INTRODUCTION
The relevance of research
Democratic transformations in Kazakhstan determine such a direction of the political, economic and cultural life of the country, in which the ideas of humanism and respect for the individual become guiding in matters of education. Today, the principles of developmental education allow reaching a higher level of training of specialists. The ideal is a person with a rich spiritual potential, knowledge, skills and abilities not only in a highly specialized field, but also in various fields of science and culture.
A special role in the spiritual development of the younger generation belongs to primary musical education, since introducing children to musical art contributes to the solution of problems of moral and, in general, artistic education. Music and art schools, in addition to carrying out an educational function, become for some students the basis for preparing for professional activity. Therefore, the success in the development of a future performer depends on the quality of primary musical education. Among the instrumental classes, one of the well-requested classes are the classes of wind instruments.
The formation of skills in playing wind instruments is a fundamental part in the performing skills of a wind player. Properly laid initial performance skills on wind instruments will allow a student of a music school to master a wind instrument at minimal cost and with greater efficiency. In modern times, the school of playing wind instruments does not stop receiving updates. Therefore, it is important for the teacher to clearly define the methodological direction of work with the student and thereby optimize the learning process.
Object of study – musical training and education of students in the clarinet class of the music school.
The subject of the study is the process of forming the performing skills and abilities of music school students in the clarinet class.
Purpose of the study consists in the development of theoretical and methodological foundations for the formation of the performing skills and abilities of clarinet students in a children's music school.
Research hypothesis
The effectiveness of learning to play the clarinet can be achieved if:
1) The theory and methodology of teaching to play the clarinet interacts with general pedagogy in the theory of education and upbringing;
2) Pedagogical creativity of Kazakh clarinet teachers reflects and partially anticipates the actual problems of modern musical pedagogy;
3) Generalization, structuring and systematization of the pedagogical experience of the largest modern clarinetists, as well as the development of didactic principles on this specific basis, serves as the basis for building a model for organizing the educational process in the clarinet class.
Research objectives –
1. Address the problem of the formation of the school of playing the clarinet
2. Reveal the place of clarinet music in the history of domestic and foreign culture
3. Identify the key issues in the methodology for teaching how to play the clarinet
4. Carry out experimental work on the formation of performing skills of playing the clarinet among students of the Children's Music School in Ust-Kamenogorsk
Theoretical and methodological The basis of the study were:
Works on the philosophy of education, aesthetics and cultural studies
V.S. Bibler, Yu.B. Boreev, M.S. Kagan, N.I. Kiyashchenko, O.P. Kozmenko,
D.S. Likhachev, G.S. Pomerants, V.A. Razumny, L.A. Rapatskaya and others);
Psychological and pedagogical research on the problems of the formation of abilities, optimization of the learning process (Yu.K. Babansky,
A.N.Leontiev, I.Ya.Lerner, A.A.Melik-Pashaeva, Ya.A.Ponomarev, S.L.Rubinshtein, B.M.Teplova and others);
Works on musicology (B.V. Asafiev, E.V. Nazaikinsky, A.N. Sokhor, B.L. Yavorsky and others);
Works on the methodology, theory and methodology of music education (E.B. Abdulin, Yu.B. Aliyev, O.A. Apraksina, L.G. Archazhnikova; L.A. Rapatskaya, G.M. Tsypin, V.N. Shatskaya and others);
Theory and practice of musical performance: (A.D.Alekseev, L.A.Barenboim, M.M.Berlyanchik, G.M.Kogan, G.G.Neigauz, A.I.Nikolaeva, etc.);
The experience of concert and teaching activities of famous Russian scientists, performers and teachers in the field of wind instruments (V.N. Apatsky, S.V. Bolotin, N.V. Volkov, B.A. Dikov, T.A. Dokshitser, Yu.N. .Dolzhikov, V.B.Krichevsky, R.A.Maslov, I.P.Mozgovenko, K.E.Mulberg, V.V.Petrov, N.I.Platonov, I.F.Pushechnikov, S.V.Rozanov , V.A. Sokolov, Yu.A. Usov, E.E. Fedorov, A.A. Fedotov and others);
To solve the tasks and test the hypothesis, a set of methods of scientific research was used, among which theoretical methods(analysis of philosophical, art criticism, psychological-pedagogical, musical-pedagogical and methodological literature on the topic of research, "current curricula and programs in musical and performing disciplines), empirical methods (generalization of pedagogical experience, observation of learning activities students). The main stages of the study:
At the first stage of research(2012-2013) there was an accumulation and comprehension theoretical material on the research problem, determining the degree of its development; the analysis of curricula, programs and educational and methodological literature on musical and performing disciplines was carried out, the educational activities of pupils and students were monitored, the goals and objectives of the study were determined.
Second phase(2013-February 2014) included: teaching practice classes, own pedagogical activity with students of music schools, studying the experience of teachers-musicians in the field of teaching to play the clarinet (I.E. Butyrsky, V.N. Voronina, I.P. Mozgovenko, V.V. Petrova, E.A. Petrova, A. A. Fedotova and others), visiting classes of clarinet teachers in republican, city music schools.
The teaching experiment was carried out in the conditions of the educational process in Children's Music School No. 1 of the Akimat of Ust-Kamenogorsk, where the author works as a teacher in the clarinet class.
At the third stage(March - April 2014) the results of the study were summarized, conclusions were drawn, and the dissertation was drawn up.
The basis of the study was the Children's Music School No. 1 of the Akimat of Ust-Kamenogorsk
Scientific novelty of the research:
The systematization of performing skills and abilities into the structural components of the performing complex has been carried out.
A methodology for the formation of performing skills and abilities of clarinetists has been developed, scientifically substantiated and experimentally tested, the effectiveness of which is ensured by the use of active creative teaching methods, a combination of individual (solo performance) and group (playing in an ensemble) forms of work.
Theoretical significance research.
The dissertation research identifies the main directions for optimizing the process of teaching clarinetists in primary music education. A generalization of the performing skills and abilities of student guitarists into a performing complex has been undertaken. Theoretically proven and practically verified not only the validity, but also the effectiveness of the proposed methodological recommendations.
Practical significance research.
The study contains methodological recommendations aimed at optimizing the process of teaching clarinetists in a music school. The developed methodology, which was based on the formation of performing skills, was introduced into the educational process of Children's Music School No. 1 of the Akimat of Ust-Kamenogorsk. The materials of the dissertation research can be used in the development of lecture courses on instrumental science, history, theory and methods of wind performance in schools and universities of the musical profile.
The reliability and objectivity of the research results are ensured by relying on scientific and methodological provisions, the use of various research methods that are adequate to the tasks set, as well as the positive results of the experiment.
The following provisions are put forward for defense:
1. The study of the theory and practice of wind performance leads to the conclusion that it is necessary to improve the methodology for teaching wind clarinet players in the primary musical education of the Republic of Kazakhstan.
2. Systematization of performing abilities and skills and combining them into components of the performing complex will allow us to successfully solve the problems of training clarinetists. The performing complex represents the unity and interdependence of its constituent components:
sound motor;
Music-oriented;
Instrument-oriented;
Tempo-metro-rhythmic;
Artistic and expressive;
Emotional-volitional.
3. The effectiveness of the process of teaching clarinetists in primary music education is ensured if:
The task of forming performing skills and abilities will be considered by teachers of children's music schools as an important element in the preparation of students;
The formation of performing skills and abilities will be carried out taking into account the individual characteristics of students (age, temperament, motor profile, etc.), active teaching methods on an expediently and methodically correctly selected repertoire in a combination of individual (solo performance) and group (playing in an ensemble) forms of work .
4. The main criteria that allow determining the levels of formed performing skills and abilities are: conceptual (information and awareness regarding the use of skills and abilities); operational (possession of performing skills and abilities); creative (manifestation creativity in demonstrating knowledge, skills and abilities in performing practice).
Approbation of the results of the study was carried out:
During the pedagogical experiment at the Children's Music School No. 1 of the Akimat of Ust-Kamenogorsk
The reliability of the research results is ensured:
Organic connection of theoretical provisions with practice;
Compliance methodological approaches the specifics of the studied phenomena;
By studying the practical pedagogical experience of outstanding representatives of the clarinet art of the XX- early XXI century.
Clarinet in Kazakhstan
In the Republic of Kazakhstan, the school of playing wind instruments has been developed since the middle of the 20th century. The training of professional musicians began with the opening of the Kurmangazy Conservatory in Almaty. The conservatory was opened on April 30, 1944. In 1945, the conservatory was named after the outstanding Kazakh folk composer of the 19th century, Kurmangazy Sagyrbayev. At the department of wind and percussion instruments nowadays such teachers as: Ermanov Zh.R. - head of the department, Aigalkaev N, Abdrashev B.T., Bisengaliev M.K., Glebov V.A., Karibaev B., Klushkin Yu.S., Mukhambetzhanov Zh.S., Nesterova O.V., Nuraly T.K., Fedyanin A.A., Shubin I.Yu., Uteuov M.Zh. famous performers clarinetists.
One of the no less significant higher musical educational institutions of the Republic of Kazakhstan, which has prepared a galaxy of performers high level training is the Kazakh National University of Arts.
The department of wind and percussion instruments is actively working at the university. At present, the head of the department is the student of the All-Union competition, the owner of the medal "Eren Enbegi Ushin", associate professor Saparova Nurgul Mukhametzhanovna.
The teachers of the department are graduates of the Almaty State Conservatory. Kurmangazy, Kazakh National Academy of Music, St. Petersburg State Conservatory. N.A. Rimsky-Korsakov, the Higher Schools of Music in Zurich (Switzerland), Detmold (Germany), which indicates their high professionalism. Each member of the department is noted as a diploma winner or laureate of republican and international competitions, many teachers were awarded medals "Eren Enbegi Ushin", badge "Madeniet Kairatkeri", commemorative medals.
For 15 years, the department has trained more than 150 graduates who successfully work in music schools and orchestral groups in all regions of the republic.
Mastering the skill of performing arts based on the works of classics, contemporaries, composers of Kazakhstan, studying works of the highest complexity, diverse in style and genre features, mastering the art of performing interpretation, revealing artistic talent in an organic connection with the general process of educating a professional musician - this is what is the primary task departments.
The level of professionalism of teachers is clearly visible in the number of laureates of republican and international competitions, and there are hundreds of them! About 400 laureates and diploma winners over the years conquered the jury and listeners of the competition venues in the cities of Kazakhstan, Russia, Moldova, Italy, Poland, India, Serbia, Israel, O.A.E.
The teachers of the department, diversifying the creative potential of their students, achieve great success not only in solo, but also in ensemble performance. Ensemble of block flute players "The Magic Flute", quartet of flutes "Flutesleggieres" (class of Associate Professor N.M. Grigorieva), Woodwind Quintet (class of Associate Professor D.A. Makhpirova), Ensemble of Clarinet Players (class of senior teacher G.I. Ismailov) , a tuba quartet (class of senior teacher A.V. Malinovsky), an ensemble of percussion instruments (class of associate professor R.G. Baizhigitov) are permanent members concert events university.
In scientific and educational work great attention is paid to the development of national music, promotion of creativity contemporary composers Kazakhstan. Made by teachers a large number of arrangements for wind instruments, collections were published, including works by composers of Kazakhstan, a number of scientific articles were written on the problems modern education taking into account national specifics. For example: G.I.Ismailov “Orchestral difficulties for clarinet from the works of Kazakh composers”; S.T. Urazaliev “Anthology of pedagogical repertoire for bassoon. Works of composers of Kazakhstan” issue 1; N.M. Grigorieva “Pedagogical repertoire of a recorder. 1-3 music school classes”, “Pedagogical repertoire of a flutist. Plays. Senior classes of music school”, “Ashekey”. Collection of works by contemporary composers of Kazakhstan for flute and piano”, “Transcriptions of works by composers of Kazakhstan as an integral part of the pedagogical repertoire of a flutist”; D.M.Makhpirova “Concerto for oboe and orchestra by Mansur Sagatov: features of the content. Methodological recommendations for execution”; A.V.Malinovsky "A complex of daily exercises for tuba"; SV Zhorov "Ensembles for brass instruments: trios, quartets, quintets", "Extracts from orchestral parts"; RS Orazaly “Anthology of pedagogical repertoire. Pieces by Kazakh composers for clarinet. Issue 1".
Great importance is given to lectures in the state language. At the present stage of development of professional mobility in the field of performing arts, the staff of the department is actively involved in the process aimed at establishing bilateral mutually beneficial cooperation with colleagues and artists from Kazakhstan and foreign countries. Totally agree last years meetings, lectures and master classes were held with outstanding musicians: flute - Trigvi Peterson (USA), Yasuo Yamamoto (Japan), Helga Caster (USA), Lewis Meirelles (Portugal), Massimo Mercelli (Italy), Alexander Korneev ( Russia), Giuseppe Nova (Italy); oboe – Nikolai Neretin (Russia), Tanatar Nuraly (Kazakhstan), Timur Tkishev (Kazakhstan); clarinet – Michel Letjek (France), Suzanne Tirk (USA), Evgeny Varavko (Russia), Oleg Lapidus (England); bassoon – Nicholas Custer (USA), Valery Popov (Russia); saxophone – Margarita Shaposhnikova (Russia); horn - Dariusz Mikulsky (Poland); trumpet - Rem Gecht (Russia), Yuri Klushkin (Kazakhstan), trombone - Anatoly Skobelev (Russia), Anatoly Fedyanin (Kazakhstan), percussion instruments - Stanislav Skachinsky (Poland); conductor Robert Hutter (USA).
Teachers of the department hold concerts, open lessons in musical educational institutions of Astana, Almaty, Karaganda, Pavlodar, Ust-Kamenogorsk, Novosibirsk. Thus, professional orientation work is also carried out.
Currently, associate professors B. D. Dalisheva, R. G. Baizhigitov, E. K. Nurgaliyev, N. M. Saparova, D. A. Makhpirova, N. M. Grigorieva, senior lecturers G. I. Ismailov, S. V. Zhorov, A. V. Malinovsky, E. A. Zhakenov, teachers E. N. Mamyrbaev, I. A. Grigoriev, A. V. Taraskin, A. S. Tokpanov, P. A. Serebryanikov , M. M. Suleimenov, A. T. Neldybaev, A. B. Shakenova, M. L. Tsvettsikh, D. Oryngaliuly, E. I. Verbich, S. K. Umarov, S. A. Dalishev, N. V Beisenova, M.B. Konusbaev, V.S. Bondarchuk, T.V. Rolzing, Yu.Yu.
Also in each region of the Republic of Kazakhstan
Kanshin Anatoly Stepanovich(1940-) In 1961 he graduated from the Dushanbe Music College (class of A. Khasanov), in 1969 - the Alma-Ata Conservatory (class of A. Movshi, B. Aspandiarov), in 1961-1969 an artist of the orchestra of the Kazakh Opera and Ballet Theater, in 1969 - 1972 artist, from 1972-1995 soloist of the ZKR Symphony Orchestra of the Kazakh SSR.
Kvarditsky Vladimir Vasilievich(1923-) Honored Artist of the Kazakh SSR (1984), graduated from the Alma-Ata Music College (class of A. Vasilyev), in 1955 - from the Alma-Ata Conservatory (class of P. Filatov), in 1952-1987 soloist of the orchestra of the Kazakh Opera and Ballet Theater , in 1953-1963 also a soloist of the symphony orchestra of the Kazakh SSR.
Oleinikov Yury Vladimirovich(1935-) Honored Artist of the RSFSR (1986), Laureate of the Inter-Republican Competition of Central Asia and Kazakhstan (Alma-Ata, 1969, 1 prize). In 1955 he graduated from the Ashgabat Musical College (class of F. Carvigo), in 1971 - the Alma-Ata Conservatory (class of R. Sabirov), in 1957-1978 soloist of the orchestra of the Turkmen Opera and Ballet Theater, since 1978 - State Brass Band of the RSFSR, teacher of the Moscow Musical cadet corps.
Onoprienko Anatoly Alekseevich(1947-) In 1969 he graduated from the Frunze Music College (class of V. Rakhimov), in 1975 - from the Alma-Ata Conservatory (class of R. Sabirov), in 1969-1977 an artist, since 1977 soloist of the orchestra of the Kirghiz Opera and Ballet Theater.
Roor Konstantin Vladimirovich(1958-) Honored Artist of the Republic of Kyrgyzstan (1995), Laureate of the Republican Competition (Frunze, 1980, 2nd prize), in 1979 graduated from the Kyrgyz Musical College (class of V. Rakhimov), in 1984 - Alma-Ata Conservatory (class of Y. Tkachenko) , in 1980-2000 soloist of the symphony orchestra of the Kigiz radio and television, since 2000 in the Netherlands.
Sabirov Rustam Nasyrovich(1932-) In 1951 he graduated from the Alma-Ata Music College (class of S. Lebedev), in 1958 - the Alma-Ata Conservatory (class of P. Filatov), in 1958-1975 soloist of the symphony orchestra of the Kazakh SSR, since 1976 teacher of the Alma-Ata Conservatory and music school.
Svetlov Evgeny Mikhailovich(1936-) In 1964 he graduated from the Frunze Music College (class of P. Bondarenko), in 1969 - the Alma-Ata Conservatory (class of A. Movsh), in 1961-1970 artist of the orchestra of the Kirghiz Opera and Ballet Theater, since 1970 soloist of the symphony orchestra of radio and Television of the Kirghiz SSR, since 1981 teacher at the Kirghiz Institute of Arts.
Tkachenko Yakov Mikhailovich(1927-) In 1951 he graduated from the Lvov Musical College (class of A. Vasiliev), in 1955 - the Alma-Ata Conservatory (class of A. Movsh), in 1955-1958 an artist of the Song and Dance Ensemble of the Kazakh SSR, in 1958-1959 - of the Chelyabinsk Orchestra Opera and Ballet Theatre, since 1959 a soloist of the pop-symphony orchestra of the Kazakh radio and television, since 1979 a teacher at the Alma-Ata Conservatory.
Chernov Vyacheslav Petrovich(1957-) Graduated from the Temirtau Music College, Karaganda Region, then from the Alma-Ata Conservatory, then from the postgraduate studies at the Moscow Conservatory (headed by V. Petrov), soloist of the orchestra of the Kazakh Opera and Ballet Theater, then - the Kemerovo Symphony Orchestra, in 1987 -2003 soloist of the Volgograd Symphony Orchestra, since 2003 - the orchestra of the Yakut Opera and Ballet Theatre.
Geller Grigory Mikhailovich(1945-) In 1970 he graduated from the Alma-Ata Conservatory (class of A. Movsh), since 1970 he has been a teacher at the Alma-Ata Musical College, since 1985 - at the Alma-Ata Conservatory, now lives in Australia.
Georgiev Alexander Egorovich(1941-) Laureate of the Inter-Republican Competition of Central Asia and Kazakhstan (Alma-Ata, 1969). In 1964 he graduated from the Leninabad Music College (class of V. Semenov), in 1969 - the Alma-Ata Conservatory (class of A. Movsh), in 1975 - postgraduate studies at the Moscow Conservatory (headed by V. Petrov), since 1969 soloist of the symphony orchestra of the Kyrgyz radio and television .
Glukhov Alexander Ivanovich(1947-) Honored Worker of Culture of the Russian Federation (2004), Honored Worker of Culture of the Republic of Khakassia (1997), in 1959-1965 a pupil of the regimental military orchestra (Samarkand), in 1967 he graduated from the Semipalatinsk Music College, in 1972 - the Alma-Ata Conservatory ( class of R. Sabirov), in 1969-1972 artist of the orchestra of the Kazakh Opera and Ballet Theater, since 1972 teacher of the Abakan Musical College, since 1990 soloist of the Abakan Brass Band, since 2000 soloist of the Symphony Orchestra of the Khakass Philharmonic (Abakan), in 1999 the artist Kobyltsov wrote "Portrait of clarinetist A.I.Glukhov".
Zhaksybergenov Arman(1972-) In 1991 he graduated from the Alma-Ata Music College (class of G. Geller, G. Yusupov), in 1996 - the Alma-Ata Conservatory (class of R. Sabirov), since 1991 an artist of the Kazakh brass band, since 1996 soloist of the Kazakh Symphony Orchestra (Alma-Ata).
Isenov Tasmukhan Zhaksygalievich(1954-) In 1972 he graduated from the music school at the Alma-Ata Conservatory (class of B. Aspandiarov), in 1977 - the Alma-Ata Conservatory (class of B. Aspandiarov), since 1976 soloist of the ZKR Symphony Orchestra of the Kazakh SSR, since 1981 teacher of the Alma-Ata conservatory.
Tokpanov Almas Serikovich. In 1995 enrolled in the Republican Music School. A. Zhubanov to the class of the teacher Isenov T.Zh. 1999-2003 studied at the Kazakh National Academy of Music in the class of associate professor Ismailov G.I.
Graduated from the St. Petersburg State Conservatory named after N.A. Rimsky-Korsakov (2003-2006), class of Honored Artist of Russia, Honored Artist of Russia, Professor V.P. Bezruchenko.
2006-2008 studied at the magistracy high school Music Detmold (Germany), class of professors H.-D.Klaus and Thomas Lindhorst. He is a laureate of Republican and International competitions
Ismailov Gani Iskakovich. Graduated from the Almaty State Conservatory named after Kurmangazy (1977-1982), class of Professor R.N. Sabirov. Laureate of the 1st prize in the competition of performers on wind and percussion instruments of the Republics of Central Asia and Kazakhstan (1990). He gives concerts as a soloist and as part of a woodwind quintet. He was a member of the jury of International and Republican competitions of performers on wind and percussion instruments. Constantly working on expanding the educational and concert repertoire for clarinet. 6 textbooks have been published. For fruitful pedagogical and performing activities, he has a number of incentive awards from the Ministry of Education and Science of the Republic of Kazakhstan, the Ministry of Culture of the Republic of Kazakhstan, the Governor of the Kemerovo Region A. Tuleev and others.
Ermanov Zhanat Rakhmetullinovich. Graduated from the Kazakh National Conservatory named after. Kurmangazy and postgraduate studies at the KNK them. Kurmangazy, Honored Worker of the Republic of Kazakhstan Sabirov R.N.
In 1997 he graduated from the European Academy of Music. Mozart (Poland). At the academy, he studied solo and chamber performance with professors; Michel Lethieg, Matt Silivan, Aruel Nicolet, Pnina Salzman, Eva Blachowa, Alexander Satz, Laura Kaminsky.
In 2000 he graduated from the International Summer Academy of Music in Nice (France) with professors: Paul Meyer, Richard Viyail, Guy Deflus, Michel Letjek.
In 2001 he graduated from the International Summer Academy of Music in the city of Prado (France) with professors: Francois Lele, Yana Thomson, Andre Cazalet, Yves Didier, Armand Angster, Michel Letiègue.
In 2002 he graduated from KNK them. Kurmangazy majoring in opera and symphony conducting. At the professor; Abdrasheva T.A.
Has a number of scientific and methodological works.
Many of its graduates are laureates of international competitions and work in various musical groups Republic of Kazakhstan and beyond.
Closely cooperates with the French Embassy in Kazakhstan. Periodically performs together with musicians invited by the French Embassy in Kazakhstan.
In connection with the 60th anniversary of the KNK named after Kurmangazy, for outstanding achievements in the education of creative youth and concert activity, Zh.R. Ermanov was awarded the honorary title "Madeniet kairatkeri".
IN given time is the artistic director of the State Woodwind Quintet. Associate Professor of KNK named after Kurmangazy.
Conclusion.
Modern clarinet performance imposes broad and varied requirements on the player: to be confident in all types of musical technique, to be able to aesthetically comprehend the game, to have active thinking, a rich and diverse emotional sphere. All this is intended to serve a single goal - the achievement of maximum expressiveness and persuasiveness of musical performance, carried out with the help of a complex of various expressive performing means.
In Russian clarinet performance, along with undoubted successes and achievements, there are also unresolved problems:
1. Poor quality domestic instrumentation.
2. Low level of organization of primary education (teaching by non-specialists, poor library stock, lack of tools).
Each of these problems has its own characteristics associated either with the material and technical base or with the teaching methodology. Particularly acute is the issue of our industry mastering the production of high-quality French system clarinets from precious woods.
It is worth noting the paucity of tools. After all, it is known that it is easier for a child of eight to ten years to master the clarinet on a small clarinet in Es or in C, since they are more in line with the tasks and features of this period of study.
Classes on wind and percussion instruments in children's music schools and music departments of art schools are held in accordance with the current curricula, approved by the order of the Ministry of Culture of the USSR dated 28.05.87
The specificity of wind instruments determines the different terms of learning to play these instruments. Age, general training of students, their physical and musical characteristics also play an important role in setting the terms of training.
The following optimal terms for learning to play these instruments are recommended: bassoon, saxophone - 5 (6) years; flute, oboe, clarinet - 7 (8) years. The different progression of students studying 7(8) or 5(6) years is reflected in the exemplary examination programs of the respective classes.
initial training preschool and elementary school students school age can be obtained by studying the recorder or special children's musical instruments; for preschoolers it is recommended to create preparatory groups.
During the training, the teacher must teach the student to independently learn and competently, expressively perform works from the repertoire of the children's music school on the instrument. In the lessons of a musical instrument, the student also masters the skills of reading from a sheet of simple works, ensemble and orchestral parts, playing in various ensembles.
The main form of training and educational work in the instrumental class is a lesson conducted as an individual lesson between a teacher and a student.
In the first years of study (in the preparatory group, 1st, 2nd grades), along with the traditional form of conducting a lesson, small-group lessons are also possible, in which the entire time of the lesson (or any part of it) is used to work with two or three students at the same time. This gives the teacher the opportunity to work more efficiently and pay more attention to the development of skills in reading music from a sheet, transposition, selection by ear, ensemble playing, as well as expanding the musical horizons of students.
Learning to play woodwind instruments requires students, in addition to musical ability, also good health and physical fitness. When playing wind instruments, the lungs and lip apparatus actively work, certain muscles of the body tense up. It is important that fingers, lips, teeth meet the established requirements for students of wind instruments. Proper positioning of the lip apparatus and performing breathing are one of the necessary conditions for successful training.
Constant attention should also be paid to precise intonation - the most important means of musical expression.
To develop accurate intonation, it is necessary to constantly develop the student's ear for music, as well as a sense of self-control.
The student should also be introduced to the history of the instrument, its structure, and the rules for caring for it.
Work with an accompanist is of great importance for the musical development of students. The performance of works accompanied by accompaniment enriches the musical ideas of students, helps to better understand and assimilate the content of the work. Performance with accompaniment strengthens and improves intonation and rhythmic organization, makes it necessary to achieve a coordinated ensemble sound.
The program for the class of wind and percussion instruments also provides for the requirements for the performance of ensembles for wind instruments. Ensemble performance skills must be instilled in the student from the first years of study, thereby preparing him for jams in the orchestra class.
Total pieces of music recommended for study in each class are given in the annual requirements. In working on the repertoire, the teacher must achieve varying degrees of completeness of performance: some works are prepared for public performance, others for display in class conditions, and others for the purpose of familiarization. All this must be recorded in the individual plan of the student.
The program offers various levels of difficulty indicative lists musical works for performance at academic concerts during the academic year, as well as at exams. This will help the teacher to differentiated approach teaching students of different levels, general training, musical ability and other individual data.
The proposed repertoire lists for classes are exemplary, they contain works of varying degrees of difficulty and give a lot of room for the teacher to take the initiative.1
1 Approximate
Classes in the classes of wind and percussion instruments are conducted in accordance with the "Guidelines for the organization of educational work in the instrumental classes of children's music schools (music departments of art schools)", published by the All-Union Methodological Cabinet for Educational Institutions of Arts and Culture (Moscow, 1988). ).
Teachers can obtain additional information about the forms and methods of working with students in the classes of wind and percussion instruments in special methodological literature.
Block 1
The ability of students to correctly and rationally use the breath and diaphragm both when performing pieces and without an instrument is checked. An indicator of training is the possession of performing breathing and the correct execution of exercises for the development of the respiratory apparatus, the correct setting of the support, a quick and deep breath, a smooth and long exhalation. Performance of an excerpt from a piece of music using rational performance breathing.
The work is considered completed if the student has completed the assigned tasks correctly.
Block 2
Identification of the main errors, their classification.
The ascertaining stage showed that the largest number students make mistakes when performing long musical phrases (i.e. when performing long excerpts, the student forgets about the correctly set performing breathing, is distracted by the musical text, due to irregular breathing exercises and their small number, performing breathing is not brought to mechanical use)
Table 1
Analysis of the results of the ascertaining stage of the experiment
Skills and abilities
Experimental group
Control group
An analysis of the students' work showed that when performing pieces and performing breathing exercises, they made the following mistakes: when performing pieces, drawn out notes and scales, students forgot about playing on the "support", used the exhaled air stream inefficiently, the exhaled air stream should come out smoothly, evenly, in a single line, without hesitation, the students' air stream was not stable and not prolonged, which indicates a small amount of time devoted to breathing exercises given by the teacher.
This and much more was taken into account when compiling exercises for the formative part of the experiment.
The formative stage of the experiment was carried out at the children's music school with students in the clarinet class and took about 5 minutes during the specialty lessons. The purpose of this stage was to introduce a system of exercises aimed at correcting the technique of performing breathing, i.e. check its effectiveness. The breathing system of yogis was taken as the basis, described in the article by V. Ivanov, Doctor of Arts, Professor of the Moscow State University of Culture and Arts "Secrets of inhalation and exhalation"
The material was distributed as follows.
The purpose of this block was to develop muscle memory in first grade students. Here we used exercises that develop breathing according to the yoga system. The work consisted of several stages.
Stage 1: The student must take the starting position while standing. The body is straight, the shoulders are deployed, the arms are not tense. First, put the palm of one hand on the chest, and the palm of the other on the stomach. Then take a deep, slow breath through your mouth so that the front and side walls of the abdomen protrude forward and to the sides, simultaneously raising your palm. After that, it begins to fill the middle and upper parts of the lungs with air, expanding the upper part of the chest, raising the palm placed on it accordingly. Further, holding the abdominal press and chest in the position of a deep breath, holds his breath for a while (counting, for example, mentally and not quickly up to three), then begins to make a slow, preferably as long as possible, exhalation through a narrow slit of the lips. You can imagine that you are like blowing on a burning candle, trying to extinguish the fire. When exhaling, you should try not to lower your chest for as long as possible, that is, to keep it in the inhalation position. Repeat the exercise without a break 5-8 times.
Stage 2: For the next lesson, it was checked whether the exercise being done was learned and the correctness of its execution
Working with a brass and percussion ensemble is an exciting experience. 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
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 must strive to achieve a single rhythm in the orchestra, the reproduction by students of the same strokes and dynamic shades, to strive for the use of 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 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 the 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 the help of the students themselves and fellow teachers. In the eyes of students, such an approach to business will only strengthen the authority of the head of the ensemble, and will certainly have a positive effect on the work of the team.
Methodology of rehearsal work with the ensemble
His most important task as a teacher is to cultivate conscious, creative discipline in the team, without which it is impossible to achieve success in work and a high level of artistic performance. The teacher should be extremely attentive to the sound of the ensemble, intonation, rhythmic, line drawings, dynamic shades and agogics. Each leader must know the specifics, structure, range of wind instruments. And expressive possibilities and methods of sound extraction. The ensemble lesson begins with a general tuning of the instruments. For this, an instrument tuned to a tuning fork is used, usually a grand piano or tuner.
Wind instruments are tuned to the B-flat note of the natural scale. In a brass band, the instruments are mostly transposing. This means that when tuned, clarinets, trumpets, baritones, tenor saxophones, tenors will play the note "C"; altos, alto saxophones - the note "salt"; horns - the note "fa"; flutes, trombones and basses - the B-flat note. After tuning, the obligatory casting is the gamma. First, whole notes, half notes, quarter notes in different stroke combinations, eighth and sixteenth notes in different stroke and rhythmic combinations, then arpeggios in the same order. At present, 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 groups of 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 teacher-musician. 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 extremely necessary 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 educational process, it is necessary to note the solution of 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 Technology 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.
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, as well as some 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. Work not only on works of art, but also on training material (etudes, scales, etc.) is of great benefit in special training classes. 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 and peculiar exercises- etudes. 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 approaching orchestral form 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 relation to 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 estimated (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 conduct 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. That's why important place in working with an ensemble - THIS is constant attention to the mastery of various strokes by each performer individually and their collective performance.
