Features of work in the class of the ensemble of wind and percussion instruments. Report on the topic: “The importance of playing in an ensemble for the individual development of a violinist

Ivanov V.A.

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

2015

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

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

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

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

Here are the most important of these requirements:

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

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

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

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

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

Intelligence must be ahead of technical skills.

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

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

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

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

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

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

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

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

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

2. Another requirement of ensemble playing is the technique of inhalation. A lot of worries for wind players are caused by the problem of inhalation. This is mainly true for continuous (non-pause) and long sequences, especially with a strong sound. The whole difficulty here lies in the fact that the performer has to inhale the air very quickly (sometimes at lightning speed). Only with such a breath can a gap in a phrase go unnoticed. And one more difficulty! When playing singles, wind players usually have a habit of widening the pauses for inspiration by “hurrying up” the pre-pause music or by delaying the post-pause music, and such a violation goes almost unnoticed. But in an ensemble, if one performer plays smoothly and the other hurries his part to make it possible to take a breath more calmly, a very noticeable rhythmic conflict arises. In this case, you must always listen carefully to your partner and, as it were, duplicate his rhythm. One must learn to take as much breath as necessary for one or another segment of the sound, so as not to cause shortness of breath or forced inhalation of excess air. If there are no pauses for air in the sound, then in certain places it is necessary to slightly reduce the duration of the notes preceding the breath, but this must be done in such a way that the impression of a continuous and even sound remains.

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

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

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

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

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

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

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

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

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MUNICIPAL BUDGET EDUCATIONAL

INSTITUTION OF ADDITIONAL EDUCATION FOR CHILDREN

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

municipality« city ​​of Desnogorsk» Smolensk region

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

teacher

wind and percussion

tools

Semenkov A.I.

2017

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

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

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

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

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

References……………………………………………………………11

Introduction

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

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

Tasks of the head of the children's wind ensemble

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

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

Methodology of rehearsal work with the ensemble

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

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

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

The work takes place in stages:

Analysis of the work;

work with individual groups;

Work by numbers;

work on strokes and nuances.

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

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

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

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

Use of information and computer technologies

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

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

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

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

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

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

Conclusion

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

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

Bibliography:

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

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

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

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

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

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

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

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

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

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

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

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

Introduction

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

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

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

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

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

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

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

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

CHAPTER III. Features of the orchestral activity of a trombonist

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

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

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

CONCLUSION 184

REFERENCES 190

ANNEX 1 201

ANNEX 2 237

Introduction to work

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

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

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

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

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

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

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

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

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

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

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

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

The objectives of the study were:

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

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

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

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

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

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

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

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

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

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

methodological levels.

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

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

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

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

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

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

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

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

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

The main provisions for defense:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Actual problems of ensemble performance on brass instruments.

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

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

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

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

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

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

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

The main questions of the orchestral activity of a wind player

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

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

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

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

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

Independent work on the performing apparatus and orchestral difficulties;

Work on orchestral difficulties in a group of homogeneous instruments;

Working on orchestral difficulties as part of an orchestral group;

Rehearsal practice in the orchestra;

Concert performance (or participation in sound recording).

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

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

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

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

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

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

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

Introduction

The method of teaching to play wind instruments is an integral part of the musical pedagogical science that considers the general patterns of the learning process on various wind instruments. Russian pedagogical science in the field of performance on wind instruments has no more than 80 years. She reached new frontiers by assuming and developing further all the best that was characteristic of the Russian school of playing wind instruments. Her successes are known not only in our country but also abroad.

Composer Gedicke wrote: the technique of playing wind instruments has advanced so much that if the best performers, especially on brass, who lived 50-70 years ago, heard our wind players, they would not believe their ears and would say that this is impossible.

It should be recognized that the theory of teaching methods on wind instruments as part of pedagogical science among other methods is the youngest. Each generation of woodwinders contributes to the technique. The method of teaching on any instrument is part of pedagogy.

Word methodology Greek origin translated into Russian - way to something. A technique is a set of methods, i.e. methods of performing any work. (research, educational). In the narrow sense of the word, a methodology is a way of teaching a particular subject based on the analysis and generalization of the best teachers, musicians and performers.

The methodology studies the patterns and techniques of individual learning. The technique contributes to the education of a general musical culture, broadens the horizons of performers. The technique is closer to the specialty. An outstanding performer and teacher who laid the foundation for the development of the Soviet methodology was Rozanov. His work Fundamentals of Teaching Wind Instruments Moscow 1935 was the first work put on a scientific basis.

In his work, he formulated the principles that became the main ones in the methodical school on wind instruments:

1. The development of technical skills in students should go hand in hand with artistic development.
2. In the process of the student's work on a piece of music, it is necessary to achieve its conscious assimilation and then it will be stronger.
3. The basis of the correct setting should be the knowledge of the anatomy and physiology of the organs involved during the game.

The main questions of the methodology formulated by Rozanov were developed by professors Platonov, Usov, Pushechnikov, Dokshitser, G. Warwit.

The presence of a solid theoretical base allows us to raise the teaching of playing various musical instruments to a new qualitative level.

Psychophysiological foundations of the performing process on wind instruments.

Musical performance is an active creative process based on the complex psycho-physiological activity of a musician.

You should know this wording as our father. Underline this wording directly. A player on any instrument must coordinate the actions of a number of components:

• vision,
• hearing,
• memory,
• motor feeling,
• musical aesthetic performances,
• volitional effort.

This is also a very important point. It is this variety of psycho-physiological actions performed by the musician in the process of playing that determines the complexity of the musical performance technique.

The further path of scientific substantiation of the musical-performing process was associated with the study of the physiology of the higher parts of the central nervous system. The teachings of the great Russian physiologist Academician I.P. Pavlov about higher nervous activity, about the inseparable connection of all life processes, about the cerebral cortex as the material basis of mental activity, helped advanced musicians change their approach to substantiating performing technique.

Educators and performers have become more deeply interested in how the brain works during play. They began to pay more attention to the conscious assimilation of goals and objectives. The basic principles of the cerebral cortex are coordinated human activity is carried out through complex and subtle nervous processes continuously occurring in the cortical centers of the brain. These processes are based on the formation of a conditioned reflex.

Higher nervous activity consists of two most important and physiologically equivalent processes:

1. excitation which underlies the formation of conditioned reflexes;
2. internal inhibition, which provides analysis of phenomena;

Both of these processes are in constant and complex interaction. Mutually influencing each other and ultimately regulate all human life.

The process of playing a musical instrument as one of the types of human labor activity.

Do not forget that you work - this is your work.

Studying at a music college is like work. This is a number of complex coordinated functions: (visual, auditory, motor, volitional) carried out on the basis of conditioned reflexes of the second signaling system of the brain.

Let's try to imagine how this happens practically in the process of playing the instrument.

When looking at musical signs, the performer first of all experiences irritation in the visual area of ​​the cortex (meaning the brain). As a result, the primary signals are instantly transformed into a visual representation of the musical text. Through thinking, the musician determines the position of the notes on the staff, the duration of the sounds, their volume, and so on. The visual perception of sound by the player is usually associated with auditory representations. The excitation of the visual centers spreading captures the auditory area of ​​the cortex, which helps the musician not only to see the sound, but also to hear, that is, to feel its height, volume, timbre, and the like. The auditory representations that have arisen inside immediately evoke in the musician the corresponding performing movements necessary to reproduce these sounds on the instrument. Motor impulses are transmitted to the performing apparatus: lips, tongue, breathing, finger movement, hearing. And due to internal inhibition, they cause the necessary movements: lips, tongue, fingers.

This is how the propulsion system is carried out, as a result of which sound is born.

Sound vibrations, in turn, cause irritation of the auditory nerve, which, due to the possibility of establishing feedback physiological connections, is transmitted to the auditory queue of the cortex and ensures the appropriate perception of the sounds performed, i.e. auditory analysis. Thus, the process of sound formation on wind instruments can be imagined as several interconnected links of a single chain.

Musical sign - idea of ​​sound - musculoskeletal system - performing movement - real sounding - auditory analysis. In the course of this complex conditioned reflex relationship, the central place belongs to the auditory sensations and ideas of the player.

These are the psychophysiological foundations of sound extraction applied to playing any musical instrument, however, performance on wind instruments still has a number of specific features.

Acoustic foundations of sound formation on wind instruments

Unlike keyboard, bow and percussion instruments, where solid bodies act as a vibrator (for strings - strings, special plates, skin for percussion) all wind instruments belong to instruments with a gaseous sounding body.

The reason for the appearance of sound here is the fluctuations of the air column of air caused by the special actions of pathogens. The specifics of sound formation on wind instruments depends on the device of the instruments. Modern musical acoustics divides all wind instruments into three groups:

• first group labeal from the Latin wordlaba (lip) they are also called whistling (all types of pipes, flutes, some organ pipes belong),
• second group reed, reed or lingual from the Latin word lingia (language) (all types of clarinets, all types of oboes, bassoons, all types of saxophones and bass horns),
• third group with a funnel-shaped mouthpiece they are usually called copper(all types of cornets, trumpets, horns, trombones, tubas, horns, fanfares).

How is sound formed?

On the flute, which is an instrument with a gaseous exciter, the sound is formed as a result of the friction of the exhaled air stream against the sharp edge of the ladium hole located in the head of the flute. In this case, the speed of the air jet periodically changes, which causes the occurrence of sound vibrations in the flute channel. All reed instruments belonging to instruments with a solid exciter form sounds with the help of vibrations of special reed plates (reeds). The oscillatory process on these tools is regulated by the actions of two interacting forces: translational movement of the exhaled air stream and the elastic force of the cane.

The exhaled stream of air bends the thin part of the cane outward, and the force of its elasticity causes the reed plate to return to its original position. These movements of the reed (reed) provide an intermittent jerky entry of air into the channel of the instrument, where a reciprocal oscillation of the air column occurs, therefore sound is born.

Even greater originality is the appearance of sound on wind instruments with a funnel-shaped mouthpiece. Here, the role of a solid oscillating sound exciter is played by the central areas of the lips covered by the mouthpiece.

As soon as the exhaled stream of air enters the narrow labial fissure, it immediately causes the lips to vibrate. These fluctuations, changing the size of the opening of the labial fissure, create a periodic jerky movement of air into the mouthpiece of the instrument. The result of this is the successive condensation or rarefaction of air in the channel of the instrument, which ensures the appearance of sound.

Having considered the acoustic foundations of sound formation, we find one common phenomenon: in all cases, the cause of sound formation is the periodic oscillation of the air column contained in the instrument caused by the specific movements of various devices and sound exciters.

At the same time, oscillatory movements of the air jet, reed plates or lips are possible only if the various components of the performing apparatus are coordinated.

The development of musical abilities in the process of educating a professional musician

Despite approximately equal mental abilities and physical development of students, we have different results of their learning. The analysis of these phenomena indicates that in the preparation of the performer, the intuitive principle, that is, the presence of natural abilities, becomes decisive. V.M. Teplov in his work "Psychology of musical abilities" musical literature 1947 proves the possibility of developing all musical abilities on the basis of innate inclinations. There can be no abilities that would not develop in the process of education and training.

What do we mean when we talk about musical ability or musical inclinations?

First of all, we mean musicality. This successful definition was made by Alekseev in his method of learning to play the piano. "A musical person should be called a person who feels the beauty and expressiveness of music, is able to perceive a certain artistic content in the sounds of a work, and if he is a performer, then reproduce this content". Musicality develops in the process of correct, well-thought-out work, during which the teacher clearly and comprehensively reveals the content of the studied works, illustrating his explanations with a display on an instrument or a recording.

The complex of the concept of musicality includes a number of necessary components, namely:

1. ear for music,
2. musical memory,
3. musical rhythmic feeling.

Ear for music

Ear for music is a complex phenomenon that includes such concepts as:

• pitch (intonation),
• melodic (modal),
• harmonic,
• inner ear.

Each of these aspects of musical ear is of great importance in training and in performing practice. It is absolutely necessary for the performer to have a well-developed relative hearing, which makes it possible to distinguish the ratio of sounds in pitch taken simultaneously or sequentially.

This quality is extremely important for an orchestral musician. In the orchestra, a performer is valued who listens well to his group, actively participates in it without disturbing the ensemble. The ability to hear imaginary sounds, write them down on paper and operate with them is called internal hearing. Musical ear develops in the course of a musician's activity. It is necessary to ensure that all work with the instrument proceeds with tireless monitoring of hearing.

The lack of students that they do not control their instrument playing by ear. This is the main disadvantage of independent work of students. A teacher in the specialty must constantly take care of the development of all components of musical ear and, above all, internal melodic ear.

Development of inner hearing

In addition to solfeggio lessons and doing homework in this subject, a teacher in the specialty requires the performance from memory of previously familiar or newly heard musical passages ( picking by ear), transposing familiar melodies into other keys, improvisation, as well as composing music if there is enough data for this.

It is useful to teach students to analyze their own or other performance, critically evaluating them. That's why you have to go to concerts not only in your specialty: choir, chamber orchestra, wind, variety, ensembles, soloists, violinists.

To develop a melodic ear, it is necessary to systematically work on a cantilena (slow piece). Cantilena (slow piece) also develops endurance because there is a big load on the lips, you take a lot of breath. Improving harmonic ear, it is useful to analyze the texture of the musical work being studied, to play more in an ensemble, in an orchestra. Texture is a Latin word in a figurative sense of a device, the structure of a musical fabric.

A well-developed musical ear is the most important condition for the development of musical memory.

musical memory- this is a synthetic concept that includes auditory, visual, motor, logical. Musical memory also lends itself to development. It is important for a musician to have developed at least three types of memory:

• the first auditory serving as the basis for successful work in any field of musical art,
• the second is logical, connected with the understanding of the content of the work and the laws of development of musical thought,
• the third kind of motor is extremely important for instrumental performers.

For many, visual memory plays an important role in the memorization process. When working on the development of the student's memory, remember: the system of memorizing music is very important, the student must take into account that music flows in time, in the creation of a work as something whole, it is possible, provided that its parts are kept in memory. As a result of frequent performance, memorization can be intentional. Memorization can also be intentional when individual passages are specifically memorized, and then the entire work as a whole.

Here it is necessary to know the form of the work, its harmonic structure. When learning, it is important to be aware of the similarity, repetition of individual parts of the musical form, and attention is fixed on what distinguishes these parts and what unites them. Intentional memorization involves: visual, motor, as well as more complex internal auditory memory. Checking the correctness of the learned piece of music: recording the memorized music without using an instrument (notes), transposing the melody to a different key and the ability to start playing from anywhere. The ability to start performances from any place testifies to the performer's deep and thorough knowledge of the music of the work.

Expressive means when performing on wind instruments

Usually, the following concepts are referred to the expressive means of a performer on wind instruments: sound, timbre, intonation, strokes, vibrato, rhythm, meter, tempo, agogy, articulation, phrasing, dynamics, nuance.

Agogics- This is a slight deviation from the pace. Vocalists and wind instruments performers refer here in the same way: performing breathing. Pianists include: pedal, touch.

Touché is a specific way of performing. Stringers include: strokes, vibrato, fingering, finger technique.

Wind instrument performers These funds also include: technique of lips, tongue, double staccato, frulyato, glissando. Although the double staccato is a technique. And frulyato and glissando already belong to the strokes. All this suggests that there is no single clear and distinct approach to defining the concepts of performing means or expressive means.

Performing means and expressive means are two sides of a single creative process. We rank as performing means everything that is connected with the technological side of performance. The technological side is the state of the instrument, mouthpiece, reed; setting the body, head, hands, embouchure; performing breathing technique, language technique (hard, soft, auxiliary attack); articulation is the pronunciation of vowels, consonants during the game; finger technique (fluency, clarity, consistency); knowledge of fingering (basic, auxiliary, additional).

Expressive means include everything that is the artistic result of the use of the listed performing means. One of the most important performance tools is sound. The expressiveness of the sound as a means of the performing embodiment of the melody more fully determines the strength of the emotional impact of music.

The player must master a beautiful sound, that is, make the sound of the instrument clear, juicy and dynamically diverse.

At the same time, the nature of the sound must be inextricably linked with the content of the music being performed. For the expressiveness of the sound, the purity of intonation is of particular importance. The finer and better the musician's ear is developed, the less errors he will make when intoning during the game. Technical skill is an important performing tool.

A wind instrument player's technical skills are made up of various elements: well-developed performance breathing, elasticity and mobility of the lips, mobility of the tongue, speed and coordination of finger movement. Each of the wind instruments has its own special concepts of the most complex elements of performing technique.

For a group of woodwind instruments, the technique of finger movement is very complex. That for the copper group is the possession of the technique of lip work. Of exceptional importance is musical phrasing, which characterizes the ability of the player to correctly determine the structure of a musical work (motives, phrases, sentences, periods), correctly establish and perform caesuras, identify and embody climaxes, and correctly convey genre stylistic features of music. Musical phrasing, reflecting the living breath of musical thought, is a means of expressing the artistic content of a work.

An important component of musical phrasing is dynamics.

The skillful use of dynamic shades when playing significantly enlivens the musical performance, deprives it of monotony and monotony. When playing wind instruments, two types of dynamics are usually used: the first is stepped or terratnaya dynamics, which includes a gradual increase or decrease in sound ( ppp, pp, mp, mf, f, ff ), the second type of dynamics is called contrast dynamics, which consists in a sharp opposition to the strength of sound (piano - sharp forte). It is important to note that dynamic shades are not absolute, but relative (forte for some, and mezzo forte for others), so the musician is given the right to supplement or expand these shades.

A very essential element of musical phrasing is agogy- this is a little noticeable change in the speed of movement (deviation from the pace). Agogic shades, skillfully applied, reveal the creative nature of musical performance. The most complex and difficult agogic nuance is the art of playing rubato (rhythmically free performance).

Musical phrasing is closely related to the use of strokes. Strokes help enhance the expressiveness of the performance. A variety of performing tools can be divided into three main groups:

• first means related to sound quality (timbre, intonation, vibration),
• second a group of means of a technical order (finger fluency, breathing technique, tongue technique),
• third a group of means of general musical expression (musical phrasing, dynamics, agogics, strokes, fingering).

Such a division is conditional, since there is a very close organic relationship between the performing means in music. However, an expressive sound serves as an indicator of a certain technical skill.

musical phrasing- this is the simultaneous possession of both sound and technical skills. A characteristic feature of all the performing means of a musician is not only their close relationship, but also their complete subordination to artistic goals, artistic tasks.

Performing apparatus and sound extraction technique on wind instruments

Analyzing the sound extraction technology on wind instruments, we can establish that it is composed of:

1. visual-auditory representations: first you see a note, you internally heard this note;
2. performing breath: after you understand what this note is and where it sounds approximately (in your head), you take a breath. This is the performance breath.
3. special work of the muscles of the lips and face: you need to put the lips and muscles in order to take this note
4. specific tongue movements: that is, which tongue is hard, soft or double;
5. coordinated finger movement: what kind of fingering and so on ...
6. continuous auditory analysis: these are all moments to the last, they are all subject to auditory analysis (continuous)

These components are inextricably linked with each other by complex neuromuscular activity and constitute the musician's performing apparatus.

There will be a question: What are the components of sound extraction technology? These are the components of 6 pieces you will have to name.

The most important is the lip apparatus. The question will be: what is a mouthpiece? All these formulations should be known as our father.

Lip apparatus- this is a system of muscles of the labial and facial, mucous membrane of the lips and mouth, salivary glands. The combination of these elements is called the lip apparatus. The lip apparatus is sometimes called differently embouchure.

The concept of embouchures is used in connection with all wind instruments, but is interpreted in different ways: some believe that it means the mouth or mouthpiece, others that it refers to the labial fissure.

According to the Moscow 1966 edition of the encyclopedic musical dictionary, the word embouchure French and has two concepts:

• the first way to fold the lips and tongue when playing wind instruments. Thus, it is possible to accurately determine this position, the degree of elasticity of the labial and facial muscles of the performer, their training, endurance, strength, flexibility and mobility when playing is called the embouchure.
• And the second definition in this dictionary is: it's the same as a mouthpiece.

Systematic training for the performer is of paramount importance. The development of the labial apparatus should be carried out in two planes. The first plane: this is the development of the labial muscles, that is, the development of strength, endurance of the labial, facial muscles. After you have developed the beauty of sound appears, its own peculiar timbre, intonation quality of sound. For this purpose, you need to play whole notes on a full breath for 20-30 minutes.

Performing breath. His essence. Meaning. And methods of development

The breathing technique of a performer on wind instruments is, first of all, a sound mastery technique that includes the whole variety of timbre, dynamics, strokes and articulation. If the breath is well set by sound, one can immediately judge that a person has a timbre, dynamics, articulation. The culture of sounding implies the presence of a certain school of breathing.

If the language plays a decisive role in the origin of sound, then in the conduct of sound it belongs to the air stream exhaled by the performer into the instrument. The nature of the air jet is corrected, in addition to the respiratory muscles, by the labial muscles, the muscles of the tongue. And all of them together are controlled by hearing. Conventionally, performing breathing can be compared with a violinist's bow.

Performing breathing is an active expressive means in the arsenal of a wind player.

The professional breathing of a performer on wind instruments is determined primarily by the conscious and purposeful control of the respiratory muscles, which fully work during inhalation and exhalation. Muscles are involved in the respiratory mechanism inhalation and exhalation. The performer's breathing technique depends on the skillful use of these antagonist muscles.

Inspiratory muscles include: diaphragm and external intercostals.

The expiratory muscles include: abdominals and internal intercostal muscles.

The performer must learn to control active inhalation and exhalation through the development and training of the respiratory muscles. Exhalation in interaction with lips, tongue, fingers plays a primary role in the formation of sound, in its conduct and in various types of its manifestation in technology.

A well-placed exhalation not only affects the sound quality and versatile technical capabilities, but also opens up wide scope for the activity of other components of the performing apparatus: lips, tongue, fingers. Two phases of breathing (inhalation and exhalation) can be used in different ways in the performing process.

In the natural physiological breathing of a person, inhalation is an active act in which the lungs expand, the ribs rise up, the dome of the diaphragm goes down. Exhalation, on the contrary, is a passive act: the lung cavity, chest and diaphragm return to their original position. During physiological breathing, the cycle proceeds: inhale, exhale, pause. Professional performing breathing is subject to the consciousness of the performer and involves active inhalation and exhalation. Inhale - short, exhale - long (long).

Quality exhalation also depends on the correct and full inhalation.

The professional inhalation of the horn should be short full and noisy. It has a number of specific differences from normal human physiological respiration.

• First, it requires maximum use of lung capacity (3500-4000 milliliters of air). With physiological respiration, the volume is 500 milliliters.
• Secondly, during professional breathing, the load on the respiratory muscles increases. It is many times greater than with a calm vital breath.
• Thirdly, during normal normal breathing, inhalation and exhalation are approximately equal in time, that is, rhythmic breathing.

A person in a calm state makes 16-18 respiratory cycles in one minute. The oven reduces the number of breaths to 3, 8 per minute. Under natural conditions, a person breathes through the nose. When playing wind instruments mainly with the mouth with little help from the nose. This ensures the fullness of inspiration and its noiselessness.

Breathing when playing wind instruments should be taken through the corners of the mouth with little help from the nose. Inhalation through the mouth allows you to quickly and quietly replenish the lungs with air. When inhaling, the external and intercostal muscles of the chest and diaphragm are involved. Therefore, the uniform filling of the lungs with air and the expansion in all directions of the chest depends on the development, strength and activity of these muscles.

As for the diaphragm, this muscle is one of the strongest in our body. Together with breathing, it makes 18 oscillations per minute while moving 4 centimeters up and 4 centimeters down. The diaphragm does a great job. Like a perfect pressure pump, the diaphragm, with its entire impressive area, descends when inhaling, compressing the liver, spleen, and intestines, enlivening the abdominal circulation.

When inhaling, the lungs should be filled with air from the bottom to the top, like a vessel with water in which the liquid from the beginning covers the bottom and, leaning on it, fills the vessel to the top. Thus, a so-called air column is formed in the lungs, which rests on the bottom of the lungs, on its base, that is, on the diaphragm.

There will be a question: what is the difference between human and performing breath?

You will say that the breath of a wind instrument performer is not rhythmic, and the second option is that the breath is stagnant. Operated breathing is the correct set breathing of the horn player.

Typical disadvantages of staging for novice musicians

If we imagine the process of learning a musician in the form of a gradually building building, then the production will play the role of a foundation. Proper staging serves as the basis on which the development of the musician's performing skills is based.

The practice of teaching young, novice musicians shows that attention should be paid to staging from the very first steps. The most typical deficiencies in beginner musicians are related to the incorrect position of the instrument, hands, fingers and head.

For flute players, the most characteristic is the inclined position of the instrument instead of the necessary straight one, which is a consequence of the lowering of the right hand. To correct this shortcoming, the teacher must ensure that the student keeps the elbow of the right hand slightly raised during the game. In this case, both hands will be at the same horizontal level and the flute will lie flat.

Beginner oboists often hold the instrument too high, which is partly due to their excessive chin-down. Correcting such a shortcoming is not difficult - you just need to monitor the correct position of the head and hands, which should not be raised much up.

A clarinet player most often shifts the instrument somewhat to the side, and more often to the right than to the left, or they give the instrument an incorrect vertical position (they hold it too close to the body) or, on the contrary, raise it excessively. Such deviations from the norm (if they are not due to any individual characteristics of the musician) should not take place because this leaves a certain imprint on the character of the sound. It is known from practice that when the clarinet is tilted down, the sound becomes liquid and dull, and when it is raised excessively upwards, it becomes coarser.

For brass players, the incorrect position of the instrument is as follows: they press with the phalanges of the fingers, but you need to press with the pads of the fingers; when playing the cornet, the pipe is held by the ring. When playing, you do not need to hold on to the ring. The ring is held only when turning notes, or when you need to insert a mute. Beginning horn players often hold the bell of the instrument incorrectly: either lower it too far down, or, on the contrary, turn it too much up. It is not uncommon for trombonists to give the instrument the wrong position by holding the slide down.

The disadvantages of setting associated with the position of the fingers on the instrument can be quite different:

When playing woodwind players, the fingers very often rise high, are taken away unnecessarily to the side, in addition, they lie on the instrument not in a rounded bent, but in a purely straight position, which causes their excessive tension. An incorrect head position is manifested in the fact that some musicians lower their heads down at the time of the game, as a result of which the chin also drops, causing additional tension in the neck and chin muscles.

Such an inclined position of the head can be found among performers on various wind instruments, but most often it occurs: trumpeters, oboists, clarinetists, horn players. The tilt of the head to the side (to the right) is especially common among flute players for whom it has become a tradition and a bad habit.

With the beginning of learning on the instrument, it is necessary to relentlessly monitor the correctness of the staging techniques of the player. At the same time, it is necessary to ensure that the student not only knows certain methods of rational setting, but also understands the expediency of their practical application.

It is possible to weaken control over the staging when the correct staging techniques turn into accurately learned and consolidated skills for students.