J.S. Bach's family. This included instrumental and vocal pieces of various kinds. These pieces, both his own and those of others, were written in a notebook by the hand of J.S. Bach himself, sometimes by his wife Anna Magdalena Bach, there are also pages written in the children's handwriting of one of Bach's sons. Vocal compositions - arias, chorales included in the collection - were intended for performance in the home circle of the Bach family. There are nine Minuets in the collection. In the time of J.S. Bach, the Minuet was a widespread, lively, well-known dance. It was danced both at home and at fun parties and during solemn palace ceremonies. In the future, the minuet became a fashionable aristocratic dance, which was carried away by prim courtiers in white powdered wigs with curls. A good illustration of the balls of that time in Artobolevskaya's collection "First Encounter with Music". The attention of children should be drawn to the costumes of men and women, which to a greater extent determined the style of dancing: the women wore creolins, immensely wide, requiring smooth movements, while the men had stocking-covered legs in elegant high-heeled shoes, with beautiful garters - bows at the knees. The Minuet was danced with great solemnity. The music reflected in its melodic turns the smoothness and importance of bows, squats and curtsies. After listening to the Minuet performed by the teacher, the student determines its character, that it resembles more a song or a dance, therefore the character of the performance should be soft, smooth, melodious, in a calm, even movement. Then it is necessary to draw the student's attention to the difference between the melody of the upper and lower voices, their independence and independence from each other, as if they were sung by two singers: the first high female voice is a soprano, and the second low male voice is a bass, or two voices perform two different tool. I. Braudo attached great importance to the ability to instrument on the piano. “The first concern of the leader,” he wrote, “will be to teach the student to extract from the piano a certain, necessary sonority in this case.

Of great educational importance for hearing is the performance of two voices in different instrumentation. To this end, it is useful to play the first studied polyphony samples together with the student so that he really hears the combination of two voices. One voice is performed by the teacher, the other voice by the student. If there are two instruments, it is useful to play both voices on two instruments at the same time - this gives each melodic line more relief. It is also useful to separate voices through an octave (upper - flute, lower - violin). The upper voice is in place - the lower one is an octave down, the lower one is in place - the upper one is up an octave. As much as possible, voices can be divided into two octaves. If two voices pass simultaneously in the part of any hand, we can recommend that the student first play these constructions with both hands: in this way it will be easier for him to achieve the desired sonority and the goal of the work will become clearer. It is necessary to ensure that the student can play each voice from beginning to end completely and expressively. The value of working on voices by students is often underestimated; it is carried out formally and is not brought to that degree of perfection when the student can actually perform each voice as an independent melodic line. After careful study of individual voices, it is useful to teach them in pairs. To ensure the necessary auditory control, it is expedient, when performing voices, to play them for the first time not from beginning to end, but in separate small constructions, returning repeatedly to the most difficult places and playing them several times. A very effective way of working for advanced students is to sing one of the voices while others are played on the piano. It is also useful to sing polyphonic polyphonic works in chorus. This contributes to the development of polyphonic hearing and introducing students to polyphony. Sometimes it is useful to teach two voices, playing in turn in each of them only those segments that should prevail in their semantic meaning in a two-voice performance. If there are three or more voices, it is useful to work on each pair of voices. So, for example, with a three-voice presentation, it is useful to separately teach the upper and middle voices, upper and lower, lower and middle. It is very useful to play all the voices, focusing your attention on any one of them. Remove the middle voices (they are like filling), and lead the extreme ones, they are like a skeleton.

The polyphony of J.S. Bach is characterized by polydynamics, and for its clear reproduction one should, first of all, avoid dynamic exaggerations, one should not deviate from the intended instrumentation until the end of the piece. A sense of proportion in relation to all dynamic changes in any work by J.S. Bach is a quality without which it is impossible to convey his music stylistically correctly. Bach does not have an outpouring of emotional feelings, but a concentration of feelings - self-restraint, turning inward. Everything that is written in the text should sound: clarity, accuracy, melodiousness in sound. What is progressive in the text is played legato, the jump is the removal of the hand. Bach has equal parts, a strong part is not distinguished. He puts down the phrasing in size. The main thing is not to break the line, and the beginning of the topic is not as important as its end. Bach creates surround sound, harmonic fullness. In any work on Bach's clavier works, one should be aware of the following basic fact. In the manuscripts of Bach's clavier compositions there are almost no performance instructions. Then it was accepted, because there were no musicians - performers in our understanding of the word, on the other hand, Bach meant almost exclusively the performance of his works by his sons and students, who were well acquainted with his principles. With regard to dynamics, it is known that Bach used only three designations in his compositions, namely: forte, piano and, in rare cases, pianissimo. Bach did not use the expressions crescendo, dim, mp, ff, forks denoting amplification and weakening of sonority, and finally, accentuation marks. The use of tempo notation in Bach's texts is just as limited. And where they are, they cannot be taken in the modern sense. His ADAGIO GRAUE pace is not as slow as ours, and his PRESTO is not as fast as today's. There is an opinion that the better you play Bach, the slower you can play it, the worse you play, the faster you need to take the tempo. Liveliness in Bach's works is based not on tempo, but on phrasing and accents. Of the many tasks that stand in the way of studying polyphony, the main one is work on melodiousness, intonational expressiveness and the independence of each voice separately.

2 - in different, almost nowhere coinciding phrasing (for example, in bars

3 - in the mismatch of strokes (legato and non legato).

6 - in the mismatch of dynamic development (for example, in the fourth measure of the second part, the sonority of the lower voice increases, and the upper one decreases).

Clavier works are for the most part among works with unmarked articulation. Those uncomplicated clavier works that make up the main Bach repertoire of a schoolboy are completely devoid of any performance instructions.

We know that I.S. Bach intended light clavier pieces not for concerts, but for teaching and home music-making. Therefore, the real tempo for the invention, the little prelude, the minuet, the march is to consider at the moment the tempo that is most useful for the student. What pace is the most useful at the moment. The tempo at which the piece is best performed by the student. Teaching tempo has as its main goal not preparation for fast tempo, but preparation for understanding music. The fast pace makes it impossible to listen to the music.

^ MATERIALS USED:

A. Alekseev "Methods of learning to play the piano."

G. Neuhaus "On the art of piano playing"

I. Braudo "On the study of Bach's clavier compositions in a music school."

Materials of advanced training courses.

N. Kalinina "Bach's Clavier Music in the Piano Class".

MOUDOD Children's Music School of the Shchelkovsky Municipal District of the Moscow Region

materials

for certification

Class teacher

piano

Kuznetsova

Nadezhda Mikhailovna

Berezina Elena Sergeevna,

teacher additional education(piano)

GBOU Gymnasium No. 587 of the Frunzensky district of St. Petersburg

Working on polyphonic works is an integral part of learning piano performing arts. This is explained by the enormous importance that developed polyphonic thinking and possession of polyphonic texture has for every piano player. The development of polyphonic hearing and polyphonic thinking is one of the highlights education of musical culture of students. The ability to hear polyphonic fabric, to perform polyphonic music, the student develops and deepens throughout the training. If a student from the first grade receives the correct pianistic skills, then he perceives and performs the polyphonic repertoire meaningfully and meaningfully.

As you know, polyphony is a type of polyphony, which is a combination of two or more equal melodies in the simultaneous sounding. Consequently, the study of polyphony begins with the correct perception and ability to perform one of the most important components of polyphonic music - melody. This task must begin with the first touches on the keyboard, when the student learns to take individual sounds.

Already from the first steps of training, students go through plays of ancient, Russian and Soviet composers, which have elements of polyphony. The polyphony in these pieces is mostly sub-vocal, and in some of them with elements of imitation. As a result of working on such works, students accumulate the necessary skills that allow them to move on to the study of more complex imitative polyphony, in particular, to the polyphony of J.S. Bach.

The polyphonic material for beginners consists mainly of light polyphonic adaptations of folk songs of a sub-vocal warehouse. It is desirable that the teacher talk about how these songs were sung by the people: she began to sing, then the choir (“voices”) picked up the song, varying the same melody. I would like to give as an example one of the methods of working on subvocal polyphony. At the lesson, the teacher invites the student to perform the song in a “choral” way, dividing the roles: the student plays the lead part learned at home, and the teacher “depicts” the choir on another piano. After two or three lessons, the roles change. Playing both parts alternately with the teacher in the ensemble, the student not only clearly feels the independent life of each of them, but also hears the whole piece in its entirety in the simultaneous combination of both voices.

Imitation can also be figuratively explained using such a familiar and interesting phenomenon for children as an echo. The perception of imitation will be greatly enlivened by playing in an ensemble presentation, the student plays the melody, and the teacher plays its imitation “echo”. Then the roles change.

From the first steps in mastering polyphony, the student must be accustomed both to clarity in the successive introduction of voices, and to the clarity of their conduct and ending. It is important that the endings of motives in one voice are not drowned out by the incoming voice. In each lesson, it is absolutely necessary to achieve a contrasting dynamic embodiment and a different timbre for each voice separately. We play, for example, one voice loudly and the other softly, like an "echo".

A new, more complex and necessary step on the way to comprehending polyphonic music and its performance is the study of the pedagogical heritage of the great polyphonist J.S. Bach. It is generally recognized that the teaching of J. S. Bach is one of the most difficult sections music pedagogy. Unfortunately, we often encounter the fact that students treat J.S. Bach's polyphonic works as dry and boring music. To teach a child to love the music of J.S. Bach, opening before him a rich inner world Bach's thoughts and their emotional content is one of the most important tasks of the teacher.

Light polyphonic pieces by J. S. Bach from " Notebook A. M. Bach” is the most valuable material that actively develops the student’s polyphonic thinking, his sound palette, and develops a sense of style and form. The small masterpieces included in A. M. Bach's Notebook are mainly small dance pieces: polonaises, minuets and marches. They are distinguished by an extraordinary richness of melodies and rhythms, not to mention the variety of moods expressed in them.

It is desirable that the teacher, figuratively and accessible to children's perception, tell the student about vintage dances- minuet, polonaise. About, for example, how from the end of the 17th century the minuet was performed during solemn palace ceremonies, how in the 18th century it became a fashionable aristocratic dance, which was carried away by prim court aristocrats in white powdered wigs. The minuet was danced with great solemnity, squats and curtsies. In accordance with this, the music of the minuet reflected in its melodic turns the smoothness and importance of bows, low and ceremonial squats and curtsies. Of course, J. S. Bach did not write his minuets for dancing, but he borrowed dance rhythms and form from them, filling these pieces with a wide variety of moods.

At the initial stage of work, the first thing to do is to understand the nature of the play. Having determined the mood of the piece, the teacher directs the student's attention to the difference between the melodies of the upper and lower voices, to their independence and independence from each other, as if they were performed by two different instruments. Then he proceeds to show the phrasing and the associated articulation of each voice separately.

Of the many tasks that stand in the way of studying a polyphonic piece, the main one continues to be work on melodiousness, intonational expressiveness and independence of each voice. Independence of voices is an indispensable requirement that any polyphonic work imposes on the performer. Therefore, it is so important to show the student exactly how this independence manifests itself:

in different, almost nowhere coinciding phrasing;

in a mismatch of dynamic development: the upper voice is a crescendo, the lower voice is a diminuendo);

No matter how confidently a student plays a polyphonic piece with both hands, careful work on each voice should not stop for a single day. Otherwise, voice guidance will quickly become clogged.

Based on the material of two or three pieces from A.I. Bach, the student learns the various features of Bach's music, learns the principle of "eighth", gets acquainted with very important feature Bach's melodic language - with the fact that Bach's motives begin on a weak beat of the measure, and end on a strong beat. Therefore, the boundaries of the motif in Bach do not coincide with the boundaries of the measure, and therefore the accents in Bach's works are determined not by the meter, but inner meaning theme or motive.

It is difficult to overestimate the role and importance of the collections "A. M. Bach's Music Notebook", "W. F. Bach's Music Notebook", "Little Preludes and Fugues", and later fifteen two-part and fifteen three-part inventions and symphonies in the development of students as future musicians. The collection of J.S. Bach “Inventions and Symphonies” due to the artistic richness of images and polyphonic mastery is of great value and is one of the important and obligatory sections of the pedagogical repertoire in the field of polyphony in the middle and senior classes of the music school. Despite their original pedagogical purpose, Bach's inventions are true masterpieces of musical art. They are distinguished by a combination of high polyphonic skill, harmony of form with depth of content, richness of imagination and a variety of genre shades.

After the student gets acquainted with the play performed by the teacher, we analyze the content of the invention. Together with the student, we determine the boundaries of the topic, its nature. The theme in Bach's inventions is the core of the whole work, it is she and her further modifications and development that determine the character and figurative structure of the whole work.

When playing again, you need to determine and understand the form of the piece. When the student has a clear idea of the structure of the invention, you can begin to carefully work on the line of each voice. An essential point in learning by voices is compliance correct strokes, fingerings, dynamics. While working on the melodic line of each voice, the student must carefully hear the length of the long notes and how the next sound naturally follows from them. Directing the work of the student, it is necessary to draw his attention to the fact that the combination of three voices in the invention resembles a conversation in which melodies enter - voices with different statements. Each voice has its own “face”, character, coloring. The student should achieve the desired touch: a more sonorous, open sound in the upper voice; slightly matte sound of the middle voice; thicker, solid, solid and noble sound in the bass. Voting must be done carefully. A lot will depend on the quality of knowledge of voices in further work. In order for the student not to lose sight of the whole, it is necessary that he constantly hear the whole piece, in three-part sounding performed by the teacher. It is useful to play in an ensemble: the student plays one voice, and the teacher plays the other two.

In his manuscripts, Bach limited himself to recording notes and embellishments and left almost no indications regarding dynamics, tempo, phrasing, fingering, or deciphering of embellishments. Information about this was communicated to the student directly in the classroom.

Articulation is one of essential conditions expressive performance of early music. She should pay great attention to her work. It should be explained to the student that the correct division of the melody into motives and their correct intonation pronunciation in the time of J.S. Bach was given great importance. It is also important to remember that in most cases the composer's motives begin with a weak beat of the measure. Here I would like to remind you that short leagues put down by the editor, and occasionally by J.S. Bach himself, indicate the boundaries of motives, but do not always mean the removal of a hand.

Questions of articulation were deeply and carefully studied by Professor I. A. Braudo. Examining the texts of manuscripts and the regularities of the practice of performing Bach's works, he deduced two rules of articulation: the eighth rule and the fanfare rule. I. A. Braudo noticed that the fabric of Bach's inventions, as a rule, consists of adjacent rhythmic durations. This allowed him to conclude that if Bach has one voice expressed in quarters and the other in eighths, then the quarters are played with dissected articulation, and the eighths are connected or vice versa. This is the eighth rule. The rule of fanfare is as follows: inside the voice, the melody moves either gradually or in leaps; and when the melody has a jump for a long interval, the sounds of the jump are played by a different articulation. Bach's music is characterized by such varieties of strokes: legato, especially dissected, with a clear pronunciation of each tone; non legato, portamente, staccato.

In dynamic terms, the main feature of the performance of Bach's music is that his compositions do not tolerate nuanced variegation. When considering the dynamic plan in the works of J. S. Bach, it should be remembered that the style of music of the composer's era is characterized by contrasting dynamics and long dynamic lines. F. Busoni and A. Schweitzer call it "terraced dynamics". Short crescendos and diminuendos, the so-called forks, distort the masculine simplicity of Bach's writing.

As for tempos, in Bach's time all fast tempos were slower and slow ones faster. The work, as a rule, should have a single tempo, with the exception of changes indicated by the author.

Great care must be taken in matters of the pedal. It can be recommended to use the pedal mainly in cases where the hands are not able to connect the sounds of the melodic line. It is also appropriate to take the pedal in cadences.

Huge means of expression Bach's music - ornamentation. There is a lot of controversy around this issue. Bach himself entered the decoding table for a number of decorations in Wilhelm Friedemann's Music Notebook.

The next stage of work is the connection by the student of all voices. First try to connect two voices, then add a third. A great difficulty for the student will be the combination of two voices in one hand. When the student plays the whole invention, new musical tasks will be included in the work. One of them is the search for the right ratio of all voices in their simultaneous sounding.

With the onset of the final stage of work, the execution of the entire invention should take more and more time and attention. The main task the final stage of work on the invention is the transfer of the content of music, its main character

Work on the inventions of J.S. Bach helps to understand the world of deep, meaningful musical and artistic images of the composer. The study of three-part inventions gives a lot to students of children's music schools for acquiring the skills of performing polyphonic music and for musical and pianistic training in general. Sound versatility is characteristic of all piano literature. The role of work on inventions in auditory education, in achieving timbre diversity of sound, in the ability to lead a melodious melodic line is especially significant.

Bibliography

1. Alekseev A. Methods of teaching piano playing. Moscow: Music, 1978.

2. Braudo I. Articulation (on the pronunciation of a melody). L.: LMI, 1961.

3. Braudo I. on the study of Bach's clavier compositions at a music school. M - L, 1965.

4. Kalinina N. Bach's Clavier Music in the Piano Class. L .: Music, 1974.

6. Tsypin G.M. Learning to play the piano. Moscow: Education, 1984.

7. Schweitzer A. Johann Sebastian Bach. M.: Music, 1964.

Yulia Gennadievna Tyugasheva
Methodological development "Principles of working on polyphonic works in the piano class of the Children's Art School"

1. Introduction.

For general musical education, students of the children's music school, the development of polyphonic hearing. Without the ability to hear the entire musical fabric works, follow all the lines during the game musical presentation, their coordination, subordination to each other, the performer cannot create an artistically complete image. Is the student playing a homophonic harmonic or polyphonic piece, he always needs to understand the logic of the movement of texture elements, find its main and secondary lines, build a musical perspective of different sound planes.

2. Views polyphony.

With elements polyphony students encounter already in the initial period of learning. Know what types are polyphony and what is their essence. « Polyphony» is a Greek word. Translated into Russian, it means "polyphony". Every voice in polyphonic music is melodically independent, therefore all voices are expressive and melodious.

subvocal view (polyphonic Russian songs) based on the development of the main voice (in the song - singing). The remaining voices of its branch are more or less independent. They contribute to an increase in the overall melodiousness of melodic development (a musical example of a Russian folk song "And I'm in the meadow").

Contrasting polyphony based on the development of independent lines, which are not characterized by commonality origin from one melodic source (Bach compositions). One or the other voice comes to the fore (a musical example of I. Bach "Minuet")

Imitation polyphony is based on successive performance in different voices, either the same melodic line (canon, or one melodic passage - the theme (fugue). All voices are generally equivalent, but in the fugue (variety of fughetta, invention)- the leading role of the voice with the theme, in the canon of the voice containing the most individualized part of the melody (music example by J. Bach "Two-Part Invention" in D minor).

3. Work principles over different kinds polyphony in the lower grades of the Children's School of Art.

For beginners, the most intelligible educational material in terms of content is the melodies of children's and folk songs in monophonic transcriptions. Songs must be chosen simple, but meaningful, with bright intonational expressiveness, with a clear climax. Further, purely instrumental melodies are involved. Thus, the focus of the student's attention is the melody, which must first be sung expressively, then played expressively on piano. At first work is underway on polyphonic arrangements folk songs of the sub-vocal warehouse. Tell: started the song, sang, then picked up the choir ( "Voices", varying the same melody. We need to separate the roles. The student sings and plays the lead singer, choral teacher party for piano. Then switch roles, having previously learned all the voices by heart. The student feels the independent life of each part and hears the whole piece in its entirety, in combination of both voices. Further, both parties are played by a student, this creates a figurative perception of voices. A number of other pieces of the under-voice are also being learned. polyphony. The concept of imitation must be revealed using examples available to the student. "In the green meadow..." the melody is repeated an octave higher - like "echo", the melody is played by the student, the echo teacher, then vice versa. This is especially useful when the imitation is accompanied by a melody in another voice. Immediately accustom the student to clarity in the alternate entry of voices and to the clarity of their conduct and ending. The upper voice is f, the echo is p, i.e., a contrasting dynamic embodiment of each voice is necessary. So that the student hears not only a combination of two voices, but also their different colors. After mastering simple imitation (repeat motif in another voice) starts Job over the pieces of the canonical warehouse, built on the stretta imitation, which enters before the end of the imitated melody. Here, not one phrase or motive is imitated, but all phrases to the end. works. Overcoming this new polyphonic difficulty - work in stages:

First, rewrite the play in simple imitation, putting pauses in line with the appropriate voices;

Further, the entire text is played in the ensemble, but in the author's version, then everything is played by the student himself. Then this exercise can be played by ear from different notes. What does the student take for himself? He quickly gets used to polyphonic texture, is clearly aware of the melody of each voice, their vertical relationship. He sees, grasps with his inner ear the discrepancy in time of identical motives. Hears the introduction of the imitation, combining it with the same phrase that is being imitated, and connecting the ending of the imitation with new phrase. This work is very important, since the stretta imitation in polyphony Bach occupies a large place. Lungs polyphonic pieces and. Bach from "Notebook of A. M. Bach"- the most valuable material, it is actively developing polyphonic thinking of the student, fosters a sense of style and form. IN work on polyphony main principles of work on the work. Characteristic polyphony- the presence of several simultaneously sounding and developing melodic lines, hence the main task is the ability to hear and lead each voice polyphonic development individually and the totality of voices in their interconnection. In a two-part composition work over each voice - to be able to lead it, to feel the direction of development, to intonate well. When studying polyphonic pieces main work is conducted on melodiousness, intonational expressiveness and independence of each voice separately. Independence of voices is an indispensable feature of any polyphonic work, and it manifests itself in next:

2. different, almost never coinciding phrasing;

3. mismatch of strokes;

4. mismatch of climaxes;

6. mismatch of dynamic development.

The dynamics in Bach's pieces is aimed at revealing the independence of the voice. His polyphony is characterized by polydynamics and above all dynamic exaggerations must be avoided. A sense of proportion in dynamic change is essential for a convincing and stylish performance of Bach's music. The peculiarity is that Bach's compositions do not tolerate nuanced variegation. Long build-ups, significant climaxes, large constructions performed in the same plan of sound or contrasting sections are possible, but not a constant change of colors. Often dynamic escalation in topic is based on like steps. Be sure to pay attention to the special structures of Bach's motifs. They start on the weak beat of the measure and end on the strong beat. As if they are off-beat in nature, the boundaries of the motive do not coincide with the boundaries of the measure. Dynamic pathos, significance are characteristic of Bach's cadences, especially if the melody develops in the sound of f, this also applies to cadences in the middle works. Braudo revealed a distinctive feature of Bach's style - this is a contrast in the articulation of adjacent durations, that is, small durations are played legato, and larger ones non legato and staccato, depending on the nature of the piece (there are exceptions to the d-moll minuet, all legato is the nature of the song warehouse, Braudo called it "reception of the eighth".

4. Common disadvantages when playing polyphonic pieces.

Common deficiencies in the game polyphonic pieces including that the student casts the sound of a given voice, does not hear its connection with the entire melodic line, and does not translate it into the next melodic passage in meaning, the voice. Sometimes, it withstands some sound and does not balance its fading sound with the strength of the next one, as a result, the sound line is broken, the expressive meaning is lost. In a two-part composition, you need to seriously work on every voice, to be able to lead it, feeling the direction of development, to intonate well and, of course, apply the necessary strokes. It is necessary to feel and understand the expressiveness of each voice and when they sound together. The student should be aware that in different voices, in accordance with their expressive meaning and melodic pattern, phrasing, sound character, strokes can be (and often are) quite different. This requires not only careful listening, but also special work. One must be able to play each voice from memory, which will help its correct auditory perception and performance. The overall sound will set the student the task of identifying the timbre of the sound line.

5. Features work on polyphony in the senior classes of the Children's Art School(polyphony).

In polyphonic work the difficulty increases, since there are not two, but more votes. Concern for the accuracy of voice leading makes you pay special attention to fingering. The most difficult constructions require a good legato. It is necessary to use complex fingering techniques - a silent substitution to maintain voices, "shifting", "slip". A new difficulty also appears, this is the distribution of the middle voice between the parties of the right and left hands. The accuracy and smoothness of voice leading here will largely depend on the fingering.

In polyphonic works knowing each voice by heart from beginning to end is not at all necessary, although it is advisable in some cases. We accept this way work: after reading the essay, carefully analyze each part of it, isolating complex constructions by analyzing their structure. Disassemble each such construction by voices, play separately with proper fingering, correct phrasing and precise strokes. Next, move on to a combination of different voices and then to full polyphony. The same work swipe over the next section, and so parse everything work. And then return to what seems to be the most difficult. It is useful to teach to listen to the conversation of voices in order to catch vocal-speech intonations; pay attention to the melodiousness of the sound of each voice - this is one of the requirements when performing polyphony.

In the future, all the time to return to the most difficult places and play voices separately, especially where there are two or three voices in one part, in order to maintain accuracy in voice leading.

For understanding polyphonic work it is necessary to imagine its form, theme and its character, to hear all its implementation. Need a big Job over the first holding of the theme - the main artistic image of the composition. It is necessary to know whether there are stretch themes in magnification, in circulation. Represent the melodic pattern and character of the opposition, know whether it is retained or not. Teach them first separately, then in combination with the topic. It also applies to interludes, to know what melodic material they are based on. Identify cadence turns and their role. To be able to hear not only the horizontal, but also the vertical, that is, the harmonic basis that arises from the combination of melodic voices. When learning, first play with a rich sound, the whole musical fabric should sound well, clearly.

6. Conclusion.

Before a teacher who deals with students of any degree of preparedness, there is always a serious task: teach to love polyphonic music, understand it with pleasure work on a polyphonic piece. Polyphonic way of presentation, artistic images polyphonic works, their musical language should become familiar and understandable for students.

Mastery polyphony gives a lot students: cultivates ear, timbre variety of sound, the ability to lead a melodious melodic line, cultivates the skill of playing legato, develops accuracy, preciseness of sound, develops special obedience, flexibility of the hand and fingers, combined with sound certainty.

Development of full perception polyphony unthinkable without the music of Bach, which combines the features of both polyphonic, and homophonic-harmonic thinking. The most vivid thematicism and clear logic of Bach will serve as a starting point for children to get acquainted with polyphony.

I believe that polyphonic music is accessible and interesting for young musicians, and it should be mastered with initial stage learning to play the instrument.

7. Note examples.

8. Literature.

1. A. Alekseev « Methods of learning to play the piano»

Moscow. "Music".1971

2. N. Kalinina Bach's clavier music piano class»

Leningrad. "Music". 1988

3. I. Braudo "On the study of Bach's clavier compositions at a music school"

Moscow. « Classic XXI» . 2001