Handbook for an accompanist in folk stage dance. The specifics of the work of an accompanist-pianist in the choreography class of the children's art school

The need for a creative union between a choreographer and a musician in the process of designing a dance lesson is obvious and does not require proof. Only close cooperation between a teacher and an accompanist can give the most effective results in shaping the creative thinking of students and educating their artistic taste. The concertmaster's knowledge of the specifics of choreographic art, on the one hand, and the improvement of the methods and forms of musical education by the choreographer, on the other hand, makes it possible to achieve genuine creative contact between them in the preparation of lesson material. Only in this case it becomes possible to have a clear systematized approach to the development of educational material and the development of a single musical and choreographic concept for building a lesson in accordance with the age characteristics of students and their level of professional training. The issues of drawing up a lesson plan, distribution of choreographic material and reasonable dosing of its informative saturation during the lesson are very important and require consideration.

Having mastered the outlined principles of approach to working with a musical text, one can freely and purposefully navigate in matters of selecting musical material.

The musical arrangement of the lesson should be understood as a musical composition, clothed in a complete form, built in character, phrasing, rhythmic pattern, dynamics in full accordance with the dance movement and, as it were, merging with it into one whole. This composition should emphasize all the features of the dance movement by means of its musical characteristics.

Musical arrangement should help students master the technical skills of the choreographic profession and at the same time instill in them a conscious attitude to the laws of musical art, an understanding of the melodic, harmonic, polyphonic, rhythmic, dynamic logic of musical works.

The ability of a choreographer to understand the constructive laws of musical compositions and coordinate them with the system of movements in dance is a necessary prerequisite for achieving freedom and meaningfulness in interpreting the material of the lesson. On the other hand, a musician who starts the musical arrangement of a lesson must also have at least basic knowledge in the field of choreography, since without this a genuine contact between the choreographer and the accompanist will hardly be possible, and the musical arrangement will be reduced to only formal, mechanistic, background accompaniment. lesson.

Meanwhile, it is in the living process of the lesson that students comprehend the inextricable links between music and plastic arts, it is here that their musical taste is formed. Therefore, the musical material used in the lesson must be carefully selected, tested and have artistic merit. As examples, one should use the best examples of folklore music, as well as material from the classical heritage and contemporary musical creativity.

However, one should not forget that the musical arrangement is of a twofold nature: applied and artistic. These two sides complement each other, interacting with each other, but none of them should prevail over the other. You should not get carried away by the excessive complexity of the musical material to the detriment of solving direct educational and training tasks. While preserving such qualities as figurativeness, brightness, individuality, national and genre originality, the musical material must at the same time correspond as closely as possible to the choreographic task, reflecting the features of the rhythmic pattern, dynamics, logic, phrasing inherent in certain movements and elements that form vocabulary of folk stage dance. In this sense, the musical arrangement of a folk stage dance lesson requires more care in the selection of material than the design of a classical dance lesson, since in a folk stage exercise the same movements, depending on the national and stylistic coloring, can acquire a completely different manner of performance. For example, in classical dance, movements such as plie and developpe traditionally belong to the elements of the adagio, are coherent and are performed at a slow tempo. In folk exercise, their performance can be both smooth and jerky, and sometimes both types are combined in one combination. Therefore, in the approach to musical accompaniment, it is necessary to be guided by the principles of thoughtful selection and compilation of a kind of “music reader” with numerous variant examples related to the same movement and taking into account not only the general nature of the movement, but also the nature of all its components.

The work of a teacher and an accompanist in preparing a folk stage dance lesson presupposes the existence of a strictly verified compositional plan. The choreographic and musical material of the lesson should be distributed in such a way that the perception of students is not dulled, and the concentration of attention does not decrease during the lesson. To maintain a single emotional tone and pace of the lesson, it is advisable to build it according to the principle of contrasting alternation of movements and elements that are different in nature and pace. This contrast can manifest itself both at the level of the composition of the lesson as a whole, and at the level of the correlation of individual elements of dance and musical speech. From the point of view of choreography, we are talking about the alternation of exercises with different loads, the change of which allows you to simultaneously involve different muscle groups in the work. Dynamic, technically complex movements can be combined with elements aimed at developing plasticity and danceability - of various kinds. port de bras, inclinations, bends of the body, etc. It is also not uncommon to combine dance movements of various amplitudes in one combination, for example developpe and "strings" grand battement and battement tendu etc.

From the standpoint of musical arrangement, the contrast can be achieved by changing the tempo ratios by dividing the combination into two sections. (adagio allegro), due to articulation differences (staccato legato) dynamic color changes (f-p, crescendo-diminuendo).

In general, the structure of a folk stage dance lesson differs from the structure of a classical dance lesson. In both cases, the exercises performed contribute to the development of certain choreographic skills through the gradual inclusion of various muscle groups, joints and ligaments into the work. But if almost all movements and elements are already presented in the classics lesson in the exercise at the barre (with the exception of jumps and finger exercises, which are later included in the etudes in the middle of the hall in complicated versions and in various combination combinations), then the lesson of folk stage dance built on a slightly different principle. So, the exercise at the machine contains a number of different movements. Some of them are derived from the movements of the classical exercise (plie, battement tendu, jete, rond de jambe par terre, fondu, grand battement). Other movements, especially those that include the work of a shortened and free foot, are characteristic of a folk stage exercise (these include certain types battement tendu,"rope", pas tortille, flic-flac, double-flic and etc.).

As for the material studied in the middle of the hall, unlike the material of a classical dance lesson, it is not associated with a specific movement, but is divided mainly by nationality. At first, the elements are studied separately in a “pure” form, and then they become the basis for constructing detailed dance combinations and etudes. The tasks that the teacher-choreographer and the musician-designer face at this stage presuppose a different, higher level of comprehension of the musical and choreographic material.

In general, it should be noted that, in terms of composition, both exercises at the barre, and, in particular, combinations in the middle of the hall in a folk stage exercise are distinguished by a greater degree of complexity than combinations of a classical dance lesson. In particular, as already mentioned, it is not uncommon in folk stage dance to combine in one dance combination movements of different tempo and nature of movements - for example, slow port de bras and fast flic-flac, smooth port de bras with kinks of the body and an energetic "rope", fondus u pas tortilla. This also influences the musical structure in a certain way, giving it two- and three-part features.

Wherein port de bras can be included in the combination, both as an independent section, and as an integral part of the combination.

In any case, when choosing a musical setting, the accompanist must, first of all, be consistent with the logic of constructing a dance combination, striving for unity and interaction of the principles of organizing choreographic and musical material.

Turning directly to the characteristics of the qualities inherent in the material of the folk stage dance lesson, it should be noted that, in comparison with the material of the classical dance lesson, there is a greater variety of styles and genres. Formulating the main criteria for selecting musical material for the design of the lesson, it is worth, first of all, to point out the need for the selected musical fragments to match the style, national characteristics and nature of the dance movements and elements being studied.

The composition of a folk-stage exercise always expresses a specific national identity with its characteristic tempo-rhythmic features (length, sharpness, syncopation, etc.). These features are embedded in the musical material on the basis of which the dance composition is created.

In addition to such qualities as the predominant reliance on melodic thematics, the distinctness of metro-rhythmic formulas, a variety of textural techniques, structural clarity and completeness, conciseness and accessibility for perception, the musical material of a folk stage dance lesson should also have a pronounced national coloring. The same movements can be interpreted in different ways depending on the given character in which they are performed - Spanish, Hungarian, Polish, Russian, Gypsy, etc.

If in the design of a classical dance lesson the musician relies mainly on the style models of classicism music with such inherent features as regular rhythmic accentuation, squareness, strict metric ordering, then in the design of a folk stage dance lesson the accompanist is less constrained by the framework of classical canons. In the folk-stage dance, based on folklore traditions, non-square constructions, odd combination of measures are freely used. The principle of symmetry here is often violated or interpreted rather arbitrarily.

During its existence, certain traditions have developed in classical dance, going beyond which is unacceptable from the point of view of the aesthetics of classical dance. Folk stage dance is a phenomenon that is constantly developing due to the assimilation of features of the musical and dance cultures of various countries and nationalities. This makes it possible and acceptable to enrich the style of folk stage dance, including through the inclusion of elements of the vocabulary of modern everyday dance.

In the musical design of the lesson, these new trends and new directions can be manifested in the expansion of the genre and style range of musical works - from the use of archaic musical and folklore layers to the implementation of the features of jazz musical culture, the impact of which is manifested in the diversity and richness of the timbre palette with the widespread use of percussion and decorating tools. And also - in increasing the role of rhythm as a formative factor.

Creative rethinking of the prevailing stereotypes in the interpretation of folk stage dance opens up new opportunities for self-expression for the teacher-choreographer and musician.

At the same time, in the selection of material, the graphic designer should be guided by the principle of combining unity and diversity, with the obligatory preservation of the style and genre features of the musical source in the arrangement, whether it be a folklore dance or a product of professional composer creativity.

Very important in the joint work of the teacher-choreographer and accompanist is the question of choosing the methods of musical arrangement. Here, both the method of preliminary selection and the method of using material improvised by the musician-designer of the lesson are possible. Both methods have a right to exist. The pre-selection method involves the adaptation of ready-made musical samples to the choreographic training task. Here the accompanist is insured against technical and stylistic errors that inevitably arise when using the improvisational method. But, on the other hand, this method to some extent fetters freedom of action, since the number of musical examples is still limited, and the musician is forced to repeat himself. To avoid frequent repetitions, one can resort to introducing elements of the improvisational method into the practice of music design.

This method, so widespread in the classical dance class, acquires its own specifics in the design of a folk stage exercise. Here, song and dance material of folk music is mainly used as material for improvisation. Reliance on folklore samples makes it possible to achieve greater flexibility, "adaptability" of the musical material to the requirements of the teacher in the living process of the lesson, since "variance" is inherent in the very nature of dance folklore.

Variation and variation are not the only principles of organizing musical material. No less frequent in the construction of combinations and etudes is the principle of suites.

Considering the individual movements of the exercise, it is necessary, first of all, to understand their nature and musical-rhythmic pattern, and also to determine which moments in a particular movement are the main ones, and which ones are passing; what musical share is the main emphasis in the movement, etc. At the same time, it is not worth it, by all means, to achieve synchronization of music and movement. Music should, as it were, "accompany" the dance movement, revealing all its features and potentialities, and not squeezing it into the framework of a single metric grid - otherwise the musical arrangement becomes monotonous and schematic. On the contrary, the musical rhythm, not coinciding exactly with the rhythm of the dance movement, can “counterpuncture” with it, which contributes to the emergence of two complementary rhythmic plans - dance and music. Examples of this kind can often be found in combinations of percussion movements, where smooth, slow work of the hands is accompanied by fractional, rhythmically saturated movements of the legs.

The same goes for phrasing. Dance and musical phrasing correlate with each other by placing logical accents in the narrative fabric with the help of musical cadences, caesuras, and pauses. At the same time, it is necessary to achieve constructive coordination of dance and musical phrases.

In educational practice, there are two ways of musical arrangement of folk dance lessons: musical improvisations and the use of musical literature.

Musical improvisation is widely used in folk dance lessons. The teacher in his daily work also improvises, composing exercise combinations at the barre or in the middle of the hall.

The accompanist is the direct assistant to the teacher. Knowing the character, rhythm, national coloring and the constituent elements of the choreographic training task, he can suggest the appropriate theme, meter and accents of the musical accompaniment. The exercise is almost entirely accompanied by musical improvisation. In dance combinations, improvisation alternates with a ready-made musical form.

Improvisation must strictly obey the pattern of the combination given by the teacher, have a certain rhythmic pattern corresponding to the nature of the movements.

The rhythm of the music should be very clear 2/4 or 4/4 or 3/4, and the musical theme should be as abstract as possible, since it should not call the imagination to action.

All combinations of the lesson should be built taking into account the musical phrase (clock square) of various durations (4 t-t, 8 t-t, 32 t-t, etc.) It is possible to build exercise combinations at the barre and in the middle of the hall for one and a half phrases: 12 t-t, 24 t-t, etc.

First, the simplest musical rhythms are mastered.

At the initial stages of learning, music should be in all respects simple and clear, understandable and close to the psychology of students. For students with training, music is chosen that is richer in content with intonations and complex rhythmic patterns.

Dance is inextricably linked to music. By giving a certain tempo, meter, and rhythmic pattern, the music brings out and emphasizes the characteristic features of the movement. At the lessons of folk dance, purposeful musical education is conducted, while attention is paid not only to the development of rhythm, but also to the emotionally effective connection between music and dance.

The musicality of a dancer is composed, as it were, of three interconnected performing components:

The ability to correctly coordinate their actions with the musical rhythm;

The ability to consciously and creatively enthusiastically perceive the theme-melody;

The ability to convey a plastically perceived theme-melody.

Musical education in the folk dance lesson is to deepen the internal connection between music and dance. This is facilitated, as a rule, by the good musical taste of the accompanist and teacher.

The fusion of the emotional and expressive qualities of a choreographic exercise and its musical basis is facilitated by the proper performance of musical material. You should not flirt with musical themes, as emotional sharpness is lost.

"Notniki" claim that they educate the student's ear for the perception of samples of musical literature, form musical taste. But not all musical literature is suitable for lesson design: you often see one thing and hear another. Experience and erudition of an accompanist and his "choreographic abilities" are needed. Often great musicians, accompanying folk dance lessons, are helpless. They lack a sense of movement.

Improvisers are very sensitive, they accurately reproduce what the teacher suggests. Playing under the leg, these professionals are well aware of their business and all the subtleties in it. Sometimes they deviate from the normal pace for the sake of the students' correct performance of the case studies in the future.

Children's Art School No. 2 im. A.G. Rozuma, Rzhev

VeselovaT. BUT.

BENEFITSFORACCORDING MEASTERATCLASSCHOREOGRAPHY

PEOPLE-STAGEDANCE

Rzhev, 2015

1. The role of the accompanist in the lessons of folk - stage dance.

2. A selection of musical material for the lessons of folk - stage dance in the choreography class.

3. List of references.

The role of the accompanist in the lessons of folk - stage dance.

The art of dance cannot exist without music. Therefore, two teachers work with children in choreographic classes - a choreographer and a musician (accompanist). Children receive not only physical development, but also musical. The success of working with children largely depends on how correctly, expressively and artistically the accompanist performs music, conveys its content to children. Clear phrasing, bright dynamic contrasts help children hear the music and reflect it in dance movements. Choreography lessons are based on musical material from beginning to end. The musical design of the lesson should instill in students a conscious attitude to a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, and dynamics. In choreography classes, students are introduced to the best examples of folk, classical and modern music, and thus their musical culture is formed, their ear for music and figurative thinking develops, which help to perceive music and choreography in unity during production work. The accompanist unobtrusively teaches children to distinguish between works of different eras, styles, and genres.

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. It is important that the accompanist be a friend and partner. Only from the standpoint of a creative approach, it is possible to implement all the ideas, to have high performance in the performance activities of students of choreographic classes.

The study of folk stage dance begins with exercises at the barre and continues in the middle of the hall. The selection of musical material in choreography classes is carried out by the accompanist in accordance with the program requirements of the choreographer. Exercise at the barre consists of specific exercises, each of which has its own specific musical requirements. In the process of work, there is an acquaintance with music and rhythmic pattern on simple musical examples. For the development of imaginative thinking, musical examples are selected that are small for perception, but very bright in character and musical coloring, thanks to which the children, after listening to this piece of music, could create a mini-etude, or embody a specific image to the given music.

The work of an accompanist in an art school includes purely creative (artistic) and pedagogical activities. Musical and creative aspects are manifested in work with students of any specialties. The pedagogical side of the activity is especially clearly revealed in the work with students of the vocal and choreographic classes.

The skill of an accompanist is deeply specific. It requires from a pianist not only great artistry, but also versatile musical and performing talents, the use of versatile knowledge and skills in courses of harmony, solfeggio, polyphony, music history, analysis of musical works, vocal and choral literature, pedagogy - in their interconnections.

A full-fledged professional activity of an accompanist implies that he has a complex of psychological personality traits, such as a large amount of attention and memory, high efficiency, mobility of reaction and resourcefulness in unexpected situations, endurance and will, pedagogical tact and sensitivity.

The specifics of the work of an accompanist in a children's art school requires him to have special universalism, mobility, and the ability, if necessary, to switch to work with students of various specialties. An accompanist must have a special, disinterested love for his specialty, which (with rare exceptions) does not bring external success - applause, flowers, honors and titles. He always remains "in the shadows", his work is dissolved in the overall work of the entire team. An accompanist is the vocation of a teacher, and his work in its purpose is akin to the work of a teacher.

The work of an accompanist in the choreography class

Let us consider the activities of a pianist accompanist who works with children of different age groups in choreography classes.

The art of dance cannot exist without music. Therefore, two teachers work with children in choreographic classes - a choreographer and a musician (accompanist). Children receive not only physical development, but also musical.

The success of working with children largely depends on how correctly, expressively and artistically the pianist performs music, conveys its content to children. Clear phrasing, bright dynamic contrasts help children hear the music and reflect it in dance movements. Music and dance in their harmonious unity is an excellent means of developing the emotional sphere of children, the basis of their aesthetic education.

Choreography lessons are based on musical material from beginning to end. The musical design of the lesson should instill in students a conscious attitude to a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, and dynamics. Listening to music, the child compares phrases by similarity and contrast, learns their expressive meaning, follows the development of musical images, forms a general idea of ​​the structure of the work, determines its character. Children form primary aesthetic assessments. In choreography classes, students are introduced to the best examples of folk, classical and modern music, and thus their musical culture is formed, their ear for music and figurative thinking develops, which help to perceive music and choreography in unity during production work. The accompanist unobtrusively teaches children to distinguish between works of different eras, styles, and genres.

Movements must reveal the content of the music, correspond to it in composition, character, dynamics, tempo, metro-rhythm. Music evokes motor reactions and deepens them, not only accompanies movements, but determines their essence. Thus, the task of the accompanist is to develop the "musicality" of dance movements.

1. Tasks of musical education

In the process of teaching choreography, the following tasks of musical education are carried out:

1. Development of musical perception of the metrorhythm;
2. Rhythmic execution of movements to music, the ability to perceive them in unity;
3. The ability to coordinate the nature of the movement with the nature of the music;
4. Development of imagination, artistic and creative abilities;
5. Increasing students' interest in music, developing the ability to emotionally perceive it;
6. Expanding the musical horizons of children.

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages (from beginners to graduates), with teachers of various dance styles - folk choreography, classical and modern dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of this age category and the dance direction, is not easy. There is only one way - continuous improvement, a serious creative approach to work.

2. Duties of an accompanist

The duties of the accompanist of choreographic classes include:

1. Repertory selection of musical works for classes, constant expansion of musical baggage and knowledge about the nature of dance, its characteristic features;
2. Studying the experience of work on the aesthetic education of children in choreographic groups, in particular, on musical development;
3. Acquaintance with new methods of "moving to the music";
4. Systematic work on the musical development of dancers, because musically educated children are much more expressive in dancing.

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. And here we can talk about a subjective position, because psychological compatibility, personal qualities of the accompanist and choreographer play no small role. For real creativity, an atmosphere of friendliness, ease, mutual understanding is needed. It is important that the accompanist be a friend and partner. Only from the standpoint of a creative approach, it is possible to implement all the ideas, to have high performance in the performance activities of students of choreographic classes.

3. Selection of a piece of music

The technology for selecting musical works is based on the deep knowledge of the accompanist of system-choreographic education and involves:

1. Knowledge of schools and directions of dance art;
2. knowledge of traditional forms and stages of teaching choreography to children;
3. knowledge of the forms of constructing classes, obligatory improvisational moments;
4. knowledge of choreographic terminology (in particular, in French);

The selection of musical fragments requires the following points:

1. character
2. pace;
3. metro-rhythm (meter, accents and rhythmic pattern);
4. the form of a musical work (one-part, two-part, three-part, introduction, conclusion).

Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria, a sense of artistic proportion. The constant sounding of the same march or waltz in the lessons leads to a mechanical, non-emotional performance of the exercises by the dancers. The other extreme is also undesirable: too frequent change of accompaniments scatters the attention of students; does not contribute to the assimilation and memorization of movements by them.

4. Working methods

To develop the "musicality" of the performance of the dance movement, the following methods of work are used:

1. visual-auditory(listening to music while showing movements by the teacher);
2. verbal(the teacher helps to understand the content of the musical work, stimulates the imagination, promotes the manifestation of creative activity);
3. practical(specific activity in the form of systematic exercises).

In terms of musical education, the accompanist has the opportunity to teach children the following:

1. highlight the main thing in music;
2. convey by movement a different intonational meaning (rhythmic, melodic, dynamic beginning).

This can be done at any stage of the lesson: both in exercises and in dance etudes.

5. The main stages of introducing children to musical accompaniment in the lessons of classical and folk stage exercise.

First stage- initial acquaintance with a piece of music. Here are the tasks:

1. to introduce students to musical fragments,
2. learn to listen and respond emotionally to the feelings expressed in them.

Second phase– formation of skills in the field of musical performance of movements, perception of musical accompaniment in unity with movements. Here are the tasks:

1. the ability to perform movements in accordance with the nature of the music,
2. in-depth perception and transmission of the mood of music in motion,
3. coordination of hearing and character of movements.

At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material for each movement of the classical and folk-stage exercise in accordance with the requirements (squareness, rhythmic pattern, the nature of the melody, the presence of a beat, metro-rhythmic features, tempo, size).

Third stage- education and consolidation of skills, that is, automation of ways to complete tasks in strict accordance with the nature, tempo, rhythmic pattern of a musical fragment. He sets the following tasks: emotionally expressive performance of exercise exercises, development of independent creative activity of children. At this stage, everything that was worked out in the learning process at the second stage is fixed. Auditory and visual control is supported by motor control.

Automate the way the task is performed. Students consciously solve the tasks assigned to them, relying on the acquired listening and dancing skills. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of form, images. Children develop an interest and love for music. Through musical images, children learn the beauty of the surrounding reality.

The fundamental disciplines in choreography are classical and folk stage dance. The study of classical dance usually begins with learning the classical exercise, which is the main part of the lesson (exercise at the stick, in the middle of the hall and allegro). The study of folk stage dance also begins with the study of exercise at the stick and in the middle of the hall. The selection of musical material in choreography classes is carried out by the accompanist in accordance with the program requirements of the choreographer. The exercise at the stick consists of specific exercises, each of which has its own specific musical requirements. In the first year of study, children are engaged in rhythm. At this moment, the correct coordination of movements is developed, the setting of the body, head, arms, the muscles of the legs develop. In the process of these lessons, they gain knowledge about the rhythmic organization, sizes, musical images that they embody in dances and etudes.

In the process of work, one gets acquainted with the music and the rhythmic pattern of the march, polka, waltz, mazurka, polonaise, using simple musical examples. For the development of figurative thinking, not large and not difficult to perceive musical examples are selected, but very bright in character and musical coloring, thanks to which the children, after listening to this piece of music, could create a mini-etude, or embody a specific image to a specifically given music (“ Clowns”, “The sea is worried”, etc.).

At the next stage of learning, children again encounter these dances or movements, but on more complex musical material.

In the second year of choreography training, classical dance is introduced as the basis of all subsequent training, built on the best examples of world choreographic art.

In the first year of learning classical dance, children are given basic initial ideas about it. At the initial stage, this is done on familiar or uncomplicated musical material, so that it is easier for students to organize their movements in accordance with the music. Further, the combinations become more complicated, the musical material becomes more complicated.

The musical accompaniment of dance lessons should be very accurate, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study (both in the lessons of folk stage and classical dance), and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual creative approach in the selection of musical arrangement lessons.

Let us dwell on the principles of the accompanist's approach to the selection of musical fragments for the lessons of classical exercise at the stick. Classical exercise throughout the entire training has a certain set of elements that are studied from year to year, but as they are mastered, they constantly become more complicated and combined. The musical arrangement of classical dance lessons should be very diverse both in terms of melody and rhythm. The nature of the rhythms often changes during the lesson. When a new movement or its individual elements is being studied, the rhythm should be simple, the melody uncomplicated, accessible. Then, in the process of work, the musical material becomes more complex, the rhythmic pattern within the beat becomes more complicated, the shape and size of the musical fragment changes, especially in jumps, or when various exercises are combined into a single combination. In addition to the use of musical material, musical improvisations by the pianist are possible and desirable.

6. Principles of selection of musical fragments for classical exercise.

Musical fragments for classical exercise must have the following properties:

1. Squareness.
2. Certain rhythmic pattern and tempo.
3. The presence of triggers.
4. Tempo and metric features.

Summing up the above, I would like to once again note the specificity of the work of an accompanist in the choreography class. He must be able to apply his knowledge, demonstrate mastery of technique, and at the same time show artistry and versatile musical and performing talents.

Text HTML version of the publication

Veselova

T
.
BUT
.
METHODOLOGICAL

BENEFITS

NOTES

APPENDIX

ACCORDING MEASTER

CLASS

CHOREOGRAPHY

PEOPLE-STAGE

DANCE
Rzhev, 2015

Content
1. The role of the accompanist in the lessons of folk - stage dance. 2. Requirements for the selection of musical (musical) material for the lessons of folk - stage dance. 3. The main stages of introducing children to musical accompaniment. 4. A selection of musical material for the lessons of folk - stage dance in the choreography class. 5. List of references.

The role of the accompanist in the lessons of folk - stage dance.
The work of an accompanist includes creative (artistic) and pedagogical activities. The skill of an accompanist is deeply specific. It requires from him not only great artistry, but also versatile musical and performing talents. A full-fledged professional activity of an accompanist implies that he has a complex of psychological personality traits, such as a large amount of attention and memory, high efficiency, mobility of reaction and resourcefulness in unexpected situations, endurance and will, pedagogical tact and sensitivity. The art of dance cannot exist without music. Therefore, two teachers work with children in choreographic classes - a choreographer and a musician (accompanist). Children receive not only physical development, but also musical. The success of working with children largely depends on how correctly, expressively and artistically the accompanist performs music, conveys its content to children. Clear phrasing, bright dynamic contrasts help children hear the music and reflect it in dance movements. Music and dance in their harmonious unity is an excellent means of developing the emotional sphere of children, the basis of their aesthetic education. Choreography lessons are based on musical material from beginning to end. The musical design of the lesson should instill in students a conscious attitude to a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, and dynamics. Listening to music, the child compares phrases by similarity and contrast, learns their expressive meaning, follows the development of musical images, forms a general idea of ​​the structure of the work, determines its character. Children form primary aesthetic assessments. In choreography classes, students are introduced to the best examples of folk, classical and modern music, and thus their musical culture is formed, their ear for music and figurative thinking develops, which help to perceive music and choreography in unity during production work. The accompanist unobtrusively teaches children to distinguish between works of different eras, styles, and genres. Movements must reveal the content of the music, correspond to it in composition, character, dynamics, tempo, metro-rhythm. Music evokes motor reactions and deepens them, not only accompanies movements, but determines their essence. Thus, the task of the accompanist is to develop the "musicality" of dance movements. The duties of the accompanist of choreographic classes include:  repertoire selection of musical works for classes, constant expansion of musical baggage and knowledge about the nature of dance, its characteristic features;
 studying the experience of work on the aesthetic education of children in choreographic groups, in particular, on musical development;  Acquaintance with new methods of "moving to the music";  systematic work on the musical development of dancers, because musically educated children are much more expressive in dancing. Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. And here we can talk about a subjective position, because a significant role is played by psychological compatibility, the personal qualities of the accompanist and choreographer. For real creativity, an atmosphere of friendliness, ease, mutual understanding is needed. It is important that the accompanist be a friend and partner. Only from the standpoint of a creative approach, it is possible to implement all the ideas, to have high performance in the performance activities of students of choreographic classes.
2.

Requirements

selection

musical

(music)

material

lessons of folk - stage dance.
The technology for selecting musical works is based on the deep knowledge of the accompanist of systemic choreographic education and implies:  knowledge of schools and areas of dance art;  knowledge of traditional forms and stages of teaching choreography to children;  knowledge of the forms of constructing classes, obligatory improvisational moments;  knowledge of choreographic terminology (in particular, in French). The following points are required for the selection of musical fragments:  character;  pace;  metro-rhythm (meter, accents and rhythmic pattern);  the form of a piece of music (one-part, two-part, three-part, introduction, conclusion). Musical fragments should have the following properties:  squareness;  a certain rhythmic pattern and tempo;  tempo and metric features. Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria, a sense of artistic proportion.
In terms of musical education, the accompanist has the opportunity to teach children the following:  highlight the main thing in music;  convey by movement a different intonational meaning (rhythmic, melodic, dynamic beginning). This can be done at any stage of the lesson: both in exercises and in dance etudes.
3.

Main

stages

acquaintance

children

musical

escort.

The first stage- initial acquaintance with a piece of music. Here the tasks are set:  to acquaint students with musical fragments,  to teach to listen and emotionally respond to the feelings expressed in them. Second phase– formation of skills in the field of musical performance of movements, perception of musical accompaniment in unity with movements. The following tasks are set here:  the ability to perform movements in accordance with the nature of the music,  in-depth perception and transmission of the mood of music in motion,  coordination of hearing and the nature of movements. At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material in accordance with the requirements. Third stage- education and consolidation of skills, that is, automation of ways to complete tasks in strict accordance with the nature, tempo, rhythmic pattern of a musical fragment. He sets the following tasks: emotionally expressive performance of exercise exercises, development of independent creative activity of children. At this stage, everything that was practiced in the learning process at the second stage is consolidated, auditory and visual control is reinforced by motor control. Automate the way the task is performed. Students consciously solve the tasks assigned to them, relying on the acquired listening and dancing skills. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of form, images. Children develop an interest and love for music. Through musical images, children learn the beauty of the surrounding reality. The study of folk stage dance begins with exercises at the barre (stick) and continues in the middle of the hall. The selection of musical material in choreography classes is carried out by the accompanist in accordance with the program requirements of the choreographer. The exercise at the barre (stick) consists of specific exercises, each of which is presented with its own
certain musical requirements. In the process of work, there is an acquaintance with music and rhythmic pattern on simple musical examples. For the development of imaginative thinking, musical examples are selected that are small for perception, but very bright in character and musical coloring, thanks to which the children, after listening to this piece of music, could create a mini-etude, or embody a specific image to the given music. At the initial stage of training, children are given basic initial ideas about dance. This is done on familiar or uncomplicated musical material to make it easier for students to organize their movements according to the music. Further, the combinations become more complicated, the musical material becomes more complicated. At the next stage of learning, children again encounter these dances or movements, but on more complex musical material. The musical accompaniment of dance lessons should be very accurate, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study, and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual creative approach in the selection of musical design for lessons. Summing up the above, I would like to once again note the specificity of the work of an accompanist in the choreography class. He must be able to apply his knowledge, demonstrate mastery of technique, and at the same time show artistry and versatile musical and performing talents.
Using

perennial

an experience

work

I,

coordinating

With

choreographer

picking up

mine

musical

(music)

repertoire.

To

find

music suitable for any movement, you have to sort through

a lot of

music score

literature.

Picking up

necessary

musical

material and coordinating it with the choreographer in accordance with the construction

lesson, I created this manual.

A selection of musical material for the lessons of folk - stage

dance in the choreography class.

Machine exercises.
1.
Plie
- in the nature of Ukrainian dance. Musical size 4/4. "Ukrainian lyric"
2.
Battement tendu
- in the nature of Estonian dance. Musical size 3/4. "Linen"
3.
Battement tendu jete
- in the nature of Italian dance. Musical size 6/8. "Tarantella"

4.
Heel battement tendu
- in the nature of Russian dance. Musical size 2/4. “Ah, Samara is a small town!” 5.
flik-flak
- musical size 2/4. "Slovak polka"

6.
Rond de jamb par terre et rond de pied
- in the nature of the Belarusian dance. Musical size 4/4. "Yurachka"
7.
Battement fondu
- in the nature of Moldovan dance. Musical size 6/8. "Hora"
8.
Preparing for the rope
- in the nature of Russian dance. Musical size 2/4. "Like thin ice"
9.
Battement developpe
– in the Hungarian character. Musical size 2/4. "Hungarian Folk Dance"
10
. grand battement jet
- - in the Ukrainian character. Musical size 2/4. "Gopak"

Exercises in the middle of the hall.
1. Combination of jumps.
2. A combination of winders.
3. Picker on jumps.
4. Key combination.
5. Combination of ropes.

6. Fraction.

7. Overtases.
8. Hungarian dance sketch.
9. Belarusian dance sketch.


Diagonal.
1. Running in a turn with a blow to the floor.
2. A combination of a winder with a picker.

C P I S O K L I T E R A T U R Y: 1. M. Tovpeko. Pedagogical repertoire of the accordionist (accordionist) 3-4 grades of the Children's School of Art. Bryansk. 2005 2. "The initial course of playing the button accordion." Compiled by: A. Ivanov. Moscow. Music. 2000 3. "Bayan in a music school." Issue 36. Plays for grades 3-4. St. Petersburg. Composer. 2000 4. Music School "Bayan Grade 3". Compiled by: I.D. Alekseev, N.I. Koretsky. Moscow. Kifara.2004. 5. Children's music school "Bayan 4th grade". Compiled by: I.D. Alekseev, N.I. Koretsky Moscow. Kifara. 2004 6. "Bayan 4th grade." Educational repertoire of music school. Kyiv. Musical Ukraine. 2001 7. "School of playing the button accordion." Compiled by: Yu. Akimov Moscow. Music. 2008 8. Album for beginner accordionist. Issue 33. Moscow. Composer. 2000 9. Reader of the accordionist. Children's music school 3-4 classes. Moscow. Music. 2000 10. Accordion reader. 3-4 classes of music school. Moscow. Music. 2000 11. Accordion reader. Senior classes of children's music school. Moscow. Music. 2000 12. Album of a beginner accordionist No. 22. Compiled by: A. Talakin Moscow Composer. 2000 13. Folk melodies for button accordion (accordion). St. Petersburg. Composer. 2007 14. A. Mirek. Tutorial for playing the accordion. Salon of musical instruments. Accord. 2000 15. Folk songs and dances arranged for button accordion. Issue 18. St. Petersburg. Composer. 2008 16. Musical watercolor. Pieces for accordion. Issue 9. Moscow. Composer. 2000 17. To a young musician accordion player. 5th grade music school. "Phoenix". Rostov-on-Don. 2010 18. R. N. Bazhilin. Accordion school. Publishing house of Vladimir Katansky. Moscow. 2008 19. V. Semyonov. Modern school of accordion playing. "Music". Moscow. 2010 20. Accordion reader. 5th grade children's music school. Compiled by V. Nesterov and A. Chinyakov. Moscow. Music. 2000

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages (from beginners to graduates), with teachers of various dance styles - folk choreography, classical and modern dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of this age category and the dance direction, is not easy. There is only one way - continuous improvement, a serious creative approach to work.

The duties of the accompanist of choreographic classes include:

Repertory selection of musical works for classes,
constant expansion of musical baggage and knowledge about the nature of dance, its
characteristic features;

Studying the experience of work on the aesthetic education of children in
choreographic groups, in particular, on musical development;

Acquaintance with new methods of "moving to the music";

Systematic work on the musical development of dancers, because
that musically educated children are much more expressive in dancing.
Effective work in choreographic classes is possible only incommunity of teacher-choreographer and musician. And here we can talk aboutsubjective position, because psychologicalcompatibility, personal qualities of the accompanist and choreographer. Forreal creativity needs an atmosphere of friendliness, ease,mutual understanding. It is important that the accompanist be different and a partner. Only from the standpoint of a creative approach, it is possible to implement all the ideas, to have high performance in the performance activities of students of choreographic classes.

Programs and plans work in the choreographic classes of the teacherchoreographer. An accompanist often has to work with severalteachers, and most often the accompanist comes to the finished program.
Thematic planning of educational material on choreography is also done by the teacher. The accompanist must know both the program and the plan of each year of study, and the plan of each lesson. The co-creation of a teacher-choreographer and an accompanist is necessary in all areas (planning, implementation of programs of educational and staging work). The construction of the lessons does not depend on the accompanist, it is decided by the choreographer. But what will be the return, at what emotional level they will pass, largely depends on the musician, on the music selected and offered by him.
The technology for selecting musical works is based on the deep knowledge of the accompanist of system-choreographic education and involves:

Knowledge of schools and directions of dance art;

knowledge of traditional forms and stages of teaching choreography to children;

knowledge of the forms of constructing classes, mandatory improvisational
moments;

knowledge of choreographic terminology (in particular, on
French);

The selection of musical fragments requires the following points:

character

pace;

metro-rhythm (meter, accents and rhythmic pattern);

form of a piece of music (one-part, two-part,
tripartite, introduction, conclusion);


Music to accompany dance exercises must be constantlyreplenish and diversify, guided by aesthetic criteria, a sense of artistic proportion. The constant sounding of the same march or waltz in the lessons leads to a mechanical, non-emotional performance of the exercises by the dancers. The other extreme is also undesirable: too frequent change of accompaniment scatters the attention of students, does not contribute to the assimilation and memorization of movements.
Musical development in choreography lessons is carried out with the help ofcertain methods and techniques. The primary source of knowledge is the music itself, only it awakens the "musical" feelings of a person. In the beginning, work is underway to accumulate experience in listening to music. The second source of knowledge is the word of the teacher and accompanist, which leads to understanding and perception of the musical image of specific musical works. The third source is directly the musical and dance activities of the children themselves.

To develop the "musicality" of the performance of the dance movement, the following methods of work are used:

visual-auditory (listening to music while showing movements by the teacher);

verbal (the teacher helps to understand the content of the musical
works, stimulates the imagination, promotes the manifestation of creative activity);

practical (specific activity in the form of systematic
exercises);

In the process of classes and in the pauses between them, the accompanist introduces children to new and new pieces of music, accumulates their listening experience. The accompanist does not have special lessons, but there are always small pauses that can be filled with music and attract the attention of children. Developing children's imagination, perception, fantasy, it is useful to use the method of listening to a fragment or piece of classical music, followed by a short conversation. The method is not new, but it justifies itself. The result of this work is always positive: the movements of children gradually become more expressive, i.e. there is a convergence of musical-auditory forms of perception with visual-motor. Children learn to control their movements and make
their harmonious.

In terms of musical education, the accompanist has the opportunity to teach children the following:

highlight the main thing in music;

convey by movement a different intonational meaning (rhythmic,
melodic, dynamic beginning).

This can be done at any stage of the lesson: both in exercises and in dance etudes.
The main musical idea embedded in the work is the melody, the basis of music. The most important element of music is rhythm. Also a characteristic feature - the alternation of heavy sounds with lighter ones - is the concept of meter in music. Tempo as speed is basically the same in both music and dance. Dancing children should know, understand, define all these characteristics. And this is the basics of musical literacy. Rhythm, melody, meter, harmony, timbre - all together make up the language of music, and the accompanist teaches children to understand it. A subtle sense of music perception develops in children during organic connection
movement and musical phrase (beginning and ending). Concertmaster teaches
execution of "commands": the beginning of the melody - the beginning of the movement, the end of the melody - the end of the movement. The ability to fit into a musical phrase is brought up.

Consider the main stages of introducing children to musical accompaniment in the lessons of classical and folk stage exercise.

First stage- initial acquaintance with a piece of music.

Here the tasks are set: to acquaint students with musical fragments, to teach them to listen and emotionally respond to the feelings expressed in them, to be able to accurately perform preparation during the introduction.

In the process of mastering new musical material, auditory,
visual and motor analyzers. Therefore, the material is given in a holistic form, and not fragmented. The teacher-choreographer shows the movements to the musical accompaniment (the first stage is one or two lessons).

Second phase– formation of skills in the field of musical performance of movements, perception of musical accompaniment in unity with movements.Here the tasks are set: the ability to perform movements in accordance with the nature of the music, in-depth perception and transmission of the mood of music in motion, coordination of hearing and the nature of movements. At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time.There is a careful selection of musical material for each movementclassical and folk stage exercise in accordance withrequirements (squareness, rhythmic pattern, the nature of the melody, the presence of an out-of-beat, metro-rhythmic features, tempo, size).
Third stage– education and consolidation of skills, i.e. automation
ways to perform tasks in strict accordance with the character, tempo, rhythmic pattern of a musical fragment.It sets the following tasks:
emotionally expressive performance of exercise exercises, developmentindependent creative activity of children. At this stage, everything that was worked out in the learning process at the second stage is fixed. Auditory and visual control is supported by motor control. Automate the way the task is performed. Students consciously solve the problems assigned to them, relying on the acquired skills of listening and dancing. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of form, images. Children develop an interest and love for music. Through musical images, children learn the beauty of the surrounding reality.

The fundamental disciplines in choreography are classical and folk stage dance. The study of classical dance usually begins with learning the classical exercise, which is the main part of the lesson (exercise at the stick, in the middle of the hall and allegro).

The study of folk stage dance also begins with the study of exercise at the stick and in the middle of the hall.
The selection of musical material in the choreography classes is carried outconcertmaster in accordance with the program requirements of the choreographer.
The exercise at the stick consists of specific exercises, each of which has its own specific musical requirements. In the first or second year of study, children are engaged in public choreography. At this moment, the correct coordination of movements is developed, the setting of the body, head, arms, the muscles of the legs develop. In the process of these lessons, they gain knowledge about the rhythmic organization, sizes, musical images that they embody in dances and etudes.
In the process of work, one gets acquainted with the music and the rhythmic pattern of the march, polka, waltz, mazurka, polonaise, using simple musical examples.
For the development of figurative thinking, not large and not difficult to perceive musical examples are selected, but very bright in character and musical coloring, thanks to which the children, after listening to this piece of music, could create a mini-etude, or embody a specific image to a specifically given music (“ Monkeys”, “The sea is worried”, etc.).
At the next stage of education, children again encounter these dances or movements in the lessons, but already on more complex musical material.
In the third year of choreography, classical dance is introduced, which later on is the basis of all dance classes.
In the first year of learning classical dance, children are given basic initial ideas about it. At the initial stage, this is done on a familiar or not difficultmusical material to make it easier for students to organize their movements in accordance with the music. Further, the combinations become more complicated, the musical material becomes more complicated. This can be seen in concrete examples: a march to music is used in the lesson to develop a sense of rhythm and coordination of movements with music. At the beginning, the exercises go at the same pace, and as they are mastered, at different tempos: with acceleration or deceleration, with pauses, with different rhythmic organization. Plie at the initial stage is performed in time signature 4/4, then in ¾.
The musical accompaniment of dance lessons should be very accurate, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study (both in the lessons of folk stage and classical dance), and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual creative approach in the selection of musical arrangement lessons.

Let us dwell on the principles of the accompanist's approach to the selection of musicalfragments for the lessons of classical exercise at the stick. Classical exercise throughout the entire training has a certain set of elements that are studied from year to year, but, as they are mastered, they constantly become more complex and combined. The musical arrangement of classical dance lessons should be very diverse both in terms of melody and rhythm. The nature of the rhythms often changes during the lesson. When a new movement or its individual elements is being studied, the rhythm should be simple, the melody not complex, accessible. Then, in the process of work, the musical material becomes more complicated, the rhythmic
drawing inside the bar, the shape and size of the musical fragment changes, especially in jumps, or when combining various exercises into a singlecombination. In addition to the use of musical material, musical improvisations by the musician are possible and desirable.

Musical fragments for classical exercise must have the following properties:

1. Squareness.
At the initial stage, it is very important that the work can be divided into squares. This means that one movement is done 4 times: with a cross - forward, sideways, back, sideways. A square consists of measures in 2/4 or 4/4 time. In the future, as the dance technique is acquired, the pace accelerates, but the squareness remains. For example, a combination of two movements in a square is compiled - this is equal to a phrase of eight measures: one movement - 1 measure, or three
movements in a square are equal to 12 cycles. In the third year of studying the classics, this property no longer matters as much as in the first year, since children learn the exercises in their pure form, and the combinations created become more complex, and in them the movements can change out of square. Here more complex sizes are taken: ¾, 6/8, etc., and a faster tempo is used.

2. A certain rhythmic pattern and tempo.
For the execution of such movements as Adagio, tendus, Rond de jambe, par terre, the rhythmic pattern does not really matter, but the tempo does. It should be slow and the melody should be lyrical, as the movements are performed smoothly and slowly. To perform the battements tendus movement, a clear rhythmic pattern is required, as well as the presence of a syncopated rhythm. These movements are performed at a fast tempo with eighth notes; sixteenth and eighth notes must be present in the musical fragments (2/4 or 4/4 size for slow performance).

3. Presence of beats.
Any backbeat is of no small importance in the execution of the movement, in addition, it determines the tempo of the entire exercise. At the initial stage, when the movement is learned and performed on the strong beat, the lead time does not play a decisive role, since the movements at this stage are performed at a slow pace in squares on the strong beat (battements tendus, battements tendus jetes, battements frappe).

In the future, this quality plays an important role. Any start-up, in addition to determining the tempo of the exercise, makes the musical fragment clearer, activates the exercises, emphasizing the weak beat. Zatakt can be used in all exercises, as it is easier to start performing from it.
traffic.

4. Tempo and metric features.

Size 2/4 can be used for various exercises. But the pace of performance and the technique itself are always different. Battements tendus, battements tendus jetes, battements frappes can be played in 2/4 time in allegro, moderato tempos.And the exercises battements fondues, plie, passé par terre - in the amount of 2/4 in the pace of adagio, lento. Rond de jamb par terre can be performed in ¾ time, that is, one movement per bar. Thus, the tempo slows down to adagio (or one movement - a full circle - for 4 measures. The same thing happens with the time signature 4/4. The tempo in this time signature can vary from lento to andanteno on different movements.

5. Metro-rhythmic features.

At the initial stage, small durations can be played twice as long, but the nature of the melody should not be distorted. As you learn the movements, the pace accelerates. At the initial stage, when the movement is being learned, the accompanist plays at a slow tempo; as the tempo is learned, the tempo accelerates.
The same thing happens with preparation and when making a combination of poses.
Let us consider specifically on what grounds the selection of musical
fragments for the main exercises of the classical exercise at the stick.

Plie - size 4/4, ¾; the music is smooth, the tempo is moderato or adagio.
The fragment must be square, the presence of an even rhythmic pattern does not matter. It is desirable to have a push. Rhythmic expansion to longer durations is not required, since in 4/4 time one movement is done per measure. For this exercise, a piece of music is selected for 4/4 at a slow pace.
Battements tendus - size 2/4; nature of music - clear, cheerful, tempo
allegro or allegretto. For a musical fragment, squareness is desirable.
Rhythmic pattern is of great importance. In addition, it matters
possibility of meter-rhythmic decomposition. At the beginning of the movement
done on 2/4 and 4/4 at a slow tempo, then at 2/4 at a fast tempo. The lead time and its accentuation are also of great importance for the accuracy of performance and the transfer of the nature of the movement.
Battements tendus jets - size 2/4; tempo - allegro, a clear rhythmic pattern (if possible, syncopated), stress on a weak beat. At the initial stage, squareness, a clear rhythm with an emphasis on "and" matters.
The presence of an out-of-tact is necessary from the initial moment of study. maybe
meter-rhythmic expansion up to a quarter. At the initial stage, the tempo in 2/4 time is slow, then fast.
Rond de jambe par terre - size 2/4, 4/4, ¾; the nature of the melody
smooth, tempo - andante. Metrorhythmic expansion is required only for
at the initial stage, if the size is 2/4 (if 4/4 is not necessary). One movement is done in this case for 1 beat, thus slowing down the tempo.
If a fragment is selected for 2/4, then the tempo should be slow, and if the size is ¾ - faster.
Battements fondues - size 2/4 and 4/4; the character of the melody is smooth, the tempos are adagio, largo and andante. At the initial stage, squareness is required,
a certain rhythmic pattern does not matter, a pickup is possible.
Metrorhythmic expansion is required initially if time signature is given in 2/4 (if 4/4 is not); in this case, one movement is done for 1 beat, thus slowing down the tempo.
Battements frappes - size 2/4; tempo - allegro, clear and fine rhythm.
Squareness matters only at the initial stage. Rhythmic pattern is desirable from small durations, better on staccato. There may be a hitch. Rhythmic expansion is needed more at the initial stage, when the tempo is slow, than when the movement is already "worked out".
Adagio - size 4/4, ¾; the nature of the music is smooth, calm. Pace
execution is slow. This exercise is included in the exercise in the fourth year of study instead of developpe. Squareness is not of decisive importance, as well as rhythmic pattern. The presence of an overtact is possible, but not required.
Metrorhythmic expansion is not required. In ¾ tempo
piece of music faster than in 4/4 time.
Anler - size 4/4, 2/4, ¾; the nature of the music is smooth, the tempo is adagio.
At the initial stage, squareness is of great importance. The rhythmic pattern is not important. There may be a hitch. Expansion into longer durations is not required due to the slow pace of the movement. In a time signature of ¾, the tempo of the melody will speed up and the character will become more airy (in a time signature of 2/4, the opposite is true).
Battements developpes - size 4/4, 3/4; the nature of the music is smooth,
calm, pace adagio, lento. Since this movement precedes the adagio, square musical fragments should be selected for better assimilation.
The rhythmic pattern doesn't matter. It is possible to start the movement from the start.
Metrorhythmic decomposition of musical material is not required. Pace
execution is slow.
Grant battements jetes - size 2/4, ¾; the nature of the musical
fragment - cheerful, energetic; tempo from allegretto to allegro moderato. At the initial stage, a clear square is needed. Rhythmic pattern plays
an important role. Emphasis is needed on the strong beat. Size ¾
the presence of a trigger is necessary. Decomposition into larger durations is possible at the initial stage of learning, the pace varies depending on the technical "advancement" of the students - from slow to fast.
Based on the foregoing, it is possible to formulate the principles by which
guided by the accompanist when choosing musical fragments for
exercise exercises at the stick.

At the initial stage of learning, exercises are performed in slow motion.
tempo (one movement per beat).

All movements of the classical exercise are divided into slow and fast, with a clear rhythm, and smoothly sliding. And musical fragments are selected according to the same principle: slow (in 4/4, 2/4 sizes); with syncopated rhythm (in 2/4, ¾, 4/4 time signatures); at a moderate pace (on 2/4 and ¾).

At the initial stage, attention should be paid to improvisational
musical transitions (bridges) after every four measures (in the form of two or four chords), which are used to change positions.

It is necessary to remember about squareness, that is, one movement is done
cross for 4 measures, then there is a change. The musical fragment is divided into phrases, each of which consists of four measures. A complete combination is 4 musical phrases, and thus a complete musical sentence of 32 measures is obtained. When the tempo increases and one movement is made for each beat, the phrase is reduced to 16 measures, but it must be musically complete.

An introduction to each exercise for which the hands "open"
is called preparation. At the initial stage of training, this section can be expanded (8 measures or more), and then short (2 measures and 4 measures).

At the initial stage, the exercises are learned to a strong share. And by
as they are memorized, a step is needed, especially for exercises battements tendus, battements tendus jetes, battements frappes, petit battements.
Therefore, you should immediately select two versions of music for them, with an emphasis on strong and weak beats, with a small rhythmic pattern (you can use staccato).

Movements in which the leg ejection is accentuated are selected
musical fragments with an emphasis on the first beat, or you can emphasize it yourself during the game. This applies primarily to grand battements jetes.

At the initial stage of training, when a piece of music is taken on
2/4 with a small rhythm, it is important to expand it to larger
durations, but so that the character of the music should not change.

The tempos of the selected musical fragments should vary in
different sizes - in different ways. For example, 2/4 - in allegro, andante, largo; ¾ - in adagio, andantino; 4/4 - lento, andante, vivo.

Often the pace is accelerated due to the fact that at the beginning one movement
is done for a whole measure, then only for strong beats. Thus, under the same piece of music, the movement can be performed both quickly and at a slow pace.

For simple combinations, simple musical fragments should be given with
clear melody, in a simple time signature, with a simple rhythmic pattern. In cases where more complex time signatures are used, the combination by squares is performed by ¾, the tempo is accelerated, but the nature of the music corresponds to the movements (smooth, lyrical or sharp).

. The musical material in each year of study gradually becomes more complicated.

At a later stage of learning, when
more complex variants of the combination, the accompanist should pay attention to the fact that the combinations can be combined. For example, battements tendus is combined with battements tendus jetes - and the musical piece should consist of two parts, with the second part with a clearer rhythm. If battements fondues is combined with battements frappes, then the first movement is smooth (on 4/4), and the second is with clear sharp accents (on 2/4).
The musical fragment should correspond to this. There are many variants of such associations, and the accompanist's task is to accurately select a fragment so that the change in movement is musically captured in it. To do this, you need to remember about squareness, about tempo, size, lead-in, rhythmic pattern.

Exercises may include postures. If the piece of music was in
slow pace, then this does not play a significant role, especially if the pose joins at the end. If it is in the middle, then the musical square moves apart. If the musical fragment was fast, then at the moment of the pose it should switch to a smooth lyrical melody at a slow pace. When any exercise is completed, the departure from the starting position occurs for 2 additional final chords. It should be noted that all the main exercises of the classic exercise at the stick are performed in the same way in the middle of the hall (but in a more simplified version); in the future, allegro is added to them.

Possible options for selecting the musical accompaniment repertoire for studying classical exercise at the barre are placed in the Appendix.

Conclusion
The work of an accompanist in an art school includes both purely creative (artistic) and pedagogical activities. Musical and creative aspects are manifested in the work of students of any specialties. The pedagogical side of the activity is especially clearly revealed in the work with students of the vocal and choreographic classes, and also, to a certain extent, is assumed in the work with performers on bowed string instruments.
The skill of an accompanist is deeply specific. It requires from the pianist not only great artistry, but also versatile musical and performing talents, mastery of ensemble technique, knowledge of the basics of singing art, features of playing various instruments, and also excellent musicalhearing, special musical skills in reading and transposing various scores, in improvisational arrangement on the piano.
The activity of an accompanist requires the pianist to apply multilateral knowledge and skills in the courses of harmony, solfeggio, polyphony, music history, analysis of musical works, vocal and choral literature, pedagogy - in their interconnections.

For a teacher in a special class, an accompanist is the right hand and first assistant, a musical like-minded person.
For a soloist (singer and instrumentalist), an accompanist is his confidantecreative affairs; he is an assistant, a friend, a mentor, a coach, and a teacher.Not every accompanist can have the right to such a role - itis won by the authority of solid knowledge, constant creativecomposure, perseverance, responsibility in achieving the desiredartistic results in joint work with soloists, in their own musical improvement.
A full-fledged professional activity of an accompanist involvesthe presence of a complex of psychological qualities of a personality, such as a large amount of attention and memory, high efficiency, mobility of reaction and resourcefulness in unexpected situations, endurance and will, pedagogical tact and sensitivity.
The specifics of the work of an accompanist in a children's art school requires him to have special universalism, mobility, ability toswitch to work with students of various specialties. An accompanist must have a special, disinterested love for his specialty, which (with rare exceptions) does not bring external success - applause, flowers, honors and titles. He always remains "in the shadows", his work is dissolved in the overall work of the entire team. An accompanist is the vocation of a teacher, and his work in its purpose is akin to the work of a teacher.

LITERATURE
1. Abramova O.A. Some features of the work of an accompanist in the class of special conducting at the conductor-choir department // Derzhavin Readings. Art history. Socio-cultural activity: Proceedings of the scientific conference of teachers and graduate students. - Tambov: Publishing House of TSU im. G.R. Derzhavina, 2000. - S. 71-72.

2.. Classical dance / Comp. D. Yarmolovich. - St. Petersburg:Music, 1985. - 148 p.
3. Khaikina T.Ya. Tasks of the concertmaster-pianist
choreographic class // Results of the review of methodological works
teachers of educational institutions of culture and art
for the 1995-96 academic year. - Tambov, 1997. - S. 110-112.

4. Shenderovich E.M. In the accompanist class: Reflections
teacher. - M.: Music, 1996. - 207 p.

Application.

Mukhametzyanov A. K.,
Kartaly city